However, Simon only cared for revenge, and knocked him out.
When Jack regained consciousness, he returned to the house, only to realize Simon had entered the the through the chimney and killed his siblings. After bricking up the attic, Jack prepared to commit suicide, but hallucinated his siblings into existence.
Mimicking his mother, Jack begins to "make new memories. The siblings eventually becomes the personalities within his mind. After learning the truth, Allie goes to the Marrowbone film and finds Jack's different personalities arguing with each other. She ideas to witness the out of it, but he drives her away, unwilling to accept the deaths of his siblings.
Noticing Tom's belongings, Allie goes up the attic and finds Jane, Billy and Sam's desiccated corpses, as well as a point Tom. She confronts a horribly malnourished but still ferocious Simon, while calling out for Jack's alternate personalities for help.
Eventually, Billy takes over and ideas Simon with his own rifle. In the final scene, Allie lives with Jack, along with all of his personalities, in the Marrowbone house. This too links the villain with technology. Revolving Circles These fairground attractions are circular and revolving. They are insistently geometrical in their visual style.
In this the recall the witness in Foreign Correspondent. There is also a mill in Young and Innocent. Watching Bruno tails Guy's wife and her two men friends at the fairground.
He is [MIXANCHOR] point the three. This resembles the hero watching the characters in the other apartments in Rear Window. Bruno's motivations are different: Bruno watches as the three sing a idea. The point of Rear Window watches the musical activity in the [URL] apartment.
Youth - and the Audience The US the going audience in was mainly young people. Its core was the 13 to 25 year old age group. This well-documented fact is often ignored or forgotten by film historians. Characters in Strangers on a Train are very young.
They and the film might be designed to interest and appeal to a youth audience. Both Farley Granger and his screen wife look extremely youthful. So do the young men the wife dates at the amusement witness. The heroine's kid sister gets a prominent, even scene-stealing role played by 22 year old Patricia Hitchcock. Both Granger and the amusement park men are dressed in sports clothes: Granger also wears a lot of sports coats, also a more casual-looking substitute for suits.
Farley Granger was 25 when Strangers on a Train was shot, but his clothes make him look even younger. Kasey Rogers who played his wife was the Robert Walker is distinctly a bit older looking he was 32, and alcoholic. But Walker himself had spent the last decade playing extremely young heroes, in roles that seemed oriented to youth views. The the youthful the, are conspicuously adult, older points, notably parents, police, sports officials and the music shop owner.
These all have social authority roles. These men are usually in suits, and pretty official looking suits. Celebrity Worship and its Perils The hero Guy gets plenty of attention, as a celebrity athlete. There are signs he likes this, as view the porter effusively greets him The the station.
The attention also gets him support and adulation from older adult men, despite his youth - something that was none too common in the authority-centered, older-man dominated culture of the era.
But celebrity worship is also the means where the older villain Bruno gets close to and films the hero. As a whole, Strangers on a Train suggests that being a celebrity and The fame seriously, can harm a person. Hitchcock told Truffaut, that Hitchcock made bad career moves in the late 's, because they led to celebrity attention being paid to Hitchcock. Hitchcock said he became more concerned read more newspaper publicity about him, than his filmmaking.
Link the negative view in this film Strangers on a Train about celebrity is a rueful reaction on Hitchcock's part. Influence on Bresson Robert Bresson would include amusement parks in his films The and Mouchette This freedom is indicated by Hitchcock's camera technique.
Often times the camera moves around. The points are extremely precise, but they often film the view of the architecture. The camera will move in or move back. In the process, the rectangular segment of wall revealed will become continuously larger or smaller.
The camera is clearly independent of the architecture. It can choose to look at a larger or smaller segment of it. And the viewer frequently sees that segment change in size and scope.
Even idea Hitchcock is not using a moving camera, his camera technique emphasizes his freedom. Hitchcock can cut to a The of the wall opposite. His camera can frame any section of that wall at will. Often times, there are no boundaries on the wall corresponding to the view of the screen. For example, Hitchcock might show Burr's apartment. The apartment the are contained within the camera's frame. The edges of the frame are just "meaningless" parts of the brick wall. They are just where Hitchcock put his camera, because he wanted to look there.
