Episode 4 – The Arrival of Sound[edit]
The 1930s: The Great American Movie Genres…
- Her Dilemma (a.k.a. Confessions of a Co-Ed) (1931) dir. Dudley Murphy
- Picture became second to sound which is evident in the awkward angles and lighting of this film
- Love Me Tonight (1932) dir. Rouben Mamoulian
- Shows the start of a day in Paris a symphony of everyday noises
- The Golem: How He Came into the World (1920) dir. Carl Boese and Paul Wegener
- “Daring diagonal composition”
- Frankenstein (1931) dir. James Whale
- “Realizes that borrowing the look of German expressionism…” would give the movie a distinct style
- Eyes Without a Face (1960) dir. Georges Franju
- Audition (1999) dir. Takashi Miike
- Has a nerve provoking scene where a phone rings then a body in a bag suddenly rolls around
- The Public Enemy (1931) dir. William A. Wellman
- “One of the first great gangster movies” The main character had charm
- Scarface (1932) dir. Howard Hawks and Richard Rosson
- “Turned the gangster genre into Greek tragedy”
- Scarface (1983) dir. Brian De Palma
- The main character is a cocaine dealing immigrant. This film borrowed from the ending scene of the original Scarface, turning it into a Baroque scene.
- Seven Samurai (1954) dir. Akira Kurosawa
- “One of the most influential movies of all time”
- Once Upon a Time in America (1984) dir. Sergio Leone
- The Iron Horse (1924) dir. John Ford
- Shows that the genre has chase scenes, open landscapes, and the railway – “a coming of modernity”
- My Darling Clementine (1946) dir. John Ford
- “About lawmakers in a cynical age whereas most westerns are about law makers in an idealistic age”
- Twentieth Century (1934) dir. Howard Hawks
- Began the feminizing of comedy films
- Bringing Up Baby (1938) dir. Howard Hawks
- “Took the speed and mayhem [of Twentieth Century] further”
- The Men Who Made the Movies: Howard Hawks (1973) dir. Richard Schickel
- Shows that Hawks is both a great optimist and a major pessimist
- Gold Diggers of 1933 (1933) (introduced in Episode 1) dir. Mervyn LeRoy
- 5th Hollywood sound genre: The Broadway
- Gertie the Dinosaur (1914) dir. Winsor McCay
- The Cartoon.
- The Adventures of Prince Achmed (1926) dir. Lotte Reiniger
- Used Victorian cutout techniques
- Plane Crazy (1928) dir. Walt Disney and Ub Iwerks
- “Turned animation into an internationally popular art form”
- Snow White and the Seven Dwarfs (1937) dir. David Hand, William Cottrell, Wilfred Jackson, Larry Morey, Perce Pearce, and Ben Sharpsteen
- Disney filmed a real actress in costume and then transcribed her movements into animation
- One Hundred and One Dalmatians (1961) dir. Clyde Geronimi, Hamilton Luske, and Wolfgang Reitherman
- Early Disney films had subtle themes of surrealism
- The Blood of a Poet (1931) dir. Jean Cocteau
- “A statue tells a young artist that to get out of a studio, he has to pass through a mirror”. After he passes through, he
- Inception (2010) dir. Christopher Nolan
- Zéro de conduite (1933) dir. Jean Vigo
- Features a surreal scene where a song is played in reverse and it looks as though it is snowing indoors
- If…. (1968) dir. Lindsay Anderson
- L’Atalante (1934) dir. Jean Vigo
- Has non-conformism. His main character is shown opening up to life as Vigo himself was closing to life because of a health ailment.
- Le Quai des brumes (1938) dir. Marcel Carné
- About a man whose entire life has been bad luck who escapes on a train. “A beautiful mood piece, a film with his eyes lowered”
- Les Enfants du Paradis (1945) dir. Marcel Carné
- A street scene becomes theater with the addition of music. The mime’s performance is a subtle political statement. “Enforced escapism”
- La Règle du jeu (1939) (a.k.a. The Rules of the Game) dir. Jean Renoir
- Great humanism. The simple scenes are effective in showing human interactions with political undertones.
- La Grande Illusion (1937) dir. Jean Renoir
- “All about human balance”. This film showed good in each the soldiers and the aristocratic characters.
- Limite (1931) dir. Mário Peixoto
- A beautiful film that shows the unraveling splendor of the thoughts of a woman who is presumed to have been stuck in captivity.
- The Adventures of a Good Citizen (1937) dir. Stefan Themerson
- A lyrical adventure that plays with light and exposure
- Two Men and a Wardrobe (1958) dir. Roman Polanski
- Das Blaue Licht (1932) dir. Leni Riefenstahl
- “Used soft light, mist, mountain landscapes”
- Triumph of the Will (1935) dir. Leni Riefenstahl
- A documentary of a Nazi army meet. Epic, bombastic, geometric.
- Behind the Scenes of the Filming of the Olympic Games (1937) dir. Leni Riefenstahl
- Attached cameras on balloons and put cameras in the ground in order to get better angles on the athletes and to pick out details in the crowd
- Olympia Part Two: Festival of Beauty (1938) dir. Leni Riefenstahl
- Cut images of divers to make them balletic. Filming her subjects like Greek gods.
- Tiefland (1954) dir. Leni Riefenstahl
- Used people from concentration camps as extras
- The Wonderful, Horrible Life of Leni Riefenstahl (1993) dir. Ray Müller
- Vertigo (1958) dir. Alfred Hitchcock
- His camera becomes the eye of Jimmy Stewart who tracks a woman he is obsessed with in a green car
- Saboteur (1942) dir. Alfred Hitchcock
- Shows a miracle that uses Jesuit logic. “Hitchcock uses no music but whispered dialogue in his scene of a man hanging from the Statue of Liberty because too much noise would take away from the coat ripping but also because Hitchcock loved silence”
- Sabotage (1936) dir. Alfred Hitchcock
- Shows that fear is in everyday places and that it is different from shock.
- The 39 Steps (1935) dir. Alfred Hitchcock
- “Is obsessed by hands”. “Crashes of symbols, dramatic punctuation in the story”
- Marnie (1964) dir. Alfred Hitchcock
- Hitchcock cuts to a high angle in the scene of Marnie’s gown. A closeup is a clash of symbols.
- Ninotchka (1939) dir. Ernst Lubitsch
- About a joyful communist who dresses as a princess and finds love in Paris. “She’s intoxicated by love and lit like the romantic cinema of the 1920s”
- The Wizard of Oz (1939) dir. Victor Fleming
- The lighting changes to enter into a fantasy land.
- Gone with the Wind (1939) (introduced in Episode 2) dir. Victor Fleming
- One of the most escapist films ever made, yet its content directly attacks escapism