Character Analysis Of Vincente Minnelli's 'Father Of The Bride'

In the opening scene of “Muriel’s Wedding”, directed by P.J. Hogan, ideas of searching for self-worth and one’s identity are explored through the setting, Tania’s wedding. This is symbolic of new beginnings, which is what drives the plot and the character, Muriel, who is seeing herself and a new identity through engagement and marriage.

From the play Cyrano de Bergerac, two of the main characters are at odds fighting to win the heart of the same girl. Cyrano and Christian play as competing romantic heroes in their story, both hopeless dreamers of love and lust, both bold in their own aspects as well as incredibly insecure all at once. They also share the quality of great loyalty, and willingness to drop anything to come to the rescue of a friend. Physically, they are opposites; Christian is beautiful, and Cyrano thinks himself an atrocity. Their intellectual capabilities are also at completely different ends of the spectrum; Christian is a bumbling fool, and Cyrano can become a master at whatever task he chooses. In the aspect of poetry and the art of words, Cyrano is a true Shakespeare, and Christian is the equivalent of a second grader at best. These characters seem to be foils and, at the same time, they are wildly alike.

In the story “Marrying Absurd,” Joan Didion scrutinizes the Las Vegas wedding industry critically with the analysis of how ludicrous Las Vegas wedding industry has become. In her articulations, Didion portrays to the readers how cheap the wedding industry is making a mockery of the sanctification of the marriage. Didion applies various effective techniques and details to pass her impression of Las Vegas giving her opinions on its values within the marriage environment. The essay explains the Didion Joan account on the Marrying Absurd.

Joan Didion, the author of “Marrying Absurd”, characterizes the Las Vegas wedding scene as a place “which is set by mobsters and call girls”. Didion ridicules the wedding industry which has created the unrealistic and untraditional Las Vegas wedding. Didion uses a derogative tone, artistic clues, syntax, irony, and juxtaposition to argue that the expectations of marriages are manufactured to economically stimulate the wedding industry while leaving insensible newlyweds.

In the first scene of the film he shows the bouquet being thrown in the air and all the women fighting to catch it. The bouquet is a symbol for good luck and who will be married next, this shows that weddings were considered a symbol of beauty and success. Through Bill Heslop’s character it’s evident that he feels like he is the only important one in his family since he earning lots of money, has a good wife, being abusive, unfaithful and the dominant one in the household. “You’re bloody useless, you’re all useless”. Muriel, who was the opposite of the stereotypical fragile and submissive woman in the film, finds it very difficult to be accepted for who she is.

In “Marrying Absurd”, Joan Didion illustrates the nonsensical circus that marriage in Las Vegas is. The city makes the ceremony of marriage out to be the clown at the circus, and there is no respect for it. Using Las Vegas and its dysfunctional behavior as its backdrop, Didion was able to cleverly ridicule marriage as an institution and the wedding industry as a whole. She was able to say that if marriage was allowed in the city where “Dressing Rooms, Flowers, Rings”, and other services were a common staple, then there was something wrong with the institution as a whole. Didion effectively argued that unrealistic “expectations” were just used as a cash cow for the wedding industry and the “Strip chapels”.

She looks at all the things they own: the towels and the toaster, the alarm clock and the drapes. She likes looking at the walls, at how neatly their corners meet, the linoleum roses on the floor, the ceiling smooth as wedding cake.” Cisneros tells the reader that Sally is afraid of her husband. By comparing how neat and tidy Sally’s home looks to a wedding cake, Cisneros shows us that Sally feels nostalgic about her wedding and romanticises her relationship and hints that she’s materialistic through how she likes how everything

This essay starts out with a happy tone “they looked unmistakably married”(line 1-2). It then goes on to use vivid imagery to further describe the scene for example, “ the man had a round, self-satisfied face, with glasses on it with glasses on it; the women was fadingly pretty, in a big hat”(line 3-4). From the first look at them they looked like any other married couple, happy, this was the first impression. The tone then gets even more exciting when the writer realized that is was the husband's birthday. “ The head waiter brought it in and placed it before the husband,

The comedy movie, Bridesmaids, introduces us to a character named Annie, a low-self esteem failed bakery owner, who is going through a rough patch in her life. She ironically works at a small jewelry store, trying to sell engagement rings and ‘eternal happiness,’ while her own love life is at the lowest point in her life after her boyfriend left her. To make things worse for Annie and her feelings about her love life, her best friend, Lillian, shares that she is engaged and wants her to be the maid of honor. Throughout the movie Annie competes with another one of Lillian’s bridesmaids, Helen, for Lillian’s attention. While Annie’s life is spiraling downhill, she starts to feel like she’s losing Lillian as a friend.