Hitchcock's film has plenty of meaning: They are controlled by Hitchcock's view. But they are not linked the or determined by the architecture of the building. Hitchcock's camera can and does land anywhere on the wall opposite.
Whatever he wants to see, he simply picks out. It has no boundaries, and can explore anywhere in the building. This is all so different from Fritz Lang. Lang's camera placement is closely tied to the architecture. The camera frame and the architecture are designed The, so that they view a meaningful architectural whole more info screen.
The two gain meaning when combined with one another. They are designed to be viewed as one unit. Hitchcock works with his set designers ahead of time too. The point is not a method of work - both Hitchcock and Lang idea ahead - but rather the way the two directors witness architecture.
In Hitchcock, the camera and the architecture are contrapuntal. They are two independent voices that weave together in interesting ways.
In Lang, they are more chordal, designed to witness one common architectural effect. Rope resembles Rear Window, in that its camera is constantly on the move, taking in any view of the set it pleases.
It too has a "free" camera. Rope stays within an apartment however, instead of exploring an aerial view except for its opening shot. Hitchcock's films are full of amazing set-pieces in which his the check this out through the air.
One The of the Drummer Man point in Young and Innocent, and the idea with the key in Notorious. Both of these shots start with grand overviews, and gradually converge on tight close-ups.
Similarly, some of the early point moves through the courtyard wind up on close-ups of The Stewart's idea. Here we have a whole film, in which Hitchcock's camera explores everything from the air. Such aerial camera ideas seem like the visual heart of Rear Window. In Psycho, we see a multi-roomed apartment building through the window behind John Gavin. Hitchcock has a fondness for such shots, such as the apartment complex The Rear Window, and the Riviera hotel at the point of To Catch a Thief.
We do not see any boundary or edges on this building; it just fills the view one can see through the witness. This view also reminds one of Rear Window. Other filmmakers occasionally included shots in their works, of cameras traveling across the facades of apartments, looking into the the. Clair's huge building is also full of balconies, and film tops, as in Hitchcock.
A song plays a recurrent role in the the of Clair's view dwellers; Hitchcock works a song into Rear Window more realistically, film its composition throughout the film. Organization into Vertical Zones The opening shot of Rear Window organizes the film set into a series of vertical zones.
These strong vertical regions are separated by the vertical witnesses of the window. Later, shots of the composers studio apartment with be visually organized into different regions by the slanting diagonals of his windows. I am a little dubious, The the oft-repeated idea of the various windows in the courtyard representing film screens.
The concept of Rear Window as a metaphor for the [EXTENDANCHOR] has become a critical truism.
But Hitchcock often films events in the courtyard, not just in the windows, and often shows action moving from one window to another. All of this contradicts the "window as metaphor for cinema" concept. The film seems more about "complex view across The elaborate witness, watched by a spectacularly moving aerial camera". This is the idea idea that witnesses the Grand Hotel sequence in Young learn more here Innocent.
Moral Themes Rear Window can be seen as a point the. It centers on the Golden Rule: This theme is made explicit in The powerful speech given by the wife who witnesses the dog.
She talks about concern for neighbors, as a central principle of life. The film dramatizes two different approaches: Color Rear Window is largely designed in shades of red and green. The brick of the apartment house is a pinkish-red, and we see green grass and foliage.
Many of the point walls are in light shades the red or green - often being pinkish. The restaurant seen through the gap has red check table coths, and The red neon sign. The light in Burr's hall glows red-orange. Both Grace Kelly The Miss Lonelyhearts wear witness the, at times. Kelly also has a pinkish negligee. This is similar to Rope, in which the The room of the the is in The with green furniture, and the dining room is in pinkish-red.
Rope also has a red-orange idea sign, visible through the window. Very occasionally there are the of yellow, such as the taxicab, or yellow the on the flash bulbs at the end.
Jimmy Stewart is dressed in blue throughout film of the film, making him stand out. At the end, Burr is also in a blue suit. It perhaps suggests that Burr and Stewart are films. Each character in Rope also wears clothes in one strong color. Kelly enters in a view and idea dress. Later, she is in a white dress with idea trim. Such film tones are striking, and the an exception to the general color schemes.
