Showing posts with label vintage movies. Show all posts
Showing posts with label vintage movies. Show all posts

Monday, July 29, 2013

Mr. Smith Goes to Washington (or: The average American and some thoughts on translation)

If there's one thing that can lighten up your heart and restore your faith in humanity that's a Frank Capra movie. I had previously watched You Can't Take it With You and It's a Wonderful Life (a great movie in its simplicity and one of the sweetest ones ever), so it was with great delight that I made myself comfortable one evening and sat through another James Stewart performance.

It's always been clear to me how Mr. Capra worked on that idea of the simple American, the common man with no high ambitions apart from living a quiet and tranquil life with family and friends: the average American. And although this wasn't new to me, watching Mr. Smith Goes to Washington bothered me and made me think a little bit more about the subject.


 Now, if you haven't seen the film, basically it's about a group of politicians who have to name a candidate for senator right away, someone they can easily manipulate and popular enough to gather voters. For that, our naïve Mr. Smith (James Stewart) is named: a man loved by children for his work as the head of a group of scouts. That is: an honourable man.

Of course, something goes wrong along the way, Jefferson Smith understands he's in a nest of vipers and is basically the only person who's not comitted to defending private interests. He fights that the way he can, of course using not violence, but speech and a dosis of humor.


He's the man who goes back to the Constitution, to the founding fathers and the so called pillars of the United States. By calling him the average American, the idea emerging from all this is that the common man opposes himself deeply to politicians and to the games of interests. It absolves the people and blames a group for everything that is wrong in a country, creating an idea of the idealistic and yet simple American man.

Of course, we do know that politics are dirty and most have no idea what goes on behind the curtains. For that, the movie has its merits when it apparently seems to want to call everybody and say: "Hey, pay attention! There's some monkey business being made here!". Nevertheless, it separates politics from everyday life and portrays it as something that belongs solely to Washington and some strict social circles outside of it. It is as if participating in neighborhood activities weren't politics at all.


One thing I did like about the movie though was the female character, Clarissa Saunders, played by Jean Arthur. I didn't expect a whole lot of feminism, sure, but it was nice to see a woman taking charge, helping and almost leading the poor new senator. She was the strong character in the movie, the counterpoint to the naïvité of Jeff Smith, the one who held the knowledge and knew how to use it.

On a curiosity note, the title of this movie went through a complete change when being realeased in Brazil. It wasn't a translation at all of the original title, but a rather different one: A Mulher Faz o Homem, which translates to something like "the woman makes the man".


The film was commercialized in Brazil from a totally different perspective. While the original title focused on Mr. Smith and his doings in Washington, in Brazilian portuguese all eyes turned to Miss Saunders and her ability to turn the table and help transform an underdog into a brave and historical figure. And that sure made the experience of seeing this movie different for a number of people, which goes to show how the selection of words we use when talking about anything is not at all random and carries an idea with it: be it the average American or the attention to the woman.

Wednesday, July 24, 2013

Classically changing: how period movies depict the present

Good morning!

Today it is finally cooler here, which is appropriate since we're supposedly in winter time. Now, when I say "cooler" I mean a can wear a very very thin cardigan (but still wearing a short dress and flats), because apparently that's all we're having this winter. If summer is like last year's, by October I'll have forgotten how it is like not to feelhot all the time.

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As a series of posts, Penny Dreadful Vintage is writing this week about Egypt in Vintage Film, and looking at today's pictures portraying Claudette Colbert as Cleopatra I found myself thinking about the use of film as a means of thinking about its time of production.

I see many people going after period movies in an attempt to learn something about history. Now, I'm not saying that's not possible, but of course we have to question ourselves as to why that film was produced in the first place, the interests of those behind it and the moment. In the academic world of Humanities much is said about how a film can say more about its production time that about the era it tries to represent.



That becomes clear when we see the life of the same historical figure, for example Cleopatra, portrayed through different moments of the 20th century. The most iconic and famous is no doubt that of Elizabeth Taylor, released in 1963 (filming began in 1960). If in 1934 Claudette Colbert was pictured with the typical thin penciled eyebrows, dark eyeshadow and that almost heart-shaped mouth, still resembling the classic 1920's fashion (I'm talking about the 20's because, truth be told, the 30's are still quite unknown territory for me), Miss Taylor is the exact image of what we all have in mind when it comes to 60's make-up, with that thick eyeliner, blue eyeshadow and lips in lighter shades.

It is also very interesting to take a look at the silhouette. While in the 1930's a more natural body shape was apparently in, in the 50's (let's remember Elizabeth Taylor was a star in the 50's and things take time to change) curves were all in, emphasizing the female body (or the idea of what it should be).




I'd also mention the colors, but it wouldn't be fair, since the 1934 movie was in black and white. Still, that emerald dress and the lighter shade of lipstick almost erasing the mouth are awesome demonstrations of fashion at the time.









Now, a final confession: I've never seen any of these films! And truth be told, I'm also not exactly looking forward to it because long epic vintage movies are sometimes very boring and lately I've been more into noir and all those 1940's divas, but maybe I'll give it try. And you? Who's your favorite Cleopatra?

Claudette Colbert pictures from the blog www.pennydreadfulvintage.com and Elizabeth Taylor's found through Google Image.