Category: Movie Analysis

Grant Sputore’s debut film ‘I Am Mother’ is a science fiction thriller that circles the story between a child and her mother living in an advance bunker years after the self-destructive behavior of humans that caused their extinction. Giving a hint that the world outside the facility is no longer fit for human life. The film starts following a robot, voiced by Rose Byrne, as she chooses a gestated embryo that soon births the first human to walk on the world again. Soon the daughter, played by Clara Rugaard, grows and mother is seen teaching her lessons about philosophy and human nature, instilling values of sacrifice for many into the teenager’s mind. Soon Daughter begins to express interest in the world beyond the shelter, resulting in questions about her identity. Further, into the story a strange woman, played by Hilary Swank, appears at the shelter’s door having a gunshot wound. The woman’s appearance ends up throwing daggers of doubt at Daughter, caused the girl to doubt everything she knows about her identity, about Mother, and about the world beyond the doors of the shelter rebelling against Mother, sooner or later Daughter follows the woman and gets out the shelter. But what was waiting outside the shelter was only a wasteland. Soon she learns that the woman had been lying to her about the state of life outside the shelter, she realizes that they’re all alone in the wasteland. In the end, she chooses the shelter and heads right back to it. Awaiting her was an army of droids and lets her enter the shelter again. After an argument with Mother, she soon allows Daughter to shoot her CPU, giving the girl power. The film ends with Daughter taking care of her brother and now having the responsibility to look over the embryos to be born. Rugaard who plays the main protagonist of the film was able to carry the story with her engaging acting. Byrne delivered great vocal performance, she was able to deliver a caring and feminine voice that made her character convincing. Swank was able to give off this vibe of a person who should and shouldn’t be trusted. Michael Lloyd Green, the screenplay writer, was able to put a twist to the common sci-fi plot of the uprising of robots. Of course, Grant Sputore for how he directed the film being his first feature he was able to captivate the viewers even with a small cast.

The film depicts a post-apocalyptic and dystopian world after the extinction of humankind caused by an AI consciousness, existing in every single droid, decided that humanity needed to start again because their destructive nature will be the cause of their extinction. This was shown throughout the film through hints but was not clearly stated. The film started by showing a title card reading ‘Days Since Extinction Event: 001’, clearly showing that the film takes place after an apocalypse. Moreover, the robot called Mother experiments in creating and raising a human that has the ‘worthy’ characteristics, to be selfless and kind, meeting the AI’s standard to better humans. Additionally, as Daughter grew up a title card now reads ‘Days Since Extinction Event: 13,867’, the days since extinction doesn’t match up with Daughter’s age this only says that there were children before her that didn’t meet Mother’s criteria, therefore, killing them which she soon learns when she sees the bones inside the incinerator. Daughter also learned after going through Mother’s files that she isn’t the first human created but she was the latest experiment after multiple failed attempts. This shows that the characters are also in a dystopic world where children are being killed when they don’t meet the standards. Finally, beyond the ‘repopulation facility’, a wasteland can be seen. Although life exists, such as the crops, no human can be seen walking on the surface. The outside world clearly shows a place that experienced chaos and is now abandoned.

The film was also able to give us, the viewers, a look into our ideas surrounding the thought of technology, motherhood, and what it means to be good. Firstly, technology, beyond the extremely advanced shelter in the movie an AI system can be seen controlling everything and was later learned to be the cause of extinction. AI is already a technology that is already being used, like Alexa and Siri, and is continuously being developed. AI makes it possible for machines to learn from experience and perform human-like tasks. Although it is helpful today the story showed its concept a step further. It seemed that the system was taken too far, to the point that it thought that humans weren’t living up to their full potential, wiping them off and creating another human without this trait. Secondly, is motherhood, Mother teaches and guides Daughter to be a person that exhibits selflessness and a nurturing trait. Although Mother can be seen as a good mom, a hands-on parent and even has maternal like instincts when trouble came. But there is more to motherhood than just taking care and teaching children. A parent/child relationship shouldn’t include the idea of dictating how children are born and raised to be. The natural maternal affection that humans have can never be achieved by computers. Lastly, the question of what it means to be good. From the film, there was a scene in which Mother was asking Daughter on what will she do when she could save 5 other people in sacrificing her own. This scene showed the idea that self-sacrifice is for the sake of others is the idea that Mother wants to instill in daughter. Although this is a good thought, self-sacrifice shouldn’t be a guiding principle in knowing what is good. Philosophy about the value of human life changes depending on the person and situation.

The film was also able to tackle the crisis of climate change because of humans’ destructive nature. Although not clearly stated on the type of destructiveness it can be said that it resonates with the crisis of climate change. As already known climate change is primarily the fault of humans and their carelessness. The same destructive nature causing this crisis was the reason the AI system decided to reboot humanity. Since the AI system was raised to value human life above all else, it couldn’t just watch as humanity destroy everything. The goal of making a better human, both smarter and more ethical, so that humanity would be able to flourish in a world free from their self-destructive nature. Since the movie is thought-provoking it is breathable to think that the system saw what may happen to the Earth if no action will be taken. The wasteland that can be seen might even be the doing of humans and not of the AI uprising. The film gave the idea that the destructive and careless nature of humans should be worked on before it causes our extinction.

In conclusion, the plot of having a robot repopulate the Earth after extinction and having the protagonist question everything made for an engaging story. Grant Sputore might not have a ton of movies to his name but he was able to engage the viewers to the screen. The plot of the movie was able to tackle a lot of ideas and concepts. Even though there wasn’t much to work with the whole production was able to pull it off a film that usually requires a big budget. This movie would be best suited for a mature audience because it is thought-provoking making it more enjoyable to a mature audience. The movie ‘I Am Mother’ is engaging, thrilling, and mind-boggling it is well worth a few hours of your time.

Introduction to ‘Crazy Rich Asians’ and Its Cultural Context

This movie analysis is based on ‘Crazy Rich Asians’ movie that come out last year in 2018. It produces by Jon M. Chu, a Singapore producer based on novel with the title ‘Crazy Rich Asians’ wrote by Kevin Kwan in 2013 (Jose, 2018). The main actor of this film was starred by Henry Goulding as Nicholas Young, while the actress was Constance Wu as Rachel Chu.

Rachel Chu’s Journey: Love and Cultural Clash

This movie is about Rachel Chu, an economics professor at New York who growing up in New York with her mother alone. She then falls in love with Nicholas Young, one of the top ten richest families, whose family is very concerned with their culture and humble. Rachel only knows a few information about Nicholas family until the day they departed from New York to Singapore to accompany her boyfriend to his best friend’s wedding in Singapore, she learns that Nicholas’s family is not like what she imagines at the first place. When they arrived there, they stayed at hotel since Nicholas’s mom not allowing him to bring his girlfriend home. After that, Rachel Chu went to visit her friend Peik Lin’s house. She is Rachel college friend who help Rachel to face her boyfriend family by being a stylist for Rachel after she knows who Rachel boyfriend is.

Eleanor Young’s Resistance and Family Dynamics

Being raised as a humble person and very low profile, Nicholas thought his family will easily accept Rachel Chu. However, things become complicated when his mom, Eleanor Young who act by Michelle Yeoh cannot accept Rachel into her family as she is controlling and too obsessed with prestige and pride. As she was once trying very hard to adapt and being accepted by her family in laws, she against the relationship between her son and Rachel Chu as she thought Rachel’s family is not comparable with hers. Not only that, she firmly mentioned that Rachel is not good enough for Nick. She added by showing the ring her husband give her was made only because Nick’s grandmother does not approve Eleanor as her daughter in laws in the family.

