Quentin Jerome Tarantino. Where does one begin? From the violent action scenes to a twist in a diner, Quentin Tarantino has no limits. He has been working in the film industry for quite some time, as a writer, director, producer and more. He even has his own production company called A Band Apart, a name inspired by one of Quentin’s idols, Jean-Luc Godard. Quentin Tarantino made his debut with Reservoir Dogs (1992), which follows criminals in a jewelry heist that gets busted by someone who could be their own. From the start, Quentin has been making violent thrillers that attach viewers to the characters so realistically that they can’t help but be invested in the story line. Viewers remember a Tarantino movie, they have a “thing” about them that is so captivating. Since Reservoir Dogs was received so well, making a worldwide gross of $2,859,750, Tarantino was definitely a star on the rise, and Hollywood had no idea what was coming. 

His next movie, Pulp Fiction (1994), is quite possibly his most iconic work. If you don’t know Ezekiel 25:17, do you even know Quentin Tarantio? This film was especially important because it was one of the first films to distort the linear storylines of movies. So from early on, his writing and directing skills have certainly shaped what it means to produce a work of art in the postmodern era. Since he has been working in this industry for about 30 years, people know what kind of movie to expect when they see his name. Expect non-linear storylines, references to current culture and past films, extreme violence, tributes to time periods and people, repetion of actors, and alternate endings. Quentin Tarantio knows himself, knows what he likes, and he knows how to make his visions a reality. He has left such an imprint on the industry that he has knowingly, or unknowingly, created a genre of his own. This genre is called “historical revenge”. It focuses on events that actually happened, takes place in time periods that are historically accurate, and he even uses real life characters to increase the realness of his movie universe. He has created an alternate universe that has experienced the same events as the world we know, but in this universe, his characters are usually the heroes and who end on top. Audiences know the true history, but they are granted relief knowing that maybe, in some other world, life was different. Specifically his films Inglorious Bastards (2009), Django: Unchained (2012), and his most recent blockbuster hit Once Upon a Time in Hollywood (2019) all fit in the historical revenge genre. 

Inglorious Bastards, written and directed by Tarantino, is a war drama filled with action, violence, and satirical comedy. It follows a group of Jewish and American Nazi killing “bastards” as they plot to destory the Third Reich in an epic, brutal killing spree. Brad Pitt, Christoph Waltz, Michael Fassbender, Eli Roth, and Diane Kruger are just some of the talented actors in this movie. Despite some of it’s dialoug, Inglorious Bastards does have a deeper meaning than scalping Nazi’s. It is a message of how powerful film as a media can be in a society. During WWII, Germany’s propaganda was heavy in violence and of the support of the Nazi party. Films made in this period reflected the society in its worst traits. Even the movie that Daniel Brühl’s character Fredrick Zoller stars in is about being a war hero for the Nazi’s and the audience in the theater is very pleased by his violent acts. Movies that politically violent just had not been made popular in the U.S. yet. The film he stars in premiers at a theater that will be filled with leaders of the Nazi party and other political figures. However the theater is owned by a Jew, who will help the Bastards destroy the Nazi’s once and for all; in Tarantino’s universe at least. It’s historically accurate in the mise en scen and settings, but especially the characters. Hitler’s even in this movie, how more real could it be? The ending of the movie is where Tarantino really ties it up with a bow. The Jew who owns the theater hijacks Zoller’s film and puts herself in it to relay a message to her audience. She says they will all die, and with the flick of a cigarette, a pile of film behind the screen catches on fire, and proceeds to completely destroy the theater. The Bastards left inside the theater get to blow Hitler’s face off and get the satisfaction of knowing they ended the war. The audience experiences this event with satisfaction as well, knowing that real-life killers get what they deserve.

