But I'm a Cheerleader - Film Review

But I’m a Cheerleader – Film Review

    At the current times, gender issues may be a norm among the society and people living within. LGBT is known for its’ discrimination and stereotyping by the people who are structured to be living in a particular believe system. The carving of people of the yesteryears has allowed people living in this generation to judge people in relation of LGBT, assuming the act of it is wrong. Somehow, this issue in gaining awareness and is being looked at from every perspective and has been receiving a new point of view from people of this generation and elders of previous generation, partially. This review is about the Queer Cinema in conjunction to the issue spoken and at the same time looking into how it is varied in the movie “But I’m a cheerleader” (Jamie Babbit, 1999).

    Queer Cinema is a theory or concept that was implemented in 1991, in the Toronto Film Festival. The concept of Queer reviews the image and portrayal of homosexuality in every perspectives. This theory portrayed the sides of homosexuality in films which then was brought to mainstream cinema. Films like Hitchcock’s rope showcased the different type of homosexuality, breaking stereotypes and showing audiences that homosexuality doesn’t mean submissive and can be rebellious. In the 90’s the fear of AIDS provided the tendency for the New Queer Cinema to establish itself to a higher level which was used to identify gay and lesbian by the Americans. The theory basically focuses on the audience reception towards the matter. For example, how a straight person looks into the character in a movie who isn’t straight, then how a non-straight person looks at the character in a film and according to audiences and filmmakers perspective accordingly. Furthermore, the issue emphasizes on normality by breaking stereotyping format and explains the positive side of Queer and criticism headed towards the issue and also teaches audiences to look at the theory from a new perspective.

    In terms of the film, “But I’m a cheerleader”, the film tells about Megan (Natasha Lyonne), who is a normal American teenager. She lives the casual lifestyle of being a good student and a cheerleader with an athletic boyfriend. After a while, she loses her interest on her boyfriend sexually which is labeled as lesbian and discriminated by her friends around. Her parents send her for rehabilitation over the issue which questions about her sexual preference and allows her to belief that she is a lesbian. In midst of rehab, her perception towards the issue changes as she meets and gets to know more people in relation to the issue. Later, her sexual orientation is tested as she falls for a girl in the school.

    Firstly, the film has been clearly used the Queer Cinema theory based on the topic being focused in the story, which is related to LGBT. The concept of discrimination and stereotyping could be witnessed by people of Megan’s surrounding based on the act and behavior towards her. Furthermore, the school organized clearly portray the lack of acceptance by the people of the yesteryears. Somehow, Jamie Babbit’s brilliance in portraying and building the character of Megan has provided a different perspective while the audiences are engaged throughout her journey in the film. The engaging technique is applied in the initial stages of her being in the rehab school. The statement of “Admit you’re homosexual” repetitively allow the audiences to question themselves and indirectly engage with the character. In conjunction to that, the perspectives of audiences changes and may reflect to how they observe the character Megan from different point of view, may it be from a straight person perspective or a homosexual perspective. To add on, in the film, during the introduction of her admission in school and each other introducing one another allows audience to understand different perspectives of individual from both male and female. As the movie goes on and Megan starts getting closer to Graham, the portrayal of her teacher teaching that normal sexual behavior is accepted goes by for audiences to understand that it is unfair and illogical morally to act disgustingly openly but not accept LGBT. Finally, the act of Megan to pursue Graham during graduation symbolized breaking stereotype which is metaphorically explained by director and filmmaker Babbit does deserve credit.

    The film is made in a more dramatic and comedic way to encourage people to observe the issue from their own perspective freely and has accomplished the task of doing so. Furthermore the filmmaker has succeeded in conveying his message and providing a question for the audiences to answer regarding the issue in the story. Finally, this topic may be hard to accept and be considered inappropriate by certain parties but needs acceptance as individuals in relation to the issue do not harm in anyway as compared to lustful addicts who goes around to rape. More films like this should be allowed to be made and brought into mainstream cinema locally and globally to educate, inform and create awareness among people of this current generation.

