After the dinner where Guido talks to Dr. Lessing, he carries Joshua back to the dormitory. This scene is the one from the start of the film, where he is walking through the mist. The eerie, dreamlike atmosphere is created through
- Soft and misty lighting
- Blue colour over everything
- Absence of music
- Sound of wind whistling
- Props ; shadowy shapes seen through the mist, piles of bones
Shortly afterwards, the camp is in chaos; the Allies are coming and the Germans are getting rid of the evidence. We see Guido marched away to be shot from Joshua’s point of view. The sound effects (drumbeat, giggles) seem incongruous and show Joshua still believes it is a game. The smoke from a truck obscuring the view is a reflection of Joshua’s inability to see the truth clearly.
After Joshua comes out of hiding, the camp is shown to be deserted through the extended silence, long shots, smoke, and use of props (e.g. paper blowing around). An extreme long shot emphasises the abandonment and loneliness of the boy.
When Joshua is picked up by the American soldier, the upbeat march music and sunny countryside link back to the beginning of the film, when Guido was arriving in Arezzo.
In the final scene, Joshua’s joy and excitement contrasts with seriousness of situation – this contrast shows that although the world has changed around him, Joshua still has the ability to see the beauty in life that he was raised with. The last shot is a still of Dora with a smile on her face and Joshua with his arms raised triumphantly, sitting in green fields bathed in sunlight. This ends the film on a high note, and shows us that in spite of the tragedy, there is still beauty in life.
Saturday, October 31, 2009
Dr. Lessing
The purpose of Dr. Lessing’s character is to show us the darker side of the film, and the far-reaching effects of the Nazi persecution of the Jews. When we first meet Dr. Lessing, he is eating at the restaurant where Guido is a waiter. Everything about the scene has a calm, civilised atmosphere; his friendly chatter with Guido, the cool white colours, the relaxed pace.
This scene contrasts strongly with Dr. Lessing’s appearance in the concentration camp. At first he doesn’t recognize Guido. When he does recognize Guido, their conversation is tense, furtive and hurried. Guido hopes that Dr. Lessing will be able to help him and his family escape the camp.
Guido is brought in to serve as a waiter at a dinner for the German officials and their families. When Guido and Dr. Lessing finally have a chance to talk, they are shown in a mid shot standing together at the drinks table, with a huge swastika on the wall between them. The composition shows how the Nazis have come between them, and the dominance of the Nazi regime over every aspect of their lives. The extent of Dr. Lessing’s madness is shown in his brief conversation with Guido. Close ups cut between them in over-the-shoulder shots. Dr. Lessing does not appear to understand what Guido says to him; he obsesses over a riddle; he looks distraught, angry, confused. He says “For heaven’s sake, help me! I can’t sleep any more…” and his actions become violent.
We see in Guido’s shocked silence that he has realized Dr. Lessing can’t help him; at the end of the scene we see the mid shot once more, with Guido turning away from the doctor, his shoulders slumped in despair. The viewer then becomes aware that the war has had effects on people other than the Jews. Dr. Lessing is made to act as a doctor to those in the concentration camps; the viewer can only imagine the horrific sights this gentle man must have seen to make him obsess over riddles as a way of avoiding the reality of life under the Nazis.
This scene contrasts strongly with Dr. Lessing’s appearance in the concentration camp. At first he doesn’t recognize Guido. When he does recognize Guido, their conversation is tense, furtive and hurried. Guido hopes that Dr. Lessing will be able to help him and his family escape the camp.
Guido is brought in to serve as a waiter at a dinner for the German officials and their families. When Guido and Dr. Lessing finally have a chance to talk, they are shown in a mid shot standing together at the drinks table, with a huge swastika on the wall between them. The composition shows how the Nazis have come between them, and the dominance of the Nazi regime over every aspect of their lives. The extent of Dr. Lessing’s madness is shown in his brief conversation with Guido. Close ups cut between them in over-the-shoulder shots. Dr. Lessing does not appear to understand what Guido says to him; he obsesses over a riddle; he looks distraught, angry, confused. He says “For heaven’s sake, help me! I can’t sleep any more…” and his actions become violent.
We see in Guido’s shocked silence that he has realized Dr. Lessing can’t help him; at the end of the scene we see the mid shot once more, with Guido turning away from the doctor, his shoulders slumped in despair. The viewer then becomes aware that the war has had effects on people other than the Jews. Dr. Lessing is made to act as a doctor to those in the concentration camps; the viewer can only imagine the horrific sights this gentle man must have seen to make him obsess over riddles as a way of avoiding the reality of life under the Nazis.