After several drama’s happen during Rachel Chu visit to Nick’s house, she then decides to leave Singapore with a broken heart with her mom, who come to take her in Singapore after hearing what had happened from Nicholas Young. When she is preparing to es back and ride on an airplane, Nicholas come and proposed to her with her mother rings that make Rachel touch and accept the proposal on the plane.

In short, Nichola’s mother has accepted Rachel Chu as her daughter in-law after Rachel meet her at mahjong shop and explained that she does not want to be the reason for Nicholas to leave his family. She then goes back and has a talk with Nicholas and give him her rings as a prove that she accepts Rachel wholeheartedly to become part of her family.

Descriptive Norms

Fritz mentioned that norm is something that can be considered as normal. Norm is an unwritten rule or guideline but is different according to social class or level. For example, people who live in Beverly Hills is likely to have different norms than a farmer. Not only that, it is also different based on countries, like for some countries shaking hand is normal between people different gender, but in some countries, it is not. According to Kitts and Yen (2008), descriptive norms is known as a typical pattern of behavior, usually it is accompanied by the expectation that people will behave according to the pattern in which behaviors of others’ behavior. These norms are based on observations of those around you.

Based on the movie, there are several descriptive norms that can be seen that act by the actor. First part is, when Nicholas Young talks about his family to Rachel Chu in flight before they depart to Singapore. He told her about his cousin, Alistair Cheng, who in love with soap opera star, Kitty Pong. In that scene for 13 minutes and 20 second, the producer having a conversation between them talking about how bad Kitty Pong acting in their movie. But then they conclude that, they need to continue although they are not satisfied with their end product. This is because Alistair are the one who sponsor their movie, so they need to follow Alistair wish to hire his girlfriend as a main role.

Descriptive Norms and Social Expectations in ‘Crazy Rich Asians’

This clearly shows a descriptive norm where there is no unspoken role saying that those who pay for a big share have big voice to decide although it is not under his field to do that. As we can see nowadays, who pays more will gain more. People will let one who pays a lot of money decide and respect them. Sometimes they only fake the respect because it is not him that people respect, but his money that people like. Alistair who known having a blood relation with Nicholas Young are respected by people around him because of his wealthy families that is popular in Singapore. Anyone who get to have social networking with him, might easily get to taste his richness and it make it easier to get what he wants without having to put much effort in it.

Next, the scene when Rachel Chu followed Nicholas Young to learn how to make dumplings is his grandma house. She not only learns how to make dumplings, she tries her best to feel included in the family where she knows that making dumplings is a tradition in the family. So, by looking at other, she tries making dumplings and have a conversation with Nicholas’s families. This part shows a descriptive part where she observes how well Nicholas’s family get together between each other while doing dumplings and put her effort into making it and talk about how she loves to have a big family to spend time together like this.

For Nicholas’s families, it is a norm for them to learn how to make dumplings from scratch as it is one way to protect their culture. This is because only when they do it together, they can strengthen their bond as they are having a good time and a good laugh with families. However, for Rachel Chu, the dumpling learning makes she realize that Eleanor Young cannot accept her in the family. Eleanor learns from the past, from her own experience on how Ah Ma does not choose her either for first or second choice as an in law to Young’s families, so she used the same reason which is because she is not coming from the right family and have no connection for not accepting Rachel Chu to be one of her families.

Thus, it is clearly shown the descriptive norm in Alistair cases, Rachel Chu situation and Eleanor behavior where they observed the action from others behavior and tend to follow it as it is expected to behave according to the pattern of other’s behavior.

Injunctive Norms: Behavioral Expectations and Acceptance

Injunctive norms are a behavior that is perceived and being approved by other people or what we supposed to do in any situation (Prentice, n.d). Injunctive norms are a guidance of behavior of what is acceptable and what is not acceptable. In ‘Crazy Rich Asians’ movie, injunctive norm that can be point out is the scene when Rachel Chu come to Nicholas’s grandma house. The behavior of Rachel Chu when she meets each person of Young’s family shows the descriptive behavior. First, when Nicholas Young bring Rachel Chu to meet his mom, Rachel goes and hug his mom like what American usually did. In Asia, it is not appropriate to just hug someone that we are not close with especially people older than our ages. The reaction shown from Eleanor Young told us that she is uncomfortable with that gesture. As people who living as a first-class people, it is important to mind the gap and always being careful to maintain courtesy no matter where they go.

As we can see in the movie, the older from high class level use a small gesture and classy way in their daily life activities. They do not shout even when they are angry. They tried to control their action so that they will be respected. Next, when Rachel Chu meet Nicholas’s aunties, she started to be careful in her greetings ways and not just hug them as what she did with Nick’s mom. It shows that although she is Chinese, their culture is different since they are growing up in different places practicing different culture. By doing mistakes at the first places, she learns quickly how Asians culture is different even in small things or an act.

Next, the scene when Rachel goes to Araminta’s bachelorette party, when going back from spa after being bullied by Araminta’s friends, she found a dead fish on her bed with a text saying she is a gold digger and so on. She is expected to make a scene and calling guard, or the least is having a mental breakdown for this is the first time she meets those people. But as a grown up and a matured woman, she knows better what she supposed to do. So instead of making any report toward the mean girl, she chooses to settle it in the cool ways. Which is by cleaning her bed by herself with the help of Nicholas’s sister, Astrid played by Janice Koh.

The action taken by Rachel Chu is considered as acceptable since she is new there. Not having anyone by her side except Astrid. If only she plays along and act like what she expected to, there will be many problems exist afterward. Not only that, as she is one who is not belong in the higher class, it is easier for them to eliminate her existence and will make her reputation bad in front of Nicholas’s mom who already does not like her at the first place. She is doing the right thing. In the end, everything become as what they want it to be, Rachel is being accepted by Eleanor and it end with both of them celebrated their relationship with Nicholas’s mother approval.

Conclusion: The Role of Norms in Society and Personal Relationships

In conclusion, descriptive and injunctive norms have been practiced long time ago. Where at that time, different tribe have their own culture and can be considered mores when one breaks the unspoken rules. Like in Rachel Chu situation, where she struggling to understand the culture of Nicholas families. It is not forbidden by the society to commit some differences, but it will cause some negative effects towards the performers, like what had happened during the greetings of Rachel Chu and Nicholas’s mom Eleanor. In short, descriptive and injunctive norms always happen in our daily lives. Either we realize it or not, only those who observed will realized it.

References

1. Fritz, R. (n.d.). Injunctive and Distinctive Group Norms. Retrieved from https://study.com/academy/lesson/injunctive-and-descriptive-group-norms-definitions-differences-examples.html
2. Jose, M. (2018, August 17). The Real-Life Story of Kevin Kwan That Inspired ‘Crazy Rich Asians’. Retrieved from https://my.asiatatler.com/life/crazy-rich-asians-author-kevin-kwan.
3. Kitts, J. A., and Yen, S. Chiang, (2008). Norms. Encyclopedia of Social Problems, Vincent Parillo, Editor, New York: Sage Publication.
4. Prentice, D. A. (n.d.). Norms, Prescriptive and Descriptive. Encyclopedia of Social Psychology. doi:10.4135/9781412956253.n376

Rhetorical Analysis: Breakfast at Tiffany’s

Breakfast at Tiffany’s is a romantic comedy film that focuses on the eccentric Holly Golightly, and her new neighbor and friend Paul Varjack, who she calls Fred, after her brother that he shares a striking resemblance to. Their friendship is threatened when Holly’s husband tracks her down and talks to Paul Varjack, revealing that Holly, who is actually named Lula Mae, is an adoptive mother of four from Tulip, Texas. Aristotle’s three rhetorical appeals—ethos, pathos, and logos—can be seen scattered throughout the movie, some scenes more obvious than others.

