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ginsoakedgirl80 · 4 months

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Costume Cdramas I watched in 2023

My 2nd year with Chinese dramas as my love for costume drama continues.

The title links to where you can watch it (tried to find free legal watches where available)

The Blood of Youth (40 x 45min, filming started in Oct 2021, released Dec 2022) fun action drama with a good dose of comedy, not for people who want lots of romance because they are too busy (and the canon couples don't have enough chemistry, there I said it) to be making out. Good for bromance, ghost ships and/or ace character head canons. Xiao Se's fur collar wins fur collar of the year, Tang Lian is my blorbo of early 2023.

My Uncanny Destiny (24 x 30min, filmed in autumn 2021, released Jan 2023) My favorite comedy of the year. Don't get turned off by the toilet jokes, it's a gem that spoofs drama tropes, gives you a coherent plot, silliness, fun side characters, a ML that is not afraid of being silly and a FL that plays capable and silly well. This might be a low budget production but they put that money to work. Politics, cross-dressing, found family, sisterhood, enemies to lovers, third wheel bisexual who reminds me of Wen Kexing, over the top villain, himbo villain who works out shirtless all the time, it got it all.

Wulin Heroes (22 x 45min, filming started Nov 2020, released Jan 2023) I watched this for Li Hongyi and he is incredibly beautiful in this so props to his stylist and cinematographer. BUT it is a badly written and edited low budget romp. If you are not watching for any actor then do not bother. FL is bearable once you realize she is very much of a lets see where this goes kind of character. 2nd ML is a suffering captive prince turned whiny regent played by Zhu Zanjin. So if you want to see Jin GuangYao suffer, you might like his scenes?? It can totally be read as a throuple especially with the New Tales of Wulin Heroes mini series add on. The choppiness might also be a result of the dangai ban??

No Doubt in us (24 x 14min, 2021, donghua) saw this on netflix and it roped me in with the body switch trope. It's sufficiently entertaining. Though I didn't enjoy the animation style apart from the chibi scenes.)

Heaven Official's Blessing (season 1, 11 x 26min, 2020, Donghua) It's THAT story and the art style is so pretty. I haven't read the books yet but still got what was going on most of the time. Liked it a lot. Haven't watched the 2nd season yet)

The Journey of Chong Zi (40 x 45min, filming started in June 2021, released Feb 2023) This xianxia is a mess! But it gave Scorpion King Li Daikun another memorable role with being the FL's protector. Watching Wang Zhoucheng having a ball with his role was fun. Immortal turned demon Wan Jie is so handsome and tragic. It did draw me in but the main couple is just ick so every time they were apart it immediately got better. ML's refusal to take the antidote to ease his obsession was lmao, FL is naive but charming and her demon styling rocks (do not get the hate on the actress, she is selfmade and there are many bad pretty face actresses around but I guess antis attract antis). Oh and there is a bromance between two of Chong Zi's harem members

Till the End of the Moon (40 x 55min, started filming in Nov 2021, released April 2023) aka my brain rot drama of the year. Drawn in from episode 1 on. Bai Li and Luo Yunxi <3 Pian Ran, Ye Qingyu, Nian Baiyu and Si Ying. <3 I was spamming tumblr with my screenshots, it was a jolly good time to watch this epic tale of love and suffering and saving the world dilemma with a great cast, characters, costumes, sets and soundtrack with the cdrama ppl of tumblr. If this weren't too complicated for cdrama newbies I'd recommend it to all my friends. Do not skip the dream arc (I ended up liking it) or later stuff will make less sense. I'm still annoyed that we didn't get a good extra episode that wraps up some lose ends for the main side characters and that reunion of the main characters but Youku really went nah we better play it safe with censors not liking happy ends for morally grey characters.

My Queen (24 x 45min, filmed in 2020, released Jul 2021) An FL enters a romance adventure VR game drama that I watched because I needed some fluff between TtEotM episodes. Why pick this among any other sufficiently entertaining dramas that are probably better written and not as forgetable? Because I wanted to watch Hu Wei (rich nepo baby in The Blood of Youth) in another comedy role >_> and ridiculous overacting he did deliver

The Trust (30 x 45min, filmed early 2021, released Apr 2023) The life action adaptation of the manhua No doubt in us is based on. I dunno why I finished this, I guess I'm not a quitter and needed silly stuff to balance TtEotM angst. For some reason the director thought it would be a good idea to film this like a donghua and it is causing 2nd hand embarrassment. The ML cannot pull off being a woman in a man's body, not even a martial arts nerd like Xu Yu. Like Wulin Heroes it was filmed before the dangai ban but that didn't stop them from having at least two bromances.

Wanru's Journey (24 x 35min, filming started in Jun 2021, released May 2023) A mess. So IQIYI released this simply to ride on the wave of Ao Ruipeng's The Blood of Youth popularity. Because this got so chopped down because of the dangai ban and it probably wasn't good to begin with. Basically an actress transmigrates into a dangai screenplay and gets between the leads while also making money by writing fic about them (ok this is my reading but she DID release fic and drawings of them). Of course it takes an unnecessarily dramatic turn, instead of staying on the comedy side, cannot remember more of the plot, oops.

King is not Easy (20ep x 30min, released Aug 2017) I watched this for the body switch trope and Bai Lu. Nice to see her actual face before the fair skin filter got her, entertaining enough, badly written silly comedy with mind mindbogglingly contrived final 4 episodes. It's Bai Lu's drama debut so it's nice to see how far she got

Destined (40ep x 45min, filming started in Jun 2022, released June 2023) Highly enjoyable. Fell in love with Bai Jingting. What's not to love about a playboy getting put on his path by his wife and them becoming friends, sworn siblings and then lovers in the process? No this is actually about FL finding her thing (trade) and being wildly successful at it, then it's also political, revenge and more. The leads are extremely charming and have great chemistry (the drama suffers every time they are apart lbr) and the writing is good, though people are too perfect and I wasn't into the whole palace stuff.

My Journey to You (24 ep x 60min, filming started Dec 2022, released Sep 2023) Had me from episode 1 on. Made me buy IQIYI VIP so I can watch it in good quality. Fell in love with Zhang Linghe. Yu Shuxin needs to do all the wuxia while she is still fit. Why waste being able to do the splits on some modern drama? The director sent her mud wrestling and she went for it. Everyone knows she is pretty no need for her to be beautifully put together on screen 24/7. Love the style, the character introductions, the characters, the cast, the chemistry, the story, the way you expect something and something else is going on. While it started out gloomy and remained so for the most part, it surprised me with throwing in more comedy than I expected. The good old idle manchild gets thrown into a position of power story but it's a murderous martial arts clan against another murderous martial arts clan. It's giving you some information but often just enough for getting what's going on just to play with your expectations later, FUN! And I didn't even mention all the other characters because surprise! this is actually an ensemble drama with several intriguing characters. Do not expect for the two leads to be on screen all the time.

Hilarious Family (24ep x 45min, started filming in June 2022 (?), released Sept 2023) A fun ensemble comedy I watched for Jackie Li. A widow moves to another city to marry off her 4 daughters (a silly man-crazy one, a homely one, a scholar one and a tomboy one). No it's not Pride and Prejudice but yes of course this is a romcom and all women have a love interest. It kind of drops off later on tbh, but still good for the characters and side characters. The success of this in China hopefully means that Jackie Li will get to be getting more comedies to work in after the Queen Lau disaster and people having a problem with her artist alias in 2022.

Hello There (20ep x 30min, released Jan 2023) I stumbled on this on IQIYI while looking for a light fast watch that will let my brain relax. The ML's best acting moment is when he plays a wooden robot. FL is fun. There are some questionable scenes, standard low budget action comedy fare.

An Ancient Love Song (14ep x 30 min, released June 2023) A wonderfully written and executed grown up time traveling story, that shows once again that you don't need a big budget to tell a story that draws you in. Ended my palace politics blockade. All this time traveling and no reincarnation in sight. ;_;

Story of Kunning Palace (38ep x 45min, filming started in May 2022, released Nov 2023) Tieing 2nd with My Journey to You for brainrot drama of the year. The cinematography is questionable, the story is not for teaching perfect courting behavior but those two are just such a good cp in their awkward messy way. Their friends/sidekicks are fun too and bring some comedy to that story though crazy in love ML is serving some comedy too. Props to ZLH for actually trying to grasp the basics of playing qin and not just waving over the strings like other dramas deem it sufficient. Bai Lu is Bai Lu-ing, gathering her harem. Coming into this right after An Ancient Love Song the idea to defeat destiny this time around seemed hopeless to me but this is one of those they are good at making plans and they turn out mostly alright dramas. I hope those two's material for the next years is as good as the two dramas with them I watched in 2023, fingers crossed!

Currently watching: A Journey to Love and Taoism Grandmaster as well as 2/3 through a LbFaD rewatch that I started in summer.

I also watched a handful of modern dramas (made in Korea and Japan) and some mini-dramas, but that is for another post.

And yes my most watched actors are probably those uncles stuck in Hengdian, might look that up another day.

If I got the time to blog about a drama I usually do it with screenshots so my tag for those posts is excuse my bad quality screenshots. In other cases I just reblog and put my thoughts in the tags.

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luckydragon10 · 2 years

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KinnPorsche Ep06 Lines of Power

Me again, bringing you lines of power, framing, and staging in KinnPorsche. Whew. Who knows a cure for an emotional hangover?

I normally organize and post for LoP on Sundays, but I have a busy day tomorrow, so I'm pushing this out extra fast. In case this gets buried in rapid-fire posts in the KP tag... could a few kind folks please do me a reblog? 🥺

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05] [Ep07]

DILF. Such a DILF, P'Chan.