The concentration camp
Dora comes home to find Guido and Joshua gone. We are able to understand her surprise and bewilderment, as we do not yet know what has happened to them either. This is a major turning point in the film. The change from a lighthearted family story to a darker, more sinister story is shown through many techniques:
- Sinister, foreboding music
- Facial expressions of actors, especially Uncle Leo – depression, despair
- Dark lighting, even outside it is dull and grey
- Military style truck and uniformed guards reinforce sinister intentions
- The costumes of the prisoners are all dull greys and browns. This adds to the depressing atmosphere, and also takes away the individuality of the people.
When Dora gets on the train, her bright red dress is a contrast to the other people, emphasising her difference – she doesn't belong, she is there by choice. The composition of the shot is clearly divided down the middle, into the bright sunny station on one side and the dark shadowed train on the other. Dora crossing the tracks is symbolic of her choice to leave the peace and happiness of Italy to join her family in the dark uncertainty of the concentration camp. The last shot in the scene is a long shot of the train disappearing into the distance. This emphasises the loneliness and uncertainty of the prisoners – small figures traveling into the unknown. It is also a visual reinforcement that they have left their old lives behind.
Continuity is maintained between the scenes by showing the train leaving in one shot and then moving towards the camera as it arrives in the concentration camp in the next shot. The concentration camp is shown to be a sinister place by the dark, bluish lighting, the bare, prison-like structure, the searchlights and the low, sinister music. It is a relatively long drawn out shot with little action, so the viewer can appreciate the harsh, barren setting. A high angle tracking shot is used the next morning to give the viewer an overview of the number of prisoners and how they were treated.
When Guido translates “the rules” for the German guard, this shows us more about Guido’s character – he is willing to risk anything to protect Joshua from the horrors of the camp. It also uses humour to alleviate the seriousness of the situation. His comments are funny because they are so unexpected in that situation. In the next scene, we see the prisoners being used as slave labour, showing Benigni’s clever balance between humour and tragedy.
- Sinister, foreboding music
- Facial expressions of actors, especially Uncle Leo – depression, despair
- Dark lighting, even outside it is dull and grey
- Military style truck and uniformed guards reinforce sinister intentions
- The costumes of the prisoners are all dull greys and browns. This adds to the depressing atmosphere, and also takes away the individuality of the people.
When Dora gets on the train, her bright red dress is a contrast to the other people, emphasising her difference – she doesn't belong, she is there by choice. The composition of the shot is clearly divided down the middle, into the bright sunny station on one side and the dark shadowed train on the other. Dora crossing the tracks is symbolic of her choice to leave the peace and happiness of Italy to join her family in the dark uncertainty of the concentration camp. The last shot in the scene is a long shot of the train disappearing into the distance. This emphasises the loneliness and uncertainty of the prisoners – small figures traveling into the unknown. It is also a visual reinforcement that they have left their old lives behind.
Continuity is maintained between the scenes by showing the train leaving in one shot and then moving towards the camera as it arrives in the concentration camp in the next shot. The concentration camp is shown to be a sinister place by the dark, bluish lighting, the bare, prison-like structure, the searchlights and the low, sinister music. It is a relatively long drawn out shot with little action, so the viewer can appreciate the harsh, barren setting. A high angle tracking shot is used the next morning to give the viewer an overview of the number of prisoners and how they were treated.
When Guido translates “the rules” for the German guard, this shows us more about Guido’s character – he is willing to risk anything to protect Joshua from the horrors of the camp. It also uses humour to alleviate the seriousness of the situation. His comments are funny because they are so unexpected in that situation. In the next scene, we see the prisoners being used as slave labour, showing Benigni’s clever balance between humour and tragedy.
Tuesday, October 20, 2009
The Engagement Party
Everything at the engagement party shows how wealthy they are. The costumes are expensive looking, with plenty of jewellery on display. The music is classical music played by live musicians. The props, such as the gigantic cake with the ostrich on top, are ostentatious. There are a large number of people at the gathering. One reason for this is to show the life that Dora could have had. She would have been able to buy anything she wanted; she would have been treated like royalty.
