In the Mood for Love - James Clarke

Set in ultra-conservative 1960's Hong Kong, Wong Kar Wai's In the Mood for Love tells the storye of two people who land themselves in each other's company due to the absence of their spouses. The plot of the film is by no means anything original, but it is deeply accentuated by the style in which the film is shot. With unconventional camera angles, an inconsistent musical score, and deep, vivid colors, In the Mood for Love brings a seemingly real perspective to a very personal story.

The film is accentuated by unconventional, but highly innovative camera work throughout. Often times the camera remains stationary while the characters move about, and sometimes out of the frame. It's as if to remind the audience that we are looking through a peep hole rather than through a movie screen, and that there are things that we will not be able to see. Throughout various portions of the film, like the rice cooker scene, for example, you can hear the characters speaking, but you will actually have to visualize what they are doing. The position at which the camera lies throughout the movie is also noteworthy because of the strange angles it is put at, such as under a bed, over a person's shoulder, through metal grating, and in general, low to the ground.

The rich colors and costumes of the film play a very large part in how the story is told as well. In the first scene, at the appearance of Mrs. Chan and her very colorful dress, the audience is immediately drawn to her and continues to watch her throughout the rest of the film. From then on each dress, one right after the other, begins to astonish the viewer with its lush colors and interesting patterns. This immediately sets Mrs. Chan apart from any other character, especially Mr. Chow, who dresses in relatively the same attire every day, creating a very physical contrast between two characters who are emotionally similar. Not only does the costuming add emphasis to the film, but the lighting of most of the scenes adds another layer onto they already thick stylized coat of the film.

Extra Credit -- Beca G.

I really enjoy watching films and the escape that they give me for the hour or so that they run. I've never been one to be discriminatory against watching films (or reading novels for that matter). If something legitimately holds my interest, then I am willing to watch it all the way through. Entertainment value is typically what I look for in a film - whether that entertainment be a simply enjoyment of a comedy or a "feel-good" story, or the thought provoking conversation that follows a particularly intense film - all in all, I was entertained.

Yet I've found throughout my young existence, that I really prefer to watch films that follow my mood, and what I "need" at that particular time. For instance, when I am having a terrible day, I need a funny, lighthearted comedy like Music & Lyrics, to make me laugh and forget that I have been in a foul mood. If I am in a more dramatic mood, a nice round of Casablanca cure my ail. When I am willing to use my brain (i.e. when I'm not in school) I enjoy movies that mess with your head, such as Memento. So, really, I just appreciate a good movie when it comes to the right moment.

However, through this class, I have really learned to appreciate good cinematography, and the beauty that can lay in a movie. One of my favorites from this class was In the Mood for Love, just due to the sheer beauty and grace of the film and how it moved from scene to scene. Prior, I would probably not have been as interested, but once I realized just how much effort and time goes into the artistic balance that creates such a film, I was able to appreciate the artistic value and overall grace that the film had.

With all of this fabulous knowledge of films, and how to think about them in new and different ways, I look forward to continuing to watch the varied array of films that I do, and thinking about them in a completely different fashion than I used to. :)

In the Mood for Love - Jen

This was a crazy good movie. You don't see the cheating spouses, only the two who are falling in love, and they kept doing those "rehearsal" scenes, which really blew me away. I mean, who the hell rehearses asking your husband if he has a mistress? Who acts out how your husband/wife began an affair? It was such an odd element to add, and yet it seemed so realistic too.

Anyway. I can't pick just one scene that I thought was really powerful, but I can pick two scenes. The first was when they were rehearsing how the woman would ask her husband about the affair, at first I thought she was actually talking to the husband. But when I knew it was the other guy, and when I saw her start to cry, and he had to reassure her "He won't admit it that easily" - for some reason that really got me. I felt so bad for her. It was even worse when they rehearsed leaving each other and she started crying again. It's like she was so torn between her husband (duty) and her friend (love). She couldn't decide...and her nondecision led to a decision, of course. Despite how the majority of the film was presented, time does not stand still. Things do not repeat themselves. You do not get second chances. She didn't go with him. I wish she had.

