Monthly Archives: April 2016

Fight Club: Why the movie is better than the book

I read Chuck Palahniuk’s Fight Club a couple of years ago but had never seen the film until we watched it in class.  I was immediately much more enthralled in the story and the characters than I had been when reading the book.  This got me thinking, because I tend to think that the book version of a story is better than the movie version, why was Fight Club better as a film than as a novel?

For one, the story was able to flow so much better visually than in print.  The novel was rather disjointed and at times I thought it was hard to follow.  Perhaps, this can be traced to the fact that Palahniuk said he had not planned out to have two alter-egos of the same person portrayed as the same character.  Since the film makers knew this going into the film, they were able to drop more subtle clues that viewers can pick up subconsciously or consciously on.  This makes the ultimate revelation that Tyler and the narrator are the same person more believable.  It also allows for people to rewatch the film over and over again to reanalyze the clues leading up to the reveal.

fight club 2

Also in relation to the convoluted writing in the book, is the film’s decision to romanticize the movie.  In the book, Marla’s character wasn’t as well developed and the relationship between Marla and the narrator was not as emphasized as in the movie.  I think by shifting the focus to make the film more romantic, allowed for greater depth to be added.  It brought together the film better, especially at the end, with the idea that the “man has reached a point where he can commit to a woman”.  I think that Marla also helped to add to the psyche of the narrator, especially through Fincher’s decisions such as having Tyler styled similarly as Marla and Marla replacing the penguin in the narrator’s psyche.

fight club 3

The addition of Marla as more of a significant character, also lead to the changing of the ending.  In the novel, the narrator shoots himself to get rid of Tyler and ends up in an asylum that he believes is heaven and hints at the fact that Project Mayhem will continue.  This is in sharp contrast to the film’s ending that shows the buildings collapsing and the narrator returning to sanity and getting to be with Marla.  This shift in endings brings the story to a close better, and reflects the romanticizing of the story and brings together a better close to the narrator’s storyline.

fight club 1 fight club 4

Finally, I simply think that the visual media allowed for the story’s anti-consumer culture message to be conveyed better.  Through Fincher’s direction, different logos and aspects of consumer culture were better highlighted than simply stating them in the novel.  Even subtle choices, such as in the scene when Fincher shoots from the inside of the fridge, are used to show how people’s lives (especially aimed at men) are driven by the consumer needs and other basic needs are overlooked.

Overall, I enjoyed Fight Club better as a film rather than as a book.  I wonder if someone who had seen the movie first and then read the book would find similar issues as I did, or if I was more biased by reading the book first.  In all, I believe that through Fincher’s direction Fight Club was able to portray its messages better in film version.

 

http://edition.cnn.com/chat/transcripts/palahniuk.html

http://www.cracked.com/article_20287_5-movies-that-improved-book-according-to-author.html

Fight Club and Three

There were a lot of interesting things going on in Fight Club, but my favorite aspect was definitely the twist that Tyler and the narrator were the same person. I’ll admit I didn’t see it coming, though in hindsight there were a lot of clues (having the same suitcase, the fact that Marla seemed very offended when the narrator asked her why she was there, etc.) It reminded me very strongly of a book I read called Three by Ted Dekker. I’ll attempt to describe the book from memory, so the details may be way off, but basically the main character has three personalities (hence the title). One is his regular self, one is his female childhood friend-turned-love-interest named Sam, and one is a crazy guy who blows stuff up and kills people. Sounds famliar already, right? Obviously we don’t know that they are the same until near the end of the novel, for maximum dramatic effect. In this novel, the main character’s trauma stems from his parents, particularly his mother who neglected him and I think had some hoarder issues. Like in Fight Club, the “evil” persona mutilates his own body in some way. For Tyler, this meant dumping acid on his hand. For the protagonist in Three, this meant putting ice cubes in his eyeballs. When I read this book years ago I thought it was incredibly original, but now I’m skeptical that the book just ripped off Fight Club.

