Harold And Maude, A Film Released In 1971 And Directed

Paul Newman once said, “People stay married because they want to, not because the doors are locked” (74). There is no such thing as the perfect relationship, however, being involved in a healthy relationship is essential for a person to feel valued, safe, and happy. Unfortunately, in the situation of Kelly Sundberg’s personal essay “It Will Look Like a Sunset,” and Kate Chopin’s short story “The Story of An Hour,” include extreme examples of unhealthy relationships. The essay “It Will Look Like a Sunset,” shares painful experiences of Sundberg’s physical and emotional abusive relationship with her husband Caleb, while “The Story of an Hour,” shares a rare reaction of a married woman, Louise Mallard, who explores her emotions cautiously when hearing about the death of her husband. Each woman faces their own prison created by their husbands. The two marriages represent the figurative meaning of doors being locked in a marriage. Both pieces of literature convey the theme of confinement by using the literary devices of foreshadowing, imagery, and conflict.

In the movie Parenthood (1989), many developmental stages can be observed. With that being said, one character that can be observed is Gil who is middle-aged adult. Gil has a beautiful wife and 3 children. In Santrock (2016, pp. 362-363) security, love, loyalty, and emotional interests are important during middle adulthood. Both Gil and his wife (Karen) believe that they have raised their children the correct way, but it can be seen that some people in his family think otherwise. He also has 2 sisters and 1 brother. In addition, he has a mother, father, nieces/nephews, and a brother-in-law. According to Santrock (2016, p. 342), during middle-aged adulthood adults normally reach peak position at their jobs, but in this case the promotion that Gil wanted was given to someone else, so Gil struggled with this concept of not moving up. Also, his household seems to be hectic and not perfect, but somehow he pushes through (Parenthood, 1989). According to Santrock (2016, p. 354), Erickson’s developmental stage that pertains to Gil is generativity vs. stagnation. In this stage, adults feel a sense of wanting to leave their legacy when they are gone (generativity), but at the same time feel as though they have not done anything for the next generation (stagnation). In the movie Parenthood (1989), Gil can be seen exhibiting this developmental stage in various scenes, but there is one seen in particular that stands out. Him and his wife are called to school for a meeting with the

Master Harold is very similar to his father. Although Harold probably doesn't want to become like his father, or think like him, he will grow up to be just like his father. When Harold gets involved into arguments, only then does his fathers instincts kick in. Although Harolds father is never in the play, we can learn a lot about him just by Harold and a single phone call. Harold inherited his fathers need for power and control, his racism, hatred, and negative attitude.

Women are taught from a young age that marriage is the end all be all in happiness, in the short story “The Story of An Hour” by Kate Chopin and the drama “Poof!” by Lynn Nottage, we learn that it is not always the case. Mrs. Mallard from “The Story of an Hour” and Loureen from “Poof!” are different characteristically, story-wise, and time-wise, but share a similar plight. Two women tied down to men whom they no longer love and a life they no longer feel is theirs. Unlike widows in happy marriages Loureen and Mrs., Mallard discover newfound freedom in their respective husband’s deaths. Both stories explore stereotypical housewives who serve their husbands with un-stereotypical reactions to their husband’s deaths.

Alfred Hitchcock’s Marnie (1964) depicts the psychological development of a young woman as she navigates a life of crime and familial melodrama, ultimately unlocking the suppressed memories that offer answers to her childhood traumas. The director utilizes evocative mise-en-scene, subjective point-of-view shots, and expressive lighting schemes in order to project the title character’s internal state onto the physical world of the film. In doing so, Hitchcock crafts a diegetic universe that reflects the unique capabilities of film—one that, through subjectivity and expressive editing, reveals a deeper truth than objective representation.

Harold and Maude, a movie directed by Hal Ashby and released in the 1970’s, did not receive much attention and popularity when first released. Since the movie depicted obsession with suicide through a 20-year-old character Harold, the movie received backlash because during the 1970’s there were high rates of suicides among teenagers and college students. However, over time college students found the movie very entertaining, therefore bringing the movie into the lights and making it a cult hit. In Blue Velvet, a neo-noir mystery film directed by David Lynch and released in 1986, received a variety of critical responses from a wide range of audience, but this movie’s unique style earned Lynch his second nomination for Best Director. The idea of innocent getting caught in a web of evil is portrayed through the character Jeffrey Beaumont, who first encounter’s a severed ear in a grassy abandoned field. In this paper I will compare and contrast these two movies that include key actors Bud Cort, played as Harold, and Kyle MacLachlan, played as Jeffrey and include a few key points that have made these movies enjoyable to watch.