References :

Roger Ebert ( July, 2000). But I’m a Cheerleader. Retrieved from:

https://www.rogerebert.com/contributors/roger-ebert

Quarantine - Film Review

  Documentary is known for it’s unique tradition of informing audiences regarding an issue or subject. This storytelling method does have criteria like in-depth research and study that has to be filled by makers of the content. This non-fiction film concept has always been a soul of story-telling which may be adapted to a movie’s story by filmmakers. In relation to the topic, this review will focus on the movie Quarantine (John Erick Dowdle, 2008) and the concept of documentary being applied in the film.
  Firstly, to elaborate on documentary, it is a documentation of an subject or individual being covered. The series of authentic video compilation on the events occurring always provide audiences that what they observe and absorb is true. During the initial years, documentary was presented with factual contents and stories which planted the conceptualization that it is always real when a filmmaker covers a story regarding an issue. Somehow, after the modernism era, the representation of dumentaries changed allowing filmmakers to use creativity and new theories into documentaries. There are six different types of documentaries which are poetic, a technique which contains of artistic films, this technique uses series of fragmented visuals and subjective impressions, in other words capturing events of real life scenario like flowing of water in river. Example of poetic documentaries are Samsara. Secondly, expository focuses on Voice of God commentary or a type of poetic perspective. This method of narration, which could always be observed in Discovery channel where acts of animals are explained through a voice over.  Following that, the observational technique. In this technique, an observational  mode of representation is made to ensure real life scenario is felt by audiences. For example, the placement of camera is hidden and could not be realized by individuals in relation of the subject, allowing the filmmaker to get realistic footages. For example, Paranormal activity which uses surveillance camera to capture real looking footages. Also, there is a method known as the interactive representation. This is where the researcher of filmmaker involves in the making of the product. For example, asking questions to the subject or person being covered to encourage connectivity between audiences and subject being covered like The Lake Mungo. Then reflexive representation. In this type of process, we could observe Director’s version of a truth or conspiracy. For example, the filmmaker will present his collected data and provide his point of view based on the facts and figures collected. Finally the performative technique which provides video footages of what happened either through docu-drama or reenactments. This technique also gives the freedom to audiences to decide the truth or lie being told. Mockumentary is also considred to be performative as it is a version of director’s perspective. The type of film which used this technique is The Blair Witch Project and The Grave Encounters.
     Quarantine is a film that tells story about a reporter of a reality tv program and her cameramen who documents night shift firefighters. This fun and interactive interview documentation process invites them to follow the firemen to a building with a few policemen investigating a horrific incident. They somehow get quarantined for a circulating infection, a zombie invasion. The story then goes on with survival of the individuals in the building and infection being spread among one another. With the authorities not allowing anyone to exit the building and shooting people who attempt to escape, the remaining will have to find their way to survive the infection and also to save their lives.
    To study the film in depth and the theories applied, firstly the director John Erick Dowdle has to be recognized for his brilliance in combining the different types of representation. The application of interactivity is very obvious to start off as the reporter, Angela (Jennifer Carpenter) consistently interacts with audiences and cameraman and also questioning the firemen and other parties in the building. Then, observational technique could be observed in the end of the film when the camera is left with no one to handle after cameramen Scott (Steve Harris) dies, laying on the floor when Angela is dragged by the zombie. These two techniques are well portrayed in the film by the director consistently allowing the audiences to engage with the characters and feel the intensity of the thrilling nail-bitting moments. Also the, setting and timing of making the footages are set well as any glitch from that part would’ve pulled the attention of audiences away from the screen. Somehow, this technique of constant moving of the camera may give the audiences pain in the sight for keeping track with the act. For example, when Angela and Scott get chased by the zombie, the inconsistent and fast moving camera footage gives pain for the eye of audiences.
    Finally, to sum up the review, the film has variance with the type of technique being studied, which is documentary. The brilliance of allowing filmmakers to add crisp of creative elements in the process has definitely brought the genre a step further and welcoming more film audiences to watch this type of films. At the same time, the literacy of audiences play a big role in the issue as fake information being compiled and circulated realistically may impact negatively among the less media literate people, thus filmmakers must ensure the type of subject being studied and presented is done with responsibility, moral values and ethics in mind.
References :
Xan Brooks (Nov, 2008). Quarantine. Retrieved from : https://www.theguardian.com/film/2008/nov/21/quarantine-zombie-horror-review

Easy A - Film Review

   It is not new that women as looked as the submissive in the male dominated world. This statement does not end there, it extends a depth further to explains that women are victimized as sexual subjects, may it be in films, commercials or print advertisements in newspapers. The cliché concept of women attracts men easier and giving women inferior complex in terms of looks and physique may also be observed. There has been many campaigns and ways applied to interpret matters in terms of the female perspectives for the male dominated world to understand. In filmmaking, it is known to be the feminist film theory. In this review, the movie Easy A (Will Gluck, 2010) is analyzed based on the Feminist Film theory.

