Yocheved Feinerman

Go With Yo

Blog

Ahed’s Knee: A Film Analysis

by

Wednesday’s Matinee: Ahed’s Knee.

Year: 2021

Directed by: Nadav Lapid

Written by: Haim Lapid and Nadav Lapid

Starring: Avshalom Pollak, Nur Fibak, Oded Azulay

An Israeli filmmaker throws himself in the midst of two battles doomed to fail: one against the death of freedom, the other against the death of a mother.

IMBD

Damn you, Nadav Lapid – the lump in my throat won’t go away.

My mother – my editor – no longer here. It’s so hard… I, too, am cracking up… watching your movie, Ahed’s Knee, this afternoon – I was mesmerized.

Have you met me? My inner thoughts? My inner monologues.

You’ve truly captured everything I’m feeling… my mom begged me to “follow the rules” do what they said, not get kicked out of film school — well… how to answer your critics that insist your script doesn’t make sense, the character of the mother is not “lo manyen – bchlal.” The character’s English dialogue is irritating and unnecessary.

Oh yes, Nadav, I know the costs of signing on the dotted line.

Passing, a power that be, in the narrow staircase, or while washing my hands in the bathroom.

You didn’t forget our agreement, Yocheved.

No, a weak smile answers.

I know that I’m not allowed to talk in English. Ask questions during class. Or approach a teacher after the bell. I know. I signed in blood to promise to see others, to not assume I was the only one in the room.

Because you know, those powers, they seem to only hear me. Wherever they go, they see me. Hear me. Can’t get away from me. The other.

Sign here.

Only sometimes I forgot.

What happens then.

One can try begging. Crying. Pleading.

Oh yes, Y, presses record.

Yup, yup, that’s what we do, Y.

The anger – the frustration has no bounds.

Without your editor, one is hopeless.

No masks. No costumes. No foley sounds can suppress the truth – your truth.

Hey victim — Lace up your sneakers.

Let Y go.

To my fellow mourners, I highly recommend you immerse yourself in the world of Y, the protagonist of Ahed’s Knee.

Be prepared for Nadav Lapid’s gritty realism.

Watch your inner feelings be projected onto the screen.

Afterward, call me. Message me. Share your thoughts 👇🏽

Here to listen.

Yours, Y

Go with Yo to the Movies

Sometimes, a Cigar is just a Cigar

by

Spellbound: A Freudian Analysis

Our story deals with psychoanalysis, the method by which modern science treats the emotional problems of the sane. The analyst seeks to induce the patient to talk about his hidden issues and open his mind’s locked doors. Once the complexes disturbing the patient are uncovered and interpreted, the illness and confusion disappear … and the evils of unreason are driven from the human soul. – Introduction to Spellbound (1945)

 

Spellbound

A psychiatrist protects the identity of an amnesia patient accused of murder while attempting to recover his memory.

Psychoanalysis – A Plot Device

Since the 1940’s suspense/thrillers have relied heavily on psychoanalysis as a plot device, beginning with Alfred Hitchcock’s Spellbound.

The idea for Spellbound stemmed from the producer David Selznick’s own experience in analysis.

Even hired his therapist, May Romm, to come on set as the technical advisor.

Spellbound combines psychoanalysis and a thriller/murder mystery.

Hitcock clarified and instructed his viewers that the film was a fantasy set inside a Freudian world.

The movie explores themes that are central to Freud’s work: unresolved tension between “material reality,” what actually happened, and “physical reality” (what our consciousness convinces us to believe happened).

The movie is a version of the story of Oedipus, with incestuous desire and repressed guilt, filled with riddles to be solved. 

Freud and Psychoanalytic Theory 

Freud’s in-depth analysis of dreams transforms the loose sense impressions, words, and symbols that occur to the dreamer.

Theory/ Innovation

 Freud focuses on the unconscious mind rather than on the conscious mind.

