• Protagonist < --- > Antagonist
• Reason < --- > Emotion
• Sidekick < --- > Skeptic
• Guardian < --- > Contagonist

• ACT I Setup
• ACT II Confrontation
• ACT III Resolution

Act I: Setup

The film begins with novelist Paul Sheldon (James Caan) meeting a tragic fate in a snowstorm. The, we’re introduced to his biggest fan, Annie Wilkes (Kathy Bates), who rescues him and tends to his injuries. The initial setup paints Annie as a caring and somewhat odd nurse. We are drawn into a seemingly simple story of survival, with Paul as our sympathetic protagonist and Annie as his savior.

Act II: Confrontation

This is where the film takes a dark and unexpected turn. Annie's obsession with Paul's novels, particularly her attachment to his heroine, Misery Chastain, begins to surface. The film leaps from being a mere story of survival, to a horror, almost psychological thriller. The tension escalates as Annie's behavior becomes increasingly erratic and controlling. The "confrontation" is not between Paul and the harsh winter outside, but between Paul and the very woman who saved his life.

Act III: Resolution

In the final act, the narrative tension reaches its climax. Paul realizes that his only way out is to cater to Annie's delusional demands. The resolution isn't given a nice and clean, but a gut-wrenching struggle for freedom. This is where "Misery" brilliantly subverts traditional horror tropes. There are no supernatural forces, no masked killer lurking in the shadows. The horror stems from the disturbing reality of obsession and captivity.

As someone who isn't really into the film's genre, my expectations for the film was just that I wasn’t that familiar with it itself, so I kind of just approached it blindly. I'm not much of a horror fan myself. The whole blood, gore, and jump-scare extravaganza usually doesn't float my boat. Nonetheless, I was open to looking into this film. Honestly, they weren't particularly high. I figured it would be your run-of-the-mill horror flick, filled with the usual violence and a predictably spooky soundtrack. Though, I’ve heard my friends speak highly of this movie, so after having watched it, it was worth the watch. I loved how the film emphasized just how dangerous extreme fanaticism can be, and as a fangirl myself, with intrusive thoughts similar to Annie, it felt very real and such a swerve from your usual thriller movies.

After watching the film, I wasn't cheated, nor was I disappointed. In fact, I was pleasantly surprised. "Misery" gave me an experience that transcended the boundaries of its genre. It didn't just entertain; it left me genuinely captivated and disturbed. The film was an intense, character-driven exploration of obsession and captivity, which gripped me in a way I hadn't expected. So, in the end, my journey into the world of "Misery" as a psychological thriller wasn't about giving you the usual “spooks”, but about challenging the genre and proving that a film can be so much more than what it initially appears to be.

• Why did you think the directors of the three films chose their specific color palettes for the sets and props? 

• What do you think these choices for the set are meant to convey to the audience?

• In your opinion as an audience member, were these choices for the setting used effectively?

• For you as a viewer, what were the standout costume and makeup choices in these films? 

• What were these costume or makeup choices meant to say about the characters we were watching?

• Of all three shorts, which film did you like best and why?

• How did the film's lighting distinguish the scenes concerning the four main characters' POV?  Discuss in terms of Lighting Quality, Direction, Source and Color.

• Woman in the Blonde Wig

  • He QiWu (Pineapple Man)

  • Cop 663

  • Faye

• What do these specific lighting choices for each character convey to you, as a viewer? 

• Whose lighting setup, among our four characters, gave you the clearest idea of the character you were watching?

• As a matter of personal preference, which character's lighting scheme was your favorite? 

• As a matter of personal preference, who was your favorite character and why? 

• The ensemble cast of this film includes the characters of Verbal Kint, Agent Kujan, Dean Keaton, Michael McManus, Fred Fenster and Todd Hockney. Select three characters from this list and discuss the specifics of the following things they used to bring their characters to the screen:

1. Figure Expressions

2. Figure Movements

3. Sound Elements

• Select two scenes from the film that you feel made great use of blocking and explain why you think it was presented so well. What did these two presentations convey to you as an audience member watching the film? 

The anthology "Three... Extremes" takes viewers on a thrilling journey, with each director imprinting their unique style on the screen. A silent language is evident through the color palettes utilized in each segment, and they communicate their intentions vividly. In "Dumplings," the warm, almost sickly shade of yellow used in Aunt Mei's apartment visually conveys the discomfort and unease that the audience experiences during the film's progression. The color is unsettling, reflecting the grim events of the plot. In "Cut," the sterile white room serves as a surgical slap to the face, mirroring the cold and calculated games being played out. Finally, in "Box," the grungy blues and blacks transport viewers to the depths of despair, reflecting the profound inner turmoil of the characters. The directors skillfully use color as an emotional scalpel, cutting deep into the audience's emotions.

As for the costumes and makeup, I would consider them as the unsung heroes of this anthology. My standout costume and makeup choice in Dumplings, would be Aunt Mei's ensembles. They are a peculiar blend of nurturing and sinister. The cheerful apron contrasts with the horrors of her dumpling recipe, creating an unsettling dissonance. In Cut, the character in the wheelchair dons a slick suit, projecting an appearance of confidence as everything falls apart. This visual choice serves as a metaphor for the fragility of sanity. Lastly, in Box, the disheveled appearance of the lady in the box suggests she just clawed her way out of hell, capturing the raw and jarring psychological trauma on display. These costume and makeup selections are not mere adornments but rather reveal the characters' troubled psyches, offering whispers to the audience of the characters' inner turmoil.

