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Film is an art form like literature, art and music and not just a form of entertainment, as many of the mainstream high-concept movies of Hollywood seem to suggest. Although ‘Good’ is a matter of opinion, this should be taken into account.
A ‘good’ film should not be forgotten, so its ability to last and still be popular to date must be a sign of a good film. Timeless classics such as The Godfather, On The Water Front, Citizen Kane, The Searchers, Raging Bull, Taxi Driver to name but a few are all proof of this.
But what is it about a film that makes it ‘good’? A ‘good’ film can be based on the actors/actresses performances in the movie, the screenplay, the direction, the editing, the cinematography; all these come into account when deciding this. All these must be present to make a ‘good’ movie. A perfect example of this would have to be The Godfathers. The sublime cinematography and superb editing and directing, which is complemented by the exceptional ‘method’ acting of Marlon Brando is what really distinguish these films from any others.
The most recent movie to stand out is Wong Kar Wai’s ‘In The Mood For Love’, an extremely subtle and atmospheric film about love and regret. The story focuses on two main characters, Chow Mo Wan (Tony Leung) and Su Li-zhen (Maggie Cheung), whose relationship grows after they find out their spouses are having an affair together. Wong Kar Wai restrains as much as possible from providing the audience with all the essential information. Dialogue is kept to a minimum and we get much of our information from the body language and facial expressions of the two characters. The genius of the film is that it does not matter what happens on screen but what you imagine off screen; what each of the characters are doing in their absence on screen. The faces spouses having the affair are never shown and their relationship is left to the imagination of the audience. Similar to this is the intimacy between Chow and Su that is withheld from the audience, and their sexual relationship that is only suggested. The film is needed to be watched several times to fully appreciate and understand its meaning because some scenes just pass you by.
The performance of Maggie Cheung and Tony Leung (who won the Best Actor award, Cannes 2000) are incredible, they seem to be effortless in their acting and portray their characters with such honesty and spirit as we subtly see their restrained feelings of pain, longing and regret slowly seeping out into the open. The film won the Technical Achievement award at Cannes 2000 for Best Cinematography and Editing. Kai-War’s regular cinematographer Chris Doyle provides extremely warm and sensual colours that give an erotic undertone and an especially relaxed manner to the film. This is complemented by the tender yet emotionally powerful music composed by Michael Galasso and Shigeru Umebayashi. The screenplay, cleverly written by Wong Kar Wai himself, is both subtle and ambiguous, and his direction is superb, which has won many awards.
Personally, a good film should be a reflection of life. Life itself is subtle, complex and ambiguous at times, not always blatant. Films that reflect this capture the essence of life. The audience becomes a participant in the film instead of a spectator because they are forced to think for themselves. However, it is many of the mainstream movies typically of Hollywood that do not allow the audience to do this because they are often blatant and shallow of meaning. If films provoke thought and imagination, they can change how you perceive and appreciate life and other films. This, to me, is the beauty of film.
Trauffaut said ‘A great film should say something about life and movies’. I would have to agree with this, but my opinion is that a good film should make you think about life and appreciate movies.
WHAT DO YOU THINK MAKES A 'GOOD' MOVIE?
A ‘good’ film should not be forgotten, so its ability to last and still be popular to date must be a sign of a good film. Timeless classics such as The Godfather, On The Water Front, Citizen Kane, The Searchers, Raging Bull, Taxi Driver to name but a few are all proof of this.
But what is it about a film that makes it ‘good’? A ‘good’ film can be based on the actors/actresses performances in the movie, the screenplay, the direction, the editing, the cinematography; all these come into account when deciding this. All these must be present to make a ‘good’ movie. A perfect example of this would have to be The Godfathers. The sublime cinematography and superb editing and directing, which is complemented by the exceptional ‘method’ acting of Marlon Brando is what really distinguish these films from any others.
The most recent movie to stand out is Wong Kar Wai’s ‘In The Mood For Love’, an extremely subtle and atmospheric film about love and regret. The story focuses on two main characters, Chow Mo Wan (Tony Leung) and Su Li-zhen (Maggie Cheung), whose relationship grows after they find out their spouses are having an affair together. Wong Kar Wai restrains as much as possible from providing the audience with all the essential information. Dialogue is kept to a minimum and we get much of our information from the body language and facial expressions of the two characters. The genius of the film is that it does not matter what happens on screen but what you imagine off screen; what each of the characters are doing in their absence on screen. The faces spouses having the affair are never shown and their relationship is left to the imagination of the audience. Similar to this is the intimacy between Chow and Su that is withheld from the audience, and their sexual relationship that is only suggested. The film is needed to be watched several times to fully appreciate and understand its meaning because some scenes just pass you by.