The staging here is fantastic and logical for the situation but so rare. We have characters in foreground with focus, midground, and background, AND we have characters at varying levels throughout. It makes a great composition, in my opinion, while still being sensible for the situation and the setting. Getting up higher on a rock affords a better view, just the thing for a search party.

Also...Big, I gotta say, P'Chan is so far above you it's not even funny. The vertical height difference really underscores that P'Chan is Big's superior in numerous ways.

Nice low camera angle to catch the stars, much appreciated! Adds to the tenderness here.

The ratty cover and sides of the truck make a great frame, almost like they're in a nest. (Calm down, @moerusai. I know exactly what you're thinking. Tsk.)

You know what else I'm seeing? Looking at the bottom of the truck cargo bed, it's neatly horizontal and even. We tend to see a lot of tilted lines — either subtly tilted or dramatically — in KinnPorsche to show things that are out of alignment, but here, things are balanced between the two leads. They're equals in this situation. Equally in trouble, equally desperate to survive.

Speaking of tilted angles....

The line I'm looking at here is easy to miss on first watch because Pete's head is well framed and upright, but look at the angle of the lower part of the car door. It's really, really tilted to the left.

The music in this scene adds very obvious tension, but that line helps underscore the threat that Vegas poses because, frankly, this dude is scary. Run, Pete, run!

Crooked line, curvy, wandering, lost.

Actually, there are multiple crooked lines. This shot has a beautiful almost-symmetry with the road cutting the top section and the dark body of water below also creating crooked, funny lines.

Lost, they're very lost.

Also, if you were to align this shot vertically, you could see a sort of hourglass, like so:

I doubt the cinematographer was intentionally trying to make an hourglass (??), but I like it anyway. Then again, maybe it really was intentional and represents the passage of time? Or it represents that there's a limit to how long they'll have this opportunity to communicate? Always fun to speculate.

Yesss, one of my favorite shots from the trailer!

It's been significantly darkened here, which I find interesting. Perhaps it was kept light in the trailer for better visibility and pop, whereas here we need it darker because of the time of day. The darkness of this shot wouldn't have stood out well in the trailer.

Quick recap of what I said back when I analyzed the trailer:

Bless drones. This. This damn scene with the expansive space, and yet these two leads are squished intimately close to one another. Look, I realize they’re handcuffed, but still, exaggerating that proximity with the huge view is MWAH *chef kiss* perfect. Plus…c'mon, that soft curved line of the road? Such a contrast to all those harsh verticals before. It’s a softening, a bending, which is going to be necessary for the relationship to come together.

Yep, still holds up. All I'd like to add now is that they are turning a corner in their relationship. This episode is about both of them (though perhaps Kinn especially) learning how to bend their pride and meet each other in the middle.

To me, the two walls of the crevice look like puzzle pieces that fit together. The angles of the slopes match and are made to be placed together.

Kind of like our two leads. 😭

Additionally, their arms create a line between them, balanced and connected and sharing that power evenly.

That background rock is being brilliantly used. It's practically a third character here, representing the heavy, heavy weight of their emotions.

Also, Kinn is diminished. He's partly obscured by the rubble slope from his legs down. He diminished here because he's giving up control, willingly, to Porsche. Porsche meanwhile has the front slope that tilts right as well as the upward slope of the top of the rock opening the right side of the frame to him, showing him the way he can run to freedom.

Porsche has the power here, and the lines emphasize that.

And yet he hesitates, frozen in place. 😭😭

That rock is working overtime, adding weight and gravity. I titled this screencap "You Are My Rock Now." And yet they let each other go.

😭😭😭😭😭😭

Nope, nope, done being analytical now. You'll find me in a hole in the ground, trying to process my emotions.

///

More LoP posts: [Trailer] [Ep01] [Ep02] [Ep03] [Ep04] [Ep05] [Ep07]

I was in a bit of a rush for this post, as I mentioned, so feel free to shout at me if you find any other special gems.

You can also visit @antique-forvalaka for some color theory, @yeetlegay for voice analysis and other meta, @chaoselmo and @gradienta for costumes, and a whole bunch of other cool KP fans and meta in my Damn Good KinnPorsche Meta doc.

#kinnporsche #kinnporscheep06 #kinnporsche meta #cinematography #cinematography breakdown

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thelaithlyworm · 2 years

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Just watched Sandman ep 1

On the whole, I liked it a lot. Very aesthetic, I liked how they expanded the characters at Wych Cross just a little (with a few tweaks in plot). Alec’s offer to Morpheus, and Morpheus’s response, says so fucking much about Morpheus’s personality right there, bless.

Lucienne is pretty neat - nailing the ‘a bit fussy and very loyal’ vibe of the comic character. The actor for Morpheus is absolutely nailing the key character points for Episode 1, that is, looking bony, pale, and alien when naked. And he has a nice voice.

Down side - even with the lights off and curtains drawn, it was a little difficult to watch some scenes. (Though not impossible, to be fair.)

...

(in which i bitch)

...

What. What the hell is up with modern cinematographers? Even if the new digital cameras pick up light differently, it is absolutely possible to shoot both moody and watchable at the same time - Cowboy Bebop did it just fine, bless that production team’s sincere and enthusiastic hearts.

Please stop being a disappointment to your film-making ancestors, okay?

#the sandman live action

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a-film-app · 10 months

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Behind the Scenes: Discovering Exciting Film Industry Careers

Are you a movie aficionado who aspires to a career in the field? Do you wish to learn more about the processes used to create your favorite films? If the answer is yes, you've found the right site. This blog will discuss some of the most intriguing careers in the film industry.

Your entry point to the Indian film industry is the Film India App.

First, Let us briefly introduce The Film India App before we explore the numerous job alternatives. You can find the contact information for the best actors, actresses, producers, and directors in this comprehensive directory of the Indian film business. With only a few mouse clicks, you may find vital contact information, including critical company phone numbers. This Indian Film Industry app is a blessing for individuals who want to have a successful career in film.

Jobs in the Film Industry

Director: The person in charge of bringing the script to life is the ship's captain. They collaborate closely with the performers, cinematographers, and other team members to produce a masterpiece.

Author: The author of a movie's script is referred to as a screenwriter. They are in charge of coming up with the plot, the characters, and the dialogue.

Cinematographer: A cinematographer is in charge of capturing the visual elements of a film. They collaborate closely with the director to set the proper tone and ambiance for each scene.

Actors: Actors are the public face of movies. They give the characters life and convince the audience that their story is true.

Editor: An editor is responsible for creating the movie's final cut.

Why Is Networking Important?

In the film industry jobs, networking is essential. Establishing connections with those who can open doors for you is crucial. You can use the Film India App as a terrific resource to meet individuals in the business. To contact actors, producers, and directors about opportunities, utilize the app to get their contact information.

In the following ways, the Film India App can be a huge benefit to aspiring actors and filmmakers:

Quick and easy access: Users have quick and easy access to the vital contact information, including the top actors, actresses, producers, and directors, and their significant business phone numbers. This may be a huge advantage for aspiring actors and filmmakers wishing to network and develop connections in the industry.

Information that is Constantly Updated: The Film India App provides accurate and up-to-date information, typically in real-time. This can benefit budding actors and filmmakers who must stay current with market news and trends.

Simple Subscription Models: Users of the app have access to simple subscription models that grant them access to all categories. Users now have mobile access to the whole database, which is incredibly useful for individuals constantly on the road.

One-stop communication: The Film India App is a one-stop communication hub for consumers and everyone involved in Bollywood and South cinema. This can be highly beneficial for aspiring actors and filmmakers who want to network with people in the business.

In conclusion, The Film India App can be a terrific resource for aspiring actors and filmmakers who wish to pursue careers in the Indian film business. This Indian Film Industry App contains a comprehensive actors' phone number list.

Conclusion

Many different career paths are available in the fascinating world of Indian cinema. Everyone has opportunities through this app. Whether they want to be a director, screenwriter, actor, or editor. Your entrance into this fascinating world may be through the Film India App. It works as a one-stop interaction between users and everyone else in Bollywood and South Cinema. It offers simple access to important business phone numbers and contact details. It also offers new data in real-time, simple subscription models, and quick subscription options. What are you still holding out for? Explore the world of Indian film by downloading the app right away!

#indian film industry app #film industry #film directory

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meetmeatthecoda · 3 years

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Am I the only one who thought that the way the scene from 8.21 where Red talks to Liz after she was injured was shot kinda reminds of The Scene from 2.10 where he 'leads' her through the burning house and out of the trance Dr Orchard put her into aka The Scene That Was Shot By A Lizzington Shipper?