Something viewers have learned from Tarantino’s movies, is that revenge is best served hot, with a side of extra flames. His movie titled Django: Unchained solidifies his genre of historical revenge. This spaghetti western inspired film follows a slave named Django as he and a German bounty hunter look to save Django’s wife, Broomhilda, from a notoriously violent plantation owner, Mr. Candy. It stars familiar faces like Samuel L. Jackson and Christoph Waltz, as well as new faces like Jamie Foxx and Leonardo DiCaprio. This movie takes place two years before the civil war, and deals with the brutal reality that once was apart of the United States. Although this film sparked controversy of Quentin’s true intentions of the film, it was one of the first films to accuratly depict the violence that came along with slavery. People questioned why the film was littered with comedy, because slavery is a shameful part of America’s past. Especially with political movements today such as Black Lives Matter, it’s not something that people can just talk about; for good reasons. It wasn’t going to be Twelve Years a Slave, the audience should’ve know Quentin’s style by now. He shows a lot of unsettling experiences that viewers remember, and that’s his kind of movie. But he also gives viewers gratification that history could’ve been different. Django gets revenge and then some by the end of the movie, so what does it matter if everything is historically on the nose? His characters in his universe got what they deserved, good and bad. It’s a re-telling of slavery in the slaves favor. And just like Inglorious Bastards, this movie ends with Mr. Candy’s plantion going up in flames, symbolic of the fact that slavery will eventually go up in flames, and life will never be the same.

His most recent film, Once Upon a Time in Hollywood, is a personal revenge story from Quentin’s personal wishes. In 1969, the world of Hollywood was completely taking a turn. The story follow Rick Dalton (played by Leonardo Dicaprio) a fading actor who can’t keep up with the transition from television to movies at the turn of the 60’s. His stuntman Cliff Booth (Brad Pitt) also is affected by this transition because if Rick doesn’t have a job, neither does Cliff. The two buddies cruise around Hollywood, trying to keep themselves relevant, but they fail to understand the youth cultures demand and influence that was shaping the industry. While Cliff and Rick have their lives taking place, Quentin also has another story line running through the movie, which is the story of the Manson family murders. The audience is introduced to Sharon Tate, Roman Polanski, and even shows Spawn Ranch, where in actual reality the Manson family resided. 

As an upcoming actress in the new Hollywood, Sharon Tate contrasts completely to Rick Dalton’s character, as he symbolized the death of the Golden Age of Hollywood. This movie is packed with tributes to movies, T.V. shows, actors, places, events, practically everything going on in Hollywood and Los Angeles in 1969. Tarantino said that this movie was a love letter to Los Angeles, as he was 6 in 1969. His childhood revolved around this era, and has clearly shaped him into the artist he is today. In our society, something as brutal as the murder of an almost 9 month pregnant movie star and her friends, will never be forgotten. Audiences know the fate of Sharon Tate, but in Quentin’s universe, things turn out for the better. Members of the Manson family enter Rick’s house instead of Sharon’s house, and decide to kill everyone inside as well. They have no idea what they got themselves into, but boy did they get their butts kicked. Faces mashed in, a dog attack, and a flame thrower; all things Quentin has touched on before in his films, make their appearance in his characters favor yet again. Rick and Cliff kill the real life killers, and Sharon Tate lives. This movie falls in the historical revenge category because of the fact that what happens in the movie favors Quentin’s characters and gives proper justice to real-life events and people. History occurred different in Tarantino’s universe, and it leaves the audience with a triumphant feeling knowing things played out differently.

So if Tate and the other victims had lived, who knows what Hollywood would’ve been, or where the direction of society would’ve gone. Tate’s death symbolized the end of the swinging 60’s, and birthed a harsher and more violent culture in media in the 70’s. Those events impacted the world so much that they are still talked about and remembered as one of the most brutal acts ever committed. But for 2 hours and 41 minutes at least, we are given a look at what life would’ve been if things were just a little different. Even though Cliff didn’t exist, he still was able to get revenge on the twisted Manson family, and helped change the course of history in that Universe. Django didn’t exist either, but he was able to get his revenge and stand up to slavery and everything it stood for. Although the Bastard’s were inspired by real people, they never existed how they did in Inglorious Bastards, but they got revenge on the Nazi’s for the whole world: Hitler was killed and the war ended! In Tarantino’s universe, anything is possible. But what makes his genre of historical revenge so powerful and unique is that it erases the true events of the past and sucks viewers into this province, where they are granted a second chance on viewing monumental events. Tarantino does a favor by creating these movies by allowing the audience to not think about the truth, but to focus on the “what if’s” if these events were reality. To have such serious events in history like the these films address: slavery, the Manson Murders, and WWII played out cinematically in a way that differs from reality, ensures constant reminders and remembrance, because these such events deserve to have the attention of the world forever. 

