Instituions Directed by: Rob Cohen Produced by: Neal H. Moritz Associate Producer: Creighton Bellinger Executive Producer: Doug Claybourne John Pogue Written by: Ken Li (magazine article "Racer X") Gary Scott Thompson Erik Bergquist David Ayer Starring: Vin Diesel Paul Walker Michelle Rodriguez Jordana Brewster Music by: Brian Transeau Cinematography; Ericson Core Editing by: Peter Honess Studio: Original Film Mediastream Film Distributed by: Universal Pictures Release date(s): United States June 18, 2001 United Kingdom September 14, 2001 Australia September 20, 2001 Running time: 100 minutes Country: United States,Germany Language: English Budget: $ 40 million Gross revenue US$207,283,925
If not for its pulse-pounding last act, The Fast and the Furious might be little more than a cheeky, intentionally corny street-racing movie in the vein of '50s and '60s exploitation flicks. But what a finale: Director Rob Cohen lines up not one but three chase scenes, one after another, with only the basest of dialogue and a modicum of exposition needed to set up the fun. Cohen is not above using digital effects to enhance a scene -- even throwing in a point-of-view shot of gasoline being injected into a turbocharger -- but they never get in the way of the unadulterated, metal-on-asphalt stunts. Better yet, he wisely knows when to turn down the score and let the grunts and growls of the machines (and their respective owners) heighten the tension of a particular sequence. For their part, the actors do their best to duck and dodge the script's worst lines, which are so simplistic they occasionally threaten to break into song. The normally irrepressible Vin Diesel seems somewhat damped down here, but even still, he has no problem wresting the picture away from its ostensible lead, Paul Walker. Chosen apparently for his resemblance to Steve McQueen (he even gets his very own Ali MacGraw-like love interest, Jordana Brewster), Walker has the most venerable of exploitationer roles, that of the outsider investigating a "dangerous" subculture. And also in keeping with exploitationer tradition, he's the least interesting thing in the movie Michael Hastings, All Movie Guide Reviews In light of GONE IN SIXTY SECONDS and DRIVEN, a new racing movie emerges, THE FAST AND THE FURIOUS, which dares to show a new life behind cars and the people that love them and their speed the most. Several trucks are being invaded and emptied by an unknown group out for the truck's cargo. This is best depicted in the opening when we see one of the hijackings take place. Three identical, secrenized cars pull up to a diesel at high speeds and surround it for the kill. The diesel's windshields are busted, and one of the members of the mysterious group breaks into the diesel, knocks out the driver, and steals the cargo. Undercover cop, Brian (Paul Walker) must track down the perpetrators and suspects becoming pals with 'Dom' Toretto (Vin Diesel) will help crack the case. Yet, to stay with Dom and his friends, Brian must participate in their illegal racings. Brian's character in the occupation department was slightly unstable in some of the film. Despite his police badge, he was having too much fun with the cars. It wasn't Paul Walker's acting, it was just the writing of his character, Brian. How are we to like Brian and what he likes to do when it's unclear whether he likes being a cop or a street racer? This is one of the few films I see that should be longer. At times the movie had great drama that I think could have been developed further. But, the main priority to achieve in this movie was great action-filled race scenes, and THE FAST AND THE FURIOUS did a marvellous job of doing so. Rachel Vice
Technology Cinemas The multiplex cinema Is upgrading cinema by bringing up ratings since 1984, now some reckon they will be hitting 200 million. The comfort and other aspects has changed (e.g. the seats) over the last 20 years. The locations of the cinema also plays an important part in how new technology Has increased audience knowledge. There are many cinemas in centre city so Younger people can access it but also there has been more out of town cinemas Built which is good for parking etc. Technology Although the cinema is vital, new technology has increased audience knowledge By emails about the latest films, new releases etc. More and more people watch the Television which could show one of the films out Of a saga. Trailers are becoming more common on television as are posters in magazines which adds to the knowledge of the audience.
The film starts with the traditional fanfare which shows who has produced the film. The music in the opening credits is Gangster Rap which links in with the some of the characters of the film. The opening music non digetic has sound FX which gives the effect of speed just like the cars. The title is gold and has a shine on it. This relates to the cars and how they are expensive and are always being shined before a race. The camera shot pans down to a man talking in the phone and the lorry which is full of TV’s which gives the impression of a typical working day. Subtext of something dodgy going on possibly makes the watcher more quizzical. The daytime give the calm atmosphere. When the music increases in pace the action begins. The camera pans down then across as the lorry carries on driving. “ Rodgers” on the trucks gives the watchers more information black cars is a connotation of “bad guys” being very stereotypical the equipment they use shows they are advanced in what they are doing compared to the man in lorries armed with only a baseball bat – (good guy, bad guy scenario) Their covered faces, all in black which is a connotation which adds to the convention of a thriller film of the bad guys. In comparison, the white lorries signifies an innocent person. Night time, lighting of the cars shows secretive nature. The camera shots shows fast movement (MCV) Low angle shot of the car coming out from the lorry which can add to the narrative of these men/woman being very skilful and dangerous. 2.43 – back ground indicates somewhere unknown to people pans round to a construction site, hear trains go past, then to a wide shot. 2.49 changes scene showing slow pan left of the city at night, then to daylight in NYC – adds to the narrative and sets the scene for the watcher. Calm music then changes into a medium pace. Shot of a low angle green car in an abandoned car park. Reflection in windscreen of racetrack then pans to a young guy – this symbolises the determination of wanted to race it. Revs engine, then open view of race track, adding to the determination. Close up of the pedals and his shows (converses) – stereotyping of a young person. Codes/forms and Conventions
Codes/forms and Conventions 2 Quick ½ second shot changes, clutch, hand, gear stick showing he’s ready to go, like most young people are. Wheel spin and smoke adds to pace. Music then increases more, close up of the number plate as he drives away, showing where He is located. Quick shots of him driving shows the pace which adds to the film. Over head shots – left and right. Music stops abruptly when he stops showing its over. Drives away leaving NYC day – slight pan up Slower music, calm – gangster music as such adding to the sub-genre of the film. Drives up the hill gives in the background, desert, beige. Gets out of the car, pan right to a place he is entering, which could be a critical to the narrative. New character – first woman, woman showing her back and her arms, portraying a typical Young woman who possibly know men are looking at her by the way she leans over the desk. A man then is shown through mess with his back turned towards him – this is a connotation That he could be a powerful character.
The comparison of the dated car to the modern gives the watcher more insight into the surrounding area. Against the other car it shows how it’s modern and youthful which adds to the attraction of the audience. The trees and the big house Show the audience its in a rural Area which adds to the narrative, As it could be a crucial place where the action takes place. Annotated pictures
The ripped arms of shirt show he is a working character again but could also show that he is a dominate character as he is showing his muscles. His facial expression show he is a serious character by the way his is frowning and also he is wiping his hands with a towel showing he is a working character By being behind this mesh cage window it shows this character is dangerous making a comparison to a caged animal.
[Brian comes into a restaurant] Mia : Tuna on white. No crust, right? Brian : I don't know. How is it? Mia : Every day for the last three weeks you've been coming in here and you've been asking me how the tuna is. Now, it was crappy yesterday, it was crappy the day before and guess what? It hasn't changed. Brian : I'll have the tuna. Mia : No crust? Brian : No crust. Dialogue this piece of dialogue Shows that this is A regular spot which tells the audience These characters Are important and vital To the narrative. Shows she is a flirt with the way She speaks this line. She knows Her customers well which could Show she is a loyal character. This character is a Bit of tease, showing He is youthful and by Him coming in Everyday shows he is An very determine Character which adds To the narrative.