Friday, September 25, 2009

"Will You Marry Me So I Can Date You?"




 















The blockbuster hit “The Proposal” directed by Anne Fletcher staring Sandra Bullock and Ryan Reynolds grossed $285,837,964[i] worldwide during its summer release. Fletcher previously directed Step Up and 27 Dresses, movies that had great potential (high energy and great dance moves in Step Up and a comedic likeable cast in 27 Dresses) but never really sparked flames. However, the third time is the charm. Her third film, The Proposal, seems to break that trend as it is currently in the top 10 grossing movies of 2009 (and the DVD has not yet been released)[ii]. Prominent stars like Bullock and Reynolds, massive publicity, beautiful scenery and a widespread summer release are all contributing factors to its box office success.

            For three years Andrew had to listen and obey his boss, publishing editor/devil Margaret. Margaret (Bullock) is uptight, organized, bossy, and controlling. She’s addicted to work, high heels, and her blackberry. The whole office is scared of her and sends witty instant messages via their computers whenever “the witch is on her broom.” Margaret is so committed to her job she forgets to file her immigration papers correctly and learns she will be deported back to Canada. Quickly devising a plan, she proposes to her secretary Andrew in order to stay in America and to keep her job. Andrew (Reynolds) is the direct opposite of Margaret. He is laid-back, nonchalant and funny. Andrew agrees to her plan as long as she makes him a co-editor. Under speculation from immigration offices, they fly off to Andrew’s hometown for his Grammy’s 90th birthday. She is introduced to his life, including his family’s wealth and prominence in Sitka, Alaska and even to their furry little dog. Andrew knows every detail he needs to know about Margaret but she knows nothing about him because she was too preoccupied with her job. The movie comically unfolds as Margaret is introduced into a new, stiletto-free life outside of her New York City bubble. They create and live this lie that they are really engaged and the awkward relationship that evolves brings out hilarious moments. Can Margaret and Andrew follow through with their plan of marriage? Will they strangle each other before the wedding day? Of course, a “twist” occurs when their platonic relationship develops into a twisted-love relationship, but who did not see that one coming?

            One of the major underlying themes in The Proposal is the theme of gender roles. A reverse gender role is established in the beginning- Margaret is the dominant character and is Andrew’s boss. She’s the head editor and he is her secretary. There are subtle (or not) mentions of this play on gender throughout the movie. A good example is the proposal scenes throughout the film. At first, Margaret must get on her knees to propose to Andrew, where the first reverse-gender role is established. Next, there is the scene where Margaret and Andrew recall their “proposal” to Andrew’s family. They bicker back and forth and the girl and guy version of the story is told. Margaret ends up telling most of the fake story including roses and tears, and Andrew tries to save himself but she wins over him in that scene. Finally, it isn’t until the end of the movie where the roles are switched and the traditional male does the real proposing. It isn’t until Margaret occupies the stereotypical essence of a female- her hair is let down, her emotions are more clear, she’s more open- that she allows herself to fall in love. An example that portrays Margaret’s vulnerability is the scene when she falls into the freezing Alaskan water and she doesn’t know how to swim. Andrew is than transformed into her knight in shining armor as he rescues her, warms her up, and tells her it will all be okay. Andrew then begins his rise into the more dominant male character and the audience begins to fall for the budding romance between the two opposites. Speaking of the resolution, the play on gender roles is apparent once again. Margaret originally asked Andrew to marry her and that was not successful. It is not until Andrew runs back to Margaret, demands that she listens, during which a coworker shouts, “show her whose boss,” and then he finally takes her hand and proposes to her. He then asks, “will you marry me so I can date you?” It’s interesting how easily the audience falls for this stereotypical ideal of gender roles, it’s something we have just been conditioned to believe. The movie seems to break out of the typical plot at first, but then steps back to the more traditional plot in the end. The movie may have been more unique if it continued with its reverse gender role theme throughout the entire film. Following with the reverse gender roles throughout the movie would have avoided the movie’s one downfall; it was too much of a formulaic movie as the guy gets the girl in the end.


        In terms of technical elements and editing, The Proposal really used all the techniques available, in addition to continuity editing, to really advance the hate to love story that takes place over a 3-day weekend. The continuity editing makes it believable that Margaret and Andrew can have a complete change of heart for each other and suddenly fall in love. For example, in one scene we see Margaret in bed and Andrew lying on a makeshift bed on the floor (even though Andrew’s family insisted on them sharing a room/bed they were clearly not at that point in their relationship). However, the first sign of romance grows out of this scene- we see a close shot of Margaret on one side of the bed talking about her intimate life details and then we see a close shot response from Andrew that made it seem like they were in bed together side by side sharing their stories. With the use of the great film techniques we really believe their love story. In addition, music guides the movie. There is not much popular culture music (besides the Ying Yang Twins tribute), which is surprising for a blockbuster movie, but there are different film scores throughout the film. The music played in the background can represent so many different emotions and can make a scene seem slow or can quicken the scene’s pace. The Proposal really made use of its film scores to progress the movie.