The performance of Maggie Cheung and Tony Leung (who won the Best Actor award, Cannes 2000) are incredible, they seem to be effortless in their acting and portray their characters with such honesty and spirit as we subtly see their restrained feelings of pain, longing and regret slowly seeping out into the open. The film won the Technical Achievement award at Cannes 2000 for Best Cinematography and Editing. Kai-War’s regular cinematographer Chris Doyle provides extremely warm and sensual colours that give an erotic undertone and an especially relaxed manner to the film. This is complemented by the tender yet emotionally powerful music composed by Michael Galasso and Shigeru Umebayashi. The screenplay, cleverly written by Wong Kar Wai himself, is both subtle and ambiguous, and his direction is superb, which has won many awards.
Personally, a good film should be a reflection of life. Life itself is subtle, complex and ambiguous at times, not always blatant. Films that reflect this capture the essence of life. The audience becomes a participant in the film instead of a spectator because they are forced to think for themselves. However, it is many of the mainstream movies typically of Hollywood that do not allow the audience to do this because they are often blatant and shallow of meaning. If films provoke thought and imagination, they can change how you perceive and appreciate life and other films. This, to me, is the beauty of film.
Trauffaut said ‘A great film should say something about life and movies’. I would have to agree with this, but my opinion is that a good film should make you think about life and appreciate movies.
WHAT DO YOU THINK MAKES A 'GOOD' MOVIE?
mise-en-scene, is french fpor 'in the scene' so a good director will make use of everything in the scene.
Hence the stuffed birds in the room in Psycho are all in the background, but the symbolise the stuffing of people. Hence sexual and criminal inuendo.
All good films have good use of Mise-en-scene.
Hence the stuffed birds in the room in Psycho are all in the background, but the symbolise the stuffing of people. Hence sexual and criminal inuendo.
All good films have good use of Mise-en-scene.
BradW wrote:
> mise-en-scene
I just did my French coursework on La Haine and the metteur en scene, is the director, so surely this is just a fancy way of saying directing.
> mise-en-scene
I just did my French coursework on La Haine and the metteur en scene, is the director, so surely this is just a fancy way of saying directing.
A good commercial film should have: Sex, Guns, One liners, explosions, big names, state of the art CGI, Sex, georgous people, an ASL of about 3 seconds, popular music and did i say sex?
A truely good film should make use of everything: editing, mise-en-scene, music, acting, cinematography, screenplay, and sound. Take films such as Taxi Driver, Dog day afternoon, and Psycho. They all have great soundtracks, the editing and cinematography make each scene impactive and express a mood very well. The cinematography is impecable and suits the film to a t. And acting? Well what can i say? Al Pacino, Bobby De Niro, and Anthony Perkins? All great actors.
A truely good film should make use of everything: editing, mise-en-scene, music, acting, cinematography, screenplay, and sound. Take films such as Taxi Driver, Dog day afternoon, and Psycho. They all have great soundtracks, the editing and cinematography make each scene impactive and express a mood very well. The cinematography is impecable and suits the film to a t. And acting? Well what can i say? Al Pacino, Bobby De Niro, and Anthony Perkins? All great actors.
Fart jokes.
'WHAT MAKES A 'GOOD' MOVIE?'
Watch Die Hard and your question will be answered
Watch Die Hard and your question will be answered
Film is an art form like literature, art and music and not just a form of entertainment, as many of the mainstream high-concept movies of Hollywood seem to suggest. Although ‘Good’ is a matter of opinion, this should be taken into account.
A ‘good’ film should not be forgotten, so its ability to last and still be popular to date must be a sign of a good film. Timeless classics such as The Godfather, On The Water Front, Citizen Kane, The Searchers, Raging Bull, Taxi Driver to name but a few are all proof of this.
But what is it about a film that makes it ‘good’? A ‘good’ film can be based on the actors/actresses performances in the movie, the screenplay, the direction, the editing, the cinematography; all these come into account when deciding this. All these must be present to make a ‘good’ movie. A perfect example of this would have to be The Godfathers. The sublime cinematography and superb editing and directing, which is complemented by the exceptional ‘method’ acting of Marlon Brando is what really distinguish these films from any others.
The most recent movie to stand out is Wong Kar Wai’s ‘In The Mood For Love’, an extremely subtle and atmospheric film about love and regret. The story focuses on two main characters, Chow Mo Wan (Tony Leung) and Su Li-zhen (Maggie Cheung), whose relationship grows after they find out their spouses are having an affair together. Wong Kar Wai restrains as much as possible from providing the audience with all the essential information. Dialogue is kept to a minimum and we get much of our information from the body language and facial expressions of the two characters. The genius of the film is that it does not matter what happens on screen but what you imagine off screen; what each of the characters are doing in their absence on screen. The faces spouses having the affair are never shown and their relationship is left to the imagination of the audience. Similar to this is the intimacy between Chow and Su that is withheld from the audience, and their sexual relationship that is only suggested. The film is needed to be watched several times to fully appreciate and understand its meaning because some scenes just pass you by.
