Double Indemnity (1944)

Double Indemnity (1944), hailed by many for the excellent film noir it uses, is the film that almost was. Nominated for many Oscars, including Best Picture, and loosing in every category, Double Indemnity is the 'best failed' film to have ever reached the silver screen. Director Billy Wilder started off his career in Berlin (which explains the constant use of film noir; see M), but then left Germany when Hitler rose to power (similar to that of his roommate, Peter Lorre; once again, see M). While the constant use of banter is quite annoying, the film eventually leads beyond that, and becomes an enjoyable classic.

The entire film is the confession of Walter Neff (Fred MacMurray), of how and why he killed. Of course, the mystery of 'whodunit' is eliminated, and is replaced by "howandwhyhedunit" (a term coined by my film teacher). After Walter Neff visits Phyllis Dietrichson (Barbara Stanwyck), the femme fatale of the film, the two of them fall 'in love' and plan to kill Phyllis' husband. As Walter is an insurance salesman, he arranges it so that the death of Mr. Dietrichson can be categorized under double indemnity, in which Phyllis receives double the amount of money. However, with any evil plot, everything messes up, and disaster lurks into Neff's life.

One of the interesting things about this film lies in the character of the hero . . . of which there is none. In a similar fashion to Hayao Miyazaki, the film is filled with people who have good and evil intentions; however none of them can be classified under 'hero' or 'villain'. (Miyazaki's films never have villains in them.) The only one who is close to the title of hero, is Neff's boss: Barton Keyes (Edward G. Robinson). Probably the only one in the film with good intentions, Keyes just misses the title of hero. When Keyes starts to suspect Neff, but instantly turns him down as a suspect for his close relation. If Keyes was a true hero, he would have investigated it, and, upon finding the truth, helped Neff redeem himself. Unfortunately, by the time Keyes finds out, it is too late.

Double Indemnity is an enjoyable film that has many themes discussed in it. The main one, as stated above, is that of heroes and villains. Since most 'classic' films are black and white (not only in color, but in the values) and contain no in-between emotions, it is curious to see a film such as this to succeed. As many audiences like to see a hero win and a villain fall, Double Indemnity does not fulfill this request. This film meshes many emotions into one, making the audience feel sorry for the main character, the villain. This is one of the reasons Double Indemnity has become a classic.

Quite an enjoyable film, Billy Wilder's Double Indemnity has become a classic. While the banter is bad enough to scare anyone away, the plot and acting is what shines in this 1944 film. This American film has, possibly, the best film noir of it's time. From windows casting low key lighting, to mind-bogglingly high windows, the use of light creates a very murderous feel to the film, and a very appropriate mood to match it.

Jaws (1975) PART II

Peter Benchley's best selling novel swept the nation as it's readers learned of the adventures of Chief Brody (Roy Scheider) and a murderous shark. The fame of the novel increased even more, when director Steven Spielberg created a summer blockbuster based on Jaws. Both the book and the film are similar in many ways; however, Spielberg has tweaked the film in order to support the different themes he presents in Jaws. In this review, many of the differences between the novel and the film will be revealed, explained, and insulted.

Possibly the most insignificant, but important, change that was made has to do with the island itself. In Peter Benchley's version, Amity, the setting of the story, is a small island town on Long Island. However, in the film, Amity is it's own island. This insignificant detail, ignored by many, actually caught my attention, (for the main reason I live on Long Island) because it greatly magnifies many of the themes that are presented in both versions of the story. If, as Benchley intended, Amity was a small town on Long Island, Brody would have the option of ignoring the shark. Ignoring it would cause it to swim away, and start attacking another town on the island (I live on the north part of the island, don't worry). This eliminates the feeling of leadership that Brody has, for the adventure becomes optional. Another theme that is enhanced is Spielberg's motif of 'fear of water'. Brody, all his life, has been afraid of water. Moving to an island is considered a bad move for anyone of Brody's nature, but increases the fear Spielberg creates for his audiences. As the film progresses, Brody's character learns more of saving people (another theme introduced in the film), and eventually copes with his fear of water.

