Crime Films Term paper

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Crime Films

When looking at the crime film it is important to understand the nature of

the films genre. The genre is a way for the audience to distinguish types of

films. These are categorised together because of standard protocols developed

for a particular types or styles of film. These films usually follow similar

guidelines in order to produce a predictable style for the audience. The

development of genre films is not entirely the prerogative of Hollywood. It is

more the desire of the public viewing audience to have an idea of the type of

film they are about to see. The western, musical or the gangster film are

examples of genre films. These categories of films all have similarities in the

ways in which they are made: musicals end happily; the westerns will all have

the final shoot out; and the gangsters will all be overcome by justice or meet

their own demise. The reason for the consistency in the films is the publics

desire to make an informed choice not and not to go in blind.

By using the genre qualification, the industry is able to target

societal groups and try to produce and market what they want to see. The public

attends a film because they think they might enjoy some aspect of it. The film

genre follows a set of abstract rules that allows the public to informally

categorize films. These rules must be viewed from an flexible point of view in

order to legitimize their future existence. By using this method of

categorizing films the public is able to decide which films they wish to see and

those they do not. Some people love musicals and if they were to go to one and

find there was no music or dance they might not be too pleased. The concept of

genre is one that may provide benefit to the viewers but at the same time may

also present problems for the directors who must compromise their artistic

aspirations. Examples of this can be seen in the production of sequels, and

the use of repetitive set qualities. These may include the mise en scene of the

picture or the inclusion of similar sound. Because of these unwritten rules the

directors must include some of the familiar aspects of the genre. The greatest

problem may be that the film must fall into a genre category. Defining it

within the genre may be compromising to the nature of the film.

Scarface (1932 U.S.A. - Howard Hawks ) is a film where ones view of the

lead role is ever changing with the apparent mental stability of the character.

Tony, the principal character, exhibits personality characteristics found in

every persons life which normally must be kept hidden. People appreciate the

fact that Tony has the guts to do what he wants and at the same time gets the

respect that he feel he deserves. Every mans dream, and on top of that he gets

paid. There is always a fascination when money and power is involved.

The character is portrayed through the majority of the film to be worry

free, on top of the world, healthy, respected, and loved. The major problems

presented to Tony through the earlier portions of the film are those just like

any common man: arguments with his mother and sister; family disputes; and

overzealous protection of his sister. In presenting the life and times of

Camonte, the viewer sees problems that might also be present in his/her own life

and can therefor relate well to them. Being able to emulate the life of the

film character enables the viewer to feel sympathy or compassion. If the viewer

can relate, he can then justify or understand the actions of the condemned.

The audience is lead into the hands of Tony and the sympathy lies with his

expression of emotion. A man whose ruthless desire to be on top enabled him to

kill one of his better friends and sisters lover remains capable of showing

remorse or fear of being alone. This is how we are able to suddenly feel for

him. He's tough: a mans man. You have to like him. The character of Tony

Camonte might be that of a mean and ruthless killer but at least he's a

capitalist, an important quality at the time. Tony throws money around, gets

the girl and a whole lot of respect. These are the opportunities that many men

would love to have.

Down to the wire we feel for the man who had it all. We recognise that

any man who is that tough has to have some feelings that when exposed engender

our admiration. By introducing the audience to the emotional side of Tony

Camonte, a closer relationship between the viewer and the character is

established. This, of course, is appealing to the viewer and we return the

favour by cheering for Tony Camonte.

Bonnie and Clyde (1967 U.S.A. - Arthur Penn ) is a film where audience

sympathy tends to run wild. There are many variables that make it impossible

from any generations point of view not to sympathise with them. The two

characters appeal to everything that contemporary youth embrace. Unfortunately,

the way in which the qualities of characters are presented exploits the use of

violence as is common in most of today's cinematic productions. The relevant or

appealing aspects are fundamentally the same. Bonnie and Clyde live

lives that incorporate all of the adventure and wild free spirit that many wish

to emulate. Viewers are able to empathise because of the exploitation of their

humanity rather than in a criminal context. Among the compelling problems are

those involving Clyde's brother and the ever disturbing spectre of Clyde's

virginity. In addition, in order to gain more of the viewers favour, the

characters were given simple underprivileged backgrounds. This eased the

audiences guilt in readily accepting the criminal aspects of the main characters

lives. That which should be seen as horrifying is made acceptable through the

use of humour. By making parts of the life and times of Bonnie and...

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