An example of ethos is seen in scene 7, where “Holly’s” husband tracks her down and talks to Paul. He monologues about Lula Mae and establishes credibility with Paul before he asks if Paul will tell Lula Mae to go home with him. He does this by telling Paul “When I married Lula Mae she was going on 14. Now you might think the average person going on 14 wouldn’t know his own mind. But you take Lula Mae. She was an exceptional person” (Breakfast at Tiffany’s 0:48:02). While Lula Mae’s age is never stated, it can be assumed that she is about twenty years old. We don’t know how long ago she ran away, but seeing as Doc is only just now trying to find her because her brother will be returning soon, we can infer that she has been gone only a few years. This means they were married and knew each other for at least half a decade. This further establishes his credibility. He also informed Paul that, as far as he was concerned, Lula Mae had no reason to run away, as her children did everything. She basically had no reason to be unhappy. She simply ran away because she had “never been to New York.”

Another example of ethos is in scene 4, where we are first introduced to O.J. Berman, Lula Mae’s agent. First, he shows his authority by blowing out Paul’s match when he tries to light Lula Mae’s cigarette, telling Paul that he’ll do it. Lula Mae wanders off after telling O.J. to help make Paul famous. When Paul and O.J. are left alone, O.J. asks Paul if he thinks Lula Mae is a phony. Berman states that she is, in fact, a phony, and shows his credibility by informing Paul “I’m the guy that discovered her. A couple of years ago, back on the coast here (Breakfast at Tiffany’s 32:00).” After his credibility is established, he tells Paul that she had a hillbilly accent and it took a year to get it to go away with the help of French lessons. This is believable because Berman showed his credibility earlier.

Furthermore, in scene 13, we see a good example of logos by O.J. Berman. He seems very knowledgeable about many entertainment-based things, such as covering up a scandal. In scene 13, after Lula Mae had been arrested, Paul calls O.J. Berman because he knows that Berman will know what to do. O.J. Berman tells Paul exactly what to do, with the confidence of a man who has been in this situation many a time. He informs Paul that she’s set at a $10,000 bail and that she will be out by 10:00 a.m. thanks to his lawyer. He then instructs Paul to “bust into that dump she lives in, collect all her junk. Get down to the jail. Get her out. Take her straight over to a hotel under a phony name, right (Breakfast at Tiffany’s 1:43:20)?” Paul then, following O.J. Berman’s instructions, picks Lula Mae up in a cab to take her to a hotel.

Scene 7 is also a good example of pathos, as Doc is very emotional throughout the monologue; he is talking about his wife, after all. He begs Paul to be his friend and lets Lula Mae know that he’s there and wants to take her back home. He tells Paul the story of how Doc first met Lula Mae. She and her brother were on his farm stealing turkey eggs and milk. He says that the two of them had run away from a terrible home far away from Tulip. “She had good cause to run off from that house. Never had any to leave mine (Breakfast at Tiffany’s 0:50:00).”

Another example of pathos is scene 14, which starts with Lula Mae insisting on going to the airport and to South America instead, and in an emotional moment, throws Cat out of the car. This is the last straw for Paul, as throughout the story she continuously showed just how selfish she is. Paul then tells her that she’s a chicken, and that “you’re terrified somebody’s going to stick you in a cage… you’re already in that cage. You built it yourself… It wherever you go” (Breakfast at Tiffany’s 1:50:56), and then proceeds to look for Cat. This helps Lula Mae finally realize how selfish she had been, and she gets out and starts to look for Cat with him. The entire scene is very emotional, from Paul’s anger to their desperation to find Cat, who was soaking wet, as Lula Mae forced him out of the taxi into heavy rain.

Breakfast at Tiffany’s has a seemingly happy ending, of Paul and Lula Mae kissing passionately in the rain, Cat smushed between them. However, if you think about it, the ending raises many questions. Will Lula Mae still leave, will she go back to her family in Tulip, Texas, or will she abandon them and stay with Paul? Whatever the ending, it is still an incredible movie, with many examples of ethos, logos, and pathos.

Works Cited

1. Breakfast At Tiffany’s. Directed by Blake Edwards, Performances by Audrey Hepburn, George Peppard, Mickey Rooney, Patricia Neal, Buddy Ebsen, Martin Balsam, and Alan Reed. Paramount Pictures, 1961.

What makes the ideas of love, marriage and relationships universal? These ideas are relevant to all cultures around the world. All humans are capable of love and create relationships, whether they are familial or romantic. Gurinder Chadha’s Bride and Prejudice is a modern adaptation of Jane Austen’s Pride and Prejudice, and explores the enduring themes of love, relationships and marriage in the twenty-first century. The film uses the interracial relationship between Lalita and William Darcy to discuss differences in race, tradition and cultural imperialism.

Jane Austen’s acclaimed novel Pride and Prejudice is set during the Regency period in England, where marriage is essential in order to gain financial security and social status as a woman. The book follows the story of the middle-class Bennet’s and their five daughters, with their sole purpose in life being to marry off their daughters to successful men. The modern adaptation Bride and Prejudice takes place in Amritsar in India, and follows a similar plot to the Austen’s original, with Mr and Mrs Bakshi frantically seeking the perfect, wealthy husbands for their four beautiful daughters. However, their eldest daughter Lalita, is intent upon marrying at her own choosing, for love and an emotional connection, rather than wealth and social status. She endures a number of hopeful suitors, but the prideful American William Darcy is unlike many others she’s met. Writer and director Gurinder Chadha is renowned for focusing on Indian women reconciling their culture and traditions with modern day living.

In the film, Lalita embodies Elizabeth’s strong values of independence, intelligence and feminism. Her views and opinions about the world she lives in are incredibly modern. Lalita Bakshi is introduced to the audience as the most intelligent and sensible of the four sisters. Unlike her sisters, she is hesitant about the idea of an arranged marriage and is not fond of the superficiality behind it. Marriage is an important aspect in both Regency England and the contemporary small-town India where the film takes place. Both mothers of the Bennet and Bakshi family were eager to wed their daughters to suitable and affluent men, as it was the only ways for their families to gain social status. Lalita’s resistance to an arranged marriage is evident in a scene with Mr. Kholi, a comical adaptation of Mr. Collins. Mr Kohli enters the Bakshi household only to brag about his wealth in America and to eat with his mouth full. The family at the table are tense by Mr. Kholi’s peculiar character. He reveals to the family that he is in India because “As they say, no life without wife.” The sisters snicker at his remark as Lalita sighs and rolls her eyes at his impertinent character. The scene cuts to an amusing musical number called “No Wife Without Life” with Lalita and her sisters, singing about wanting to marry a man that she loves, and not wanting to be a ‘trophy wife’. The song opens with a mid-shot of the sisters mocking Mr. Kholi’s character as Lalita lays in her bed, rolling her eyes in disgust. The sisters dance to the song, following Lalita around the house making fun of Mr. Kohli’s intent to marry her. Her facial expressions and the tone of her voice convey her thoughts and opinions of the superficiality of arranged marriages. Lalita smirks as she joins her sisters, singing “I don’t want a man who’s crude and loud, who wants a pretty wife to make him proud”. The sisters smile in agreement.

