Safe (Todd Haynes, 1995)
The movie’s pacing may be simultaneously its weakest and strongest points, depending on the spectator. The film’s flow feels gentle and deliberate, which helps the director convey the struggle Carol, the protagonist, undergoes with her mental and physical health. At the same time, the movie’s uncertainty and slow pace can be a bit off-putting or anxiety-invoking for some viewers. I most identified with Carol since I could relate to her feelings of isolation and angst. Carol is very introverted and private, and her health problems make her feel even more detached from the world. While the film is well-executed, the story is relatively straightforward and not particularly original. I think it could be improved by making the storyline more complex by introducing a ‘plot twist.’
The film’s beginning introduces us to the main character, Carol, and establishes her as a complex person with many conflicting internal events. The beginning of the film clearly, albeit too predictably, set my expectations for the upcoming journey. From the onset, I expected to see Carol grow as a person since the narrative accentuates how much her anxiety and isolation prevent her from performing her daily duties (Haynes). Thus, by the end, I found myself being unsurprised – instead, content – with the resolution to Carol’s story. Since I could relate to much of her battles with anxiety and isolation, I emotionally felt in the same place as the film intended. Haynes did a great job of portraying Carol’s internal struggle realistically and compellingly. The film’s journey, however, moves beyond internal struggles and addresses the more significant questions of safety in one’s physical environment and surrounding society. The matters of psychological and physical safety thus evolve to be a universal issue that concerns both the protagonist and the community.
The Graduate (Mike Nichols, 1967)
In The Graduate, the strongest aspect is its comic relief contrasting the more serious themes. The weakest aspect of the film, however, is the fact that it is predictable. The use of comic relief is effective in this instance as it allows the audience to take a break from the film’s more serious themes, such as love and betrayal. Nevertheless, the plot’s predictability makes it difficult for the film to maintain momentum. I most identified with Benjamin because I related to his feelings of confusion and uncertainty about his future (Nichols). I also appreciated how the film showed his journey of self-discovery and growth. I suggest that the film focus more on Benjamin’s inner struggles and less on the external conflict. This would make the film more relatable and engaging for the audience.
The film’s beginning establishes the central conflict, which revolves around the protagonist not clearly understanding himself and his future. Based on such a start, I was prepared to see the ending resolving the conflict, which did not happen. Nonetheless, I ended up in the same place as the film intended because it reaffirmed my belief that self-discovery is a lifelong and, inevitably, confusing process. The film’s journey transcends a typical love plot very quickly: it tells the story of a young man’s search for identity and purpose. Benjamin has an affair with an older woman, Mrs. Robinson, and eventually falls in love with Mrs. Robinson’s daughter, Elaine (Nichols). Such a narrative is steeped in profound irony. The fact that by the end, the protagonist is still unsure of his future, despite seemingly finding love, aligned strongly with my concerns regarding personal growth. While the protagonist’s journey seems to be oriented toward finding the purpose, the film demonstrates how life may become increasingly confusing as one tries to ‘untangle’ it. The Graduate moves away from equating finding love with finding the solution to these questions.
Dziga Vertov’s Kino Eye (1924)
The film’s strongest aspect is how it captures the everyday life of people in the Soviet Union in the 1920s. The weakest aspect of the film is its lack of narrative coherence. Its narrative is akin to a series of vignettes that do not necessarily follow a linear story. This style of visual representation can make it difficult to follow for some viewers. I most identified with the film’s protagonist, the Kinks, because they are constantly on the move, filming everything they see. I also identified with them because they constantly question the status quo and challenge authority. I suggest that the director improve the production by selecting at least one storyline orientation to adhere to chronological, thematical, or other. The lack of a coherent narrative makes it challenging to convey the message, so it would be improved by having more structure.
