Comparative Review

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Comparative Review
“A Streetcar Named Desire”
The film has a beautiful graphic as violence to women is depicted, the theme and rippling sexuality through images and characters. The story is a compelling one because of the characters and the way in which they are conveyed. The story is a fairly simple character composition, which might be summarized in a few judgments; nevertheless, it would be unfair to the seriousness of development and the substantial style in which the roles are all brought up and how the story is told. This is an outstanding film that understands such numerous critical features all composed as one final production.
What makes the film theatrical is the superb play that has undertaken a great version that has been apprehended on great actors who offer a collection of acts that merit all the approval bestowed on them. The most captivating thing about this great film is, besides the pleasing dialogue and excellent score, how it compares the realistic masterpiece of Brando with the involved stances of Leigh, she is so astounding in her presentation as ever.
It is an intense play as troubles on mental health are certainly developing every day. The modern aspects of the film and a deep and fascinating performance of this superb play. It is deeply affecting and extremely powerful as one would feel emotional at the end.
The actor makes one watch the movie repeatedly. They take the chance and, in several cases, and make the viewers believe that no other character would fit their roles.

Leigh is impeccable for the part and does the parts exactly right; she is susceptible, nonetheless, self-interested, self-confident; however, in need, proper but insecure. Even visually she is credible considering her body language, but also fits well in the mix of ages, seems beautiful one instant but shabby and crushed the next. Brando’s acting is exciting and unforgettable. He also has his big scenes and instants where he does nothing, just show up. Both Leigh and Brando control the screen, and one would focus on both whenever they are on the screen.
What seems unsuccessful in this film is the rest of the cast where Kim Hunter seems lost in her scene in the background even though her performance is quite good. Karl Madden, on the other hand, is great, although only maintains a supportive part. The film had some positive reviews ad rated 98% on Rotten Tomatoes. It is the first film to have won the three acting categories (best Actress, Actor, and Actress in supporting roles)
The Film Amadeus
The film is unique and complete with a discerning writing, outstanding acting, incredible sets, and costumes. It also has fantastic choreography by Twyla Tharp, and, in particular, the magnificent music of Mozart. The film is a bit complex, and it is a masterpiece that individuals must view severally to understand the film better.
The sensations of mankind, as depicted by the troubled Salieri, certainly speak for its excellence. As the film progresses, there is the intense sadness of human state experienced as it offers the audience with cheerful music, pleasing atmosphere and a general gratitude of civilization for all ages where music expresses peoples’ emotions.
The structure of the film is excellent, as it can be depicted as it can be seen as a very stylish development of informative communication between the platform and the viewers, in which Saieri as the dominant mediator. The film was meant for entertainment value, hence its complex level of theme and structure. It is a funny movie and very moving. The enthralling picture of the rivalry between Mozart and Salieri makes the film captivating and because of this Shaffer’s Amadeus earned grateful audiences.
The film had the most accurate characters, but for most parts, there was no indication of the time or the year everything as taking place. It is hard to tell he exact year. For instance, we find Mozart’s wife pregnant when Mozart’s father came visiting. As the movie continues, we realize that she has a child. The film has no reference to time. The film attained 8 Academy Awards in 1985.
The Film Chicago
A unique feature of this movie is the lighting by Jules Fisher and the rest that achieves to uphold a dramatic sensation even in the non-theater instants. The life-and-night club combination heavily depends on that lighting. The movie adapts a musical to the big screen, and it works pretty well.
This is one of the best musical film ever made. The directions are stylized with amazing performances helps this hilarious satirical version. The acting is perfect, visually stimulating style and the music is good. Bill Condon’ screenplay version elaborates the story to provide it an emotional link to the roles in an unbelievable manner.
The movie incorporates the songs into the narrative by cutting between an electrifying stage performance and the stories of that era. This method offers the actors enough space for an intimate, passionate life, hence allowing the viewers better link with them.
The movie is mostly overrated with its great music and worthy technical features; nevertheless, ordinary screenplay and directing and the movie does not focus on storytelling. It is also too active, tiresome, unreasonable and its tone is leading to such a disappointing, and a baffling movie. Apart from the flashy musical, it is a dull movie as the other parts look plain, slow and barely not perfect. Most of the actors are enjoyable because of Zeta-Jones casting.
The director makes the movie a successful one as he does a remarkable work with the direction and the compositions. The characters, Zellweger and Zeta-Jones, are incredible in this film and they merit all the approval they got. Chicago is successful due to excellent performances, and it is full of fantastic songs. Presenting excellent costume designs and settings, this movie makes the viewer sing along to the 1920s jazz music. It is rated at 87% on Rotten Tomatoes website
The film Romeo + Juliet
What is unique about this film is that Luhrmann and the rest have just narrated the play without losing its stirring, poetic virtue. The original dialogue is maintained, which intensifies the film, giving it the authenticity. The darkest parts of the film are clearly covered by the camera work, swift and choppy, adding to the tragic atmosphere. All of the directions were effective, with Danes and DiCaprio showing remarkable understanding even though the two actors were not yet popular. So the film cannot be criticized that Leo and Danes were the draws for this movie.
