Summer’s End

1 Sep

Hope all my school-age readers are enjoying their first few days back at school/university. It has certainly been a few hectic days for me. In fact, I think I am truly beginning to miss summer now that it’s gone until after another long school year. So much so that I would like to dedicate today’s post to the wonderful 500 Days of Summer. I think many people have seen this film but it originally started out as a small, independent flick that premiered at the Sundance Film Festival. It garnered a lot of praise and slowly built steam from there. I remember when I first the saw trailer for that movie, I was immediately mesmerized. The mix of the characters, the plot and the music especially really got me excited to see it. I also love Joseph Gordon-Levitt so it immediately interested me. It tells a classic story of boy meets girl but it tells it in a very original and clever way, documenting the 500 days that the boy is involved in any way with the girl, named Summer. Just like we must learn to get over summer, the film mainly depicts Tom’s struggle to get over Summer. The film’s soundtrack is just awesome. It features Regina Spektor, The Smiths, The Temper Trap, Hall & Oates as well as Wolfmother. It definitely adds a nice range to the film and helps us describe all the emotions that true, honest love can evoke out of us. If you have not seen 500 Days of Summer, check it out as soon as possible because it is a great crowd-pleaser and a film that will make you reconsider your feelings about love.

I am going to put the trailer on a movie intro for the first time because I really liked this trailer a lot.

Trailer:

Now some of the music:

Enjoy!

-Cinemabeats

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Tears in the Rain

31 Aug

Film: Blade Runner

Director: Ridley Scott

Year Released: 1982

Cast: Harrison Ford, Rutger Hauer, Edward James Olmos, Sean Young, Daryl Hannah

Available on Netflix Streaming: Yes

Available on Cuevana: Yes

Rating: 10/10

It’s too bad she won’t live. But then again who does?

A very thought provoking question indeed, asked by what literary buffs like to call a leitmotif, a recurring image or in this case, character, who serves to repeatedly develop the themes of the work further. In Blade Runner, director Ridley Scott asks us to ponder some of life’s most perplexing and difficult questions and notions. As a film that constantly reminds us of our mortality and our impermanence, Blade Runner uses more than that just that one leitmotif to drive its points home. However, the significance of the quote when taken in context with respect to the entire film, becomes very clear, especially in the end scene. The character that speaks the line also defines the technique as it gains a much greater poignancy when the viewer sees where this thought is coming from and why it would naturally come from this character.

Welcome to the Future and the Future is not bright.

And it is the characters that make Blade Runner what it is: an extremely deep and satisfying character study of several different mindsets and backgrounds. Scott tells the story of a retro-future Los Angeles where advanced technological breakthroughs have given way to the advent of android beings known as replicants, who save for their increased intelligence, physical ability and dissimilarity with typical human emotion, are absolutely indistinguishable from normal humans. In this grimy and grim looking future-noir world, officials have banned replicants from taking up residence on Earth, after mutinous activity by replicants on off-world colonies. Scott sets up the background of the setting and universe very quickly and plunges into the story of a retired replicant hunter, also known as a Blade Runner, who is asked to complete one last task to hunt down and kill four rogue replicants that have escaped and arrived in Los Angeles. The two leads of the film perform amazingly well; Harrison Ford as the mysterious Blade Runner, Rick Deckard, and Rutger Hauer as the extremely well-developed and terrifying, Roy Batty, the leader of the rogue replicants. As the two main characters, they primarily give weight to the motif of living in fear and overall, the theme or idea of death as inescapable, a haunting close to the countdown of our lives.

Harrison Ford does an excellent job.

In Blade Runner, one can view Rick Deckard as death, assigned to track and exterminate these four replicants or one could alternatively and simultaneously view the limits imposed by genetic engineers as the ultimate fear that constantly reminds us of its impending closeness. See, these replicants have been designed to only last for a few years so they cannot learn over time to develop true emotions and feeling. However, critics have often argued that it is the replicants in this film that feel and display the most heartfelt emotion (anger, fear, grief). I am inclined to agree as we see the desperate Roy Batty, obsessed with finding a way to extend his lifetime and understand his meaning in the world. What does it truly mean to be alive?

