Woochi - The Demon Slayer - Movie Review Example

Film Evaluation Report 1.) What is this film about? Is the filmmaker making any kind of statements about life and/or the human condition? If so, what are they? Explain fully, providing examples from the film. The film Woochi (2009) is set in the action adventure genre, with the nature of the film being constructed to appeal to a less cerebral, and more adrenaline rush type response. The film is based upon the concepts of martial arts, silly humor, and special effects which combine for a lighter, more relaxing style of movie experience. While there is a tendency to see such films as lesser forms of film, they can and should be appreciated for the way in which they show how cultures can take a lighter view of themselves and of their mythologies. Films that use silliness as a basis for their entertainment are often making light of aspects of society in order to shed a light on how serious human beings sometimes take themselves. Woochi (2009) is first set 500 years in the past, a story of mythologies and human politics creating a set up for the events that will take place in the present. The film begins with a story of goblins who steal an item called the Pipe of the Prophecy, the piece having powers that should not get into the wrong hands. The flute is used by the one god to keep the others, each representing the lunar calendar year. Three demi-gods are trying involved in trying to keep the flute from the goblins, or demons, but when they fail, they ask the help of the Taoist Wizards who are able to retrieved the flute. However, the Master wizard’s apprentice, who is a bit self important and has a huge pride problem, is accused of a murder and he takes the flute and sets himself into a painted manuscript to hide. When it is discovered that both he and the flute are in the manuscript, one of the wizards, Hwadom, goes into the manuscript, only to realize that once he is near the flute, he himself is one of the demons. This is a secret to those demons who take human form. They forget that they are demons until they are near the flute. Through a series of coincidences, the flute is torn into three pieces, thus preventing Hwadom from getting the flute and putting it back together. In modern day Seoul, the goblins start once again causing mischief and the three demigods decide to set Woochi free in order to stop the problem. The goblins, disguised as humans, are outside of any current means to stop them, so setting Woochi, who has some of the same knowledge of the Taoist wizards from 500 years previous, seems the best way to handle the problem. They convince Woochi to help them, and all of them being in modern day Korea leads to a great deal of humor based upon the conflict of how people of another time would deal with modern day life. 2.) What does the film reveal about the personality and interests of the filmmaker? What does the film reveal about the attitude of the filmmaker toward his subject? Explain fully. The film engages myth in order to set up its conflicts and to find ways in which to express human hopes and fears through personifications. The nature of the lunar calendar creatures is to personify specific aspects of the dark side of humanity, thus discussing the human existence through this type of literary study. In creating supernatural elements, the real world is reflected in such a way as to create a sectional discussion of different emotional parts of being human. Mythology often isolates aspects of human existence so that those elements can be explored through a less complex examination. This is often the case with humor as well. Humor allows for a piece of literature to more closely examine a part of human life by isolating a part of it and looking at it from various, unusual perspectives. In this film, the concepts of drinking, bumbling, and sexuality are looked at from the perspective of outsiders looking in, as the time variance creates an ‘alien’ atmosphere for the main characters. Using aspects of hedonistic culture, showing the differences between older cultures and current cultures, creates moments of simple delights for the viewers. It is a way of making fun of humans for their own vanities. A character who is a dog, Chorangyi, can shape shift into different forms and is a helpful sidekick to Woochi. Chorangyi was caught in the painting with Woochi and comes out with him into the modern culture. As he shapes into different creatures, it is made clear that what he really desire is to become human. This desire to become human, the overriding belief that to be human is to have that special nature of humanity imbued into a supernatural creature, is a common theme. It is a testament to being human, a way of discussing the nature of how humanity is the highest achievement of life within our own little part of the universe. 