Salaam Cinema vs The Two Escobars - Movie Review Example

Defining features of Salaam Cinema and The Two Escobars Contents Defining features of Salaam Cinema and The Two Escobars 1 Contents 1 Introduction 2 Cinema Code Feature 2 Ideological Features 3 Interview style 4 Narratives 5 Camera Techniques 6 Music Features 7 Ideology 8 Genre 9 Relativity to theory 10 Critic 10 References 11 Introduction  Throughout human history there have been significant changes experienced in the art. The art has evolved with the human beings and this is but natural given the fact that art is mainly the reflection of human thought and is essentially a form of expression for human beings. Cinema is one of the most important methodologies that exists in the society for the expression of the various human emotions. It is not a stagnant factor, but like all other art forms, it is also subjective and relative. Cinematography as an art form can be divided into various classes on the basis of its origin, time period etc. It has evolved, changed and gradually developed with the changes that have occurred in the society and its structural changes. In this light, this paper tends to draw a comparison and establish similarities between two films, which are Salaam Cinema and The Two Escobars. Cinema Code Feature Looking at the code features that have been adopted by both the cinemas, one realizes that both have been shot from different angles and have tried to capture their subjects in a light which is unique yet endearing. Salaam Cinema and The Two Escobars; each film has tried to put across a message of its own. The former, Salaam Cinema is one which is based on a more realistic viewing of the world, where the camera movement is more free following, and the main setting is that of an audition hall where various aspirant actors are being auditioned. There is observed a blurring of the lines between fiction and reality in the movie by the director, Mohsen Makhmalbaf. The latter is more fictional in its narrative, even though it bears its roots to real life, where the movement of the camera is seen to be focused and intentional. The movie follows the life of two men, and it takes place in soccer fields, and in the interview rooms in the current day scenario. The main paradigm of this film is to ensure that the overall narrative in carried out in an effective manner, where the story of both the drug lord Pablo Escobar and the captain of the Colombian Football team Andreas Escobar is narrated. Although the cinema is repetitive in sections, the overall narrative and plotting is strong, carrying forth a message to the viewer in a strong and powerful manner. Ideological Features The movie Salaam Cinema has tried to, as the name suggests, pay a tribute to the spirit of cinema in the light of the 100th anniversary of international cinema, where the director has captured the fact that there is an actor in each and every one of us, through holding out auditions which are actually a part of the film itself. The latter is a tribute to the memory of the two powerful influential men of Colombia, where one is the drug lord in the region, and the other is the football captain in the country. The film maps out the rise of the two in the world, and also narrates how the stories of their lives were interconnected in light of the events in the country. The movie is based on the fact that the world of sports is huge, not only in the international community today, but also in the past. The film is built up on the fact that the sports icons personify the national identity and national pride in the international community of sports, and the fact that their performances are a reflection on the nation state which they are representing. The movie was a part of the ESPN 30 for 30 documentary series, documenting lives of various athletes and this one a dramatic narrative on the life of Andreas Escobar. The film was made by the two brothers, Jeff Zimbalist and Michael Zimbalist, who traced the sequence of events to the year of 1994 when one character took to the football field while facing mental torment. The film traces the story of the rise of the nation of Columbia in the international field of sports and soccer and its quick fall following the rise, where the inter-linkage between the drug lord and the football hero are brought to the forefront and discussed, both, ironically, named Escobar. "Escobars" captures the passion and personality of a group of exceptional athletes and their ecstatic bond with fans. Like goalie Rene Higuita's astounding scorpion-kick saves, it's a story that often defies belief. It also is a story that is all too grounded in the ways of power and money and stupid brutality. Interview style The movie that has been developed by Makhmalbaf, sees a new style of interviewing of the people, where there is an advertisement put in the paper that the director is holding auditions for the new movie, and the auditions are used as parts of the movie. Thus, the entire movie is based on the interviews that were conducted by Makhmalbaf. The interview style is more free-flowing and the director has used various techniques to ensure that the