Critical Analysis of the Movies - Movie Review Example

Movie Journal Chariots of Fire Chariots of Fire, co-produced by David Puttnam (Engima Productions) and Dodi Fayed was released in the UKby 20th Century-Fox in 1981. Directed by Hugh Hudson, the film can be described as an inspirational, historical drama. Chariots of Fire is set in the early 1900s and tastefully addresses the issue of anti-Semitism. Based on the real life experiences of two British athletes who participated in the 1924, Paris Olympics, the film begins with the backstory that started in 1919. Viewers are introduced to Harold Abrahams played by Ben Cross, who is a Cambridge University student in 1919. Abrahams is Jewish and encounters prejudice on campus even from members of staff. Undeterred, Abrahams pursues his interest and achieves important hallmarks. He becomes involved in the Gilbert and Sullivan Club and falls for a soprano singer. In the meantime, Abrahams wins a number of national races. In the meantime, the other key character, Eric Liddel played by Ian Charelson is a devout Christian born in China. Liddel’s parents were Scottish missionaries. Liddel’s most important goal is to follow in his parents’ footsteps, but he wants to pursue a career in running first. His priorities are questioned by his loved ones and Liddel explains it away by asserting that his running is divinely inspired. In other words, Abrahams and Liddel both confront internal and external social/religious conflicts and nevertheless pursue their interests. Both prepare for the 1924 Paris Olympics where, despite their different religious affiliations, both represent Britain. The underlying message, is that while we are all different and have very different belief systems, we are all united in our national identities and as human beings. On a personal note, the film informs that commitment, drive and hard work are the hallmarks of success. Drive and determination can help individuals overcome obstacles and the pursuit of goals need not compromise one’s integrity and identity. Raging Bull Raging Bull is an American film coproduced by Robert Chartoff and Irwin Winkler and directed by Martin Scorsese. The film was released in 1980. Although instinctively, the film comes across as a biographical sports drama, it goes beyond the sports competitiveness. The protagonist, Jake LaMotta, a professional boxer played by Robert De Niro comes across as driven and fiercely competitive. However, there is much more to his competitive drive than sports ambitions. Jake’s boxing ambitions comes across as more of an expression of underlying emotions. Jake’s feelings of jealousy, insecurity and ideas of masculinity are articulated in his boxing to such an extent that he is indeed a raging bull. For example, when Jake’s wife Vickie, played by Cathy Moriarty admires the looks of one of Jake’s boxing rivals, Jake is consumed with jealousy and insecurity which he gives expression to in a bout with the man. Jake targets the man’s face in the ring and in doing so leaves the man’s face seemingly disfigured. At the end of the match, Jake directs a searing glare at this wife rather than his rival. The director’s narrative is clear: Jake’s jealousy and insecurity were manifested by rage in the boxing ring. The boxing matches in Raging Bull are particularly brutal with fights bloody and sweaty and delivered in black and white. Sound effects produce a particularly chilling thud when contact is made in the boxing ring. The delivery of punches with flying blood and sweat is often played in slow motion. The underlying feeling is that Jake is not participating in a sport as much as he is punishing his opponent, expressing his own insecurities about his sexuality and masculinity and insecurities and suspicions of his wife. Out of the ring, dialogue and suspicious glares therefore create tension and provide a build-up for the explosive boxing matches. At some point, Jake even accuses his broth Joey, played by Joe Pesci, of having an affair with his wife. Raging Bull demonstrates the self-destructive nature of jealousy and insecurity. Joe’s redemption is a long, hard fought journey. He ends up particularly overweight and working in a night club. His redemption occurs only after emotional, social and physical ruin, having spent some time in jail. In his jail cell he delivers one more physical blow as he punches the wall and asks himself “Why? Why? Why?” (Raging Bull, 1980). It is obvious that at this point, Jake is punishing himself and venting self-frustration. In a final redemptive display, following Jake’s release from jail, he acknowledges in a self-reflective mode “I could have been a contender” (Raging Bull, 1980). Karate Kid The Karate Kid is a 1984 children’s romantic drama produced by John Weinraub and directed by John Avildsen. The movie deals with two significant issues effecting children in urban communities: single parent homes and bullying in school. A back issue, subtly dealt with is the Asian immigrant Keisuke Miyagi played by Noriyuki Morita. Keisuke is the handyman of an apartment in which Daniel LaRusso, played by Ralph Macchio and his mother played by Randee Heller live in. Daniel, a senior in high school and his mother moved to Los Angeles, California from Newark, New Jersey. From