  

   In common words, feminist film theory speaks about perspectives of female population, of how they observe the world and society. For example, in terms of film audiences, different female may perceive and observe different issues in the own perspectives. For example, 3 perspectives of looking At how male characters are looking at the female character in the film is observed. Besides that, the perspectives of audience in cinema looking at the female character in the film is then identified. Also , audience in cinema looking through the eyes of the male character who is looking at the female character is perceived in this theoretical observation. These different category of women perspectives combined and analyzed is considered as The Gaze in the feminist film theory. Apart from that, how a female is being portrayed in a film may be another factor to be analyzed in the feminist film theory. Like said above, women are portrayed to be weaker compared to men in the past generations and shown as sexual objects through their physical presence. The way of questioning women’s expression in terms of her subjectivity and succeeding her goals initiated in 1920s’. In this theory, women’s position and role in the society is measured against the stereotypes headed against them.

    

   To simplify the film in short, Easy A is about Olive Penderghast, a nerdy character who has boring daily routine as a high school student. She then tries to spice up her social living by telling her best friend Rhiannon, to that she lost her virginity, hoping that it would turn her into a cooler person in the eye of her friend. But things turns haywire, when an unwanted busybody classmate, Marianne overhears the conversation. Marianne speads the heard conversation to everyone around the high school and that changes Olive’s life upside down. She is looked as a horrendous individual by Marianne’s group of holy friends and stereotyped by the majority in her school. That takes away Olive’s friends and happiness along.

   Firstly, the application of feminist film theory may be observed when Olive is judged and stereotyped as a slut after losing her virginity. The imbalance and one sided perception of men losing virginity being accepted as a sign of coolness is not applied to the lifestyle of a woman, and that has been well resembled in the film, Easy A. In reflection to the issue, the film lifted the characterization of Olive by breaking stereotypes and portraying the female strength when Olive accepts the criticism and way she is looked and goes on with her routine. This way of breaking stereotypes can be observed when she changes her physical appearance and female representation, changing her hair colour to red, being different to other females in the school who are either with black or blonde hair. During the portrayal of Olive’s character in the second half of the film, women empowerment can be observed as it rises the freedom of expression from female perspectives. For example, Olive allow others to judge her act by giving permission to more guys to spread rumors about them losing their virginity to her. During the film, the filmmaker has portrayed the tendency for women wanting to be looked at or women as exhibits and men as voyeur who likes to observe women. For example, the scenes where Olive changes her outlook and walks in the locker pathway in school, many guy turns around and make her the centre of attraction. That act rise jealousy among other girls surrounding her. This solely explains that women favour men looking at them.

   

  Finally, to explain the film from other aspects, the post modernism theory may be observed in terms of the dialogue. For example, Olive having her conversation with her family. This adaptation solely shows a new way of conversation between parents and children in a more open minded perspectives. Besides that, the linear structure applied in terms of the narration of Olive in the film has been well portrayed throughout. To end, this piece of product has been well presented in terms of the feminist film theory by director, Will Gluck and screenplay writer Bert V. Royal. Emma Stone needs no introduction on her screen presence as she is well known among the film audiences of current era. Her intellectuality of delivering her character as Olive Penderghast has been well framed by cinematographer, Michael Grady. This film is a must watch for women who are into feminism to enhance their understanding on women empowerment.

References;

 Robert Ebert (September, 2010) Easy A. Retrieved from:

https://www.rogerebert.com/reviews/easy-a-2010

Breathless (1960) - Film Review

    It is known by creative industry players that creativity does not have rights or wrongs, thus every product can be perceived uniquely based on what is trying to be said by the artist of the product. Breathless (Jean-Luc Godard, 1960) is a piece of modern art of French cinema which showcased unique portrayal of creative techniques like previous making, Citizen Kane. In this review, the movie will be analyzed based on French New Wave techniques.