The performance of Maggie Cheung and Tony Leung (who won the Best Actor award, Cannes 2000) are incredible, they seem to be effortless in their acting and portray their characters with such honesty and spirit as we subtly see their restrained feelings of pain, longing and regret slowly seeping out into the open. The film won the Technical Achievement award at Cannes 2000 for Best Cinematography and Editing. Kai-War’s regular cinematographer Chris Doyle provides extremely warm and sensual colours that give an erotic undertone and an especially relaxed manner to the film. This is complemented by the tender yet emotionally powerful music composed by Michael Galasso and Shigeru Umebayashi. The screenplay, cleverly written by Wong Kar Wai himself, is both subtle and ambiguous, and his direction is superb, which has won many awards.
Personally, a good film should be a reflection of life. Life itself is subtle, complex and ambiguous at times, not always blatant. Films that reflect this capture the essence of life. The audience becomes a participant in the film instead of a spectator because they are forced to think for themselves. However, it is many of the mainstream movies typically of Hollywood that do not allow the audience to do this because they are often blatant and shallow of meaning. If films provoke thought and imagination, they can change how you perceive and appreciate life and other films. This, to me, is the beauty of film.
Trauffaut said ‘A great film should say something about life and movies’. I would have to agree with this, but my opinion is that a good film should make you think about life and appreciate movies.
WHAT DO YOU THINK MAKES A 'GOOD' MOVIE?
A ‘good’ film should not be forgotten, so its ability to last and still be popular to date must be a sign of a good film. Timeless classics such as The Godfather, On The Water Front, Citizen Kane, The Searchers, Raging Bull, Taxi Driver to name but a few are all proof of this.
But what is it about a film that makes it ‘good’? A ‘good’ film can be based on the actors/actresses performances in the movie, the screenplay, the direction, the editing, the cinematography; all these come into account when deciding this. All these must be present to make a ‘good’ movie. A perfect example of this would have to be The Godfathers. The sublime cinematography and superb editing and directing, which is complemented by the exceptional ‘method’ acting of Marlon Brando is what really distinguish these films from any others.
The most recent movie to stand out is Wong Kar Wai’s ‘In The Mood For Love’, an extremely subtle and atmospheric film about love and regret. The story focuses on two main characters, Chow Mo Wan (Tony Leung) and Su Li-zhen (Maggie Cheung), whose relationship grows after they find out their spouses are having an affair together. Wong Kar Wai restrains as much as possible from providing the audience with all the essential information. Dialogue is kept to a minimum and we get much of our information from the body language and facial expressions of the two characters. The genius of the film is that it does not matter what happens on screen but what you imagine off screen; what each of the characters are doing in their absence on screen. The faces spouses having the affair are never shown and their relationship is left to the imagination of the audience. Similar to this is the intimacy between Chow and Su that is withheld from the audience, and their sexual relationship that is only suggested. The film is needed to be watched several times to fully appreciate and understand its meaning because some scenes just pass you by.
The performance of Maggie Cheung and Tony Leung (who won the Best Actor award, Cannes 2000) are incredible, they seem to be effortless in their acting and portray their characters with such honesty and spirit as we subtly see their restrained feelings of pain, longing and regret slowly seeping out into the open. The film won the Technical Achievement award at Cannes 2000 for Best Cinematography and Editing. Kai-War’s regular cinematographer Chris Doyle provides extremely warm and sensual colours that give an erotic undertone and an especially relaxed manner to the film. This is complemented by the tender yet emotionally powerful music composed by Michael Galasso and Shigeru Umebayashi. The screenplay, cleverly written by Wong Kar Wai himself, is both subtle and ambiguous, and his direction is superb, which has won many awards.
Personally, a good film should be a reflection of life. Life itself is subtle, complex and ambiguous at times, not always blatant. Films that reflect this capture the essence of life. The audience becomes a participant in the film instead of a spectator because they are forced to think for themselves. However, it is many of the mainstream movies typically of Hollywood that do not allow the audience to do this because they are often blatant and shallow of meaning. If films provoke thought and imagination, they can change how you perceive and appreciate life and other films. This, to me, is the beauty of film.
Trauffaut said ‘A great film should say something about life and movies’. I would have to agree with this, but my opinion is that a good film should make you think about life and appreciate movies.
WHAT DO YOU THINK MAKES A 'GOOD' MOVIE?