Yojimbo is Akira Kurosawa's take on Western-style film. Though set in 1860, both the plot and cinematography resemble that of a traditional Western while still retaining a strong Japanese influence.
The opening scene empowers the main character, Sanjuro. Only his backside is displayed as he trots through the wildness. Sanjuro's odd stance with his arms tucked inside his kimono, combined with his posture and gait, reveal a sense of confidence. The music used in this scene also enhances this complex as the samurai marches to the beat of the percussion. This confidence is also seen in his first major confrontation with the villagers. Little conversations leads to swift action and a minor fight scene causing the death of three troublemakers and also setting the tone for the rest of the film; Sanjuro is a powerful force not to be reckoned with.
The setting almost identically resembles the set of a Western; a small, desolate town with a main road down the center surrounded by open wilderness and mountains in the background. The Japanese influence is maintained with costumes, props, such as weaponry, and interior decoration.
Kurosawa's trademark sweeping transition is implemented in Yojimbo, as most of his other films.
Tuesday, May 19, 2009
Monday, May 18, 2009
Tucker: The Man and His Dream
Tucker: The Man and His Dream is a film directed by Francis Ford Copolla about Preston Tucker and his vision of producing his own cars. The film retells the story of the Tucker Corporation from it's humble beginnings, to a hopeful future, to it's immediate and sudden downfall, somewhat serving as a documentary about Preston Tucker, the Tucker '48, and the state of the auto industry in the 1940's.
The plot naturally advances with the suspenseful decisions made often throughout the story and with the help of Tucker's witty, yet cheerful character. Tucker has relatively lighthearted and often childish or unrealistic reactions to serious business matters. The plot also incorporates a history lesson as well. In order to start up his company, receive funding and property, and ensure that he had fair access to materials, Tucker had to interact with the government on several levels, though mostly economic. The influence of the powerful Big Three, GM, Ford, and Chrysler, in the automobile industry directly controlled government in that area.
Copolla creatively implemented transitions by simply having the character slide into the next scene, where the new set, perhaps hundreds of miles away in the film, would conveniently be located behind the door or a few steps away. Most notably the scene where Tucker is speaking to his wife in a phone booth, assuring her that he'll be home shortly, and instead of opening the phone booth door to the hallway, it is the front door of their home. This technique is used sparingly in the film, which adds an element of surprise when a character suddenly appears somewhere else not expected, but ever so smoothly.
The spotlight effect is infused with the natural lighting of many indoor scenes, such as inside the Tucker home, a board meeting, or a conversation under a lamp post late at night. This likens the setting to what one would expect to see on a stage, as performed in a play. It particularly draws attention to the actions taking place in such a setting.
Most recognizable is the big band score that is heard during most of the film. This adds an element of cheeriness throughout the entire film and highlights the hopefulness of Tucker's dream in spite of opposition.
The plot naturally advances with the suspenseful decisions made often throughout the story and with the help of Tucker's witty, yet cheerful character. Tucker has relatively lighthearted and often childish or unrealistic reactions to serious business matters. The plot also incorporates a history lesson as well. In order to start up his company, receive funding and property, and ensure that he had fair access to materials, Tucker had to interact with the government on several levels, though mostly economic. The influence of the powerful Big Three, GM, Ford, and Chrysler, in the automobile industry directly controlled government in that area.
Copolla creatively implemented transitions by simply having the character slide into the next scene, where the new set, perhaps hundreds of miles away in the film, would conveniently be located behind the door or a few steps away. Most notably the scene where Tucker is speaking to his wife in a phone booth, assuring her that he'll be home shortly, and instead of opening the phone booth door to the hallway, it is the front door of their home. This technique is used sparingly in the film, which adds an element of surprise when a character suddenly appears somewhere else not expected, but ever so smoothly.
The spotlight effect is infused with the natural lighting of many indoor scenes, such as inside the Tucker home, a board meeting, or a conversation under a lamp post late at night. This likens the setting to what one would expect to see on a stage, as performed in a play. It particularly draws attention to the actions taking place in such a setting.
Most recognizable is the big band score that is heard during most of the film. This adds an element of cheeriness throughout the entire film and highlights the hopefulness of Tucker's dream in spite of opposition.
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