There is one noticeable difference though, and that is the love interest. The protagonist of Three dreamt up Sam as his childhood friend, which shows that his mental illness started at an early age. In fact, Sam is the first of his three personalities to realize that they are all the same person and coaxes his “true” personality to the realization. We discussed the possibility that Marla is another of Fight Club’s narrator’s personalities. I actually did consider this, in part because of Three and also because Marla seemed too eccentric and appeared so suddenly in the narrator’s life. This would definitely be an interesting possibility, though I don’t know what that would do to the message of the movie. In any case, I guess that my point is that if you liked Fight Club you will enjoy Three as well. I already spoiled the whole thing, but it’s still a thrilling read and you can look for the clues that they are the same person throughout the book.

Jared Leto: The Master of Deceased and Disfigured Characters

Though many know him as the founder and lead singer of the band 30 Seconds to Mars or the new Joker in Suicide Squad, Jared Leto is actually an accomplished actor, winning an Academy Award in 2014 for his supporting role in Dallas Buyers Club. Throughout his twenty year film career, Leto has also been shown to have strong supporting and leading roles in critically acclaimed films. However, upon further investigation of Leto’s filmography, I discovered and interesting pattern- his character almost always ends up dying or badly disfigured in the film. While this pattern is probably a coincidence, here are 10 films (out of the 21 released films he has acted in) where Jared Leto’s character meets a gruesome end.

  1. Switchback (1997)
    • Character: A hitchhiker
    • Fate: Unfortunately, his hitchhiker gets a ride from the serial killer of the film and is unfortunately, stabbed to death.
  2. Thin Red Line (1998)
    • Character: Second lieutenant in a WWII movie
    • Fate: One of the first men killed in battle.
  3. Fight Club (1999)
    • Character: Angelface (one of the space monkeys in Project Mayhem)
    • Fate: Beaten to a bloody pulp by the narrator during a fight. He lives through the ordeal, but his face is extremely disfigured and grotesque.
  4. Requiem for a Dream (2000)
    • Character: Harry, a young adult addicted to heroin.
    • Fate: While in prison, his left arm becomes increasingly infected due to daily heroin injections. Though he is transferred to a hospital, it is too late and his left arm must be amputated.
  5. American Psycho (2000)
    • Character: Patrick Bateman’s (Christian Bale) co-worker.
    • Fate: Hacked to death with an ax by Patrick because “he had a better business card”.
  6. Panic Room (2002)
    • Character: a burglar.
    • Fate: Lit on fire by his own hostages, then shot in the head by his own henchman.
  7. Alexander (2004)
    • Character: Hephaestion, Alexander the Great’s lover.
    • Fate: Died from mysterious illness, presumed to be caused by Alexander’s wife poisoning him.
  8. Lord of War (2005)
    • Character: Brother and partner to Yuri (Nicholas Cage), an arms dealer.
    • Fate: Tries to convince his brother to not finish a deal, is gunned down by soldiers.
  9. Lonelyhearts (2006)
    • Character: A con-man who robs wealthy, aristocratic ladies and kills them.
    • Fate: Eventually arrested and dies by electric chair for his crimes.
  10. Dallas Buyers Club (2013)
    • Character: Rayon, a HIV positive, trans-woman who helps Ron ( Matthew McConaughey) sell treatments to other infected individuals.
    • Fate: Dies from HIV.

Though morbid endings of Leto’s characters was the focus of this post, one can also notice the variety in his performances, portraying unique and different characters throughout his twenty year film career. While his chameleon ability is admirable, his supporting screen appearances are limited by the likelihood of morbidity in his characters’ fates. No wonder Leto does not liking watching his films, his happy endings are few and far between.

“I think this is the beginning of a beautiful friendship”

Morgan Freeman and Clint Eastwood

On the surface, Morgan Freeman and Clint Eastwood seem unlikely friends, especially because of their strong, opposing political affiliations. In actuality, the silver screen legends have done three films together during their careers, Unforgiven (1992), Million Dollar Baby (2004) and Invictus (2009). Moreover, the actors have vocally praised each other during interviews and have maintained a strong friendship and admiration throughout their careers. Freeman is especially fond of Eastwood’s directing, describing Eastwood’s sets as “comfortable” and stating this about his direction style: “He is so enabling. He is so out of your way as an actor and he likes to watch actors play. He expects you to know what you are doing and he’s going to take two giant steps back and let you do it.” Eastwood has shown his admiration for Freeman in a more subtle way, not speaking about their friendship in public, but through casting him in his films.

