For example, I only looked into The New York Times issued on May, 18, 2010 and I found the article which can illustrate Orwell’s statement. The article was written by Michael Kimmelman, and it deals with the new fashion to collect art items connected with the times of the II World War, Nazi and Hitler. This article is full of foreign phrases and long words. For example, Kimmelman uses such words and phrases as: “megomaniacally”, “underappreciation”, “jolting us from our historical amnesia”, “a mesmerizing and mysterious stash”, “virtual museum-in-waiting”, “nightly soliloquies”, “one man’s private memento”.
To my mind, the author uses such words and phrases to draw attention to his article. He tries to be fashionable and to show that he knows some smart words as “amnesia”. Some of these words don’t even exist, for example, “megomaniacally”, “underappreciation”. The author invents new words, which as he thinks, are beautiful and smart. I think Kimmelman uses such words as “soliloquies”, “memento” and “amnesia” to seem an educated person. All these words violate Orwell’s’ statements about language. Kimmelman tries to complicate his article, to use as many “smart” words as possible.
The whole article is quite difficult to read. There are so many long, foreign difficult and new words. Sometimes you even loose the content of the article. All these words “hide” the meaning of the article. I even think that the author had some words in a sheet of paper and his task was to use all those words in the article. I mean, that really the author could reveal the same idea and the same sentence using few simple words. And, I believe, it would be better.
This article illustrates the main points of Orwell’s essay. For example, instead of using simple short words the author chooses long and smart words and phrases. The author doesn’t follow one of the Orwell’s points, which says “if it’s possible to contract words and sentences do it”. And, of course, this article illustrates vividly Orwell’s statement about the meaningless writings, since here the author uses words for attraction and ornamenting one’s writing rather than revealing some meaning.
However, Kimmelman doesn’t violate another Orwell’s rule which doesn’t recommend using “dying” metaphors. The author doesn’t use any of such metaphors; though, sometimes he uses set phrases, instead of single words. Thus, the major default of this article, in accordance with Orwell, is the use of foreign, smart or non-existing words and phrases.
This small article shows that today people try to violate the language as well. Scientists, writers, poets, politicians and journalists try to create new metaphors, even new words.
Get your 100% original paper on any topic done in as little as 3 hours Learn More But they only litter their own language. For example, Kimmelman could tell the same story in more simple words. But he didn’t do it. I think he tries to invent something new in his article, because he thinks it can attract people, it can make people read the article, buy the newspaper.
Orwell was right saying that “thoughts corrupted language” and “language corrupted thoughts”. This process is continuing now. Such authors, like Kimmelman are more concerned about the form, rather than content. And very soon there will be no content in their minds, there will be only numerous smart words and phrases.
Rio Bravo: A Western With Deep Relationship Insight Analytical Essay
Nursing Assignment Help Rio Bravo was Hawks’ response on the other western High Moon by Fred Zinnemann. Hawks accused Zinnemann’s sheriff of being weak and unprofessional. Thus, he created his own version of the story, presenting “the most detailed and elegant expression of his typical concerns – self-respect, self-control, the interdependence of select chosen friends” (McCarthy 565).
Thus, the main concern of the film was relationship between the main characters. Wood calls that relationship a family relationship, where Chance is “Father”, “the master of the “home” but with the freedom to move outside”; Stumpy is “Mother”, who almost never leaves “the home/jail”; Dude and Colorado are “the occasionally troublesome sons” (Wood xxii).
Wood stresses that this close relationship is very strong and committed, because “family members are bound” not by blood, but “by personal loyalty and mutual respect” (Wood xxii). Thus, limited settings of the film only contribute to the creation of such intimacy. Hawks creates a small community where such close family relationship is transparent. The small town keeps the main characters together. Hawks deliberately restricts the area to concentrate on the relation.
It is very interesting, that though Rio Bravo is a western, it is more focused on the relationship rather than on the action. Single area setting enables Hawks to create the necessary background for relationship development and characters’ personality development depiction.
As stated above the film is focused on the interrelations and personality development. Thus, each of the characters goes his/her own path to find something inside of oneself and become better. From the very beginning of the film Dude is trying to go this path, and. Finally, he succeeds.
