The Movie Maverick is blog created by college students to critique various international films. The films discussed in this blog span the globe. Each one has its own purpose to get a sense of World Cinema as a whole. We will touch on the content and quality of films, how they reflect their own society, and how they are viewed on the global level. By reading this blog, we hope the reader can learn to appreciate global cinema as much as we do. Enjoy!
Swades tells the story of Mohan Bhargava, a "NRI" or "Non-returning Indian" who emigrated to the U.S. to pursue an American education and holds a job at NASA as a distinguished project manager for the Global Precipitation Measurement (GPM). He has settled in America and enjoys all the comforts of life, yet memories of his life in India and the loving nanny that brought him up begin to haunt him. He takes a two-week leave and returns to India to find and care for Kaveri amma, the woman who brought him up like a "second mother". He finds her in the small village of Charanpur with the intention of bringing her back to America. There, Kaveri amma has brought up two other people who also lost their parents at an early age, Gita and her young brother. During the two weeks, he learns much about the small village, its people, their pride in tradition and culture, and the barriers that prevent the village from improving its conditions. These barriers include illiteracy, caste discrimination, and close-minded views. Mohan realizes these hindrances and by winning the hearts of the villagers by sharing in their traditions and making them realize how some of these traditions prevent better conditions, he successfully enrolls new students in the local school despite the castes they come from. As the two weeks come to an end, Mohan decides to stay longer. At Kaveri amma's request he travels to the home of Gita to collect rent from a family that leased the land. A train ride, boat ride, and bus ride later, he and his village friend, Mela Ram, arrive at the destitute home of the family. He learns the story of the weaver that lost his job after textile factories debuted and was forced into farming to raise money for his family. To local village officials, this shift in jobs meant a shift in social status, limiting his access to water, and, in turn, leading to the unsuccessful harvest. His family barely gets along and lives a meager and shameful life. Mohan realizes that the hindrances he had found in Charanpur are constant across India. He leaves the farmer, paying for his rent and leaving him with the money he had. As his leave finally draws to an end, Mohan, lastly, creates a water turbine to generate electricity for the village. With the help of the villagers, he proves to the higher elders that every person, despite caste, can work together to improve the conditions of the village. At the demand of the GPM project, Mohan leaves the village and his new love, Gita, with a heavy heart. After the GPM project comes to a close, Mohan resigns and returns to India to marry Gita and live in the village of Charanpur.
I feel that among all the film screenings to date for this class, this movie was the most successful in blending an equal amount of clear national and global aspects of cinema. The film carries the definition of a Bollywood masala movie in that in contains the romance, drama, periodic song breakouts, and field spinning. Yet these aspects of Bollywood were limited. The song interruptions were not the usual choreographed dance, matching costume, and backup dancer norm. Instead, the only slightly choreographed routine to be considered would be Shahrukh Khan's bit with the swami-looking traveler on his way to Charanpur. The songs were well-incorporated into the themes of the movie, and not as random as other Bollywood movies I have seen. The movie opened with the problem of caring for the elderly. In the Indian tradition, this respoinsibility of caring for the elderly resides on the grown children, another national aspect. In addition, landscape shots were prominent in this film, as they are in many other Bollywood films. Mohan's train ride on his journey to collect Gita's rent is a good example of these landscape shots. They also tied in well to the main theme of the movie: "returning to the motherland". It should also be noted, with no offense intended to Shahrukh Khan, that by casting him as the protagonist is basically another Bollywood trait. The global aspects of Swades, with risk of redundancy, is this exact limitation of Bollywood aspects. The story of Gita and Mohan's romance was not the focus of the film, nor were there any very action packed scenes, or overtheboard drama. While abiding to these more dramatic guidelines have won Indian audiences in the past, and reaped in outstanding profits, this film differed. This is obvious in the types of audiences the movie attracted; it was very successful in foreign countries just as much as it was in India. Instead of a high-packed action scene, the climax of the movie may be considered as the scene when Mohan accepts a cup of water from a destitute-looking child at a train stop on his way back to Charanpur. In this simple scene, volumes can be spoken of Mohan's feelings, the conditions of the poor countryside in India, and the unrealized potential for improvement, especially for the youth of India.
Water was uniquely used as a theme in this film and was synonomous to land. My favorite part of this film is how these national and global aspects tied so seamlessly into themes of water and returning to the land. Mohan moved to America and became a manager of a Global Precipitation Measurement project (the idea of water in the opening scene) He traveled to India, to his homeland, drinking water only from bottles during his stay. A turning point occured for him when he accepted the cup of water from the boy at the train station. He returned to Charanpur, and brought electricity to the village by manipulating a local stream into generating a water turbine. While he returned once more to America to finish his project, he comes back to India, the last scene of the movie focusing on dipping his feet into the water and finally returning to his homeland.
