Tense, clever and with a murder at the centre of the story based on a morally repellent premise, Alfred Hitchcock’s 1948 Rope showcases two guys – who seem travesties of Nietzsche’s Übermensch – attempting a very misguided and ill-thought show of superior intellectual prowess.
In the end, what gets them caught is a stupid mistake, a sign of utter weakness: a hat forgotten inside a cloakroom. How ironic then that two supercilious individuals prove to be the perfect representation of their most derided weakness? Wanting to prove a point of a philosophy which is highly critical of the status quo and highlights the intelligence of those pointing the finger, they forget to check their own stupidity. They simply do not get that Nietzsche’s Superman is meant to represent a hypothetical counterpoint to our modern paradigm, and does not require any practical application. Continue reading
As the film negative of Dickens’ A Christmas Carol, Frank Capra’s 1946 It’s a Wonderful Life is a fantastical parable that goes straight to the core of the individualistic ethos and challenges everything that is dear to western societies and their ideas about self-realisation.
How does one reconcile the two contradictory aspects attached to this classic film, i.e. the long tradition of playing the movie as a Christmas staple with the fact that the story can be taken as a communist yarn? The whole tale of George Bailey and the obstacles he encounters in his pursuit of happiness could be summarised as the story of someone’s frustrated dreams. By the end, with a little help from an aural friend, he is convinced that his altruistic attitude has all been for the best. If such posture does not show America’s approval of the common good and the collective well-being, then I don’t know what does. Continue reading