Tag: technicolour

The Love Witch (2016)

Anna Biller’s second feature, The Love Witch is a film I have been eager to watch for a while now. Since its release in 2016, The Love Witch has gained a cult following and become a firm favourite of modern horror thanks to its modern interpretation of 60s horror. The film follows witch, Elaine Parks (Samantha Robinson) who moves to a small town after suffering a breakdown due to the death of her ex-husband. The films acts as an ode to 1960s horror films as well as a technicolour fantasy and is definitely a passion project for Biller who serves as director, writer, producer, editor and composer. If that alone doesn’t impress then the final result is sure to please. Much like the film’s protagonist, The Love Witch is impossible to put into a box. It stands on its own two feet as a brilliant feminist piece that subverts the rules in the filmmaking book to create one of the most original films this century.

Biller’s vision is fully realised thanks to her impeccable direction and writing. The choice to make the actors perform in a presentational style plays in perfectly with the nostalgic side of the film. Also, Biller’s genius use of natural colouring to give the film a technicolour aesthetic is innovative and unique. The dedication Biller put into this film is phenomenal and she is definitely a filmmaker to watch. Her script is among the best original scripts of this century hands down and I am shocked it wasn’t up for some major awards. It’s a shame that this film didn’t receive a wide release because it’s a wonderful representation of women in film. This is very much Biller’s film and its empowering to see a woman take the helm at so many roles in the filmmaking process.

To say Samantha Robinson is hypnotic as Elaine is an understatement. From the first shot when we see Elaine driving to her new home we hear her story in the voice over, it’s clear that the weight of the film lies on Robinson’s shoulders and she carries with ease. Elaine is a tragic character, desperate to find love and will do anything to get it but faces drastic consequences. To write her off as a weak character would be a huge mistake as there is a strength to Elaine that becomes evident as the film unfolds. Unafraid and aware of her sexuality, Elaine tries to find her place in a patriarchal world that has never cared for her. This is a fantastic breakout role for Robinson and proves that she has a promising career as a leading actress. Even when she isn’t onscreen, her presence can be felt because she is so affectice in her role. As Elaine begins to succeed in her quest for love, the mask begins to slip as her self-absorbed nature and lack of empathy leads to her downfall. It soon emerges that maybe Elaine isn’t as naive as we are led to believe. This is thanks to the presentational acting which Robinson pulls off flawlessly.

Biller’s score is inspired by Medieval and Renaissance music injected with synthesised sounds to give it a modern feel. Much like the rest of the film, the score is unpredictable and deeply original. There are so many standout pieces throughout the film but the track playing when Elaine and interior designer, Trish go for tea is a particular highlight. The music numbers really enhance the film and create blur in genres as it flits from horror to musical to comedy in the score alone. There are also pieces that feature childlike singing which I think exemplifies the naivety of the film’s characters and is played at pivotal moments and the transition of naivety to realisation. I really hope that Biller continues to score her films because she perfectly encapsulates the originality of her film.

Overall, The Love Witch is one of the most original films I have seen in a while. Its unique take on nostalgia mixed with the strong female gaze makes it a strong win in my book. Biller’s talent as a filmmaker and visionary is evident from the opening shot and it’s clear that she is a force to be reckoned with. This has quickly become a firm favourite of mine and I can see myself rewatching this many times as it’s a film rich in subtext. I am really looking forward to seeing her next film Bluebeard.

What do you think of The Love Witch? Let me know in the comments below!

Tags actor, actress, Anna biller, comedy, director, editor, female gaze, feminism, feminist, film, films, horror, love witch, movie, movies, producer, review, reviews, Samantha Robinson, satire, technicolour, the love witch, witch, writer

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The Wizard of Oz (1939)

With the hype of awards season in full swing, I thought I would take a look back at some older favourites of mine. Inspired by the Judy Garland biopic, Judy, what better way to connect the current awards season with a favourite classic of mine and discuss the wonderfully magical The Wizard of Oz (1939). Commonly seen as the film that propelled Judy Garland to stardom at the tender age of 16, cementing her legacy in Hollywood for years to come. The film is adored by fans of all ages and a regular watch at Christmastime. Following Kansas teen Dorothy Gale who is whisked away in a tornado along with her dog, Toto and landing in the mysterious land of Oz. Dorothy must team up with the unlikeliest of friends and find the great Wizard to find her way home. The film was mainly directed by Victor Fleming who left the production to direct Gone With the Wind and the remaining work was taken over by King Vidor. The screenplay was written by Noel Langley, Florence Ryerson and Edgar Allan Woolf and based on the classic children’s book The Wonderful Wizard of Oz by L. Frank Baum, The Wizard of Oz is a masterclass in classic Hollywood cinema.

