The Hateful Eight
The splendid and cruel Quentin Tarantino now gives us an immeasurable American epic set for the most part in only one room. Truth be told, the different areas and corners of that room begin to feel as far off as urban areas or deserts. At one stage, a character recommends separating this space to speak to the Unionist North and Confederate South, and it's not all that quite a bit of a stretch to envision, in spite of the fact that the elusive severe amoralism of every last one is such that tribal-unwaveringness segment was never going to work. Tarantino has made another stunningly snazzy and sharp film, a Jacobean western, insinuate yet some way or another peculiarly huge, at the end of the day discharging his own particular sort of unwholesome insane interesting brutal nitrous oxide into the silver screen assembly room for every one of us to breathe in. Additionally, Tarantino now makes a genuine star of Walton Goggins, giving a silly execution as the profoundly temperamental Chris Mannix, soi-disant Sheriff Choose of Red Rock, Wyoming. What's
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Be that as it may, not at all like an Agatha Christie story — yet all that much like, say, Repository Puppies — there is no notional power figure to apply control over everybody. The main power is viciousness and prevalent capability, or the predominant capability of talk — the danger of roughness. Everybody is outfitted obviously, and there are different weapons to hand, and the insignificant vicinity of offenders with bounties on their heads makes a business sector power for roughness. The pre-roughness strain, including the scattershot N-bombarding, is insufferable, and coolly managed by the dialog. It is itself a sort of viciousness and prompts a very remarkable peak just before the Break. That, alongside the Suggestion, is a piece of the film's antiquated
It's very hard to keep personal prejudice out of a thing like this. And no matter where you run into it, prejudice obscures the truth.' [Juror 8, page 53] Perhaps this best sums up the basis of Twelve Angry Men' by Reginald Rose. This play is about a young delinquent on trial for the murder of his abusive father. The jury must find him guilty if there is no reasonable doubt, and in turn, sentence him to death. I don't envy your job. You are faced with a grave responsibility.' [Judge, page 1]
John Ford built a standard that many future directors would follow with his classic 1939 film “Stagecoach”. Although there were a plethora of western films made before 1939, the film “Stagecoach” revolutionized the western genre by elevating the genre from a “B” film into a more serious genre. The film challenged not only western stereotypes but also class divisions in society. Utilizing specific aspects of mise-en-scène and cinematography, John Ford displays his views of society.
The American western frontier, still arguably existent today, has presented a standard of living and characteristics which, for a time, where all its own. Several authors of various works regarding these characteristics and the obvious border set up along the western and eastern sections have discussed their opinions of the west. In addition to these literary works by renowned authors, one rather convenient cinematic reference has also been influenced by these well-known, well-discussed practices of this American frontier. “True Grit”, a film recently remade in 2010 by the Cohen Brothers, crosses the boundaries of the west allowing all movie-goers to capture one idea of the western world. The movie, along with a few scholarly sources
In the movie, Twelve Angry Men, all of the characters have their own specific personalities. Jurors 1 through 12 all have gone through different life situations and come from different beginnings. On a certain level, the jurors are all connected to each other in one way or another. That would be the strength of the justice system. It brings people together that no one would have ever thought were compatible to work with each other.
The violence that takes place in the story is a preview of what may one day come true if individual rationalism ends. The lack of daily human interaction by most has significantly transformed the way in which all of the characters in the story live and act on a daily basis. A revealing point of the government’s censorship is when Captain Beatty states, “They were given the new job, as custodians of our peace of mind, the focus of
This film highlights the flaws of humanity in a western world. The films ability to touch on topics of classism, prostitution, and alcoholism makes the content mature and unlike typical western films. This revolutionary and innovative western created a foundation for many future films. The sophistication of the content, and lack of adherence to the production code makes this film an “adult”
The movie thirteen touched many important factors of adolescent’s development. Some of the ones I want to concentrate in this paper are: family system, developmental tasks, and peer pressure.