“Amores Perros” is a Mexican film that highlights many problems that currently affect the country. The film consists of three separate stories that are linked together through one old man. In the first story, two brothers are forced to use different tactics to earn money to support their family. Ramiro supports his wife and child by working and a grocery store and robbing convenience stores. Octavio gets caught up in the world of dog fighting to try and make enough money so he can take his brother’s wife and run away. Since the brothers’ living conditions are so poor, the easiest way to earn money seems to be through unmoral acts. When countries face poverty, it is common for crime rates to be high in countries all over the world. Dog fighting is also a current problem even in the United States with football player Michael Vick. The second story consists of a man leaving his wife in order to live with his famous mistress. This story is filled with lies and adultery. Like the first story, the second story is very global and could happen in any modern country today. The corruption continues in the third story when a business man hires the old man to kill his business partner. The old man turns the table in an unexpecting way on the business man. “Amores Perros” consists of moral dilemmas that revolve around love. Like the name states, the characters learn that love is a bitch. The film uses different techniques to set the mood of the film. Using high contrast lighting and shadows, the movie has a dark, corrupt feel to it. Like Mexico itself, the film shows stories of the rich and poor. Mexico’s classes are separated greatly and the film shows these differences. Unique editing choices separate the stories. During the dramatic scenes at the end of the stories, the film cuts to black and introduces the new characters in the story. It does a great job of separating the stories and keeping the viewer interested. Using these techniques, “Amores Perros” tells a great story that shows global aspects of Mexican cinema.
The crime genre has evolved throughout cinematic history to not only portray the exploits of conmen, but to integrate other generic traits as well. Many recent crime films have included elements of comedy, romance, murder, drama, and suspense. By meshing traits of crime films with others, film makers are able to reveal alternative motives than the rewards of the crime creating a much deeper story line and connection with the characters. Steven Soderbergh’s 2001 Hollywood blockbuster, Oceans Eleven, alters the traditional stereotypes of a crime film. The film is more of a comedy film revolving around a crime, but nonetheless, there are all the traditional elements of a crime thriller: money, an elaborate scheme, and a well-crafted team of thieves. It is the story of a life-long criminal, Daniel Ocean, and his eleven-man team’s quest to steal over $150 million from three Las Vegas casinos.The aforementioned traits are not only present in Hollywood films, but foreign ones as well. Fabien Bielinsky’s 2000 Argentinean film, Nine Queens, follows the newly-formed team of two conmen, Marcos and Juan, who are handed the opportunity of a life time. After a morning of swindling on the streets of Buenos Aires, the men seemingly luck into a scheme to rake in hundreds of thousands of dollars by selling a counterfeit stamp set (Nine Queens) to a Spanish businessman. At the heart of the crimes in each movie lie similar alternative motives of love and revenge established through using a hybrid genre and unconventionally driven main characters (Juan and Daniel Ocean).
Despite its label as a crime film, Nine Queens, is much more than the tale of a swindle. It is a unique film that can be funny at times, teach lessons, thrill the viewer, or even criticize Argentinean society. To truly understand the depth of the film’s transcendence it is necessary to further analyze both the characters and the plot. Following a “chance” meeting between Marcos, a lifetime thief who thinks of himself as a legitimate businessman who is better than the swindlers around him, and Juan, a rookie conmen with all the right intentions and a very likable personality, comes an once-in-a-lifetime opportunity. They are presented with the opportunity to cash-in on fraudulent stamps by selling them to an aggressive collector. Along the way, the men encounter unanticipated challenges such as Juan’s apparent mistrust of the situation, the theft of the fraudulent stamps, having to purchase the originals from a widow (Marcos uses his savings to buy them), and Marcos’ eventual decision to prostitute his sister (Valeria) in order to complete the sale. The challenges speak as to how far each man is willing to go. Not only is Marcus willing to risk his savings, but he is also sacrificing his barely-there relationship with his family for his benefit. Meanwhile, Juan goes along for the ride, albeit with a hesitant attitude, yet he keeps his morals in tact throughout the scheme. Eventually they complete the sale with a payment via cashiers’ check that proves to be invalid following the Argentinean financial collapse, resulting in Marcos’ loss of thousands of dollars. Yet, in the end it is Juan who reaps the biggest prizes in the end: love and revenge. In fact, Juan was behind the scheme the whole time, as revealed by Bielinsky’s final scene showing a gathering of every player in the scheme and an exchange of both love and money between Juan and Valeria. Critic Roger Epert uses the following synopsis to explain the beauty of the film:
[It is] a con within a con within a con. There comes a time when we think we've gotten to the bottom, and then the floor gets pulled out again and we fall another level. Since nothing is as it seems (it doesn't even seem as it seems), watching the film is like observing a chess game in which all of the pieces are in plain view but one player has
figured out a way to cheat. (Epert)
His summary refers to the use of twists and turns to get the revenge on Marcos. Additionally, it supports the idea that Nine Queens offers much more than a typical crime film, it offers an ever-changing array of events that morph into a genre of its own that should be valued across the world.
Oceans Eleven has much more to offer the viewer than just an exciting narrative about the plights of Daniel Ocean and his men. The film is very much a crime movie, but it is also to make the viewer laugh, admire the charismatic Ocean, and most notably incorporate Ocean’s romance and quest to win back his ex-wife (Tess). Following his release from prison Ocean rendezvous with an old companion, Rusty, to reveal his scheme to rob three Las Vegas casinos. The duo proceeds to round up nine others to carryout the intricate duties involved with the robbery. Once thoroughly involved in the plot, “Rusty sees the casino owner with a woman he recognizes-Tess Ocean, Danny's ex-wife. "Tell me it isn't about her," Rusty begs Danny. Of course it is. Ocean wants to steal from his ex-wife's current lover and get her back again” (Ebert). Eventually, the men successfully steal all $150 million from the casinos, but more importantly, Danny regains his ex wife by forcing her to witness her casino-owner boyfriend’s desire to have his money rather than Tess. Throughout the course of the film are comedic elements that help to downplay the seriousness of stealing millions, yet emphasize the strengths and flaws of each character. By downplaying the gravity of the crime, Oceans Eleven is able to focus on Danny’s primary motivation to get back with Tess. Due to the comedic elements, Danny’s conquest to regain his lost love serves as the lasting memory of the film, rather than the intricate scheme to achieve wealth. Soderbergh’s unique blend of comedy and suspense are able to make the viewing experience of Oceans Eleven unique in a sense that it reminds the viewer there is much more to life than money.
