Parents Say: age 14+ 42 nhận xét
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Hope, endurance, & unconditional friendship are core themes of the film. Corruption, manipulation, và betrayal are also present, but they're shown to lớn fail in the end. The problem of "institutionalization" is shown và discussed -- a prison inmate has spent so much time in prison, he has forgotten how to live outside the prison walls. Integrity & perseverance are major themes."> Positive Messages
Hope, endurance, & unconditional friendship are
Andy never gives up hope. Red is loyal & practical. All the characters are flawed, but it's clear who the "good" and "bad" guys are, even though their positions might not suggest that from the start. Inmates work together, often illegally, khổng lồ make life more bearable. The warden is corrupt & takes bribes, but it's shown in a negative light."> Positive Role Models
Andy never gives up hope. Red is loyal và practic
A man commits suicide by hanging. A man is shot và killed by another man with a rifle. Prison rape, while not graphically shown, is very strongly implied, with references khổng lồ oral và anal sex and the takeaway that one of the lead characters was raped repeatedly by other prisoners."> Violence và Scariness
A man commits suicide by hanging. A man is shot an
Sex is portrayed obliquely at the beginning. Lots of cheesecake photos of sex symbols from the 1950s và '60s decorate the prison walls."> Sex, Romance và Nudity
Sex is portrayed obliquely at the beginning. Lots
Frequent profanity, including "f--k." Jokes about rape. "Maggot d--k motherf---er." "Queer" is used pejoratively. "A--hole." "Son of a bitch." "Piss." "Horses--t." "Prick." "Fatass." "Ass." A euphemism for defecation."> Language
Frequent profanity, including "f--k." Jokes about
A man is shown sitting in his car drinking whiskey from a flask before stumbling out to, presumably, murder his wife and her lover. Cigarette smoking. Inmates drink beer after Andy wins a bet with the captain of the prison guards."> Drinking, Drugs và Smoking
A man is shown sitting in his oto drinking whiskey
Parents Need lớn Know
Parents need to know that The Shawshank Redemption is an Oscar-nominated 1994 movie based on a Stephen King story about a man sent khổng lồ a maximum security prison in Maine in the 1950s who shows the other inmates perseverance và provides a sense of hope và optimism in the bleakest of places và under the most…
Hope, endurance, & unconditional friendship are core themes of the film. Corruption, manipulation, & betrayal are also present, but they"re shown lớn fail in the end. The problem of "institutionalization" is shown and discussed -- a prison inmate has spent so much time in prison, he has forgotten how to live outside the prison walls. Integrity and perseverance are major themes.
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Positive Role Models
Andy never gives up hope. Red is loyal and practical. All the characters are flawed, but it"s clear who the "good" & "bad" guys are, even though their positions might not suggest that from the start. Inmates work together, often illegally, to make life more bearable. The warden is corrupt & takes bribes, but it"s shown in a negative light.
The amount of profanity in this movie is such a quantity it is said to lớn have over 300+ words saying "Sh**" và "Mother
F**ck*r". How good this movie is, is so adequate it was named the No.#1 best movie in the world with a rating of 9.3/10. Although this is for older teens, how much I highly recommend on why you should watch this movie is out of this world. Overall, it is:Rating: 9.3/10Age: R=16-17+ years
Quailty: 9.7/10 "it was made in the 90s""
The violence includes shootings beatings hanging. The language includes f s d a and more. Sex 2/5Violence 4/5Language 4/5 Drugs alcohol and smoking 2/5
In THE SHAWSHANK REDEMPTION, Andy Dufresne (Tim Robbins) is convicted for the murder of his wife và her lover & sent to prison. It"s 1949, and Andy doesn"t have the stuff for prison life. Andy befriends "Red" Redding (Morgan Freeman) and uses his past as a banker lớn get a job in the prison library. But things unravel. In doing the books for the warden, he learns that the prison quái thú is taking bribes, và Andy is to lớn launder them. A lovable former inmate hangs himself when he gets to lớn the outside but can"t adjust after decades behind bars. The inmate whom Andy helps get his GED is shot by the guards to keep him quiet about information that might prove Andy is innocent of the murders & set him free. Andy spends two months in solitary. After he gets out, he seems depressed và Red worries he"ll kill himself. The next day, Andy isn"t dead, but he isn"t there, either -- he"s escaped. The rest is a perfect Stephen King happy ending, complete with comeuppance for the corrupt warden.
Interesting that although the anh hùng of the film is the convicted former banker Andy Dufresne (Tim Robbins), the kích hoạt is never seen from his point of view. The film"s opening scene shows him being given two life sentences for the murder of his wife và her lover, và then we move, permanently, to a point of view representing the prison population và particularly the lifer Ellis "Red" Redding (Morgan Freeman). It is his voice remembering the first time he saw Andy ("looked lượt thích a stiff breeze would blow him over"), and predicting, wrongly, that he wouldn"t make it in prison.
From Andy"s arrival on the prison bus lớn the film"s end, we see only how others see him - Red, who becomes his best friend, Brooks the old librarian, the corrupt Warden Norton, guards và prisoners. Red is our surrogate. He"s the one we identify with, and the redemption, when it comes, is Red"s. We"ve been shown by Andy"s example that you have to lớn keep true lớn yourself, not thất bại hope, bide your time, set a quiet example and look for your chance. "I guess it comes down to lớn a simple choice, really," he tells Red. "Get busy livin" or get busy dyin"."
