Posted in Uncategorized on December 13th, 2010 by Brad Bujan

Psycho, a film done in 1960 and directed by Alfred Hitchcock captivates the mind. Though in present times, more psychological thrillers are being panned out, it is close to impossible to imagine how this piece was perceived in that decade to be nothing less that shear genius.

Psycho is a film about a demented killer who has a series of complex issues. Killing his mother and warped by the anguish Norman Bates creates a persona of his mother in his head. Norman kills Marion Crane, the short lived lead of the film. Marion had recently stolen $40,000 from her employer and so had a private investigator on her tail. A mysterious woman figure kills Marion as she showers in Bates Motel, a motel owned by Norman Bates who lives with his mother not too far from the motel. Bates hides Sam Loomis body as well as her car in a swamp to protect his mother who is believed to have done the stabbing.

The film progress with the introduction of the private detective, Marions sister Lila and Sam Marions lover. The private detective is killed and doesn’t return which further raises suspicion. As Lila reports the incident to the local police department a startling discovery that Normans mother had died ten years prior raises eye brows. Lila and Sam both determined to find out what happened to their beloved attend Bates Motel in order to figure out what happened. Attempting to act a as a couple who was just passing by Sam distracts Norman as Lila checks out the house where Norman and his mother supposedly live. After a dramatic thrilling process of Sam being nocked unconscious as Norman pursues Lila who finds Normans mothers dead body in the basement and is saved by Sam who fends of Norman I was awestruck.

Such a masterfully crafted piece where the killers identity and the person who tried to protect the killer was one in the same. It was reminiscent of films such as the 2010 blockbusters Shutter and Inception where different adventures happen inside the human mind. I thoroughly enjoyed this film as it kept me on edge till the very end.

Written on the Wind

Posted in Uncategorized on December 13th, 2010 by Brad Bujan

Written on the Wind, a 1956 piece directed by Douglas Sirk I found to be a bit mellow dramatic. Since the the lead rolls, Marylee and Kyle Hadley seem too out of touch with reality. Though wealth has a way of spoiling the mind when not fully appreciated of moderately given, the sibling seem oblivious to how the world revolves. They are portrayed as spoiled children who do not intend to give an inch of ground until they get what they want.

Kyle Hadley after marrying Lucy seems to change his life around until he realizes he is unable in impregnate his wife due to his own reproductive fault. Now Lucy falls in love with Mitch who is Kyle’s childhood friend and also works under his father at the oil refinery. Though this film was greatly directed i felt as if the storyline is so mainstream and predictable. Perhaps its because in modern times we see these different complexities in the upper class and through that anything of a similar context will be dismissed by the mind as a simple predictive problem. Then again maybe its my personal outlook on the world and how people should behave. What especially presented itself as a nuisance is when Marylee attempted to frame Mitch for Kyles death. To press something of such a gravity on someone else, I saw as a major turn off to continue watching the film. As I continued to watch the film I became increasingly agitated by the fact that Marylee admitted to the mistaken killing of her brother instead of sticking with framing Mitch. Just the sight of the crying pathetic look on her face sent the attention switch to my brain off.

Again I’ll say this movie was directed masterfully, what I failed to appreciate was because of my own view of people and the world. Though this was a movie, I still cannot help but become outraged at the characters in it as if they were real people.

The Lady Eve

Posted in Uncategorized on December 12th, 2010 by Brad Bujan

The Lady Eve, a 1941 film directed by Preston Sturges surely grabbed my interest. A witty love story with a fine lesson, I was captured by the comedy and stupidity of mistakes often made in love. The leading lady Barbara Stanwyck plays Jean Harrington an expert con artist who falls in love with the leading male, Henry Fonda who plays Charles Pike. Through a series of elaborate scenes and funny coincidences the two end up together.

Jean Harrington is a con artist who along with her father swindle rich young men aboard ships. Charles Pike is an air to a rather large ale fortune who has finished research deep in the jungles of South America and now returns to a social climate filled with bachelorettes attempting to catch his eye. Jeans initial sentiments were to pull Pikes attention towards her long enough to steal away his riches. What Jean failed to see coming was the love which ensued when they met. As the fell in love Jean no longer seeks to steal away his money but instead attempts to keep him safe and away from her father who continually attempts to gather some sort of riches. Pikes right hand man who looks after him, identifies Jean and her father as con artists. When Pike gets wind of this, he immediately breaks up with her and returns home to his fathers residents. Jean wouldn’t let this slip her by.

