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365days365movies · 3 years

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February 23, 2021: His Girl Friday (Part 2)

Gotta say, I’m loving this movie...but FUCK Walter, holy...

I, uh...I was going to look up a GIF of Walter from Sleepless in Seattle to bring up a point...but then I found this GIF of a gerenuk eating popcorn, and I HAD to use it Because, I mean...look at that shit. That shit’s gold. Also helps that I love gerenuks.

And yet these are the only two GIFs of gerenuks on here? C’mon guys, get on this. They have the longest neck of any antelope species, they’re like stretchy impala, man! AM I ALONE ON THIS? HAVE YOU SEEN THEM EATING???

...Wait...OH RIGHT MOVIE. Sorry...I like gerenuks. ON WITH THE RECAP (Part 1 right here)!

Recap (2/2)

After escorting Mollie out of the room and scolding the men for their conduct, Hildy gets a call notifying her that Bruce was arrested for stealing a watch. Uh oh; looks like we know what Walter told the short guy to do. GODDAMN, WALTER IS A DICK. I get why Hildy divorced him.

Hildy goes down to the jail and convinces the jailer to release Bruce. As they head home in a car, Bruce realizes that his wallet has been stolen, as well as other things from his pockets. Yeah, wow, so Walter’s an absolute asshole...and I’m starting to wonder whether or not Hildy and him are getting back together after all. GODDAMN, I hope not. Because he literally had a dude steal all of Bruce’s shit, JUST to keep Hildy there. Absolute asshole.

Meanwhile, the journalists read Hildy’s article, noting how good it is. And it is good, but it also obviously feels pretty goddamn manipulative, which is accurate. Again, I get why Hildy wants to leave the profession. Hildy returns as the put odds on how long her marriage will last, and calls Walter on the phone.

She says the following to him:

Now, get this, you double-crossing chimpanzee: There ain't going to be any interview and there ain't going to be any story. And that certified check of yours is leaving with me in twenty minutes. I wouldn't cover the burning of Rome for you if they were just lighting it up. If I ever lay my two eyes on you again, I'm gonna walk right up to you and hammer on that monkeyed skull of yours 'til it rings like a Chinese gong!

...HOLY SHIT. That was fucking GLORIOUS. She hangs up and storms out, understandably enraged, and bids her farewell to the newspaper business. Meanwhile, Earl’s being interviewed by a psychiatrist in a prison across the street. He’s tired, but they still have more questions for him, despite the fact that he’s being executed the following morning. He once again states that he’s innocent.

Hildy says a finally poetic farewell to her fellow journalists, and then BANGBANGBANGBANGBANGBANG!!! From across the streets, gunshots ring out and an alarm bell goes off! It’s a jailbreak, and Earl Williams has escaped! With some quick edits, the boys make their calls, and Hildy calls Walter, letting him know that she’s on the job! JUST WHEN YOU THINK YOU’RE OUT

As the journalists (and Hildy) are in pursuit, we quickly learn what’s going on through the reporters on the phone, as well as through a call from Hildy to Walter. She demands more money from him, as she had to spend Walter’s money to bribe the info out of a cop. In exchange, she gives him the scoop.

The doctor was getting Earl to re-enact the incident, but to do that, they needed a gun. So Sherriff Peter B. Hartwell (Gene Lockhart), a bumbling idiot of a sheriff who’s been appearing sparsely throughout the film, gave him the gun. Earl took the gun, and Earl SHOT the gun at the doctor, who will survive.

With that, Hildy’s about to get off the phone and leave in a cab with Bruce. In response to that, Walter sends a woman, Evangeline (Marion Martin) to “handle” Bruce, and I assume he’s getting her to seduce him. HE. IS. A. DICK. He also sends the short guy with the hat, Diamond Louie Paluso (Abner Biberman) over to give Hildy the money in counterfeit bills. GOD I FUCKIN’ HATE WALTER

Bruce calls Hildy once again as she’s about to leave. He’s been arrested. AGAIN. Evangeline’s in the background, and he explains that he’s been arrested for “mashing”. What’s mashing? Well, according to the post-gazette, it’s public sexual harassment. Apparently, in Omaha, you could be charged $5 for calling a woman a “chicken”, $10 for “honey-bunch”, $15 for “turtle-dove”, and $20 for “baby doll”. I mean...bring that back? I genuinely want somebody to go on Judge Judy to contest a $50 fine for catcalling someone on the street, BRING THIS SHIT BACK

Unfortunately, Hildy doesn’t have money to bail Bruce out this time, and needs to get it from Louie first. She leaves, and the Mayor (Clarence Kolb) arrives with the sheriff to talk with the journalists. The journalists basically tell each of them that they’re idiots, and leaves them behind. And as the two talk to each other, another man, Joe Pettibone (Billy Gilbert) comes in with a reprieve for Earl from the governor.

