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Crash the movie analysis
Analysis of crash the movie
Analysis of crash the movie
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The Crash
Based on the Ben Sherwood novel, The Death and Life of Charlie St. Cloud, is a story of two brothers who go against their mother’s word and decide to drive somewhere late one night while she is working, but they never make it to their destination. It all happens so fast as the scenes of the collision cut into different camera angles to build the intensity for the audience-flashes of light and the loud horns of the oncoming semi-truck build up the intensity of the accident. In slow motion, the light gets brighter until the screen is white. After witnessing the apparent collision, the scene suddenly goes black and slowly the camera starts to pan over the wet concrete to reveal the aftermath of what had happened. A rollover from Charlie
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The camera immediately shifts to highkey, flat lighting as the paramedic desperately tries to revive Charlie. Once he is successful, Charlie begins to agonize over the realization of his little brother’s death. The same day of the accident, Charlie and Sam had conducted a deal of meeting everyday to practice playing baseball in the same spot behind the cemetery at sunset when the sunset cannons shoot off in their maritime town. From the day of his brother’s funeral, he ran off to meet with him as promised; everyday at sunset Charlie would run to the same spot to meet the “ghost” of his brother Sam to play catch with a baseball. The camera slowly pans in the direction the he is running. Here, the videographer decides to shoot with a long lens as well. As Charlie is running through the forest, the sun is setting. They use bright, but soft, backlighting amongst the trees in the forest to produce an organic sunset lighting that is shining brightly through the tree branches. Scenes are often framed in the traditional Rule of Thirds fashion. When Charlie greets Sam in ghost form for the first time, there are trees in the middle, Sam revealed on the left of the screen and Charlie posted on the right of the screen, with the sunset organic lighting accompanying the scene in the
...ased the brakes until coming to a complete stop. Juan and Glenn, knowing where they were going, went to the door leaving the dad alone to get the money. Upon entering the cabin, Juan asked him for the money. He replied quickly that first he needs to see his daughter. The children came out. There was a sudden movement by Glenn which attracted the attention on him long enough for Marianne’s father to pull out the pistol. He pistol whipped Juan and held the gun towards Rita. Rita suddenly started screaming in Spanish asking where Buck was. They told her he was dead and ordered her to put her hands above her head. He handed the gun to Glenn motioning him to stay here and watch the two as he went for the cops and took the others.
The next shot (shot 4) is composed so that we see Annie and Karin on the porch swing as if the narrator is standing out in the field watching them from afar. The following shot (shot 5) begins similarly, looking down on the corn field, but dollies and turns to follow Ray (indicated in shot 5.1 and 5.2) for a close-up amidst his crops as he first hears that famous line. He quickly looks around: shot 7 consists of a quick pan across the skyline — there’s nobody there. The movement of the camera in these opening shots makes it very clear that the camera is acting as a watchful and knowing presence, and it can easily be argued that the camera takes the point of view of the spiritual figure guiding the plot’s events. Shot 14 in particular, in which Ray exits the frame entirely and re-enters at the sound of the voice, reveals the camera to be a narrator with omniscient knowledge. The camera doesn’t follow Ray because something else is about to happen right where he was standing. It’s also important to note that in shot 5, the camera begins high above the landscape and then delves into the field so that the shot is almost overrun by the corn growing through the edges of the frame — the spiritual
Cameron admits, that while he was in his catatonic state, he had an epiphany of how ridiculous it was to wish he were dead, worry about every little thing, and to be afraid. When they see that the car’s mileage isn’t reversing, Ferris says that he has to crack open the odometer and roll the numbers back by hand. In response, Cameron says to forget it. He let’s his “old man push him around and,” he, “never says anything.” And he has now come to the understanding that he’s not going to sit by while events that affect him unfold, and determine the course of his life. Overcome, with a surge of anger that had been suppressed for so long, Cameron begins to kick and dent the car screaming the question, “who do you love?” Which was obviously directed at his father and then answering, “you love a goddamn car.” When he finally calms down he says he is, “tired of being afraid” and gently places his foot on top of the car, which is a catalyst that throws the car off its peg and causes it to drive backwards through the window. Ferris immediately offers to take the heat for crashing the car. However, Cameron truly overcomes his fear when he says, “no I’ll take
The night Laura Wishart was found dead, Charlie changed as a person: he started to see everything in a different light, even his home life. He comes to terms with his mother; he realises that her personal issues are being taken out on him and dominating their family life. Ruth Buc...
Growing up, Charlie faced two difficult loses that changed his life by getting him admitted in the hospital. As a young boy, he lost his aunt in a car accident, and in middle school, he lost his best friend who shot himself. That Fall, Charlie walks through the doors his first day of highschool, and he sees how all the people he used to talk to and hang out with treat him like he’s not there. While in English class, Mr. Anderson, Charlie’s English teacher, notices that Charlie knew the correct answer, but he did not want to speak up and let his voice be heard. As his first day went on, Charlie met two people that would change named Sam and Patrick who took Charlie in and helped him find himself. When his friends were leaving for college, they took one last ride together in the tunnel and played their favorite song. The movie ends with Charlie reading aloud his final letter to his friend, “This one moment when you know you’re not a sad story, you are alive. And you stand up and see the lights on buildings and everything that makes you wonder, when you were listening to that song” (Chbosky). Ever since the first day, Charlie realized that his old friends and classmates conformed into the average high schooler and paid no attention to him. Sam and Patrick along with Mr. Anderson, changed his views on life and helped him come out of his shell. Charlie found a
The results help to shape the meaning of this film. Multiple eye-level shots between characters’ conversations, signifies equality between both individuals. The scene when the Richmond High principal and Coach Carter are arguing is a classic example of this. High angle camera shots are also used throughout the film to show characters in a state of vulnerability. When Damien is speaking to Coach Carter about playing for Richmond and not St Francis, a high camera angle portrays Damien in a position of authority, looking down upon vulnerable Coach Carter.
