The Sting is a classic story that explores revenge for the death of a good friend. Instead of them having revenge by retaliating in nature, Hill uses the main characters to get their revenge by coning the man who is responsible for the death, out of his money. Getting through the first parts of the film, one gets to be grabbed fully into the film (Michaels, 1993). Hill also breaks the conformity of the other films through setting the main characters as conmen. This is quite different from the other films given that the men needed to be seen as good but at the end, the opposite happened (Shaw, 2012). The movie, The Sting, vividly brings out morality in Revenge. In the movie, Johnny Hooker and Luther Coleman are “grifters” or come out as confidence …show more content…
Often, I do not admire what is known as “heist” or “caper” movies, given that they tend to give a feeling of glamourizing crime and some sense of dishonesty at the same time. The movie, The Sting, to some extent, turns out to be different. In the movie, Hooker and Gondorff exist in a world where the moral order has indeed decayed. The police, in this setup, are fully corrupt, and one such is Snyder, who is representative of the forces of law and order and, in fact, is part of the payroll of Lonnegan (Weverka, 1974). It is evident that no chance exists for Hooker to get justice for the murder of the friend through the normal channels; with the only way that they can do this being through seeking other options that exist outside the law. In any society, where the police are crooked, only criminals can execute justice. At the end of the film, there is the emotional satisfaction that is felt. The emotional feeling mainly occurs because of some moral order that appears to be restored at the end, and this happens without a person getting injured except for the wallet of
Happening in today’s society, there have been countless number of citizens being killed by law enforcement. Some situations may not cause for force and others may. This case can be a reference in regards to making sure that the force you use is appropriate for the situation. As for the justice system, it is all about being fair and listening to both sides and issuing out the right punishment if there is any. Many people in today’s time needs to get educated when it comes to the reason behind why law enforcement uses force to handle the situations they have to deal with. But in the end it all comes down to right and
The characters in these films were savvy, secretive and wealthy unlike the gangsters seen in Little Caesar and Scarface: The Shame of the Nation. Brian De Palma’s Scarface (1983) payed homage to the original, and although they follow roughly the same storyline, De Palma’s remake is more reminiscent of The Godfather films than its predecessor. Tony Montana (Al Pacino), the film’s main character, worked his way up from poverty by selling drugs and committing horrifying acts of violence in order to attain the power, wealth and woman he so desired. In his 1983 review of Scarface, Pulitzer prize winner, Roger Ebert states “Al Pacino does not make Montana into a sympathetic character, but he does make him into somebody we can identify with, in a horrified way, if only because of his perfectly understandable motivations” (RogerEbert.com). More than fifty years later, Ebert expresses similar thoughts to those of Robert Warshow, esteemed film critic and author of “The Gangster as a Tragic Hero.” “…We [the audience] gain the double satisfaction of participating vicariously in the gangster’s sadism and then seeing it turned against the gangster himself.” (Warshow) These sentiments are exactly what the censorship of the 1932 version intended to prevent, yet Scarface (1983) did not receive the same scrutiny. Despite the mixed reviews that Howard Hawk’s original Scarface: Shame of the Nation and Brian De Palma’s
Quentin Tarantino’s “Pulp Fiction” is one of my favorite movies of all-time, it is about gangsters as well as everyday people struggling to get out of the dire situation they are in. In the final scene Ringo, a common criminal, is robbing a Diner. Jules just happens to be in this Diner, and Jules is one of the meanest gangsters in the city. Ringo and Jules have a confrontation in the Diner and eventually Jules is holding Ringo at gunpoint. Instead of killing him, he tries to convey a message to Ringo. In this message he uses logos, pathos and ethos to explain to Ringo that he is trying to transform from an evil man into a righteous one.
The Sting is a classic story of revenge for the death of a good friend. Instead of the revenge being an eye for an eye, Hill has the leading characters get their revenge by coning the ,man responsible for the death, out of his money. Within the first ten minutes you are grabbed into the film. Hill breaks the conformity of other films by making the leading characters con-men. This is very different from other films because these men should not be looked at as the good guys but just the opposite.
The police officer is a fundamental illustration of how stereotypes are created by discrimination and fear when he was described as “nervous because of the neighbour-hood, who is suspicious because of the car and because he has been trained to see an unshaven man in blue jeans as a potential thief” The main character expects to be helped by the police officer but instead he is seen as a thief because he is unshaved, he wears expensive clothes and drives a Mercedes Benz. All those things together got him in trouble. Because of that he gets shot trying to show his identity. His mistake was that instead reaching for his wallet it was to put his hands up when the police officer told him that. The police officer was sure he is a “typical street thief” and thought he was reaching for a gun and shot him, which ended the character’s life. He was just wanting to prove who he really
For example, Taylor and Zavala both received a Medal of Valor for saving children from a burning building. But the film does not gloss over the dangers of policing, nor does it make any of the police officers appear to be invincible. For example, not only was Zavala killed in the line of duty, but another officer in the LAPD was stabbed in the eye while on duty and could no longer work as an officer. While these occurrences are surprising, they do not necessarily occur to the average police officer. Even so, it is a reality that these types of risks come with being a police officer.
