No CineVerse meeting Oct. 31

Some things are more important than sitting around watching and talking about movies (well, not TOO many other things), such as trick or treating!

CineVerse will not meet on Halloween. Hope to see you in November!

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Don't lose your head - use your head to better understand "Sleepy Hollow"

Intrigued by last night's foray into retro-style Gothic horror, "Sleepy Hollow"? Want to learn more about what makes this film "tick"? Read on for talking points covered during our group discussion of this film.

WHAT IS INTERESTING, UNIQUE AND DIFFERENT ABOUT SLEEPY HOLLOW THAT DIFFERED FROM YOUR EXPECTATIONS?

·       It’s only very loosely based on the classic story by Washington Irving: some of the characters share the same names, but the situations, plot and personalities are quite different

·       Unlike the short story, this version is darker, more violent and disturbing, and reliant on supernatural elements to explain the mystery of the Headless Horseman

·       It boasts an impressive cast of notable actors

·       While fantastical and heavily stylized, the sets, props, costumes and special effects create a rich tapestry of sumptuous visuals for the viewer

·       Arguably, the most enjoyable elements of the film are the visuals, sound design, and ensemble cast, not so much the narrative and whodunit elements, which are somewhat pedestrian and anticlimactic

·       The setting of the story timed to the release of the film: just prior to the turn of the century (which, in 1999, was meant to play upon millennial fears and expectations)

THE FILMMAKERS CHANGE CRANE’S CHARACTER FROM A GANGLY SCHOOLTEACHER TO A THRIFTY AND INVENTIVE DETECTIVE. WHY THE SHIFT, AND WHAT’S INTERESTING ABOUT IT?

·       They make Crane a more handsome love interest and resourceful problem solver, like a 19^th century McGyver

·       This shift capitalizes on the rising popularity of “forensic science horror,” where graphically gory autopsies and physical investigations are abundant, as evidenced in entertainment of the times like “Silence of the Lambs,” “Se7en,” and shows like CSI

·       Interestingly, Crane, a man of science and by-the-book police procedure, ultimately has to accept that the mystery behind the Horseman has to do with supernatural forces that can’t be explained away by Sherlock Holmes’ style rational thought and deduction

WHAT IS THE PREDOMINANT COLOR PALETTE OF THE MOVIE, AND WHEN AND WHY DOES IT CHANGE?

·       Drab hues, greys and washed-out earth tones are the predominant colors employed in the film, suggesting how dark and dreary life is for the townspeople of Sleepy Hollow since the curse of the Horseman has plagued them

·       At the film’s conclusion, however, which depicts a more promising new century and the passage from an older era to a new one, we see the bright colors of autumn and a return of more normal color variety

·       During the dream sequence where we see Ichabod’s mother, and also when Ichabod sees Katrina clad in brilliant white on horseback, we see brighter luminance. The bright visions of females indicate how strong an emotional affect they have upon Ichabod and reinforce their virtue, purity and angelic beauty.

MOST TIM BURTON MOVIES SHARE SEVERAL COMMONALITIES AND THEMATIC QUALITIES. CAN YOU NAME ANY COMMON THREADS THAT RUN THROUGH SEVERAL OF HIS FILMS?

• “Fish out of water” main protagonists who don’t quite fit into the world they live in: think of Edward Scissorhands, Ed Wood, Batman, and The Nightmare Before Christmas. These are outsiders who will not be denied or ignored, who wish to fit in with others but cannot deny their own nature to do so 

• Often a wide-eyed, childlike innocence to his main characters—a naivety in the face of major challenges. Think of the title characters in Ed Wood or Edward Scissorhands

• Exaggerated, fantastical powers or circumstances that propel the protagonist 
•  The creation of wondrously fabricated and surreal worlds that don’t follow the conventions of the world we know: these are highly stylized, exaggerated, expressionistic environments that bear little resemblance to the real world: Think of the outlandish architecture and scale of his Gotham City, the German Expressionism-influenced off-kilter angled universe of The Nightmare Before Christmas, the cartoonish landscapes of Pee Wee’s Big Adventure, etc.

WHAT OTHER FILMS DOES SLEEPY HOLLOW MAKE YOU THINK OF?

