Deliverance is a 1972 movie based on the 1970 novel by James Dickey. Watch it in 2017 and it could have been made this year. The river setting, the timeless costuming, the themes and the film-making techniques have not dated. In fact, Deliverance continues to influence film to this day, including an homage in Carrie (the image of the floating hand), and the obvious influence on the 2017 film Jungle, starring Daniel Radcliffe. Deliverance is impressive when considering this was shot before CGI. Actors put their lives at risk on this river, and didn’t come away unscathed. When playing dead, actors were either drunk or trained themselves to hold their breath and not blink for two minutes. Jon Voight really did scale that cliff, but with a harness that had to be kept out of the shot. When the boat breaks in two, that was thanks to a complex pulley system set up under the water.
The budget for Deliverance was very tight. Director John Boorman dropped the composer and went instead with the same banjo music utilised across the entire movie, functioning as a very simple soundtrack. Budget constraints lead to a very pared down movie, but this simplicity is what makes the film so good in the end.
Where were you when you first watched The Silence Of The Lambs? I was about fifteen, mid-nineties. The film had made it to midday TV. It was a rainy, wintry day outside and my mother sat knitting in the recliner chair. I was on the floor making flashcards for high school Japanese, but as relaxing as I found this task, the film won out that day. The cosiness of my environs juxtaposed against the content of the film stands out in my memory.
Some years later, on a fine Monday morning, I was walking to work and saw a man struggling to put a sofa into a van. He didn’t accept my help as it happens, but I remember thinking to myself, “Don’t actually get inside the van.” Sometimes films do that to you. I can’t see a glass of water wobbling without thinking of Jurassic Park. I can’t see a man loading furniture into a van without thinking of Buffalo Bill.
The Silence of the Lambs mostly holds up to multiple viewings, and maybe even requires it. It took me a while to work out exactly how Clarice got to the right house before her colleagues did, and I’m still not sure I’m meant to know exactly what went wrong there. Here’s the thing about rewatching in 2017, though: It’s clear this film has not helped dominant attitudes towards gender non-conforming people. In 1991 the film-going public didn’t really know the difference between transvestite, transgender, gay and transsexuality. We certainly didn’t give that community a second thought. Continue reading “Silence Of The Lambs Film Study”
These symbolic archetypes are very old. The earliest written record we have is often in fairy tales.
Light vs. Darkness
Light usually suggests hope, renewal, or intellectual illumination. Darkness implies the unknown, ignorance, or despair.
Pure black is rare in children’s illustration but Jon Klassen makes use of matte black in The Dark, which is about a young boy’s fear of the symbolic house at night.
In general, Jon Klassen makes much use of shadows to subtly frame the focal points of his illustrations. This is a technique reminiscent of 1960s illustration, found in animation such as 101 Dalmatians. Below, a scene from 101 Dalmatians contrasts blues (darks) against pinks (warm and light), and the flame from a fireplace casts a frame within a frame as our villain creeps towards the door. Continue reading “Symbolic Archetypes In Children’s Stories”
My Summer Of Love is a 2004 film based on a novel by Helen Cross set in 1984. If you’ve seen Peter Jackson’s Heavenly Creatures (1994), My Summer Of Love bears similarities: A relationship of romantic infatuation between two teenage girls from very different backgrounds. My Summer Of Love puts the relationship between the girls to the forefront, making it a romance rather than a crime drama. This is a love story but it is a tragic one.
GIRLS AND FANTASY LIVES
Picture books and middle grade novels are full of boys with rich fantasy lives, in which the line between reality and fiction is blurred. But when it comes to young adult and adult fiction, what happens to all these dreamy boys? They disappear. Destructive, manipulative fantasies suddenly become a female characteristic.
At one point the girls enjoy a post-coital cigarette. This is such a Hollywood cliche that filmmakers themselves must be aware of what they’re doing. Here, the girls have themselves been influenced by what they’ve seen on the silver screen. Smoking in bed is what adults do, they have learned, and so they do it.
The girls’ whole summer is a construction of performed melodrama. There has always been handwringing about young women and the types of stories we let them read — a century ago it was thought that novels would rot their minds. Ten years ago it was Twilight, more recently it’s sick-lit, and concerns (justified or not, I’m not sure) that 13 Reasons Why encourages suicide as a legitimate and successful form of revenge. Mona’s background in fiction includes horror films. As evidence we see her mimic the voice of a movie devil. But what has influenced Tamsin? She says she loves Edith Piaf. We also see she has made up melodramatic things about Piaf’s life. (Edith Piaf did lead a rather tragic life but she didn’t murder anyone, and not with a fork.) Tamsin’s mother may or may not be an amateur actress but in any case Tamsin seems to worship (real) actors, and has no doubt seen a lot of plays and films. She has been exposed to Nietzsche, and encourages Mona to read him, but soon shows that she doesn’t really know anything more than his name.
Perhaps boys continue with their fantasies but those take a different form and are not seen as such. Tamsin’s father is having a series of affairs. Perhaps this should be compared to the sexual fantasies and longing of his teenage daughter. Continue reading “My Summer Of Love Film Study”