Works Cited:

https://www.imdb.com/title/tt7131622/?ref_=nm_flmg_dr_2

https://www.imdb.com/name/nm0000233/

 http://thenewbev.com/blog/2019/09/once-upon-a-time-in-hollywood-round-table/ 
 https://birthmoviesdeath.com/2019/09/30/once-upon-a-time-in-hollywood-the-final-rodeo

Is something evil going on? By: Rosie Borquez

Psychological Thrillers are popular among audiences because they promise one thing, a compelling sinister story that is sure to stick with you. A psychological thriller is different than that of a horror movie due to its focus on the psychological states of the characters. A psychological thriller can be identified by many things extreme close ups being one of the most noticeable factors. We see this in many films as the shot goes from a long shot to a close up shot; the scene is felt chilling and even in silence the scene says a lot. We see this in The Silence of the Lambs(1991) directed by Johnathan Demme, when Claurice speaks with Dr. Hannibal Lecter, in an attempt to catch another serial killer, most of their interactions are seen in these intense close up shots. Two people completely opposite on paper, carry on a conversation so entangled in metaphors, so chilling in truth it’s hard not to pay attention. This is what a psychological Thriller does, in an attempt to insert a metaphor, “it sucks you down a rabbit hole”.   

Another distinguishing characteristic in Psychological thrillers is the lighting, low key lighting being the most typically used in Psychological thrillers. This is done in an attempt to crate this dark and mysterious senseful setting. This is depicted in Split (2017), a film directed and produced by M. Night Shyamalan, one of many works that hold a home in the Psychological thriller category. This film is a sequel to the 2000 film Unbreakable, also directed by M. Night Shyamalan. In the ending scene of this film, we follow Casey, one of three girls kidnapped by Kevin Wendell Crumb, a man with 24 different personalities, escape as the worst of the 24 referred to as the monster chasses her down a dark corridor. This scene is a very vivid example of low-key lighting as there is an emphasis on the dark shadows that create a scene of fear. The low-key lighting adds to the chilling sounds we hear and see. In this scene, there is also a close-up shot that may just give one reason to keep the lights on. 

Psychological thrillers are meant to unsettle us, scare us, maybe even add a cringing effect for some, but that is what makes them so appealing. After all this film is part of a trilogy; people kept paying to watch discomforting material. This is the implied agreement that exist between the audience and the film maker. It is the unspoken social contract that exist in the bylines of the tickets purchased for a film like Split or The Silence of the Lambs. Unsettle me or Refund me ! Although, there is very little to contemplate, chances are if you’re watching a film that is a psychological thriller, you are almost sure to be disturbed, spill your popcorn and mutter WT% under your breath. 

Films like Split (2017), The Silence of the Lambs (1991), and Gone Girl (2014) belong to this genre due to its emphasis on the unstable characters that are perceived as “insane”. Psychological Thrillers incorporate this sense of mystery, horror and drama but focuses on the psychological aspects. For example, The Silence of the Lambs (1991) focuses on Dr. Hannibal Lecter who is ironically a psychiatrist turned serial killer. In Split (2017) there is a focus on Wendell Crumb, who has 24 different personalities that appear throughout the film; and then there’s Gone Girl (2014) directed by David Flincher, a film which focuses on the very disturbing rationality of a scorn woman. From the outside world, her marriage seems blissful her life appearing seemingly normal, but for lack of a better analogy, Amy is “psycho”. After she murders a man she returns home after having beaten herself up and assumes a story of a damsel in distress. Her husband was being investigated for her murder which she framed him for and she returns having had run out of options and money. She concocted a story suggesting she had been held against her will, raped and abused. This film emphasizes the suspenseful psychological process of an insane woman. These films perfectly define and demonstrate what a Psychological Thriller is. 

Editing also plays a huge role in Psychological thrillers, in Gone Girl (2014), we see a lot of dissolves which is meant to emphasize time elapsed as we are watching a film in past and present. In Split (2017) we see a lot of fast cuts, which is done in an attempt to heighten the sense of fear in a scene felt by the audience. Sound also has an effect, many psychological thrillers do well in only adding sound when needed, the silence in the room when Dr. Hannibal Lecter and Claurice are speaking send chills down your spine that the adding of music in the scene would ruin. We see this in Split (2017), when Casey and Wendell Crumb’s 24^th personality are speaking it is at first silent and then ever so naturally as he refrains from killing her and says, “your heart is pure” the music is heard and he falls back into the dark and out of frame. 