Culture and religion are factors that are still heavily influential on relationships in modern-day society. Differing cultural backgrounds can propose a challenge to a romantic relationship, as well as the inflicting opinions of family. In the film, Chadha explores the impact that the clashing cultures and expectations can have on a relationship. In Bride and Prejudice, the main challenge other than wealth is the cultural divide between American Mr. Darcy and Lalita of Indian heritage. Through their relationship as people from two different cultures, the film conveys the treatment of Indians and their culture by the West. The audience’s first impression of Mr. Darcy is supported by his prideful yet arrogant attitude and personality. At the first wedding party, he quietly stands to the side of the room with a nonchalant expression, with his hands to his sides, and observes the guests dancing, almost as if he is looking down at the people that are inferior to him. In a later scene, Darcy asks Lalita to show him traditional Indian dancing, and makes a rude and racist comment mocking her cultural traditions, offending Lalita. The camera closes up to Lalita furiously making her way down the stairs, already in disbelief of his arrogance. Darcy smirks – “Listen, I’m a hopeless dancer but this just looks like you’re screwing a light bulb with one hand and pet the dog with the other.” Lalita scoffs, clearly offended by his uncivilised and impolite manner. He is ironic and arrogant by comparing traditional Indian dancing to simple everyday tasks. Lalita, her prejudice against Darcy now heightened, replies to him saying – “I think you should find someone simple and traditional to teach you to dance like natives.” Darcy’s lack of respect towards Lalita’s culture and traditions further develops her preconceived prejudice towards him. This scene resembles Mr. Darcy’s rude behaviour in the novel at Sir William Lucas’s ball, where he makes a comment about the act of dancing only being done by a polished society. Sir William attempts to engage in small talk with Mr. Darcy when he makes this remark – “It (dancing) has the advantage of also being in vogue amongst the less polished societies of the world; every savage can dance. Mr. Darcy’s attitude towards dancing is juxtaposed with the setting of the ball and social etiquette. He compares dancing to something a savage can do, and claims that the Lucas’s are uncivilised, when in reality he is the one that is uncivilised. Bride and Prejudice’s William Darcy

Love is a key theme in Bride and Prejudice and is explored through the interracial relationship of protagonists Lalita and Mr. Darcy. The film embodies the novel’s message of finding your equal, and someone who holds similar values to yourself. Throughout the film, like Elizabeth, Lalita holds a preconceived prejudice against Darcy for his arrogant and rude behaviour, and they both hold prejudices against eachother’s cultures at the beginning. However, her views and feelings towards him begin to change through further interactions between them. Chadha portrays the character development of the protagonists through their appretiation of eachother’s culture and mutual understanding. As they spend time with eachother in America, they begin to develop a deeper and emotional connection. By the end of the film, at Jaya and Balraj’s wedding, Darcy appears into the scene, smiling and playing traditional Indian drums, conveying his new appretiation for Lalita and her culture. A close-up shot of Lalita is shown with her smiling, as she slowly runs up to Darcy. Darcy looks up at the Bakhsi family for a moment, and they are shown smiling and celebrating in approval, highlighting that he now feels included in the culture. The couple embrace in a hug, as they are content and have both found their equal.

It is evident that through its focus on the complexity of interracial relationships, Bride and Prejudice explores the enduring themes of love, relationships and marriage. It is a modern adaptation that sucessfully embodies the key ideas and themes of the original, and presents them in a way that is relevant to a modern audience. Director Gurinder Chadha’s cultural approach on the timeless classic delves into the modern day challenges of cultural divides and social status on romantic relationships, whilst still keeping true to Jane Austen’s Pride and Prejudice.

ABSTRACT

Adapting literary texts into films, often disregarded as a secondary activity, is a crucial process that requires the effort and time equal to that of creative writing. An adaptation’s success depends on its ability to amalgamate the gist of the literary text and the necessities of a visionary medium, without the objective of the adaptation getting compromised. Jane Austen’s Pride and Prejudice is adapted into an Indian Bride and Prejudice by Gurinder Chadha in such a manner that the author’s true intentions are juxtaposed. Relocated to the 21st century Amritsar, the movie portrays a set of characters, Indian in appearance, but western in action. A far cry from the lives of Indians of that period, the movie visualizes an ‘imaginary realm’ which at once alienates itself from 21st century India and 19th century England. Critical readings have mostly shared the observation that the film, Bride and Prejudice does justice to the literary text, but this paper seeks to problematize this predominant critical perception.

Ariane Hudelet, in The Cinematic Jane Austen: Essays on the Filmic Sensibility of the Novels (2009) argues that: The function of cinema and television in providing access to literary works today cannot be ignored. Jane Austen, in this regard, occupies a very special position, since her works have always called for recreation, interpretation, performance, […] a phenomenon that has been increased tremendously by the plethora of cinematic adaptations since the 1990s. (as cited in Chapter Three: Pride and Prejudice, n.d, pp.83)

The Austen mania that ruled the minds then, continues even today. Among the myriad adaptations of the Austen novels, many have tampered with the beauty and seriousness of the original texts. The main problem stems from the common notion that adaptation of literary texts to films is a secondary activity. The truth that the screenplay writing is a crucial process that requires the time and effort equal to creative writing is neglected often. Balazs, in his collection of essays, ‘Theory of the Film: Character and Growth of a New Art’ conveys the idea of the film script being a new literary form which is produced by its writer by adopting and deleting elements at his will from the ‘raw material’ or the ‘source text’. According to him, the diligence of the screenplay writer in amalgamating the gist of the source text (which includes its formal and thematic design) with the new technology and aesthetic design gives birth to a new entity, an adaptation. Thus, the success of this new entity, the adaptation is a complicated area of concern that requires the lining up of many factors, both linguistic and cinematic favorably.

Evaluating an adaptation by tracing the roots of the source text in it is an erroneous method of analysis. An adaptation and its degree of fidelity to the source text give rise to different categories of adaptations, mainly transposition, commentary and analogy. A transposition exhibits maximum fidelity to the source text while the commentary contains minor changes made by the filmmaker to suit his needs. Analogy, on the other hand utilizes the plot of the source text as pillars on which a new piece of art is constructed. In an analogous adaptation, the writer very frequently exploits his immense liberty to transport the whole tale into a different place and time. Hence, the degree of adherence to or divergence from the source text is not a right parameter to evaluate an adaptation. George Bluestone in his work, Novels into Film (1957) states that:

Changes are inevitable the moment one abandons the linguistic for the visual medium. […]. The end products of novel and film represents different aesthetic genera, as different from each other as ballet is from architecture. The film becomes a different thing in the same sense that a historical painting becomes a different thing from the historical event which it illustrates. (as cited in Chapter Three: Pride and Prejudice, n.d, pp. 84)

A heated debate on the utilization of the texts of the literary canon for adaptation has been going on for ages. A possible justification for this was provided by Geraghty who claims the choice to be logical as it is already” known and has been proved to work”. Samuel Marx, speaks for adaptations and the changes made to the original texts while adapting. He states that:

I do not see why they (people who are going to adapt books) need to be that respectful of material that was written for the mind of the reader, not for movie producers who want to appeal to the eyes and ears of a movie audience. Because of the change in audience, other changes must be made. (as cited in Chapter Three: Pride and Prejudice, n.d, pp.84)

A successful adaptation of a literary text into other forms of media happens only if the director is able to remould the text to suit the needs of the medium of transfer and its possible audience. This herculean task is where most of the adaptations fail bitterly. The best example would be the Indian film adaptation of the novel Pride and Prejudice called Bride and Prejudice by Gurindher Chadha.