Something else that stood out to me was when they were sort of trapped in his room because everyone else was in the living room and they couldn't know that she was over there. The whole "friendship" aspect of that scene felt very, very real to me. The way that she helped him write those serials, the way they conversed so easily, and even how they didn't need to talk. That whole thing was very companionable. It was something I found easy to relate to.

Extra Credit - Jen

Oohhh, this is surprisingly difficult for me to answer. I love films. I love all sorts of films, even ones that I'm really reluctant to see at first.

As a whole, I think I'm more into formalistic films than realistic. Which is weird, because sometimes I have a hard time doing the whole "suspension of belief" thing and I get kind of nitpicky about "this makes sense, this doesn't, this could never happen."

But I feel as though films like Eternal Sunshine of the Spotless Mind - one of my favorites - is the kind of film that really moves me the most. The strangely beautiful compositions in that film rendered me nostalgic and sad and happy and in love, all at the same time. I'm kind of attracted to films that are sort...whimsical. Pan's Labyrinth is another good example. That film was a great mix of realism and formalism, in my opinion. And I totally wanted to go live in that other world. Actually, both of those films make me feel like I'm living in a different world when I'm watching them, and it aches so bad when those movies are over. After watching moves like that, I just need some quiet time to reflect.

So yes, I did enjoy the movies I watched this semester - After the Wedding, The General, and 2001: A Space Odyssey were among my favorites (not that they were realistic *cough2001cough*). But they don't really "hit" me the same way as the other films I mentioned.

Also, I don't normally know much about directors. This class did kind of peak my interest, though, particularly in Kubrick. Generally if a director's name is familiar to me, then I'll see just about anything they make (like Peter Jackson). But normally I see a film either for the stars or for the plotline.

After the Wedding - Jen

Jorgen was such a complicated figure. I couldn't figure out, was he morally good or morally bad? In between, I guess...like most people. Jorgen was clearly manipulative as hell - he manipulated Jacob into showing up, then going to the wedding, then staying - but he was acting like that for noble reasons. And really, who better to look after your family than your daughter's biological father and your wife's former lover? It does kind of make sense.

But Jorgen just couldn't be wholly likable. At first I wanted to like him, because he was obviously a very charitable guy, but his lack of interest in Jacob's project set off alarm bells even before I knew what the real story was. His behavior at the restaurant was frustrating, too. It's like, "Dude, you're dying, and I'm sorry, but you can't treat people like crap just because you're not going to be around much longer." This is probably strange, but I felt that he was undermining his good works by acting like that.

Jacob, of course, was complex as well. I felt so bad for him. Continually he had to put others before himself. He didn't want to leave India and suck up to the money man. He didn't want to miss Pramod's birthday. He didn't want to stay in Denmark, not really, he wanted to go back to his home. But he did stay, not only to take care of his daughter, but also to take care of his surrogate children back in India. And while he did ask Pramod to go with him, he did not push Pramod against his will. It's hard to imagine that kind of selflessness. Not that Jacob was a saint, by the way. I found his actions frustrating as well, at first. But he was understandable. Maybe more so than Jorgen, at least in my eyes.

Extra Credit- Jeremy Brinson

After seeing all the films from this semester and having watched numerous films in my lifetime, I'd have to say that my favorite genre of film is classic. I don't really know why, maybe it's the fact that I've been raised on Disney and so the story structure of hero, adventure, low point, climax, victory, happy ending, has gotten engraved into my skull. It's the idea that someone goes through something to triumph and have a happy ending not only makes it easy to relate and the fact that it helps one cope with their own life is it. that and the fact that black and White was the first thing I saw on TV and I fell in love with it. Classic film style is a part of my childhood, you could say. To this day, My favorite film is a tie between Bill Ross's Jumbo and Kiss me Kate. The story pattern is the same, but the journey and detailing are different and stand out when put together. Though it isn't real life, its escapist qualities make it so appealing that I can't resist!

