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Alexys 2022-10-23 19:00:59
He was even forced to go offline from the theater. The quality of the film is good, but it may be really difficult to use close-ups in a specific space like a classroom, either a small panorama or a medium shot. The group play scheduling is good, it looks very...
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Paolo 2022-10-23 18:01:31
All movies that turn the tide of spring into the rain will become speechless in front of this movie that moves the battlefield into the classroom. It is not so much that this tense and exciting movie seeks the reasons for the stubbornness of the teenagers at that time. It is better to say that it uses depth of field and characters. The scheduling gives us real attention to their states and transitions as they confront different situations, and, of course, the deep helplessness of the educators...
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Shakira 2022-10-23 10:14:50
The subtitles I made myself, this feeling is different. Although at the end of the film, I really felt that the director was too wrong. This film has special long shots with multiple depths of field to express the different reactions of many characters (students), and montages are rarely used. Like "Marty", the drama style is particularly strong. 1955 Hollywood movies are popular with...
Blackboard Jungle Comments
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Bethany 2022-10-23 23:04:52
Chalkboard Jungle
The title of this film is particularly good. The blackboard is the main medium for transmitting knowledge in schools, symbolizing education. Education often represents "love and hope". ”, this film tells exactly such a story with intense conflict and opposition. I like this film very much....
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Demetrius 2022-10-23 23:24:10
Youth, Exploitation and Hollywood's 1955
It's the end of the road, boyCritic Gilbert Shields argued in 1950 about the value of teenage audiences to Hollywood: "The real moviegoers are made up of younger people . . . Children survive, they always automatically and habitually slip away to see the movies... Half of the people over the age of...
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Richard Dadier: Now, pretty soon, you're gonna be reading in the newspapers want ads for jobs, apartments, something to buy. Advertising space is expensive so abbreviations are used. Now, write out the complete words to all the abbreviations in these problem ads. All right, get started.
[Dadier notices Belazi coping anwsers from Morales paper]
Richard Dadier: Belazi. Let's keep your eyes on your paper.
Belazi: Me?
Richard Dadier: Cheating won't help you learn those abbreviations, you know.
Artie West: He won't look for no job. His old man owns a store.
Belazi: Yeah, and I'm not gonna buy me me no Cadillac either.
Artie West: No, It's cheaper to steal one. That's arithmetic for ya, teach.
Richard Dadier: All right, Belazi. Bring me your paper up here.
[Belazi gets up and hands over his paper to Dadier]
Belazi: Five points off. What for?
Richard Dadier: For having loose eyes.
Richard Dadier: [Dadier notices that West is cheating also] West!
Artie West: You talking to me, teach?
Richard Dadier: Bring your paper up here West.
Artie West: What for?
Richard Dadier: I said bring your paper up here.
Artie West: And I said , what for?
Gregory W. Miller: Come on, Artie. Bring him the paper.
Artie West: Now , look, you keep your rotten mouth out of this, black boy.
[Miller stands up ready to pounce on West]
Richard Dadier: Miller!... Hold it... All right. All right, Miller. It's all right. Now, bring your paper up here, West.
[West crumbles the paper and throws it on the floor]
Richard Dadier: All right, we're going down to see the principal.
Artie West: We are? You gonna make me, Daddy-O? How'd you like to go to hell?
Belazi: What's the matter, Daddy-O?
Artie West: Yeah, how about it, teach? You got a big mouth. Tell me to do this, do that. Are you big enough to take me to the principal's office? Beacause that's what you're gonna have to do. Take me. So, come on! Take me! Come on!
[Dadier approaches West and West pulls out a switchblade. This stops Dadier in his tracks and the rest of the class gets up and out of the way]
Artie West: Come on. For a bright boy, you didn't learn nothing. Well, take me down. Come on. Step right up and taste a little of this , Daddy-O.
Richard Dadier: Give me that knife, West.
Artie West: Where do you want it? You want it in the belly? Or how about in the face, huh? Here it is. All you gotta do is take it. Come on, take it! Come on!
Gregory W. Miller: Take it easy, chief. He's crazy, he's high, he's floating on Sneaky Pete wine.
Pete V. Morales: He's gonna kill him.
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Artie West: All you gotta do is take it. Come on take it.
[Belazi sneaks behind Dadier]
Richard Dadier: That's just what I'm gonna do, big shot.
[Belazi tries to attack Dadier from behind but Miller intercepts him]
Richard Dadier: [West strikes at Dadier and cuts him in the hand] Come on, West. Come on... come on... Where you going, boy? Come on.
Artie West: [West starts backing up from Dadier and calling for help from his gang, but none get involved] Belazi!... Morales!... Stoker!
Gregory W. Miller: [Miller challenges Stoker] You wanna gang fight? You wanna start a rumble? Come on, boy, just make a move.
Artie West: All right, you guys. Bascillo, Rock, move, both!
Richard Dadier: What's the matter, West? You need help? Come on. You're holding the handle of that knife. Come on, you're the leader. You're the tough guy. You can't cut alone, huh, West? You're not so tough without a gang, but you were tough that night in the alley, weren't you? Seven to two. That's about your odds, isn't it?
Artie West: This time you get cut up!
Richard Dadier: Yeah, the gang-up didn't work. You went to the principal withg as story about race prejudice. You couldn't get rid of me that way. Then you started sending those foul letters to my wife. Didn't you? Didn't you, West? End of the line boy!
