The Polanski film Death and the Maiden is a wonderful and intelligent interpretation of Ariel Dorfman’s human rights problem play. Polanski has produced, in this film, an exceptional piece of direction, in which his own personal, emotional input is evident. The main theme of the play is an extremely personal one for both playwright (and scriptwriter) and director. Both Dorfman and Polanski have had to face and flee the horrors of dictatorship and human rights violations: Dorfman in Chile, under General Augusto Pinochet, and Polanski in Poland under the Nazis. But despite this similarity in past experience, significant differences exist between the original play and the film. Apart from the specific techniques of lighting and composition, whose possibilities are greatly widened in the medium of film, we see differences in both the different emphases and implied viewpoints on the various themes that the play touches on and, perhaps more importantly, the way the characters are portrayed.
While the old concept of “whatever doesn’t kill you makes you stronger'; is present in both the play and the film (particularly in the characterisation of Paulina), it is much more prevalent in the movie. We can see Paulina’s strength from the start. As she strides confidently around the house and violently tears off a piece of chicken, the suggestion that she is unsuited to the domestic position which she has obviously been forced into by the side effects of her traumatic experience need not be made any clearer. Although possessing remarkable strength in both texts, the movie shows a much stronger, almost completely masculine Paulina. This Paulina has been almost entirely defeminized by her ordeal, physically, symbolised by the scarred breast and her desire to “adopt'; a child, which also serves as a glimpse of the vulnerable element of womanhood in her character that still remains. Throughout the bout of verbal jousting that goes on in the opening scene Paulina is able to hold her ground much more firmly than she appears to do in the play. In Polanski’s version of the scene she actually manages to use her domestic role to gain power in the argument, fiercely flinging the dinner in the bin. Weaver’s powerful acting conveys the unmistakable tension associated with an incredible amount of suppressed anger. I...
... middle of paper ...
...0;'; For all the rage contained in the film (significantly more than the play), and its portrayal of Paulina, there is a certain helplessness to the film, and a disturbing truth in its unresolved ending. One might argue that Polanski – in making Roberto give an overall much more genuine confession at the end of the film than Dorfman provides in the play – is falling into the Hollywood trap of offering a simple resolution to its many moral conflicts and thus making it accessible to a wider audience. I believe this circumstance serves a very important purpose, emphasized by its juxtaposition with the very last scene. It underlines this important impotence in the film’s ending: the fact that despite her having faced her demons Paulina has been permanently changed by her ordeal. And although she may have “…reclaimed [her] Schubert…'; in that she can now sit in a concert hall and listen to the music, the music will never be able to tell her the same things again. And even if Roberto is not there in person (as he is in the final scene) he will always exist as a vague presence, a “phantasmagorical'; shadow on her soul.
Max Brooks explains in his article ‘’The Movies That Rose From The Grave’’ [2006], that zombies and the supernatural forces have impacted and have become popular in the world today. The first main idea that Brooks points out is the way society has changed the meaning and glimpse for the supernatural creatures like zombies causing them to become increasingly popular. To support this zombie movies have changed from darkness and mystery to violent and bloodier scenes therefore making them more prevailing. The second main idea that is discussed by Brooks is how the media has helped to increase the popularity of zombies, vampires, ghosts. Highlighted by the author particularity both ‘’resident evil,
The playwright explores the ideas of feminism and the role of men through the explorati...
Power, especially in the hands of females, can be a force for immense societal changes. Director Sciamma plays with the role of power in the lives of the four girls, predominantly in the character of Lady. Lady’s sense of control, stems from winning hand on hand fights, but the opinion of the men around her lays the foundation of this empowerment. The more fights Lady wins, the more the men appear to respect her, yet as feminist Simone de Beauvoir explains “[n]o matter how kindly, how equally men treated me when I tried to participate in politics, when it came right down to it, they had more rights, so they had more power than I did (Simone de Beauvoir - The Second Sex- ix),” the “power” Lady obtained was provisional. Lady’s power was directly tied to the opinion of the men around her, in this scene, a portion of the boys sits on stairs physically higher than Lady, invoking a sense of power hierarchy and control. The boys only valued Lady when she successfully participated in the their world of violence, but this participation came with boundaries as “[w]omen can never become fully socialized into patriarchy- which in turn causes man to fear women and leads then, on the one hand, to establish very strict boundaries between their own sex and the female sex (Feminist theory 142).” The men had never truly incorporated Lady into their group, she had just
In the beginning of the play Kate is “consistently in opposition to everything around her”2, meanwhile “Bianca obeys so gently and with such sweet submission that it is obvious why she is Baptista’s favorite daughter”2. In the end of the play, the roles switch and Katherina is submissive to every word of Petruchio and Bianca resists the commands of her new husband.
The consequentiality of the vicissitude in Katherine's deportment at the cessation of the play proves to be very paramount. It shows that people can transmute. It also shows that certain people can bring out the best in some folk. In this case Petruchio brought out the best in Katherine after taming her and making her a complying wife.
Society’s gender roles have been changing and evolving, though not necessarily a positive change. Women’s expected and defined role have changed and broken by women who refuses to follow their expected roles in society and decide to rebel against the norm. The pages of history have their own evidence of evolution of these female gender roles into the roles they are following now. Susan Glaspell’s “Trifles” and Henrik Ibsen’s “A Doll’s House” both contain a female protagonist and make us observe and understand how society in their period of time expects of them and their roles. Both these plays let us rethink and compare a female’s role in their period of time with our modern time through points and events that led them into realization of their roles and identity.