Do the Right Thing - Jen

I think that Spike Lee's character, Mookie, was the most interesting. He was sort of a mystery, because all throughout the film he's basically portrayed as a nice, regular guy. He has some prejudices, clearly, but he wasn't wholly judgmental of people from a different race: for instance, he got along fine with Pino's brother, Vito, and even seemed to rub along carefully with Sal. And while his distaste for Pino is beyond clear, it seems to stem more from how Pino treat those around him (even his own brother) than from a racial problem. This isn't to say that Mookie had no racial prejudices, as the scene where he and a variety of other characters spew racial insults demonstrate that he was somewhat racist, but overall Mookie did a good job of playing an "everyman" character.

So what blew me away was the end. As soon as he grabbed that trashcan, I knew trouble was coming, but it was still a shock when he instigated that riot. Of course he was frustrated, but rationally speaking, it wasn't Sal's fault that his friend got killed. I guess when you're feeling that trapped, you don't really consider your options.

But the next morning, he and Sal kind of work things out. It was sort of sweet. I mean, if I was Sal, no way would I have paid Mookie. But he did...he even gave him some extra money, money that Mookie tried to refuse. It was an odd way to end the film, but very thought-provoking as well. Did the riot lead to a better understanding between the men? Or just a sort of resignation?

Overall, the film passes judgment on all of the characters...but the film also promotes understanding of them. Mookie is no exception. I feel that Mookie was meant to be a generally likable character, but by no means a perfect one.

In The Mood For Love - Amber Merrell

One of the most powerful images I remember from this film is when Mrs. Chan and Mr. Chow are sitting in their respective kitchens, just a wall separating the two of them. I think that this image is very telling of the emotions that run rampant throughout the entire movie. The two married individual long for each other in response to their cheating partners. They are in the same position in their relationships, just as they are in the same position in this image. They each sit on a stool, leaning against the wall that separates their complexes’ kitchens. They tell with their body language how depressed they are in their situations and how trapped they feel. They know that happiness is next door and yet they do not feel that they can take action in order to attain that happiness. They are trapped by not only their marriages but also by their convictions about what is right. They also seem to feel that they are obligated to do or to not do certain things and that they refuse to break those obligations. Their spouses cheat, and yet they themselves will not cheat. This image seems to show that they each realize how easy it would be to have a loving relationship and yet how impossible it is because of the standards to which they hold themselves.

I definitely see a resemblance this film has to silent films in that the movie says so much without dialogue. The scenes where they pass each other without saying a word; or where they sit, sadness dripping from their faces; or they are shown at work, distracted by their home lives all illustrate meaning and further the themes of the film without using dialogue. However, I do think the dialogue is very important in this film. Their conversations show how intimate and yet still somehow professional they are towards one another. Thus, I would suggest that this film is something new that mixes silent, visual qualities with meaningful dialogue to create a complex, evocative piece that inspires many emotions and deep thought.

Extra Credit - J. Miley

Each medium of storytelling has its purpose; each has its strengths. Film has the unique opportunity over every other medium to make the audience “see” new, strange, and wonderful things. Books and theatre both require so much use of the imagination on the audiences’ side that there is no guarantee that the audience will imagine the same sweeping vistas, alien worlds, or emotional responses that the director or author intended. And isn’t that one of the pivotal points of making art, determining what to put in and take out in order to ensure that the audiences “gets it?” Is there any greater joy for an artist than to see that eureka moment? With film, in terms of visuals, the director is able to make sure the audience understands and sees what they envisioned because they literally show it to them. Now, this isn’t to discount written or stage preformed narratives, not in the slightest. Obviously there are things that films do not do as well as novels, such as hearing a character’s thoughts. This happened in older movies, specifically the film noir genre, but today it’s considered hokey. I simply want to point out the unique capability of film in representing visuals.

Now, it is because of all that I just mentioned that I prefer the formalistic take on film. Realism has no doubt done some great things for the industry and it is interesting as an exercise to see what can be accomplished with the limits of the genre. But, I would rather come out of a film theater having seen things I’ve never seen before or in ways I’ve never seen them before. For instance, a crane shot of the Himalayas. You simply can’t use crane shots in Realism, but they can produce moving moments and all you’re looking at is scenery. Conversely , I prefer the classically structured plot. The traditional structure of the inciting incident, rising action, climax, and resolution offers virtually limitless possibilities but is held within a form that is familiar to the audience. If there’s nothing I hate more in films it is leaving feeling confused.