The possession of power is able to enable any individual to assert themselves over those without such power. This form of dominance could be seen in Ken Kesey’s One Flew Over the Cuckoo’s Nest with Nurse Ratched serving as the primary overseer in a mental facility. In this prison-like establishment, Ratched possesses the omnipotent power that gives her the opportunity to drive a constant state of fear that envelops the men of the ward. Throughout much of the men’s time at the ward, it seems as if her control is unbreakable. The patients avoid her in fear of being brought to excluded rooms for operations and punishments. However, even with her seemingly everlasting iron grasp on the ward, cracks in her control are able to be seen when the influential
In John Ford’s 1962 western, “The Man Who Shot Liberty Valance,” the audience experiences a narrative with a flashback retell for most of the film. Ford uses diegesis storytelling to portray details about the taming of the western frontier and the experiences of his characters in the modernization of the frontier through narrative.
This film by virtue of its independence has shied away from the usual hype associated with American movies. The result is an original screenplay by Billy Bob Thornton that is transformed into a mesmerising tale of the south. Thornton cast actors with ability rather than their image or ‘Hollywood status’. Sling Blade challenges us to re-evaluate our principles and our definitions of right, wrong and of justice.
The southwest is a region of the United States that makes our country unique. Without the southwest, we would undoubtedly lack the spirit, hope, beauty, and truth that this vast region brings to the rest of the United States as a whole. The southwest represents many things, such as journeying, racism, violence, the clashing and cooperation of cultures, and spirituality, as well as primitivism and pastoralism. All of these elements that the Southwest is comprised of is perhaps the reason why the rest of the country feels so captivated by it; why the southwest is considered a place to “find yourself” or to “regenerate”; and why literature and film regarding the Southwest has been and continues to be of the most popular genres. The western film was one of the most popular during the first half of the twentieth century. Audiences far and wide were mesmerized by actors such as John Wayne and Roy Rogers, and their roles as heroes who fought to tame the American frontier. This very concept, ‘taming the frontier’, gives way to a larger theme that was prevalent in many western films and literature of the southwest: ubi sunt, or rather “where are those who came before us?”. Director Sam Peckinpah’s The Ballad of Cable Hogue portrays this idea better than any other western film; the concept of ubi sunt is undeniably the film’s overarching theme, clearly seen through its components.
Ignorant souls will probably tell you that No Country for Old Men is a film of thirst for blood, material wealth and a sheriff's investigation. Those that suggest this, however, are the same that tune in weekly for their dose of Big Brother: The Evictions and are swayed by the words of their local car salesman. The Coen brothers’ masterful 2005 adaption of Cormac McCarthy's No Country for Old Men is a standout in recent cinema history, pushing aside this year’s spit-out of Transformers from explosion-junkie Michael Bay. Taking a different approach from their usual quirky, humour films littered with three word profanities (cue: Burn after Reading Osbourne Cox fans), the Coen’s have successfully stepped into a dark, deeply disquieting drama
An individual's past experiences can have an incredible impact on the way they think and behave for years to come. So, the past have a significant impact on an individual. In my own life, I have had past experiences that have affected me to be the person I am today. One example is, whenever I walked through the downtown part of Edmonton and I noticed a lot of homeless people lying around on the streets. I felt so bad for those poor people that didn’t have a place to live. They appreciate anything and everything they get. This really effects me and teaches me to be more grateful in life. And appreciate everything I have. In the play the 12 Angry Men, jurors 3, 5, and 11 prove that their experiences has affected who they are. I believe that juror 3’s family issues such as his problems with his son has affected him to become an aggressive man. Additionally, juror 5 has had a background of living in a slum all his life. Therefore, he tries to prove that not all people living in slums are criminals. Lastly, juror 11 struggles with others judging him because he is a European Refugee. This affected him by making him feel unconfident about himself and feels that the others jurors don't take his opinion too seriously.
Twelve Angry Men is a courtroom drama that was brought to the big screens in 1957. The storyline follows twelve men selected for jury duty, who are trying to reach a verdict on a young man’s trial following the murder of his father. Throughout the debates and voting, the men all reveal their personalities and motives behind their opinions. Because of all the differences of the men, their communication skills lack in some ways and are excellent in others. The three small group communication variables that I found portrayed throughout the movie were prejudice, past experience and preoccupation.
The movie Twelve Angry Men is about the twelve jurors that could adjust their influence in a decision-making process for conviction an eighteen years-old boy, whether the boy guilty or not guilty in murdering of his father. It represents a perfect example for applicable of a work group development framework. It also has examples of influence techniques among a group’s members. This paper is looking at those specific examples in the movie and focusing in analysis the reasons why Juror 8 is so much more effective than others in the meeting.