In Sullivan’s Travels, the montage of the casualties of the Depression that Sullivan witnesses underscores everything that the movie had previously eluded too. Like Sullivan, the audience does not appreciate how horribly that time affected people and those few seconds articulated the sentiment like no words could. The movie itself, made during the Depression, does what Sullivan realizes he needs to do—make a movie that gets people to laugh through the hard times. As Sullivan says, “There's a lot to be said for making people laugh… It isn't much, but it's better than nothing.” While in Mr. Smith Goes to Washington, there is not one line that sums up the entire movie’s premise, there is a lot more than one montage to show us. The audience sees Mr. Smith fighting for something he believes in, despite everything that suddenly hits him.
scene graph. 1. Paul and his family move to Darwin as his father got a job promotion, Paul meets Keller & starts his music lessons that he doesn't really like. He thinks that Keller is a very strange man and that he is silly for how he is teaching Paul! 2.Keller starts to open up about his life and how is Jewish wife and son were killed by the Nazi's when Herr Keller used to play for Adlof Hitler personally and thought that his family would be safe because of it.
Whilst Keller is characterised as reclusive and eccentric, wearing a white linen suit, pince nez, and cloistered above the beer garden at the Swan hotel, he boasts a fine pedigree having Czerny and Liszt as his ‘musical ancestors.’ Goldsworthy characterises Keller’s teaching as eccentric and domineering. In his first encounter with a bemused and outraged Paul, he spends time examining Paul’s fingers, and won’t allow the boy to play, exclaiming, ‘you are not free to play in my home without permission’. When Paul boldly questions Keller’s claim that the ‘little finger is a lazy fellow,’ Keller miraculously, plays ‘an effortless, rippling run of tenths’. Goldsworthy uses sparse, direct dialogue to portray Keller as axiomatic and domineering. Keller’s aphorisms and ‘fragments of folk wisdom,’ such as ‘is water at fifty degrees half boiling?’ (used to castigate Paul for half finishing his Rondo), present a picture of an abrupt, punctilious man with exacting standards; yet Keller can also be viewed as a man broken by the pain of his past, who is more philosophical than ambitious, such as where he explains aphoristically, ‘To search too long for perfection can also
For example when Oberst says "Don't give me any of your lip black boy" Virgil is more harmonious when reacting. Virgil in the novel is also more modest then that of the movie. His arrogance and self image in the movie lead him to be demanding and react with greater force. For example when Virgil is done looking at the body the first time he hands a white man his coat to deal with, showing that his conceitedness leads him to act insistent. Also he deals with racism differently.
Thesis for Fifth paper: Although the two films narrate vastly different stories, the film Icile Thief and Novo Cinema Paradiso exemplify how modernization and consumerism pollute pure cinema world as the time processes. In Icicle Thief, the presentation of black-white Italian film is interrupted by several colorful and perky television commercials, which satires commercialism in modern world. In Novo Cinema Paradiso , describe the theater which give people most joys and laugher during the post-war time destroyed. As the time progresses, the classic Italian cinema become less valuables in daily life and be sold as junk food. The film Icicle Thief sets as homage of the famous neorealist film The Bicycle Thief.
Wikus was equally horrible to Christopher in the beginning of the movie, and he thought of Christopher as his enemy just because he wasn’t human. Christopher was still willing to help his enemy even after Wikus had been so mean to him. For example, when Wikus’ left arm metamorphosed into that of a prawn’s, everyone was after him, and Wikus had nowhere to go. Fortunately for him, Christopher was able to see that Wikus was in trouble, so he allowed him to hide in his house. Christopher’s acts of kindness allowed Wikus to change for
Winston endures physically and psychologically tortures from O’Brien, but at last Winston betrays his own beliefs and supports the Big Brother, “He loved Big Brother” (298). After all the betrays from O’Brien and Julia, Winston cannot trust anyone anymore. This creates Winston’s mood of loneliness by staying in the society which no one is trustable. Eventually, this leads to Winston’s self-betrayal which means the Party successfully “cures” Winston to orthodoxy party member. Evidences of Winston thinks and acts as orthodoxy party member are “Almost unconsciously he traced with his finger in the dust on the table: 2+2=5” (290), “Winston was listening to the telescreen” (287), and one of the symbolic events is Winston plays chess alone, because this is what orthodoxy party members do.
Other under forgettable moments are when the son tells his father of being taunted by his playmates, Phil’s childlike terror at his mother’s heart attack, Kathy’s reaction when Phil reveals the “angle” for his magazine series, Phil’s helpless rage at the “restricted” resort hotel, the scene with Anne and the unconscious bigot in the cocktail bar, Dave’s conversation with Kathy about her passive disapproval of “nice” anti-Semites. In the beginning of the movie we, the viewers, are positioned to accept the “father”, the central character, as kind and generous. The movie starts off with Phillip Greenwood talking to his son at a park, just like any ordinary father. Philip is a reporter that was offered a job in New York to publish a series on anti-Semitism for a
The narrator works hard as a stripper, doing whatever he could to gain money to his family. He additionally has dreams and wishes for a superior life appeared in his expressions of Canada. However, nothing appears to show signs of improvement regardless of how hard he tries. In ‘A Very Old Man With Enormous Wings’ the theme is utilized as the very old man begins off in awful condition, and it just gets worse. He crash-lands in the tempest, gets caught in a chicken coop, winds up jabbed and nudged by curious crows, and is then treated like a disregarded and undesirable pet.
Cather uses symbols of color in her story to build the character Paul in her short story, “Paul's Case.” When explaining Paul’s feelings toward where he lives, “he approached it tonight with the nerveless sense of defeat, the hopeless feeling of sinking back forever into ugliness and commonness that he had always had when he came home” (168). Vainness is another feature that portrayed to make the audience feel as if he were one’s own son and deserved a beating; “Paul entered the faculty room suave and smiling” (164), shows a boy often having no respect for his elders. Cather portrays Paul’s character as a daydreamer who lives in a fantasy world and cannot come to terms with reality. He wanted to live the life of the rich and famous, “he reflected upon the mysterious dishes that were brought into the dining-room, the green bottles in buckets of ice, as he had seen them in the supper party pictures of the Sunday supplement”