From the very first scene of the film Dude receives the necessary impact to change oneself, overcome his weakness and become a good, strong and reliable person. This impact is actually the key event of the story, event which provokes the whole story. First, the viewers meet a miserable drunk Dude, and then they get to know that this drunk was once a respected man.
Finally, in the course of the film Dude becomes positive and respectful. It is worth mentioning that Hawks doesn’t deprive Dude from being human, and he yields to his weakness and gets drunk, he shows his weakness. But it does not mean he is again that miserable drunk. It only proves that Dude is a strong man who is ready to give his life for his friends and the right deeds.
Get your 100% original paper on any topic done in as little as 3 hours Learn More Another figure that is changing during the film is Chance. This sheriff is very strong and confident; he understands and accepts his responsibility for the order in his town. He doesn’t want and doesn’t afford to accept help from non-professionals. He rejects the help of people of his town, motivating that by the fact that these “helpers” will be only easy targets for the bad guys. Chance is very confident is really like a father, a bit superior and responsible for his family. This is vividly revealed in the scene when they sing a song in the jail, all are involved: Dude, Colorado, and Stumpy.
Only Chance is a little bit apart, watching them, smiling as if at his lovely kids. But he changes and accepts their help, after he sees them to be professionals. For instance, in the scene when they change Dude for Burdette Chance is sure in Dudes ability to win Burdette. Chance finally admits that his “children” are grown-up and can help him. It is worth mentioning that Chance has changed not only in his attitude to his friends.
He also changes his attitude towards women by saying Feathers he loves her. He is ready to quit his lonely life and he is ready for romantic relationship. Chance is not that tough emotionless guy that he used to be; now he is open to new emotional experiences.
It is also very interesting to see the change of the character considering Feather. Being a female character in a western, as Wood suggests, means to be an entertainment part of it; females are often deprived of some independent actions, they are a kind of entourage, though they are also indispensible (Wood xxiii). However, this film reveals Feathers as a strong character who “trains Chance”, trains him “for a relationship of spiritual equals” (Wood 48). Apart from changing Chance, Feather also changes her relationship with herself and her life. She is also changing during the film.
From the salon entertainer she turns into a strong and committed personality, she does not go with the stream anymore; she is ready to take control of her life. One of the pivotal moments of this change can be regarded the scene when Feather talks to Colorado, she admits that her life is different from that it is to be. It may be the moment when she understands that changes are necessary. One more crucial moment for her is when Chance asks her to stop wearing feathers, thus, stop leading the life she led.
Then Chance says he loves her, and that can be the final impact that changes Feather into a respectful woman, who respects herself. Thus, all these characters became better due to interrelation with each other, their help, attention, respect and support made all of them capable to become better.
Apart from creating the atmosphere of intimacy which was to stress the characters’ relationship and personal development, Hawks still succeeded in creating a good western with action, guns and shooting. Hawks was a real professional. One of his best findings was the creation of the affect of suspense. From the very first scenes of the film there is suspense of Burdette’s attack.
We will write a custom Essay on Rio Bravo: A Western With Deep Relationship Insight specifically for you! Get your first paper with 15% OFF Learn More After the killer imprisonment the viewer is waiting for the great fight of bad guys and good guys. Everyone in the town is waiting for it, sheriff and his deputies are getting prepared. Focusing on the characters interrelations Hawks never stops reminding the viewer about the coming attack.
Characters dialogues are full of this suspense. One of the ways to enhance the suspense is music. The scene when Burdette pays Mexicans for playing that specific tune. And from that moment the tune never stops, Colorado explains that this is a sign, the sign that the prisoner will be saved. Thus, this continuing melody keeps the viewer aware of the fact that the fight is inevitable.
In conclusion it is necessary to add that Rio Bravo became one of the best examples of westerns due to its originality and preciseness. Not many westerns are as much concerned with relationship and such important issues as professionalism, friendship and responsibility. Thus, Rio Bravo is still watched and praised since, on one hand, it reveals a great example of how to make a good film, on the other hand, it represents classic western with deep insight into the nature of people relationship.
Works Cited McCarthy, Todd. Howard Hawks: The Grey Fox of Hollywood. New York: Grove Press, 2000.
Wood, Robin. Howard Hawks. Detroit, MI: Wayne State University Press, 2006.