Robert Rodriguez Film Once Upon a Time in Mexico This is a structural review.

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The film I chose for analysis is Once Upon a Time in Mexico. I viewed this film on November 17, 2003 at the Channel Islands Theater in Oxnard. The structural effect I am critiquing is the dynamic editing effect. This film is full of very fast paced action scenes throughout the entire film. To really understand and keep up, one must have a good analytical mind because there are several story lines that blend in together at the end.

Robert Rodriguez has impressed me so much that I must comment on him. He is an amazing and talented man. He was not only the director this film, he was also the writer, producer and editor plus the credit state he chopped, shot and scored Once Upon a Time in Mexico. He personally operated the video camera and the new Sony 24-fps digital Hi-Def camera, so he knew the precise effect he was searching for. Before shooting the scenes he storyboards some of them in a cartoon fashion, then shoots them on video before filming the actual scenes. He implements the most up-to-date technology in his films. In Once Upon a Time in Mexico, he used the Sony digital hi-Def technology camera compositions that include great facial close-ups, making landscapes of the faces and the classical western shoot-outs. His action sequences create humor and are also a salute to the old Sergio Leone westerns. This film included Dolby digital, Sony digital dynamic sound and Dolby stereo. He made violence in the film choreographic. The Rodriguez epic is more fascinated in the moment, in great shots, in surprises and ironic reversals and close-ups of sweaty faces then in a rational story. The film feeds on the music of heroism and sorrow. This story is in bold, vivid colors. He goes for sensational kills. I am very impressed with his technical skill and creative energy. Rodriguez is the one-man band of modern-day filmmakers, creating his films not quite by himself, but nearly.

The synopsis of the mythic guitar-slinging hero, El Mariachi (Antonio Banderas) continues in Robert Rodriguez's courageous, non-stop action epic Once Upon a Time in Mexico. The new quest is set against the surroundings of revolution and greed. Haunted and scarred by death, El Mariachi has retreated into an existence of isolation. He is forced out of hiding by Sands (Johnny Depp), a corrupt CIA agent. Sands recruits the reclusive hero to sabotage a scheme by the malicious cartel boss Barillo (Willem Dafoe), who is planning to assassinate El Presidente (Petro Armendariz) of Mexico. El Mariachi has his own reasons for returning - reckoning and revenge. Now, together with his competent partners Lorenzo (Enrique Iglesias) and Fideo (Marco Leonardi) the legend of El Mariachi attains new levels of excitement and adventure. Within the saga, other story lines persists, CIA agent Sands (Johnny Depp) sends Cucuy (Danny Trejo, the henchman for Sands) to shadow and keep tabs on El Mariachi. Sands also convinces Jorge Ramirez (Ruben Blades, retired-FBI, who has old grudge to settle with Barrillo) to come out of retirement and exterminate Barrillo and Dr. Guevera (Miguel Couturier, personal Dr. to Barrillo, who killed Jorge's partner a long time ago), who brutally tortured and killed Ramirez' FBI partner.

The scene under analysis is the soundless battle scene, which takes place in a church. There is a huge fight in the church but all the weapons have silencers. You see being killed without a sound. Then at the conclusion El Mariachi brings out his gun and it does not have a silencer, the sound is even louder. It vibrates and echoes thoughout the church. In the frame reference in the lower foreground there is several gunman entering the church. In the middle ground you have the main isle leading towards the altar. The center upper ground is the confessional (which El Mariachi is in) and in a distance is the altar (the altar is not being focused on). Both the left and right side of the frame is the pews, also with henchmen coming in from the sides. The altar is not...
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