Dr.Strangelove (1964)

Much more light-hearted than the last two Kubrick films I watched (A Clockwork Orange and 2001), Dr.Strangelove is still very complex - With all the different storylines I wasn't sure about who you would call the "Main Character" at first - I've settled on General Buck Turgidson, as he represents the point of view that is being challenged by the overall theme of the movie: He believes that military superiority is the best way to deal with the conflict with Russia.

General Jack D. Ripper is of the same opinion, but escalates the issue when he issues the command to execute "Wing Attack Plan R". Turgidson, upon hearing of the attack plan, is surprised but easily accepts the situation - he hinders the Presidents attempts to call off the attack, and appeals to him to reconsider - War is the only option.

General Turgidson: ". . . it is necessary now to make a choice . . . one where you got twenty million people killed, and the other where you got a hundred and fifty million people killed."

As the events unfold, a new threat is brought into play - the doomsday machine. This threatens everyone, regardless of what side they are on, at this point even Turgidson is forced to reconsider his opinion . . . but he remains steadfast, and though he does not actively support the attack - through his inaction (and by proxy the inaction of all the military forces), he allows the world to be destroyed.

The message comes across loud and clear: Nobody wins an "Arms Race" - Given the extremely grim nature of a tragic ending like this, it's appropriate that the tone of the film is satirical, even ridiculous at times - this way we get to have fun and laugh a bit, while still absorbing the message of the film.

Annie Hall (1977)

Alvy Singer: "I feel that life is divided into the horrible and the miserable. . . So you should be thankful that you're miserable, because that's very lucky, to be miserable."

Annie Hall: "Alvy, you're incapable of enjoying life, you know that?" 

Two unique qualities of this film stand out right away: the non-linear story telling, and the surreal/sarcastic commentary toward camera throughout the movie.


PLOT:


The time jumps seem random at first, but looking closer they actually have a very specific pattern: starting at the present time/the end, we jump directly to the earliest point: Alvy's childhood, from there we alternate jumping forward and back in time, getting progressively closer to the pivotal event -


1. Present: Alvy speaks to the camera, he was in love with Annie; now they're broken up.
<-- jump back to:
2. Childhood: We see that Alvy's defining characteristics, a pessimistic outlook and a love of women, both began when he was 9.
-->jump forward to:
3. Alvy and Annie mid-relationship, troubled and arguing.
<-- jump back to:
4. Alvy's  first wife: we see how he met her, and their sex life was bad
-->jump forward to:
5. Alvy and Annie early relationship, happy and playful.
<-- jump back to:
6. Annie's first relationships, and Alvy's second wife
-->jump forward to: 
7. Alvy and Annie as they first meet . . .


We can even make a neat chart:

Alvy describes his situation in the opening lines of the movie, raising the obvious question: If he and Annie were in love, why did they break up? What went wrong?

Alvy Singer: "Annie and I broke up and I still can't get my mind around that. You know, I keep sifting the pieces of the relationship through my mind and examining my life and tryin' to figure out where did the screw-up come"

 Jumping back and forth through his memories, Alvy is trying to locate the exact point where all this began . . . he lands on his meeting with Annie - from this point the movie plays out in chronological order, jumping over some sections but no more flashbacks.

Breaking the Fourth Wall

At first I found this a bit annoying, it's jarring, and pulls you out of the story . . .  but I think that's the point. from the beginning Alvy tells you the end result, and it's very clear that we (the audience) are not meant to be experiencing these events "as they are happening", we are instead looking back into Alvy's mind and experiencing his memory of those events.

We are following Alvy's thought process, he's stepping through his whole relationship, trying to make sense of it - and so are we. The difference is that as an audience, we can take a more objective view of the story. By the end of their relationship, it's pretty clear that Alvy continues to sabotage his relationships; he is relentlessly pessimistic, he uses sarcasm to avoid responsibility and commitment, and is unwilling to change or try new things.
   
Alvy however, looking at these same events, comes to a different conclusion; Consistent with his pessimistic outlook, he's willing to believe that the situation is hopeless, he takes no responsibility for his own role in the failed relationship(s), and is still unwilling to believe that changing his behavior would improve his life. The ending is a sad one, as Alvy misses the point entirely and assumes that relationships are crazy, and that's just how life is. 

Alvy Singer:"Well, I guess that's pretty much how I feel about relationships, you know they're totally irrational, and crazy, and absurd and ... but, uh, I guess we keep goin' through it because, uh, most of us need the eggs."

My Fair Lady (1964)

Loved it. 

I think what really provides the "heart" of the story is the strong message about the value of a person, shown through the relationship between Eliza and Henry.

Eliza Doolittle

Eliza has only ever wanted to be acknowledged and respected for who she is. She knows she's a good person and just as worthwhile as anyone else, and isn't afraid to let people know. The gap in social status is simply a matter of bad luck; she just happens to not have any money.

Eliza: "I'm a good girl, I am!"

Henry Higgins

Henry Higgins, believes that a person's status and worth is determined by their behavior, in particular the way they speak. He sets out to prove his point by passing off Eliza as royalty, citing her as an ideal candidate.

Higgins: "She's so deliciously low, so horribly dirty. "

As they enter into their teaching arrangement Eliza believes, as Henry suggested, that if she can learn to act like a lady, people will see her for who she is. Henry believes by training her to act like a lady, he will have created a new and better person.
At first this isn't a problem, but once Eliza's training is complete the subtle difference in their beliefs comes to light.

Higgins: "By George, I really did it, I did it, I did it! I said I'd make a woman and indeed, I did."

Eliza: "what's to become of me? . . .  I sold flowers; I didn't sell myself. Now you've made a lady of me, I'm not fit to sell anything else. " 

As Eliza walks out on him, Higgins is baffled. He admits that he doesn't want her to leave, but can't understand why she won't just behave rationally - like a man. Eliza, with her new-found powers of articulation, explains things all too clearly:

Eliza: " . . . the difference between a lady and a flower girl is not how she behaves, but how she is treated. I shall always be a common flower girl to Professor Higgins, because he always treats me like a common flower girl, and always will. But I know that I shall always be a lady to Colonel Pickering, because he always treats me like a lady, and always will."

This ties their argument into the overall theme and Higgins is forced to re-evaluate his position. Even though it's not directly presented in the film, I think the underlying message is clear:

Higgins learns that the problem is not that Eliza refuses to act like a respectable person, rather that he has refused to treat her like one.