Final.

1.     Universal, Warner Bros, and MGM were the three major film studios during the first half of the 1900s. Universal Pictures was known for its monsters, creating many popular horror films such as The Bride of Frankenstein and The Mummy. Warner Brothers was home to the gangster films, showing the darker side of society and contrasting the glamour of MGM with its many musicals.

2.     The studio system allowed for films to be produced efficiently and quick. They hired actors and crew on contract so that they would have the talent available to create their movies. The disadvantage to this system was the lack of freedom for the hired talent, who could not choose the work they did, leading to resentment and disintegration of the studio system.

3.     One reason for the decline of the studio system was the loss of important talent within the studios as actors and directors began working on independent projects outside of the studios. Another reason was the shift in the American people’s preferences for entertainment. Many Americans could not afford to frequent the movie houses and the increasing popularity of television added to the inattendance.  A final reason was the lawsuit against the film studios by the Antitrust division of the Department of Justice. This required the studios to separate themselves to prevent monopolization.

4.     The Star System’s rise came directly from the Studio System. American people became used to seeing their favorite contracted actors on screen and soon went to the movies primarily for the actor rather than the story. The studios encouraged this as it simplified the process of finding viewers. They did not have to sell the story as long as their stars were in the production. The same logic hold true today, where star studded films are often of mediocre story quality but generate a huge revenue due to the actors in them.

5.     The Auteur Theory is when a director essentially leaves his trademark on a film. It is when a film shows the directors personal creativity by stylistic choices that often remain similar through most, if not all, of a director’s films. A famous example of this is Alfred Hitchcock’s movies, all of which are suspenseful and use light and shadow in such a way that it is instantly recognizable as a Hitchcock film. Other examples of this are Orson Welles, with his wonderful symbolism and dramatic cinematography, and Quentin Terentino, who’s use of campy gore and lots of blood makes his films very recognizable.

6.     Horror films are known for their suspense and the use of music, editing, and surprise to elicit nervousness and fear in their viewers. They nearly always include some element of the grotesque, whether it be in the physical shape of the ‘monster’ or the deeds or personality of it. Also, there is rarely much character development, and almost never by the antagonist who, though being a primary character, can never be a main character as we are not supposed to understand it. If we understood it, it wouldn’t be as frightening. Horror films frequently leave things to the imagination.

7.     The change to talking pictures was likely hardest on the actors, who had to adjust to a new style of performance. Many silent era actors and actresses were put out of work as they could not adjust to it. The new style required them to be convincing not only in movement, but in voice as well, which many had difficulty in achieving. The use of sound also made international film sales more difficult as the speech cards were removed and thus made translation to other languages even more difficult.

Take Home Final Q

1. The era of the classic Hollywood system began in the early 1900's and spanned into the 1950's. Many great films were produced and some of them over the years have come to even be known as classics. In those days, much like today, there were studios that were in charge of film production and distribution. Three of the major studios from those days were: MGM, Universal Pictures, and Warner Brothers Entertainment. Each of them started off clean, but eventually they three of them started to build reputations come the 1940's. Warner Brothers was getting known for their Gangster films; the same too for MGM and Universal. Universal was home to the monsters i.e. "Frankenstein", "Dracula", and "The Mummy". MGM rounded out the affair with their line-up of musicals. Of course these studios didn't stick only to this formula, but they didn't stray far away from it to often.

2. During the time of what has become known as the studio system, many films were produced. Modeled after the automobile assembly line, films were dependent on the efforts of many people from the production team. These teams consisted of many contracted employees such as Producers, Directors, Moviestars, all the way down to the productions designers and writers. The studio system helped to create a standardized way of creating movies by hiring the best workers, directors, actors, and producers that they could and put them under contract so that they couldn't work for anyone else. Theses "Powdermakers" or factories of filmmaking began to shoot and produce films at an alarming rate. The downside to this is that because they were making so many films, not every movie was going to be a sure fire hit. There were a lot of successes and even more misses.

3. The collapse of the studio system began in the early 1940's. By being accused of conducting monopolistic practices by the US Department of Justice's Antitrust Division; the major studios were forced to let go of their ties to one another, as well as let go of their theater chains. This lead to the loss of a wealth of revenue for the major studios. Followed up by labor strikes aimed at the studios post WWII and the creation of Independent production companies; the demise of the studio system was nothing but assured.