Judy Garland is absolutely breathtaking as Dorothy. Probably one of the most perfect casting choices in film history. From her brilliant expressions and sheer talent for being an all-rounder, it’s hard not to feel moved by Garland’s performance, particularly when she sings “Over the Rainbow”. Garland’s background and the tragedy behind her experience filming this is well-known. The trauma Garland went through during the filming was sure to have had a lasting effect on her for the rest of her life. This makes the performance even more heartbreaking watching in retrospect. Dorothy has enough bravery and courage to face her enemies and stand up for herself but there is still vulnerability there and a maturity that makes her seem older than her years while at the same time bringing in that childlike innocence.

In terms of the supporting cast, the most iconic comes in the form of Margaret Hamilton’s brilliant turn as the Wicked Witch of the West. She’s just a plain nasty character and her only motive is ensuring that Dorothy doesn’t succeed in her quest. Hamilton’s voice and characterisation is a performance of legend and has resulted in one of the most identifiable villains in film history. Whether it is one of her trademarks such as “I’ll get you, my pretty, and your little dog too” to the iconic melting scene in which we see the Wicked Witch defeated after Dorothy throws a bucket of water over her. Out of the three friends, my favourite is the Cowardly Lion (Bert Lahr), mainly because I love the costume design so much and his performance of the song “If I Were King of the Forest”. It’s a film that is rich in distinguished characters that, although simple, does a good job of giving them enough screen time to be distinguishable.

I don’t know where to begin to talk about my love for the use of colour in this film. Aside from being iconic thanks to its amazing switch from black and white to brilliant technicolour with the simple opening of a door. There is so much to look into beyond Kansas representing the normal and dreary everyday and Oz being somewhere completely different. The location and setting for Kansas is natural with realistic looking prop whereas Oz is crammed full of fake creations. Munchkinland in particular is the epitome of the Oz aesthetic. It makes for a fantastically striking entrance into the land of Oz. Maybe it’s because we’re adjusted to the black and white set up that makes the colour pop out the screen even more, the design of Oz is truly spectacular. Also, the use of colour for the characters is beautifully done. From the contrast between the ruby red slippers that Dorothy wears with the Wicked Witch’s green skin and the metallic hue of the Tin Man’s paint with the Cowardly Lion’s golden mane. Oz is a land that although entirely built from imagination, also includes a multitude of texture.

I’ve already touched on the music before but it deserves a section on its own. The film is crammed full of brilliant songs that have stood the test of time. Undoubtedly, “Over the Rainbow” is the most popular but most people would also be able to sing or hum along to the likes of “Ding-Dong! The Witch is Dead” and “If I Only Had a Brain”. It is undeniable that Garland’s voice is beautiful and flawless, striking the perfect amount of emotion in her songs. Looking through the soundtrack, it is amazing to think that so many songs have gone down in cinema history as classics. A lot of the legacy from The Wizard of Oz comes from its Academy Award winning score by Herbert Stothart. Not to forget that “Over the Rainbow” also won the Oscar for Best Original Song for Harold Arlen and Yip Harburg. It’s a whimsical soundtrack that allows its audience to escape to Oz with Dorothy.

I am sure given that I love films like Snow White and the Seven Dwarfs and The Red Shoes that I am just as fond of this one. The Wizard of Oz is an outstandingly beautiful cinematic achievement and a prime example of a film that is suitable for all ages and all cinematic tastes. It is a film that combines drama, comedy and musical while also not fearing to delving into themes of loss and friendship. Dorothy is ultimately on a journey to finding out who she is and discovering her place of belonging. It’s this relatability that makes the film so identifiable with audiences around the globe.

What do you think of The Wizard of Oz? Let me know in the comments below!

Tags academy award, academy awards, act, acting, actor, adapt, adaptation, award, awards, Bert lahr, composer, cowardly lion, ding ding, ding ding the witch it dead, directing, direction, director, dog, dorothy, dorothy gale, Edgar Allen Woolf, film, films, Florence Ryerson, Harold Arlen, Herbert stothart, if I were king of the forest, judy, judy garland, Kansas, king vidor, l Frank Baum, Margaret Hamilton, movie, movies, munchkin, Munchkinland, music, Nigel Langley, novel, Oscar, Oscars, over the rainbow, oz, rainbow, review, reviews, ruby slippers, scarecrow, score, screenplay, screenwriter, song, technicolour, the wizard of oz, tin Man, toto, Victor Fleming, wicked witch, wicked witch of the west, witch, wizard of oz, writer, writing, yip harburg

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The Red Shoes (1948)