By conveying modern conventions of the genre, both films are influential sources for those attempting to morph the typical crime film. While Oceans Eleven leaves the audience laughing and rejoicing in Daniel Ocean’s ability to flawlessly steal millions as he wins back the love of Tess, Nine Queens leaves the viewer with an astounding shock as the truth of the whole situation are revealed. The symbiotic relationship between the use of alternative motives and the mending of the genre create unique films with different impacts and intentions for the audience. Nine Queens has the power to deliver subtle criticisms of Argentinean society such as the amount of crime, financial crisis, and effects of capitalism while Oceans Eleven is able to provide an enjoyable escape from daily life for the audience.
As crime films both directors reveal a darker (yet some may argue glamorous in the case of Oceans Eleven) world. This world focuses on not just the ability of the main characters to commit their crimes, but their flaws and motivations as well. Daniel Ocean deceives those around him to believe the scheme is solely for the money, yet “unlike many leaders who are motivated to achieve goals because of their high need for power, Ocean’s motivation is mainly to get Tess back. His motivation reflects a persuasive character”(Obeidah). Ocean’s role as a leader whose goal is more important than money is the film’s attempt to break the typical criminal connotations of the genre and provide a much deeper character that drives to achieve true happiness rather than material wealth. In the case of Nine Queens, Juan is the character that breaks the mold of the criminal that Marcos so well represents. Bielinsky presents Juan as a sort of saint sent to put Marcos in his place by beating him at his own game; “The identification with Juan is clear. He has taken on the role of avenger, the task of ‘slaying the dragon’, an identification that legitimizes his mode of revenge by giving it a divine quality in the absence of earthly justice”(Copertari). Juan’s role in the film justifies Nine Queens’ position as more than just a crime movie, but rather as a tale of revenge and a message that betrayal of family, traditional values, and backstabbing has no place in Argentinean society, and for that matter, in today’s world. While the films have dissimilar messages, both films use the main characters to demonstrate the transformation of the crime genre into an expression of personal emotions and the varying values of humanity.
The use of alternative motivation within the films is able to teach valuable lessons that can transcend national boundaries. These lessons include the idea that money is not everything (Ocean’s goal to get back Tess) and that people will get what they deserve in the end (Marcos being betrayed by everyone around him). Each film has a role as a hybrid film that can provide an unexpected movie-going experience, criticize society, and modify the typical associations within a crime film. Viewers an laugh at the exploits of Ocean and his men in Hollywood’s combination of comedy and crime, while they are left on the edge of their seats watching Bielinsky’s twists and turns in his Argentinean thriller that surpasses the any negative connotations associated with foreign films.
The two movies “Gangs of New York” (2002, USA) and “Cidade de Deus” (2002, Brazil) are historical crime dramas based on real life events. “Gangs of New York” begins in 1846 with a gang fight in the Little Five points district of New York. The story quickly jumps forward to the 1860s after Priest Vallon’s gang is beaten and Vallon killed. After showing a single scene from the 1970s “Cidade de Deus” jumps back to the 1960s and tells the story of the main characters when they were younger. After showing us their history it goes forward to the 70s and eventually catches up to the original scene late in the movie. One could deduce that it is a global aspect of historical crime dramas to span multiple decades, most likely because there were real life events that needed to be explained for the entire story to fit together. In both movies you see many of the characters when they are younger and then once again when they are older. In “Gangs of New York” the rest of the Priest Vallon’s gang is depicted once Amsterdam, the main protagonist, returns to New York. Amsterdam finds that many of his dad’s friends now work for his father’s old rival and main antagonist Bill the Butcher, who is also the leader of ‘The Natives’ gang. This sets the stage for Amsterdam to take revenge and reclaim his father’s territory. “Cidade de Deus” leads a different path, with two of the main characters, Lil Ze and Benny, robbing and killing random people when they were kids to them in the future now running almost all of the drug trade in the City of God. The film also depicts Rocket as a kid showing him seeing his first camera and then again when he is older and an avid photographer. Both films seem to skip out on the main characters actually growing up; instead it shows their roots with events that shaped them in the past and then begins to tell their story and what became of them. Another common aspect of this genre of films is death. While it could be said that death is common to all kinds of genres, domestic and foreign, it is especially common in these two films. “Gangs of New York” leaves many of the characters dead along with plenty of others. This was in fact true of New York in the 1860s with the draft riot and gang fights breaking out frequently. Nothing compares to the amount of death that plagues “Cidade de Deus” though. All of the main characters, except for one, die at some point during the film. Death also propels the story along; when the war between Knockout Ned and Lil Ze begins many of their new recruits come to the gangsters because the other one had killed a friend or family member of the recruit. In the end of the film two groups of children who had been in each gangsters own gang took their revenge on Lil Ze and Knockout Ned for killing their friend or family member earlier in the film. “Gangs of New York’s” story line however is not propelled by death; instead it is propelled by greed and a lust for a better life. Greed is a common driving reason in many Hollywood made movies, but is portrayed in a better light: the “American Dream”. In both films the stories come full circle when most of the main protagonists and antagonists are killed. “Gangs of New York” shows a scene zooming out on a graveyard overlooking the city showing how life will go on as usual in New York City. “Cidade de Deus” has a similar ending with the protagonists and antagonists dying off, except for Rocket, and local children organizing a hit list of all the drug dealers whose business