In terms of actor vs. director, for me it’s a tie. I will not go spend ten dollars just to see Kate Beckinsale (my favorite actress) on the big screen or the latest Ridley Scott film, but their involvement is enough to get me interested in a film. But, if there were a movie directed by Ridley Scott staring Kate Beckinsale, that would be enough to get me to spend ten dollars. Also, I equally like personality stars and actor stars. Some personalities I enjoy seeing repeatedly, like John Cusack, he’s virtually the same character in every film. In Grosse Pointe Blank (1997), he’s an assassin. In Serendipity (2001), he’s a writer for ESPN, but he’s the same person in both. On the other hand, I like the breadth of roles someone like Russell Crowe can pull off, from gladiator (Gladiator, 2000) to schizophrenic (A Beautiful Mind, 2001).

Looking back at the movies I’ve watched, I think my love for this less realistic style of film stems from the first movie I can ever remember, Superman (1978). I remember watching that movie, sitting in my father’s lap as my mother cut my hair for the first time. I was two, maybe. I remember trying to push my mom out of the way when she would stand between me and the TV. I remember not being able to close my eyes even though hair was falling in them. Superman did things my two-year brain could not even comprehend, from the fantastic (for the time) special effects to the crazy story, I was enthralled. But I think that looking at the character himself, explains what I look for in films. In the same manner I look at Superman the character (and in the same manner I think all superheroes are meant to be viewed), I watch movies to escape life, to witness the improbable, the impossible, and the fantastic. I get enough real life as it is. Film for me, is about seeing things you’ve never seen before in ways that are impossible with our human limitation. And in that, we are set free to experience that which could previously only be imagined.

In the Mood for Love - J. Miley

I feel odd about writing about In the Mood for Love, because none of the shots struck me. I want to be analytic and say something profound here, but In the Mood for Love just didn’t seem that amazing to me. For one, the relationship between Mr. Chow and Mrs. Chan seems to come out of nowhere. Thinking about it, I can’t find the point where the “affair” started. It’s just there one night when they’re standing in the street and Mr. Chow say something to the effect of it not mattering who said they had feelings first. Also, I don’t understand why the setting was so important. The story, however deeply rooted in the culture, is a universal one, one of the humanistic need for companionship. The situation that Mrs. Chan and Mr. Chow find themselves in is not unique to their time or culture. In addition to that, the movie is so claustrophobic in its environments that it could have taken place anywhere. We don’t see much of the outside world and thus it could have taken place in New York, England, Dubai or San Francisco. Also, I felt like the movie just dragged. I know that it was only 98 minutes, but there are so many long takes that it felt bloated. My greatest grievance with this picture, though, is that the bit about whispering your secrets into the knot of a tree is left until the very end. That’s so immeasurably great and interesting that it feels like a crime to have not mentioned it for so long. Finally, I just wasn’t satisfied with the ending. It’s not that I want the characters to get together (I mean, I did but I knew they wouldn’t). But I felt like the shot where Mr. Chow stops for a second in front of Mrs. Chan’s is so poignant that if the film ended there, it would have been far more satisfying form the shear disappointment you would feel for the character. Because, at this point, the audience has watch the two characters for an hour and a half gets so close to consummating this affair but never doing so that we don’t need to be shown that Mr. Chow doesn’t knock on the door. We already know that he won’t. Because that’s the nature of the film, the nature of the character, the nature of the human situation of needing others but never building up the guts to take that irreversible step and knock on the door.

Extra Credit - Amber Merrell

I usually tend to prefer more classical style films. Some of my favorite movies are from the black and white, classical era of American and British film. For instance, Arsenic and Old Lace, Mr. Smith Goes To Washington, and The Lady Vanishes are some of my favorite films. I love the simple yet engaging storylines and the linear style of storytelling. There are no special effects or disorienting camera angles to distract me in these movies. I can simply concentrate on the actors and the story and enjoy the experience. With these films, I get absorbed in the story being told, whether it’s a mystery, comedy, or drama. I want to see what happens next, above all else. In addition, these movies always put me in a good mood. They are feel-good films and I take much enjoyment by merely experiencing this old-school style of film. Now, most films boast large amounts of special effects like The Lord of The Rings or documentary style filming like Paranormal Activity. I very much enjoy these movies as well, but they do not affect me in the same way or to the same degree as the old classical films.

