Rick’s Metamorphosis Throughout the entirety of Casablanca, directed by Michael Curtiz, the audience is constantly trying to guess the nature of the protagonist, Rick’s, character. The movie leaves one guessing until the very end however there is a crucial scene that shows us how Rick used to be and what turned him into the stone cold man the audience believes him to be during the time the film takes place. Through the use of lighting, spacing, and the general props used during the Paris flashback sequence Curtiz crafts a sad and dynamic character out of Rick. One of the clues that is given about Rick’s character is the way the lighting changes during this sequence. During the scenes that take place in Casablanca, and especially the ones that happen in the café, harsh lighting is used on Humphrey Bogart (Rick).
In the book, the ending is a let-down and ends with Jerry being hospitalized after Janza beats him in a fight. Although, in the movie, the leader of the Vigils has Archie pick 2 marbles to make it fair. Archie is safe with picking the white marble first, but when he has to pick a second marble, he picks a black, which causes him to take Janza’s place in the fight. Again, this displays how much power the Vigils have, which took a tremendous part in the story line. The Hollywood ending was much more approiate for the story, because he ended the story with a bang, and
Gonzo, are sent to Las Vegas to cover the Mint 400, a motorcycle race across the desert. Journalist Raoul and his attorney Dr. Gonzo set out for Las Vegas for their assignment. Upon receiving their assignment both Raoul and Gonzo come upon the notion that the assignment is really only subordinate, and is treated as such. They believe the much greater project is to find the America dream. They begin the quest for the American dream under the influence of a cornucopia of drugs and alcohol, and they take on the city of Las Vegas in a drug induced
Mac's Legacy As the opening credits play over the screen, it becomes clear that "One Flew Over the Cuckoo's Nest" is going to be a movie that tells an elaborate tale, one of man against the machine. It follows the story of R.P. McMurphy, a man straight out of the bottom-end of 1960's society. His trials in the asylum and his adventures that come as a result show the impact one man can have on a group of individuals who admire him. McMurphy's arrival and subsequent impact on the other patients brings them together and gives the patients a sense of comradery that was not there before.
Breaking Bad is an American television drama series created and produced by Vince Gilligan. Set and produced in Albuquerque, New Mexico, Breaking Bad is the story of Walter White (Bryan Cranston), a struggling high school chemistry teacher who is diagnosed with advanced lung cancer at the beginning of the series. He turns to a life of crime, producing and selling methamphetamine with a former student, Jesse Pinkman (Aaron Paul), with the aim of securing his family's financial future before he dies. [1] Premiering on January 20, 2008, the series is broadcast in the United States and Canada on the cable channel AMC, and is a production of Sony Pictures Television. On August 14, 2011, AMC announced that Breaking Bad had been renewed for a fifth and final season consisting of 16 episodes.
Thus, this section will only discussed two noteworthy songs on the album. “King’s Dead” with Future, James Blake, and Jay Rock is a song that Kendrick utilized to portray the perspective of the supervillain antagonist Killmonger. This is the peak of the album because not only does it correlate to the movie through perspectivism but it also correlates to the real world through numerous references. Kendrick Lamar in “King’s Dead” challenges Killmonger through his lyrics which say “Yea, miss me with that [explicit]. You ain’t really wild, you a tourist (a tourist)” and “I was absent.
The end of the film leaves everyone with two of the most obvious questions: why does Mr. Badii wish to end his life? And does he successfully carry out with his plan? The film Leaving Las Vegas is bittersweet love story and film. Ben, the main character, is a Hollywood writer whose addiction to alcohol costs him his job, family and friends. With nothing left, he goes to Las Vegas to drink himself to death.
Watchmen is a movie set in a very different 1985 America where masked superheroes are part of everyday society. “A world at peace, there had to be a sacrifice”, a simple message that is remarkably illustrated by Zack Snyder-director of the film- who takes the audience for a violent ride through this alternate time. Based on the graphic novel written by Dave Gibbons, this gruesome sci-fi thriller begins with the murder of a superhero veteran known as “The Comedian” who met his demise by being thrown out of his high-rise apartment window. Though the stories concluding message is a simple, the road to it is a complicated one which goes through many twists and turns while trying to solve the mystery of “The Comedian’s” murder. The significance of the path which this movie takes to conclude such a pivotal message, finds its foundation in a world that has been constructed around the fear of needing more, set in an alternate 1985 America where superheroes are detached from humanity, where violence is a part of daily life, and where a significant sacrifice must be made to reconcile it.
Does the violence we watch on TV or play in video games contribute to our violent tendencies in real life? Stephen Marche, author of “How Shakespeare Changed Everything.” seems to think so. In the article “Don’t Blame the Movie, but Don’t Ignore It Either,” published on July 26, 2012 in the “New York Times”. Marche states, “The truth is that real violence and violent art have always been connected.” As violence rises in our country we cannot ignore the fact anymore that an underlying factor to these incidences are violence of the art. Throughout the argument Marche expresses his opinion by connecting his knowledge of famous English literature to real life horrors, such as Shakespeare’s play “Julius Caesar” and the assassination of President
When Ken Kesey’s One Flew over the Cuckoo’s Nest was made into a movie, the important element that was kept by the director, Milos Forman, was the cruelty of the ward. However, Forman chose to present the element with different techniques than Kesey. Kesey presents the cruelty through the usage of Chief Bromden’s inner thoughts and flashbacks while Forman presents it primarily through facial expressions and dialogue. Although the techniques used by Forman to show the cruelty of the ward are different from those of Kesey, he showed the element effectively, enabling the viewer to fully understand the position the patients are in. From the novel, One Flew over the Cuckoo’s Nest, the most important element that is kept by Forman is the cruelty of the ward.