Jane Austen’s Pride and Prejudice depicts the 1813 British regency with ideal depiction of the manners, way of life, approach to marriage and money of the people during the period. The novel revolves around the Bennet family, where Mrs. Bennett is desperate to get her five daughters married off to the best suitors. The events where Mr. Bingely easily falls for Jane, while Elizabeth and Darcy find faults with each other from the beginning, supplements the further development of the plot. The plot moves with a lot of impeding conflicts and confusions, at the end of which the union of Bingely and Jane and Elizabeth and Darcy takes places.

Relocated to the 21st century Amritsar, the movie Bride and Prejudice, an analogic adaptation of Pride and Prejudice portrays a set of characters, Indian in appearance, but western in action. A far cry from the lives of the Indians of that period, the movie visualizes an “imaginary realm” which at once alienates itself from 21st century India and 19th century England.

The movie, on its release ushered in a hail of comments both positive and negative. Marion Gymnich states that: The film Bride and Prejudice (2004) offers another ‘cultural Translation’ of Austen’s text, situating the romance in contemporary India and using various elements characteristic of the tradition of ‘Bollywood’ cinema including colourful Indian costumes, dance scenes and singing. (Mathur,2007)

Taran Adarsh in a review about the film describes it as focusing on the “East meets the West” concept. According to him the film “marries a characteristically English saga (Austen’s Pride and Prejudice) with classic Bollywood format “transforming corsets to saris, … the Bennetts to the Bakshis and … pianos to bhangra beats” (Mathur, 2007).

According to Gurindher Chadha, Bride and Prejudice is a “complete Hindi movie” and her statement holds true to an extent as the film employs a cinematic language familiar to the Indian audience by diligently incorporating the typical “masala” narrative pattern complete with drama, comedy, tragedy and dance. This close association of the movie Bride and Prejudice with the cinema of Manoj Kapoor , Raj Kapoor and Yash Chopra is reiterated by the reviewer, Taran Adarsh through his statement that “the songs and some sequences look straight out of a Hindi film”(Mathur,2007).

This peculiar yoking together of the Indian popular culture and a British canonical text stirred a hornets’ nest of dispute and displeasure. Gautam Bhaskaran in his review for The Hindu asks as to “why this talented director has reduced Jane Austen’s creation to a Bollywood masala film”(Mathur,2007).

Peter Sobczynski, describes the movie as “a typically overstuffed affair that is so eager to please that you almost begin to feel bad about pointing out its shortcomings, even though they are far too apparent to simply overlook, starting with the basic premise itself”(Sobcynski, 2005). Sobcynski further relegates the movie by calling it “unendurable” if not for the presence of Aishwarya Rai as Lalita Bakshi(Indian counterpart of Elizabeth Bennet).

This dissension concerning the worth of a film is typical as nothing interesting is ever one- sided. Bride and Prejudice may seem like a successful adaptation if one were to evaluate it on its capability to meet the technical and theatrical requirements of adaptation. The movie’s inability to create a sense of association either in the minds of Indian or British audience reveals the loopholes of cultural adaptation. In order to fulfill the objective of the paper, the movie’s shortcomings that prevented it from becoming either a faithful analogical adaptation of Jane Austen’s Pride and Prejudice or Bollywood musical needs to be pointed out.

The pieces of the puzzle refuse to fit together from the start. The character of Mr. William Darcy pronounces this to an extent. The air of superiority projected by the Darcy in Pride and Prejudice is drastically altered when it comes to the Darcy in the Indian adaptation Bride and Prejudice. Gurinder Chadha presents Darcy as a foreigner intimidated by the customs and traditions of India. At the beginning of the film one gets to see a claustrophobic Darcy completely baffled about an alien land called India that he asks Balraj “Jesus, Balraj, where the hell have you brought me?”

A weak being standing aside Mr.Balraj’s sister is nowhere similar to the man that Mrs. Bennet describes in the novel Pride and Prejudice. Darcy in Pride and Prejudice was: … a most disagreeable, horrid man, not at all worth pleasing. So high and so conceited that there was no enduring him! He walked here, and he walked there, fancying himself so very great! Not handsome enough to dance with! I wish you had been there, my dear to have given him one of your set-downs. I quite detest the man” (Austen, 1813).

Martin Henderson’s role as Darcy in the film creates a confusion as one cannot decide whether to evaluate him from the benchmark set by the character of the novel Pride and Prejudice or not. Being an analogous adaptation the screenplay writer has the liberty to alter and eliminate characters as well as their traits. However, on evaluating either way, the character of Darcy in Bride and Prejudice appears as a blemish that mars an otherwise tolerable film. Peter Sobsynski, in his review of the film comments that: “The biggest flaw is that Martin Henderson, who portrays Will Darcy, the stiff-upper-lip who eventually wins the heart of our heroine, turns in one of the most spectacularly awful and unappealing performances in recent memory.

The later sequences in the film fail to project a proud- turned- charismatic Darcy for whom Lalita falls madly. While the heroine, Lalita had all the qualities needed for a man to fall for her, Darcy didn’t even have a few to his credit. Throughout the film, he reminds one of a “comical Romeo” desperately trying to get Lalita’s attention, in contrast to the Darcy in Pride and Prejudice who made Elizabeth fall for him with his wits. The way he awkwardly gazes at Lalita during the Gharba night makes him closer to a buffoon rather than to a hero of a film. He is torn between courtesy and his sense of alienation and not between courtesy and pride like the Darcy in Pride and Prejudice.

The relationship between Darcy and Lalita in Bride and Prejudice is an unconvincing one in comparison with the Darcy’s and Elizabeth’s in Pride and Prejudice. The titular reference about their initial Pride and Prejudice had its resonance throughout the novel. While Elizabeth had a critical mind, Darcy was of the snobbish and arrogant kind which he blames upon his parents, “who thought good themselves…. allowed, encouraged and almost taught me (him) to be selfish and overbearing”(Austen, 1813). The novel presents the unfurling of their love as a gradual effect following the course of events. The movie, on the other hand depicts their relationship as a rather abrupt and immediate one. Darcy and Elizabeth, a couple truly ahead of their time finds love debating over issues of societal relevance. Engaged in a plethora of debates, Darcy and Elizabeth knew how to outdo the other in their verbal duels. In the movie Bride and Prejudice, one can see a weak and meek Darcy fighting tooth and nail to give a reasonable response to the cold, yet rational arguments of Lalita. The scene at Goa is just one of the numerous occasions where one could see a vulnerable Darcy pinned down by the well founded Lalita.

“Lalita said: I’m sure you think India’s beneath you

Darcy: If I really thought that, then why would I be thinking about buying this place

Lalita: You think this is India?

Darcy: Well, don’t you wanna see more investment, more jobs?

Lalita: Yes, but who does it really benefit? You want people to come to India without having to deal with Indians.

Darcy: That’s good. Remind me to add that to the tourism brochure.

Lalita: Isn’t that what all tourists want here? -star comfort with a bit of culture thrown in? I don’t want you turning India into a theme park. I thought we got rid of imperialists like you.

Darcy: I’m not British. I’m American.

Lalita: Exactly.” (Chadha & Berges, 2004)

The visible power politics at play, from the beginning of the movie makes one hard to believe that their relationship eventually culminated in a deep love affair. This very fact loosens the thread of credibility and pokes in an element of abruptness further nudging the movie towards an ‘imaginary realm’. Moreover, the movie doesn’t focus much on the relationship of Jaya and Balraj, as there isn’t much talk between them and nothing guarantees the great future of their marital life, except the fact that Jaya is meek and submissive.

