Citizen Kane

If you were to ask one hundred critics what they thought the best movie in the world was. . . they'd definitely give different responses. However, some of them might have the same opinion and say that, the greatest movie of all time is 'Citizen Kane'. While you're able to agree o disagree, there's no doubt about it that Kane brought forth cinematic elements that were ahead of it's time.

One of these key film elements that is utilized quite well is the lighting. Orson Welles definitely thought everything through when he was creating his masterpiece. The most notable example was how the main reporter, Thompson, is mostly kept in the shadows. Throughout the entire film all we can really see is his silhouette. Orson Welles used this technique as a way to make sure the audience doesn't perceive Thompson as our main focus. Thompson at the very least is the audiences eyes and ears. We learn about the main focus, Kane, through him.

Another scene in the film that is visually striking is after his wife performs terribly in the opera. Kane then stands up and claps his hands. Again the use of shadow is very significant. At first he claps his hands like everyone else out of respect to the performer but when he stands up and continues clapping, he’s alone and covered in a shadow. The use of shadow here is very expressive in that it shows that Kane’s standing ovation does not matter for he is alone when it comes to his opinion.

One scene, however, that doesn't work with the lighting is the scene where Kane's fiance has decided to divorce him and leave. Kane is then alone in her bedroom when all of a sudden he has a huge fit of rage. The scene seemed too bright and blaring. I think it need to be dimmed down and put in the shadows more. It would've made the seem appear more dramatic and distraught.

The lighting in this was heavily to portray dominance from other characters. Often times, the shadow of one person was used to overcast a weaker character or the more dominant character would be shadowed to give him more mystery. Throughout the film we used the lighting to indicate the moods. All the sets of Xanadu are shot very shadowy to emphasize its empty state and large scale.

1930's Film PROJECT

During the years 1924-1930 , Sir Malcolm Campbell broke nine land-speed records. Also the Chevrolet 1935 master Deluxe was introduced and Germany had introduced the Volkswagon. While the use of Cars increased, the state of fascism did as well. Now Campbell was rumored to be a fascist but it was never proven. So my idea is to base a character of Sir Malcolm Campbell who is the poster boy for automobiles. The people will love him and will practically do anything he says, which is buy more cars. The government will control all gas and other resources necessary to take care of any car which means the people completely reliant on the government and can never question it. Now of course we'll have to say that this movie takes a little in the future the government officials are not the same in 1935 so it won't look like were bad mouthing any specific official. Also fascism itself will not be mentioned at all but it will be symbolize through the necessities of having an automobile.

The studio I decided to go with was Paramount Studios. I choose them because they had more connections to great Directors and Writers who could easily adapt this idea to the big screen. I was thinking about choosing Warner Bros. Studios but due to them mainly focusing on low budget films it wouldn't work as well with the films need for a boat load Model-T's, race cars and other automobiles.

My choice to play the lead character based on Sir Malcolm Campbell is Gary Cooper. I chose Cooper because first off, he has this very likable and trusting face which is what you need for a poster-boy. This character needs to be suave and charming for people to trust and like him. The Director I have chosen for this project is Howard Hawks. The main reason I look to him to direct this film is because of the movie Scarface (1932). Like my story, it sneaks in a disguised bio of a real life person: Al Capone! 

Now the category I want to highlight in this film is the cinematography. There could be a lot of great shots of 1st person driving or some (Extreme) high angle shots. The man I want in charge of cinematography is Bert Glennon. Granted he mostly does work for Television, but I can see this film working the same way as television movie. Bert Glennon has more experience than a large number of Directors.
The movie, I believe, should start out in brighter Technicolor. Later, as the film progresses the bright colors become more and more darker, but not however to the point of black and white. This would be to simulate how all the advances in automobiles might appear to good, but as time goes on, America's path grows evermore darker.

Looking over the Hays Code ,I don't believe there would be anything in my film that would be restricting by this. There darker tones to the film, but no sex scenes or murder.

Overall, this is my idea for the 1930s. I believe it would be very interesting development to connect something so mundane as car, to the idea of fascism.

MYST #2: Kingsman: The Secret Service (First Structured MYST)

From Matthew Vaughn: The English, action director who's not Edgar Wright, comes a James Bond movie with more cursing, blood and style in an action/spy/comedy/parody/satire that left audiences saying, "Man, I did not expect that movie to be as good as it was!"