While many of the differences are minute, the death of Alex Kintner (Jeffrey Voorhees) is a big, noticeable difference. In the novel, the shark attack is [barely] noticed by one person, and the victim is unaware that he is now dead. However, Spielberg tweaks this to intimidate fear. A crowd materializes around Kintner for the film, causing panic and fear to spread when the death occurs. This becomes significant, for Brody is now considered to be correct all along. In the novel, he still has a hard time convincing the town that there is a shark problem.

Another noticeable difference between Benchley's and Speilberg's version, is the quest to destroy the shark. In the novel, Quint (Robert Shaw) specifically states why searching for the shark at night would be a bad idea. However, in the film, Quint specifically states why returning home would be a bad idea. This becomes an excuse for Spielberg to increase the fear in the film, for now the crew is in danger 24 hours of the day.

Many of the other differences become insignificant, such as the affair between Hooper (Richard Dreyfuss) and Ellen (Lorraine Gary), and have no relation to the film. The death of Hooper could be placed in this category, something that Benchley became enraged over. In Spielberg's opinion, the audience at this point is entranced by the film, and will believe anything that they are shown (thus, the absurd ending). This is the reason why Hooper does not die in the film. Upon hearing this, Benchley became so enraged, he had to be thrown off the set (which was twelve miles out to sea).

Novels and films generally don't mix and match very well. Faithful readers notice the multitude of differences between the two versions of the story. However, once in a while, a good pair surfaces and ensnares both readers and audiences in its jaws. For films like Jaws, the themes presented in both works create the perfect atmosphere for a shark thriller.

Jaws (1975) PART I

Awarded the position of second most thrilling movie of all-time, (in AFI's 100 Years. . . 100 Thrills) and causing fear and panic to cover beaches world wide, Jaws is considered to be the start of the 'summer blockbuster' trend. It's success over the $100 million mark, in addition to the 3 Oscar wins and a 'Best Picture' nomination, caused Universal to create 3 [really, really bad] sequels. Of course, there are many things that attribute this film to fame; the novel it is based on (see PART II), the acting, the special effects, but mostly the fear that was created by director Steven Spielberg. Although the line between movie and film is very thin, especially for Jaws, Spielberg just makes the mark of film for this thriller. (Interestingly enough, composer John Williams is the only person who worked on Jaws and refers to it as a film.) While movies generally are made for only entertainment (or money), films usually have deeper meanings behind them, and are filled with hidden messages. Jaws may not have many, but the ones it does have takes a 'bite out of you'.

The friendly island of Amity is home to gorgeous beaches, filled with sand, water, and something much worse then tourists. A deadly 25 foot Great White Shark has infested the waters around Amity, risking the oncoming summer tourist season. Since the town is so small, it depends on the money raked in during this time to ensure it's survival in the winter. However, with one death already caused by this Leviathan, the town becomes threatened, and Chief Brody (Roy Scheider), the protagonist, becomes pressured on what to do. Unable to close the beaches due to the necessary income, the beaches remain open . . . causing the second and third deaths.

Alex Kintner (Jeffrey Voorhees), the second victim of this Great White, is the start of the great panic that attracts people from all over. The Kintner mother offers a reward of $3000 to whoever can slay the monster; and this is when the real feeding frenzy begins. Guns, chum, and loud insults fly across boat to boat, resulting in the shark's third meal. Now serious, the town of Amity hires local shark hunter, Quint (just Quint) (Robert Shaw), to destroy the monster and save the beaches. Along for the boat ride is Chief Brody and Marine Biologist Hooper (Richard Dreyfuss). The difference in opinions cause great animosity between the characters (fueled by the real hatred of the actors), and the fear spread around by Spielberg reels the audience into a film they cannot escape.

