Seven Psychopaths: Mise en Scène, Acting and Acting Styles

Title: Seven Psychopaths
Director and Screenplay Writer: Martin McDonagh
Year: 2012
Cast: Colin Farrell, Sam Rockwell, Christopher Walken, Woody Harrelson, Abbie Cornish

Seven Psychopaths is a film written and directed by Martin McDonagh. This is one of those movies that I can watch over and over and still get a good chuckle. It is, in my opinion, that good. The plot seems simple enough, Marty Faranan (portrayed by Colin Farrell), a screenplay writer suffering from alcoholism (and writers block) has come up with a great title for his next screenplay: Seven Psychopaths. The problem lies thereafter. Such a great title and no plot, no story, and what is most ludicrous, he has no characters to write about. After a drunken fight with his girlfriend Marty is kicked out and forced to move in with his buddy Billy Bickle (played by Sam Rockwell), who happens to be an unemployed actor making a less than noble living along with his partner Hans Kieslowski (Christopher Walken). Marty’s two friends, as he learns, run a scam that entails kidnapping dogs from a local park and then returning them to their owner to collect the reward. Billy, being the great friend that he is, decides to give his buddy Marty some inspiration in the form of exposure to some real life psychopaths.  Hench the following scene:

Sam Rockwell kills it here, figuratively of course.  He is a quirky personality actor, so likable and lovable!  He seems to play this fun loving dork-ish role often (think The Hitchhiker’s Guide to the Galaxy).

From this point on the story is not as simple as originally perceived. The seven psychopaths are revealed to us one by one.  Starting with the most obvious psychopath, Billy, who decides to adopt a serial killer identity. Identifying his murderous escapades with his calling card, aptly calling himself the Jack of diamonds killer and leaving a playing card of the same description to lay claim to the crimes. Later we find out that not only is Billy a cold blooded (and hilariously eccentric) killer, but that Hans also has a very interesting (and equally chilling) history. The movie unfolds as Marty discovers bit after bit of the details his good buddy has been so kind as to provide for him. Most intriguingly is the story of the Quaker.

Hans, who is played by Christopher Walken (one of my favorite actors of all time), is a character that, had Seven Psychopaths gone without would have lost so much of the depth, heart, and soul of the film. Some might describe Walken as a wild card actor, since his portfolio smoothly entails many different types of roles. He is a key character in the film. Walken is undeniably a star of the silver screen, with his distinctive voice and mannerisms. Whether it be a low budget film or a high grossing blockbuster, one can be certain that a film in which Christopher Walken plays a part (even a bit part) is going to draw a certain dedicated fan base. The following scene, for instance, is one in which Christopher Walken tells a story in voice over at a key point in the film. This sequence, incongruously added to kind of underline messages embedding within, conveys an undeniable reference to the underlying theme that has been hinted throughout. In contrast to the rest of the film, however, the intensity in this scene conveys a kind of ultimate last word and testament to Han’s life (It is, after all, a story about the first Buddhist Monk to ever burn himself to death in protest of the war). This message of a higher life affirmation and even martyrdom is seen throughout the film even despite its tendency to make fun of itself.

The following scene perfectly sums up the characters mannerisms and the playfulness in which the film was shot. A kind of play between reflective allegory and literal narrative.

I would like to say that I doubt such a scene would have played out quite so well as this had casting gone differently.  Colin Farrell takes on the persona of Marty. While portrayed as an alcohol abuser, he might actually be the sanest and most normal of the bunch. I was quite impressed with Farrell’s ability to break the typecast he is usually found in. As opposed the brooding, fearless hero he usually portrays, Marty is actually quite the whiner. Colin Farrell may be considered a personality actor, playing himself with his many roles. He seems to be frequently typecast, playing the protagonist: rugged, brave, and heroic action roles (2012 Total Recall for example). This particular role, however, shows he can be dynamic and versatile on screen. We see him in Horrible Bosses, again defying this typecast and showing his versatility. I hope to see a continuation of this trend for Mr. Farrell in the future.

Woody Harrelson also makes an appearance throughout Seven Psychopaths playing a small, but key role, and like Christopher Walken, the film just wouldn’t be quite the same without his own personality-type acting style. The remaining portion of the film is Billy’s attempt to give Marty a an “epic gun fight scene” in which to inspire the end of his screenplay. I love this film and all of the amazing actors that make it so enticing.
Since I would hate to spoil the ending of the film for anyone, I’ll leave out the final gun fight sequence. This is another movie that I would come high on my list of “you have to see this” stuff. Enjoy!

