Analyzing the Shawshank Redemption

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Analyzing Shawshank Redemption
Crystal Gayle Frapp
January 31, 2014

Analyzing Shawshank Redemption
The film that will be analyzed and discussed is the Shawshank Redemption, which was Director by Frank Darabont and is a Story by Stephen King. It is based in 1946, a man named Andy Dufresne (Tim Robbins) is convicted of killing his wife and her lover, and him going to prison and dealing with the struggles of prison life as a truly innocent man. . “He's sentenced to a life term at the Shawshank State Prison in Maine, where another lifer, Ellis Red Redding (Morgan Freeman), picks him as the new recruit most likely to crack under the pressure. The ugly realities of prison life are quickly introduced to Andy: a corrupt warden (Bob Gunton),
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“The film's opening scene shows him being given two life sentences for the murder of his wife and her lover, and then we move, permanently, to a point of view representing the prison population and particularly the lifer Ellis 'Red' Redding. It is his voice remembering the first time he saw Andy ("looked like a stiff breeze would blow him over"), and predicting, wrongly, that he wouldn't make it in prison.” (Ebert, 1999). The story takes place in a prison in Ohio back in 1946. The category of irony used in this film is situational irony which “Situational irony occurs when we expect one thing to happen and something else does.” (Goodykoontz, & Jacobs, 2011 Ch. 2.4). The Shawshank is about Andy, but it is but the story isn’t through his own eyes, had this film been through the eyes of Andy it would have turned out completely different, this plays a large part in the situational irony because “Red is our surrogate. He's the one we identify with, and the redemption, when it comes, is Red's. We've been shown by Andy's example that you have to keep true to yourself, not lose hope, bide your time, set a quiet example and look for your chance. "I guess it comes down to a simple choice, really," he tells Red. "Get busy livin' or get busy dyin'.".” (Ebert, 1999).
“Darabont constructs the film to observe the story, not to punch it up or upstage it. Upstaging, in fact, is
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