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Barracuda89

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Everything posted by Barracuda89

  1. 1. To me, it seems that the parody style of Ferrell and McKay is most similar to that of Mel Brooks and ZAZ. Like in the scene we viewed yesterday from The Naked Gun, Anchorman is very aware that it is a parody, and isn't subtle about its parody status. Like Mel Brooks's fight scene in Blazing Saddles, some extraordinary events took place in that fight scene in which resources wouldn't have existed before the fight broke out. For instance, there were horses which seemingly appeared out of nowhere during the fight scene in Anchorman, as in Blazing Saddles in which weapons were brandished that w
  2. 1. ZAZ takes a zany fun approach to film parody as illustrated in this scene from The Naked Gun. Typically in police movies, the protagonist always looks debonair and in control, whereas, Leslie Nielsen’s character succumbs to the police airbag after misjudging the curb when he parks his car. Then, he is immediately run over by the car, only to be alerted by an elderly woman that the car is directly behind him. ZAZ makes it clear from the beginning of the scene that this is not the typical rugged, handsome, alpha-male police officer we are used to from many police films. 2. I find t
  3. 1. This scene in Young Frankenstein successfully parodies Universal Horror films of the 1930's by setting up well the scientist character and his body of work. Clearly, in Dr. Frankenstein's speech, he knows a great deal about the central nervous system, which is essential to illustrate as he becomes a Dr. seeking to reanimate a human being. Without this set-up of a scientist in his lab, you don't understand the parody, nor the homage to 1930's horror movies experienced later in the film. 2. Being the fantastic writer that he was, Wilder moves between comic subtlety and broad slapstick hu
  4. 1. From nearly the beginning of this scene, it feels like a live-action cartoon. From the glint of the tooth following an award winning smile from the protagonist to the attempted avoidance to the eventual landing of the basket on our antagonists, this scene embodies many aspects of a live action cartoon. 2. This scene acts as an homage to earlier slapstick comedies by encompassing many of the traits of slapstick comedy common in earlier slapstick comedies. For instance, the gag is physical because it involves Curtis using his body to escape death, exaggerated when the woman cannot stop ki
  5. 1. The gag that I chose to explore was the mangling of Seller's pool cue and subsequent shot which ripped the pool table. The set up for this gag was a treat to watch, as the actor was manipulating the cue while talking about "fealous jage". The payoff was then perfect when it is revealed to the audience just how much mangling Seller's has done to the cue, yet will still attempt to pull off a billiards shot. The exceptional setup that allows the audience to see what's happening without exposing it overtly is part of what makes Peter Seller's comedy unmatched. 2. The key attribute I unders
  6. 1. The addition of color adds a lot to the gags from the scenes viewed in today's Daily Dose of Doozy from The Long, Long Trailer. For instance, a pivotal bit in the first scene when the two were talking about their love for each other was the wine being poured. Color allowed the audience to understand what was being poured and make the scene a bit more relatable. The scene in which the actress is catapulted out the door is benefited by the color of the film as well. The splash into the mud with the rain falling around her was much more vibrant than it would have otherwise been had there been
  7. 1. I was amazed at how beautifully the building was used in Jacques Tati's scene. Each floor of the apartment had its own nuances that illustrated the character of the people that lived within its walls. Because of this outward personification, the apartment building itself can be used as a character that Tati can interact with, almost as if another person is sharing the scene with him. 2. The building is used to support Tati's physical comedy in such a refreshing splendid way. Tati weaves in and out, floor to floor, engaging with some part of the building on each floor. His interactions w
  8. 1. What sets Abbott and Costello's brand of verbal slapstick apart from that of the Marx Brothers is the unique aspect of the back and forth banter. The Marx Brothers are more insult-driven, or, rely often on sarcasm back-and-forth dialogue between 3-4 people. Abbott and Costello, however, being a duo, only rely on the wit and positioning of one other person. It was fun to see a duo go back and forth after watching the rapid-fire Marx Brothers. 2. I wholeheartedly agree with Wes Gehring's criticism of today's comedians. Abbott and Costello had a routine, starkly different than the haphazar
  9. As addressed in Breakdown of a Gag Episode 5, Baseball is a common theme among slapstick comedies, and I think that largely has to do with the symbolism of baseball as the all-American pastime. Baseball has been synonymous with summer in America for what seems like an eternity. When there is a sport so ingrained in the minds and hearts of audiences it is very easy to play to that in a comedic sense on-screen. Relatability seems to be a driving force for comedy, and it doesn't get much more relatable than baseball.
  10. I was so grateful to have this scene slowed down and explained for the construction aspect of the scene!
  11. Can anyone help me with adding a picture to my profile? I keep selecting one and saving but it does not appear.