NO, ANON, YOU'RE NOT THE ONLY ONE 🤩 I swear, whatever wonderful cinematographer filmed Luther Braxton Pt. 2 filmed those beauteous scenes in 8.21 & I'M. NOT. MAD. ABOUT. IT. because they were so beautiful 😭 I'm sure I'll disagree with this next week when I'm crying & screaming & having a motherfucking meltdown (no matter the outcome, I'm sure) BUT at least we have those scenes. They are precious & I WANT to re-watch them but I'm SO emotionally fragile right now that I DON'T THINK I CAN 🥺 But, to answer your question... no, anon, you are NOT the only one & I am thankful 😂 Thank you for this lovely ask, anon, it was a light in my inbox, much love to you!! ❤️

#The Blacklist #Lizzington #the cinematographer ships lizzington pass it on #2.10 #8.21 #mine #ask #anon #god bless those scenes #i literally was struggling to pay attention through all the flashback bullshit #and the second red SNAGGED LIZ AROUND THE WAIST WHEN SHE WAS SHOT #MY HEART FUCKING CATAPULTED INTO MY THROAT CAUSE 👏 THAT'S 👏 MY 👏 SHIP 👏#dear god i'm not okay #thank you anon!!#much love!!#<3

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kexing · 2 years

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I haven't watched any of the trailers for the new projects (kind of loath to just bc I dont want false expectations I guess lol) but the lighting in moonlight chicken has my heart and soul, like it's so pretty and soft and also EarthMix is 10/10 as always

omg yes! i’m so glad you mentioned that because i’m literally OBSESSED with the whole aesthetic of moonlight chicken right now! i personally think it’s what set the show apart for me! and also the way it was shot, 10/10

like!! whoever the cinematographer is, they deserve a RAISE for going absolutely off on a pilot trailer like this aksjsksk

it made me want to edit many scenes but i didn’t think it was worth posting so i’m gonna share them with you!

soooo warm!!! and my favorite thing about this warm coloring is that it highlights earth’s skin tone and WHAT A BLESSING THAT IS

LOOK AT THIS STUNNING MF!!!

WHO ALLOWED YOU TO LOOK THIS GOOD???!!!

and this shot is so poignant??

the neon greens in this trailer also spoke to me and the KILLER REDS!!!

so spot on!!! tell me you don’t get itsay vibes from all of this!! alskkaks

i think that if they give p’aof & earthmix the budget and time needed, they’re gonna come for our necks once again lmao

#i cannot see an aesthetic show. i’m too weak #moonlight chicken #anonymous #mj got mail!

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shortpplfedup · 3 years

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Shots to the heart

I feel like this is the first episode since the first episode to really USE Bangkok as a backdrop in the way they used Phuket in ITSAY. I'm sure a lot of that had to do with shooting in a big city in the pandemic, but also other than arriving there, going to school in a city you (or at least I) spend a lot of time in the cauldron of school and campus and not so much really out in the city itself. I really discovered the city I was in when I left school, returning afterward. Overall I found myself craving more of Bangkok on the screen.

SOOOOOOOOOOOO MUCH in this shot. I see that sunflower as a sword, brandished by Oh Aew to protect himself. 'The penalty of betrayal is death', and Teh sure looks like Oh Aew is killing him here. Also, the poster in the background, but also separating them in the frame. That poster is the visual representation of their entire history, and their history is the barrier between Teh and Oh Aew in this moment.

This was probably the most Phuket of the Bangkok locations we could get, with the specific types of greenery. Also, the colour grading of the whole rooftop scene is incredibly pretty, those soft, subtle pinks, blues and purples.

These boys and their secrets. But I loved this callback. At the heart of it, they've always been friends, intimates, and the whole conversation scene really reminded you of that being the basis of their love: they just like each other and they enjoy each other's company. You know, when Teh can get out his own head long enough for that to happen, and as long as Oh Aew isn't burying his feelings.

Another Renaissance painting style shot of the Fab 5. What a sweet little found family. I love them so much and I really wanted to see them tearing up the town at least once, but alas, pandemic.

There were supposed to be two nan zhu jue. Now a nu zhu jue has entered the frame, wearing Teh's colour even. But Teh is wearing Oh Aew's colour, his heart, LITERALLY on his sleeve.

Teh and mirrors is a bit of a cinematographical theme in IPYTM as I saw another poster point out. They are almost mocking him. Surrounded by mirrors and he still can't see himself. Also funny here: not one lightbulb. He really is clueless the poor lamb.

Teh is as subtle as a sledgehammer. Look at that stage, the tree awash in red light. He really invited Oh Aew to this play without a word of warning, and Oh Aew, bless him, went only to be hit with...this. Stressful as shit. I'd have left too.

When they have their big talk, it is sunset/twilight in Phuket. I love love LOVE that they did NOT revert to the ITSAY golden colour grading in the Phuket scenes, because this return to Phuket was not about haziness and nostalgia, looking back at the past with fondness and longing and the dreaminess of first love. This was very much about reality, maturity, seeing themselves and each other starkly and clearly, in the here and now. The colours are true, the light is white, even with the sunset throwing off its final rays in the background. This isn't a romantic fantasy, it's a real true love story.

I Promised You the Moon, Episode 5: Turning Point Director: Meen Tossaphon Riantong Cinematographer: Koi Boonyanuch Kraithong

#translate my love with your heart #i promised you the moon #ipytm #ipytm 5: turning point #itsay ipytm cinematography series #visual design #bl meta series

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imaginariaextraordinaire · 3 years

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Episode 8 is one hella packed episode and it is an absolute joy to unpack it, beginning with this:

Clever, clever idea to have Ji-Woo repeat the line that Mi-Joo just said to indicate Ji-Woo is taking charge of things as far as Assemblyman Ki is concerned. It's also a good reminder of how tone and intent can change the meaning of a sentence even if the words are exactly the same (which is why we need good translators).

Seeing Mi-Joo stride across the screen with Seon-Gyeom behind her, it struck me that we've seen a variation of this many times before, beginning with the credit titles. While Seon-Gyeom is the sprinter, the one we see constantly trying to up the pace and charge ahead is Mi-Joo. She's always intent on moving ahead faster — perhaps to outrun the past that she finally makes peace with during the marathon? — while Seon-Gyeom moves at a slower pace, disentangling himself from the constraints of his troubled past and troubling father. The only one time we see him race ahead (in episode 2), we also see him come back and slow down.

What I particularly love about Park Shi-Hyun's writing is that in addition to all the layers and complexity she's written into the scenes and characters, she's also written a very, very funny show.

Both Shin Se-Kyung and Kang Tae-Oh do such a fantastic job with both the physical humour (without being over-the-top) and the timing that's needed to play up the wit in the dialogues. Not that Siwan and Soo-Young do a bad job — the scene in which Dan-Ah proposes to Seon-Gyeom is hilarious. My favourite is still May, who is very funny throughout this episode (the shot in which we learn she sleeps with her eyes open! GOLD).

The transitions in this episode are so well written. The insights from one scene ricochet off the next. For example, Dan-Ah in the scene at the bar — where she tells the bartender she can't risk keeping the book in her own study because she can't risk people guessing she has anxieties — gives us a look at the problems of the privileged. This is followed by a scene in which Yeong-Hwa and Mi-Joo discuss student debts, which is a relatable middle-class problem. This in turn is followed by Tae-Woong saying that he takes selfies because he's addicted to the validation he gets from the likes each of those photos gets him — a Gen Z problem. And so it is that we get a spectrum of problems that people face and hide behind performative façades.

The likes that Tae-Woong talks about pop up with manic frenzy at the end of the heartbreaking scene with Dan-Ah in the parking lot, presenting the viewer with a terrible contrast — driving away from him is the love and acceptance that he yearns for from a sister who (he hopes) knows him. All he has to hold on to is the superficial attention of the love professed by a fandom that doesn't really know him at all. Soo-Young's performance is fantastic in this scene, especially when she asks in a voice tinged with desperation why Tae-Woong keeps coming back to her despite her treating him so badly. For the first time, you realise how much it takes out of her to lash out at this desperately-sad boy. "It takes effort to hate someone," Tae-Woong tells her. My heart!

Another fantastic set of transitions comes later on in the episode, when Mi-Joo and May are unwinding at the end of a long day at the film shoot.

This is such a great example of writing inter-generational female friendships. When May remembers not being paid for working overtime, it's an acknowledgement that things are better for working women (especially in film) than it was before, but as Mi-Joo's experiences show, there's still a lot to be done because women are still driven by a certain insecurity and anxiety to push themselves way too hard (as we see a sick Mi-Joo do later in the episode).

Of course a man tries to break this gathering up — because he wants to go to bed. Superb excuse, particularly because these women are talking how much they have to work — and it is deeply satisfying to watch all three of them shut him down and establish their right to unwind.

This scene of female friendship is followed by one that shows the friendship between the three runners. Then we get to see a fight scene full of male actors. The machismo of that performance is a sharp contrast to the awkward tenderness of Woo-Sik and Yeong-Il's conversation.

While on the subject of toxic masculinity, this is the episode in which we find out Dan-Ah's father forged Myeong-Min's birth certificate to make him legally older than Dan-Ah even though he's actually 10 months younger than her. All to ensure he has a male heir. It's a nice detail that Myeong-Min's mother is the one laying out the memorial service for Dan-Ah's mother because it hints at a sense of solidarity.

Also dismantling traditional notions of masculinity is Seon-Gyeom, whom we see at his most domestic as he cooks and packs meals for May and Mi-Joo, and does chores around the house once they're gone. It's very much an inversion of the standard male-female gender roles with the woman going out to work and the man as the homemaker. To underscore this point, we see Seon-Gyeom consider the leopard-print shirt (that May and Mi-Joo hang to give strangers the impression they've got an alpha in the house) for a second before putting it away.

Speaking of alphas, Mi-Joo's really got a thing for wild cats. In addition to that shirt, her blanket is also a leopard-print and when we see her calling Seon-Gyeom, she's standing in front of a painting of a tiger. All these seem to be digs at her posturing that she's strong and invulnerable and I burst out laughing when Seon-Gyeom folds the leopard-print blanket while muttering, "I'd have guessed this is hers even if she hadn't told me."

As disinterested as Seon-Gyeom may be in films, they play a big role in sustaining him emotionally. In this episode, it's the film set that helps Mi-Joo and him come together after their stupid disagreement. Equally importantly, the film set is where he gets the time and space to reconnect with his mother.

Run On has so much fun being meta with the film bits. The film shoot within a drama is indeed an old fake.