However, nobody else knows about this, and the sheriff’s men find Earl at that moment. They decide to go through with it, and tell Pettibone to claim that he got last as they tell the Sheriff’s men to shoot to kill.

Diamond Joe shows up with the counterfeit money, and Hildy tries to get him to confess his crimes to the cops. He leaves in a rush, leaving Hildy alone...until Earl shows up with a gun. And he’s NOT happy. He holds her at gunpoint, telling her not to try anything. All he wants is to be left alone.

Hildy manages to get ahold of the gun, and Earl gives up without any struggle. Hildy calls both Bruce and Walter to tell them the news, and that’s when Mollie shows up unexpectedly. She genuinely does seem to care for him, and Hildy ends up letting her in. And JUST THEN, some of the other journalists come in Hildy hides Earl in a desk, and Mollie fakes a fainting fit.

And THEN, just as Hildy’s trying to hide Earl from the curious journalists, Bruce’s mother Mrs. Baldwin (Alma Kruger) shows up, angry at Hildy for giving Bruce the run-around, and more than happy to have their engagement called off. However, she also reveals that Hildy told Bruce at Earl was there, riling up the reporters, and ollie distracts them by telling them she knows his whereabouts, then JUMPS OUT OF THE FUCKING WINDOW, but she LIVES, and then WALTER shows up, and

...Ow. OW. OK, where was I?

Right, Walter uses Louie to get Mrs. Baldwin out of there, while Earl is still in the desk. Hildy tries to go save both Mrs. Baldwain and Bruce, only for Walter, ASSHOLE that he is, schmoozes Hildy into going along with him, rather than taking care of Bruce. Goddamn it, Hildy.

Walter calls the paper to tell them to scrap the front page for the story that the newspaper has caught Earl Williams, which is technically true. Bruce shows up, having been bailed out, and is understandably frustrated. Fact of the matter is, Hildy’s kind of all but abandoned him for the story, and he wants to know if she ever ACTUALLY loved him. And honestly...this is NOT how I saw this going down.

He leaves, telling Hildy that he’s going off on the 9:00 train. However, Hildy, now completely lost in the story, doesn’t really hear anything Bruce is saying, and it’s weirdly tragic to me. And when Hildy asks where Bruce went, Walter says that he’ll be back. I...FUCKINHATEWALTER.

Hildy realizes this too late, of course, and that’s when Louie arrives, fresh out of a car accident, in which he and Mrs. Baldwin was involved. There’s a possibility that she’s died, putting YET ANOTHER thing on Walter’s shoulders. He’s genuinely a piece of shit, by God.

And as Hildy’s going to try and find Mrs. Baldwin, THAT is when the sheriff and the other journalists show up, all suspecting that Hildy knows where Earl is. Ever the disgusting shyster, he tries to con the men to carry the desk with Earl in it out f the building, which is something he’d been trying to do to keep the scoop in his grimy hands.

AND THEN, MRS. BALDWIN SHOWS UP. She accuses Walter, rightfully, as having her kidnapped, and he tries to con his way out of the situation once more, while Hildy’s trying to make amends all the while. Cornered and accused, he bangs on Earl’s desk three times to emphasize his point. And, uh...then Earl bangs back.

Jig’s up.

The capture leads to all of the journalists calling the main office, making stories about the capture all the way. They leave, and the mayor and sheriff remain with Hildy and Walter, and the two look finished.

AND THEN THE MESSENGER FROM BEFORE SHOWS UP WITH THE REPRIEVE. See, they told him to “come back later”. Well, it’s later, and he delivers the reprieve RIGHT in front of Hildy and Walter. Learning that Williams was reprieved, and that the Mayor and sheriff knew this and are STILL hanging him (with the Sheriff even about to kill him earlier in front of everyone)...well, it seems we have a predicament, is what I’m saying.

