Black and Blue Film Critique

Film Critique/ Analysis #14

Michael Atkinson

Cinema 28

A Brutal Blockbuster

Originally based on a novel by Anna Quindlen, Black and Blue (1999), is a made-for-television drama about the life of Frannie Benedetto. In my recent film explorations, the topic of domestic violence has greatly perturbed me and so I decided to view a film that greatly captures the aspect of it. In this drama, Frannie comes to a boiling point with her husband, Bobby, one night after he truly beats her. It is inferred that she has dealt with small bruises, shoves, insults, taunts, for the past twelve years, but this time when he really hurts her, she decides to make a run for it with her ten year old son, Robert. She doesn't tell her son why they are leaving and why she changed her appearance until they are stuck waiting for a bus on their way to Florida.

The director of this film, Paul Shapiro, tackles many issues surrounding this topic. He touches on most of the issues, but never takes the time to go in depth with them. But even though it's subtle, the issues are still there such as Bobby's reckless driving to scare Frannie into doing what he wants, the insults about her outfits until she changes her clothes, the outward doting husband in front of family, the stalker personality that develops, and the damaging effects of being a woman on the run. I only wish that some of these themes were brought to light more since by not doing so, we don't have much character development. There is a wonderful opportunity missed for deep characterization as to why each are the way they are. Instead, Bobby comes from a wonderful mother and father who passed away early. But however, Shapiro did brilliantly create a strong main character whose fragility lies right below the surface in that of Frannie, he nailed her personality down.

At times, the story felt very contrived. And it felt very convenient that Frannie's husband was a cop which meant she couldn't go to the authorities for her troubles. But I won't criticize that too much, for I know that those instances are realistic for some. But what really made me annoyed was how wise the ten year old son was but at the same time stupidly innocent. His character was the worst consistent of them all. Robert would constantly calm down his mother when she was upset and in the next scene be starting a fight at school talking about his father. Further, he would be understanding of this situation, offering words of wisdom to his mother and then start complaining about missing his dad so much so that he would call him...thus prompting the inevitable climax.

In all, the film tackled some important issues, and showed what really does happen to brutally beaten housewives. The film even showed the violence realistically and tastefully by inferring to it and showing it where needed. The acting was believable and no one seemed to be wildly overacting, making for a convincing story. But this form of a domestic violence story was one that followed the same conventional plot of many others such as Sleeping with the Enemy (1991) and Break Up (1996).

The Theory of Everything Film Critique

Film Critique/ Analysis #13

Michael Atkinson

Cinema 28

Heartfelt, Brilliant, and Moving

In a true life story, The Theory of Everything (2014), a British film directed by James Marsh, brilliantly captures the true life story of famous theorist Stephen Hawking. Even from the very beginning of this film, we see the signs of Hawking’s uphill battle with a motor neuron disease. From there, the film only progresses into an outstanding and truly moving story of the lengths Jane Wilde, a literature student who falls in love with Hawking, will go for him. They develop a quick romantic relationship and even when she finds out about his disease, she refuses to leave his side and says she will always stay with him. Thus the two marry and even begin a family. But the story doesn’t end there - in fact, it is only beginning. As the years go on, Hawking’s condition worsens and he relies completely on Jane to dress him and even feed him. And the struggles only continue when new loves are thrown into the equation.

One might assume that this film, being primarily about Stephen Hawking, would be loaded down with him complex theories and physics jargon, but that is not the case at all. Marsh makes Hawking’s theories easy to understand by explaining them through dialogue to other characters using simple analogies, and even still those moments are rare. This film focuses more on the domestic aspect of his life and the struggles of trying to be a normal family. 

Eddie Redmayne and Felicity Jones star as Stephen and Jane and I swear, if neither of them win any kind of award for their performances, then I will give up all hope on film. Redmayne’s incredible acting in this film can be likened to Patty Duke’s performance in The Miracle Worker (1962). It was truly as captivating, believable, and realistic, evicting emotions in the viewer that even I was having a hard time controlling. Just down to the way he was able to train his body to tick, slouch, and curve is unbelievably amazing. 

The only gripe I can even find fault with in this film is that it moved rather quickly. And that is understandable in order to condense Stephen Hawking’s entire life into two hours. But in this necessary haste, some scenes would cut away a bit too quickly and wouldn’t stay on that picture just a moment longer. And honestly, this was what made the difference between shedding tears and not. If the camera would have just stayed on a face for just a few frames longer, I would’ve bawled but instead cutting away too quickly silenced those emotions and brought me someplace new where I could hide those feelings again. 

