The Shawshank Redemption Film

In The Shawshank Redemption, "Red" Redding is the lifer who observes the newcomer, a banker sentenced to prison for murdering his wife and her lover, though he protests his innocence and though there is reason to believe him. Andy Dufrane becomes the lead because of his innocence--not merely the position that he did not kill his wife and her lover still that he is truly an innocent in the world. The other prisoners go to sleep that he is innocent in both senses, and while they cogency take advantage under other circumstances, they are pull to him and follow the lead of Red. Andy needs Red, who is the inmate who dissolve do things and get whatever anyone wants. Red loses a bet because he thinks Andy will cry on his first night in prison and he does not. Andy is thus a surprise to everyone who meets him, including the guards and the warden by the end of the film.

Andy leads by example. He takes the good and the bad in life and never wavers from his generally cheery disposition. He befriends others, including some who have been befriended by no one before. He endures whatever is thrown at him with stunned much change in his demeanor. novice Rita Kempley calls the film "a devoutly oldfashioned, spiritually uplift prison drama about two lifers who must fall flat their emotional shackles before they can finally become excess men" and says it as also a film that "reminds us of that we all hold the keys to our own prisons" (Kempley). connoisseur Roger Ebert sees the film as "an al

legory about holding onto a sense of personal worth, despite everything" (Ebert).

Central to both issues is the knowledge that develops mingled with Red and Andy. Director Frank Darabont develops this friendship in the context of a series of prison movie cliches, from convicts reflection a film to blackmailing guards to coping with the verbose passage of time. ane problem with the film is that it seems to have been written and directed as if trying to bring every word of the original petty story to life.

Darabont has the same problem with The Green Mile, which at least derives from a novel, one originally published in installments. Still, Darabont tends to take a long time to develop his ideas and to bring out ideas that good filmmakers can usually impart with a tv camera move, an expression from an actor, or some small bit of business. Darabont tycoon justify his style as a way of recreating the slow time frame of prison life, but this approach can also undercut the emotional intensity of much of the drama. Critic Janet Maslin says just this when she says that the film is given a more protracted treatment than the material warrants:

Darabont's direction fails to hold these different elements in concert as well as in The Shawshank Redemption, perhaps because the length of the film lends itself to repetition. There are three horrific executions, for instance, between which are long stretches of character development and plot complications. The style of prison life is somewhat more elemental than in the earlier film, perhaps because this film is set about a decade or more earlier and in the South, allowing it to mold different prison cliches about the dif
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