References:

BadfishKoo. Published on May 28, 2014. Seven Psychopaths – Calling All Psychopaths (The Irish Have Alcoholism). [Video File]. Retrieved from https://www.youtube.com/watch?v=WdqiqrXjiMs

Briancherry1. Published on Apr 16, 2013. Seven psychopaths eye for an eye scene. [Video File]. Retrieved from https://www.youtube.com/watch?v=

rennychiba. Published on Jan 30, 2013. Seven Psychopaths – Self Immolation Scene. [Video File]. Retrieved from https://www.youtube.com/watch?v=s6LAS5T4FN8

Fury : Movie Sound Elements

Title: Fury
Writer and Director: David Ayer
Year: 2014
Cast: Brad Pitt, Logan Lerman, Shia LeBeouf, Michael Pena, Jon Bernthal
This weekend my husband and I sat down to watch a movie together and (of course) he picked a loud, manly, action-war film. I figured- no biggie, I’ll just use the extra time to study. Lo and behold an hour later I had yet to read a single line! This film is so much more than it appears. I am highly impressed with director (and screenplay writer) David Ayer. That’s not to say I don’t enjoy a good war film (Lions for Lambs was phenomenal but not exactly on par action wise). So here I am a few days later and I’m thinking what was so different about this film from any other that came previous? Good story? perhaps.. Good acting? yea sure..
What’s more is the filming, the editing, and the sophisticated use of dialogue, sound effects, and music. It gives us a distinct feeling of being confined to that tank with this group of soldiers. Experiences I think many directors strive to replicate, but few succeed.
Take the following scene for example.

Pure diegetic sound elements. Which is to say, this scene was void of unnecessary artificial sound effects
or music. Even the surrounding soldiers seem to be listening intently, aware of the cruelty but also accepting of it’s necessity. We almost feel the pain Norman (Logan Lerman) feels at being forcibly made to
kill. On the other hand, it presents us with the reality that soldiers who served in World War II had to endure. Kill or be killed.
The next scene is easily my favorite of the film.

The tanker battle is a climatic scene in which the smaller American tank takes on the larger much better reinforced German tanker. Ayer does a great job of emphasizing this contrast. Frantic dialogue, epic sound effects, and ominous music highlights how close the band came to being annihilated. There is no mistaking this is a film epitomizing the will to survive. A union of men responsible for each other’s very lives. What a historic war film should be!
Allow me to take you a bit farther (without spoiling the best bits, of course!)

Here we see Wardaddy (Brad Pitt) making the resolve to take on an entire German SS Battalion. Five American soldiers in an immovable tank against more than 200 enemy troops. Again minimal non-diegetic sound elements, with the exception of an almost unnoticeable very low, long, and drawn out note and the effect is intensifying. Ayer seemed to want to give the characters (and the audience as well) an opportunity to contemplate the gravity of such a decision.

After the decision has been made, the weapons prepared, and before the final monumental battle. A few minutes of thoughtful dialogue seem to seal the men’s fate. Acceptance in the form of a short prayer. This dialogue is, perhaps, much more powerful after journeying with the group throughout their deadly excursions. Below the dialogue we hear a soft musical score. Barely audible and hardly noticeable this is the scene that drives the following events home.
I think watching the last scene of the film out of context might be a little bit of an injustice to anyone who has not already viewed the film. Let me just say… WOW.
I recommend this film to anyone looking for a little more out of movie night.
I truly hope you enjoy it as much as I did.

References:
Movies Coming Soon. Published on Oct 6, 2014. Fury Movie CLIP I Can’t Do It. [Video File]. Retrieved from https://www.youtube.com/watch?v=VfhvjTuIxhA

Movies Coming Soon. Published on Oct 6, 2014. Fury Movie CLIP Tiger Battle. [Video File]. Retrieved from https://www.youtube.com/watch?v=7WPoe-H-nrg

Movies Coming Soon. Published on Oct 7, 2014. Fury Movie CLIP Hold This Crossroad. [Video File]. Retrieved from https://www.youtube.com/watch?v=y4gMbJXOeQk

Movies Coming Soon. Published on Oct 7, 2014. Fury Movie CLIP Bible Verse. [Video File]. Retrieved from https://www.youtube.com/watch?v=mwsOdsxDZh0

The Impossible : Mise En Scène, Lighting and Cinematography

Mise En Scène: Lighting and Cinematography This week I have elected to dissect one of the most raw depictions of cinematic magic I have had the privilege of viewing. The excellent 2012 film directed by Juan Antonio Bayona The Impossible. This is a disaster movie in all formulaic regards, but it is also so much more. The Impossible is a powerful portrayal based on the true story of the Belon family vacationing in Thailand when the 2004 Indian Ocean earthquake and resulting tsunami devastated the country. Starring acclaimed actors Naomi Watts as Maria Belon and Ewan McGregor as Henry Belon, the film depicts the events leading up to and following the tragic natural disaster that occurred December 26, 2004.