3.) Are there any interesting or daring film techniques that are used in the film (camerawork, editing, lighting, color, art direction, sound, etc)? If so, identify them and provide examples (In order to more effectively respond to this question read and study carefully your text books “Glossary” section that runs from pages 727 - 724). The film has been made with an array of color, the movie using the contrast of the city lights to offset the way that the main characters are aliens in time. The costuming is down with an intent of providing a contrast in order to enhance the concept of the characters being misplaced in time. The ways in which the characters are interpreted are done so that it is clear that they are not familiar with the time period. Even though this movie is not intended to be a performance driven work, the characters are developed well in order to provide that feel of displacement. The lighting of the film is done with something that is reminiscent of 1980s films from the United States. The films are presented in a way to best suit the nature of the humor and the flow of the action. The editing is well done, for the most part, although somewhat choppy in some of the action sequences. The special effects are done with a great amount of skill and flow fairly seamlessly between reality and the special effects sequences. The cinematography, overall, is done in a classic manner with nothing specifically new to be seen. The film is designed to be a blockbuster type of film, so there is little that is done in any type of avant-guarde type of effect. 4.) Does the film carry any social messages or themes that are meaningful to you? Do these messages help you to better understand your own life and your relationships with others? If so, how? Explain fully. One of the important aspects of a film such as this is to see how mainstream American cinema has made an impact on Asian films, the nature of the work presented through the filter of American aesthetics. While the film is definitely one that belongs to its culture, there are some aspects that show the American influence, such as the color and cinematography. In other aspects, particularly in storytelling style and cultural adaptations, the modern Korean aesthetics are clearly present. The nature of the humor, while not sophisticated, does allow for any viewer to understand the type of humor that is being attempted. In this way, it translates to a universal audience, creating a film that is not solely of its native culture. The film is a masterpiece of contemporary pop culture frivolity cast in a net of high impact universally appealing concepts. The film is intended to entertain, but meant even more to make a good deal of money. In the consumerist culture that it portrays lies a hint of the nature of a film such as Woochi (2009). Films that are intended to be for money making purposes and are made for the tastes of the masses are often overlooked for some of their positive elements. A film such as Woochi (2009) is made with the intent of making money and entertaining the broadest audience possible. In creating such a film, nothing that is beyond the basic understanding of the audience is done so that no one walks away scratching their head, unless they found it to be too silly and without merit. The film uses mythologies that are easy to understand, but can represent deep cultural meanings as well, providing a broad audience comprehension. While the film does not intend to break cinematic ground, it should be appreciated for achieving its goal. Artists sometimes look down on such films or other forms of artistic statements about, concerning, or existing as pop culture. However, in any look at an art form, the popular forms must considered for the way in which they touch the mass audience. Brilliance can sometimes be considered when a film does not condescend to its audience, but embraces them for what they have enjoyed. Woochi (2009) is such a film as it provides a cultural experience while using humor to examine different aspects of the film. Through the use of well done special effects and good camera work that does not jar the senses, the film is a popular culture piece of work that does not condescend to its audience. A specific theme that the film expresses concerns the nature of the past as it is relative to the present. As the characters interact between time periods, the modern nature of contemporary Seoul is explored through the perspective of someone from 500 years before that time. As alcohol, as an example, is explored, it shows how variety has become unique to modern culture where in previous cultures the lack of easily imported and exported products meant there were more limitations. While not an important point on the surface, it is an important concept in broader terms where modern advances are shown to have created a more diverse life in Korea. 5.) What insights does the film provide into its foreign country’s unique customs and traditions? Be specific. Provide examples from the film that offer these insights. As the film is not intended to be an ‘important’ art film, it has few real insights that should be considered. In general, what it provides is a sense of how the Korean people are in touch with their mythologies and the way in which those mythologies are an undercurrent. However, a popular film provides importance on seeing interpretations of exaggerations. Film Study 2 Xijun Liu Instructor: Prof. Josh Kanin (date) Days of Being Wild (1990 from Hong Kong) Film Evaluation Report 1.) What is this film about? Is the filmmaker making any kind of statements about life and/or the human condition? If so, what are they? Explain fully, providing examples from the film. The