Stagecoach - Unforgiven - True Grit Comparison

Stagecoach and True Grit Comparison
Stagecoach is the definition of the classic western. It is perfectly American, from the moral hero to the wide open plains. One of the reasons to why it fits the classic model is because of its mainly one-dimensional characters. You have the morally-sound hero (Ringo), the equally morally-sound but secondary heroine (Dallas), and the solid sheriff. True Grit fits this definition for the most part. LaBoeuf corresponds with the classic western sheriff because he too is good, moral, and down to business. Mattie Ross partially fits the bill. Like Dallas she is moral and resilient. However, Mattie is different in that she is one of the main heroes. Usually in a classic western the women are always secondary characters, either pure saintly women or prostitutes. Mattie is neither. Although she is a strongly religious person she is no saint as her whole mission is to kill and she is certainly not a prostitute as Dallas seemed to be. Nor is Mattie a secondary character. She is, in my opinion, the main hero of the story and she's got the guts (and stern braids) to prove it. Like Mattie, Rooster is only partially a classic character. Unlike Ringo he doesn't start off as the most morally-sound character. Initially, he seems to only agree to help Mattie for the money that is involved. But later, he shows the characteristics of a classic western hero when he valiantly carries Mattie to safety. The settings in True Grit are very classic. Like Stagecoach, the locations of True Grit mainly consist of main streets in a western town and wide, open plains with striking objects like large rocks. True Grit is a little different in that it also features forests, such as when Mattie and Rooster were waiting for LaBoeuf, and snow, like in the scene when Rooster carries Mattie back to safety. Both movies are similar in that they portray Native Americans to be inferior. The climax scene in Stagecoach involves the heroic white journeyers shooting valiantly at the Indian enemies. In True Grit Rooster kicks a little Indian boy off of his perch on the porch.  The framing is also very similar. Stagecoach would not be what it is today if not for it's striking extreme long shots. The same goes for True Grit, where beautiful shots of the iconic landscapes greatly shape the film.
Unforgiven and True Grit Comparison
One of the best models for a revisionist western is Unforgiven. One revisionist element that comes to mind when comparing these two films is how both movies capture the slow, painful last moments of a dying man. Both films are not afraid to address the fear and agony that is so apparent on the faces of the near-dead. In Unforgiven it was the moment after Munny shot one of the criminals. The fatally wounded man was seen begging for water and crying out in pain. In True Grit the moment came when one of the men in the cabin stabbed the other in the leg. The dying man's face was plastered in a glistening layer of sweat and an agonized expression. These shots are never seen in the classic western. There is also a greater amount of violence in these two films, which is also a revisionist element. Not only are the gunfights apparent in Unforgiven but there are also more grisly examples of violence. A gory scene in which a woman is cut up and an unexpected bout of torture performed by the town sheriff are all examples of more obscure, gruesome, and revisionist examples of violence in a Western Film. True Grit also has these moments of strangely gory violence. Examples include when LaBoeuf's tongue is cut off and when a man stabs another in the leg with his knife. The films are also similar in that they make their characters much less one-dimensional. There are obvious flaws, and it is apparent that no one is perfect. In Unforgiven the Schofield Kid yearns to be the iconic, heroic American sharpshooter, but no matter how much bragging he does it won't save him from the reality of his farsightedness. He is blind as a bat when it comes to distant objects. Rooster's flaw is his closeness with the bottle. His hero scale moves down considerably because he is often too drunk to be able to do hero-ish things.  He humilates and embarrasses himself by doing this. In a classic western, the hero is never humiliated.

True Grit: A Classic or a Revisionist Western?
In my opinion, the main themes in True Grit are redemption, bravery, and revenge. These themes would make the film a classic western but I believe that a certain main character overpowers these elements and makes it a revisionist western. The characters are a force of nature and it is impossible to ignore the effects that they have on the film.  I think that the main reason why True Grit is a revisionist western is Mattie Ross. She is the hero, and the story revolves around her. As with classic westerns the hero is usually a male, always moral and often a just outlaw. But True Grit is different. The theme of the movie is decided by Mattie, a strong, confident woman. Rooster's redemption is provided by Mattie, the theme of bravery is shown in the form of Mattie, and the whole reason for revenge is given by Mattie Ross. It is a fact that in revisionist westerns women are given a bigger role and are more two-dimensional. It is also a fact that without Mattie Ross True Grit would not be what it is, and that is a wonderfully clever revisionist western film.