The film’s beginning, with its fast-paced editing and chaotic images, did not prepare me for the ending. While I understand the intent to represent the chaos of ‘casual’ filming of life episodes, such an approach made it difficult to set any expectations for the end. The film’s journey is through the Soviet Union in the 1920s, a time of tremendous change and upheaval (Vertov). The film documents the everyday lives of the people living in the Soviet Union, as well as the political and social changes that were taking place. Fittingly, I felt the same confusion that many Soviet people must have felt when their lives were upended. I ended up in a different place than I expected, feeling more confused by the end than anything else. However, I think this was the intention behind the sporadic narrative – presenting the audience with something they had never seen before in a manner they were not prepared to see.
Silence of the Lambs (Jonathan Demme, 1991)
I found the film’s strongest aspect to be the performances of both Jodie Foster and Anthony Hopkins. They both brought intensity and realism to their respective roles, drawing me into the story. I found the weakest aspect of the film to be its pacing. The film felt a bit too slow for my taste, and I found myself getting a bit bored at times. I most identified with Jodie Foster’s character, Clarice Starling. I could relate to her determination and drive to catch the killer, even when everyone around her doubted her (Demme). I empathized with her as she was constantly underestimated and dismissed because of her gender. If the director asked me for one suggestion to improve the movie, I would say to pick up the pace a bit. The film would benefit from being a bit more dynamic and exciting to match the tension it generates. Additionally, I would suggest adding more development to the relationship between Clarice and Hannibal Lecter.
The film’s beginning did not prepare me for the ending. I saw Hannibal Lecter as a cold, calculating killer and Clarice Starling as a driven and determined FBI agent. Some of the similarities in their mindset indicate the dynamic that later unfolds between the two characters. Regardless, I did not end up in the same place as the film prepared me to. I thought I could see where it would go – toward a general detective plot, with a criminal found and the mystery solved. The film follows Clarice Starling as she tries to track down a serial killer known as “Buffalo Bill” (Demme). However, the narrative journeys toward introspection and psychological horror, with the audience getting an insight into the mind of Hannibal Lecter. With the ending focusing on Lecter’s escape, the film indicates that this narrative is far from over, which I did not anticipate.
Hitchcock (Sacha Gervasi, 2012)
The film’s strongest aspect is its depiction of the creative process behind some of Hitchcock’s most famous films. Its weakest aspect is the portrayal of Hitchcock’s personal life, which feels somewhat one-dimensional and uninteresting. I most identified with Hitchcock’s wife, Alma, who is depicted as a loyal and supportive partner throughout the film (Gervasi). I felt the pain and frustration of trying to support the struggling partner while preserving independent interests. I would suggest that the film focus more on Hitchcock’s creative process and less on his personal life. I think this would make for a more fascinating and compelling story.
The film’s beginning is hopeful, focusing on Hitchcock’s early career and his working relationship with Alma. However, I was not prepared for the narrative’s tone to gradually become more serious, especially as Hitchcock begins to struggle with the making of Psycho (Gervasi). The film’s ending is quite dark, as it culminates in the death of Hitchcock’s daughter. Thus, I did not end up in the same place as the film initially prepared me; I was left feeling somewhat ambivalent about Hitchcock himself. On the one hand, he was a brilliant and innovative filmmaker. On the other hand, he was a rather selfish and manipulative person. The film’s journey is primarily centered on Hitchcock’s struggle to make Psycho a highly controversial and experimental film at the time. While Hitchcock ends with Psycho being an immense commercial success, it is not a conventional ‘happy ending.’ Instead, it shows the complexities of one’s artistic struggle and indicates that there will be more of it in the future.
Scream (Wes Craven, 1996)
The strongest aspect of the film is its ability to subvert expectations. The film is full of suspenseful moments but also features a clever plot that keeps viewers guessing. Its weakest aspect, however, is its overt dependence on shock value. While it attempts to criticize cheap plot twists, it still relies too heavily on the same overly tired ‘jump scare’ method. I most identified with Sidney Prescott, the film’s main character, who is a survivor constantly being pursued by danger. I related to her genuine emotions of terror in the face of adversity. If the director asked me for one suggestion to improve the movie, I would say to focus more on the suspense and less on the shock value. The film is at its best when it builds suspense and keeps viewers guessing, which may also improve the comedic effect.