There are two film sets we see in this episode — one with Ji-Woo and the other with Mi-Joo. While Ji-Woo's set feels relaxed, the one Mi-Joo's working in is chaotic and taxing. The two women are also at different ends of the professional spectrum. Ji-Woo is a star while Mi-Joo is not just working behind the scenes, but she's come to fill in for the person who was the juniormost member of the crew.

When pointing out the main players of their film crew to Mi-Joo and May, Hui-Jin describes the cinematographer as "a bit racist, but still a gentleman". (Mi-Joo's response is superb: "Weird.") It's an interesting choice to make the cinematographer racist because that's the crew member who decides how subjects and scenes will be framed. "Racist but a gentleman" feels like a precise summary of the orientalist perspective which (aside from being overwhelmingly masculine) shows the East through stereotypes that are often superficially beautiful, but also reductive and damaging. Not surprisingly, this cinematographer is the reason Mi-Joo flounders while translating on set.

The film set is also the first time that Seon-Gyeom sees Mi-Joo's vulnerable side when she falls ill. It's such a clever choice to have Mi-Joo stop performing in a setting that's all about performances. Not only does Mi-Joo give up the alpha act when she's sick, she admits to Seon-Gyeom that when she's feeling helpless, her instinct is to resort to a performative lie — calling out for mom because that's what she saw other kids do as a child in a sick ward (imagine how isolated and neglected she must have felt to do this. Also, she's felt this way so many times that this performance has become second nature to her).

The anecdote suggests Mi-Joo's mulish championing of her self has its roots in past incidents when she tried to fit and either failed or was rejected. And yet, for all her strength and confidence, she's chasing phantoms and has been doing so since she was a little girl. All because she was alone and didn't have anyone she could reach out to for help. Which is why what Seon-Gyeom tells her at the end of the episode is so relevant. He helps her to reorient.

To which Mi-Joo, bless her leopard-print-loving heart, responds with

But my favourite part of this episode is the conversation that Ji-Woo has with Seon-Gyeom when he visits her set. First of all, Ji-Woo is playing a "vegan murderer", which is brilliant as ideas go and it's adorable how delighted she is about her violent roles.

I love how Run On doesn't punish Ji-Woo for sacrificing her family life for her work. Instead, it holds out the possibility that it is ok if you have that imbalance. In this scene, we see Ji-Woo's family reforming at the film set with Eun-Bi sending the coffee truck and Seon-Gyeom showing up just because Ji-Woo asked him to be there.

The mother-son conversation gives us a glimpse of Seon-Gyeom's bleak childhood and we learn that everything Seon-Gyeom did for his father was actually him doing what his mother had asked him to do. It comes as a surprise to Seon-Gyeom that his mother has noticed what he's suffered and that she understands how he'd hoped silently suffering would keep the family together. It's almost as though he's feeling seen for the first time.

Much like Dan-Ah, Ji-Woo may seem self-centred because of her ambitiousness, but she does notice what's happening beyond the obvious, especially when it comes to people she cares about. Both women are up against the worst of patriarchy. Also, I love that when she's talking about motherhood, Ji-Woo is blood-spattered — after all, being a working woman and a mother in a patriarchal is nothing short of fighting a war.

In previous episodes, it seemed as though Ji-Woo was the 'bad' (or at least not ideal) mother while Director Dong was the ideal, modern mother. Yet in comparison to how Director Dong later reacts to her son coming out, you can't help but feel Ji-Woo, with her unconditional support for her kids, might just be the better parent. What is great about Run On though is that that the script doesn't pit the two older women against each other as competing examples of motherhood or femininity. The point is that everyone's struggling, making mistakes and trying to learn from them. Ji-Woo is doing that and so will Director Dong eventually.

Love that the scene ends with Seon-Gyeom effectively declaring himself his mother's son. Take that, patriarchy.

#Run On #Episode 8 #Rewatch #Kdrama #Mothers #mother series #Smash the patriarchy #Im Siwan #shin se kyung

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brindaneer · 3 years

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“Brinda: I love Superhero films. Marvel, DC and of course, our very own Krrish!

Neer: umm…I really can’t watch anything from the entire genre except Krrish!”

This is an appropriate example of a typical conversation regarding ‘superhero’ ventures between us. Shocked? What?! We already told you that our opinions varied at times! Oh! Ok! Shocked about the fact that Neer does not like the Marvel and DC universe? Well, yeah! Neer can be a bit ‘weird’ about certain things 😝! Don’t worry! Brinda loves them all❤️... However, what really matters is that both of us absolutely adore our first Indian superhero, Krrish; the reason for that is not Hrithik Roshan alone although he obviously is the primary source of our attraction.

MR. Rakesh Roshan! What a man! The sheer courage that must have been required to even dream of making a film about an Indian Superhero, all those years ago, is rare to find; it makes us salute the possessor, Mr. Rakesh Roshan again and again. At some point, fed up with relentless struggle, many among us have probably thought of giving up on our dreams. Let us take a lesson from this man and aspire for great things without worrying about the results. Only then can we achieve that which is largely perceived to be unattainable.

Technically superb with high quality VFX and cinematographically fabulous, Krrish possessed all ingredients that are usually required to make a commercially successful superhero venture. Yet, in a hypothetical SWOT analysis of the film, its numero uno strength would definitely have to be the script. We realize this must remind you of the blog on Koi Mil Gaya but please excuse us for sounding repetitive. It is not our fault that Mr. Rakesh Roshan places utmost importance on the script of a film. No, we are not saying it is his either. In fact, it is quite the reverse. Mr. Roshan’s astuteness in coming up with a crisp script with the help of a very talented team of writers is undoubtedly his best quality and that, in turn, enhances his abilities as a director, thereby making the end product not only saleable but also worthy of critical acclaim. Therefore, not surprisingly, Krrish had a sound and very believable storyline, which ultimately is the most essential element of any film. So, lets just delve into it right away!

Krrish is all about Krishna, Rohit’s son, who has inherited special powers from his father, the very ones that Jaadoo had gifted lovingly to Rohit years back in ‘Koi Mil Gaya’. Unfortunately, Rohit and Nisha are no longer alive, having died a few years after we had last seen them (😭😭). Scared of exposing her super heroic grandson to the world, Sonia Mehra leaves Kasauli and retires to an obscure but beautiful little place somewhere in the Himalayan countryside. Krishna’s face is an exact replica of Rohit’s but otherwise he is quite different from what his father used to be at this age. Krishna has superpowers that allow him to leap across mountains, fall into a gorge from the top of a high peak and yet escape unhurt, climb mountains faster than any other living being, and run faster than a horse! He is also a lonely young boy, desperate for companionship and exposure to the vast exciting world he has been kept away from. Despite harbouring a grievance towards his ‘Daadi’ for this confinement, Krishna loves her too much to be really offended. Her world revolves around him and he is very aware of it. Yet, he cannot let go of his boredom in the sleepy little hamlet he has been forced to dwell in! What a tragic irony! The very powers that had once enabled Rohit to be largely accepted within the so-called mainstream society have now chained his son, keeping him forcibly hidden from the rest of the world.

However, destiny obviously has other plans, and Krishna meets Priya (Priyanka Chopra) who is visiting India with her friend Honey from Singapore and are in his neighbourhood with an adventure group. For him, it is love at first sight. For Priya, he is initially a mystery and eventually a friend. The parallel between Krishna and Priya’s story and that of Rohit and Nisha is worth mentioning in this context. Nisha had also considered Rohit just a friend for a long time until she fell in love with him.

Despite his grandmother’s restrictions, Krishna’s powers are revealed (somewhat deliberately by the man himself) in front of Priya and Honey, who are naturally awestruck. The scenes where they and their companions mistake the superhuman Krishna as supernatural and are convinced that he is the ghost of Ramcharan provide some very effective comedy to keep the audience engaged.

After spending some lovely moments together, and getting acquainted with Krishna’s grandmother, Priya leaves, much to Krishna’s disappointment. Having grown up far from the madding crowd, away from the complexities of urbanism, Krishna is still innocent to a degree that is rare to find in the contemporary world. Priya is aware of his feelings but she does not reciprocate them despite genuinely liking him. However, that does not deter her from luring him to Singapore with false proclamations of love just so that Honey and she may save their jobs by showing off his unique skills in a television show. Quite a diabolical plan! Naturally, we were developing acrimonious feelings for Priya at this point when we first watched the film, and we are sure, so were you! However, keeping aside our concern for the ever-lovable Krishna for a while, how refreshing was it to see a flawed heroine for a change? We are definitely not suggesting that this was the first portrayal of such a female in Hindi cinema, but Bollywood had most diligently followed the tradition of glorifying female lead characters up to a very long time, and it was not completely out of fashion in the late 2000s. In fact, it is still frequently observed in television shows that are highly influenced by obsolete Bollywood themes. How many heroines can you name off the top of your head who were selfish and unsympathetic in mainstream commercial films during that decade? Yes, definitely more than what used to be in the 60s, 70s and 80s, but still not too many. Just close your eyes for a moment and think of the number of films where the ‘hero’ has faked love for the heroine due to selfish reasons (to win a bet with friends, to satisfy his own ego, for the sake of his job, etc). If you can think of such films far more easily than the ones where heroines have made similar mistakes, we have made our point. Please do not get us wrong; we are definitely not advocating such behaviour. However, our society has normalized the concept of a ‘virtuous’ female to such a massive extent that sometimes people forget we are human beings, made of the same flesh and blood as men, and capable of making similar mistakes and sins. We do not intend this blog to be a discourse on feminism by any means; yet somehow this discussion seems very relevant here.