Personally this one of the most frightening scenes I have ever seen. What could possibly be more frightening than an event so powerful, so all consuming, so destructive, and so potentially possible of occurring again? The tsunami scene begins in natural daylight. The family is enjoying a beautiful sunny family pool day together. The sun is shining on the vacation resort in what is portrayed as a day, not unlike any other. With hardly a warning, however, a distant roar can be heard. A wide-angle lens shot presents to the audience what the families lounging by the pool have just become aware of in sharp terrifying focus. In seconds the pool goers can see the source of the sound, an advancing 100 ft. wave. There is hardly a moment for them to comprehend what they are seeing, much less to react, when the deadly wave hits the shore and sends people and debris swirling and crashing into each other.

Trees, cars, twisted unrecognizable scraps of metal, children, and adults, all are indiscriminately thrown and carried by the wave for what seems like miles. It is unfathomable to think that Maria, Henry, their children, or anyone else could possibly survive such an ordeal. We see people clinging to trees, we hear incoherent screams, and children crying. Thrown underneath the water’s surface we are experiencing the horror with Maria and Lucas. The underwater shots depict dark shadowy swirling chaos. Frightening in the confusion. Previously non-threatening objects (e.g. twigs, stones) and huge heavy structures (e.g. cars, telephone poles, trees) propelled by the dangerous force. Everything is potentially injurious. Most everything has been destroyed and in being so has also become destructive.

The phone call scene is a particularly powerful scene in which Henry (Ewan McGregor) calls a family member back home in Spain in the hopes that his wife or son have called. At this point he is unsure if his wife and eldest son survived the wave. The lighting reflects this somber tone. In contrast to many other key moments in the film, this scene is at night. Cinematographers use the mise en scène tactic of the three-point lighting style. A dim ambience glows behind Henry, the background blurred out of focus, while backlighting frames him from behind. He is illuminated from front on either side as well. Though the scene is almost unbearable to watch because of this style of lighting we get a sense of his determination. Not far beneath, however, lingers his stark uncertainty. The shadows on his face seem to enhance this ambience. We almost feel him waiver in defeat, then immediately grasp that bit of hope that will ultimately propel him to find his family. He tells the person on the other end that he will find his wife and son, almost as though he is making that resolve within himself. Although the movie follows the Belon family, we see the same look on the other character’s faces in this scene. This experience was not specific to this family alone. Many people were lost in the tsunami, many families are moving to find their loved and lost ones. This is more a film about human endurance than it is merely a film of one of the most devastating natural disasters of modern times.

The Reunion scene again begins in stark bright daylight. Had we been present I imagine this is the way in which we would have witnessed the family reunite. Director Juan Antonio Bayona preserves the realistic tone of this emotional part of the film. Making it all the more believable. The sun is shining as it was before the tsunami’s arrival. However, in this scene, the happiness that the sunlight implies is reflected in our character’s emotional states. This is a happy scene. Brothers reunite with a joyous embrace and by a fortunate chance of luck, Lucas spots his father Henry as well. The reunion is made complete, by Lucas’ statement that “Mom is here.” They find Maria in the hospital bed. However, her condition is severe, at first we are unsure if she is even living. The mood is set by a darkening of light in the hospital room. Although still borrowing from the naturally sunlit scene before, this time the sunlight seems slightly filtered. Angled lighting enhances the shadows on Maria’s face. Accentuating her pale, bruised, and grey skinned face. She obviously has lost a lot of blood and looks as though she has contracted a serious infection as well in the understaffed and overcrowded hospital facility. Coloring in this scene is also at a minimal, from the bedding to clothing, the scene’s colors are muted. Although the family is finally all together at last, it is marked with uncertainty. Maria seems to have given up fighting for her life.

Although our Belon family survived this terrible ordeal, the earthquake-induced tsunami on Dec. 26, 2004 resulted in at least 155,000 fatalities, 500,000 injuries, and damages that exceeded $10 billion. It is estimated that 5 million people lost their homes and access to food and water. Despite a lag of up to several hours between the earthquake and the impact of the tsunami, nearly all of the victims were taken completely by surprise because there was no warning systems to detect tsunamis or to warn the general populace living around the ocean. The shifting of the earth’s plates in the Indian Ocean caused a rupture more than 600 miles long, displacing the seafloor above the rupture by approximately 10 yards horizontally and several yards vertically. As a result, trillions of tons of rock were moved along hundreds of miles and caused the planet to shudder with the largest magnitude earthquake in 40 years. Within hours of the 9.0 earthquake, devastating waves radiating from the epicenter and slammed into the coastline of 11 Indian Ocean countries, damaging countries from east Africa to Thailand. The December 26, 2004 Indian Ocean tsunami was caused by an earthquake that is thought to have had the energy of 23,000 Hiroshima-type atomic bombs (2005).