film is based upon the playboy exploits of Yuddy, played by Leslie Cheung. Yuddy is a complex character who seems to be superficial and somewhat heartless as he uses and then discards women in his life. However, as his own history unfolds, the film reveals his nature as a reaction to the way in which his early life was a set of conflicts. Yuddy was raised by a prostitute while his real mother was a member of the Philippine upper class. The story is played out through watching the actions and reactions that occur during the daily life adventures of the characters. A decided concentration on normalcy highlights the way in which the action is portrayed. One of the major themes of the story is rejection. At the base of this concept is the rejection that Yuddy has experienced through his real mother who handed him over to a prostitute instead of keeping him with her. While he is not really aware of this, it sets up the types of rejection that he inflicts on women throughout the film. His nonchalant disregard for their feelings mirrors the way in which his mother has behaved toward him. Alienation and isolation are thick within the story, the people within it meeting only for brief moments as they try to navigate in a world in which each individual has no real connection to the other. The theme is repeating, a motif almost as it slides from one set of interactions to the next. The rejection theme is primarily played out with the women in his life. His first victim Li Zhen, suffers deeply from the interaction that she has with Yuddy. She must find a way to deal with the effects of his rejection. She goes into a depression and finds a way to move past her feelings. She does explore a relationship with a police officer, but the movie never really completes that part of her journey. A second victim, Mimi, is not as innocent, but her experiences show that no matter what the experience of a person, they feel the effects of being rejected. The nature of her response to the situation is to do things that don’t server her best interets and are destructive. She is a dancer in a club and her former experiences might have protected her from Yuddy, but the film shows that anyone can be vulnerable and used. 2.) What does the film reveal about the personality and interests of the filmmaker? What does the film reveal about the attitude of the filmmaker toward his subject? Explain fully. The film, Days of Being Wild (1990) is an early film from the director Wong Kar-wai. The movie has popular Hong Kong actors and is a well known film that had a deep and poignant message within its story. It is the first in a trilogy of movies that are loosely attached. In the Mood for Love (2000) and 2046 (2004) are films that follow this first film. This film is more of an artistic pursuit, a film built on relationships and emotional themes which was a departure from the more common films in Hong Kong that were based upon action and humor. The drama of this film is based in the ways in which the characters consider and cope with their lives. 3.) Are there any interesting or daring film techniques that are used in the film (camerawork, editing, lighting, color, art direction, sound, etc)? If so, identify them and provide examples (In order to more effectively respond to this question read and study carefully your text books “Glossary” section that runs from pages 727 - 724). The film is shot in such a way as to reflect the time period in which it is set. As it is 1960, the film still has the feel of 1950s, the coloration having a feeling of noir as it moves through the lives of the people within the film. The colors of the film are in warm pastels, some browns and greens that create an aged appearance to the work. Close ups help to frame the emotional progressions that the characters go through, especially on the protagonist. Some long sequences that have the drawn out feeling of loneliness help to enhance the central themes. The film never shifts off of its target theme, even when an action sequence breaks up the slower pacing to add interest. The nature of connectivity within and outside of family is discussed as well within the film. Some of this is reflected in the way in which the camera angles tend to keep people separate within the frames. The lighting never joins any two people within a scene, creating the alienation and disconnection that is prevalent. The connectivity that should exist, between mother and son, is shown for its adversity in the nature of the relationships that Yuddy holds with both mother figure. One of the most important elements within the film is the use of space. While the sets inform the audience of setting, they also provides spaces in which the emotions can be explored. The sparseness, or cluttered spaces, depending on the nature of the scene, creates the movement of the emotions through the film. The concept of urbanity is also continued through the use of space. The nature of how urban living is both a center of isolation and of crowding is echoed in the way in which the setting has been created. One scene in particular shows Li Zhen behind steel bars, expressing how locked into this world the characters are without much recourse for release. The urban space is a complexity of states in which the person can become