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 4^th 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

Link = http://www.pajiba.com/think_pieces/mindhole-blowers-20-facts-about-gone-with-the-wind-that-will-make-you-give-a-damn.php

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

 



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

 

 

 

           



It Happened One Night-1934

Directed by Frank Capra

 

 

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

 It Happened One Night is often considered the definitive screwball comedy. Arriving in the middle of the screwball heyday and epitomizing a genre. The so-called peak of the screwball comedy was arguably between the years of 1934 to 1945. At a time when women began to take a more prominent role in films, screwball comedies were often characterized by a female that governs the relationship with the male central character, whose masculinity is challenged by her authority. Female leads began take on more professional roles, wore equally professional attire, and represented women as part of the working class. Of course all this was in response to the Production codes enforcement in 1934. While the Code did limit artistic freedom it did allow women to be more than just a body or a face; opening up the opportunity for the screwball comedy.

 

Screwball comedies involve a “War of the Sexes” with witty banter, often between characters from two different worlds (differing social classes or world views). The fast-pace repartee, absurd situations, entertaining themes, and plot lines involving courtship and marriage also embody what is a screwball. Often, all these features supplanted sex and were filled with sexual innuendos. Essentially the screwball is a love story with layers of wit and sparring layered on top.  

It Happened One Night plays into all of tell-tale signs of screwball. Ellie (Claudette Colbert) and Peter (Clark Gable) find themselves on a road trip to New York, so Peter the newsman can get his story and Ellie can make it safely to her fiancé. That alone depicts the absurd situation discussed. The film is filled with a series of back and forth conversations between the two that is a constant series of one-upmanship. Although a bit of a “brat” at first, Ellie finds her strength and gives Peter’s character more than he expected.  

 

2)  Find a related article and summarize the content. 

Article- The Oscars Project: It Happened One Night

http://www.culturemagazine.ca/cinema/the_oscars_project_it_happened_one_night_1934.html

-Wiki-film bios for the stars.

The Oscar Project: It Happened One Night details how the film, like so many others to come after, wasn’t set out to be as ground breaking as it had been.

“Unlike previous Best Picture winners, the movie was not a big budget prestige film, and Columbia Pictures was considered a 'Poverty Row' studio at the time.”

-Kevin Johns

Several actors turned down the roles considering the film to be a flop. It was said that Clark Gable was 'on-loan' as punishment for refusing a role opposite Joan Crawford from the studio. Claudette Colbert, better known as a femme fatale, was also reluctant to play the role of the heiress. The stars didn’t realize what they had but the remarkable work of Frank Capra and the quality of life when the film was released thrust the film to greatness.

 

The country was well into the Great Depression and a quarter of the population was without work. Although not directly addressing the issues of the Great Depression, the film’s focus on the working class resonated with audiences. Ellie the Heiress finds happiness in the simple things in life. Dunking her doughnut in coffee, the joy of doing it yourself, and most notably the pleasures of people over material things provide inexpensive delight. The best example I can think of is the bus scene, where all the travelers begin to take part in a sing along. It doesn’t cost money, or require lavish material possessions to find happiness. She eventually finds love in the arms of a newspaper man, not her royal fiancé.

The film has impacted countless imitators since. The last few decades are filled with homages (whether intentional or not) to it’s now archetypal moments. The walls of Jericho, the road trip, the wedding alter run away are now staples of movie making.

The film was also a first in many categories. It was the first comedy to win best picture, the first picture to win all five major academy award categories, and had the first performer (Claudette Colbert) to appear in three Best Picture-nominated films in the same year. It was triumph both critically and influentially.

3) Apply the article to the film screened in class.

The article brought a new found appreciation for the film. First, the actors weren’t aware of just how special the project was. Secondly, they didn’t seem to make the picture easy on their director, who should be applauded for such wonderful work under tumultuous conditions. Capra’s future academy awards and nominations prove he isn’t a mere “one hit wonder”, but a director with vision and control. When speaking of working with the stars Capra has been quoted as saying “Claudette had many little tantrums, motivated by her antipathy toward me," however "she was wonderful in the part."