The film’s beginning did not prepare me for the end of the film since it commenced as a ‘real’ horror movie. However, the sequence of bloody murders that are shown mockingly slowly led me to expect a similar absurdly cruel ending. Despite not expecting the satire at first, I ended up in the same place as the film intended, which is to say, I clearly understood the satirical comedy behind the violence. The film took me on a rollercoaster of emotions, from fear to suspense to relief. The film’s journey is one of suspense and mystery, quickly turning to absurdist scenes, parodying most famous horror film plots. It starts with a scene of someone being killed but does not reveal the killer’s identity until the end (Craven). The increasing intensity of the scenes, coupled with the sense of suspense and mystery, is carried throughout the film. Ultimately, The Scream reaches its comedic ‘crescendo’ when the fear dissipates.
Alien (Ridley Scott, 1979)
The strongest aspect of the film is its suspenseful and scary atmosphere. The weakest aspect of Alien is its slow pacing. I think the film is a classic and a must-watch for all fans of the horror genre. I most identified with the character of Ripley because she is the one who seems the most level-headed and capable of dealing with the situation. I also appreciated her badass attitude and determination to survive. I suggest the director make the film a bit more fast-paced, particularly in the beginning. I think this would help keep viewers more engaged and match the intense energy of some scenes.
The film’s beginning somewhat prepared me for the horrifying development of the narrative. I did not foresee the ending, although there is a sense of foreboding from the beginning, which made me understand that there will likely be a very intense struggle. Seeing the ship, the Nostromo, and the crew going about their daily routines felt almost peaceful (Scott). However, I ended up in the same place as the narrative intended: despite a seemingly happy end, I was still suspicious of whether all the aliens were eliminated. Alien did an excellent job of building suspense and keeping me engaged. The film’s journey comes from peace to suspense and terror, as the crew of the Nostromo is slowly picked off by the Alien, which never completely goes away (Scott). The ending is shocking and gruesome, making it all the more effective.
Madonna: Truth or Dare (Alek Keshishian, 1991)
The strongest aspect of the film is the candidness of Madonna and her dancers. The film gives an intimate look at their lives and relationships, both professional and personal. The weakest aspect of the film is its lack of focus. The film jumps from backstage footage of Madonna’s Blond Ambition Tour to interviews with her family and friends to home movies from her childhood. I most identified with Madonna herself. I admire her for her confidence and willingness to push boundaries. I also related to her struggles with her family and her relationships. I suggest the director focus on one aspect of Madonna’s life: her career or personal life. The film feels scattered and could use more of a narrative focus.
The film’s beginning sets up Madonna’s image as a strong, independent woman, which prepared me for the end, where she rightfully earns her happiness. Madonna is shown working hard on her Blond Ambition Tour and making decisions about her career; however, she then focuses on her personal life (Keshishian). I ended up in the same place the film prepared me to, eagerly seeing the happy resolutions in Madonna’s relationships with her family and friends. The film is about Madonna’s journey, jumping to interviews with her family and friends and home movies from her childhood (Keshishian). It then focuses on Madonna’s personal life and relationships with her family and friends (Keshishian). Thus, the narrative develops along with Madonna’s life, expectedly showing the rewards and appreciation she earned with her talent and hard work.
Works Cited
Craven, Wes. Scream. Dimension Films, Woods Entertainment, 1996.
Demme, Jonathan. The Silence of the Lambs. Strong Heart/Demme Production, Orion Pictures, 1991.
Gervasi, Sacha. Hitchcock. Fox Searchlight Pictures, Cold Spring Pictures, The Montecito Picture Company, 2012.
Haynes, Todd. Safe. American Playhouse Theatrical Films, Killer Films, Chemical Films, 1995.
Keshishian, Alek. Madonna: Truth or Dare. Boy Toy, Miramax, Propaganda Films, 1991.
Nichols, Mike. The Graduate. Lawrence Truman Productions, 1967.
Scott, Ridley. Alien. Brandywine Productions, 1979.
Vertov, Dziga. Kino-Eye. The Film Office of Goskino, 1924.