A Fistful of Dollars: A Revolutionary Movie
In the late 1960’s a new subgenre was born: “European Western”, most well known as “Spaghetti Western”. Per un Pugno di Dollari (A Fistful of Dollars) is a movie that represents this genre. It was made in 1964 by Sergio Leone, starring Clint Eastwood, and with a musical score composed by Ennio Morricone. This film set the pace and tone of the genre, so despite personal taste, this movie can be called revolutionary and influential. Key factors for such achievement are detailed next: the direction of photography, the editing, the neorealist influence, the film score, and advantage of the international financed production.
Leone the cinematographer of A Fistful of Dollars is one of the most influential Italian directors worldwide. His contribution to the creation of the sub-genre Spaghetti Western places him as the father of it, shaping its style with this movie. As Grant indicates “If we talk about the strictly Italian interpretation of the western subject, then Leone sets the point of origin.”(50) Story wise this film is not original, in fact the plot was admittedly borrowed from Akira Kurosawa's Yojimbo (1961). It features a lonely fortune-hunter who
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There is a great scene that exemplifies such improvements. Towards the end of the movie in the last fight, Leone stations the camera at the same level than the protagonist's hip, using a point of view behind of the gun, so the audience sees him shooting a man at the same time they see the man going down. This was a particular angle for an action scene. During that period in cinema, other western directors would have instead two separate shots, one of the protagonist shooting and a one of the man being shot. Leone’s camera movements are always exquisitely planned and choreographed, and he is known for being “perfectionist” (Klein
This reaction paper is based on a film by the name of “Lone Star.” The Director of this film is an independent director by the name of John Sayless. Lone Star is a contemporary film that was created in 1996. This film is a Western based film that. But it is set in the present day was created on the U.S./Mexico border. It describes a sheriff that is trying to get revenge of his father’s Buddy Dee death. In doing so he sorts out to solve a crime. The crime has to do with him and his father, Buddy Dee. The film also details the sheriff's love life and his relations to his high school history teacher. The teachers mother a restaurant owner was one of many people to jump the US border. Towards the end of the movie the Sheriff finds out the love of his life is not only his true love but his sister. He finds out that his father and the teacher’s mother had an affair in which the teacher was conceived. It was ironic because the sheriff had method to the teacher while having sex with her that it felt weird later to find out that they were brother and sister.
The critically acclaimed film, Goodfellas, is a gangster crime drama that features an incredible amount of talent. Household names such as: Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Oscar and Golden Globe nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters are feeling at a specific moment. Through the use of freeze frames, we learn of significant moments that shape Henry into the man that he is. By means of first-person narration we are able to know exactly what is going through a particular character’s mind. Finally, wonderful editing made great use of point of view and multiple jump cuts, which added to the sensation that we are undergoing the same experiences as the characters on screen. I will go into further detail and specify scenes that convey these elements as the essay progresses. Altogether, Martin Scorsese’s Goodfellas effectively depicts paramount scenes and allows the audience to empathize with the characters by virtue of stylistic editing and cinematography.
Since the beginning of the Industrial Age, Americans have idealized the journey towards economic success. One thing people do not realize, however, is that that journey is not the same for every individual. For Charles Foster Kane (Orson Welles), the main character of Citizen Kane, directed by Orson Welles, the path towards riches and a fulfilled life is being well liked. He serves to please others. He strives for that attention. This view cost him his happiness in the end. In this man’s rise and fall through prosperity, Welles shows the futility of striving solely for likeability.
The critically acclaimed film, Goodfellas, is a gangster crime drama that features a great deal of talent. Household names such as Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Golden Globes and Academy Awards nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters are feeling at a specific moment. Through the use of freeze frames, we learn of significant moments that shape Henry into the man that he is. By means of first-person narration, we are able to know exactly what is going through a particular character’s mind. Finally, strong editing made efficient use of multiple jump cuts, which add to the sensation that we are undergoing the same experiences as the characters on screen. Altogether, Martin Scorsese’s Goodfellas effectively depicts paramount scenes and allows the audience to empathize with the characters by virtue of stylistic editing and cinematography.
Martin Charles Scorsese was born November 17, 1942. Suffering from asthma, he spent most of his time watching movies and by the time he was eight, he was already drawing his own storyboards that were directed/produced by himself. Although he considered going into priesthood, making movies was Scorsese’s true calling and he went on to make some of Hollywood’s most memorable films. Incorporating themes from his Italian American roots into his visceral, cinematic storytelling that has influenced generations of filmmakers. He is an American director, producer, screenwriter, actor, and film historian, whose career spans more than 53 years. Scorsese 's body of work addresses such themes as Sicilian-American identity, Roman Catholic concepts of guilt and redemption, machismo, modern crime, and gang conflict. Many of his films are also notable for their depiction of violence and liberal use of profanity. Part of the New Hollywood wave of filmmaking, he is widely regarded as one of the most significant and influential filmmakers in cinema history. For three decades Scorsese has been at the forefront of American cinema. Its most avid champion and often its most electrifying practioner. The most cinematic of directors, he has also been among the most formally restless and exploratory, evolving an obsessive-compulsive mise-en-scene based on dynamic, agile camerawork and radical editing rhythms.
