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Philadelphia The movie Philadelphia starring Tom Hanks and Denzel Washington depicts two lawyers fighting for the symbolic loss of the one of the lawyers who has contracted AIDS in the 1990s. Tom Hanks plays as Andrew Beckett, who successful made partner in upscale firm is fired because of his virus. The types of losses portrayed in this film are normal and complicated grief due to symbolic loss and actual loss due to death. According to Walsh, 2009 loss due to transition and health related symbolically losses were Andrew contracting AIDS. The transition of having Aids went from good-standing to worse to death. One of the symbolic losses Andrew encountered was the friendships he had with the partners of the firm. Second symbolic loses …show more content…
Before he actually gave up he fought against the firm for firing him and won because the reason they gave for firing was false. The family was very hurt sadness yearning because he passes out during cross examination. The family was yearning. According to Worden, 2009 yearning is a normal response to loss for a family during the grief process Andrews’s illness affects his partner as sadness symbolic loss and actual death as well as the family when he was testifying in his behalf everyone could see how ill he was and there was a grieving reaction when he fainted. The course concepts covered in the class lectures and readings and PowerPoint weekly discussion on grief and loss was a great turn of phrase the movie assignment Philadelphia) pertains to Andrew’s life events as symbolic loss and actual loss. Andrew’s relational partner Magill wanted him to take his medication however Andrew was tired of succumbing to the transition of his life changes of wearing the oxygen and the IV that keep him alive. Instead they attended a costume party. At this party there were many of Andrews’s friends, mostly the guy population, however his defense lawyer and his wife attended as
Andrew Largeman's (Zack Braff) journey throughout "Garden State" seems to be a testament on the meaning of liberation. Going from his struggling acting life in Los Angeles to his hometown in New Jersey, where he witnesses his mother's funeral, Andrew is in the mist of confronting difficult issues. One of the biggest issues is coming to terms with his psychologist father (Ian Holm), whom he has distanced himself from for many years because he has put him on powerful antidepressants for most of his life. The reason for this I will not reveal but it has caused Andrew to feel as if his father has controlled his life in a way.
...is interactions with his wife are filled with tension and he is saddened when he reflects upon the men lost during war and the death of his brother.
Suffering from the death of a close friend, the boy tries to ignore his feelings and jokes on his sister. His friend was a mental patient who threw himself off a building. Being really young and unable to cope with this tragedy, the boy jokes to his sister about the bridge collapsing. "The mention of the suicide and of the bridge collapsing set a depressing tone for the rest of the story" (Baker 170). Arguments about Raisinettes force the father to settle it by saying, "you will both spoil your lunch." As their day continues, their arguments become more serious and present concern for the father who is trying to understand his children better. In complete agreement with Justin Oeltzes’ paper, "A Sad Story," I also feel that this dark foreshadowing of time to come is an indication of the author’s direct intention to write a sad story.
John Q. Dir. Nick Cassavetes. By James Kearns. Perf. Denzel Washington. New Line Cinema, 2002. DVD.
Through an intimate maternal bond, Michaels mother experiences the consequences of Michaels decisions, weakening her to a debilitating state of grief. “Once he belonged to me”; “He was ours,” the repetition of these inclusive statements indicates her fulfilment from protecting her son and inability to find value in life without him. Through the cyclical narrative structure, it is evident that the loss and grief felt by the mother is continual and indeterminable. Dawson reveals death can bring out weakness and anger in self and with others. The use of words with negative connotations towards the end of the story, “Lonely,” “cold,” “dead,” enforce the mother’s grief and regressing nature. Thus, people who find contentment through others, cannot find fulfilment without the presence of that individual.
Andrew Beckett (Tom Hanks) is one of Philadelphia's most promising lawyers. He's the hot rookie and is hired by a top law firm headed by Charles Wheeler (Jason Robards). Andy is also gay and dying from AIDS. When the physical signs of the disease begin to manifest themselves, the firm gets cold on Andy and he's out of a job. They tell him it's because he has an attitude problem and his work is mediocre, but Andy knows it's more personal than that. After no other law firm will take his case for unfair dismissal, his last resort is old adversary Joe Miller (Denzel Washington). Joe, a homophobe with an innate fear of AIDS, is reluctant to take the case also because of his personal reasons, but after seeing Andy humiliated in a public library, can't resist standing his corner with him.
1980. Warner Bros. Directed by Stanley Kubrick. Music by Wendy Carlos and Rcachel Elkind. Cinematography by John Alcott. Editing by Ray Lovejoy. With Jack Nicholson, Shelley Duvall, Danny Lloyd.