And after that, the two basically mutually blackmail each other, and the Mayor and sheriff leave. And with that, Hildy notes that they were lucky to get out of that scrape. And after all of this, AFTER FUCKING EVERYTHING...she’s still in love with Walter, isn’t she? Which is funny, because Walter reminds her of Bruce, and tells her that he’s the one who wired the bail money to him.

He says that he’s trying to do something noble for once (bullSHIT), and tries to get her out of there before he changes his mind. But Hildy calls him out on his manipulative bullshit, which he denies (BULLLLLLLSHIT). He tries again to push her away, and she resists it, saying the story needs to be finished. But still, he pushes her away, and bids her goodbye with a kiss.

AND THEN HILDY GETS A CALL FROM BRUCE

Jesus. He’s been arrested again, this time for passing the counterfeit money that he got from Hildy got from Joe got from Walter in the GODDAMN FIRST PLACE. And it’s at this point, after promising to take care of it, that Hildy breaks down. Because, GODDAMN APPARENTLY, she NEVER wants Walter to let her go without a fight, and is ACTUALLY REVEALED TO LEARN HOW MUCH OF A DICK HE’S BEEN.

And they decide to remarry. And he tells Hildy to carry her own suitcase. And this is NOT A HAPPY GODDAMN ENDING. JESUS CHRIST.

And yet, AND YET...this movie is fucking fantastic. I mean, FUCK WALTER, and Hildy’s gonna have a TERRIBLE time with him, but GODDAMN do I like this movie! More in the Review! See you there!

#his girl friday #howard hawks #cary grant #rosalind russell #ralph bellamy #gene lockhart #walter burns #hily johnson #romance february #romance film #screwball comedy #user365 #365 movie challenge #365 movies 365 days #365 Days 365 Movies #365 movies a year #motionpicturesource #classicfilmsource

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docsamurai · 7 years

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Sleeping With the Enemy: Eclipse

Weeks pass with the Cullens never far from me before Jacob finally confronted Edward and I in private. He reminds Edward that the wolf tribe and the Vampires will go to war if they bite a human. I could see Jacob seething in anger, knowing full well that the Cullens have left a trail of bodies in their wake miles long but not having the proof needed to convince his elders to risk the lives of his kin. The message was clear, the wolves knew I was with them and would take my disappearance as a declaration of war and Jacob would make it his personal mission to avenge me. I had never been so mad at my friend. I know he meant well but his blundering idiocy could jeopardize my plans and I couldn't let him stand in my way. I needed to find a way to get away from the Cullens and to find a way to tell him everything in secrecy.

More than a month passes with Edward by my side every day as news is reported of murders happening in Seattle. Edward dismissed the news and I could see when I looked into his eyes that he thought I would trust him as though his word were truth. Part of me knew that after a century hunting my kind Edward had so little regard for humans that it must never have even crossed his mind that I might see through his lies. Carlisle might have been the mastermind of the clan but he at least had the decency to respect me as an adversary. I would take personal pleasure in looking into Edward's eyes as the light faded from them.

I couldn't take any more of the overbearing, patronizing bullshit. Thankfully I knew exactly what strings to pull to get what I wanted out of Edward. I told him that I wanted to visit my mother Renee, that it might be the last time I see her while I still lived. Naturally he came along, most likely under strict orders from Carlisle to never leave my side until the wedding day. I at least got to enjoy watching him squirm as he tried desperately to find excuses to stay out of the sun. In a beach House. In Florida.

As my mother and I laid on the beach she half turned to me, eyes closed "Aren't you going to miss this?" For just a moment I thought she might know. That she might somehow have found out everything. "Don't you just feel the Vitamin D soaking up in your pores?" Of course she was just talking about the sunshine. I almost cried in frustration. "Yeah I am gonna miss this…" We made small talk about colleges and she asked about Edward. "You're different with him." "I don't know we're just…" "In love. I get it. I just want to make sure you're making the right choices for you. You're the one that's going to have to live with it." As impossible as it would have been for her to know what Edward was, what I was planning to become to stop him and Carlisle, it sounded like she knew and was trying to tell me.

I couldn't find the words to respond and just like that the moment had passed. My mother had gone back to being cheerful bubbly Renee who had run off to grab a graduation present. She had made a quilt for me of all the old shirts we had collected on our trips through my childhood. It was a symbol of a more innocent time and though I may have to soon give up my soul I would at least be able to carry this to remind myself of what I once was. I hugged her as tight as I could hoping against hope that somehow she knew and somehow she approved.

