Set in the 1970’s, George Clooney’s directorial debut, Confessions of a Dangerous Mind is a film chronicling the oscillating and alluring imaginative journey of Chuck Barris. In the movie, Chuck’s imaginations are portrayed through his apparitions, which, in turn offer advice and guidance as to the road’s he must take along the turbulent journey of his life. Conveyed in an impressionistic style, Confessions of a Dangerous Mind draws on the arresting and emotional influence that Chuck’s imagination provided him with. Based on a true story, the purpose of the film is to give an opinion and perhaps some insight into the mysterious notions of Chucks mind which took place behind his alleged double-life; as a potentially impressionable game show host and as a freelance assassin for the CIA. In his ultimate search for self-satisfaction, Chucks deceptive and petulant imagination provides for many-a-plot twist, until he eventually finds his destination. Clooney employ’s the use of obvious and intermittent representational scenes, where the responder is presented with Chucks shocking or abstract imaginations.
Chuck envisions himself murdering a game show contender, where from spawns the more subtly reproving idea of The Gong Show, an influential-to-be dimension of his life as we will discover later in this speech. Amongst other examples, this apparition is a common manipulation within Chuck’s journey, which eventually reconfigures the path he is taking to one that is more desirable to his ambitions. A lusty encounter with an anonymous brunette preludes and influences the imaginative climax of the film. The bombshell rhetorically asks Chuck: “Who the hell are you, and what the fuck have you ever done to elevate yourself among the other pathetic masses? Oh, that’s right,” she mockingly assures Chuck, “you created The Gong Show. Wow. That’s right up there with the Sistine Chapel.” The ironic use of simile by the brunette is what shocks Barris into a imaginative recession of moral confusion, and furthermore, some imperative realizations on Chuck’s behalf.
The Essay on Sean Penn: His Life And Films
Sean Penn, born in Los Angeles, California is the second son to Eileen Ryan and Leo Penn. He was born in 17th August 1960. The mother Eileen is a writer while Leo is a writer. His father was from a Jewish background while the mother is a half Italian and half Irish. In most films that Sean has performed, he has always been described as a powerhouse film performer who is capable of engaging in ...
In Chucks renewed state of mind, a provocative image is presented to the viewer where the camera pans over the flood of bloodied corpses occupying the audience space of The Gong Show’s stage set. This represents that Chuck has been wallowing in subconscious inclinations to harm and disengage others’ well-being. Just prior to this, Chuck envisions a large portrait of his mother which, perhaps, due to his forcibly feminine upbringing, is a metaphor for the reason of his spiteful existence. He beckons her to “take me” which is an actualization in Chuck’s journey that Chuck has surrendered to the vengeful ways he once abide by. Confessions of a Dangerous Mind skips quickly through the vast concepts that the film portrays, employing a blunt, impatient and anticipatory tone. Throughout the film the director reverts back to a naked and unshaven Chuck, who narrates his downfall while standing aimlessly in a hotel room.
This aspect of the film reveals the underlying theme of Chucks selfishness, in that he reacted with self-deprivation to the fact that he spent such a long time “subject[ing] the world to… [his]… loathsome views of humanity.” Chucks narration continues until, inspired by yet another pivotal imagination; simply that of the rewards that come with correcting his wrongs, he endeavors to renew his life and reshape the value of his existence. Confessions of a Dangerous mind explores the dynamic nature of gradually developing human morals. Apparitions when conceived by the individual illustrate that his or her imagination can discover bit by bit the divine answers we are searching for, where other, more superficially inclined beings fail in depending on the use of external assistance.
The Essay on Shutter Island Film Review
Martin Scorsese knows something about surprise endings which twist meisters like M. Night Shyamalan seem to have forgotten. The twist doesn’t matter if you haven’t already told a good story. By the time Shutter Island gets to its twist, it has already told such a tale. You’re invested in these characters and no matter how it turns out you’re going to walk away happy. The twist, when it happens, ...