I’m not sure what was the most intriguing and entertaining aspect of this film, perhaps it was the cinematography or the acting or their impossible-to-resist-swooning British accents. But in all, this film was really a treat, making me believe that there is hope in good cinema even for today. 

Toni Film Critique

Film Critique/ Analysis #12

Michael Atkinson

Cinema 28

Toni’s Trials

Jean Renoir directs an exotic film entitled Toni (1935) about an Italian immigrant moving to France. In this French film, Toni’s life seems to be moving along just find as he finds a stable place to live with landlady, Marie, and gets a stable job at the quarry. His relationship with Marie is going strong and life seems to be perfectly in balance. However, nothing can always be perfect and thus, Toni meets and falls in love with another woman, Josefa. But as the story would go, their love cannot be for they each are already with someone else. Josefa marries her brusque man, Albert, even after he rapes her. Toni knows he must save Josefa from her abusive husband and eventually helps her escape, but at the cost of his relationship and the cost of his life. 

It is clear that Renoir truly knew how to use the camera. There were some scenes in particular that were just awe-inspiring. At one point, Marie and Toni get in a fight and Marie threatens that she will kill herself. She gets in a row boat and paddles away from the shore. In this one take, we see her leave the shore in a wide shot, traveling farther into the white water and white sky. When the land disappears from the frame completely, we are left to only see her black silhouette in the black rowboat against the white backdrop. It was a shot masterfully done, leaving one holding their breath as she slowly stands up in the boat. However, even though his camerawork is up to par, some of his scenes seem to cut too quickly, leaving me feeling as if the conversation is not complete. Constantly, I wanted to know what was going to happen, but as the scene was getting good and getting somewhere in depth, he would cut away to something else, almost as if Renoir was too scared of a sentimental conversation. 

The character’s Renoir creates here weren’t as compelling as they could have been. None were too likable and much of the story felt contrived and predictable. Every conversation told exactly what was about to happen, with no subtle foreshadowing. After a while, the characters just seemed to become annoying as none changed their ideals from beginning to end.

Again, it seems that this is another film with the mentions of domestic violence. But at least in this film, Toni was able to help poor Josefa and she found the strength to kill her husband after he brutally whipped her. But Renoir did not focus much on this aspect of this story - since it was Toni’s story - but even still, Toni takes responsibility for Josefa’s actions and he becomes the one to blame. The ending does wrap together beautifully, pulling the whole story together as the film ends just as it began, with the train of new Italian immigrants entering France, none realizing what is truly in store for them in this new place. 

My Fair Lady Film Critique

Film Critique/ Analysis #11

Michael Atkinson

Cinema 28

A Fair Film

One of the most classic and endearing tales of rags to riches is My Fair Lady (1964). Audrey Hepburn stars as Eliza Dolittle, a lower working class woman selling flowers. Her language is atrocious with horrible pronunciation and inarticulate grammar and one is barely able to even understand what she’s saying. But when a phonetics professor overhears her dramatic wallowing in the middle of town, he ridicules her language and says that he could make a lady of her if he wished. This, thus, prompts Eliza to seek out Professor Higgins and ask if he could transform her into a lady, one suitable enough to work in a flower shop and become respectable. He only then accepts her offer when he makes a bet with his friend saying that he can turn her into a lady in six months for the Embassy Ball, making everyone believe she is actually royalty. 

    The minute the characters started singing, I fell head-over-heels in love with this film. There is something, to me, about the musical element in a film that promotes life in a captivating way. Even as the characters sing out their feelings in angst, there is nothing more moving than the intrinsic melody of a song. Furthermore though, this film felt more like a stage play rather than a film one, because of the songs and melodies and two, because there were very limited close up shots and limited cutting. The main aspect of the film was the mise-en-scene as the camera swooped and panned through the scene. The rolling dolly shots brought the choreography to life, letting the viewer’s eyes travel through the scene and watch everything at once - just like a stage play. 