Online Film Analysis Assignment

Clip A

This clip features a scene from Ocean’s 11. It is introduced with a long shot. This allows the viewer to see each character while still letting them pay attention to the dark setting. At around ten seconds into the clip the camera cuts to an interesting angle where the viewer seems to be seated at the table. This is an example of a straight-on angle because the camera is placed at eye level with the other subjects. The camera appears to be handheld because of the shakiness of the movement. The slightly jerky movement adds an almost documentary-like touch. The sound is mainly diegetic which fits the scene. As in many informal gambling situations, the room is filled with laughter and jokes, with soft pulsing music in the background. Around 1:19 the camera cuts to an eyeline match where the viewer is able to see what Brad Pitt was originally looking at; a set of red cards. Later, when the camera cuts to the poker scene with George Clooney, the witty banter dies down and lowers to a more formal, quieter conversation level. Towards the end of the clip, the use of shot/reverse shot is evident between Pitt and Clooney. The views from each other’s shoulders help to enforce the feeling of tense competition.

Clip D

This clip features a wet boy being rushed though various hallways which appear to be part of some kind of hospital-like building. The camera movement seems to be in tracking/dolly motion because the camera is not changing positions. Instead it seems to be moving smoothly in front of the three characters as they are walking through the hallway. It then follows the man as he walks down a separate corridor and opens various doors. The sound is very interesting too. In the first twenty seconds, an energetic, bouncy nondiegetic soundtrack contrasts with the steady downpour outside. As the man and the African-American woman move through the hallways, a subtle stream of diegetic dialogue cushions the harsh walking pace. There is a collage of soft side conversations and mutterings from the man himself which add to the chaos. When the boy and the woman are in the elevator the medium shot helps the viewer focus on the boy’s soaking appearance and the woman’s expressions. The film uses graphic relations to cut from one visual to the next. These graphic relations take the form of people. For example, in the last twenty seconds of the scene the image of the boy and the woman disappear as the camera turns to follow an elderly woman that had just walked past them.

Clip E

This clip features an older man trying to get another man to recognize his work. The former appears to believe that the latter has heard his work, but this isn’t the case. The medium shots of each character are often shown from shot/reverse shot. In some images you see the character’s torso and face from behind the shoulder of the other character. This occurs at around 15 seconds into the clip, for example. It also helps to convey their conversation. The diegetic piano notes that the man plays towards the beginning of the clip have an especially significant contrast from the monotone dialogue that was previously the main source of diegetic sound. Later, he starts to conduct an imaginary opera. The clapping and orchestral arrangement of the opera is heard to the man at the piano, but not to the other man. This might mean that there is both diegetic and nondiegetic sound happening. Perhaps to the man “conducting” the sound is diegetic because he is hearing it clearly in his head, but to the other man it is nondiegetic because he is unable to hear it. The lighting is soft backlighting; it is diffused and appears behind the subjects from windows. This helps to keep the scene calm and peaceful, which provides a sharp contrast from the older man’s churning mind.

Clip F

This clip features a variety of situations, perhaps the most remarkable being a shed ablaze with fire. The sound in this clip is very powerful. It is mainly diegetic and comes from a barking dog, roaring flames and a bottle that falls to the wooden floor with a hard clunk. This adds to the harsh world that the boy appears to live in. The man’s calls toward the middle of the film also creates a bit of diegetic mystery. Why is he calling the boy? Why does he sound so urgent? The costume and makeup in this clip are all very authentic and match the setting. The boy’s clothing matches the rustic home and pioneer-ish location. There is a long shot that shows the boys looking out the window. This provides less emotional intimacy but also shows the bleak surroundings. The camera also seems to pan through the rooms; never really moving but horizontally scanning the space and the boy as he walks through the house and as the fire eats the shed in the yard. It stops in front of the fire and provides a nice long shot that shows two people watching the flames. This is also a good example of the rule of thirds, framing the two people and burning shed in each section. 

Best Picture Nominee Blogging Assignment

1. The Social Network

The Social Network is my personal favorite out of all the other films listed. Part of this has to do with the interesting way the story is told. In many scenes the camera switches between two settings, accentuating the differences between two completely different worlds. In fact, many things in the Social Network have to do with doubles. There are two different trials in which Mark is the defendant, and as one Winklevoss twin cleverly noted, “I’m 6’5”, 220, and there’s two of me.” But perhaps the pair with the greatest importance is the two people that Mark must choose between for the success of Facebook. Will it be Eduardo, the loyal friend, or Sean Parker, the young and ambitious entrepreneur? All of these effects lead to a phenomenal film and story.

The theatrical performances in The Social Network are equally great. Eisenberg is exceptional at playing Zuckerberg. Even though I have never met the glorious Mark Zuckerberg I have had my fair share of computer geniuses and Eisenberg’s short, clipped speech and drooping posture are identical to the real thing. Even Timberlake is good. His acting in The Social Network is a far cry from his performances on The Mickey Mouse Club. He has multiple layers to play, too. On the outside Sean Parker must remain collected and suave, but Timberlake expertly reveals the insecure core buried beneath the layers of Prada blazers and carefully gelled hair.

The cinematic elements in this film were as modern and contemporary as the plot itself. One of my favorite aspects of the film was how the cinematographers often switched between two completely different settings while filming a scene. These switches helped to visually show the differences of Zuckerberg’s world and the world of his peers. The rowing scenes were also fantastic. The camera captured each rippling muscle almost in slow motion, catching the bright droplets of water that came from the foreheads of the racers and the water itself. This filming technique captured the intensity of the moment and helped to show the importance and elite of the Winklevoss brothers.

The Social Network exceeds in every way possible. The characters are realistic and you are left feeling like you have known them for a lifetime instead of 120 minutes. When Eduardo is cheated I felt his rage and betrayal and when Zuckerberg friends Erica I could feel his regret and hope like it belonged to me. Out of all the movies listed, this was the one that I could relate to the most. I check Facebook multiple times each day and would most likely faint into a year-long coma if it were to be destroyed. That was sarcastic. But still. It was interesting to learn the story behind my most browsed website, even if many of the facts were untrue. 

2. True Grit

True Grit is a work of art. The story is partly told through a subtle, clever dialogue which takes a moment to sink in before it makes you laugh. The scenery also adds to the storytelling. As in all great westerns, the landscape is a character. The infinite plains and ominous forests add touches of excitement and a sprinkling of fear that play an immense piece in the storytelling.

The acting in True Grit is superb. Without saying anything Damon makes me laugh just by his mustache alone. But when he does say something as simple as, “I’m a Texas ranger,” the superiority of his tone makes me cover my mouth in an attempt to hide the giggles. Bridges nails the role of a tough and drunk U.S. Marshal. At first, his character is hard to like. He’s drunk and stubborn and he won’t bother to listen to Mattie. But later, when Cogburn is carrying an extremely ill Mattie through the barren Western landscape towards safety, the audience’s views have changed. What was once a hard, annoying character is now a likeable hero. And although young, Mattie is clearly the main possessor of “true grit” in this story. She is relentless, brave and driven by her strong morals, making her the obvious hero.

True Grit would not be as magnificent if the cinematic elements were not as flawless as they are. The passing of time is perfectly captured through fading pictures and the wide, open landscape helps to convey how completely alone these adventurers are. The lighting is also something special. The audience is put on edge watching the scene unfolding in the warm, dim house where a finger later is severed. The lighting also makes it easier to capture each character’s expression as there is often a soft warm light that highlights each face in a dark setting.

In my opinion, what makes this film better than most is its strong characters and clever dialogue. Although the plot of the film is grim, the clever statements and subtly funny language make it easier to watch and enjoy. This movie is not just about revenge and murder. It is also about the development of Rooster and Mattie as they come to realize how much they mean to each other. This is what makes this film so great. 

3. Toy Story 3

Toy Story has some of the greatest storytelling of all time. Part of what makes this story telling so good is that it is easy to understand. Scenes flow gracefully together, connecting elements and making once mysterious actions less mysterious. On top of all this, the story is one we can all relate to. At one time or another every kid has to part with his or her once beloved toys. Doing this brings back memories and often a glimmer of innocence that we all possessed at this young age.