While the special effects in Jaws are hailed for being incredible (for its time), the real fear is brought out from the magnificence of John Williams' music. Universal executives highly criticized the film when first viewing it without the soundtrack. After 'much improvement' (the addition of non-diegetic sound), Universal hailed this film as a great work of art. Even years later, the famous two note tune creates a sense of fear whenever heard. The theme from Jaws has become a metonymy for a giant shark, which itself has become a metonymy for fear. Indeed, this can be proven through many instances in the film. Whenever the shark is present, John Williams' famous soundtrack can be heard. (Which become very useful, for the shark often broke. Realizing that a mechanical shark cannot be always used, Spielberg replaced the sight of a shark with the sound of one.) During the fourth of July, a few boys play a practical joke by using a cardboard cutout in the shape of a dorsal fin to spread panic. It is obviously a fake for the lack of a critical thing; a theme song. The awkwardness caused by the lack of a fear inducing song gives audiences the foreboding feeling that this is not real. However, when the real shark appears, the familiar song returns, fear returns to the audience, revealing the fourth death of the Great White.

Another aspect that causes fear in Jaws is the non-sight of the shark. While completely accidental, Spielberg often uses metonymys to represent the shark. (Remember, the shark often broke) Everything from barrels to even the point of view of the shark itself creates the illusion that a 25 foot eating machine is somewhere beneath the water. The fear is greatly enhanced from this, especially when viewing the shark for the first time. Failing to show the monster for the entire first half of the film, the audience (literally) jumps when the shark jumps at them. If all went according to plan, Spielberg has been quoted saying that the film would be "cheesy".

Spielberg has often been quoted in saying that his greatest fear was that a sight of land would be caught by the camera. This is a stroke of genius, for the audience feels safe, near home, when the shore is seen. This is what made Martha's Vineyard, the filming location, such a pristine place to create Jaws. 12 miles away from shore, the sandy bottom of the ocean lied only 30 feet away. This gave the filming crew an opportunity to film far from shore, while able to use the mechanical shark on the ocean floor.

While fear is the aspect that drove this film to fame, its themes are what drove it to the title of film. Chief Brody is obsessed with saving people. When the entire town is bent towards keeping the beaches (the buffet) open, Brody is fighting to close them. The town thinks only of money, of the income that the beaches will rake in. However, Brody is interested in the lives of the people, and eventually becomes the one to destroy the king of sharks. Spielberg, realizing this, added more to Brody's character in his film. Before the three fishermen discover the shark for the first time, Brody is practicing a knot called the bowline. While having many uses, the bowline creates a strong loop, that will never slip; a very useful characteristic for lifelines. Spielberg, with his Eagle Scout knowledge, causes Brody to tie this knot in order to practice his 'saving skills'.

Another theme addressed in this film is what humans innately do during a crisis. Many of the citizens of Amity worry of the insignificant things, like money. No one cares that lives are at risk, as long as 'public opinion' remains beneficial. Few people (in fact, only Brody) are shown to care about the people of Amity, and Brody is listened to four people too late.

Jaws, the box office hit based on the best selling novel (see PART II), is a film that will be remembered for all time. The amazing fear created is the main reason that this film was so successful. To back up the fear it created, Spielberg used techniques such as wonderful themes and an amazing composer to ensure this film will be a masterpiece forever.

Tim Burton's Corpse Bride (2005)

"But you've been dead for almost 15 years!"

"Frankly, my dear, I don't give a damn."

Although this humorous quote was certainly not intended to, it describes this film brilliantly. Stop-Motion, or the politically incorrect term clay-animation, is a style of animation that I am very fond of. It involves the painstaking task of capturing images, and placing them together to cause the illusion that the puppets are moving on their own. (Remember: approximately 24 images per a second is required for the fluid movement shown in this film.) In total, there were 109,000,440 frames shot in this film. Tim Burton's newest film, Tim Burton's Corpse Bride revives the stop motion industry after it has lied dormant for almost 15 years. Despite the fact that this film was not done with the modern style of CG, audiences did not "give a damn" as the film ranked high in the box office. The most first full length stop-motion film was Tim Burton's The Nightmare Before Christmas (1993), which had much hope for being the "new form of animation". However, it stopped dead on it's feet, and was only slightly revived with Chicken Run (2000), knocking the total of stop-motion films to a grand total of 2. (James and the Giant Peach (1996) does not count, as it is not a full length stop-motion film.) With a false prediction before, many critics believe that stop-motion will rise from the dead, as two full-length movies are being done in stop-motion this year.

