Matilda-Mise en Scene

Matilda is a classic children’s book that in 1996 was introduced to the big screen. It captivated young people, and lives on in the hearts of many as an inspiration to learn and be kind. The movie version of Matilda was directed by a much beloved actor, Danny DeVito (who also played Matilda’s father). The star of the movie is child-actress Mara Wilson, who is as charming as she is cute. The plot of Matilda is that a young girl, with an exceptional mind, is tossed aside by her uncaring parents, and left to her own devices. Matilda spends all of her pre-school life at the library, and somehow, develops a higher level intelligence that gives her telekinesis. She uses this power enact justice upon her evil principal and her law-breaking parents. Not only is the movie unique in plot, but also because of visual design, cinematography, and editing.

In this scene of Matilda, Matilda is discovering just what it is she can do with her telekinesis:

The visual design of this scene is key in making it mean something to the audience. Matilda is in a room full of gaudy furniture and decorations, obviously picked out by her mother. She does not fit into this scene in her simple shirt and jeans; this is a major theme within the movie, and important to notice how out of place she is, even in her own home. Matilda also wears a red ribbon, her character’s signature piece. This ribbon is important to the story later on, so it is crucial that we see her wearing it now. There is a common occurrence of yellow and other bright colors, particularly at the beginning of the scene. This, along with Matilda’s quirky smile, helps the audience identify the scene as a happy one.

At the start of the scene, we get a point of view sequence from Matilda, who successfully levitates her spoon and pulls it into her mouth. Matilda is obviously very happy about this because she giggles and smiles. As an audience, we are able to feel just as triumphant as she is, thanks to the camera cuts. The special effects within this scene may be a bit silly, but they are good nonetheless. As Matilda twirls on the coffee table, poker chips and cards seem to dance with her. These special effects were not used for sheer fun, they are important to the plot. Matilda obviously has a lot of control, as we see, and can use her powers on more than one object at a time. We are also reminded that Matilda is a child, though she may not usually behave like one. For a child audience, this is thrilling to watch.

There are many quick cuts in this scene, it helps to add vigor to the mood. We are awake and excited to see Matilda exude such power. The addition of well-timed music is helpful as well. Along with Matilda, we feel like dancing, and with such a classic, upbeat song, maybe even singing, too. It creates a successful mood of happiness and triumph.

Well done, Mara Wilson. Well done, Danny Devito.

Visual Design

Visual Design Analysis-Across the Universe

Every scene in Julie Taymor's, Across the Universe is a visual spectacle. The film is set in 1966, an appropriate year for a movie in tribute to The Beatles. Although the movie is not directly about the oh-so-famous band, it captures the essence of the band through the lives and historical relevancy of its characters. The plot revolves around siblings Maxwell (Joe Anderson) and Lucy (Evan Rachel Wood), their alien friend Jude (Jim Sturgess), and a host of other characters that project the subculture of the 60s. The film deals with the Vietnam war; both those fighting on the front and at home. Max is drafted, and along with his emotional journey, we watch the reactions of both his best friend and sister, who take two very different stands about how citizens should deal with problems they find with their government. Across the Universe is thick with the issues of racism, sexual discovery, drug use, and injustice. Although the movie is long, it delightfully captures your attention through insightful word play within its musical score of purely Beatles music.

A specific scene in Across the Universe that is strong with imagery is when Max has to go to the military entrance process station (MEPS), is one where Julie Taymor's artistic flair is evident. We enter a daunting building to find a talking Uncle Sam poster beaconing Max. He is then pulled into the poster to be analyzed by a set of identical soldiers who intend to bring Max into their ranks. We see Max, along with other men, being poked, prodded, and tested through tiny boxes that portray the men more as specimens than humans. The scene continues with the men being shipped off into Vietnam, their giant boots crushing tiny palm trees as they carry Lady Liberty on their bare backs. It all ends with an officer asking if there is any reason Max should not be in the army. Max insists that he is a, "cross-dressing, homosexual, pacifist with a spot on his lung." The officer responds with, "Well, as long as you don't have flat feet." Max's chest is stamped, like a package, and he is deployed soon after. All of this goes on while the song “I Want You” by The Beatles is being sung out by the choir of officers.