The key to lớn the film"s structure, I think, is that it"s not about its hero, but about our relationship with him - our curiosity, our pity, our admiration. If Andy had been the heroic center, bravely enduring, the film would have been conventional, và less mysterious. But we wonder about this guy. Did he really kill those two people? Why does he keep so much khổng lồ himself? Why can he amble through the prison yard lượt thích a không tính phí man on a stroll, when everyone else plods or sidles?
People like excitement at the movies, & titles that provide it bởi vì well. Films about "redemption" are approached with great wariness; a lot of people are not thrilled by the prospect of a great film - it sounds lượt thích work. But there"s a hunger for messages of hope, & when a film offers one, it"s likely khổng lồ have staying power nguồn even if it doesn"t grab an immediate audience.
"The Shawshank Redemption" premiered at the Toronto Film Festival in September 1994, và opened a few weeks later. It got good nhận xét but did poor business (its $18 million original gross didn"t cover costs; it took in only another $10 million after winning seven Oscar nominations, including best picture).
There wasn"t much going for it: It had a terrible title, it was a "prison drama" and women don"t like those, it contained almost no action, it starred actors who were respected but not big stars, & it was long at 142 minutes. Clearly this was a movie that needed word-of-mouth to find an audience, and indeed business was slowly but steadily growing when it was yanked from theaters. If it had been left khổng lồ find its way, it might have continued khổng lồ build & run for months, but that"s not what happened.
Instead, in one of the most remarkable stories in home đoạn phim history, it found its real mass audience on tapes and discs, & through TV screenings. Within five years, "Shawshank" was a phenomenon, a clip best seller and renter that its admirers feel they"ve discovered for themselves. When the Wall Street Journal ran an article about the "Shawshank" groundswell in April 1999, it was occupying first place in the mạng internet Movie Database worldwide vote of the 250 best films; it"s usually in the top five.
Polls and rentals reflect popularity but don"t explain why people value "Shawshank" so fervently. Maybe it plays more lượt thích a spiritual experience than a movie. It does have entertaining payoff moments (as when the guards from another prison, wearing their baseball uniforms, line up to lớn have Andy vì their taxes). But much of the movie involves quiet, solitude, and philosophical discussions about life. The moments of violence (as when Andy is sexually assaulted) are seen objectively, not exploited.
The movie avoids lingering on Andy"s suffering; after beatings, he"s seen in medium và long shot, tactfully. The camera doesn"t focus on Andy"s wounds or bruises, but, like his fellow prisoners, gives him his space.
The Morgan Freeman character is carrier of the film"s spiritual arc. We see him at three parole hearings, after 20, 30 and 40 years. The first hearing involves storytelling trickery; the film has opened with Andy"s sentencing, và then we see a parole board, và expect it"s about khổng lồ listen to Andy"s appeal. But, no, that"s when we first see Red. In his first appeal he tries khổng lồ convince the board he"s been rehabilitated. In the second, he just goes through the motions. In the third, he rejects the whole notion of rehabilitation, & somehow in doing so he sets his spirit free, and the board releases him.
There"s an underlying problem. Behind bars, Red is king. He"s the prison fixer, able lớn get you a pack of cigarettes, a little rock pick or a Rita Hayworth poster. On the outside, he has no status or identity. We"ve already seen what happened to lớn the old librarian (James Whitmore), lonely & adrift in freedom. The last act, in which Andy helps Red accept his freedom, is deeply moving - all the more so because Andy again operates at a distance, with letters and postcards, và is seen through Red"s mind.
Frank Darabont wrote and directed the film, basing it on a story by Stephen King. His film grants itself a leisure that most films are afraid to lớn risk. The movie is as deliberate, considered and thoughtful as Freeman"s narration. There"s a feeling in Hollywood that audiences have short attention spans and must be assaulted with fresh novelties. I think such movies are slower to sit through than a film like "Shawshank," which absorbs us & takes away the awareness that we are watching a film.
Deliberate, too, is the dialogue. Tim Robbins makes Andy a man of few words, quietly spoken. He doesn"t get real worked up. He is his own man, capable of keeping his head down for years and then indulging in a grand gesture, as when he plays an aria from Mozart"s "The Marriage of Figaro." (The overhead shot of the prisoners in the yard, spellbound by the music, is one of the film"s epiphanies.) Because he does not volunteer himself, reach out lớn us or overplay his feelings, he becomes more fascinating: It is often better to wonder what a character is thinking than to know.
Roger Deakins" cinematography is tactful, not showy. Two opening shots, one from a helicopter, one of prison walls looming overhead, establish the prison. Shots follow the dialogue instead of anticipating it. Thomas Newman"s music enhances rather than informs, and there is a subtle cảm biến in the way deep bass rumblings during the early murder are reprised when a young prisoner recalls another man"s description of the crime.
Darabont constructs the film to observe the story, not khổng lồ punch it up or upstage it. Upstaging, in fact, is unknown in this film; the actors are nội dung to stay within their roles, the story moves in an orderly way, và the film itself reflects the slow passage of the decades. "When they put you in that cell," Red says, "when those bars slam home, that"s when you know it"s for real. Old life blown away in the blink of an eye. Nothing left but all the time in the world to lớn think about it." Watching the film again, I admired it even more than the first time I saw it. Affection for good films often grows with familiarity, as it does with music. Some have said life is a prison, we are Red, Andy is our redeemer. All good art is about something deeper than it admits.
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Roger Ebert
Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.