they want to takeover through murder, presumably how Benny and Lil Ze came into power. Roca recalls a scene from the film showing the true brutality of the film: “Li'l Ze decides some of the young hoods in his turf need to learn a lesson. He gives a child who looks no older than 10 a choice of being shot in the hand or in the foot. The kid, who himself has just been shooting people, breaks into sobs” (Roca). Both films show how death comes to everyone and life will go on normally no matter how “important” the characters that died were. One interesting quality of “Cidade de Deus” is that most of the characters on the screen were not professional actors, but in fact actual residents from the slums quarters around Rio de Janeiro including the actual City of God. Around a hundred children and youth were taken and put into actor’s workshops that focused on improvisation of authentic street war scenes. This technique of training led to a very realistic feeling for scenes with gang fights or robberies or the like. “Cidade de Deus” is the first movie of its genre that has used a non-professional cast and turned out so well. Hunter talks of this in his review of the movie saying “Mierelles found them on the streets, and gradually inculcated them to film culture through a series of workshops. Perhaps in no other way could he have captured the exuberance, the unself-consciousness, the pure naturalism that he does. Whatever, the movie feels like no other I've ever seen” (Hunter). Both movies have a diverse and international soundtrack reflecting the cultures represented in the films. “Cidade de Deus” has a slew of songs from the local Brazil area along with a few other popular songs from South America including “Kung Fu Fighting” by Carl Douglas of Jamaica. Along with these songs come a few popular American songs, showing the impact of globalization American culture has on Brazil. The American songs are played during scenes in bars and clubs with party atmospheres, and include popular hits such as Charles A. Bobbit’s, James Brown’s, and St. Clair Jr. Pinckney’s “Hot Pants Road.” “Gangs of New York” also has a variety of songs within the film. The film also includes multinational musical scores such as “Brooklyn Heights” composed by Canadian Howard Shore and produced by American Hal Willner. The movie also features Irish music such as Davy Spillane’s “Lament for The Dead of the North.” Both movies try to incorporate music from all the cultures represented in the film, which calls for music from many different countries due to the globalization of the music industry. These films truly capture the life and times of the cultures depicted in each. The historical crime genre seems to draw on many universal aspects of its own brand. Death seems to follow the genre helping to propel it along in some cases, due to the ties between murder and crime. The films also show the globalization of the cultures through the music that is listened to during celebrations and ceremonies. Both movies also display local characteristics of films from their respective countries. “Gangs of New York” demonstrates the never-ending quest for the “American Dream” and the consequences that might occur if one fails. As Clark stated in his review of the film “it realistically puts you into the Civil War North as much as Gone With the Wind does with the romantically idealized South” (Clark). “Cidade de Deus” shows how a unique approach to acquiring a cast can turn out to be a stellar performance. This genre is an amazing basis for comparing and contrasting films from different regions. Both films try to portray their actual cultures, cities, times, and crimes to the best of their ability, and succeed astoundingly.
In the science fiction genre of the film industry, directors put their best efforts to make the scenes in the movie as real and interesting as possible. With advanced technology, directors can create vivid scenes to attract the audiences’ attention and interest. Not only do these special effects make science fiction movies notable, but also requires an amazing plot with themes such as using love and sacrifice. The science fiction Hollywood film, Cloverfield, directed by Matt Reeves, uses a lot of visual effects to portray the movie to be realistic while having the elements of love and sacrifice. The Host, a South Korean film directed by Joon-Ho Bong, also uses similar elements as Matt Reeves to create his science fiction movie but within these two films are slight differences which make the two movies different. Therefore, these two science fiction pieces can be compared on the differences in the aspect of creating the film and similarities on the plot and in the genre. The Host begins with scientists being irresponsible about their actions and pouring out chemicals into the Han River, which infects the fish and creates a monster that brings destruction and chaos. The sea creature kidnaps the main character’s daughter and throughout the film, the protagonists and his relatives search for the girl. The Korean film is both a global and national film because it shows both Hollywood and Korean elements. A scene that portrays this representation is when “the homeless man pours gasoline down the beast’s gullet as Nam-il shrugs off his backpack, winds up to toss a flaming Molotov cocktail—and then looks down aghast as the bottle slips out of his hand and smashes impotently at his feet . At this moment his sister Nam-joo appears with her bow and with perfect timing shoots a flaming arrow directly into the creature’s mouth, setting him on fire, after which Gang-du finishes him off with a metal pole” (Klein). This part represents globalization because it relates to many other scenes in Hollywood scenes such as in Jaws, when the shark is blown up by the shot oxygen tank. Also, the Korean film represents nationalism because the part where the protagonist gouges the monster with the metal pole represents the violent and brutal Korean history in which the people protested against the pro-democracy (Klein). The difference between this movie and the American Hollywood movie is that The Host is filmed as if the cameraman was a character who did not exist while Cloverfield is shot like a documentary; a character in the movie held the camera and filmed every scene. Matt Reeves uses this filming technique because he wants the audience to feel as if they were a part of the movie. In an article, the author states that “In more than one scene, what Hud is recording is also being filmed by others with their cameraphones; far from being gimmicky, this, like the film's characters' response to disaster, feels like an authentic presentation of the way we live now” (Miller). Another technique that the director of Cloverfield used was that he used a lot more