However, when Rodolfo announces their engagement, a mid shot shows Rodolfo animated and smiling but Dora still and dejected. We also see how many people are gathered in the background, trapping her into her life. Dora turns away as Rodolfo kisses her, reinforcing the impression that she doesn’t want to marry him.
Some of the “small talk” at the engagement party is about a maths problem given to German schoolchildren. “If all the cripples were simply eliminated, how much money would the state save?” This shows attitudes of the Nazis, that people who don’t fit their Aryan ideal don’t deserve to live. It’s also a sinister insight into how children were brainwashed into believing the Nazi rhetoric. Rodolfo’s reaction, taking it simply as a maths problem and coldly talking about the deaths of thousands of people, shows how people could co-operate thoughtlessly with the holocaust, and refuse to see what was really happening.
Elements of a fairy tale are shown in the scene. Dora says to Guido “Take me away from here!”, like an imprisoned princess in a fairy tale. Guido rides in on a white horse, like her rescuing knight. She climbs on and rides off with him. The music throughout the scene creates an atmosphere and shows characters’ attitudes – majestic when cake is brought in to show the opulence of the rich, silent when Guido interrupts, quiet and hesitant while Dora is indecisive, quick and tense when Rodolfo starts to chase them. Soft, gentle music when they reach the house creates a romantic mood, showing us Dora’s feelings.
However, when Rodolfo announces their engagement, a mid shot shows Rodolfo animated and smiling but Dora still and dejected. We also see how many people are gathered in the background, trapping her into her life. Dora turns away as Rodolfo kisses her, reinforcing the impression that she doesn’t want to marry him.
Some of the “small talk” at the engagement party is about a maths problem given to German schoolchildren. “If all the cripples were simply eliminated, how much money would the state save?” This shows attitudes of the Nazis, that people who don’t fit their Aryan ideal don’t deserve to live. It’s also a sinister insight into how children were brainwashed into believing the Nazi rhetoric. Rodolfo’s reaction, taking it simply as a maths problem and coldly talking about the deaths of thousands of people, shows how people could co-operate thoughtlessly with the holocaust, and refuse to see what was really happening.
Elements of a fairy tale are shown in the scene. Dora says to Guido “Take me away from here!”, like an imprisoned princess in a fairy tale. Guido rides in on a white horse, like her rescuing knight. She climbs on and rides off with him. The music throughout the scene creates an atmosphere and shows characters’ attitudes – majestic when cake is brought in to show the opulence of the rich, silent when Guido interrupts, quiet and hesitant while Dora is indecisive, quick and tense when Rodolfo starts to chase them. Soft, gentle music when they reach the house creates a romantic mood, showing us Dora’s feelings.
Opening scenes
The film begins with a mid shot of a man carrying a child walking through mist or smoke. The colours are dull grey and blue. The only sound is the whistling of the wind. The colours and sound effects combine to create a sinister, depressing atmosphere. It is a flash forward that foreshadows later events. There is a voiceover explaining: “This is a simple story, but not an easy one to tell. Like a fable, there is sorrow, and like a fable, it is full of wonder and happiness”.
These opening moments of the film hook the viewer into the film; who is the man? Where is he? What’s going to happen to him? We need to keep watching to find out. The voiceover introduces the idea of a fable – it’s going to be like a fairytale, a little bit magical, and there will be a lesson at the end.
These opening moments also provide a contrast with the next scene, where an establishing shot shows the sunny Italian landscape. The text “Arrezzo, Italy, 1939” immediately sets the time and place. There is bright, sunny lighting and vivid colours of green fields and blue sky. Guido and Ferruchio are driving along a road. The dialogue “I sing what I see…” and cheerful music add to the lighthearted atmosphere. When the brakes fail and they drive through a village, they are mistaken for visiting royalty and everyone claps and salutes. Guido tries to tell everyone to get out of the way, but they mistake his gestures for a Nazi salute. This “prologue” is important in establishing the lighthearted tone of the first section of the film. It starts the film off in an entertaining manner while at the same time establishing the setting more clearly – it is in Italy and the Nazis are popular.
These opening moments of the film hook the viewer into the film; who is the man? Where is he? What’s going to happen to him? We need to keep watching to find out. The voiceover introduces the idea of a fable – it’s going to be like a fairytale, a little bit magical, and there will be a lesson at the end.