Moving on, Krishna is elated to find that his feelings are reciprocated and wants to go to Singapore at the earliest to get permission from Priya’s mom for their marriage. However, his daadi has severe objections in this regard. The scene where Krishna lashes out in anger and accuses her of selfishly wanting to keep him to herself is one of the best enacted scenes of the movie. But more on that later. Heartbroken by her grandson’s accusations, Sonia Mehra finally reveals the reason for her apparently irrational fear, and in the process, we get to see our very own Rohit once again, although in flashback.

After Jadoo had given Rohit his powers back, he became widely known in the scientific community due to his research works, eventually attracting the attention of internationally renowned scientist, Dr. Siddhanth Arya (Naseeruddin Shah). Dr. Arya wanted to collaborate with Rohit and build a computer that could predict the future, thereby saving the world from catastrophes. To that end, Rohit moved temporarily to Singapore and worked day and night in Dr. Arya’s research laboratory. Nisha, who was pregnant at the time, was being taken care of by Rohit’s mother. The day Nisha was hospitalized for delivering the baby, Sonia Mehra called Rohit who anxiously told her that he was coming back because his powers had been used for wrong purposes. The next day, she received news of his death in a lab accident. Nisha could not bear this shock and passed away a few days later, leaving little Krishna as Sonia’s only reason for existence.

Convinced that Rohit’s death was not a mere accident, Sonia decided to keep her gifted grandchild away from prying eyes so that the same people did not try and use his powers for evil as well.

This revelation naturally mellows the agitated Krishna down and he feels guilty for having hurled harsh allegations at the person who is actually his protector and saviour; more so because she not only agrees to let him travel to Singapore but also ushers the best possible blessing upon him by giving him Rohit’s coat. On his part, Krishna promises that he is going to keep his powers hidden from all. However, that’s easier said than done, as he soon finds out. Although he manages to ruin Priya and Honey’s attempts to showcase his skills for a show, it becomes impossible for him to keep quiet when a circus tent catches fire in front of his eyes and children are trapped inside. As he dons a common mask and wears his father’s coat inside out as a cape, Krishna becomes Krrish, a superhero who does not think twice before jumping into fire to save the entrapped. The name is a shortened version of his real one and he uses it as a pseudonym so that he may keep his promise to his grandmother. However, when has truth remained hidden? As they say in Bollywood, ‘sach ko to ek na ek din saamne aana hee hoga’! Priya, who has now actually fallen for Krishna (who wouldn’t?) comes face to face with him as he emerges out of the burning tent, carrying a child in his arms. Since he is all masked up, and the surrounding is filled with smoke, she only sees his intense greenish grey eyes, and quite logically draws the conclusion that he is none other than her very own Krishna. Smart girl! Who else has those gorgeous pair of eyes in the world? Nevertheless, Krishna’s promise to his grandmother is worth more to him than admitting the truth to Priya, and he ruins all her attempts to make him confess including getting deliberately beaten up by goons to prove that he is not the superhero she thinks him to be. He also gives his identity willingly to Christian, a young man in need of money for his wheelchair-bound little sister; a pair he had already helped before by collecting money through a stunt show on the streets (a particularly touching scene).

Just when everything seems rosy in Krishna and Priya’s life, he gets to know about Priya’s lie after a chance conversation with her supposedly sick mother on phone. Priya had hitherto avoided their meeting on the pretext of her mother being sick but the latter herself exposes that lie unknowingly and Krishna is stunned by the disclosure. Hurt and angry with Priya’s betrayal, Krishna decides to leave Singapore immediately. Meanwhile, Priya comes across a clip in her own video recording of that night at the circus and realizes that her initial intuition about Krishna being Krrish was right all along. Elated, she tells the truth to Honey and also confesses her true love for him, all the while unaware that her past lies are about to haunt her soon. She also gives the tape to Honey to show it to their boss, this time not for the sake of their jobs but also for Krishna’s fame. When she comes to meet Krishna and reveals what she has discovered and then done, he lashes out at her in probably one of the best scenes of the film. His every word is justified, and she is repentant. However, Priya crosses the line when she rebukes his grandmother and throws the same allegations at her that Krishna himself had once. Furious, Krishna reveals the reason behind Sonia’s overprotectiveness to her and starts for the airport, leaving an utterly ashamed and heart broken Priya behind.

We are now in the last leg of the film. Reenter Dr. Arya, who is definitely not what he seemed like! He too is wearing a mask like Krishna, the only difference being in their intentions. Krishna has put the mask on to save the innocent while Dr. Arya wants to destroy them. He is a power-crazed egomaniac who has already rebuilt that computer from Rohit’s lab notes so that he can effectively play the role of God. And surprise surprise! To fulfill his purpose, he has kept Rohit alive. Well, barely alive at least! What actually happened all those years back was that Rohit had successfully built the computer that could foresee the future. During his time in the laboratory, he had formed a deep camaraderie with Dr. Arya’s head of security and after Rohit had finished building the computer, his friend wanted him to foresee the gender of his unborn child through it. The computer correctly predicted Krishna’s birth but it also foresaw Rohit’s death on the very day his son was born. After further exploration, Rohit realized that Dr. Arya was going to kill him so that no one else knew how to operate that computer. Shocked and distraught, he understood that he had been used. That was when he had received the call from his mother and informed her about his decision of coming back. Before leaving Singapore forever, Rohit decided to ruin Dr. Arya’s evil plans by destroying the computer he had toiled over for months., and he was partly successful. Although he managed to destroy the computer, Dr. Arya caught him before he could leave. But for the Chief Security Officer, Rohit would surely have been killed. That honest man who had genuinely become fond of Rohit saved him by reminding Dr. Arya about the password to the computer- Rohit’s handprint and retina. Dr. Arya who had already hatched the plan of rebuilding the computer kept the latter’s heart beating. But just that. This story is narrated in the present times by Dr. Arya’s Chief Security Officer to Priya who brings him to the airport and stops Krishna from leaving. Meanwhile Dr. Arya has already seen his own future in the computer. Any guesses? He has seen his death at the hands of a masked man! Of course, the man is none other than Krishna or Krrish himself. Eager to destroy every threat to his existence, Dr. Arya promptly kills Christian, the guy who had taken up Krrish’s identity at Krishna’s behest. However, when has anyone ever escaped destiny? Even Dr. Arya doesn’t! Krishna in complete superhero mode leaps across tall buildings and finally defeats his nemesis (The insanely dedicated Hrithik Roshan who performed every stunt by himself escaped a near fatal experience when a cable snapped during a stunt! As fans we are both amazed and concerned about this man’s immense humility and absolute submission to his craft. We just hope and pray that he takes care of his health since it is more important than anything else). Before dying, Dr Arya asks why Krrish wants his death. In a terrific cinematic moment, Krishna takes off his mask and reveals his face. The shock and realization on Dr. Arya’s face is evident as he breathes his last. Finally, everything turns out fine as Krishna comes home to his daadi with not just Priya but Rohit (who has now recovered sufficiently and is back to his old self) too. The film ends on a positive note with Jaadoo’s spacecraft peeping through the clouds once again as Rohit plays that same old tune which had beckoned the former and his companions to earth in the first place.

Now that we have recounted the story, a few much needed words about the actors- Rekha ji was once again at her best in the film, effortlessly slipping into the role of Krishna’s grandmother. Hrithik and her chemistry was as fabulous here as it was in ‘Koi Mil Gaya’. Priyanka was her charming self as usual. Undoubtedly, she is one of the most natural actors in Bollywood, and this film was no exception. The easy, playful chemistry that Hrithik and she shared was one of the major highlights of ‘Krrish’. What do we say about Naseeruddin Shah? Well, probably it is better to say nothing because it might be redundant. Finally, praising Hrithik Roshan is also becoming repetitive in these blogs. So, we have decided to stop it henceforth! Just kidding! At least in this life, it is utterly impossible! Brilliant in every frame, Hrithik aced the role of a superhero like only he could, his body language being as flawless as his expressions; actions as perfect as emotions. The moment when Krishna met Rohit was a proof of this man’s immense versatility and talent. Who would think that someone that perfect as Rohit could also be equally superlative as a superhero or vice versa? The scenes where Krishna lost his temper with his daadi and Priya were also among the best moments in the film. Hrithik is always so natural at portraying rage, but he never goes overboard with it. But then, isn’t that true for every emotion in the book?

Krrish 3, the third project in the franchise continued Krrish’s saga and Rohit’s story with a vitality that characterized both its predecessors. The film featured Hrithik in a full-fledged double role and pitched him against Vivek Oberoi as Kaal who was a far tougher villain to destroy than Dr. Arya. Kaal was the quintessential supervillain, at times even more ‘powerful’ than the hero himself but ultimately destined to lose as good always triumphed over evil. In fact, this is the message that pervaded throughout all the three films- ‘Koi Mil Gaya’, ‘Krrish’ and ‘Krrish 3’. It was only natural that Hrithik’s terrific performance simultaneously as Rohit and Krrish grabbed a lot of eyeballs and went a long way in making the film a massive box-office success. It broke major box-office records and set new ones. However, Vivek Oberoi also deserves special mention in this context. His portrayal of Kaal with an optimal mix of cunning, intelligence, and cruelty earned major brownie points from the audience and definitely contributed to the mammoth success of the film. We finally lost Rohit forever in Krrish 3 and as tragic as the moment was, Hrithik’s performance was so good that we still watch it frequently despite the pain involved. Then again, Hrithik usually has that kind of impact on the audience every time he performs. Krrish was able to destroy Kaal at the end, thereby proving yet again that no matter how challenging times were, with goodness in heart and genuineness in intentions, any evil could be defeated. The assertion ‘Hum sab mein Krrish hai’ has never seemed more important than the present times. Let us all truly believe in it. We can and we will defeat this virus by our individual as well as collective efforts. So please #MaskUpIndia and #GetVaccinated. How uncanny that the plot of Krrish 3 actually revolved around a virus and vaccines! Just like Rohit and Krrish were able to defeat that virus, let us have faith in our real-life superheroes too.