What could be more quintessentially American than having a national touchstone be reinvented by a foreigner? By the time Sergio Leone began work on A Fistfull of Dollars in 1964, the Western and all of its trappings had been around for nearly a century. Whether it be through literature, film, television, or radio, stories of pitched gun battles and hard-fought backwater living in that peculiar period of the untamed American frontier became one of the United States’ chief cultural exports. Over the course of the “Dollars Trilogy” of A Fistful of Dollars, For a Few Dollars More (1965) The Good, the Bad, and the Ugly (1966) in addition to Once Upon a Time in the West (1968) Leone took the trappings of the Western and completely turned the genre on its head in both style and substance. Unlike the saintly heroes of old, Clint Eastwood’s Man With No Name was a remorseless killer, only concerned with the gold in his pocket and the poncho on his back. Violence was not as quick and easy as John Ford would lead you to believe: Leone was unafraid to depict violence in full while making it clear that taking the life of another was an ugly and pointless endeavor. Higher notions of heroism and civilization had no place in Leone’s world, his characters interested only in enriching themselves or settling the score with their adversaries. Out on a frontier bereft of social structure or authority, Leone’s characters shape their own reality with a few well-placed dollars and a loaded gun.
The gangster genre within films in America has accomplished numerous positive criticisms and constant willing audiences due to containing outstanding spectacles and mind-blowing action. The Godfather, being second on the IMDb Top 250 Movies, has set a new popular concept to life within the Mafia from their point of view. Doing so, creating a positive association. Yet within Italy, the same topic contains a complete different view. Movies such as I Cento Passi demonstrate unenthusiastic view by those whom are outside yet negatively affected by those members. Unlike American films, the gangsters are not as often viewed at the protagonist and are the main causes for the problematic events. But how different is Italian Mafia and American
Film 8 ½ by Italian director Federico Fellini was one of the most influential film of the post-war 1960´s. Nevertheless, this film is an Italian comedy which was based on Guido Anselmi a famous Italian film director. Guido Anselmi has a mental block when it comes to his film, (“director‘s block”) and struggles with his flash backs, dreams, and reality. Guido desperately tries to find an inspiration to help him finish his film. However, with the wife, mistress, and friend’s pressure it becomes much harder for Guido to focus on his film production. This film was shot in black and white and yet of the depletion of technology and the un-discovery of color, Fellini still as a filmmaking director portrays the
This film was created after the fall of Benito Mussolini’s government, Rossellini wanted to create the film to show the realism and the after effect of the war, the films were created majority on the streets of Rome all the buildings and the infrastructures were damaged the film was well thought out Neorealism was a sign of cultural change and social progress that Italy was going through.
Mario Puzo’s "The Godfather" was the first and most influential gangster movie that paved the way for gangster movies of the future. The movie was directed by Frances Ford Copolla, who made many different ingenious ways to portray this gangster classic. The movie was a very subversive movie, and one of the first of all time.The Godfather has a many different uses of light settings through the whole movie, in which the movie can be interpreted on.
The American films The Godfather I and II directed by Francis Ford Coppola, included mise-en-scene to emphasize certain characteristics and themes during both films. In this essay I will discuss how mise-en-scene was used to portray the lives of the Mafia families in the 1940s and 50s.
The author Gary Shteyngart of “Sixty-Nine Cent” describes himself in a tug of war between the Russian culture of his parents and the American culture in which he wants to be a part of. At the age of seven, Gary Shteyngart and his family immigrated to the United States from Russia. When he was fourteen, his family and other Russian immigrant made a trip to Florida to see Disneyland. He describes “the ride over the MacArthur Causeway to Miami Beach was my real naturalization ceremony”( Shteyngart 103). At that age, he wanted to be like every American born boy, He wanted to eat at McDonald’s, walk the beaches, and speak to the girls, and to enjoy what every boy his age takes for granted. One of his desires was to eat a McDonald’s
In this essay I will look at the emergence of Italian neo-realist cinema and how Italian Neo-realism has been defined and classified in the film industry as well as how its distinct cinematic characteristics could only have been conceived in Italy and how these characteristics set the neo-realist style apart from other realist movements and from Hollywood.
In this movie, different filmic techniques are used, however, in my opinion, they are not very effective and thus it fails to improve or contribute to the success of the movie, which I believe it should. The filming techniques used in
Naomi Greene once said that, “Pier Paolo Pasolini was the more protean figure than anyone else in the world of film.” This means that Pasolini was a versatile film director because he simplified cinema into the simplest way possible, while still visually embodying an important message to his cinematic viewers. Because of his encounter with Italy’s social changes, it influenced the writing and films he chose to write. His aspirations regarding his written work “Cinema of Poetry” explains how a writer usage of words and a filmmaker’s choice of images are linked to how cinema can be a poetry of language. He characterizes cinema as irrational and his approach on free indirect point of view is used to achieve a particular effect in his body of work. His claims made in the Cinema of Poetry illustrate why he stylized his films in the manner he did, such as Mamma Roma through the images he portrayed on screen. By examining Pasolini’s approach to poetic communication in the Cinema of Poetry, we can see that these cinematic attributes about reality and authenticity depicted in Mamma Roma are utilized to question cinematic viewer’s effortless identification of cinema with life. This is important to illustrate because Pasolini wants to motivate viewers to have an interpretative rather than a passionate relationship with the screen.