The theory is built on the foundational idea that one’s behavior is determined by experiences from the past lodged in your unconscious mind.

Psychoanalysis is a therapy that aims to release pent-up or repressed emotions and memories or lead the client to catharsis or healing.

The goal is to talk to another person about big questions in life, things that matter, and dive into complexities that lie beneath a simple-seeming surface. 

 Born in Austria, Freud spent most of his life in Vienna.

Trained as a medical doctor, Freud set up a private practice and began treating patients with psychological disorders.

Freud’s attention was grabbed by a colleague’s intriguing experience with a patient “Anna O” who suffered from physical symptoms with no apparent physical abuse.

 Her doctor, a colleague of Freud, Dr. Joseph Breuer, ascertained that her symptoms eased after recovering repressed memories of traumatic experiences hidden from her conscious mind.

This case sparked Freud’s interest in the unconscious mind spurring some of his most influential ideas. 

Effects on Humanity Until Today

Freud’s most noticeable impact was changing how society thought about and dealt with mental illness.

But unfortunately, it also meant that people drew a sharp dividing line between the “insane” and the “sane.” 

Psychic Determinism

The theory posits that everything you say and do is essential and based on previous experiences and instinctual drives – whether you are consciously aware or not.

According to Freud, mental physic events do not occur by chance but always have an underlying cause that can be uncovered in analysis.

Dreams

Freud placed great significance on dreams.

He believed analyzing one’s dreams can give valuable insight into the unconscious mind.

In 1900, Freud published the book, Interpretation of Dreams, in which he outlined his hypothesis that the primary purpose[ose of dreams was to provide individuals with wish-fulfillment, allowing them to work thru some of their repressed issues in a situation with free forms of consciousness and the constraints of reality.

Thus, the purpose of dreams is to translate forbidden wishes and taboo desires into a non-threatening form they

  • condensation (joining of two or more ideas)
  • displacement (transformation of the person or object we are concerned about into something or someone else)
  • secondary elaboration – the unconscious process of turning the wish-fulfillment into images or events forming a logical narrative.

Freud’s ideas about dreams were game-changing.

Before Freud, dreams were considered insignificant and insensible ramblings of the mind at rest.

However, his book provoked a new level of interest in dreams, a claim that continues to this day. 

Since the 1940’s suspense/thrillers have relied heavily on psychoanalysis as a plot device, beginning with Alfred Hitchcock’s Spellbound.

Read more: Sometimes a Cigar, is just a Cigar: Part II: Silence of the Lambs

The Straight Story: An Analysis

by Leave a Comment

The Straight Story

Year: 1999

 

Genre: Journey

 

 

 

 

The Movie

 

The Straight Story was adapted based on the true story of Alvin Straight, who actually traveled a 300-mile journey on a lawnmower.

Characters

 

Alvin (Richard Farnsworth),  an elderly World War II veteran, lives with his daughter, Rose (Sissy Spacek), a kind woman with an intellectual disability. After hearing that his estranged brother, Lyle (Harry Dean Stanton),  suffered a stroke, Alvin makes up his mind to visit him and hopefully make amends before he dies.

 

 

Plot

 

Beginning: Alvin Straight lives alone with only his daughter for company.

 

Inciting Incident: Straight learns that his distant brother has recently suffered from a severe stroke. 

 

Character’s Goal: (want) Straight decides to reconnect with his brother before age gets the better of both of them. 

 

Journey: Unable to drive and completely set on taking the trip alone. Straight sets up a riding lawnmower with a trailer full of gasoline, water and wieners, and sets out to journey all the way to Mount Zion, Wisconsin- entirely on his own.

 

End: The movie ends with two men sitting together silently gazing up at the stars. 

 

 

 

Conflict

 

Does every movie have to contain conflict?

