The undoubtedsuccess of a film depends on several aspects such as theatricalintuitions and cinematic elements, which contribute greatly toappealing to audiences (Kirby, 2011 MacKenzie, 2014)). Thecollaborative elements of a film begin during the elementaryprocedures and creation of a film, which gives a director or afilmmaker the chance to identify the profound cinematic andtheatrical elements to use. As such, the assessment of Proof, AFew Good Men, Hamlet, Chicago, The Full Monty, and Doubtwill try to define the success, cinematic and theatrical elements ofeach film, and any parallel variants between the films.
Released and directed by Rob Reiner with a live performance at theKeegan Theatre, A Few Good Men, runs for 138 minutes and tellsthe story of a lazy navy lawyer who defends two obstinate marinesindicted of killing their colleague. Reiner (2001) presentsexploding atmospheres with open sets, nontraditional performers, andemphasized character spots. The film is set in an open design with anincline that flashes as a pictorial flagstaff for a sprawlingAmerican ensign calmly wrapped over a big part of the platform. Theflag signifies its value and purpose i.e. the current standard ofAmerican values. In addition, the cast and action of the film are setin a military court. The film is highly successful considering theissues at stake as the director sets the action to a dramatic tone.Scenes throughout the film cracks with enthusiasm, interposed withMarine mantras and pickets, as the act moves to the climax. Withseveral soundtracks, costumes that relate to the scenes i.e.uniforms, use of mostly medium and long shots and great performancesfrom the actors, the film is undoubtedly a success.
Directed by Michael Almereyda in 2001, Hamlet, adapted fromthe original play is set in Manhattan with modern inclusions. Thefilm includes modern innovation greatly such as the flashes ofHamlet’s massacred father with cut scripts to suit modernsurroundings. Almereyda (2001) opens the film with a chilling cast,revolting horror, and innumerable scenes of unsureness in thecinematic and theatrical. The opening scene in an uninhabited scenerywhere cynical soldiers anticipate an anonymous entity, theutilization of techniques that instill dreadfulness, enigmatic, andterror drives the scene (Wagner, 2011). In this regards, the filmutilizes visual manifestation, sounds that identify with horror, useof props, and low-key lighting. Considering the storyline of thefilm, the use of sickness-prompting photography, narcotic images,viciously distorted sounds, and the inducement of technical confinesin the name of digital video, allows the film to achieve framedropout. The frame line and images exist between the tensions thatthe scenes create i.e. between the indexical, applied geography ofthe scenes and the creation of close-ups (Wagner, 2011). The filmoperates through Hamlet’s claustrophobia and self-absorptioncharacters and the film’s self-reflexively filmic aspects echo thepsychological state identified. However, the inclusion of moderninnovations and delineation of the some of the original pieces fromthe play, the film does not come out as a success. The low-levellighting, great visual manifestation, lack of adequate props, and useof distorted sounds fail to provide a remarkable result.
Directed by John Madden and released in 2005, Proof runs for100 minutes and contains different camera angles and movements,several sets and props, and different level of lighting. As a film ofindividual and family dysfunction, the adaptation of the film andtheatrical elements of the film do not come out as profound as thedirector might want to think due to the overly mechanical use ofcinematic interpretation by the director. Proof isastoundingly light for its theme, which is somewhat imposing as it isnot full of sentimentality. Madden (2005) opens the film withCatherine watching commercials lumped in a sofa with unkempt clothesand hair- her father, a bright mathematician but who acceded tomadness wants to celebrate her 27 birthdate. Catherine is in no stateto celebrate as her dad died some days ago and she has thoughts thatshe may end up in a loony bin.
The film is successful as it fuses great presentation with a degreeof subtleness seldom established in psychological or films withcraziness elements, incites giggles instead of playacting up mentaldisorders. The film has different framing positions i.e. long,medium, and close shots, but with more utilization of long shots. Onthe other hand, Madden (2005) complements the delicate use ofdifferent shots with high and low angles. Such elements provide astrong cinematic element of the film. Shot in a location, the filmhas an undoubtedly a great set, but it lacks the varied elements incostumes. However, the film achieves its greatest success in theacting choice. Proof is appealing in a manner thatmathematics hardly is. The gifted troupe consists of Hope Davis,presenting witty respite as the inquisitive sister with a sentiment,and Gyllenhaal, attesting that he can become a leading role. Althoughthe movie uses less cinematic and theatrical elements, the few usedprovides great success.