   

   French New Wave is a filmmaking technique with big money production or budget, which is done with adaptations from literature books and fictional tales published. These technique of filmmaking initiated in the 1950s’ when filmmakers started making documentary based on facts that occurred. Filmmakers documenting real case scenarios were passionate into commercial films but were unable to reach the mark due to factors like their techniques and content. Furthermore, this technique emphasize on emotions and artistic expressions of the character playing the role in films, preferring visual aesthetics and mise-en-scene. Apart from that, filmmakers of this technique focus on lower and cheaper cost and give freedom to filmmakers in terms of creating new techniques of cinematography and editing, also improve the acting of performers in a film product.

  

  To speak about Breathless, this film is about Michel Poiccard, a sociopathic small time petty-thug, who steals cars and make money from it. His way of living is then tested with a motorcycle policeman faced, who gets killed by him. His act makes him one of the most wanted criminal in town, which then forces him to leave the town. He then meets Patricia Franchini, an aspiring young journalist and restarts his relationship with her. Following the incident, he hides at Patricia’s, trying to make enough money to led them both to Italy. Somehow his efforts get backlashed when his girlfriend finds out about him being wanted by the authorities as she starts doubting and questioning her feelings for him.

   In terms of the theory application in the film, most identifiable technique would be the natural source used to make the film. For example, natural lighting and real environment sound design applied. Most scenes in this movie can be observed using the same technique, one of it is during Michel and Patricia’s meet in the street which impacts the quality of dialogue due to the ambiance collected. In conjunction to that, jumpcuts being used in the film may be a technique of French New Wave theory. For example, when he drives his car, we could observe the cuts not being consistent. Also, the independent filmmaking method doesn’t emphasize on continuity. For example, when Patricia is being investigated, she doesn’t wear sunglasses but then wears it in another shot. This also explains that personal authorship is being applied in the film. Besides that, in terms of portrayal of delivering emotions and providing personal artistic expressions, the long takes of a scene consisting of long dialogues explain that real scenario and actual delivery of dialogue based on characterization is applied. This allow the audiences to feel and engage with the characters in film better. For instance, the scene where Michel and Patricia spend their time in her apartment. The same dialogue used simply explains that Godard wanted them to be as per character. Longshot or known as long takes has been applied in the film. It may not be new at the current filmmaking trend but it is considered unique back then if handheld technique is applied in filmmaking. Example of long take in the film can be observed in the last scene when Patricia confesses her feelings to Michel in the studio.

  

  This approach of filmmaking is definitely a revolution in cinema back in the 1960s. The creativity in techniques applied back then is considered dominant film technique of the current era. The similarity of postmodernism of what is wrong is considered right based on cliché film aspects should be looked up to. To provide personal thoughts, with better budget backing the filmmaker and a better literature adaptation in terms of the screenplay, the film would have been more interesting and entertaining. Regardless the issues, Jean Luc-Godard definitely deserves applause for his creativity and brilliance visually. At the same time, Raoul Coutard does deserve credits for his brilliance in terms of cinematography. Along that, actors, Jean-Paul Belmondo and Jean Seberg playing Michel and Patricia deserves recognition for delivering the character well and engaging with their audiences throughout the film. The importance of actors may be emphasized in the film since the film is character based. This comes to explain that character based films need proper delivering and performance by the actors to ensure expression and emotions are delivered precisely so audiences will not lose their attention and misperceive the message transmitted by the filmmakers.

References;

Robert Ebert (July, 2003) Great Movie Breatheless 1960. Retrieved from ; https://www.rogerebert.com/reviews/great-movie-breathless-1960

Corpse Bride – Film Review

  Corpse Bride – (Tim Burton & Mike Johnson, 2005) is a fantasy drama about two individuals who accidently get together which is the journey of the film. to story is written by one of the director, Tim Burton and Carlos Grangel. This film is considered British American for the language used and is a stop motion film. Like the initial essence of animation films like Lion King and Beauty and the Beast, this film is also musical for the application of during the film. The purpose of this review is to analyze the film mostly from the German Expressionism aspects.