 

David Lynch experiments with this Hollywood idea that every movie has to have a conflict and every scene. Alvin Straight’s brother, who he hasn’t spoken to in ages, has a heart attack, and Alvin decides to go meet him before it’s too late. The problem is that Alvin is elderly, not in good shape, and he doesn’t have a driver’s license. In fact, he has a lousy track record of driving, having crashed into his home. That doesn’t stop him. He decides to make the journey on his lawnmower. Alvin doesn’t mind that the lawnmower is slower than running – because Alvin doesn’t care how much time the journey will take him.

 

 

So, on the surface, there is no actual conflict in the movie.

 

 

On a deeper level, The Straight Story navigates the conflict of aging. The realm of loneliness as you realize that most of your life is behind you, and many of the people you knew – loved – fought with are dead. Straight is conflicted with his feelings of age. 

 

 

On the road, Alvin shares haunted memories of World War II with a fellow veteran, delivering an anti-war message stronger than a thousand movies filled with conflict.

 

 

The Form-Expression

 

Devotees of David Lynch are perplexed. The G- rated Disney film, The Straight Story, departs from the director known for making lurid, bizarre, and often disturbing films. The film is missing depravity, nightmarish imagery, and shocking scenes. 

 

 

This film is distinct from Lynch’s previous works. Being the only film in which he did not contribute to the writing of the screenplay. Lynch filmed, in chronological order, on the actual route taken by Alvin Straight, the natural living person on which the film is based. Lynch cast Richard Farnsworth as his protagonist, an actor suffering from advanced prostate cancer. Straight’s struggle, the pain we see on his face and in his body movements are authentic. A passion that was recognized with an Oscar nomination for Farnsworth.

 

 

Lynch explained that this movie was his most experimental film. On closer look, devotees of Lynch realize that the G- rated road trip film fits into the rest of Lynch’s filmography. 

 

 

Lynch’s influence in surreal characters and strange lines of dialogue coming and going through Alvin Straight’s journey and the odd atmosphere permeates the entire production.

 

 

Lynch introduces us to Alvin Straight’s midwestern world with a quiet mood and careful, methodical pacing.  

 

 

In The Straight Story, Lynch tells a story with delicate restraint while still being filled with Lynchian surreal asides and idiosyncrasies, just in more subtle ways. 

 

Central Idea/ Theme

 

Simplistic on the surface, The Straight Story contains uncommon depth, using its basic structure to trigger themes of guilt, loss, morality, and redemption. 

 

 

A character’s outward journey also constitutes a subconscious odyssey. Into his past, the future, the secrets and sins of a character that has experienced it all, and much much more. 

 

 

Does the Movie Conform to the Genre?

 

 

Is there movement? yes.

 

Are there characteristic sequences? Yes.

 

Are there editing sequences of the road? Yes.

 

Is the viewer hypnotized by the spectacle of driving? Yes.

 

 

Therefore Lynch’s The Straight Story does indeed conform to the genre.

 

Which Genre?

One of the greatest filmmakers in modern times is David Lynch. Considered to be a relentlessly individual filmmaker with a highly unique sensibility. Watching his films strikes us immediately as Lynchian.

The Lynchian Genre

White picket fence adorned with prickly red roses, as well as a manicured lawn, hiding the beetles that hiss underneath. Mundane images that turn.

Surrealism mixed with a film noir tone in Americanah settings. Lynch’s brand of surrealism exposes the strange within the familiar, the reality within the dream. Lynch frames a cinematic approach around small-town American life, the light and dark versions of the American dream.

  • Universe dictated by dream logic
  • Sequences of surrealism
  • Magical realism that echoes the subconscious state

Lynch makes use of recurring motifs.

  • 1950’s America and the dark underbelly of suburban life
  • The visual and somatic juxtapositions of light and dark
  • Gritty images of industrial wastelands
  • Cheery ambient noise
  • Red curtains – obscure passage of time
  • Deformed bodies
  • Complex female characters that play on our expectations of the archetypal femme fatale – reflecting in dual roles for single actresses, exploring the split identity of a fractured female self

 

Genre: The Road Trip

The road movie is thematically dominated by movement, and that prolific movement is frequent in its characteristic sequences. 

