Director Zack Snyder swings big with “Batman V Superman: Dawn of Justice”. Unfortunately he only lands a base hit.
"Batman V Superman: Dawn of Justice” is like receiving a bad Christmas gift from a loved one. You know they spent time and money trying to give you something awesome, so you try to put on a smile for them as to not hurt their feelings. The only place one percent equals one hundred percent is the DC cinematic universe helmed by Zack Snyder. The dichotomy of Batman, The World’s Greatest Detective inability to do math yet “Dawn of Justice” also delivering the most dynamic Caped Crusader in terms of fight choreography and photography is a microcosm of the failings of this film. There are moments that will make audiences smile and cheer during “Batman V Superman”. Unfortunately there is not enough of them in this 150 minute slog of a blockbuster. There are some bright spots in the film like every time Wonder Woman graces the screen and when Batman dispenses with a warehouse full of criminals. However one expects more from a film with the resources Mr. Snyder had at his disposal. What’s surprising is a film that tries so hard to fill every frame with gravitas does not have many moments that makes the viewer swell with emotion. One would expect the contrary from a film that
borrows so heavily from mythology and theology.
Instead of embracing the modern mythology that are comic book super heroes Zack Snyder creates a nihilistic noirish world devoid of humor and joy. In this world the spectacle of super heroes does not illicit joy but rather fear and carnage. Warner Brothers is hell bent on setting their universe apart from Marvel Studios tonally.
“Batman V Superman” is so grim and serious it does not even have an end credit stinger despite movie goers’ coming to expect them at the conclusion of comic book movies. Ironically the final scene before the credits would have actually been a great post credit stinger. Zack Snyder probably thought a post credit stinger would undermine the serious tone of his film. After all Zack Snyder is fond of saying, “This isn’t your daddy’s superman.” “Batman V Superman: Dawn of Justice” and the Zack Snyder film “Watchmen” are both films that are so faithful to their comic book source material they bring entire panels to life. Despite their faithful adaptations both films do not achieve cinematically what the source material achieved in the world of literature.
Zack Snyder captures images beautifully but he can’t fully articulate the nuance of the literature. His shots are gorgeous but not as dense with meaning as the literature they are based on. It is all style and no substance.
Taking several comic book storylines and merging them into one plot was successful in director Chris Nolan’s “Batman” trilogy. Unfortunately this methodology did not work well for “Batman V Superman”. The plot is bloated with too many plot threads and as a result none of them are served adequately.
“Batman V Superman” has been lavished with praise by fans at early screenings and shredded to pieces by most critics. Maybe the truth is somewhere in between?
It’s not the steaming dumpster fire that critics at the New Yorker and NPR hale it to be. But in the same breath it’s hard to call “Batman V Superman: Dawn of Justice” a good movie.
Art should make you feel something whether you love it or hate it. “Batman V Superman: Dawn of Justice” commits perhaps the biggest sin in art. Its art you just don’t care about.
Le
Quattro Volte (2010) is pure cinema. Since the birth
of the motion picture the art form has continued to evolve to include or
collaborate with other art forms and various crafts. Cinema is considered a visual
storytelling medium but as the medium progressed and sound synchronization
emerged literature (dialogue) became more influential in filmmaking. Modern day
films often employ both literary and cinematic storytelling techniques. Le Quattro Volte (2010) is a film that
is much more cinematic then literary.
When
you strip all the elements that make up a film to its simplest most basic components
you are left with a medium that is visual storytelling. The camera (its
placement or movements) and everything within the frame often can be as
informative as any exposition and many times more efficient and less clunky. Soviet
filmmakers and film theorists likeKuleshov and Eisenstein
considered montage an essential component of filmmaking.
Le
Quattro Volte (2010) does not employ montage in the strictest definition of
the word but it does make great use of the ideas and principle of montage
theory. Montage is an editing technique where shots (often times short in
length) and or images are arranged together to convey a narrative or idea
without using dialogue. Montage does not have to adhere to conventional editing
techniques like continuity editing. Often times a musical score or soundtrack
will accompany a montage. Besides conveying narrative, ideas, or themes a montage
can be used to compress time like when a film depicts an athlete training or a
prisoner preparing his escape.
Le
Quattro Volte (2010) is a narrative consisting of four chapters or
sequences. Each sequence depicts the life cycle. Despite not using any dialogue
not only is the message and themes of each sequence clear so is the narrative
of each chapter. Dialogue is not necessary in a film as evident by silent
cinema. However unlike many silent films Le
Quattro Volte (2010) does not even utilize title cards. This choice pushes
the film further away from literary storytelling mediums like theater and
grounds it more in visual or cinematic storytelling. All films are cinematic by
definition put some emphasize the cinematic qualities more than others. For
example a film with a stationary camera depicting two characters in a two shot
talking is not as cinematic as a car chase or an extreme close up juxtaposed by
a long shot.
The more cinematic a film the more
applicable montage theory becomes. “Separate shots of cinema film constitute
cinematic material.” Is how Lev Kuleshov defined cinematic. The more a film is
using images, editing, and everything within the frame as opposed to dialogue
to communicate a narrative the more film theories regarding montage from the
early years of Soviet cinema come to bear.
