Dreamss

Yojimbo

Yojimbo, directed by Akira Kurosawa, take on Western-style film adapted to Japanense culture. 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.

The characters are reminiscent of Kurosawa's own The Seven Samurai and have become western archetypes. The cinematography also mimics conventional shots in western films, such as that of the lone hero in a wide shot, facing an enemy or enemies from a distance while the wind kicks up dust between the two.

The opening scene emphasis the protagonist, Sanjuro, only his backside is displayed as he paces through the wildness. Sanjuro's odd stance combined with his arms tucked inside his kimono, and posture reveal a sense of ardent self-confidence. This confidence is also seen in his first major confrontation with the villagers.

The music used in this film also advances the samurai as he is choreographed to the beat of the percussion through the field and village. Little conversations leads to swift action and a minor fight scene causing the death of troublesome villages ( meant to be seen as minor antagonist) and also sets the tone for the film.

Throne of Blood

Throne of Blood directed by Akira Kurosawa depicted the plot of William Shakespeare's play Macbeth to feudal Japan. It is regarded as one of Kurosawa's best films, and by many critics as one of the best film adaptations of Macbeth, despite having almost none of the play's script.

Throne of Blood used a voyeuristic point of view where the view had to look pass/through objects to see what was going on. This technique has its drawbacks and payoffs being that it made the viewer pay closer attention to actually see what was going on however if the viewer is uninterested in the film they would most likely miss what Kurosawa is trying to do and avoid understanding the complete plot.

Being that the film was shoot in black and white the lighting was an important factor to consider. Even though some of the lighting was not realistic, example spotlights in dim lit rooms where the only source of light are six small candles, it added a dramatic effect to the film. Kurosawa also added just enough light in a forest at night so that the actors could be seen adding an eerie feeling to the film. He also expanded upon this mood with having the "evil spirit" completely white with a surplus of light bouncing off of him to illustrate a ghostly glow.

Kurosawa used a combination of American and Japanese methods of translating his message to his audience. He used rain to signify the end of dramatic moments such as after a person died and sad moments. He also used heavy winds, putting sand in the wind to make the wind visible, before an expected big battle. Kurosawa also used a dramatic sense of irony by place the protagonist the room of where the former lord of the palace was killed. He also used the ghost of the fallen comrade to show the guilt that is burdening the Macbeth counterpart. During extremely dramatic moments Kurosawa got rid of all the sound and had the actors express the intended emotion through facial expressions.

While the film is based off of Shakespeare's Macbeth there are many noticeable differences. Such as there is no Macduff character in this picture; hence Washizu does not meet his end in a duel. Instead, in a spectacular scene he is shot by his own archers and stumbles forward like a porcupine before being shot in the neck. He slowly descends the stairs and dies, collapsing dramatically on the fog-soaked ground. Also instead of three witches Kurosawa used one ghostly spirit. Asaji to be much more calculating and ambitious than Lady Macbeth. In many ways Asaji and the Witch become the driving forces of the action. It is Asaji who plots the murder of Miki, unlike Lady Macbeth. She is clever, manipulative and bold. Washizu in contrast is less articulate and seemingly less self aware than Macbeth.

The Noh theatrical tradition is also widely referred to throughout the film. The formalised, stylised movements of the Noh often replace action in the film, for example the movements of Asaji during the murder of the Lord of Spiderweb Castle. As well, much of the action happens off screen and is left for us to assume, for example the riderless horse signifying the death of Miki. The compression is also due to the excision of the dramatic monologues.

The Road Home

The Road Home was a traditional Chinese film by Zhang Yimou. It was a mixture of a black and white picture with color. The film starts off black and white to show that it is the present time but also gives a depressing feel to go with the death of the main characters father/husband. However, unlike every other movie where the present is shot in color and flashbacks in black and white Yimou did the opposite. Yimou made the setting during the winter time to give the film a harsh and cold deposition. Yet placed the flashbacks in the spring usually to give a warmer loving feel and to use tree leaves changing colors for a beautiful background that gives a sunny deposition on the film. Yimou also gives a hint to a hero's journey in which the son has to follow his mothers request for the body of her husband to be carried back to the village. Yimou emphasise on colors in the clothes people wear and the color of the environment.

O Brother Where Art Thou vs. The Odyssey

O Brother Where Art Thou is a comedy-action film directed by the Coen Brothers which is based off of the story of Homer’s Odyssey. The Coen Brothers tied both of the plots together better then expected.

Instead of the story revolving around a boat full of people the film revolves around three escaped prisons which could be a parallel to Odysseus and his crew leaving from war. In the film on in their escape, they encounter a blind man traveling on a manual railroad car. They hitch a ride, and he foretells their futures, similar to the oracle of Homer's Odyssey. They also use the parallel in the name of the main character being the same. Both groups of travelers are on a hero's journey where the treasure in pursuit is for the protagonist to return home to their family. With an antagonist Poseidon and the sheriff who wont stop in the attempt to keep the protagonist from reaching home.

Some other similarities are:

• The Sirens
• The threatening cyclopes
  
• Lotus eaters and the congregation walking trance-like to be baptized
• Suitor(s)
• The myth that the protagonist died
• Disguised return

Path of Glory V.S. Lawrence of Arabia

Paths of Glory, directed by Stanley Kubrick, and Lawrence of Arabia, directed by David Lean, are cinematic masterpieces. Both Kubrick and Lean are notable directors. They relayed such ideas as how death changes a person, the effects of war on the Psyche, the sacrifices that must bad made in harsh times, and the true importance of power. They show their unprecedented talent in exemplifying these films from a true story.
Paths of Glory seemed to revolve around three innocent men destined to be executed to be examples for other soldiers. Kubrick used great setting and lighting in the holding prison for the three men who were to be executed, it incorporated a look of gloom and desperation. This sense of gloom and desperation is translated through the actors where you can see an underlining message that nobody is truly ready to die. Kubrick used the three prisons to depict the different aspect of the human personality in regards to their impending death; which are anger, unwillingness, and desperation. It also illustrates how greed and power corrupts a person; the beginning of the film showed General Mireau being persuaded by General Broulard to advance his troops to take and control of the "Ant Hill", which they both know is an impossible mission for the troops, yet when Broulard mentions the possibility of a promotion, Mireau quickly convinces himself the attack will succeed.

Lawrence of Arabia

their kudos for being venturous enough to start off the film with a blank screen accompanied by a musical score composed by Maurice I have to admit that "Lawrence of Arabia" was actually a good movie deserving of it's ten Academy Awards, four BAFTA Awards, five Golden Globes, and its multitude of miscellaneous other awards. For an 1960's film it used prolific concepts. I give David Lean and Sam SpiegelJarre; which was done during the intermission of the film. They used amazing use of their location; catching the horizon at the greatest moments and the momentous angles of the beautiful scenery. The casting was exceptional, the person casted as Lawrence did in fact resemble the actual person; especially his hair, kudos to the hairstylist lol ;). This further goes into how the historical representation, accuracy, of this film was based on real characters to varying degrees.
The film itself had such a deep meaning that only added to the quality of this film. This film doesn't only portrays the historical perspective but it goes deeper into man and their search for self being. In addition to the differences between three groups of people also a quest for freedom and true intentions.
The wardrobe did look authentic in the film, however the actors didn't have the expected dirt/sand on their skin for walking through a desert for however long; nor did they have sun exposed skin. For the time period the sound effects were better than I expected. Also the lighting was expectational there no moments where it was too dark or bright that the viewer couldn't see.