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Saturday, March 30, 2013

Gone with The Wind



 

Gone with the Wind - 1939
Directed by Victor Fleming

1) Relate what was discussed in class or the text to the screening.

Unfortunately American is marred with a history involving racism and inequality. Looking around today it’s easy to forget how common it was for minorities to be treated as “less than”. The civil rights movement of the 1960’s may seem like it was ages ago but is really just a blink of the eye in the grander scheme of things. Cinema was no different and the characters portrayed in film are a reflection of the time. Black actors were relegated to minor roles, and any issues they may have had were secondary to white leading men and ladies. Instead of receiving dramatic roles black men and women were provided comedies or musicals. The late great Bill “Bojangles” Robinson was a talented man often seen with Shirley temple yet never given his proper respect or a deserved leading role. Most offensive of all was the use of make up on white actors to play black men/women. It can often be a touchy subject matter, but to ignore the matter altogether is simply unjust.

That is not to say that talented black artists took a backseat to their white counterparts. Instead they took their art into their own hands.  Parallel cinema grew outside of the Hollywood system with roughly 500 “race” films targeting the black audience main stream Hollywood overlooked. Not all American’s were the picture of intolerance, “race” movies were funded my white backers as well as black filmmakers. Considered the most inexhaustible filmmaker of the time, Oscar Micheaux, founder of Micheaux Film Corporation, directed over 40 films targeting African-American movie goers. Temptation and The Exile are two of his films that serve as examples of man whose talent is a highpoint at a time of unfair treatment. Hattie McDaniel was the first African-American Oscar nominee, and then the first winner for her role as Mammie; a proud moment that embodies true humility and understanding. Watching the speech nearly brings a tear to the eye. This brings us to the film that earned her a place in history.



Hattie McDaniels acceptance speech 

1939’s Gone with The Wind is a large sweeping epic that ranks among the best films of all time. Is it the best? Debatable maybe, but always among the top ranking films for good reason. Sitting 4th on AFI’s (American Film Institute) Best Films of All time, it was selected to be preserved by the National Film Registry. Being selected for preservation is a statement on how important this film is in the annals’ of history. It dominated the Academy Awards that year with 8 academy awards including best director, picture, actress, supporting actress, screenplay, cinematography, editing, and art direction. In a completely unexpected upset took the Best actor win over Clark Gable, a decision that lives on in infamy.

Critical acclaim is a wonderful thing. As movie buffs we tend to not care about revenue, but instead care about quality of films. Let us be honest, filmmaking is a business, the studios intentions are to get a return on their investments. Gone with the wind was no slouch in the profit department either. It was the highest grossing film of all time until losing that title in 1966, but when inflation is considered it is still technically the film with the highest box office earnings. The production cost was 3.9 million, as for the revenue it earned over 198 million domestically and over 400 million in the foreign box office. Those are amazing numbers by today’s standards let alone 1939. It was a mammoth success financially and critically.

2)  Find a related article and summarize the content

Article = 20 Facts about Gone with the Wind that Will Make You Give a Damn
By Kathy Benjamin

It may be obvious by now of how fond I am of the stories behind the film. It’s always interesting to see what it takes to bring a film from its original conception to the final product we see on screen. Kathy Benjamin’s article provides interesting facts (some already delivered in class) that provide additional fodder to the lore of the film. It’s one of those situations where there was so many factors to get right, yet all the pieces fell into place to become a massive triumph.

The first fact is interesting, ironic, and tragic all in one. Margaret Mitchell author of the Pulitzer Prize-winning novel that the movie was based on was close to not publishing the book. Her husband claims that she only wrote the novel when he refused to buy her any more reading material after recovering in bed from a car accident. At the suggestion of a friend, she sent the work to Macmillan publishing. Then sent a telegram asking it be returned, her request was denied and the book published. The book sold nearly 2 million copies in its first year, and the movie rights were sold only a month after publication. In retrospect it was a car accident that led to her greatest work, and a car accident that led to her demise.