    However, as much as I enjoyed watching the dramatic camera movements and the in depth dancing and singing, there was much that irked me about this film. Perhaps it’s just many films from this time period, but this one in particular brought it to light best. This film sends the message that men are the dominant and better sex. In fact, there is an entire song devoted to asking why women can’t be more like men. I understand, it was to show Professor Higgins narrow-minded viewpoint of women and his opinion does actually empower Eliza to take a stand against him and leave after he’s used her and won his bet. But in the end, after the dramatic climax where Eliza sings her opinions that she is a lady, despite his protestations and his insults to her sex, she comes floundering back to him and the last thing he says to her is: “Where are my slippers?” I’m not too sure if this was supposed to be a happy ending, that despite their fall-out, the two main characters are at peace in the end, but to me, I was not satisfied. After her entire stand, he doesn’t change his ideals at all and they are exactly back where they started and she is okay with it. 

    No matter how you cut it, this film does not portray women in a good light. It shows them as objects to men, there to be used and submissive in all things. Eliza’s father even stops by, offers Higgins “five pounds” to buy her and then says, “If she’s any trouble, a few lashings with the belt never hurts.” Constantly, this film makes reference to Eliza’s devalue. She is always waiting for Higgins to strike her for her outbursts - which he never does - and she cowers as soon as he raises his voice. She even mentions how he can’t do any worse to her for she has already “had plenty of black eyes before.” This problem was never brought to light in the film, but it is more a subliminal message to show women’s objectivity to men, showing their place beneath them, showing their stubbornness, and their unwilling attitude unless they are forced to do something. It is constantly reinforcing a “woman’s place” and nothing makes me more mad than this. 

    Domestic violence against women is a real issue and it has been taken too lightly for years. We joke about it since it’s a common problem - an epidemic in parts of the world - and it is films like these that give women the impression that this is how men are supposed to be and give men the right and the power to do what they do. I love this film for all the things it does right - the music, the camerawork, the characters, the plot - but I hate this film for what it promotes. No matter what, it’s not okay.

What’s Eating Gilbert Grape Film Critique

Film Critique/ Analysis #10

Michael Atkinson

Cinema 28

A Slow Epic Journey

Lasse Hallstrom directs a classic film of epic proportions. This film is What’s Eating Gilbert Grape (1994) - it is a slow-moving film about a week in the life of Gilbert Grape. His life doesn’t seem all that interesting from afar, but looking more closely at it, you will see the struggles he really deals with. His younger brother is a bit mentally challenged - a full diagnosis was never said - but he causes trouble in the small town by climbing the water tower frequently. Aside from taking care of his brother, he has the rest of his dysfunctional family to worry about. Namely, his five hundred pound mother which is the cause of much embarrassment, his older sister who is more a mother than a sister and his younger sister who is “too cool” to be engaged in any family affairs, for fear of embarrassment. But it is not only his home life on the fritz, Gilbert is enduring his job as they try and make end’s meat competing with a new high-end grocery store. He also deals with his one grocery delivery stop to a middle-aged stay at home mom whom he has an affair with, but at the same time, falling in love with one vacationer in the town.

One could say that there is not much plot in this classic film, but what makes it so classic is that it is essentially gripping and heart-wrenching at times. The film feels more like a stream of consciousness - just a piece of an excerpt from Gilbert’s menial life. But overall, his life isn’t menial when one truly looks below the surface. This is a boy with more courage, bravery, wit, and compassion than many will see in their lifetime. It’s not his actions that are memorable, but the way he handles everything - with dignity. One would think that the family may pity themselves for the sorry state their in, but no, there is none of that. Instead, the audience doesn’t feel the need to pity them for how much they actually embrace themselves. This technique used by Hallstrom eliminates the chance for this film to become a tragedy. It is actually nothing of the sort and won’t become one even with the ending. The film even goes so far as it succeeds in making a compelling main character. Johnny Depp portrays Gilbert in the most likable way, leaving the audience to be moved with compassion for him.

As the film concludes, the audience feels bittersweet. It is neither a time for weeping, nor a time for joy. The family stands watching their house burn along with their dead mother, and one cannot but feel moved and relieved for that was the most noble thing in the end. 

How to Marry a Millionaire Film Critique

Film Critique/ Analysis #9

Michael Atkinson

Cinema 28

We All Would Like Wealth

In a very classic Hollywood film, Jean Negulesco directs How to Marry a Millionaire (1953). In this film, three young women conspire to marry three rich men so that they won’t ever have to work another day in their life. The women decide to rely on their good-looks and charm in order to entice men into marrying them. 