In truth, Eastwood and Freeman’s characters have very similar friendships in both Unforgiven and Million Dollar Baby (unfortunately we can’t examine Invictus because Eastwood is solely behind the camera). Because we watched the film, we as a class should remember their relationship in Unforgiven: two retired gunfighters who have remained close friends long after their violent partnership in the Wild Wild West had ended. In a way, Ned Logan (Freeman) humanizes the myth that is William Munny (Eastwood), confirming the Schofield kid’s tales about Munny because he was an eye-witness, but stipulating that it was actually worst than stories say. Logan and Munny have an unspoken pact between them because of their past, with Logan dropping his comfortable lifestyle to support Munny as he helps the Kid collect the bounties. However the extent of their friendship is truly seen when they try (and barely succeed) at killing the first cowboy, Davy Boy.

In this scene, the psychological damage of their gunfighter partnership is evident, with Logan being unable to even shoot the gun and Munny struggling through every bullet. However, Munny’s act of “finishing the job” reveals the depth of their friendship because it shows that he understands Logan’s struggles but at the same time, he can rise above his similar struggles with his past and complete the job. Munny’s strength and loyalty to his friend is also scene in the last moments of the film when he initiates his own revenge cycle because of Logan’s death. Though many would begin running for the hills at the mention of a partner getting beaten to death, Munny is able to rise above his struggles and finish the job, in the name of a friend.

As mentioned before, a similar character relationship between Eastwood and Freeman is seen in Million Dollar Baby, where Eastwood plays an elderly, retired boxing trainer and Freeman plays his assistant, who is also an elderly former boxer. Unlike Unforgiven, it is Freeman’s character that pulls Eastwood out of retirement, encouraging him to coach Maggie Fitzgerald (Hilary Swank), even though she is “too old” to begin a boxing career. Throughout the film, the two actors have amazing friendship chemistry, having funny interactions like this:

And touching moments like this: (SPOILER ALERT)

All in all, Clint Eastwood and Morgan Freeman truly have an amazing friendship that all began with a Western film.

He Was Tyler Durden THE WHOLE TIME

love Fight Club. It’s the only movie that we’re going to watch in this class that I’ve seen before, and it’s not like I’ve seen it once and then forgotten about it. I watch Fight Club maybe around once a year and the jokes still make me laugh and the gruesome scenes are still just right to make me cringe. It’s a seriously great movie.

One of the things I like about the movie the most is that once you’ve seen it, the movie actually becomes more fun to watch. That’s because Fight Club was so good at laying foundation that the narrator was actually Tyler Durden, and it’s so easy to miss and overlook. And I mean, sure there’s the obvious stuff like “hey we have the same briefcase” when they’re on the plane. But there’s also the VERY subtle stuff.

I’ll start with the craziest way they said that Tyler Durden was fake. Remember right after the apartment exploded, and the Narrator called Tyler, but he screens his calls and calls the payphone back? There’s a shot where they zoom in on the phone to show the BWAAHHHH aspect of the phone calling back. The ending of the movie was right there the whole time. See below.

The phone can’t take incoming calls. Clearly this is all in the narrator’s head, and we’ve barely even seen Tyler Durden.

But even BEFORE Tyler shows up, hes’ already in the movie. And you might not even have noticed it. The movie has a few different shots where he shows up for a split second. This video has all of those shots slowed down because they’re literally blink-and-you-miss-it. Even i missed one of those shots watching it on Monday, and I knew where it was going to happen.

Guess what, we’re going to go even earlier in the movie to find the next one. Remember when the narrator was in the hotel room talking about his life, and the commercial for the hotel said “WELCOME!”?

25 Things You Didn't Know About The Movie "Fight Club"

Yep. Tyler Durden. He was there the entire time.