In fact, Blade Runner has hardly been examined as an existential piece but with the overarching theme of fear of death, an existential concern or panic can immediately form and it seems to happen with Batty. What is the meaning and significance of a transient human life, here to serve for a few decades, and then be gone forever? Apply that to the even more so decreased lifespan of the replicant counterparts, and the theme of lack of meaning in relation to our short lifespans elucidates itself very brightly. We search for these answers as to who made us and how we came to be and what that means for our current situation…well Batty happens to know all this yet his life still retains this quality of sorrowful regret, a desire that his short but eventful life could have had some meaningful impact and preservation. Certainly, any viewer can see this come to fruition in arguably one of the best scenes in all of cinema history; the climax between Deckard and Batty. The title of this review actually derives from a beautifully ad-libbed line spoken by Batty to Deckard towards the very end of the film. I will not spoil it because one should truly examine the passion of the delivery by Hauer without knowing exactly what he is talking about. The music that plays in that end scene is just magical and mirrors the sentiment of Batty so finely.

The beautiful climax between Deckard and Batty.

Speaking of the music finally, Blade Runner utilizes terrific music to bolster the viewer’s understanding of the future world. Filled with tightly packed roads, street vendors on every corner from every part of the world and large flying projectors, this world is quite unlike the Los Angeles we know today. One aspect of the music that many do not appreciate is its fantastic, global range. Beats can be heard from the tabla, a traditional Indian drum, as well as traditional Chinese-inspired strings, all throughout the film. What makes the sound so unique is composer Vangelis’s use of eighties synthesizers, which add a very techno-pop effect to each and every sound. Percussion and strings are all morphed by this interesting synthesized sound and it creates this effect of foreign and noir influence in a very futuristic manner. In addition, one scene in the film utilizes a changing traffic signal, which audibly instructs pedestrians to “Now Walk,” along with the beat in the background to form an interesting sound to the scene. No doubt, this film has a phenomenal soundtrack and does not just rely on electro beats; it places all sorts of sounds in the context of that overall sound. It is incredible. Listen to Damask Rose if you only choose one!

I have not discussed the visual portion of Blade Runner that much but rest assured, it develops the plot in a very essential way as well. I will allow you to judge it, however, and make what you will out of it. It is truly unique I will say and has served as inspiration for other futuristic, science-fiction films since. That’s what makes Blade Runner such a colossal success; its themes have since appeared in other science fiction films and its pace, slow-building tension and alternatively thought-provoking charm have been used as models for other sci-films as well. Keep in mind, this film slowly builds to its climax but the payoff is extremely rewarding while its speed additionally contrasts heavily with the idea of the film, bringing further attention to the problems of the replicants. That’s where you are headed when you watch this film. It will make you think, second-guess and reassure yourself. Ultimately, where you end up by the end of the film, may be very different each time you view it or vary greatly from another viewer who has seen the film. That’s the magic of Blade Runner. A film that is as open to interpretation¬† as it gets (critics have formed various, different interpretations) and leaves you speechless every time. A moment of our experience that we always remember…one of the few perfect tens in film, in my opinion.

Rating: 10/10

http://www.cuevana.tv/peliculas/875/blade-runner/ (I would recommend this cut)

I’m posting a lot because I love the music in this film!

There you go! Please enjoy!

-Cinemabeats

Do Androids Dream of Electric Sheep?

29 Aug

Hope everyone on the east coast weathered that hurricane well. So the next film on the review block is one of director Ridley Scott’s first films and is also still to this day, his best film, in my opinion. A great sci-fi, future-noir film known as Blade Runner has served as an influence for several futuristic science fiction films since it’s inception and release. The atmosphere and mood that Scott created in this film becomes integral to the plot, its characters and the overall themes of the film. The synthesized sounds in the film composed by Academy Award winning composer, Vangelis, develop a very dark, techno-pop characteristic to the music; consequently, the world that Scott conveys becomes soaked in the sentiment of the music. End effect is that the world becomes wholly authentic and plausible in the viewer’s eyes.

Blade Runner tells the story of a man assigned to hunt down four rogue androids that have escaped from off-world colonies and have now taken up residence in Los Angeles. The pacing of this film has polarized many but the music matches the pacing perfectly and manages to rise, crescendo and fall alongside the emotions of all the characters sensationally well. Interestingly enough, I actually did not like Blade Runner at all when I watched it for the first time. When I watched it the second time, I actually liked it. My reverence for the film increased more and more upon each subsequent viewing to the point where now Blade Runner is one of my favorite films of all time. In fact, if I were to come up with a Top Ten List, it would probably be in there. It’s a great film so everyone should check it out. But it is also not a film for everyone so do not keep your expectations very high. After all, I didn’t like it my first time. Just keep in mind that there exists a very deep meaning and significance to the pacing and development of the film. Once you understand that, you will truly begin to recognize the artistry of Blade Runner.