P.S: At the end, Krishna and Priya had a son who also seemed to have inherited his dad’s superheroic powers. So, is there any chance of daddy Krrish in the fourth venture? Fingers crossed for that 😊😊

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nosferatyou · 4 years

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Double Indemnity: Ch.1 (Josh Kiszka x Reader)

Summary: After an incident their freshman year they could barely stand to look at each other. Now it’s their senior year and are grouped together for their final project. What could go wrong?

Warnings: Cursing

WC: 2.3k

Authors note: Well. I flipped into Josh’s lane and thought of this sucker and couldn’t get it out of my head. After I heard the story behind the writers of “Double Indemnity” I just had to make this. Heres to me hopefully finishing a series! Enjoy!

Let’s go back to the day when I “met” Josh Kiszka and when I actually met Josh.

It was the summer before my freshman year of college, and at that point, film sets weren’t a stranger to me. But I sure didn’t have the experience that most of the already film majors around me had. I was roped in by my long time friend Jack who I hadn’t spoken to since graduation, but due to the circumstances, he needed as many crew members as possible. He had 2 days to write, shoot, and cut together a short film. I was a PA (production assistant) and was frantically running around helping in any way I could. I was smart enough to stay out of the way and speak up when needed.

I met most of the crew except one, the cinematographer/camera op, who was the busiest on set. The exception being Jack, who was the director. I heard the camera OP was only there because he had the nicest camera, but my mind may have tainted what I heard about him that day.

With only an hour to spare we had finished the film. All of us dehydrated and starving, sleep-deprived too. I was cradling a horrendous migraine from the lack of water and was ready to leave before someone suggested we go to Cookout. Which is arguably the best food at 3 am.

Against my will, I was dragged to the fast-food restaurant with the rest of the crew. At that point, I was barely conscious and sat in the back seat of Jack’s car. The stranger cinematographer who I hadn’t noticed was next to me until he tapped my shoulder. With a concerned look, asked me if I was okay and needed anything. Which was nice of him considering we’d never spoken.

After the short exchange of words, he never seemed to fully leave my side. May it be his glances from across the table with the same concerned look, or him bring me cups of water, which I still don’t remember him getting up for.

After that night it would be months until I see him again.

I didn’t expect him to be in my Post Production class, but I was definitely happy to see him. It was my first day of classes and to see a familiar face was a nice change of pace compared to whirlwind of a day. Though it wasn’t too long after that that my feelings for him changed.

If you’re a film student you’re going to edit a Gunsmoke fight scene, it is basically a right of passage. Anyways I was an experienced editor and of course, was going to cut the fight scene to the beat of an Ennio Morricone song. If we were going to work on a western scene then Ennio was a must.

I was damn proud of my work, I seemed to be one of the best editors in the class, josh being right there with me. We didn’t exchange many words, but we kept each other company by simply sitting next to each other.

Then came the critique day, when everyone watches your video and gives you notes. Usually its never good notes.

After our class watched it everyone had a lot to say, mostly over small slip-ups I didn’t notice, that’s normal. Josh’s video was next and the moment the music played I was livid, he had used the same exact song, even cut it the same way I did. The worst part was that no one had anything bad to say about it, all good comments. I kept it contained, for the most part. I didn’t verbally say anything, but my constant tapping and dirty looks in his direction said otherwise. I don’t think he’d noticed.

I waited until everyone left and simply gave him a piece of my mind. Maybe I snapped at him… either way, it led to us getting into our first screaming match. Josh saying he “didn’t” copy my video and me disagreeing. I honestly don’t remember how it ended, but I do remember us getting kicked out of the building for it.

Anyways that was three years ago, and we still hate each other. Yet here we are still in all the same classes, but the difference is we have silent warfares. Constantly competing with each other, showing each other our higher grades, and besting each other’s videos. I can barely stand to hear him talk anymore, but I do have to say. He knows how to make a good line.

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Even with the cold chill of the November air prickling my skin and the wind whipping my hair, my mood couldn’t be damped. Maybe “chill” is an understatement. Living in “The City by the Lake” aka Chicago brings on the harshest of winters, and as crazy as it seems, I always weirdly miss it when I go back to Michigan. Sure it has it’s many feet of snow, but Chicago makes the wind weirdly dazzling.

This is my last coffee, I’ll switch to tea. Is something I say every morning when I get up before classes, but here I am again, with an out of place cold brew in hand and a raging caffeine addiction. In hindsight, it is better than my previous vice, cigarettes, but the headaches it brings on is just as bad as missing a cig. My one hand shoved in my pocket and the other is clutching the same cold brew as before. I may have said that I couldn’t be bothered by the weather, but I’m not immune.

As soon as I enter Columbia’s Media Production building everything becomes flush with warmth. Its a bit uncomfortable really. I remove my gloves and quickly checked my phone, affirming that I’m right on time as always. As I stroll through the halls I tune more into the music, enjoying my free time. There is just something about Chet Baker and Chicago that just mixes so well.

Todays a good day though, it marks my one year of quitting cigs. Did I mention that I quit? Because I quit. Anyways my roommate made a big deal out of it, I also figured out the coolest riff, I’m kind of shit at making music out of thin air so it’s a big day.

After taking the long way to my Directing class (Cinema Directing III if you want to get technical) I finally made it to the small class. Most of the class was there, luckily for me my two-year seat partner, Gwen, was already there, waiting where she always does. We met in our Single Cam 1 class and have been inseparable since, well actually Gwen, Cora (the previously mentioned roommate), and I have been inseparable ever since.

I made my way to my usual seat and peeled my overworn leather bomber jacket off, already feeling more comfortable. Slumping back in my chair I lazily grabbed my sketchbook and pencil out of my bag. Its become a kind of habit to draw my professors and classmates every day, something is just so fascinating about their compositions. I got to work on Gwen who was hunched over, focusing on her book in front of her. I got to work and as soon as I finished up on the basic shapes she quickly sat up, focusing on me.

“You ready for the final project?” She questioned, stealing my coffee in the process.

“I’ve been working on a few ideas already, but then again I don’t know the assignment yet. I do know I will be grabbing the usual 4 of you the moment he says “groups.”

“Heres to hoping we can pick- Oh!” She almost spilled my coffee when she interrupted herself.

“I forgot to text you! Happy one year of being ciggy free!” She exclaimed, handing me back the bottle.

I took a swig from the bottle when she gave it back. “Well thank you, darling. I feel like having clean lungs shouldn’t be such an achievement, but I guess here we are.”

“Be proud! Besides gives us a reason to head to Jerry’s.”

“We’d celebrate over anything if it meant going to Jerry’s and getting pissed.” I smirked at her.

“Well. You got me there. Anyways you are right, we will be getting drunk out of our minds tonight. Bless the man who decided to open a bar directly next to your apartment building.” She said, with a playful smile on her lips.

“Bless him indeed.” I laughed.

At that moment I locked eyes with none other than the aforementioned, Josh Kiszka. It’s oddly enough what we do every time we see each other. Which is more often than I think both of us care for. But seeing him roll his eyes every time I glare at him is kind of fun.

I followed him with my eyes as he sat down in his seat, instantly sticking his nose in- wait what is he reading? I focused and realized he was reading the screenplay for Tarantino’s “Reservoir Dogs.” Where the hell did he even get that?

My eyes snapped up to the professor when I realized he started class.

“Alright, I’m just going to jump into this. Today we start on your final projects, and I think it’ll be very fun. A challenge for sure, but fun nonetheless.”

I slipped a sly smile to Gwen, already thinking of the best ideas in my arsenal to use.

“In groups, you all will be recreating a favorite film, but it should max be 20 minutes long. Now that’ll be your job to rewrite and format it so you can fit in the timeframe. Oh, and I swear to god if another person does Pulp Fiction I will actually scream. You can hold me to that.”

Oh Jesus okay this will be hard as hell, I guess something with a simpler plot will be easy. Ooh, or something that’s so overcomplicated I can rewrite it so it’s simpler. What’s something that’d be good for Gwen, she’s a good actress, but she can only play so much-

“I already have your groups picked out let me just put them up on the board.” My professor said, searching for the list on his computer.

Oh god. He’s never done this. We always pick groups. If Gwen and I aren’t grouped together I may just riot. Out of the corner of my eye, I saw him drag the document over to the screen, so I quickly directed my attention to it.

I searched all of the lists, finally finding my name at the top of group four. Rob, Eric, and- Oh shit Gwen! Wait. There’s one more. The moment I saw the J I knew exactly who it was. My eyes darted over to Josh’s seat and had the same look I could only guess that was on my face. We both glared at each other, if we stared any harder we’d burn holes in each other.

“Motherfucker!” I whispered to Gwen, trying not to raise my voice.

“What? We are in the same group.” she looked back over to me with confusion on her face. She followed my eyes to the equally angry man across the room from me.

“Oh, shit..”

“Oh shit is right! I can’t work with that guy, I swear to god… Damn it, I can’t think of an insult! Quick help me!” I stammered out, you could practically see the steam coming out of my ears.

“Um... You can’t work with that Frodo look alike?” She suggested, both of us whispering to each other now,

“I’ll take it. I can’t work with that Frodo look alike! He’s just gonna take all of my good ideas and throw them into the lava like that fucking ring. Wait is it Frodo or sam who throws it? Know what, I don’t care. Look at what he’s making me forget important plot points in movies. I can’t work with someone who hinders my thinking process.”

