Blog Directory CineVerse: September 2015

The anniversary that wouldn't die...

Wednesday, September 30, 2015

CineVerse celebrated its 10th anniversary back in June, but the media just doesn't want the party to stop! Today, the Daily Southtown newspaper published a congratulatory column promoting our film discussion group and noting our decade milestone.

Click here to read the full article.

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You can run, but you can't escape the film analysis

Thursday, September 24, 2015

In the pantheon of action thrillers, few measure up to the masterfully made "The Fugitive," which still manages to pack a strong punch 22 years later. After discussing this movie's merits, CineVerse came away with these observations:

WHAT MAKES THE FUGITIVE A CUT ABOVE THE TYPICAL MODERN THRILLER/ACTION MOVIE?
We care about these characters, primarily because there is good character development (without excessive exposition, back stories, or dialogue) and we can identify with Harrison Ford as an innocent everyman character on the run from forces outside of his control. 
Many have praised this as one of Ford’s best performances. Ford has been noted in this role as being quite effective at emoting fear, resolve, cunning, and other feelings expected in a desperate man simply via facial expressions and gestures, without having much dialogue to work with.
It’s crucial that we also care about the Tommy Lee Jones character in that he has an important job to do in seeking justice, he is an expert at what he does, and were hoping that he will uncover the truth and clear Kimball of all wrongdoing. Deputy Gerard is not the bad guy/villain here – he is the opposing force to Kimball and the driving factor behind much of the suspense, considering how close he is to finding his suspect. We understand what drives Gerard and can appreciate the consistency of his character. He and his team also serve as effective comic relief in an otherwise taut, suspenseful picture.
This is an important consideration, because the film essentially is about both characters and two pursuits that, as reviewer Owen Glieberman put it, are “running on parallel – and finally convergent – tracks. Kimball and Gerard spend the entire film on opposite sides of the law. Before long, though, we realize we’re rooting for both of them; they’re both protagonists, United and brains, dedication, superior gamesmanship.”
It’s also key that, as viewers, we are not omniscient – we only know as much as Kimball knows, so his discoveries and experiences along his journey are as revelatory to us as they are to him, allowing us to further identify with his predicament and root for his cause.
Additionally, while there are some implausible actions/plot points, this is not a film replete with ridiculously over the top escapes, getaways, deus ex machina plot contrivances, and unrealistic action sequences that plague contemporary thrillers/action movies.
What also sets this picture apart from contemporary thrillers is its traditional approach to filmmaking, especially no reliance on computer-generated effects or today’s process shots; in fact, the train crash/derailment scene early on is a real crash that had to be carefully choreographed. Also, Ford did several of his own stunts. This is one of the last examples, before the onset of the modern era of CGI effects, of old-school effects and stunts.
It’s a film that also showcases a major city in a fairly accurate way, by virtue of it having been shot on location in Chicago for many of its scenes. Director Andrew Davis said in an interview: “What I really appreciated seeing it recently again, was the Chicagoese of it. I’m from Chicago, I’ve made a lot of films in Chicago. It really captures the city in a wonderful way in terms of its casting and the way people sound and act. It sort of opened the doors to Chicago as a huge production center. “ER” was based upon a lot of what The Fugitive looked like. Batman [The Dark Knight] and all those other movies that shot in Chicago and produced by Warners were there because they had such great experience from the cooperation we got.”

WHAT ARE THE KEY THEMES AT WORK HERE THAT DRIVE THIS STORY AND ITS CHARACTERS?
The innocent man wrongly accused – a popular theme explored in Hitchcock pictures.
How pursuit of the truth trumps all other rules and laws, even over the pursuit of justice from a law enforcement perspective.
How large/amorphous/nameless forces, like huge corporations, can wreak terrible havoc on an individual. Corporate greed and the loss of individual/human rights are messages explored in this movie.
It asks the question: What would you do if you were blamed for a terrible crime and had a chance to at least temporarily escape from it?

WHAT OTHER FILMS OR BOOKS DOES THE FUGITIVE REMIND YOU OF?
The original TV series on which this film is based, which are fairly identical and set up, motivations, and situations.
Les Miserables, in that both protagonists are punished unfairly and hunted by obsessive law-enforcement detectives as they pursue vindication.
“The Third Man” – especially in its similarity with the man on the run using sewers/drainage tunnels.

OTHER WORKS BY DIR. ANDREW DAVIS
“Code of Silence”
“ The Package”
“Under Siege”
“Holes”

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A running Ford gathers no moss

Sunday, September 20, 2015

Make plans to attend CineVerse on September 23 for part 13 of the "Our Favorite Films" series, this time featuring “The Fugitive” (1993; 130 minutes), directed by Andrew Davis, chosen by Art Myren.