Corpse Bride is based on a Russian, Jewish folktale in which a man mistakenly marries a corpse. (how he is that dim-witted, don't ask me) The folktale is centers around the anti-Semitism of the time, and how Jewish brides were murdered on the way to the wedding to prevent the continuation of the Jewish race (I am so glad they failed). In the folktale, the corpse bride is one of these unfortunate brides who were murdered, which gives this folktale an interesting and dark thrill. However, Tim Burton's Corpse Bride lacks the moral that is included in the original folktale. This is my biggest disappointment to the film, and my only. The fact that this film is based on a folktale should not discourage anyone from seeing it, for Tim Burton has replaced many of the old themes and replaced them with his own. New to the story now are dreaded in-laws, parents, and even a dead dog. Not to mention the amazing visuals Tim Burton's Corpse Bride offers is to 'die for'.

Victor (Johnny Depp) is a horrible klutz who has an uncanny ability to mess everything up. The protagonist is due to be wed to Victoria (Emily Watson), and everyone is excited, except Victor himself. The in-laws are in need of the money that will gained by wedding their daughter away, his parents are ecstatic over their ascension in society, and Victoria is happy to share her life with Victor. Victor, on the other hand, is nervous about everything, and to make matters worse finds himself in a 'grave' predicament. While practicing his vows (to a stick) he by accident marries a corpse (that really wasn't a stick). His new bride takes him to the land of the dead, where everything is explained to Victor in, of course, a song sung by Danny Elfman. The film continues with the struggles of both marriages, a field trip of the dead to the 'upstairs' (which is where the quote comes from), and even an evil character.

Tim Burton's characteristic dark feel to the film adds much to the themes discussed. For the main theme of life and death, an average director would display the living to be lively, and the dead to be . . . dead. However, Tim Burton completely takes you by surprise and reverses this. In the living world, everything is dull, boring, and (almost literally) black and white. However, in the land of the dead, there is bright, neon colors, and dancing skeletons! As stated in one of the TV spots, "this is the party of your afterlife". Even in the wedding scenes, one can see the difference between the worlds. The 'living' cake is minute (really, really minute), while the 'dead' cake is gigantic! Another comparison of the dead to the living, involves that of a broom. In the opening, a [living] man is seen with a broom, sweeping monotonously in sync with that of 5 clock pendulums. However, later in the film, a dead man is seen sweeping with much more enthusiasm and not restricted by the rules of the pendulum swing. Viewing these points in Tim Burton's Corpse Bride, the theme comes to be seen that the dead are more free (and lively) then that of the living.

Tim Burton continues this theme of freedom throughout the film also. In the beginning, Victor is seen releasing a butterfly, giving it freedom. Interestingly enough, the butterfly soars through the main credits, being swatted and swiped at by many of the living characters of the film. This shows the living's affinity for freedom, and that rules constrain all of them down. Even music, a freedom in itself, is restricted by Victoria's mother, who sees it as an uncivilized trait. Towards the end of the film, when the Corpse Bride realizes that she has been set free by Victor, she faces upwards towards the moon, and in an extreme low angle transforms into hundreds of butterflies. The butterflies represents freedom, and the low angle supports this by showing she will go to a higher, better place (let your religion determine the rest).

Tim Burton's Corpse Bride is a wonderful treat for all ages. The visual effects of the film will sweep you off your feet (if you're standing), it's songs will enchant you, and the humor in it will even make you chuckle. Of course, Tim Burton includes his twisted views of the world, of the dead, and of Napoleon. The themes shown in the film are not excellent topics, but the way they are shown is excellent. As a film lover, a stop-motion lover, and a Tim Burton fan, (note the absence of lover) I suggest seeing this film, as not seeing it would be grave mistake.