This technicolour wonderland is one of the best (if not the best!) film in the history of British cinema. Directed by Michael Powell and Emeric Pressburger, It’s become known as a masterpiece and is constantly an inspiration for many artists alike and with good reason. Following Victoria Page (Moira Shearer), a ballerina who joins a troupe as the lead in the new ballet The Red Shoes. She begins to find a conflict between her professional relationship with the insufferable genius, Boris Lermontov (Anton Walbrook) and a personal romantic relationship with the troupe’s composer, Julian Craster (Marius Goring). Soon enough, the ballet of The Red Shoes begins to seep into Victoria’s reality and she is eventually broken down by the idealisations that are expected of her. This is a film that breaks the boundaries of the filmmaking experience. It’s very premise of the ballet within the reality of the film soon becomes blurred and the tone of the film changes from a basic aspirational drama to a psychological thriller. Inspired by the Hans Christian Anderson fairytale but given an original makeover by The Archers (as Powell and Pressburger were collectively known), this film delves into the dark side that fairytales ventured into which is a contrast to the Disney films that were dominating the global market. Even 70 years on, the topics in the film feel just as relevant today.

The Archers’ brilliant direction and script effectively contrast the freedom of dance with the claustrophobia and obsession with perfection. Nothing sums this film up more perfectly than Vicky and Boris’ first exchange:

Lermontov: Why do you want to dance?

Vicky: Why do you want to live?

Lermontov: Well, I don’t know exactly why, er, but I must.

Vicky: That’s my answer too.

Dancing gives Vicky the freedom that she craves but unbeknownst to her in the beginning that the freedom she “gains” from dancing for Lermontov is merely his vision. He is the puppet master pulling the strings. As Vicky grows closer to Julian and begins to finesse her own skills, she begins to resist and she finds herself no longer wanting to dance but unable to rid herself of the red shoes. The ballet sequence in which we see Vicky encapsulate her character and venture into the nightmare world of the dance is horrific. Her own emotions have merged with the character. Her dancing has become her life force. Then there’s the conflict she has between Julian who is an aspiring musician who is working for pennies and has the freedom to create the material he wants and then Lermontov who requires strict control over the whole operation. I think it is to Powell and Pressburger’s credit that they manage to succeed in creating three entirely different yet well-rounded characters who all have their motives and flaws. It’s a film that feels progressive even now and doesn’t belong to a particular time. It’s reluctance to slot into a specific genre is also reflective of this as it is a drama, thriller, horror, dance piece all in one.

I think that Shearer’s performance is one of my favourites in any film. She shines as Vicky and really brings out the talent and the grandeur of the role. Despite her privilege (we first see her sat in a private box watching the ballet), Vicky shows her natural passion and talent which impresses Lermontov who initially dismisses her because of her background. Despite Vicky’s flair for ballet, she is still an outsider as her fellow dancers clearly do not have the luxuries that she has. No scene depicts this better than when she thinks she is going to dinner and is dressed to the nines complete with a tiara, only to find the men running the ballet planning the next production in casual attire. Vicky is by no means a perfect individual either. She throws a tantrum when she is unable to keep up with Julian’s tempo during rehearsal. Vicky and Julian’s relationship develops as they realise that they are two sides of the same coin which Lermontov despises. The complexities of Lermontov’s character makes him one of my favourite “villains” film history. His obsession dehumanises those around him, none more so than prima ballerina, Irina Boronskaya (Ludmilla Tchérina) who is abandoned by Lermontov when she announces her engagement. The people around Lermontov are dehumanised puppets where his ambitions must become their ambitions. The moment there is any hint of a life outside the ballet, they are exonerated and in Lermontov’s eyes, they never even existed. His unapologetic way of life is challenged by Vicky and the climatic scene shows a crack in the façade as he breaks down onstage and forces the production to commence without her. The vision becomes empty and the audience gazes at a moving spotlight as it flutters around the stage where Vicky should be.

The music composed by Brian Easdale is nothing short of extraordinary and it effortlessly dances the line between the ballet production and the film reality until eventually both worlds merge into one. The music used in the production of The Red Shoes is spectacular with the church scene in particular remaining a highlight for me. I get chills every time I watch that segment and hear the constant bell as the lead is abandoned and left to die. Jack Cardiff’s choreography for the film is a perfect marriage for the score and the two sail on through the film and set the pace. These components are representative of Julian and Vicky’s talents and the importance of the part that they play into the film cannot be unrecognised. One of my favourite aspects of the film is Hein Heckroth‘s costumes designs. The moment when Vicky’s costume for the ballet of The Red Shoes is revealed is breathtaking and it’s one of my favourite costumes in film. Not to mention the incredible costumes that Vicky wears throughout and the clothes designed by Carven for Irina are exceptional.

My love for this film grows with every view and even thinking about it now, it’s incredible how much it has shaped my taste in film and been such a huge influence in my creativity. It’s such a beautiful film that deserves more than one watch and I think it should be on every film lover’s watch list if they haven’t already seen it. It truly deserves its masterpiece status and remains an important part of cinema history.

What do you think of The Red Shoes? Let me know in the comments below!