I could write about these subtle hints that Tyler is a figment of the Narrator’s imagination all day. And I will. Let’s keep going with smaller ones:

In the scene where the Narrator fake fights his boss, he says that he was reminded of his first fight with Tyler. Why? Because that fight was just him beating himself up.

When the Narrator and Tyler are discussing fighting different people and get on the bus, the Narrator pays only one fare. You might have thought Tyler was being rebellious and not paying but nope.

In all the scenes where Tyler is driving, and it shows the Narrator getting out of the car, it ALWAYS shows the Narrator getting out of the driver’s side.

It’s little stuff like this that makes it such a good movie. You could keep watching it over and over to catch these small details and it just enhances the enjoyment of the movie. Another Fincher movie that I’d recommend if you enjoyed the mind-blowingness of Fight Club is The Game. When I watched it for the first time, I could not tell you where I thought the story was going because Fincher is that good at laying out details for either side. Would recommend.

 

Today’s blog’s music was the new Explosions In The Sky record, The Wilderness. Listen to it and love it.

The Art of Storytelling: Video Games as a New Outlet

After watching Unforgiven last week and discussing older forms of Westerns, it had me thinking about how I was initially exposed to the genre of Westerns. As far as I can remember, my first true experience with the Western genre wasn’t through a movie, a television series or any of the typical media outlets, but rather through a video game. When I was in 8th grade, I bought a video game called Red Dead Redemption, opening my eyes to what the Western genre was. It sparked my curiosity immensely, leading to me watching various famous Westerns such as Butch Cassidy & The Sundance Kid and The Good, The Bad, & The Ugly. The weirdest part out of all of that for me? Out of every Western that I’ve seen thus far in my life, the story of Red Dead Redemption is just as good, if not better, than all of them.

reddead

Red Dead Redemption tells the story of John Marston, one of the most infamous outlaws of the West. Rather than play as this daring outlaw in his prime, the game starts in 1911, when the American Frontier is slowly dying out to commercialism and Marston is in the twilight of his career. The game opens with Marston being taken from his family by the Bureau of Investigation (now FBI), telling him that the only way he can see his family again and avoid a life behind bars is if he works with them to capture his former partners. It is a gripping tale, filled with many unique characters and events that have the player fully invested from the beginning. Marston is the perfect antihero that fits the Western story from the beginning. He is a very similar character to William Munny, in the sense that he is a guy that you love to hate, but over time your feelings for him become ambiguous as you learn more about his life. To show an example of his character, here is a quote pulled directly from Marston himself during the game:

there-are-some-good-quotes-behind-those-pixels-24-hq-photos-16

Thinking about this game made me realize the newer abilities of video games to tell these compelling stories. In the early days, video games were simply about collecting points and breaking high scores. There was no story, no character development, no cinematic experience. You would have never heard dialogue in a game, let alone a quote as powerful as the one above. But as graphics systems grew and games were able to hold more memory, characters became a little more fleshed out, worlds became bigger, and the stories became grander. For example, here are side-by-side images of the game Doom, released in 1993, and Red Dead Redemption, released 17 years following.

combine_images

As you can see, by 2010 the ability to recreate natural life was almost completely perfected. As video games became more realistic, their ability to tell stories of the same nature grew. Games like Red Dead, Bioshock, and Fallout all tell stories that rival some of the best tales Hollywood has ever created. This opinion really makes me a product of my generation, as even 10 years ago such an idea would have been completely absurd. However, using myself as an example, I played this game originally just for the entertainment value but left having experienced one of the most gripping stories of all time (not to spoil anything, but the ending would have made Clint Eastwood himself proud), and a new appreciation for the Western genre. Video games today provide an opportunity to become more invested than ever in a story, as you are quite literally the main character of the game. The art of storytelling has found a new medium in video games, and I hope to it will continue in that trend as games become even more realistic than they are now; allowing kids like myself to become more cultured to the world and gain more exposure to newer experiences. If not for this game, Unforgiven may very well have been my first Western ever.

