HOLLYWOOD MELODRAMA IN EUROPEAN FILMS - Essay Example

?HOLLYWOOD MELODRAMA IN EUROPEAN FILMS Introduction European cinema has always been torn between two contrary objectives. The first motif comprises of a film’s economic aspect, global competition and international expansion, and the other one includes national film policy from a critical point of view. Thus, the post- war European movies dealt with the dilemma of adopting capitalist approach or cultural distinctiveness. Action – based films, which were also very dramatic, ruled the European movies in and around 1950. During 1960’s a dramatic shift took place and melodrama started disappearing. After 1960, European cinema took itself to a new level by addressing to new and better class audiences. It also started deviating from the paradigm set by Hollywood regarding classical narrative cinemas ((Hjort and MacKanzie, 2000, p. 131). Melodrama first appeared in Hollywood during the era of pre- Hollywood silent cinema. During those times, it was equated with the subcategory of ‘woman’s film’ which invited female criticism on women’s ‘subaltern’ status (Langford, 2005, p. 29- 31). During the decade from 1970- 1980, European cinematic discourse took a different turn. It paved the way for “revalorization of the affective”. Through her works, Linda Williams led the way. This new way required placing of emotions in a broad category. She is also credited for taking the melodramatic genre beyond family melodramas or women – centric stories. As compared to European movies, the melodramatic movies of Hollywood contained “semiotic, psychoanalytic or ideological structures” (Deleuze and the cinemas of performance: powers of affection, 2008, p. 13- 14). Melodramatic movies, in opinion of (LANDY, 1991, p. 19- 20) carried different interpretations. Groups supporting different film movements differ in opinions. In most parts of the Western Europe, as well as in Hollywood, realist melodramatic movie gained popularity. Society and social issues were the chief subjects of these movies. Melodrama, as a theatrical genre of Hollywood emphasizes more on subjectivity of emotions over social commentary. Everything related to emotions is externalized and presented in form of gestures (Deleuze and the cinemas of performance: powers of affection, 2008, p. 71). Music has played one of the most important roles when it comes to theatrical melodramas of nineteenth century. This tradition has remained unchanged even in twenty -first century. Thus, present day melodramatic movies bear subtle impression of traditional functions and conventions of music (Reay, 2004, p. 6). Conventions of Hollywood melodrama In European movies Since 1920, European cinema has set for an enterprise to have an individual identity and disassociate itself from Hollywood. Though the goal was achieved to a certain degree by countries like Germany, France and Italy, European cinema could never come out fully from Hollywood domains (Dyer and Vincendeau, 1992, p. 8). Chief notions of melodramas in Hollywood are- art is primarily used for criticism, domestic tragedy is a sub- genre of melodrama, virtuous characters suffer throughout the discourse it s worth noticing that, degree or possibility of suffering does not depend on person’s nature. Also, absolute happiness portrayed through characters are not practical in certain cases as in real life sufferings are inevitable. Lastly, the main character represents the entire population having similar problem. He or she stands for a whole mass seeking to change the course of actions or an entire system. Before ceasing its existence, melodrama in European film was deeply influenced by generic iconographies of Hollywood. General subject matters, perceived from a broader point of view were considered for producing melodramas. Hollywood’s influence could then be felt in European cinemas as the producers and directors made use of conventional Hollywood devices like “peplum files, historical swashbucklers, biblical epics and exotic adventure. All these were modifies and conditioned according to Europe’s contemporary features. But then, there was no imitation of Hollywood melodramas. The producers and directors rather preferred European adventure fictions and well- recognized writings (Hjort and MacKanzie, 2000, p. 138). Hollywood melodrama in The Marriage of Maria Braun ‘The Marriage of Maria Brown’ was produced on 1978 by Rainer Werner Fassbinder. it is a melodrama based on life of Maria Braun, says Kolker (2009, p. 178). Beneath the superficial melodramatic effect, this movie also consists of another hidden melodrama. The first melodrama portrays Maria as an assertive woman who struggles to make her career and second melodrama exhibits the ‘economic miracle of Germany’. She is the image of how women were seen during 1940’s. Almost like a soap opera, the movie displays a sequence indicating the plight of German women, the hardships they face in their lives, especially in their love lives. Her story goes parallel with the history of Germany. Both of them survived from calamities and were degrade as lower- middle class survivors. Gradually, both