Shawshank Redemption

What a powerful film. Engaging, beautifully crafted, powerful.

I use words like this because of the immense challenge Frank Darabont must have faced when presented with the script for Shawshank. If we break down the storyline, here were his instructions: Make a feature-length film about a guy who has nothing overtly extraordinairy about him, cooped up in a single location for 19 years before he escapes in the last 20 minutes of the movie. Yikes.

Yet the finished product was nothing short of spectacular. Literally every element of the film was flawless. The acting by both Tim Robbins and Morgan Freemen, the camera movements (most notably the epic helicopter long-shot showing Andy’s [Robbins] arrival to Shawshank), the intimate character development of both Red (Freeman) and Andy, and the mystery and suspense of the final escape.

What stuck with me most, however, is the eventual redemption (I know, it’s in the title) of both Red and Andy by the end of the film. Both characters are ultimately flawed, have been convicted of horrible crimes, and are smuggling goods into a high-security prison. If we made a checklist, these two characters would appear to be antagonists. But the beautiful writing, twisting plot and brave actions of the characters help to shape them into heroes in their own way.

I loved this movie because I was able to feel the emotions of it so clearly. The hopelessness of a life sentence in prison, the pain of unfair oppression by a corrupt warden and prison guards, the trust of great friends, and the glory of escape to happiness. I felt every bit of it, and I will always love the film because of it.

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Goodfellas

As if I needed to see another film about sterotypical Italian-American gangsters.

This was my thought as I sat down to watch Goodfellas, which, I admit, isn’t really valid. The movie came out long before any other mafia movie I had seen, so in reality I guess I should have seen this a long time ago. Like when I watched The Godfather. Definitely before I watched Be Cool. Yikes.

But past impressions and present assumptions don’t matter. What matters is that Robert De Niro and Ray Liotta delivered a remarkable performance in a film that perfectly captured the glory, glamour and grit of what it meant to “be somebody” in the Italian-American mafia. I was in a trance the whole movie (which, I realized after, was a respectably long 146 minutes).

The first half of the movie is entirely dedicated to making the viewer fall in love with this lovable kid who had a good heart in a bad system. Though you didn’t agree with everything he did, you always agreed with his heart; his love for his family, humble willingness to work and passion for the spotlight. Then, as he grew up, you began to love his youthful charm and romantic courting of his future wife, Karen. Life was perfect for the young mafia superstar, and we were all on his team.

The second half of the movie tore all those warm fuzzy feelings apart. Liotta’s character gets involved in affairs, senseless murder, illegal narcotics, abuse, deceit and betrayal. Every once in a while, his heart will get the best of him and he cracks, begging his wife and family for forgiveness. The rest of the time, he submits to peer pressure of his volatile and gunslinging friend Jimmy (De Niro). It isn’t until the end that he finally wisens up and turns in the people who turned his life into a living hell. ‘Atta boy Ray.

Overall, it was the fantastic script and story that made this film a success. The camera work and visuals were nothing crazy, but the acting and twists of the plot keep you coming back for more.

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Slumdog Millionaire

You don’t need to read this article to tell you that Slumdog Millionaire was an incredible film. The “Best Picture” Academy Award could tell you that. What really stuck out to me about this film were three things:

First, the way the story (which was one of the first truly unique storylines I’ve seen in a long, long time) was told was brilliant. Interlacing the ending scene with flashbacks that simultaneously tell the story of Jamal’s past as well as finish the end of the story was a complicated way to carry out the script. The execution, however, was perfect. Had we just watched Jamal succeed at Millionaire and tell us how he knew the answers, I would have been bored to tears. But living his experiences through flashback, especially given how powerful and tragic the experiences were, was entertaining and compelling.

Second, the visuals of the film – mainly the use of color and saturation – made this story mesmerizing. I can still picture the rusty brown of the Mombai slums, the vibrant blue of Shiva’s cameo and the triumphant yellow lighting of the final scene, where Jamal finally finds peace and love. Every scene corresponded to a powerful emotion, and each emotion was portrayed by strategic placement of color.

Finally, the movement and placement of the camera did a wonderful job of bringing the viewer into the story. Like we discussed in class, the camera frame represents what the director wants the viewer to see and feel; it puts us in the point of view of the character. Slumdog Millionaire mastered the use of chaotic chase scene camera movement to still, calm shots to tense, canted angles.

Like I mentioned before, this was one of the most original and powerful stories I’ve seen in a long time, maybe ever.

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