Kellogg: Patriot Games vs The Devil's Own

In 1992 and 1997, Harrison Ford starred in Patriot Games and The Devil’s Own, respectively. Both films focus on the Irish Republic Army’s (IRA) struggle to gain independence. An Irish antagonist challenges Harrison Ford, who plays the protagonist in both films. While both films tend to shed a negative light on the violence surrounding the Irish Republic Army’s efforts to gain independence, the audience is able to sympathize with the antagonist to a certain degree.

            In Patriot Games, Sean Miller (Sean Bean), the films antagonist, is a member of the Irish Republic Army. At the beginning of the film, Sean and his younger brother Patrick attempt to assassinate the British Secretary of State for Northern Ireland, Lord William Holmes (James Fox). However, Jack Ryan (Harrison Ford), former CIA agent, disrupts the assassination attempt and kills Patrick in the midst of a shootout. Patrick’s older brother Sean is then apprehended by police and taken into custody. Although Sean had attempted to unlawfully murder Lord Holmes and his family, the audience sympathizes with Sean over the loss of his younger brother. While Sean blames Jack for killing his younger brother, the audience can see that he also feels guilty for involving his brother in the first place. In the image above, Sean is being question by police. The dominant color in the frame is blue and the lighting is very dim. This low lighting is used to signify Sean's sadness of the loss of his brother. Additionally, the character proxemics are social as the police offers keep their distance from Sean. This representing foreseeable disconnectedness Sean will experience during his time in prison.
            As the film progresses, Sean cannot bring himself to forget the death of his brother. He eventually escapes police custody and travels to the U.S., seeking revenge on Jack and his family. While in the U.S., Sean unsuccessfully carries out an assassination attempt Jack’s wife and daughter. However, they are left badly injured in the attempt. Jack is infuriated by this and decides to rejoin the CIA. Jack does extensive research on Sean’s history, during which he learns that the Royal Ulster Constabulary killed Sean’s father in Belfast in 1979. Once again, the audience is able to sympathize with Sean, even if only for a short moment. Sean was presumably a young boy at the time of his father’s death, which is a hard thing for anyone to deal with.

            Frankie McGuire (Brad Pitt), the antagonist in The Devil’s Own, is also a member of the Irish Republic Army. At the beginning of the film, Frankie witnesses his father murder. Immediately, the audience feels sympathetic for Frankie. The film fast forwards to the early nineties where Frankie fights on the frontline of the Irish’s struggle to gain independence. Frankie evades being killed and travels to America under the name Rory Devaney. While in the states, Frankie stays with Tom O’Meara, an Irish American police officer living in New York with his wife and three daughters. O’Meara is unaware that Frankie is one of the Irish Republic Army’s most deadliest members. O’Meara and Frankie build a strong friendship and Frankie takes on a brotherly role among O’Meara’s three daughters. The audience can see that Frankie is good-hearted and well intentioned. Once again, the audience sees Frankie as a likable person and is able to sympathize with his unfortunate involvement in the IRA. Frankie has voluntarily chosen a life of violence as a result of seeing his father killed at such a young age. Frankie firmly believes in the cause of the IRA, and is willing to go to great lengths to see that the Irish gain their independence.  The image above, Frankie's pistol is the dominant aspect of the scene. The subsidiary contrasts lie within the cars in the background, as this tells the audience that Frankie is ruthless and is willing to shoot an American police officer in public if he has to. The scene is also very dense and highly detailed. Frankie is in the foreground of the scene, signifying his importance and the tensity of the situation.
           Both characters' fathers were killed at a young age, as the result of political conflict in Ireland. As a result, both Miller and McGuire turned to a life of violence. The audience is able to sympathize with both characters. However, Frankie McGuire is a much more respectable person as he has proven he genuinely cares for others, such as Tom and his family. Miller, on the other hand, has sociopathic tendencies and simply seeks revenge on Jack Ryan and his family.

