In Napoleon Dynamite (Jared Hess, 2004), the character known as Napoleon Dynamite (Jon Heder) is quite a unique fellow. His quirkiness and eccentricity are what make him as a character; they are the primary traits of his personality. Keep in mind, however, that he is not the only odd character in the film, but he has his own peerless way of defining himself separate from any other character (s).
This effect is achieved through certain cinematic techniques that director Jared Hess utilizes in order to bring out Napoleon’s persona in ways other than simply “guessing” who he really is. Rather, these techniques “explicitly imply” certain character traits; they are like clues that allow one to see the character just as the creator intended. Through mise-en-scene, sound, and acting and performance, Napoleon Dynamite emphasizes and comments on the character of Napoleon, defining his physical and social nature.
Part of Napoleon Dynamite’s character is defined through mise-en-scene. His costuming throughout the movie is very indicative of who he is; he is almost always seen wearing out of date clothing, usually from the 80 s. He wears very drab colors, except for when his shirt sports a vivid design. His mismatched, corny, and awkward clothing are synonymous with his personality. On the other end of the spectrum, he wears a gauche-colored yet slick-looking suit to the dance. This is fitting due to the fact that he thinks he is suave for having a hot date, yet he is still “gauche” according to his date and the rest of the school.
The Essay on Napoleon on Elba
In 1801 Jacques-Louis David brought the world a painting called Bonaparte Crossing the Great Saint Bernard Pass. Thirty three years before in 1768 John Singleton Copley brought us a work called simply Paul Revere. Both paintings are classics and the subjects of each painting are interchangeable. Two different lives, two different continents, at two different stages of their lives. Yet, Bonaparte ...
Another element of mise-en-scene that helps define Napoleon’s personality is his physical setting. The town that he lives in is uneventful, repetitive, and simple, all characteristic of his persona. The high school, his neighborhood, the open fields and pastures; all of them emanate one distinct word that uncannily matches Napoleon’s temperament: boring. This is not to say that he is boring per se; Hess gives him words and actions that call for sidesplitting laughter. His demeanor as a whole, however, is as dull as stone. His not so subtle, lack-luster voice and uninterested facial expression gives an efficient comedic effect, but would be considered dreary and mind-numbing in any real life situation.
More on his acting and performance will be discussed later; there are other elements, such as sound in the film, that emphasize and comment on Napoleon Dynamite’s character. Sound in Napoleon Dynamite plays a vital role in defining characters, particularly Napoleon’s. Additionally, considerable portion of the significant sound in the film occurs in the music. The most blatant effect of the music is the cheesy MIDI arrangements. These outdated compositions portray the tackiness of Napoleon; he and the music are clearly out of style. One of the crudest examples of this is when Napoleon buys his suit; the muzak in the background is as unbearably corny as Napoleon’s taste in clothing.
Albeit music is a fundamental factor in Napoleon Dynamite, it is not the only element of sound that is relevant. The sound effects in the film also give clues as to what kind of person Napoleon really is. One supporting example is when he is eating “tots” in the middle of class. The unnecessarily loud crunching noise portrays his manifest lack of craftiness and style. There was one audio technique, however, that was extremely puzzling. In every scene inside a house, there is a very subtle background of birds chirping.
This emphasizes the fact that Napoleon lives a rural community, rather than a busy suburb or city setting. This sound is extremely understated, however, and is obviously intended to be a subconscious feature to the viewer (Note: I listened to the movie with headphones, so I heard more detail).
Napoleon uses some of his own characteristic sounds in the film to facilitate who he is. As a matter of fact, the first sound he makes in the movie is long, depressed sigh when he sees the school bus approaching. This portrays his pessimism towards life and his general despondency. Additionally, his next line is a very frustrated one, saying, “Whatever I feel like I want to do.
The Essay on Film Music Critique
Action, suspense, love, and drama are all the makings for a great film. None of these key features to a film could have any substance or feeling without the help of music. Composers play a big role for setting the tone of the movie, developing characters, moving along or supporting action, and depicting the time and place the movie is taking place. In the movie Heat, Elliot Goldenthal does just ...
Gosh!” Since this is his first true line, it gives the impression that he is very perturbed in life and gets agitated easily. The most significant characteristic of Napoleon’s voice, however, is its monotony. This attribute explicitly demonstrates his boredom with life and his lack-luster personality. While sound is a noteworthy part of Napoleon’s character, there are some other very important traits that define his personality as well. Napoleon is a nerd; there is no doubt about it. Several aspects of his character support this argument nicely.