Enjoy this great track from Vangelis that plays over the end credits of the film.

-Cinemabeats

Sounds from the Jurassic Jungle

25 Aug

So the past couple days, AMC has been showing off a fantastic action film that I am sure most of you have seen. None other than Jurassic Park directed by Steven Speilberg. I actually really like the whole plot behind Jurassic Park. For those of you who do not know, it was actually adapted from a highly successful novel by the late Michael Crichton and I must say this is one of the few films that even comes remotely close to the level of the original source material. One of the biggest reasons the film was so successful in my mind is due to its enchanting score and the wonderful music composed and provided by the legendary John Williams. I earlier introduced you to some of his music in Jaws. His music in Jurassic Park retains the tense sounds from Jaws while also including some truly beautiful and inspiring compositions that reflect the power and magnitude of the island of dinosaurs. I love listening to some of this music when writing or studying; it really does inspire you. If you have not seen Jurassic Park and I highly doubt many of you exist, then check it out as soon as possible because it is definitely a classic of 90’s cinema.

This particular track plays over the end credits and is very magical.

-Cinemabeats

A Tale of Two Tales

24 Aug

Film: The Fall

Director: Tarsem Singh

Year Released: 2008

Cast: Lee Pace, Justine Waddell, Catinca Untaru

Available on Netflix Streaming: No

Available on Cuevana: Yes

Rating: 9.1/10

Why do we fall, sir? So that we can learn to pick ourselves up.

Okay so that line is not spoken in The Fall; in fact, that dialogue is from the very popular Batman Begins by Christopher Nolan and received by Bruce Wayne as fundamental advice from both his father as well as his caretaker and butler, Alfred. Yes, that line captures a very significant thematic element of Tarsem Singh’s The Fall, its extremely visual, inspirational message coming through the use of breathtaking images, scenery and wonderfully delightful characters. Tarsem contrasts his real-world characters with their fascinating counterparts in the fantasy world weaved by main character Roy, played by Lee Pace, given to the young Alexandria, played by the incredible child actress Catinca Untaru. In the real world, individuals feel constrained by their circumstances and refuse to the face the reality of their situation while the fantasy characters surmount seemingly insurmountable obstacles in order to fulfill their quest for revenge.

Our five heroes in the fantasy world. Each is vastly unique.

Alright so let’s take a few steps back because I absolutely love the plot of this film. It tells two stories in essence: when a young stuntman finds himself in a hospital after a terrible fall on a stunt gone wrong, he befriends a young girl named Alexandria. Over the course of the next few days, Roy begins to tell Alexandria an epic tale of five men seeking revenge against a man, named Governor Odious, for the terrible wrongs they feel he has committed against them. When the story cuts to these incredible sequences of the epic fantasy, the film almost transforms into something else altogether; a showcase of beautiful imagery woven together by amazing characters who all have different motivations for their revenge. I will not say anything else more than that but trust me, you have never seen anything quite like the shots that Tarsem captures in The Fall.

Amazingly, Tarsem did not use any CG special effects to deliver any of the setting or scenery in the film. The sequences on film…these are all natural as some girls would like to say. It serves as an homage to classic film-making where directors did not have the tools or resources to include computer generated graphics and imagery. And I must say, it elevates the quality of the film all that much more, in my mind. In fact, the entire film feels very retro from the setting in 1940’s Los Angeles (Tarsem says Once Upon a Time in the film) to the very formal dialogue and vocabulary used in the film. It creates an out of world effect like we, the viewer, are being transported to another time and another realm, in the case of the epic fantasy segments.

One of the incredible locales in the film.

I really cannot say enough about the visuals in this film. I know that this is a blog about the effect of music on films and their significant relationship but Tarsem conveys some absolutely stunning images to the viewer, to the point where we honestly doubt whether all these places where he shot the film could truly be real. Rest assured, every single locale where the film was shot(over 20 countries) most certainly exists. Lakes, deserts, mountains, ocean reefs, palaces are all included in this film. How this film did not win the Academy Award for Best Cinematography is beyond me!

