His persevere, humorousness and influence is the most important quality thought his life. And also his handsome outlook. Leslie with his handsome face, silver hair and tall figure, to became the film actor of choice. Performing career for more than 60 years.
Sunset Boulevard (1950), directed by Billy Wilder, is a black and white film, where Norma Desmond, a famous actress of the silent film era, cannot come to terms with her career’s end. Desmond meets a guy named Joe Gillis, a struggling writer who is in financial trouble. The two come to an agreement that Gillis will polish up her script, which Norma believes will be her ticket back to the big screen, and Norma will take care of Joe financially. The one thing Norma and Joe have in common is that Hollywood has deemed both of them as undesirable. Norma experiences delusions of grandeur, and Joe cannot get his scripts picked up by a studio.
His most notable work, however, was not on a live, professional stage. Instead, he was behind the camera, in 1972, as the director of the iconic work Cabaret; this film, to this day, holds the record for most number of Academy Award wins in a single year without the accolade of “Best Picture”. In the box office, the film collected approximately $42,765,000. Years later, he directed the musical film All That Jazz, a semi-autobiographical movie about Bob Fosse’s
“A man with no enemies is a man with no character.” -Paul Newman. In the 60’s, Paul Newman was a very well known actor who starred in movies like “The Sting.” Due to him being in fantastic 60’s movies and having various accomplishments, Paul Newman was the most inspiring actor during that time. Paul Newman had a satisfying childhood.
Mise-en-scéne is crucial to classical Hollywood as it defined an era ‘that in its primary sense and effect, shows us something; it is a means of display. ' (Martin 2014, p.XV). Billy Wilder 's Sunset Boulevard (Wilder 1950) will be analysed and explored with its techniques and styles of mise-en-scéne and how this aspect of filmmaking establishes together as a cohesive whole with the narrative themes as classical Hollywood storytelling. Features of the film 's sense of space and time, setting, motifs, characters, and character goals will be explored and how they affect the characterisation, structure, and three-act organisation.
He made films to express his personality. A lack of funding was a limitation for him to make his films, but he was still able to reach something that he wanted in his film. Characters he has made were the outcome of his deliberation. For example, Stranger than Paradise is one of his successful films, and it really pulls audiences to think about their life. He made movies not for input
Baz Luhrmann, Director of The Great Gatsby, demonstrates how the pursuit of an ideal may be promising, however, it can also easily lead to destruction, due to the course of action taken for achievement. This is significant since Gatsby was driven to the point of using dirty money in order to obtain wealth, which leads to Gatsby’s shaming, and ultimately, the death of others and of he himself. Luhrmann expresses emotion and awareness by using
The General was one of Buster Keaton’s many films that he starred and directed in, in his quest to be one of silent films’ most recognizable faces. Among its predecessors were 1924’s release of Sherlock Jr. and Seven Chances in 1925. All directed by
Many films of the silent movie era are melodramas, which was a term used back then purely as a descriptive word to describe a movie and not a ‘negative’ term the way we use the term today. Chaplin’s film is a melodrama that invokes the emotions of his audience. Some elements of melodrama are present in Chaplin’s film The Gold Rush, the characteristics of a melodrama aid in analysing how melodramatic a silent movie is. An element of melodrama is, a situation - an occurring conflict in the film created by the screenwriter to evoke an intense emotional response from the viewers.
Citizen Kane challenged the traditional narrative and technical elements of classic Hollywood cinema mainly in the area of sound. Orson Welles was ahead of his time when he created his works of manipulating sound to transfer meaning in the film Citizen Kane. Welles used concealed hanging microphones to obtain different levels of sound throughout the film. The manner, in which the story was told, from Kane’s death flashbacked to his life of success and ultimate failure, was also a new style of storytelling for films. Welles also used symbolism with his last mumbling word “Rosebud.”
By 1994 he was on easy street, starring in The Mask, Ace Ventura: Pet Detective and Dumb and Dumber all in the same year. Every character he portrayed in these movies along with a vast majority he portrayed throughout the entirety of his career shared one common goal: to make people laugh and smile. The experience he gained and the goal he maintained throughout his career made him a phenomenal public speaker by giving him the capability to “make people present their best selves to [him] wherever [he] goes” (Maharishi University of Management). His career is undeniably a key factor in this amazing ability, although, he may never have obtained it if it weren't for his relationship with his
Introduction This essay examines the Cassavetes’s unique approach in his films he directed especially in Faces (1968) and Shadow (1959) in creating alternative forms of performative expression. Cassavetes’s approach focus on spontaneous, unstructured performance of characters, contradict to Stanislavski 's system that focus on emotion memory or actor’s past experience to bring out the expression on stage. In this essay, Cassavetes’s first film, Shadow, will be compared to his fourth film, Faces, to see development in Cassavetes’s approach in performance of character. Shadow is a film about interracial relations between African-American and white Americans in 1950’s New York, starring Ben Carruthers as Ben, Lelia Goldoni as Lelia and Hugh Hurd as Hugh, the only dark-skinned among three siblings.
Baz Luhrmanns contribution to the art of film, brings about a flamboyant and revitalizing side to the industry. Through the use of cinematic language, his story telling techniques and belief in the theatrical cinema come to life. Baz Luhrmann has a very distinctive directing approach with particular techniques that define his style. He presents his films as if he were telling a story, which he invites you into. His stories are simple and he tends to give away the ending at the beginning of the film, which intrigues you to find out more about what had taken place.
Part of that delight comes from, of course, Chaplin himself. Watching Chaplin’s works we realise that he is one of the few artists of the twentieth century who is able to completely disarm a critic, challenge his sharpest faculties and still come out unscathed. The
The Auteur Theory-Intro Part Considering the collaborative process of filmmaking, especially nowadays in most film production, the concept of there being a singular creative supervisor is debatable. Nonetheless one cannot deny the existence of directional motifs and instances of thematic and stylistic elements within the work of filmmakers like Tim Burton and Alfred Hitchcock. These directors indicate that within traditions and genres lies the overall definition of an auteur: a director whose inventive traits are listed throughout his/her work like a signature. Auteurism rose to the surface in the 1950s French New Wave criticism as an appraisal of Hollywood directors who were ready to avoid the rules of the studio system and create films that were distinctively their own.