·       The horror movies from Hammer Films in England of the late 1950s thru mid 1970s, in the gothic look and feel and period-piece, melodrama ambience of this production, repressive formality of many of the characters, and casting of Hammer stalwarts Christopher Lee and Michael Gough

·       The Hound of the Baskervilles, the Hammer Films version and Basil Rathbone version

·       Mario Bava’s Italian horror classic Black Sunday

·       The gothic horror films of the Edgar Allen Poe cycle starring Vincent Price and directed by Roger Corman, especially House of Usher

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Sleepy Hollow beckons you to follow

Shocktober Theater is back! On October 24, if your nerves can stand it, make plans to join CineVerse for “Sleepy Hollow” (1999; 105 minutes), directed by Tim Burton, chosen by Jeannie Johnson.

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A horror movie with monster subtexts

Last Wednesday, our film group performed an autopsy on "Dr. Jekyll and Mr. Hyde," the classic 1931 adaptation of Robert Louis Stevenson's timeless dark tale. Among the highlights of that discussion were the following salient points:

WHAT IS VISUALLY IMPRESSIVE ABOUT THIS FILM?

·       The special effects used to pull off the famous transformation scenes, which were accomplished not via lap dissolves a la The Wolf Man years later, but by putting layers of special makeup on the actor’s face and then using different colored filters on the lens to reveal more of the makeup to the viewer

·       The pioneering use of subjective camera:

o   during the first few minutes of the movie, we see first-person point of view shots; why? To help us identify with Jekyll and make his Hyde reveal scene later to be all the more startling

o   during the transformation, the camera goes back to first-person POV with 360-degreee spins to suggest Jekyll’s disorientation

o   His look into the mirror is our first look at Hyde as well as his

·       Many shots of the actors are at slightly off-center angles

·       One of first cinematic works that uses a diagonal split-screen, which contrasts the 2 female characters

·       There are a few extreme close ups, including close-ups simply showing the character’s eyes

·       There is a strong vertical design to the composition, as evidenced by the shots of Hyde fleeing the police, the flat where Hyde kills his victim, and in Dr. Jekyll’s lab

·       The filmmakers employ sophisticated pan shots and long takes to evoke a fluid, flowing style

WHAT ELSE SURPRISED YOU ABOUT THIS MOVIE?

·       The decidedly adult subject matter and sexual images and context for a 1931 film

o   Keep in mind this was in the pre-code days of Hollwyood, before censorship of violence, sexuality, language and immoral behavior was strongly enforced

o   We are exposed to a provocative scene of semi-nudity, suggestive behavior and imagery, and racy dialogue

o   It is suggested that Ivy is a prostitute and that Hyde attempts to rape Muriel and sexually dominate Ivy

o   The misc en scene employs erotic paintings and statues, as if commenting on Hyde’s sexual control over Ivy

·       The film’s sound design was also influential

o   We hear multiple planes of audio (such as the scene where Muriel and Jekyll converse and an orchestra performs in the distance), at a time when most Hollywood films used only one microphone and didn’t blend sounds very often

o   The director uses heartbeats in a symbolic and emotionally evocative manner

 ·       Unlike some of the Universal horror pictures of the era, the movie doesn’t feel obligated to tack on any comic relief filler; there are no bumbling policemen or hysterical old women

WHAT ARE SOME IMPORTANT THEMES EXPLORED IN THIS PICTURE?

·       The dangers of sexual repression, constraint and conformity: Jekyll lives in the Victorian age, when sexuality was repressed and society upheld strict moral codes; Jekyll’s normal, healthy desires and natural instincts are frowned upon by the era’s morality

·       The dangers of hedonism, lack of inhibitision, and indulging in base desires: you see the carnal, savage, Simian-like animal that Hyde is in contrast to Jekyll; Hyde acts upon every primal impulse, and violence and murder result

·       Man’s dual nature: Duality and contrasting personalities are shown in two sets of characters:

o   Jekyll, representing good and science, and Hyde, defined by bad and sex

o   Muriel, the embodiment of purity and virtue; and Ivy, an object of wanton desire and wicked carnality

o   the film suggests that there is an animal instinct in each of us that can come out if left unchecked; we have the capability toward good and evil.

·       Sadism and masochism: Hyde is the ultimate sadist, but he’s also a masochist: consider how he tries to rape Muriel, whom Hyde is never depicted as having any thoughts about prior to that scene; it’s as if he’s attempting the assault to torture Jekyll, who is part of himself

OTHER FILMS THIS MOVIE REMINDS YOU OF?

·       Scarface and Public Enemy: 2 early gangster pictures where the bigger-than-life lead character is revolting and yet fascinating

·       The Picture of Dorian Gray, another pre-Freudian tale of split personalities

·       The Wolf Man, in its provocative transformation from man to beast

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Taking a page from "The Motorcycle Diairies"

Two weeks ago, CineVerse gathered to investigate "The Motorcycle Diaries," which resulted in an absorbing discussion. Here are some of the highlights of that discourse:

WHAT IS SURPRISING ABOUT THIS MOVIE, ESPECIALLY CONSIDERING THE MAIN PROTAGONIST, WHO WOULD LATER BECOME THE REVOLUTIONARY ICON CHE GUEVARA?

·       It’s not a polemic or politically themed film; it doesn’t attempt to take sides, draw you into any political debate or depict any of the events involving the Cuban revolution or Che’s involvement with Castro

·       Instead, it’s a simple, sweet, coming-of-age picture that has a universality to it that almost any viewer can relate to or enjoy

·       It starts out as a road picture or a buddy movie, but transforms into something else by the conclusion: a spiritual awakening spurred by a series of epiphanies

·       The cinematography and natural South American landscapes are stunningly beautiful, which serve as striking contrasts to the squalid, insufferable conditions of many of the natives the boys encounter

·       This is the ultimate “shot on location” film, as the filmmakers chose to shoot along the exact route that Guevara and Granado took 50 years earlier

HOW IS THIS FILM DIFFERENT FROM OTHER BIOPICS THAT ATTEMPT TO RECREATE THE LIFE OF AN HISTORICALLY IMPORTANT FIGURE?

·       It doesn’t announce in any titles or voiceover that this is based on a true story or actual events

·       Hence, it can be enjoyed by audiences simply as a road picture, a buddy movie, a coming-of-age story, etc. In other words, you don’t need to know that the main character becomes Che Guevara the revolutionary poster boy to appreciate it

·       It actually plays less like a biopic based on historically accurate events than as a travelogue journey

·       The director doesn’t rely on swelling emotional music or tug-on-your-heartstrings cues to manipulate you into feeling that “this is the moment when Ernesto became Che.”

·       The filmmaker’s also aren’t trying to hit you over the head with a particular message or moral to the story

·       The movie also doesn’t attempt to summarize all of Ernesto’s life (before and after the events of the film) so that you have to draw some grand conclusion

WHAT THEMES ARE TACKLED IN THIS FILM?

·       The loss of innocence

·       How a person makes the maturity jump from childhood to adulthood: the arc of the film depicts hedonism and idealisms initially, but later the characters progress to humanism and compassion

·       Spiritual awakening provoked by an urge to help others

WHAT OTHER MOVIES DOES THE MOTORCYCLE DIARIES BRING TO MIND?

·       Y Tu Mama Tambien, also a hedonistic road movie about 2 boys starring Gael Garcia Bernal

·       Easy Rider: another road film, also using a motorcycle as the means of travel

OTHER FILMS BY WALTER SALLES

·       Central Station (screened by CineVerse a few years ago)

·       Behind the Sun

·       Dark Water (a horror film starring Jennifer Connelly)

·       On the Road (2012 movie based on Jack Kerouac’s famous book)

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Choose a creature candidate

Election season is underway, and we need your vote! No, I'm not talking about the presidential contest, I"m referring to the CineVerse fall poll, which asks, "who is the greatest movie monster of all time?"

There's only 11 days left to cast your vote for the greatest of the ghouls of filmdom. We only have a small number of votes tallied so far, so please participate soon by going to our home page and voting in the poll within the left sidebar. Happy Halloween!

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CineVerse November/December schedule posted

The holidays are right around the corner--and so is the lineup for CineVerse over the next two months! To view the November/December 2012 schedule, click here.

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Come back to the "Cabaret"

Four years ago today, CineVerse peeked behind the curtain of "Cabaret" to dissect one of the finest film musicals of all time. To hear a podcast recording of that group discussion, click here.

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Multiple personalities are a bitch...

To get you in the Halloween spirit, CineVerse will feature “Dr. Jeckyll and Mr. Hyde” on Oct. 17 (1931; 98 minutes), directed by Rouben Mamoulian. Plus: we'll have a preview of the November/December 2012 schedule following the discussion.

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Make way for Che

On October 10, CineVerse will have another installment of World Cinema Wednesday, this time from Argentina with “The Motorcycle Diaries” (2004; 126 minutes), directed by Walter Salles, chosen by Dave Ries.