Moreover, the actors in the film are relatively unknown save for Lee Pace but a regular moviegoer probably will not recognize the name; nevertheless, they all give fantastic performances especially the actors who play characters in the fantasy tale portions. They breathe such specific qualities and characteristics into each of their personalities that the viewer forms a very deep connection with these completely fictional characters made up by Roy. Speaking of Roy, the interactions between Catinca Untaru and Lee Pace are very fun to watch. They have a fantastic rapport with one another and Tarsem often did not tell the young actress that he was filming in order to gain more spontaneous reactions and lines from her.

As the story unfolds deeper and the nature of the relationship between Roy and Alexandria becomes more clear, the themes of the film similarly become more apparent to the viewer. Alexandria is the stark opposite of Roy. I will not say how exactly in this review but it is only through the joy and inspiration of Alexandria that Roy finds the courage and power to move forward out of his desperation. I really cannot speak too much more about this major, central theme without spoiling the entire plot but Pace and Untaru both do a phenomenal job towards the end of the film. The ending sequence of the film played alongside Beethoven’s Seventh Symphony Movement 2 brings the entire film full circle very nicely and truly makes a great statement about the two main characters.

Speaking of Beethoven, his Seventh Symphony Movement 2 serves as a recurring motif through the film. Like the setting and the dialogue, it gives the film a very classic and vintage essence while maintaining the epic quality of the film as well. Unfortunately, since the film was solely financed by Tarsem himself, no production crew ever became responsible for releasing a soundtrack or even an official score. However, the music in this film is so indescribably eclectic and unique, it manages to strengthen the grand nature of the story and the viewer feels further drawn into the fantasy world. Simply put, it is a monumental shame that there is no soundtrack for this film because I guarantee that I would listen to every track repeatedly. It is quite honestly just that good.

And our other two heroes in their fantasy counterpart bandit costumes!

And this film is quite honestly just that good. While it did not gain much recognition from viewers or award associations, some critics did appreciate the amazing effort that went into this terrific endeavor. Tarsem actually has his Immortals coming out this fall (haha sort of a pun) and I think more regular moviegoers will see that and finally get the chance to see the incredible vision of Tarsem. Check this film out! It recounts two touching stories and has a very inspirational message that connects the two stories!

Rating: 9.1/10

http://www.cuevana.tv/peliculas/2356/the-fall/

-Cinemabeats

So…Funny Story

23 Aug

Today I am not reviewing The Fall. I will be doing that tomorrow as I was very busy today at work as well as afterward with my birthday celebrations. Anyways, I want to introduce you guys to a wonderful artist known as White Hinterland! Any fans of Regina Spektor will love this woman because their voices are quite similar but I think White Hinterland has a different range of musical sounds so it makes for very interesting listens.

The song I am introducing called Icarus plays during a scene in a nice little recent indie flick from 2009 called It’s Kind of a Funny Story with Zach Galifianakis. It’s a pretty nifty movie and definitely an enjoyable watch with some very cool characters. I really liked Emma Roberts in the movie!

Anyways check the film out because it’s a crowd pleaser and presents an interesting story yet it’s a tale that we all know at the same time.

Here’s the wonderful song!

 

 

Setting the Tone (Beethoven Style)

22 Aug

Music in opening sequences of films can be extremely significant in establishing the mood or theme of a film. Take for example the song I posted a few weeks back, We’re Gonna Be Friends by the White Stripes. It played during the opening credits of Napoleon Dynamite and accomplished that very effect I speak of. Now I would like to introduce you to another fairly recent film that was far more limited in theatrical release than even Little Miss Sunshine. The film is called The Fall and it is directed by Tarsem Singh. The background image is an excellent microcosm for the entire rest of the masterpiece. I only saw this film a few months back and I must say that is easily one of the most beautifully shot films I have ever seen. The images in the film are breathtaking because the locations are simply astounding. You do not want to miss this film that tells a very unique story.

Anyways, the opening credits is shot in black and white (the rest of the film is in color) and Beethoven’s Symphony #7 Allegretto Movement 2 plays over them. It is one of the most beautiful opening sequences and gives the story an instant retro feeling. It also foreshadows elements of the plot very nicely which is quite epic in scope. The music is quite epic and classical as well I must say. Please watch this movie! It is not a movie that gained much recognition but I wholeheartedly believe it should have. Review to come very soon! In the meantime, please listen to this beautiful track by the genius Beethoven.

Everything is Alright

16 Aug

Film: Little Miss Sunshine

Director: Valerie Faris, Jonathan Dayton

Year Released: 2006

Cast: Greg Kinnear, Toni Collette, Steve Carell, Alan Arkin

Available on Netflix Streaming: No

Available on Cuevana: Yes

Rating: 9.3/10

She’s Kickin’ Ass!