Original titles considered for the novel now seem awful. “Bugles Sang True”, “Ba Ba Black Sheep”, and “Tote the Weary Load” are some titles that just don’t seem to fit.
Another thought that was thankfully discarded, Scarlett was originally going to be named Pansy.

Gary Cooper was also considered a top prospect to play Rett Butler. In what can only be a moment of regret Cooper was quoted as saying ““Gone with the Wind is going to be the biggest flop in Hollywood history,” and, “I’m just glad it’ll be Clark Gable who’s falling on his face and not Gary Cooper.” The actress who would play Scarlett was even more of an issue. A 1.6 million dollar nationwide casting call was conducted, narrowed down to 400 actresses, and 19 were given screen tests. Paullete Goddard was in the final running with Vivian Leigh, yet lost the role due to controversy over living with Charlie Chaplin out of wedlock. Yet Leigh herself was having a known affair with Laurence Olivier. What?


Gone with the Wind Screen Tests

The public (often critics of novel adaptations, even today) was upset with an English actress playing a woman of the south. Green clothing was given to Leigh to give her blue eyes a green appearance, and filters were used in close-ups. 

Gable was unhappy with the scene where Rett cries, even threatening to quit, Olivia de Halland convinced him otherwise. In fact Gable was still under contract with MGM, a rare contract negotiation was reached, paying Gable handsomely while providing MGM with half the films profits.

Any onscreen chemistry between Gable and Leigh was a façade; Leigh was quoted as saying “Kissing Clark Gable in Gone with the Wind was not that exciting. His dentures smelled something awful.”

In a 3 ½ hour film the films four main characters only have one scene together where Scarlett learns of her second husband’s death. The film also wasn’t fined for using the word “damn”. Some slightly uninteresting alternatives were considered but never used.

The most revering fact for me involved the controversy over the films premiere. “In the Jim Crow south, the black supporting actors could not sit with the white stars for the premiere. Clark Gable was so incensed at this slight to Hattie McDaniel in particular that he threatened to boycott the whole thing. McDaniel diffused the situation by sending her regrets to the director that she would be unable to make it due to prior commitments, (Kathy Benjamin)” It shows true strength of character on Gable and Mcdaniel’s part.

3) Apply the article to the film screened in class

Would any other actress other than Vivien Leigh have been able to portray Scarlett so masterfully? Would Gary Cooper have been able to embody Rett? A film, novel, song can be delivered in so many ways. It’s hard to say that one way or another is the definitive way of crafting your art.  Yet, once the final product is delivered it’s hard to imagine a classic work any other way.

On screen Rett and Leigh play off each other wonderfully. It’s hard to wrap my mind around the fact that they had disdain for one another. Rather than take away from the film, that fact allows me to praise their work as actors. Once those cameras began rolling these characters from Atlanta came to life, regardless of the actors real world views. In many cases you can feel a lack of chemistry and it resonates throughout the film, but Rett and Scarlett played off of each so well.

Today more than ever the public has access to nearly every facet of a film before it is even released. They will always cry foul over decisions that stray away from what they see as accurate to the original work. As with Gone with the wind the public was appalled at the Leigh- an English woman- playing Scarlett. To look at it now any other actress just doesn’t fit the bill. Filmmakers can’t allow the public to influence their decisions. You can’t stray from your vision to please everyone, because that simply isn’t possible. You do the best job you can and hope it is embraced by the people.

4) Write a critical analysis of the film, including your personal opinion, formed as a result of the screening, class discussions, text material and the article. 

I can see why Gone with the Wind is always spoken in the same breath as Citizen Kane and other great films. It may not become my favorite film of all time, ok it isn’t my favorite film, but it’s easy to recognize what places it among cinemas elite.

