Research Topics: Movie Review Sample

Sugar Cane Alley: an Image Presentation of African Identities

Sugar Cane Alley: an Image Presentation of African Identities   One of the most visually beautiful award-winning films that tackle the grueling life of workers on the sugar plantations in Martinique (Wyels 17), Sugar Cane Alley is a film based on the novel of Joseph Zobel – “Rue Cases-Negres”. It focuses on the unfortunate way of life of early inhabitants and their struggle to survive daily life experiences. Generally, the film implies numerous textual and rhetorical messages and interpretations. As seen in the common characteristic of film in the early 1980s, political angle is dominant (Sconce 358). However, the real intention of the film, which is to portray African life and identity, was achieved. This paper presents five notable Africanisms – African inherent characteristics and identities. It discusses the high regard for education, close family ties, sense of identity and purpose, innate determination to succeed, resistance to oppression such as slavery, racism, sexism, and other prejudicial actions against the native African seen in the film’s narrative.  As initial judgment, the movement between African and European contexts reveals how Africa and its identities have been crucially informed by the impact of knowledge and interests from outside the continent (Kanneh 1). Although colonization affected the African intrinsic attributes, it is still perceptible that their innate identities remain intact yet significantly affected by foreign influences.   The High Regard for Education             Education can be claimed as one of the moving mechanism of the film. Jose’s grandmother wanted him to finish his studies and break away from the impoverish surrounding. With education, Jose’s grandmother hopes that Jose will succeed in life. Using the education as his portal, poverty and other problems will likely be solved. Like most Africans, the importance of education is very palpable in the African culture (Smitherman 25). The people stress education of all kinds (Leslie 40). The reason behind this practice is the fact that education is an effective tool to liberate them from foreign intrusion and use education as their way to voice out their hidden aspirations, desires and ideas.  Close Family Ties             Seeing the relationship of Jose and his grandmother is a perfect example of close family ties, which is very common to every African lineage. Family being the basic unit of given society is highly regarded by Africans like most people in the world. The African as seen in the film stressed values of respect for elders and integrity (Leslie 40). The relationship of parents and offspring is the foundation of the future of every child. The values, beliefs, ideas, and all other things significant in daily life are nurtured within the family. Thus, Sugar Cane Alley showed how family plays an important role in the identity of a person. Sense of Identity and Purpose             Jose’s grandmother wanted him to finish his studies and become successful. This is an epitome of a good sense of identity and purpose. With his grandmother’s insistence, Jose graduated and became a writer. Like most African people, the importance of ambition is clear. They want to be ‘someone’ someday. One of the perceived reasons behind this is the fact that they want to change their ‘old’ lives, achieve their destinies and be free. Innate Determination to Succeed             Related to the desires to have a good life and sense of identity and purpose, Africans are very determined to become successful. Like Jose, with his grandmother’s determination and sacrifices, he excelled and finished school to become a successful writer. Resistance to Oppression             This is the most striking message of the film. Euzhan Palcy’s eventual interpretation illuminated the screen with shades and depths rarely revealed in the black experience (Leslie 40). Referring to the period where political revolution is common, African life as manifested in the film was hard. It is characterized with slavery, racism, sexism, and other prejudicial actions against the native Africans. Driven by Palcy’s dislike to the idea of oppression, the director used her film to show the longing of the African population to be free from any traces of discrimination and unjust treatment. As perfectly implied throughout the entire film’s plot, Sugar Cane Alley proved that African life is ‘sweet’ but with the influences and unjust treatment of foreign races, it losses its taste and God-given gifts and obstructs the eventual leap of the continent and its people toward progression. Credit:ivythesis.typepad.com

Sugar Cane Alley: an Image Presentation of African Identities

Sugar Cane Alley: an Image Presentation of African Identities One of the most visually beautiful award-winning films that tackle the gr...