However, this dynamism is most frequently tempered by the accumulation of static and centripetal elements in shot composition and by editing patterns that organize sequences along the linear trajectory of the road. 

Besides, the centrifugal aesthetics of curiosity remains a quantitatively secondary component of the road movie, as it is frequently compensated by segments in which the viewer is hypnotized by the sheer spectacle of driving.

The road trip genre contains a distinct series of tropes and symbols. The open road is an extended metaphor utilized by FilmMakers to symbolize a character’s personal journey filled with discovering new aspects of themselves as new landscapes peer over the horizon.

Thematically, the road trip genre is so wonderful because it expands how characters can be explored. On the road, we’re vulnerable. Though the journey of a road trip film may not start with personal exploration, what follows is nearly always life-changing. The characters grow; they learn more about themselves, their compatriots, and their society. The characters featured in these films make irreversible discoveries and irreversible decisions; their lives change on the road, for better or worse. Discovery and change are the two most apparent motifs that characterize these road trip films and are evocative of the struggles and joys of life itself.

 

Being in the “road trip” genre, Alvin encounters many strange characters in his travels, sometimes for seemingly no reason. A horde of marathoners passes by him, as does a hitchhiking teenager who later joins him for dinner. A crazy woman runs over a deer, bursts into an angry rant, and moves back onto the road like it never happened.

 

 

David Lynch turns the true story into a gentle parable – and a classic, if unlikely, the American road movie. It is the slowest road trip genre movie. That pace being the point – somewhere along the way, the rate of our world became fast – very fast. It takes an old man on a lawnmower to remind us that life’s journey should never be rushed.

 

 

How Does the Movie Compare to Other Movies in the Genre

 

Forrest Gump, 1994

 

Forrest Gump is a classic example of a road trip movie despite traveling by foot, expanding the typical definition of an adventure. Tom Hanks’ character not only spans a sizable distance but traverses different periods to trace a journey across years as well as miles.

 

 Like, The Straight Story, Forrest Gump is considered one of the quintessential road movies because they both feature protagonists who are focused on searching for something important on a quest. The heart of the road trip genre’s core.

 

Thelma and Louise, 1991

 

Categorized in the road trip genre, Thelma and Louise shed many tropes of typical road movies. Replacing the macho protagonist searching for his frail love, Thelma and Louise center on escaping two women considered criminals by their society. 

 

 

 

Both movies feature characters on a road trip. A journey. A quest. For Thelma and Louise, the journey turns into a feminist freedom trail. Unlike Thelma and Louise, Alvin Straight’s journey ends with a physical destination – he travels – albeit very slowly – to his brother’s home. Whereas Thelma and Louise travel to the destination of their choice – off the cliff. 

 

 

In Conclusion

 

Genres satisfy many roles for cinema. Saving time and money for the studio. Provides an easy marketable film to the audience for distributors. It eases the decision-making process for the audience when selecting a movie to watch. Genres provide us a cultural experience by providing us with rituals as old as society.  

 

Lynch’s The Straight Story fits into the road trip genre, using movement, character, driving, scenery, and journey. The film departs from the genre when it veers into the Lynchian genre.

 

 

Sources:

 

Wikipedia

 

Roger Ebert

 

The Ringer

 

 (Adapted from a paper written for Cinematic Expression Course with Professor Anat Kapach)

 

Scorcese Judges Capitalism

by

Scorcese and the Consequences of Capitalism

The movies, Taxi Driver and Goodfellas, take on the philosophy of Capitalism.

Scorcese gives his audiences a first hand look at the toxic effects.

What is Capitalsim?

Adam Smith – the Father of Modern Capitalism 

Smith’s philosophy posits that when individuals trade, they value the purchase more than the value they give in exchange for a commodity. 

