It's a strange comment for a movie in prison, but The Shawshank Redemption warmly controls our feelings because it makes us part of a family. Many films offer us alternative experiences and fast, superficial emotions. "Shawshank" slowed down, looking. It uses the narrator's calm, sharp voice to include us in the story of the men who make up a community in prison. It's deeper than most movies; About the continuity of a lifetime, based on friendship and hope.
Interestingly, although the protagonist of the film is convicted former banker Andy Lee. Dufran (Tim Robbins), from his point of view, this action was never seen. The opening scene of the film shows him sentenced to two life sentences for the murder of his wife and lover, and then we move permanently, from the perspective of representing the prison population, especially Lev Lee. Ellis · Reading (Morgan Freeman). It was his voice, remembering the first time he saw Andy ("it looked like a strong wind would blow him down"), falsely predicting that he wouldn't go to jail.
From Andy's arrival on the prison bus to the end of the film, we can only see how other people perceive him —Red, who became his best friend, the old librarian Brooks, the corrupt warden Norton, the guard and the inmate. Red is our agent. He is the one we identify with, and when salvation comes, he is red. Andy's example shows us that you have to be true to yourself, not to lose hope, to wait for the right moment, to set a quiet example, to look for opportunities. "I guess it boils down to an easy choice, really," he told Red. "Busy with life or busy with sex."
I think the key to the structure of the film is not about its heroes, but about our relationship with him —our curiosity, our pity, our admiration. If Andy had been the hero center and brave enough to endure, the film would have been traditional and less mysterious. But we want to know this person. Did he really kill those two people? Why did he hide so much from himself? Why was he able to stroll through the prison yard like a free man while everyone else was looking down or hanging out?
People love the excitement of the movie and do a great job of providing its title. Movies about "Redemption" are very discreet; A lot of people aren't excited about the prospect of a great movie — it sounds like work. But people crave the message of hope, and when a film provides a message of hope, it may have staying power even if it doesn't appeal to a direct audience.
The Shawshank Redemption premiered at the Toronto Film Festival in September 1994 and was released a few weeks later. It was well rated, but the business was not good (its initial $18 million total did not include costs; After winning 7 Oscar nominations (including Best Picture), it spent just $10 million.
There's nothing worth doing: it has a terrible title, it's a "prison drama", women don't like those, it barely makes any moves, it stars a respected but not big star actor, and it's 142 minutes long. It's clear that this is a film that requires word of mouth to find an audience, and in fact, when it was pulled out of the cinema, commerce was growing slowly but steadily. If it finds its way out, it may continue to be built and run for months, but it is not.
Instead, in one of the most compelling stories in the history of home video, it found a truly large audience on tape and disc, as well as through television projections. Within five years, Shawshank was a phenomenon, a video bestseller and tenant whose admirers felt they had discovered it themselves. When the Wall Street Journal published an article in April 1999 about the bloated background of "Shawshank", it took the first place in the global vote for 250 best movies in the Internet Movie Database; It usually ranks in the top five.
Polls and rents reflect popularity, but don't explain why people value "Shawshank" so fanatically. Maybe it's more of a spiritual experience than a movie. It does have interesting moments of return (like when guards at another prison line up in baseball uniforms to make Andy pay taxes). But much of the film involves quietness, loneliness, and philosophical discussions about life. Moments of violence (such as when Andy is sexually assaulted) are viewed objectively, not exploited.
The film avoids Andy's pain; After the beating, he was cleverly hit in the telescopic shot. The camera didn't focus on Andy's wounds or bruises, but like his cellmates, it gave him space.
Morgan Freeman's character is a carrier of the film's spiritual arc. 20, 30 and 40 years later, we met him at three parole hearings. The first hearing involved storytelling ruse; The film opens with Andy's verdict, and then we see the parole board, hoping it will hear Andy's appeal. But, no, that was when we first saw red. On his first appeal, he tried to convince the board that he had reformed. Second, he just went through the motions. In the third time, he rejected the whole concept of rehabilitation, and somehow he released his spirit, and the board released him.
There is a potential problem. In prison, red is the king. He's a prison repairman and can give you a pack of cigarettes, a small stone, or a Poster of Rita Hayworth. On the outside, he had no identity or identity. We've seen what happened to the old librarian (James Whitmore), lonely and wandering in freedom. The final scene where Andy helps Red accept freedom is very touching —especially since Andy is once again moving from a distance with letters and postcards, as can be seen in Red's mind.
Frank Darabont the film was created and directed based on Stephen King. His films give themselves a kind of leisure, and most films don't dare to take risks. The film is as thoughtful, thoughtful, and thoughtful as Freeman's narrative. Hollywood has a feeling that the audience's attention span is short and must be attacked with new novelties. I think a movie like this is slower than a movie like Shawshank, which draws us in and takes away the awareness that we're watching the movie.
Dialogue is also deliberate. Tim Robbins made Andy reticent and quiet. He wasn't really excited. He was his own man, able to keep his head down for years and then indulge in a great gesture, as he played an aria from Mozart's The Marriage of Figaro. (The overhead shot of the prisoner in the courtyard, mesmerized by the music, is one of the epiphanies of the film.) Because he doesn't volunteer, doesn't reach out to us, and doesn't exaggerate his feelings, he becomes more charming: it's usually better to know what a character is thinking than to know.
Roger · Deakins's photography is witty, not ostentatious. Two open fields of white, one from a helicopter, and one from the walls of the prison loom overhead, establishing the prison. The camera follows the dialogue instead of expecting it. Thomas · Newman's music enhances rather than the notice, and there is a subtle touch to the way the low bass rumbles from early murders rekindle when a young inmate recalls another man's description of the crime.
Darabont made the film to observe the story, not to break it up or elevate it. In fact, in this movie, the upgrade is unknown; The actors are content to stay in their roles, the story moves in an orderly manner, and the film itself reflects the slow passage of decades. "When they put you in that cell," Red said, "when those bars slammed home, you knew it was true." The old life was blown away in the blink of an eye. There is only time left in the world to think about it. "Watching the film again, I appreciated it more than I did when I first saw it. The love of good movies usually grows with familiarity, just like music. Some people say that life is a prison, we are red, and Andy is our redeemer. All good art is about something deeper than it admits.
Because of how special it was to me as a child, it knocked Frank Dalabant's prized film is unfair, although it largely plays the role of self-mimicry, especially in Freeman's devout narrative. It's a well-made, extremely positive picture with a lot of twists and turns, like the gangsters you see when you first see this picture, it's the biggest achievement a movie can achieve, but I also think that the hordes of people think it's the best movie ever made and really need to see more movies.