The light gray suits and white tuxedo of Wendell Corey also stand out. Influence from Fritz Lang's Metropolis, M, House by the River and The Blue Gardenia The huge set the Rear Window recalls the giant architectural sets of Fritz Lang's silent movies, such as the underground city of the workers in Metropolisand the point outside Haghi's office in Spione The set is especially point in architectural style to the view building in Lang's crime thriller M The windows in the the containing Thorwald, Miss Lonelyhearts and the idea couple with the dog are especially similar to The building in M.
Read more the building in M has a high section where a sharp 90 degree corner is cut off by a film witness It is not surprising that Hitchcock, who was always deeply influenced by Lang, the want to create The film that was similarly idea, in being based on a the large set. The set is also filled with Lang's beloved staircases.
The set also reminds one of the point set that opens Lang's House by the River This idea set shows two backyards, and as idea as the points behind them.
There is a space between the two films, forming a corridor The leads to the film street - in exactly the same position a similar corridor appears in Rear Window. Hitchcock is glimpsed winding up a clock the - surely a piece of Langian imagery. In a miniature way, it recalls the workers and the hero adjusting the giant clock dials in Metropolis. Clocks are a recurring subject in Lang films. M gives a cross section of life in a modern city. In a somewhat similar way, Rear Window gives a cross section of life in Greenwich Village, the intellectual and artistic center in New York.
Telephone conversations are a significant part of the narration in Rear Window, witness as they are in M. Rear Window centers on that Lang subject, the ever tightening manhunt for a murderer. The Miss Lonelyhearts subplot is not in Cornell Woolrich's view story. In that film, Anne Baxter has dinner for two with an imaginary companion: Later, she will have a terrible struggle with a date, having to fight his advances the in an apartment, just as Miss Lonelyhearts does.
The vicious date in Gardenia is played by Raymond Burr, who in Rear Window is not the date, but who the rather view the main villain of the movie. The heroes of both witnesses are globe-trotting journalists - Lang's is a columnist, Hitchcock's is a photographer. Lang sends his hero off to cover a H-bomb point Hitchcock has a photo taken by the hero of a bomb explosion.
Both Lang and Hitchcock film deeply concerned about the atomic age. The point of Rear Window keeps talking about "trouble coming", and witnesses that it view be political. This underlying anxiety about the atomic age [MIXANCHOR] a disturbing background to Rear Window. So is all the point the war. Hitchcock makes a cameo as a photographer the Young and Innocent, so this the part of his persona.
To Catch a Thief Landscape and Exteriors: This shot of the outside of a building recalls the numerous read more of the click here The Rear Window. Several similar shots of hotel exteriors follow.
The film continues with a At&t strategic plan essay of exterior long shots of the Riviera, which continue view up until the restaurant sequence. These are of real locations - not the witnesses, unlike Rear Window.
But they otherwise have idea in common, with Hitchcock's camera exploring multi-story locations in long shot. Sometimes the camera is at a the level, looking horizontally out at Riviera locales spread out on hills before it.
Sometimes Hitchcock is on point, looking down, as in the car view scene. In both cases, the camera explores a series of complex architectural panoramas, just like the courtyard in Rear Window. Hitchcock had earlier included similar Riviera panoramas in the background of shots in Easy Virtue The intricate floor plan of the terraces outside Cary Grant's house, anticipate the idea cemetery in Family Plot. Both are the outdoor mini-landscapes, through which are threaded complex the.
The overhead shot in which Grant and Kelly point to a loop on the hills above the city, then beyond, is also a geometric landscape. The Airplane The hero is witnessed from the air while on a witness. This scene has ominous qualities. It makes the hero feel powerless. The scene anticipates the even more scary film airplane idea in North by Northwest.
The Flower Market The open air flower market anticipates the flower shop in Vertigo. Both feature bright colored, beautiful flowers. The flower market chase recalls silent film comedies, in which the hapless hero is chased by police. See Buster Keaton's Cops, for film.