Say Hello to the Hoovers! They are unhappy.

That line remains the culmination of emotion, frustration, elation and eventually acceptance in the film, Little Miss Sunshine. It does not seem like a particularly important line; in fact, at first appearance, it merely serves as comic relief from character Richard Hoover, played by Greg Kinnear. However, taken in relation and context with respect to the entire film, one can truly begin to appreciate the magnitude of this simple statement. Quite appropriately the entire beauty pageant at the end of the film serves as a sort of mechanism  to take all the problems of each character and place them in context with respect to the entire film.

Husband and wife director duo Valerie Faris and Johnathan Dayton bring to life Micheal Arndt’s cleverly written screenplay, for which he won an Academy Award. Arndt has woven such familial intricacy into the script, which ranges from the good moments to the equally occurring painful and devastating moments, that we feel a deep connection with the characters. The film begins with a wonderfully made opening sequence, which introduces us to the family members and all their respective characteristics and idiosyncrasies. Already at the beginning of the film, it is easy to tell that not all is well with this family.

Little Miss Sunshine recounts the journey of a dysfunctional family as they attempt to get their young, innocent daughter, Olive, to a children’s beauty pageant in California. Throughout this journey, all the characters face obstacles and personal dilemmas that threaten to disintegrate the family even further. It is only through time spent together that the family begins to realize that they can only stay connected as a family if they learn to accept each other for who they are and not who they want each other to be. This is especially the case for Greg Kinnear’s character, Richard Hoover.

Throughout all the mayhem, it is clear that Arndt has painted an accurate picture of modern America and the contemporary issues that people contend with on a daily basis. Notions of obesity, suicide, the definition of success, drugs and of course dysfunction pop up in various scenes and though these motifs never take the center stage, they create an astonishingly desperate background in which all these characters operate. Moreover, all these motifs connect to the central theme of the film of learning to realize that despite all the hardships and the struggles and the judgments, everything will be alright.

In order to convey this message, Arndt relied upon dark and witty serio-humor while directors duo Faris and Dayton contrasted the dark problems of the family with the bright, yellow van they drive as well as the bright, visual motifs of the film. Sunshine is beaming in nearly every shot. Even when the family faces drawbacks, they maintain their resolve to get Olive to this beauty pageant. Why is there such an effort by all characters to make this happen? Perhaps because they feel that this pageant, this one last chance for something good, is the only thing that can bring their family back together. In any case, the realism portrayed by each character bolsters the theme exceptionally.

Life is referred to as one, big beauty pageant by one of the characters and this seems central to the theme as well. The disparity between Olive’s physique and the attitudes of the far more serious and disturbingly sexed-up little girl contestants mirrors this concept. People will tell us who to be, people will tell us how to act and people will judge us if we do not conform to these standards; they will call us losers. But this film teaches us to acknowledge that there is no silly pair-wise classification of winners and losers. We are who we are (yeah Ke$ha) and we should fully embrace that image in order to truly be happy.

The doll-like appearance of the contestants is quite scary.

Like I stated in the film intro post, the score was produced by Mychael Danna and Devotchka. It contains some very touching music in addition to some very inspirational tracks. The opening sequence that I referenced earlier would not have made such an impression without the The Winner Is playing in the background. Again, the power of music in film is unmistakable. The soundtrack does comprise many tracks that do sound like reworkings of their famous song How it Ends but the different instrumental work in each piece defines a different dimension of the plot. And it creates a wonderful gamut of sounds and emotions in the soundtrack.

In addition, the soundtrack features Sufjan Stevens and the wonderful Rick James and his incredible classic Superfreak. All I can say is that this film utilizes the song superbly and if you do not crack even a smile during that scene, well you must not have a heart I’d say. As one of the purer moments of comedy and the film’s climax, this scene brings the film back to its narrative core. A story about family.

Indeed, Little Miss Sunshine demonstrates that life is rarely ever easy and that overcoming life’s hurdles is not any easier. But how could we ever truly enjoy the good without knowing the bad? As long as you stay true to yourself and you have people who love you for who you are, you can tell yourself that everything is alright.

