The Potency Of Film Derives From Its Ability To Successfully Depict Characters Surmounting Crisis
The potency of film derives from its ability to successfully depict characters surmounting crisis
There is no question in reliability and familiarization generating an audiences appeal; the concept of a protagonist facing every day challenge has been constantly developed to emphasize the human condition. But to distinguish potency of films deriving solely from characters surmounting crisis is flawed. Such a view limits narrative plot line, and does not compensate for the various other narrative possibilities that film uses to provoke ideals and demonstrate human reality that does not always mean surmounting crisis. One flew over the cuckoo’s nest directed by Milos Forman, American Beauty directed by Sam Mendez and Into The Wild directed by Sean Penn are all very inimitable films all encompassing the ability to challenge the reader with a necessity to ruminate, not necessarily solely deriving their potency from characters surmounting crisis.
One Flew Over The Cuckoo’s nest strays from this ideal, with protagonist Randle Mcmurphy a loud, confident and sexual man finding himself situated in a mental hospital. Rather than viewing his situation as a crisis that he must surmount, he finds comfort in challenging other inmates to release repressed emotion that social conditioning of antagonist Nurse Ratched has made impossible. In contrast Randle represents freedom and self determination characteristics clashing with the oppressed ward, but rather than using these to escape a cruel environment he uses them to develop characters ultimately leading to his death after his lobotomy. Rather than the audience fueled by the ambition of Randle’s escape they can find emphasized meaning in his ability to communicate with inmates who have been stripped of these skills, loosing sight of his initial ambition to escape in order to give characters a chance to feel “normal” again. Forman mocks traditional movies finding persisting raw emotion not solely from characters triumph but
There is no question in reliability and familiarization generating an audiences appeal; the concept of a protagonist facing every day challenge has been constantly developed to emphasize the human condition. But to distinguish potency of films deriving solely from characters surmounting crisis is flawed. Such a view limits narrative plot line, and does not compensate for the various other narrative possibilities that film uses to provoke ideals and demonstrate human reality that does not always mean surmounting crisis. One flew over the cuckoo’s nest directed by Milos Forman, American Beauty directed by Sam Mendez and Into The Wild directed by Sean Penn are all very inimitable films all encompassing the ability to challenge the reader with a necessity to ruminate, not necessarily solely deriving their potency from characters surmounting crisis.
One Flew Over The Cuckoo’s nest strays from this ideal, with protagonist Randle Mcmurphy a loud, confident and sexual man finding himself situated in a mental hospital. Rather than viewing his situation as a crisis that he must surmount, he finds comfort in challenging other inmates to release repressed emotion that social conditioning of antagonist Nurse Ratched has made impossible. In contrast Randle represents freedom and self determination characteristics clashing with the oppressed ward, but rather than using these to escape a cruel environment he uses them to develop characters ultimately leading to his death after his lobotomy. Rather than the audience fueled by the ambition of Randle’s escape they can find emphasized meaning in his ability to communicate with inmates who have been stripped of these skills, loosing sight of his initial ambition to escape in order to give characters a chance to feel “normal” again. Forman mocks traditional movies finding persisting raw emotion not solely from characters triumph but