Thank you, Mark, for sharing your love of movies with us. Some years ago, my daughter, then a high school freshman, asked me to take a look at an essay she was writing about the concept of rebellion. Compare and contrast the rebel in popular culture, the students were told. You know the drill.
Please yourselves, say I, and they Need only look the other way. The very strategy Luke employed to bring Dragline down he now turns on the prison hierarchy and, eventually, God. Once provoked, Luke no longer shows inmates freedom amid captivity.
He no longer exercises influence. His escapes do not redound to the benefit of his fellows.
Indeed, his fans come to hate Luke for his dramatization of their desperation. He abdicates influence to pursue his individual interests. He has reached an end of what he can teach the others anyway. Where Luke is headed, the prisoners cannot or will not go. Luke becomes a demystifying demon.
The Captain offers the single most memorable line of the film: The one-way communication in the camp is the language of power masquerading as influence. Luke must oppose it or give up his vaunted individuality. This breakdown in communication, the third motif, abets escape and retribution.
Each escape is less playful and more consequential for Luke, his tormentors, and his admirers. When the powerful stay out of the game, sometimes nothing can be a pretty cool hand. When the powerful choose to play, sometimes everything is a losing hand.
Escape and Reversal One Immediately after emerging from the box after his mother was in the ground, Luke makes his least cunning breakout. During an Independence Day celebration in the barracks, inmates dance loudly.
Bosses and trustees cannot hear Luke sawing through the floor. Luke smiles in shot after shot. It may reprise his exuberant and tireless roadwork.
Luke is playing a more serious game with the trustees and bosses, but he is still mocking officials and their power. Luke then uses the string to keep shaking a bush to indicate his presence after he has begun to flee again.
In this second escape, Luke combines clever tactics and cute touches, as with his first escape. He dupes two boys into aiding his escape.
He spreads chili powder and pepper across his scent. The mere illusion that one of them could be living the high life sustains some inmates. I had nothin, made nothin.
Couple towns, couple bosses. Laughed out loud one day and got turned in. Now, prison potentates must beat Luke or lose. They break him to stop his escape and to stifle his example.
To effect this reversal, The Captain again wields Orwell more than Camus: Luke must get his mind right. Luke must be degraded, not so much for his own sake [after all, they could always just kill him] as to instill in inmates the assurance that rebellion is foolish. The Captain and his henchmen try to reform Luke to cow the bull-gang.
After the second escape, we may spot reversals aside from this most obvious. The bosses severely beat Luke before they return him to the barracks.
This plot-development not only reveals the forces of order to be more brutal than the scofflaws, but also allows The Captain to absent himself from the sadism.
The bosses confine Luke to the box with minimal rations. Dog Boy heaps food on the plate of the man who could once eat fifty eggs and reminds Luke that if he does not eat it all, he goes back in the box. The camera does not tell us whether Luke feels more acutely his inability to feed himself or his inability to fend for himself.Jul 10, · All these years after the release of "Cool Hand Luke" in , all you have to do is say, "What we have here is--failure to communicate." Everyone knows the line, and everyone can identify the film, even those who may not have seen it.
And here's the 4/4. “Cool Hand Luke” How does the movie reflect the time period (the 60’s)? 1. Research economic, social and political issues of the year or two before they produced the movie. Choose the three major issues for each of these and use those to write the topic sentence for that section.
Each of these categories is Continue reading "“Cool Hand Luke”".
In this essay, I consider one such haunting film, Cool Hand Luke. Cool Hand Luke overtly contrasts prisoners with imprisoners to the detriment of the latter if not the glory of the former.
Cool Hand Luke, directed by Stuart Rosenberg in , was a movie in which the main character, Luke, played by Paul Newman, has been forced to conform to a life in prison.
Afterschool, directed by Antonio Campus, is about a boy named Robert, played by Ezra Miller, who is a sophomore in a prep school who happened to catch two girls overdosing on. In this essay, I consider one such haunting film, Cool Hand Luke. Cool Hand Luke overtly contrasts prisoners with imprisoners to the detriment of the latter if not the glory of the former.
Movie Essay on Cool Hand Luke Individuals who tend to change their ideas and perspectives in relation to the others tend to show or express conformity. On the contrary, non-conformity would be the tendency of the individuals to keep their belief system and point of views even in the presence of others.