people portrayed various emotions. In contrast to this, in the movie The Two Escobar the style of conducting the interview was more formal, so that the viewers were more aware of the person who was being interviewed and comprehended their place and role in the overall narrative of the story of the movie. Narratives The topics of the narrative of the two documentaries are different, where both are a celebration, yet one is hopeful while the other is tragic. The movie Salaam Cinema is one which is based on Makhmalbaf’s celebration of the 100th anniversary of international cinema. The movie opens to the scene of riot, where the director has put up an advertisement for auditions for a new movie, and there are hundreds of people who turn up for the auditions. The movie does not follow and show all the auditions that are recorded, but there are some which are highlighted, such as the young man who pretends to be blind to get a role in the film, and ends up getting a role in the film, the young girls who want to be actresses, the young girl who wants to reach out to her lover through the movie, the Harrison Ford look alike, the Iranian Marilyn Monroe, all are present in the movie. As Makhmalbaf reveals that they are all both the subject as well as the actors, there seems a glint of hope in the eyes of the unfathomable ocean of people as forms are flung into the air and there is practically a stampede to grab them. As is declared by him in the end of the movie, that anyone can act as movies are a reflection of life and therefore there is place for everyone in it. The other movie follows the narrative on the life of the soccer star, Andreas Escobar, leading up to his murder and also follows the link between him and the drug lord Pablo Escobar. The movie was made by the two brothers, in relation to the idea supported by ESPN where documentaries were made based on the topic “sports and its interactions with society.” Once they started investigating, they had a number of problems, one of them being lack of people willing to talk, especially sports person. The movie followed the career of Andreas and also the linkage of politics, crime and sports in the Colombian Society. Camera Techniques Makhmalbaf is known to understand and comprehend the nature of man and also try and capture on film the meaning of cinema and genuine emotion. In the movie Salaam Cinema he has tried to accomplish both. The camera setting is such that it is able to capture the raw desire that men have towards the industry of cinema, and is able to transcend this real emotion onto the film and the screen. The prospective thespians’ acting ability is tested when they are asked to cry on cue. The camera captures the prospective stars’ raw desire, dissatisfaction with ordinariness, and self-deceptions. Makhmalbaf does not mock them; he reveals the human condition and the way that the cinema promises a relief from it. On the other hand The Two Escobar is a dramatic movie, and the production and the narrative of the movie demanded a lot of camera work, where the scenes had to have a sense of continuity as well as ensure that the emotions and the view point of the people who have been interviewed in the documentary. It was important that the narrative as well as the plot of the movie was supported by sharp picture and imagery and this was done through the carrying forth of crafty camera work and well thought out editing of the film. For Colombians, soccer was far more than a game: their entire national identity rode on the success or failure of their team. Jeff and Michael Zimbalist’s fast and furious documentary plays out on an ever-expanding canvas. In all it’s a well-crafted film, with human characters that are funny and sad, lovely camera work and taut editing. Music Features The music feature of a movie is significant because it helps lend the narrative an air of support and helps the audience relate to the movie in a moiré effective manner. In the movie Salaam Cinema the use of music has been poignant and has been used in an effective manner to ensure that the right air is lent to the narrative of the movie. The scene where the crowds start a riot in the post advertisement phase in the movie, the song Dance of Spring was the back ground music and it reflected the hopeful message of the film in an effective manner. In contrast the movie The Two Escobar is one which is a dramatic movie which has made the use of music to add to the narrative of the movie in a manner, especially during clippings where the movie lacks any dialogue so that the audience feels connected to the plot line of the movie as a whole. Ideology Salaam Cinema is an Iranian movie centered on a massive group of amateur actors’ auditions to a film. Throughout these auditions the actors are the unknowing participants in the movie that Mohsen Makhmalbaf is making; that is, the auditions are the movie. Thousands of Iranians from all over the country respond to a casting call that Makhmalbaf placed in a local newspaper, and in their attempts to receive a part in the film, Makhmalbaf exploits the opportunity to reveal the general Iranian sentiment towards the film industry, as