KINGSMAN: THE SECRET SERVICE

I don't know how Matthew Vaughn does it. He has released so many astonishing films that no one thought would be as successful as they were.  For example: 'Kick-Ass' and 'X-Men: First Class'. To me, he seems like the Anti - Shyamalan; whereas people hope his films turn out good but they don't.



The film revolves around our main character, Gary "Eggsy" Unwin played by Taron Egerton. Eggsy is your average London tough guy who's also a trained Marine, parkour expert, pick-pocket and stunt driver. Eggsy's father died during a raid in the Middle East, who was a probationary secret agent. Feeling guilty his colleague, Harry Hart (played by Colin Firth), code-named "Galahad", delivers a bravery medal to the agent's widow, and her young son, Gary "Eggsy", saying that if they ever need help, they should call the phone number on the back of the medal and deliver a coded message. 17 years later, Eggsy calls the number asking Galahad to get him out trouble. Galahad then offers Eggsy a chance to do something greater and be apart of The Kingsman, a secret intelligence agency. While Eggsy undergoes training, The Kingsman are out to stop an insane, charismatic, entrepreneur named Richmond Valentine played by Samuel L. Jackson.

 First off, I love how the Kingsman are organized. There are seemingly 9 field agents or "Knights", each code-named after a fabled knight of the round table (i.e. Agent Lancelot, Agent Galahad, etc.), lead by "Arthur" who is played by Michael Caine. When any Agent dies, their spot becomes vacant and the remaining 8 Agents each nominate a candidate to fill position. The 8 candidates go through training overseen by senior Kingsman/ Ops co-ordinator  named Merlin (Mark Strong). Isn't that great code name and the perfect role for it?

Another element I thought was done well was the cinematography during most of the fight sequences. The particular scene I'll be talking about is a fight in a pub consisting of Colin Firth and drunk thugs who bully Taron Egerton. The fight begins with Firth hooking a rum a glass with the handle of his umbrella and lets it fly towards one of the thugs. When the glass flies, you're moving with it when it leaves and when it hits the brute. Granted the fight scenes are shaky-cam but Matthew Vaughn is one of the few directors who can use shaky-cam well. Also an interesting thing I noticed is that when Colin Firth's character had a fight scene, it feels more smooth and flowing and when Taron Egerton's character has a fight scene, it's a little more clunky; simulating the differen't levels of experience each character has.

The comic book action mixes perfectly with the comic book plot, almost as if it was based off a comic book. . . Oh wait it was. There's a fun fact. Actually what's interesting it about it is that the film takes a ballsy move and badmouths the entire U.S. Senate by making them all in league with the villain, including Obama.

I should probably explain what makes this film considered a "satire". Throughout the film, the ensemble likes to point out that this movie is not 'James Bond'. They have lines such as. . .

"I always thought the old Bond films were only as good as the villain."

or

"Is this the part where you say some really bad pun?"

"This ain't that kind of movie bruh."

Frankly I'm not a huge fan of the Bond films so I never really think about them,  but this was a "smidge" annoying,

Taron Egerton , does a great job holding his character together who could've easily been portrayed as obnoxious, bratty and downright unlikeable. Also, this is Egerton's second film debut so I can't really compare this role to anything else he's done, but bottom line we're probably going to see a lot more of him

Colin Firth plays senior Kingsman: Harry Hart. a.k.a Galahad. Definitely an interesting role to see Firth in. I have not viewed any of his other films but I am aware of stellar performance in 'The King's Speech'. Firth plays Galahad with aloofness crowned with a kick-ass bite.

Samuel L. Jackson plays Richmond Valentine, a young-at-heart billionaire genius who gets queazy at the sight blood with a 2nd graders lisp. His master plan is so evil and so complex I dare not be able to explain it. Jackson plays Valentine with spunk and fire. Granted the lisp is a bit annoying at moments, it's interesting to see Jackson play a more comedic character than a complex veteran.

Overall Kingsman is definitely a fun ride to go on and I recommend anyone who's a fan of action films goes and see it.

KINGSMAN: THE SECRET SERVICE (8.9/10)