One of the villains Granger is appealing in Rope but not in Strangers on a Train. This seems intentional by Hitchcock as he wanted Granger to be seen as an opportunistic playboy. Bruno Anthony (Robert Walker) in the film gives us the distinct impression that Hitchcock preferred the villain. The more attractive and poetic portrayal is suggestive of Hitchcock’s adroitness in casting villains. In Vertigo (1958), Gavin Elster (Tom Helmore) who worked with Hitchcock in the film The Ring (1927) played a challenger to the hero Scottie (James Stewart) and
A segment of life in Hollywood is being spread across the screen of the Music Hall in Sunset Boulevard. Using as the basis of their frank, caustic drama a scandalous situation involving a faded, aging silent screen star and a penniless, cynical young scriptwriter, Charles Brackett and Billy Wilder (with an assist from D. M. Marshman, Jr.) have written a powerful story of the ambitions and frustrations that combine to make life in the cardboard city so fascinating to the outside world. Sunset Boulevard is by no means a rounded story of Hollywood, past or present. But it is such a clever compound of truth and legend—and is so richly redolent of the past, yet so contemporaneous—that it seemingly speaks with great authority. Sunset Boulevard is
His eye would trouble me no more.” Both characters are being described when it tells us about how he was “Stone dead it doesn 't mean literally it means that there was no movement at all and when it says “his eye would trouble me no more”it tells us that the second character must have been fearful or bothered by the other person’s eye. “No doubt I now grew very pale.” The information that this quote gives the audience is two things. Number one being it tells us our character is nervous and second being it also creates a mood.
Through his protagonist, Jake, Hemingway advocates for a different kind of masculinity, one associated with silence and stoicism rather than noise and performance. Hemingway’s hero is a literal embodiment of his iceberg principle, practicing stoicism and making for a lack of spoken language with action. Attention is drawn in the text to moments that seem to receive little attention, mainly Jake’s war wound. As a critical part of the text and an important symbol in his relationship with Brett, Jake’s impotence following an injury in the war is a silent space in the story. The silence around the wound acts to draw attention and curiosity from readers, and as part of the 7/8 below the surface, it becomes a critical motif in the work.
The Grand Budapest Hotel This movie is a narrative, but more specifically it’s genres are drama/comedy. It follows the typical conventions of drama with its dysfunctional families and arguments that uniquely escalate to darker crime and murder scenes, which envelop themselves within the entirety of the plot. Wes Anderson was also able to unconventionally tell his narrative of ‘a story within a story within a story within a story’ rather than the typical singular inner story of many films. This is shown nearly right away as “The Author” narrates his story of how Monsieur Jean meets the owner of the hotel, Zero. Jean then describes his meeting with Zero, who then tells the whole story of how he came to be owner of The Budapest through his long
Pulp Fiction, directed by Quentin Tarantino uses shock, surprise, and mystery, all paired with bizarre humor to surprise and possibly offend his audience. The film is supported with ample suspense and sincerity; Tarantino tells three interrelated stories of thieves, mobsters, and power that are filled with violence, sex, and drugs but also an underlying of religious representation. Compelling roles are utilized to construct a sense of reality and entertainment, and the interest of the film is increased by various implausibility’s that only seem possible in Hollywood. As the main character Mia would suggest, this film commands the audience to “not be square” and to step outside of the box. The film originates to another level, supported by
Radmann unavoidably is radicalized — however not generally for the benefit of his reason. Labyrinth of Lies is an account of aspiration and also optimism, and the young prosecutor turns out to be so plan on rebuffing war culprits that, for a perilously long extend, he dismisses the quest for minor criminals while setting his sights on the slippery Dr. Josef Mengele. It is never completely clear how vast a part conscience plays in blurring his judgment. Be that as it may, this enticing equivocalness is one of a couple good components that add unpredictability to a popular, even
A Different Vision about the Short Story: The Murders in the Rue Morgue George Eliot said, “Don’t judge a book by its cover”. This quote is always true even when it is a horror book. There is a criticism analysis article, ‘To Make Venus Vanish’: Misogyny as Motive in Poe’s ‘Murders in the Rue Morgue’, which is written by Joseph Church. This article is written about his judgment on the author because of the author’s sexual discrimination.
Brilliantly conceived and written, Oedipus Rex is a drama of self-discovery. Achieved by amazing compression and force by limiting the dramatic action to the day on which Oedipus learns the truth of his birth and his destiny is quite the thriller. The fact that the audience knows the dark secret that Oedipus unwittingly slew his true father and married his mother does nothing to destroy the suspense. Oedipus’s search for the truth has all the tautness of a detective tale, and yet because audiences already know the truth they are aware of all the ironies in which Oedipus is enmeshed. That knowledge enables them to fear the final revelation at the same time that they pity the man whose past is gradually and relentlessly uncovered to him.
The Outsiders is a book by S.E Hinton about two social classes called the Soc’s and the Greasers. The Soc’s are wealthy and powerful people with a lust for power and give no sympathy to anyone, not even another Soc. Greasers are the lower class and are viewed as being thugs and horrible people. Most Greasers care for both themselves and others that are Greasers. The Outsiders have both a book and a movie.
Synapsis: The Outsiders is about two gangs who never get along, the greasers and the socs. The greasers are poor and are always blamed for what goes wrong, while the socs are the rich kids that can get away with anything. One night a greaser kills a soc and now all eyes are on Ponyboy and Johnny as they try to escape their mistake and guilt.
The novel, The Outsiders, written by S. E. Hinton is a story of a teen gang in rural Oklahoma through the eyes of fourteen year old Ponyboy Curtis while he struggles to learn right and wrong in a society in which he believes he is an outsider. Ponyboy has a hard time maturing after his parents die in a car accident and he is forced to live with his two older brothers Darry and Sodapop. The greatest internal conflict within this novel is the struggle of choosing between his youth and maturity occurring within Ponyboy’s mind. Although Ponyboy is just a 14 year old boy the death of his parents put a shockingly new amount responsibility on his shoulders that he personally felt he could handle. Ponyboy can either continue to behave like his peers,
Looking at life from other people's perspective is hard to imagine unless you're really living through it. There are many stories that can take people deep into others lives. For example, The Outsiders by S.E. Hinton, “On The Sidewalk Bleeding” by Evan Hunter, or “Why Weren’t You His Friends?” by Bob Greene are stories where people make choices that lead them to consequences. The Outsiders is a novel about two sides, the rich and the poor, and it is set in Tulsa, Oklahoma in the 1960’s. “On The Sidewalk Bleeding” is a short story of a teenage boy who is part of a very loathed gang.