By Leonard Quart
This post-World battle II survey of yank cinema offers an in-depth exploration of the way movie acts as a robust cultural expression of the yank public's desires and desires.
• comprises an advent that addresses the heritage of the decade and discusses occasions corresponding to the assaults of September eleventh, 2001, typhoon Katrina, the wars in Iraq and Afghanistan, the commercial obstacle, and the election of President Barack Obama
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This is of course done to create audience sympathy: 'isn't it awful that whites are discriminating against these refined, middle-class white people'. And most prominently in the film's concluding sequence, the town's Episcopal minister gives a sermon affirming Christian principles (that there is a screen of hate hiding the light of Christ) and announces that the navy has seen the light and has begun to grant officers' commissions to all people of all races. A sermon which has a magical effect, moving a number of townspeople apologetically to welcome the Carters back into the community.
A scene which has Fred walking into an aeroplane graveyard overrun with weeds, and containing row upon row of bombers that are going to be turned into scrap (a metaphor for the obsolete Fred), and has him climb into one of the cobwebbed planes. Camera movement, sound and cutting then work to reconstruct the sensation of take-off and flight; there is a close up of a sweating feverish Fred, the sound of engines on the sound track, and the nightmarish shot of Fred through the blurring glass of the cockpit.
A change seen most poignantly and concretely in his relationships with the fragile, protected 'good girl' (Eva Marie Saint) and his opportunistic lawyer-brother Charlie (Rod Steiger). Terry is a complex figure, for though his language is plain and simple, his inner self is bound by a profound sense of personal failure and lost dignity, by a powerful loyalty to brother and corrupt union boss, and by the mixture of tenderness and brutality inherent in his character. By the same token, Kazan also made a film about the longshoremen and their corrupt union.