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"Airplane!" Rescheduled for September 30

Thursday, September 17, 2015

Due to technical difficulties last night, we had to postpone our scheduled viewing and discussion of "Airplane!" The good news is that we have rescheduled it for Wednesday, September 30. Immediately following the movie, we will screen clips from a "making of Airplane!" documentary. We hope you can join us that evening.

Note that the original movie slated for September 30, "High Noon," will be rescheduled for a later date (Jeff, who picked "High Noon" for the Our Favorite Films series, will not be able to attend that evening, so it makes sense to move "Airplane!" to that date and revisit Jeff's movie in the coming weeks).

Sorry for all the sudden calendar changes, but we want to ensure that the Our Favorite Films chooser is present the date of their scheduled film.

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Looks like I picked the wrong week to quit CineVerse

Sunday, September 13, 2015

On September 16, the Our Favorite Films series continues at CineVerse with “Airplane” (1980; 88 minutes), directed by Jim Abrahams, David Zucker and Jerry Zucker, chosen by Tom Nesis. Plus: Prior to the film, we will play a brief movie trivia game with the chance to win DVD prizes.

Note that "Notorious," which was originally slated for September 16, has been postponed for a few weeks due to a scheduling conflict.

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The man may be quiet, but the film speaks loud and clear

Thursday, September 10, 2015

John Ford is known for his unforgettable westerns, no doubt. But he also distinguished himself as a master director of films featuring Irish and Welsh characters, most notably with "The Quiet Man," which CineVerse examined last evening. Here are the main takeaways:

HOW IS JOHN WAYNE’S CHARACTER AND PERFORMANCE DIFFERENT FROM OTHER FILMS—IS THIS A DIFFERENT SIDE OF JOHN WAYNE THAN YOU’RE USED TO?

·         We expect a dominating, strong, wisecracking male character that we’ve seen him play previously.
·         Instead, he shows hints of quiet, reserved tenderness, and wistfulness.

HOW WAS THE QUIET MAN A DEPARTURE FOR JOHN FORD THE DIRECTOR, WHO WAS KNOWN FOR FILMS LIKE STAGECOACH, GRAPES OF WRATH, SHE WORE A YELLOW RIBBON, RIO GRANDE AND OTHERS?
·         This film is much more romantic and sexually charged than his previous pictures.
·         “The Quiet Man” is much more sentimental and comedic than Ford’s previous works.
·         There is great sexual tension, romantic chemistry and power struggle between Wayne and O’Hara: a brilliant pairing.

DOES THE FILM CARRY A PRO FEMINIST MESSAGE TODAY, OR DO YOU SEE THE “QUIET MAN” NOW AS A LAUGHABLY DATED, REPRESSIVELY PATRIARCHAL FILM  TODAY?
·         Their marriage can be viewed as an equal partnership in that her insistence on the dowry and refusal to grant intimacy gives her power.
·         She stands right up to Sean, toe to toe, and tears the stick from his hand he was given to beat her with.
·         She slaps his face when he tries to kiss her.
·         She whispers presumably something naughty in his ear, giving the impression that she enjoys sexual intimacy and communicates what she likes, vs. the expectation that wives were or should be subservient and the assumption that the man should take charge.
·         He kicks in the door, but unlike Gone with the wind, where Rhett has his way with a nonconsensual Scarlett on their wedding night, he spends the night in his sleeping bag.
·         The broken bed scene and the extended fight scene are symbolic of Sean trying to reclaim his honor— they are meant to be scenes of triumph and humor, but today can be viewed as a man dominating or abusing his wife.
·         When he buys her a horse and cart, he lets her drive.
·         Consider that the movie is predominantly shot on location in Ireland and features native Irish actors and Irish citizens as stand-ins, as well as its Hollywood stars – all Irish descendents.

BY THE END OF THE MOVIE, HOW DO YOU FEEL ABOUT SEAN? HOW DO YOU FEEL ABOUT MARY? WHO IS IN THE RIGHT?

IS THE QUIET MAN A CELEBRATION OF IRISH CULTURE OR A CRITICISM OF IT?
·         The film emphasizes a positive spirit of a cohesive community.
·         There is a rich tapestry of music flavored by popular Irish songs.
·         But, the film becomes a comedy of manners as Sean is conflicted by the social mores and traditional customs of Irish courting/marriage.

IS THIS MEANT TO BE A REALISTIC DEPICTION OF 1950S IRELAND, OR AN IRISH TALL TALE?
·         The name “Innisfree” is derived from “The Lake Isle Of Innisfree” by William Butler Yeats; it immediately evokes a poetic, imaginative fancy.
·         Many of the supporting characters are stereotypical caricatures: the fight-happy brute, the leprechaun-like imp, the quirky old man, etc.
·         The romantic scenes are highly charged and influence the surroundings — a storm pops up out of nowhere seemingly in response to their passion.
·         It’s as synthetic and artificial as Ford’s idealized American west in his westerns.
·         This was intended as Ford’s homage to what he imagined as a happier, simpler time in the life of his ancestors.

