Morality in The Hunt for Red October
While hundreds, even thousands of excellent movies have been made over the years since motion pictures were invented, there are some movies that stand out among the best. There are various reasons for these standouts, sometimes incredible acting, sometimes impeccable story lines, but in many cases, it is the issues addressed by the movie. Most of the greatest movies contain commentaries or analyses of certain issues, be they moral, social, or otherwise. John McTiernan directed one of these films, The Hunt for Red October, based on the similarly titled best-selling novel by Tom Clancy. The Hunt for Red October, a product of the anti-communist attitudes of the 1980’s, is above all a commentary on morality. It follows a critical moral decision made by one man, Soviet Captain Marko Ramius, portrayed by Sean Connery, and follows the consequences of that moral decision to their conclusion. While this is not the only instance of morality being questioned in this movie, it is the most important, as it is the decision upon which the story is based. Other characters, like Alec Baldwin’s character of Jack Ryan, and Scott Glenn’s character Captain Bart Mancuso also have to make moral decisions that will have important effects on Ramius’ decision.
The storyline of this movie is a result of Ramius’ moral dilemma. While he has served the Soviet Union faithfully for years, he must now decide between patriotism and what he believes is right. He is made captain of a new nuclear missile submarine with a silent drive capability that would enable it to quietly approach the American coast and shower the United States with multiple nuclear missiles. Ramius realizes that this submarine has no other purpose than to take lives and to start, and finish, a war. He decides to defect with the submarine to the United States, betraying the Soviet Union. He knows that his defection will be considered treason, and that the Soviet navy will hunt him and attempt to sink him. Despite this, he decides to defect, choosing what he believes is right over what he is told is right by the Soviet navy. This is a direct commentary on the idea of doing what you feel is right instead of what you are told to do. Through the course of the movie we see the effects of this decision. The Soviets try to convince t...
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...se of the other characters, converge to create a storyline that makes this movie one of the most memorable in cinema. Ramius’ decision to do what he feels is right instead of what he is told is right leads the other characters to each make their own moral decisions. These decisions, with the exception of the KGB agent’s decision to attempt to stop Ramius, contribute to Ramius’ success. Each of the Americans choose to follow their feelings rather than what they’ve been instructed to do, and as a result, Ramius succeeds, and each of their decisions is proven to be the right one. The moral issues at the heart of this film contribute greatly to its success and the fantastic ratings it received. As with many other movies, it is enjoyable simply on the movie level, but it is even more entertaining when one can analyze the deeper messages in the film. It activates our mental viewing, forcing us to use our minds and not just our eyes to watch the film. This is what contributes to the excellence of this film. John McTiernan’s exploration of morality in his film The Hunt for Red October is what activates that mental activity when viewing this film, and increases the enjoyment of this movie.
 The purpose of this paper is to identify and contrast the different styles of leadership exhibited by two characters found in the 1949 movie Twelve O’Clock High starring Gregory Peck as General Savage, Army Air Forces general. Based on a true story, Twelve O’Clock High is a inspirational account of the highly dangerous precision daylight bombing missions carried out by US Army Air Force’s 918th Bomber Group in England during the last part of World War II. In the beginning of the movie the squadron is commanded by general Davenport. It is very clear that General Davenport’s main concern is the wellbeing of his men. He obviously had developed close interpersonal relationships. The men of the squadron were completely devoted towards Davenport and they trusted any decision that he would make. General Davenport’s affection for his men comes to interfere with his ability to lead them. The squadron suffers heavy losses to planes and heavier losses to soldiers. One instance that clearly demonstrates Davenport’s incapability to uphold his responsibilities as the leader is when he jeopardizes the well being of the entire squadron by ignoring protocol and flying out of formation in the attempt to save one plane. When it becomes apparent to Davenport’s superiors that his emotional feelings have become an obstacle to his effectively leading the squadron they relieve him. General Savage who is ordered to take over the underachieving bomber group experiencing heavy losses because of poor technique and lack of focus. Savage takes a kind of tough love approach, holding his men to the highest standards. Savage makes the point that the ultimate objection of the squadron is to successfully complete the assigned missions. Throughout the movie Savage constantly makes it absolutely clear to the squadron that no one individual’s wellbeing will be placed ahead of the entire team and the success of the team. Initially the changing of the preceding General dispirits the squadron. They felt that General Savage was uncompassionate considering the men as nothing more then numbers that were dispensable at his convenience. After several missions that were marked by a remarkable turnaround in success the man eventually come...