 

We all have worked a job we hate, wanting to leave, but put our best foot forward regardless of our inner spirits. Gable and Claudette may have been hesitant over the pictures ability to win over audiences but they still managed to put forth wonderfully realistic and endearing performances. I found Claudette to be cute and loveable, and Gable was perfect as the everyman. The film was performed beautifully by director and actor alike, arrived at the right time, and hit all the right notes. It established screw ball comedy and made even bigger stars of it already popular cast.

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.

The film was a landmark, and honestly one I have never known about prior to our screening. I was unaware of just how influential the film could have been. Many of today’s Romantic Comedies take from elements It Happened One Night established nearly 70 years ago. It influences can be seen in many of our contemporary films, whether good or bad. A good example would be the road trip scenes filled with constant repartee between Billy Crystal and Meg Ryan in the early minutes of When Harry Met Sally. The bad can be represented by every god awful Jennifer Lopez attempt at “new age screwball comedy”. Gigli is a great example of how not to make screwball.  

Regardless of how some rom-com’s of today get it right or wrong, the film set a tone what these movies should be. It also provides audiences with a new look at what a female role do. More than just seductress’ or damsels in distress; instead we were introduced to spunky, willfully strong women who did what the male lead couldn’t. Elsie managed to get a car to provide the duo with a ride, after Peter failed miserably at countless attempts. A woman did what a man couldn’t. Today that may be common when we see leads like Erin Brockovich, Ripley, or the Bride from Kill Bill, when it was uncommon.  

 

 

The film also included snappy dialogue that was clever, unlike traditional slapstick that dominated comedy before it. This was no doubt due to the “talkie” moving film forward, pushing Hollywood to seek writers from theatres. Robert Riskin deserved his academy award. The film has been mimicked so often, even influencing classic cartoons. Bugs Bunny carrot-chewing standing position, had originated from a scene in It Happened One Night, where Gable chews a carrot while explaining the finer points of hitchhiking.

 

 It Happened One Night was an innovative success in directing, acting, and writing. It defines screwball, and is considered a time-honored film achievement.

 

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: 2/22/2013

 

 

 

 

 

 

 

 

 

 

 

 

 

 



The Gold Rush

THE GOLD RUSH-1925




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

Charles Spencer Chaplin better known to the world as Charlie Chaplin used comedy to make a point. While working for Mack Sennet in Keystone he began to direct his own segments. Chaplin was known for using comedy to examine social issues as was evident in the Gold Rush. His film’s also established a now common circular structure of film.

The film touched down on topics like cannibalism, love and rejection, ridicule, work ethic and poverty. One scene in particular showcases the tramp’s cabin ridden associate Big Jim attempting to kill the tramp for food.  Jack’s hallucinations cause him to see the tramp change into a chicken right before his eyes; a cutting edge special effect for 1925. A moment inspired by the vicious reality of the Donner Party.

The Little Tramp is often the source of ridicule. A tiny man, and often the underdog compared to his larger protagonists who represent part of the main stream. The Gold Rush lives up to this tradition with the tramp facing such opposition as “Ladies man” Jack, Black Larsen, and even for a time Big Jim. In the end though, our loveable hero comes out on top despite his stature.

Charlie often had female leads that symbolize what is good in the world, eventually seeing redeeming qualities in the tramp. In the case of the Gold Rush the love interest is Georgia.  By a fluke, Charlie and Georgia meet, whereupon Charlie invites the girl to New Year's Eve dinner in the cabin that he is tending for a local prospector. She forgets all about the invite, and the tramp is the source of the town’s peoples ridicule (a recurring theme for the tramp).  The tramp is left alone in the cabin as his solidarity pulls at our hearts strings. It is here that he escapes into a well-known dream sequence of the New Year’s Eve dinner going splendidly. The tramp goes up against Jack for Georgia’s affections. The film closes with Georgia, like many of Chaplin’s love interests falling for our loveable hero, closing on a passionate kiss, and a happy ending.

The Gold Rush makes a wonderful case for Chaplin’s contribution to film. For all his work behind the camera, it is what he did on camera with body language, imagery, and comedy that situate his place in cinematic history.  

 

2)  Find a related article and summarize the content.  (on the film, director, studio, actor/actress, artistic content, etc.) You can use the library or the internet.  Cite the article or copy the url to your journal entry. Summarize in your own words the related article but do not plagiarize any content.

