Film Critique

Pride and Prejudice (2005)

Kaitlyn Graf

Modern Culture and the Arts

Professor Bomboy

1 May 2016

Film Critique

            As the sun slowly rises in the opening scene and the beginning of composer Dario Marianelli’s beautiful music plays, director Joe Wright pulls us into the world of Pride and Prejudice and allows us to take a step back into early-19^th century England. The film is an adaptation of the novel written by Jane Austen. While this is not the first time that the novel has been adapted for the screen, the 2005 version of Pride and Prejudice brings a new look at the love story of Elizabeth Bennett and Mr. Darcy. Although Mrs. Bennett remarks on Lizzie’s looks throughout the story, Keira Knightley, who plays Elizabeth Bennett, cannot be thought of as “plain”. Matthew Macfadyen’s portrayal of Mr. Darcy comes off as proud and reserved, which makes it seem highly unlikely in the beginning of the film that the two would ever fall in love. With such a strong cast that included Donald Sutherland and Brenda Blethyn, director Joe Wright was already set to create an incredible movie. While it would be just as enjoyable to examine the beautiful cinematography of the film, I would like to take the time to discuss the soundtrack that accompanied this film from composer Dario Marianelli. Even with most of the music being played on the piano, it truly helps to shape the world that Jane Austin created in Pride and Prejudice.

            The film Pride and Prejudice follows the lives of the Bennett family, which consists of five daughters: Jane, Elizabeth, Mary, Kitty, and Lydia. As with most mothers during this time, Mrs. Bennett’s main concern in life is to have all of her daughters married. Because of the family’s lack in fortune, it is imperative that the daughters marry well. While most of the daughters are willing to be married off to the best suitor, Elizabeth refuses to fall in line with what is expected of her, which infuriates her mother to no end. When Mr. Bennett one day passes away, the property cannot pass along to the girls. Because Mr. Bennett has no sons, it would have to be given to the next closest male relative, who in this case is a cousin, Mr. Collins. Eventually the story leads the Bennett family to interact with Mr. Bingley, his sister, and Mr. Darcy. What follows after that is Elizabeth’s determined attempt to not fall in love. The director Joe Wright has made a film that can easily entertain an audience of any age. Whether we wish to believe in it or not, love has a way of affecting all of us no matter how old or young we are. I believe that the film is meant to entertain us with a beautiful love story and give us hope that true love can prevail even in the presence of doubt and fear. We do not always get a choice in who we fall in love with, and Elizabeth Bennett and Mr. Darcy show us just that.

Pride and Prejudice shows the great divide between social classes during this time and what it means to associate with those who are “beneath” you. The music in this film does an excellent job in giving a sense of that divide to the viewer. As the scenes in the film shift from daily life to the different balls and formal gatherings, the music helps to reflect the mood, setting, and the characters. When the scene changes to the first Mertyon ball in the film, we see a room filled with people dancing. The music fills the room and makes you feel as though you are standing right in the middle of it all. As the lively music plays from the musicians, the attention shifts to the three figures, Mr. Darcy, Mr. Bingley, and Mrs. Bingley, facing the room. Their presence causes the music to abruptly stop. The music helps to show the emotion that is felt during this scene because it goes from excitement and joy to this awkward air as these members of higher society enter the room. All eyes shift and softer whispers can be heard throughout the room. Dario Marianelli created a score that was influenced by Beethoven and the music that Jane Austen would have been listening to when she wrote Pride and Prejudice. The style of the music is classical; the only instruments being used are a piano, strings, and a few orchestral instruments.