“First off, Gollum falls in with the ring in hand. Secondly, drink your coffee and focus on what movie we should do. Suggest something so good so fast that it’ll make his head spin.”

She put the almost empty coffee in my hands and I took a swig, still glancing back at josh, making the same face.

Gwen started to ramble on, her words in the back of my mind. All I could focus on was wanting to be in any other group than his, even Leonard. He refuses to watch a Tarantino film, and simply because he thinks he’s beyond that. Leonard is someone I talk to if only necessary.

I tuned back in to hear. “I mean if you think about it, as much as you and Josh are to Frodo and the Ring. You’re more like Billy Wilder and Ray Chandler. I mean they hated each other, but damn if they weren’t good writers. Plus, they respect a good line-”

Inspiration was swept over me. I knew exactly what we had to do. Before I knew what was happening my feet carried themself over to Josh’s seat. Same as before, we both had the same expression, except this time it was one of surprise.

“Double Indemnity!” I blurted out a bit too loudly.

He seemed even more confused. “Double insurance money?” He questioned.

“Fuck. No. It’s the film we are going to make. It’s a fantastic idea, and it’s happening. Not even you can argue with me!” I sped out.

He sat for a moment in thought, his brows furrowed together and a cliche hand positioned on his chin.

“Fine.” Is all he said, his arms were crossed. He seemed defeated.

I simply turned on my heel and headed back to my seat. An overexcited grin plastered to my face.

#greta van fleet #josh kiszka fic #jake kiszka #sam kiszka #danny wagner #josh kiszka x reader #double indemnity #my fic #double indemnity series

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gershwinn · 5 years

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Cole Sprouse on How ‘Riverdale’ Transformed Him From Disney Child Star to Leading Man

Most child actors don’t thrive in Hollywood past puberty. Cole Sprouse opted out on his own terms. The 2005 hit Disney Channel sitcom “The Suite Life of Zack & Cody” turned Cole and his twin brother, Dylan, into the Mary-Kate and Ashley Olsen of their generation. But after the series and its spinoff wrapped, Cole was ready for something new.

Sprouse tells this story between cigarette breaks while sitting on the “Riverdale” set in Vancouver. The show became an instant hit for The CW Network when it debuted in the winter of 2017. Sprouse’s role as the sardonic narrator Jughead has allowed him to reinvent himself as an actor in his 20s. This year, he starred in his first grown-up film, “Five Feet Apart,” as a man with cystic fibrosis who falls in love with a patient down the hall. The drama, distributed by CBS Films in March, became a sleeper hit, grossing almost $46 million at the domestic box office.

“It’s very difficult to make the jump from Disney child star to serious leading man in Hollywood,” says Justin Baldoni, the director of “Five Feet Apart.”

Sprouse spent the first 18 years of his life acting, guided by other people’s decisions. “My mother and father divorced at a young age,” he says. “I never knew them to be together. Our mother was really the main fuel for us to pursue acting. We booked a diaper commercial, and that got the ball rolling.” One of his earliest professional memories is from the ABC sitcom “Grace Under Fire,” where he shared the role of the family’s infant son with his brother. “Oh, we were exploiting child labor laws,” Sprouse says with a smirk Having two identical boys meant that they could collectively work a full day, by splitting the job in half..

That was an arrangement they used often — although sometimes they’d take roles on their own (such as when Cole portrayed Ross’ son on “Friends”). Their big break was getting cast together in the 1999 comedy “Big Daddy,” playing an abandoned kid adopted by a boorish bachelor in the form of Adam Sandler. Sprouse recalls how one night during the shoot, a fire alarm went off in the hotel the cast was staying at in New York. “Adam Sandler carried me on his shoulder down 45 flights of stairs, which was really cute,” he says. “We were taught every single bad word. So when my brother and I went back to school, we swore like sailors.”

Most of the time, they were homeschooled. “I don’t feel like I missed out on the United States public high school education,” Sprouse says. “My brother and I both have ADHD, and I needed one-on-one attention from a tutor.” Getting their own sitcom on Disney Channel made their careers explode. “It was the golden ticket,” Sprouse says. “At the time, being the leads of a sitcom as kids was the most stable job we could think about in the industry. In terms of technical acting, it’s only 30 minutes long. My brother and I were really thankful for it.”

They were able to avoid the scandals that consume other Disney stars because of their strong family network. “Cole and I had each other,” Dylan says. “We were blessed to have someone experiencing the same thing at the same time, as an objectivity to the reality of it all.” Dylan recalls one day, as a teenager, getting into a drag-out fistfight with his brother between takes — it was broken up when a fan asked them for a photo backstage. “It was such a weird and funny moment that we actually calmed down, laughing at each other.”

They spent six years at Disney, with three seasons on “The Suite Life of Zack & Cody” and another three on the spinoff, “The Suite Life on Deck.” Despite an offer to do a third series with Disney, Cole and Dylan knew they wanted to attend college, and both were accepted to NYU. Still, it took some adjustment. “The amount of rumors that were spread about Dylan and I were incredible,” says Cole, who heard stories about how he’d fallen down the stairs at the school library. “When you’re a public figure, people use you to build their identities. And I think that was a bit daunting. But also because I’d been homeschooled, I had no idea what it was like to interact with other people socially.”

(..) But Sprouse isn’t in a hurry to graduate from “Riverdale.” He says the show has given him a renewed appreciation for acting, one he couldn’t have when he was younger, because he was so focused on being his family’s breadwinner.

“I’m somewhat of a workaholic,” Sprouse says. “Maybe that’s my child-star brain, where I just can’t stop thinking about being a commodity.”

On the day of our set visit, the four “Riverdale” actors are shooting at a house on the outskirts of Vancouver that’s been converted into an ominous location. This episode, which will air in the fall, is a tribute to Luke Perry, who played Archie’s dad and died in March at the age of 52 from a stroke. Sprouse has talked about what Perry meant to him, and how his passing affected him deeply. Between takes, the actors are mostly quiet.

Sprouse says that these scenes — which involve Jughead helping Archie say goodbye to his father — have required some thought. “The important line we’ve all been trying to draw is how to separate, how we can portray real emotions, but in the eyes of the characters,” he says. “If I was making this an entire sob story about my relationship with Luke, it wouldn’t be a job well done. My job is to do it in the eyes of Jughead.” And he doesn’t think Perry would approve of tears. “Luke was the kind of guy who would not like people crying about him,” Sprouse says. “I hope this episode does him justice, but I think the way we lived with him does him justice as well.”

Dylan thinks that Cole could become “a great cinematographer or director.” When he’s not acting, Cole sidelines as a professional photographer, shooting spreads for magazines and fashion brands like Moncler, which sent him to Iceland for a campaign. “Most of the people that I speak to initially don’t know him from his acting,” says his photography agent, Glenn Wassall, who represents Annie Leibovitz. He describes Sprouse’s aesthetic as “fashion within landscape,” as in a portrait of a woman bundled in a glamorous coat against a backdrop of ice-covered mountains.

Cole could see himself working again with Dylan, who has also gone back to acting, with an indie film, “Tyger Tyger,” out next year. “We’ve talked about it,” Cole says, adding that it wouldn’t be a reboot or a reunion for Disney. “The whole kitschy twin thing, I don’t think that really sells anymore.” He explains what would convince them: “It’s about feeling passionate for acting again. If it’s a cool project, I don’t have a problem with that.”

Source: Variety

#I cut some of it out but i still wanted most of the thing like this #bc !!!!!!!!#cole as one of the three pillars of young hollywood? fuck yes!!#cs #cs variety #also there are some retreads in here but also some new insights #appreciate it

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pnkstudying · 4 years

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HII graphic design student here! I am BLESSED I found ur blog, I hope you’re active, I’ve been meaning to get into film as well, I don’t know if you responded questions about it, but how’s the career? What kind of stuff you gotta do or learn? (Also is director career right? Or producer?) sorry for the bunch of questions I hope you’re well!!

hey! I am somewhat active!!! midterms are just kicking my ass right now, hope i’m not getting back to you too late! love to see another media student on studyblr. also I think this is my first ask on this blog, so that’s cool

alright, I really gotta say, I’m no expert on the industry. a lot of it is based on connections (which I personally don’t have many yet). it’s all about networking and having something to show for yourself (a portfolio!)

a director or producer are both careers to have in film, but there are so many little facets that go into production besides those of course- for example, i’d like to be a cinematographer or art director as I progress in my future career. a cinematographer is the person who creates the atmosphere and composition of the shot. the art director is the person who creates the scene setup and stuff like that. and there are a bunch of other jobs underneath those!!! like under the cinematographer would be the assistant camera, a person who operates the camera (which is also a goal of mine, since I like to be the one on the camera lol)

in my classes, I learn about the practical stuff (like making mini films and taking photo classes to learn about composition) as well as classes about producing and scheduling (the non-creative side of film). there’s a lot that goes into it :0

thank you for the question omg, if you ever want to chat, i’m pretty sure my DMs are open as well <3 good luck!!

#ibarelyusethisanymore

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dweemeister · 4 years

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Pinky (1949)

Hollywood’s plodding shift to featuring films starring and/or made by non-white people has produced stories and perspectives that have never graced cinemas before. Some of the American films that have stirred me are rooted in racial identity. The 1934 and 1959 adaptations of Imitation of Life are two such examples, and both tackle a subject that has not been addressed in Hollywood for decades – a black person passing as white and the conflicts of identity that inspires. Both versions of Imitation of Life are blessed with heartbreaking acting and ideas rarely uttered or depicted in film history. But I can imagine some viewers dismissing both films without attempting to engage them – the two adaptations have a black female lead that assumes certain “mammy” stereotypes and the 1959 version’s passing daughter character is mixed-race but is not black.