Science Fiction

Are science fiction movies an exploration of the contested social and cultural reproduction of our highly technological world (1993: ) or just entertainment?     A Critical Review of The Matrix Movie   Introduction             One of the most talked about sci-fi Hollywood movies, The Matrix had definitely made its impact in 1999. It has probably been one of the movies who had garnered the most movie reviews as well as fans and followers. The Matrix is a story about a programmer who discovers that his world isn’t what it seems. Neo, played by , is the lead character of the movie adjusting to the thought that all he ever knew was an illusion encoded into his head by the computers who now enslaved the world, and according to the leader Morpheus (), he is The One destined to deliver humanity (2003). This movie with its not so ordinary and complex plot is packed with mind-bending action and thriller scenes, not to mention a powerful cast of actors. The Matrix is an allegorical film questioning the true face of reality.                In line with this, the paper seeks to argue that science fiction movies are avenues of exploring the social and cultural characterization of the world we live presenting fascinating themes not just to entertain the audience but also to impart information for the public to gain knowledge in watching the movie in digesting the issues illustrated by the plot. The movie The Matrix is used to present this argument by enumerating the educative moments in the film and discussing the scientific basis of the information that were utilized in the movie along with some discussions of the way science knowledge were presented. Moreover, the paper illustrates how fact and fantasy were collaborated in a continuous story line emphasizing the roles played by the “scientists” in the film as the characters who channeled factual information to the viewers. The essay concludes by considering the cultural impact of the film by highlighting distinct ethical and moral concerns of the story.      The Use of Color as Fascination Themes Noticeable in this film is its use of color themes, where a single color dominates a scene in the movie. A similar visual technique had been used by movies such as The Cook, the Thief, His Wife and His lover and Temptation of a monk to cite a few (Observations from the Matrix). By the use of certain color themes, representations and symbolism can be depicted. Like for instance, the use of green is symbolic of the matrix code. According to the Wachowski brothers, the use of green tint was a whole motif inspired by the phosphorous green of old PCs thus, the color of the objects inside of the matrix.   The real world is symbolized by the blue color. It is also a symbol of hope and inspiration. Being the color of the sun and fire, orange emits a warm, positive feeling, suggesting energy, strength and vitality. Such color theme was used in the Oracle’s kitchen as the Oracle’s presence and demeanor reflects the qualities of the orange color. Drive, ambition and enthusiasm is also represented by this color which was exemplified in the Dojo scene with Morpheus as the confident and determined teacher and Neo as an eager student up to any challenge. Since the medieval times, the Devil has been known to have red skin or wear red clothes. Thus, the agents as well as Cypher are seen wearing red in the movie. When Trinity appears for the first time, she was all clad in black in a dark room as if masking her real intentions. This makes black the color of mystery, secrets and intrigue (The Symbolic Use of Color from the Matrix).   Psychologically speaking, the color themes in the movie were also used in order to show other symbolisms such as emotion and descriptions. For example, green is often associated with sickness, decay or impending death making it the appropriate color of the mold and Mr. Yuk.  An envious Cypher also had a shade of green. Cypher in a reddish hue symbolizes a Cypher in love with Trinity (The Symbolic Use of Color from the Matrix). The Matrix is not only and purely science fiction with lots of guns and special effects.  In fact, the movie is deeply symbolic right from the characters’ names, religious beliefs, history and racial diversity.   The Educative Moments in the Film Most would say that the story is as if patterned in the life story of Jesus and Christianity in which the name Neo which is actually a Greek word for “new” and an anagram of the word “one” or Neo as The One. However, this is not so, for there are some noted elements in the movie that are not comprised within the Catholic faith. For instance, there is no idea of sin, repentance or forgiveness in The Matrix. Instead, people just need to be liberated from illusion, which seems to be more Buddhist than Christian. Another Buddhist adaptation in the film is the belief of the people that there is no God in charge and that their lives is ruled by fate (2003). Then there is Trinity who effects the resurrection of Neo after professing her love and belief in him as the Chosen One. In a way, Trinity reminds us that Neo is to be seen as a Christ-savior character, one of the Holy Trinity of the Catholic faith. Cypher, the one who betrayed Morpheus, is name which precisely means “a message in code”. The name as a code is hidden within yet another code, for the message in code applies as much to the Judas symbolism (). Furthermore, the Gnostic belief was also integrated in the film. It was said that in the second century, many Gnostics embraced the story of Jesus but somehow changed its meaning. Instead of Him coming to save them from sin, they believed that He came to give them true knowledge which frees them from the material world. What is interesting is that both Buddhists and Gnostics hope to escape it into a good, peaceful, disembodied existence. However, when Neo escapes the Matrix, he was neither in Nirvana nor Heaven, and he was not supposed to escape this one, but to liberate it. Thus, bringing us back to Christianity which claims that the world is basically good as it is bad, and one should not escape from it but repair it (2003).   Aside from religious symbolism and mythological relations, The Matrix is a movie depicting many realities. One is that Matrix follows very closely the model of a Western, late-capitalist society.  Whites hold positions of power in the corporate sector and in law enforcement (a close viewing will reveal that only whites serve as representative of the law within the film).  Non-whites even seem absent from the prosperous streets of Acme City ().  Secondly, there was the reality of racism. In fact, several scenes within the film, most of them featuring Morpheus, draw upon cinematic codes of African-American enslavement and oppression. A prime example of this subliminal coding appears during a long pair of sequences in the middle of the film.  Having tested his protégé’s mettle in a number of combat training programs, Morpheus decides to take Neo into the Matrix to see the Oracle.  Upon returning, three Agents and an entire host of law enforcement ambush the Morpheus entourage.  The desperate group attempts to escape by descending through a cavity between the building’s walls, only to be discovered by the Agents.  To ensure Neo’s escape, Morpheus bursts through the wall of a bathroom and tackles the only person in the room, Agent Smith ().   