I personally thought Vivien Leigh was great. I came to loathe Scarlett. She did show signs of redeeming qualities, yet never to the extent that the character was good overall. She was shallow, selfish, toyed with the emotions of others for her own benefit, and rarely opened up. Rett showered her with love and any material thing she could ask for, yet never won a place in her heart until it was too late. Ironically, that is what makes her portrayal so good. Not every role is going to be the classic loveable hero. When an actor can play a role well enough to garner a strong reaction in their audience, whether good or bad, then they have done their job.

Clark Gable was a man longing for women he could never have. When he finally got through to her, their love seemed beyond repair, at least to Rett anyway. It was a different side of Gable, a classic film actor I’ve come to appreciate as of late. It told a wonderful story set the south with beautiful backdrops, lavish costumes, and wonderful camera work. The shot with Scarlett and her father beside the tree overlooking the plantation comes to mind. We get a beautiful silhouette which isn’t easy to capture.

The movie also has some of the most well-regarded and memorable quotes of all time, with the classic “"Frankly, my dear, I don't give a damn" ranking as number one. It simply destroyed the box office has sold more tickets than any film in history.

Most important to me is that Hattie McDaniel’s role earned her the first nomination and win for an African American ever. A milestone that should be given the respect it deserves.

Plagiarism Statement:  Attach this statement to the end of each journal assignment. CHECKLIST FOR PLAGIARISM
1) ( x ) I have not handed in this assignment for any other class.

2) ( x ) If I reused any information from other papers I have written for other classes, I clearly explain that in the paper.

3) ( x ) If I used any passages word for word, I put quotations around those words, or used indentation and citation within the text.

4) ( x ) I have not padded the bibliography. I have used all sources cited in the bibliography in the text of the paper.

5) ( x ) I have cited in the bibliography only the pages I personally read.

6) ( x ) I have used direct quotations only in cases where it could not be stated in another way. I cited the source within the paper and in the bibliography.

7) ( x ) I did not so over-use direct quotations that the paper lacks interpretation or originality.

8) ( x ) I checked yes on steps 1-7 and therefore have been fully transparent about the research and ideas used in my paper.

Name: Benjamin Novoa  Date: 3/30/2013

 


Tuesday, March 12, 2013

Stagecoach



STAGECOACH-1939
Directed by John Ford



1) Relate what was discussed in class or the text to the screening.

             Between the years of 1939 and 1941 aspiring films that defined the art of movie making were released, providing fans with what is often considered American Movie Making’s “Greatest Period”. Citizen Kane, Gone with the Wind, and the Grapes of Wrath are but a few examples of the classic stories brought to light during this time. Among these giants of the industry there was 1939’s Stagecoach, which raised the bar for the not so respected category of Westerns. Directed by the highly respected John Ford, whose work prior to the film was valued, but was told the film would be the ruination of his career.


the Stagecoach
Westerns were out of favor among fans, usually reserved for younger followers. Simple stories with good vs. evil conflict and easy to follow plot points, westerns had become B-movie affairs. Stagecoach would be the turning point for westerns, revitalizing the category while raising it up to A-movie status. Westerns could now be thought provoking, more than the shoot-em-up’s from the past. The film appealed to intelligent movie goers, using the western to dissect society as whole. Social and sexual prejudice, addiction, revenge, redemption, and the conflict among social classes were under the microscope in the film. It allowed audiences to realize that the once fledgling western can be a stage for artistic story telling.

          The film was nominated in seven categories in Academy Awards, most notably for best picture and best director. In a year with tough competition it took home the Best Supporting Actor for the work of Thomas Mitchell, and Best score. It mad a star of the “Duke”, the one and only John Wayne. It has been imitated many times over throughout the years, included death defying stunts, and cast aside any doubts that a western can serve as powerful medium for storytelling.

2)  Find a related article and summarize the content

TCM article the stage coach= http://www.tcm.com/tcmdb/title/91227/Stagecoach/articles.html
By Scott Mcgee and James Steffen

          The Turner Classic Movie Article basically summarizes the rocky road the film had from its initial inception to the final product. Much of the information provided in the classes viewing of behind the scenes look was presented, but with additional content to supplement the notion that this film had so much going against it, yet reached critical success in the face of struggle. It has a similar story to the Gold Rush and it Happened One Night. Regularly the stories behind the making of the film can be just as interesting as the film itself. The road to making a feature length film (even a bad one) can be long and arduous.  

