Alan Parker’s “Evita” is a 1996 film that retells the 1970’s musical of the same name, by Robert Stigwood, Andrew Lloyd Webber, and Tim Rice. In this Rock-opera Parker uses cinematography and movie making techniques to add definition and accuracy to a the original musical of Evita, giving Perón a still exaggerated, but more accurate representation. I will convey how Parker creates unspoken emotions and ambitions for Perón through his direction of the film, and how these emotions and ambitions correlate with the last work of Evita Perón In My Own Words.
Cinematography plays on the idiom “A picture is worth a thousand words” and extends it, for the change of one picture (or frame) to another, tells a story of what has changed in between. This…show more content… the defacement of the painting illustrates that the her image is in question, in addition, the statute reflects her image as a woman running for vice president of Argentina, after she declines this reflection of her is broken by the masses and shown symbolically by the breaking of the statue. In both films, the climax highest during the collapse of the wall, and the collapse of Perón’s political image.
Although Parker could not tell the story in a completely historical way because he was following the script of the musical play, he used film-making techniques alongside the the musical script to paint a clear picture. Parker was able to convey a picture of Evita Perón to the Western public in a way that connects to the viewer. Both The Wall and Evita share pop icons as there main characters. Furthermore, in addition to Madonna playing Evita, Perón was in herself a cultural icon. Both Both The Wall and Evita are based on theater and performing arts, and bother are based on social revolutions, with visualization of the masses. These visualizations are similar in the single file marching, homogeneous clothing, and the follower aspect of large groups. The similarities of these two films by Alan Parker can be used to show how Parker treats certain emotional aspects of a plot line, saturating the emotionally valuable aspects of a
