Watching the phantom of the opera essay

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Watching the phantom of the opera essay

The lack of attention or acclaim was sinfully unacceptable by her standards but, while also remaining astutely self-reflective of her work, there were exceptions with two masterpieces with which her views would never atone.

The first was Rain, a didactic and bold drama of religious and sexual oppression; the second has arguably propelled her into credible filmmaking chic, Johnny Guitar. Most of the modern endorsement is typical pandering to the posthumous: The script is far from operatic, rather high-pitched camp delivered with gritty conviction.

The setpieces are interesting, as is the musical score, with the signature tune delivered by the wonderful Peggy Lee.

Watching the phantom of the opera essay

On a whole, the visual presentation of Johnny Guitar is an intriguing, if flawed, advancement of colour in cinema. Is it really an anti-Western portrait of feminism and psycho-sexual hysteria, or is it a poker-faced parody of the genre itself?

Here we have a backdrop that might just be the most off-kilter on record. The dritfing guitar-toting title character Sterling Hayden emerges in Arizona, where he is reunited with his saloon-owner former lover, Vienna Joan Crawford.

Vienna is downplaying the barren financial prospects of her saloon as she patiently awaits the pending railroad to come into town and flood her business with new customers. Unfortunately this draws the ire of town rancher Emma Smalls Mercedes McCambridgewho resents the idea of new settlers on her land just as much as she resents Vienna.

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Influencing the greater part of the town, Emma has the sheriff issue Vienna a warning to pack up and move out. Her ace in the hole is Johnny Guitar, who, unbeknownst to everyone else, is a notorious gunslinger.

The first thing that immediately transfixes you is, unsurprisingly, Joan Crawford. She becomes transient in spirit and eschews acting here.

Watching the phantom of the opera essay

What she projects onto the screen is a hybrid of glaring androgyny and indomitable presence. Crawford was maligned by her co-stars during production of this film, and watching Vienna churn out lines such as "Down there I sell beer and cards; all you can buy up here is a bullet in the head" illustrates the grisly determination she wielded to disarm any opponents -- off screen and on.

While Sterling Hayden, more figure than actor, takes a likeably emasculated and subservient role to Vienna, the other star of this film is undeniably Mercedes McCambridge. Her face had completed its transformation from wide- eyed hopeful into a masculine, vulcan-browed, lizard-staring Grand Dame.

You must unlearn what you have learned about a galaxy far, far away. Now a lost filmit is only known to have existed because of references to it in other media. The Phantom of the Opera

This is beauty in hardened granite. There are, mind you, moments where Crawford glows in beatific form; her costumes make full use of bold colour, and when Emma and her posse come to arrest Vienna at her saloon, they find her draped in flowing, graceful white gown as she softly plays her piano.

The tension boiling all through the film hits its climax in this scene, and the drama scales heights of ecstasy as Emma sets fire to the saloon in a moment of stolen victory. The ending, for instance, should always be watched by any two warring females that fancy a giggle at the silliness of their own feud.

On the surface it is a role-reversal Western beneath that surface are many layers.

Saavedra, Angel de, duque de Rivas

To say the picture is ahead of its time is scratching the tip of an iceberg. The story opens somewhere in the Wild West, set in the late s. Vienna Joan Crawford owns the saloon and gambling parlor just outside of town.

Johnny Guitar Sterling Hayden arrives supposedly to start working for Vienna. Emma Small Mercedes McCambridge is the sister of the victim; besides being angry, she appears to be sexually frustrated as well.

She is independent, runs her own business, and has much bigger plans as soon as the railroad comes. Just the idea of the railroad and the new people it will carry west sets off Emma and McIvers. A lot happens in that next 24 hours; it seems Vienna and Johnny have a past together and are not yet finished with each other.

The gang has to decide if they should leave town or defy the law.

When the film was originally released in it was not a winner at the box office. Critics of the day generally panned the film; it seems to me that they were shortsighted, to say the least.

Only in France did the film find an audience.Forget all those other boring indie brother teams – these guys were the original geniuses of cinema’s bargain basement. The sudden death, disappearance, or withdrawal of a key actor during the shooting of a big Hollywood movie is the kind of Industry debacle that drives producers into a panic, capsizes multi-million dollar productions, and sends .

St Joan of Arc Daughter of God Pilgrimage to France.

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Led by Chris and Catherine Snidow The next French Pilgrimage, in , to St Thierry, Rheims, Domremy, Orleans, Troyes is scheduled for June July 1, A Galaxy Not So Far Away: Writers and Artists on Twenty-five Years of Star Wars 1st Edition.

Watching The Phantom of the Opera Essay - For me, I was lucky that my college offered tickets to see The Phantom of the Opera right around Mothers’ Day. I celebrated the holiday early by taking my mother to see her first professional performance. October 31, by Mike Klimo | Star Wars RING THEORY: The Hidden Artistry of the Star Wars Prequels.

The Phantom of the Opera Critical Essays - alphabetnyc.com

How George Lucas used an ancient technique called “ring composition” to reach a level of storytelling sophistication in his six-part saga that is unprecedented in cinema history. A dazzling collection of original essays by some of America's most notable young writers on the cultural impact of the Star Wars films A Galaxy Not So Far Away is the first ever exploration of the innumerable ways the Star Wars films have forever altered our cultural and artistic landscape.

Edited by Glenn Kenny, a senior editor and critic at Premiere magazine, this singular collection allows.

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