The Reality of the West

I would not call myself a big fan of Westerns, but there is a certain air to them that I find very interesting. Westerns force us to think about certain aspects of “Americanism” as no other genre can. The idealism of expansion and rugged individualism making it out in the wilderness seems quite romantic, but it also conflicts with the ugly realities of the unjust treatment of non-white people, rampant alcoholism, violence, prostitution, and so on. I really liked that Unforgiven addressed some of these issues and put a more realistic spin on the Western.

The effect of violence on those that commit it is probably the most thoroughly explored issue in the film. I found William Munny to be a very interesting character because he is clearly scarred by his violent past and tries to move past it. Similarly, Ned is so troubled by the thought of violence that he can’t bring himself to shoot Davy Boy and the Schofield Kid is so traumatized by his first killing that he swears off of it forever. This makes all of these men much more relatable and realistic than a classic Western hero who shows up, says some dramatic lines, shoots some people, and then rides into the sunset.

But it’s not just the men who are more nuanced; I also appreciated the portrayal of the female characters in the film. The prostitutes were not depicted as simple whores or eye candy; they took care of each other, they stood up for themselves, and they clearly had minds of their own. On the other hand, they were also not perfect women who just fell on hard times; their obsession with revenge starts a vicious cycle that hurts many people who didn’t deserve it. In this way they are, like the men, depicted in a more nuanced way that breaks down their archetypal characters.

Finally, the last group I want to talk about is non-white people. The film didn’t address racial issues too explicitly, but I felt there were still some aspects worth mentioning. As far as non-white characters go, there is Ned and there is his wife Sally. Ned isn’t faced with any explicit racism that I can remember, but I definitey got some vibes from the Schofield Kid’s first interaction with him. And of course, the scene where Ned is whipped by Little Bill was very reminiscent of slavery and highlighted the power inbalance between the two. Ned’s wife Sally doesn’t get as much screentime and the movie doesn’t really address Native American issues that came about as a result of Western expansion. Similar to this is the case of the Chinese. Several characters say that English Bob is known for shooting Chinamen and I think I saw one Asian guy in the background somewhere, but mostly there isn’t much representation for us in this film. It’s a shame because many Chinese people came to the US and ended up being treated horribly while working in the mines and on the railroads (so much for “Gold Mountain”). I know that the film wasn’t really trying to make a big statement on race inequality, but since it was taking a more realistic look at the Western I think it was an opportunity missed to not expand on this more.

The Anti-Pundit

colbert(Image credit: The New York Times)

For someone so entrenched in politics, and more importantly, the media surrounding politics, it makes sense that Stephen Colbert’s favorite film is, in fact, Sidney Lumet’s Network.  (Read in his own words what he loves most about the film here).  At first glance, it could seem that his bombastic character from The Colbert Report might even be modeled from Howard Beale.  According to Colbert, this isn’t the case- as he remarks, “It’s not an influence for my show, because Beale is a hopeless character who ultimately does not succeed in what he wants to do, and is killed.”  But in satirizing modern television news and the pundits who inhabit the stations, Colbert’s past show takes after Network in its commentary and vision.

For other news commentators of our time, Howard Beale himself shines through in their programming.  In an interview, Glenn Beck actually said he personally identified with Howard Beale: of the “mad as hell” mantra, he said, “I think that’s the way people feel,” Mr. Beck said. “That’s the way I feel”.  His show includes segments such fiery segments as “Constitution under Attack” and “Economic Apocalypse,” and he “regularly bursts into tears”.  On whether he seems himself as a religious figure, akin to the holy church of Howard Beale, however, he declines.

When it was suggested in an interview that he sometimes sounds like a preacher, he responded, “No. You’ve never met a more flawed guy than me.” He added later: “I say on the air all time, ‘if you take what I say as gospel, you’re an idiot.’  (NY Times)

As we discussed in class, many of the segments on Howard Beale’s show feature themselves in the tropes of TV news today.  Stephen Colbert points out a few more: Vox Populi he sees most like CNN’s “iReport”, an opportunity for CNN viewers to be featured on the news by tagging “iReport” in their social media posts.  For Sybil the Soothsayer, he points to Bill O’Reilly’s “body language expert,” who supposedly analyzes the body language of important figures (often President Obama) to determine their secret internal and subconscious thoughts.