Directed by Rob Marshall and released in 2002, Chicago containsthematic elements, violence, music, profound cinematic and theatricalelements and runs for 133 minutes. The film is set in a metropolis’sspeakeasies where gins and jazz rules, the film has a sequence ofintricate, vaudeville-style melodic numbers, sexy arrangements, andscenarios where the actors sing to the audience. In addition, thetransition between the real and the fantasy takes place in one stage,which offers a great cinematic element. For instance, the changeoverfor the “Funny Honey utilizes a penlight. Marshall (2002) use ofanimate lighting prompts, scrim parapets, match cuts, andstoryboarded camera passages offer the guiding ethos to present thefilm. The movements of the light change with music tempo and actors,which provide a complex, but successful lighting and camera aspect.The use of Vari-Lites add-on film lighting and brings or diffuseslighting and hues to eyelines hence, profound visual demarcation.
The FullMonty provides intensified sense of expectation and suspense fromthe beginning to the end of the film. Director Urbeto Pasolini (2006)has assembled an excellent cast of actors, whose performance is aboveboard and excellent. The actors representing the aspiring stripperstruthfully symbolize the essence of proletarian New Yorkers. In fact,the human cast is the most important aspect of the film with anexcellent cast, Valerie’s costumes that work nicely for the 90slife, great sound design, clever set looks, and excellent backlightgives the film a witty and a humorous aspect. The choreography andhilarious auditions bring the film to its best. Although whathappens to them and the circumstances surrounding their lives areserious, the use of amiable designs and good laughs throughout thefilm provide the needed theatrical essence. Pasolini (2006) use ofmusical aspects and actors full of wit transforms the film to asuccess. However, the film is a bit long, but the climax of the filmwith full theatrical and cinematic aspects presents the film as asuccess. The film is a success, apart from the considerable lengthierruntime.
Adapted from aplay and directed by Rudin (2009), Doubt is undoubtedly amongthe best screened films to have ever hit the theatres. The use ofbright colors, flamboyant gestures, and deep meanings allow the filmto hand everything to the audiences. Non-diegetic and close-ups withstunning performances from the actors provide a nine-scene film thatonly dies in climax upon its close. Rudin (2009) utilizes differentcinematic techniques such as static scenes, addition of setting, openstage, splitting of scenes, alteration of lighting and color, displayof brightly sun rays, different camera angles, and close ups.Although the use of extra scenes adds to the depth of the film, itdistracts some core elements of the film. The cast of the film is itsgreatest strength.
Hamlet,Proof, and A Few Good Men, contains psychologicalelements and perturbing backgrounds that aim to solidify theirintentions of keeping with horrific themes. The scenes and settingsprovide such descriptions unlike Fully Monty, Chicago,and Doubt, which provide musical and witty scenes. Overall,all the films have a success story, but they differ greatly in termsof cinematic and theatrical elements used especially cast andscreenplay.
Almereyda, M. (Director). (2001). Hamlet [Motion picture].America: Miramax Home Entertainment :.
Kirby, M. (2011). A formalist theatre. University ofPennsylvania Press.
MacKenzie, S. (Ed.). (2014). Film Manifestos and Global CinemaCultures: A Critical Anthology. Univ of California Press.
Marshall, R. (Director). (2002). Chicago [Motion picture].U.S.: Miramax Home Entertainment
Pasolini, U. (Director). (2006). The full Monty [Motionpicture]. U.S.: Twentieth Century Fox Home Entertainment.
Reiner, R. (Director). (2001). A few good men [Motionpicture]. America: Columbia TriStar Home Video.
Rudin, S. (Director). (2009). Doubt [Motion picture]. America:Buena Vista Home Entertainment.
Wagner, M. (2011). Shakespeare, theatre, and time. Routledge,Taylor & Francis Group.
Madden, J. (Director). (2005). Proof [Motion picture].America: RCV.