The Collaboration of Fact and Fantasy The Matrix is not most Hollywood movies. The audience may have been bedazzled by its special effects, however, through deep scrutiny, the movie has many deeply embedded messages for us to decipher. The movie was able to make the viewers feel as if they were watching the past, present and the future. Its filmmakers were able to integrate visual techniques, a symbolic plot and reality all rolled into one, producing one massive hit of a movie.   Science usually connotes the study of phenomenon, creatures, people, and things as well as the laws that govern their ways and existence.  Science provides explanation, clarifications and understanding on things that cannot be comprehended at face value.   Such studies and interests provide rational and empirical approach of appreciating the otherwise complicated realities of things.  It is a valid way of understanding the creation of life whose application can be utilized in a wide range of discipline.  Science is a methodological discipline in which observations, studies and researchers are conducted and facilitated in order to develop and examine theories and principles that will act as guiding knowledge of depicting reality.  It discerns records and manipulates physical data so as to reach into valid and reliable findings from which conclusions will either confirm or contradict the claims of a particular theory.      The film is a masterpiece tackling the most controversial beliefs regarding life and reality which makes the film even more compelling. It presented claims and arguments that question the grounds of man’s existence as well as the possibilities of a multi-dimensional world. It wittingly disrupted the distinction between fact and fantasy as the movie transcended the audience to cross socially and culturally defined beliefs. The movie lured the viewers to think outside the confined notions of reality and existence by illustrating possible impossibilities. Interestingly, the factual and scientific information in the film were presented as fantasy as the plot narrates that dominance of machines over humans. The unreal themes of the movie on the other hand are the common beliefs that people hold today regarding the origin and birth of life, the dreamlike present time, and the liberated connotations of the future of mankind. Actually, the philosophical aspects of the film were strategically manipulated in order to bring confusion to the audience thereby drawing their attention and heightening their interest.      Morpheus as the “Scientist” Have you ever had a dream, Neo, that you were so sure was real? What if you were unable to wake from that dream, Neo? How would you know the difference between the dream world and the real world? -                      Morpheus, The Matrix (1999)   The characterization of Morpheus is that of a “scientist” who has all the information regarding the explanation of things and events in the film. Through his role, the claims pertaining to the real reality or the act of information and knowledge channeling is made possible by the educating character of Morpheus. Morpheus could mean a lot of things that is related to its character. For one, Morpheus is the Greek god of dreams (Matrix Explained). Morpheus may also be a representation of Orpheus from the Greek mythology, a character who almost rescues his wife Eurydice from Hades. Relating it to the movie, Hades corresponds to the Matrix and one who is almost rescued is Neo (). The real world was named Zion, representing heaven in the sense of the final gathering place of true believers. It is also used, especially by the Rastafarians, for example some of Bob Marley’s songs distinguishing those of the faith from those beholden to Babylon. If the real world of the movie is Zion, then the Matrix must symbolize Babylon ().   Morpheus’ ship was named Nebuchadnezzar, a king of Babylon whose dream fell to Daniel to interpret. That this is the symbolism intended is confirmed by the choice of Nebuchadnezzar, as the name given to the space-ship in Zion. Nebuchadnezzar was a king of Babylon, spoken of in the Bible, whose dream fell to Daniel to interpret. In his dream, Nebuchadnezzar saw an image with a head of gold, breast and arms of silver, belly and thighs of brass, legs of iron, and feet of iron mixed with clay. The feet of iron mixed with clay was struck down by a stone made without hands, and the entire structure came down. In the interpretation of this dream, Daniel said it foretold four world empires including and starting with that of Nebuchadnezzar and the Babylon of his day, represented by the head of gold, and ending with the destruction of the final Babylon represented by the feet of iron mixed with clay. Not only, therefore, does the Matrix represent “Babylon,” but by making the allusion to Nebuchadnezzar, we have to conclude that the authors wish to allude also to Daniel’s prophecy (). All these were symbolized in the film in the individual story that revolves around Morpheus’ character and role.   Conclusions They say that the only permanent thing in this world is change.  Life is a constant hello’s and goodbyes.  Whether you like it or not, things do happen beyond your control.  The reality speaks of endless possibility that makes the life of every man very complex.  Our powerlessness to understand and thereby adapt to the changes makes it more difficult and troublesome to grasp the system and function of our being. The lack of knowledge on things, animals, events and people is supplemented by data and information that will fill the void of rationalizing why things are the way they are.  Chaotic amount of available facts that explains a phenomenon are made clear through detailed analyses and interpretations guided through the use of rational explanations.  Understanding is the ultimate goal of science.  The elucidation that science offers to the community keeps the people on firm grounds making them logical, wiser and strategic in performing their everyday function as human beings.  Animate and inanimate creatures and things that coexist with men are likewise understood through the accounts and logical reasoning that science gives.   In this sense, The Matrix movie was able to demonstrate the capability of film as not just an entertainment source but also as an educative tool. The movie was made popular not just by its highly technological film effects but the contribution of the story line and the arguments and claims of the plot. Questions regarding the cultural and social context of the audience realities were cultivated in the film almost threatening the general belief of our existence. As such, The Matrix was applauded for boldly analyzing and critically analyzing the order of our reality as we know it. The film is highly cultural and socially-relevant in this aspect as it left the audience wondering and thinking of the possibilities that were tackled in the plot. But in the process, moral and ethical issues became obvious with respect to the religious beliefs of the public. Religiously speaking, the claims made by the film makers regarding the inexistence of God were significantly opposed to the teachings and doctrines of most religious beliefs. This resulted to the impact ethical impact of the film in its alternative portrayal of a possible reality.       Credit:ivythesis.typepad.com