If you take away the acting in these films, you are left with the mise-en- scene, the lighting, the editing and the sound. These are giveaways to the kind of film you are watching, these styles are also reflected in horror movies, but I guarantee you are sure to point out a psychological thriller from a Horror film. 

Psychological thrillers are the kind of films you watch with your hands; they cover your eyes, your mouth and hold your head; but there is hardly regret in watching the films that belong to this genre. It aims to disturb, but I’ve always wondered, what is indeed more disturbing, these films or people who make them?

Works Cited:

https://www.rottentomatoes.com/m/gone_girl

https://www.psychologytoday.com/us/blog/reel-therapy/201702/split-horror-side-split-personality

https://the-line-up.com/best-psychological-thriller-movies

Makenzie Morrow

Midsommar is a film that redefines horror movies. There are few horror movies that are set in the daylight, which makes this film feel eerily too real and yet still a fantasy. Directed and written by Ari Aster, the film comes only one year after his first feature length directorial debut Hereditary. Midsommar is considered a folk horror, and at the very base it is, but it also subverts this genre. 

After watching this film, my first reaction was, “what the hell did I just watch?” and I know this was a common feeling among other viewers. This movie is one that you think about hours after it has ended. 

In the beginning of the film, the viewers see a mural on the screen. At this point (if it is your first time watching) you do not understand the significance of the artwork. 

After watching the film, you realize this beautiful work of art that flashes on the screen is the whole plot of the movie. Ari Aster has told us the story of this film in a 30 second shot.

    To further explain, Midsommar begins with a tragedy for the protagonist, Dani. Her sister kills herself and her parents by carbon monoxide, leaving Dani famlieless. This incident brings tension in her relationship with her boyfriend, Christian. Christian and his friends were invited to a midsommar celebration in Sweden, by their friend Pelle who is originally from a commune there. The dark beginning stands in stark contrast of where the movie leads and ultimately ends. The plot relocates to this village just in time for the nine day festivities of midsommar to begin. The films Mise En Scene is communicated to the viewers through paintings, as well as set design and the beautiful costumes of the village people (Mise En Scene is a huge part of this movie). At this commune, strange traditions are being unraveled to Dani and her friends. Psychedelics are being used and the viewer gains access to their altered state through prolonged shots and pulsating visual effects. A lot of yelling among the commune members is shocking, and makes you even giggle. But after a particular scene, Dani starts yelling and the commune members join her, which is a realization to the viewer that she is not alone. What she feels, everyone else feels it too. She may be going through a crappy relationship, her family has passed away tragically, and she feels alone….but she is not alone here. I will not give away much more, as you should see it and get a better understanding of what this film means to you.

    One of the more remarkable and surprising aspects of this movie is just how funny it is. Something that would have seemed like an impossibility after the dark opening scene. Most of the humor lies on Christian and his friends that react and provide commentary on what is happening around them. For the viewer, it feels uncomfortable and awkward to be giggling at some moments, but the things that happen on this commune are just plain outrageous and silly.

    The bright, pastel colors runs counterintuitive to what we associate as a horror movie. Things tend to become spooky at night rather in daylight, but this contrast makes the film feel real and unsettling. The brightness lulls us into a false sense of security before leading us to the hard fact of life, awful things happen no matter what time of day. For me, seeing this sort of horror in the daylight made me feel anxious, which I have never quite felt watching any other horror movie. The bad psychedelic trips in particular, not much was said from the actors during these scenes but the way Dani dealt with it physically made me as a viewer feel her same emotions while watching it.

    I would also like to take a moment to highlight the films extraordinary score by mastermind Bobby Krlic. Krilic composed diegetic music in addition to the score, ritualistic chants that the villagers sing, written and performed with traditional Nordic instruments and a vocal language developed specifically for the film. https://youtu.be/fd014sIrTgM 

    Ari Aster explains this film as a breakup movie dressed in the clothes of a folk horror film. It is not a straightforward horror film, it has elements of a comedy, drama, and at the very end, a very twisted feel-good movie. It deals with grief, betrayal, breakups and more in a very unique way. In an interview he explains he likes the horror genre ‘guidelines’, which is still present in this film. There even is a ‘final girl’, but even though this film is set up as a horror, I believe he still subverts the idea of what a horror movie usually is. I believe Ari Aster has made his own subdivision of folk horror with this film, and I highly recommend giving it a watch to those that have yet to see it. 