Filming the Gold Rush: http://www.charliechaplin.com/en/biography/articles/5-The-Gold-Rush

The article “Filming the Gold Rush”, as well as the 1992 Chaplin Biopic Chaplin (Starring Robert Downey Junior) deserve to be taken into account by any fan of film history. Charlie Chaplin’s place in annals of film history can’t be denied. The Gold Rush was Chaplin’s greatest financial success and arguably his most critically acclaimed. It sits among some of the greatest films of all time for both its wonderful storytelling and contributions to cinematic history. Despite its many accolades, the filming was long and full of obstacles.

The film’s idea is derived from the 1896 Klondike gold rush which struck a cord with Chaplin. “Here Chaplin faithfully recreated the historic image of the prospectors struggling up the Chilkoot Pass,” (Robinson).  It was a moment history filled with dreams of riches, but the truth was a stark contrast to the dream. Chaplin set out to make a film on the harsh subject matter with his typical comic touch, while still making a provocative statement. With this idea in mind, Chaplin’s “Little Tramp” would now find himself among those prospectors in 1925’s the Gold Rush.

During filming of the Gold Rush Chaplin’s personal life would spill over into his work life. Lillita MacMurray better known as Lita Grey, was cast in the film. She had previously been in Chaplin’s “The Kid” at the age of 12. Barely 16 during filming, Chaplin had begun an affair with Lita which led to her pregnancy. The pregnancy would cause a 3 month hiatus on the film’s production. Lita’s role then needed to be recast. Georgia Hale was then cast as the Gold Rush’s new leading lady at the age of 24.

The film took nearly a year and a half to make. The films special effects, unequaled for its time, were demanding. The Chilkoot Pass scene required six hundred extras to be filmed on a mountain pass 2300 feet up. Models of mountain ranges were made requiring ungodly amounts of timber, most notably the teetering cabin scene.

Considering the demanding scale and many obstacles in the films way, the Gold Rush was finished and the end result in nothing short of ground breaking.  It touched down on poignant topics with a comedic touch, took a huge step forward in scale and special effects, and includes classic scenes that stand the test of time. It is the film that Chaplin would most like to be remembered for.

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.?

Chaplin was by no means a perfect man. For all his poise and perfect timing on screen, his life off screen was full of turmoil and questionable decision making. He had relations with more than one under aged woman (girls really), had issues with his mentally unstable mother, and made a rival in J. Edgar Hoover who had a file with well over 1900 pages on Chaplin’s so-called communist activities.

Most people tend to have an infallible image of Chaplin in their minds. This assumption that the character was the man is ill conceived. The article and movie alike humanized who Chaplin was. The idea that the more things change the more they stay the same comes to mind. The Hollywood of yester year isn’t very different than the Hollywood of today. These are real people with real issues. Regardless of Chaplin’s shortcomings, his gift for film was astounding. He understood what would move an audience.

The Gold Rush was simply one long harsh shoot filled with many issues to overcome. This only makes me appreciate the film that much more. The scale was a 1920’s version of today’s blockbuster films. It was long shoots, difficult special effects, and quality storytelling…without the benefit of sound (until later included). Chaplin is a master of allowing his body to tell the story and convey emotion. The film simply couldn’t have been done by anyone else. Georgia Hale seems right at place as the female lead, to the point that Lita Grey in the role doesn’t quite measure up.

The article also brings the Gold Rush’s story to the forefront of my mind. Without all the complications the film faced, making a good movie by any means is hard. Making a great one that touches down on the thought provoking themes is even harder.

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 am less interested in whether you liked or disliked a film, (although that can be part of this) than I am in your understanding of its place in film history or the contributions of the director.

The Gold Rush- despite its age- can still be relevant. A film from nearly 90 years ago can still garner the same reaction from an audience today that it did then. Just take our film history’s class viewing into account. Here are young college students in a technological driven time that were drawn into the films comedic and dramatic moments alike. Not something easily done.

It set a gold standard for classic film making, blurring the lines between comedy and thought provoking drama. It allowed for a new age in special effects, and set the tone for circular story structure. The Gold Rush was showed the world that a comedy can be more than simple slapstick. It was poignant, artistic and both a critical and financial success.

I appreciated the film and am glad for the opportunity to view a film I would have overlooked otherwise. Everyone should be so lucky as to say that they have seen the Gold Rush.

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 F. M. Novoa 

Date:   2/11/2013