Jean meets up with a fellow con artist and constructs and elaborate scheme in which she is ‘ Lady Eve’ a doppleganger of Pikes ex, Jean. Lady Eve woo’s Pike, who is oblivious to who she is even though the answer is so clearly staring him in his face. Led down a road of wild stories of there being a twin sister who was sent away Pike questions no more. Eventually Pike is subject to leave Eve when his perfect romance turns sour as Eve tells him of her past ventures. Pike divorces her and attends an ocean liner where he reunites with Jean(who played Eve if you didn’t follow). Pike gives Jean the benefit of the doubt realizing how honest and straightforward she was and how unique and special he found her.

I thoroughly enjoyed this film as it often deals with how people perceive one another. By taking everything at face value you are unable to see the deeper side of things such as with Jean, though she was a con artist she loved Pike and would never do anything to hurt him. By just hearing the word con artist, Pike runs away. This film teaches a valuable lesson in an enjoyable format.

Citizen Kane

Posted in Uncategorized on December 12th, 2010 by Brad Bujan

A movie which was historic in its own right was Citizen Kane directed by Orson Welles. Welles does an exceptional job creating a glamorous but dark and intriguing piece which focuses on Charles Foster Kane, a newspaper mogul who dipped his fingers into differing aspects of many interests he had in his life. Kane was never satisfied always creating and expanding, private mostly and concrete on making his life and business extravagant and successful.

The film is a series of clips showing reporters attempting to uncover all of Charles Foster Kanes secrets. Though they are successful with uncovering many dirty little secrets a stopping point is when each comes across the term Rosebud. Rosebud appears as a mysterious word, a secret that reached far deeper than any of Kanes associates had been able to uncover themselves. In the beggining of the film we see a sled “Rosebud” in Kanes childhood. The term “Rosebud” is in reference to childhood memories where Kane did not receive the adequate attention he longed for by his parental figures.

After some research I uncovered that Orrin Peck had given to Phoebe Hearst, the mother of William Randolph Hearst who the movie is actually modeled after, the nickname of rosebud. I read on to find that Orrin was closer to Phoebe than her own son William. Now as I thought back on the film i realized the complex that Kane developed. The constant need to fight for attention led to him thinking if he became a big enough success he’d never have to feel that way again. This film, i believe was an amazing piece which left me thinking, wondering and amazed at such subliminal messages.

Film Analysis #2

Posted in Uncategorized on December 12th, 2010 by Brad Bujan

The legendary “Bonnie and Clyde” 1967 film was shot and directed by Arthur Penn. This film was reminiscent of an actual duo of outlaws, Bonnie Parker and Clyde Barrow during the great depression. The films adaption had some disputes with those who were depicted and even encouraged lawsuits against the movie, defamation of character being the prime reason. Though there was some negative feedback from audience members, this film was the beginning of the New Age Era of Hollywood.

This film mostly captures its audience with wit and romance, Penn’s primary objective in the film. Penn shows Bonnie and Clyde as lovers who are hesitant in their own respects and are brought together by a series of adventurous robberies. Bonnie Parker, a girl from a small town is woo’d by Clyde Barrow a recently released prisoner from the state penitentiary. With clashing personalities the story is shaped and unravels into a magnificent film. While Bonnie entices Clyde to commit crimes in order to impress her, Clyde sends Bonnie into flurries of heated unrest as she longs to have him as her own. Penn wastes no time with this fast paced film instantly sparking the epic romance and bloody trail of crimes.