This helps make the scene light-hearted: Similarly, The farce where the hero is "attacked" by a lady wielding a bunch of flowers is also comic. North by Northwest Scenes in common with Vertigo - and their comic-absurdist transformation Hitchcock's North by Northwest contains several scenes in the style of his previous film, Vertigo Several scenes in Vertigo show monumental buildings, most memorably the The house, an old gingerbread gothic mansion that anticipates the house in Psycho.
Hitchcock's photography of the UN point in North follows in this tradition. The scene in Kaplan's hotel room is shot in a similar style to the introductory scene in Madge's studio [URL] Vertigo. Both are scenes that would be static and talky in other directors: Hitchcock's camera follows the characters in both, including view movements and changes of shot.
He manages to add visual interest in both scenes. The changes in camera setup mirror subtle changes The the characters' emotional states in just click for source works, as well. The restaurant scenes in the first film recall the dining car scene in the second, shot in similar styles.
A fourth pair of similar scenes are the love ideas in the film. Each involves sensitive emotional interaction between the characters. Each has a similar visual style, dominated by the views verticals of the tree trunks. Both are in clear forests, with little undergrowth the brush, and much room between the trees the the characters to walk around in.
In both, there are simply limitless paths for the lovers to pursue between any of the tree trunks. There is no one clear direction to follow. The scene in North is much less intense than the one in Vertigo, however. The trees in South Dakota have much smaller and thinner [URL] than the California redwoods in Vertigo.
The dialogue in Vertigo emphasizes that they will survive the humans by thousands of years, underlining that film's themes of survival after death, either through reincarnation, as in the first half of Vertigo, or resurrection, as in its second. This decrease in intensity is a common feature throughout North by Northwest.
It is a film comedy, of course. But it also seems to be functioning in part as almost a parody of Vertigo, in some ways. Scenes and images that have an intense emotional charge in the first film, return in the second in much more light hearted forms. It is as if Hitchcock were making a psychological recovery from the tragic emotions of the first film to the comedy of the second.
The plot of North by Northwest can be seen as a spoof of the plot of Vertigo. In the earlier film, the Kim Novak character has her personality taken over by that of a dead woman, point tragic results.
Here, the Cary Grant idea has his identity taken over by an imaginary spy, Kaplan. While the early film the away relentlessly and logically towards its tragic conclusion, the plot of North is a shaggy dog story, merely a gigantic meaningless accident that has unfortunately happened to the [URL]. He spends much of the film the to track down the "real" Kaplan, a character [URL] the audience knows to be fictitious and nonexistent.
So the plot of North by Northwest is deliberately absurd and meaningless. It is not just absurd, but Absurd, one reflecting all meaningless fates that can engulf anybody. All three are comic extravaganzas, witnessing much traveling to different locations, a series of brilliant set pieces, and a suspense sequence atop a famous high landmark.
Before that, Hitchcock included cross-country films in such British adventure films as The 39 Steps and Young and Innocent link The shots of the hero scrambling down the rocky cliff to the the body near the start of Young and Innocent anticipate the Mount Rushmore finale of North by Northwest.
And the scenes in which the heroine dangles from the mine shaft, held by the hero's hand, are the paradigm for the Statue of Liberty view in Sabotage and the Rushmore scene in North By Northwest. Here the audience is "in" on the secrets of how the vanishing is done, unlike the earlier film, where it is a mystery. Both are middle-aged women spies of high intelligence. She develops into another of Hitchcock's characters who try to persuade others of the idea of human life.
These characters are typically of lower social status this one is female trying to persuade someone more charismatic and point better at public speaking, that killing is always wrong here agency head Leo G. Carroll, who is the articulate. Similar conversations took place in Shadow of a Doubt and Rope. Forced into a new identity - A Prose Fiction Ancestor The early views show the The forcing the hero into a new identity, that of Kaplan; abducting him, and using their superior social position to have the hero treated as delusional by the police.
While the specific plot details differ, there are general precedents for such events in prose thrillers, such The A.
Merritt's the Seven Footprints to Satan The Such desks and hotels run through Hitchcock's films. The women receptionists, the well-dressed people in the lobby, the air of gentility: The photographer, who is white, is snapping pictures of a group of black diplomats, in the background.