close up shots than the director of the Host to show the reactions and emotions of the actors. However, Joon-Ho Bong used a lot of more comedy and humor in his film, quoted from an article “Bong again deploys his aesthetic of generic “collision,” with monster-movie conventions bumping up against those of slapstick and black comedy” (Klein). For example, during the funeral service scene, the actors over exaggerate by rolling around on the ground while the other people at the service say random dialogue over the scene such as “can you please move your car?” Another scene that was humorous was when the protagonist is taken out by the monster because the protagonist forgot how many bullets were left in the gun. The comedy added to the film makes the movie more entertaining rather than always having a dull or a gloomy vibe like Cloverfield. Another difference between the two films is that Cloverfield was mainly filmed during the night while the Host was filmed during the day with lights in the scene. Filming during the night sets the mood, making the scene gloomy, unknown, and scary. For example, in Cloverfield, while the characters were in the subway, the scene was completely dark until the night vision turned on. This made the audience become nervous and not know what was to come. However, filming during the day shows some life and humor in the scene. Both of these techniques used are different but are beneficial in different aspects to make the film successful. Aside from the differences between these two films, significant similarities exist that also make these movies. In Cloverfield, the protagonist, Rob, and his friends attempt to flee from a beast lurking in New York City while trying to rescue the main character’s girlfriend, Beth, who was practically dead. Although the film is science fiction, the director depicts the love and sacrifice made by the protagonist, when he refuses to leave the city without Beth. Similar to this plot, in the Host, the beast kidnaps Gang-Du’s, the protagonist, daughter, which leads to Gang-Du and his relatives striving to find his daughter throughout the movie. Both of the characters are struggling to find their beloved ones even through the danger and life-threatening moments. For example, in Cloverfield, Rob runs into the top floor of the broken down apartment, then jumps across to the adjacent collapsing apartment in order to save Beth. In the last scene of the Host, the military drop poison gas around the beast but Gang-Du walks up to the monster, ignoring the deadly smoke and the creature, and reaches his hand into the mouth of the beast and grabs his daughter. These scenes in both movies clearly show that there lie more than just advanced visual effects in science fiction films by using elements of love and sacrifice as an important aspect in the movies. In comparing the similarities between the two movies, visual effects and advanced technology are two important factors in which the directors from both movies used. In Cloverfield, the specialist who created the animated monster was Tippet Studio and used a lot of effective tools such as “the commercial software includes Deluxe Paint, Autodesk's Maya, Pixar's PRMan, and Apple's Shake. Tippett's custom software stitches everything together and adds functionality to Maya and Shake” (Moltenbrey). Both films required enhanced computer imaging and effects to create the monsters and make them look as vivid and real as possible. By comparing the two films, there were many noticeable similarities and differences that made each film successful. The directors of each film used different styles and techniques to create the film such as filming the movie in first person. Not only did the two directors use different techniques but also Joon-Ho Bong uses more humor in his film. Also, there were significant similarities that helped create each film to its success. Although both films had the differences and similarities, both movies were outstanding and successful in different aspects.
Carrie Bradshaw, Samantha Jones, Charlotte York, and Miranda Hobbes are arguably the names of four women that have literally changed the face of American television, media, and culture. In May of 2008, the movie spinoff of the HBO hit show Sex and the City hit theaters, raking in $58 million its opening weekend, the biggest opening ever for an R-rated comedy. A year earlier, Sukkar Banat or Caramel was causing quite the stir in 2007 Cannes Film Festival. Easily becoming the most internationally acclaimed Lebanese film to date, the movie focused around a similar plotline of five women meeting the demands of their age, duties, relationships, and cultural beliefs.
The focus of this essay will highlight the similarities and differences in the portrayals of women in two culturally diverse settings, the reaches of feminism on a global level, and the differences each director took, cinematographically, to achieve the success in their films. While the movies share many implicit meanings on the ideas of women facing mid-life crises, the most interesting comparison of the movies will come in how two, so very different, cultures approach controversial subjects such as sex and how the feminist movement has paved the way for this major change in the position women hold in society, today.
Caramel, directed by Nadine Labaki, tells the story of five Lebanese women: Layale, Nisrine, Rima, Jamale, and Rose. Each woman carries a different burden in the forms of aging, ending relationships, questions of homosexuality, and loss of virginity (Gray). Nisrine’s story, in particular, and how she grapples with fact that she is no longer a virgin, yet set to be married in the Muslim religion, frames the idea of how different this subject, sex, has been greeted in Middle-Eastern theaters versus American theaters. Granted, this comfort area in the blatant discussion of sex is relatively new even in American media, and there is no doubt that the show Sex and the City, definitely marked new territory in global television. The idea of the show focusing on women desiring sex, women that were not prostitutes, was a risk, and America was ready for the publicity the show created with a more accepting view of premarital sex. The show gained fame on a global level, and it should be noted that in paving this revolutionary approach to women in media in America, the show has also paved the way in other countries, countries with strict no pre-marital sex beliefs, and even perhaps Muslim countries. The wide success of Caramel did not ignore this issue of sex and religion, but greeted it head-on in Nisrine’s story. Her pursuit for medical operation to attain an intact virginity is proof that this idea of pre-marital sex is becoming somewhat acknowledged in the Middle-Eastern world.