          The film’s concept and original screenplay was among the first of the problems. The Production Code Administration, better known as the Breen office, rejected Dudley Nichol’s original treatment. By modern standards the story elements are common place. 1939’s censorship standards however had issue with the “considerate portrayal of the prostitute Dallas, Doc Boone's constant drunkenness, the Ringo Kid's thirst for revenge and the marshal's involvement in some deaths. Nichols' first draft script took the Breen Office suggestions to heart and the production went ahead without further objections from the censors (Mcgee/Steffen).”


Stunt work
 Studio support and an agreeable budget also proved hard to come by. After Ford had bought the rights to the story from Nichol’s, he began shopping the idea around. He couldn’t find support in any of the major studios. Fox, MGM, and Warner Brothers had all turned down stagecoach. Ford finally found some interest among an old drinking buddy, Merian C. Cooper, head of production at Selznick International Pictures. However more problems were abound, David O. Selznick himself showed signs of reluctance despite initial interest, demanding big name stars (i.e. Gary Cooper) to portray the “Ringo Kid”. Producer Walter Wanger provided a low budget of $500,000. Ford took a pay cut of $50,000, Nichols and the films cast also agreed to inferior wages in order to get the project on its feet.

          We all know John Wayne as the tough, gun toting, no-nonsense hero. At the time he was still a relatively unknown relegated to B-movie status. Ford had toyed with Wayne, during a boat trip. It is said he sought Wayne’s advice on what actor can play the part of the” Ringo Kid”, all the while having Wayne in mind. Ford had a tough time convincing the studio that Wayne was the man for the job, and had an even harder time negotiating with Republic studios. Wayne was still under contract. Wayne didn’t even take top billing, that honor went to Claire Trevor. Trevor was the highest paid cast member at $15,000. Supporting player Tim Holt earned $5,000, John Wayne earned a shocking $3,700. The world didn’t know what it had with the “Duke”.

          Ford’s mistreatment of Wayne didn’t end on their boat trip. He was a tough man to work with often bullying actors during filming. Throughout the films shoot, Ford made a frequent target of Wayne’s performance. Everything Wayne did was incorrect in the eyes of the director. Wayne’s walk, talk, facial expressions were all criticized by Ford. All of Wayne’s mannerisms were scrutinized. Ford once had told supporting actor Andy Devine a “fat tub of lard”, wondering why he had used him in the picture. Andy’s response-“Because Ward Bond can’t drive six horses”. Ford may have been one of the greatest directors, but was by no means a great man to work with.


Monument Valley
 The final difficulty was the terrain. The beautiful landscapes that supplied the film with breath taking backdrops were not easily accessed. Monument Valley, the selected location, was challenging to reach, especially with a large film crew. It was desolate and unpopulated, making long shoots problematic. Ford had his moments of kindness however. He employed more than 200 Navajo Indians, paying them at full union scale, going on to use them for many of his future films. He had established a long standing friendship which brought the Navajos to refer to him as “Natani Nez” which translates to “Tall Leader”.

Facing many concerns the final product was still a success. Ford was not the easiest of directors to work with, but is a visionary none the less. Man obstacles presented themselves before this film could be made, but it rose above it all to become the classic often placed on many critics “Best of” lists.

3) Apply the article to the film screened in class.   How did the article support or change the way you thought about the film, director, content, etc.?

 

The TCM article, as well as he extra features on the DVD, shed some new light on Ford. A man I was aware of in the past, but only in passing. The real man had a very hard exterior. It was his way or nothing at all. We often allow the work of a great writer or director to dictate how we characterize said individual. The truth is a person can have a horrible personality, yet still produce quality work with real merit. Genius and insanity are considered to be divided by a fine line, for all we know this can be Ford. His character may leave something to be desired, but his work transcends time with its social and moral themes.