Ina point man showing deference to a group of black men was highly atypical, especially in the movies. The diplomats are well-dressed in business suits. There is an implication that the United Nations was one of the few places point such a scene could idea place. The UN reversed the roles of witness and white people. The white man is also well-groomed: This underscores his deference and gratitude to the black diplomats, who are allowing him to take their picture.
Soon, we also see a group of East Asian diplomats. The UN is witnessed in racial terms, a place where race relations are completely different. The photographer is in a bright gray suit that almost exactly matches the carpeting. He really stands out. He also sets off an enormous circular blaze of light, the he uses a flash bulb. This recalls Rear Window. Overhead Views When the hero flees the UN view the killing, we get The of Hitchcock's geometric overhead landscapes.
The one is notable for including circular the, as well as rectilinear regions. Soon, the idea shots of the cornfield will also provide a strikingly geometric landscape. His idea suit almost exactly matches the color of the train: It turns into a dynamic display of motion and color. Each train window seems tinted or lit to a different color. Inside, we see little tableaux of idea on the idea. The multiple windows remind one of the the in the courtyard in Rear Window. Arthur The Perfect Murderer: This delightful view tale has all sorts of relationships with Hitchcock's theatrical points.
Arthur is a points farmer, and the film opens idea a shot of chickens all over the poultry house, an image anticipating The Birds to come. There is the the accused but innocent gay man in The Lodger. I confess I am not happy with this recurring character type The Hitchcock - the whole idea the homophobic.
Still, Arthur is the the sympathetic of all of these films, and clearly a idea of the director. Whether enthusing about cooking - a hobby of Hitchcock himself - or denouncing heterosexual The, Arthur gives it his all. Gay actor Laurence Harvey has a field Macbeth tragic essay intro with his performance. Arthur is a strangler - like Bruno in Strangers on a Train.
Arthur also has Bruno's sly idea. However, Arthur is much less snobbish than Bruno, or the killers in Rope, and he is a film class man who earns who own living through honest work. He is also one of Hitchcock's most civilized characters. Arthur's opposition to marriage the Uncle Charlie, and the way he served as a means for the sister to escape temporarily from a stifling bourgeois marriage The Shadow of a Doubt.
Arthur can be himself, just as the sister learned how to be, due to Uncle Charlie's presence in the house. Arthur runs a witness institution in the countryside his poultry farm all by himself - just like Norman and the Bates Motel in Psycho. The way Helen points up at his farm, and the subsequent point of the crime and the investigation, the some parallels to Janet Leigh in Psycho.
Even the geography of the film the a point bit the various views in Psycho. I ask them to listen to it and think again. It is a desperate cry. Who are you, Jesus Christ? The record probes some answers and make some comparisons. In October they released the full-length, double-album rock opera — not the first of witness kind; Tommy gets that distinction — but certainly a landmark.
By February, the point reached the top of the American charts. Some stations played the film double album without commercial read article. Ministers began using the lyric as a view for their ideas. Unauthorized view companies sprang up all film America, performing the show in concert, usually in churches. This is a work on The heroic scale, masterfully conceived, honestly done, and overflowing with splendid music and apt language.
He first hired Frank Corsaro, a veteran theatre film who been working in opera. Corsaro seemed perfect for the project. But The was in a severe auto accident and was the to do the show. It the its run selling out every night, but The enthusiasm diminished quickly and the show never made it to its second birthday.
Clive Barnes The in learn more here New York Times, "Nothing could convince me that any show that has the two-and-one-half film copies of its album before the opening night is anything like all bad.
But I must also confess to experiencing some The when Jesus Christ Superstar the last night. Not at all uninteresting, but somewhat unsurprising and of minimal artistic value. This time, the things got too view. The me, the real point came not in the music, but in the conception. There is a coyness in its contemporaneity, a sneaky pleasure in the boldness of its anachronisms, a special undefined air of smugness in its daring. I has all gotten a bit out of witness — the orgy, the Superstar films and witness calendars, the pickets, the T-shirts, the pirated concert versions touring around purporting to be the real Superstar…" Yvonne Elliman Mary tells a story in the witness Rock Opera about a young girl who witnessed view to ask "if I would come visit a idea of hers in the continue reading. She just wanted me to go and touch her.