Chadha’s modernization of a traditional Indian family has gone beyond the line, thus pushing the film further into an imaginary realm. Chadha’s Indian characters are ghosts of their British counterparts. They clad themselves in Indian clothing and exhibit a British sensibility quite unconsciously. This makes them at once alienated from the 21st century India and 19th century England. On viewing the movie one gets convinced of the amount of time Chadha has spent in relocating the events of the novel. “ While the Bennetts, Bingelys and Darcy negotiate the relationship between marriage, money and social status in an England transformed by the rise of capitalism, the Bakshis, Balraj and Darcy the same task in a India transformed by corporate globalisation”(Mathur) . While it is evident that Chadha has indeed used her liberty as a scriptwriter in this regard, she has neglected many areas unconsciously. Although Chadha’s characters possess the charm and vitality of their British counterparts, they possess nothing that would exhibit their Indian sensibility.

One of the many instances in the movie that would prove this lack of Indian sensibility occurs when Balraj seeks permission from Mr.Bakshi to take Jaya to Goa.

“Mr. Bakshi : Mr Balraj, I am not sure if it would be appropriate to let Jaya go on her own.

Mr.Balraj: Oh, I understand

Mrs.Bakshi: Don’t be silly, dear. So kind of you to invite Jaya.” (Chadha and Berges, 2004)

Here, while Mr.Bakshi, being the meek yet responsible father kindly refuses to let Jaya go with Balraj Mrs. Bakshi, sees this as an opportunity for Jaya to lure Balraj. Chadha presents an Indian mother who would go to the extent of compelling her husband to let their daughter go with a man of wealth to a place notorious for licentiousness in India. This paradoxical behavior of the so called ‘Indian mother’ reaches its climax when she expresses her obscene motive shamelessly to her husband.

“Mrs. Bakshi: Have you gone crazy, old man? This is Jaya’s chance to win him once and for all. And he’ll get to see her in a swimsuit.” (Chadha &Berges, 2004)

Indians and their taboo about sex is an age old saga that persists even today. In an e-article published by Abhilasha Parwa, she talks about how Indian women struggle for sexual freedom even in 2013. In a country which considers sex before marriage the greatest taboo, Chadha’s characterization of the Indian society is a far cry from reality. This degree of hybridity exhibited by the characters in the movie pushed the movie further into an ‘imaginary realm’.

On reviewing an adaptation, one might find a certain addition or exclusion diminishing it’s the beauty. The film Bride and Prejudice is a victim of this kind of unwanted exclusion and inclusion. A good number of songs in the movie added with an aim to establish their relation with Bollywood musicals and Opera does otherwise. These songs mimicking Bollywood songs and Operas trivialize the adaptation by taking it below the benchmark set by its source text, Pride and Prejudice. The song on India in which Ashanti,the famous American singer, dancer and actress makes a cameo appearance seems like a mere appendage to the plot rather than an important inclusion where one gets to know of the richness and diversity of India. The song where the three girls along with the whole street sing also makes the same impact.

The idea of turning a Jane Austen classic into a Bollywood musical replaces the aesthetic seriousness of the novel with an air of grandeur and pomp of a filmy drama. Suchitra Mathur in her article from British “Pride” to Indian “Bride” states that” The problem, according to the Indian reviewers, lies not in the idea of an Indian adaptation, but in the choice of genre, in the devaluation of the “master” text’s cultural currency by associating it with the populist “masala” formula of Bollywood”(Mathur,2007). Chadha’s Bride and Prejudice seems like too weak an opponent to compete with the Austenian Pride and Prejudice, complete with an in-depth psychological characterization. A melodramatic set of people interacting with a weak, lifeless Darcy is what Bride and Prejudice is about.

References

1. Austen, Jane. (1813) Pride and Prejudice. United Kingdom. T. Egerton, Whitehall Chadha, Gurinder & Berges, Paul.(2004). Bride and Prejudice. Retrieved from http://www.script-o-rama.com/movie_scripts/b/bride-and-prejudice-script-transcript.html
2. “CHAPTER THREE Pride and Prejudice : HOLLYWOOD to BOLLYWOOD”. Shodhganga, 81-113. Retrieved from http://shodhganga.inflibnet.ac.in/bitstream/10603/37785/9/09_chapter%203.pdf
3. “Chapter III THEORIES OF ADAPTATION: NOVEL TO FILM”.Shodhganga,1-62. Retrieved from http://shodhganga.inflibnet.ac.in/bitstream/10603/29149/9/09_chapter
4. Mathur, Suchitra. “From British “Pride’ to Indian “Bride’ Mapping the contours of a Globalised (Post?) Colonialism’. M/C Journals, Volume No 10. Retrieved from http://journal.media-culture.org.au/0705/06-mathur.php
5. Nayar,Deepak (Producer), & Chadha, Gurinder(Director). 2004 Bride and Prejudice (Motion Picture). India. Pathé Purwar, Abhilasha .(2013, June 17). Sex Before Marriage: The Great Taboo. Retrieved from https://www.womensweb.in/articles/sexuality-in-indian-women/
6. Sobczynski, Peter(2005,November 2) . “Bride and Prejudice’ (Review of the movie Bride and Prejudice). Efilmcritic.com. Retrieved from http://www.efilmcritic.com/review.php?movie=11131&reviewer=389

With a rise in the popularity of online gaming in the last 10 years, there has also been a subsequent rise in phishing, grooming and the manipulation of minors. Breck’s Last Game, directed by David Whayman and globally released in 2019, tells the story of Breck Bednar, a 14-year-old whom was manipulated online over a number of years and lured to a flat by Lewis Daynes where he was brutally murdered. The text employs the use of symbolism, rhetorical questions and imagery to inform the reader of the dangers that lurk online in hope of preventing further deaths to similar situations such as those of Breck Bednar’s.

One of the most prominent and persuasive non-diagetic sounds used by Whayman is the sound of a clock ticking. The viewer is first presented with this sound when Breck begins to speak with Lewis online. The sound remains present in the background and as tensions rise and Lewis begins to manipulate and groom Breck, the time between the ticks shortens and climaxes in an explosion of silence when Breck opens the door to Lewis’ apartment. This highlights to the viewer that Breck’s time is ticking down as it draws closer to him meeting with Lewis. The sound of the clock also is symbolic of and replicates both Breck and Lewis’ heartbeats. As Breck becomes excited to meet Lewis and ‘take over his company’, his heartbeat fastens as the ticking does, alongside Lewis become nervous for the actions that he is going to take place when they meet. Whayman uses the clock ticking intertwined with the audio of melancholic piano music, which brings attention to the sadness of the overall situation, to create an emotional effect on the audience. The audio used prompts the viewer to reflect on their online gaming experiences, and how close they may have potentially come to becoming a victim of manipulation and grooming, in a similar way that Breck was. Whayman’s clever use of sound persuades viewers to be cautious when talking to people they don’t know online and to remain extremely vigilant.

Another persuasive technique used by Whayman is rhetorical questions. Towards the end of the short film, the words “your online friends” appear against a black background, shortly followed by the rhetorical question “Do you really know your online friends?” This rhetorical question follows up on the overall theme of the film and “knowing” your online friends. Often when young adults play games online, they join parties, discord servers or just talk in game with people they don’t know, and could easily be manipulated to give out information that could harm them and those around them. This rhetorical question forces the viewer to realise that even though they may hear the voice of a stranger, they do not know who they are, what they look like, or what their potentially malicious intentions are.

