Analysis Of The Film ' The Invention Of Hugo Cabret ' By Martin Scorsese

Working out conflicts face to face can and cannot make a difference in resolving the problem.“These face-to-face interactions build trust, understanding, and a real sense of a shared mission, and this has made all the difference in the world.” This direct quote from Forbes.com explains how this specific way can improve how the world communicates to each other. Many people will disagree with the previous statement, but it is just one of the basic elements of the social system. Admittedly, not everyone believes in face to face interaction. People can choose whichever side they want to, but people can solve their problems by talking to somebody.

SS General Reinhard Heydrich was in charge of the “Reich security” and appointed to lead the infamous Wannsee Conference. This conference featured many established leaders in the Nazi Party, SS, and German government and gets its name from the location of the meeting, a wealthy German suburb. The purpose of this conference was to inform the slightly lower ranking German leaders of the “Final Solution” to the ‘Jewish question.’ The movie Conspiracy focuses on the Wannsee Conference and shows the influence on many of the aforementioned leaders. Kenneth Branagh, the actor that portrays Heydrich, is able to successfully imitate his commanding presence throughout the film with his use of body language and tone. From the opening scene of the

As time goes on, history has a way of getting distorted from its most truthful form. Time causes people to drift away from accuracy and become more interested in what they want to remember. Hollywood has a reputation of creating films that cater more to the average viewer, rather than the history buff. Inglorious Basterds, by Quentin Taratino, take very liberal liberty with a history story, and creates a story that will sell to the crowd. This may seem dubious, but it is often not such a bad thing. Hollywood can take a story that may have one connotation, may it be serious or dreary, and turn it into something that evokes different emotions, will still addressing historical issues or topics. Taratino chooses to film a movie of this type

The animated film, Ratatouille, may seem like just another Disney/Pixar collaboration to some, and while that partnership seems to always produce innovative and interesting films, this film about a rat who realizes his dream to become a chef is something beyond even, what these two giants in the film industry usually do together. It is more than just a sweet story about Remy, an anthropomorphized rat—but not too anthropomorphized—realizing his dream along with the garbage boy, Linguini, who teams up with Remy. Both of them discover who they really are and overcome insecurities that previously prevented them from realizing their full potential, but the movie is a recipe for success in many ways. The loving care and talent that is combined in the making of this film is the same kind of care and talent that Remy—or any real chef—puts into his food. Still, it seems impossible that a rat making food in a Parisian restaurant could possibly have the right ingredients to produce a successful result—however, Ratatouille proves that it does. Just like the painstaking attention that goes into a chef’s creation of a meal, the care and skill that resulted in the film sets Ratatouille above the typical animated movie and makes it a classic in not just unusual story-lines, creative computer graphics, and groundbreaking film-making, but also as a study of human behavior. There is truly something for everyone in this feast of a film.

The narrative of Davis’s monograph and Vigne’s movie has similarities and differences as well. For example, the return of Martin Guerre after eight years to the court in the neck of time is basically the same in both works, but the starting point is different in terms of time and place. The book starts with a detailed background of Martin’s family, their journey from the Basque region to Artigat, and how they adopt the life of the new place by changing their names, changing their customs, and learning the language so that they become like the villagers. On the other hand, the film begins with villages of Artigat and soon with the marriage of Martin and Bertrande in order to capture audience’s attention to be engaged in watching the film. However, the movie’s director ignores all the background of the Martin’s family.

“Iron Road” has successfully shown why Chinese workers came to Canada in the 1880s as well as the challenges they confronted. Most of the film’s storyline occurs in China, where it uses the point of view of a Chinese peasant called Little Tiger, to display the daily struggles of the Chinese. The setting is full of war and destruction, thus destroying many farms resulting in famine and poverty. This has resulted in peasants having insufficient funds to support themselves and making them live in unsanitary living spaces. As a result, this gave the workers more reason to move to Canada as there was also better income and resources there. However, once they arrived in Canada, they discover that the conditions there weren’t as good as they thought. Although they had a better income than they did in China, there was a lot of discrimination, dangerous working conditions and horrible living spaces. There was worse pay for the Chinese workers and they had to do the most life-threatening jobs like working with explosives as well as working on the side of a cliff with no harnesses. Throughout the film, “Iron Road” has used the setting, characters and point of view of a Chinese peasant to show that there were horrible conditions and chaos in China, as well as the racism, dangerous working conditions and poor living space the peasants faced in Canada.

