An Unlikely Friendship Between Olivier Nakache And Eric Toledano 's 2011 Film ' Les Intouchables '

We do not see any detailed back story to any of the characters, but we know just enough about them as the director wants us to know. They are a variety of races show in this movie; African Americans, Hispanics, a Persian family, and Asians. Every switch of a scene is done to intersect the story of the previous scene with the next one, for example we are introduced to the Cabot family when two black men steal their car. Similarly, the Persian family, who clearly is struggling to make in living as immigrants, hires the Hispanic locksmith. These are some of the lead characters of this movie who are knotted together. This technique actually keeps the viewers engaged and captivated.

Eric Toledano and Olivier Nakache use their film The Intouchables (2011) to manipulate their audience in relation to a contrast between a stereotypical black and white social class. The directors cast Omar Sy as Driss, who is of Senegalese descent, since he is in stark contrast to his employer Phillipe who is a white French aristocrat. This film is based on a true story and the individual who was originally Philippe’s caretaker was Abdel Sellou and was of Arabic ethnicity. Omar Sy is of Senegalese descent and therefore has darker skin than Abdel, making the racial differences between him and Phillipe more prominent and observable. This contrasting theme is present throughout the film, and is particularly evident in three scenes that crystallise the directors’ key idea of the contrast between two different social classes. The scenes include ‘the paragliding’, ‘Driss’s interview’, and the introduction of Phillipe and ‘Driss’s house scenes’. Toledano and Nakache uses film techniques such as mise-en-scène, lighting, sound track, dialogue, musical score, camera techniques and angles throughout these scenes to manipulate the audience in relation to the black and white contrasting social class

To support this idea, Bordwell illustrates how art cinema motivates its narratives differently, through two principles: realism and authorial expressivity. Firstly he proposes the notion that art films reflect realism in their characters, space, and time. Psychologically complex characters are present in real worlds dealing with true-to-life situations. Art cinema is concerned with the characters ‘reaction’ to these situations, rather than their ‘action’. Thus it bares an element of psychological subjectivity as the characters survey the world they are in, which aids the realisation of the distress of

Moreover ‘Run Lola Run’ clearly illustrates how texts can explore the human experience by using distinctively visual elements,highlighting every choice can unintentionally alter one’s fate..Through the antwerp structure of the film,Lola took charge of her actions however it failed .However in the third run she relied in fate and succeeded.The significance of choice to one’s fate is epitomized through Twkyer’s use of medium shot as the blind lady holds Mani hand leading him to the homeless man and regaining 100,000 marks which is ironic as the blind person can see.The relevance of the moment between Mani and the blind lady is evoked through the dolly shot of the revolving around Mani’s face as he sees the homeless man accompanied with the

While the former are portrayed as victims, the latter are shaped as artful supremacists and tenacious manipulators. However, the filmmaker manages to alleviate this idea by infusing wit and irony, aspects that remove part of the heaviness related to the topic itself, at the same time that enhance the entertaining values of his work.

The working class in this film are forced to endure agonising labour in extremely dangerous environments whilst the upper class, the ‘sons’ are free to live at their will. The dystopic setting of the ‘depths’ becomes evident through Lang’s use of symbolism when the dictator’s son, Freder, journeys to the depths and starts to see the workers being eaten up by the machines in the scene ‘Slaves of the Means of Production” (14.58-17.52). This symbolises the dystopic society in which workers do not have the right to be safe. This idea forms a contextual connection to the 1920’s Weimar Republic where there were two distinct classes, the conservative elite, who were free to live at their will, and the workers who were forced to endure labour with no guarantee for safety. Through the contextual connections of political reform and the shared perspectives of dystopian societies the quote “the object of power is power” is strongly supported by George Orwell’s ‘1984’ and Fritz Lang’s ‘Metropolis’.

Italian Neorealism was a movement of art, which strived to illustrate the normal lives of the ordinary, working class people in post war Rome, usually with the use of non-professional actors. As one of the best Italian Neorealist film, Bicycle Thieves showed an absolute depiction of the war’s impact on daily life and exposed a world in which sufferings, unkindness and corruption jeopardized the rationality of human beings and action of men (Schoonover). By utilizing a depressing and gloomy cinematography, De Sica implies the somber lives of the poor and their crisis in losing their self-identity and moral conscience as a result of parochial society that make a fetish of personal belongings as a mode of social acceptance. By examining the cinematography, ‘mise-en-scene’ and events in the film, the daily struggles of the working class in post war Rome can be seen through the crisis of masculinity, class struggle, ethical dilemma and a profoundly patriarchal society.

This essay also conveys the message in the piece by using an anecdote, motif, and by using syntax. This piece is a brief narrative in which the author is trying to convey the struggle between the “shushers” in society and those who do not want to remain solitude, expressing how society has lost its respect for other persons. The piece is kept short and sweet to maintain a clear focus throughout. In this anecdote, motif is often used through the repetition of shushing and the different types of it to convey a message to the offender to stop disrupting the show. He describes himself as giving the offenders “a good hearty ‘Shhh!’ multiple times throughout the piece to different offenders, each with a different situation. Mostly, the “Shhh!” comes into play with the “conversationalists”, but there are other situations in which an extra sentence is used as their rudeness becomes defiant policy just to prove some sort of point to him. This motif is used to show constant efforts to stop offenders and striking “a blow for moviegoers everywhere” even though his efforts, based on the offender, are futile because of their lack of respect for him and those around him. The author also uses the writing tactics

First of all, before analysing the theme, it is necessary to clarify the notion of “dynamic of power”. In fact, this denotes the dialectic interaction between the subject possessing the power and the object which is influenced by this power. In literature, this liaison is expressed by the relations between a master and a slave. For instance, the Russian writers Dostoevsky and Tolstoy explored the theme of the relations between a master and a slave, an oppressor and an oppressed in their works. Since this theme has stirred the imagination of many writers, it is not surprising that the possibility to expose this type of relations has attracted the filmmakers for the decades.