I also greatly enjoy the actors in these older movies, though many of them are personality stars. I do prefer actor stars over personality stars, but I make exceptions for these classic movies. Most of my favorite actors are actually from recent films, so there is a disconnect between my favorite style of film and my favorite actors. The exception is James Stewart, who has always been one of my favorite actors, even though he is a personality actor. I love watching him play his roles. He has me convinced every time, though he does get a little over-dramatic at times. It does not matter; I think he’s fantastic regardless. The actors who can make me feel good and be absorbed in the story become my favorites.

In the Mood for Love - Beca G.

In the Mood for Love is easily one of my favorite films from the semester. Between the beautiful shots and the simple story line, it seemed an act of simplicity and grace; a story that unfolded quite wonderfully. The visual drama was stunning, as Wong played off of the grittiness of the streets, the softness of Mrs. Chan and her beautiful clothes, and the juxtaposition of the darkness where Mrs. Chan and Mr. Mo-Wan cloak their seeing of each other.

In the still of Mr. Mo-Wan looking in the mirror, there are tons of gorgeous elements in the shot that help to reflect a complexity in feeling that the story itself does not have. In the mirror, the viewer gets two versions of a similar feeling. Mr. Mo-Wan looks confused and a bit pained – his wife is having an affair, and he is finding himself falling for his wife’s lover’s wife. It’s all so complicated – especially since the two live next door to one another, an easy way to get caught by the respective apartment owners that they are renting from. Everything else in the shot is blurred except for the very clear view of his reflection, and it mirrors the theme that while everything seems very complicated and fuzzy regarding he and Mrs. Chan’s relationship.

One of the other shots that I thought was particularly beautiful was the one where Mrs. Chan is standing in the window. Clearly, the actress is a beautiful woman, yet the simplicity of her standing in the window, drinking a glass of water, while contemplating is also in focus against the contrast of all the fuzzy greenery. The same them is reiterated – the personal struggles of the two main characters, not only in coming to grips with the betrayal of their spouses, but also coming to terms with their strange relationship with each other.

*PS – Can I also say that the costuming in this film was beautiful? Mrs. Chan’s dresses were very emulative of her character – gorgeous, yet still uptight and formal all the time. She was always dressed and made up, and I thought this said a lot about her character – not only in a prissy way, but also in the fact that she seemed a little austere and cold. It wasn’t until the last fourth of the film that she cried, and in the next few scenes her hair was looser, and we see her take off her shoes – a gradual sense of letting go.

Extra Credit - Craig Walters

I feel that Realism and Formalism and it’s in betweens are all as effective as the next. I found Breathless to be the perfect portrayal of Realism in our class, while 2001: A Space Odyssey was a brilliant form of Formalism. The objectives of the two, however were quite different, therefore the means to the end must be subjectively different. Breathless was mean to be human and emotions and subjectively show the human condition, while 2001: A Space Odyssey was to be a journey, both objectively and subjective through it’s visual trip. The world of the two are quite different, one seemingly less tangible, but the life shown to the audience in Breathless takes us to a world amongst ourselves, which many people to not see. To me, I find any form a film must take on the subject matter to which it is most relatable that allows the audience to break the barrier of the film itself to make one truly invest in the film. As to my two examples from earlier, neither movie could take on the style of the other film without losing much of its reliability. You may ask, how could one relate to 2001? It’s formalism and obvious anesthetic distance involved in Formalism allows you to feel truly removed from reality as you are supposed to be.
For me I truly love thought provoking films that make statements about life, whether tangibly or intangibly, politically or personally. I find a movie that can make an audience think, if even for a moment, about themselves or the world they live in, or heading towards in the case of 2001, to hold the most ground in my eyes. Therefore, I am not more conscious of the cinematography, but rather the intent of such elements on the film itself.