Kellogg: Presumed Innocent

Presumed Innocent is a 1990 crime drama film that tells the story of Rusty Sabich (Harrison Ford), a prosecutor who is suspected of murdering his colleague and former lover, Carolyn Polhemus (Greta Scacchi). Presumed Innocent was critically acclaimed upon its release and Harrison Ford’s role was praised, as he took a step away from his regular action roles (Pfeiffer 187). The title of the movie means that the defendant is considered innocent until the prosecution can prove its case beyond a reasonable doubt. Throughout the film, there are several instances in which Rusty Sabich’s innocence is undermined.

            Rusty, who is a married man, committed infidelity by having a romantic relationship with his colleague, Carolyn Polhemus. When Rusty is assigned to investigate Polhemus’ murder, his romantic history with the victim causes trouble and Rusty is ultimately suspected of committing the murder. Rusty’s innocence is undermined when he asks phone records to be kept out of the investigation, as Rusty had called Polhemus frequently in the days leading up to the murder. Rusty’s intent to cover up these phone records is suspicious, as it seems that he has something to hide.

            Rusty’s innocence is once again undermined when prosecutor Tommy Molto (Joe Grifasi) confronts Rusty and accuses him of committing the murder. Rather than remaining calm and attempting to prove his innocence, Rusty storms out of the office. At this moment, Rusty’s colleague, Raymond Horgan (Brian Dennehy), even begins to question Rusty’s innocence. It would have been in Rusty’s best interest to have kept his composure instead of angrily leaving in a fit of rage. Although being accused of murder is a lot to take in, Rusty, who is familiar with the justice system, should know that he is now in a vulnerable position and should be cautious with how he presents himself to others.

            Again, Rusty’s innocence is questioned when his friend, Dan Lipranzer (John Spencer), keeps a cup of Rusty’s so that it can be tested for fingerprints. Rusty’s colleagues and close friends begin question his innocence, which leaves the audience to believe that Rusty may have actually committed the murder. It is clear that Dan’s only intention by taking the cup was to affirm his belief that Rusty is in fact guilty of the murder.

            Character proxemics is a very important aspect of Presumed Innocent. All of those who are initially close with Rusty begin to distance themselves from him when evidence starts to suggest that Rusty is responsible for Polhemus’ murder. In the scene where Rusty is brought into Horgan’s office, his colleagues, as well as prosecutor Molto, keep a social and almost public distance from Rusty, which signifies that Rusty is on his own.

Kellogg: The Mosquito Coast

The Mosquito Coast tells the story of Allie Fox (Harrison Ford), an intelligent yet stubborn man who moves his family to the jungles of Central America in an attempt to create a simpler life. Allie’s character can be described as “a monster, a clown, a fool, a genius” (Pfeiffer 157). Dissatisfied with the American way of living, Allie confides in his oldest son, Charlie (River Phoenix), about his disgust of American consumerism. Although Allie seems to be a loving father, his personality shows signs of mania from the very beginning of the film. Allie’s character falls deeper into fanaticism as the film progresses.

            In the first act of the film, Allie’s first brush with fanaticism comes when he does not show up to work at the asparagus farm. Allie’s boss, Mr. Polski (Dick O’Neill), complains that Allie’s absence has caused the asparagus to rot. However, Allie feels that his absence is justified as he had been working on his invention, an ice machine called Fat Boy. Allie’s careless actions caused Mr. Polski’s asparagus to rot, which ultimately harms his business. Allie’s obsession with his inventions causes harm to others, resulting in him taking a step into fanaticism.

            In the second act, Allie and his family are forced to travel downstream after an explosion destroys their home in Jeronimo. When the family arrives at the coastline, they assume that they will return to their home in America or at least to a more civilized way of life. However, Allie lies to his family, telling them that America has been destroyed by a nuclear war. Here, Allie dives further into fanaticism by insisting his family continue to live a simple way of life. Allie has become obsessed with living a simple life, surviving with only bare necessities. His obsession causes his family emotional distress as well as physical exhaustion. However, Allie feels his actions are just and that he is in fact helping his family.