In Sex and the City, Carrie is a popular weekly column writer for a New York newspaper. She regularly blogs and is high in the ranks of the New York social crowds. Samantha is a successful entrepreneur, independent businesswomen, a breast cancer survivor, and encompasses the meaning of a female playboy. Charlotte and Miranda follow in the same successful New York women rankings as an art gallery manager and an ambitious lawyer with a degree from Harvard, respectively. The strong foundations of each woman abolish the thoughts of low class women, instantly. This automatically affirms one aspect of feminism, challenging the patriarchal social system, which men usually dominate. By announcing their desire for a healthy sex life, the four accomplished, independent women assume a role normally, and historically, occupied by men. The 1960’s spark of feminism in America, and the progressions in culture and film since then have escalated this acceptance, and Sex and the City finally pushed the limit (Barsam 327).
In Caramel, however, three of the five characters, in focus in the film, work in a run-down beauty salon, including Nisrine, a bride-to-be, with the dark secret that she is not a virgin. Implicitly, the women in the Lebanese movie share the same aspirations as the women in the American movie- as well a slightly underscored passion for beauty and fashion. Yet the unsatisfaction of the Lebanese women seems to be an underlying theme throughout the movie, and the outlooks of the older women, in particular, seem bleak. The women seem happy, but not nearly as confident or established as Carrie, Samantha, Charlotte, and Miranda. This coincides with the fact that Middle-Eastern society and the Muslim world is still miles apart in differences to western culture, especially in how each society holds the idea of powerful, ambitious women with a desire, just like men.
Despite the differences of the characters’ professions, the movies share the same ideological meaning of the powerful will of women defeating cultural stereotypes. In Caramel, the quiet character of Rima displays another traditionally shunned idea in the Muslim culture: homosexuality. Her disdain of dresses, short hair, falling in love with a female client of the salon, and her silent rebelliousness scream powerful statements over the movie screen, reminiscent of a certain feminist movement that occurred in the 1960’s America. Although this Muslim country has taken its time in slowly accepting western ideals, there is no doubt that the feminist movement of America had some influence on global media. While Sex and the City is an example of women defeating cultural stereotypes in the blunt role reversal of the sex-is-just-as-satisfying-for-women method, the movie also displayed feminist ideals in the strength Carrie Bradshaw displays after overcoming the tragedy of her fiancé leaving her at her wedding. The expected cold feet of the bride are traded for the cold feet of the groom and in Mr. Big’s fear of commitment, a role reversal on the altar. This role reversal not only represents feminism but also attracted large audiences the same way women were first attracted to the HBO show: “[Through Samantha,] women also get to enjoy that rarest of cinematic moments -- sequences that completely objectify men, for a change” (Lowry). The display of feminism in both films suggests the expanse and product of globalization in Lebanese cinema.
Yet the common ideological theory of feminism is approached uniquely by each director. Sex and theCity, despite the predicaments of the women, keeps a jovial, airy tone throughout the film. Shot in the bright colors with the thriving, alive city of New York as the backdrop, the setting supports the light, cheery mis-en-scene the movie emulates. The soundtrack, composed of tracks such as “Labels or Love” by Fergie and “Walk This Way” by Run-D.M.C. featuring Aerosmith also contributes to the bright mis-en-scene, and, of course, the fashion in Sex and the City cannot be overlooked. The cutting edge, borderline-outrageous outfits displayed throughout the film display strong, confident women in its very definition.
The approach Nadine Labaki took in the mis-en-scene of Caramel, however, is quite the contrast. The bright colors of the city of Beirut are slightly dimmed by a use of sepia. The rich brown and sand tones recurrent throughout the movie tie into the title of the film, leaving the viewer with only one thing on the mind by the end of the movie- caramel. The music is one of the few national cinema aspects of the movie, the songs including the opening track “Succar Ya Banat”. The opening credits are focus on the preparation of caramel, and backdropped to sinuous Middle-Eastern vocalizing make for outstanding cinematography, even from the beginning. While the movie is certainly not as upbeat as Sex and the City, it approaches the same ideological theories in a different culture, and different tone- one more serious and dramatic. “‘Caramel’ has an optimism born not of dreamy romanticism but of resilience and a degree of hard-headedness”(Scott).
According to Labaki, caramel is something "sweet and salt, sugary and sour, of the delicious sugar that can burn and hurt you." In the same regard, Sex and the City and Caramel are two movies tied by similar stories and underlying ideological theories of feminism and the reversal of roles of women in society. Yet, at the same time, the movies are polar opposites in terms of style and form. One is sweet and one a little more sour, but the movies have both proven to leave an unforgettable impression on viewers.
In the last decade, great movies are remade by Hollywood but lack what was unique about the original film. One of the most successful Argentine films in recent history, the Hollywood-esque Nine Queens, was remade by Hollywood in 2004 under the title of Criminal, because Hollywood refused to miss out on such an intriguing, successful film. Nine Queens shows many characteristics of Hollywood films and to the average viewer it may appear to be a Hollywood film. Because many Americans’ perception of foreign films, they refuse to go to the theater to read subtitles. Many Hollywood people know this and decided to try and take advantage of it with this film. In the essay, the Hollywood film Criminal will be compared and contrasted to the original Argentine film Nine Queens in order to determine the different techniques used to make the same film and how these techniques relate to the films’ respective countries.
