Fear can hold you prisoner.
Hope can set you free.
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MIT says this is "A Christ allegory...The Shawshank Redemption transcends its short-story basis to yield a lasting message of inspiration and renewal." |
"Red" Redding: Morgan Freeman, Warden Norton: Bob Gunton, Heywood: William Sadler. Written and directed by Frank Darabont. Based on a novel by Stephen King. Running time: 144 minutes. Rated R (for language and prison violence). |
Andy is innocent of a double murder. Nevertheless, he is convicted and put in a state prison to serve two life terms back to back. The story evolves into a contest between the legalistic warden (the law) and the Christ-like Andy (hope). By a perversion of justice he was taken away. Who could have imagined his future? For he was cut off from the land of the living, stricken for the transgression of my people. -Isaiah 53:8 NRSV |
The story is about the developing friendship between Andy and a fellow prisoner named Red. They become good friends. This great friendship is placed against the brutal world of the prison including a two year sexual brutality of the worst sort committed on Andy. He was oppressed, and he was afflicted, yet he did not open his mouth; like a lamb that is led to the slaughter, and like a sheep that before its shearers is silent, so he did not open his mouth. -Isaiah 53:7 NRSV |
Andy, over many years, is able to get certain benefits for the prisoners, like an occasional beer, music and even a library. The thief comes only to steal and kill and destroy. I came that they may have life, and have it abundantly. -John 10:10 NRSV |
The warden painfully abuses Andy through torture, solitary confinement and the murder of a friend. Andy realizes he needs to choose life. "Get busy livin' Or, get busy dying." I call heaven and earth to witness against you today that I have set before you life and death, blessings and curses. Choose life so that you and your descendants may live. -Deut. 30:19 NRSV |
Secretly, behind a large pin up girl poster in his cell, Andy over the course of two decades tunnels his way out. It is as though he re-enters a woman (the pin-up girl) to be born again. Freedom comes at a cost, he must go through a human waste sewage pipe. The way up is sometimes down. Sometimes we must confront our own dung (and of others), and work through it to be truly free. He drew me up from the desolate pit, out of the miry bog, and set my feet upon a rock, making my steps secure. Psalm 40:2 NRSV |
There is a lot of symbolism in this film. The warden learns of his fate, his last judgement, through the Bugle newspaper. Sort of a last trump, as it is called in scripture.In a moment, in the twinkling of an eye, at the last trumpet. For the trumpet will sound, and the dead will be raised imperishable, and we will be changed. -1 Cor. 15:52 NRSV |
In time, Red is released from prison. He is reunited with Andy, but only after learning the importance of hope. Proverbs 23:18 NRSV Surely there is a future, and your hope will not be cut off. Romans 8:24-25 NRSV For in hope we were saved. Now hope that is seen is not hope. For who hopes for what is seen? But if we hope for what we do not see, we wait for it with patience. |
The Rwandan genocide of 1994 was one of the most horriffic events of the 20th century, resulting in the deaths of one million people in just three months. Yet few Westerners showed much concern at the time, and even fewer today are disturbed that the same events are just a trigger away from occurring again. Why don’t we care? Why doesn’t our media tell us what’s going on? Why do we have movie after movie about World War II and none about the current state of Africa?
Director Terry George believes it’s “sub-conscious racism, that [we believe] African life is not on a par, is not worth as much as Western life, that somehow we still have the prejudice that these people are just emerging from savagery. They slaughter each other, and it’s not worth our intervention.” George rose to prominence when he wrote the script for In the Name of the Father, and he’s returned with another film based on a historic event. Hotel Rwanda is the extraordinary story of Paul Rusesabagina, a Rwandan hotel manager who was able to save 1,268 people during the spring and summer of 1994.
The genocide began in March 1994. The Hutus and the Tutsis—the two primary ethnic groups in Rwanda—had been at odds since the German and later Belgian colonizers set the two against each other in order to rule more efficiently. The Tutsis were favored under the colonists, but the Hutus rose to power after 1959. The strife continued for decades, with Tutsis fleeing to neighboring countries and eventually forming a rebel army in 1990. The conflict reached its tipping point when a Hutu general and the president of Burundi were assassinated, an event Hutu extremists used as a pretext to begin a horrific campaign of slaughter.
While the film attempts to document the genocide, it does so by focusing on the character of Rusesabagina (played by Don Cheadle), who gave refuge to hundreds of fleeing Tutsis. Calling in dozens of favors with his extensive network of contacts, he was able to hold the Hutu extremists (the Interahamwe militia) at bay, until the Tutsi rebels drove the Hutu from power. Cheadle, who’s created an impressive body of work in the last couple years, portrays Rusesabagina as an efficient manager who cares deeply about his family and the people in he looks after. He’s able to move in all sorts of crowds, from peasants to generals and UN commanders, and this ability is foundational to his success. “I never thought I was doing something different,” Rusesabagina modestly declares from the incongruous setting of the Four Seasons in Chicago. “I thought I was just acting as a normal hotel manager.”
George and his co-producer Alex Ho spent two years putting the financing for Hotel Rwanda together. A critical point occurred in February 2003 when George and Rusesabagina traveled back to Rwanda and visited many of the people the hotel manager saved. They also visited a memorial site where 40,000 Tutsis had been killed. Some of those bodies are now on display at the memorial, where the lime that covered them had a mummifying effect. “It’s really disturbing since this is the closest you can get to the genocide,” says George, “and they’re actually frozen in their deaths. The most bizarre thing is that in death the skin has turned white from the lime. So the very color that would’ve saved their lives during the genocide, they’ve now become in death. That trip turned the project from a passion to an obligation.”
