Posts Tagged ‘movies’
It is no surprise that critics and viewers alike agree that The Godfather is the “best film” among the ~2600 films considered on Rotten Tomatoes, with a 100% score among professional reviewers and a 98% score from the audience. It is perhaps somewhat more surprising to learn which films divide those two groups; thanks to Benjamin Moore, we can contemplate that…
“Overrated” and “underrated” are slippery terms to try to quantify. An interesting way of looking at this, I thought, would be to compare the reviews of film critics with those of Joe Public, reasoning that a film which is roundly-lauded by the Hollywood press but proved disappointing for the real audience would be “overrated” and vice versa.
To get some data for this I turned to the most prominent review aggregator: Rotten Tomatoes…
On the whole it should be noted that critics and audience agree most of the time, as shown by the Pearson correlation coefficient between the two scores (0.71 across >1200 films). [But] using our earlier definition it’s easy to build a table of those films where the audience ending up really liking a film that was panned by critics:
Here we’re looking at those films which the critics loved, but paying audiences were then less enthused:
* Samuel Goldwyn
As we think for ourselves, we might recall that it was on this date in 1932 that New York City Mayor Jimmy Walker”s “We Want Beer” parade was held. Prohibition was in it 12th year; and while that abstemious regime intended to end alcohol consumption, it had succeeded simply in pushing into speakeasies and other illegal settings. Government officials like Walker watched as gangsters got rich, while city and state tax coffers shrank. (The blow had been softened at the Federal level by the introduction of an income tax.)
Walker positioned his “legalize and tax beer” pitch as a stimulus package: increased tax revenue would mean more jobs. And in the depressed economy of the times, the argument resonated : an estimated crowd of 100,000 marched, pining not only for a cold one but also for for employment and an end to the violence and corruption borne of Prohibition. Similarly large crowds protested in Chicago and other major cities– all rallying behind a “Beer for Prosperity” battle cry. Soon the voices of the unemployed drowned out the buzz-and-revenue killing voices of the “drys.” Franklin D. Roosevelt’s election later that same year paved the way for The 21st Amendment, repealing Prohibition; it was passed the following year.
[A portion of this post first appeared on Boing Boing, where your correspondent is a contributor]
Looking back on the evolution of the movie trailer we must consider the evolution of how we watch movies. Unlike the multiplexes we’re accustomed to today, the first movie theaters in the 1910s had only one screen. You would pay the admission, say five cents, and you could sit in the theater for as long as you wanted. Show times weren’t precise – a feature length movie along with a short films and a cartoon would play in a continuous loop and you could watch it as many times as you wanted.
1913 would be what many historians consider year zero for the movie trailer. In New York City, Nils Granlund, advertising manager of Marcus Loew theaters, made a short little promotional film for the Broadway play “Pleasure Seekers” showcasing actual rehearsal footage. The idea of showing ads between films was a hit – at least to the movie theater owners – The practice of creating and splicing in promotional pieces into the screening rotation was quickly implemented by the Loew theater chain as well as others.
Around the same time in Chicago, Col. William Selig, one of film’s earliest pioneers, would engineer another way to get audiences to the movies. Selig noticed the popularity of print serials in newspapers so he approached the Chicago Tribune, a newspaper embattled in a circulation war for who could be the most sensationalist, to adapt a film version of a print serial. The result was a 13 episode serial entitled “The Adventures of Kathlyn”.
This wasn’t the first film serial, it was actually the second; but it introduced a new device to film marketing. You see, each week a new installment would debut along with an article in the Chicago Tribune that continuing the story. What made “The Adventures of Kathlyn” different was at the end of each installment something would happen to put the characters in some sort of peril – a cliffhanger often with a title card inviting patrons to come back the following week to see what happens.
So Thus the idea of the trailer was born – and so too the term – as these promotions for upcoming attractions would play at the end of the film – hence trailer.
Most of these promotions were produced by the theaters themselves but by 1916, the movie studios themselves began officially releasing for upcoming movies. These first film trailers were pretty basic – they generally consist of snippets of film with some text overlay such as the cast of stars…
Learn how gentle enticements like these grew to become the better-and-louder-than-the-actual-film extravaganzas of today in the video at the top of this post and at “The History of the Movie Trailer.”
As we contemplate coming attractions, we might recall that it was on this date in 1927 that the first organizational meeting of the Academy of Motion Picture Arts and Sciences was convened by Louis B. Mayer, the head of MGM. The 230 charter members elected Douglas Fairbanks, Sr. the group’s first president. Mayer’s original intent was to provide a forum for labor mediation and to improve the industry’s image; the first of those goals never got traction, so the second– the burnishing of Hollywood’s star– became the group’s primary focus. By 1929, the AMPAS had established the Academy Awards, and had joined with the University of Southern California to create the first film school.
“It’s funny how the colors of the real world only seem really real when you watch them on a screen”*…
[TotH to Super Punch]
* Anthony Burgess
As we fiddle with our framing, we might send colorful birthday greetings to Keith Haring; he was born on this date in 1958. Haring dropped out of commercial art school in Pennsylvania, moved to New York City, and became involved in the street art scene in the late 70s. He quickly developed a signature style, and began to get recognition for a series of painting in New York’s subway system that were documented by the photographer Tseng Kwong Chi. By 1982, Haring’s fame had grown, and he’d begun to organize installations at Club 57. Openly gay and an engaged social activist, Haring filled his work with social, political, and gender comment, though largely in a textured, “buried” way. His most overt political statement was his 1989 painting “Silence = Death,” a riff on the 1986 poster that became the unofficial logo of ACT UP. Haring died of AIDS-related complications in 1990.
Saul Bass was one of America’s premiere graphic designers through the second half of the Twentieth Century. He created some of the best-remembered, most iconic logos in North America: e.g., the Bell Telephone logo (1969) and the successor AT&T globe (1983), Continental Airlines (1968), Dixie (1969), United Airlines (1974), and Warner Communications (1974).
But for your correspondent’s money, his major contribution was his extraordinary series of movie titles and posters, created for the likes of Alfred Hitchcock, Otto Preminger, Billy Wilder, Stanley Kubrick, and Martin Scorsese. Prior to Bass, movie title sequences had largely been a series of “credit cards,” functioning in effect as title pages. Bass developed the opening as a way to set the emotional stage for the film to follow. As screenwriter Nicholas Pileggi said of Bass and his second wife and collaborator Elaine, “you write a book of 300 to 400 pages and then you boil it down to a script of maybe 100 to 150 pages. Eventually you have the pleasure of seeing that the Basses have knocked you right out of the ballpark. They have boiled it down to four minutes flat.”
In the broadest sense, all modern opening title sequences that introduce the mood or theme of a film can be seen as descendent of Bass’s innovative work. In particular, though, one can detect the influence of Bass in the title sequences for some recent movies and television series (especially those set in the 1960s) that have purposely emulated the graphic style of his animated sequences from that era: e.g., Catch Me If You Can (2002), X-Men: First Class (2011), and the opening to the AMC series Mad Men.
* Saul Bass
As we mute our cell phones, we might recall that it was on this date in 1956 that Alfred Hitchcock’s muse, the Oscar-winning actress Grace Kelly, became Her Serene Highness Princess Grace of Monaco.