Because Toy Story 3 is animated it is easier to see each character’s expression and posture. This feature provides for excellent performances all around. Watching each toy’s face droop and smile helps the audience connect with the characters. This connection is also spurred on by our common experiences and emotions. Each member of the audience has experienced moments where they have had similar emotions, and this helps the audience bond with the characters. The fact that they are cute, lovable toys helps too. The swells and obvious passion in each voice also adds to the theatrical performance and film as a whole.

The cinematic elements of this film were also outstanding. Instead of the unrealistic shrubs and one-dimensional floors many animated films turn to, Toy Story 3 paid particular attention to the details. I loved watching each emerald leaf of a tree flutter in the breeze and the mother’s eyebrows raise when she opened her son's chest of old toys.

Toy Story 3 was great. It featured good morals and ethics, the characters were lovable and each scene was a masterpiece of brilliant details pixilated to fit on screen. The only thing that is missing from this film is a real depth of character. What makes a character interesting is their dimension. They are not completely good and not completely bad. They have flaws, but those are balanced out by good traits. The characters in Toy Story 3, while not completely one-dimensional, were lacking in this feature. Buzz Lightyear, for example, was one pretty perfect dude. Nonetheless, the characters were lovable and the animation was wonderful. These elements are what earned this film third place.

4. The King’s Speech

The storytelling in The King’s Speech was both good and bad. The good lies in the actual screenplay but the bad lies in the briefness of it. Each scene was meticulously crafted to bring out the flaws and strengths of each character and the importance of the particular era. The actual story itself though, is a bit of a bore. Someone cures the King’s stutter. So what? This really means nothing to me or a great portion of the audience. Dear people behind the making of this film: please add more things that we can relate to.

The acting in this film is magnificent. Firth nails the King’s stutter and I like to watch his regal expressions evolve into boyish ones when he is doing something he finds silly or ridiculous. He executes the King’s temper- how it flares up when someone is doing something that he finds disrespectful and how it cools down when he is in the presence of the people he loves, his wife and daughters. Geoffrey Rush is equally great. His falling expression made touched me when the directors of the play he was trying out for crushed his dreams with their harsh words. Even his eyes told a story. They express his worry and sadness so much that they are like an entirely different character.

I really enjoyed the cinematography in this film. I liked how Logue’s open, airy room where the King practiced his speech contrasted with the King’s narrow, stuffy corridors and chambers. The wide landscape shots are also a nice touch to the film. These sweeping views help to convey the huge area of which the King and his speech are effecting and also highlight the bleakness of the land. My favorite part was how the camera shook when Lionel and the King were fighting and then how it eventually smoothed out to an almost still shot as both men walked away.

The acting in this film is what makes it so good. Firth and Rush are not only believable but likeable. Especially at the end of the film I was surprised at how much I cared for Firth’s character. However, what makes this film linger near the end of the spectrum is that it feels like it has been done before. Sort of like how that previous sentence feels like it has been used by one too many critics to describe it. This film would have been amazing if it was done five years earlier. Any time after that though and it just blends in with the rest of the crowd. 

5. Winter’s Bone

I should really like Winter’s Bone. I like empowering stories of women and hope. I find it interesting to witness what life is like outside of Edina. But for some reason, Winter’s Bone is definitely not one of my favorite films. The storytelling in this movie is really good. It provides a strong plot while not giving away every single secret. It highlights what is important without distracting viewers with unnecessary details. What I don’t like about the storytelling here is how hopeless everything is. Sure, Ree gets to keep the house but what will happen after that? Her mother is never going to regain her sanity and Ree will have to spend the rest of her life taking care of her siblings. It might be unsophisticated and completely unrealistic but I like it when a movie guarantees a happy forever.

The acting in this movie was without a doubt outstanding. Jennifer Lawrence laid down a solid performance portraying Ree and even the kids did their job well. She brought me to tears when she was begging her mentally absent mother for help. However, I was not as fond of the actual characters themselves. I know Ree lives in a barren, hopeless world but would it kill her to break a smile? She could stand to learn a lesson from her younger siblings and summon up some happiness and childish pleasure that would help her learn to laugh.

Winter’s Bone had strong cinematography. The film’s low budget actually worked to its advantage. The handheld camera used in every scene helped the audience feel like they were experiencing the drama firsthand while providing extra suspense. On top of this, the lighting played a dramatic effect. In most scenes when the lighting was dark or it was nighttime the audience knew that something scary, bad, or a combination of the two was about to happen. I like this effect. It helped me prepare for when Ree had to cut off her dad’s hands.