We returned to Washington and Jacob confronted us again. A vampire had been seen on tribal lands and Edward told me that Victoria had returned and was seeking revenge for her murdered lover James. I had almost forgotten how the Cullens had pinned the murders on James over a year ago and had executed him. His dying screams stayed with me but he had been so unimportant I had forgotten his name. Undoubtedly Carlisle had let his clan get too sloppy in their kills and was now setting up Victoria as well. A part of me wondered if they would get around to painting a target on Laurent's head as well, assuming they hadn't already killed him for his failure.

I needed now more than ever to find time to tell Jacob my plans so that he might stop confronting us in parking lots. Not only was it risking everything, his impotent threats were making me lose faith in him. I would need my wolf allies to have bite to go with their bark. Once again I put on my innocent face and asked him if I could make things right with my old friend. Edward agreed to let me visit the tribal lands while he went out and hunted. To have him so casually admit that he was about to go slake his deadly thirst right to my face enraged me more than I had ever felt in my life. At that moment I don't think I would have needed the supernatural strength to rip him limb from limb. Somehow I calmed myself and let him go. I rushed as fast as I could to Jacob's tribe and being and I tried to tell him. I really did. I tried to tell him everything, but maybe I shouldn't have led with my plan to have Edward turn me into a vampire. Jacob begged me not to change, told me that he loved me, that I wouldn't have to change for him. Jacob, again if you're reading this: you're an idiot. I let my own anger at him get the better of me and stormed off.

It hurt that he would think I would give up my humanity for anyone, or that I was doing it because I was in love. It hurt that so many people, even the ones who knew of this other world, would underestimate me. It hurt most of all that the only one who seemed to even think me as dangerous was the monster leading them all. Was I becoming the same as him? Manipulating people towards my own ends. Seeking power to further my own plots. Treating my oldest friend as either an ally or a hindrance instead of the kind soul who only a few months prior had been there to help drag me from my depression. Like the rest of the Cullens, Carlisle had swept into my life, destroyed everything and left me a shattered husk of humanity driven only by my own bloodlust. I didn't need the change to become a monster, I already was one. My only choice now was to be a better monster than him. I couldn't let the Cullens hurt my family or friends.

I couldn't let them come to open war as that would mean the death of the tribe who had at one point been willing to accept me as one of their own. I decided to give them a common enemy, thankfully the Cullens had already manufactured one for me. I told Edward about the murders and disappearances in Seattle being connected with Victoria. I told him that she must have been raising a Vampire army to take on the Cullens for killing James. I convinced him that if she had an army that the Cullens alone couldn't handle them and would need the help of the wolves, that they would be allies to help keep vampires from overrunning their lands. Turning their own lies against them felt better than anything had felt for a long time.

I spent the next few weeks finding ways to broker peace between the wolves and vampires and finally an alliance was struck. The wolf pack would assist the Cullens to hunt down Victoria and would fight on the same side in the event that she showed up with an army. It was a temporary truce but I had assumed that with graduation and my wedding approaching that it would buy enough time for me to gain the power I needed to fight with my friend. It was the biggest miscalculation I had ever made. Mere days after graduation Victoria appeared with dozens of freshly turned Vampires. I knew Carlisle would call my bluff but I didn't realize how many of his own kind and mine he would sacrifice to prove a point. I can just imagine him screaming to the winds "IF SHE WANTS AN ARMY I'LL GIVE HER A GODDAMN ARMY!"

Edward and Jacob ran with me to the mountains to keep me away from the fighting. The cold mountain air bit into me but it paled in comparison to the realization that I had given Carlisle an excuse to slaughter and turn even more humans. I held Jacob closely trying to keep from losing my mind telling Edward that I just needed the body heat since Edward couldn't provide any. If Edward hadn't been there I would have wept, I would have told Jacob everything, I might have even run off with him but my vampire keeper was watching our every move. Jacob, the dense, horny idiot that he is tried to kiss me. Feeling betrayed that my oldest friend couldn't simply be there for me I showed him the ring Edward gave me. I know it hurt Jacob and right then I didn't care.

