Reviewed by Sofia Nagel. Viewed on DVD.
The Day I Saw Your Heart (Jennifer Devoldere, 2011) is a poignant, beautifully-bare film where emotions are ripped from the characters’ seams. The dark comedy follows Justine (Mélanie Laurent) a too-cool-for-school gal who walks through her life with her eyes half-shut, ignoring the pain that clearly haunts her. Justine longs for something that she cannot have – her father’s love. As a result, she jumps from lover to lover; leaving before it becomes too serious, as she felt her father, Eli (Michel Blanc) did with her.
X-Rays heavily influence not only our protagonist’s job but her art as well (of course this stellar chick finds a way to combine the two). The film’s lighting is influenced by X-Ray machines, lightening then darkening at times – this visually-striking technique casts a spell. The mise-en-scene and use of color present a sense of risk to the viewer in an alluring way. An X-Ray is quite similar to love. You may have to protect yourself from some harmful rays but there will come a time when you’ll need it.
The childlike, eccentric Eli, reveals
Paper by Gregory Difilippi. Viewed on DVD.
The ripping of a curtain as the silhouette of a large blade cuts through it, slashing its way down onto an unsuspected woman showering in a lonesome motel. This blade not only ripped through a measly shower curtain, but through the 1960’s production code to alter censorship in America from then on. The film Psycho (Hitchcock 1960) and its violence broke out from the production code and presented society in the 1960s with something different that gave way to a new violent age in cinema.
The Production Code created by William H. Hays and headed by Joseph Breen was created to set rules of censorship in Hollywood. The Codes were actually unsuccessful at first. Before the aid of The Catholic Legion of Decency, “Hays was initially unable to persuade the studios to regulate themselves …” (Lewis 117). The Catholic Legion of Decency gained power with pushing the codes through the use of, “Threats of an organized boycott of certain films … [which] gave well- organized church-sponsored pro-censorship activists a lot of power” (Lewis 117). The Codes themselves, which varied in nature, but all