Philadelphia Story in His 1940 Romantic Comedy

¶ … Philadelphia Story

In his 1940 romantic comedy adaptation of Philip Barry's Broadway play, director George Cukor allows Katherine Hepburn, James Stewart and Cary Grant to light up the screen and carry the movie without confusing the audience with camera tricks and editing.

By using subtle camera techniques, Cukor introduces the main characters through action and relies on his star ensemble to paint the picture of their respective characters. The editing is fluid as well as the cinematography. Using such devices as off-screen dialogue, and cues, we follow Hepburn, a Philadelphia socialite as she attempts to marry another man, and avoid a tabloid hound.

Cinematically, this is typical of the movies Hollywood was making in the 1940s. This particular film went on to win a string of Oscars, including Best Picture, and Best Director. Cukor interplays the style of writing within his camera directions so as to allow for an enjoyable and easy viewing experience. He flashes forward and uses very little camera trickery, allowing his audience to stay with the story and become more involved with the characters.

The sound in the movie keeps everything together. The comedic dialogue paired with some screwball action and scenes carries the movie well. Dialogue is easy to hear, and there is a nice balance of sound effects that do not outshine the scenes.

Overall, "The Philadelphia Story" is a well-directed and highly enjoyable film that has become one of the most well-known romantic comedies in cinematic history.

Swimming to Cambodia

This 1987 film allowed Spalding Gray the opportunity to use a minimalist approach to create a highly absorbing film that takes us from his auditions for "The Killing Fields" to his experiences in Thailand and the mass-murders of millions of Cambodians.

Director Jonathan Demme masterfully remains unobtrusive as he allows Gray to talk about his experiences. Initially there is very little to the set - a table, a glass of water and a microphone. Sound was crucial to this film. Gray's voice fluctuates with the intensity of his oration and with a few sound effects and subtle changes in light, the audience is allowed to absorb themselves and really dwell on the stark realities of Gray's monologues.

Unlike most war films, the cinematography is minimal here as a few changes in lighting and minor sound effects are added. Demme lets Gray dictate what the audience needs to concentrate on through fluctuating the tone of his voice. As we watch, we in turn create the pictures to go along with Gray's tales, and Demme aids us when necessary.

Swimming to Cambodia" is a film much like a documentary, yet feels like a conversation. Subtle editing and cinematography allow us to sit with Spalding Gray and experience through his words the pictures of an experience that nobody would ever wish to have to film.

Double Life

The 1947 film "A Double Life," directed by George Cukor is the story of a veteran actor who confuses his role of Othello with reality. This film earned Ronald Colman an Oscar, and also won an Oscar for Best Music.

This is a sharply filmed movie that interplays the sights and sounds of the stage with the drama of life. Cukor uses close-ups and dramatic angles to influence the drama that is being portrayed before the audience. The film is a psychological drama requiring a technical know-how behind the camera to create the fluidity of scenes and dialogue. Cukor applies his skills in script interpretation to indulge the audience into becoming more than a fly on the wall.

The editing in this film has been meticulously thought out. It is apparent that the director worked closely in this area so that audiences can distinguish between the two roles the lead character is caught between.

Cukor has directed this film in a manner that broadens this film noir as Colman's character unravels. Cukor uses dramatic techniques including scenes from Othello and the use of mirrors, especially at times when Colman is being reflective.

Double Life" is a wonderful psychological drama that has all the elements of a strongly directed film.

Who's Afraid of Virginia Woolf?

The 1966 classic staring Elizabeth Taylor and directed by Mike Nichols is another such film that delves into the psyche of the lead character and interplays with reality as a night of fun and drinks twists into an emotional and psychological nightmare.

The dialogue is at often times strong and intense, and Nichols allows his star cast to carry the scenes without resorting to camera trickery or extravagant editing. Based on Edward Albee's play, "Who's Afraid of Virginia Woolf?" draws its audience in through calm cinematography. We are but a fly on the wall of a casual night of fun and drinks. As in "Swimming to Cambodia" we are allowed to witness the transformation and roller coaster ride of the characters through their dialogue.