lost. The film is a study in contrasts, as much as it is a study in emotions. The colors are held in contrast, even as they are toned together. The nature of the separation is filmed in such a way that continuity is disrupted, but also kept still at times. It is the stillness of the work that has the most content as in those moments the revelations have time to breath within the film. 4.) Does the film carry any social messages or themes that are meaningful to you? Do these messages help you to better understand your own life and your relationships with others? If so, how? Explain fully. The nature of urban existence is also examined in the work, starting with the feelings of isolation and loneliness that are explored. As well, the way in which the sets have a sparse nature, reflective of the environment of the time period in which it is set, but also of the unnatural elements of the urban space. The editing is well done, the movements matching the emotional content as the setting and the emotional space are hinged together. The editing is done so that the pacing has an even flow, the necessity of some of the slowed down sections leading towards small climaxes of emotional discovery. Although the film does not provide any adrenaline rushes, the emotional space is well explored so that the film creates definitions for its themes. The movie can be boring at times, nothing spectacular or amazing happening and the revelations made in subtle transitions that do not enlightened quickly or provide a shock. This film is definitely an art film, the nature of its story based upon the realities of life, the slow paces that it takes to get from one real moment to the next, and the way in which heroes do not explode onto the scene in real life. Watching this film can be painful at times as within the audience there is a feeling that if something doesn’t break the moodiness, the end will never come. However, the film does end, leaving those who choose to connect to it with a rich opportunity for contemplation. The social theme that it most engages is that of the relationship of children to their parents as shown through the relationship that Yuddy has with both his mother and his adoptive mother. There is a great distance between Yuddy and his mother, while there is a cold and disconnected relationship between Yuddy and the former prostitute with whom his mother has left him. Yuddy does not know that she is not his real mother until near the end, but his relationship with her reflects the truth. His actions throughout the film have reflected the central lie of his life. There is a decided existentialism about the film as the viewer asks repeatedly ’what is this all about?’. The film creates a mood, provides an impression of life as it is, not as the audience wishes it could be. In contrast to a blockbuster style film that is firmly centered in human experience, the nature of the film not intending to engage the emotions of the audience, but to engage the audience with the emotions of the film. The experiences of Yuddy, called York in the English dubbed version, are defined by the way his actions are all based upon reactions to his past. There is a connection that streams from his mother’s actions to his own, the only real connection in the film, as all of the characters move in circles around each other, never truly connecting in any real or truly meaningful way. The film is a study in the dull, blunt edge of history as it manipulates the present with the character responses at the center of the film. 5.) What insights does the film provide into its foreign country’s unique customs and traditions? Be specific. Provide examples from the film that offer these insights. In the end, the audience understands why Yuddy behaves the way that he does. The film successfully uses its resources of light, editing, and storytelling to tell both a story and the emotional context of the story. This is a first in Hong Kong films, one of the first artistically designed films from the Hong Kong market. This film heralded in a new genre of more serious films from the country, creating anew market for their industry. Through the nature of such films, the emotional culture of Hong Kong emerges and is expressed through the wise use of the medium of film. The Hong Kong culture, as it relates to prostitution and sexual entertainment, is experienced within the film. As an example, the interactions with the cabaret singer, Mimi, and the concepts of her performance reflect the sexuality of Hong Kong. This is furthered through the concepts of his adoptive mother’s former profession as a prostitute, which is also a reflection of the way in which Yuddy has been commoditized. His life was stripped of its truth and he was ‘sold’ to the woman who raised him through payments that his real mother has made to her. Yuddy had value as an object rather than as a son, thus he then reflects objectification onto his own relationships. The Hong Kong backdrop of 1960 gives a sense of the emerging culture, even as it reveals some of the darker aspects of urban life. Film Study 2 Insee Thong (English title Golden Eagle 1970 Thailand) Film Evaluation Report 1.) What is this film about? Is the filmmaker making any kind of statements about life and/or the human condition? If so, what