AMERICA AND IRELAND ARE TWO OPPOSING WORLDS TO SEAN; WHAT DOES EACH COUNTRY REPRESENT TO HIM?
·         America stands for romantic love, passion (honk a horn and girl comes running out of the house); Ireland=traditional marriage customs (dowry, honor; you have to fight to win someone’s love).
·         The mystery of Innisfree to Sean is summed up in the question: How can his undeniable romantic passion be halted by mere tradition or custom (as exemplified by Red Will’s refusal to let sister marry him)?

WHAT ROLE DO COLORS PLAY IN THE FILM? ARE ANY PARTICULAR COLORS THEMATIC OR SYMBOLIC?
·         Warm reds and browns symbolize carnal passion.
·         Greens and blues represent tradition, protocol, and customs.

DO YOU RECOGNIZE ANY ELEMENTS OF SHAKESPEARE OR MYTHOLOGY IN THE QUIET MAN?
·         The plot is somewhat similar to “The Taming of the Shrew.”
·         Innisfree has been described as similar to the Forest of Arden in “As You like It.”
·         Critics have compared this film’s humor to the Bard’s “untidy magical comedies,” such as “A Winter’s Tale.”
The story was inspired by a Celtic myth about an epic war between two kingly deities who fought every year for the love of a goddess queen.

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Celebrate St. Patrick's Day six months early

Sunday, September 6, 2015

On September 9, "Our Favorite Films" returns to CineVerse with “The Quiet Man” (1952; 129 minutes), directed by John Ford, chosen by Rose Krc.

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Pay (some) attention to that film analysis behind the curtain…

Thursday, September 3, 2015

What can possibly be said about the Wizard of Oz that hasn't already been expressed? Actually, plenty, if you give credence to the myriad interpretations, themes, and elements at work that have been suggested by film scholars, critics and fans alike. This 1939 classic is actually chock-full of sub- textual and thematic content worthy of ample discussion. CineVerse attempted exactly that last evening and came away with the following conclusions:


WHY DO YOU THINK THIS FILM IS SO BELOVED AND CHERISHED ACROSS AGE SPANS AND GENERATIONS?
Children and adults alike can appreciate the themes imbued in this movie and the memories it evokes. Consider that The Wizard of Oz is probably the most watched film in history (thanks to its repeated airings over the decades on broadcast television), which means that countless children have seen it and recall it with fondness. They, in turn, pass on the viewing opportunity to their children, and the cycle continues.
The casting is fantastic – Judy Garland exudes a vulnerability and innocence that melts even a steely heart; Ray Bolger is a noodle -like marionette of an actor perfectly embodies the scarecrow; Margaret Hamilton, although little known outside of this film, is the perfect physical personification of a female villain/which; Frank Morgan is wonderful as an addled charlatan with a kind heart.
The songs are also timeless, infinitely hummable and quotable.
There’s something wonderfully transitory about the juxtaposition between the sepia toned black and white book-ended sequences in the Technicolor scenes in between that pop with oversaturated vibrancy. This film would’ve been a revelation to audiences in 1939 who were predominantly fed black and white films by studios and began to discover the magic of Technicolor.
The special-effects are charmingly old-school in an age when it’s easy to get earned out in jaded by overdone CGI and digital effects. The painted cycloramas, wires, simple pyrotechnics, and artificiality of the sets and costumes make for a stagebound but undeniably fun misc-en-scene.
All the characters are sincere; there’s a purity in their drives and motivations that makes the viewer completely believe in whatever factor is compelling them. Dorothy truly wants to get home – pure and simple. No one has any ulterior motives or secondary agendas, which makes it very easy for children to understand and root for these characters.
It’s also terrifyingly memorable to children. Think about all of the visual stimuli at work here that stamp onto the young conscious and unconscious mind, from a terrible tornado to a sadistic ugly which to creepy flying monkeys and angry talking trees to a haunted forest. This, along with Snow White and the Seven Dwarves (which also features a gruesome which willing to kill) is among a child’s first exposure to pure evil and terror in a movie. This is a film that isn’t afraid to depict a cruel villain whose modus operandi is to torture and destroy the good guys.