As an audience member, the choices made by the directors were impeccable. The sets and visuals successfully immersed me in each story, heightening the impact of the unsettling narratives being portrayed. The colors and costumes weren't merely aesthetically pleasing; they played a significant role in the psychological manipulation the directors were attempting. It's as if they were aware that we, the audience, would be scrutinizing every detail for significance, and they delivered accordingly. These choices weren’t just effective but essential.

The film I liked the best would definitely be "Dumplings". It's not about flashy visuals or convoluted plots; it's the gut-wrenching revelation of a message that got me hooked. This short dives deep into the murky waters of human desires, showing just how far people are willing to go to satisfy their cravings. The simplicity of the narrative belies its unsettling impact — a stark reminder of the dark corners within us all. While the other shorts offer their own brand of horror and shock, "Dumplings" stands out by hitting you where it hurts the most, questioning the limits of personal desires and the disturbing lengths some are willing to go. It's a cold and calculated journey into the depths of human nature, and that's what makes it my favorite in this anthology.

Alphonsewords. (2017, July 12). Colors in Chungking Express. Site Title. https://alphonsewords.wordpress.com/2017/03/12/use-of-color-in-chungking-express/

Hkcinemag. (2014, August 21). Wong Kar Wai’s visual style in Chungking Express. Hkcinemagroup3. https://hkcinemagroup3.wordpress.com/2014/08/21/wong-kar-wais-visual-style-in-chungking-express/

The film almost has lighting as a character itself, contributing extensively to the mood of each of the four protagonists. First, with the Woman in the Blonde Wig, is surrounded by an enigmatic and surreal blue light. The cinematographer's lighting choice creates a smooth and dreamlike quality, adding to the character's mystique. The direction's subtlety casts shadows that blur the lines between reality and illusion. It's challenging to determine the source of the lighting, as it seems to emanate from both everywhere and nowhere, echoing the character's mysterious nature. The choice of color, an ethereal blue, suggests a sense of detachment, as if the character exists in her own world.

Second, He QiWu, known as Pineapple Man, has scenes where the lighting is bold and intense, most likely because of it being sharp, giving his character a commanding vibe. The lighting is often straightforward, coming from a single, powerful source, which casts dramatic shadows. The color temperature is warmer, creating a sense of urgency and unpredictability. It's as though his scenes are illuminated by the fiery determination within him.

Third, Cop 663, utilizes a muted color palette. The lighting quality is somber, casting a haze over his scenes. The direction is often from the side, casting long shadows, emphasizing his solitude. The source seems like it's a mix of ambient light and the glow of a lonely streetlamp. The color leans towards melancholic tones, reflecting his emotional state. It's like the light is trying to navigate through the emotional fog that surrounds him.

Lastly, we have Faye and her quirky charm. Her lighting is playful, with a mix of warm tones and vibrant colors. The quality is soft, creating a cozy atmosphere. The direction is more scattered, giving a sense of randomness, picturing her unpredictable nature. The source is like a mishmash of different lights, as if she's creating her own world with whatever is available. The colors convey a sense of warmth and joy, like a burst of sunlight on a rainy day.

As a viewer, these lighting choices create a visual translation for each character. The Woman in the Blonde Wig is this elusive and mysterious character. Pineapple Man is bold and determined. Cop 663 is trapped in his own emotional struggles. Faye is a burst of energy and unpredictability. Among them, Faye's lighting setup gives the clearest idea of the character. It reflects her personality, as her scenes are bursting with playful, soft, and vibrant lighting. The warm tones and vibrant colors create a cozy and inviting atmosphere, reflecting Faye's approachable, free-spirited, and friendly demeanor.

My favorite lighting scheme would be Cop 663's. The hazy effect adds this dreamy, almost otherworldly vibe to the scenes. It's like you're wandering through a misty memory. I love how it plays with the atmosphere, giving everything this soft focus that's both calming and a bit disorienting.

As for characters, my favorite would be is the Woman in the Blonde Wig. Her mysterious nature intrigues me. She's an unsolved mystery under that blonde wig. The way she moves through the story, leaving a trail of questions and intrigue, it's just captivating. You're left wondering about her past, her motivations, and it adds this layer of complexity to the whole narrative.

The three characters I've chosen are Verbal Kint, Dean Keaton, and Todd Hockney. Verbal Kint, played by Kevin Spacey, exudes a subtle yet captivating figure expression that conceals the depth of his character. His physicality enhances the mystery, keeping the audience hooked. Dean Keaton, played by Gabriel Byrne, uses a more stoic figure expression, depicting his complex moral compass. The tension in his movements and the quiet strength in his demeanor add layers to the character. Lastly, Todd Hockney, portrayed by Kevin Pollak, stands out with his sharp figure movements and a touch of humor. His body language and expressions bring a dynamic energy to the group.

As per the sound elements, Verbal Kint's distinct voice, marked by a calm cadence, adds an eerie quality to his character. Keaton's voice carries the weight of his past decisions, resonating with a mix of regret and determination. Meanwhile, Hockney's sharp wit is skillfully emphasized by his tone and timing, adding a touch of humor to even the most serious moments.

Two scenes that made great use of blocking would be the lineup scene and the confrontation between Kint and Kujan in the detective's office. The lineup scene stands out as a masterclass in suspenseful blocking. The characters' positions create visual intrigue, keeping the audience on edge. The interplay between the characters' movements and the shifting focus adds a layer of tension that permeates the entire scene. It's a showcase of controlled chaos, making the audience question every detail. The confrontation between Kint and Kujan in the detective's office is a dance of power dynamics. The shifting physical proximity and the strategic use of space heighten the psychological intensity. As Kint weaves his narrative, the blocking accentuates the manipulation at play. I would describe it as a cinematic chess match.