Carl Marx – the Anti-Capitalist 

It is generally assumed that Marx was an avid reader and admirer of Smith’s work.

Marx criticized various aspects of Smith’s thought and developed them as part of his theory.

The main difference is that Smith primarily looks backward, sees that things are better than they were, and offers various reforms to improve society.

Marx looks mainly to the future and believes that the future could be so much better than the present and argues for a communist revolution.

Anti-Capitalism Goes to the Movies

Taxi Driver

A mentally unstable veteran works as a nighttime taxi driver in New York City, where the perceived decadence and sleaze fuels his urge for violent action. –IMDB

Year: 1976

 

James’ Journey to Jerusalem: A Film Review

James’ Journey to Jerusalem: A Film Review

by | Jun 17, 2022 | , ,

Like James, I, too, experienced the disparity between what I hoped to happen and the reality of the experience. For thirteen years, I have been absorbed into this foreign culture – a culture quite different than the one for which my younger self prayed, hoped, and yearned. This Pilgrim refuses to give up. This Pilgrim’s journey continues towards Jerusalem.

The SOPHOMORE

The SOPHOMORE

by | Oct 7, 2021 |

The SOPHOMORE Old School Year Two is starting. Would I even be able to recognize the Yocheved that signed up for a four-year film school degree, with a focus on production, all in Hebrew, without reading the fine print – yes, it is all in Hebrew. But, what...

Tel Aviv Documentary Film Festival

Tel Aviv Documentary Film Festival

by | Jul 5, 2021 | ,

That’s a wrap! Watched and chatted with Yael Bartana about her newest work Two Minutes to Midnight. Learned the secrets of documentary and the breakdown of the fourth wall from Director Marc Isaacs. Check out his latest film – The Filmaker’s House....

Shout Out to Davira

Shout Out to Davira

by | Oct 12, 2020 | ,

Shout Out To Davira Returning from the mountains on Simchat Torah, I ran into Davira Reichman Bareli, my yoga teacher. Standing ten feet apart, wearing masks, we managed to catch up. How are you? She said. I’m actually very good — just missing your class. I answered...

James’ Journey to Jerusalem: A Film Review

James’ Journey to Jerusalem: A Film Review

by | Jun 17, 2022 | , ,

Like James, I, too, experienced the disparity between what I hoped to happen and the reality of the experience. For thirteen years, I have been absorbed into this foreign culture – a culture quite different than the one for which my younger self prayed, hoped, and yearned. This Pilgrim refuses to give up. This Pilgrim’s journey continues towards Jerusalem.

The SOPHOMORE

The SOPHOMORE

by | Oct 7, 2021 |

The SOPHOMORE Old School Year Two is starting. Would I even be able to recognize the Yocheved that signed up for a four-year film school degree, with a focus on production, all in Hebrew, without reading the fine print – yes, it is all in Hebrew. But, what...

Tel Aviv Documentary Film Festival

Tel Aviv Documentary Film Festival

by | Jul 5, 2021 | ,

That’s a wrap! Watched and chatted with Yael Bartana about her newest work Two Minutes to Midnight. Learned the secrets of documentary and the breakdown of the fourth wall from Director Marc Isaacs. Check out his latest film – The Filmaker’s House....

Shout Out to Davira

Shout Out to Davira

by | Oct 12, 2020 | ,

Shout Out To Davira Returning from the mountains on Simchat Torah, I ran into Davira Reichman Bareli, my yoga teacher. Standing ten feet apart, wearing masks, we managed to catch up. How are you? She said. I’m actually very good — just missing your class. I answered...

No Results Found

The page you requested could not be found. Try refining your search, or use the navigation above to locate the post.

