Hollywood And European Film-Making - Convergence of Aspects: Part II

James Cameroon certainly is worthy of overall credit report for the authorship of ‘Titanic’. In the case of the movie ‘Exorcist’, William Friedkin extremely faithfully stuck to William Peter Blatty’s unique, yet showed remarkable directorial abilities as if he himself had actually authored the story. In either case, while the initial writer’s innovative capacity can not be underrated, ultimately it was the director’s vision that made the movie what it was. Essentially, they were directors’ movies. The motif of Sergio Leone’s film ‘The Excellent, the Bad and the Ugly’ has absolutely nothing alike with that of ‘Exorcist’ yet a striking similarity is noticeable in both the supervisors’ eagerness on visualization.

Anticipating aesthetic element in an ‘all-time horror’ might seem unreasonable however Friedkin did present his bent in that instructions in his use of subliminal images in ‘The Exorcist’, all the criticism notwithstanding (Video Guard Dog Publication, July/ August 1991). With the constraints of technology thirty six years back, absolutely nothing else can have generated the desired dramatic impact like the ‘flashing’ did. Friedkin relied much more on creating a certain ambience as additionally on imaginative sound editing and enhancing, instead of on unique impacts. This once more, resembles Leone’s fancy for wide shots and also close shots and also his focus on visuals “had a terrific effect not only on his own directing job but additionally on the western genre as a whole” (filmstew.com). His visual disposition comes to be even more noticeable from the history score he extracted from Ennio Morricone as well as Tonini Delli Colli’s dynamic electronic camera job. Not surprising that, ‘The Great, the Bad and also the Ugly’ was dubbed “the best directed film of all time” by Tarantino himself (filmstew.com).

Going by the treatment of ‘Titanic’, James Cameron’s technological and visual professors can not be considered a match to those of Leone or Tarantino, supervisor of ‘Pulp Fiction’. Still, the nostalgia in his film had a global allure that opposed the obstacles of geography and language. From this viewpoint, Cameron definitely scores greater than Leone as well as Tarantino do. Such a contrast may appear unreasonable, yet at the very least, it efficiently counters the discriminative idea that European cinema has an edge over the Hollywood in terms of “artistic courage” (Mark Le Fanu). The state of mind and also atmosphere constructed by Cameron in ‘Titanic’ generate the same dreamlike state that Friedkin’s imagery did. James Cameron, with his extensive contribution to ‘Titanic’ as writer, supervisor, co-producer as well as co-editor, meets the term ‘auteur’.