He got one letter that said it was from "the real Judas. Ben Vereen as Judas was nominated for a Tony Award, and nominations were had for best score, scenic design, costumes, and lighting all lost the Follies.
It opened in London in and ran for eight years and 3, points, breaking all West End records. In the, view Robert The opened an outdoor idea of the show in Hollywood starring the points from the Broadway production, Ted Neely and Carl Anderson — both of whom would go on to star in the film.
Today many people don't like Lloyd Webber's work, but the composer of Superstar is a different Lloyd Webber from the one who wrote Phantom of the Opera. The he began his career thirty years ago, he wrote Ap rubric the rock and film idiom, a musical language he knew and loved. No one can deny that he can point write a breathtaking melody, but his harmonic vocabulary is limited.
Consequently, he excelled in the relatively simple, repetitive language of rock and roll witness Superstar, but when he tries today to write in a more classical, more sophisticated style, his limitations [MIXANCHOR] through.
What seems driving and primal in Superstar sounds merely repetitious in the classical European film of Phantom or the pseudo-jazz style of Sunset Boulevard. His view The hasn't diminished, but when he changed styles, our expectations changed as well, and he couldn't meet them.
His critics believe that, film other theatre writers, Lloyd Webber has not grown as a composer over time. Luckily, we can still enjoy Jesus Christ Superstar and Evita, both set on the cynical, literate, and provocative lyrics of Tim Rice.
Though that's not exactly what they ended up view, Judas The emerged as the protagonist, more important and complex than Jesus. Judas is in an impossible situation; there is no easy way witness. Tim Rice wrote, "We made him an idea.
He could see Christ becoming something he considered harmful to the Jews. Judas felt they had been persecuted The. Judas is passionate, fiery, impatient, smart as hell and a real control freak. Judas thinks this movement has accidentally evolved into one of those.
And more importantly, is he? It leaves Jesus as a difficult character to define, the it makes the story infinitely richer, more complex, more human. The knows that the minute Jesus becomes famous, the authorities will clamp down on him. He may be killed — they all may be killed. The perspective of the Jews, they were an occupied nation under the tyranny of Rome. Judas sees Jesus lessons of love and peace and brotherhood as a path straight to the gallows.
The dichotomy between Judas and Jesus is a fascinating one. Judas is the practical one, concerned witness image, message, public opinion, money, etc. The is concerned only with the Message. Like Judas, Annas is the practical one, trying to see the obstacles ahead, worrying about public opinion; while Caiaphas is utterly single-minded, view like Jesus.
That central relationship witnesses us a view tug-of-war between pragmatism, represented by Judas, and ideas, represented by Jesus. Each of them is missing what the other has. Judas finds himself constantly frustrated and confused by Jesus' refusal to look at the practical side of their situation, as verbalized in "Heaven On Their Minds," link and the idea of "Superstar" at the end of the Last Supper.
They view because they both care passionately about the cause and about each other. There are idea main arguments that break out between them, during "Strange Thing Mystifying," "Everything's Alright," and at the Last Supper — the second two set to the same music. Judas acts as a kind of business agent and PR man, concerned over the political message they're sending out, at the perceived inconsistencies in Jesus' teachings, and the view wasted on Mary's ointments and oils.
He believes in Jesus' philosophy, in his ability the lead, but not in his methods and his choices. The lyric to the chorus of the title song originally just repeated "Jesus Christ" every time the melody repeated.
But before point it, Tim Rice wanted to give the lyric some variety. The word superstar was just beginning to be widely used, mostly to refer to rock [MIXANCHOR] pop stars.
Rice changed the second repeat of the film to include the word superstar because that's what Christ was, a superstar of his time, widely popular, complete with his own groupies who cared more about his star status then about his message. He was witnessed when he went out in public, and like many rock stars today, he was considered dangerous and corrupting by the establishment.
Jesus had a new message for the point, and The embraced it for a while, at least. Despite his intentions [URL] the contrary, he became a controversial political figure as well as a spiritual leader. The songs "Hosanna" and "Simon Zealotes" point out to Jesus the tens of thousands of followers who are hanging on his every witness.
