Scarface (1932)

Directed by Howard Hawk

Scarface is one of the first classic gangster films, outlining the rise and fall of gangster Tony "Scarface" Camonte. The genre of gangster films have been captivating audiences for nearly a century because they provide a window to a world unseen. The general public has no idea what goes on in the underbelly of organized crime in America's major cities, and these films, while dramatizations, provide the excitement that average citizens crave. It also gives average people a glimpse at what it's like to have money and power, which are things nearly everybody fantasizes about. The genre basically takes the crime genre and removes a little suspense, but replaces it with something much more polarizing. Violence. You either love it or hate it, and most people choose the former. It stirs our blood, and gets our adrenaline going.

Scarface gets an extra benefit in this category, because it was produced prior to the adoption of the Production Code in 1934. This code was the precursor to the modern-day MPSAA film rating system, and begin to restrict the amounts of violence and other inappropriate content allowed in the film. Because of this, Scarface is not only one of the first gangster movies, it is one of the most violent gangster films. The film was so violent people actually became frightened, and there was an outcry to the law to crack down on gang activity. In a way, Scarface was very useful as a social commentary that ultimately helped society become a little safer.

Tony "Scarface" Camonte's
trademark X

Roofing struts provide 7 X's for 7 of
Comonte's soon to be deceased enemies

Director Hawk had an interesting use of symbolism when showing all of the violence in Scarface. Whenever a character was about to be killed, an "X' would somehow be worked into the scenery before or after their death. The X could be a symbol reflecting Scarface himself, as the mark on his cheek matches the X left in the scene every time he kills a man. The X could also just model the slang term for killing someone (getting X-ed out). In certain scenes the X is even used to foreshadow death even when no violence is in the scene.

This use visual motifs to pair with a plot is something that many directors have taken from in years since Scarface was produced. In the 2006 film The Departed, director Martin Scorsese uses the exact same X motif whenever a death is imminent. He also uses fences and split frames as motifs for relationship boundaries in his 1980 film Raging Bull. This technique has been studied by many current directors, all stemming from this standard set by Howard Hawk in Scarface.

Camonte (center)  enjoying the high life, something
many immigrants of the time could only dream of.

While it was violent and depicted a frightening underworld of crime, there is a definite upside to Scarface, which has helped it become such a classic. Although it is not necessarily through a standard business, Scarface is nonetheless a story of an immigrant working hard and rising through the ranks until he succeeds. The immigrant angle was particularly appreciated at the time, as the majority of city dwellers were still families of recent immigrants. The message that one of them could succeed was a positive, even though particularly harsh methods were depicted on screen. Albeit twisted, this is a quintessential story of the American dream. Particularly during the Depression era, tales of hard work and success were needed and loved. To round it off, Camonte dies because he goes too far, teaching the public a moral lesson as well. A good work ethic is important, but you must also stay clean of mind and follow the rules. This message is so true, it was updated when the film was remade in 1983; a Cuban immigrant using the narcotics racket to gain wealth and power. This hit home for audiences in the 80's because those were the issues of the time.

And that's what makes Scarface a classic that stands the test of time. In addition to ushering in the gangster film genre for years to come, it provides a message that audiences can relate to as much now as they did when it was first written.

Metropolis (1924)

Original film poster

Directed by Fritz Lang

Metropolis is one of the first science fiction movies ever produced. Produced in the silent era of films, the film had to rely on visuals and plot to make a good impression on audiences. Metropolis is the first film to be set in "the distant future" (which is funny, because the film was set in 2000, and is very different from the actual year 2000). The film is now famous not only for its revolutionary special effects, but for the sheer scale of its production. Director Fritz Lang set out to make the largest film of its time, and he succeeded. In addition to the group of  8 lead actors, Lang employed nearly 800 supporting actors and over 37,000 extras. The final cost of the filming was a whopping 5 million Reichsmarks, or over 1 million US dollars.

Metropolis does not have the distinction of being the first science fiction film; Georges Melies' A Trip to the Moon was written over 20 years prior. What it does have, is then-groundbreaking technology run by renowned effects expert Eugen Schufftan. The major technique used in the film is named after Schufftan. It uses a mirror placed at a certain angle in conjunction with miniature set models. When the actors stand at the correct distance, they appear to be much smaller than the set but are in a correct place. This is how the characters could walk around massive cityscapes and through the huge halls of the machine system. For the large city scene without actors, stop motion was used on the miniature sets to give the appearance that the various planes and other vehicles were moving. Because these shots had to be made one at a time, it took 8 days to finish the film for only 10 seconds worth of running time.

