Compare film messages

Comparison of Film Messages Examining the message between “ On the Waterfront” and “ The Front” The “ Waterfront” film gives a story comprising of heavy and massive corruption happening in the dock union. The leaders of the union are abusing their power by engaging in exploitation of workers as well as taking part in various vicious crimes. The organisation of these leaders is very poor, looked in great terror that leaves the entire community in great silence. Terry Malloy, who becomes the hero of the film, takes a bold move to stop wrong doings and prevailing terror.
The gravity of the corruption in this community is illustrated in the many murders happening as well as selective hiring for people to work in the dock. This is actually contrary to the main goal why the unions were established, helping people gain their rights like safe working conditions and wages commensurate to their efforts.
The boss of the dock, Johnny Friendly can be said to be the Moneybag, making profits at all costs. Johnny engages in serious acts of murder, hiring people selectively. The people are filed with much terror and cannot testify against Johnny in the court. However, this silence is broken when Terry unites the people against Johnny and their strength helps to root out these leaders, which illustrates how people with unity of strength cannot be derailed by any kind of obstacle.
The “ Front,” refers to a comedy drama and film concerning some of the Hollywood artists that had been blacklisted in the times of live television. During this time, some of the famous directors, artists and writers had been rendered unemployable after being accused of being in support of Communism (Kasdan 65). One New York City cashier in a famous restaurant in the 1950s, Howard Prince has a friend that works for a television, since this friend is blacklisted, he requests Howard to write his name as the producer of some of the TV scripts (Kasdan 56).
Howard agrees since he knows he will be entitled to s percentage of the proceeds. The scripts are accepted since they have a person not blacklisted. Later Howard lands in trouble with the Committee that investigates the entire production and programming (Dickos 67). He is made to face the reality of this industry, but accepts it gracefully since he had made some proceeds out of it.
Film styles Comparison between “ Double Indemnity” and “ Body Heat.”
In the “ Double Indemnity” film, the authors and directors of this film have used a very dark tone, which features in both thematic and visually. It illustrates of a hero that is led the wrong direction through lust and greed as well as fame. The indemnity film has made a great use of the shadows, which portray the particular environment where characters in a place full of violence and mystery as well as massive and widespread corruption.
Another important element of “ Double Indemnity” is the use of Femme fatale, who is a beautiful woman that entraps the hero of the movie with promises of love and sex, money among others, only to betray him in the end (Carr 98). Actually, this style features commonly in many of the heroic films, where the hero is most often brought down by a seemingly seductive woman.
In the “ Body Heat” film, the author has extensively explored the concept of suspense and tension, enabling the audience to wait to see the next event. In comparison to “ Body Indemnity,” this movie is highly dramatic, involving a femme fatale in the name of Matty Walker (Schwartz 79). She uses her charming beauty to mastermind the killing of her husband by the name Richard. In most cases, the use of femme fatale in this movie is highly successful since it presents women as the heroes of the episode in as much as they are sometimes overlooked.
Works Cited
Carr, Jay. The A List: The National Society of Film Critics 100 Essential Films. Cambridge, MA: Da Capo, 2002. Print.
Dickos, Andrew. Street with No Name a History of the Classic American Film Noir. Lexington: U of Kentucky, 2002. Print.
Kasdan, Lawrence. Body Heat: The Screenplay. Content ville ed. Santa Monica, CA: Harvest Moon Pub. in Association with the Writers Guild Foundation, 2000. Print.
Schwartz, Ronald. Noir, Now and Then Film Noir Originals and Remakes, (1944-1999). Westport, CT: Greenwood, 2001. Print.