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

ParaNorman - Film Review

     ParaNorman (Chris Butler., & Sam Fell. 2012) is a mystery and fantasy animation which attracts audiences at various ages. Despite it being animated, the film is targeted for mature audiences unlike other animation. at the other hand, the film may not be advised for children below the age of 12 for certain inappropriate content like sexual and violent elements in it. The purpose of this review is to look the film in thorough and understand the theory applied in the entire movie.

     The film is a supernatural and unnatural horror due to the element of zombie being added. In conjunction to mixed genre being combined, it could be considered hybrid genre. At the same time, the application of both semantic and syntax allows complementary to occur. For example, mix and matching the elements of each genre applied in the film, for instance zombie horror elements and fantasy where fictional scenes in the film are applied. Apart from that, melodramatic elements have been added into the film. For example, melody music being added into the film. Furthermore, Chris Butler and Sam Fell has succeeded applying post-modernism into the film by breaking the animation film type to an older aged audiences and questioning in the existing knowledge on horror. To conclude the theory application, both the directors deserve applauses for the attempt of mix matching genre and writing a new type of script.

     The film is about Norman Babcock voiced by Kodi Smit-McPhee, who has an extraordinary ability to converse with the deceased. This is somehow not trusted by people around his social circle due to his interest in dark elements, for example the set up in his room and the kind of movies he watches. He then meet an old grumpy man, who he is not supposed to welcome into his life, his uncle who tells him that an old century witch’s curse is real and is about to haunt the town. Norman is the only person who has the powers to fight the curse and goes on with the pursuit to strive for glory. Along the way, a group of zombies come as hurdle to stop him for his pursuit. With the assistance of people around him, like his friends and sibling, he goes on for the attempt to fight against the witch’s curse and succeeds it.

     To initiate with the analysis, overall flow of the film has definitely been brought well in terms of the characterization and his journey throughout the film. For example, a lonely kid being bullied in school and having a different type of interest which keeps him away from everyone is normal in teenage based films but succeeded in engaging the character of Norman with the audiences. Also, Norman’s journey in fighting the quest of defeating the witch’s curse has been well-constructed and written. This movie has definitely fought the norms of animation films and changing the type and age group of audiences. For example, spiritual content being applied in this film. Dark art being explored in depth and applied made the film not appropriate for kids below certain age category but suitable for adults and teenagers. Then the application of sexual content when Courtney, Norman’s sister falls for Neill’s brother after seeing him in towel and Neill’s brother exposing himself being gay in the end. This may not be good elements for kids below the age of 12. Then the violence in the film. There is a lot of violence in the movie, especially the climax when the people in the neighborhood takes all types of weapons to fight the zombies and Aggie’s fight with Norman in the end. This goes by to not only expose violence but dark arts which may be too in-depth for children.  Finally, the both directors deserved a hats off for mixing various genre into a film. For example, Supernatural , Thriller , Horror , Mystery, Sci-fi into an Animation. The brave attempt may have been applied in normal film but this is one of the first in animation movies.

       To conclude the overall review, Paranorman is definitely a new type of animation movie for breaking  the stereotypes having the thoughts that animation movies are just for children. Furthermore, the flow of the movie and plot has been well driven with an engaging character of Norman. Despite having a lot of inappropriate factors, which questions the suitability of kids watching the movie, the in-depth study and detailed application of dark art has made the movie a movie thrilling and entertaining horror cartoon. The Postmodernism effect being applied by Chris Butler and Sam Fell of breaking cliché has definitely been a plus for the movie, allowing and encouraging more filmmakers to make animation movies for adults. More films like this should be made for adults to change people perception that cartoon are just meant for children.

  References ;

  (Paul Asay, 2012) Paranorman : Film Review. Retrieved from ; https://www.pluggedin.com/movie-reviews/paranorman/