Griffin: The Wolfmans of 1941 & 2010

The transformation of the 1941 Wolfman film is mostly characterized by a gradual increase in body hair. First, heavy tufts appear on Larry's legs, then spreading to create the monster seen in the picture on the left. He walks bent over, but not completely on all fours. This wolfman is alarming, but seems more demented and clumsy than the modern-day incarnation of 2010. Benicio del Toro's Wolfman is fiercer, stronger, and more terrifying. His transformation from man to beast has a more suspenseful pacing Each part of his body is given focus as it shifts into monster. The way in which his body is revealed contrasts with the upfront style of ‘41. The ‘10 wolfman is gradually revealed through shadows, momentary head shots, profile views, close ups on his claws, feet, eyes popping. This transformation is more impacting and precious than the brusque, sillier version of ‘41. The ‘10 feels more “real” because of the physical logistics of transforming that are shown: the bloating of his face, the popping of jewelry and clothing no longer able to fit to the growing body. The modern wolfman is stronger and more agile, and rather than just transforming into a very hairy man, he actually becomes a wolf. He gallops through the forests on all fours, whereas the older wolfman looks like a lost zombie. Del Toro’s wolfman is also more fleshed out, given the more sophisticated sound effects attributed to his monster, as well as the sense that there is this separate, evil force bursting out of the man. However, on a conceptual level, the older wolfman appeals to me more because he represents the classic archetype of a tragic hero in ancient Greek tragedy. Larry becomes entangled with evil through his heroism in defending the first victim of a were-wolf in the film. By no fault of his own, his fortune is suddenly reversed. This inexplicable, senseless destiny is profound as it references the similar protagonists in tragedies, also slighted by fate  In this newer version, psychological theory is applied to understand why is this man a monster.

Gevry- The Wolfman

The transformation from man to werewolf is always a fantastic one for a moviegoer to see. Yet, with the amount of technological advancements over the years the journey has gotten far better. From the 1940s The Wolf Man to the 2010 The Wolfman, the effect this has on the metamorphosis from man to wolf. Immense bounds in CGI make the newest version of The Wolfman, directed by Joe Johnston, a visual feast for the viewer. Whereas the transformation within the 1940s version, though surely a spectacle in its day nowadays is hardly a movie going revolution. In Johnston’s film the viewer sees the Lawrence Talbot, as portrayed by Benicio Del Toro, completely transform himself into a full blooded, all out werewolf. From the make-up to the computer animation an entirely new creature takes form when the moon is full. Unfortunately in 1941 film, directed by George Waggner, the viewer doesn’t see the same transformation on such a spectacular level. Sure, Lon Chaney Jr.’s wolfman grows a lot of hair all over, gets a few sharper teeth, and walks on his tip toes but it doesn’t have the same effect as the newest version does- I mean the wolfman is supposed to be wild and ferocious yet in Waggner’s version he still wear a tucked in shirt with pants and a belt. Ferocious? I think not. Though both films are extremely entertaining and truly amazing works, when it comes down to which film harbored the best transformation from human to beast that would have to the 2010 The Wolfman, hands down.

And here is the winner:

Thomas Mise en scène

This frame is from a scene in the movie, “Waitress.” This scene takes place at the diner Jenna works at right after she has sex with her gynecologist that she’s having an affair with. The dominant in this frame is the character in the middle, Jenna. We see Jenna upset most of the movie and this frame shows a dramatic change in the movie. The other characters in the scene are looking at her, she's right in the middle and the tray she's holding a tray with orange juice on it.

All these elements make out eyes go straight to Jenna. The frame is also very brightly lit. It uses natural lighting from a window that is out of frame, on the right. The frame is so brightly lit in order to reflect Jenna’s mood. Jenna’s face is the brightest thing in the frame. It’s significant that she’s so happy because we see her either upset or indifferent. This is the first time during the movie that she shows any strong emotion. The use of bright colors is also used to show her mood. There’s bright colors in the frame to show the change in Jenna. This frame uses social camera proxemics. This proxemic is used to show the other characters’ reaction to Jenna’s mood. It’s also the first time the other characters see Jenna truly happy and they’re surprised. They’re also used to seeing her unhappy. The character proxemics are also social. The characters are about about four feet away from each other.