Comparison Between the Play and Movie Versions of Death and the Maiden There is a significant difference between the play and movie versions of Death and the Maiden. The movie version emphasizes visual and sound effects, while the play highlights the importance of language. The movie version starts by playing a section from Schubert’s quartet Death and the Maiden. After the melodious music, viewers immediately see and hear lightening outside a small house as well as ocean waves clash against rocks. This contrast not only shocks the viewers, it also prepares them for the upcoming “action” in the movie.
In the beginning of the story, Paul seems to be a typical teenage boy: in trouble for causing problems in the classroom. As the story progresses, the reader can infer that Paul is rather withdrawn. He would rather live in his fantasy world than face reality. Paul dreaded returning home after the Carnegie Hall performances. He loathed his "ugly sleeping chamber with the yellow walls," but most of all, he feared his father. This is the first sign that he has a troubled homelife. Next, the reader learns that Paul has no mother, and that his father holds a neighbor boy up to Paul as "a model" . The lack of affection that Paul received at home caused him to look elsewhere for the attention that he craved.
...st play, it is not sexist and demeaning towards women. Petruchio, Hortensio, and Lucentio may have bet on their wives compliance in some eyes, but after further analysis, they were actually betting on the trust between the couple. The reader must also take into account the time period the play was written in which was the 16th century, where women were usually not even allowed to go to school to be educated, and Bianca was having private tutors for her education. Kate was changed by Petruchio’s “taming” from the beginning to the end of the play, but at the end of the novel when Kate was called upon and made her speech, she was the happiest she had been in the entire story. There are however some sexist elements in the story, but just because there are certain characteristics of sexism in a play does not mean the play in itself is sexist and demeaning towards women.
By dissecting the film, the director, Jennie Livingston's methodology and the audience's perceived response I believe we can easily ignore a different and more positive way of understanding the film despite the many flaws easy for feminist minds to criticize. This is in no way saying that these critiques are not valid, or that it is not beneficial to look at works of any form through the many and various feminist lenses.
In Susan Glaspell’s play Trifles Mr. Wright’s murder is never solved because the two women in the story unite against of the arrogance of men to hide evidence that would prove Mrs. Wright as the murderer. The play Trifles is about the death of farmer Mr. Wright and how the town sheriff and attorney try to find evidence that his wife Mrs. Wright killed him. As the play progresses the men’s wives who had come along were discovering important pieces of evidence that prove the men’s theory but chose to hide from them to illustrate the point that their ideas should have been valued and not something to be trifled. The very irony of the play comes from its title trifles and is defined as something that isn’t very important or has no relevance to the situation that it is presented to. In this play the irony of the title comes from the fact that the men find the women’s opinions on the case trifling even though the women solve the crime which ends up being the downfall of the men as they would have been able to prosecute Mrs. Wright if they had listened which made the women’s opinions not trifling. Glaspell was born in an age where women were still considered the property of men and they had no real value in society in the eyes of men except for procreation and motherhood. This attitude towards women was what inspired Glaspell to write the play Trifles and to illustrate the point that women’s attitudes should be just as valued as men’s and to let women have a sense of fulfillment in life and break the shackles that were holding them only as obedient housewives. Trifles was also inspired by a real murder trial that Glaspell had been covering when she was a reporter in the year 1900. Glaspell is a major symbol of the feminist movement of l...
Many writers from all over the world have provided a close innovative observation for life through their inspiring writings. As Nawal El Saadawi states in “New Song for Egypt’s Elite”: “what makes revolutionary thought unique is its clarity and dignity, and its clear grasp of freedom and justice: simple, clear words that are understood without the need for any help from elite writers or thinkers’’ (1). Thus, when ideas reflect the realties and truths about societies they become simpler, clearer and more powerful. Many writers have designed stories to portray human life, especially women’s conditions, through the female characters that by their words, their actions, and reactions they can stand as representatives for women’s dilemmas in their societies. Some writers have sensed repression and because of their commitment towards humanity and their countries, they have explored the realities of their societies through the depiction of the fictional characters in their stories. Firdus in” Woman at Point Zero” by Nawal El Saadawi and Ree Dolly in “Winter’s Bone” by Daniel Woodrell are two female characters who stand as representatives for their society. They are unique in their ability in facing and resisting their environment bravely. Both novels depict the women’s physical and psychological repression and their attempts to resist in their societies. The novels depict the female protagonists’ actions and the ways repression is represented in the Egyptian and the American society where the writers belong to....
The films message to viewers about gender and power is that women are meant to take care of the home and play the supportive role, while men go out to their jobs and provide. Men are strong and burly and women are naïve and domesticated. Women need men and men always come to the rescue to save women and give them a happy ending. Power is portrayed in the film both visually and through the film’s script and dialogue. The common idea that women are inferior to men is placed subtly in this movie throughout the plot and how these charac...
...art f all evil in society, a place where woman can be sensual man can to anchors and a prison for children (60). As we have exhausted, these families are unfamiliar but yet real. Their mothers play a vital role in the present and future of both plays. Both plays support this theme of families and their dysfunctional way of being and their unparallel patterns oppose to those of the normal, traditional standards.
The representation of violence exacted upon women in cinema is inextricable from being projected upon all women. To provide a scene that objectifies the female is to reduce the feminine form to its non-dual state, e.g., a sexual object providing a vessel for male gratification (hubris and sexual) rather then being defined by its duality of sentient and physical forms. Those who construct scenes of violence against women are bound to a moral responsibility to subjectify the woman’s perspective, thus reestablishing the female as a victim rather then an object and rendering the act of violence intelligible (deplorable, open to interpretation).