To his credit Jacob stayed and when Victoria found us Jacob fought alongside Edward. He might be a fool, he might not understand a damn thing about emotions, but at least Jacob knows when it's time to stand and fight. Victoria nearly had the upper hand for a moment and knowing full well that Edward would not step in to save a wolf I cut my hand letting the smell of my blood drive her into a frenzy and distract her long enough to make a difference. Watching Victoria die, knowing that she was complicit in Carlisle's schemes and that she was being betrayed by her own kind in the end, it renewed my sense of purpose. The Volturi appeared soon after to clean up the remains and kill remaining newly turned vampires, further cementing my theory that Carlisle is either pulling their strings or one of their own.

Jacob ran after the fight, feeling as though I had betrayed his people to the vampires. I was losing my friend and there wasn't anything I could do about it. That night as Edward held me in my bed, keeping a sleepless watch over the traitor in their midst I cried for the first time since the Cullens had come back into my life. I wept openly, not caring who saw or heard. I cried in frustration over the things I had already lost and the things I would soon lose. I cried in pain for my friend who I had hurt knowingly in an act of spite. I cried for the lives that Carlisle had thrown away to keep up a lie. I cried so that I would know that I was still alive, that whatever I would become after being turned that at this moment I was still human and I would be the monster that would make the other monsters pay.

Since then the wedding plans have come together quickly. Whatever Carlisle's game is he wants to get this over with. Today two years of plans come to fruition. Today I will die. Today I can only hope to take my enemies with me. Today is my wedding. You can call me Bella Swan.

#twilight #fanfic

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rjgadvert-blog · 7 years

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TASK 1

The first advert I will be looking into is the Coco Chanel Mademoiselle Film. The advert runs for approximately 3minutes and 21seconds directed by Joe Wight and released in 2011. The script entails a young woman participating in a sexy photoshoot before leaving her suitor dazed and in awe from a sneaky escape.

To start, one of the techniques used in the advert is the strong sense of product branding through visual imagery. The Coco Chanel advert explicitly uses Sepia tones all throughout the film, these subtle warm colours have connotations with a romanticised scene, and a relaxed mood. Chanel relishes in the idea of an irresistible perfume that creates an irresistible woman. This being the main concept of their branding we can see this when Kiera comes to a stop at the red light and is surrounded by men dressed in black. The juxtaposition to her cream coloured clothing persuades the audience that she is untouchable, because she wears the perfume, and therefor she is in control. This is more than ever convincing when she leaves them in the dust as the light turns green, proving that she has first pick. This idea again is construed through the scenery, and backdrop of the advert, filmed in France – the city of love – the passionate setting for any perfume advert. (More specifically the Fashion Street in Paris, which presents a clear opinion of the director and that their product is a high-fashion brand.) This automatically sets the mood for the film, and engages the female viewer as it plays to their romantic ideals and desires. Moreover throughout the Advert, long smooth shots are used, this also identifies the intense and teasing nature of the advert, which not only makes the film more breath-taking but also foreshadows the latter.

Taking a further look into the ideology of using romance to capture an audience, we can note that this advert uses high amounts of sex appeal to do so, and is done in a matter of ways. Woman have used perfumes for generations for their distinctive scent, and appealing quality. However it can be seen as a new-age ideal that perfume is used to attract the opposite sex for well, exactly that. Perfume adverts toy with this idea by using a high-profile model that not only are desired by men, but are coveted by woman. In this particular advert, we can assume that the producers have targeted the product at the younger generation by using Kiera Knightly, known for her part in Pirates of the Caribbean and other, new-age films for which she stars in. Quite strategically using a public figure so admired by those mentioned, this technique is called Celebrity Endorsement.

Moreover, there are many areas to the Advert that convey a strong theme of sex appeal. To start the clothing is nothing but a ploy to illustrate the attractiveness of the model. As mentioned before, the tight-fitting nude coloured clothing highlights every aspect of her figure, portraying the idealistic body of any woman, in no shame objectifying Knightly in explicit detail. The director’s choice of colour seems clear to highlight the similarity of skin and flesh, therefor arousing the sense of feminine and sexiness of the actress. Having her ride a motorbike in the most seemingly poised manner again is striking and enticing for both men and woman who either want to be with her, or want to be her. An example of how the filming is used to do so is when Knightly is mounting the motorcycle, and the camera is positioned pointing up at her waist, highlighting her feminine figure. The film also uses a range of long shots, and profiling shots to illuminate and frame the actress’s face, making sure that the audience is aware of her beauty and charm, this also creates tension in the scene as her every expression is captured in great detail, making the viewer want that same affection, and mystery. A good example of this is when Knightly has fled from the bedroom and is looking up at her suitor, her eyes convey both longing and a flirtatious distance. Proving that with this perfume, she is at her own will.

