Skip Navigation

Frame by Frame

Archive for August, 2014

David Fincher for The Gap

Thursday, August 28th, 2014

David Fincher has just directed a series of four great black and white 30 second ads for The Gap.

Am I big David Fincher fan? No. But these four thirty second spots — shot with Fincher’s usual William Wyler-esque “forty takes” style of doing it over and over again until he gets precisely what he wants, are haunting, understated, and most interestingly for me, all the more compelling because they are in black and white.

I’m writing a book on black and white cinematography right now, and one of my central arguments is that black and white creates a world apart from the “all color” world we inhabit by the simple act of shooting in monochrome. There’s an immediate transformation of reality into something else, something moody and stylized, and that’s really the case here. This is a great use of black and white, and we should have more of it – in theatrical features, please, and not just commercials.

As Todd Wassermann reported in Mashable, “David Fincher, best known for his obsessive and meticulous direction of The Social Network, Zodiac and Fight Club, has helmed the latest round of ads for Gap, which are shot in black and white and strive to be enigmatic. The four ads, which roll out next week, complement a print campaign the retailer launched in mid-August . . . [and] feature Anjelica Huston, Elisabeth Moss and The Wire’s Michael K. Williams, among others.

Seth Farbman, Gap’s global CMO, told Mashable that the tagline was meant to be a ‘gentle provocation, in a way’ and are designed to connected with Millennials who are ‘pushing back on some of the chaos’ in their lives, some of which is driven by technology . . . The Fincher ads were created with that positioning in mind. However, they aren’t anthemic. Instead, they’re a bit cryptic and generate an atmosphere rather than tell a complete story. As Farbman puts it, they sort of jump into the middle of the story, skipping the beginning and leaving out the end.”

You can see all four thirty second spots by clicking here, or on the image above.

Netflix and National Cinemas

Monday, August 25th, 2014

I have a new article in Film International, on the effects of Netflix on national cinemas.

As I write, in part, “People would much rather watch from the comfort and safety of their living rooms than trek out to the theater for anything other than the most immersive spectacle; the clearest evidence of this is the complete collapse of video rental stores, even in such major cities as New York, a metropolis of eight million people, which seemingly can’t sustain more than few revival houses, and only one or two video rental locations, even though they offer the kinds of films you’re not likely to find on Netflix.

Why go out when you can have the images delivered with a touch of a button? Why bother to seek out anything new when there’s seemingly so much product – all of it pretty much the same, even the supposed ‘indies’ – available on demand? You don’t need to do any exploring. We’ll do it for you, and not only that – we’ll put the films in nice little slots like ‘foreign’ or ‘indie,’ thus ensuring a miniscule audience. Along these lines, the Amazon ’suggestion’ feature on their website continues to amaze me, because of its utter lack of discrimination.

If you order one DVD of a French film, suddenly they recommend nothing but French films for you; order one Barbara Stanwyck film, and they think you’re only interested in films in which she stars; order a gothic thriller, and you’re inundated with offers for like material. Erase all of these possible options, and the suggestion engine comes up blank – it can’t figure you out. How come you like so many different kinds of films? Where’s the thread here that they can track? Why won’t you stick to a predictable pattern? And why do you want a DVD anyway, when there are these great films to stream, so easily, at the touch of a button?”

You can read the entire article by clicking here, or on the image above.

Beat Girl (1960)

Saturday, August 23rd, 2014

Those looking for compelling early 1960s British cinema could do worse than watching Beat Girl.

Actually, the film exists in two versions; the complete film, originally entitled Wild For Kicks, and the American re-cut, shortened by about thirty minutes, entitled Beat Girl. For once, the re-cut is the better version; the original has a whole lot of unnecessary backstory, and the American version just plows right into the adventures of Gillian Hills (seen in the image above) and her gang.

Ruthlessly exploitational, the film nevertheless boasts a truly amazing array of talent, from The John Barry Seven (yes, that John Barry) performing the title track as well as the incidental music throughout the film, as well as (get ready) Oliver Reed, Nigel Green, Christopher Lee (yes, that Christopher Lee), Adam Faith, Shirley Anne Field, Peter McEnery and numerous others, and was scripted by Eric Ambler’s son, Dail Ambler.

The plot of the film is simplicity in its extreme: Jennifer (Gillian Hills, who later appeared in Blowup and A Clockwork Orange) is bored, bored, bored, and just wants to have fun. With her nightclub pals, she roams the streets of London looking for action, finding it, and regretting it. Christopher Lee is marvelous to watch as the villainous nightclub owner who figures heavily in the film’s narrative, and Oliver Reed, just out of his teens when the film was shot, turns in a fabulous performance as one of her acolytes.

The director, Edmond T. Gréville, was French, and this was one of his last works; Gréville started his career working on Abel Gance’s epic film Napoleon (1927), and in truth, by this time, was in fairly desperate straits. But though the film ultimately falls apart at the seams, in its embrace of youthful rebellion, and the punk ethos long before anyone knew there was such a thing, Beat Girl — the American re-cut only, please — is a nifty slice of hardboiled teen cinema, as the credits above (click on the image to see them) aptly demonstrate.

So check out the main titles, and then the film itself; a real time capsule.

How to Cast Bill Murray in Your Movie

Friday, August 22nd, 2014

Waaaaaay back in 1976, when I was living in Los Angeles, I helped Bill Murray cut his demo reel for SNL.

I walked in the door, looking for a job, and Bill was just a young and up-and-coming comic in those days, looking for his big shot. We met in an editing room, where I was auditioning for a job as an editor, which I eventually got, and my first assignment was to help Bill cut the demo reel for a short film entitled “The World’s Largest Car Wash,” directed by the late Harold Ramis, in which Bill played two characters; a fast talking sharpie on an “on” ramp overlooking the LA freeway, pretending that all the cars were coming to his car wash; and a sort of precursor to his character in Groundhog Day, his idiot brother, who actually ran the business. It was about four minutes long, we cut it in a matter of hours, it came out quite well, and of course, he got the job.

