The personality Jim Carey portrays through the character of Stanley is very quirky, unmotivated/lacks confidence, and by his own definition "a hopeless romantic". The way Jim Carey presents Stanley perfectly captures how he is unmotivated and lacking confidence through his facial expressions and ways he carries himself. The first scene we are introduced to Stanley, he lies asleep in his small, messy apartment while his dog wakes him up for work. Immediately the audience is able to see the lack of motivation and direction in life as he sleeps through his alarm, forcing his dog to act as a mother of a teenager waking her child up for school for the fifth time. Nothing screams "unmotivated" like the use of a dog as an alarm clock. …show more content…
Now very pompous, the Mask is ready for his night out on the town. The transformation is a complete turn around from the old Stanley in regards to setting and ways to project his new character. Now the mask, there is constant party music in the background to bring about his new found mischievous side. His smirk and dance-walking align perfectly with the beat of the song as if it follows is every move. The other major element used is darkness. While Stanley was always seen in bad lighting, usually during the day, the Mask is a well-hidden figure who lets the darkness bring out his best characteristics. His bright smile and pronounced cheekbones are easy to spot in the dim areas he resides in. As a result, he has no problem receiving attention from everyone, especially women. He also dresses very flashy, often boasting loud colored suits and tuxedos. The mask does not try to fly under the radar whatsoever, even ordering a white limo to drive him to the club where his (Stanley’s) afformentioned blonde client works as a stage performer and singer. The limo rolls up and honks its horn repeatedly into the crowded area where all other civilians are desperately …show more content…
Loud Suits, stealing money from the bank which he works, on everyone’s radar yet the Mask still finds a way to avoid all trouble; the director might as well have named him Mr. Smooth Criminal. Finally, the Mask looks for romance, in particular, romance with his old client Tina who no longer recognizes him after his transformation. As the Mask strolls into the stage area where Tina is currently performing, we see Stanley’s emotions come out since the Mask is not scared to hide anything he thinks or feels. His heart starts bouncing, his eyes pop out of his sockets, and his tongue droops onto the table. Since he knows his ability when it comes to romance, he waits no time in approaching Tina while she is performing and yells at the crowd “LET’S ROCK THIS JOINT” and the band immediately plays music one would only hear in the Roaring 20s. Without hesitation, he grabs Tina and starts speed dancing with her. She is in complete awe of his confidence and ability to dance that she becomes infatuated by him. Following their dance, the Mask Swings Tina down and kisses her, not afraid to
Jim is a dynamic character because he is a runaway slave. Also at first he didn’t really want to risk anythings, no adventures for Jim. I feel that Huck has been influencing Jim with taking risk and starting new adventures.
This he does by changing his image. He sheds off the bright colored clothes for a more relaxed and conservative dark suit, and throws away the Bergdorf’s scarf to complete his new look.
Blanche, a fading beauty, uses her sugary charm and soft southern ways to attract men. In comparison, Stanley "sizes women up at a glance, with sexual classifications" to "determine the way he smiles at them" (Williams, Street 29). Course and deliberately aggressive, he is a "survivor of the stone age" (Williams, Street 72). Despite their differences, they both possess a raw sensuality. In their first confrontation, Blanche's thick display of charm angers and attracts Stanley.
In the beginning of Something Wicked This Way Comes the story introduces Jim Nightshade and William Halloway. Jim is an ornery and impatient teenager, desperately wanting to break free from the yolk of childhood to become the adult he has always desired to be and Will wants to stay inside his comfort zone, which involves him staying a child for as long as he is able to. Something Wicked This Way Comes accurately addresses the sometimes difficult transition from adolescence into early adulthood.