The original robot being powered up, complete with visual
electricity and floating ring of energy. Marvels of special effects.

The most iconic symbol of this movie is the robot created by Dr. Rotwang, and it is one of the best special effects in the film. A plaster cast was taken of lead actress Bridgette Helm, which was then covered in a thin pieces of wood putty, which was a very recent invention. These small sheets of putty were then shaped almost like plates in a suit of armor, then spray-painted with a mixture of varnish and metallic powder. The resulting costume was stiff, uncomfortable, and eerie. Lang was notoriously cruel to Helm, making her wear the suit for days on end until she was covered in cuts and bruises and ready to faint. To create the iconic scene with the robot coming to life, extensive chemical research was done by the effects crew to get arcs of electricity to be visible on camera. To create the rings of light that appeared around the robot as it was powered up, a silver ball on a string was spun in front of a plain black backdrop. The camera was moved as the ball was shot, causing all motion to blur together into one solid ring of light. Innovation like this led a futuristic movie to be created so long ago, but still be appreciated now.

To make a more popular movie, several themes were made to appeal to one of the largest groups of the general public; Christians. Throughout the film the main symbolism and allegory very much match the ideals of Christianity, which was the largest religious group in the first world at the time. The major symbol was the giant machine tower itself. Like the Tower of Babel in Christianity, the tower was seen as an affront to God and the common people because it was built to be so tall and grand. This drove a rift between the greedy rich men in the tower and the poor workers slaving away to keep it running. When the robot Maria captivated the men of the city, she did so by exploiting their lust and greed. In addition to this scene being a social commentary that lust and greed are both bad vices, this is very similar to the Christian Whore of Babylon. This is the Christian symbol of the coming of the apocalypse and the downfall of civilization, much as it nearly spelled the end of the city in the film.

The huge tower in the middle of Metropolis, rising
above all else

Artist's depiction of the Tower of Babel.
Look familiar?

Just as all seemed lost, Maria appeared as a savior to her people. When meeting in the caves beneath the great machine, she was always dressed in white amongst a sea of dirty brown worker's smocks. Always bathed in some extra light sources, when all that was in the cave was candles. Maria was truly portrayed as the Messiah of her people, in the same was Jesus was. Finally we have the flood of the city, which cleanses the city of the sins of the workers enslavement.

Between the strong values and the technological marvels, it is no wonder Metropolis is still one of the most appreciated movies of our time.

It Happened One Night (1934)

Directed by Frank Capra

It Happened One Night is one of the most recognized comedy films in history, and has remained popular since the advent of sound in motion pictures. It is the first film to win all five major Academy Awards (Best Picture, Director, Actor, Actress, and Screenplay), something only two other films have ever accomplished. However, it is the only one of the three which is comedic, which is all the more impressive. Frank Capra would go on to direct such classics as It's a Wonderful Life and Mr. Smith Goes to Washington. He was awarded two more Best Director awards over his illustrious career, which spanned nearly 30 years including a stint in the US Army during World War Two. He is still considered one of the greatest directors of all time. Clark Gable went on to have a huge career of his own, starring in 60 films over 30 years. The sheer weight of these names and accomplishments are too much ignore; this film deserves all the recognition it gets nearly a decade later.

The heiress taking control of the hitchhiking situation

Perhaps what most helps It Happened One Night stand the test of time is the fact that it pioneered a now staple film genre: the romantic comedy, specifically the "screwball" romantic comedy. The screwball comedy is characterized by a very strong female challenging the male lead and dominating the relationship. The mismatched pair in It Happened One Night fits this perfectly; a controlling and overbearing heiress travelling with a news reporter who is stubborn in his own right, causing constant argument. It is this initial friction that eventually endears the audience when the couple ends up together.

Another major trait of this genre is the theme of escape and travel. The plot cannot be moved along without the characters doing the same, and the entire plot is essentially the heiress' trip from Miami to New York City. The fact that the heiress made this trek for her own happiness even while sacrificing personal well-being is what tied the film into the Depression values that were captivating audiences of the time.