Once again, Chanel embellishes the perfect world, where many, suits and cars are at hand, and somehow their perfume will get you there. After Knightly pitches up outside the suitor’s house, the mood again changes to be even more so ‘romantic’. Kiera stages as a model having her photo taken on a bed, posing dramatically and sharing longing looks with her photographer, before he is told to excuse his staff. Having the photoshoot taken in the bed again has connotations with lust and desires, that the produces want their audience to crave, as their perfume is supposedly going to be the item that can give you that happy ending. That’s not to say that the audience is hoping for that ‘Happy Ending’ on screen, however the concept is enough to taunt and tease the viewers into ‘needing’ that perfume.

Another technique to consider is the primal use of music throughout the video. The director uses clear intentional contradiction in his choosing of the song. Having the song ‘It’s a man’s world’ performed by a woman signifies the irony in the fact that it really isn’t. The whole scripted film suggests that a woman can be in control, that a woman can taunt a man, and leave him breathless and in awe, and it is all down to how she starts her day. However the song specifies that the world is owned by man and man alone, so the audience is left conflicted and thought-provoked. Chanel strives to prove that woman are just as much the object of attention and affection, you just need the right perfume.

Continuing into looking into the different techniques that are used in Advertisements, I will be analysing the 2014 Netflix Airport Advert. This advert couldn’t be more dissimilar to Chanel’s sexy screenplay. This sequence uses comical report and play-on humour to engage its audience and stand for a well-produced promotional video.

The video plays out with a middle-aged man arriving at the airport looking flustered and in a hurry, with contrasting shots of a woman on her way to catch her flight. Already the audience can piece together the romantic cliché scene about to take place, as shown in so many films, for instance ‘Friends with benefits’ or ‘Sleepless in Seattle’, although from this point it is still unclear as to the point of the video.

The first difference to make note of is the colour scheme, with Mademoiselle, the director fondly uses soft beige and brown tones, however with this advert the colours are realistic and down to earth. This brings to life the realistic nature of the advert which I personally found very entertaining and amusing. Another way the director has intentionally downplayed the melodrama of this advert is the actors. Unlike Coco Chanel’s typical casting criteria, Netflix has opted for the ‘everyday man’ an actor who has let himself go – respectively, has an unkempt beard and rocks jeans and sneakers. The woman also dressed in a low-fashion attire, checked shirt and scarf, conveying the assumed ‘everyday woman’. Which is not to say that the actor and actress are purposely unattractive however it is made clear that this particular advert is not promoting a product of superficial desire.

Another difference is the techniques used, where Chanel focus on sex appeal, Netflix focusses on bringing humour into tense situations, playing with the audience’s expectancies. This is shown when the man finally reaches the woman in a gust of romantic whim, and just where the viewers would think a declaration of love or some earth-shattering realisation, the man asks for the Netflix password. This style of production is very entertaining for viewers because it gives the audience a sense of comical relief. Especially when we as a millennial are so involved with the importance of Netflix, and other ‘film fanatics’. Moreover the comedy continues when the woman painfully answers “I love Stephan” –lower case, no spaces. The reason perhaps as to why viewers would find this type of humour funny is because we tend to laugh at other misfortunes, along with the reality check of just how important Netflix is.

The variation of shots used in this piece range from quick cuts, to long drawn following shots that build tension, this is noticeable when the ‘hero’ has made it into the airport and is looking for his partner, exclaiming “Elizabeth!” Once again toying with the cliché romantic end scenes of so many loved films. Notice that also many of the shots are taken from below, looking up at the personal. This is another way the director has intentionally ‘downplayed’ the suspense, by empowering ‘Stephan’ as he makes his heroic journey through security.

The music used in this is also essential when leading the audience into a false sense of romance. The song is an intense dramatic instrumental which builds perfectly to the point of interaction. Although the name and artist of the song is unlisted, the melody proves to be a seamless addition to the advert.

All in all I really enjoyed both adverts, although the Netflix ad, is more my speed, I do appreciate the art of Coco Chanel productions, and their creativity and flawless piece speaks for itself.

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