Sources:

https://www.imdb.com/title/tt8772262/

https://www.theatlantic.com/entertainment/archive/2019/07/ari-aster-midsommar-interview/593194/

https://www.michigandaily.com/section/arts/“midsommar”-mesmerizing-genre-bending-beautiful-nightmare

Edgar Wright has directed several music reliant films such as Shaun of the Dead, Hot Fuzz, The World’s End, and Scott Pilgrim vs. the World, and Baby Driver takes this reliance a step further by choreographing parts of the film to its soundtrack. Every action sequence with music is synchronized to the diegetic music that is playing in the background, giving the film its own spin on the heist genre. In Baby Driver, Edgar Wright parodies the heist genre in its action sequences by taking the focus away from actual robbery and putting it on the getaway driver, while also making it a musical. Making mock-heroic films is part of Edgar Wright’s style by creating unlikely protagonists or over exaggerating the action genre. This style is perfectly executed in Baby Driver as the choreographed getaway sequences are so engaging that the heist and musical format blend together and become one.

In Baby Driver the personalities and actions of the characters are extremely exaggerated, which reinforce Edgar Wright’s mock-heroic style. The mise-en-scène has this trope feel as well where everyone are wearing generically “cool” outfits during heists, they refer to each other by code names, and they wear rubber Halloween masks. This is then juxtaposed by Baby who is always wearing normal peoples clothes with sunglasses on to hide his face. By making Baby the most plain looking character he stands out among the rest and makes it seem like he is the special one. To further emphasize Baby, the side characters have overly emphasized “bad guy” personalities while Baby is very quiet and keeps to himself. For example, the group is led by a man nicknamed Doc, who creates all of their genius plans. There is a couple nicknamed Buddy and Darling who are “partners in crime” and Buddy looks like what a stereotypical heist film protagonist would look like with slicked back hair and a very fit build. Lastly there is Bats who acts completely on impulse, and causes most of the issues for the group. These characters in comparison to Baby are conventionally cooler than him, but Edgar Wright decides to put a spotlight on Baby to create an unlikely hero because even though Baby does not look “cool”, or act “cool”, he can drive fast. Baby Driver’s characters and mise-en-scène make Baby to be a likable protagonist who is also the least likely out of them to be there, but this idea furthers Edgar Wright’s mock-heroic vision.

The focus of Baby Driver are the choreographed car chase scenes where Baby performs impossible feats all synced up to whatever song he is listening to. This film is atypical to a normal heist film as very little of the robberies are actually on-screen. When the heist is in action the viewer is put into the car with Baby while he waits for the job to be finished, and chooses a song for his getaway. Traditionally the focus would be on the bank robbery, but because Doc is an expert at planning heists, they always go according to plan as long as everyone participating does their job. The only part that Doc does not account for is how Baby wiggles his way away from the police. This precedent in the film allows for all the focus to be put on Baby because the viewer knows the robberies are always successful, and they do not need to see them. Having the getaway as the focus instead of the robbery parodies the heist genre as it is a complete reversal of the norm of heist films, where the action is during the robbery and the getaway is pushed off to the side. In addition to the stunts performed in the action scenes, the diegetic music heard is also important. Without the music, the editing and cinematography of the action scenes are very impressive and good on their own, but with the soundtrack added the action scenes are made complete, and they compliment each other perfectly. Edgar Wright’s method of choosing the song for a scene and then filming it helps the mock-heroic vibe of the film because of the context that Baby is also timing his driving to the song as well. By poking fun at the heist genre using the musical genre, Edgar Wright is able to parody heist films while disguising he is doing it.

Baby Driver is able to parody heist films so effectively because of its stylish mise-en-scène, soundtrack, and cinematography. The film is made to look like a generic action movie in the opening scene, but then very quickly you follow the story of the getaway driver with tinnitus, and it pulls you into its own world separate from the heist genre and closer to a musical. Edgar Wright’s style of mock-heroics shines through in Baby Driver because of its over exaggeration that also makes it a fun film to view. The reliance on music is something that is integral to Baby Driver as without it it would not be able to parody the heist genre nearly as well.