Released by 20th Century Fox, Elia Kazan’s Pinky (based on the novel Quality by Cid Ricketts Sumner) casts Jeanne Crain, a white actress, as the titular character: a fair-skinned black granddaughter who passes as white. It is without question that Crain’s casting undermines Pinky’s wonderful and nuanced message. Fox’s chief executive, Darryl F. Zanuck, and the Breen Office (which enforced the Hays Code) noted that because the title character loves a white man, the film – if it chose a black actress to play Pinky – could face an intense public backlash from "a number of sections of [the United States].” All but twelve states had anti-miscegenation laws in their books in 1949. Compromises were struck between Zanuck and the Production Office. Fox could make the film and keep the interracial romance (the screenplay was written in consultation with NAACP Executive Secretary Walter White) only if a white actress played Pinky. With Crain’s casting, the production moved forward, despite director Elia Kazan’s opposition to Crain’s selection.

On a sweltering day in the Deep South, Pinky Johnson (Crain) has returned to her impoverished rural hometown, hoping to see her grandmother Dicey (Ethel Waters) one final time before returning to the North. Dicey raised Pinky through her childhood and teenage years, with no mentions of allusions to biological or foster parents. Dicey is heartbroken to hear her granddaughter has downplayed her blackness during her time at nursing school, but is happy to learn that Pinky has graduated. To complicate matters, Pinky also tells of her love of a white doctor, Thomas Adams (William Lundigan), to whom she has revealed nothing of her black ancestry to. In addition, while attempting to collect her grandmother’s debts while in town, Pinky is involved in an incident with a Dr. Canady (Kenny Washington) and his significant other, Roselia (Nina Mae McKinney). The police arrive at the scene and apprehend all three. After being fortunately released from custody with just a warning – black people have been killed for far less by American police – Dicey learns that her elderly white neighbor, Miss Em (Ethel Barrymore), is dying and needs a nurse. Pinky, remembering how Miss Em was cruel and disparaging to her during her childhood, decides to extend her stay.

Also appearing in this film are the town’s doctor Joe McGill (Griff Barnett) and the gossiping Melba Wooley (Evelyn Varden, whose character is lacking a moral compass). Juanita Moore has a cameo as a nurse.

From the opening shots of Pinky, it almost feels as if it was shot on location somewhere in the Southern United States. Early in the film, there is an uncut tracking shot clocking in at almost ninety seconds as Pinky walks from the front of Dicey’s shack to the low cast iron gates of Miss Em’s slave-built estate. The sets, almost entirely constructed on a soundstage, are deep enough so that the audience cannot pinpoint the soundstage’s back wall. The foliage looms over dirt roads and buildings – the canopies, blowing in the wind, are never seen. Kazan, in retrospect, criticized his own film for not including the dirt and grime that need not be manufactured with location shooting. But these fabrications – thanks to cinematographer Joseph MacDonald (1958’s The Young Lions, 1966’s The Sand Pebbles) and art directors J. Russell Spencer (1936’s Modern Times, 1946’s Dragonwyck) and Lyle R. Wheeler (1939’s Gone with the Wind, 1956’s The King and I) – still evoke the small-town South. One can feel the humid heat permeating through the night, amid Spanish moss and the racial inequality built into public spaces and homes*. For those who do not live in such places, small dots on a regional map, the scenery envelops the viewer, allowing them to further understand the cultural disorientation of any visitor to Pinky’s hometown.

Though the film is a drama, Kazan borrows horror elements to frame the setting and highlight the racial tension that pervades this Southern town. Expressionist lighting overhangs shots of foggy forests, a graveyard, tight roads, and derelict/near-derelict buildings. During the night, these surrounding appear as if taken from a disturbing lucid dream. The lurking dangers are embodied through the racist and sexist characters that Pinky encounters. With this marriage of setting and supporting cast of flawed characters, Pinky could be classified as a Southern Gothic tale – a subgenre that uses the grotesque to comment on the American South’s culture. Kazan’s filmmaking here awakens the audience to Pinky’s inner turmoil over her racial identity and belonging. Freed from worrying about racial prejudice in the North due to her passing, she is terrified about what it means to be a black woman in the place of her childhood. Miss Em’s cousin, Melba, perhaps exemplifies the white residents’ racial animosity when she meets Pinky for the first time. What she says is a statement of curiosity, an expression of Southern gentility, and a veiled threat all at once: “I heard you were light, but I had no idea. Why, you’re practically white.”

Does Pinky still feel like she belongs to this poor village? That question, among others, has an answer. She must first navigate this racism, for the first time, as an adult. By film’s end and despite all outward appearances of success, it is unclear if Pinky is satisfied with the answer she has uncovered.

The interrogation of Pinky’s blackness truly begins when Miss Em quickly realizes the identity of the young woman tending to her bedside as a hospice nurse. Miss Em, though bedridden, attempts to reinforce her authority over Pinky – a relationship assuming Pinky’s immaturity and based on tacit racial subservience (for the latter, refer to both Imitation of Life films even as the white mother characters fully realize Louise Beavers/Juanita Moore’s humanity). No longer a child, Pinky will not tolerate Miss Em’s racial condescension. It matters not that the patient is drifting in and out of consciousness during her final hours. Miss Em will be more respectful towards Pinky in the face of this bedside manner. Perhaps she is chastened by Dicey’s friendship and the favor that Pinky need not return; perhaps she is admiring of the newfound strength in the young girl she used to berate; perhaps it is due to the drugs coursing through her body. That all or some of these factors can be interpreted as true empowers the film’s final act, as screenwriters Philip Dunne (1941’s How Green Was My Valley), Dudley Nichols (1938’s Bringing Up Baby), Jane White (no other film credits), and Kazan obfuscate any simple resolutions to the film’s sense of racial justice. Pinky validates anyone who might see the film as confirming that the harshest of souls can cool their racist predispositions, or that it is impossible to reform such persons.

Though Jeanne Crain’s casting captured the headlines, the best performances in the film are from the two Ethels. As Miss Em, Ethel Barrymore has little physical acting, so she must rely almost entirely in her verbal deliveries. Alternating between exhausted observation, acidic riposte, and resignation, Barrymore navigates these final hours of her character’s life with the requisite modulations in tone. Despite being on screen for less time than Crain and Waters, Barrymore – as Miss Em – inhabits a character with the most dynamic development, routinely stealing scenes even while confined to bed. Six years after starring and “taking a chance on love” in Cabin in the Sky (1943), the deeply religious Ethel Waters commands yet another accomplished performance in Pinky. As Dicey, she plays probably the least dynamic of the three principal characters, but Waters’ anguish and understated sense of egalitarianism is a fascinating contrast to Pinky’s drifting stoicism upon her arrival at Dicey’s shack. For the Ethels, they are playing roles analogous to those they had previously assumed. But Barrymore’s elderly curmudgeons rarely commented so directly on race; Waters’ hardened maternal figures seldom interacted with white people. Together, they form an imperfect, uneasy coexistence – a postbellum relationship grounded in necessity and deferred acceptance of the other.

Prior to Kazan’s arrival on set, John Ford (1939’s Stagecoach, 1946’s My Darling Clementine) had already directed a significant bulk of Pinky. Viewing the rushes, Darryl F. Zanuck was embarrassed by the footage Ford had shot, stating that, “Ford’s Negroes were like Aunt Jemima caricatures. I thought we [were] going to get into trouble.” Indeed, Ford was a dreadful fit, given the source material and the director’s reputation (Ford’s reputation on making introspective films about racial relations was dire, and he would not possess the basic skillset to make such a film until 1960’s Sergeant Rutledge). The cast, upon learning they were going to work with the best director in Hollywood at the time, were ecstatic the decision until it became clear his abrasive demeanor intimidated Crain and especially Waters. Zanuck quietly dismissed Ford in favor of Kazan (coming off 1947’s Gentlemen’s Agreement, which decried anti-Semitism), stating in public that Ford came down with a case of the shingles. Ford, as you have correctly guessed, never had the shingles. None of Ford’s work survives in the final print of Pinky.

Pinky was justifiably attacked by black critics for Crain’s casting over Lena Horne (who had lobbied for the role). The film, a compromise between 20th Century Fox and the Breen Office, contains mixed messages about racial integration and the nature of interracial friendship and love. The thematic confusion interferes with the film’s obvious, well-meaning intentions and the stellar performances from Ethel Barrymore and Ethel Waters. In its final form, one can only imagine how damaging Pinky may have been if John Ford remained with the production rather than Kazan. Within the artistic constraints of Hollywood studio filmmaking and the regressive perspectives of too many Americans, Pinky inspires a torrent of conflicting emotions as it struggles to form a coherent thesis. In a peculiar way, the muddled messaging is also a reflection of Pinky and mixed-race persons themselves, as they strive to understand what to make of themselves.

My rating: 6.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

* In the scene where Pinky goes to a general store late in the film, notice the racial composition of the customers and how they react to Pinky. Also, Dicey’s shack is aesthetically reminiscent to sharecropper hovels or slave living quarters.

#Pinky #Elia Kazan #Jeanne Crain #Ethel Waters #Ethel Barrymore #William Lundigan #Basil Ruysdael #Kenny Washington #Nina Mae McKinney #Evelyn Varden #Darryl F. Zanuck #Philip Dunne #Dudley Nichols #Jane White #Joseph MacDonald #TCM #My Movie Odyssey

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