![]() Frank notices this and tells her to stop, that he preferred her when she first came to his tutorials but she takes this as an attack because she does not think she is loosing her personality. There's the conflict between learning and loosing who you are, this is evident when she starts a friendship with Trish and imitates the way she speaks to sound more educated. Can you find any example in the film version that supports this suggestion? It has been suggested that in his play Russell explores not only the preoccupation with escape from working-class roots, but also the question of where such escape leads. ), her Liverpool accent is there too (working-class accent), so the use of language is very specific to the text. Rita talks in the same way as in the play, she spells the words in a different way and pronounces them as it is written in the play (y', an'. Can you identify any particular use of language that may link it to the original playscript? (e.g.: Liverpool dialect, etc.)? Language is part of the dramatic conflict of the film. Maybe that's what happens when you start with an idealistic, challenging idea, and then cynically try to broaden its appeal.Language is relevant, especially in the case of Rita as a characterization device, the way she speaks is also a source of humour but as the film goes on and she gets more educated, there is a conflict between the language they use, between Rita and her husband and between her and Frank when she starts imitating Trish in the way she talks because he preferred Rita when she did not speak like this. When Caine's professor, at the end of this movie, flies off to Australia to maybe sober up and maybe make a fresh start, it's a total cop-out - not by him, but by the screenplay. They're made to deliver speeches, take positions and make decisions that are required by the plot, not by their own inner promptings. There is a real character there, just as there was in Caine's boozy diplomat in the recent flop " Beyond the Limit." In both movies, though, the characters are not well-served by the story. To the degree that "Educating Rita" does work, the credit goes to Michael Caine, who plays a man weary and kind, funny and self-hating. Russell's movie rewrite has added mistresses, colleagues, husbands, in-laws, students and a faculty committee, all unnecessary. They were on the stage together for a long time, and by the end of the play we had shared in their developing relationship. The original "Educating Rita," a long-running London stage hit by Willy Russell, had only the two characters. Because even the movie doesn't really believe that, it departs from the stage play to bring in a lot of phony distractions. The books are like incantations that, used properly, will exorcise Cockney accents and alcoholism. There is a lot of talk about Blake this and Wordsworth that. They pass the books back and forth a lot. The idea of the curmudgeon and the Cockney was not new when Bernard Shaw wrote "Pygmalion," and it is not any newer in "Educating Rita." But it could have been entertaining, if only I'd believed they were reading those books. She sees him as a man who ought to sober up and return to his first love, writing poems. Caine sees Walters as a fresh, honest, unspoiled intelligence. Perhaps it would be more accurate to say they both fall into love with the remake job they'd like to do on each other.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |