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Higgs5

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  1. Thanks for a well planned, engaging curriculum. Beyond learning about the evolution of comedy in film, I was instructed on how to evaluate films by identifying cinematic techniques, theatrical/literary devices, and acting. As an added note, TCM aired about four Keaton films back to back this morning. The other night I spotted three of the original Frankenstein horror films. Anchorman 2 is airing as I write this. I have plenty of opportunities to keep practicing what I’ve learned.
  2. The film pokes fun of the news content and stereotypical newsmen of the 70s – particularly at smaller local stations. As with Allen and Brooks characters, Farrell plays the unlikely leading man who wins over his true love. The film has a fair amount of well timed physical comedy – although much of it is crude. I find Allen’s and Brook’s films much more thoughtful, subtle, literary, steeped in film history, and less offensive than Farrell’s. The film added celebrities to the mix during the fight scene. It was a way of introducing a number of quirky characters from competing news teams int
  3. Despite all his resistance (accompanied by jokes and sarcastic commentary) the unlikely hero is goaded by the more “cowardly” rebels into getting food for the revolutionaries. Adding to the hilarity, Allen goes to a “road side deli” (in an impoverished South American country in the midst of a revolution) and what’s even more absurd is that the deli is able to fulfill this “customized”/ sizable order. The irony is that the rebels end up stealing the food from the very citizens they claim to be liberating. While the Great Race is more of a “contrived” tribute to slapstick with whacky and “
  4. The scene starts out with an impressive sounding ( slick, smooth talking, logical, arrogant) young Frankenstein (Wilder) who repeatedly breaks out into a frenzy and melts down (eventually stabs himself) when the sensitive/shameful topic of his grandfather’s research comes up, or his views are challenged, or his name is mispronounced. The original Frankenstein movies frequently opened with scenes in the classroom (also in black and white) with cadavers/ preserved brains and other organs on display to establish Frankenstein’s legitimacy as a physician. Wilder becomes increasingly emotional (cal
  5. Clouseau’s persona is original and not intended to spoof other detective characters. Drebin’s persona drifts between a Joe Friday, James Bond, Marlowe, and a bit of Dirty Harry style detective/crime solver as captured in the film clip (e.g. “Ted” the “Q” equivalent in the crimes lab and get a sampling of his latest inventions, the classical “you’ve got 24 hours” to clear your partner even though all the evidence is stacked against him, the opening scene in which Drebin blows up his own car). As with Brooks and Wilder in Young Frankenstein, ZAZ employs the technique of recombining old genre
  6. Professor Fate is the generic bumbling villain (with the accompanying nutty sidekick, dark clothing, mustache, and inane laugh) whose efforts to sabotage Leslie’s heroic dare devil feats, using “cartoon logic”, consistently fires back on him. His gadgets always malfunction and he ends up falling from great heights or getting “hurt”. Donned in white, Leslie is a noble, attractive hero who performs extraordinary feats, overcomes all obstacles, has an array of talents and special skills, never seems to get hurt or dirty, and always attracts women. The film is a revival of non-stop slapstick st
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