These were originally written on November 14, 2006 for Literature class. I’m posting this because I want to watch the Young Frankenstein musical with Roger Bart!!!!!!! Aaand… because I want to!

CINEMATOGRAPHY
….can recreate and satirize movies of the past.
According to Gerald Hirschfield, the cinematographer of Mel Brooks’ Young Frankenstein (1974), Mel Brooks wanted to use black and white film to replicate and to satirize the original Frankenstein films, even if black and white were rarely being used in studios at that time. The interior of the castle was lighted using candle-lit chandeliers to give gloom and mystery to the place. As Dr. Frankenstein (Gene Wilder) and Inga (Teri Garr) slowly goes down the stairs to the “secret laboratory”, the light from their candle bounces on their faces which emphasized the element of suspense in the later scenes.

After a scene ends, it fades into black like old-fashioned films where the blackness encloses the screen until there is nothing left but a tiny circle. The size and power of Frankenstein’s monster (Peter Boyle) was shown by filming him from an angle that accentuated his height. The occasional zooming in on the overly comical expressions of the characters further satirized the “dark” mood and subject matter of the film.

…can compare and contrast actors with their surroundings and actors with other actors.
At the start of the film, the camera showed the day-to-day activities of young Josh Baskin, played by David Moscow in Big (1988). As Josh mopes around the carnival, since he wasn’t able to go along with his crush in a ride, he sticks out like a sore thumb with the colorful Ferris wheel and all the lights and the happy people that surrounding him. The fortune-teller machine mannequin was shown in extreme close up to make certain details, like the glowing eyes, reveal something that will happen to him in the coming days.

After Josh makes his wish and transforms into his older version (Tom Hanks), director Penny Marshall chose to focus on Older Josh’s feet before altogether focusing on his face to reveal how much he aged overnight. When Older Josh and his best friend Billy come together in the same frame, it is only then that we have a visual comparison of a 30 year old and a 12 year old.

The following are incoherent paragraphs of soundtracks I’m currently listening to.

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I love a great soundtrack. Even better if the movie is actually worth watching because of the soundtrack. Cameron Crowe is a perfect example of a director who knows the music to go with his films. His 1992 film, Singles (one of my favorite movies–really!), focused on the interconnected lives and loves of the people living in a duplex somewhere in Seattle. And what better way to further appreciate the movie by adding stellar rock/grunge bands in the soundtrack?! For some movies, it might come of as redundant, using music by Seattle artists for a movie set in Seattle, but Cameron Crowe made the “feel” of it all more authentic. Paul Westerberg’s “Waiting for Somebody” and “Dyslexic Heart” were PERFECT for the movie. Movies are mere replicas of life blown out of proportion but with the right pulls and tweakings, it can move you. In Almost Famous, who would’ve thought that Elton John’s “Tiny Dancer” could give one moment of peace in their chaotic rock n’ roll lives?

And then there’s Catch and Release. Catch and Release is my new favorite soundtrack. The movie is okay, but the soundtrack is even better. The movie begins with the funeral of Gray’s (Jennifer Garner) fiancé, and with the Foo Figher’s “Razor” playing melancholy in the background. Gray and Fritz (Timothy Olyphant) make love to Joshua Radin’s “What if You”. Death Cab for Cutie’s fab “Soul Meets Body” plays as they make a fishing trip. These are mere ordinary scenes that we could’ve forgotten if they happened in real life, but with the music you can recall the scenes with more gusto. Who knew I would like indie songs? Ooh and Paul Westerberg again. Can’t go wrong.

Another soundtrack I like is Marie Antoinette. The following are taken from my other journal: I kept hearing comments made by critics and people in message boards (imdb) that using New Wave music for a period film was pure mockery to the subject matter. I actually thought it fit the theme and style of the movie (litelec hah). There were times when you really cannot help dozing off during scenes where dialogue/action are few, but the upbeat music made up for it. It’s like a teen-ified biopic of a historical figure. Which I liked. I haven’t seen A Knight’s Tale so I can’t really make an opinion on that, however I have seen Plunkette and Macleane. The movie also made use of modern music during the dance scene with that guy Angelina Jolie was married to and Liv Tyler. Strange combination, but it works. “Fools Rush In” by Bow Wow Wow was fab as Marie Antoinette made her way back to the palace after partying all night long. Hah.

The Dreamers is an artsy fartsy film with a great soundtrack. I haven’t seen the entire movie (since I just downloaded a streaming video of it… and it got cut off in the last 30 minutes), but I saw enough for me to say that it’s a strange and shallow movie. The characters in the movie are so delusional (and haha disgusting maybe) and so caught up with their own little worlds, but nonetheless, they’re engaging characters and they’d be very interesting to analyze. The movie was set in France in the 60s and the soundtrack featured music by The Grateful Dead and the Doors. What could go wrong? Even Michael Pitt’s “Hey Joe” was a brimful of sixties-revolution whateverness.

Hookay. That is all. The only problem is, most soundtracks don’t carry all the songs played in the movie. Not fair!!! Thank goodness for messageboards and nice people who help you identify the songs.

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Can’t really come up with anything useful to blog about, so I’ll just write about this:

My uncle lent me a couple of movies and Barbra Streisand DVDs. See that box set in the background? It’s a collection of Streisand TV specials of some sort, all in a pretty red box with a LOT of her pictures from the 60s-70s. Babs is fab. She’s pretty annoying at times, with the diva-ness and the vanity and all, but she does have that incredible voice and the amazing ability to perform with such grace and power. And that makes up for it!

So far, I’ve only seen Live at the MGM, parts of Timeless and A Star is Born, 1954 version. When oh when can I squeeze in the others? I’m planning to write a little something on each of the movie/concert I’ve seen so I can make good use of this blog part. Sometimes I feel it’s such a chore to blog here.

Maybe I’ll list my top 50 songs? I’m running out of ideas.

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start of short message I knew I made the wrong choice of watching Before Sunset before Before Sunrise. I liked the spontaneity of it all but I didn’t quite get some of the things they were talking about. Both characters seem like they really knew each and I felt so lost because I haven’t seen Before Sunrise. What made Celine say that she lost all her romanticism because of Jesse… and that one night they spent together? What happened that night in Vienna?! What’s the story behind the flashbacks? How come all they did was talk and talk and talk? How come it took nine years before they met again, and how did they still manage to have a decent conversation after all these years? Oh, the agony.

I bought a copy of Before Sunset a few months ago because I heard so many good reviews of the movie and I was also curious why Ethan Hawke and Julia Delpy was listed as co-writers of the movie. And a few weeks ago, I came across a copy of Before Sunrise at a video store and immediately bought it. Before Sunset made perfect sense now. Aaaahh. And both movies are definitely going to my favorites list. The end. end of short messge

Enough of round corners… for now. I’ll upload other pictures of the bags I made and my groupmates who willingly posed with their bags. Heh.

By the way, here are more photos of…
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