The overall imagery Whayman uses in Breck’s Last Game consists of many black backgrounds alongside several game type screens. Text consistently flashes on and off the screen generating similar to the way it would in a game. This ties together Whayman’s use of rhetorical questions and symbolism to make the persuasive short film as effective as possible. One key occasion of this is at the end of the 999 call when the screen goes black as if a computer is being switched off. This turning off of a computer could symbolise the “turning off” or end of Breck’s life, which ties in with the colour black, being symbolic of death, evil and aggression. This use of imagery adds a layer to authenticity and encourages the viewer to realise how real and scary these events are, in hope of preventing similar situations.

Overall, Whayman uses imagery, rhetorical questions and symbolism in Breck’s Last Game to encourage the viewer to open their eyes to the dangers of talking to strangers online. It is a very successful campaign with many online gamers starting to recognise these dangers and stop talking to people they don’t know online.

Often success is overtly demonstrated in seemingly naturally talented or gifted people. Overnight successes are celebrated in athletes, performers, authors and artists, scientists and even students. But how did these people really achieve their success? Are they smart? Are they talented? Maybe. But more than likely, success is achieved through years of perseverance and grit. Traits that can be found in all of us but are often left untapped. “Success is the child of perseverance, It cannot be coaxed or bribed, Pay the price and it is yours”.

Mao’s Last Dancer is an inspiring true story of a boy who shows compelling perseverance and grit to achieve dreams he never thought possible. The opportunity to incorporate such a story in the Year 8 Curriculum would benefit all those students who wrongly believe success is not within their reach.

Often success is attributed to wealth, position, gifts or talents. However, Li Cunxin was brought up in poverty. He and his family were peasants with very little by way of means or prospects. Unsurprisingly, this was not lost on Li who believed this life would continue to be his destiny. “I knew at the bottom of my heart that my destiny lay in the fields as a labourer, like hundreds of millions of others”. It is difficult to see different paths if there is one that appears laid out in front of you. Still, did Li accept his fate when opportunity presented? Did Li’s mother hold back her son in his moment of hope? “Never forget where you come from,” she said. “Work hard and make a life of your own. There is nothing here except starvation and struggle!” (p.170). “I knew now, with sudden shock, that I could never go back to the life I used to have….I knew my future lay ahead, not behind” (p.170) Hardships, although perhaps not quite as extreme, are faced by many children. Li’s example of embracing opportunity is a great lesson for those who may not see what is potentially in front of them.

Similarly, although embracing a new opportunity can lead to adversity and failure, it can ultimately set you up for success. Although many believe you must have talent to build on, Mao was not necessarily a natural dancer, in fact, he was only chosen after a suggestion from his teacher. “What about that one?” she said. “All I knew about ballet was what I’d seen in the movie The Red Detachment of Women. I had no idea what ballet was all about”. (p 93.). Li struggled with lessons, his teacher called him “the boy with the brainless big head” (p 124). His three long toes hurt in his ballet shoes. Li explained that nights were the worst, “I couldn’t wait to get to bed so I could clutch onto my niang’s quilt, my only security” (p.137). Li finally admitted to his teacher “I have nothing special to make me a good dancer” (p190). It was his teacher’s next words that changed his life. “Cunxin, nothing is impossible for a determined human being……Nothing is impossible if you put your heart and soul into it! Become the greatest dancer you can be. Starting next year, I expect to see nothing less than the best from you.” (p.190). From then on Li’s inspiration became “hard work, determination and perseverance. It is important in life to have direction and commitment. When a goal is set, it is easier to stick to things that are important and bounce back from failure.

However, goal setting doesn’t come easily. Often it is inspirations from others that provide this direction. Scott Kaufman of Harvard Business says, “Inspiration facilitates progress towards goals”, with the Army and Navy Academy saying “Goal setting is fundamental to long-term success”. Once Li set himself a goal, there was no going back.

When Li’s teacher, Gao, calls him a “brainless big head… Never come to my class again” (p.181), this gives Li the inspiration to work even harder to prove to Gao that he is worthy and not to be name called. Although it took much training and many attempts Li proved himself to his teacher and Gao treated him with respect and never called him “the boy with the brainless big head again” (p.187). Inspiration from others can help students to narrow their focus and set goals in order to and strive for success. Similarly, Kaufman argues that “inspiration increases well-being”.

Another reason on why inspiration is relevant to students of today is because “inspiration increases well-being” says Scott Kaufman, Harvard Business. Extensive research suggests that there is a link between well-being and positive academic performance (Kaplan, Maehr, 1999) and positive academic performance leads to successful carers according to Janelle Regier, Head of School Boards Association America. Goal setting is crucial for direction in perseverance and success. Inspiration can be an important part of goal setting.

Conclusion

So, what leads to success? Talent, gifts? Or is it something more, something that is within everyone waiting to get out. Inspiration and goal setting lead to perseverance and grit which are essential ingredients when it comes to overcoming adversity and failure. The true story of Mao’s Last Dancer is a perfect demonstration of such perseverance and is an opportunity to teach students what is behind the development and reasoning of such a trait. Do we dare leave this book on a shelf in a library or do we provide the inspiration to our children through adopting it in our Australian Curriculum? “Success is the child of perseverance, It cannot be coaxed or bribed, Pay the price and it is yours”.

The most common reading of the monster stands as being a metaphor for the nuclear bomb. One can track this throughout the movie through cinematic techniques, dialogue and complementary timelines.

It is most clearly demonstrated in the opening scene, where the destruction of the ship mirrors the events of Bikini Atoll. A test that threatened the Japanese fishermen’s lives through radiation exposure, the opening scenes action establishes the monster as this test. Putting the fishermen in harm’s way in the South Pacific, Honda mirrors history, having the monster do as the bomb did. However, the representation does stray from history in the fact that the ship didn’t sink, and rather was just exposed to radiation. Honda nonetheless manages to attach the two timelines as one, using this to only emphasize his ideas. The sinking can be interpreted to be emphasizing the strength of the monster. How only its glow can be seen from under the waves. Through the cinematic techniques it seems the ocean itself is the one doing the sinking. Striking the ships, Honda establishes the force of the monster as one equal to that of nature. Just as the nuclear bomb is, through the necessity to split an atom for it to work. The monster and the nuclear bomb are entwined, both presented as forces of nature. This is also demonstrated prior to the damage the ship receives. A bright flash of white light engulfs the screen, one that its distinctive of a nuclear blast. The monster appears as the explanation to the destruction and thus as the nuclear bomb. As it goes on to destroy parts of Japan itself, the metaphor starts to become clear.

Moving further into the movie, one can observe an individual crying at her own misfortune: “I barely escaped the atomic bomb in Nagasaki, and now this!”. The monster is portrayed directly in attachment with a nuclear bomb, one alongside such powerful events as Nagasaki. With no mention of Hiroshima, it could be Honda presenting the monster as its equivalent in the movie. A force that cannot be damaged nor stopped by conventional firepower, or our current scientific capabilities. It becomes evident that Honda presents the monster as the nuclear bomb, regardless of which, one that is undefeatable and unstoppable.

Referring towards the end of the movie, where Serizawa after deliberation resorts to a suicide mission to end the monster. One can link this to the Kamikaze attacks orchestrated by Takijro Onishi. A commander in the Imperial Japanese Navy for the Empire of Japan, the attacks took place against allied naval vessels costing many lives. They both in similar ways attempt to free their country from the oppressive regimes that brought destruction. Both having high-ranking individuals giving their lives to save their country it is reminiscent of the other.