A full spectrum of social class is depicted in the movie, Gosford Park. In the cleverly written screen play, the lives of British social aristocrats, their lowly servants, and some of Hollywood’s American elitists intertwine during a weekend shooting party in a country estate. The line between playful leisure and tasked work, not always clearly defined, are surprisingly reversed from what one might initially expect.

This commonality is thrill seeking. A segment that stood out to me whist watching this film is something that Petit said himself. The quote is “ It’s simple, life should be lived on the edge”. Once I heard this quote I could truly and positively reflect with him as I refer to myself as a thrill seeker and I even often say life should be lived on the edge. An example of my adventurous characteristic is an experience I had of bungy jumping. Although my parents were trying to talk me out of this I did not let anyone stop my determination, similar to Philippe Petit as he had major obstacles that he had to ignore and escape. Although both Petit’s experiences and mine are very peculiar it certainly shows our similarity of thrill seeking and determination. One particular scene that expresses Petit’s thrill seeking feature is when he was walking in Sydney. The camera angels and archival footage really determined how high he actual walked. They did this through the archival footage as they started filming from below and zoomed all the way to Petit on the wire. This allowed me to accept the invited reading as I appreciate Petit’s view of life and how it should be

Charlie Chaplin’s iconic Tramp character is often someone to laugh with, or laugh at, but not necessarily someone you learn from. The Tramp character is impulsive and reckless, hardly the standard for model behavior. Despite this characterization, the Tramp’s role differs significantly in Easy Street. He is the hero that the titular street desperately needs, a place where the depraved and deprived struggle to survive. The use of social issues in Easy Street is not merely to use them for the jokes, but to lighten the burden surrounding the subjects, and in doing so providing a more hopeful perspective: one where these issues are not overwhelming and the solutions don’t seem Herculean, but instead are presented as being within the audience’s begging grasp. The film provides relief by portraying issues a general public can be dealing with, and not treating them as these daunting things to be intimidated by, but to laugh at, since they can be solved, as the Tramp demonstrates, through religion and labor.

What is all about life if an individual can’t be able to enjoy, relate well and have fun within his or her social boundaries? The social aspect is what makes a person to expound on the other aspects of life such as the economy, technology, and politics with minimal barriers. Movies connect the living generation with real-life situations, giving ideas on how to embrace it and live well when subjected to such circumstances.

This film analysis will delineate the diverse directorial decisions of The French New Wave cinema movement, and how they have been utilised and developed to challenge and subvert the typical Hollywood filmmaking conventions and techniques of the 1950s and 60s Hollywood cinema, in François Truffaut’s The 400 Blows (1959). Hollywood produced films of the time used a very limited variation in film techniques such as camera, acting, mise-en-scene, editing and sound. This can be mainly attributed to the low innovative thought of creative and expressive camera movements, angles, etc… due to technological hindrances. In particular, this film analysis will de-construct the filmmaking elements of the revelatory French New Wave movement in Truffaut’s The 400 Blows ending scene (01:34:42 – 01:39:32) portraying the main character Antoine Doinel’s escape from juvie and trek to the bespoken beach.

Widely recognized for philosophical writings as a French essayist and playwright, Albert Camus is a major contributor to exploring the absurd in modern Western literature. Characterized by highlighting the human condition, Camus’ writing style focuses on the everyday lives and inner psyche of individuals in both ordinary and extraordinary circumstances. Such a character-driven writing style is most notably displayed in his 1946 work, The Stranger, a tale of an emotionally-detached man known as Meursault, who lives in French-colonized Algiers during the intermission of the two World Wars. Consisting of two parts—The Stranger first explores his daily life as a free man, and in the second, delves more into the character’s own philosophy as Meursault contemplates during his remaining time in jail. At its core, the story explores the relationships and interactions of the odd Meursault through the character’s inner monologue and dialogue with those around him. The story itself is very ambiguous in its’ nature, and the idea of contemplating the meaning of life and purpose is prevalent throughout The Stranger. Evidently, Camus writes Meursault as a man who believes that life has no meaning, and therefore people are free to do as they please. To supplement the protagonist’s view, the author also presents Meursault alongside various personalities of key supporting characters, each with their own unique personality, and differing outlooks on life. Doing so thus enables Camus to get readers to contemplate about meaning through multiple perspectives. Stylistically, through many devices that emphasize diction, imagery, and story themes. Ultimately, The Stranger is a way for Camus to convey that there are multiple ways to perceive the meaning of life, using Meursault to directly project a different view than what readers are used to. Surely, with the intent of crafting a protagonist so strange, that Meursault becomes comparable to other characters; less so as a reflection of what the author personally believes the meaning of life is, but more of what such exploration of the idea could be.