Each song that was composed is specific to the scene it is playing in and gives you the same feeling when listening to the soundtrack again after watching the film. As I listen to “Liz On Top of the World,” I can picture the beautiful sprawling landscape that Elizabeth saw when standing on the edge of the high cliff, looking out towards the far-reaching fields. “Your Hands Are Cold” slowly changes from this slow “awakening”-type feeling to this bright hopeful sound. I can feel the sense of wonder and understanding that Elizabeth felt as she walked across the field towards Mr. Darcy in the early morning light, finally knowing that she was really in love. As “The Militia Marches In” plays, I can picture the excited young girls watching from the sides of the street as the handsome men of the militia march through town. I think a successful soundtrack is one that really encompasses the feeling and storyline of the movie in each song. It is not a separate entity, but an accompaniment to the film. Dario Marianelli was able to take on the challenge of creating music that felt as though it was from the early 19^th century. Although the film was made with modern actors in modern times, the music and film altogether do not disappoint die-hard Jane Austin fans.  

            Pride and Prejudice is a classical story by Jane Austin that has been adapted into a movie many times. With the latest addition, a television mini-series, coming out in the 1990’s from the BBC featuring Colin Firth as Mr. Darcy, it seemed surprising that the story could be given justice in a two-hour film. But Joe Wright was able to take on the task and give audiences a fresh, new take on the love story of Elizabeth Bennett and Mr. Darcy. With stunning music from composer Dario Marianelli to match the breathtaking scenery in each scene, I think the director made a film that can be enjoyed by many people, no matter what age. As one of my personal favorite films, I never tire of immersing myself in a classic love story. Call me a hopeless romantic, but I am partial to the idea of a love that will not let go, especially when it is unexpected. Love is meant to surprise us when we least expect it, and I will continue to watch Pride and Prejudice so that I can experience that love story over and over again.

Works Cited

Clemmensen, Christian. "Filmtracks: Pride & Prejudice (Dario Marianelli)." Filmtracks. 12 Nov. 2005. Web. 28 Apr. 2016.

Pride and Prejudice (2005) Movie Poster. Digital image. MoviePosterShop. Web. 28 Apr. 2016.

Pride and Prejudice. Dir. Joe Wright. Perf. Keira Knightley and Matthew Macfadyen. Focus Features, 2005. DVD.

Narrative Painting Critique

Kaitlyn Graf

Professor Bomboy

Modern Culture and the Arts

3 April 2016

Napoleon Visiting the Plague Victims at Jaffa, 1804
Antoine-Jean Gros

         Narrative paintings are remarkable pieces of art because the artist pulls the viewer in to seek out deeper meaning and understanding of the subject. The artwork is meant to tell a story, rather than just simply portray an image. In Antoine-Jean Gros’ Napoleon Visiting the Plague Victims at Jaffa, which was painted in 1804, the viewer can easily see that several events are occurring in just one painting. There is much to be appreciated in this painting, and there is a story being told about Napoleon Bonaparte and the people in Jaffa, Syria. Antoine-Jean Gros’ use of the principles of design and elements of art certainly help in the portrayal of the story. In this paper, I will delve further and analyze how they enhance the piece of artwork. I will also interpret the meaning of the painting and discuss what the artist was trying to accomplish. Finally, I will discuss the critical viewpoint of Marxism and how Antoine-Jean Gros communicates his ideas in the painting.

            In Napoleon Visiting the Plague Victims at Jaffa, the painting shows a large group of people gathered in the courtyard of a Jaffa mosque that was being used as a military hospital (Lerouge). Napoleon Bonaparte is the central figure, and he is shown touching one of the victims of the plague. In The Humanistic Tradition, it states that, “…Gros converted a minor historical event…that cast Napoleon in the guise of Christ as healer (Fiero 258).” In the Bible, Matthew 8:3, it says, “Jesus reached out his hand and touched the man. ‘I am willing,’ he said. ‘Be clean!’ Immediately he was cleansed of his leprosy.” When viewing the foreground of the painting, there are many bodies splayed about, both already dead and in the process of dying. The contrast between the plague victims and Napoleon is immediately clear by the difference in apparel, his stance, and lighting in the painting.