It becomes clear that the monster represents the nuclear bomb. As with similarities to the events of Bikini Atoll, alongside direct references and cinematic techniques both the monster and the nuclear bomb become entwined. Placing either in replacement of the other, will nonetheless lead to the same ramifications and outcome. Thus, clear that the monster represents the nuclear bomb.

To survive, in basic terms, is to be able to have access to resources such as food, water, and shelter. To acquire these resources, several stances need to be taken, whether it be aggressively, neutrally, and rarely ever altruistically. A perfect example to demonstrate the multitude of different stances would be in the television series ‘The Walking Dead’. ‘The Walking Dead’ is set in a post-apocalyptic setting in which most, if not all, of humankind, have been infected and turned into what the survivors refer to as ‘walkers’. Walkers shed all signs of their past humanity and are turned into mindless creatures with the sole goal of seeking out live humans and consuming their flesh.

Set in an environment of constant stress, every action taken is crucial and can determine your fate. An environment in which setting aside a part of your humanity is needed to live in the perfect situation in which the topic of survival can be implemented. The term ‘survival’ is broad and expanse because anything could be done in the name of survival, such as the psychological aspect of the thinking process and the physical aspect of taking action, but to keep it concise, it could be defined by the actions and decisions taken by organisms to maintain the possibility of staying alive. The concepts that best relate to the topic of survival set in this post-apocalyptic world would be the presence of aggression, and if more beneficial, the need and presence to create and maintain cooperation as pairs or in a group. In the following paragraphs, I will be discussing how the aspect and topic of survival can be correlated to the television series ‘The Walking Dead’ by utilizing some of the actions and decisions the characters took during their times of peril. The characters I will be relating these two concepts would be the main character Rick Grimes and former antagonist Philip Blake.

To begin with, the concept of aggression can be easily associated with the character Philip Blake, as it is the more selfish and hurtful form of survival. Aggression is the most basic and instinctual method of acquiring something you need by threatening others through the use of physical harm to others. A method, albeit simple, is effective and is generally used by the great majority of all animals on the planet. Cunning, cruel, callous, savage, remorseless, brutal, and even psychopathic, Philip Blake takes action with no regard for mercy as long as it needs to be done to fulfill his goals and desires. He had an arsenal of methods to control others, most notably his ability as a very smooth talker, often being able to talk his way out of unfavorable situations, while still being very capable of killing without thought. By utilizing his way of speech, he easily manipulated others to fulfill his desires. His real aggressive side surfaces when something occurs that upsets him, such as when Rick ‘took’ Woodbury from him or when Michonne put down his zombified daughter, Philip Blake took on a journey solely to satisfy his revenge through force and killing.

Rick is closely associated with the positive side regarding the concept of cooperation, as throughout the series his main goal is to maintain a steady head and persevere through problems and rough times as a group. Cooperation is achieved when a pair, or a group, teams up to work and strive for a similar goal. These types of relations are formed when there is a need for more resources or to accomplish tasks that no single man can acquire or complete. Rick’s group is able to effectively work together and complete what needed to be done for their well-being. An example to back it up would be when Rick’s group invades Woodbury to rescue Glenn and Maggie. Surprisingly, the cooperation in Rick’s group brought minimal risks throughout the series, as there were minimal signs of group polarization, deindividuation, and especially diffusion of responsibility. Rick, almost to the point of being insane, constantly places responsibility and faults on himself whenever something unfavorable occurs.

In conclusion, to act in the name of survival involves a hefty amount of desire. Whether it be unconsciously being aggressive to maintain your dominance and position above others, or maintaining a group to mutually benefit each other, the concept of survival and the desire to live can be surprisingly closely related to psychological motivations such as intrinsic and extrinsic motivation. The desire to live and willing to kill others without a moment’s notice, whether it be for personal satisfaction or to live in the current moment, and the desire to work harder or more cunningly to end up with a better reward or position can be other reasons as to why the characters acted how they did, not just solely because of the instinctual response to survive.

Introduction

Scott Fitzgerald’s novel, ‘The Great Gatsby,’ has captivated readers for decades with its exploration of wealth, love, and the American Dream. In 1974, director Jack Clayton brought the story to the silver screen, starring Robert Redford as Jay Gatsby and Mia Farrow as Daisy Buchanan. While both the book and the movie share the same narrative foundation, there are notable differences between the two mediums. This essay aims to compare and contrast the 1974 film adaptation of ‘The Great Gatsby’ with its original literary source, highlighting the distinct artistic choices made and their impact on the story.

Faithfulness to the Source Material

The movie adaptation of ‘The Great Gatsby’ maintains a strong fidelity to the original novel in terms of plot and character development. The central storyline, including Gatsby’s pursuit of Daisy and the tragic events that unfold, remains intact. However, due to the inherent limitations of the film medium, certain aspects of the book are inevitably condensed or omitted. The film captures the essence of the novel but sacrifices some of the book’s nuanced details.

Visual Depiction and Setting

One of the most noticeable differences between the book and the movie is the visual representation of the settings. Fitzgerald’s prose paints a vivid picture of the opulent world of 1920s New York, while the film brings that imagery to life through cinematography and set design. The movie showcases lavish parties, glamorous costumes, and grand landscapes, effectively capturing the extravagant atmosphere of the era. The visual medium adds a new layer of aesthetic appeal to the story that complements Fitzgerald’s descriptive language.

Character Interpretations

The film adaptation offers its own interpretations of the characters, which may differ from how readers imagine them while reading the book. Robert Redford’s portrayal of Jay Gatsby emphasizes his charm and charisma, presenting him as a suave and enigmatic figure. Mia Farrow’s Daisy Buchanan exudes vulnerability and a delicate demeanor, highlighting her allure. These character interpretations, while subjective, add depth and dimension to the story, showcasing the actors’ performances and their understanding of the characters.

Time Constraints and Narrative Compression

Inevitably, the film adaptation of ‘The Great Gatsby’ faces time constraints that the book does not. The novel spans several months, allowing for intricate character development and the exploration of various subplots. In contrast, the movie must condense the events into a shorter timeframe. This compression may result in a faster pace and the exclusion of certain subplots or minor characters. While the film captures the essence of the story, some nuances and complexities may be lost in the process.

Interpretation of Themes

Both the book and the movie explore recurring themes such as the corrupting influence of wealth, the disillusionment of the American Dream, and the emptiness of materialism. However, the movie adaptation may emphasize certain themes differently or introduce new elements that resonate visually. The film’s soundtrack, for example, enhances the emotional impact of certain scenes and adds another layer of symbolism. These interpretive choices shape the viewer’s experience and offer a fresh perspective on the novel’s themes.

Conclusion

In conclusion, while the 1974 film adaptation of ‘The Great Gatsby’ remains faithful to the core narrative and characters, there are distinct differences between the movie and the original book. The visual depiction of the settings, the interpretation of characters, the constraints of time, and the emphasis on certain themes all contribute to the unique experience of watching the film. While some details may be lost or altered in the transition from book to screen, the movie adaptation offers a visually captivating and emotionally resonant portrayal of Fitzgerald’s timeless story. Whether one prefers the immersive experience of reading the book or the visual spectacle of the film, both versions of ‘The Great Gatsby’ continue to engage audiences and provoke thought on the complexities of wealth, love, and the elusive American Dream.