The Searcher in the Movie Book

Allison 2022-03-21 09:01:54

know the movie
8.9
[America] Louis Gianetti [Sweden] Ingmar Bergman [Japan] Akira Kurosawa and others / 2007 / World Book Publishing Company

1. Tone

The tone of a movie can be manipulated in many ways, for example, the style of performance can greatly influence how we react to a scene. In Idrosha Ushi's "Heavenly Questions", the tone is objective and realistic, all non-professional actors are used to make the performance style very realistic, and they do not exaggerate emotional Zhang to enhance the drama.

Genre can also help set the tone of the film, with epic films unfolding in a more dignified than life-like manner such as "The Searcher" or "October" The best thrillers are usually tough, vicious, and tough, as "Double Indemnity" and "Deadly Gambler," the comedy's tone is frivolous, playful and even silly.

The off-screen narration can also help set the tone of the film, creating another counterpoint to the objective viewing of the play, for example the narration can be ironic, as in "Sunset Boulevard" or sympathetic, as in "Dances with Wolves") , or even panic, such as "Taxi Driver"; or a Confucian style, such as "A Clockwork Orange" is narrated by a defiant.

The music is most often used to set the tone of a movie. It's all rock and roll, or a Mozart or Ray Charles jazz soundtrack. The atmosphere is completely different. In Spike Lee's "Jungle Fever," the Italian-American scene is complemented by Frank Sinatra's singing, African-American plays use gospel songs and soul music.

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Extended Reading
  • Janice 2022-04-22 07:01:26

    How to say it, compared to spaghetti westerns. Although the male protagonist's anti-hero character (not only a stern lone hero, but also a cruel revenge who will be influenced by hatred, and also has a sense of parental responsibility) is very layered, although there is a very beautiful landscape shot, But the narrative rhythm is still too fast and perverse, failing to internalize the vastness and 'poetry' of the West into a stylized expression like Leonard did. The style of the performances and scenes (the imitation of the location set is too fake!) is still a very traditional 50s level. Except for the shot intertext at the end, it doesn't feel like a classic that transcends time. I really don't like the old-fashioned male star style like John Wayne, patriarchal / frivolous / greasy (evil); the second male is too much like Jesse Affleck; the long-awaited Natalie Wood turned out to have only three shots

  • Briana 2021-12-08 08:01:40

    (70/10) Westerns in the 1950s have begun to have some elements of genre reflection, but the genre elements established by John Ford in traditional Westerns still exist. The racial confrontation from the white perspective is still about justice and evil. The little white girl abducted by the Indians is used as a clue to the whole plot, interspersed with love lines, plus occasional gags, wonderful horse-riding shootouts, and the symbolic first and last door frames. The composition is very visible. However, John Ford still has not escaped from the traditional national view. The conflict between the conqueror and the conquered is still unadjustable. Deep-level cultural factors and racial barriers still remain at the surface of prejudice and superficiality. The little girl’s "Assimilation" and "transformation" are almost taken in a few shots, a passive, self-conscious existence, like an "object", grabbed around, and finally returned to the original owner, nothing changed.

The Searchers quotes

  • Reverend Clayton: Mount! M-O-N-T-E! Mount!

  • 2nd Lt. Greenhill: Can't I stay? Please?

    Reverend Clayton: Oh, all right. But you watch me, boy! I'm the hardcase you're up against out here, not them childish savages! And if you don't hear my first holler, you better read my mind 'cause I don't aim to raise no two hollers on any subject at hand!

    2nd Lt. Greenhill: [salutes with his saber and nearly decapitates the Reverend] Yes sir!

    Reverend Clayton: Boy, watch that knife!