            In the third and final act of the film, Allie again takes one more step into fanaticism. While residing on the coast, Allie and his family’s home is nearly destroyed by a severe storm. However, Allie has constructed the home so that it can float, and the family makes it out alive. While traveling upstream, Allie and his family stumble upon Reverend Spellgood’s (Andre Gregory) compound. Within the community, they come across a chapel in which the natives are watching a video of Spellgood like mindless followers. Allie is particularly disgusted by this and notes that the natives seem brainwashed. Later that night, Allie sneaks away and burns the chapel down. Once again, Allie’s obsession and beliefs causes harm to others. Allie feels that by burning the church down, he is releasing the natives from Spellgood’s religious grip when in reality it is just endangering the locals. Altogether, Allie’s actions and beliefs throughout the film put his family as well as others in harms way.

            

Kellogg: Witness Blog

John Book (Harrison Ford), the protagonist of the 1985 film Witness, is “a vulnerable man who is subject to the same misjudgment and mistakes as everyday people” (Pfeiffer 151). Working as a police officer in Philadelphia, Book is assigned to investigate the murder of a fellow policeman. Book begins his investigation by questioning Samuel Lapp (Lukas Haas), a young Amish boy who witnesses the murder while traveling with his mother, Rachael Lapp (Kelly McGillis). Just days later, Samuel identifies the murderer as narcotics officer James McFee (Danny Glover), and Book confides in his superior, Paul Schaffer (Josef Sommer), about the internal corruption. Book is later ambushed and shot by McFee, implying that Schaffer is also a corrupt officer. Knowing that their safety is in jeopardy, Book drives Rachael and Samuel back to their farm where he passes out from a near fatal gunshot wound. While recovering at the Lapp’s farm, Book’s character undergoes a pivotal transformation.

One of the most important changes Book’s character undergoes is his understanding and appreciation of community. Book lends a helping hand when the Amish come together to build a barn in a single day. During the montage, Book is seen putting his carpentry skills to good use and appears to genuinely enjoy helping out. It is clear that Book begins to appreciate being a part of something greater than him. Additionally, Book’s understanding of the religious aspect of the Amish community grows significantly. Early on in the film, while out to lunch with Rachael and Samuel, Book dives right into his lunch before noticing Rachael and Samuel praying before eating theirs. He expresses a look of annoyance. However, while at the Lapp farm, Book is seen praying before multiple meals. Even though he may not consider himself to be religious, he learns to be considerate when in the presence of those who are religious. This shows that his character has become more respectful and self-aware. Finally, Book learns to love. Book, who is unmarried, has been a loner for quite some time. However, while at the Lapp farm, Book begins to develop feelings for Rachael. The sexual tension between the two grows significantly as the film progresses. Book finally addresses his feelings and understands that if they chose to act on their feelings, either he will have to stay or Rachael will have to leave the farm. The two share one passionate kiss, knowing that this will be the first and last time they can do so.

While the changes Book undergoes help us to gain a deeper understanding of his character, it is what Book does not change about himself that is most significant. While in town, the Amish are harassed by a group of locals. Eli Lapp (Jan Rubes) insists that Book refrain and not act in a violent manner, however, Book cannot sit idly by and watch them be hassled. Book, who is instinctively violent by nature, warns the man that he is making a big mistake, before punching him and breaking his nose. Book’s outburst shows that he has grown to respect the Amish community, so much that he is willing to engage in a physical confrontation to protect them. Although he has only been on the farm for a small amount of time, he feels a deep connection to the community and feels obligated to defend their society.

Kellogg: Blade Runner Comparison

      The original Blade Runner film was released in 1982, though Ridley Scott’s creative vision for his film was not seen by audiences until he released the Director’s Cut in 1991. Producers urged Scott as well as Harrison Ford, who was contractually obligated to comply with Hollywood bigwigs, to include 13 explanatory voiceovers in the 1982 U.S. theatrical version. Producers felt that without the inclusion of these voiceovers, American audiences would have trouble following the film’s storyline. Additionally, financiers of the film insisted a “happy ending” be added, in which Deckard (Harrison Ford) and Rachael (Sean Young) leave Deckard’s apartment and fly off into a rich green off-world colony. Both Ridley Scott and Harrison Ford were dissatisfied with the 1982 theatrical version of the film, with Ford commenting, “The final version was something that I was completely unhappy with. The movie obviously has a strong following, but it could have been more than a cult picture” (Pfeiffer 119). 