In The Mood For Love - Craig Walters

The image of the hallway with the red curtains, first off, I find absolutely gorgeous. It is telling of the story, the love, which grows between the two main characters. The red curtains speak of the passion of the main characters primarily. This is filmic language as the scene is vacant yet obtrusive to the audience, it speaks of the contradictions, which inhibit on the love of our admirers in this film. They are obviously filled with love and admiration of one another and truly care deeply for one another, however they cannot accept it, or face it, for their current prospects in life refuse to allow for their action, whether it be socially or faithfully.
The first image of the two walking down a dark street also speaks volumes towards their hidden love, which will slowly diffuse into the shadows as their characters do in this image. It also speaks to the lingering of hidden emotions amongst their peers as they continually sneak about to avoid any social repercussions. The difficulty of their lives build a wall, which they broke want to break, but can’t for their obligations.

Extra Credit- Amanda Carman

Before I took this class, image and story were the only things I looked for in film, with story being the most important aspect.  I went to the theatre for the purpose of being drawn into a world peopled by characters with whom I could create some manner of emotional bond experiencing...something, whether it be an epic adventure or a more subtly important moment in life.  Visuals help; as an artist, I cannot help but be entrapped by beautiful imagery or made disinterested and annoyed by sloppy visual effects (I'm glad I never paid to see New Moon, for example, after seeing how the animators couldn't figure out that a wolf's spine has to move as it's running and that legs are generally attached to the body.  Also, failing to edit shadows on a green screen was an embarrassingly elementary mistake for a film of that budget.  I hope they feel ashamed), but at times the image can save an otherwise mediocre movie for me.  As hackneyed as the plot of Avatar might be, the beautiful world-building and attention to detail earned my respect and repeated viewing, particularly of the middle section where the "noble savage" plot is set aside for actual development of character and culture.  Visuals alone cannot save a terrible rendition of a story, however.  I will never forgive the creators of the film adaptation of The Golden Compass for destroying the plot of the book, no matter how pretty the film may have been (though lazy rendering did permeate this movie as well).

Now, with the added understanding of film I have gained with this class, I am better able to recognize the more complicated aspects of film composition.  I can question why a particular angle was chosen for a shot or how the use of sound contributes to the overall effect of the film.  However, story still remains paramount in my mind, and my appreciation of the other aspects of the film is given through the lens of how it contributes to the telling of the story.  I tend to prefer Formalist films for this reason, as their use of the freedom to manipulate the medium allows for a wide range of interesting means with which to tell stories.  I tend to prefer films that are either very fantastical or deeply psychological in nature, films which take you out of your comfortable world and into an entirely different realm, whether it be a fantasy realm or a realm of experience that is simply not yours.  My favorite films are the ones that force me to reflect, wonder, cry, mourn, or sit gibbering in a corner hoping that the world is not really that terrible, films like The Fountain, Eternal Sunshine of the Spotless Mind, Moulin Rouge, Pan's Labyrinth, and Requiem for a Dream, and these films are beautifully crafted to grab your interest and pull you into a carefully choreographed dance with the characters and concepts represented within them.

In the Mood for Love- Amanda Carman

The visual element that stood out to me most throughout the film was the frequent use of mirrors and windows to frame the shot, as illustrated in the second photograph.  As in Rear Window, this film draws attention to the voyeurism inherent in film watching through its framing, but unlike Rear Window there is no Jimmy Stewart for the viewer to embody; you are observing private moments from an unknown perspective.  This serves to increase the tension felt by the two not-quite-lovers, the fear of discovery; when you see them through a window, you assume that you are seeing them from -somebody's- perspective, either one of the nosy neighbors or a spouse, and that they are always on the verge of discovery.  This is how the couple feels as well, though the fear is largely unwarranted through the course of the film.

The use of mirrors is particularly interesting as a parallel to the plot and a subtle commentary on theme.  The unusual characteristic of the plot of this film is the relationship between the two main characters; it is not a relationship of blossoming love (at least not til the end), nor is it even a normal friendship.  Though they frequently encounter each other while passing each other in the noodle shop and being in proximity with each other as neighbors, their acquaintance is cultivated by the mutual discovery that their spouses are cheating with each other.  Their relationship develops as they attempt to recreate the development of their spouses' adulterous relations, so at several instances in the film it is unclear whether the event you're viewing is reality or a charade.  Shooting many of the shots through the perspective of the mirror highlights this strange ambiguity between what is real and what is facsimile.