George, who co-wrote the picture with Keir Pearson, also felt an obligation to be accurate as possible. “In lieu of the attention that we give to history, some films become the medium of record. Certainly The Killing Fields is that for the Cambodian genocide. I hope this will be one of the key views of the Rwandan genocide and will allow generations in the future to move through it and see it. ... I tried to find every piece of documentary footage. I read every book I could get my hands on. Particularly with the footage, I tried to re-create those images. When the whites are leaving, with the nuns being pulled through the crowd, I lifted that directly from Belgian TV footage I’d seen. The ambush of a UN convoy is blow-for-blow how it was. It was important for me to get the visuals, because the movie is a time capsule.”
At the same time, George wanted to make a feature film, not a documentary. “In a funny way, there’s a level of voyeurism in documentaries no matter what happens. Film can take you inside the event itself. If documentary is the wine of reporting, then feature filmmaking is the brandy. You distill those things down to its essence and give the audience that charge. I don’t think any documentary on the Holocaust can have the power that Schindler’s List did. Because you’re in there, you’re moving with someone. That’s enlightening to people in a way that news reporting is not.”
Accordingly, the movie spends more time on the relationship of Paul and his wife Tatiana (Sophie Okonedo) than it does on the genocide itself. The film’s heavy use of close-ups is designed to draw you in emotionally, but it also has the effect of closing off the outside world, of making the tragedy somehow less tragic. Counteracting this is the near bombast of the film’s score. “Everyone else was complaining that I needed the music more to the fore,” George explains. “They’re more of the Bruckheimer school. It certainly raises the tension.” Unfortunately, it also manipulates the audience in a story that can stand on its own just fine.
Nonetheless, Hotel Rwanda is a gripping film that bears witness to both a historic tragedy and one man’s bravery. But for both Terry George and Paul Rusesabagina, the hope is that it won’t just be an artifact but will challenge audiences — particularly American ones — to take a greater interest in what’s happening in Africa right now. The U.S. government stood idly by in the spring of 1994, going so far as to deny any genocide was taking place. However, Rusesabagina says,“I don’t blame the average American, because he was not informed of what was going on. But I do hope this movie serves as a wake-up call to the international community. Once people see this movie, they should imagine what is happening in Sudan, what has been happening in the Congo, what has been happening in Burundi, and what could happen again in Rwanda.”
After opening on 33 screens with take of $727,327, the $25M film fell fast from theatres and finished with a mere $28.3M. The reasons for failure are many. Firstly, the title is a clunker. While iconic to fans today, in 1994, people knew not and cared not what a 'Shawshank' was. On the DVD, Tim Robbins laughs recounting fans congratulating him on "that 'Rickshaw' movie." Marketing-wise, the film's a nightmare, as 'prison drama' is a tough sell to women, and the story of love between two best friends doesn't spell winner to men. Worst of all, the movie is slow as molasses. As Desson Thomson writes for the Washington Post, "it wanders down subplots at every opportunity and ignores an abundance of narrative exit points before settling on its finale." But it is these same weaknesses that make the film so strong.
Firstly, its setting. The opening aerial shots of the prison are a total eye-opener. This is an amazing piece of architecture, strong and Gothic in design. Immediately, the prison becomes a character. It casts its shadow over most of the film, its tall stone walls stretching above every shot. It towers over the men it contains, blotting out all memories of the outside world. Only Andy (Robbins) holds onto hope. It's in music, it's in the sandy beaches of Zihuatanejo; "In here's where you need it most," he says. "You need it so you don't forget. Forget that there are places in the world that aren't made out of stone. That there's a - there's a - there's something inside that's yours, that they can't touch." Red (Morgan Freeman) doesn't think much of Andy at first, picking "that tall glass o' milk with the silver spoon up his ass" as the first new fish to crack. Andy says not a word, and losing his bet, Red resents him for it. But over time, as the two get to know each other, they quickly become the best of friends. This again, is one of the film's major strengths. Many movies are about love, many flicks have a side-kick to the hero, but Shawshank is the only one I can think of that looks honestly at the love between two best friends. It seems odd that Hollywood would skip this relationship time and again, when it's a feeling that weighs so much into everyone's day to day lives. Perhaps it's too sentimental to seem conventional, but Shawshank's core friendship hits all the right notes, and the film is much better for it.
It's pacing is deliberate as well. As we spend the film watching the same actors, it is easy to forget that the movie's timeline spans well over 20 years. Such a huge measure of time would pass slowly in reality, and would only be amplified in prison. And it's not as if the film lacks interest in these moments. It still knows where it's going, it merely intends on taking its sweet time getting there. It pays off as well, as the tedium of prison life makes the climax that much more exhilarating. For anyone who sees it, it is a moment never to be forgotten.
With themes of faith and hope, there is a definite religious subtext to be found here. Quiet, selfless and carefree, Andy is an obvious Christ figure. Warden Norton (Bob Gunton) is obviously modeled on Richard Nixon, who, in his day, was as close to a personified Satan as they come. But if you aren't looking for subtexts, the movie speaks to anyone in search of hope. It is a compelling drama, and a very moving film, perfectly written, acted and shot. They just don't come much better than this.
OVERALL SCORE: 9.8/10 = A+ The Shawshank Redemption served as a message of hope to Hollywood as well. More than any film in memory, it proved there is life after box office. Besting Forrest and Fiction, it ran solely on strong word of mouth and became the hottest rented film of 1995. It currently sits at #2 in the IMDb's Top 250 Films, occasionally swapping spots with The Godfather as the top ranked film of all time -- redemption indeed. If you haven't seen it yet, what the hell are you waiting for? As Andy says, "It comes down a simple choice, really. Either get busy living, or get busy dying."