Review Of The Movie The Descendants - Essay Example

?Running Head: REVIEW OF THE MOVIE ‘THE DESCENDANTS’ Final Film Critique and Number] Submitted] Introduction The film concept or industry is such a wide one, encompassing the motion picture industry, individual motion pictures, and film as an art. Generally, films are created by the recording or capturing of real-life images or creation of images by animation technologies or special film effects. Through being created by and on the basis of specific cultures, films are cultural artifacts, which reflect these world cultures but also affect the said cultures (Ross, 2002). Besides being a source of entertainment for families and individuals, film is an art-form that has really shot to prominence in recent times due to its influence on society. Moreover, films are educational tools not only in learning institutions but also in health facilities, correctional institutions, and domestic settings. In debates on the interrelationship between movies and society, it is important to realize that such discussions cover the genre of movies and its sub-genres such as Black and White film and speechless movies among others (Ross, 2002). The interrelationship between movies and the society is so interwoven that each certainly has a great degree of influence on the other. For instance, when people watch movies, they place or picture themselves in the situations or predicaments displayed in the movies, making them to involved, engaged in, and feel what the characters in the movies feel. On the other hand, by keenly observing societal trends, lifestyles, norms, beliefs, and behaviors, film writers and directors are so intrigued and influenced by the events taking place in the society that they make films about these real-life experiences and trends. Major world events have always been depicted in movies since the emergence of film production (Ross, 2002). For example, the Cold War and the aftermath of World War II have been publicized in the film Noir, popular in the 1940s and 1950s. Similarly, ways of life and events in even the remotest parts of the world and the lowest levels of society such as family or individual have been depicted in films. In this regard therefore, society influences movies to an equal extent to that movies influence the society. Additionally, most people would be more entertained and comfortable watching films on what would actually happen or is already occurring and thus relevant to their lives (Ross, 2002). As a result of the impacts movies have on peoples’ lives, a lot of focus has lately been directed at movie reviews and criticism. In fact, researches and talks have since been conducted to ascertain peoples’ views about movies, revealing quite distinct and contrasting movies. According to most responses, violence, pornography and other negative effects of movies on people minds and society outstand (Ross, 2002). However, given the expansive nature of the topic of the interrelationship between movies and society, the responses given in these researches are by far wide. Although there is consensus among stakeholders that films express peoples’ feelings and experiences, some authors have adopted the stance that the film industry has quite outdone itself. That is, while some of the films and their images are real and bearable, others are fake and intolerable. For example, a such for the term ‘violent films’ using Google reveals a bout 224,000,000 results, an obviously worrying matter that should attract great public concern (Ross, 2002). The other searches with similarly many results are films about indecent acts, murder, sex, rape, and verbal offences. These critiques thus propose that as a society, people should clearly distinguish film as an art form and as a reality instead of allowing motion pictures to dictate or damage the course and progress of their lives. This paper explores the interrelationship between films and the society in addition to carrying out a film critique on the movie Descendants. The Interrelationship between Film and Society Over time, films/movies have celebrated individuals and society in different ways, depicting the interrelationship of individual and society on one hand and films on the other. Discussions and issues on the interrelationship between films and society however require wide and far-reaching answers, discussing the society’s perceptions of identity on movie influences not only in modern times but also in the past (Ross, 2002). Watching movies as old as one hundred years gives a clear impression on the fact that the society and the individual are always in constant change. Strangely, movies came into existence and shot into prominence in a period during which, the world was experiencing shifts in values. It is this same shift in values that later allowed movies to flourish in the society. In fact, at the turn of the 20th Century, what was admired most in an individual by the society is character. Among the traits admired most in an individual were diligence, reliability, sobriety, and discipline, all associated with personal, political, and economic successes (Ross, 2002). The trends of late 19th Century during which most people worked in farms and family businesses changed during the early years of the 20th Century as people moved to metropolises to work in corporations and industries. Character thus became secondary in this new setting as personality-worship crept in. Good looks, innovativeness, being engaging, and easygoing were now the measures of one’s status in the society. As women and men began to work together in factories during the industrial revolution, more focus was laid on one’s sex appeal (Ross, 2002). Thus, at the same time film was emerging as a form of art, society was also getting obsessed with surface values. Film