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Movie review term paper

"The Last Laugh, like Variety, seemed to embody a solution of the uppermost problem in movie craft - story telling entirely through picture progression. As in Variety, the camera moved constantly, and dissolves were used freely but precisely so that the story is unfolded by the selection and presentation of the images alone. Imaginatively conceived, sensitively executed, the film shows a keen understanding of the basic nature of the screen medium and, with Variety, it brought Hollywood up sharply to a realization of possibilities in technique.

The story of The Last Laugh is extraordinarily simple, and in this respect alone it is different from all previous films. It related the tragedy of an elderly doorman of a huge hotel who was stripped of his identity when discharged. Without any of the usual dramatic complications, without plots and subplots, the richness of characterization sustained one 's' interest , presenting a rounded study of a man's personal loss when he finds himself without a job and position."

"Eisenstein's next film, Old and New. Like both its predecessors it showed Eisenstein as a director of such resourcefulness that the more one analyzes his picture the more is revealed. Its simple Russian theme - the problem of whether to go on a collective farm and earn a living or to remain an individual farmer and starve - was a peasant's struggle against superstition, greed, and animosity during the establishment of a collective. In this epic of the countryside Eisenstein pits brother against brother, the peasant against the kulak, and the atheist against the religious man in images that are biting, satirical, tender, and dramatic. He shows the louse - ridden homes of the old peasants in contrast to the comfortable ones of the overfed kulaks. In a sequence with brilliant intra-scene cutting, he depicts the religious peasants with their village priests in their drought-stricken fields, praying for rain which does not come. In another sequence he turns the activity of a milk separator into a tense and dramatic episode, the marriage of a bull into a hilarious ballad, the wheat cutting contest of a collective into a sort of music that keeps the spectators swaying in their seats to the rhythm of his cuts. The final sequence, in which a lone tractor pulls the collective's carts up the hill, with the enraptured country people frolicking behind - the whole is set to a mazurka rhythm - is one of the gayest episodes Eisenstein has ever made."

"Veber was, the great revelation of 1980s comic cinem, with a very successful trilogy starring Pierre Richard and G"rard Depardieu: La Ch"vre ( 1981), Les Compares (1983), and Les Fugitifs ( 1986; the second most popular French film of that year). The most significant aspect of these three films is that, for all their refinement of the traditional psychology of comic types, they still work on the very traditional basis of a pair of well-known male actors, as did many other lesser comic films of the 1980s. Even the best-selling film of 1984, Marche " l'ombre, although it was directed by and starred one of the principal figures of the new caf"th""tre type of comedy, Michel Blanc, was a very traditional road movie focusing on a pair of male losers. The opinion of critics during the 1980s was that the traditional comic film had exhausted."

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