The Classical Hollywood style, according to David Bordwell remains “bound by rules that set stringent limits on individual innovation; that telling a story is the basic formal concern.” Every element of the film works in the service of the narrative, which should be ideally comprehensible and unambiguous to the audience. The typical Hollywood film revolves around a protagonist, whose struggle to achieve a specific goal or resolve a conflict becomes the foundation for the story. André Bazin, in his “On the politique des auteurs,” argues that this particular system of filmmaking, despite all its limitations and constrictions, represented a productive force creating commercial art. From the Hollywood film derived transnational and transcultural works of art that evoked spectatorial identification with its characters and emotional investment into its narrative. The Philadelphia Story, directed by George Cukor in 1940, is one of the many works of mass-produced art evolving out of the studio system. The film revolves around Tracy Lord who, on the eve of her second wedding, must confront the return of her ex-husband, two newspaper reporters entering into her home, and her own hubris. The opening sequence of The Philadelphia Story represents a microcosm of the dynamic between the two protagonists Tracy Lord and C.K. Dexter Haven, played by Katherine Hepburn and Cary Grant. Through the use of costume and music, the opening sequence operates as a means to aesthetically reveal narrative themes and character traits, while simultaneously setting up the disturbance that must be resolved.
As young boys, they were told, "big boys don't cry." That is what they live by, never showing emotion. When the time comes for men to show their emotions, they either do not know how or let it build up inside us. This leads to alcoholism, other addictions, and early death. When a loved one dies that is close to a certain man, he begins to act strange; doing things out of the norm. Although different men respond in different ways, they all have the same symptoms. For example, "I suffered, I grieved, I broke down, and I cooked fabulous meals for those who came to comfort me" (Anderson 203). This shows that he suffered and grieved but did not show it in the common way. He expresses his pain through cooking for the ones that came to mourn with him. Another example, "There is one place her absence come locally home to me, and it is a place I can't avoid. I mean my own body…Now its like an empty house…I know the thing I want is exactly the thing I can never get" (Lewis 23). This shows a man's love for his wife, but he doesn't share with his buddies, he writes his loss in a book, this is how he expresses his loss.
He allowed Andrew free reign of the facility and encouraged him to give everyone parts in his hallucinations. The doctor thought if he let his hallucinations play out he can finally help his patient to reach a break through. This was his last hope for Andrew because the doctor was thinking about doing a procedure called transorbital lobotomy. The goal of this procedure was to cut or scrap away most of the connections to and from the prefrontal cortex, and the anterior part of the frontal lobes of the brain, hoping to cause a symptomatic improvement. The intervention was appropriate for the patient's culture, however the transorbital lobotomy not so much, only because the process could be consider playing God. Once Andrew snapped out of his hallucinations, he seemed to be fixed for a bit but then he regress. The thing that was different about this time around, was that he made a statement that made it seem like he wanted the surgery. The reason why he wanted the surgery was simply because he wanted to forget about the people he killed, and the thing that happened with his
During the late nineteen-forties, it was common for playwrights such as Tennessee Williams to use symbolism as an approach to convey personal thoughts, through the attitudes of the characters and the setting. Williams' actors have used symbolism to disguise the actuality of their thoughts and to accommodate the needs of their conservative audience. A Streetcar Named 'Desire' has a few complicated character traits and themes. Therefore, they have to be symbolised using figures or images to express abstract and mystical ideas, so that the viewers can remain clueless. Williams not only depicts a clear personality of the actors
Philadelphia. Dir. Jonathan Demme. By Ron Nyswanger. Perf. Tom Hanks, Denzel Washington, Antonio Banderas, and Joanne Woodward. TriStar Pictures, 1993. Youtube Crackle.
The movie “John Q” narrates a story of the financially constrained character John Quincy Archibald who ensures that his nine year old son at the brink of death, secures a heart transplant by any means possible. Throughout the movie, there is a compelling display of the love shared by a family and this is seen in the great lengths John went to save his son, however unlawful. The main characters are John, Michael and Denise Archibald, Rebecca Payne, Doctor Turner and Lt. Grimes.
Emotions elicited through context of present situations give the reader a way to connect with the novel and its characters. Through this, one is able to sympathize with more than one character. While the main party being observed, and therefore sympathized with, is Mr. Harding, one also sympathizes with the bedesmen of the hospital who have been deprives of what is theirs. This deprivation of funds is based on the argument that “in bad times the poor men had had their due, and therefore in good times could expect no more” (Trollope 40). This argument against the bedesmen receiving more than
Thomas Lanier Williams was born in Columbus, Mississippi in 1911, he was the second of the Williams’ three children. By his own candid accounts, he described his family situation as being troubled, to put it lightly. His parent’s marriage was ordinarily tense, most likely as a result of his father’s alcoholism, physical intimidation and neglect. Thomas’s kindred troubles did not end with his parent’s unpleasantness, his beloved older sister, Rose, was institutionalized as a young woman and remained in care for the reminder of her life. He, himself suffered a mental breakdown, following his recuperation he moved to New Orleans and changed his name to Tennessee, this move invigorated his lifestyle and provided him with a new source of inspiration.