Raging Bull Film Analysis

With regards to Goodfellas, the film starts off by stating that the main character Henry Hill from as far back as he could remember always wanted to be a gangster, which is another term for mobster. Particularly, he started off working at the cab stand across the street at just about ten or eleven years old, and the cab stand was a place where mobsters worked. His parents who were working class citizens, and made lousy money were happy that he had found a job because his father had always believed that American kids were spoiled rotten. Furthermore, as he progressed into the field of a mobster living he was

“All my life I’ve been a lonely boy.” Vincent Gallo’s Buffalo 66 is a peculiar, surreal film to analyze. As a semi-autobiographical work, Buffalo 66 greatly exaggerates the events in the film and makes the viewers suspend disbelief on more than one occasion. Yet despite this, the main focus of this film is a broken Billy Brown’s emotionally raw journey seeking revenge but instead finding unconditional love through Layla in the end, and the formalist film techniques used here enhance this. Through the deliberate use of photography, staging, and movement, Buffalo 66 works as a formalistic classicism film, a predominantly classicism film with strong elements of formalism, on the style continuum.

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.

The film Warrior was released September 9, 2011 by director, writer and producer Gavin O’Connor. O’Connor takes us through a story of two former MMA fighting brothers dealing with a harsh family past (“Warrior”). Gavin has also directed the 2000 film, Tumbleweeds, and the winner of the Best Sports Movie Award in 2004, Miracle (“Gavin O’Connor”). Tom Hardy (Tommy Conlon) was also featured in a major 2010 film, Inception, and This Means War in 2012. He also played one of the main roles in The Dark Knight Rises as villain Bane (“Tom Hardy”). Joel Edgerton is most recognized for his role as a main character in an Australian Television show, The Secret Life of Us, but is also famous for his role as Uncle Owen in Star

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.

Fight Club: every white man’s favorite movie and my worst nightmare turned reality. Much of the novel version of Fight Club struggles with this issues of toxic masculinity, feminization, and emotional constipation. No character addresses these topics better than Robert Paulson, better known as Big Bob; it is his character that serves as a catalyst for both The Narrator, and Project Mayhem.

When talking about a true American crime story, one can start and end the discussion with one of the most powerful and influential true stories ever told: GoodFellas. Based on the incredible true story, the film follows the rise and fall of Lucchese crime family associates Henry Hill and his friends throughout the 50s, 60s, 70s, and 1980s. Originally written as the non-fiction novel “Wise Guys” by Nicholas Pileggi, the story takes you deep into the world of arguably the most notorious crime posse America has ever known: the Italian Mafia. It is viewed by scores of critics and moviegoers alike as one of the greatest crime/drama movies ever filmed – so needless to say, with such a

It is an underrated way to make you feel a certain way in the scene. We can hear a dark, opera type singing at the part when he is beat. When one hears this type of music being played in certain scenes, it shows a person’s dark side and gives the impression that one is ultimately the bad guy in the movie. Demonstrating violence is one of the most important factors in the film. An important part of the film that shows this, is when Elliott Ness is trying to catch the bookkeeper at the train station. It then turns into a shootout scene between the Mob and Ness. In this scene, at the beginning, slow motion was used to help convey the violence that was happening. When things are in slow motion, it helps to bring about the detail and gore that is unfolding before our eyes. After this, the shooting unfolds, and the slow-motion stops. Next, it was filmed with a wide screen which was effective for showing intricate movements, like this shoot out scene. Throughout this part, quick cuts were used to conveys that things are out of control and this brings out the intensity of the violence. All these techniques help show the violence that played out because of prohibition.

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.

