The Art and Science behind Ron Howards movies - Essay Example

? The Art and Science behind Ron Howard’s movies Reflections from “A Beautiful Mind” and “Cocoon” The Art and Science behind Ron Howard’s movies Take 1: A trio of residential community senior men in Florida dare to trespass their neighbor’s pool-house for a few precious pleasurable moments of swimming. As old age advances, their chores are filled with medical supplies, arguing with caregivers and unhappy moments with their wives. Their miseries are replaced with vigor, energy and rediscovered youth, when they start obtaining positive energy from paranormal cocoons lying on the floor of the swimming pool. What seem like fragments of seabed are basically shells of ailing aliens collected by their outer space fellow beings in an expedition to take them back home. Take 2: A West-Virginia math genius studying in Princeton University finds himself in socially awkward moments with his peers and professors. The extremely gifted academician is admired for his work and yet pitied for his idiosyncrasies. His involvement in cold-war code deciphering activities leads him to narrow escapes from communists causing paranoia and suspicion of people around him. The emotions of fear, angst and delusions, however, are actually the product of his imagination and mental illness, Paranoid Schizophrenia. The above two stories, a science fiction masterpiece and another a biography drama are works of Ron Howard, well known actor, writer, director and a producer. Where many directors are known for an expertise in specific genres such as Woody Allen in comedies (Lax, 1975), Alfred Hitchcock in thrillers (Armstrong, 2009) or Arthur Freed in musicals (Fordin, 1996), Howard’s movies transcend genres, performances and stories. Popular as an actor in hit TV series The Andy Griffith Show and Happy Days, Howard transitioned into directing motion pictures with his debut in 1977 American comedy movie, Grand Theft Auto, which was a commercial success. Other than the fact that both A Beautiful Mind and Cocoon were critical and commercial successes and bagged many awards, there is little similarity in the filmmaking style of these two movies. He himself mentioned in one of his interviews that he does not search for signature moments in his movies (SFGate, 2003). Although these two movies dive deeply into the struggles of human life: one inevitable (old age) and the other unfortunate (schizophrenia). This write-up explores Ron Howard’s work in both of these movies, focusing on the distinct style the director has used for respective storytelling. Director’s Cut Cocoon (1985) “Something extraordinary and unexpected can happen any time.” (Gray, 2003) Calling Cocoon just a science fiction movie would be wrong on my part and would not do justice to Howard’s vision of David Saperstein’s unpublished novel (Gray, 2003). The film explores multiple interwoven themes such as ageing, life’s sufferings associated with age, friendships, relationships, aliens etc. and genres such as comedy, science fiction and inspirational drama. There are several storylines that run throughout the movie; (i) that of three-retirement community senior citizens, Arthur (Don Ameche), Ben (Wilford Brimley), and Joe (Hume Cronyn) who yearn to bring back their youth and energy, which they used to rekindle their sexual desires and to engage in socializing and enjoying life once again (ii) another senior citizen Bernie (Jack Gilford) whose pessimistic attitude and stand on ethics costs him the life of his wife (iii) a group of aliens from planet Antarea led by Walter (Brian Dennehy) who return to earth in search of their fellow Antareans and who stumble upon emotions that could only be experienced by a human. The way Howard details the lives of all these individuals, particularly life in elderly homes (that can tend to be a dragging subject), is impressive. He shares the same stories from different perspectives, that of grandparents and grandsons, aliens and humans, young and old. The movie ends with senior citizens (except Bernie) joining the Antareans to opt for an eternal life on another planet and to undo the humiliation they have suffered from their age. It leaves with an ambiguous ending, questioning the rightness of their decision. Is quantity of life better than the quality (like having the “luxuries” of hamburgers, dancing and feelings)? Despite the fact that Cocoon is heavy on emotions, it is still a visual treat for lovers of science fiction, thanks to its visual effects supervisor Ken Ralston. There is an ease with which Howard’s narrative is complemented by the cinematography of each scene, leading the viewers to the perspective that Howard wants them to follow. Whether it is the close shots of Alzheimer ridden patient or break-dancer in his mid eighties, the sincerity of their emotions is brought by a good mix of alternative long and close shots. Like the sci-fi movies of its era (Star Trek series), the effects envisioning alien bodies, shredding of human skins, long shots from Deep Ocean to the high skies resembling a panoramic photograph and the ultimate UFO keeps the viewers on the edge of their seats. Ron Howard’s Cocoon would be considered a successful venture with a great ensemble cast, sound story line, brilliant sound effects and in his own words his “doctoral thesis” in film-making (Gray, 2003). A Beautiful Mind (2001) “I need to believe that something extraordinary is possible” – Alicia. (IMDb, 2001) Despite being a biographical drama movie, I would not get into the debatable details of fact vs fiction that usually every biographical genre movie faces. I would however focus on the brilliance of moviemaking by Howard again by mixing themes of drama, thriller and a love story. Unlike Cocoon, A Beautiful Mind has a center – John Nash played by Russel Crowe, an eccentric math genius who gets trapped in his own delusional world of communists, conspiracies and consternation. Throughout the movie, Howard helps viewer to connect with this man, admire him, pity him and then respect his achievements. This movie allows Howard to play with cinematic techniques to bring the right effect, and the story provides him the right tool for it – medical craziness (or paranoid schizophrenia). Visual and aural elements such as an intense background score while shock treatment is given to Nash as his wife looks upon the genius, makes the movie very gripping (Nasar, 2002). Ron Howard’s Nash is a lonely, recognition crazy (Charles, 2003), narcissistic and yet a gifted individual whose hide-and-seek game with his illness further affects the few relationships he has. Despite flaws in Nash’s character, Howard’s direction helps the viewer to feel for this man. Howard transforms rudeness into honesty or self-defense, egotism into self-awareness (Nash’s repeated acknowledgement that nobody likes him). The director also weaves the thread of inspiration as he narrates the survival instinct of Nash, how he succeeds to defeat the disease to help take care of his son, to share intimacy with his wife or to return back to his passion (Math). The pace and visualization of the movie is impressive with Howard using fast edits, extreme close-ups (faces, furniture, news clippings) and hence blurring the lines between what is real and unreal. Again, the sound effects, camera angles and powerful acting helped Howard to create another successful venture. Upon viewing Cocoon and A Beautiful Mind, it is clear that it is difficult to bracket Ron Howard in a particular genre or theme. However, his strong suit evident in both the movies is a good screenplay and a particular focus on the struggle of human dignity and feelings associated with it. Works Cited Armstrong, S. B. (2009). After Hitchcock: Influence, Imitation, and Intertextuality by William Hare Hitchcock and the Methods of Suspens. Film Quarterly , 63 (1), 80-81. Charles, M. (2003, March). A Beautiful Mind. American Journal of Psychoanalysis , 63 (1), p. 21. Fordin, H. (1996). M-G-M's greatest musicals: the Arthur Freed unit. Da Capo Press. Gray, B. (2003). Ron Howard: from Mayberry to the moon-- and beyond. New York: Thomas Nelson Inc. IMDb. (2001). A Beautiful Mind. Retrieved April 20, 2011, from The Internet Movie Database: http://www.imdb.com/title/tt0268978/quotes Lax, E. (1975). On being funny: Woody Allen and comedy. New York: Charterhouse. Nasar, S. (2002, March 11). The Man Behind a Beautiful Mind. Newsweek , 139 (10), p. 52. SFGate. (2003, November 23). RON HOWARD / After Oscar success with 'A Beautiful Mind,' director feels good about latest movie, 'The Missing'. 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