The Joys of Film Class

One of the many perks of majoring in Communication Arts is studying film. To top it all off, it's an honor to be taught by Sir Clodualdo del Mundo Jr. who's an award-winning film genius and not to mention, can pull of the killer combo of socks and sandals. He's definitely not the objective type of person as he doesn't require written exams so far, rather insights on the films we see.

We literally started from the beginning, watching the first few sets of moving pictures 'till we progressed to silent films and then to the dawn of sound. And contrary to popular belief, it's really not a struggle to stay awake in class. We've seen a couple of films these past few weeks and there are two films that really stuck to me. So I figured I'd share two of my film reviews for our midterms just because.

Bicycle Thieves (1928)
Vittorio de Sica

The film revolves around a young husband, Antonio Ricci, who has been suffering a prolonged unemployment but one day finds a job that requires a bicycle. His wife then agrees to pawn their bedsheets in order for Antonio to get a bicycle, only to have it stolen the next day. Out of sheer desperation to keep his job, Antonio sets on a wide-ranging search for the thief across Rome, accompanied by his young son, Bruno. 

The film was consisted of a good amount of long and wide shots, emphasizing landscapes and the hustle and bustle of the city. It perfectly captures the busy streets, clogged with unfamiliar and hard-bitten faces. The attention to detail was what I liked the most – the visual aspects, such as the indifference of the crowds and vehicles, and occasional reckless behaviour that contributed to the setting of the “harsh” reality of the city.  

Bicycle Thieves’ plot is simple in construction; however it takes pride in its richness in human insight. What seems to be such a mundane problem means the world to Antonio and Bruno. What’s gripping about the film is that the emotions the characters convey and the events that unfold are raw with unpolished edges which makes it vulnerable and pierces even the most callused heart. It follows the journey of a father and a son, and their focus on survival in rural life. I think the film is not only a form of art, but a social statement of post-war Italy, with a horrible system of justice where even the police is of no help. The film was poignant and extremely frustrating because you root for these characters and yet the odds never seem to be in their favor.  The film puts emphasis on the vicious cycle of poverty, where Antonio is torn between setting a good example for his son by doing the right thing, and keeping them alive by also stealing a bicycle to keep his job. The moment where Antonio succumbs to desperation, with the futile attempt to steal the unguarded bicycle was the most heartbreaking scene. You can’t right a wrong by doing another wrong thing, and that is the lesson Antonio ignores as he hits rock bottom. His horrible loss of dignity was lessened, if only for a little bit, once Bruno holds his hand. The cruel and harsh world in which they live in is brilliantly told by Vittorio de Sica. It brings the audience’s attention the world and what kind of things actually occur on a regular basis.

I think this film requires a lot of patience as it progresses slowly and it takes you along the grueling journey of the wide-range search. It's exhausting, and frustrating, but wonderfully told.


The Last Laugh (1924)
F.W. Murnau

The film revolves around a doorman, played by Emil Jannings, who works for a famous and lavish hotel by being positioned in front of the busy revolving door, greeting and assisting the elite guests. The old man takes pride in his uniform – with its brass buttons and fancy details – serving as the embodiment of the hotel. However, he is demoted to the position of the washroom attendant after being considered too old to infirm the image of the hotel. 

The production and technicalities of the film played a crucial role in the overall visual experience of the film which is its essence, considering it is a silent film. The lack of dialogue, and even printed inter-titles, emphasized the Murnau’s ability to tell a story through the language of the camera, replying purely on visual cues and sound effects. The highlight of the film for me is that it is pantomime – conveying emotions through body movements, facial expressions, camera angles, and the like – which I consider is the beauty of silent films before the dawn of sound. It lets you focus your attention on the characters’ actions, along with the eerie instrumentals. I especially enjoyed its cinematography – the angles and the panning of the camera.

The plot of the film, although not as complex as postmodern works, it is hauntingly intriguing enough to stretch for an extended amount of time. One of its crowning highlights is the presentation of the main character’s descent from someone who was admired by his neighbours to being the object of rude gossips. It is heartbreaking to see a man being proud beyond all reason of his job, only to have it taken away unceremoniously. Much of the doorman’s source of happiness is in what he does and the absence of his uniform equated to the absence of his identity. It pierces the heart and hits right where it hurts the most – the knowledge that these things happen on a daily basis. The streets are full of forlorn people like the doorman and not everyone is fortunate enough to have a plot twist as incredible as the one Murnau added. The doorman reads in the newspaper that he inherited the fortune of a millionaire who died in his arms and the last few scenes are spent showing his new happy life, eating extravagant food and drinking expensive champagne. I think it’s nice of Murnau to not leave it at the doorman stuck in his dead-end job, waiting for his death. The art is in the tragedy; however I find the alternative ending refreshing as it tugs the heartstrings.

This film was haunting, with its grotesque cinematography and style of story-telling. The fact that it's a silent film makes it all the more eerie! I personally enjoyed this and Emil Jannings' acting. He also starred in another great film called "The Blue Angel". To be honest, this is really depressing and if Murnau didn't throw in that alternative ending, I would've thrown a fit. Haha.

With all these classes for the degree I'm taking, I feel like I start to notice more things now, especially the ones I take for granted. I feel like I'm not just looking anymore, but actually seeing and it's remarkable and I feel myself growing. And the world looks slightly more alive and vibrant and sad and poignant, and it scares me but it's exhilarating. And it's only just the beginning, just the tip of the iceberg, and I'm more than ready to absorb and take everything in -- to look, to listen, to analyze, to pay attention.

It's daunting, but I feel like I'm finally noticing.