Dual transmission, Honkytonk Man and Gran Torino
Redemption is an important factor to grip the viewer to moral values upheld by the film. And redemption of the character is linked to the satisfaction of the viewer. Because we believe the films according to our religious beliefs related to our culture thus, we can see that the end of movie Honkytonk Man and Gran Torino appear to be satisfactory for the viewer for two reasons: the first is the character, although he died at peace with himself at the moment of death as it has more weight on his conscience.
Indeed, the Red confesses to Marlene was thinking this is Mary. Thao Walt confesses to the murder of a young Korean and protecting the Hmong family. The second is that the transmission: in both films, she has been accomplished since Thao became a man and Whit too. Indeed, in Eastwood movies, as we have seen, a boy becomes a man he can do things alone, it has a car and he has a girlfriend (Whit and Marlene Thao and Yum Yum).
[...] So we have seen that only Gran Torino shows the total transformation of the main character. Yet it must be admitted that the death of the characters should contribute to the transmission failure and disappointment of the viewer. So we can ask the following question : p hy is it the only film in the corpus in which the " anti-hero "is not death that the expectations of the viewer is not satisfactory ? Expectations of a viewer with a film are of different orders : first the audience must share the moral values those present in the film. [...]
[...] The second is that the transmission : in both films, she has been accomplished since Thao became a man and Whit too. Indeed, in Eastwood movies, as we have seen, a boy becomes a man he can do things alone, it has a car and he has a girlfriend (Whit and Marlene Thao and Yum Yum). In addition, students have kept the values transmitted by their " mentors Thao kept the car Walt, symbol of America to the true values dear to Walt. [...]
[...] Which brings us finally to talk about Million Dollar Baby. N this film, if the character del " anti- hero "does not meur the death of his adopted daughter breaks the possible support of the viewer to talk about curses of the Old Testament with Frankie, a sort of Job, unrequited God, haunted by a traumatic memory that he can not break free and cause his downfall. Internet sources : http://books.google.fr/books?id=MwzwpxJR2DgC&pg=PA469 &lpg=PA469&dq=%22purgatoire+de+Yeats%22&source=bl&ots=ZjyZVyE4Pd&sig=lf c6G_fiPL2wXM7wDfFhBDyyd9U&hl=fr&ei=GcHOS- vbBIv9_Aagq6WKAQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CA0Q6AEwAg #v=onepage&q=%22purgatoire%20de%20Yeats%22&f=false In this site, it is discussed the retrospective dream related to purgatory Yeats. [...]
[...] he said, speaking of the gang. This sequence can be cut into two parts. First aid Thao Walt repair the valve and the fan and gives him three tools. Walt and Thao needs to mount the fridge basement. In this second part, Thao Walt forces to forget his pride and be limited to pushing the fridge. By this act, we can see that the transmission is already partly successful since Thao is not the introverted young man from the beginning of the film " who does everything that his sister told him to do We can see that it becomes adult. [...]
[...] But Eastwood manages to bring together through common moral values. T he students are positive bone Charvet and dream of freedom and success. In their contacts, the " anti-hero "will become better view e dev iennent heroes like it's the case for Walt. O ver the film, the unsympathetic characters are humanized and attract the sympathy of the audience. Eastwood chooses different media for transmission : the car, boxing and music to serve its moral values. Eastwood equips its " anti-hero "of traumatic memories they absolutely must get rid before dying by making amends. [...]
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