Stagecoach

Stagecoach is a film directed by John Ford in 1939. Ford does more with this movie than the audience expects. The audience is expecting the movie to be mainly about the conflict between the Indians and the white man. According to Richard Barsam, Ford, however, presents sharp psychological portraits of vivid characters, magnificent imagery, and pointed social commentary.

John Wayne plays the character the Ringo kid who has gotten himself in trouble with the law. Dallas played by Clair Trevor is a prostitute who does not fit in well with people and does not come from the right side of town. Thomas Mitchel plays the character Doc Boone. Doc is a fun loving character that brings a light hearted mood to the film as well as Buck. These are just a few of the seven characters who are riding on the stagecoach throughout the film. Every character that is traveling to Lordsburg makes up a diverse group with different backgrounds, professions, and personalities.

The cinematography helps depict the Old West especially with it being in black and white. The lighting is a crucial component. The silhouettes that are created during the harsh close ups of the characters help to grab the audiences’ attention. The camera angles vary from scene to scene. The first close up in the film is when the character Ringo kid is first shown. This creates foreshadowing and clues for later on. There is a high angle shot above the stagecoach when it has to cross the river. When the Apache leader is shown with his men, the camera is displayed lower than the Apache leader to signify his power and seriousness within the film. During the chase between the characters in the stagecoach and Apaches, the angle that is most stunning is the harsh low angle. Throughout the film, the camera makes viewers feel a constant movement by the usage of angles from within the stagecoach, the drivers and the chase.

One of Ford’s persistent beliefs is that civilization occurs as a result of a genuine community built-in the wilderness- through heroism and shared values (Barsam p 87). This idea that Ford has ties in well with the last line in the film when Dr. Boone says, “Well, that’s saved them from the blessings of civilization.” Dr. Boone is talking about Ringo and Dallas heading for the border together. The ending is not typical during that time. People who do bad things or make mistakes must be held accountable but Ford seems to be saying to the audience but what if? This leaves audience to challenge and question that not all of people’s actions have a black or white effect there can be some grey.

Our Hospitality and Sherlock Jr.

Our Hospitality and Sherlock Jr. are films directed by Buster Keaton. Buster Keaton is one of the first well known filmmakers during the silent era of film. Keaton was multi-talented in the sense that he not only directed his films but also was the main actor in them. In both areas, his talent and dedication to film making were way beyond his years.

In Our Hospitality, is a black and white film with no sound from the actors but music is played throughout the film. The music flows with the movement and pace of the film. For example, when the brothers are chasing Keaton’s character the music increases to portray the feeling of a chase. The film’s effects seem very advance for the technology that that day in time had. When the gun went off in the dark, it created a firework/spark effect that was very impressive considering the content of the over all film. The scenes with Keaton on the bicycle were stylistically intriguing. The editing of that shows different angles that the camera is able to achieve. There is a full shot of the scene with the bicycle then it cuts to an above the waste shot of him on the bike.

The film also depicts the era mainly through its style of editing. In some places viewers are able to see where the frames did not mesh specifically together. The film fades in and out thus portraying where the film strips were put together making the film not as clean or crisp. The film is visually stunning from the actually characters, Keaton is the smallest man in size, to the effects within the film. Some of the most intriguing effects were the river scene with Keaton and Virginia Canfield and the early trains that were used throughout.

This is a film that is slow in some parts mainly the beginning but towards the end will have any viewer excited of what they are watching as well as be amazed at the techniques used during the history of film.

In Sherlock Jr., is said to be not only Buster Keaton’s greatest film but is among the greatest achievements in the history of cinema, period (http://us.imdb.com/title/tt0015324/.) Again, Keaton does not disappoint the viewers with his acting nor with the effects. It is a shorter film but has many themes and elements that are intertwined throughout.

Keaton’s character has a dream which creates a dream sequence but the unique part of the dream is that he is entering the movie being shown. This creates a very unique experience for the audience that is watching. The audiences’ desire to become a part of the movies is fulfilled with Keaton leading the way. The car chasing scene is executed very well and the music is recognizable by current chases that are still being done today.

According to Eric Smoodin, it contains a story within a story, through which Keaton deals with opposition central to Western culture: dream versus reality, and reality versus art. There seems to be this underlining meaning of what is reality and what is desire. Freudians would say society or other people contribute to a person having to suppress their wants. Just like in the film when Keaton is trying to be a detective and win over Kathryn’s heart, he is not economically sound enough for her nor is he using his full potential to be a detective. This is a film that can be visually stunning through the eyes of artists as well as a metaphor for life.