Le
Quattro Volte (2010) is dense with Catholic symbolism. We are literally
observing a shepherd and his flock. This language is often used when describing
Christian congregations. The ashes the
shepherd drinks with water represents the blood of Christ drank at Holy
Communion. Coal is the life blood of the community it heats homes and cooks
food. By consuming ashes (very similar to the ashes made during the production
of the coal later on in the film) he is engaging in communion. Instead of
drinking Jesus’ blood he is consuming the ashes (the life blood of the community).
All of this is communicated by the carful arrangement of shots and imagery
displaying the strengths of montage theory when it is employed in modern day
filmmaking.
A
scene following the goat herder’s funeral depicting the birth of a baby goat is
a strong of visual storytelling in Le
Quattro Volte (2010). The scene opens with a fade in of a two shot
capturing the birth of a goat. The viewer latterly sees the kid emerge from the
mother goat. The prolonged black slug following the interment in a mausoleum of
the deceased goat herder followed by a fade into the birth of a goat is jarring
but also evident of montage theory in action. With no dialogue these three
shots edited together make it very clear this narrative examining the life
cycle and the connections living beings share. The birth scene forces the
viewer to experience both the beauty and struggle of new life.
The elements of cinematic visual
storytelling in the birth scene do not end there. The camera is placed low to
shoot the goats straight on. This is not typical since most four legged mammals
are close to the ground cameras typically shoot them from a high angle similar
to the perspective a pet owner would have looking down at their doggie or
kitty. This use of visual grammar communicates to the audience these animals
are not just set dressing they are principle characters in the narrative. We
should not look down on them but rather look them in the eye and connect with
them.
During the course of the scene shots
that have the kid more prominent the frame then the mother or in some cases kid
is only principle in the frame. This communicates that baby goat not the mother
is the protagonist we will follow in this chapter. Again this is using the visual
grammar of film to communicate information to the audience. Communicating
narrative to the audience in this manner as opposed to exposition is another
example of montage theory DNA that can be found in Le Quattro Volte (2010).
Filmmaking is a collaborative art form
that can use a myriad of tools to communicate a narrative, idea, or emotion.
The theory of the complete film seeks to examine all these elements like sound
and color photography that come together to make something grander as a whole
then the elements could be alone. However montage theory is the best film
theory to utilize when we examine visual storytelling and the roots of
cinematic grammar.
Often times to best understand
something it is necessary to strip it down to its most basic components. How
could one understand a car best? You could watch a car drive down the street or
even ride in one, but would this give you the best understanding of how it
works? Many components come together to make a car but the most essential part
of the car is the motor and the best way to understand how a motor works is to
disassemble it and put it back together. Film is no different. It may have a
myriad of components but the most essential element is visual storytelling. Le Quattro Volte (2010) is a modern film
that strives to be a pure cinematic experience and that is why montage theory
is the best tool for an academic examination of the film.
Bibliography
Arnheim, Rudolf. "The Complete Film." In Film
As Art. University of California Press, 1957.
Kuleshov, Lev. Kuleshov
on Film:. University of California Press, 1975.
Stam, Robert.
"The Soviet Montage Theory ." In Film Theory: An Introduction,
by Robert Stam. Malden: Blackwell Publishing , 2000.
Dan Trachtenberg’s impressively strong directorial debut “10
Cloverfield Lane” is a genre bending, gripping, psychological thriller.Dan Trachtenberg has done what few directors
have done. He has achieved both critical and box office success with his
feature film debut.
Dan
Trachtenberg is not yet a household name but he is no stranger to fans of
science fiction. He first rose to prominence with the short film “Portal: No
Escape” based on the popular video game.
Similar
to Amblin Entertainment and Steven Spielberg in the 1980’s Bad Robot has used
the name of the production company’s owner to market the film. Despite “10
Cloverfield Lane” being heavily
marketed as producer J.J. Abrams’ film due to his name recognition this is one
hundred percent a Dan Trachtenberg film. Due to commitments associated with directing
“Star Wars: The Force Awakens” Mr. Abrams was largely unavailable during
production and postproduction on “10 Cloverfield Lane”.
The
comparisons to Amblin Entertainment don’t stop with the marketing campaign.
Trachtenberg is a self described Amblin kid citing the early Spielberg classics
like “Jaws”, Close Encounters of the Third Kind”, and “Poltergeist” as some of
his favorite and most influential movies. You can certainly see those
influences in “10 Cloverfield Lane”.
Like
the shark in “Jaws” the threat of monsters attacking and the implication of
their existence as opposed to seeing them are used to ratchet up the tension
and help propel the plot. Trachtenberg uses strong interpersonal relationships
to tell his narrative instead of stunts or effects.
“10
Cloverfield Lane”is not a direct sequel to “Cloverfield” making its viewing not
in any way necessary before seeing “10 Cloverfield Lane”. However fans of
“Cloverfield” need not fret because they will leave the cinema satisfied too.
