Over time, the idea of American heroism has developed into what we now define as a hero. In present day, a hero is defined as an ordinary person in extraordinary circumstances who prevails despite the odds. Traditionally in movies, it is not uncommon for the hero to have superhuman traits making them seemingly invincible.
As the film opens we are introduced to the hero Lieutenant David Halloran(Ford), and he and
Margaret Sellinger(Down). The two go through a sequence of playful antagonistic behavior that sets the whimsical and playful tone throughout the first act of the film.
Halloran and Paul Sellinger both represent two distinctive types of heroes. As Sellinger portrays a man who feels distant from his wife, Halloran portrays a reckless rogue who represents a more masculine and traditional hero. Sellinger puts himself in danger, not for honor or glory, but for love. His acts of heroism are not based upon those concepts that Americans consider when discussing heroism, because they were clouded and intended for the sole purpose of love. He also lacked qualities that were considered "extraordinary." He acknowledged his bland existence, and upon doing so, decided to become an improved man for his wife.
In contrast, Halloran was described as a man who was "courageous only because his loneliness prevents him from from having a fear of death." He lived in a reckless manner, and eventually was tamed to a small degree by Margaret Sellinger. It was observed through the incident when Halloran refused to fly his malfunctioning plane following his involvement with Sellinger. He began to develop strong emotional feelings for her and also for himself. This initiates the second act of the movie.
In the second act of the movie, the plot became more romance based. These scenes revolved around Sellinger's and Halloran's love affair. At this point, the romance scenes became extremely repetitive and unnecessary to the movie. We get it, the two love each other, but the movie does not seem to understand that its audience has a functioning brain that can remember longer than 5 minutes. So many scenes should not have been devoted to a simple affair. While the affair was significant to the movie, it did not need to be as overexposed as it was.
In the third act of the movie, Halloran and Paul Sellinger are both trapped in enemy territory. Sellinger, feeling unappreciated, attempted to regain the affections of his wife, Margaret. Halloran is faced with a moral dilemma, and its his decision that ultimately determines his fate as the story's hero. Margaret, a woman who he loved enough to develop a fear of losing, was something that he knew was not meant to be. He chose to save Paul, because he knew that it was the moral and heroic thing to do, even though it would mean he would lose Margaret. He ends the dilemma by telling her "You've got to go to him, and I've got to turn away."
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