Sources

https://www.imdb.com/name/nm0942367/

https://www.imdb.com/title/tt3890160/

https://www.theguardian.com/film/2017/dec/17/edgar-wright-baby-driver-oldest-idea-biggest-hit

https://www.britannica.com/art/mock-epic

https://www.youtube.com/watch?v=PEQEgpyrQ3Q (Trailer) 

If you’re looking for a movie that will engulf you with its heart felt emotion, capture you with its freakish and utterly bizarre animation and turn your stomach with its outlandish visuals and messages, Pink Floyds “The Wall” is a perfect film for that. Alan Parker’s adaptation of the popular Pink Floyd album “The Wall”, with the screen play written by Rodger water, portrays the key theme of isolation stylistically and distinctively in a manner that allows the films narrative and protagonist to express devastation through a purely visual medium. Utilizing both live action and animation by political cartoonist Gerald Scarfe, and the songs from the Pink Floyd concept album. With these concepts in mind this films genre can be argued as an anime, drama, and musical all in one, which is a strange combination of different elements that I personally think is what makes this film stand out.  

A short summary on “The Wall”, aside from being a phenomenal album, is about a successful, yet drug addicted musician named Pink, who is reliving his rather scaring, isolated childhood in a Los Angeles hotel room. With an array of flashbacks and drug induced hallucinations, Pink is reliving his lonely upbringing as being a child whose father was lost in the war. Being a child with no father and lonely state of mind, Pink builds a symbolic wall to separate himself from his mother and the world he has come to know.  

Animation is where this film truly grasps the viewer in my opinion. Through its political, dark imagery Gerald Scarfe knocks it out of the park with his depictions of war time in Europe. As a young boy Pink loses his father in the war which can be depicted through live action and animation. An example of this in animation can be noticed by its highly apocalyptic imagery and animated sequence that illustrates a dove being graphically transformed into a large black bird with sharp talons swooping down and ripping a piece of the city out of the ground, leaving a bloody wound on the land as it fly’s away into the dark cloudy sky. Accompanied by the powerful song “Goodbye Blue Sky”, this scene is my favorite from the film as it has a gut-wrenching, sinister vibe that it gives off, alluding to the horrors that war provides. Along with many other animated scenes in the film, this scene is a fantastic example of animation and the power that it can hold in a film that simply could not be accomplished through live action screenplay.  https://www.youtube.com/watch?v=UJERIgkekmg  

This can be included within the world of drama through a scene involving a song that is arguably the most recognizable song from the album, “Another brick in the wall pt.2”. Dramatic films are meant to shows us human being either at their worst or somewhere in between, and that is exactly what this film can do so well. Contributing to Pink’s isolation which is aided by his teacher, Pink writes in a little black book which is ridiculed with persistent scrutiny from his old miserable teacher. His teacher takes it from him and mocks him for his writing, while allowing the class to join in on the verbal abuse that the teacher is giving out as well. Although Pink should have been paying attention in class, his teachers reaction improves nothing of the situation. Turning Pinks school classroom into an unwanted bad environment which aids in Pinks isolation as he grows older. This can be further reinforced by the sequences that follow. Accompanied by Pink Floyds “Another Brick in The Wall pt.2”. Children are seen wearing bizarre and unsettling masks that make them unidentifiable to the viewer, are seen walking through a machine in single file lines, forcing them to work at their desks. Finally, they are then led to the students falling into a meat grinder. These metaphorical images reflect Pinks own experiences and feelings towards the school. It gives the feeling that the education system is only there to keep the children restricted and depressed. Next in the scene, the students backlash and burn the school to the ground, even throwing their teacher onto the fire. This reinforces that Pink Floyds “The Wall” is an excellent example of drama because all of that was in Pinks imagination. Revealing a lot about Pink this scene dives into how Pink uses his imagination to flee from the hardships of the real world.  https://www.youtube.com/watch?v=m55RDNlWnLI&t=217s  