Shortly after the screenshot represented in the prompt, there is another shot of the reflection of his reflection in another mirror.  During this scene, the warning "never get caught between two mirrors" came to mind, the idea being that the infinite reflections that occur between two mirrors traps the soul.  In this scene, Mr. Chow is working on his martial arts serial, an important connection that arose between them in that it has nothing to do with reenacting the development of the relationship between their unfaithful spouses.  In this sense, the couple has allowed themselves to be caught between two metaphorical mirrors: the reenactment which allows them to better see their spouses' motivations and actions, and the mutual interest in the martial arts serial which allows them to better see each other.  It is here that they lose the soul of their original intent, their promise not to do to their spouses what was done to them.

In The Mood For Love - Parker Sealy

Two images that really struck me as being the most powerful out of the ones at the bottom were 1. The man’s reflection in the mirror image and 2. The women grabbing her shoes and the shot is from under the bed. I feel like in this movie, the visual storytelling was all from the outside’s perspective. All that was being narrated was being narrated from our perspective, as the audience. As she grabbed her shoes, we could see as if we were spying on her. The same with the reflection. We were looking at him from behind just like in scary movies when the guy looks in the mirror and sees the reflection of a murderer or someone in the mirror, you expect them to show someone looking in the mirror at him but then you realize that person is you, the viewer. They are the most powerful because it really helps to demonstrate the sense of voyeurism. As for the connections? Sure, there are connections. With or without sound, this sense of voyeurism would still be present. We feel as if we are peering into their lives just as they feel they have to peer into their spouses because they are cheating. We get a sense of what they are going through which can be delivered with or without sound. We can appreciate the cinematography in that aspect. We clearly feel the way we do throughout the film because of the camera angles and proxemics so sound is not super necessary. We still have the same feeling that we do.

Days of Heaven - James Clarke

The scope of Days of Heaven is so expansive it would seem a lot larger than the story actually is. Though far more complicated than many traditional love stories, the setting is what sets it aside. The tangled love story is set on a beautiful landscape that becomes a profound allegory for harmony and chaos, love and hate, and good and evil. Its emotional impact, and sometimes lack thereof, is caused by the narrator, Bill's sister, who actually has a really terrible accent and diction.The opening titles provides sepia-toned period photos of turn-of-the-century city and rural life. The titles sequence ends with a photo of the narrator that has been sepia-toned to look like the other pictures.

The rest of the film does well to fit in with the time as well, with the setting, costumes, colors and characters. The allegories of time between life and death tie in perfectly with that of the harvest and of the constant use of dusk. These shots frame the abundant use of silhouette shots beautifully and add a great deal to the tragedy of the story. There is no clear antagonist to this story, and no clear protagonist either. Everyone uses everyone else and treats everyone else just as we as an audience would imagine they would. The downfall of the relationships and of Bill are as predictable as any other doomed love story we have seen in Hollywood. To be frank, the story wouldn't be believable if it didn't end the way it did. There is obviously no happy ending at the end of any character's story, even that of Bill's sister, the narrator, as she walks away at the end of the film. She looks back, at the tragedy of her young life so far, but there's nothing back there but ghosts and memories.

Do The Right Thing - James Clarke

Rather than only identify one character from "Do The Right Thing", I feel like I can only fully analyze the story and their effect on it by looking at more than one. The reason for this would be that no character is fully the main navigator of the story. Each one is incomplete without the other. Not only is this also a reflection on their place in the community, but also their direct representation on society as a whole. Each class, race, gender, and age has a place within each other's roles in society.