  German Expressionism refers to internal emotions being expressed in the form of film and arts. This film technique initiated in Germany from 1919 onwards. The expressionist movement of modern art is about self-analysis, madness, primitive and sexual savagery. Expressionism in films is mostly done in terms of the technicalities like camera angles, lightings and the presentation of characters and their movements in the film. Besides that, the set design and chiaroscuro lighting is emphasized in this form of art. Filmmakers in Germany back in early 19^th century brought the form of art and filmmaking values when they migrated to USA. In terms of Corpse Bride, the melodrama approach of songs being added simply explains that self-reflection or self-analysis is applied in the film values. For example, during the Piano duet song, it is the purest form of creativity because no lyrics or dialogues were used to engage the emotions between the characters and audiences.  At the same time, dimmed lighting used when Emily has her realization sitting alone simply allows audiences to understand her lonely feeling and indulge more to her realization. Since this film is a form of dark art, the visuals and setting had to be mostly with dark techniques like, dimmed lighting, black attire and setting of background following the theme and the directors has executed the technique well throughout the film. For example, the dimmed lighting scenes, and the scenes mostly taking place at night. For example, Emily gets married to Victor, Victoria trying to escape from her room balcony and many more. In conjunction to that, the setting is mostly dark, for example, when Victor and Victoria first meet and the place, Victoria’s home being dark most of the time. The setting allows audiences to feel more of the character, which is applied in the film, for example, Emily’s characteristics could be felt more with the ambiance of her place of living. Finally, the expression of sexual savagery which is portrayed using Emily’s exposing attire. These techniques does not only allow the presenter to express their feelings and emotions but it allows the audiences to perceive their presentations precisely.

     

   Corpse bride basically is about a guy, Victor who is arranged to get married by his parents who he doesn’t meet. Then, during the wedding, he fails to say his vows leading the marriage to failure. Of the disappointment, he goes to into the woods to practice his vows and accidently put the wedding ring into a corpse finger, thinking that it is a branch of tree. That act allows, the corpse, Emily to come alive and take Victor as her husband. Victor tries his best to get the knot off as he is in love with Victoria, his fiancé. With all his attempt going to failure, he is left with no choice but to accept Emily as his wife after witnessing her soft side. Emily somehow makes a twist in the end which saves all parties and allowing her to solve her vengeance against her former fiancé Lord Barkis, a gold digger.

     This film is considered an unnatural horror for the elements of zombie. Furthermore, the disturbing scene of body parts being dislocated and moving around surreally like eye ball falling is considered unnatural. Moreover, the dialogue of worm represents Emily’s thoughts in her mind. For example, the worm saying I was inside your ears when Emily sits alone and thinks about her acts towards Victor and realizes her faults truly defines good symbolization in the film. Accordingly, a 3 act structure is used in terms of the plot. The film begins with Victor’s journey of wanting to get married to Victoria. Then, the conflict starts when vows are not said well and him getting married to a dead corpse, Emily who revives into a new bride. Then the resolving act of the film, also known as the ending in the 3 act structure, where Emily realizes her fault, saves Victor from Lord Barkis and gets Victor married to Victoria while gets her vengeance against Lord Baskis.

      For the final words of this review, the film is a good 3 way romantic film. The scriptwriter and directors have done a great job in presenting the film using techniques of German filmmakers like Robert Weine and Fritz Lang. some subtle symbolization technique used to express their emotions to the audiences were well executed by the modern filmmakers. For filmmakers to apply German expressionism in an animation, being considered to be fresh in the cinema industry isn’t a simple task and has been wisely done.

References ;

(Roger Ebert, 2005)  TIM BURTON'S CORPSE BRIDE. Retrieved from; https://www.rogerebert.com/reviews/tim-burtons-corpse-bride-2005

Bicycle Thieves - Film Review

   Bicycle thieves (Vittorio De Sica, 1948) is a dramatic tale written by Luigi Bortolini. The Italian movie was well structured, emotionally engaging with audiences. The setting lets audiences indulge with the film because of how the setting and background is being presented. The story has been influenced with Italian Neorealism. The purpose of this essay is to discuss the movie in terms of the neorealism theory and other film elements or aspects involved throughout the product presented.