Science Fiction

Are science fiction movies an exploration of the contested social and cultural reproduction of our highly technological world (1993: ) or...

Third Cinema and Film Comparisons

Third Cinema and Film Comparisons

Credit:ivythesis.typepad.com

FILM REVIEW: ” LIFE IS BEAUTIFUL “

LIFE IS BEAUTIFUL               Life is beautiful () winner of the Grand jury prize in Cannes Film Festival and many other prestigious awards. It stars Italy’s comic legend Roberto Benigni as Guido Orefice an Italian Jew during the Nazi Regime. The film received both accolades and criticisms. Gerald Peary is one of the harsh critics of the film describing it as blasphemous and having obscene Holocaust misrepresentations. However the film received praises from the non-Jewish and Jewish communities. Abraham Foxman described the film as poignant, sensitive, and informative by creative genius thus giving it an endorsement to the Italian Jewish community. Same, in the Jerusalem Report, Daniel Kotzin reviews that Life is beautiful has no slips and the poignant balanced is maintained.[1] (, 1999)             The movie has two settings; the first one is on 1939 pre-war in Arezzo, Italy and the second one is in a Jewish concentration camp. It sounds like Spielberg’s Schindler’s List, but it’s a totally different film. The film uses a comedic tone to tell a story against the backdrop of Holocaust.[2] (, 1998)             Guido an Italian Jewish, together with his poet friend Ferrucio went to the town of Arezzo in Tuscany from the country to seek good fortune. He has a beautiful way in looking at life. He is not pessimistic and never looks at things negatively. He doesn’t want the people around him feel the weight of the situations that’s why he always shows his happy demeanor   The film begins as a farce and fairy-tale romantic comedy. The first scene immediately sets a comedic tone for the film, as well as, dabbling political realities when Guido and Ferrucio’s runaway car fails its brakes, and went downhill. Guido waves them away but his gestures are interpreted by the Facists as a greeting thus returning it with a wave. [3](“,” 1999) Thereafter, Guido met Dora, an upper-class woman who literally falls in the arms of Guido, as he and Ferrucio are fixing their car brakes on a farm. [4](, 1998)   Guido went to work at his Uncle Eliseo’s restaurant. He has a dream of owning a book shop. One of the slapstick scenes was when he applied for a permit to open a book shop and the Facist clerk, who happens to be Dora’s fiancé, won’t sign the papers. Guido accidentally drops a pot on top of the clerk’s head. He immediately apologizes, however he put the eggs he got on the farm on the clerk’s hat. The eggs cracked on the clerk’s head, thus prompting him to chase Guido. Fortunately for Guido he met again Dora whom he calls Princepessa.   Dora is a gentile, upper-class woman who seems to have all the things in the world. She works as an elementary teacher and is promised to the facist clerk. However, she is not happy with the engagement.   Guido met Dr. Lessing, a German doctor who is obsessed with riddles. He makes friends with Dr. Lessing and shares his love for riddles. [5]( 1998) Guido showed his resourcefulness and quick thinking when a customer arrived late in the restaurant and was able to suggest exactly what was already prepared for the customer, the food served was one that Dr. Lessing did not eat because of the riddle. Another scene in which Guido has shown resourcefulness is when he pretended to be a school Inspector from Rome in order to see his Princepessa, Dora. Guido turns the inspection into a humorous prank when the principal said that he would discuss racial perfection, he talked to the class about racial perfection and makes a humorous prank about the topic by pointing out his features and ending it by exiting through the window. Guido’s hat switching and getting Dora to ride the car by accident are the things he did on that rainy night red carpet evening to show coincidence and makes it appear as divine intervention. Manipulation and coincidences are also apparent in the latter part of the film; it foreshadows how Guido will deal to keep their son from the horrors of concentration camp. Another scene which foreshadows the second part is when Dora’s colleague discusses a math problem that she finds hard for students to answer. The difficulty of the question upsets her colleague not the fact that the problem contains eliminating people.[6] (“,” 1999)   Another comical scene is when Guido rides his uncle’s stallion, named Robin Hood that is spattered with green paint by the facist hoodlums and goes to the engagement party of Dora, and rescues her. [7](, 1999)   Years later, Dora and Guido had a five-year old son, Giosue. Just like any five-year old Giosue is playful he loves toy cars especially tanks. Giosue is a very obedient and inquisitive boy. He always follows and believes his Pop, but at the same time always asks questions. He can be stubborn especially if it involves taking a bath which benefited him on the latter part of the film.     The second part of the film changes the tone and mood from romantic comedy to a sentimental tragic comedy. On the eve of Giosue’s fifth birthday while walking on their way home Guido and Giosue encounter a sign in the pastry shop that says “No Jews or Dogs.”  Giosue then asks why Jews are not allowed inside the shop, Guido tells his son that people can make any rules they want and pointed out that one hardware store in town does not allow Spaniards to come in and a drugstore that doesn’t allow Chinese or kangaroos to enter.  His son asks why they let everyone in the bookstore come in, Guido promises Giosue that: “Tomorrow we’re going to write: No spiders and No Visigoths allowed.”[8] (, 1998)   Uncle Eliseo, Guido and Giosue were shipped to the concentration camps. When Giosue started to ask questions Guido constructs a story in order to protect his son’s innocence. He explains that they are going on a vacation that he prepared and they are going to ride on a train. [9](, 1998) The fatherly love and paternal instincts of Guido continued until they reach the concentration camps. He creates a story and told Giosue that they are all in a game, but a rough one, and the first one who reaches one thousand points wins a prize, a real tank.   One of the comic highlights of the film is when Guido volunteers to translate the German language to Italian even though he doesn’t understand it, in order to convince his son, Giosue that they are in a real game. [10](“,” 1999)   On the other hand, when Dora learned that her family was sent to the concentration camp. She ordered the guards to let her come even if she is not Jewish. Dora has shown courage and love for her husband and son by following them in the concentration camp and be in danger rather than be safe but separated from her family.   On one scene Giosue stubbornly refuses to take a “shower” with the other kids even if Guido insisted that he must. Fortunately, Giosue’s stubbornness pays off because he was spared from death.