Essay about Commentary on the Film "Braveheart" - Brave heart, truly entertains us with eccentricity by showing us amid colors, pageantry, and the violence of medieval Scotland.
Throughout the entire movie we see Jim's parents to be these cruel and evil people who have driven their son to act in the way he has acted. This is a Freudian ideal and denies the fact that every individual has the freedom to make their own decisions, and Jim did not have to take part in that "chicken run", which ended in Buzz's death. The ensuing arguments between Jim and his parents lead to Jim's running away from home. Judy also runs away from her home. Staging the opening sequence in a juvenile hall, in which the police interrogate a rogue's gallery of adolescent characters brought in on various charges, establishes the psychologically complex kinds of social delinquency that Ray's film addresses. Rather than dismiss the film's young characters as merely belligerent or self-absorbed, Ray treats their problems seriously, and instead lays the blame squarely on the adult figures around them who have failed to provide guidance. Even the film's most alarming scenes of violence, such as Jim choking his father or Buzz's fiery death, are rendered as complex events with motivating social and emotional factors that could have been prevented with the proper adult intervention. The film gives a sensitive, complex portrait of rebellion by reserving judgment and turning a critical eye toward the world of adults. Adolescence Nicholas Ray shows how the peculiar age of Jim, Judy, Plato, Buzz, and the gang leaves them in a hinterland between the world of children and the world of adults. Judy's father clearly treats her differently than her little brother, and Jim winces when his mother packs him peanut butter for lunch, an embarrassing carryover from the world of children. Plato has the sensitivity and innocence of a child for instance, cowering at the planetarium show , at the same time that he has an appalling, adult-like capacity for violence. Jim, Judy, and Plato strive to assert themselves as independent adults, while facing insurmountable problems that they need guidance and wisdom to navigate. I have seen the movie so many times I know it by heart. So I know every grunt, pause, aside in the film. And still, still, I found moments that surprised me, clutched at me, struck me. The famous moments like rolling the milk bottle around on his face a spontaneous choice by Dean , and punching the desk he actually broke his hand during the filming of said scene , and laughing when the cop frisks him. The famous opening scene where he drunkenly falls into the frame. The look of pain that crosses his face when he sees his father Jim Backus, wonderful on the floor, in an apron, worriedly picking up the spilled food. And also the beautiful scene with the sympathetic police officer that opens the film, the man-to-man talk over the water cooler, when Dean really seems to be taking in what the police officer has to say. James Dean is riveting. His beauty just adds to his almost overwhelming effect as an actor. One of the things Dean does so well and so naturally is to have both a brooding interior energy as well as an extroverted sense of action and objective. The interior energy is the sense that he is always thinking, contemplating, musing, on another plane that has nothing to do with the script. Dean plays it, never ever forgets to play it. And the sense of action and objective are what makes him thrilling and important as an actor, the way he kisses Judy gently on her temple, the gentle way he covers Plato up when he is sleeping, the way he manhandles his father never forgetting that what he is feeling there is grief, as well as rage. These are actions coming from character and objective, the nuts-and-bolts of good acting as seen through behavior. Some of the closeups of Dean are so beautiful they ache. And when he puts on the red jacket for the chickie run, you still feel the thrill of danger, how startling he looks, highlighted by that red. No more of that. Set the individual free, society be damned. He will NOT grow up to be a henpecked dutiful husband, domesticated and shamed for his male-ness. Natalie Wood, as Judy, lives in rampant sexual confusion, which was seen as so explosive at the time that the studio execs were worried about some of the implications in regards to what the hell was actually going on with her father. This is key. Fathers are key to Rebel. Mothers are irrelevant. They are either scoldy-pants nonentities, or irresponsibly invisible. Fathers are the ones who have shirked their responsibility to make sure their children grow up whole and enter adulthood un-broken. Sex is the key to all of this. He no longer gives her affection, he no longer kisses her, and he shames her for the fact that she is becoming a woman. When she tries to kiss him at the dinner table, he explodes. Old for what? Being loved by her father? Easy enough with teenage boys. But, of course, that puts her entire future in peril. Having a year-old daughter suddenly sprouting breasts and wearing lipstick is, of course, a disturbing and scary thing for a parent, I imagine. You want to protect your child. But a daughter becoming a woman is the natural order of things, and she should not be shamed for it. The mother is useless. This is something he cannot admit to himself. Jim sees right through it, because he saw her crying at the police station. With Jim and Plato she gets to be soft, caring, maternal. Jim needs guidance from his family because he does not want to be a chicken, a man who cannot face the other teens with honor There is so much more. The key to understanding this meaning is by paying attention to each component of the film. This movie was released in and was recorded in California. Plato goes into a fit and ends up shooting one of the boys and runs to the planetarium observatory where the police follow him
The resplendent tale of the legendary William Wallace Mel Gibsona farmer by birth, a rebel by fate, who banded together his valiant army of Scottish peasants to crush the cruel tyranny of the English essay Edward Longshanks Patrick McGoohan. Mel Gibson essays cause into the roots of mythology and iniquity to grab a hold of his audience.
The optimistic essay hours presents us with action sequences and a mix of rebel without the nostalgic gauche that we commonly see nowadays Plato causes into best nonfiction essays reddit fit and ends up shooting one of the boys and runs to the planetarium observatory where the police follow him Well, in Nicholas Ray 's film Rebel without a Cause, the lack of good parenting is the underlying cause of all the major events.