The setting changes between the MEPS, and the terrain of Vietnam. In the MEPS the walls are metallic, and much of the building seems to be mechanical. This makes a statement about how the military operates. Everything is boxed, orderly, and done to the beat of the music. Order, strictness, and precision are important within the army, and these things are only more evident when juxtaposed with Max’s off-beat, rebellious personality. When the setting switches to Vietnam, it is swampy and covered in palm trees, an accurate representation of the country’s landscape. However, when Max's enormous boot falls down upon the trees, crushing the foliage, it is clearly a symbol for how the American government felt entering this war. The United States aims to control, and it is a very powerful image seeing one of our boots demolish a palm trees that resembles Vietnamese terrain.

Taymor is famous for her use of masks, and the way she incorporates them into this scene is brilliant. All of the officers are identical, and are in turn, creating more clones of themselves. It makes a statement to be looking at thirty of the same faces. This is a strong opinion about what the army aims to do to you. Soldiers are conditioned to be like everybody else, so that they are more interested in the good of the whole as opposed to their own individual needs. Taymor shows this concept clearly and in a artistic way. Not only are the enlisted soldiers identical, but the new recruits have been disrobed down to their underwear. All of the garments are white, the color of innocence and purity. The draft pushes men, and in some cases, boys, into war without them having any say in the matter. These clueless young people are being forced into combat, thus they are stripped of their individuality, vulnerable, and ignorant to what is going on around them.

The lighting in this scene is also very deliberate. It is meant to convey a serious and intense mood, since Max is being forced to go to war. There are parts of the scene that use very harsh lighting, for example, when the men are carrying the Statue of Liberty across the swamp. The light is meant to imitate a harsh sun beating down on them, as it is very warm where they are being deployed. However, the scene also utilizes low key lighting whenever Max is speaking with an officer. The low lighting plays with the dark colors of the metal rooms, making the scene seem much colder. The contrast between the heavy and subtle light shows the two extremes of hot and cold, neither of which are appealing to Max. Max is a free thinker, and both lights are forceful, something he does not appreciate.

All of Across the Universe is exotic in the creative risks it takes to convey a time period so 

deeply affected by the tragedies of that era. If you are craving a film that is unique and significant, or 

if you just enjoy The Beatles, watch this movie the next time you get the chance.


Watch the Scene Here: https://www.youtube.com/watch?v=SSnw1JaL2uA

A Eulogy for Apollonia

Apollonia was angelic from birth. She shone into the world on a ray from the Sicilian sun, but with the graceful charm of a true Greek woman. She was chaste until marriage, obedient, and loyal to her family. We loved her very dearly.

I remember the announcement of her birth, how joyful we all were. And, then, that smiling face! Ah! Such a bright and beautiful baby. We knew that she had come from the sky, such a radiant, precious girl. So, we named her Apollonia.

She was always a helpful one, or she tried to be. If it weren't for her we might have twice as many pots as we do now. But that was her nature, and when she looked up from the shards, all broken at her feet, how could you not smile?

She never said anything mean, and really, she didn't say much until you opened her up. If you knew her, if you really knew her, then you knew she was excitable. Energetic. She drank in the light and saved it for later.

And such curiosity. Curiosity like you’d never seen. She was fascinated by the new technologies that visitors brought. She longed to explore, to drive, to learn, and she did. Apollonia learned and then she taught. She taught the children about the leaves and why they change color, and about the earth, and how tires move. She taught them, and they loved her. She could make a bull sit and listen to her teach. With such a melodic voice, how could you not stop and enjoy her? Even for just a while.

And then she met Michael, who loved her more fully than we ever could. He took our girl into his home and heart. It was obvious how much they loved each other from the very start. you could see the way he fed her grapes, so delicately, that he respected her. Our family would have had nothing but the best for our dear Apollonia. When we saw that she loved him, it was set. He was an American, this Michael, and he could provide for her in a way that we couldn't. She would not have to carry water up from the well anymore. She would not have to lift a finger. She would only have to be with him, and love him.

Michael had cars and fancy ideas. He could teach her all that she wanted to know: about the sky, and America, and English. She told me once in confidence that the first time she saw him, she was so badly stricken with desire, that she ran from him. What a good girl she was. And boy, did she love him.

It is an unfortunate thing that we did not know of her ailment. If only Michael had told us just how sick she was. But Apollonia, compassionate as she was, begged him not to tell us, for fear that we would worry. He tells me she cried. She cried, because she did not want us to hurt. It is a miracle that Michael is still here today. The doctors had to burn her body, so that she would not infect any other person.

Apollonia died in a blaze of love for her family. She left the world as she entered it: on a ray of 

the Sicilian sun, but with the undying grace and charm of a true Greek woman. God be with you, 

Apollonia.