Besides the similar plots, many aspects of the two films are similar or the same. Nine Queens is more of a global film than a national film; therefore, the Hollywood remake is bound to use similar techniques when remaking the film. One of the most apparent similarities between the two films is the directors’ use of camera angles. While driving down the road, both films decided to use one hand held camera to shoot close up shots of the characters during their conversations in the car. Using this method, it gives the viewer the feeling of being in the backseat of the car, riding along with the main characters. Also, as first done in the original film and copied in the remake, while characters are walking down the street, the camera is hidden on the other side of the street as if to not draw the attention of passersby to the men.
The hidden camera is a clever technique that makes the characters appear to be up to no good. In the beginning, both films use the same scams to show off the con-artists skills. Also, both films perceive the characters as having the same traits. For instance in Nine Queens, Juan appears to be inexperienced compared to Marcos when it comes to pulling off scams. After one scam, Juan tells Marcos that he does not like pulling off some scams that draw attention to himself, but Marcos replies that sometimes it is the only way to accomplish them. In Criminal, the character that is similar to Juan, named Rodrigo, is made out to be just as inexperienced, if not more. When Richard is asked how much Mr. Hannigan offered for the bill, Rodrigo interrupts Richard by saying what Mr. Hannigan actually agreed on while Richard is understating the price in order to make the buyer think he is getting a higher percentage of the earnings. While inexperienced, “The kid is decent where Richard, dressed cleanly in a bright suit, only seems decent. ‘You have the only thing money and practice can't buy,’ he tells Rodrigo. ‘You look like a nice guy’ (Morris). After watching the films, the similarities are apparent between Criminal and Nine Queens.
Despite the similarities in the films, Hollywood did not copy every element of Nine Queens. The most obvious difference is “The setting has been moved from South America to Los Angeles, and instead of rare stamps, the priceless fetish being sought is a one-of-a-kind 1878 Monroe Silver Certificate” (Film). When two films are almost exactly the same, the small differences between the films are what really set them apart. While many critics believe Nine Queens is far superior film to Criminal, it is the often the overlooked elements that make it more enjoyable. The critics’ beliefs were supported through box office results as Nine Queens made $1.1 million, Criminal did not even make $.75 million which is a large contrast based on the size of the potential American audience compared to the smaller potential of the Argentine audience (Rotten). If a viewer were to watch both films, they may tell you which one they like better, but not be able to tell you why. Often times, it is the intangibles that make a movie better. For example, the characters in Nine Queens appear to be more defined and their personalities are more developed. In Criminal, Richard is not as believable as a tough, street-smart criminal when compared to Marcos in Nine Queens. This is due to the look and dress of each character. Richard had earned his money, drove a Mercedes, and wore nice suites while Marcos was still earning his money and wore suites that looked like they were worn and broken in. Also, Richard has more of a baby face that is not believable as a criminal. Nine Queens is not superior to Criminal in every way however. During the ending of the film when Richard is basically selling his sister to Mr. Hannigan, the Hollywood film does a great job of using lighting to set the mood. Using low-key, high-contrast lighting, it is clear to the viewer that what Richard is doing is unmoral. With the decision to use of high-key lighting, Nine Queens does not use lighting as well to set the mood. One other element that is missing in Nine Queens is the use of Spanish as a way to con Richard. Obviously, this was not used in Nine Queens since the film was recorded in Spanish, but this is unique to Criminal. Perhaps one of the greatest differences between the two films is the ending. In Nine Queens, Marcos takes the bankers check to the bank to get it cashed, but due to the poor economic conditions, the banks are closed, and the check is worthless. According to one New York Times article, “As the deceptions and duplicity mount, Nine Queens momentarily convinces you that we live in a world ruled by artful theft” (Con). When Criminal was shot, the American viewer could not believe that something such as this could happen in the United States, so the ending was changed. It is ironic that the same ending probably could be used today in the current economic crisis and would be believed by the American viewer. In Criminal, they do not make it clear what exactly happens to Richard and why he is arrested. This leaves the viewer guessing, but it seems to hurts the movie. One of the major differences between Argentina and the United States is the presence of crime. Because there is so much crime in Argentina, when the briefcase is stolen, it seems more common than and not as random as a briefcase getting stolen in the United States. In both films, “When the grand design and its motives are finally revealed, the temptation is irresistible to go back and make connections, many of which seem far-fetched at best” (Film). When two films tell the same story, it comes down to the small differences that make or break the film.
After comparing and contrasting Nine Queens and Criminal, the films are extremely similar but do contain small differences that are unique to their country. It is ironic that Hollywood would remake a film that was said to be straight from the mold of Hollywood filmmaking. After viewing both films, it seems as if the film was only remade to lose the subtitles and to make American viewers that are prejudice against foreign films come see a thrilling crime movie. Often times, Hollywood films become too robotic and formulaic which is the reason why Criminal was not as successful as Nine Queens.
Lee Tamahori's 1994 film, Once Were Warriors is the tale of a Maori family struggling to survive in modern day New Zealand. The Heke family lives in a world full of violence, alcoholism, and poverty due to the actions of family patriarch, Jake. Jake's wife Beth and her five children are forced to be subjected to Jake's inability to find a steady job and his lack of self-control during his nightly drinking binges with his friends. Following the oldest child (Nig) moving out to join a gang, the instability continues to escalate resulting in Beth's second born, Boogie, being sent to a youth detention center where he is taught to embrace his Maori roots. Meanwhile, Grace, the eldest daughter must remain at home to witness her mother's beatings at the hands of Jake. She is eventually raped by one of her father's drinking buddies when he brings them home for a party. Her eventual downfall influences Beth to make a drastic change ensuring a better life for her and her children.
