Engineer, Realism in Eastern Promises

Eastern Promises is a brilliant crime thriller film by Director David Cronenberg and released in 2007. The realism portrayed in this film centers around the conflict between two groups; one group of emigrants such as Anna and her family trying to integrate themselves into English life and another emigrant community consisting of the Russian mafia trying to make money and using their power to enslave other people. This realistic plot gives the viewers a sense of what happens in the real world about the conflict between common people and the powerful Russian mafia men.

The opening scene where Ekrem slits Sokya’s throat is very realistic as it shows the viewers the ruthless nature of the Russian mafia who live by maintaining a code of violence. In subsequent scenes, Ekrem himself gets his throat slit in the same manner by Sokya’s gang. The realistic portrayal of Eastern European women being enslaved is very interesting and happens in real life too. Tatiana came to Western Europe with the hope that she could make a legitimate living. In this film, enslaved women are shown as objects that men use for their sexual pleasure. Russian men are shown as egocentrically obsessed with proving their manhood either by brutally raping women or by killing men.

The characters of Anna and her family are portrayed very realistically in their lifestyle. They live in simple houses, eat simple food, work simple jobs, dress plainly, and drive inexpensive cars. In sharp contrast, the lifestyle of the Russian mafia men is very different. They are shown living extravagant lives, throwing lavish parties, displaying star tattoos, driving expensive cars, wearing expensive clothes, illegal businesses, and protected by body guards. This realism can be seen throughout the film through rhyming elements. The realistic struggle between good people versus bad Russian mafia that happens in real life is what Cronenberg is trying to show to the viewers through Eastern Promises.

Engineer, Ideology Analysis of The Debt

The Debt is a brilliant espionage thriller film directed by John Madden and released in 2010. The central character is Rachel Singer (Helen Mirren) and the supporting actors are Stephan Gold (Tom Wilkinson) and David Peretz (Ciaran Hinds). The film is about three Mossad agents sent to East Germany in 1965 to capture a Nazi war criminal Dr. Vogel (Jesper Christensen) and bring him back to trial in Israel. The opening scene shows the three agents returning home after successfully completing their mission. The middle part of the film shows conflict among the three agents in how they handle the doctor. The mission fails when Dr. Vogel escapes and they are forced into a pact by Stephan to admit that the mission was successful and that Dr. Vogel was shot by Rachael. The three agents live through this lie for thirty-three years until David commits suicide and they are forced to bring out the truth to the public.

The ideology if the film is implicit because the protagonists Rachel and David are in conflicting views against the antagonist Stephan who forces them to cover up about what really happened with Dr. Vogel. The true ideological problem that needs to be raised is why the viewers have not been asked to question the Israel government’s commitment to resolve war atrocities committed by Nazi war criminals. But instead, the viewers are asked to look closely at the three Mossad agents and the turmoil they go through for thirty-three years. The message being sent in this film is that the government does not want to be involved when there is a mess up or in failed missions. Instead the film shows how the blame is shifted squarely on patriotic people who are used as pawns and scapegoats to partake in government missions. In the end, it is unfortunate that the three innocent Mossad agents are left to resolve the conflict by cleaning up the mess of 1966, thirty-three years later by killing Dr. Vogel.

Engineer, Writing analysis of Midnight in Paris

Midnight in Paris is a brilliant narrative film directed by Woody Allen who is also the screen writer and released in 2011. The film is based on an earlier article written by Mr. Allen in the 1960’s about the “The Lost Generation.” The scenario is based on a single character played by Gil Pender (Owen Wilson) who is a screen writer attempting to write a novel. Gil is in Paris with his fiancé and trying to get a trusted source to critique his book. Gil is enchanted with the charms of Paris and when he is transported into a time in the 1920’s, he finds himself amongst the midst of famous writers and artists of the lost generation.

This film appears to be a loose adaption of Mr. Allen’s idea about the lost generation in the 1920’s taken from a literary source which was his article written in 1960. Mr. Allen uses certain symbols such as the sound of the bell, the modern car changing to an antique car at midnight to transport Gil to the 1920’s, to show the symbolic meaning of things in a dramatic context. Gil is so fascinated by meeting and getting to know the life story of famous artists and writers that he keeps going back each night. Gil totally identifies himself as a writer through his association with the writers in the lost generation.

The film is a third person narrative as the nonparticipating narrator tells a story from the consciousness of a single character which is Gil. Gil finds a trusted source in a famous writer Gertrude Stein who reads his novel and offers useful comments. Also, Gil is infatuated by Adrianna who lives in the ‘20s and she loves the Belle Epoch of 1890’s Paris. Finally, Gil breaks up with his girlfriend and decides to stay back in Paris which is a fitting end to this romantic comedy.

Engineer, Classical Paradigm of The King's Speech

The King’s Speech is a brilliant genre film by director Tom Hopper and was released in 2010. The main actors are King George VI (Colin Firth) and Lionel Logue (Geoffrey Rush). The story line is based on the biography of King George VI who has speech impairment and how he overcomes his speech difficulty to ascend to the throne. The plot is structured around using the help of a speech therapist Lionel to overcome his disability. The director uses mimesis to show the audience how he finds his voice and diegesis to tell us the true story of King George VI.