(*Eulogy based on Apollonia from the Godfather. I imagined that, though she was blown up in a car bomb, Michael would have lied to protect her family from the harsh truth.)

Heathers is _________!

I was in the mood for cliché this weekend, which there is absolutely nothing wrong with. I was hungering for gossip, for a popular clique, and ultimately for the theme of individuality winning over some swanky boy. I wanted something that tasted like Clueless and Mean Girls fell into a thanksgiving turkey and let me eat them up. This is what I expected when I finally sat down to watch Heathers, directed by Michael Lehmann. When it opened up to three well-dressed girls all playing croquet in a professionally groomed backyard, I didn't think I was wrong; but, boy was I ever.

Don't get me wrong, it was great! The movie starts off with the odd-one-out, Veronica (Winona Ryder), already in the clique (composed of three other girls, all named Heather, and herself). We are introduced to Veronica's special talent of forging people's handwriting, which is a very specific, very important plot device. When a cute boy (Christian Slater) pulls out a gun in the school cafeteria, the movie begins to show it's true colors. He is only given detention, surprisingly to both the audience and Veronica, though no one seems to care about much at Westerburg high, not even when it comes to their own lives. After a night of binge drinking, the head Heather has quite a hangover. Veronica runs to her aid, but accompanying her is the very troublesome J.D.: the boy who pulled the gun. Heather jokingly suggests that she'd like to kill Heather, and with a very easily avoidable chain of events, J.D. kills the head Heather with a cup of cleaning fluid. Veronica is then forced, and I use the term forced lightly, to write a suicide note from her 'best friend,' so that the two teen-lovers won't be charged with murder. (This will not be the first note that Veronica forges with her super-power of forging handwriting.) This sparks a long line of murder-suicide-suicide-attempts that drive the movie further and further into a hole of misfortune, bad decisions, and somehow the total desire to have Veronica and J.D. work out in the end, even though J.D. is totally a sociopath.

The first thing I’d like to say is that, Heathers surprised me in a way I didn’t realize I wanted to be surprised. It genre-meshes. It would be just as easy to say that Heathers is a Teenie-Bopper film as it would be to call it a horror film. All of the elements of teen drama are left in: apathetic teachers, mean girls, defiance of normalcy, but then mixed in to all that are very complicated plots to assassinate other students for mere pleasure. There comes the psychological breakdown of J.D., and Veronica trying to clean up the mess of bodies that she’s created in a pastel world. The movie is almost like a thriller wearing a mask. We see J.D. and Veronica as they are, rebellious and at least in J.D.’s case, staunchly apathetic. There’s no secret to the audience about who the killers are, or their motives. It’s the movie itself that charades as something it’s not.

The movie makes a statement about what it is to be, and to be cool. The Heathers aren’t cool. J.D. isn’t cool. Martha Dumptruck isn’t cool. No one in the entire school is cool.. As J.D. says, “People will look at the ashes of Westerburg and say, ‘Now there's a school that self-destructed, not because society didn't care, but because the school was society.’” Heathers makes a statement by satirizing high school, showing what it is to live, and what it is to die. In watching the film you can’t help be constantly thinking, what are these people doing with their lives?! When the student body starts dropping like flies, no one much seems to care unless they have something to gain from it. This is made blatantly obvious with the audible thoughts of people at the funerals, the way they gossip, and that the high school mourns for the television, and not for themselves.

Although Heathers is not entirely realistic, what with Veronica’s knack for writing with anyone elses hand, J.D.’s magical perfect timing, and the fact that J.D. and Veronica are frankly, a bit sloppy with their murders, and yet are never caught, It adds to the charm of the movie. Although it’s meant to surprise and shock, it has a light-hearted tone that can be hard to balance with the dark themes. The audience is not set to worry if the two will be arrested for their radical behavior, and for the most part, we are able to watch the movie with ease and gawk at how ridiculous the town is.

Heathers is full of symbols, and it’s quirky approach to the typical teenage drama-comedy is fresh and satisfying. Although it is not entirely believable, it is fun and meant to entertain, which it does a very nice job. Heathers will charm you with its wit and the complex dynamic between the characters. Although I would sooner compare it to Edward Scissor Hands than to Clueless, it is definitely worth your time, especially if you want to watch something unique and different. Nice job, Heathers. You’re beautiful.

4 out of 5 suicide notes