[11] (“,” 1999)   One of the most heartwarming scenes is when Guido and Giosue sneaked on the radio of the Nazis and greeted Dora on air. When Giosue wanted to go home Guido concocts another story telling him that they are already leading. And if they are going home they will not take home the tank and Giosue wanting to have the tank suggested to stay in the camp.   One of the sad scenes is when Uncle Eliseo is to be put in a gas chamber and a female Nazi guard trips in front of him, and he helps her get up because of kindness, but the female guard did not even acknowledge what he has done. Another tragic scene is during a routine check-up Guido met again Dr. Lessing, the riddle-obsessed man he befriended in his uncle’s restaurant. He makes an effort to meet Guido by arranging him to become a waiter in a Nazi party. Guido having his hopes set high for his family’s safety were become a disappointment when Dr. Lessing only wants his help for a riddle that was sent to him from Austria. [12](“,” 1999)   When Guido arrived from forced labor Giosue told his father that the soldiers will “make soap and buttons out of them” and “cook them in the oven,” Guido laughed it off although at the back of his mind Giosue is telling the truth, he instead by saying it would be absurd to imagine “this button is Francesco” and “that piece of wood is a lawyer.” Giosue an obedient child he was, trusted and believed what his father said. [13](, 1998)   The scenes approaching the climax of the film is when Guido tells his son Giosue to hide in the metal box which earlier a boy named Schwanz hid. Giosue said that the boy must be still inside; he said that Schwanz was already eliminated and they are approaching their win. He instructed to his son to stay inside the metal box and not go outside until there are no people around. After that Guido looks for his wife, Dora so that he could warn her not to ride on the trucks because it will lead her to death. He successfully escapes the guards and managed to inform Dora about the trucks. But, he eventually got caught. Giosue sees it but Guido continued to play like a clown and maintained the illusion that there is nothing wrong. But Guido’s illusion and fantasy died when the soldier shot him.   The next morning, the Jews were liberated when the American troops arrived in the concentration camp. Giosue followed what his father said and went out of the metal box when there were no people around. Giosue’s still believe that they are in the game and when a US tank arrived he thought they had one and was even able to ride it. Giosue was reunited with his Mom, shouting “We won!”   Guido is a character that shows a profound love for his son Giosue. He will do anything to protect his son from the gas chambers by using his weapons; his resourcefulness and quick thinking. He was able to stay positive and optimistic amidst the negativity that surrounds him.  He successfully hid Giosue from the reality of the concentration camps and was able to retain his innocence.   Dora is a very brave and unselfish character; she courageously followed her husband and child in the concentration camps instead of staying behind. She had chosen to follow her loved ones in danger than face separation.   Giosue is a very obedient and stubborn little boy. He trusts and believes his father very much and because of this his life was spared and his innocence was retained despite of the violence that surrounds him.   Dr. Lessing the Nazi official whom Guido befriended because both of them love riddles. He is obsessed with riddles and oblivious to what is happening around him, especially the situations of the Jews on the camp. Dr. Lessing represents each and every one of us, when we focus more on our little problems and ignoring the people around us who are less fortunate and needs help.   The tragic catharsis in this film is when Guido was shot and the next day was the liberation of the Jews. You feel sad because you wish that Guido will just popped out and surprise his family but at the same time you feel happiness because Giosue kept his innocence intact, and all throughout the time they are in the concentration camp until liberation, he believed that they are still in the game. And most especially, Giosue was reunited with his Mom. By keeping the spirits of Dora and Giosue alive, Guido managed to save his wife and son’s lives. The film shows the astonishing beauty of the human spirit, the ability of a person to maintain his optimism despite the fact that despair is all over. The tight bond and great love existing between the father, mother and son traits that enabled Guido, Dora and Giosue to cope in the harsh life in the concentration camps.     Life is beautiful is a story about a father’s love and the lengths he will do to protect his child from death. It is a moving tale about maintaining one’s optimism while in the midst of desperation. The film tackles humanity vs. inhumanity and a number of people do not think it is possible for a person to remain unbroken whenever he faces trials. The love of Guido for his son will always be stronger than the rifles and guns of the Nazis. Guido managed to remain light-hearted even if he is really frightened about his family. Guido is one of the characters that exemplify true courage. But unlike other courageous characters on film Guido’s isn’t obvious, because he associated courage with humor which is not normally done, the underlying motivation of Guido in using humor to show bravery. Guido shows a profound love for Giosue. Guido used his paternal instinct to shield his son from harm even risking his life. He undergoes physical and psychological abuse in the concentration camp each day. But it changes every time he sees his son he gets the strength to appear light-spirited. It is a passionate and emotional portrayal of a father’s love to his son.  The film shows the audience that in the midst of inhumanity and despair, life still remains beautiful. [14](, 2006) The film title came from the quote of Leon Trotsky, a Russian revolutionary, he wrote, “Life is beautiful. Let the future generations cleanse it all of all evil, oppression and violence and enjoy it to the full.”[15] (“,” 2006) Guido just like Trotsky thinks life is beautiful even though he knows that one of those days in the concentration camp, his family will die. This is a movie about human spirit. Guido is not only a funny character on the film but also a loving husband and father. The measure he does just to protect them is very risky but he doesn’t care. The mere sight of his son smiling and the fact that his wife is still alive takes all his fears at the backseat. The expression Dai! La Vita è bella (Come on! Life is beautiful) is usually used to cheer and make someone smile. The title Life is beautiful is a great example of showing a person, in the character of Guido, who celebrated the beauty of his life under such oppressive and negative situation. [16](, 1999)                           Credit:ivythesis.typepad.com