4. The studio system was not without its merits. In turn it gave rise to the star system, a system that is still very much alive today. Despite the facts, audiences have always seen Hollywood as a resort where the rich and famous go to create dreams. Much as it is done today, the star system is bolstered a lot by the media. Reporters and Newspaper articles give actors and actresses an almost Godlike quality. The public didn't help by eating up every rumor they hear, but the stars brought in much of the studios money. The system lasted through the millennium and it's still going strong. People go to the movies not just in the interest of hearing a good story or seeing a grandiose display of visual and special effects, but they still go to see their favorite actors. Even today, there is still something magical about Hollywood.

5. The word "Genre" originates from the French language and it refers to a category of a particular thing. In the film industry genre is used to describe the inherent traits or characteristics of a particular film narrative. In relation to films comprising the horror genre, they often meet a very set formula of set characteristics. Atmospherically horror films are often very dark and foreboding. In well done Horror films their characters are often well rounded individuals put into horrific and even terrifying situations. Horror films don't always have to deal in monsters or ghosts; they can also portray human beings as the subject of everyone's nightmares. The best in horror is often fantastical like "Dracula" and "Frankenstein" or grounded in reality    
such as "Se7en". Horror films capture many qualities, most of them have become formulaic in todays films. Horror films are meant to do one of five things; they're meant to disturb, terrify, nauseate, startle, or leave you in suspense. It has been my experience that these films will employ any and every method/idea imaginable to ensure these five traits.

6. In the movement from silent films to "talkies" of films with sound; there were consequences that appeared as a result of the conversion.  When films transcended into the realm of sound, many of stars from the silent era were put out of work. It was seen and heard by audiences that these actors and actresses couldn't convey their characters on their looks alone anymore. Audiences wanted actors who could look and act the parts they were given.

TAKE HOME FINAL 

Suzy Tramontelli

6/21/12

American Cinema

Thomas Hammond

1.   The classic Hollywood Studio System started in the 19 teens and spanned about 50 years.  Name three of the Major Studios and give a brief background on what type of films they were each known for. 

      One of the Major Studios during the Hollywood Studio System was Warner Brothers, which was known as “the working man’s studio.” Warner Brothers was best known for making gangster films such as The Public Enemy (1931) and Little Caesar (1930). Warner Brothers films can be characterized by films for a lower-middle-class audience that showed the seedy underbelly that was not portrayed by studios such as M-G-M. M-G-M was another major studio during the Hollywood Studio System, but their style of films were more refined and high brow. M-G-M had glamorous stars on contract such as Joan Crawford and Norma Shearer. Universal Pictures was another major studio during the Hollywood Studio system, best known for horror films, including The Mummy (1932) and The Bride of Frankenstein (1935).

2.     What were the advantages of the Studio System?  Were there any disadvantages?

     Some of the advantages to the Studio System revolve around the contract actors for the Studio. The Studio’s were able to have actors, actresses, and film artists on contract, therefore, allowing these peoples talents to grow and peak within the Studio.  This proved favorable when Studios like RKO wanted to “crank out” B films and could do so because they had great talent on contract. Also, there have been accounts of the Studio trying to make its contract actors more cultured by having language lessons, dance lessons, and introducing them to art. One could say that one of the disadvantages of the Studio System was the treatment of the stars.  For example, the stars started to become revered and seen as pinnacles of society.  The Studio’s in turn would engage in somewhat unmoral acts to cover up unfavorable actions by its actors, making it seem as if they could get away with anything.  Also, having a major Studio System, can limit the creativity of those involved in the film, as there is a long chain of executives that have to approve of the film’s distribution.

3.     Name and discuss three of the reasons for the decline and eventual end of the original Studio System.

     One of the major reasons for the decline of the Studio System was the suit brought the U.S. Department of Justice and Antitrust Division against 8 major Studios for monopolistic practices. The suit was at first seen as a warning to stop monopolistic practices, but after they continued to occur, Studios were forced to separate themselves from “vertical integration”.  Another reason for the demise of the Studio System was the change in people’s consumption of leisure.  More and more people were trying to find work or out of work, so the attendance dropped off sharply.  Also, another reason for the eventual end of the Studio System was the rise in independent production.  The independent films had more leeway in what they could put on the screen, as they were not responding to as many “corporate types”.