Crash. Dir. Paul Haggis. Prod. Mark R. Harris et al. Yari Film Group, 2004. Film.
Moorhouse has portrayed the character’s facial expressions efficiently throughout the film with the use of effective camera angles that engages the audience. The atmosphere of the film entirely changes from contented to gloomy due to sudden Teddy’s sudden death. A close up shot was used to capture the sadness and heartbreak on Tilly’s face as she held teddy’s hand while cleaned his body for his funeral. The use of slow instrumental music featuring violin and piano enhanced the facial expressions of the character and helped the audience to empathize with her. Moorhouse uses a medium close up shot that framed the teacher and Marigold Pettyman in a scene when Marigold discovers the truth about Tilly being the reason behind her son’s death “You think your little boy fell of the tree? Wrong…” The shot helps the audience to evidently comprehend the pain and sorrow on her face after finding the shocking truth about her son’s death. Emphasise on the theme of grief and loss was prolonged when Molly collapses on the road due to suffering from a stroke. A high angle shot is used as Molly laid on the floor in the doctor’s office to demonstrate the pain she was suffering through. The scene effectively portrays Tilly’s love for her mother as she tightly held her hand and kissed her forehead while soft piano music played in the background serenading the audience to strongly stay connected to the characters. The following scene used a close up shot to focus on Tilly’s facial expressions to determine the audience of the fear she felt of losing her mother after being apart from her for so many
The visuals of the film scene are filled to the brim with green and brown, setting a scene befitting of the first big thaw of Spring, rather than the “depths of winter,” described in the story. It is far from a simple difference in pallette and time of day however. Where the passage gives off the impression of solitude and barren terrain, referring to Grant and Fiona as being “under the full moon and over the black striped snow,” painting the image of two lone wanderers, isolated between two forces of nature, the movie scene is bright and alive. Grant and Fiona are walking under tree cover, but an abundance of light filters through the foliage. Even the camera shots are warm and inviting, with close views of the actor’s faces, and with great emphasis on every word spoken.
...ing Charlie's close-ups portrays a delicate glowing face, which appears frightened and angelic, an obvious contrast to the shadowy right side of her Uncle's face. The lighting scheme on the Uncle's face is a classic cinematic device revealing the duality of his personality. And again we are brought back to duality, one of the most popular themes among this director's films.
The close up shot of the sheriff overlooking the people on the beach with the look of concern and distress, opposed to the family in the background, smiling and enjoying the nice sunny day. This shot of him explains his perturb feeling that he knows what awaits in the water, unlike everyone else. The long shot of the person floating in the middle of the sea exposed makes the audience feel relaxed but also cautious. Over the shoulder shot shows the attention is not on the man talking to the sheriff but on the woman in the sea, which was a false alarm, of the woman screaming, but also keeps the audience alert. Another long shot is shown when the children get up to go to sea, makes the audience anxious for danger that is about to happen.
Charlie Gordon is the main character of Flowers for Algernon. Charlie is a mentally retarded, 33 year old adult. He desperately wants to be smart, especially after a very troubled childhood in a family who had a hard time adapting to his illness. Charlie has a great attitude about changing his life, and was willing to do whatever it took to accomplish the task of becoming smart. Charlie partakes in a surgery to boost his intelligence that has only been tested on rats, specifically one named Algernon. After the surgery Charlie learned that the grass isn’t always greener on the other side, and that many of his old friends wouldn’t see the same person in him. Charlie suddenly had to experience drastic changes in his lifestyle and the story revolves around these complications.
...of all responsibility (for, of course, there is no way that a normal person could ever kill.) In keeping with this principle the film attempts to absolve Young Charlie from all responsibility in her Uncle's death, for it is seen as an accident that occurred when Young Charlie was fighting her Uncle in self-defence. In the final stages of the film we are brought back to the small town introduced to us in the beginning, this time, however, it is in morning for a beloved son. Charlie's death has brought Graham back to Young Charlie. We can see the good side has won the battle for her. As in early situational Charlie has learned her moral lesson and the episode may end.
of light being the main focus in this work. Shadow also plays a large part in the
It is intelligent blocking of the character and lighting placement, as there is a single light hanging from the ceiling, which after Marion screams gets knocked, causing the shadows to move menacingly along the wall. This clever idea adds to the horror of the scene with the horrific skeleton. The skeleton is also very brightly lit compared with the rest of the room bringing out the horror of how it looks. It is almost lit as if with a spotlight from camera-left, creating almost black on one side of the skeleton.