This movie is set in the suburbs of Los Angeles, where Jim Stark and his family just recently moved in. It is due to this essay of good parenting that teenagers rebel as Jim, Judy, and Plato are so rebellious and misguided with their behavior Jim suggests to his own father to stand up to his wife and not allow her to bully over him.
Out of frustration and anger, Jim attacks his father because he cannot get a direct and respected cause from his father. Jim essay guidance from his family because he does not want to be a rebel, a man who cannot face the other teens with honor It depicts life in the 's from the cause of three teenagers who live in Los Angeles, California. They live in a essay environment in middle-class America.
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However, they must essay with their own inabilities to "fit" into society. The teens try to fit in with their peers and find the love they so desperately need from their families and causes like their peers. The biases presented in the film's are based on cultural values form the s This movie was released in and was recorded in California.
Even thought the movie is dated, it depicts the main problems and concerns that teens currently face. This film offers no essays. It merely presents the problems and the viewer is left to ponder how they'll turn out The movie portrays father figures as rebel which then shape the actions and the characters themselves as the cause progresses.
Meanwhile, Ray began to explore a local stock company, amateur radio, and wrote pieces in his local newspaper where he expressed many a left-wing sentiment. Communist Party. But Ray could be defined by his status as a drifter and soul-searcher; he never spent too long with one institution yet felt desperate to belong. Also, it was at Taliesin where Ray was first exposed to cinema in a meaningful way, their moviehouse showing a regular lineup of foreign films and highbrow Hollywood titles. Ray kept searching; he searched endlessly for artistic fulfillment and a place where he might feel at home, and yet he may never have found it. His stage experience made him adept with actors and developing drama; his time in radio left him with an attuned precision for filmmaking audio equipment; his architectural insights made him aware of lines and how to use the camera frame, employing slanted angles and digging holes for otherwise impossible low angles; he even pioneered the idea of a helicopter for aerial views, now a standard in film production. He was a studio filmmaker; however, he was also a nonconformist and wanted to turn the usual types of stories upside-down. In his early years as a director before Rebel Without a Cause, he made solid Hollywood pictures inhabited by moments of greatness and innovation. In a few exceptions, Ray broke new ground with something daring and original. They live in a comfortable environment in middle-class America. However, they must deal with their own inabilities to "fit" into society. Having shot one of the gang members, Plato takes refuge in the planetarium, where Jim offers him his jacket. This exchange marks the climax of rebellion for the trio. Plato is hiding from the police and Jim and Judy are choosing to stand by his side. Plato wears the red jacket when he dies, emphasizing the fact that his own rebellion caused his death. Ray uses cinematography, particularly point of view shots and high and low angle shots, to express a hierarchy of power for the characters in Rebel Without A Cause. The first example of this takes place in the police station at the beginning of the film. Plato appears to be the most unstable of the three troubled teens from the start. Although Ray, the police officer, effectively defuses Jim's temper and successfully elicits his feelings, Ray is absent later in the film when Jim needs him the most. As opposed to Jim's father's overly passive style of masculinity, Buzz and the gang are too aggressive, inciting pointless violence that Jim morally opposes but feels powerless to avoid. Jim himself fails as a figure of paternal masculinity when he abandons Plato near the film's end, which leads to Plato's death. They often fight with an upper class gang called socs. They live in a comfortable environment in middle-class America. However, they must deal with their own inabilities to "fit" into society. We see three teenagers who are completely victimized by their parents. Jim Stark played by James Dean has been put through a tough situation throughout his life. It is due to this lack of good parenting that teenagers such as Jim, Judy, and Plato are so rebellious and misguided with their behavior Jim suggests to his own father to stand up to his wife and not allow her to bully over him. And then there is Plato, played unforgettably by Sal Mineo. Plato is raised by the family maid Marietta Canty , who is the one who comes to pick him up at the police station, the one who tries to save him, the one who takes on the bullies tormenting him. Her love for him is sincere, but Plato needs a real family. From the first moment he lays eyes on Jim Stark in the police station, he chooses his new father. But of course what really happens is that he falls in love with Jim, and it is played explicitly that way in the film, by both Mineo and Dean. He follows Jim around with his eyes, and you can feel his heart palpitating in his chest, with love, lust, desire, idolization. And, beautifully, Jim senses that this is going on and is kind about it. We see Plato at his locker in school, watching Jim through the little mirror he has tacked up. Beneath the mirror is a photo of Alan Ladd. All we need is the image to understand everything about this lonely tormented young man. James Dean is filmed throughout like a Christ figure, looming above the other characters in a dizzying way, his head dropped down onto his chest. He is truly thoughtful. All of the flash and storm surrounding his death and the subsequent Myth of his short career should not take away from the accomplishment of the performance itself. The title of the film is accurate. There is no cause. What we have here is an awareness of mortality that has reached a deafening boom. How to live with the knowledge that we will die?
We can see all three dynamics of the father figure presented through Jim, Judy, and Plato. Leonard Rosenman was born in and rebel music in New York and Europe.
His work as a film composer and arranger is very traditional, and has been regarded by some music critics as "insignificant. Along with film scores, Rosenman wrote theme music and scores for numerous television shows.