   To begin with the discussion, Italian Neorealism has to be understood in further. Italian Neorealism was founded in 1942 by Cesare Zavatinni. The reason behind the unique style back then was to break the cliché method of film making. Neorealism technique involves real environmental story telling techniques. In conjunction to the technique, real people were acting as the roles needed and real settings and background were used instead of stage plays and studios. For example, in the 1940s, in midst of the World War, people were facing hardship due to economic crisis. That portrayal has been well portrayed in this film where, Antonio Ricci gets unemployed and is forced to take any job that is offered. Besides that, the usage of bicycle as their medium of transportation solely explains the situation during that era. Furthermore, this way of filmmaking involves a more melodramatic plot and music for the audiences to feel the main character’s pain and follow the journey. For example, during the scenes where Ricci and his son, Bruno are in search of the stolen bicycle, the melodramatic music allows the audiences to feel more sympathy for the lost. These techniques were more effective and more engaging between the filmmakers and the audiences which then travelled to the Chinese and Indian film industries across the globe.

   Bicycle thieves is simply about people facing crisis during the post World War II. Antonio Ricci is silly, careless and irresponsible man, who is basically unemployed due to the post economic crisis and is left unemployed, leaving his family to struggle in poverty. He finally gets offered a job but with a condition which requires him to own a bicycle. He then gets a bicycle from a pawnshop to fulfill the requirements and starts his job. The conflict starts when his bicycle is stolen and he is left to no choice but to find a bicycle. He goes loitering around the city with various efforts trying to reach out the thief, with assistance provided by his son, Bruno. After series of attempt in pursuit of getting his bicycle, he finally gets the thief but is left to accept that he wouldn’t reach his attempt of getting back his bicycle. Yet, he doesn’t give up on the pursuit and tries to steal an unknown bicycle outside a packed stadium. During the desperation effort of him stealing, he is caught and beaten by public in front of his son and the movie reaches the end mark with a hanging, sad ending.

   To analyze this film in depth, we have to begin with the film technique applied, Neorealism. Vittorio De Sica has brilliantly executed the fresh attempt of filmmaking technique by firstly using non actors in the film. For example, all but just for one actor, who played the contractor assigning people for jobs was an professional actor. It takes serious efforts and patience for a director to present a movie and emotions through a non-actor. Besides that, the setting being real environmental was a brilliant idea by him to allow the audiences to feel and engage to the situation due to the post crisis being faced among all people during the era. In conjunction to that, the ambience were as original as the real scenario portraying poverty, hardship struggle and pessimism which could allow the audience to collect moral values from a film. Vittorio De Sica also used some representation techniques in the making of the film. For example, when Ricci dines with Bruno in the restaurant and drinks water, imagining it to be wine. Besides that, Bruno wanting to eat like the rich boy looking at him in the restaurant is well presented emotionally by Enzo Staiola, who isn’t a professional actor. In terms of the plot structure, it is obvious that Vittorio De Sica was more into the techniques during the production and did not attempt with something new for the storyline. The common traditional 3 act structure is applied in this storytelling effort. The first act involves with the introduction of the character and his backstory, which then follows with the conflict which is the 2^nd act, where his bicycle gets stolen, then the resolving action of Ricci finding back the bicycle, which is the third act in the structure.

   For the final words of this essay, it is definitely not new for us to witness such storyline being in the current era, but it would’ve definitely given us a fresh effect if brought back in time, during the post crisis timeline. Cesare Zavatinni’s attempt should definitely influencing the techniques being followed by Vittorio De Sica in the making of this film. Apart from that, De Sica’s way of engaging the feel and emotions with the audiences definitely deserves a standing ovation because he did not attempt a new film technique with professional actors but real people. Overall, the expectation of the current era’s audiences would’ve definitely not matched if compared to film in the current time but focusing on the fresh era of film making, this movie is definitely one of the best.

References ;

  (Bradshaw, 2008) Bicycle Thieves. Retrieved from; https://www.theguardian.com/film/2008/dec/19/film-review-bicycle-theives

In the Mood for Love - Film Review

  In the mood for love (Wong Kaw Wai, 2000) This is a Hong Kong romantic drama was a representation of the 1960s era in Hong Kong. The tale is about an affair between two married individuals experiencing some discomfort and loneliness in their marriage. There are three cinematographers in the movie adding a lot of artistic values in terms of the camera techniques and movements in the film. Apart from that, the main characters, Maggie Cheung and Tony Leung Chiu Wai has expressed their character boldly for the audiences to feel their characterization well since this movie is more into character based. The purpose of reviewing this movie is to connect the theory of German Expressionism and the application into “ In the mood for love ”.