There is no doubt that Network accurately predicted many of the features of current television, especially in news programs.  Thankfully, we have the restoring order of such anti-pundits as Mr. Colbert to confront the mainstream.

 

 

http://artsbeat.blogs.nytimes.com/2011/05/19/stephen-colbert-on-network-great-film-or-the-greatest-film/

And the Oscar Goes to…..Who?

I won’t lie, my favorite thing about watching movies is learning about the actors and actresses in them. I know this is reminiscent of Old Hollywood but literally after every Monday I google the film and then look at the starring actor/actress’s Wikipedia page. Though I normally recognize at least one of the actors in each film we have watched, I am especially intrigued when I do not know who they are and upon looking them up and find a unique trivial fact.

When I was watching Network, I found it difficult to sympathize with Max’s wife Louise when she found out her husband was leaving her, mainly because the script did not focus on or even fully develop her character in the narrative, using her only as an emotional punching bag for the audience to reconsider their view of Max. So, imagine my surprise when I found out that the actress who played Louise Schumacher (Beatrice Straight) was not only nominated for the Best Supporting Actress Academy Award, but won the category as well for her role as the heartbroken wife in Network. In fact, Beatrice Straight also holds the Academy record for the shortest performance to win, only being on screen for a total of 5 minutes and 40 seconds. Though Academy Award  wins are not the end all-be all of an actor’s talent (I’m looking at you, Leo), I was still intrigued that a character with such little screen time could warrant both a nomination and a win on the Oscar night. Therefore, I decided to scrounge the Internet for what people consider “The Worst Oscar Winners”. Though I am not strongly against Beatrice Straight winning an Academy Award for her work, I figured that this was not the first time the Academy went against the popular choices (and their better judgement) in both nominees and winners.

Starting with the men, here are the top 5 winners considered “the worst” Best Actors:

Sean Penn won an Oscar for the 2003 mystery drama "MysticRex Harrison charmed moviegoers (and Audrey Hepburn)

  1.  Sean Penn in 2003 for Mystic River
    • Viewed as an over-actor, many believed Bill Murray should have won for his performance in Lost in Translation
  2. Roberto Benigni in 1998 for Life is Beautiful
    • Viewed as a tasteless comedy about the holocaust, Benigni’s performance was seen as one-dimensional.
  3. John Wayne in 1970 for True Grit
    • This win was viewed as a lifetime achievement award from the Academy to John Wayne as an icon, not for his performance in True Grit.
  4. Rex Harrison in 1964 for My Fair Lady
    • Seen as an awkward, forced performance, many believe this award would have been more suited for Richard Burton or Peter O’Toole in Becket.
  5. Al Pacino in 1992 for Scent of a Woman
    • Everyone can agree that Pacino, in his prime, was a talented actor. However, many thought this performance was undeserving of an Oscar and that it was a sympathy Oscar for Pacino not winning for his past, stronger performances.

Now on to the “worst” actress wins

  1. Elizabeth Taylor in 1980 for Butterfield 8
    • Most critics concede that Taylor was a remarkably talented actress and definitely deserved an Oscar, just not for this film.
  2. Helen Hunt in 1997 for As Good as it Gets
    • Seen as an underwhelming, boring performance.
  3. Cher in 1987 for Moonstruck
    •  Seen as a good, yet overwhelming that should not have beaten out Glenn Close’s performance in Fatal Attraction.
  4. Halle Berry in 2002 for Monster’s Ball
    • Though Berry’s win was of historical significance (first African American female to win) many critics believed that Berry deserved a better character and better film to win for.
  5. Gwyneth Paltrow in 1998 for Shakespeare in Love
    • Seen as a romantic comedy performance that should have not even been nominated.

Though award shows are not everything, it is interesting to see how perception of  what is someone’s “best” or “worst” performance changes over time.

Sources:

http://www.azcentral.com/story/entertainment/movies/2016/02/16/worst-best-actress-oscar-winners/80003620/

http://www.filmsite.org/worstoscars.html

http://www.azcentral.com/story/entertainment/movies/2016/02/16/worst-best-actor-oscar-winners/80014628/