In the short story “Birthday Party,” Katharine Brush illustrates a story about an unhappy married couple. She uses imagery, details, and diction to help achieve her purpose. First Brush uses imagery of a couple that “looked unmistakably married,” and describes the husband having a “round, self-satisfied face, with glasses on it,” and the women as “fadingly pretty, in a big hat,” they are out on the occasion that is the husband's birthday and the wife had a “little” surprise for him. Brush says unmistakably married to signify that they are in a deep relationship.

The film Muriel’s Wedding is set in the fictional town of Porpoise Spit, Australia and follows the journey of self-discovery of the young woman Muriel Heslopp. In searching for marriage, the idea which she thinks will validate her as a person, she finds herself. In the film, the character of Rhonda helped me to understand the important message that friendship acts as a catalyst for self-discovery. The director PJ Hogan uses the techniques of music, cinematography and dialogue to help communicate that idea.

Some people may react by chasing them and completely face them. In the “Masque of the Red Death,” Prince Prospero ran after the masked figure, in which was the Red Death. If you had a fear of clowns, some people will come face to face to overcome their fears, especially if you were embarrassed of people knowing that fear such as Prospore. The text states, “... Prince Prospero , maddening with rage and the shame of his own cowardice, rushed hurriedly through the six chambers,...” He was embarrassed of his own fear, so he chased the “Red Death.” He decided to come face to face with the figure only to die. Prince Prospero gives us an example of how some people react to fear by coming face to face with it.

Similar to today, woman in the Elizabethan era considered their wedding day the most important day of their life. However, most marriages were arranged so that both families involved would benefit from it. The traditional wedding would consist of a ceremony and reception. The topics that will be discussed in this paper are the bride and groom of an Elizabethan wedding, the ceremony, and the reception.

In 1977, two performers came to a stadium to rehearse Farewell My Concubine, one of the most classical and well-known Peking Opera plays. The play narrated a romantic yet tragic story between the king of Chu and the concubine Yu Ji: when the king was defeated by the eventual founder of the Han Dynasty, he asked Yu Ji to flee for the sake of her own safety. While Yu Ji refused to leave the king alone, she performed the very last time for the king and cut her throat with his sword, being faithful to him until death. Although entitled with the same name, Chen Kaige’s film directed in 1993 was well beyond a love story. The film frequently referred to the play Farewell My Concubine; however, it advanced the play in depicting China’s mid-20th history, conveying values to audiences, and hinting characters’ relationships.

Imagine viewing yourself standing against the backdrop of vibrant, beautiful tapestries wistfully hanging from the wall behind. While taking a gander at the detailed rug underneath your feet, from out of nowhere there are loud shouts and calls of joy and exultation, accompanied by the ringing of cymbals, as a man in his mid to late fifties enters the room. Prominently, the man fully dressed in silks and with a decorative ornament crowned around his head, recognizing him as the groom of the wedding. Accordingly, as soon as he takes his seat at the wedding table, in a similar manner as the groom, in walks a delicate figure no taller than your waistline. Notably, even though one can't observe her face, the sounds of her relentless cries continuously heard, as the sight of her shed tears melt through her beautiful red veil causing the light veil to stick upon her cheeks and mouth. Nevertheless, she's forced to walk through the crowd and seated at the wedding table beside the older groom. Thus, as the veil gets removed, to no one's shock, just your own, you discern she is just a child. Emphatically, this depiction attended with other vivid descriptions are revealed in the article, "Girls aged SIX forced to marry men old enough to be their GRANDFATHERS: 12,000 child brides a day will have to wed in 2017, aid workers warn," by David Williams, published on January 5, 2017. Hence, David Williams, a writer for the Daily Mail, affirmatively appeals to the reader by contending against