  German Expressionism is a form of modern art filming that started in the early 19^th century, to be precise, 1919. This form of art is basically expression of emotions through artistic presentation like painting in the initial attempt of entertainment and arts. Then it revolved into the filmmaking world where directors used the technique to express their piece of mind and emotions to their audiences. In this movie, application of the theory was in terms of the lighting and miss-en-scene, also known as the setting and background of the shooting spot or environment. In terms of the lighting used in the film, we can observe that the two main characters, Su Li Zhen and Chan Mo Wan are lonely when they run their daily routine. This has been boldly expressed by the director using low lighting while the same music used as the background. For example, in the first 20 minutes before the both individuals start exchanging words for the first time in front of their doors. Apart from that, the miss-en-scene of applying the yesteryears background and setting allows us to feel the vibe of the yesteryears. For example, the plate and cup used, the phone used, and other setting of the 60s. Furthermore, the camera technique also involves a lot of German expressionism. For example, when they first dine in together.  Their characteristics and feelings are expressed beautifully when the camera is panned side to side according to their lines, in the 27^th – 28^th minute of the film. To add on, when Mr. Chan invites Ms. Su Li back to his space to write the story he had been working on, the camera movement panning from one another expresses their feeling for one another, which could be easily understood and felt by audiences due to the camera movement and also the reflection of mirror towards them in the 54^th – 55^th minute of the film. These application of techniques from the German filmmakers experts like Robert Weine, and F.W. Murnau was well executed by director Wong Kaw Wai.

    In the mood for love is a tale about two married individuals, Su Li Zhen and Chan Mo Wan running their daily routine which what seems boring without the presence of their spouse by them. Along the way, they both meet each other as start exchanging words. The awkward and budding relationship soon makes them have a feeling for one another but due to fear of rejection and judgement of people surrounding them, they both control themselves and not allow their emotions take control of their decisions. Despite knowing that their spouses have an affair and are cheating on them, they main console one another by being there for one another, understanding the meaning of being lonely. The both individuals help each other through the sorrow of one another but keep their sexual desire controlled along the way. Li Zhen and Mo Wan both plays the faithful spouses well until the end expressing their faith and sincerity to their relationships.

   To analyse the film in all aspects, firstly, we have to applause the two main characters, Maggie Cheung and Tony Leung Chiu Wai for playing their role brilliantly and expressing the character’s emotion for what the audiences could feel. Each emotion of the character needing a companion to love is well delivered in terms of the tone of the dialogue and the emotions of their faces. Besides that, the camera techniques by three different Director of Photography solely allows the audiences to understand the story better and the characterization as anything less would allow the audiences to misperceive what the director is trying to express in the storyline. In terms of the miss-en-scene technique applied in this movie, Wong Kaw Wai has shown his brilliance allowing the audiences to feel the vibe travelling behind 40 years since the movie was released in 2000. Let it be the appearance of both the characters, the setting and body language, the whole product was well delivered by the expertise of Wong Kaw Wai. For example, one of the most brilliant scene explaining the miss-en-scene is when the extras play mahjong in the background. This explains that people of that era did not have much of an entertainment and mahjong was one of the most commonly entertaining medium for people of the era. Apart from that, the fear of being judged by both the individuals, especially Li Zhen makes us understand the gender inequality that women were more likely to be judged compared to men back then during the classic age. These subtle way of communicating with the audiences made this movie very special and unique, adding filmmaking elements of expressionism by the Germans throughout the film.

    To conclude this review, the subtle film technique applied has to be applauded. There are many more film techniques in terms of camera movement like panning shots and low lighting that has been applied to express the singularity of the characters. These efforts to produce the final product has definitely been well excuted by the director, Wong Kaw Wai and three Directors of Photography, Christopher Doyle, Mark Lee Ping-bing, Kwan Pun Leung.  More films like this should be made to maintain the German Expressionism techniques so that it does not dissolve along filmmaking journey in the future.

References ;

Walker. P ( May, 2011 ). My favourite film: In the Mood for Love. Retrieved from ; https://www.theguardian.com/film/filmblog/2011/dec/19/in-the-mood-for-love