References: Movies Coming Soon, (2012). The Impossible Extended CLIP – The Wave – Ewan McGregor Movie HD. [Video File]. Retrieved from https://www.youtube.com/watch?v=fPWY_Aqg7uU&src_vid=BDOGWCELXA8&feature=iv&annotation_id=annotation_736836 101Spoileralert101, (2013). The Impossible Full Tsunami Edit 2013. [Video File]. Retrieved from https://www.youtube.com/watch?v=qryJaTbASs0 Movies Coming Soon, (2012). The Impossible Movie CLIP – Phone Call (2012) – Ewan McGregor, Naomi Watts Movie HD. [Video File]. Retrieved from https://www.youtube.com/watch?v=rrnJqvhfvqI Dino4Lalo, (2013). The Impossible (Reunion). [Video File]. Retrieved from https://www.youtube.com/watch?v=ChfJQvbkRDI Author Unknown, (2005). The Deadliest Tsunami in History? National Geographic News Web Source. January 7, 2005. Retrieved from http://news.nationalgeographic.com/news/2004/12/1227_041226_tsunami.html

Inglourious Basterds

 

 

 

Title: Inglourious Basterds
Writer and Director: Quentin Tarantino
Year: 2009
Cast: Christoph Waltz, Brad Pitt, Melanie Laurent, Diane Kruger, Eli Roth, Michael Fassbender

Story: Inglourious Basterds tells a fictional tale of two elaborate plots to assassinate Nazi Germany’s political leader of the third reich during World War II, Adolf Hitler.

Plot:
In the beginning of the film Lt. Aldo Raine (Brad Pitt) assembles a squad of Jewish-American soldiers with a particular set of violent characteristics in mind. Set during World War II, during the Nazi Germany occupation of France the team earns their namesake Basterds with their brutal treatment of anyone associated with the enemy Nazis. Scalping and branding scarification (a swastika carved into the forehead) becoming the signature calling cards of the Basterds. By no mistake, they are known and feared throughout the German army. After they manage to make it behind enemy lines posing as Nazi officers, the three German speaking basterds meet their German movie star contact, Bridget von Hammersmark (Diane Kruger) in La Louisianne. They meet Bridget in the dangerously cramped basement tavern, finding the pub full of drunken, celebrating Nazis, one of whom happens to be a high ranking Nazi officer who insists on sharing a table with the actress and her accompanying undercover contacts. The British basterd Archie Hicox’s (Michael Fassbender) strange accent draws the Nazi’s interrogation-like queries. When a fire-fight breaks out in the pub, killing all three of the German speaking basterds and dramatically changing the scheme of their assassination plot.

Meanwhile In Paris, Shosanna Dreyfus (Melanie Laurent), who is Jewish and whose parents and siblings were killed on the orders of the “Jew Hunter” German Colonel Hans Landa (Christoph Waltz), has an assassination plot of her own. Shosanna runs a cinema and through a chance meeting with a German war hero, is selected to host the premiere of one of Dr. Josef Goebbels propaganda film in her cinema. The German high commanders Hitler, Goering, and Martin Bormann are all scheduled to attend. When she realizes Colonel Hans Landa will also be there, Shosanna devises a plan to trap the military audience in the theater, present them with a video recording of herself spliced into the propaganda feature at a specified time into the reel and then proceed to burn them alive. Concurrently, an alternate (non-German speaking) three Basterds are in attendance along with Ms. Hammersmark. Colonel Landas takes notice of Bridget’s escorts and through a series of suspenseful dialogues lures her away into a private office and kills her, then confronts Lt. Aldo Raine and requests special treatment with his surrender. For which Raine’s superiors accept. The film ends with death of an entire theater full of Nazis including Hitler as well as Shosanna’s death, and the military arrest of the Jew Hunter Landas. In true basterd fashion, however, he is not handed over until after he receives his signature swastika forehead brand.

The film is presented in a linear chronological order enhancing the suspense and anticipatory reaction from the viewers. Tarantino wisely uses extended dialogue and focuses the audience’s attention further by presenting this dialogue in the most theatrical scenes in German, Italian, or French. Unless the viewer speaks all of the languages used, they must read the subtitles. This develops the connection that the viewers feel towards the characters in that more effort is placed on their words and movements. Had Tarantino used a different method of presentation in the film an opportunity to establish and develop the intensity of the characters would have been lost. Likewise, the success or failure of the assassination attempts would also have ultimately lost their significance.

Reference: Bender, L. (Producer), Tarantino, Q. (Director) (2009). Inglourious Basterds. [Motion Picture]. United States: Babelsberg Studios
Bender, L. (Apr 21, 2012). Inglourious Basterds: Shosanna Prepares for German Night. [Video File]. Retrieved from https://www.youtube.com/watch?v=gS1IG8hw73A