In an interview with The Verge
promoting “10 Cloverfield Lane” Mr. Trachtenberg said, “It’s a spiritual sequel
to “Cloverfield”.”
In the theatrical
tradition of a chamber play the majority of “10 Cloverfield Lane” takes place
in an underground bunker. Once inside the bunker the audience is immersed in a
taught thriller. The practical sets and art design add to the atmosphere and
texture of the world created in “10 Cloverfield Lane”.
The subterranean bunker exists eerily outside
of time. The sets are dressed with details that create a nebulous time that is
somewhere between lava lamps and VHS tapes. Despite the detailed and expert
art-design the sets still look organic and lived in.
The
bunker is populated by Michelle played by Mary Elizabeth Winstead, Howard
played by John Goodman, and Emmett played by John Gallagher Jr. The small cast
and claustrophobic location allow for the tension and drama to build like a
Hitchcock thriller. Is the danger from the threat of monsters outside the
bunker or the all too human monsters within the bunker? Just like a Hitchcock
thriller “10 Cloverfield Lane” keeps the audience guessing if its paranoia is
warranted or not.
John
Goodman’s chilling portrayal of Howard and his characters dynamic with Michelle
create a relationship that is frighteningly like an abusive parent child
relationship. Howard thinks he is being loving and protective but his love is frightening
and his protection could be lethal. In his performance there is no trace of the
loveable Dan Conner. The role he made famous on the hit TV show “Roseanne”.
Mary Elizabeth Winstead does a
lot of heavy lifting in this film. The role of Michelle requires her to play a
myriad of different emotions not to mention she also appears in every scene.
“10
Cloverfield Lane” has a creative narrative structure. The narrative ellipse
that takes place between Michelle’s car accident in the beginning of the film
and her waking up in the bunker allows for the audience to discover things as
Michelle does. Due to this narrative device when she is wrong or deceived so is
the audience.
“10 Cloverfield Lane” isn’t your typical
Hollywood blockbuster. It is a film that is judicious in its use of CGI to
great effect. Instead of relying on large elaborate stunts and CGI Dan
Trachtenberg expertly uses art design and stellar acting to convey his story. Don’t
let the threat of Cloverfield monsters attacking keep you trapped inside your
bunker, go see “10 Cloverfield Lane”!
The Birth of a Nations is a period biopic. It is the story
of Nat Turner but like most historical melodramas the filmmakers were liberal
in their use of artistic license with the narrative. This is not a failure of
the film but rather the filmmaker’s choice to value theme and allegory over
historical accuracy.
Nat
Turner is an outlier. He is a slave in the antebellum south that can not only
read but is allowed to preach. As Nat Turner sees how his preaching helps his
people stay enslaved he begins a path that will conclude in leading a slave
rebellion.
In his
directorial debut Nate Parker is impressive. The film has already won the
Audience Award and Grand Jury Prize in the U.S. Dramatic Competition at the Sundance
Film Festival.This led to The Birth of
a Nation being purchased by Fox Searchlight for $17.5 million dollars, a
Sundance Film Festival record.
Nate
Parker pulls a Woody Allen and writes, directs, and stars in The Birth of a Nation.
If the title sounds familiar don’t confuse this The Birth of a Nation with D.W.
Griffith’s historic but highly racist silent film. The title is no accident
Nate Parker and the film’s producers purposely reappropriated the title.
Period
films are notoriously expensive. Nate Parker makes use of every bit of his
relatively modest $10 million dollar budget. The battle scenes in the final
third of the film are well done but one is tantalized by the notion of Nate
Parker helming a historical epic with the level of budget a major Hollywood
studio could provide.
The
Birth of a Nation is a complete film. It uses all aspects of the medium of
motion pictures to convey a story.
Expert
craftsmanship is on display in The Birth of a Nation. The practical sets,
exterior locations, and art design are more impressive and convincing then
films utilizing tens of millions of dollars in CGI.The makeup and lighting departments do an
excellent job of making the skin of the slaveholders and those participating in
the slave trade pasty and unflattering helping to reflect their cruel and vile
nature.
Too
infrequently the camera itself is not used as a storytelling device in
contemporary mainstream American cinema. The Birth of a Nation is not one these
films. When Nat’s belief structure begins to be shaken the camera work reflects
this.
Symbolism
and allegory are present throughout the film. At one point Nat is literally
laid upon a wooden cross and collapses only to later rise up in defiance of his
wounds and what the human body seemingly should be able to tolerate.
The
film’s melodrama is used to build archetypes as opposed to furthering plot or
story like a soap opera. This Nat Turner is deemed special since birth and with
his specialized knowledge he leads his people. These are key aspects of the
hero’s journey. The Nat Turner story told in The Birth of a Nation is a mixture
of mythology and folklore rather than a rigid historical retelling.
It is
impossible to watch The Birth of a Nation without taking into context that
diversity both in front of and behind the camera continues to be an issue in
American cinema. Time will tell if Nate Parker will be regarded as an important
director but his directorial debut is an important film. Don’t wait for it on
cable or Blu-ray The Birth of a Nation deserves to be screened theatrically as
the filmmakers intended.