We were all working at TVTV, short for Top Value Television, where Bill was joined by Harold Ramis, Michael Shamberg and a host of other talented people who were creating off the wall television that was way ahead of the norms of the era. Bill, of course, went on to SNL, and thence to a whole string of movies, which gradually became deeper as he went along in his career, with films like Broken Flowers, Lost in Translation, and his latest film, St. Vincent. His powers as an actor have only grown over the years, and he’s doing some of the best work of his entire career right now.

As is well known, Bill marches to a very different drummer, and has no agent or contact in LA, just a 1 800 telephone number where hopefuls can leave messages to try and get him for their films, which eventually leads to actual contact if Bill thinks the project is right. For St. Vincent, it was a long and arduous process to get him to come on board, for as the director Theodore Melfi told Entertainment Weekly writer Anthony Breznican “you know what the truth is? You don’t find Bill Murray. Bill ­Murray finds you.”

As Melfi told Breznican, Murray “finds everything he’s supposed to be involved in by not chasing anything. If it’s supposed to happen, the person will hound him until it happens, or he’ll run into them at a bar or restaurant. He has a zen-like protocol in regard to what he does and doesn’t do.” Oh, and the last time I saw Bill was in 1980, so don’t ask me how to get in touch with him. I don’t know!

You can read Melfi’s whole amazing saga by clicking here, or on the image above.

At DuArt Lab in New York, Thousands of “Orphan” Films

Thursday, August 21st, 2014

More proof, as if any were needed, of the fragility of film as an artistic medium.

As John Anderson writes in The New York Times, “the Midtown Manhattan building that houses DuArt, the premiere hatchery of American independent cinema for about 70 years, is 12 stories high. The elevator only goes to the 11th floor. To reach DuArt’s rooms of wonder, you need to take the stairs.

On the top floor, in one musty, institutional-green room after another, hundreds of film cans are stacked, floor to ceiling, each negative bearing the name of a long-gone production company, an obscure director or a title that may as well read ‘Dead End.’ This repository of broken dreams is also an orphanage, for movies awaiting adoption. Who made all these films? DuArt wonders the same thing.

With the rise of digital filmmaking and the subsequent demise of celluloid, DuArt in 2010 closed its photochemical division, which developed negatives and struck prints. At that point, DuArt had about 60,000 cans of film in its warren of vaults.

‘I have trouble throwing away film,’ the company’s chairman, Irwin Young, said. His father founded the company in 1922. ‘We never threw anything away. It’s because we were film people.’

Films by Woody Allen, James Ivory, Ang Lee, Gordon Parks, Tom DiCillo, Spike Lee, Susan Seidelman and more have been spoken for, but others remain unclaimed and the trail has gone cold on many of them, said Steve Blakely, a former DuArt vice president who has continued to track down filmmakers since 2010.”

Click here, or on the image above, to view the entire story; essential reading.

4-D Cinema, or, Return to The Past

Friday, August 1st, 2014

Ethan Gilsdorf has a new piece on 4-D cinema in The Boston Globe, including my thoughts on the subject.

As he writes of a recent trip to the Boston Museum of Science, “kids will surely be charmed by the 8½-minute Dora & Diego’s 4-D Adventure, another of the museum’s 4-D shorts. When Boots the monkey peels his banana, the theater fills both with yellow light and the distinct odor of (artificial) banana. Wind machines and falling snowflakes make a propeller plane ride to the Arctic all the more delightful.

But to my mind, some tricks, like that Shallow Seas tentacular ‘ankle tickler’ (a thin plastic hose under each theater seat that flaps back and forth when activated by a blast of air) or the ‘back poke’ effect (when sea snakes swim on screen, a secret jab from your seat back triggers your ’startle reflex’), seem more at home in a horror film or haunted house ride, not an educational science film.

Others agree. ‘So-called 4-D cinema is just a gimmick,’ said Wheeler Winston Dixon, a professor of film studies at the University of Nebraska Lincoln. ‘It’s a desperate ploy that has its roots in the 1950s movie theaters trying to get patrons away from their televisions, only now it’s Netflix.’ The sheer novelty, ‘will soon wear off,’ he says. ‘It won’t work.’

Indeed, for decades, directors and theater owners have used various tricks to combat moviegoer apathy. Scent of Mystery (1960) employed ‘Smell-O-Vision’ (pumped-in aromas synchronized to various scenes) and The Tingler (1959) tried ‘Percepto’ (seats that gave patrons mild electric shocks); both were released as television began to dominate leisure time.

Next up, Sensurround, which made theaters shake during films like 1974’s Earthquake. In recent years, Hollywood’s embrace of 3-D has coincided with the proliferation of giant-screen TVs and in-home theaters. Luxury seating, in-seat dining, and films shot at 48 frames-per-second are other ways cinemas are trying to address plummeting box office and make a night at the movies, or a school field trip, a destination event once again.”

You can read the entire article by clicking here, or on the image above.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or wdixon1@unl.edu. Visit him at his website wheelerwinstondixon.com.

RSS Frame By Frame Videos

  • War Movies
    UNL Film Studies professor Wheeler Winston Dixon at one of the earliestand most enduring film genres, the war movie. […]
  • Frame By Frame - Hollywood Composers
    UNL Film Studies professor Wheeler Winston Dixon highlights the most prolific Hollywood film composers. […]

In The National News

National media outlets featured and cited Wheeler Winston Dixon on a number of topics in the past month. Find out more on the website http://newsroom.unl.edu/inthenews/