are they? Explain fully, providing examples from the film. The story of this film is very familiar and is reminiscent of Batman stories. Specifically, it is similar to the story of the Riddler in Batman Forever (1995). The villainous plot of the Red Eagle is to use red Buddha statues to beam his thoughts to government officials in order to kill them. The story of Red Eagle is based upon a man who publicly leads a wild life, drinking and secretly is a hero who rights wrongs and saves people from danger. He is the Red Eagle, his mask red, but another man starts impersonating him and killing people, so he must change his role to that of the Golden Eagle so that he can continue as a hero. The director of the film, Mitr Chaibancha is also the star of the film, leaving him dual roles in the making of the film. Mitr Chaibancha died during the filming of the last scene, falling to his death as his grip on a helicopter slipped. Because of this macabre twist, the film was appealing, much like The Crow (1994) and The Twilight Zone (1983) because of the deaths associated with them. Oy played by pulls him out of his nightclub on a regular basis where his life as a playboy is intermittently interrupted by bouts with the underworld as a superhero. A villain takes up his red mask and starts committing murder, so the hero must change his mask, transforming him into the Golden Eagle. The Golden Eagle is more of a crime fighter than a super hero, his skills remaining earthly, which is in irony of the mistake that cost Chaibancha his life. The main story of the film is dedicated to the villainous organization which is intent on taking over the Thailand government. Their plan is to send red Buddha statues to all of the leaders and then use them to channel their thoughts so that they can kill them. The leader, Bakin, has been trained in the art of hypnosis by Rasputin, a character of history who died in the early twentieth century but whose notorious ability to escape death often leads to the idea that he has yet to die. Therefore, this Russian character is introduced as a resource for the villain. 2.) What does the film reveal about the personality and interests of the filmmaker? What does the film reveal about the attitude of the filmmaker toward his subject? Explain fully. The personality of the director and star of the film is very evident within the film. The film is mostly centered on his character, a great deal of the filming showing his position within the action. While there are a great number of other characters, the longer scenes are on Mitr, his apparent connection to the character clearly coming through from the way I which he develops his character arc. Just as in the scene where it is revealed that his drunkenness is a ruse, Chiabancha focuses on these types of long scenes of exposition in which he takes center stage. The humor seems to come from an angle that might be focused on his thoughts about life, a single point of view seeming to override the film. The film reveals a love for this universe in which the Red Eagle/Golden Eagle lives. The crime fighting playboy seems to be given a long leash on which to swing, the humor and joy with which the fun is made within the film being central to the nature of the overall experience. The film is built on entertainment, the universe only as evil as needed, never beyond the capacity of the hero to overcome, and immersed in the tension that is created between clearly drawn lines of evil and good, with the occasional dip into grey as the hero indulges in his public disguise. 3.) Are there any interesting or daring film techniques that are used in the film (camerawork, editing, lighting, color, art direction, sound, etc)? If so, identify them and provide examples (In order to more effectively respond to this question read and study carefully your text books “Glossary” section that runs from pages 727 - 724). The serious mistake of the film is in the final scene where the stunt should have been done in two shots, but instead was done in one. Because it was done in one shot, Chaibancha was suspended high above on a helicopter without any sort of safety system. This created the circumstances that caused his death. The scene calls for him to jump from the ground to grab hold of a suspended ladder, a move that a super hero can do, but is not something a normal man can do. However, as the helicopter ascended, the grip that Chaibancha had was not enough and he fell. Normally, this shot would have been done with him jumping from the ground to catch hold of the ladder, then cut to a stunt double, safely attached to the ladder. The film was originally released showing the full length of the shot, including his fall to his death. However, that has since been cut from subsequent releases (Williams 79). There is, however, an odd extra on the DVD which shows the ‘Cremation of Mitr Chiabancha’ in which the body of the actor is lifted up and shown to a large crowd of people before being cremated. This addition shows how the Thailand people have a more open system of beliefs about the respect for the dead as this would never be on an American made film. The film is typical of the Thailand action film. The movie is filled with dense color, the contrasts high, although because of the age of the film it is fairly washed out. There are a lot of long extended shots mostly focused on the star of the film. The contrasts of green and red are frequent within the film, which may be due to cultural patterns of color. This makes the pacing slow down, sometimes making the long shots without any shifts in the editing too drawn out. The lighting is simple, without any extremes in the effects. Chiabancha’s use of long scenes is sometimes paid off with a moment that clarifies something, about the narrative. An example of this is seen as he and a police officer talk where the character seems to be very drunk as an exchange of some exposition is given. At the very end of the too long scene, however, Chiabancha lifts his eyes to watch the police officer go, indicating to the audience that he was never the drunken scoundrel that he seemed. 4.) Does the film carry any social messages or themes that are meaningful to you? Do these messages help you to better understand your own life and your relationships with others? If so, how? Explain fully. The film carries some disturbing cultural messages. One those messages is an undercurrent of homophobic messages that are passed on as humor. This concept is both an acknowledgement of the existence of a homosexual population and a denial of its acceptance within the culture (Dines and Humez 166). While not a central theme of the film, the concept is very visible and is in contrast to modern takes on homosexuality in film. The nature of the humor is without the restraint that would be put on Western films, although might be easily compared with films of the same time period for an equal amount of homophobia in the west. The moments were a bit startling to a modern viewer. Another interesting social theme that was used within the film is that of the use of the Buddha statues as the method of transmitting the thoughts of the villain. One has to wonder if this was done as a commentary on religion, of the way in which religion often is a form of brainwashing and mind control to the masses. While not done with a high level of artistry, the message can be seen through the way in which the props are used for the storyline. As the face of the villain emerges imposed on the prop of the Buddha, one sees the ‘voice’ of religion as one that controls and manipulates. Although the film is not filled with social meaning, this message is an interesting diversion within the more mundane and classic hero genre narrative. As the film is primarily entertainment fluff, it does not do much in the way of informing the audience on their own lives. It is escapism, an important part of the film industry history. Therefore, it should be experienced for the fantastical way in which it is created, and understood for its cult type of following that sees these films as commentaries on the past as well as resources for humor that is tied to old ideologies. Additionally, the film makes history for the way in which the final scene takes the life of the man who had created and indulged in this universe. As he make his final showing as the Golden Eagle, the film history of this franchise draws to a definitive close, creating a poetic end to his story. Incidentally, the franchise was renewed in 2010 with the release of the Red Eagle, a film that recaptured the essence of the hero although set in the 2016 and is far more futuristic (IMDB). This might be seen as an homage to the modernity of the original films. 5.) What insights does the film provide into its foreign country’s unique customs and traditions? Be specific. Provide examples from the film that offer these insights. The existence of the film suggests a number of things about Thailand. First, that the last scene was shown to the Thailand audience suggests that the death of the star was not an issue of taste or censorship, the fall to his death more than likely left as a tribute to him. He had made more than 75 films with Petchara Chaowarat as a result of the Thailand government putting a high tax on Hollywood films and stimulating their own emergence of a film industry (Williams 79). The films were quickly made and appealed to an audience that was not concerned with art films or intellectual content, but was solely going to the movies to have fun and be entertained. The films often made little sense and had plots that were wildly fantastical. The existence of so many films that were cheap and colorful suggests that the appetite that the Thailand people have for entertainment is no different than that of most of the world. Another example of how this film relates the culture of the Thailand people is through the exploration of traditional Thailand culture costumes in comparison to those of the modern culture of the late 1960s. As the lead male character owns a nightclub, the wardrobe is specifically geared to a very modern aesthetic. The police are dressed in modern uniforms and the villains might be seen as somewhat futuristic. There are even some costumes that look very similar to those worn on Star Trek. Film Study 2 Xijun Liu Instructor: Prof. Josh Kanin (date) Tomorrow’s Weather (2003 Poland) Film Evaluation Report 1.) What is this film about? Is the filmmaker making any kind of statements about life and/or the human condition? If so, what are they? Explain