Before Cinerama and CinemaScope, the movies contented audiences with screens whose dimensions averaged 20 feet by 16 feet. With the wide-screen technologies and formats of the 1950s, the movies engulfed their audiences, wrapping images as great as 64 by 24 feet around them (Belton, 2013, pg. 185). Belton went on to observe, that ‘The wide-screen revolution represented a dramatic shift in the film industry’s notion of the product that it was supplying to the public…shifting its primary function of providing entertainment to the public to include another function as well – that of recreation’ (pg. 186). The movie experience as mandated by the studios’ attempt to reverse the dropping audience attendance rate with spectacles of epic proportion, engaged their audiences through sheer illusory immersion, not only through giant images, but revolutionary multi-track stereo sound as well. Such an audio-visual effect was utilised to its zenith by a subset of gigantic productions during this period: historical epics.
While People Will Talk, starring Cary Grant and Jeanne Crain, was billed under the romantic comedy genre with tinges of domestic drama surrounding pregnancy out of wedlock, director Joseph L. Mankiewicz’s production was evidently driven by such dense additional narrative circumstances that at times it would seem decidedly unfitting. While the two central plot threads presented by People Will Talk – namely Grant’s character Noah Praetorius’ misconduct scandal and Crain’s Deborah Higgins’ attempted suicide upon discovery of her unwanted pregnancy – are certainly far less elegantly interwoven during the film’s runtime as one might like, the title People Will Talk alludes to the grander ideals preached by what was ultimately a parable of moral decency and the shackles of social expectation, which the two outlined narratives both explore in blatant and elusively satirical ways.
Samurai Shifters | Isshin Inudo
How do I even classify this film? It’s a period drama, romantic comedy, kinda political thriller and even a pinch of musical. This all-in genre meshing works very much both in favour and to the detriment of Samurai Shifters.
Continuing on with the format I established with the SFF earlier this year, I will be sharing some thoughts I had watching a new roster of Japanese cinema, in the midst of a unusually busy season of films for me (last I checked, I had 11 movie tickets already lined up for November and December).
Regular readers many already be familiar with how my lineups usually look, and while I am always looking for opportunities to inch beyond my tendencies and preferred genres, I believe that this comfort zone of mine is at least diverse enough for surprises, while also satisfying my own tailored love for cinema.
As I look for ways to keep my writing brain well-oiled, I will be trying out a more ‘modular’ approach to blog posts: rather than dedicating each post to a singular theme that I hammer out mostly in one sitting, I’m taking a few pages from my old seasonal anime list posts, and compile short capsule reviews that I write throughout the week(s). In this instance, I have given myself a pretty decent schedule for the upcoming fortnight of movies that are screening at the annual Sydney Film Festival, and will be reflecting on each title I watch, before publishing it at its conclusion.
As active documenters and expressive anchors for their respective time periods, artists and creative practitioners all demonstrated engagements to the mechanics and characteristics of their time, which are in turn reflected by how they build upon their works, through utilizing tools and technologies of their time. As a result, significant advancements in human technological capabilities are readily reflected upon by artists, who finds new frames of perceptions for their audiences to experience their artworks, and find meaning through and from new mediums of expressions and sensual cues.
Warning: Against my conventional tendencies, a considerably increased amount of cursing will be circulating around this particular publication, and won’t be censored. Naturally, reader discretion is advised.
It’s impossible, really, when it comes to determining what you loved more, after walking out of an opening day Deadpool showing: the film’s disregard for superficial rules, Deadpool being the biggest asshole, the crowd who laughed because you laughed at a joke that only you got (well…that WAS the hope), or when you laughed in an instinctive response to the audience’s laughter: attending film viewings with huge crowds can be the most amazing thing, if you somehow managed to find a balance between an audience with lively and responsive dispositions but also a crowd that’s respecting and understanding about NOT BEING A FUCKING LOUD AND DISTRACTING ASSHOLE. Sydney crowds do a generally good job with that…well, at least with my measuring balance being American crowds, as narrated by Youtube film critics.