The movie “East of Eden” was directed by Elia Kazan, in 1955. The movie compares to the biblical story of Abel and Cain.  Callahan says the movie is still time classic, despite being made in 1955 (John 18). This is because of the techniques, themes, and narrative of the movie. The movie is based on John Steinbeck's narrative that bears the same name. The novel writer was the winner of Nobel Prize for Literature. In addition, in 1956, the film also won the Academy Award, as well, as several other celebrated awards for movies (Terry). The movie is a restate of Abel and Cain account from the Bible. In the Bible story, Abel was killed by Cain who was his brother. This was because Abel got a favor from God. A few references were made in the show, in relation, to the Bible. For example, Adam was dedicated to the Bible. In addition, Cal informed Kate that he and his brother Aaron got their names from the Bible. Cal said that he is not his brother’s keeper. This he told Adam after he had taken Aaron to their mother. Moreover, the title of the movie "East of Eden” is where God had sent Cain following the murder of Abel.

The focal theme of the movie "East of Eden", just like the chronicle of Abel and Cain, is the fight between good and evil, and how a person can decide to be good instead of being wicked. Aaron was all good, at first. Following Adam, Cal saw himself as everything bad. This was the same for Kate their mother. Cal lastly got the love and acceptance and love at the end of the movie. This is what Cal desired from Abra and his father, so as to develop into the personality he was admired and turn good (John 22).

Narrative

Love and support that children need from their parents is another theme of the movie. The love and support are required as they grow and mature into parenthood. Cal felt abandoned and alone in the world. This is the reason as to why Cal went against many people around him. This is what ultimately caused the destruction of Aaron. Cal was the popular kid who just wanted his father's affection. It is only Abra that understood Cal, and she enthusiastic to help him. She had gentleness in her care for him. This is what finally healed Cal’s scars. A source of "bad" in the three men's lives was Kate (Callahan). Kate left poignant scars in the hearts of the three men. The emotional scar destroyed Aaron's life, future and dreams. Despite this, in Kate’s mind, she defended her desertion of her children and husband. Kate could not make up her past even if she wanted to correct her deeds. Abra and Cal kissed, at the finish of the movie. This happened Cal pushed a chair besides Adam's bed. There was a creation of a feeling that all was going to end well. This is the moment one realizes that this is a 1955 movie. Cal and Abra felt rejoiced together, and Cal did not have to go to the "East of Eden" as Cain did.

The Gilda (1946) movie is a black-and-white film noir. The movie is starred by Rita Hayworth and Glenn Ford and directed by Charles Vidor. Dialogue has been used in the movie to asset female sexuality. This has been done by use of Gilda’s sharpness. In the 40’s and 50’s, the femme fetale model featured significantly in the classical genre of film noir. The lethal woman was the ‘love interest’ of the hero whose sexuality and beauty bestowed the authority over the male characters. This appended in most case and led to a dodgy end. Rita Hayworth, the eponymous female protagonist, in Gilda (1946), uses her sexuality and alluring looks for revenge. Hayworth flirts and dances publicly with other men. This is to make Glenn Ford or Johnny envious. Gilda’s sexuality provides her enormous authority that is capable of affecting the male characters actions. Nonetheless, Gilda shows that she uses her look, instead of her physical or intellect power. Gilda is subjugated by male characters that bodily reprimand her. In film noir, the femme fetale’s influence is signified as precarious. This is broken at the end of the movie, through death or repentance. At the finale of Gilda, her sexuality display is explained by another play writer as an act. This is indicated by Gilda’s revisit to her innocent form. In addition, this is symbolized by her change of rebuff of sexuality and clothing.

The classical movie describes the female characters as the feat, love, or one that inspires the hero. The woman makes the male acts the way he does, and this indicates the significance of the woman in the movie. The movie is entitled Gilda, and the significance is how the female causes the male to act. Johnny marries Gilda for revenge, while Ballin is seen faking his death because of Gilda’s cheating. In addition, Mulvey shows how the classical movie narrative structure is controlled by the male hero (Laura). The male protagonists act actively in the narrative; while, the female are given passive roles, as a result. In the first scene, Johnny is presented as the hero. This sets the voice-over narration, and narrative goal, that is presented. This is in contrast, to the little information that is given on Gilda. Gilda is introduced simply as Ballin’s wife. She is further described as Ballin’s property. However, Gilda shows her influence by her sexual displays. She performs a strip taunt and character qualities like flicking her hair. Conversely, these traits purpose to show Gilda as an entity of Mulvey’s male stare (Laura). Gilda’s body is objectified by close-ups, fragmentation, and clothing. These are presented from the point-of-view of male characters.

In addition, in the modern movies, the femme fetale is interpreted, as the sex goddess (D'Ambra). Gilda puts on characteristically feminine clothing that lacks the physical power. This indicates that women who act and look feminine lack power and are submissive. Therefore, for women to gain control, they have to rebuff the womanly behaviors and figuratively develop into male by characterization and costume. The movies have been intersected with the female superheroes by the manifestation of sexuality, pleasure, and technology (Dyer 20). The female characters in modern films are sexualized and can become heroes. In the movies, the female characters, wears dark, revealing, and tight costumes that indicate dangerous sexuality. The power and success of women in the movies depends on their manifestation. The women characters seize sex appeal to achieve their physical power (D'Ambra).

The East of Eden movie is presented with weighty themes, big, bright "WarnerColor" images, big moviemaking, CinemaScope shots, and solid performances. The style of performance that is brought out by the director by the role Cal plays is also significant.  In addition, the performances are brought out well by the wild camera angles. This is done by the rope swing scene the Ferris wheel scene. The scenes make the movie more attractive and exciting. The screens introduce the characters by use of techniques in a unique way (). The director developed the movie by translating and capturing the character’s performances effectively in the widescreen format. In addition, this is done by creative use of CinemaScope that brings out the film artistic distinction.

Cinematography

Stylistic tricks have been used by Elia Kazan's who is the director of the movie. This is by use of technical skills like use of fluctuating pans to prolong a sense of movement in theatrical scene, strategy of canting the camera so as to alter angles, horizontal pans, experiments with soft focal point lenses, and bizarrely temperamental lighting effects. These techniques are used by the director through his camera to convoy his actors' performances (Terry). This imaginatively and effectively enhances the work of director. Moreover, the director used the visual feeling of incessant movement as he continually redirects the audience’s concentration to the suitable part of the screen. This is done by maximizing the theatrical reward of the gigantic area. The resultant effect is the intensification of the film's figurative motifs by the assignment and shifting the visually tinted contexts.

To conclude, the translation to a large screen of East of Eden movie needed a visual comparable to the acting method that was used by Actors Studio. The actors adapted to the cinematography of the movie. This is by the camera, and visual style of the movie that reflects the psychosomatic aspects of the actors that are under examination. The interspersed in the movie are long. They are like dramatic scenes, and this indicates the experience of the director in the stage. In effect, this provides the movie with the thematic unity of the ideas that are raised and later resulted to aggressive confrontations. The scenes also indicate an invariable sense of movement that is articulated by the use of settings like swing or Ferris wheel. Further consistency is provided by the movie’s foretaste of the troubles of California's migrant inhabitants (Laura). This is a subject that is close to the director’s heart.