Surrealism Movements Reflectd on Scarlett Street - Essay Example

Oftentimes it is easy to see the impacts that artistic expressions and particular art movements have in film. Other times, it is necessary to engage in a more nuanced interpretation and seek to understand the underlying fundamentals of a particular movement in order to discern whether or not it is represented within film in the first place. This is very much the case with regards to the representations of surrealism that exists within the film “Scarlet Street”. As a function of seeking to understand the means by which surrealism is represented within this particular movie, the following analysis will analyze the surrealist movement by its very basic definition and then seek to apply the constraints of this particular artistic form of expression with regards to an analysis and interpretation of the film in question. According to the surrealist manifesto, surrealism could be defined as the following: “. Psychic ultimate is an, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought. Dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupation” (CITE). It is the latter part of this particular definition that will be leveraged with regards to seeking to explain the levels of surrealism that are evidenced within the film. In effect, it is this “dictation of thought in the absence of all control exercised by reason, outside of all asked that he and moral preoccupation” that best defines the Surrealism represented in “Scarlet Street”. One could effectively argue the fact that if surrealism is constrained by anything, it is constrained by impulse. The derivation and impacts that this level of impulse provides within the film is evidenced within nearly each and every plot device. The impulse that first guy and encourages Christopher Cross to engage the “assailant” of Kitty is precisely this; nothing more than an impulse. In very much the same way the otherwise “immoral” relationship that develops between Kitty and Chris as the film progresses can very much be understood within the context of surrealism; especially as it took place within an era that was defined by such strict moral norms of behavior that would not typically allow the expression of such emotions and feelings overtly within society. Yet, even though surrealist expression, in all of its manifestations, tends to focus heavily upon the dreamlike realities that exist within both sleeping and wakeful moments, surrealism within the film itself can most perfectly be understood with regards to development of unexpected juxtaposition, surprise, non-sequiturs, and the clear and definitive deviation/aberration for the means by which similar subject matter had previously been integrated; both within other films and within other forms of expression/storytelling. One of them most powerful means by which this “unexpected” dreamlike reality is presented to the viewer within the film occurs within the final stages of the movie itself. Whereas the previous level of plot development was slow to say the least, the final revelations of how the situation unfolds takes place at a rapid pace; perfectly representing the rapid and/or unexpected juxtaposition that so typifies the surrealist style. Moreover, the subsequent level of plot development that occurs once Chris confronts Kitty takes place in rapid fire succession; creating a situation in which Chris becomes enraged, murders Kitty, frames Johnny, is accused and fired from his job for embezzlement, sees Johnny put to death for the crime he committed, and attempts suicide. All of these rapid revelations serve to exemplify the surrealist style due to the fact that they are unexpected and immoral attributions of a dreamlike state that would not otherwise be expected in any way shape or form. A further evidence of the surrealist nature of the movie itself is effected with regards to the manner by which Christopher Cross is left to wander the remains of his life following the epic events of this “unreal incidence”. Dissatisfied with everything, penniless, underappreciated, and without love or hope for any type of a future, the dream like state that has existed for nearly the entire film evaporates as Chris is left in something of a post-nightmare daze; considering the impacts of the impulses and rash decisions he has made over the course of the past few weeks and months. Moreover, the closing impression that the viewer receives is that the character of Chris has been fundamentally changed and mortified by the events that have befallen him; similar to an individual that may have experienced a life altering approach to a specific idea or set of circumstances as a result of an epiphany; possibly brought on by a dream or other such occurrence (Fine 286). In short, “Scarlet Street” is not unique in the fact that it presents the viewer with a surrealist interpretation of a series of events; however, it was unique during its time due to the fact that it pushed the boundaries of what was acceptable via the silver screen and what could be appreciated by the audience of the time. Moreover, it is interesting to note that the film itself, and the resurgence of surrealism was encouraged, if not promoted, by the horrors of World War II. Although such a factor is never implicitly mentioned within the film itself, the viewer would be remiss to not realize that surrealism as an artistic expression grew to a level or prominence as a direct result of the First World War and the horrors of battle and death that so many young men faced during these trying years. In much the same way, artists in and around the years during and following the Second World War remitted to a surrealist interpretation of life as means of making sense from what would otherwise be discounted as merely the deranged thoughts and wild musings of an immoral or otherwise corrupted human being. By utilizing such an interpretative method, the filmmakers and artists of the time were able to integrate with subject matter that they would otherwise have a difficult time marketing to an overly conservative audience. Work Cited Fine, David. "From Berlin To Hollywood: Echoes Of Expressionism In Fritz Langs "The Woman In The Window" And "Scarlet Street.." Literature Film Quarterly 35.4 (2007): 282-293. Academic Search Complete. Web. 26 June 2013. Read More