Maria as well as Germany rose to power. However, at the end when Maria accidentally blows up herself, does not signify that Germany too is going to meet the same fate. Braun does not fit perfectly into the “zero- degree style” of Hollywood. Though the work of art was highly influenced by Hollywood melodramas like ‘Written on the Wind’ and ‘The Tarnished Angles’ directed by Douglas Sirk. The film contains both historical and social aspects, which are one of the chief components of conventional melodrama. Fassbinder’s outrageous irony has further enriched the melodrama. The action sometimes seems to be ambiguous, but on the whole it never fails to satisfy its audience (Carr, 2002, p. 181- 182). As an inseparable part of melodrama, comedy has a role to play. It provides a sort of relieve when the suspense or the action that is heightened too much. Keeping to this norm, comic notes are induced in scenes like when bombing affects Maria’s wedding ceremony and everyone else was laying on the ground, she insists on completing the marriage vows. Also, gestures of Hanna Schygulla, actor playing Maria Braun were loud and melodramatic (Carr, 2002, p. 182). At the time of making the movie, director Fassbinder combined historical and social aspects with the family drama prevalent in Hollywood. With it he incorporated the pulse of German society. It was an attempt to overcome the set norms of social concerns which only allowed a minority of ‘art film’ audience. At the same time he also wanted to change the fact that melodrama only represents women’s story, a belief which was tuned into myth by the work of Douglas Sirk of Hollywood, though ‘The Marriage of Maria Brown’ contains a strong female protagonist, a happy ending, coincident and accidents- all adopted and modified according to the requirement of movie’s theme. This is somewhat contrary to Hollywood’s norm of melodrama as there it is the audiences and other effects which determine the course of movie (Rheuban, 1986, p. 11- 12). What actually the movie showcases is the conflict faced by cultural trauma and the psychoanalytic cure provided by means of gender and ideology. It is worth noticing that both gender and ideology functioned in historical and personal sense (Deleuze and the cinemas of performance: powers of affection, 2008, p. 77). As a form of melodrama, ‘The Marriage of Maria Brown’ attempts to present its lead characters as human beings- all with their goodness, virtue, flaws and intentions. One such flaw is shown when Maria could not mourn the death of her husband. Here she stands for all German population portraying their inability to withstand the burden. It is actually a burden of guilt which has its roots in the Fascist period. Conscience of the Germans prevents them from mourning and remembering their loved ones. Realism and practicality of situations are preferred over rejuvenation of unlived and traumatic events. Thus, both Maria as well as Germany suffers from a trauma whose origin has no visible traces. The image of trauma is further imposed in the scenes by absence of trees (Deleuze and the cinemas of performance: powers of affection, 2008, p. 78). In this movie, as in other movies of the melodramatic genre, music is not treated as something additional. It goes hand in hand with the narrative line and heightens the effect of sequences enacted in slow motion, flashbacks and other miscellaneous things. Music controls the whole discourse to such an extent that it lessens the visual effects (Reay, 2004, p. 44). Hollywood melodrama in Rome, Open City ‘Rome, Open City’ by Roberto Rossellini has several melodramatic elements in it. It can be closely linked with Fascism and films related with Fascism. Its style is abrupt and different from accepted norms ‘Rome, Open City’ presents a mood that is somber. It is more like a documentary film which puts forward the communist theoretician’s version. The film represents actions and emotional from a political perspective. It was given a documentary touch by omitting the dramatic effect, modeled on Soviet. The German army and the civilians who were mostly Italians were contrasted in the film. Hollywood’s influence can be clearly noted upon director Rossellini as he had stressed more on relationships shared by the individuals over mass – action. Violence is shown in a gigantic shape through several images like the murder of Pina, execution of Don Pietro and torture of Manfredi. This with the destruction and death of all three central characters of the movie, ‘Rome, Open City’ evokes the element of sympathy and pathos (Gottlieb, 2004, p. 143). Another characteristic of melodramatic genre is presented through use of political forces in ‘Rome, Open City’. What distinguished ‘Rome, Open City’ from its counterpart from Hollywood is the alignment of visual messages. The director had done justice to his talents and used “hortatory verbal and claustrophobic visual images”, and presented it within the premises of Italian neo- realism, thereby presenting slices from the real world around us. In this regard it can well be said that it Rome, Open City is one of the pioneers