ZEIT is back with another episode.
A fascinating topic called 'Architecture and Cinema' will be discussed today.
It is no secret that art direction is crucial to the success of a film.
It is the setting of a particular scene that enhances the dialogue and actions of the characters in a movie.
During today's post, we'll take a look at some examples of films in which space and architecture are very effectively used to convey storylines. Examples will include regional, such as Malayalam, national, and international films where architectural design plays a prominent role. Share in the comments more films you think are appropriate for this topic.
Without further ado, let's begin.
Manichithrathazhu
The movie was primarily shot in three locations - Hill Palace in Kochi, the Padmanabhaburam Palace near Thiruvananthapuram, and film producer SS Vasan’s house in Chennai.
Even though the single-line narrative of the movie began from the concept of 'Chathaneru', a phenomenon of stone pelting that existed in the olden days in Kerala
the story in itself was inspired by another architectural edifice named Alumootil Meda - an ancient 'Tharavadu' (traditional house) located at Muttom on the Nangiarkulangara-Mavelikkara road.
The brutal murder of the 'Karanavar', the head of the family, and a servant girl that happened in this house became the initial thread for writer Madhu Muttom to create characters of Shankaran Thampi and Nagavalli. Some would even say that the room where the murders took place would remind visitors of its similarities with the scenes in 'Manichithrathazhu'.
It was at producer SS Vasan’s house in Chennai that director Fazil finally found those two adjacent rooms where Shankaran Thampi and Nagavalli lived.
The art department has done a fantastic job in creating the eerie ambiance of those rooms with old paintings of Nagavalli and Shankaran Thampi, ancient artifacts covered with cobwebs, old musical instruments, and traditional wooden furniture pieces.
Most of the outdoor and majority of indoor scenes were shot in the Hill palace with the exemption of climax and the song 'Oru Murai Vanthparthaya'.. which was shot in Padmanabhapuram palace.
The movie is indeed one of the all-time classics of Malayalam cinema. The art and music of the movie still very much connect with the audience but one of the most underrated aspects of the movie is the magnificent locations in which the masterpiece storyline became a reality. For the sheer architectural marvel, those structures are, I believe they deserve their due recognition as well.
Home
In this movie, 80% of the story happens in the setting of a home.
The director says in one of his interviews how he ended up selecting this particular house as his location for the shoot. He wanted an open house plan where the characters of the movie can interact with each other without closed or claustrophobic spaces, making it an inviting space for the audience to be in. The dining area is the space where most of the families have their prime-time discussions on topics on and around the globe. It's no different in 'Home'.
The director skillfully uses the space for showing the emotional connection each character has with each other.
The 'A frame' structure on the upper level serves as a perfect setting for a character like Antony played by Sreenath Bhasi an architect turned filmmaker trying to find a spark for his next script. The roof garden, the bright colors, and the lush green outdoors all add to the homeliness of the place. Home is a fantasy cum feel-good film and both these aspects are perfectly captured by the house and its premises.
Bahubali
The grandeur depicted in every scene of Bahubali captivates viewers.
A design as unique as Mahishmati is beyond anything we have seen.
Unlike any intricate details we usually see in ancient structures, it is breathtakingly beautiful.
All the structures of all kingdoms shown are of exquisite beauty and well-guarded.
In terms of rituals, war strategies, and attire, Bahubali draws inspiration from the Indian Ithihasas and Puranas. While it is difficult to capture everything about ancient life in a movie, this attempt has been significant. We would find it interesting and relevant, at this point, to understand the design of cities, governance structures, and security measures outlined in our Ithihasa and Purana. The inspiration from cities from our mythologies like Ayodhya, Dwaraka, Indraprastha, etc are evident in the production design. As far as incorporating Indian architecture in movies is concerned, we can say without any doubt that the Bahubali series has taken the bar to the next level.
Jodha Akbar
The astounding re-imaginings of what Akbar-period sites such as Agra's Red Fort or Fatehpur Sikri might have looked like after being fully outfitted and occupied will surely delight anyone who has visited such sites.
For the film, palaces and forts were reportedly replicated in Mumbai to give the film a sense of the place and period.
The film which reportedly cost $10 million, is arguably one of the most spectacular films India has made.
Nitin Desai who had done the set design for the film did a phenomenal job of recreating the interiors of the Amer fort.
He also created an exact replica of the Agra fort, along with Deewan-i-Aam, Deewan-i-Khas, Jodha mahal, and the fully landscaped Mughal gardens.
A set that measured 1600ftx600ftx68ft was as huge as a seven-floor building. The materials used were concrete, fiber, asbestos sheets, scaffolding, and pipes to create the whole structure. About his work, Nitin says-'Its like creating a real city, where you can come and visit. In terms of subject matter, JODHAA AKBAR is more atmospheric in nature, with breathtaking cinematography.
Inception
To plant a seed of an idea deep within someone's mind, the protagonist and his team use dream as a vehicle and architecture as the medium to reach their desired goal.
The dreamscape designed by these architects for every level of the heist changes with each level and becomes complex as they move forward with their plan. These puzzles created with architectural built environments within their dreams become hideouts for them from the threats projected by the subconscious mind. The higher the complexity of the built environment, the longer can they hide from the projections.
In its first introduction to the world, Inception was advertised as a film “set within the Architecture of the mind.”
The film spends its time dealing with (and manipulating) Architecture; notably, the city folding onto itself, the meticulous designing and construction of different spaces, and so on.
The film even features an “Architect” character. Ariadne (Ellen Page) is a graduate student recruited by Cobb (Leonardo DiCaprio) who is responsible for designing complex spaces. In a literal sense, Christopher Nolan puts the power of the film in the Architect’s hand; like a screenwriter, an Architect is responsible for the initial blueprint and structure.
Christopher Nolan has stated that he was inspired by the works of Dutch graphic artist M. C. Escher, who designed “impossible objects” and optical illusions. In a sequence that features the Penrose Steps, he explores the concept of Paradoxical Architecture.
The Penrose Steps, also known as the impossible staircase, was originally conceived by Lionel Penrose and his son Roger Penrose in 1958. The Penrose Steps are a two-dimensional depiction of a staircase that forms a continuous loop. It’s an Architectural concept that can exist in 2D, but not 3D. In the film, Arthur (Joseph Gordon-Levitt) introduces Ariadne to the concept of the Penrose Steps and explains that she must create "tricks" within the Architecture that she designs for the dream world.
Christopher Nolan’s deep interest in Architecture is well known, but it’s his
2010 film, Inception, is his most Architectural film.
Squid Game
The art director Chae Kyung-sun designed each of the sets with layered metaphors. The design of the dorm was developed from a warehouse store concept where people are stacked like objects on one another. Staircases were inspired by M.C. Escher’s famous Relativity lithograph. The first arena and the doll are both designed to make the players feel small and literally childlike, a theme that continues throughout Squid Game’s other arenas. The waiting area for contestants before Games 3 and 4 is notable for its complete absence of color. This gleaming white hall looks like it could have been designed by a well-known Starchitect, its curving walls and cool lighting echoing the interiors of Zaha Hadid’s Heydar Aliyev Center or Santiago Calatrava’s World Trade Center PATH Station.
The tug of the war room, the alleyway or marble village, and the glass bridge all account for an immersive experience as if the audience themselves are moving through those spaces. Squid Game forms a compelling case study of how architecture can be designed to elicit a wide range of emotions, from nostalgia and joy to unease and terror.
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