4.     Explain the rise of the Star System and why you think it continues to be an important part of the American Film Industry.

     The rise of the Star System can be directly linked with the rise of the Studio System.  As we need to remember, the film industry is an economic enterprise that has to meet a bottom line.  The Studio’s would invest tons of money into their star actors and actresses along with the investment in the film.  The Star System essentially guarantees viewership, meaning a film with a star actor generally can guarantee on people coming to see the film just because the star is in it. The Studio System, also helped develop the first fan magazine Moving Picture Story Magazine in 1911. The introduction of mass publications like this, allowed people at home to get “insight” into the star’s personal life, which I think just perpetuates the Star System. If we have access to information about the actor or actress not from the silver screen, it makes us become more invested in that person, no matter how “fake” the information is.  I think that the mass publications centered around celebrity gossip helps to perpetuate the Star System today.  For example, right now I’m sure I can go online and found out who the latest pregnant star is, even though that has no effect on the quality of the film they are in.

5.     The French critic Andre Bazin developed the AuteurTheory in the 1950s.  What is it and which filmmakers (name 3) might fit its definition from the first five decades of American Film?

     The Auteur Theory developed by French film critic Andre Bazin can be defined as the emergence of the director’s personal creative vision coming across on the screen.  Also, auteur, a French word, means author, so the theory states that it seems as if the director of the film is the writer. Probably the most notorious filmmaker that fits this theory is Alfred Hitchcock, who made films with suspense and psychological horror. All of Hitchcock’s films fit into this mold and it was clear for the viewer that it was a Hitchcock film.  Two other notable auteur filmmakers are Orson Welles and Howard Hawks, who both left their mark on all of the films they created. I am definitely a fan of directors leaving their marks on films, like a more recent filmmaker, M. Night Shyamalan.

6.     A large part of the decision to make a film is based on its genre.  Every genre has its own conventions and characteristics.  What are some of these in relation to the Horror Film?

     Specific genres tend to draw viewers that already have an interest in that genre. For example, I would probably go see any Comedy film in theatres right now, regardless of the content (I am seeing Madagascar 3 this weekend…). As John Belton wrote in American Cinema, “each new film in the genre banks on a number of familiar genre element, motifs and themes but combines them in a novel way.” Horror Film’s are characterized by films that try to incite true emotions of terror, horror and fear in their viewers. Horror Films tend to have a central villain character and the themes can range from supernatural (Bride of Frankenstein, 1935), death and mental illness. Horror Films use different mechanisms to incite fear in their viewers by use of weapons, scary looking characters, camera angles and special effects.  In contrast to the Horror Genre, the Western Genre typically uses characters such as cowboys, Indians, gamblers and town marshals, where Horror uses monsters and unsuspecting victims, among many others. Also, Westerns are typically set in landscapes that portray the lifestyle depicted in the film, meaning there are shots done in the West to show the Rocky Mountains and sprawling deserts.

7.     What were some of the consequences in the conversion from the Silent to the Sound Film?

     The conversion of Silent to the Sound Film was one that was met with many hurdles that needed to be overcome not only by the Studio, but the actors as well.  Silent films were fluid and glamorous because the actors did not have to worry about where the microphone was, but only if they were in the right spot for the shot.  Also, many of the Silent film stars could not make the conversion, as their voices did not match their glamorous looks.  One famous example is Lina Lamont, who according to John Belton in American Cinema has “shill, lower-class voice lacks refinement and fails to match the glamour and sophistication of her appearance.” She was able to preserve her stardom in Sound Film by having Debbie Reynolds dub all of Lina’s lines in Singin’ in the Rain (1952). It took the Studios awhile to integrate sound into the films in a way that did not detract from the film by making it almost comical at how unrealistic the scenes looked.  Another consequence from the conversion was the loss of international markets because now there were no title cards, which could be translated.  Now it is much easier to resolve this issue with dubbing or subtitles, but in the beginning, it was a major blow to the international viewership.