  12. Humphrey Bogart is always on my mind.

  13. 1. When compared to Charley Chase and the Marx Brothers, W.C. Fields brand of slapstick almost provides a better payoff because it is delivered much slower, and perhaps, a bit more deliberately. As noted by Gerald Mast, Fields has a domestic element not present in Marx Brothers comedies. He is also not delivering rapid-fire dialogue like the foursome. Fields relies on his reactions to the physical humor of his gags more so than a rapid dialogue exchange. What is also unique to Fields is the way he uses space in his gags. Fields is obviously a larger man than any of the Marx Brothers or Charley
  14. 1. It would seem as if Alan Dale coined his definition of verbal slapstick after the Marx Bros. it fits them so well. They are certainly most known for the breakneck pace of the verbal comedy delivered like rounds from an assault rifle. They are always deprecating, often self-deprecating, and definitely tend toward the sarcastic. All of these elements make Marx Bros. skits still funny today. 2. Some characteristic gags employed by Chico and Groucho Marx in this clip include their sarcasm toward each other, their careful sentence construction preventing either of them from giving the other
  15. Charley Chase was a slapstick actor I was not familiar with so it was fun to see the clip Pip From Pittsburgh. 1. Chase embodies each of the five elements of slapstick: exaggerated, physical, ritualistic, make believe, and violent. From his expressions while he's shaving to the painful sprays to the eye, Chase shows the range of slapstick even in a small clip. 2. I find this clip to confirm Gerald Mast's assertion that Chase's greatest emotion is exasperation. After a few of his attempts to clean up fail, Chase nearly breaks the fourth wall as if to say to the viewer "Can't something
  16. 1. Lloyd uses the setting of Coney Island extremely well in his creation of an original slapstick gag. He takes the audience to each unique place that we can all relate to at a fair or carnival. Being able to relate to what is seen on-screen is essential to audience appreciation of Lloyd's work. 2. I don't quite agree with Schickel's assessment of Lloyd as a more real comic actor that Keaton or Chaplin. What I do agree with is that Lloyd could, perhaps, see the possible absurdity and comedy in everyday life than Chaplin or Keaton emulated. Lloyd seemed to recognize that funny things happen
  17. 1. The element that makes this Buster Keaton gag so effective is the props. At each turn in the gag Keaton is interacting with some props in a really visually fantastic way proving that the props in a gag can become characters themselves. 2. The largest difference I see between Chaplin and Keaton's comedy is the focus on triumph and failure. Chaplin's comedy relies heavily on his character eventually triumphing over the injustices that he faced. Keaton, on the other hand, Keaton seems to meet failure at every turn in his comedy. 3. When I watch gags like this, I see Keaton paving the
  18. 1. I would agree with the assessment that there is a visual component missing from today's comedies that were present in earlier comedies. Physicality in comedy has gone through a rigorous transformation, and I for one, miss that interactive physical comedies of the greats. You just don't see comic actors like Chaplin or the Marx Bros. in today's comedic offerings. Timing and pacing has undergone drastic changes in modern comedy and I think that is largely what is missing. 2. In addition to the camera placement in the middle distance, what also makes today's video effective as a visual com
  19. 1. When considering whether or not 1912-1930 was "comedy's greatest era" or its "Golden Age", my answer is what it always is when deciding absolutes; yes and no. I believe it to be true that this era of film produced the best physical comedy we have ever seen, and thusly, could be considered slapstick's golden age, but there are many types of comedies and it is far too difficult to pinpoint one section of time as a golden age of comedy. For me, yes, 1912-1930 was the golden age of physical comedy, but not the golden age of comedy in general. 2. I do agree with the narrator that the gags we
  20. That's a great idea! I'm always looking for more people to connect with on Letterboxd, myself. I am: http://letterboxd.com/Barracuda/ If you want to follow. I've followed you and look forward to reviewing these movies!
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