The "Duke"
Then there’s the “Duke”, John Wayne, a man whose legend is bigger than life. I knew of John Wayne as the iconic film actor, like so many I mistook his onscreen persona for the actual man. The article shed light on how much hardship he dealt with while working with ford, and the little respect he was given considering his role in the film. Marion Michael Morrison (Wayne’s real name) had humble beginnings; we all have to start somewhere.

          I approached the film with an open mind after discovering all the hard work that went into it, particularly the stunt work. Yakima Canutt's stunts provided the chase scenes with danger and excitement. Reaching the onsite locations in order to provide the film with jaw dropping backdrops is no easy feat. Actors and directors taking a pay cut, for a film they believed in. We like in a time where everyone’s a critic, quick to ridicule the creation of others, yet unable to create anything worthwhile for themselves. Coming to this realization allowed me to value the merits of the film and the work that went into it.  

4) Write a critical analysis of the film, including your personal opinion, formed as a result of the screening, class discussions, text material and the article


John Ford
Director John Ford is said to have a gruff exterior. From what I seen and read, that seems to be true. But there was also a method to his madness. He had a vision for what he knew would work on screen and was uncompromising in that vision. He tended to bully actors, but if the words of others can be taken at face value, he did so in order to garner greater performances. He showed concern for the Navajo’s he worked with, and refused to put Yakima Canutt at further risk after a high risk stunt.  He took a chance at a film very few had faith in. The western wasn’t highly appreciated at the time, but Ford infused quality adult storytelling and real world themes to raise the bar for what a western could be.

        Would John Wayne, be John Wayne if Ford hadn’t taken a chance on him? Stagecoach was the defining moment in a long career that would last decades. Ford easily could have bent to the will of studio heads, but he stood true to the promise he made Wayne. Again his uncompromising ways were correct.

          Looking at the film today, it’s seems like the plot has been done a million times over. Many people from different walks of life are forced together in a dire situation, and come to learn something about themselves and the people they have come to view in a new light. Stagecoach however was the originator. It touched down on issues that were subject to criticism at the time. It was a metaphor for civilization, the travelers were each the embodiment of differing members of society.


The Cast
          The prostitute had a kind heart, and had more integrity than anyone but the “Ringo Kid” had given here. Today it might be considered the “hooker with the heart of gold” premise, but it was done with more respect, and again was a first. The “Ringo Kid” was something of an anti-hero. Most westerns involved the obvious black vs. white conflict. Wayne was a man with revenge on the forefront of his mind, but carried himself with dignity. The drunkard of a doctor was a flawed man, whose addiction defined him, but rose to the occasion when the lives of others were on the line. The faithful wife was judgmental, only coming to respect Dallas after she cared for her child. The banker, a profession normally associated with reverence was corrupt and taking advantage of the hardworking everyman.

          I would recommend the film to any film fan. Some might be turned away by a black and white film without today’s big budget special effects. But like music, the films of today owe credit to the work of the past. They build upon on another, growing and maturing. Rather than writing off classic work, it should be appreciated for its contributions to the industry as a whole. Stagecoach is one of those classics.   

1) (x) I have not handed in this assignment for any other class.

2) (x) If I reused any information from other papers I have written for other classes, I clearly explain that in the paper.

3) (x) If I used any passages word for word, I put quotations around those words, or used indentation and citation within the text.

4) (x) I have not padded the bibliography. I have used all sources cited in the bibliography in the text of the paper.

5) (x) I have cited in the bibliography only the pages I personally read.

6) (x) I have used direct quotations only in cases where it could not be stated in another way. I cited the source within the paper and in the bibliography.

7) (x) I did not so over-use direct quotations that the paper lacks interpretation or originality.

8) (x) I checked yes on steps 1-7 and therefore have been fully transparent about the research and ideas used in my paper.

Name: Benjamin Novoa   Date: 3/11/2013