The eponymous character in the play/film is Ma Rainey herself. But is she the protagonist? Using examples from the film adaptation (specific performances, the way scenes are shot, the narrative structure, etc.) write about which character you think is the main character. Whose story is this?
FILM CRITIQUE GENERAL GUIDELINES
You will write eight critical responses to film adaptations this semester. Your responses
should be brief, 1-2 pages in length, but detailed and thorough.
Writing a successful critique means going beyond simply deciding whether the film
adaptation was “good” or “bad”. Value judgments like “it was great” are impossible to
support with any real evidence. Instead, carefully consider the effectiveness of the film
adaptation, and how the creative choices made by the director, actors, and designers inform
your understanding of the play. You may begin by simply asking yourself your general
emotional response to the film (I loved it, I only liked certain aspects of it, I thought it would
never end…) but that is merely scratching the surface. Your task is to determine critically and
then articulate intellectually why you believe the film succeeds or fails in its adaptation of the
play you read.
Justification of your opinions is key. There is no “right” or “wrong” response to a work of
art. However, if your perspective lacks justification your opinions will lack validity. Stating
“this film was effective because the acting was good” will not suffice. Why was the acting
good, and what do you mean by “good”? Explain and use examples.
Example:
Incomplete:
Among the cast, performance styles varied. Meryl Streep’s interpretation of Mother
Courage also appeared inordinately funny.
Complete:
Among the cast, performance styles varied; rather than fragmenting the production,
however, this collage of techniques complemented the evocative and eclectic setting
and highlighted the way that Kushner’s script spoke across specific historical
moments. Meryl Streep’s interpretation of Mother Courage also appeared inordinately
funny, thereby turning preconceived notions of the tragic character on their head
and allowing the contemporary audience to see the play with fresh eyes.
(Excerpt from Theatre Journal 2007).
The non-underlined portions merely state the author’s observations. The underlined
portions explain and justify why these observations matter.