The Winter’s Bone exceeded on almost every element that makes a film good. The acting was sensational, the cinematography spectacular, and the storytelling interesting. So what decides this film’s success is not its technical aspects but the viewer’s personal likes and dislikes. I didn’t care for Winter’s Bone because I prefer lighter, funnier films that don’t involve severed limbs. I like to see visible hope and smiles in the films that I watch. What makes Winter’s Bone one of the films that I don’t particularly care for is just this. There is not enough hope and visible happiness. 

6. Inception

I bet the film’s storytelling merits would have been plentiful if I knew what they were. Unfortunately, I was completely lost the entire time. Maybe it was because I had a 102º fever when I was watching it. Or maybe because I always thought dreaming only happened when you slept. But whatever the reason Inception was about as confusing as a Rubik cube. The only thing I know for sure about the story was that Leonardo DiCaprio and that girl from Juno were doing some weird stuff that involved driving off bridges and manipulating people’s dreams. Good plot, guys.

The acting in this movie wasn’t really acting. It was more screaming, shooting and scowling. And stabbing. Yeah, definitely stabbing. So that’s what we’ll call it. The four S’s. Don’t get me wrong though, the four S’s were done well. They were plentiful, and DiCaprio was especially skilled in the scowling section. The four S’s were good, but the depth of acting was not as apparent. The best was probably Cotillard who added a touch of French sophistication and elegance to the film.

The cinematic elements of Inception were probably the film’s strongest aspects. Especially with a fever. That added a nice touch. The thing I remember most vividly was the van falling ever so slowly into the water. That was very cool, even though the entire time I was thinking, fall quicker so this movie will be over finally. But still, it was very nice. I also like how the city folded on top of itself when Cobb and Ariadne (I didn’t even know that those were they’re names until I searched it on Google! Sign of some very prominent characters) were walking through it. All in all, the effects of the movie were great, but not good enough to save it.

I gave Inception last place. I know a lot of people will not agree with me and that there is probably a whole cult lined up with nunchucks and dream sticks or whatever ready to send me straight to Limbo because of it. But I just don’t get the whole obsession with Inception. The effects are really cool but none of the characters have the bravery of Mattie in True Grit or the depth of Ree in Winter’s Bone. The story just doesn’t seem real, and the characters are not ones that I can relate with. The best part of the movie was when Cobb got to see his kids again and that was for only five seconds. And it might have been a dream. What this story is missing that all the other films have is a little touch of reality, a little glimmer of real life and real problems.

My First Movie Review

Mary Poppins
Brainstorming

1. I like the parrot on Mary Poppins' umbrella.
2. The kids and Mary Poppins have very rosy cheeks.
3. I like Burt's chalk drawings.
4. I like the chimney dance.
5. The makeup for the smoke scene is terrible.
6. Mary Poppins seems really full of herself.
7. I like the line, "don't be cheeky, Micheal."
8. I also like the line, "shut your mouth Micheal, you are not a codfish."
9. I think its a classic when Mary Poppins descends from the sky on her umbrella.
10. The dog in the movie is really cute.
11. It was really creepy when the old banker died laughing.
12. The room of bankers is really red and velvety.
13. I like when Mary Poppins pulls a lamp out of her purse.
14. Mary's bag is made out of carpet.
15. I like the animated penguins.

Review of Mary Poppins

         When I was younger I used to love Mary Poppins. Her rosy cheeks and creamy skin hypnotized me and I almost passed out with excitement when everybody jumped into Burt's chalk drawing. When my little brother started watching Mary Poppins a few months ago, I was reaquainted with my old friend. I still love the scene when they jump into the sidewalk, but now Mary Poppins seems a little more cocky and annoying then sweet and "practically perfect in every way." When we got to the scene where the bankers fire the Mr. Banks, I couldn't help but notice how creepy they all were. The room was completely red and velvety, a sort of banker's hell which not even Dick Van Dyke could make remotely cheerful. And then Mr. Banks had to go and tell that joke. When the head banker started floating in the air laughing, I was officially freaked out. Later on, the bankers had to ruin a perfectly good, kite-flying day by announcing that the head banker had died laughing. But my favorite part had passed the test of time. Those dancing penguins. They are guaranteed to make anyone smile.