In the 1999 film Cradle Will Rock, writer/ manager Tim Robbins uses acquainted(predicate) cinematic conventions and popular character actors to build a proper(post token(a)) mentality in the minds of the audience. Doing this, he makes the plot itself (which defies most or wholly such expectations) seem more profound. Â Â Â Â Â Â Â Â Robbins use of music--always juxtaposing it, as Marc Blitzstein did in his musical The Cradle Will Rock (the humans of which is the recital of the Robbins film), with violence--is particularly intriguing. The typical mold of the Hollywood musical, with Julie Andrews interpret jubilantly through the fields, can be contrasted to Robbins nightmarish mass of Blitzsteins nongregarious musical number, playing on an imaginary diffused temporary hookup communing with his dead wife who speaks in mo nonone and ring by police officers beating peaceful protestors in a frequent park. The blending of music with violence (and other unpleasantness) isnt apart(p) to the composition scene. opus Blitzstein sits in jail, he composes a endorse song, thinking through plot developments and connecting his plight to that of his characters. While in that respect is no physical violence in the scene, its a demoralize one, change with stark, unpleasant noises and a drab background not commonly associated with musical numbers. Further, even when no one is creation through bodily harm, a jail is a betoken of psychological and social violence.
A third musical number (the nominal song) is sung by union members who, having been thrown out by their union-busting bosses, char ge on the factory to demand their jobs back ! with a thinly-veiled implication of class war as a aftermath if the bosses dont comply. While they are ultimately nonviolent, the union carries shovels, hammers and other implements of their dicey that might easily double as weapons. Where usually the climactic musical number in a film or play is thought to stir... If you want to get a in force(p) essay, order it on our website: OrderCustomPaper.com
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