*Although this is not included the film, I thought I should mention the audience ERUPTED in applause for the new Harry Potter and the Goblet of Fire (2005) trailer, but there was only three clappers for the end of Tim Burton's Corpse Bride (myself included)*

M (1931)

German expressionism, rising from the ashes of the recently lost WWI, this style of filmmaking is filled with dark, mysterious images that generally include horror, death, and violence. From these key points, it is easy to see why many German expressionist films were monster movies, such as Nosferatu, eine Symphonie des Grauens (1922). Even when many directors fled Germany because of WWII, German expressionism surfaced in America with Universal's famous 'Monster Movies'. One of the most famous films of this time period, Fritz Lang's M, is a masterpiece that grips the viewer with fear and suspense, even over 70 years after its creation. Lang's ability to use the right amounts of light and sound cause an amazing moving picture to emerge. Playing with the minds of both the characters of the film and the people of the audience, M is a film that is viewed by many to be the most psychological thriller of all time.

Although M may not have the digital quality or CGI special effects of today, it certainly makes up for it with the excellent storyline, the amazing Mise-en-Scene, and the spectacular acting. M is the story of Hans Beckert (Peter Lorre), a psychotic child murderer, whose current score is 8. Fortunately for us, the police are working 'hard' to find this evil man. However, after discovering he is not hiding in the local restaurant, in the station, or any other place that the police enjoy hanging out, everyone becomes frustrated. The criminals (yes, criminals) are frustrated too; with police raids every day, this child murderer becomes bad for 'business'. Schränker (Gustaf Gründgens), the head of the criminal union, organizes a joint collaboration between them and the beggar union to find this child murder.

Compared to the stories of today, this film does not seem to exceed. In addition to that, the poor quality of sound and picture do not appeal to many. How is this film such a big hit then? It is Fritz Lang's amazing ability to display the right amount of imagery and sound. M is considered by many to be the first 'talking picture' success. Why is this? Most of it has to do with Lang's distrust with the sound. He refused to have sound in this film, but obviously and ultimately lost. (One might say in retaliation) Lang has almost no sound in M, which gives it the suspense it needs. It is said that whenever there is a lack of non-diegetic sound for more then a minute and a half, the audience begins to feel awkward and nervous. This becomes very helpful in M. Especially in the final chase scene, the lack of sound creates an atmosphere that feels as if there is no one there, as if help will never arrive. The lack of sound also causes the viewer to concentrate on the screen more then the sound. This also becomes effective in the film, as shown during important times such as the court scene.

M is also famous for the many psychological views that are brought up. For instance, when trying to capture Beckert, the police are worthless while the criminals are organized and skilful. Even the different justice system they show could be viewed with much shock. The 'correct' version of justice that the police advertise would have Beckert eventually released back into the public with little to no punishment. However, the criminals wish to give Beckert a taste of his own medicine, or an eye for an eye. As Schränker says to Beckert, "You talk of rights? You will get your rights." Although the reader of this review may believe that the official rules of justice to be correct, Lang shows the criminal side to be . . . better. The criminal side of the law is more sympathetic with that of the victims. Since Beckert could never feel the pain of a Mother's sorrow, the criminals would like to show Beckert how it felt to be on the opposite side of the knife. The other hand of the law, however, believes that "No one can kill a man that isn't responsible for his actions" as Beckert himself said that these impulses to kill are involuntary.

This leads to another theme Lang shows us in his film. Beckert, who fights "this evil thing inside of me, the fire, the voices, the torment!" eventually looses (8 times) as the murderer takes control. The murder is quite fond for the song "In the Hall of the Mountain King", and it becomes an audio metonymy for the impulse of killing children. In a wonderful scene, Beckert is trying his best to drown out the sounds of his own whistling, the sounds of "In the Hall of the Mountain King". Failing (again) to defeat the evil inside, Beckert continues to stalk a little child, who trusts him enough to give him a knife. Why trust a stranger when there is a murderer on the loose? Because of Lang's ability to show the face of a murderer to be . . . normal. In the time period that M is filmed, many believed that the face showed the characteristics of the mind. Beckert looks as normal as any other man on the street, continuing the fear that a murderer can be anyone.

Based on the real life murderer, Peter Kürten (the vampire of Düsseldorf), M is an amazing film that explores the vast topic of psychology. This review has just touched the many, many themes that Lang shows in his masterpiece film. Although it is in black and white, the sound and visual quality of the film is poor, and the language is German (necessity of subtitles), M is a film that should be seen by all. For its wonderful Mise-en-Scene, or the excellent story, M will be enjoyed by anyone who wishes to view it.