fully, providing examples from the film. The film, Tomorrow’s Weather (2003) is written by, directed by, and starred by Jerry Stuhr. In the tradition of Woody Allen, Stuhr controls the film making process in order to create a film that has an untraditional story line to explore the nature of human existence. Through the use of humor, the nature of life is examined in such a way that reflects a contrast between the way in which life was lived in comparison to modern standards. Similar to the central core conflict in Woochi (2009), this film finds the humor of the alien in time theme. While Woochi (2003) has a 500 year gap, this film explores a less dramatic time lapse where the lead character spends 17 years in a monastery before being dragged back to the modern world in which the changes create a ’fish out of water’ experience for the protagonist. The protagonist, Jozef, is a man who leaves his family to become a part of a monastery. He leaves his family to avoid the insurgence of communism as it is emerging within his country. His wife recognizes him at a festival where he is singing, and upon hearing of his deceptions to his brother monks, he is thrown out of the monastery. He is rediscovered by his family and led back into the modern world because of an estate that he owns that they are interested in exploiting. This is a commentary on the greed that can lead people to do things, on how families are not only emotional relationships but public relationships in which sometimes business will become a motivator over love and connection. However, this changes as Jozef makes sacrifices in trying to relieve his children from the burdens that they have taken on in order to make money. Jozef 2.) What does the film reveal about the personality and interests of the filmmaker? What does the film reveal about the attitude of the filmmaker toward his subject? Explain fully. The filmmaker has created a discussion about the dynamics of a family, creating characters that represent different roles within the family. He has put together a situation in which a central family member is now on the outside looking in, a place of observation that is different from being already within the exterior of the family dynamic. As his daughter explains why she does what she does on television and for her live audience, the celebrity culture is explored. The desire to be a celebrity over the desire for personal dignity is shown through his observation of her life. The concept of sophisticated humor is also of interest to the filmmaker as he finds, through the observations of life, ways in which to shine a light on absurdity. Because the set up provides a context in which characters are allowed to see things from a different point of view, the humor allows the audience to appreciate how strange life can be when observed from the outside. Where other films in this collection of essays have focused on slapstick style humor and humor that is created by silliness, this film depends on intellectually created humor through observation of the human condition. 3.) Are there any interesting or daring film techniques that are used in the film (camerawork, editing, lighting, color, art direction, sound, etc)? If so, identify them and provide examples (In order to more effectively respond to this question read and study carefully your text books “Glossary” section that runs from pages 727 - 724). The first scene is beautifully and simply shot. The camera holds the protagonist in the left half of the screen at an angle with the tile floor done in blue and white spreading out off to the right. During this time, he is praying. Stuhr has a face that is similar to Mel Brooks, thus holds that serious, yet on the verge of breaking into comedic revelation look that Brooks also carries into his films. The film uses this focus to the left technique quite frequently, creating a visual off-balance that weights the film oddly, but effectively. One particularly good shot has his wife and son watching him onstage with her face revealing the anger that she feels and his son revealing a mixture of embarrassment and sadness. Oddly enough, the peace of the first scene is echoed in a subsequent scene as his head peeks out the door of the monastery, coming into full view on the left, and the echo of the alternating tile floor shown through a much colder point of view on the lattice work on the metal door that is pushing him out of the life he loved. The weight of the filming shifts to the right, as if to show a distinction between his life before and his life now. The weight also shifts from the left to the right to show the differences between Jozef and his family, their life, perhaps representing something familiar, is placed now in the left, where shots of Jozef are shifted to the right. The use of the camera shifts provides a visual element to the alien feeling that Jozef experiences. One of the more brilliant uses of this shift is as he is fleeing in a wheelchair, a long perspective on the road as he subtly shifts from the right of the screen into the left as he rides past all of the chaos. 