As a first time viewer of Sofia Coppola’s third motion picture Marie Antoinette, it was intriguing to look at her interpretation of the period and characterization of the young Marie Antoinette. I can see where is would be troubling for some viewers when sometimes the film comes across all wrong because of the use of popular music, or out of time props and accents. This is the case with Maria Antoinette, however, when we take a step back and look at the film for what it is; the perception can be quite different.
The difference is by using these modern elements in this late 18th century world completely works for the story and purpose of Marie Antoinette. This film is all about a 15 year old Austrian princess that is sold off to the Dauphin of France Louis XVI; a young teen who is given immense amounts of money, which allows her, to live a wonderfully lavish life in the confined area of Versailles. This films purpose is not to be informative or give details into the politics of the time but instead gives the audience a glimpse into this young girls world.
Kristen Dunst, who plays Marie Antoinette, gives off the appearance and mannerisms of a young foreign girl that is put into a both powerful and judgmental position in the French court. Coppola allows the audience to take a look at the whole package of this teenage girl. This can be seen in the colors, music, clothing, shoes, parties, overall carefree and youthful tone throughout the majority of this film. The use of modern music as the soundtrack was especially unique tool to use when sharing a story about Marie Antoinette.
This is not the first film that has taking this well-known story of the last queen of France and turned it into a motion picture. This is the first to steer away from the usual instrumental scores and use of period music. In fact, it is interesting to compare the contrast of the types of scenes in which the different types of music are used. The classical pieces are used during the film when there are definite lulls in the action. For instance the melancholy scores that are heard when Marie Antoinette his riding in her carriage to the Austria/France boarder.
This use of classical music emphasizes Marie’s feeling toward both the long journey and the circumstances of her situation. The music portrays Marie Antoinette’s daily morning routine as extravagance and unnecessary. The tedious manner of French customs become apparent to both Marie Antoinette, and the audience once again like in prior scenes. These types of music can then be compared to the modern music that is paired the scenes that are all about the fun of youth.
The scene where Marie and her ladies sneak into a masquerade ball and dance around like teenagers is accompanied “Hong Kong Garden ? by Siouxsie & The Banshees’ or in the huge shopping spree scene where they all are indulging in champagne shower and pastries that are accompanied by the Bow Wow Wow’s version of “I Want Candy”. This can be seen as Coppola’s reason for adding the modern soundtrack to a film with historical figures that lived well over 200 years ago. The use of this modern soundtrack compared to the classical one is to bring Marie Antoinette’s world to the minds of the 21st century.
It not only makes her relatable but understandable. No Country For Old Men In No Country for Old Men, there are longer scenes in the film that feature no dialogue or no noise of any kind except for the natural sounds coming from the dry lands of Texas. In cases where there is dialogue of narration coming through the character’s voices, music is still missing. Even though this is the case for No Country for Old Men, the film still comes across with clear-cut scenes that are intriguing and still suspenseful.
The Coen brothers make it apparent through the characters eyes and body language what is happening within the scene, so there is really no need for dialogue. It is like the audience read the characters minds rather than hearing the actors voices. It is a risk not have a soundtrack in a thriller but fortunately in the case of No Country for Old Men it pays off. It creates not only a more stimulating experience for the audience, but it also allow the audience to engage with the film in different ways. Silence is key in the Coen brothers unconventional western No Country for Old Men.
There is little need for a soundtrack, narration, or even much dialogue to get the message and themes across in this film. By having this chilling silence throughout the film, it puts the audience on the edge of their seats, not waiting for the usual “Dun, Dun, Dun”; but rather because of the calm of a scene waiting something that you do not expect will happen. These scenes appear so meticulous and removed from feeling. The lack of a musical score builds the anticipation of scenes. While the audience is listening to the clicking of cowboy boots waiting for the sound of a shotgun, they are put into the shoes of the characters.
Although this does make these types of moments genuinely terrifying, it also makes the feelings given by this film much richer. With a lack expressive music, it makes the story and violence that flows throughout No Country for Old Men even more ruthless. It also creates a more realistic feeling for the audience due to the fact that there is no soundtrack to life. The characters in this movie go from day to day only hearing the sounds that are natural and we in the audience get the same effect.
The only difference is that we know that Anton Chigurh is coming up those stairs, and we know that anyone who gets in his way does not stand a chance. One of the most suspenseful scenes is when he goes into the first convenience store and has a conversation with the store keeper. We the audience know that this man will most likely die and the whole scene is extremely tense. He does not die because of the game of chance, but it is that kind of action that creates a feeling of terror, and it is magnified by the lack of soundtrack.
