The “Back to the future” trilogy is by far my favorite of all time; especially the first one, that movie alone is on my Mount Rushmore of movies. The trilogy is about a teenager who accidently travels back in time prevents his parents from getting married which then prevents him from being born, so now he has to figure out a way to get back to the future and get his parents back together. The entire trilogy is great; even thought it has its bad moments, but hey, what trilogy does not? The series is a clever and fun string of movies that leaves you with a good feeling after watching them. Now with that being said, when you make a movie about time travel there are bound to be some mistakes and “Back to the future” is no exception.
With that said, The Big Lebowski, is a tribute to the themes of classic film noirs. The inspiration of other classic noir films is apparent in the Big Lebowski. The Big Lebowski doesn’t only parallel The Big Sleep but other classic film noirs. For example, a classic film by Alfred Hitchcock is reflected in the themes of the movie. The beginning plot of The Big Lebowski is inspired by Hitchcock’s North by Northwest, “in which the wrong man is involved in intrigue through a case of mistaken identity and must rise to the task.”(Tyree, Walters 46) The Big Lebowski also mocks, “the technique used in Hitchcock’s film to expose impressions of previous writing on pads of paper.”(Tyree, Walters 46) This mocks Hitchcock, because what appears is not a clue but a pornographic doodle.
This accentuates the realism of the film, makes people horrified at the characters and their filthy habits, and really makes the viewer think that t... ... middle of paper ... ...erview. This would attain a more accurate analysis of the film, and more could be discovered from the results of others' thoughts on the film. Bibliography Barker, M. From Antz to Titanic: Reinventing Film Analysis. Pluto Press; London: 2000 Freeman, A. Studies in Scottish Fiction 1945 to the Present.
Critical Essays on Flannery O’Connor. Ed. Melvin J. Friedman and Beverly Lyon Clark. Boston: G. K. Hall & Co., 1985. O’Connor, Flannery.
The Bourne Identity and A Spy by Nature use betrayal of the main character as a manner to express the dominance of government spy agencies in the modern era. Doug Limon’s 2002 film The Bourne Identity, the importance of political power drives the CIA’s betrayal of Jason Bourne, who’s loyalty is blurred by amnesia. Similarly, in Charles Cumming’s 2001 novel A Spy by Nature, the MI5 betray and manipulate the egotistical protagonist, Alec Milius. The sacrificing of both agents demonstrates the free nature and ruthlessness of government espionage agencies in a contemporary world. The Bourne Identity and A Spy by Nature have some similarities but depict betrayal and loyalty in opposite fashions.
When Moran writes that he aims “to demonstrate how our most cherished social values can be manipulated to serve pecuniary interests: the way in which public policy is affected by behind-the-scenes maneuvering of powerful and often ruthless business interests,” I think he is talking solely about the death penalty (xviii). There are various aspects within the death penalty that make it a much more dynamic issue. Throughout his book, Moran writes about the inhumanity of the death penalty, including the barbaric methods and public spectacle of the act prior to William Kemmler, and most importantly, the safety and efficacy of direct current versus alternating current in the eventually preferred method of the electric chair. Thomas Edison and George Westinghouse, along with a few others, were the players who manipulated how the public, and therefore the lawmakers, felt about this social policy. As it is today, the death penalty was a big debate issue in the early part of the nineteenth century.
The movies title character is overplayed though making a few disappointing moments. This is overacting is a little disappointing but does little to diminish the greatness of the film. The film uses a number of themes showing our less admirable responses to the Cold War period of the 50's and 60's. This time period was one of fear in which nuclear annihilation was ever-present in the minds of Americans and Russians. Kubrick chronicles the time period with its playing up of the arms race gaps by creating "Doomsday Device Gaps" and "Mine Shaft Gaps" to ridicule the two superpowers ever-increasing competition to have the most of everything.