      Despite these disheartening changes made to the 1982 film, Scott had an opportunity to release his own version of the film with the 1991 Director’s Cut. Scott removed Ford’s 13 explanatory voiceovers, which ultimately made Deckard’s character more ambiguous. Additionally, Scott removed the studio’s “happy ending” which left more uncertainty to the fate of both Deckard and Rachael. Finally, Scott added a scene in which Deckard has a day dream of a unicorn running through a field. This is by far the most important and effective difference between the 1982 version and 1991 Director’s Cut. Throughout both versions of the film, Deckard’s partner, Gaff (Edward James Olmos), is seen making origami. At the end of the film, Deckard finds a small origami unicorn as he and Rachael are leaving his apartment. This implies that Gaff had some knowledge of Deckard’s dreams and/or memories, just as Deckard had knowledge of Rachael’s artificially instilled memories. With this in mind, viewers are left to decide for themselves whether or not Deckard is in fact himself a Replicant. Deckard seems to ponder the idea himself just before he and Rachael enter the elevator and the movie ends.

      Scott’s 1991 Director’s Cut proved to be more effective, in my opinion. The studio’s decision to include Harrison’s monotone voiceovers as well as the “happy ending” jeopardized Scott’s creative vision for his own film and undermined the American public’s intelligence. By including the unicorn dream sequence and eliminating the producers’ input, Scott effectively created a film that allowed the audience to interpret it in their own way, which ultimately led to a more invested audience. 

Kellogg: Do Androids Dream of Electric Sheep?

Empathy, the central theme throughout Philip K. Dick’s novel Do Androids Dream of Electric Sheep?, is believed to be what separates humans from androids. Michael Heilemann’s analysis of the Dick’s novel argues that androids are emotionally inept, answering his own question, “Are they [androids] emotionally decrepit? Certainly” (Heilemann 10). However, these androids prove to be capable of feeling empathy as well as other humanistic emotions throughout the book.

Rick Deckard, the novel’s protagonist, works as a bounty hunter living in San Francisco. Deckard has chosen to stay on earth, whereas many others have fled the post-apocalyptic planet at the suggestion of the American government to “Emigrate or degenerate!” (Dick 6). Those who choose to leave Earth are given a Nexus-6, a new type of android that has the ability to learn. According to Heilemann, “Androids are in other words treated like a piece of property no better than the slaves once brought up from Africa to serve the same purpose in the white mans lands” (Heilemann 10). Several of these androids kill their masters to free themselves from the confinement of slavery, and flee back to Earth. This contradicts Heilemann’s belief that all androids are “emotionally decrepit,” seeing as they are self aware and feel that their purpose in life is greater than serving humans. They genuinely dream of a better life and know that their freedom can only be achieved by killing their master.

At the beginning of the book, Deckard feels no empathy toward these androids, as his job is to hunt them down and “retire” them. However, as the book progresses, Deckard has an internal struggle about his feelings toward the androids. Deckard’s feelings are paralleled when he brings home the toad to his wife, Iran. Owning a real animal shows that an individual has achieved a respectable societal status. Deckard owns an electric sheep, which he loathes. Toward the end of the book, Deckard is surprised to find a frog, which he believes to be real. However, when he shows the frog to Iran, she discovers a small panel on its belly, revealing it to be electric. Although Deckard is initially upset, he decides to love the frog for what it is, concluding, “The electric things have their lives, too. Paltry as those lives are” (Dick 239). At this instance, Deckard realizes that the androids also have their own lives. Although they may not possess the same level of empathy as humans, they should be recognized as a living thing rather than just an object, as they are capable of feeling some level of emotion.

Heilemann makes some great observations throughout his analysis, however he should not be so quick to say that all androids are incapable of feeling and producing emotions.

Works Cited

Dick, Philip K. Do Androids Dream of Electric Sheep? New York: Ballantine, 1996. Print.

Heilemann, Michael. “Do Androids Dream of Electric Sheep and Blade Runner”. 2001. Web. 13 Mar 2014.