The story is organized in a classical paradigm narrative format. In Act 1, the story starts with George (‘Bertie’) as he is lovingly called by his family, struggling to make a public address because of a stutter. His wife Queen Elizabeth (Helena Bonham Carter) tries unsuccessfully to find different doctors to cure her husband’s speech problems. In Act II, the plot revolves around Bertie’s rising conflict with his brother David who is the current king, but incapable of leading the country. Also, Bertie is dealing with his own childhood insecurities and his struggle to improve his speech stammering problems with the help of his doctor friend Lionel.

The main climax happens when Bertie ascends the throne as King George VI and gives his first wartime speech. All the scenes rise to the moment when Bertie is crowned King George VI. In Act III, which is the resolution, Bertie comes to grips with his stammer and is successful in giving a powerful speech which draws applause from all his countrymen. The final scene shows closure when a confident Bertie hugs his children with relief and goes out to the balcony with his family to a standing ovation from the masses. The friendship with Lionel continues and with his assistance continued to deliver speeches.

Engineer, Acting analysis of In a Better World

In a Better World is a brilliant narrative film, directed by Susanne Bier in 2010. The story is based on two families dealing with emotional hardships and crossing paths, leading to extraordinary friendships. The trained actor professionals consist of Anton (Mikael Persbrandt), Marianne (Trine Dyrholm), and Claus (Ulrich Thomsen). The two boys played by, Elias (Markus Rygaard), and Christian (William Johnk Juel Nielsen).

In my opinion, the title, In a Better World, is more appropriate as it shows the importance of moral and ethical principles based on rational decision making. The title, Revenge, portrays the opposite, about getting back at people as the best outlet to vent your frustrations, irrespective of the outcome or consequences. Anton, through his profession as a doctor, instills in his family, the goodness in forgiveness instead of revenge. Even when he is repeatedly slapped in the face by the mechanic, Anton shows strength by not retaliating. Christian on the other hand is emotional disturbed by his mother’s death and angry with his father, for not doing enough to save his mother. Elias is constantly bullied by his school mates, and never fights back. Christian is his only friend who stands up for him and against anyone who acts unjustly towards others. Elias, out of fear of losing Christian, follows him to blow up the mechanics car. The consequences are disastrous as the bomb explodes on Elias, almost taking his life.

The title of the film was changed from Revenge to In a Better World, to fit in with American idealistic views of family values and principles. To show children resorting to violence and revenge goes against popular American culture. In a Better World sends a strong message that justice comes automatically to people who bully and brutalize people for their own benefit. The war lord is a non professional actor taken for his menace and authentic appearance. He finally dies at the hands of the people whom he has tortured over the years.

Engineer, Structured editing of Croupier

Croupier, directed by Mike Hodges in 1998 is a well structured and edited film drawing parallels between different scenes. The plot revolves around the main characters: Jack Manfred (Clive Owen), Marion Nell (Gina McKee) and Jani de Villiers (Alex Kingston). The first part of the film shows Jack trying to become a writer through a dialogue with his alter-ego, Jake. The second half of the film draws interesting coincidences from the first half of the film. The director uses parallel editing to show the viewers, how the elements in the first part are repeated in the second part.

The first and second half of the film centers on the bedroom scene where Jani tells Jack to help her as she owes money to the some gangsters. The opening scene of the film shows the roulette wheel spinning and a voice over of Jack where he cannot hear the sound of the ball anymore. This could imply his life spinning out of control in the earlier stages. Then the closing scene shows that he has control and the power as a croupier to make people lose money. In the first half, Jack’s father calls him from a casino about the job, and then in the second half, his father calls him again from the same casino.

During the drive to Giles’ home, Jani’s hand is wrapped with a bandage and she has a black eye. This is to gain Jack’s trust and sympathy. But in the sleazy hotel later, Jack notices the bandage is off and her black eye is healed. In another scene, Marion erases the messages left by Jani warning Jack about the time the cheater punter is going to show up. Surprisingly, Marion shows up at the hospital much to Jack’s bewilderment. Also, Marion is shown dead, possibly from a hit and run, then when Jack is driving the car with Lucy, she almost hits into another person.

Engineer, Mise en scene analysis of Super 8

Super 8, is a brilliant science fiction film with meta narratives that tell us compelling stories about government control and the struggle of small town people being confined by the military. The story begins with innocent children trying to satisfy their curiosity of the unknown by making a zombie movie. The children are trapped in the middle, when they stumble upon the military’s intention to contain an alien. The Director, J.J. Abrams captivates the viewer’s attention by using visual materials to narrate each scene in an extraordinary mise en scene manner. All four distinct formal elements such as staging of the action, physical setting and décor, manner in which materials are framed and photographed are brilliantly portrayed in this film.

In this scene, a tight frame is used to show how one of the characters, Preston is confined to a tight space on the left side of the frame with no room for movement. On right side of the frame is Joe Lamb’s father, Jackson Lamb (Kyle Chandler) who is in an intimidating position wanting answers from Preston about his son’s disappearance. The frame excludes audiences in the background by blurring their presence. The dominant is the reel of film, Preston is holding right in the center; the subsidiary contrast is the towering presence of Jackson looking Preston straight in the eye. Closed form is used in this scene to show confinement and no way out for Preston, who instantly comes out with the film reel. Available lighting is used as this scene is in a hospital setting. The characters are in a three quarter turn position which conveys Jackson’s unfriendly feelings at that moment towards Preston. The camera proxemics appears to be an extreme close shot, even though the character proxemics especially of the father appears to be angry and hostile, but not intimate.