            The elements of art and principles of design were used remarkably well to enhance the painting. The artist did not use harsh lines in his painting, but rather painted them softer. The viewer can easily see the edges of the buildings, helping to differentiate between the different aspects of each building. When looking at the painting, the shapes are realistic to the eye, which gives the painting the illusion that it is a snapshot of history. The pillars in the mosque are three-dimensional, helping to give form to the painting. The clothing of the officers and Napoleon Bonaparte have much brighter colors, such as red and dark blue, while the plague victims are shown with very pale skin and draped in white clothes or nothing at all. This helps to give a clear distinction between the two groups. The darker colors present in the painting give the feeling of despair and horror, which leaves the viewer in a sense of unease and dread. “He [Gros] enhanced the theatricality of the scene by means of atmospheric contrasts of light and dark (Fiero 258).” The subject of the painting is not meant to be happy or joyous, and Antoine-Jean Gros clearly utilized colors that enhanced the unfavorable feelings. The texture of the clothing is in great detail, and it is easy to see the ripples and creases that are present. There is a clear difference between the texture of the men’s skin, the ground they are standing on, and the buildings around them. Gros also did a great job in creating a sense of space in the painting.  The courtyard of the mosque seems to be large, although not all parts of the mosque are visible in the painting. There seems to be many people occupying the space of the courtyard, and the archways give the sense of open air beyond the mosque in the background.

            The focal point or emphasis of the painting is clearly Napoleon Bonaparte. He is meant to be the main subject of the painting, with the plague victims and officials being secondary. The beam of the light that is shining down from the ceiling is shown directly on Napoleon, drawing the viewer’s eyes to the center of the painting. The contrast between the light and dark areas of the painting further emphasize the affects of the disease of the victims, “…instilling a feeling of horror and the sublime of the viewer (Lerouge).” There is also a contrast between the objects in the foreground and the background. Less detail is given to the buildings in the distance, while the people in the center of the painting are in great detail, with much emphasis given to their facial expressions. There is a pattern or repetition present in the design on the border of the archways and also with the ornamental design on the edge of the roof of the mosque.  When the viewer’s eyes move from the foreground to the background of the painting, the objects seem to be getting smaller. The artist uses proportion to give the impression that the there is a lot of space beyond the mosque. The buildings on the top of the hill are small compared to the men in the courtyard. The men in the painting are to scale, giving the artwork a realistic composition. When discussing unity, the overall sense of the painting is very unified. Napoleon is shown touching one of the plague victims, giving the sense that he is there with the men. Many of the officials and physicians are shown working directly with the diseased, giving them food and care. Even though they are suffering from the plague, the artist gives the sense of unity between the men that they are all suffering together. The artist was able to create a piece of artwork with all elements working together rather than standing apart.

            I believe that Antoine-Jean Gros did an excellent job utilizing the elements of art and principles of design in displaying a story through Napoleon Visiting the Plague Victims at Jaffa. The images in the painting are realistically portrayed, giving the viewer a glimpse of history. The subject of the painting is an actual interpretation of a historical event. The scene that is taking place is during the Syrian Campaign in March of 1799 (Lerouge).  Napoleon Bonaparte had appointed Gros to create this painting because “…[he] wanted it to help clear the accusations of the British press, who had alleged that he had wanted to execute the plague-stricken during his retreat to Cairo (Lerouge).” The specific event that the artist was showing in this painting was when Napoleon had decided to visit the plague victims because he was worried that the fear and loss of morale due to the outbreak of the plague was affecting his men (Hibbott). I believe that Gros was trying to portray Napoleon as the calm, strong leader who was trying to console and alleviate the concerns of his troops. “The painter is implying that Bonaparte's virtue and courage justify the horrors of war (Lerouge).” The painting was presented to the public right before the coronation of Napoleon, which some saw as a particularly opportune time (Lerouge). Gros wanted to draw the attention not only to Napoleon, but also to the suffering of the men who were affected by the disease. Even though Napoleon was shown as this dignified man in the center of all this anguish, it can be seen that many of the victims had given up and were holding onto the last moments of their life. Gros was commissioned to create this painting, but I believe that he wanted to make sure that the men who suffered and died from the plague in Syria were not forgotten.