FILM REVIEW: ” LIFE IS BEAUTIFUL “

LIFE IS BEAUTIFUL Life is beautiful () winner of the Grand jury prize in Cannes Film Festival and many other prestigious ...

MOVIES

Answers to the Questions 1.         Deculturalization is one of the most inhumane acts one can partake in. It refers to the stripping away of people’s culture and replacing it with a new culture. Segregation, isolation and forced changed of language are some of the many methods of deculturalization. Inserting one’s own culture in place of someone’s pre-existing culture is the basis of ethnocentrism or the belief in the superiority of one’s own ethnic group. By analyzing this ethnocentrism, one learns the importance of sustaining different cultures in the society. (1994)             Deculturalization can be seen in the film titled “In the White Man’s Image”. This features the experiment to change acculturates Native Americans into mainstream white culture with the creation of the Carlise School for Indians. In this film, critical eye is cast on the early efforts by Congress to civilize Native Americans through the process of homogenization which required the removal of Native children from their homes and placing them in special Indian school ( 2006. Deculturalization were exhibited when Native American children were forced to stay for years in the said school at a time without returning home and required them to avoid their own language and culture and instead forced them to learn the ways of the white man ( 2006). Culture discrimination as exhibited through the homogenization process and ethnocentrism characterized by the effort of the Congress to rid the culture of the Natives and promoting of their own white culture were demonstrated by this film.             Another film similar to the first film that tackled deculturalization is the “Rabbit Proof Fence” which tells the story of fourteen year-old mixed-race Aborigine girl who escapes with her sister and cousin from a Western Australian settlement at Moore River. It also tackles the issue of Australia’s ‘stolen generation’ represented by the Aboriginal children who were separated by the State from their parents ( 2006). It presented the issues of deculturalization when children were forcibly removed from their parents for mandatory education and for the State and Church’s aim of re-socialization in the present society ( 2006). In the same way, to advance them into the white society, children were forced to disregard their own culture in place of the new culture imposed by the State and the Church.             Unchained Memories is another movie, similar to the two films that deal with deculturalization. This depicts the experiences and the lives of slaves during the era of domestic slave trade and slave auction. Hundreds of thousand of slaves throughout the South experienced the humiliation, the fear, the uncertainty and the psychological shock that accompanied the domestic slave trade and even for slaves who did not experience the slave trade, the slave auction cast a painful shadow over their lives ( 2002). Correspondingly, children and their families who suffered from slave trade were alienated from their own culture since they were exposed to the other new culture particularly to the white culture. Moreover, their skin color and their culture as a whole which was very different from the white gave them the inferiority complex from those whites.             Moreover, the lose of cultural distinctiveness of voluntary immigrants such as the White, Asian, Hispanic and Latino groups under the mainstream compulsory assimilation upon arrival in the United States is another piece similar to the three  films already discussed. Their cultural uniqueness gradually gone since they had to adapt to the culture of the whites to face the discrimination of the Americans for which they lived as well as to be accepted in their society ( 1994). Thus, they had to disregard their own culture and go with the flow of the white culture. Consequently, cultural conflicts arise because of the difference in the values and norms and the culture itself of the immigrants compared to the white, thus, resulting to immigrants’ deculturalization. 2.         Savage Inequalities written by  (1991) described the conditions of several American’s public schools. He found out that there was a wide disparity or difference in the conditions between the schools in the poorest inner-city communities and schools in the wealthier suburban communities ( 1999). It became obvious that many poor children who were not given an equal opportunity from the start begin their young lives with an education that is far inferior to that of the children who grow up in wealthier communities (1999). Being the essential factors to be determined that affects the lives of many children, Kozol stressed the importance in the improvement in education, poverty, homelessness, and hope for the future of young people (Kreider, 1991). Further, he believed that there was a need to do more than merely study the psychological effects of poverty and oppression on children to find solutions to social problems that were being faced ( 2006). 3.         Unequal funding of public schools was one of the issues discussed by (1991).This unequal funding lead to inferior schools and creates a wide disparity between schools in the poorest and wealthiest communities ( 1999). Because of the unequal funding, the rich were given greater knowledge and cultural capital. This ensured their continued affluence. On the contrary, the poor remained segregated in falling public schools. Thus, the poor learned only how to function in a service-sector economy or to be in the growing underclass of unemployed American citizens (1991). The second problem raised was the school overcrowding which forces some classes to be held in bathrooms and the lack of funds that make it impossible to teach science labs and have textbooks for students. Conversely to that situation of the poor, rich academic institutions enjoyed the luxuries of campuses with newly remodeled auditoriums, student lounges, wood-paneled libraries and extensive computer laboratories (1991).             The third issue raised was the state and local control to education. The author claimed that the business approach to education reiterates mediocrity instead of introducing excellence ( 1991).In addition to the three issues being emphasized, cases of affluence discrimination and inequality in public schools was also discussed. If the majorities living in the area, according to the author, are poor citizens, then the majority of students in academic institutions are also poor. Thus, they became prone to discrimination and inequality simply because they were poor ( 1991). 4.         In her book, Nickel and Dime,  (2006) went undercover as a working poor with a minimum wage. She mentioned that there wasn’t a sufficient underground economy through which the minimum wage workforce can routinely makes ends meet. Further, she (2006) described the ways her co-workers coped up with such situation. To deal with that depressing situation, her co-workers stayed in the motel rooms since they thought that living in an apartment was more expensive. Moreover, instead of providing themselves with refrigerators and microwaves at their own homes, they obtained their foods from convenience stores. ( 2001)              But, she corrected these actions. She found out, based on her experienced, that living in a motel room was more expensive than living in an apartment since it came to an abrupt end when she can’t pay for her rented room on her salary. On the other hand, the problem in living in an apartment was having the resources for paying the first month’s rent and security deposit required. In the case of buying food in convenience stores she found out that aside from the compensated nutritional value obtained from that food, it was even more expensive than cooking at home. Considering such ways, Ehrenreich pointed out that food prices are relatively stable. On the other hand, rental costs are subject to inflation. ( 2001) 5.          (2006) mentioned several high costs of poverty. Some of these were the costs in buying furniture and appliances though pricey rent-to-own business such as in Wisconsin where a 0 rent-to-own TV set can cost 0 with the interest included; the fact that poor people are less likely to have bank accounts which can be expensive for those with low balances so they tend to cash their paychecks at check-cashing businesses, charging them to for a 0 check; the fact that poorer people pay an average of one percentage point more in mortgage interest and that poor people rely more on expensive and lower quality offerings of small grocery and convenience stores since they have less access to large supermarkets. Other high costs of poverty were the factor that low-income car buyers like the people earning less than , 000 a year pay two percentage points more for a car loan than more affluent buyers do and low-income drivers pay more for car insurance (they pay an average of 0 more a year) to insure the same car and driver risk than wealthier drivers. These costs made the living conditions of poor people more expensive. (2006)     Credit:ivythesis.typepad.com