Anyone who is even vaguely aware with film usually has a favorite director. Why? What distinguishes one director from another? A director is “the person who determines and realizes on the screen an artistic vision of the screenplay; casts the actors and directs their performances; works closely with production design in creating the look of the film…and in most cases, supervises all postproduction activity, especially editing” (Barsam and Monahan 496). Clearly, the director of a film is lead visionary in how the film is made. But what makes some directors truly memorable and instantly recognizable? Those directors take advantage of all different kinds creative possibilities and signatures to become the true “author” of the film, also known

Casablanca, the crowning achievement of director Michael Curtiz, which was released in 1942, is a film that had to work against the pressing concerns associated with World War II to stay relevant in both cinematic and general audiences. The writing, which was done by Julius J. Epstein, Philip G. Epstein, and Howard Koch, had to be inspirational yet uncontroversial. With actors like Humphrey Bogart as Rick Blaine, Ingrid Bergman as Ilsa Lund, Claude Rains as Captain Louis Renault, and Paul Henreid as the French revolutionary Victor Laszlo, Casablanca has a respectable cast. The movie initially appears to fit the film noir genre because of its smoky backdrops with muted colors,

The film, the Untouchables, was directed by Brian De Palma. It was set in the prohibition era, which was right at the start of the 1920’s. Prohibition can be described as a law that made selling and manufacturing alcohol illegal. By putting this law into effect, it actually increased the amount of crime and violence throughout cities in the US. This was ultimately due to the rise in organized crime, also known as gangs. In the movie specifically, it was centered around the rise of the Mafia in Chicago. By looking at the production of the movie, we can see how during prohibition, the Mafia controls everything and the violence ultimately it leads to.

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.

“The Godfather Part II” is the second movie in the Godfather trilogy, and mentioned as one of the best movies of all time. Is this a fair criticism of the movie? Well, the only way to find out is to dissect a movie and what makes it great. A movie can be critiqued in a variety of ways, but one of the main criticisms is how the visuals explain the story, and bring it to life. The story of a movie, and how it flows, is the pivotal component that draws viewers in and keeps their interest. With movies, one effective way to critique a movie is to observe the believability, and impact of the acting. Film is a visual media, this is a known fact, however, fitting music can contribute to setting the mood, and tone of a movie. What most makes a movie worth watching is the story, and how it is laid out throughout.

Alfred Hitchcock’s attention to detail in his films is one of the many things that makes him one of the most recognized film auteurs of all time. He was very particular what about he wanted seen on screen and how he wanted to get those shots. From camera movements to the things found in the mise-en-scène, Hitchcock was very precise about every little thing that is seen in his on screen worlds. He would strategically place objects throughout the mise-en-scène and have characters wear certain clothing. By doing this, Hitchcock is able to let the audience know things about the characters and the plot without it having to be said on camera. Hitchcock once said that “If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on” (Tiffin). That’s why there’s no surprise that when Hitchcock finally made his first color film, he began to use color as another way of communicating with his audience.

Hugo, a film released in 2011, tells the story of a young boy who has had a rough life, who meets a girl that helps guide him on his journey. Directed by Martin Scorsese, Hugo is a historical film that is based on the life of Georges Melies, a French illusionist and film director who contributed heavily to the early developments of cinema. The film connects Melies life to the coming-of-age story of the main character Hugo, in a way that brings history to from textbooks and articles to a magical cinematic experience.

Another part of the film that is also very Disney and very Pixar is the visual feast that the eyes enjoy while watching. Robertson says, “Pixar has created something unique. The light. The colors. The textures. Ratatouille is not a film with brightly colored toys, fish, bugs, or cars”, which would allow it to perhaps be the most Disney of the films on which Disney and Pixar have created together (Robertson, 20). Yet, even without those interesting aspects, Ratatouille is very visually appealing, like a dish one eats first with one’s eyes. Robertson quotes Michael Fong the supervising technical director at Pixar who says, "We tried to make this film look different…One of the big things was to break away from what standard CG [computer graphics] looks like. We got rid of straight lines and did a lot of hand tweaking. We wanted it to feel handmade. The other part is lighting and shading” (Robertson, 21). From that special attention, like a chef gives his signature dish, the team that collaborated to make Ratatouille created a delicious result.

Since the establishment of Walt Disney Company in 1923, it has created many classic animated characters, such as Mickey Mouse, Donald Duck, Lion King, Bambi, and so on. The success of Disney animated movie is not only due to its wonderful storyline and the vivid characterization of the animated characters, but also because of the music produced in the film. Disney’s music, whether its theme music, its background music, or song music, are clever and perfect blend of the plot, prompting many Disney animated movies become classics. This paper will focus on one of the Disney’s animated movie, The Three Caballeros, and analysis the connections between its content and its music.