The Bad And The Beautiful Film Analysis

The Bad and The Beautiful (1952) and State and Main (2000) are films within films that unmask Hollywood Cinema as a dream factory and expose the grotesque, veneer hidden by the luxury of stars. The Bad and the Beautiful, directed by Vincent Minnelli, is a black and white film narrated in flashback form. The films theatrical nature requires more close-ups than wide-screen shots to capture the character’s psychological turmoil. For example, Fred and Jonathan’s car ride is captured in a close-up to signify their friendship; however their relationship deteriorates after Jonathan’s deceit. While the camera zooms out, Fred stands alone motionless. Here, Fred is captured from a distance at eye-level and he becomes ostracized by the film industry and

the audience. Bebbel utters, “Always thought that man was a genius,” attacking Fred’s masculinity. In the lecture, Gillian states that classical Hollywood cinema celebrates the American myth of a classless society in which anyone can make it to the top. Jonathan builds Georgia into a star and lifts up her chin symbolizing dominance over their relationship, which unbeknownst to Georgia is simply business. Jonathan carries her, emphasizing how women require rescuing. She confesses her love, thus reflecting desperation to be the dutiful housewife. Later, a shadow enters the scene, which produces tension. The camera is shot from a low angle compelling the viewers and Georgia to look up at Lila in the spotlight. Immediately, the camera pans in on Jonathan’s beating eyes, “who gave you the right to turn me inside out?” Here, the camera is positioned at a higher level, forcing the audience to look down at Georgia as inferior.
By contrast, State and Main, directed by David Mamet is a comedic satire, shot in the present tense and in colour cinematography.

Walt says plainly: “a lie is just a gift for fiction,” which sums up magic for movies. Joseph Turner, the screenwriter, is on a quest for purity and is initially dismayed at the corruption of the film industry, but later finds himself embroiled in-between. Hollywood will say anything to get what they want. For instance, Walt promised to attend the mayor’s dinner so he could get the permit to Maine street, he pretends to empathize with the starlet struggling with a nude scene, offers fictitious associate director credits, and pays off the councilor, whose endless pursuit to end their movie was excused for $800, 000 dollars. When Walt asks Joe to return to production, the camera is positioned behind Joe’s head. Here, the viewers share Joe’s judgmental demeanor. The camera routinely zooms in on the character’s faces while they are having an emotional reaction, such as Claire crying in the bathroom. Alike Georgia and Jonathan, the camera pans into the intimate embrace between Annie and Joe. Joe is ultimately conflicted about admitting the truth about the car crash. Thereafter, the camera zooms in on his face to showcase his anxiety, in which Joe unknowingly perjures himself in a fake courtroom. Overall, Minnelli’s melodrama incorporates mise-en-scene and exaggerated camera angles, whereas Mammoth uses natural lighting and authentic

scenery.