Gillman, Charlotte Perkins. "The Yellow Wallpaper." Responding to Literature: Stories, Poems Plays, and Essays. Fourth Edition. Ed. Judith A. Stanford. Boston: McGraw-Hill, 2003. 604-616.
Gilman, Charlotte Perkins. "The Yellow Wallpaper." The Norton Introduction To Literature. Eds. Jerome Beaty and J. Paul Hunter. 7th Ed. New York, Norton, 1998. 2: 630-642.
Gina Marchetti, in her essay "Action-Adventure as Ideology," argues that action- adventure films implicitly convey complex cultural messages regarding American values and the "white American status quo." She continues to say that all action-adventure movies have the same basic structure, including plot, theme, characterization, and iconography. As ideology, this film genre tacitly expresses social norms, values, and morals of its time. Marchetti's essay, written in 1989, applies to films such as Raiders of the Lost Ark and Rambo: First Blood II. However, action-adventure films today seem to be straying farther away from her generalizations about structure, reflecting new and different cultural norms in America. This changing ideology is depicted best in Oliver Stone's Natural Born Killers (1994), which defies nearly every concept Marchetti proposes about action-adventure films; and it sets the stage for a whole new viewpoint of action in the '90's.
Ford, Karen. “The Yellow Wallpaper and Women’s Discourse.” Tulsa Studies in Women’s Literature 4.2 (1985): 309-14. JSTOR. Web. 6 April 2011.
Therefore, making one decision can have a huge impact on others. This is why it is important to think of the consequences that could occur before you make any decision. Both the soldier and Ronnie face challenges to make the decision whether they should be loyal to their leader or friend, or whether they should do the opposite. They later regret the decision they make and face the consequences that come along with it. Ronnie goes through an emotional state from lying to the sergeant, and the soldier feels guilty for killing Gregory. This is why you should think of others before you make any decision, and be loyal to those who you trust and think are right.
Described as an “autobiographical account fictionalized in the first person,” Charlotte Perkins Gilman’s “The Yellow Wallpaper” chronicles the narrator as she is brought to a country house and put on rest cure, instructed by her physician husband to live in a room with yellow wallpaper (“The Yellow Wallpaper”). Throughout her stay there, the narrator appears to develop a sort of hysteria and falls into a deeper depression than when she arrived.
...Next, it addressed the events that demonstrated the decisions General Schwarzkopf made that clearly validate those of an ethical leader. Finally, it discussed the relevance of why it is important for a Combatant Commander of such a wide area of responsibility to possess both of these traits.
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
In Red Harvest, in both his description of both “Poisonville” and it’s inhabitants, Hammett uses contradicting language, and often iconic reoccurring imagery to express the deterioration of American morals with the growth of underground crime, judicial politics, and the emergence of the femme fatal. The characters in the novel, including the operative himself are willing to lie, cheat, and kill in cold blood for their own personal gain. Although infidelity, greed, and self-preservation are expected from characters involved with the murders and inner crime ring; the story becomes more complicated when characters like the operative, and chief of police begin to get their hands dirty. Bringing the age-old crime ad punishment theme to a higher tier where the reader is unable to make an impulsive decision on who is a “bad guy”, and who is a “good guy”.
Treichler, Paula. "Escaping the Sentence: Diagnosis and Discourse in 'The Yellow Wallpaper'." Rpt. Twentieth-Century Literary Criticism Vol. 37. Detroit: Gale 1991. 188-194.
Gilman, Charlotte Perkins. “The Yellow Wallpaper.” Literature for Composition: Reading and Writing Arguments about Essays, Fiction, Poetry, and Drama. Ed. Sylvan Barnet, William Burto, and William E. Cain. 8th ed. New York: Pearson Longman, 2007. 765-75. Print.
...ifferent crime patterns and thought processes of criminals. The reasons can only come from these theories and will help the justice systems become more prepared to react towards different crimes. However, with adding some enhancements, projects and experiments these two theories have the potential to change the criminology realm forever.
Although there were many concepts that were present within the movie, I choose to focus on two that I thought to be most important. The first is the realistic conflict theory. Our textbook defines this as, “the view that prejudice...
The success value of this movie is about righteous. In fact, that is to say, though sometimes honesty conflicts honor, one should never try to win by cheating.