The film was full of an unrealistic plot where things like that just don’t happen. Literally, as soon as the women moved into their regal apartment, an older gentleman invites them to a party where each woman finds a man who is deemed worthy of marriage for their wealth. The dialogue is supposed to be comedic and yes, at times, it was a bit funny because the poor girls were so ditzy, it was hard not to chuckle at their bumbling selves. However, most of the comedic efforts made just fell flat. It really became hard to believe exactly what was happening and oftentimes the film felt more like a stage play. For instance: one of the three women goes up to Maine to spend a weekend in a lodge with a man she would like to marry. There she is upset when she finds out the lodge is not in fact a lodge but a cabin and she makes herself so that she gives herself measles. I, for one, cannot even fathom how that is possible, and so I went along with it. Then, showing no signs or symptoms, she is supposedly supposed to be running a fever, sweating, have a rash, etc. And not one of those things is shown, she merely acts it and they talk about it - more or less, exactly like in a play on stage.

It was not the acting that made this film hard to watch. Marylyn Monroe played a perfect character, along with Betty Grable and Lauren Bacall. All three of these beautiful ladies were exceptional, playing their character extraordinarily and adding their own charm to each of the personalities. The acting was by far the best point of the film. Other than the acting, the scene cut way too quickly, feeling like nothing every got taken care of. The audience wants to see what is going to happen between certain characters but then we are ripped away and brought somewhere else to look in on a different character. Cutting the scene too early does not allow for the tension to set in and does not give us a chance to bond with the characters. 

In the end, it seems everything is solved too quickly as the three woman learn that the “marrying type” of men don’t always have money. It is a bit of an old saying but one that still holds true to today. But in all, this is a film from the 1950s, filmed during the Golden Age of Hollywood and obviously all done in a studio, never on locations. The film does have an all-star cast of beautiful icons and so, I guess we can let some of these faults slide. 

Paranoia Film Critique

Film Critique/ Analysis #8

Michael Atkinson

Cinema 28

A Film That Might Make You Paranoid

In this thriller directed by Robert Luketic, Paranoia (2013), is a film centered around a young employee who becomes a spy between two dueling companies with a shady past. Liam Hemsworth plays Adam who is the main character in this overdone plot. If you ask me, this film is nothing but a clichéd plot line from start to finish. Adam begins where he is about to make a big presentation in front of the head of this huge technology company. Well, he ends up throwing a hissy fit and getting fired, stealing his boss’ credit card in the process and spending it on an expensive night out for him and his friends. But just like in any other film, it’s not like he gets arrested or asked to pay back everything when he’s caught, no, they decide to higher him as a rat and use him to go undercover against their rival company. 

There are so many flaws within this movie, that it outshines everything the film actually did right. Starting with the characterization flaws, Adam is not even the least likable character in this film. He is a self-centered and self-righteous hothead who doesn’t even change by the time the film ends. I’m sure the only reason that the audience liked him is because he is gorgeous - at least, that’s the only reason I did. I mean, seriously, it’s Liam freaking Hemsworth...with his sculpted abs and shirtless scenes and...oh, I digress. Right, the flaws. Aside from Adam’s impersonal skills and unpleasant personality, the other two dueling company heads are complete unlikable and narcissistic characters as well. It was hard to form a bond with any of these characters and actually care about anything that happened to them. 

Moving onto the plot, it seemed like 99% of it made no sense. It was hard to follow exactly what happened as they interchanged information in the form of technical jargon that was all essentially made up by the writers. One was forced to try and follow along as they whipped out their showy cell phones and talked about plans to steal prototypes from the rival companies. Just as any other cliché plot, Adam finds out that the attractive Emma is working as a director in the rival company, so he forms a relationship with her just to get information from her and essentially steal her fingerprints so he can get this prototype. Because it all comes down to the fact that if he chooses to not help and get this prototype, they will kill his father. But everyone can rest happy because even after they run over Adam’s best friend with a car, the bad guys divulge their secrets to each other, and Adam secret plots against them all with the FBI, he wins by bringing down the two corrupt companies and even gets to keep the girl. Isn’t it wonderful? 

But with all the faults this film aside, one cannot forsake the cinematography of it and even the use of sound. The shots were impeccable and creative, using every inch of the screen with unique eye movement and style. Even the way the sound was layered and the effects used only heightened this film. However, it’s sad that those good aspects of the film get lost when the rest of it is subpar. 

Overall, it is no wonder that there was never a hype around this film. I for one just assume Paranoia to be an extreme take on the Apple verse Android debate.