Andrew Sarris, Film Critic, Dead

Please click on the link for access to an article about him on the NYT. Thought this was worth sharing due to the Auteur Theory question on the take home final. This is a great loss to the film world. RIP Andrew Sarris

http://www.nytimes.com/2012/06/21/movies/andrew-sarris-film-critic-dies-at-83.html?pagewanted=all

Take Home Test

Lindsey Coldren

6/20/12

American Cinema Exam

Thomas Hammond

1. The classic Hollywood Studio System started in the 19 teens and spanned about 50 years. Name three of the Major Studios and give a brief background on what type of films they were each known for.
         One of the major studios in the early 1900's was M-G-M Studios. It was known for for producing glamorous and sophisticated pictures. They were known as one of the first studios to film in technicolor. The Wizard of OZ and Gone With the Wind were a couple of their most famous technicolor pictures.
         A second, major studio, was RKO. They were known for producing a variety of very different films. Two of their most famous pictures were King Kong sand Citizen Kane. They also produced a number of Fred Astaire and Ginger Roger musicals. RKO also produced many film noirs. In 1948 Howard Hughes took over the studio and this led to the decline of RKO.
         A third major studio was Columbia Pictures. This studio was known for producing witty, screwball comedies. One of Columbia Pictures' most famous screwball comedies, that was directed by Frank Capra, was It Happened One Night. Another famous screwball comedy was Howard Hawk's His Girl Friday.
   
   
2. What were the advantages of the Studio System? Were there any disadvantages?
        The advantages of the studio system wast that it kept the entire film crew under contract. This was a huge advantage because then everyone was always ready to begin filming the next picture. They didn’t have to pause and wait as long, to find actors, writers, and directors when they wanted to begin a new picture. Each studio even had their own, personal fire and police department. They also had their own gyms, restaurants and medical stations. I think that this could be a disadvantage to smaller studios however. The smaller studios didn't have as big a crew so they couldn't make as much money as the bigger studios. Another disadvantage, for the crews, is that they couldn't chose what pictures they wanted to work on since they were under contract to one studio.

3. Name and discuss three of the reasons for the decline and eventual end of the original Studio System.
        One reason that led to the decline of the original studio system was that the Department of Justice's Antitrust division sued the major film studios. The studios had to separate the production companies from the distribution companies. Another reason that lead to the decline of the studio system was that actors and directors also started separating themselves and forming their own businesses. A third reason for the decline was that the attendance of movie watchers began to drop. Television was beginning to become more popular with people and people began to go to the movies less frequently.

4. Explain the rise of the Star System and why you think it continues to be an important part of the American Film Industry.
        There were many factors that contributed to the rise of a star. The film studios introduced the world to the first star magazine. These were very popular in the early 1900's. It provided free publicity for the studios' upcoming movies. The studio also found it useful to advertised the stars of their new films. It helped draw the public in and encourage them to see the film. I believe that the star system is still important because people who aren't celebrities still idolize them and wish they could have the life of a celebrity. Everyone wonders what it would be like to be a celebrity. I feel like everyone believes that stars' lives are so perfect. They seem to live a glamourous life that everybody wishes they had. Celebrities are also so mysterious, because the public feels like they know celebrities after watching them on the screen, and reading about them in magazines, but we really don't.

5. The French critic Andre Bazin developed the Auteur Theory in the 1950s. What is it and which filmmakers (name 3) might fit its definition from the first five decades of American Film?
         The Auteur Theory is when the director's own, personal vision is reflected in the film. Another way of defining Auteur Theory is when a movie is very recognizable for having a certain director and the director is reflected within the film. Many directors are known for using the Auteur Theory in their work. Alfred Hitchcock was one of the first directors known for using it. All his films are anticipated to be filled with suspense and mystery. I know what to expect when I go to see an Alfred Hitchcock movie. He even makes an appearance in almost every film he directed. A more recent director that uses Auteur Theory is Martin Scorsese. I can usually expect to see a good action movie, filled with crime and suspense when I watch one of his films. Another current director that uses Auteur Theory would be Tim Burton. He is always reflected in his films. They are always pleasantly odd and filled with a very specific style that is very recognizable as Tim Burton. Most of his filmed are fairytale-like and filled with fantasy.
   All these directors also used many of the same actors in their films as well. Cary Grant starred in a number of Hitchcock films, Leonardo DiCaprio well known for acting in several Scorsese films, and Johnny Depp is famous for playing versatile characters from Edward Scissorhands to Willy Wonka in Tim Burton films.