in promoting the neo- classical approach from Italy. The movie does not present a conflict between optimism and pessimism. Nor does it present history from Marxist point of view. Thus, it deliberately avoids every possible type of extremes. The movie hugely influenced the common people along with the local leaders by voicing against imperialist nationalism adopted by the Fascists (Gottlieb, 2004, p. 140- 142). There are certain scenes which heighten the melodramatic effect are the love scenes and affair of Manfredi. The action scenes too, do not lack far behind. Typical to characteristics of melodramatic genre, Rome, Open City presents a collage of multiple situations, that is to say it collaborated numerous short and separate episodes into a total whole. What links the episodes is a common aspect between the situations or through some characters that stand common in those episodes (Chanse, 2001, p. 41) The plot of the movie revolves around a known melodramatic plot. It begins with oppression, struggles, sabotage and anguish with frequent intervals of love interlude. At the end comes relief in the form of destruction and death. The bliss thus achieved, even if through death pacifies the emotional turmoil by evoking ample amount of sympathy. Like contemporary Hollywood melodramas, this film too employs a handful of professional actors. Set in an authentic atmosphere, scenes were not shot in any constructed set. Realism assumes the supreme position as it symbolically showcases the sacrifices made from time to time by different patriots from Italy. Like all melodramatic movies, it conveys a social message in context of politics and religious beliefs. Idealistic views are also presented though portrayal of resistance movement (Chanse, 2001, p. 42). Beard (2010 p. 391) opines that ‘Rome, Open City’ uses “uber- dramatic” pattern in music. Two instances exampling the musical scores are the death scene of Anna Magnani and the action- packed scene of prisoner rescue. The music most often does not become slow or stark, making the movie bear an impression of operatic- melodrama. Also, one does not find any trace of over – dramatization in this movie as is seen in movies like Paisa. On the whole, Rome, Open City is one of the popular movies in the theatrical genre of melodrama with its numerous aspects heavily influenced by Hollywood or the classical genre of melodrama (Chanse, 2001, p. 43). ‘Rome, Open City’ did not follow the classical Hollywood style of lighting in melodramas. At the location sites scenes were shot in natural lighting. The movie also did not make use of costume epics and kept away from stage or studio. Shooting was mostly done on streets at real locations. Dialogues too were realistic. A “deep space lasting 30 seconds or more”, a Hollywood phenomenon was used to create action (Gomery and Pafort-Overduin, 2011, p. 217). Conclusion European cinemas are less directed towards the audience. That is, they are mostly made in “art cinema model” and are more appealing to the film critics. In European cinemas, the director indispensible and is given more importance than all other departments within a film. This practice, which is also known as auteur is widely practiced in European cinemas. Firms, as a medium of art are aesthetically defined on a usual basis. Critics too, prefer to categories the films into different film movements. Though European cinema is struggling to flourish, in many parts of the world, it is still not recognized and accused of lacking individuality or distinctiveness as a matter of fact; popular European cinemas are seen as Hollywood movies. This gives the European movies the advantage of Hollywood’s massive presence around the world (Dyer and Vincendeau, 1992, p. 8- 12). Italian, German and French movies are creating their own space globally and are gaining high popularity. In spite of reaping the benefits of Hollywood’s influence, European cinema still remains inferior because of certain reasons. One of these reasons is significant lack of auteur directors in Europe. Ignorance is another cause (Dyer and Vincendeau, 1992, p. 11). References (2008) Deleuze and the cinemas of performance: powers of affection. UK: Edinburgh University Press. CARR, J. (2002) The A List: The National Society of Film Critics' One Hundred Essential Films. US: Da Capo Press. CHANSEL, D. (2001) Europe On-screen: Cinema and the Teaching of History. London: Council of Europe. DYER, R. and VINCENDEAU, G. (1992) Popular European Cinema. UK: Taylor & Francis. GOMERY, D. and PAFORT - OVERDUIN C. (2011) Movie History: A Survey: Second Edition. UK: Taylor & Francis. GOTTILEB, S. (2004) Roberto Rossellini's Rome Open City. UK: Cambridge University Press. HJORT, M. and MACKANZIE, S. (2000) Cinema and nation. UK: Routledge. KOLKER, P. R. (2009) The Altering Eye: Contemporary International Cinema. UK: Open Book Publishers. LANGFORD, B. (2005) Film Genre: Hollywood And Beyond. UK: Edinburgh University Press. REAY, P. (2004) Music in film: soundtracks and synergy. Columbia: Wallflower Press. RHEUBAN, J. (1986) The marriage of Maria Braun. US: Rutgers University Press. Read More