To begin with, it would make sense that I start with the 'main' character. Mookie, played by director Spike Lee himself. Though he would seem at first to be one of the most level headed characters in the film, he is also one of the catalysts for the explosive climax of the film. Is this because he is a bad person? Absolutely not. His social and emotional unrest is clearly pushed to the limit and he acts rashly and (arguably) wrongly, but it is also understandable. He has a crappy job that he hates, he is undereducated, he isn't married, he has a small child, and he is going nowhere. The latter is enough to infuriate anyone my age. Not only is Mookie the sanity and glue that holds those around him together, but he is also a beacon of positivity to the rest of the community. This is all the more devastating when he snaps and throws the trash can through the store window.

The one character that I feel the worst for in this movie is definitely Sal. He and Mookie are caught in the middle of their seemingly separate places in society and life, trying to hold those around them together but going nowhere themselves. Sal's entire life is set on his business that he loves, and he hopes to turn that over to his sons one day. Not only is that touching, but it also shows that he is indeed invested in the community where the business is located. Once Sal breaks down it becomes clear that even though he doesn't feed on the stereotypes of races and class like his son and some of the other characters do, he definitely recognizes and retains them. It is really unfortunate though that he is pushed to that point. His downfall, as well as Mookie's downfall, is really heartbreaking because they seem the most level at the beginning of the film.

If there is one character in this film that bothers me more than any other, it is Buggin Out. If there was a foil to the ignorant and bigoted rednecks of the world, this would be it. The ignorant, poor, and under-informed oppressed guy. Not only do all of the other characters in the film (with the exception of Radio) tell him that he is full of it and needs to do something with his life besides complain, but his sole role in the film is that of the antagonist. Now the worst 'bad guy' in the film is clearly the cop that kills Radio, but I do not think that short part is the antagonist of the story itself. Society often feeds on the voices of those who are the loudest, and Buggin Out is definitely a voice to be heard in the community. He could be a voice for reason, but, like all of the other characters in this domino effect of a storyline, he does not do the right thing. His antagonizing Radio and Sal and the other characters is a key factor in the breakdown at the pizzeria.

While I don't think this movie might have had much effect on the election like Spike Lee might have hoped, I do think that his goal of raising questions is indeed accomplished. There is no clear solution in this film. The title, might be the only hint we have to one, but no one in the film lives up to it. The film and the characters within it, then, are merely reflections on society at the time. No one had done the right thing (yet). I'd like to think that enough people have now in present time, and I think Spike Lee might agree.

In the Mood for Love- Greg Weinstein

In the Mood for Love is a triumph for Wong Kar Wai not only its visual storytelling, but in using the audience and keeping us on our toes throughout the movie. He does this while utilizing a fairly simple storyline to set up the events as two sets of couples move in next door to each other and one of the husbands and one of the wives have an affair. Their respective spouses end up finding out, and are soon, seemingly, going to start an affair of their own, but it is one of the most perfect non-shots ever, as we are never actually shown whether or not they have sex with each other, and truly does the audience need to know? It is through Wong Kar Wai's storytelling that the sex at this point, is meaningless as they have basically done the ultimate act of love with their looks, walks, and actions with each other.

For instance, one of the greatest visceral images in the film is the red curtain, which is always swaying in the wind, an act of the heart just as the spouses may or may not be swaying themselves. Just like Pyramus and Thisbe, forbidden to meet except through a wall, as our two lovers are forbidden to act on their desires, even though their spouses have, yet the ecstasy and instensity, built up by the shooting appears to be too much for them. This is paralleled with the seclusion of the cheating spouses' faces and how the audience can never see them, perhaps an illusion to their shame and their secrecies. The same red curtain always swaying back and forth in the wind thus seems to allude to our character's loneliness throughout the film, right up until Chow speaks into the hollow tree and then muddles it up to stay there alone, never to be heard from by anyone else. This loneliness is also displayed in the beginning before Chow and So really meet, as they are both always eating alone, depressed thus leading to their inevitable hookup. This is the defining moment of the film, as the audience knows what should happen, we have seen it so many times in Hollywood movies, where the couple's passion finally erupts into the most sensual scene one can imagine, but this doesn't happen here. The audience never sees this and is thus, left alone at the end of the film without any conclusion or finality to our want of these two lovelorn characters to get together. It is this sympathy for the characters that Wong Kar Wai cleverly and expertly develops throughout the movie, always keeping us on the edge of our seats, just like good movies should.