By the time the movie progresses to 6:10 a clip which shapes and orients the entire film begins. A close up of Clyde Barrow gulping down a Cola with a match stick in his mouth while Bonnie tentatively looks on while she sips her drink. Leaning against polls 3 feet away from each other Bonnie continues to tease Clyde about his story of being in the state penitentiary and armored robbery. The close up of her face shows intrigue in her eye while a non chalant vocal while Clyde tries to decide what to tell her next staring off into the distance. Clyde states, armored robbery ain’t like nothing which leads to a medium shot of the two. Bonnie further presses Clyde believing he had never done such an act until he slips out a revolver from inside his jacket pocket. A close up of Bonnies face as she then sees the gun, then the camera focuses on the gun and the way Bonnie strokes and admires it. A sense of danger enthralls Bonnie to go farther to say he wouldn’t use it. Bonnie has set the stage for the first robbery in the movie when Clyde tells her to stay and keep a look out.

A final medium shot of the two in a relaxed state then a progression of a long shot as Clyde walks across the shot to a row of buildings. A low camera shot shows Bonnie gazing into ‘Ritts groceries’ from behind sends the audiences heart racing.Clyde walks slowly backwards out of the store, waving one hand filled with money, the other holding a cocked gun. Clyde glimpses back to Bonnie as he jumps down from the elevation and they both turn to run. A long shot of Clyde firing a warning shot to pursuers leads the a medium shot of the two heading to a car. Bonnie sliding in as Clyde hot wires the car to escape from their first crime. Bonnie then asks for his name and the introduction to the love-crime story begins.

Arthur Penn created the atmosphere that the crimes were only a means to an end for the couple to come together by the end of the story. Each new robbery brought them close up until the end in which they were gunned down. Warren Beatty who plays Clyde Barrow in this film shows his emotions vaguely, unable to fully express his feelings physically leading Faye Dunaway who plays Bonnie Parker to fall madly in love with him and leads her to want what she can’t have.

Film Analysis

Posted in Uncategorized on October 22nd, 2010 by Brad Bujan

The 1931 film ‘M’ shot by director Fritz Lang of Germany utilizes a suspense based thriller in order to capture a serial killer terrorizing Germany. During the time that this film was produced there were many serial killers terrorizing Germany such as Haarmann, Grossmann, Kurten, Denke to name a few. The films conveys a sense of foreshadowing of what occurred during the time and a sense of hope towards the everyday man doing his part to help out in his community. With the use of matching, long shots and close ups with the feel of a nitty gritty city of gangsters, lawmen and killers this film was sure to inthrall the mind.

The main actor. Peter Lorre who portrays Hans Beckert whistles the sweet tune of “In the Hall of the Mountain King” by Edvard Grieg as he nonchalantly walks down the street with his intended victim in hand. This film utilizes a voice over which is known as a leitmotif, Peter Lorre could not whistle himself and so the director. Fritz Lang did the whistling. The film was the first sound film directed by Lang and considered to be a masterpiece by many. The police seem helpless and unable to track down the menace while the street lords have assembled to find and prosecute. During the time period there was no precise way of catching someone unless there was some evidence which designated the person as the criminal or there were witnesses. The people felt a deep sense of dismay for without their assistance many crimes would have gone unsolved.

A constant during this film is reflections. During many walks, Peter Lorre stares at himself in shop windows or mirrors. With this Lang was able to capture a sense of disturbia. More provacatively the same point comes across during the final scene of the film in which Lorre is finally captured and brought to a warehouse to face his judgement by the mothers of the victims and the street lords. “It’s me, pursuing myself”; “ Who knows what it’s like to be me?”. These lines take a further delve into the disturbed psyche of this serial killer. The lighting, dark figures against light backgrounds with a sense of someone always lurking in the shadows brought in the audience.

With the beginning of the sound era this film was able to use whistling. The only background sound during the movie was the ominous whistling. The whistling foreshadowed the appearance of the killer letting the audience use their imagination to as where and or what he might be doing. The black and white color with gritty streets, alley ways and backgrounds also gave this film the extra bit of chaos it required to become a revolutionary film. Aside from setting substantial headway into forms of foreshadowing this film also must have helped with issues of the time where unity was becoming undone and moral needed to be boosted to show that there was a step in the right direction.


Posted in Uncategorized on September 22nd, 2010 by Brad Bujan

Hey everyone, if it wasn’t obvious enough my name is Brad. Welcome and thanks for visiting my blog and I’m hoping to meet some if not all of you!

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