            The Proposal has many comedic scenes, which kept the movie flowing and it was never boring. The priest, stripper, store clerk, waiter (Oscar Nunez) kept popping up everywhere and always provided entertainment. Grammy (Betty White) is seen chanting and hopping around in the woods. Though the humor seemed amateur and unoriginal for a mega publicized and developed film, The Proposal really milks its comedic scenes. For example, in one scene the little white furry dog is grabbed by an eagle and flies through the air. In addition, the acting in the film is very impressive. Each character gives importance to the plot. Bullock portrays her character well as the audience hates her in the beginning but cheers her on in the end. Reynolds does not have too much dimension to work with, as his character’s emotions are relatively flat, but he does a good job nevertheless (and his well-toned body is a major plus).

            For a light-hearted romantic comedy it gives its audience just what is says it will deliver. The film’s light-hearted nature aims to please. The audience will walk out with a smile. Two gorgeous people, a beautiful setting and a comedic love story- what’s not to love?

Friday, September 4, 2009

Reality v. Fantasy

            David Bordwell, in his essay Classical Hollywood Cinema: Narrational Principles and Procedures, explained the structure and elements that dominated American film through the period 1917-1960. This style has become so common in film that directors today have two options, either follow the classical style or to try to “rebel” against it. In short, the classical style consists of a protagonist, some sort of dual plot line (a quest or challenge and some sort of romance), and a film technique called causality (which is maintained through continuity editing as to not disrupt the film experience). A classical Hollywood film sequence has a beginning that is called an exposition where the characters, place, and spatial time are all explained, a middle that involves crisis, and an end or the resolution which involves the conquests of the main goals of the movie. What’s a classical Hollywood film without some action and romance?

            “Life isn’t like in the movies, life is much harder. Get out of here the world’s all yours.” This quote summarizes the wonderful film Cinema Paradiso, directed by Giuseppe Tornatore. The film is a celebration of the movie-going experience and begins like a classical Hollywood movie. We are introduced to Salvatore (nicknamed Toto), the movie’s protagonist. Toto is a cute and likable boy raised by a single mother. Just as Bordwell describes it, Toto becomes “the chief object of audience identification.” The film narrates through his daily life and we are able to identify and relate to Toto. His school and home atmosphere is not pleasant and for Toto film becomes his break from reality. We see his love for film develop and we want Toto to succeed. An element in Cinema Paradiso unlike classical Hollywood film is the unconventional relationship between Toto and the town’s film projectionist Alfredo. In my opinion, they are both each other’s guardian angels. Alfredo is the father figure that Toto never had and Toto is his son he never had. They remain woven together throughout their lives and have a complex friendship the audience can appreciate. Ultimately, Alfredo’s funeral at the end of the movie and the destruction of the town’s Cinema Paradiso combine to form a sort of conclusion of Salvatore’s past, however, it is not complete.

            Salvatore lived his life too much through the lens of a film. In the scenes where he is an older man, the colors are dreary and grayish, showing that he was unsatisfied living in his reality. He lived in this fantasy throughout his youth as seen in another scene when Toto says aloud “If this was a movie, this summer wouldn’t be so long.” Another scene that shows him striving for a fantasy life comes right after his mother finds out her husband has died. Toto walks with his crying mother and as they walk by a movie poster he excitedly looks on at that poster forgetting that his own father had just died. He turned to the movies to forget his reality.

            Cinema Paradiso contains many elements like the Classical Hollywood movie, but it also has modern deviations. Tornatore wanted his audience to relish in the love of film, but also realize that film is not reality. The audience in essence is able to experience a guilty pleasure because we get to enjoy Toto being completely lost in film and we almost lose ourselves in it. According to Bordwell, often in classical Hollywood movies the ending is positive and the protagonist reaches both goals- the quest is complete and he has passionately kissed the beautiful girl in the most terrific way. Tornatore’s film is realistic. There is no major quest- only life itself. The film plays in between realities. By doing so, it picks up elements of the classic Hollywood structure, but it does not follow the path completely because reality sets in at the end. Elena, this beautiful, yet mysterious girl (the audience never learns much about her personality, we only see her for her looks) is the love object in Toto’s teen years. Though for a short while, Toto and Elena live blissfully through a fantasy and dreamlike world complete with frolicking through the grasses, it does not last. Crushed by reality, Toto turns his full attention to the experience he feels through film and is never fully able to feel the deep love he felt for Elena with any other girl. Bordwell calls the ending in the classic Hollywood cinema “the cliché happy ending.” However, Toto never gets the girl and thus does not fit the criteria for the traditional happy ending so often seen in the classic Hollywood cinema. In my opinion, the biggest deviation of Cinema Paradiso from classical Hollywood film is in the resolution. The last scene is so beautiful when Salvatore cries as he watches all the kissing moments that were censored in the Cinema Paradiso (as seen in this youtube clip http://www.youtube.com/watch?v=wEFugVbzsSo). The one thing he missed out on in his life, what Alfredo had wanted him to find all along, was true love. In my opinion, the film shots make Salvatore realize he missed out on reality all along.