It makes the encounters in this film feel more disturbing and cold-blooded. Talk to Her Pedro AlmodA?var’s film Talk to Her does have a high value when it comes to looking at it with a focus on the unity of form and subject matter. It leads the audience through the narrative effortlessly. Of course, though, with a film like this, the audience must pay attention and think about the inner meanings. There were no problems with understand the continuity of the story or the intentions that AlmodA?var was attempting to put forward to his audience.
However, while watching Talk to Her, I could not help but notice the strangeness that this film also puts forth for the audience. There are many instances of original examples of the unity between form and subject matter, such as the “Shrinking Lover” silent film that is inserted into the film when Benigno is raping and impregnating Alicia while she is in a coma. This silent film is so skillfully used because the audience does not need to see the actions of Benigno but rather we understand what is going on within the narrative.
It is after this whole scene that the idea of strangeness in the film came to light. It is not a normal element of films to so blatantly asked the audience to sympathize the entire time with a character like Benigno. He committed a terrible crime that ordinarily an audience would shy away from trying to understand. In the case of Talk to Her, the audience needs to understand Beningo’s motives and purpose. AlmodA?var does not use overly the top power or dramatic shots. He uses simple poetic camera movements that have a calming effect on the audience even with such uncomfortable content.
The techniques by which the movie is offered it is unusually levelheaded, and this can be where the strength and strangeness of the story is seen. The conversations and dialogue are also important to the effect that AlmodA?var is attempting to put forth to the audience. The communication is this film is so clear which makes it ironic that the title of the film comes from a line of actual dialogue. The audience is allowed to interpret the words and emotions of the actors though their own meanings. The characters are deep and have such purpose within the story.
The connections between the characters are apparent and raw. This sometimes made the audience wonder what the motives were behind such friendship and connections. The relationship between Marco and Benigno is particularly interesting and also contributes to the strangeness of the film. Marco meets this man who clearly is obsessed with Alicia and has never truly gotten to know her. Benin go shares his stories with Marco and Marco truly takes in his advice into his own life. Their friendship is not based on judgments or confusion.
Even after Marco learns of Benigno’s crimes and incarceration he still visits him and attempts to understand where he is coming from, much like the audience does. The foundations for this film were important to this type of narrative being able to be well received by an audience. It is because of this unity and also the strangeness that it brings to the audience is why this film can hold up when considering the criteria of the movies themselves. Superman: The Movie While watching Superman The Movie, it is apparent where all the other superhero movies foundation came.
This movie was colorful, quirky, and the epitome of a happy ending while saving the world. It is a movie of its own time. Seeing as it was made 35 years ago when special effects were not created on a computer and tangible. I expected to be able to blatantly look like a 1970s movie, but instead of was pleasantly surprised at how relevant it still was to the movie experience today. I can defiantly see where the 1990s Batman movies got their ideas for what superhero movies should look like. Unlike many of the superhero movies today the film stayed true to the comic.
These comics were read by kids; therefore the audience cannot be surprised when the movie has a few ridiculous lines and youthful material. All throughout this movie, Superman does what he is known for and does best. He saves the day both from big and small disasters. I found it interesting also to see the difference in the way that Superman was portrayed. Clark Kent is just as clumsy and awkward as superheroes alter ego should be. This was before all the brooding superheroes that are in today’s films. It seems like the poster for a superhero today is a sexy smolder or scowl.
In Superman The Movie his classic poster pose was smiling with his hands on his hips. Of course, the movie does have its out-of-date moments. It is the kind of effects that are clearly man made, and everyone in the audience knows it. I am sure back in the late 1970s, these were state of the art and Krypton was everything that the audience had hoped it would be. It is a little different now where almost everything is done in CGI, and unless the viewer has a pretty keen eye most cannot tell the difference between real and fake. The set of Krypton is like a winter wonderland in space.
The use of glowing space suits and cylinder pointy ice blocks clearly fulfills its purpose of making the plant look foreign and future like. When watching this film now the audience just has to sit back and not pick out every little imperfection, They must take the movie for what it is and was at the time it came out. This film is important because it paved the way for all the other the other DC and Marvel comics to come to life of the big screen. It is important because the use of special effects in this film are real and lively. It is important to take a look back at what made the movies so special and groundbreaking.