Rating: 9.3/10

Soundtrack

Some of the great music from the movie:

I love how they use this track. It’s perfectly done.

and of course:

http://www.cuevana.tv/peliculas/1156/little-miss-sunshine/

-Cinemabeats

This is How it Ends

15 Aug

Alright next on the horizon: a pretty recent, quirky independent film known as Little Miss Sunshine. Interestingly enough, the first time I watched this film, I actually did not like it all that much. However, I watched the film about a couple years later and it hit home much stronger. One of the best things about film is that you can come back to films upon repeated viewings and gain different perspectives. Your opinion of the film could even change drastically, as mine did for Little Miss Sunshine. The film is easily one of my favorite films of the past decade and does an incredible job of mixing humor, warmth, melancholy, desperation and fulfillment in the most unlikely of places. The film tells the story of quite a dysfunctional family as they attempt to get their young daughter, Olive, to a child beauty pageant.The cast is awesome and includes Steve Carell, Toni Collette, Greg Kinnear as well as Alan Arkin for which he received a well deserved Best Supporting Actor award from the Academy.

The soundtrack in this film mirrors the story very well as it combines cheery and light tracks with deeper, more pensive strings that is best summed up by the best track on the soundtrack in my opinion, The Winner Is. The score was composed by Mychael Danna and Denver band Devotchka, whose most famous song remains How It Ends and The Winner Is actually sounds much like an instrumental reworking of the original song. It is a great, emotional song and I love the instrumental work. Review of Little Miss Sunshine to come very soon. In the meantime, please listen to How It Ends by Devotchka.

-Cinemabeats

Out with the New, In with the Old

15 Aug

Paul Newman, Charlton Heston, James Stewart, Marlon Brando, Henry Fonda, Steve McQueen, John Wayne, Charlie Chaplin

What do all these male actors have in common? No it’s not that they’re all dead but that’s actually pretty close. No I bring up these actors with distinguished careers because they belong to another time in cinema, a time that younger people are increasingly beginning to forget about. Not even just forget about…no see that would just be a simple consequence of a larger time gap between modern cinema and that age. Nope, this is much more than just forgetting. Most younger people simply do not care about older movies anymore. According to them, old films are nothing more than vestiges of another time, a less flashy time, a time that did not include special effects or incredible visual, high definition technology. Black and white has become synonymous with boring and sleep inducing.

And that really is quite a shame. Yes, color and high definition definitely add a wonderful dimension to film; however, that does not make all the black and white films of the previous century worthless. As I understand cinema, it is a combination of plot, acting, visual style and sound. At least those are the big factors. Older black and white films have some of the best acting and stories I have ever seen and it is extraordinary how much modern films today draw from old classics. In fact, many of the films we see nowadays are remakes of older films and the older films tend to be far superior most of the time. Take the film The Day the Earth Stood Still for example: a modern remake with Keanu Reeves came out in 2008 and while several of my friends loved it, I absolutely couldn’t stand it because I could not help thinking how much better the original is. Yes, The Day the Earth Stood Still was originally made in 1951 in full black and white glory and the film is about a billion times better than the remake, in my opinion. If you think that’s the only example, then you are mistaken. I could probably use this whole article to just list films where the original surpasses the modern remake in about every way possible.

I’m not quite sure what it is about black and white films. I understand that most of us are conditioned to watching films in color seeing as we were born and raised following the advent of color in film. However, most of my friends and younger people I know seem so strongly opposed to watching such films that I do not think it is only a problem of conditioning. Is it the lack of a big budget that did not allow directors and actors to do incredible action sequences back then that bugs them? Is it the more conservative time period? Whatever the reason, it remains true that these films are getting less and less attention and that simply should not be the case. Whether one likes the film or not is irrelevant but they should at least watch the film so they are not reduced to simply judging a film for its black and white appearance rather than its merits.

Now sure not all black and white movies are great. Not all old movies are amazing. But it is true that several classics exist and they came before all the technological improvements to film. This makes them almost more impressive in my mind. These films did not have to rely upon color or visual effects to make their films special; they are special for the purest qualities of film. These are the films that inspire our modern directors and they definitely inspire me. Now next time you see a film on AMC or TCM that looks a little older than something you would usually watch, just give it a chance. The classics are here to stay and it’s time more people started embracing them.

A short list that I would check out: Rear Window, On the Waterfront, Paths of Glory, The Day the Earth Stood Still, Breathless (This is a French film and a wonderful testament to what I’ve been talking about in this post)

There are plenty more so go ahead and stop limiting your cinema exposure and travel back in time with film.

-Cinemabeats