6. A large part of the decision to make a film is based on its genre. Every genre has its own conventions and characteristics. What are some of these in relation to the Horror Film?
         The horror genre has always been my favorite genre in film. There are many characteristics that set it apart from other genres. A horror film is supposed to keep the audience on the edge of their seat and make them feel scared. There are many different types of horror films. As John Belton writes in American Cinema, is that there “is a focus [in horror] on what it means to be human.” I've noticed that the villain, in many horror films, is either unsatisfied with themselves as a person or they might not be human at all. There is also many reoccurring themes in horror films that involve the pursuit of knowledge.

7. What were some of the consequences in the conversion from the Silent to the Sound Film?
         The conversion from silent to sound film brought about many changes in the film industry. One of the most significant changes it brought was to the acting. Actor had to really change the way they acted. They began expressing themselves more with words, rather than their body. In silent films the actors' body language was much more dramatic and emotional and everything had to be expressed with their body and face expressions. With sound they had to act more realistically.

YOUNG FRANKENSTEIN A MEL BROOKS MUSICAL

Please find one of the reviews of this musical through...http://theater.nytimes.com/2007/11/09/theater/reviews/09fran.html?pagewanted=all

Here are some stills from the show...

SUNSET BLVD. (1950)

Polish poster art for "Sunset Blvd."

There is a scene at the end of Billy wilder’s classic 1950 production of “Sunset Blvd.” where Gloria Swanson as Norma Desmond, finally driven mad and to murder by an obsession with her faded stardom, addresses the viewer by looking directly into the camera.  She revels in the thrill of making a movie again, and then thanks “all those wonderful people out there in the dark.”  I had not realized how chilling this moment was until I finally saw it in a theater with a large audience.  Upon delivery of the line an audible shudder passed through the crowd.  I guess if you are a filmmaker who is going to break the forth wall, it had better be for a good reason and to maximum effect.

Wilder is often referred to as a cynical and darkly humorous director.  Certainly these qualities can be found in “Sunset Blvd.”  The opening scene of a dead man floating in a swimming pool, and in voice over narrating the tale of his fall from grace and eventual shooting was originally done as a scene in the Los Angeles County Morgue. 

                                                                                                                                                                                                                          His sheet covered corpse waits until the room is clear, then sits up and regales his fellow cadavers with the story.  Preview audiences laughed, but not with a spirit that satisfied Wilder’s intent.  The footage was cut and replaced with a re-shot scene as it exists today.

Even with William Holden’s sardonic and somewhat bitter tone of self-deprecation, the narration reveals a type of sympathetic respect for Norma and her destructive foibles.  The last lines of the dead screenwriter reflect an understanding that goes beyond bitterness and into the territory of compassion.

 “Life which can be so cruel was being strangely merciful to Norma Desmond. The dream that she had clung to so desperately had enfolded her.”

Wilder’s original desire had been to tell the story as it exists, but to make both of the two main characters men (Norman rather than Norma, I guess).  This was an idea he knew from the beginning would not be allowed; by the Studio, by the Production Code, by anybody.  It certainly would have made the final exposure of Joe Gillis’ situation to Nancy more shockingly profound, especially in 1950.

Gloria Swanson and Billy Wilder on set.

Casting Gloria Swanson and Eric Von Stroheim in roles that closely mirrored their turbulent mutual history together lent an air of authenticity that Old Hollywood recognized and, in some cases, did not appreciate.  Legend has it that at a Studio screening Louis B. Mayer, still a powerful figure in the business, called Wilder and his film, “a disgrace to the industry” to the director’s face.  Wilder replied with a highly audible reply for all to hear.  “F--- you, Mayer,” he said.  Things were changing in Tinseltown.

“Sunset Blvd.” is perhaps the best film ever made about Hollywood and the nature of the celebrity fantasy it inspires.  When Cecil B. DeMille is asked about the eventual difficulty of working with Norma Desmond, he responds that, “It’s a tragedy what ten press agents working overtime can do to the human spirit.”  With this and Norma’s final lines to the “wonderful people out there in the dark”, Billy Wilder is asking his audience to examine their own relationship with the Dream Machine.

Billy Wilder (looking through camera) shooting Gloria Swanson poolside.

Original Belgian poster art

Critics' Picks: 'The Big Lebowski' - nytimes.com

Paramount Celebrates 100 Years With 100 Iconic Movies 


I was looking around on the internet and found this, thought it might be worth sharing.