When people think of a musical, often that will translate to a Disney movie or a movie that you can also see on Broadway. Alan Parker does a fantastic job capturing the attributes of a musical within this film. To understand fully on how a musical genre can be interpreted, this film can be compared to a Broadway show, in respect to its choreography being in tune with the music being played. Stylistically, this film is far different than any Broadway show, but I only use that comparison to help explain the genre. When watching the scene where Pink is sitting in his hotel room by himself strung out on drugs, he is accompanied by one of my favorite Floyd songs, “Comfortably numb”. Aside from being a near perfect song, the editing involved between Pink as an adult in his current state and being paired with flashbacks as him as a child, create an aesthetically beautiful scene.  A group of individuals break into Pinks room and find him unresponsive and in sync with the song lyrics can be viewed saying “Hello, hello…is there anybody in there?”. These lyrics from the song go hand in hand with the choreography and provide a sense of unity between the music and screenplay, thus providing evidence to a musical genre. Another example within the same scene can be found when the song says, “it’s just a little pin prick” and simultaneously Pink is being injected with a needle of some sort of medicine, which he then proceeds to scream which is directly from the song. There are other elements within this film that aid in this opinion of musical drama however, this example is my favorite.  https://www.youtube.com/watch?v=J8fFVOoqepc  

In conclusion Alan Parker’s Pink Floyd film “The Wall” is in my opinion an underrated film that many people have not seen. This is a powerful film that is meant for an older audience to be interpreted correctly.  This is a great example of a film that contain ingredients from genres such as, anime, drama, and musical. If you have not seen this film and are a Pink Floyd fan, then add this to the watchlist.  

Works cited: 

https://www.rogerebert.com/reviews/great-movie-pink-floyd-the-wall-1982. 

https://www.rottentomatoes.com/m/pink_floyd_the_wall

https://www.theguardian.com/music/2016/jul/15/pink-floyd-the-wall-film-review-1982

Of all the various genres found in cinema, the broadest is drama. From melodramas to tragedies, star crossed romances to crime reenactments, numerous films could be labeled as a type of sub-genre to drama. In 2001 Gus Van Sant, a film director and writer known for his various works in this genre, released Finding Forrester. Similar to Van Sant’s previous work Good Will Hunting, Finding Forrester feature a young man full of potential tasked with making a life changing decision. Both films include a wise older mentor, who guides the protagonist throughout the film. While both are considered drama films, the plots differ in resolution and theme. But why does Finding Forrester classify as a drama? To answer, we must first define drama in film.

Drama is the realistic portal of characters in conflict with either themselves, others, or forces of nature in life situations (filmorg). As a genre drama has some of the most diverse themes, covering topics such as social injustices, drug addiction, mental illness, and social roles to name a few. However, the plot elements of a drama typically remain the same. To begin with dramas are set in realistic times and places, and focus on realistic issues. A story set in a galaxy far far away or at an enchanted school would not be considered a drama. Typically, the main character is relatable or sympathetic to the film’s target audience. Think of Karate Kid protagonist Daniel LaRusso, who moves far from home only to be labeled an outcast and bullied. Most importantly, dramas show the main character at their emotional highs and lows as he or she tries to make an important decision, or overcome a critical issue. At its core drama is a genre focused on showing what it means to be human: how everyday people overcome adversity in various forms.

The opening credits of Finding Forrester establish both the setting and theme of the film. The first scene  opens with a medium wide shot of a young man rapping over the song “Coffaro’s Theme” by Bill Frisell Quartet. As he sings the camera cuts thirteen times to places throughout the Bronx, New York City. The movie is blunt and honest in its portray of the neighborhood, showing vandalized buildings, dilapidated homes, and a giant sign in the shape of a hand motioning to stop, or go back. However while the setting seems bleak, it is the people who most stand out in these brief shots. A boy walking home with a single bag of groceries, two women laughing with the skyline in the background, a father spraying his sons with a water bottle to cool off in the summer heat. People living their lives as best they can, and finding happiness along the way. Within the first three minutes of the film audiences understand that Finding Forrester is set in 2000s New York, and can infer that the film will be incorporating themes of social inequality. The last shot in the opening credits gives audiences their first impression of Jamal Wallace, the film’s protagonist. Here, the camera pans up on a stack of well-read books containing biographies of famous writers. Within the first few minutes of the film the tone and themes of Finding Forrester are established in a realistic time and place, checking off our first criteria for a drama film.