We are born into this world with the realization that life is hard and that life is like a box of chocolates and it is hard to take it at face value. The majority of our time is spent trying to answer an endless stream of questions only to find the answers to be a complex path of even more questions. This film tells the story of Harold, a twenty year old lost in life and haunted by answerless questions. Harold is infatuated with death until he meets a good role model in Maude, an eighty year old woman that is obsessed with life and its avails. However, Maude does not answer all of Harold’s questions but she leads him to realize that there is a light at the end of everyone’s tunnel if you pursue it to utmost extremes by being whatever you

Kate Chopin’s “The Story of an Hour” and Nathaniel Hawthorne’s “The Birthmark” examine the complex relationship between a husband and wife. The two works take two different approaches to convey the same message: Marriage is not a fairytale, it requires sacrifice and unselfish behavior in order to work. Relationships are difficult to begin and harder to maintain. Mr. and Mrs. Mallard and Aylmer and Georgiana are two relationships that shatter the surreal perception of marriage and expose readers to the raw truth, marriage is not a fairytale.

The purpose of this critique is to analyze the various aspects of a modern family through the film, “This is Where I Leave You”. Different components of marriage, families, and relationships will be explored to better understand the central theme of the movie.

When deciding what movie to do for this particular paper I faced a few issues. I knew what the requirements were, but I wanted something different and something I could have fun watching and writing as well. So, after looking around and pondering movies for weeks I finally decided on a perfect choice The 60's directed by Mark Piznarski?

Throughout history, the media has shown many different sides of love. Weather it be peaceful, violent, dangerous, beautiful, almost all forms of the media have shown love in some way. In the novel The Great Gatsby, love is shown between many different characters in different ways. The reader experiences love at its best and worst. We see relationships flourish, rekindle and end between the different characters. The most controversial relationship is the relationship between Daisy and Tom. Through infidelity, and mistrust, tragedy occurs. Other characters become associated with their marital problems, showing different kinds of love and relationships. In the play Hamlet, the reader also experiences many different kinds of love, ranging from

In the 2006 family film ‘Little Miss Sunshine’, directed by Jonathan Dayton and Valerie Faris, the conventional aspects of the family genre are challenged through the characterization and representation of the Hoover family. This film is atypical of its genre as it explores dark themes that are not commonly associated with the family genre, such as drug use, suicide and body issues. The film also critiques the concept of the “ideal family” in regards to gender roles, sexuality, and the relationships between characters. Little Miss Sunshine’s portrayal of these concepts fractures and bends ideological expectations. At the beginning of the film, we are introduced individually to each member of the Hoover family and it becomes obvious that the

     Of all the characters, Harold Lauder is probably the most interesting and developed in the whole story. His personality changes drastically

In “Hills Like White Elephants”, and “Good People” Ernest Hemingway and David Foster Wallace identify the political and moral problems of abortion and how it effects on loving affairs. Even though the characters in their story share similar behaviors, shown by the dominant males promoting the operation to remove an unborn child, the females who value even though they face some difficulties of child rearing, as well as the two couples’ refusal to discuss conflicts with each other, both authors have different conclusions resulting from the sharp differences in setting, diction, and role of religion; Hemingway indicates love is bare and dull as well as presented by woman’s submissive role to the male’s prerogative while Wallace

The characters of Maude from the movie Harold and Maude written by Colin Higgins and Meursault from The Stranger by Albert Camus, act differently but share the same philosophy towards love, life, and death. The characters differ in the way they go about loving and living. Meursault is passive as he accepts what comes to him, preferring to take a more pliant, dispassionate route. Maude more actively seeks out meaning and joy from her life, preferring to take control of her fate. Both characters die at the end of their respective stories, but they die having believed that they lived fully and without regrets, accepting their end with open arms.