Throughout the film there are references to the Maori culture and the ways in which it is interpreted in modern New Zealander society. Jake fails to see the pride in his culture saying he will not lower himself to accepting his family’s past as slaves to the white man. Meanwhile, the rest of the family is able to embrace their heritage yet in very different ways. Nig’s gang is one that prides itself on the Maori tradition and represents their pride with traditional warrior tattoos. Forced into a youth detention center, Boogie is forced to learn Maori martial arts and rituals. At first he rejects the program, but once he is embraced by the head of the program, Boogie thrives and is able to transform himself. Beth’s embrace of her culture can be seen as a practical application of Maori pride. She draws on her tradition to find the courage to stand up to Jake and return to her home island populated by mainly Maori people. While each character has a different way in rejecting or embracing their culture, the film can be seen as a representation of the modern day life for Maori people in New Zealand struggling to find an identity in a changing world.
As an analysis of the struggling Maori identity in New Zealand, the film is superb: it is able to cover each end of the spectrum in an especially realistic manner. Tamahori’s use of graphic violence throughout the film paints a harsh picture of the Heke family life, thus strongly impacting the viewer. As a film intended for a New Zealander audience, Once Were Warriors is unable to really connect with a global audience, though there are universal lessons that can be taken away. The issues of assimilation of a minority group, self-identification, domestic violence, and alcoholism are present worldwide, but the film may refer too much to the Maori culture in representing these themes. Viewers outside of New Zealand may shy away from the film due to unfamiliarity with Maori people and the very realistic scenes of violence, rape, and partying. With that said, there are many aspects of the film that should be valued such as the strong acting performances, cinematography, and use of music to reflect the mood of the scene. Overall, this film is a great representation of the Maori culture that is able to touch viewers in and out of New Zealand.
No Man's Land is a war time film written and directed by Danis Tanovic who is from the Bosnia and Herzegovina area. The story begins with Serbian relief soldiers trying to find their way to the trenches in the middle of a foggy night. They eventually stop to wait for the morning, but when they wake up they find themselves very close to the Bosnian trenches, which open fire on them and kill all but two of the soldiers. Of the two soldiers only ones becomes conscious before the Bosnian troops sent to investigate arrive in the middle trench. The other one is placed on top of a bouncing mine, which will explode once the soldier gets off of it. Ciki the other soldier kills one of the Bosnian men and wounds and disarms the other one, Nino. Soon after the other Serb, Cera, wakes up to find out that he is a living booby trap. Ciki forces Nino to undress down to his boxers and wave a white flag while standing up out of the trench. Neither side knows if Nino is one of theirs and the Bosnians decide to open artillery fire upon them just to make sure it wasnt a Serbian. Later both Ciki and Nino undress and wave white flags, leading both sides to call the UN Protection Force to check it out. This leads Sgt. Marchand a member of the French UN Protection Force to go check out the scene even though he was told not to. Also an English reporter, Jane Livingston, overhears the calls to the UN and heads to the scene. Once Marchand gets there he and his men are forced to return home even though they did not acconplish anything. On the way he meets Jane who already knows who he is and what he is doing. During this encounter she gets on the UN radio and talks to Marchand's superiors about how the UNPF is failing to act upon what they should. This forces Marchand's superiors to give send him back to the trenches and try to save the three soldiers. Also more men are sent to help including a German mine expert, many more reporters also hear about what is going on and decide to join on the journey to the trenches. Once everyone arrives the trenches are cleared of everyone except Cera and the German mine expert, who tells the captain of the UNPF that it is impossible to disarm the mine under Cera and save him. Meanwhile Ciki and Nino grow to despise each other even more and evetually it ends in bloodshed with both of them dying, Nino by the hands of Ciki and Ciki by the hands of one of the French UN forces. The story comes to a close as all the parties pull out and the reporters being led to believe that Cera was rescued off the mine and transported away.
This film shows the struggle for control in the region on two very different scales. First it shows us the armies of each and their struggle to take the trenches on the opposing side and gain ground. But in the middle of the war is a struggle for power between Ciki and Nino. In the beginning Ciki has a gun and tells Nino what to do. When Nino asks Ciki why he responds "because I hace a gun and you don't." Later Nino gets the gun from Ciki and begins to tell him what to do, when Ciki asks why at one point Nino gives him the same response. Neither men can agree to who started the war, each blaming the other one for it. The film remains unbiased about the conflict, but shows neither side actually comprehends who begin the war. Eventually both Nino and Ciki have guns until the UNPF shows up and takes both of their weapons away and tries to keep them from each other as much as possible. This does not work out well when Ciki opens fire on Nino with a handgun he found and kills him. One of the French UN forces shoots and kills Ciki in to try and stop him, in turn killing him. Many different languages were used in the film including French, English, Bosnian, and some German. This shows a lot of globalization within the film along with the characters being from many different backgrounds and cultures. When the French UN soldiers would meet with troops from another side they would always have to ask what languages they spoke, some would know a little English, or French, or neither most of the time. While no language is internationaly spoken this film portrays how much globalization has reached the Bosnia-Serbia region just through the use of so many different languages in and aound the region.