WHAT MAJOR THEMES ARE EXAMINED IN THIS MOVIE?
Growing up and facing challenges along the way: Dorothy quests for ruby slippers, which are elusive “adult shoes.” She’s forced to confront serious fears, such as surviving a tornado, homesickness and separation from her family, a villain who wants to destroy her and her best friend (Toto), etc.
the yearning for remaining in the comfortable and familiar (home) versus the yearning to explore the big bright world beyond: while the film’s message is “there’s no place like home,” and Dorothy learns to appreciate conservative values like the love, warmth and comfort of family and the familiar, she also has a heck of a lot of fun and adventure on her road to and while in Oz, making several lifelong friends along the way. Perhaps the film is not asking viewers to make a choice between one or the other – possibly it’s saying be content with what you have, but it’s also okay to escape to or fantasize about other places.
Roger Ebert summarizes things well: “For kids of a certain age, home is everything, the center of the world. But over the rainbow, dimly guessed at is the wide earth, fascinating and terrifying. There is a deep fundamental fear that events might conspire to transport the child from the safety of home and strand him far away in a strange land. They’re touching on the key lesson of childhood, which is that someday the child will not be a child, that home will no longer exist, that adults will be no help because now the child is an adult and must face the challenges of life alone. But that you can ask friends to help you. And that even the Wizard of Oz is only human, and has problems of his own.
Ebert continues: "Her friends on the yellow brick road were projections of every child’s secret fears. Are we real? Are we ugly and silly? Are we brave enough? In helping them, Dorothy was helping herself, just as an older child will overcome fears by acting brie before younger one.”
Author Salman Rushdie posited: “The weakness of grown-ups (in the Wizard of Oz) forces children to take control of their own destinies.”
Reviewer Richard Scheib had this theory: “the film/book is about the great American myth of self-actualisation. It is about the allegorical search for courage, intelligence and heart. The ending of the film comes to the sentimentally banal realisation that these are things that lie within one and that all that we need to do is to recognise them. The farm in Kansas is the absolute ideal of home, hearth, purity and a loving family. Part of what makes The Wizard of Oz such a classic is that Dorothy’s desire to return home where life is loving and far more simple is the essence of what traditional Americana venerates – there have been few more pure-hearted and unabashedly sentimental evocations of this on the screen.”
Scheib and others further contend that the movie suggests a cynicism about people in authority: consider how many adults are inadequate, including uncle Henry and auntie Em who are powerless to prevent Miss Gulch from absconding with Toto; the wizard himself, who turns out to be a fake; and the denizens of Emerald City, a gullible lot who believe what they are told. This points to a political statement perhaps that you shouldn’t necessarily trust those in power.
Gender and power dynamics are also at play here. Writer Ilan Shrira offered this reading into the film: “The Wizard of Oz veers from the traditional Hollywood storyline in that there's no male hero. In fact, quite the opposite: the only two figures with any real power are women—Glinda the Good Witch and Miss Gulch/Wicked Witch. The male leads—the Scarecrow, Tin Man, and Cowardly Lion—play the classic "common man" roles, with little power to control their own destiny. The only other powerful character to emerge is Dorothy. In fact, after the struggle over Toto, the tornado can be understood as the clashing forces between Miss Gulch and the headstrong Dorothy. (It's no coincidence that Dorothy's last name is Gale). When we get to Oz, Glinda, Dorothy, and the Witch are the three powerful figures, while all the men are weak (including the Wizard). Thus, similar to the theme about the inadequacy of adults, we're also getting the message that men's power is illusory, whereas women's power is real.”
Goodness, virtue and resilience are internal qualities, while evil and destruction, the film suggests, comes from external forces (the witch/the tornado).
According to reviewer Glenn Erickson, the film is a decidedly American picture espousing American values: “Dorothy finds friends in Oz, but they all share a crucial American flaw, a theme that runs through our literature: Americans lack a defined sense of identity. Most of us do not trace our bloodlines to revered traditions; we have to create their own self-identity as best we can. We don't want to be pigeonholed but we often feel rootless and question who we are. The Scarecrow, Tin Woodsman and the Lion are very American characters -- all three of them feel like failures for the lack of essential qualities -- that they ironically already possess. They just need validation. Dorothy's love and the Wizard's BS pep talk close the gap -- note the importance of illusion to each individual's self-esteem.”
It’s also been theorized that this movie is a mirror of its time in that it depicts the lingering effects of the Great Depression (the challenging conditions on the Kansas farm) as well as fears of World War II – with the wicked witch of the West standing in for Hitler and the wicked witches of the east and west possibly representing a division between East and West on the European warfront.

OTHER FILMS AND WORKS OF ART THAT THE WIZARD OF OZ REMINDS US OF:
Alice in Wonderland
Snow White and the Seven Dwarves
Other Disney films like Beauty and the Beast, The Little Mermaid, and Sleeping Beauty
Star Wars

OTHER FILMS DIRECTED BY VICTOR FLEMING:
Gone With the Wind
Captains Courageous
Dr. Jekyll and Mr. Hyde
Joan of Arc
Treasure Island

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