the outset, the film reveals that based on this back story and the introduction of Keisuke, an apparent misfit and Daniel and his mother, the film will center on the struggles of misfits, and their journey of triumph. It is established early on, that Daniel and the handyman are not natural parts of the environment as both are immigrants in one way or another. Daniel becomes friends with a sought after cheerleader in his school played by Elizabeth Shue. The cheerleader is Ali Mills and Daniel’s affiliation with the girl does not go unnoticed by the girl’s angry ex-boyfriend. The angry ex-boyfriend is Johnny Lawrence played by William Zabka and he is a top Karate student in a club that teaches corrupt and particularly aggressive Karate. Daniel knows very little about Karate and is easily beaten by Johnny who subsequently teams up with his fellow club members to bully Daniel. At one point, Keisuke witnesses an encounter in which Daniel is severely beaten by Johnny and four of his friends. Keisuke intervenes and beats the five attackers handily. Daniel thereafter recruits Keisuke in teaching him what he knows. Ultimately, Keisuke who is resistant to the idea, relents. The narrative comes across as a feel-good drama with moral lessons for children. Daniel who learns Karate ethically and uses it in a forthright way defeats the cheating Johnny in a legitimate match and emerges the champion and the role model. Dramatic effects are achieved through musical scores, close-up shots and facial expressions. In other words, the Karate Kids is the epitome of children’s literature in which the underlying message is that “good overcomes evil” every time. We Are Marshall We Are Marshall released in 2006, was produced by Basil Iwanyk and directed by McG. The movie is best described as a biographical drama based on the real life experiences of the Marshall University Thundering Herd Football team and their coaches following a plane crash in 1970. The film focuses on the attempts to move forward with a team after the crash that claimed the lives of 37 of the football team members, five coaches, two athletic trainers, and a number of other team service providers and the crew of the plane. The film is set in Huntington, West Virginia, the site of Marshall’s home. In the aftermath of the crash, the President contemplates temporarily discontinuing the football team. However, opposition from the students at Marshall and from the Huntington community persuades the President to thinks things through more thoroughly. The surviving member of the coaching staff and a few remaining football team members set about rebuilding the team. The movie traces these efforts and the struggles, including the success in persuading the NCAA change a rule preventing the recruitment of freshmen to join the football team. In the end, a team was formed and was seemingly makeshift and not up to par with its competitors. The Marshall team consisted of 18 returning players, 15 of which were in their second year of college and athletes involved in other sports at the campus. The team lost badly in its first game. However, the team won its first game at home against Xavier University in a close final score. The movie therefore underscores the utility of moving forward after tragedy and presents victory in a new way. It’s not about winning games as much as it is about grieving losses and moving forward despite losses. Bull Durham Bull Durham is a 1988 sports comedy drama coproduced by Thom Mount and Mark Burg and directed by Ron Shelton. The film itself takes the audience to the harder side of minor league baseball, bringing the viewers to the hard seats, bringing them in touch with the fans and the team and the coaches and the difficult conditions in which they train and play. The viewer learns that what fans see on the baseball field is quite different from what happens behind the scenes. The audience sees the excitement of the players and the competitiveness of the coaches in action on the field. The audience can also contrast this with the actions of the players and the coaching staff in the locker room and in the showers. In one scene, a manager progresses from talking to Crash Davis played by Kevin Costner to throwing bats at players in the shower as a means of motivating them to be more competitive. Crash Davis is a veteran baseball player brought into coach Ebby Calvin LaLoosh played by Tim Robbins. Davis’ job is to train and prepare Ebby for the major league. With the assistant of Annie Susan Sarandon, Crash is successful in preparing Ebby for the big league. Annie’s agenda is questionable as she has a reputation for clinging to players using them as love interests and as students. Despite clashes with Crash, Annie eventually forges a good relationship with Crash and ultimately becomes instrumental in Crash’s preparation of Ebby for the major league. The film uses imagery, dialogue and character development to shape the world of minor league baseball and the contrast between the glamour of the big league and the seedier side of the minor league experience. Filmography Avildsen, John. The Karate Kid. 1984. Hudson, Hugh. Chariots of Fire. 1981. McG. We Are Marshall. 2006. Scorsese, Martin. Raging Bull. 1980. Shelton, Ron. Bull Durham. 1988. Read More