Throughout the tale of time, thoughts of revenge have corrupted even the most innocent of minds. In Andre Dubus’ “Killings”, Matt Fowler is conflicted by two opposing forces: his own desire and his wife’s demand for the death of their son’s murderer. Through her manipulative words and her emotional meltdowns, Matt Fowler ultimately succumbs to his wife’s request and commits the gruesome act, which causes the audience to reevaluate the appropriateness and cost of vigilante justice.
The novel begins with the author’s own experiences as a law enforcement officer and his ideals on the use of deadly force. He explains that “at some deep subconscious level humans are both drawn to and repulsed by violence of any sort” (Klinger, 2004, page 8) and goes on to elaborate why the killing of a human being by an officer is acceptable in the eyes of society today. Even though this truth may seem harsh to some, the overall effects that occur when an officer fires his gun is even harsher when the light of reality is shed upon these gruesome incidences. As the novel continues, Klinger begins to share more information about the career that these few men and women choose to go into. The author describes how many of his interviewees were asked when applying to law enforcement agencies how they would feel about having to shoot someone. Most answered they would not feel any sort of hesitation, yet some men and women in their interviews with the author revealed that they never thought about themselves in that situation and were somewhat taken back by the question. Moreover, Klinger explains that shootings are uncommon incidences in the police...
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
When one thinks of a gangster they may think of speakeasies and classy cars or maybe drive-bys, but they will always imagine a man who is not afraid to get his hands dirty to grasp for a higher place on the social ladder. They will think of a man portrayed in a genre of cinema more American than any other, the gangster film. This genre began in the early thirties and has been re-adapted each decade to fit a new time. Although gangster films may mold themselves to fit into a certain cultural era, they still stay deeply tied to the foundations of the genre and its historical relevance to the american dream. This is apparent when comparing the differences and similarities between The Public Enemy and American Gangster. To better understand this comparison one needs to understand the origination of some of the classic conventions of the gangster film genre.
Nestled under the ‘hawkish’ wing of Johnny Friendly, the beginning of the film sees Terry Malloy a daft “bum,” too preoccupied by “standing with the right people, just to have a bit of change jingling in his pocket” to deeply contemplate morality. Tainted by a distressing antiquity, Terry Malloy has habituated to a ‘dog-eat-dog’ world of Darwinian ‘survival of the fittest,’ where “taking it out on their skulls” is the appropriate method of resolution. “Its eve...
The mask is a form of deception or illusion. Sometimes, it can be worn as both. It hides the true emotions of slaves, keeping the slave master from knowing what is going on in their minds. The mask also allows the slave to have an identity without the master’s detection. The mask gives the illusion that the slave is exactly how the masters believe, ignorant, incapable of true emotion, and unable to think for themselves.
“But they didn't have to beat me this bad. I don't know what I did to be beat up." Rodney King, March 3, 1991. Police Brutality has been a long lasting problem in the United States since at least 1903 when police Captain Williams of the New York Police Department said the phrase, "There is more law at the end of a policeman's nightstick than in a decision of the Supreme Court." In the 1920's the Wichersham Commission had a number of instances of police brutality. Many of these included the use of the "third degree" (beating to obtain a confession). This is a very effective way to get a confession out of somebody. However, beating the accused could easily elicit a confession from a scared and innocent person. Also, this puts the accused person's life in danger. Police officers must make snap life and death decisions daily. Officers' work in an environment where death (theirs, their partners, and an innocent or guilty person) is one decision away. How does that constant fear effect an officer's perception? Unfortunately, many that are attracted to law enforcement are aggressive and prone towards violence as a solution. Police officers have a lot of power. With this power comes responsibility. Police brutality can be defined as the excessive or unreasonable use of force in dealing with citizens, suspects and offenders.
Just it isn’t a fake scene this is real life. There are six levels of force an officer can use and may have to use doing there time as an officer. The lowest level of force is presence of an officer at the scene and the officer’s body stance. This level of force is used typically whenever an officer first appears to a scene or a call. The second level of force is verbal control or commands. The verbal use of force is when an officer demands you to do something. The third level is physical control. This level involves escort holds, pain or pressure compliance. This force is brought in when a suspect tries to resist arrest or verbal commands. The fourth level is really close to the third, this is serious physical control. This really is when you use carotid control and electronic devices. The carotid control is a kind of choke hold which makes the person want to comply. The fifth level is impact and weapons. This is when you first so your willingness to use your baton by touching it or holding it out. Then possibly cause the suspect to feint so he or she can’t resist again. The last resort is deadly force. Most officer try their hardest to not have to get to this level or even be in a position to which this force is used. But deadly force is drawing your gun, pointing your gun, and, or finally firing your gun. (Police
During the scene with the police lineup, Detective Clay tells a worried and nervous Denise Moore, that she shouldn 't concern herself with testifying because Jesse Williams is most likely going to take a plea deal, and not go to trial. This caused me to realize that an officers has little to no responsibility with ensuring the innocence or guilt of an individual. Their job is to solely remove men and women, that they feel pose a threat to the rest of society, off of the street. In another scene, Detective Riley and the prosecutor for the case are seen revisiting the crime scene, the Detective emphasizes the need for the case not to go to trial, but rather for Jesse to cop a