The first example in the film is when Napoleon gives his current event. The subject of ridicule and laughter, he gives his spastic presentation about the Loch Ness monster, local wizards, and protective spells. Several other events also signify his inkiness. When he is working on the farm, he asks the farmer (who is obviously uneducated) if the “chickens have large talons.” He asks in such a dorky way, however, that the farmer is bewildered, and does not understand a word he said.
He obviously is not popular, either, which is evident by the fact that every time he plays tetherball, he plays by himself, even when he asks people to play with him (Summer), they decline. Not only is Napoleon Dynamite a loser, but also he is weak as a person. He gets bullied consistently, and doesn’t do anything about it. He gets harassed after gym class, pushed into lockers, and is put in headlocks by bigger, brawnier guys on a regular basis. Rather than defend himself or fight back in any way, he resorts to a weak, shameful solution: calling Kip to come pick him up from school. This not only shows his weakness as a person, but his immaturity as well, considering that high school students typically do not resort to this sort of behavior; it is normally reserved for younger children.
He is a figure of mockery to nearly everyone at school, his uncle Rico, even his own brother Kip. Albeit he hardly tries to defend himself, he does attempt to make up for it by trying to look cool, but in extremely ineffective ways. The initial instance of this phenomenon of Napoleon’s is when he first meets Pedro. He brags that a gang at his school wanted him to join (specifically for his “bow staff skills”), which is almost certainly not true. Also, he tells Don a ridiculous, overly exaggerated story when he went to Alaska the previous summer.
The Essay on High School and Peter
1.In his senior year of high school Peter Martin was sixteen. He was built like a rock, but no one noticed him in his school until the day of the first football game. When he scored three long-running touch downs. At the high school dance Peter was very excited to be going. He had never been to a high school dance before because he didn’t really have any friends. After the game Peter felt good ...
He claims that he went wolverine hunting with his uncle, and “shot like fifty of em.” Either there is an entire flip side to Napoleon’s character that is never revealed, or he is embellishing a story that may not even exist in the first place. The latter seems like a much more reasonable conclusion. Not only does he fail to seem cool to the people at school, but he does not exactly have the best skills in picking up women. In more blunt words, he is just not very smooth. One example of this is when he talks to Deb in the cafeteria, and uses the corny pickup line, “I see you ” re drinking 1% [milk], is that ’cause you think you ” re fat? “Cause you ” re not, you could be drinking whole if you wanted to.” Also, when he tells Deb that he has her stuff, Napoleon also boasts that his “num chucks” are in his locker. One more instance of his futile attempt to be popular with the opposite sex occurs when he asks Trisha to the dance.
While his intentions are good, his drawing skills are less than that. He draws a portrait of Trisha and gives it to her; a portrait that is comparable to that of a five year old. Trisha, initially with an excited expression on her face, is disgusted by this “insult”, but is forced by her mother to attend the dance with Napoleon nonetheless. Now that he has a hot date to the dance, he gets extremely proud of himself.
When Pedro asks who he was talking to on the telephone, he responds proudly, “My woman I’m taking to the dance.” At this point, it seems like there is no possible way that Napoleon can seem cool. When he is shopping at a thrift store, he buys a video entitled “D-Qwon’s Dance Grooves”, and one cannot help but predict disaster. Near the end of the film, Napoleon shows off his moves in front of the entire student body of Preston High School following Pedro’s presidential speech. Immediately following the routine, the whole audience is dead silent.
Napoleon Bloom 2001
Napoleon 1 NAPOLEON " RABULIONE" Napoleon 2 Abstract Napoleon Bonaparte was and still is one of France's most revered heroes. Though born a Corsican in 1769, he journeyed to France for schooling at the age of nine. After an interesting and quiet childhood Napoleon joined the French artillery at the age of sixteen. Through hard work, bravery, political connections and being born during a turbulent ...
Then, an unexpected uproar emanates from the crowd, praising Napoleon for the first time in his life. This signals a change in the way that Napoleon Dynamite acts and is looked upon. In the film Napoleon Dynamite, director Jared Hess uses techniques such as mise-en-scene, sound, and acting and performance to define who the character Napoleon is. This is very effective in that it provides a broad range of ways to get to know the character, rather than only through acting. These techniques aid to emphasize Napoleon’s quirky personality.
Napoleon is seen as a dorky, awkward kid in high school, who obviously still has a lot of growing up to do. His pessimism and impatience with life in general are also apparent, especially through his acting and sounds. Napoleon Dynamite is defined in many ways, by his costumes, the cheesy muzak, his “skills”, and even by the ever-frequent motif: “.”.