These opening moments also provide a contrast with the next scene, where an establishing shot shows the sunny Italian landscape. The text “Arrezzo, Italy, 1939” immediately sets the time and place. There is bright, sunny lighting and vivid colours of green fields and blue sky. Guido and Ferruchio are driving along a road. The dialogue “I sing what I see…” and cheerful music add to the lighthearted atmosphere. When the brakes fail and they drive through a village, they are mistaken for visiting royalty and everyone claps and salutes. Guido tries to tell everyone to get out of the way, but they mistake his gestures for a Nazi salute. This “prologue” is important in establishing the lighthearted tone of the first section of the film. It starts the film off in an entertaining manner while at the same time establishing the setting more clearly – it is in Italy and the Nazis are popular.
Life is Beautiful
The film “Life is Beautiful” was released in 1997. The director, Roberto Benigni, is also the main actor. “Life is Beautiful” is a fictional story that begins in Italy in 1939, when Guido and his friend Ferrucchio move to Arrezzo to live with Guido’s Uncle Leo. Guido meets and falls in love with Dora, who leaves her rich fiancé to marry Guido.
The story then jumps ahead a few years, to Guido and Dora’s life with their son Joshua. There are signs everywhere that prejudice against Jews has increased in Italy. One day, Dora comes home to find Guido and Joshua gone. She goes to the train station where the Jews are being loaded onto a train, and demands to join her husband and son.
After a long train journey, they arrive at a concentration camp. To keep Joshua from being afraid, Guido pretends it is a game, and that everyone at the camp is competing to win a tank. Guido manages to stay alive, entertain Joshua, and occasionally communicate to Dora that they are still alive.
Finally, the war is over; the camp is in chaos as the Germans try to destroy the evidence. Guido hides Joshua and goes in search of Dora. He is shot by a German guard. When morning comes, an American tank rolls into the courtyard, and Joshua believes it is his prize for winning the game. The American takes Joshua and leaves the camp. Joshua then sees his mother at the side of the road, and mother and son are reunited.
In the external exam, you will have to write an essay analysing an aspect of the film. Your ideas will be supported by quotes and film techniques. Remember SEXIST – link your ideas to the author’s intentions, society, and themes. The film does have a purpose – think about the title. Benigni shows us that even in sorrow and hardship, we can find beauty and happiness in life. There are a range of themes such as love, sacrifice, family, prejudice, and inhumanity in the film.
Even though it is set in the 1940s, these ideas are still relevant today – look at some of the sacrifices parents have made for their children in New Zealand recently:
www.nzherald.co.nz/health/news/article.cfm?c_id=204&objectid=10564792
www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=10366119
www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=10563891.
The prejudice and inhumanity of the Nazi regime is not forgotten either, shown in the controversy over some Facebook photos: http://www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=10604135.
The story then jumps ahead a few years, to Guido and Dora’s life with their son Joshua. There are signs everywhere that prejudice against Jews has increased in Italy. One day, Dora comes home to find Guido and Joshua gone. She goes to the train station where the Jews are being loaded onto a train, and demands to join her husband and son.
After a long train journey, they arrive at a concentration camp. To keep Joshua from being afraid, Guido pretends it is a game, and that everyone at the camp is competing to win a tank. Guido manages to stay alive, entertain Joshua, and occasionally communicate to Dora that they are still alive.
Finally, the war is over; the camp is in chaos as the Germans try to destroy the evidence. Guido hides Joshua and goes in search of Dora. He is shot by a German guard. When morning comes, an American tank rolls into the courtyard, and Joshua believes it is his prize for winning the game. The American takes Joshua and leaves the camp. Joshua then sees his mother at the side of the road, and mother and son are reunited.
In the external exam, you will have to write an essay analysing an aspect of the film. Your ideas will be supported by quotes and film techniques. Remember SEXIST – link your ideas to the author’s intentions, society, and themes. The film does have a purpose – think about the title. Benigni shows us that even in sorrow and hardship, we can find beauty and happiness in life. There are a range of themes such as love, sacrifice, family, prejudice, and inhumanity in the film.
Even though it is set in the 1940s, these ideas are still relevant today – look at some of the sacrifices parents have made for their children in New Zealand recently:
www.nzherald.co.nz/health/news/article.cfm?c_id=204&objectid=10564792
www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=10366119
www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=10563891.
The prejudice and inhumanity of the Nazi regime is not forgotten either, shown in the controversy over some Facebook photos: http://www.nzherald.co.nz/nz/news/article.cfm?c_id=1&objectid=10604135.
Subscribe to:
Comments (Atom)