The film Road to Perdition shows what life is like during the Great Depression. The film stars Tom Hanks as Michael Sullivan Sr., a mafia enforcer to mafia boss John Rooney. Sullivan Sr. has unsurpassed loyalty and has done terrible things in order to provide for his family and keep a close relationship with Mr. Rooney which makes his son, Connor Rooney jealous. One night, as Sullivan Sr. is performing a task for Mr. Rooney, Sullivan Jr. hides in his car and witnesses his father and Connor Rooney murder a couple of people. In order to keep him silent, Mr. Rooney orders his son, Connor Rooney, to murder Sullivan Sr.’s family.
This was because of the guilt of murdering the man and the fear of being caught. As a result, he confesses the crime he committed. The heart of the old man is said to excite him to uncontrollable terror before he killed the old man. This made him kill the old man. This contributes in proving the insanity of the narrator.
On the other hand we have Dr. H. H. Holmes. He stated that he was “born with the devil”. Not only was a he a frivolous murderer but he also did deranged things. When a local pharmacy went on sale, Holmes quickly bought it and made larges plans to turn it into a murdering sanctuary equipped with secret rooms and weird vaults. This he used to lure his victims in and then murder.
Preminger early on in his career un-fazed by the mammoth aura of the Hollywood studio machine wouldn’t be cast aside and would vent his fury when he deemed appropriate. An attribute which would see him lock horns with Fox studio executive Darryl F. Zanuck and result in him slamming the door abruptly in his face. A similarity which draws resemblance to the character in question in Anatomy of a Murder in which Ben Gazzara’s insolent Lieutenant Frederick ‘Manny’ Manion is on trial for the killing of a bar tender who raped his wife played by Lee Remick. Initially reluctant, James Stewart’s Paul ‘Polly’ Biegler is charged with the task of defending him and hopefully ‘getting him off Scott-free’. However the ambitious prosecutor Mitch Lodwick who plays everything by the book and with the additional help of the ruthless Claude Dancer (George C. Scott) are determined to cloud the issue of the rape story and stick solely the murder story.
Thus began, according to one hypothesis, the infamous tale of Sweeney Todd, the demon barber whose homicidal activities at 186 Fleet Street have chilled and thrilled the hearts of curious readers and theatre-goers for over 200 years. The historical Sweeney Todd, purportedly hanged for murder in 1801, may have been the most successful serial killer of all time, some accounts attributing 160 unfortunate customers to his victim list (Haining 96). Sweeney's saga has passed through so many retellings that what facts remain about this menace are enshrouded in layers of colorful exaggeration. One fact remains: the dark deeds of Sweeney Todd have crowned him the king of melodramatic villains. I had the opportunity to watch the original Broadway production with Angela Lansbury and George Hearn, the
Macbeth begins to kill more to acquire the throne of Cawdor. The more he kills the more it haunts him in the end. Macbeth kills a man named Banquo. During the play he is talking about his achievements of becoming king and his conscience is so messed up and enraged with fear, he sees a ghost of the dead Banquo. Macbeth’s mind and attitude have changed since the beginning.
The character called “Black Dynamite,” from the recent blacksploitation parody film of the same name, is nonetheless a hero. Dynamite’s story represents several stages of Joseph Campbell’s monomyth. He is first called back into adventure once he hears about his brother’s (Jimmy’s) murder. Dynamite breaks into action and searches for Jimmy’s killer. He finds the gang responsible for his brother’s death and beats them in a brutal battle; but meanwhile, he finds the bullet responsible for killing Jimmy.
In the act of the joke that they was doing on Tony they quickly realized that this was not Tony’s at all. It belonged to one of the town’s hoodlums. Upset that he was interrupted the hood starts a fight with boys. As struggle goes on, the narrator hits the hoodlum with a tire iron and it seems that he has killed him. Inflamed by the realistic thought of the murder of a man.
The trial involves a nineteen-year-old boy, who is suspect of killing his father in a late-night altercation with an knife. His fate now lies in the hands of 12 jurors, each with his own determination to solve the case and reveal the truth. As the session takes its course, evidence becomes scrutinised, tempers rise, and the jury room erupts in a shouting brawl because one such juror finds reasonable doubts in the two testimonies that were deemed credible enough to convict. In his fight for an acquittal, the singled out juror found that the testimonial evidence was not only unreliable, but the timely fashion in which both the man and the woman alleged to have seen and heard the defendant were by far insufficient. Upon reaction to his vote, the dubious jurors immediately began questioning the man, not understanding how he could possibly think that way.
He is Montresor, the protagonist of the story who will take revenge on Fortunato, the antagonist. As Montresor his name meaning “my treasure” in French is having a flashback, he starts to describe the perfect murder he committed 50 years ago that has never been discovered. Poe’s work was always embedded with symbolism. He always mastered the settings in his work. In this story he chooses “the supreme madness of carnival season”.