Like many of Van Sant’s films Finding Forrester stars two brilliant but isolated main characters. Jamal Wallace (staring Rob Brown in his first performance) is a sixteen year old writing prodigy who hides his talent and love for literature from his friends and classmates. Instead Jamal practices basket, as that is where he feels he will be most excepted in society. One night, Jamal’s friends dare him to sneak into the apartment of “The Window”, the home of an old man who has become an urban legend on their block. Jamal climbs up to the apartment and gets distracted by the numerous books he finds there. The ‘hook’ of the narrative happens when Jamal, having been startled by the homeowner, flees the room but leaves his backpack along with his writing notebooks behind. The next day Jamal finds that his bag has been returned, but all of his writing has been critiqued. This starts his relationship William Forrester (played by Sir Sean Connery), the reclusive old man from the apartment who begins to mentor Jamal in his writing. It is later discovered that Forrester is a famous author, having published only one book that was considered by many critics to be ‘the greatest book of all time’. Bitter, sharp tongued, and an alcoholic, Forrester seems to resent his fame and has lived in hiding for over fifty years. Jamal’s promise and naivety matched with Forrester’s cynical attitude but vast life experience has been compared to other mentor-student relationships in film, such as that of Charlie and The Cornell in Scent of a Woman. In both films the duo develop a close, almost father-son relationship over time. Both characters are incredibly relatable.  This is shown through scenes of Jamal struggling to find where he most wants to be excepted, for his talent as a writer or his value as a skilled basket ball player. Forrester on the other hand battles against his past regrets, having lost his older brother not long after the release of his book due to an accident that Forrester blames himself for. Younger viewers can relate to Jamal’s struggles and fears of the future as he battles to find acceptance and his own self worth, while more mature audiences can empathize with Forrester’s regrets.

The most promenat feature that can be found in any film drama not mater the sub-genre, is having the protagonist come to an important (often life changing) decision. The decision Jamal must face is what he wants to be most valued for—his skills as a basketball player, or his talent for writing. Jamal first reaches this crossroad when he is offered a scholarship at a prestigious prep-school early in the film. While the school accepts him for his outstanding test scores, they also push him to take a spot on the basketball team. The stakes are raised by the fact that Jamal’s English teacher Mr. Crawford (starring F. Murray Abraham) refuses to acknowledge Jamal’s intellect, stereotyping Jamal as just ‘a black basketball player from the Bronx’. After Jamal humiliates Crawford in front of his class, Crawford threatens to have Jamal expelled once it is discovered that a piece of Jamal’s writing shares the opening paragraph of one of Forrester’s works. The board of directors gives Jamal a choice—if he can win the championship game, they’ll let the whole thing disappear. With only seconds left during the championship game, Jamal makes his choice: he intentionally misses the last two shots, throwing the game.  The next day Jamal sits at the school hearing, refusing to be intimidated anymore by Crawford or the Board. He states, “It’s still my school man. If they want me out, they have to do it themselves.” Something that stands out in this scene is Jamal’s attire. For the first time in the film we see him dressed completely in the school’s uniform. This detail shows that Jamal has finally picked his own path—he has chosen he values writing more than the praise he’s received from basketball, even if others refuse to acknowledge his true talent. Jamal comes to the conclusion that he decides his own self-worth—a powerful and inspiring message for audiences of all ages.

Drama is considered the broadest of all genres due to its various sub-genres and themes. Finding Forrester could fit under numerous drama categories, including a social drama, coming of age, and student-mentor film. However, every drama film includes three key elements: a realistic setting, relatable characters, and a plot centered around an important decision.  While Finding Forrester and Good Will Hunting both feature young prodigies, the protagonist each come to a different decision about their future—Jamal choices to grow his talent, while Will decides that love is more important to him than any fame he could receive in academics. While both films incorporate different themes, each a worthy addition to the ever growing film drama.

Cited Sources

https://www.filmsite.org/dramafilms.html

https://www.rottentomatoes.com/m/finding_forrester/

https://www.imdb.com/title/tt0181536/

https://thescriptlab.com/screenplay/genre/952-drama/

https://prezi.com/rb5k_semwcvg/drama-as-a-genre-codes-and-conventions/

https://tvtropes.org/pmwiki/pmwiki.php/Main/MentorArchetype

Welcome to the course blog for Introduction to Film Studies.