well as the general attitude towards the quality of life in the country. Makhmalbaf is extremely harsh during the auditions, demanding that the actors laugh and cry on demand. He goes to surprising extremes to illicit emotional responses from the people at the casting call, and in doing so he reveals as much as he can about the Iranian people and their determination get a chance at a new life. As the first instalment in what should have been a three part series, this film along with A Moment of Innocence, makes both a social and political statement by about the conditions in Iran at the time of the movie. The Two Escobars looks at the relationship between the world of soccer and the world of gang crime during the late 1980s and early 1990s, a time of rampant organized crime in Colombia.  Andrés Escobar grew up in the Calasanz neighborhood in Medellín, Colombia in a middle class family.  He experienced much hardship as a child, facing a death in the family at a young age; but, his passion for soccer, acting as an outlet for expression, helped him push through and remain disciplined.  In 1988, when he was 21 years old, Andrés became a professional soccer player for Atlético Nacional and rose to stardom, helping his team eventually reach the World Cup.  The other Escobar, Pablo, grew up in poverty and was unable to pursue a higher education.  These circumstances eventually pushed him to turn to criminal acts, from car stealing to later the smuggling and dealing of cocaine, to earn money.  As a powerful drug baron, Pablo Escobar rose from obscurity and became the richest criminal in the world. The lives of these two very different, unrelated men eventually became intertwined. The Two Escobars investigates the relationship between politics and sports.  Genre The genre that the documentary Salaam Cinema is that of comedy, coming of age drama, and social drama, while the genre of The Two Escobars is that which belongs to drama, thriller, social drama and film noir. Relativity to theory When one is analyzing a movie it is important that one is able to study it in the light of the theory that one has learnt. The most important factor that has to be supported by a documentary is that it should be a clear and communicative. Salaam Cinema is able to put across its message on the simplicity of cinema, pay its tribute while reflect the social, economic and cultural lifestyle of the Iranian society in a quaint and effective manner, which allows the movie to be communicative to the audience, helping them comprehend the message which the director wanted to communicate. On the other hand the movie that has been developed by the brothers in an effective way which has been able to communicate the problems that are being faced in the society in the Colombian society, with the focus on the international sports and politics and crime and the interconnections have been played out beautifully through the communicative system of interviews and imagery and scenes. Critic Finally, when one looks at Salaam Cinema from a critical view point it becomes prominent that the role of the documentary is to highlight the relationship between the people and cinema, and it truly is a salute to the art of cinematography. The director has been able to bring forth the emotions that the people attach to the roles, and through effective craftsmanship been able to highlight the role of the cinema and its significance in life through effective imagery. Though the movie cannot be called a masterpiece its message is still strong. On the other hand the movie The Two Escobars is one which has helped portray the spirit of sportsmanship and nationalism in an effective manner, but has failed to ensure that the interconnections between the various factors was established effectively, making it weak in certain areas. References Salam Cinema - Mohsen Makhmalbaf, http://www.culturazzi.org/cinema/salam-cinema-mohsen-makhmalbaf (accessed May 15 2011) Latin American History, The Two Escobars, http://modlatcasti.posterous.com/the-two-escobars (accessed May 15 2011) Ryan Ladoucur, 2010, Iranian Cinema, http://iran-cinema.com/index.php?option=com_content&view=article&id=52&Itemid=64 (accessed May 15 2011) Culture, Salaam, cinema! http://www.livemint.com/2011/02/09203809/Salaam-cinema.html (accessed May 15 2011) The Internet Movie Database, The Two Escobars (2010), http://www.imdb.com/title/tt1522863/ (accessed May 15 2011) The Hollywood Reporter, The Two Escobars -- Film Review, http://www.hollywoodreporter.com/review/two-escobars-film-review-29749 (accessed May 15 2011) Rovi, Salaam Cinema, http://www.allrovi.com/movies/movie/salaam-cinema-v134754?r=allmovie (accessed May 15 2011) Rotten Tomatoes, Salaam Cinema (1995), http://www.rottentomatoes.com/m/salaam-cinema/ (accessed May 15 2011) The Wall Street Journal, ‘The Two Escobars’: The Two Families Behind the Film, ‘The Two Escobars’: The Two Families Behind the Film, http://blogs.wsj.com/speakeasy/2010/07/13/the-two-escobars-the-two-families-behind-the-film/ (accessed May 15 2011) Documentary Storm, The Two Escobars, http://documentarystorm.com/indie-films/the-two-escobars/ (accessed May 15 2011) Read More