as an art thus made the surfaces as appealing as the human mind could formulate, the reason movies became so sensational. The other reason movies thrived in this age was the industry’s promotion the society’s celebration of personalities, traits, which the movie industry enshrined, glorified, and mythologized (Ross, 2002). However, initial movie stars such as Douglas Fairbanks bridged the old and the new values. That is, much as these early movie stars depicted the newly loved charisma, they upheld the tenacities and bravery of the old society, never challenging the old values. Unfortunately, blatant eccentricity in which individuals are regarded as all-important would creep into the movie industry (Ross, 2002). Consequently, hitherto important institutions such as marriages, governments, and learning institutions such as universities and colleges would be portrayed as irrelevant, immoral, and incompetent. Moreover, authorities were represented as evil or inept while businesses were portrayed as fixed or manipulated games. Individuals were thus encouraged to challenge these systems and institutions. Consequently prostitutes, con men/women, gangsters, and other criminals were portrayed as heroes, provided they were portrayed as flashy and with a lot of personality (Ross, 2002). The fast-advancing technology also played a significant role in promoting the celebration of individuality by the film industry. Contemporary Movies and Society The start and end of World War II however changed the focus on individuality, with the society claiming its place as a precious element of the existence of human beings. In fact, the film Noir played a rather significant role in this regard by portraying individuals doomed at war. The message in the film was that although the world was manipulated or rigged, if individuals were to engage it in a fight, then individuals would lose. Although modern films are somehow unique from those of the early and mid decades of the 20th Century, their preferences for individuals are still apparent. Up till now, in modern movies, individuality is not all that cherished but just prized more than the world at large. Instead, any movies or stories affirming life are set in the past, portraying the modern society as devoid of positive events or experiences (Ross, 2002). Despite horrific events such as the September 11, 2001 on US, which should have changed people and made them more serious in understanding that life is worth living and things are worth doing, movie have continued to focus on individuality and personalities instead of the society. The movie ‘The Descendants’ is an example of contemporary movies highlighting the family issues and conflicts faced by people even as the society focuses on other issues, taking the important aspects of life for granted. A Review and Criticism of Descendants The movie, ‘The Descendant’ was written by Alexander Payne and Nat Faxon, and Jim Rash and directed by Mr. Payne himself. The director of photography was Phedon Papamichael. While the editor was Kevin Tent, Production design was done by Jane Ann Stewart and the costumes designed by Wendy Chuck. Starring in the movie are George Clooney as Matt King, Shailene Woodley as Alexandra King, Beau Bridges as Cousin Hugh, Robert Forster as Scott Thorson and Judy Greer as Julie Speer. Others were Matthew Lillard as Brian Speer, Nick Krause as Sid, Amara Miller as Scottie King, Mary Birdsong as Kai Mitchell, Rob Huebel as Mark Mitchell and Patricia Hastie as Elizabeth King (Hornaday, 2011). Although overlaid with human comedy, ‘The Descendants’ is a movie that narrates a family’s disasters, tragedies, mysteries, and salvation. Featuring one of the best performances in the actions of George Clooney, the movie portrays an inspiring depth and simplicity. In fact, the movie depicts Clooney without mannerisms or glamour but just as a character attending to all types of pain and confusion. That Clooney, as Matt King, does not fall apart amid all this pain and confusion is attributed to the fact that he simply kept it together during the tragedies (Hornaday, 2011). In the movie, Matt King is a real-estate lawyer, who deals with one crisis and other impending ones as the movie unfolds. The wife is comatose in a hospital after injuring her head in a speedboat accident and the doctor says she will not come back. This situation, compounded by her directive in her wills that she be removed from life support machine makes things trickier for King. King’s other problem is to inform Scottie 10 and Alexandra 16 about their mother’s condition. Alexander had an argument with her mother just before she left for boarding school. When asked about the argument, Alexandra told Matt that she found her mother with another man. Although surprised, Matt admits they had been quite distant with his wife due to the many hours he spends at work. He gets obsessed with this man with whom his wife had been cheating and sets to find out who he is (Murray, 2011). The Structure and the Trajectory of the Movie ‘The Descendants’ thus challenges the myth that Hawaii is a paradise in which people live with little or no problems. In the movie, rage is reinforced with poverty and filth so powerful though misleading given that King’s life not entirely or explicitly of social inequality or deprivation. However, the trajectory of the movie is quite apparent and familiar. Generally, the emotional trajectory is about the fracturing and healings that occur within families in modern times, including the need to make peace and bond with one’s family, more so children and spouse (Murray, 2011). To re-make this bond, King makes peace with his wife and deals with his cousins’ irritating politics. Even as he confronts his wife’s lover (Mathew Lillard), King works his way through his life’s challenges