The supporting roles in the film were pleasing, with the brilliant characters of Mercutio and Tybalt, and the friar, depicted as an essential character in the narrative. This classic tragedy is for both the youths and older audience. The swords are given the name of the guns, and the setting is also updated, showing the fantastic Verona Beach. An eternal narrative, such as this makes all disapproval of this movie, needless and foolish; a story wrote by Shakespeare and envisioned by Luhrmann.
However, some aspects show that DiCaprio and Danes, playing the lead characters, were not up to the challenge. They do not utter the lines well, nor do they express the moods portrayed by the words. They sound uneasy and reserved and seem ashamed to be talking funny. The modern music underscore most scenes, making the Elizabethan conversation sound clashing. Some characters Rudd and Bradford’s are so useless that they are ineffectual. Rotten Tomatoes rated the film at 72%, with fifty-three positive critics.
The film Romeo and Juliet
Both the lead characters in this film have the right youthful expression to depict the lovers; furthermore, they are strong actors who have a great romantic understanding on screen. Giamatti is outstanding; in several techniques, he stands out as the heart of the movie, as he gets actor’s reactions and instills the climactic performance in the third act with more passionate significance.
This version of Romeo and Juliet has too much precision and corrections of the original narrative than other retold versions through the years; nevertheless, fails to capture the original intention of the drama for the audience. The film is not so communicative in spirit.
Giamatti and Lewis are the ones who have given the story much influence. They have given the film the flesh that has created the pillars supporting the narrative. Giamatti, as the understanding Friar gives the story a passionate inspiration to the character, while Lewis, as Lord Capulet, adds energy as he sets his strict rules. Their reactions create a solid display for the lovers’ dilemma, encouraging viewers to be impressed by their tears.
All the cast is acting perfectly. Manville, Juliet’s mother and Skarsgård all contribute a strong presence. The production and costume designs are excellent. The effectiveness of some of Shakespeare’s famous speeches might have been lost in this version; however, the effect of love and adolescence is the thrilling portion here.
Hairspray
One not only feels good watching this film version, but it can transform a mood to a cheerful one. This can only be described as magic. Even if the characters or the script can be pointed out, the intensity of movie is indefinable and has so many components, from the set designs and composition in the manner in which John Travolta’s dress glitters. This musical comedy engages the audience, making them feel that love is dominant, everyone is caring, and the world is a kind place. One cannot believe it, but it makes people feel it is true.
The candy bleached costume designs and the electrifying stage dancing were so pleasant, and even the few serious sections of the movie were moving and genuine. Hairspray is bright, lively and joyously funny. Even though there is no star power, I prefer it to ‘Chicago.’ The film is easy and funny, and one gets to laugh and enjoy the scenes from the beginning to finish. The performances, writing, songs, sight jokes and outfits perfectly make it funny. John Travolta is good at his part, and he is great fun when dancing. The best moments of the film and one should not miss is the part when Walken and Travolta dance at their song together. Queen Latifah adds some self-worth and balance.
Their main purpose appears to be demonstrating to the audience their love for stage performance, but it is more of a movie of a Broadway display instead of the film version of a Broadway performance, which is two unique things. There was too much editing at the end until it ‘s hard to identify the lead characters.
The great performance is offered by the younger members of the cast. Every youth in the movie are introduced with a constant, indisputable energy that influences through the screen and fascinates the audience. Kelly displays an amazing dancing and singing, while Blonsky plays a significant role in the film acting as the center of the movie.
DoubtDoubt depicts an entirely different representation. As it progresses, the movie pulls one back and forth until when it finishes, the viewer cannot deny the truth, notwithstanding having been an indirect case. However, it ends with the satisfaction of an outstanding performance of bravery, which is then rapidly diluted, leaving the enduring belief of the hero extremely shaken. Since the protagonist is at first so displeasing, the viewer fails to understand and appreciate her qualities and eventually her bravery, which depicts the movie’s faith-shaking finale all the more sadly felt.
The film has magnificent performance as expected from Hoffman and Streep. The direction and tempo matched the plot very well. The movie is deep and rather confined, with terrible happenings performed in a secluded community and a surrounded space. This stresses both the separation and insecurity of Streep’s role as she must challenge a terrible condition, mostly alone.
The perfect moment in the film is the last conflict of Hoffman and Streep, where the viewers see Streep’s character asserts her devotion to a greater moral intellect. She asserts that she will do what she feel is right, to defend a child, irrespective of the church’s judgment and certainly notwithstanding how God judges her.
The hero in this film is flawed, and as the activities of the scoundrel are indefensible, he is also haunted of good intents. The film plays with the audience, giving intentions of blame, and then offering innocent clarifications. With this in mind, the viewer might be inclined to see blame in all incidental clues.