The 1940s were regarded as a classic period of American dark film or film noir. The cinematic term described the technical style of early Hollywood crime dramas, specifically emphasizing films with cynical attitudes and sexual motivations. In 1984, Ethan and Joel Coen released their film, Blood Simple, which was credited for reviving the film noir style. Set in desolate Texas in the 1940s, the film follows the injustice and loneliness that each character faces through visual elements such as windows, shadows, and various over the shoulder and close up shots. The early 1980’s offered many opportunities in the film industry to many young creatives. Many influences the Coen brothers had were from early horror films as well as the stylistic elements of film noir. Many elements which defined this style were heavy contrasts between light and dark as well as using the shadows in between to emphasize on the existence of lurking evil. A prominent scene from the film illustrating the use of shadows to hide is in the first few scenes, as Ray tells Abby he likes her and she asks what he wants to do about that. The scene cuts to them in bed with a train going by, creating shadows through the windows of the bedroom. The shadows and cut away transitions creates an immoral mood throughout the empty spaces and singular objects. It is implied that something is not right and that Ray and Abby are having an affair. The sense of hiding is a repeated theme throughout the film as Marty hides from confronting his wife and employee, Lenor hides from justice (acts selfishly rather than fairly), Ray and Abby also hide from the truth. The Coen brothers relied heavily on the heavy use of light and dark to create a lurking feeling throughout the thrilling crime/drama. Whether it's watching your back from the hitman Lenor or the boss of the operation, Marty. From the article, Blood Simple: “Down Here, You’re on Your Own”, Nathaniel Rich puts it best when he says, “Blood Simple has not one noir hero but four. Each makes a rational, if immoral, decision that initiates a Rube Goldberg–like chain of events leading, ultimately, to his or her own ruin. This is the essential noir condition—the more the hero tries to return to a lost past, the more lost he becomes.” ![]() The climax of the film hits with contrasting elements from music and mood. Ray is driving with Marty’s withering body in the back seat to get rid of the evidence. Dan began making noises in the back seat letting out final breaths, Ray jumped out of the car while the radio simultaneously began blaring the upbeat rhythm of "Lady In Red" by Xavier Cugort. Ray runs towards the field in an adrenaline kicked run from the absurdity that has become his reality. ![]() The mood changes as Ray runs from the car, music fading as he runs further into the desolate field. Again, the camera follows Ray back to the car with an over the shoulder shot. Upon closer inspection of the car, the camera moves into first person perspective panning over the blood soaking in the back seat. ![]() Throughout the film, scenes such the pool of blood, Marty sitting dead with 3 grotesque fish on the table or Abby alone hiding in the shadows from Lenor, there is a sense of being alone- every man for themselves. The frames focus on each character's perspective at a time before the whole story is able to come together through selfish acts and miscommunication the audience follows Marty’s perspective through over the shoulder shots which make it feel like we are in on the crimes as well. Professor Brems writes, “For them [films] to be works of art, you have to give them the benefit of the doubt—think about the decisions that have been made by filmmakers along the way to arrive at the end result. Cinema shares this fundamental characteristic with other art forms.” The Coen brothers emphasized the feelings of being alone through elements such as lowkey lights looming through windows, shadows casting, as well as inclusive shots that push the audience to make them feel like they are in on the malevolent drama of Ray, Marty, Abby, and Lenor. Sources: https://www.criterion.com/current/posts/4230-blood-simple-down-here-you-re-on-your-own http://thelastdetailfilm.weebly.com/blood-simple-19851.html Two days, One Night [2014]In the Dardenne brothers film, Two Days, One Night, simplistic camera angles and shots depict the raw emotional life of the protagonist, Sandra, through unraveling, emotionally driven states of mind which depend upon her determination and kindness of her coworkers to ensure that her family doesn't lose their source of housing. In Two Days, One night, the audience enters into Sandras world, first person. Sandra, a wife and mother of two is on the brink of losing her job when a majority of her coworkers at a small factory voted for a bonus instead of Sandra keeping her job. From the vote on friday, to a new anonymous vote set for monday, we follow Sandra for two day and one night as she must convince her coworkers to do the right thing and help her. Throughout the film, we gradually learn Sandra had struggled with depression and anxiety which led to her first break off of work, and showed the bosses that the work that needed to be done could be done with less people. Rather than it being directly