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Revisiting Hannah

Yesterday, Woody Allen's masterpiece "Hannah and Her Sisters" was the focus of our CineVerse group discussion. Here's a roundup of some of the important points examined during that chat:

NOTES ON HANNAH AND HER SISTERS

HOW CAN YOU TELL THIS IS A WOODY ALLEN PICTURE? WHAT ARE SOME OF THE DIRECTOR’S TRADEMARK SIGNS USED IN HANNAH AND HER SISTERS THAT DISTINGUISH THIS AS ALLENESQUE?

·       The use of intertitles and credits with simple white text on black backgrounds

·       The use of classic jazz music, which evokes a comfortable, nostalgic feel

·       A large, star-studded ensemble cast of quality actors

o   Additionally, the seem to give organic, spontaneous performances, sometimes in an improvisational style

o   Allen is also known for introducing up and coming actors in his films who later become stars; this one includes John Turturro, Julia Louis-Dreyfus, comedian Lewis Black, J.T. Walsh, and Richard Jenkins

o   The actors’ names are shown in alphabetical order in the credits, suggesting that there isn’t a main star and that every part and character is no less important than the others

·       Sharp zingers and infinitely quotable one-liners throughout the picture

·       Use of inner monologues to take us inside the private thoughts and desires of the characters

·       The story consists of interconnected episodes rather than one uninterrupted, flowing narrative or plot: there are vignette-like chapters throughout the movie that can be taken out of context and enjoyed independently of the picture as a whole

·       A simple visual style free of flashy camera moves or editing tricks: the focus is squarely on the characters and their dialogues/monologues

·       An exploration of several important themes and issues

WHAT ARE SOME OF THE ESSENTIAL THEMES ANALYZED IN THIS FILM?

·       The unpredictable nature of love

·       The impossibility of planning and forecasting our lives because we are captive to the whims of our emotions

·       The strong bonds of family and loved ones

·       Fidelity and infidelity

·       The frailty of the human condition and the limits of our mortality

·       Religion and spirituality

·       According to Ebert, the film “suggests that modern, big city lives are so busy, so distracted, so filled with ambition and complication that there isn’t time to stop and absorb the meaning of things. Neither tragedy nor comedy can find a place to stand.”

DESCRIBE THE DIFFERENT PERSONALITIES OF THE 3 SISTERS AND HOW THAT ENHANCES OUR UNDERSTANDING OF THIS STORY AND ITS MESSAGE

·       Hannah is the stable, unflustered one: she’s nurturing, relatively calm and composed

·       Holly is insecure and inexperienced but warm and trusting

·       Lee is emotional, sensual, and beautifully mysterious  

WHICH MAJOR CHARACTERS DOES THIS FILM CENTRALLY FOCUS ON, AND WHAT COMPOSITIONAL AND EDITING CHOICES DOES ALLEN MAKE TO DEMONSTRATE THIS FOCUS?

·       The style of the film, according to film scholar David Bordwell, emphasizes the notion that no one single character is necessarily more important than the other

·       Notice that when the characters are in a fixed position, the camera typically keeps them joined together in a balanced framing; the camera pans with the characters when they do move in order to keep them onscreen.

·       Consider the dinner scene, which is executed in one lengthy, continuous take

·       Other filmmakers usually choose to employ more frequent cuts and editing to draw attention to particular reactions or dialogue. Here, as Bordwell says, “Allen presents the characters as a group, much as Renoir did in Grand Illusion.”

·       The occasional scenes that employ quick cutting and shot/reverse shots feature Mickey, as he’s demonstrated to be the outsider, the misfit among this group of family and loved ones

·       How is Allen able to keep the story moving along and help us to move between and distinguish among each character, considering how many parts are in this movie?

o   The plot is organized around holiday parties, which provide occasions to bring the characters and their conflicts together, per Bordwell.

o   Allen uses intertitles between scenes, which segment and organize the different episodes

o   Allen employs cyclical patterns of action: Mickey usually appears in every third scene, for example.

DOES THIS MOVIE BRING ANY OTHER WORKS OF LITERATURE OR FILM TO MIND?

·       Allen claimed that Tolstoy’s Anna Karenina was the inspiration for this story

·       Interiors, a darker earlier picture by Allen that also features 3 siblings

·       Bergman’s Fanny and Alexander, in its depiction of a large, strongly bonded family

·       The Marx Brothers’ Duck Soup

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