![]() ![]() Unlike some earlier films, such as The Color Purple, this story contained relevance to the director’s own Jewish roots. Though not his first film in that vein, Schindler’s List was a major turning point in his filmography. Though many have lamented the passing of the early era of that career and the light hearted and popular entertainments it produced, the director obviously felt the need to tackle more adult and issue oriented projects. ![]() Steven Speilberg hasn’t risen to the lofty heights to which his career has ascended by being ignorant, stupid, or talentless. All in all, this film is a triumph of both style and content. This depicted idyll is a world away from the eternal battles and strife which make up the rest of the world surrounding the main character and those in his orbit. This monochromatic tour-de-force is also punctuated by color sequences, illustrating the LaMotta family’s home movies. This was a decision which was quite daring for the time when black and white was almost extinct. ![]() Scorsese tempers this harsh truth telling by cloaking the action in a high stylized black and white mode of expression, which also suites the period setting of 1940s and 50s New York City quite well. Looking at that life through the lens of the film, the final judgement can only be that it was violent, in and out of the ring, brutish, cruel and quite unpleasant. The film profiles the life of champion boxer Jake LaMotta (Oscar winning Robert De Niro’s finest hour). ![]() However, the film’s standing has only increased with the years. The film got great reviews, a few Oscars (not for the director, though), but not an abundance of viewers originally. No film stands out more in his canon than Raging Bull. Following is a list of films which fit into that category.ĭirector Martin Scorsese has richly earned a place in the pantheon of film directors by creating several fine films. There is also a tradition of more serious artists mixing the different modes of expression in order to achieve a greater dramatic and/or creative effect. These efforts, however, were more novelties than anything else. This practice continued for several years, including such films as the 1949 war drama Task Force and the 1956 comedy The Solid Gold Cadillac. Noted silents such as Ben-Hur, The Phantom of the Opera, The Wedding March, and The Ten Commandments included color sequences as special highlights.Īfter the three strip Technicolor process was perfected in 1935, several films such as The Little Colonel, The House of Rothschild, and The Cat and the Fiddle burst into color for their finales. Often color, which was an expensive, difficult and problematic process during this era, was saved for notable sequences in otherwise black and white films. Oddly enough, the mixture of color and black and white within the same film was a not uncommon occurrence in the early decades of film history. In the late sixties, color started to dominate and filming in black and white became a courageous choice (and one that was usually a hard sell to producers and studio heads). Yes, there are such elements as script, acting, editing, sets, costumes, score and many others, but if the film doesn’t look as it should, nothing will come off quite as well as it should.įor many years, black and white photography was the dominant mode for film making. Films are images first and foremost and the look of those images can not only sell the film but also conjure just the effect the director wishes to convey. Any film maker possessed of any level of competence places the visual appearance of their film at the very top of the priority list and rightly so. ![]()
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