in a network of plots and sub-plots, which take various shapes throughout the movie (Murray, 2011). Unique about the trajectory of the movie is its loose, unhurried, and wandering structure, with diverse characters interconnected in the narrative. The sighs and reliefs of the characters in the movie are just as intertwined as their ups and downs. Nonetheless, the characters seem to flow freely, with their many choices and mistakes within the mesh of events, feelings and experiences. The movie also has a keen sense and light touch of place in the choice of Hawaii, a rather real and peculiar setting for the movie. Besides giving the movie its modesty, the choice of Hawaii as the setting for the movie also makes it as big as life. To portray peoples’ clumsy attempt to make life better even in times of pain, grief, and taunting silence, the movie is filled with humor, warmth, and grace (Murray, 2011). The other outstanding effect of the movie ‘The Descendants’ is visual flair for which Alexander Payne is rarely known. Nonetheless, the family drama focused on in the movie thrives mainly because of the stage choice to a higher degree than do performance or the script. Although the novel from which the movie was borrowed was set in Hawaii, Payne avoids the paradise-image that Hawaii has been associated with and concentrates on the office and old family home settings in which Hawaiians actually spend their lives (Hornaday, 2011). In fact, King, with his many family challenges and complications comfortably fits into the home and office settings chosen by Payne. ‘The Descendants’ is not only sugary and commonplace but it is also deceptive since it initially gives the impression that King is a rather busy Hawaii lawyer, most likely out of touch with the lives and needs of his two daughters who have difficulties dealing with the implications of their mother’s accident and coma. The questions many viewers might ask as the movie starts are whether King would establish bonds with his daughters and whether the wife would survive the accident (Hornaday, 2011). In retrospection, Alexander Payne's brilliance and cunning plan in this movie is echoed in the paradoxical and bittersweet tone of his other acclaimed movies such as Sideways and Election. The director’s prowess at creating natural performances from an array of rather diverse cast also comes out quite clearly in ‘The Descendants’. The diversity of the cast is evident in the combination of teenager Alexander (Shailene Woodley) who plays her role rather more maturely and the more mature actors. Of course, the role of the script in supporting the cast and the overall performance of the movie cannot be overemphasized. The other strength of the movie is its authenticity, made quite apparent by the family melodramas in the movie. Although the cliched and naive voiceovers during the first fifteen minutes of the movie may jeopardize its integrity, as King finds his outer voice and begins his quest to find the truth and address his family problems, the integrity of both character and story is assured. One should therefore not be confused or misled with the rhythmic sounds of the Hawaiian hula-hula dance soundtracks or the bright shirts, ‘The Descendants’ is not only a clever piece of movie but it is also tricky and multi-faceted. For instance, the movie is interlaced with comedies and periods of grief that give room for painful revelations one moment and laughter the next. Themes in the Movie Several themes are quite obvious in ‘The Descendants’. First is the relationship of the first characters (family), which is caught up in the many everyday hustles and hurdles of life, taking one another for granted. That is, there are several conflicts working in King’s family, pitting his family members against each other (Hornaday, 2011). For instance, while the mother was in a coma for most parts of the movie, the dad was left to narrate to his daughters about their mother. Notably, the elder daughter also had a conflict with the mother for having an affair. In fact, after exchanging words with her mom, Alexander takes her for granted, forgetting that she would always be there. The themes of forgiveness, revenge, and goodbyes thus also feature. That is, if one found out that his/her spouse had cheated, would they opt for revenge (Hornaday, 2011)? Although some people would, King did not, choosing to look for his wife’s lover to bid her goodbye. The other minor themes in the movie include the role of money in family dynamics and stereotypes. Conclusion The relationship between films and movies is a quite apparent one. In fact, most movies are about real-life experiences except a few that have fictitious themes and events. Since historical times, movies directors and producers have largely borrowed from the social, political, economic, and cultural events, experiences, and aspects of peoples’ lives as themes of their movies. Many movie reviews and criticisms are undertaken by scholars, private citizens, and media outlets to study their narrative, sound, influences, and trajectory among other aspects of movie as an art. ‘The Descendants’ is among the many movies that depict society’s political, social, political, cultural, and economic way of life. References Hornaday, A. (2011). The Descendants: Clooney, Others Brilliant in Complex Balancing Act. The Columbus Dispatch. Retrieved on March 26, 2012 from http://www.dispatch.com/content/stories/life_and_entertainment/2011/11/23/clooney-others-brilliant-in-complex-balancing-act.html Murray, N. (2011). The Descendants. A. V Club. Retrieved on March 26, 2012 from http://www.avclub.com/articles/the-descendants,65289/ Ross, S. J. (2002). Movies and American society (Blackwell readers in American social and cultural history), first edition. Blackwell Publishing. Read More