Part 1 View A Feature Film Made Between 1940 And 1970

Part 1 View A Feature Film Made Between 1940 1970 You Have Not Seen

Part 1: View a feature film made between 1940 and 1970 that you have not seen before (or will see later in this class) by a great director. Ensure it is a feature film, not a short, and that you have not seen it before. Choose from directors such as Frank Capra, George Cukor, John Ford, George Stevens, Preston Sturges, Billy Wilder, William Wyler, Ingmar Bergman, Luis Buñuel, Claude Chabrol, Federico Fellini, Akira Kurosawa, Lina Wertmüller, or the British team Michael Powell and Emeric Pressburger, among others. Watch the film and comment on it, paying particular attention to the cinematography, editing, and sound (including music). Discuss what you liked and disliked, explaining why. Evaluate whether the film is a good film overall, considering it both as a representative of its genre and as a piece of cinema, regardless of personal preference.

Part 2: After describing your thoughts on the specific film, analyze the work of the director and one of the main actors or actresses. Reflect on your opinion of the director’s style and effectiveness, and similarly for the actor or actress. Include your overall impression of the film, how it fits within its genre and era, and whether it exemplifies or diverges from typical features of its time and style.

Part 3: On a separate page, insert the heading "My Criteria for Quality in Film." Use your comments from above to develop five numbered statements that reflect your personal taste and standards for evaluating movies. These statements should be complete sentences or short paragraphs, beginning with phrases like "Excellent movies feature" or "A movie is more likely to be good if." Be specific and explain what qualities or features make a film high quality according to your perspective. Save this "My Criteria" page for future reference and expansion.

Paper For Above instruction

Part 1 View A Feature Film Made Between 1940 1970 You Have Not Seen

For this assignment, I selected the classic film High Sierra (1941), directed by Raoul Walsh, a prominent filmmaker renowned for his work in film noir and adventure genres during the early-to-mid 20th century. This film was made within the required period and, notably, was a film I had not previously seen. High Sierra exemplifies elements of film noir, with its gritty storytelling and moral ambiguities, providing a compelling case study for cinematic analysis.

From the outset, the cinematography of High Sierra captures the gritty, noir mood through stark black-and-white imagery, with high-contrast lighting that emphasizes shadows and stark light. The camera work often employs deep focus and atmospheric framing that accentuate characters' psychological states. For example, the use of close-ups on Humphrey Bogart's face effectively constricts the viewer's focus to his troubled expressions, revealing inner conflict. The editing throughout is relatively straightforward but effective, emphasizing tension during action sequences and pivotal moments. The scenes proceed with a pace that maintains suspense without unnecessary extraneous cuts.

The sound design, including the score, complements the noir aesthetic. The music score, composed by David Raksin, subtly underscores the emotional landscape without overpowering the dialogue. The sound effects are crisp and realistic, whether it's the clatter of footsteps, voices, or ambient noise, immersing viewers in the gritty environment of the film’s setting. The sound lends authenticity and mood to the storytelling, effectively heightening the emotional impact during key moments.

I appreciated the film’s atmospheric cinematography, which successfully conveyed the bleak tone of the story and reflected the inner turmoil of the protagonist. The stark contrast and shadow play added a visual depth that enhanced the narrative’s moral ambiguity. Conversely, I found the simplicity of the editing somewhat limiting; at times, the cuts felt slow, but overall, the pacing was appropriate for building suspense.

As a film, High Sierra is a strong example of film noir with engaging storytelling and character development. The film’s depiction of moral dilemmas and redemption aligns well with genre conventions, but its execution elevates it as a noteworthy film of the period. While it may lack the visual flair of more stylized noirs, its focus on character psychology and gritty realism renders it an effective, genre-defining work.

Analyzing Raoul Walsh’s direction, one observes a pragmatic yet emotionally resonant style. Walsh adeptly balances narrative clarity with atmospheric elements, ensuring that characters’ motivations are clear even amidst the noir complexity. His use of location shooting in natural settings enhances realism, aligning with his characteristic emphasis on authentic environments. Walsh’s direction demonstrates a mastery of storytelling, blending suspense with emotional depth.

The lead actor Humphrey Bogart delivers a compelling performance as Roy Earle, embodying the archetype of the hardened, morally conflicted antihero. Bogart’s charisma and nuanced acting convey deep internal conflict and vulnerability, making his character’s moral struggles believable and engaging. The portrayal resonates with the noir theme of moral ambiguity and personal redemption, reinforcing Bogart’s reputation as a quintessential noir actor.

Overall, High Sierra is a noteworthy film that successfully showcases the key elements of noir cinema, including stark cinematography, atmospheric sound, and morally complex characters. It exemplifies Walsh’s pragmatic yet emotionally compelling direction and Bogart’s iconic performance. While not as visually stylized as later noir films, it remains a powerful depiction of its genre’s themes and aesthetic.

My Criteria for Quality in Film

1. Excellent movies feature strong storytelling with clear, compelling narratives that engage viewers emotionally and intellectually.
2. A movie is more likely to be good if it demonstrates high-quality cinematography, such as effective use of lighting, framing, and camera movement that enhances the storytelling.
3. Effective sound design, including music, dialogue clarity, and ambient effects, significantly contributes to the film’s overall mood and immersion.
4. A good film develops well-rounded characters with believable motives, enabling viewers to connect with their journeys and conflicts.
5. High-quality cinema often exhibits a cohesive integration of all technical and artistic elements—such as cinematography, editing, sound, and acting—that serve the narrative purpose and elevate the film beyond mere entertainment.

References

• Bordwell, D., & Thompson, K. (2010). Film Art: An Introduction. McGraw-Hill.
• Eisenstein, S. (1949). Film Form. Harcourt, Brace & World.
• Kracauer, S. (1947). From Caligari to Hitler: A psychological history of the German film. Princeton University Press.
• Neale, S. (2000). Genre and Hollywood. Routledge.
• Prince, S. (2010). Movies and Meaning: An Introduction to Movie Analysis. Pearson.
• Spicer, E. (2009). Historical Dictionary of Film noir. Scarecrow Press.
• Thompson, K., & Bordwell, D. (2019). Film History: An Introduction. McGraw-Hill Education.
• Young, R. (1981). Early Film. British Film Institute.
• Gomery, D. (2011). The Hollywood Studio System: A History. Routledge.
• Williams, P. (2001). Watching the American movies: Essays on Hollywood Film. Wesleyan University Press.