“Rosebud” is still used many times to talk about symbolism and metaphors. Citizen Kane is still known as the biggest Oscar snub of all time and at the same time its still known as the best film of all time. And for a newbie director to make a film so lauded with praise requires something
Another review that came out, takes a different view on the film. Roger Ebert, a famous critic, gave his thoughts on the film in a review where he states, “‘Apocalypse Now’ is the best Vietnam film, one of the greatest of all films, because it pushes beyond the others, into the dark places of the soul”. This is a remarkable quote, from of the most respected reviewers of the time. Ebert also can be quoted stating, “In any event, seen again at a distance of 20 years now, "Apocalypse Now" is more clearly than ever one of the key films of the century”. Once again the statement shows Ebert’s approval for the film.
The following essay will argue and explain Holden’s view on authenticity, phoniness, truth, and his quest for answers to all his existential questions. Holden Caulfield in Catcher in the Rye is a wealthy adolescent who cynically rejects the superficiality of post-war America and no longer tolerates the empty values of his society, therefore in his personal view he regards superficial people as “phonies”, for they are neither truthful towards their selves nor authentic. In Holden’s quest of self-discovery his view on truth is recognised when he feels sorry for pretentious liars like Lillian Simmons and has a strong sense of fairness as he tries to correct injustice and unfairness. On this existential self-discovery quest, Holden finds himself questioning life and gains enduringly endearing qualities which establishes his views. The perception of authenticity can be described as the notion that people ask questions about the substance of directorial standards of society, and consequently they discard certain behavioural enigmas of the society which they belong to.
The Infamous American Dream is an old tale, stuff of nightmares and daydreams alike. Started as a true infinite achievement or means of surviving in the best possible way, possible for anyone who is capable, this dream of rejuvenation in a cruel system took a sharp twist in 20th century. It had its first roar in Roaring Twenties, the decade of bourgeois, careless and Cindrella-level optimism brought by feasible technological advancements, such as broad usage of telephones, automobiles, refrigeration, electricity and so on. Once was a dream of equality, now the American Dream stood for getting rich and even richer, because it was possible. This was triggered by the need of belonging, the very basic innate longing of humankind.
Despite of these paradoxes, its surface is as much interesting and entertaining as any movie ever made. The depths in the story go beyond comprehension. The more clearly the physical manifestation of the film presented, the more the audience moved by its mystery. We can say that it is one of the legacies of cinema that in 1941 a first-time director worked with an innovative cinematographer, Gregg Toland in this case, and a group of New York stage and radio actors were given a chance to make a masterpiece—Citizen Kane is beyond greatness of any movie could be; it is a collection of all the element from the rise of sound era, just how “Birth of a Nation” assembled every elements at the peak of the silent era, and pointed the way beyond narrative. These innovations stand above all the
The eye of the beholder is the one that creates the society of their choice. Therefore, in the end of Catcher in the Rye Holden Caulfield is the problem, not society, but this is not a surprise because Holden is the most overly narcissistic and selfish characters to ever have the unwarranted and unnecessary fortune of having an entire book written about him. Holden’s perceptions of the world around him say more about him being the problem than society being the problem. Society is what people make of it, if a person surrounds themselves with counterfeit people than their society will appear to be counterfeit to them. Holden constantly complains about society and the world around him, it’s always too much for him, it’s always forgery.
The Dream consists of a seemingly simple theory; success. Charles Foster Kane possessed everything that a materialistic man could dream to have: money, power, a successful career, women, and extravagant possessions some men would go to extremes lengths to have. Yet, Charles had it all. The most important ingredient
The military men and high-ranking officers that Stauffenberg recruits to help him are played by Tom Wilkinson, Terence Stamp, Bill Nighy and Eddie Izzard, none of whom are very convincing as Nazi hierarchs. Nighy is at his best when he’s elegantly wasted, when he’s being jaundiced and droll; here, with the future of Europe at stake, he looks as if he wishes he could hide in the toilets. Izzard, jowly and sporting spectacles that rekindle memories of Gerald Campion’s Billy Bunter, seems pained at not being able to launch into one of his flights of comic
In the same way he is an incomplete politician also. We cannot justify him as a complete human being rather he can be stated as a helpless king who has declined for his stubborn nature. He is neither a hero nor a villain rather he is a victim of his self-indulgence. (Bloom. 249-150) In Shakespeare 's view, Richard is a failure as a king not because he is immoral, nor because he is too sensitive and refined for the job, but because he misunderstands the nature of kingship.
However, this example does not prove that Gatsby embodied his dream but rather displays the downfall of his scandalous methods that ultimately resulted in the corruption that led to his death. Conclusively, Gatsby's possessions and character traits were forgotten and his hope and dream were vanquished by his mortality. Fitzgerald, through his novel voiced his underlying message regarding the American Dream by using Myrtle and more notably Gatsby as allegories to personify that the American Dream is hopelessly