MOVIES

Answers to the Questions 1. Deculturalization is one of the most inhumane acts one can partake in. It refers to the stripping awa...

Movie Reviews

Movie Reviews Film Title: Singin in the Rain (1952) Genre: Comedy/Musical/Romance/Classic Director: Two Most Important Member of the Cast:  (Gene Kelly) and  (Jean Hagen) Review             In my opinion, Singin in the Rain is arguably the greatest movie musical ever made added with a Technicolor confection that jab fun at Hollywood. The reason in this statement is perhaps the combination of music, dance and the humorous script of the movie.             The movie is different from others because it is not only musical but also the best comedy ever. This is true because there are many outstanding comedies on it. Furthermore, if we are going to remove the entire musical and dance numbers such wonderful comedies are left.             The film is also an enjoyable movie experience because of the great songs, lots of flashbacks, wonderful dances, casting and story. It is another extraordinary example of the organic, integral musical. This is explainable since the characters of the story naturally express their emotions in the midst of their lives through song and dance. In the same way, the songs and dances replace their dialogues.             Additionally, according to  (2005),[1]it is perhaps the greatest musical of all time since it is filled with catchy musical numbers and actually a musical about a musical. It is especially fascinating and powerful because it is actually focuses significantly on another historically important film, The Jazz Singer (1927).             The story is about a handsome, arrogant but romantic silent film star and blustering matinee idol, Don Lockwood and his fascinating blonde screen partner/diva, Lina Lamont who is expected by studio heads to pretend to be romantically involved with each other. Their studio boss,  (Millard Mitchell) pressured them to change their silent romantic drama, The Duelling Cavalier into musical which will be name as The Dancing Cavalier, their first sound picture if ever.              There is one major problem about it because Lina has as harsh, screechy New York accent. To solve this, Cosmo, her ex-song-and-dance partner proposes to turn the film into musical and suggests that Kathy Selden, Don’s aspiring actress and dancer-girlfriend dub in her singing voice behind the scenes for lip-synching Lina. However, their scheming render jealous to Lina putting Kathy in a revealing publicity.             Generally, I think that the story is pleasing despite its occasional flaw. Every viewer is sure to be delighted with the vibrant, fun and colorful song and dance sequences with which the movie is punctuated. Furthermore, the film’s characters are generally appealing like the story that revolves around them even if they are not brilliantly crafted.              According to  (2005), [2]Don and Cosmo are likeable and fun loving individuals. Lina, on the other hand, is outrageously vain, conniving, and self-centered. Kathy is sweetly charming but is not captivating compared to the persons around her. However, she has a pleasant character that viewer who may never fascinated by her may sympathize with her.             One of the criticisms of the movie, in my opinion, is the numerous musical numbers that packed unto it. The movie was not filled by its story or characters but with the numerous musical numbers. Similarly, music, I think is one of the problems with the movie which cannot be laid at the doors of the production.              According to  [3]it is written in the 1990s, the Jazz Age. Hence, the vibrancy of the syncopated rhythms of the Jazz Age had been lost into the straitjacket of 1930s’ big-band Swing. So when the film was made, popular music was well on its way to the four-square banality of the early 1950s.             Nevertheless, I think that one of the things that make the movie so enduring are the song and dance which give license to every man, woman and child to sing and jump through puddles on a rainy day, balking at tomorrow’s forthcoming fever. In my opinion, Singin’ in the Rain’s communicable optimism makes us believe some lighthearted humor and fancy footwork are the best prescription for weathering life’s storms. Film Title: The Phantom of the Opera (2004) Genre: Drama / Fantasy / Musical / Romance / Thriller Director: Two Most Important Member of the Cast:  (The Phantom) and (Christine) Review             [4]The Phantom of the Opera is based on the hit musical by Andrew Lloyd Webber. It tells the story of a disfigured musical genius who haunts the catacombs beneath the Paris Opera, waging a reign of terror over its occupants. When The Phantom falls fatally in love with the lovely Christine, he devotes himself to creating a new star for the Opera, exerting a strange sense of control over the young soprano as he nurtures her extraordinary talents.             In my assumption, the Phantom of Opera is at times unintentionally entertaining because its tone shift from ridiculous to overwrought. Accordingly, there are also moments when the movie seems desperate to approach a lyric surrealism. I really cannot point out if it is a love story or a tragedy or neither of the two. In addition, the fearless of certain movie stars to transcend the clunkiness is also missing.             What I dislike is not the film itself but the underlying materials used in the movie. The story is a thin beer for the time it takes to tell it and the music is maddeningly repetitious. I assume that the reasons underlying this can be explained by some events in the movie like the crashing down of chandelier. This crashing is not a shock but a historical reenactment. On one hand, the mask of the Phantom in the movie is more like a fashion accessory. Also, his good profile is so chiseled and handsome that the effect is not an object of horror but a kinky babe magnet.             Moreover, I feel that the film is not a movie per se but a stage play since the performances of the characters are more about music than the story. This run parallel to the review of Movie Mom’s (2006) that [5]the emotions sets to Andrew Lloyd Weber’s purplish music are theatrical that the film becomes effective as the stage play.             On one hand, I consider that the film is given its grandest aspirations by the luxurious sets and costumes. Schumacher delivers a perfect visual translation of the staged production to the screen because the Phantom’s home is given a cavernous shape and the opera house an architectural masterpiece. Similarly, every nook and cranny of the setting feels like an actual setting rather than a prop in a filmed play. In the same way, these settings are given a multi-dimensional shape.             However, in essence I believe that the film is much like the play which tells about what lies beneath the surface.  [6]Beneath the opera house lays the dark, unsettling Phantom and beneath his silky, featureless white mask is a horribly character. In general, I judge that there is actually nothing below the surface of this film for all of it is the references to the deceptions of appearance.   Film Title: There’s Something About Mary (1998) Genre: Comedy / Romance Director: Two Most Important Member of the Cast:  (Mary Jensen) and  (Ted Stroehmann) Review             [7]This is a story about Mary and Ted. There’s something about Mary that still bewitches Ted. Although he hasn’t seen her in over a dozen years, since that shameful prom night, his heart still flutters at the recollection of her. He’s still crazy about her after all these years and curious as to her whereabouts. He hires private eye, Pat Healy to track her down in Miami at the insistence of his good friend Dom.             In my opinion, the film is a package romantic comedy because amidst the softer story it can still deliver laughs and it has proven to be the most satisfying of the Farrellys’ comedies. Mary is also blessed with good casting and stiller tone setting for a comedic style.             Similarly, the review posted on  (2004),            [8]suggests that the movie is a prime example of subgenre of romantic comedy. I sense that this movie attempts to appeal to stereotypical guys whereas contemporary straightforward romantic comedies attempt to appeal stereotypical women. There are also lots of gross-out jokes, slightly homophobic humor, humor involving disabilities and sports cameos in the film. In my opinion such factors are intended to hide the fact underneath the characters. In addition, the characters had all the good comic timing. Generally, the storyline is a sweet love story.             [9]Supporting the review made by  (2006) notes that the movie redeems itself by being legitimately funny and surprisingly sweet. There’s Something About Mary also  merits attention for its less-controversial laughs such as the amusingly absurd musical narrative provided by Jonathan Richman, or Bret Favre’s hilarious surprise cameo. Finally, the movie is an excellent comedy that proves the considerable latitude afforded filmmakers in the permissive late 1990s resulted in more than just an inordinate amount of fart jokes.             However, one of the criticisms of the movie, in my belief is that not all of the jokes are as funny as the best ones because there are really jokes in the movie which are cruel like laughing at someone else’s misfortune and jokes which are crude like the jokes about masturbation, genitalia and death.  In addition, another problem that I would like to point out is the presence of long spells between scenes of chaotic hilarity.           Film Title: Mambo Italiano (2003) Genre: Comedy/Drama Director: Two Most Important Member of the Cast:  ( Angelo Barberini) and  (Nino Paventi) Review             The movie is about Angelo Barberini, the oddball son of Italian immigrants Gino and Maria, who inadvertently ended up in Canada rather than the States. He is a gay Italian-Canadian and an aspiring television writer who tries to hide his sexuality from his parents. His folks want to set him up with a nice Italian girl. But, he shocks them by moving out on his own without getting married. He shocks them further when he reveals that he’s gay. He moves in with his lover Nino, a childhood friend whom his parents see only as a good roommate for their son. Nino is not as ready to come out of the closet to protect his job being a police officer.             [10]According to the review posted on the movie is based on a stage play of the same name and this structure is still shown in the film despite the addition of Technicolor outdoor sets. Bibloi.com also added that the conventional set-up of the movie did not work well. I deem that Bibloi.com is correct with such statements. The conventional set-up could have work well but it does not really work out due to problems with the script and lack of respect for the characters. Similarly, Angelo’s monologue starting the movie feels flat on the film but it could work well within the conventions of the theatre considering that the movie is a reworked copy of the play.             In my outlook, this comedy movie gives the ethnic and sexual stereotypes a clumsy treatment. Additionally, the ending is perhaps appropriate for a stage play. The movie also, I think, has its share of problems, because it sets up things that are not coming, thus leaving the audience feeling somewhat cheated.                     On one hand, I assume that one of the good attributes of the movie is the funnier scenes. Some of these involve Angelo’s parents trying to come to grip with their son being a homosexual and with Angelo’s sister, Maria going through therapy and trying her experiences she gained on her clueless brother. Another thing which the movie can be proud of is the characters playing Angelo’s family which according to Bibloi.com are by far the best asset of Mambo Italiano.              (2006) agrees with it. According to her,  [11]the movie is done with such a good humor that the audience may laugh throughout. Further, she added that even if it might be offensive or annoying to some, most people may giggle watching the movie, thus forgetting the hard day.             Film Title: The Creature from the Black Lagoon (1954) Genre:  Adventure / Horror / Sci-Fi /Suspense Director: Two Most Important Member of the Cast:  (Julie Adams) and  (Dr. Carl Maia) Review  (1990) writes in his review that [12]the Creature from the Black Lagoon (1954) is an attempt to tap the success of The Beast from 20, 000 Fathoms (1953). He points out that [13]like Beast, the Creature eschews the idea of a giant-size monster and brings the monster down to the human-size. I believe that this is a wise move since it allows the film to have its cake eaten without the need for costly stop-motion animation effects. Further, [14]at its heart, the movie is just another variant on the Frankenstein and Mummy films that were Universal bread-and-butter genre output in the previous decade. In my view, the director of the movie, Jack Arnold pits human beings in a metaphorical relationship. This is made by the use of landscape throughout the film. Here, the humanity is constantly seen as a stranger in landscapes that resonate with the vastness of geological time. [15] Although the film’s modest budget and locations that never venture beyond the studio prevent this from being all it could be, the mystery of the Amazon and alienness of the underwater environment are well conveyed here.             In addition, the cinematography is striking in its imagery. [16]The scenes are particularly beautiful because the work in underwater photography made it possible to really follow along with the action under the water. Similarly, the score is possibly one of the most recognizable in monster movie history.             Correspondingly, the scientist becomes the hero in the tale unlike earlier monster movies. He becomes guardian of the lagoon instead of some megalomaniacal quest for power or prestige. This gives the film a refreshing quality and perhaps this is the reason why it has become a classic.              The aquatic aerobics conducted by Julia Adams where the unseen Creature mimics beneath the surface, finally daring to reach up and touch her is one particular good scene that I like because [17]Arnold crafts the scene as a graceful ballet and one that contains an undeniable underlying eroticism. [18]In another striking shot Arnold follows a cigarette Adams idly tosses overboard down into the water past the eyes of the watching Creature.             Sadly, even if Creature from the Black Lagoon is a great classic, I think, it is not perfect. The concept of the missing link falling for a sun-core sizzling human woman is a little creepy and it has been done before. Further, it is noticeable that the characters occasionally feel stock. In spite of Kay’s primary formidable presence, she is most commonly there to fill the role of damsel in misery. In addition, the men never seem to truly feel like they are in danger. They often come off as if they’re discussing the latest from the old Wall Street Ticker. Film Title: Weekends at Bernie’s (1989) Genre:  Adventure / Comedy Director: Two Most Important Member of the Cast: (Larry Wilson) and (Richard Parker) Review             The Weekend at Bernie’s is about the two enterprising young men who uncover an elaborate fraud scheme at their company. They are rewarded with a weekend at their boss’, Bernie, striking beach house. However, things get complicated whey they arrive at the beach house because they find their boss murdered. Despite what happened, they decide to have a good time anyway and include their boss in all the activities.             Catherine Mary Stewart and Gwen Saunders, Richard’s girl friend both has a small role in this movie. On one hand, Richard’s inept attempts to court Gwen form a humorous subplot to the story. Similarly, Catherine Parks as Tina, the moll who is two-timing the mob boss with Bernie is given very brief screen time. According to , [19]the movie is basically a modern floor show routine that has been stretched out to make a full length film.             What I like in the movie is the interplay between McCarthy and Silverman because it ends up the film entertaining. Additionally, the continuous on-screen tricks of McCarthy keep the audience interested ignoring the flaws of the story. Similarly, Andrew McCarthy and Jonathan Silverman put a lot of energy into their roles. Their unabashed enthusiasm carries the audience through the low brow humor and cliches of the screenplay.             I also like Tina’s final scene where she visits the now dead Bernie. It is one of the best bits of the film because Director Ted Kotcheff keeps this ridiculous situation moving and enjoyable. In addition, the best action scene is during the fight with the mob hit man who actually killed Bernie. This hit man comes back to Bernie’s place because everybody else acts like Bernie is still alive.             However, [20(1989) criticizes the movie for making two mistakes. First, it gives the audience a joke that is not very funny. Second, it expects the jokes to carry the entire movie. I consent with him because in my opinion, it is a decision that leads to some long, boring sequences and certain desperation on the part f the actors.              Another thing that he [21]criticizes is the role of the dead character. He points out that Bernie’s dead body did not work because it requires the other characters to be stupid. He also point out that it should be immediately obvious to several people in the movie that Bernie is already dead. This argument, in my outlook is correct. They must be incredibly dense in order for them not to notice that Bernie is already dead. Thus, their behavior of not noticing this is so idiotic.             On the other hand, Ebert stresses that despite of all these matters, [22]Weekend at Bernie’s still delivers a great 80s comedy and plays it off very well scene by scene.                                         Film Title: Moulin Rouge (2001) Genre: Drama / Musical / Romance Director: Baz Luhrmann Two Most Important Member of the Cast: Nicole Kidman (Satine) and  Ewan McGregor (Christian) Review             In this movie, Ewan McGregor plays Christian, a young immature writer who comes to a highly fictionalized and fantastical turn of the 20th century Paris. He falls in with a crowd of Bohemian artists led by Henri de Toulouse-Lautrec (John Leguizamo) who are writing a show, “the Spectacular Spectacular” to be performed at the Moulin Rouge, a hot nightspot. The Bohemian artists want Christian to write the show for them. They also send him to convince Satine (Nicole Kidman), the celebrity of Moulin Rouge to star in their show.              Zidler (Jim Broadbent), the owner of the Moulin Rouge arranged the meeting of Satine and the Duke of Monroth (Richard Roxburgh), a potential investor on that night. Satine thought that Christian is the Duke; thus she takes him to her bedchamber. They both fall in love with each other. However, Satine is a courtesan and love for her is a foolish risk. Further, the Duke invested on her which could be her chance to become a legitimate actress.             In my belief, the movie is a visually alluring and lavishly theatrical drama. The style of the movie is eclectic, drawing on grand opera, MTV music videos and MGM musicals. The music also is almost entirely in the 20th century pop even though Moulin Rouge is set in 1899 Paris. However, Luhrmann captured the feeling that seems to be there in 1899. Similarly, the sets and costumes are also tremendous giving the film an artificial, edge quality that serves the fantasy-like quality of the story.             Equally, Gildrie-Voyles (2001) points out that [23]despite the tragic plot of the movie, it is comical as it is moving. I think that this good deal of humor comes from Luhrman’s magical directing style. He mixes reality and fantasy with quirky camera angle, quick cuts and lots of special effects. The music itself also adds humor. [24]On one hand, while the song brings laughter to the audience and distract the scenes sometimes, they are appropriate. What I like in this films is the production numbers because they are thrilling and gorgeous especially the tango led by Jacek Koman.             Conversely, one of the criticisms of the movie, in my opinion is the songs used in the musical. Examples of these songs are the Material Girl by Madonna and the few lines from the Nirvana song. They are not appropriate to the setting of the film. The Reel Criticism.com (2001) agrees with it. It points out that [25]all of the songs in the movie are modern songs that mark a striking contrast to the time and setting of the film since it is set to 1899 Paris. Another problem found in the film is the shift from goofiness to seriousness and back again. The shifting is so harsh making it difficult to get into the story.   Credit:ivythesis.typepad.com

Movie Reviews

Movie Reviews Film Title : Singin in the Rain (1952) Genre : Comedy/Musical/Romance/Classic Director : Two Most Important Member of t...