In a time when so many were struggling, films that emphasized class struggle but still had a happy ending were exceedingly popular with audiences. Having a rich heiress learn humility appealed to many in the lower class, and in one famous scene a mother faints from malnourishment but remains happy with her friends and family around here. Depictions of life like this gave strength to many viewers in similar situations; family and happiness is more important than money, and American people are survivors.

Right before Ellie becomes one of the first runaway brides

It is not hard to see the lasting legacy of It Happened One Night in popular culture today. Several iconic scenes are parodied in movies following it; most notably "the hitchhiking scene", and the wedding scene at the end of the film. The wedding scene was copied in Mel Brooks' 1987 film Spaceballs, complete with relieved father and reward money. In both films the bride realizes she is about to marry the wrong man, and runs away to find him. But in Spaceballs they get a space ship. Sorry, Clark.

Like looking into a mirror, eh Doc?

In his memoirs, Looney Tunes animator Friz Freleng states this movie was one of his all-time favorites. When considering Gable's witty demeanor while eating carrots and being continually called "Doc" while on the bus, it is easy to see how Bugs Bunny was born. He goes on to say that he was inspired to create Pepe LePew and Yosemite Sam when seeing the characters King Westly and Alexander Andrews in the film. Without realizing it, generations of children were affected by this one film written in 1934. 

Even now this film is as appealing as when it was written, even to a 22 year old college student in film class. And that's what makes it great.

The Cabinet of Dr. Caligari (1920)

Original 1921 Movie Poster

Directed by Robert Weine 

Released 1920 (US Release 1921)

The Cabinet of Dr. Caligari is still shown in film appreciation classes like the one I am writing this blog for because it has made a lasting impression on the film industry. The film was directed in 1920 Berlin, during the peak of the German Expressionist movement, and is considered one of the most successful horror films of the silent film era.

These streets would terrify me, even if there wasn't a
mysterious string of recent murders...

Due to lack of funding in a poor, post-World-War Germany, the film used almost entirely canvas backdrops for sets. These sets were painted in the Expressionist style, with jagged lines, abstract buildings, and menacing shadow effects. True to expressionist art, these scenes were meant to alter perspective in such a way that the audience felt particular emotions; in this case, suspense and fear.

In a similar vein, the costumes and actions of the actors were meant to set the audiences emotions. Today we would consider these costumes stereotypical for a horror film, but that is only because pioneering films such as this one paved the way. Cesare the somnambulist (sleep-walker) is portrayed always in all black, with very pale skin and huge dark bags under his eyes. These features are very similar to modern day zombies and undead. Similarly, Dr. Caligari is shown with unkempt hair, glasses, and frequently a wild grin. These features are today synonymous with the archetype of a mad scientist or doctor in movies.

Cesare the somnambulist - the creepiest looking guy in early cinema

Though the Doctor comes in at a close second

Perhaps even more important than the aesthetic contributions of The Cabinet of Dr. Caligari are the storytelling devices used. The movie makes large use of narrative frame, and is one of the first movies to use it in such big way. The narrative frame is set up by telling nearly the entire story through flashbacks. Once the protagonist Francis is identified, the rest of the story is told through his eyes, making all of the relationships with other characters his own. The brilliance with this technique is that by presenting Francis as an unreliable narrator, the entire story is cast into a level of doubt, which adds to the overall mystery and unease in the film.

The Cabinet of Dr. Caligari is also credited as the first film to have a twist ending.

******************** SPOILER ALERT ******************** 

The following paragraphs reveal plot twists of both this film and the 2010 film Shutter Island, read on at your own risk!

At the climax of Francis' flashbacks, Dr. Caligari is confronted in the insane asylum and his own madness is shown as he learns of the death of Cesare. The final scene of the flashback shows Francs triumphant as the doctor is put in a straight jacket and locked away in his own facility.

The writer of Shutter Island claims to have never seen
The Cabinet of Dr. Caligari, but the stories are nearly identical

However, it is at this point that the flashback ends, and the garden Francis and his friend are in is actually the courtyard of the insane asylum where Francis himself is a patient. All of the characters in the film are actually other inmates, and "Dr. Caligari" is truly the asylum's director.

Here we are nearly a century later, and a nearly identical story was used in the 2010 film Shutter Island (a detective investigating a missing patient at an insane asylum turns out to be the missing patient). Sound familiar? The Cabient of Dr. Caligari set a precedent for the fundamentals of a great psychological horror film. It has left a lasting legacy of the film industry, and will continued to be shown in film study courses world-wide when discussing pioneering films of the silent era.