Agree on foreign films having tropes/plot beats which were locally grown, instead of borrowed from Hollywood.
Time is another dimension you can use to get to different tropes. Lots of old movies don't go quite how you would expect them to, given modern filmmaking plot beats.
Examples:
Rang de Basanti (India) features political corruption which causes the death of a man in a group of tight-knit friends. In revenge, they hatch a plot to assassinate the defense minister. And then they do it, and the second act of the movie takes place and they all die. What a ride!
Duck Soup (1933) is about as far away from a modern comedy as you can get, and it is entirely about sticking your thumb in the eye of the wealthy and powerful. Surprisingly watchable, for such an old film.
Is that still as much of a thing? Maybe I'm over-indexed on comparisons with 1930-1960, but it seems to me that romantic subplots have been in decline--there are quite a lot of recent films that entirely lack such a thing--especially compared to back in the day. The academy's award structure of lead actor/lead actress seems like it was a better fit for days where you had to shoehorn that into everything. To the point that they stuck romance subplots into Marx Brothers movies regardless of if it made any sense. (Which is conclusive proof why Duck Soup is their best film, since the Groucho/Margaret Dumont romance subplot is better integrated into the film.)
I'd be interested in seeing someone do a breakdown of the frequency of romantic subplots in films; I have some guesses as to the possible pattern but this seems like a moment for hard data.
> But are you really going to say they stand up to films made in recent years with a fully mature vocabulary?
Sure! I've seen 19 of the 42 films you counted as being made between 1920-1945, and I'd say the overwhelming majority of those 19 definitely still hold up. Are you seriously telling me Double Indemnity (1944), City Lights (1931), Duck Soup (1933), and Casablanca (1942) are only fit for consumption by film students? If so, I'd say "lucky film students!"
Hacker Cinema
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Agree on foreign films having tropes/plot beats which were locally grown, instead of borrowed from Hollywood.
Time is another dimension you can use to get to different tropes. Lots of old movies don't go quite how you would expect them to, given modern filmmaking plot beats.
Examples:
Rang de Basanti (India) features political corruption which causes the death of a man in a group of tight-knit friends. In revenge, they hatch a plot to assassinate the defense minister. And then they do it, and the second act of the movie takes place and they all die. What a ride!
Duck Soup (1933) is about as far away from a modern comedy as you can get, and it is entirely about sticking your thumb in the eye of the wealthy and powerful. Surprisingly watchable, for such an old film.
Is that still as much of a thing? Maybe I'm over-indexed on comparisons with 1930-1960, but it seems to me that romantic subplots have been in decline--there are quite a lot of recent films that entirely lack such a thing--especially compared to back in the day. The academy's award structure of lead actor/lead actress seems like it was a better fit for days where you had to shoehorn that into everything. To the point that they stuck romance subplots into Marx Brothers movies regardless of if it made any sense. (Which is conclusive proof why Duck Soup is their best film, since the Groucho/Margaret Dumont romance subplot is better integrated into the film.)
I'd be interested in seeing someone do a breakdown of the frequency of romantic subplots in films; I have some guesses as to the possible pattern but this seems like a moment for hard data.
> But are you really going to say they stand up to films made in recent years with a fully mature vocabulary?
Sure! I've seen 19 of the 42 films you counted as being made between 1920-1945, and I'd say the overwhelming majority of those 19 definitely still hold up. Are you seriously telling me Double Indemnity (1944), City Lights (1931), Duck Soup (1933), and Casablanca (1942) are only fit for consumption by film students? If so, I'd say "lucky film students!"