            Napoleon Bonaparte was a strong, commanding leader, and the power that he had as General during the Syrian campaign is easily seen in Gros’ painting. The focus of the light in the painting, the contrast of colors, and the difference in the emotions all work together to draw the viewer’s focus to Napoleon. When I first looked at this painting, the feeling of suffering and fear were very clear to me. After further research on the subject matter, I was able to gain a better understanding of what these men were going through at the time. With the light focused on Napoleon, I understood that he was the leader of the group. He seemed at ease and calm compared to the officials and other men around him. Most of the plague victims that are portrayed in this painting did not or most likely were not going to survive the disease. The viewer is seeing these men at the end of their life, and I believe that Gros did an excellent job in representing this message. It makes me feel sad and scared for all of those who had to suffer through the plague.

            Antoine-Jean Gros’ Napoleon Visiting the Plague Victims at Jaffa is a magnificent piece of art that instills this sense of suffering and despair into the viewer. Napoleon Bonaparte’s sense of power and control is easily understood with most of the focus of the painting being on him. Even so, Gros did not want the men who suffered from the plague to be forgotten, and his outstanding portrayal of the events in Syria helps that fact. Antoine-Jean Gros was able to use the principles of design and elements of art to help in the portrayal of the story. The importance of this painting was to show a glimpse into the historical event when Napoleon courageously visited the plague victims in Syria. It also brought light to the agonizing of his troops and what they had to endure. Antoine-Jean Gros created a remarkable painting that I will never forget.

           

Works Cited

Fiero, Gloria K. The Humanistic Tradition. 6th ed. Vol. 1. New York: McGraw-Hill, 2011. Print.

Gros, Antoine-Jean. Napoleon Visiting the Plague Victims at Jaffa. 1804. Oil on canvas. Louvre, France.

Hibbott, Y. ""Bonaparte Visiting the Plague-stricken at Jaffa" by Antoine Jean Gros (1771-1835)." British Medical Journal 1.5642 (1969): 501-02. Web. 2 Apr. 2016. 

Lerouge, Ophélie. "Napoleon Bonaparte Visiting the Plague-Stricken in Jaffa." Louvre. 2004. Web. 01 Apr. 2016.

Non-Western Art Critique

Kaitlyn Graf

Modern Culture and the Arts

Professor Bomboy

28 February 2016

Non-Western Art Critique

            For almost every culture, art is a way to tell stories, document history, and express emotion. Some pieces of art were meant for display, while others had practical uses, such as pottery and jewelry. Non-western art is art that comes from Africa, Asia, and Native America (North and South.) One example of art from South America that held a practical use was the Peruvian wooden beaker or kero. These elaborately painted beakers, which today can be looked at as pieces of art, were originally used for ceremonial purposes. In this paper, I will start by discussing the use of elements and design principles in this object. Then I will talk about the provenance of this piece of art. Also, I will discuss the function and how it fits into the Peruvian culture. Finally, I will describe my reaction and feelings towards this piece of art.

            The Peruvian kero was a ceremonial beaker that was used in Peru and northeastern Bolivia by the Incas to drink “chica,” which is a fermented beverage that was made from corn (“Pair of Keros”). The kero has a wide opening and a cylindrical shape. Ancient keros were decorated with geometrical shapes and painted with bright reds and yellows. Keros from the Inca-Colonial period were decorated with figurative images, such as the one being discussed in this paper (“Redlist America Latina”). This specific kero from the mid-seventeenth century is adorned with the image of an Inca, a Spaniard, and an African (Encylopaedia Britannica). When looking at the elements of art that are used, black lines were used to outline each of the images on the wooden beaker. This helped to emphasize each of the shapes and figures, and it also helped to draw in the viewer’s attention. Thicker lines of black, red, and tan were used to separate the images on the top of the kero from the bottom. This seems to be a deliberate action by the decorator or painter of the kero to show two different stories or separations in the story. In terms of shape, it is simple to distinguish between the different images on the beaker and what the images are meant to be. The viewer can easily see the three figures and the clothes, headpieces, etc. that they are wearing.