4.) Does the film carry any social messages or themes that are meaningful to you? Do these messages help you to better understand your own life and your relationships with others? If so, how? Explain fully. The film makes a clear statement about consumerism. The nature of the life that he goes back to is framed by the ways in which his children are sacrificing their dignity and their self worth for the sake of making money. The needs of survival are in contrast to the sacred life that he had experienced before this time. The central thrust of the film is in seeing the contrast between a life that denied modern aesthetics to the lives of his children that were now without of any signs of the devotion that he had felt in his monastic life. In sacrificing himself to consumerist pursuits, he is trying to save his children. While the film is a comedy, it speaks clearly about the ways in which meaningful substance is often lost in the pursuit of financial security. One of the first comedic commentaries on consumerism is the tall, cut-out of his son that rides on the top of his car as an advertisement for his business. The absurdity of such a thing lends to the capitalist theme that the film comments upon. The concept of capitalism and deviant behavior is another film as he sees one of his daughters performing sexually for a television show and his other daughter involved in drugs. The correlations between capitalism and bad behavior creates a commentary on both modern life and consumerist attitudes. He further discovers that his daughter is in a glass box that men can pay for tickets to watch her as she exercises in scantily worn clothing. This furthers the objectification that Jozef experiences about his daughter’s activities. It is possible to watch his sadness at what has become of his family in his absence, perhaps bringing home the message that abandoning a family has consequences that cannot be foretold. The concept of celebrity culture is furthered when his son helps a news crew film and promote his youngest sister’s accident as he tells them how to shoot her while she is unconscious in the hospital. The film is not all humor. The film has some sadness that is reflected as he watches the behaviors of his youngest daughter. When he sees how she behalves in a nightclub, then watches as he sees her thrown out and her reactions to this event, he visibly feels the pain of watching a child who has gone down the wrong path, furthered when he sees her hit by the car. This is symbolic of a need for transformation, that she is at a low and needs to heal. The youngest daughter becomes the symbol for the family, the foundation of how the rest of the film will play out. Falls and recoveries, with Jozef doing what he can to heal the family of its problems. 5.) What insights does the film provide into its foreign country’s unique customs and traditions? Be specific. Provide examples from the film that offer these insights. The film does not look that much different than an American film. The architecture is very similar to that one might find in a small town with thin metal and sparse details framing most of the buildings. Rows of closed buildings look little different than that of an American town that has experienced economic setbacks. However, there are some charming brick streets and plastered exteriors that is more European than American. Much of the modern life that is expressed is Western and could be seen throughout any modern urban environment. An occasion to see something of the past occurs when a woman, who is dressed in an old fashioned dress, gloves, and hat, protests the show that Jozef’s eldest daughter does on television. This brings attention to the ‘reality’ show genre, the way in which the celebrity culture has begun to sell the public on the idea that which is dignity should be abandoned for that which is celebrity. Through this type of protest as it is led by an older, dignified and stuffy woman contrasts to both the daughters and to Jozef’s wife who is elegant, but very modern. Through the use of an older styled protester, the contrast is made between how thought about life used to be framed and how modern life has succeeded in jading most people against the need for privacy and dignity. At the end, time has passed which is shown through the growth of a beard. His youngest daughter is with a good man and has healed from the behaviors that were part of her self-destruction. After shooting a slingshot at the glass walls of her display case where she was publicly having sex, his eldest daughter is now a news weather person and behaving with dignity, and is better off for his actions. His son, with whom he had an altercation at his son’s wedding, is now happy with a pregnant wife. Jozef’s own eye is damaged from the beating that he took. At the end, he is seen by his wife and daughter as he sings on a corner with a Hari Krishna group, his own happiness once again found as he is lost within the joy of singing in cloistered life. This is the life that he had, although with a different religious foundation, and this is the life in which he finds the most happiness. Time has always been his sacrifice. Works Cited Dines, Gail, and Jean M. M. Humez. Gender, Race, and Class in Media: A Critical Reader. Thousand Oaks, Calif: SAGE Publications, 2011. Print. IMDB. Red Eagle. IMDB (Internet Movie Data Base). 2010. Web. 3 June 2011. Williams, China. Thailand. Footscray, Vic: Lonely Planet, 2009. Print. Read More