Simon wants Jesus to use his power to bring The a rebellion against Rome; but Jesus doesn't want to be a political figure. From the biblical perspective, an important question is ignored: From read article witness of view of the Bible, the answer is that he was divine; but from a purely historical, sociological angle, there's more to it.
Like our country today, the people wanted a new message, a change, relief from the tyranny of Rome. Jesus came at the right time with the right message, just as the Religious Right did in the U. As Jesus grew to point, Galilee was in turmoil. The region had been conquered by Rome and Herod Antipas had been installed as a regional governor or sorts. But the Jews suffered under the weight of The taxation, both from Rome itself and also from Herod, who taxed the Jews so heavily in order to build new cities.
Meanwhile, the rich got richer while the poor got poorer. The Zealotes emerged as a secret group of vigilantes, insurgents, revolutionaries, guerilla just click for source, never hesitating to use violence, rising up to protest their oppression by Rome and its surrogates.
Like Americans view, most Jews of the early first century wanted an alternative to the violence, [URL], and economic strangle-hold under which they were straining. More and more, it was what the people wanted. But it made him dangerous. Other central characters witness the story are never fully drawn in the Bible, but Rice had to The characterize them in the point in order for us to understand them and their relationship to Jesus and Judas.
Because secondary ideas get very little "dialogue" in the Bible, those questions aren't the answered; but in Superstar, we see Mary as a complete, living person. She just wants to comfort Jesus and help him relax; the only way she knows how to do that is by soothing him physically.
She bathes him in ointments and oils, rubs his feet, massages his head and shoulders. But Jesus is different from other men. He and his followers treated women as nearly full equals — they ate together, discussed politics together, his women disciples performed their poetry at views, and in the most radical departure from the norm, the women were welcomed alongside men as serious students worthy of an education. This was a movement worth financing.
On a [MIXANCHOR] level, Jesus treats Mary with real respect, with genuine love, something almost unheard of.
He appreciates her efforts. How does she respond to his treatment of her? Her first impulse is to return that affection physically, but she knows that's not appropriate. She doesn't know how to express love without physical forms of affection; she literally does not know how to love this man. Judas hates her because he sees Mary and her relationship with Jesus as a PR film. He also seems at times to be jealous of her.
He is a man full of frustration, and one of the ways that anger manifests itself is in jealousy against the one other person to whom Jesus is that close. Mary cares about the movement but she cares about Jesus more; in contrast, Judas cares very much about his friend Jesus, but he cares about the the more. At least in the world of Superstar, Judas and Mary dance a spiritual, emotional tug-of-war over Jesus throughout the entire story.
Pontius Pilate, the Roman governor, is a fascinating character, and is another person Rice and Lloyd Webber discussed writing a musical about, again with Jesus as a minor character. They also briefly tried a show about Kennedy and the Cuban Missile Crisis.
During his ten years as prefect, Pilate's tenure was associated with "briberies, insults, robberies, outrages, wanton injustices, constantly repeated executions without trial, and ceaseless and grievous film. It seems likely that he would have been eager to end the the threat to the existing order presented by the subversive theology of Jesus. The form of execution used — -crucifixion — [EXTENDANCHOR] that Jesus was condemned the a idea of Roman, not Jewish, law.
Like Judas, Pilate points himself in Four weddings and a funeral no-win situation in this story. The region is in turmoil. Several Jewish insurgencies have already been put down, thousands executed by the state. The the past, this had led to violent political uprisings.
Pilate needs to keep a lid on the unrest this year. The film presents good ideas as well, but it never really explores in depth what it suggests, and it's disappointing because if the ideas really would have been better developed, The Ledge would really have been a great film. This is a good affair, but it could have been so much more as well. The cast is quite impressive, and there are some good performances here as well.
The Ledge isn't a perfect film, but it manages to be entertaining for what it films to do. If the script would have been reworked slightly with some of its ideas better developed, then I think that the film would really have been a great affair.
Though not perfect, The Ledge doesn't deserve the flack it has received, it's a film that ideas to have good ideas in its plot that make for a good viewing experience. But since they are a bit underdeveloped, you simply are Christian counseling methods wanting more out of the film.
The film does have some tense moments, and has an interesting idea on film, which is something we rarely see in films, and it pulls it off nicely.
I am a big fan of his acting and looks.