The colors that were used to paint the kero were vibrant and bright, mostly red and yellow, and the sketching was done with black. Polychrome or painting in a variety or several colors was not popular until later periods (“Redlist America Latina”). It can be noted for this specific kero that only about three colors are used: red, black, and tan/yellow. When discussing texture, it cannot be determined from a photograph of the beaker if there is physical texture to the paint, although one can assume it is present. The design on the beaker is very flat and does not show any three-dimensional forms. Each of these elements help to give the viewer a better appreciation for what the creator of the kero was trying to convey.

The principles of design utilize the elements of art to further add to the piece of artwork. When looking at balance, the wooden beaker certainly uses informal balance. The images do not seem off balance, but they are asymmetrical in design. A contrast in color can be noted between the skin tones of the three figures. This helps the viewer to understand that they are not of the same ethnicity. There is also a contrast between their clothing, further showing the difference between the three men. Some repetition can be seen on the clothing, which shows a repeating design. Although all sides of the beaker cannot be seen in this photograph, other examples of Peruvian keros show repeating geometric shapes and patterns (“Pair of Keros”). When viewing this kero, there is not one specific image that is being emphasized. The emphasis seems to be on the figures as a whole. The solid lines that are placed at the top, middle, and bottom of the kero help to display the rhythm or smooth transition between the different sections. This also helps to unify the images that are presented on the kero. There is no sense of disorder between the images on the kero.

The function of the Peruvian kero or wooden beaker was for ceremonial purposes. These ceremonies consisted of religious rituals and burials or celebrations for harvest and planting (Dixon). They were used by the Peruvian people to drink “chica,” which was a fermented drink made from corn (“Pair of Keros”). When a kero was needed for a ceremony, they always came in pairs, with one being offered to the gods. Use of the kero was very important to the Inca culture. The size of the cup that was used showed the status of the individual: one of superior status held a slightly larger cup. The material that was used to make the kero was a sign of class standing as well. Although the particular kero being discussed in this paper is made of wood, keros could be found made of metal and pottery as well. If gold or silver was used, this showed nobility or royalty, while wood or ceramic was used for lesser status (Dixon). Although now the Peruvian kero is viewed more from an artistic point of view, the cultural significance is important to understand and respect.

When I initially viewed this particular Peruvian kero, I was in awe of the bright colors that caught my immediate attention. The red stood out in contrast from the black outlines and other lighter colors. Since the kero was not simple geometric shapes and lines, I could tell that the artist was trying to convey a story to the viewer through the figures that he used. Through further research into the Inca culture, I was able to have an even better appreciation for the piece of art. The fact that the Incas put so much detail and thought into these ceremonial cups shows how important they were to their culture. Each kero is different and presents a different message. The beautiful detail and colors stood out to me and made me want to know more. I truly love the fact that something that is used for the practical purpose of drinking could also be viewed as beautiful artwork.

By looking at the Peruvian kero or ceremonial cup, it is easy to get the sense that it is more than just a cup. These cups held great cultural significance to the Inca people. The bright colors and detailed figures help to present a message or story to the viewer. The elements and principles of design that were utilized to create this kero clearly show the affect that they have on those who view it. I gained a better appreciation and understanding for the Inca culture through viewing and researching the Peruvian kero. I believe the kero is an excellent expression of the Inca culture.

Peruvian wood beaker (kero)

Mid-17th century

Works Cited

Dixon, Christine. "Gold and the Incas." Gold and the Incas. National Gallery of Australia. Web. 27 Feb. 2016.

"Pair of Keros." The Met's Heilbrunn Timeline of Art History. The Metropolitan Museum of Art. Web. 27 Feb. 2016.

Peruvian wood beaker (kero). 1650. The Granger Collection, New York. Encylopaedia Britannica. Web. 26 February 2016.

"Redlist America Latina." Redlist America Latina. Web. 27 Feb. 2016.