said that Sandra is struggling with her mental health, the film shows her instead struggling to breathe and speak, taking pills in the bathroom, and dropping on the bed unable to move. ![]() A follow shot is used most notably throughout the film to force the audience to quickly identify with the character while subtly making the character's presence and actions seem first person. The simple cut aways and long timed frames, take it moment by moment as we follow Sandra through the moments of hope and hopelessness. In the Atlantic, from an article titled, “Marion Cotillard on the Political (and Personal) in Two Days, One Night”, author David Sims writes, “What might be dreadful melodrama in different hands is handled thoughtfully and with nuance by the Dardennes, who employ their usual spare style of filmmaking that doesn't seek to tip the emotional scales for the audience or forebodingly build to plot twists.” The film executes the subtle rollercoaster of emotions-not through aggressively obnoxious scenes- but through technical cinematic decisions. The lack of music throughout the film and lack of fancy transitions or effects allows for the film to focus entirely upon the facial expressions of the characters. The close ups of each moment when Sandra is done talking to a coworker leaves the audience on their toes as we are waiting for the moment of relief. The moments of relief are rare in the film, from seeing Sandra finally smile or sing to some music. These flying moments become sacred as we realize that after each conversation with her peers, Sandra only sees them as black and white, either walking away smiling or heading to bed by 7 o’clock. Her husband supports her thoroughly, in every weak and strong moment. The first moment of relief that Sandra accepts is when her husband tries to turn down the radio to bring a sense of calmness and peace to Sandra. She rejects it saying, “Stop protecting me… you thought the song was too depressing for me.” Two Days, One Night emphasizes the realistic working class struggle as well as an alignment of mental health awareness through follow shots and minimal distracting elements to allow the focus of emotion to fully encompass the audience as we all quietly vote for Sandra to keep her job. Although not getting to keep her job, the bigger reward is at the end when Sandra says that she is happy. This is the first time we hear directly how Sandra feels as well as getting the final moment of relief.
7 Comments
Sean Lemire
3/7/2021 09:04:48 am
Hi Eve! Awesome reviews of both films! Your explanations of the use of lighting and the significance of the 4 noir protagonists unveiled a lot of things about the movie for me. I do wonder, with regards to the opening scene where Abby and Ray make love while the train passes by, if there are any signs in the shadows that Lenor is watching them. It would make sense to me that there may be an odd shape in the shadows of the train that show he's there.
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Eve Manzarenko
3/8/2021 02:44:53 pm
I don't think Lenor is there just yet because Marty confronts Abby first before he sends a hitman. If it was a few scenes later, I think incorporating the shadow of Lenor and his car perhaps would elevate the use of the shadows throughout the film.
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Tymoteusz Szylak
3/7/2021 09:41:00 am
I love the visuals that you used for Blood Simple to explain your reasonings and points. They helped me understand the purpose and made it feel as if I were watching the movie again. The Atlantic explaining the plot twists in Two Days, One Night prove an excellent point because just as things were seeming to get better for Sandra things take a drastic turn for the worse.
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3/12/2021 10:13:37 am
I really enjoyed the visuals that were used as well and the idea of the train and the shadows and symbolism.
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Heather Cuthbertson
3/7/2021 06:36:17 pm
I like how you incorporated the style into your blog. I have not seen anyone talk about the style of the movie in their blogs previous to this one. That brings a new, unique meaning to the movie. I also liked how you explained what it was as well because I would have had to look it up on my own without your explanation. You brought something new to the table aside from camera angles and I like that.
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Benjamin Vena
3/7/2021 09:41:12 pm
I liked how incorporated the camera angles into your blog and loved how you mentioned the miscommunication between him and the audience which I totally agree with.
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Jimmy Vertucci
3/8/2021 08:00:07 pm
You did a great job on explaining the movies and a really good job on including videos and pictures as most people didn't add videos which made yours stand out. Keep up the great work!
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Film As Art:
From a college film course. Note: I haven't had time to write but I've seen many new movies since taking the class and hope to find spare time to continue writing reviews based on my interests rather than parameters of a class. THANK YOU! |