Fantastic Flying Books of Mr. Morris Lessmore: An Analysis

by Leave a Comment

The Fantastic Flying Books of Mr. Morris Lessmore

Year: 2011

Directors: William Joyce and Brandon Oldenburg

Writer: William Joyce 

The Movie

The 2011 animated short film, The Fantastic Flying Books of Mr. Morris Lessmore, an allegory about the curative powers of story, won the hearts of children, adults, film festival judges, and Best Animated Short Film at the 84th Annual Academy Awards. 

Directors William Joyce and Brandon Oldenburg wowed audiences by synthesizing cutting-edge modern tools with traditional cinematic elements. Computer animation, miniatures, and conventional hand-drawn techniques visually bring to life the story of a man who gives his life to books. 

This blog intends to examine three modes of cinematic expression in the short film: The Fantastic Flying Books of Mr. Morris Lessmore. Specifically the use of iconography, color, and composition.

Iconography

Iconography is an essential part of film and television shows, with specific visual images or symbols used to convey critical information about the story, genre, or timeframe. 

When Morris Lessmore is blown out of his stasis by the inciting incident of a storm, he grabs his book while the storm blows away buildings. The iconography of the images and symbols of the storm provides visual clues to the viewer, referencing the genre, the theme, and the plot. 

This story is a modern tribute to an old world. A silent film paying homage to the world of yesterday – a world in which printed books inhabited our world.

  • The viewer immediately understands the significance of a storm blowing away buildings in the French Quarter of New Orleans. Our minds and hearts are taken back to 2005 and the devastation caused by the real-life Hurricane Katrina. 
  • Morris Lessmore’s grey suit, walking stick, and porkpie hat will remind cinephiles of the silent film actor Buster Keaton. Specifically, in the storm scene from the 1928 film Steamboat Bill, Jr.
  • The storm’s visual images are also inspired by the tornado scene in the 1939 classic, The Wizard of Oz. Also, as the use of color (see below).
  • The nursery rhyme Humpty Dumpty
  • The story Treasure Island

Color

A color is a powerful tool in cinematic expression. On the surface, making images dynamic, colorful, and beautiful. However, with the proper uses, color in the film tells a story. This is evident in the Fantastic Flying Books of Mr. Morris Lessmore.

  • Like The Wizard of Oz, The Fantastic Flying Books of Mr. Morris Lessmore utilizes the contrast of color and black and white as a narrative device. The black and white represent the storm’s sadness and despair.
  • When the hurricane descends, the colors darken. After the storm, the color grey marks utter devastation. Morris wanders in the grey, conveying a feeling of sadness and boredom until the Lovely Lady hands him a copy of Humpty Dumpty. The color is restored, marking Morris’s newfound happiness. 
  • Morris himself attain color when entering his new home, the library. The people waiting in line are grey and only become colorful after borrowing books from Morris’s library. The use of color marks the significance of books in people’s lives. (Similar to the movie Pleasantville.)

Composition 

The composition, the arrangement of visual elements to convey an intended message, is seen in The Fantastic Flying Books of Mr. Morris Lessmore.  

According to Dr. Anette Hagen, “The Potential for Aesthetic Experience in a Literary App” the composition of the film and the app is minimal, conveying a world of minimalism to the viewer: less is more.

  • The character Morris Lessmore is the only human character with a name.
  • The character of Morris Lessmore appears in every frame of the film.
  • Morris Lessmore’s life is minimal. His life involves only books. He has no family, no romance, and no ordinary life. 

Conclusion

It is evident that the three modes of cinematic expression, color, composition, and iconography, found in The Fantastic Flying Books of Mr. Morris Lessmore, contribute to the immense pleasure of audiences of all ages and all nationalities. 

Bibliography

Moonbot Studios

The Fantastic Flying Books of Mr. Morris Lessmore: Film for Book Lovers Wins Oscar

The Potential for Aesthetic Experience in a Literary App: An analysis of The Fantastic Flying Books of Mr. Morris Lessmore

The Fantastic Flying Books of Mr. Morris Lessmore

 (Adapted from a paper written for Cinematic Expression Course with Professor Anat Kapach)