Click Here... Paramount Celebrates 100 Years With 100 Iconic Movies

Cowardly Lion Makes Judy Laugh

This scene was mentioned in class tonight in which Bert Lahr, who played the lion, nearly made Judy Garland laugh out loud when filming this scene.

The Wizard of Oz - Behind the Scenes

The Push from 2D to Fully Cinematic 3D Video Games

Last week we went off on the tangent of how animation has evolved over the years. I remember when I was younger, it was very easy to tell the difference between a  movie and video game; but these days the line between the two is beginning to grow more blurred with each new game. These days even some movies are starting to look more like video games. LOL

Has Ridley Scott's 'Prometheus' been worth the wait?

Well even though it started nearly an hour behind schedule, I finally got to see Ridley Scott's long awaited "Prometheus". It has been debated whether or not this movie is a full-fledged "Alien" prequel. I can happily put those rumors to rest. "Prometheus" certainly takes place prior to "Alien" and it establishes tie-ins to the franchise at regular intervals; but this is not another "Alien" movie. I know that this sounds a little confusing, and it is; but once you see the film for yourself, you'll understand exactly what I mean. I'm not trying to say that "Prometheus" is formulaic, it may set up the events of the "Alien" franchise; but it is its own beast all together. Helmed by Ridley Scott, who also directed 1979's "Alien". Ridley returns to the genre of Science Fiction after nearly a thirty year hiatus.

Despite the gap, Ridley Scott certainly feels right at home in this field of story telling. Anyone who's ever seen a Ridley Scott film knows that he's always been a stickler for detail. The best part about Sci-fi is that he gets to make up all the details himself now. Honestly, does anybody know why Ridley wasn't asked to direct any of the other "Alien" films? I'm pretty sure he could have saved it a lot sooner. "Prometheus" boasts phenomenal visual effects and gruesome Alien mayhem; but never once did I feel as though I was watching something fictional. Everything on screen looks and feels as though it would really work and in doing so captivated me as an audience member. Starring a AAA cast: Noomi Rapace, Charlize Theron, Guy Pearce, Idris Elba, and one of my personal favorites Michael Fassbender all do exceptional work here. I won't go into too much detail about their respective characters, because I don't want to spoil anything.

Elizabeth Shaw (Rapace) is part of team of explorers. They discover clues scattered across the globe pointing to the origins of mankind's presence on Earth. These findings lead the team on a journey across the stars to the darkest corners of the universe. Aboard their spaceship "Prometheus", they touch down on a foreign planet with hopes to make contact with alien life forms. Well make contact they do, and they must fight a thrilling and at times, terrifying battle to save the future of the human race. "Prometheus" may not answer all the big questions that its starts out trying to accomplish; but it does provide us with a satisfying story and compelling characters. It may not be everything we were hoping for, but I would label this as well done cinema. In the end, "Prometheus" may be construed as being a victim of over hype, but I believe that it delivers on most of its promises. It will be enjoyed by fans of the "Alien" franchise and hopefully regarded as the new standard for any more films in that franchise to come.

 

For all those interested in reading other movie reviews I've written, please visit my homepage at www.examiner.com.

http://www.examiner.com/movie-in-st-petersburg/david-font

"By a Waterfall" - from FOOTLIGHT PARADE - 1933

Singing in the Rain - Filming 'Duelling Cavalier!'

I really enjoyed seeing Singin' In the Rain last night in class. This was definitely my favorite scene in the whole film! I thought Lina's character was so hilarious!

A 24-hour real(reel?)-time film montage.

When mention was made last Thursday of Andy Warhol's "wallpaper" films like Empire
and Sleep, I recalled reading a New York Times article about Christian Marclay's
"The Clock" (excerpt below; for the full effect, begin playing it at 12:04 PM). If you
happen to be in/around Toronto any time between September 21st and November
25th this year, it will be playing at the Power Plant Contemporary Art Centre.

For an insight into Marclay's creative process, I direct you to this New Yorker article.

Believe it or not, according to Wikipedia, there are eight films as long as or longer than "The Clock," with titles like "The Cure for Insomnia" and "The Longest Most Meaningless Movie in the World" (not the longest, actually; it had been once upon a time), though all of these are likewise experimental in nature. Andy Warhol is up there, of course, with "Four Stars" coming in at 25 hours long. No. 2 on the list, "Cinématon" (7 days, 6 hours), reminded me of the "screen tests" which Warhol took of Factory guests. No. 1, "Modern Times Forever" had a whopping 10-day running time. If you scroll down in the entry, there is a separate list for cinematic films; "Berlin Alexanderplatz" (1980) tops that list at 14 hours, 56 minutes.