I am planning to write about the 1999 film Fight Club, directed by David Fincher. This movie is about a nameless insomniac office worker (the narrator) who has become, as he views, a slave to consumer culture. He begins attending support groups for diseases he doesn’t have to subdue his emotional state, and he begins to sleep again. He meets Marla Singer, another fake attendee of support groups, she is an incredibly mysterious woman who is obviously a bit crazy, yet the narrator seems drawn to her. On a flight for his job, the narrator meets the character Tyler Durden, a hip, stylish man who sells soap for a living. When the narrator's apartment blows up, he calls Tyler and begins to live

When it comes to the film industry, entertainment is the tool used to acquire what is desired, money. The main goal for filmmakers when they create a film is to attain money in addition to the money spent to make the movie. Therefore, in some films that they like to base off of true accounts, it is somewhat necessary to dramatize or embellish the story to really tug at the heartstrings of the films audience. They achieve this goal by the use of dramatic music, ambient lighting, and a small amount of tweaked diction. The Fighter is an excellent example of this dramatization in action because throughout the film the characters are faced with a multitude of decisions that must be made. The choices they make require the characters to choose

Action-packed and highly-rated, Mad Max: Fury Road is a critically-acclaimed film about a journey of survival through a post-apocalyptic wasteland. There is no doubt that post-apocalyptic films are becoming increasingly popular among audiences as seen with movies such as the Hunger Games. However, Leggatt (2012) describes another variation in the post-apocalyptic genre, one that has been dubbed post-9/11 after a string of patterns prevalent in some post-apocalyptic films. Leggatt’s definition of post-9/11 apocalyptic films are ones that have a pessimistic tone towards the future of a society. As the world evolves and progresses, many new issues overlap and outgrow previous issues that have plagued the world before - though this transgression, the film industry follows suit in order to invent stories and media that is thought-provoking and relevant to changing society. Mad Max: Fury Road (2015) is a film that encapsulates many elements of Leggatt’s post 9/11 apocalypse film genre through the apocalyptic setting, derailment of redemption, and societal obsession with apocalypse over utopia.

Fight Club is a unique film that has many different interpretations consisting of consumerist culture, social norms, and gender roles. However, this film goes deeper and expresses a Marxist ideology throughout; challenging the ruling upper-class and a materialist society. The unnamed narrator, played by Ed Norton, represents the materialist society; whereas Tyler Durden, played by Brad Pitt, represents the person challenging the controlling upper-class. Karl Marx believed that the capitalist system took advantage of workers, arguing that the interests of the upper-class class conflicted with that of the common worker. Marx and Durden share the same views about the upper-class oppressing the materialist, common worker. By interpreting Fight Club through a Marist lens, the viewer is able to realize the negative effects a capitalist society has on the common worker by seeing the unnamed narrator’s unfulfilled and material driven life in contrast to the fulfilling life of Durden who challenges the upper-class. The unnamed narrator initially fuels the upper-class dominated society through his materialistic and consumeristic tendencies; however, through the formation of his alter ego—Durden—the unnamed narrator realizes the detriment he is causing to himself and society. He then follows the guide of Durden’s and Marx’s views and rectifies his lifestyle by no longer being reliant on materials. Also by forming fight club, which provides an outlet, for himself and the common worker,

In George Miller’s post-apocalyptic action film, Mad Max: Fury Road the central characters shape up the plot and determine the narrative of the film. Their unique traits cause the interactions between each other to create character development and form relationships or destroy them. Also, the professions each character holds allows for the plot to be more mobile and allow it to move at a quicker pace since the characters are acting and reacting based off the actions of each other in the film. This pace Overall, the plot’s main driver is Imperator Furiosa with Max, Nux, Immortan Joe and his wives playing supplementary roles that react or organize themselves around her actions which shape up the film.

Mad Max: Fury Road is the kind of movie in which everything connects to everything else. Although the world that George Miller creates is extremely surreal and exotic to modern viewers, he takes great pains to make it as internally consistent and logically sound as possible. The film always plays by its own rules, no matter how strange they may be. Every object and action fits snuggly into place like puzzle pieces of the grand picture that is this worlds culture and backstory. One single object in this world can reveal much of its social and political structures, along with many aspects of the culture and environment. Also, because George goes to such great lengths to ground the film in reality and reason, it can provide many insights on real world issues despite being set in a completely foreign place. Immortan Joe’s chest plate uncovers many social, political and cultural aspects of his world, and provides relevant commentary on many issues in today’s world.