Rashomon!

From 1950, directed by Akira Kurosawa, "Rashomon" is a very different and unique film. First of all the story is one that has been done before. but not at the time this movie was made. The fact that we never see any authority figures (judge or cops) creates what could perhaps be an illusion that there is a trial taking place in the film. Each person tells their side of the story, but which side is fact? That is a question that is resolved most oddly. The limited amount of sets shows us that although their is a lot going on it's very confined overall;speaking in set terms (due to production costs I would insist). Their is mush to be said in terms of conflict. Each character is into their own conflict. So many shots display intense meaning. The framing of every scene is almost mystical in its execution! The distance between the actors was obviously cheated to create a more effective scene setting and photogenic mood between the tension and conflict of each character.

Eisenstein's theory of montage can relate to this film's structure and especially certain scenes. The whole movie is almost a flashback (a story told from different perspectives), the point is the story that is being told already happened, therefore it is in montage fashion that the past now unfolds through the scenes of what happened to each character involved. Although a dramatic film it is obvious that there are some spiritual overtones; for example, the scene when the wife was channeling the spirit of her dead husband created an almost different mood entirely. It also it interesting because we hear the dead man's side of the story. The self explanation that is given creates another illusion of reality to each character and the viewer. Tonal and rhythmic montage both come to mind when comparing various moments in "Rashomon". ""In rhythmic montage it is movement within the frame that impels the montage movement from frame to frame. Such movements within the frame may be of objects in motion, or of the spectator's eye directed along the lines of some immobile object", Eisenstein states. This I believe fits a lot of the scenes between the bandit and the woman.

Akira Kurosawa is a very different style of filmmaker. His other films represent the finest in story and structure with emotional elements intertwined. "The Seven Samurai" is perhaps is other most noteworthy film, which was spun off several times by different directors. The best version was "Magnificent Seven" from 1960, which is still an american classic of western filmmaking! Few modern films can convey the same depth of "Rashomon". There are lessons to be learned not only in style, but in purpose as well. No shot in this film is without a strong meaningful purpose, which drives the story home. From every Close-Up to each establishing show there are so many visionary excerpts to awaken one's mind as to the importance of this film's allegory. The fact that WW2 ended not to long before this film is reflected in the desolate landscapes. There are also constant references about all those that died, which refers to the tragedy of the bombing of Hiroshima. The aftermath of war is depressing and this film brings that to our attention.

Also in this film the eyes of the characters speak louder than words. Every moment of a character's expression shows us how intense this film is and the situation! Looking into one's eyes can tell the truth and bring to light pure horror and fear. The wife of the samurai has the most obvious expression to convey suspense and horror as well as the bandit played brilliantly by Toshiro Mifune. This movie proves that you don't need to rely on dialogue because the actions can speak just as effectively to the story itself and us the viewer. The music also serves as another highlight of suspense and atmosphere. The music in this production is like that of a thick mist that engulfs a small london town. It is felt and has a presence that drives the film as well as anything else.

I would also point out that the ending is most powerful. When the three men find the baby where they are taking cover from the rain speaks to us about another point that the film creates. The baby at the end serves as a symbol to society. The baby is a symbol of hope in the final scene of the movie. Mankind is filled with evil nature and liars. Every nation around the world no matter what race or religion has evil! The nature of man is baffling at times. No one can truly sum up what every dark fear is or what every happy moment is. In this film there aren't many happy moments, which can relate to life, especially in a war torn country because there are not any happy moments when your life has been altered forever by someone else's cruel insanity! Kurosawa's message in this movie goes to show that mankind is filled with everything from good to bad, but more so bad. Only one can hope that those born into the future will lead the way to a brighter path for us all, therefor the child shall serve as a light of hope for society. This film serves as a message for filmmakers and all viewer in society.

400 Blows (1959), Directed by Francois Truffaut... A misunderstood youth by Brad.

To start off with "400 Blows" is an effective piece of French filmmaking. The atmosphere and attitudes of society are reflected in this film of adolescence and misunderstanding the nature of youth. There is a message to be learned from "400 Blows". It is a message that carries throughout the years. Attention is something that everyone craves especially kids and this film shows us that with Jean Pierre Leaud's portrayal of Antoine. Misunderstood by his parents Antoine, turns to doing bad things, which includes stealing, lying and running away from home. Other films of this time period reflect social views as in "400 Blows", but this film does something more than those others because it is more on a personal level of feeling. Big hollywood blockbusters don't focus as much on just the small elements, but "400 Blows" does. We get to see a darker side of youth that is misled and unappreciated by those who should appreciate it. Those being Antoine's parents and teachers! Here's a trailer for the movie to give you a small taste...

"400 Blows" displays a very unique approach in terms of camera work as well. A lot of different angles and panning shots were used as well as interesting tracking shots such as the intro credit sequence with the drive through the city. Also the scene at the carnival with the round machine spinning around, the point of view shot was almost dizzying. The expression of the world and the child's life becomes enhanced by the angles and techniques with which it is photographed. Films of the late 50's and early 60's display their own meaning, but with others such as "Rebel without a Cause", "Beat Girl" and "Blackboard Jungle" among others they have that Hollywood feel to them, whereas this film feels more personal on a level that can relate to each young individual who sees it. Here's a trailer from "Blackboard Jungle" to show a comparison to Hollywood style:

The instinct of our nature is that of what we make of it. Film theory and art form serve as passage ways for expression through words and demonstrations in creativity. The style of montage is something that is present also in "400 Blows". The scenes near the end of the film are good examples of montage when Antoine is at the disciplinary school. The camera work was effective as was the music score to accompany the feeling of emotion in choices made by both the parents and Antoine. This is a scene that is of particular importance to show a sense of montage:

From beginning to end there is no shortage of a moral message. Truffaut's film will stand as a fine dramatic effort that probes deep into the mind and the soul. Aside from the directing the acting is first rate all around. Everyone performs their role to the fullest especially the mean spirited teacher who constantly abuses Antoine. If there's anything else to be said it is that this film goes deeper than the traditional confused adolscent movie of this era. Although today's younger generation most likely has not seen this film it is aged a little, but still carries a similar meaning to today's youth about right and wrong.