Stanley oftenly abuses Stella whenever he is drunk. One night, Stanley brings his friends over for a poker night. Mitch leaves the table in order to talk to Blanche. Stanley begins to get furious since Mitch is no longer playing. As more and more interruptions keep occurring, Stanley is furious and breaks the radio Blanche and Mitch were using. Stella then calls Stanley an animal. “He advances and disappears. There is a sound of a blow. Stella cries out.”(57) Stanley is usually abusive when he's either drunk or frustrated. After Stanley strikes her, Stella leaves the house and goes to her neighbors house. Blanche follows her sister upstairs to support Stella so she does not feel alone. Stanley then calms down and calls for Stella to come back. She returns and falls into Stanley's arms. Stella is very loyal to Stanley, she stays with him because he is her husband and does not want to change that. This is why she ignores her sister's pleas. Stanleys actions prove to the reader that he is an abusive husband to Stella and that Stella tolerates
He said “Pig-Polack-disgusting-vulgar-greasy…Remember what Heuy Long said-“Every Man is a King!” And I am the King around here, so don’t forget it! My place is cleared! You want me to clear your places?”(Williams131). This proves that Stanley has a violent and disrespectful character. He claims that he is the man of the house and no one else can take his place even temporarily. Every time his dominance is doubted by someone else he feels challenged and impulsive. Especially with women, he gives them no respect but expects their respect and shows a deep desire for control. This relates to the thesis because he talks and acts with women in a very violent way, which makes them emotionally hurt. This scene is also very ironic because Stanley states that he is not an animal and that he is a hundred percent perfect American but in reality he has an inhuman behavior and he is savage, which is portrayed in the way he talks, eats , and acts with
The character Stanley represents the theme of reality. Stanley Kowalski is the simple blue-collar husband of Stella. His actions, reactions, and words show reality in its harshest most purist form. His actions are similar to a primitive human. For example he doesn’t close the door when he uses the restroom. This rudeness represents the harsh reality that Blanche refuses to accept. Moreover, when he was drunk he hit Stella. This attack on Blanches sister could be a symbolic “wake up” slap to the face of Blanche.
Williams begins by introducing us to the happy couple, Stanley and Stella Kowalski. The two live in a run-down part of New Orleans, but are content in their surroundings and their lifestyle. Stanley Kowalski is a Polish Immigrant who strongly believes in the role of a man in his own household. One may perceive him as being unrefined and rude, due to his blunt nature, but to himself and Stella, it is just his practical attitude towards life. Evident, through his interaction and dialogue with Stella and other characters, is his need to prove his masculinity by being dominant and imposing.
Dismal is questioning herself on whether or not she should show her true self. Dismal states, “If I don’t take off my mask” (Dismal 32). Dismal is metaphorically expressing her mask as her pretending the way she feels in front of others. The reader can see that Dismal has been faking and closing her feelings in front of others when she talks about her mask. Dismal wastes time to think about what may happen if she breaks the barrier of pretending to what she actually feels, even though she isn’t curtain what may happen. Dismal uses the metaphor of her mask to portray that when people are wary they miss out in the possibilities in
The character in the mask is just there, zoned out, unable to enjoy himself, no matter what happens. This relates closely to his real life when Mike Posner had a serious substance addiction.
Stanley (Stella's husband) represents a theme of realism in the play; he is shown as a primitive, masculine character that is irresistible to Stella and on some levels even to his "opponent" Stella's sister Blanche.
Stanley repeatedly gets what he wants by using any means possible. In addition, the person whoever threatens the existence of his poker game receives a beating, in this case his wife. This scene demonstrates Stanley’s viscous animal-like traits with such violence. If what happened here was repeated in today’s society, he would find himself in a jail cell with a pending divorce.
Since Blanche’s arrival, Stanley has questioned Blanche’s lifestyle, accused her of theft and engaged in other verbal confrontation. As Mitch’s friend, Stanley deems it necessary to share what he has uncovered about Blanche’s deception and misbehavior with Mitch. After not attending Blanche’s birthday dinner, Mitch visits Blanche late in the evening. In this passage, Mitch reveals to Blanche what he now knows about her and tears off the paper lantern so that he can expose Blanche for who she is. This passage suggests that Mitch embodies the same masculinity already established in Stanley. Utilizing dialogue, characterization, and stage directions, Williams reveals the likeness between the two men.
Also, the repetitive comparison of him to an animal or ape is the perfect image not the id as it is the instinctive part of your psyche. The way this passage leaves the reader is very powerful saying that “maybe he’ll strike you” is a good example of Stanley’s aggressive nature, and when Blanche says “or maybe grunt and kiss you” is a very good example of his sexual nature.
[More laughter and shouts of parting come from the men. Stanley throws the screen door of the kitchen open and comes in. He is of medium height, about five feet eight or nine, and strongly, compactly built. Animal joy in his being is implicit in all his movements and attitudes. Since earliest manhood the center of his life has been pleasure with women, the giving and taking of it, not with weak indulgence, dependency, but with the power and pride of a richly feathered male bird among hens. Branching out from this complete and satisfying center are all the auxiliary channels of his life, such as his heartiness with men, his appreciation of rough humor, his love of good drink and food and games, his car, his radio, everything that is his, that bears his emblem of the gaudy seed-bearer. He sizes women up at a glance, with sexual classifications, crude images flashing into his mind and determining the way he smiles at them.] Blanche is uncomfortable and draws involuntarily back from his stare. She is keenly aware of his dominant position and reacts as women of the day did. Through all of this he is the leader of his group and in full control of his household. Any opposition to his leadership is quickly put down by physical force. He beats his wife, fights his friends and eventually humiliates Blanche by raping her.