Annie Hall at Interval.

When mention was made last Thursday of a video of the Big Lebowski, trimmed to
include only the swear words, I was reminded of this: Annie Hall, sans dialogue,
courtesy of interdisciplinary artist Nathaniel Stern.

Says Nathaniel: "For at interval, I captured the entirety of Woody Allen’s Annie Hall, then removed all spoken dialogue from the film. Time is slowed down, through emphasis on stutters, gasps, and oral fumbles, and paradoxically sped up, through an immense shortening of the film - from one hour and thirty minutes, to just over thirteen. Here, I’m citing the in-betweens, using time and rhythm to accent the impossibilities within language. It was the first video produced in an ongoing series of generative works, where I use simple formulas to edit and compress popular movies, revealing secret biases, hidden meanings and complex relationships just below the surface."

10 GREAT JOHN HUSTON DIRECTED FILMS

THE MALTESE FALCON (1941)

THE TREASURE OF THE SIERRA MADRE (1948)

KEY LARGO (1948)

THE ASPHALT JUNGLE (1950)

THE AFRICAN QUEEN (1951)

FAT CITY (1972)

THE MAN WHO WOULD BE KING (1975)

UNDER THE VOLCANO (1984)

PRIZZI'S HONOR (1985)

                                                             
                                                            THE DEAD (1987)

Casablana Airport Scene

Here's one of many parodies to this classic scene...

Casablanca in 30 Seconds! Really Entertaining

NOTORIOUS - 1946

Hitch rehearses the key crane shot with Ingrid Bergman

There are two famous scenes in Alfred Hitchcock’s 1946 romantic spy melodrama, “Notorious,” that have been written about extensively.  One is that great crane down from an upstairs landing in Alexander Sebastian’s (Claude Rains) house at the beginning of a lavish party, to an extreme close-up of Ingrid Bergman’s hand holding a fateful key to the wine cellar.  It is a straightforward but bravura move that gives the scope of the setting along with the narrow and highly dangerous margin of error that she will be up against before the night is over. 

The second is an extended kiss at the beginning of Bergman’s and Cary Grant’s troubled love affair.  It is always referred to as Hitchcock’s way of thumbing his nose at the censors who, supposedly, would not allow kissing lips to hold on each other for more than three seconds.  For about two and a half minutes the lovers smooch, their faces never but an inch apart.  They whisper and smile suggestively as they glide from one room to another.  The camera is positioned a few inches from their faces as they weave this steamy passion dance.  Their lips remain chaste according to the three second rule, but repeatedly push the outside of that envelope.  It is a very sexy scene and a great tale to tell; this thwarting of the guardians of taste and family values.  But there is more to this interlude than a cinematic game of tag played by Hitchcock with the Production Code. 

Take a look at the posters for this film, foreign and domestic.  Grant and Bergman are always in this close romantic proximity.  This initial kissing scene sets up two others during the picture which reflect the dramatic spine of the story and provide the emotional payoffs.

The first comes at the end of the tense wine cellar scene when Grant, knowing that they have been spotted by her husband, tells Bergman to kiss him.  She says, “But he’ll think…“.  He replies, “That’s what I want him to think.”  After the kiss, she collapses in his arms, breathlessly and longingly whispering his name.  It is a fleeting moment that reflects, but does not completely allow, release of the repressed emotional pain that has been steadily building over the course of the film.

 

The final clinch comes at the end when Grant rescues her from the poisonous clutches of her husband, her deadly mother-in-law, and a gang of Nazis in the drawing room.  In a scene that mirrors the first, stylistically and thematically, the true essence of “Notorious” (that of a love story hung on the framework of a spy thriller) is revealed.   It is here that Grant finally utters the words of love that he never declared during their initial embrace.  All of the dramatic tension of a troubled (and more than a little twisted) romance is relieved in this moment of emotional honesty and release.  The reunited lovers still have a tension-filled journey to final freedom at the bottom of the stairs, but the dilemmas of a woman burdened with guilt and a man bound by chains of his own repression, disguised as duty, have been resolved.