, Research Paper

Film is a medium on which society thrives. Ever since its innovation, movie has managed to capture society but offering & # 8220 ; & # 8230 ; sensational debris nutrient for the head & # 8217 ; that does non cover earnestly with our societal and political jobs but alternatively diverts and entertains us & # 8221 ; ( Berger, MAT 164 ) . Marxist idea is one of the most powerful and implicative ways available to the media analyst for analysing society and its establishments. America, although a capitalist society, invariably perpetuates the instructions of Karl Marx. They see the sick effects of his Manifesto of the Communist party in society today every bit good as in the society of 1968. Cardinal rules of Marxist analysis include disaffection, philistinism, false consciousness, category struggle.

& # 8220 ; Society as a whole is more and more dividing up into two great hostile cantonments, into two great categories straight confronting each other & # 8212 ; middle class and labor & # 8221 ; ( Marx hypertext transfer protocol: //www.anu. edu.au/polsci/marx/classics/manifesto.html # Bourgoise ) . That was the initial statement of Karl Marx & # 8217 ; s Manifesto of the Communist party: the differentiation of the chief two categories, the upper or governing category, the middle class, and the lower or working category, the labor. These two footings are used to sort a wide base of categories ; nevertheless, for the film, & # 8220 ; The Thomas Crown Affair & # 8221 ; these footings are non difficult to deduce. The chief character, Thomas Crown is one of the most stereotyped characterized members of the middle class any film. This multimillionaire is seen flashing every facet of the upperclass that the managers could pack into the two hours of the film. Crown takes the clip to larn every trifle of each state of affairs into which he gets. & # 8220 ; If we are to last, [ we must ] maintain on top of things and ne’er be caught catch a winking & # 8221 ; ( Berger, MAT 164 ) . In the 1999 movie, during his repast with Katherine Banning, he states from memory anything and everything from her past merely like he was reading it from a file. He does his research. Crown calculates every move, and maintains changeless control over those around him. He is the ultimate representation of the opinion category. This fortuitously allows the nonsubjective audience to be really wide. The members of the middle class ticker in laughter and awe of a character moving out many actions they think of moving out merely do non hold the aspiration nor ability to seek. The members of the labor ticker in enviousness as they see a character populating out their dreams.

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The Manifesto reads, & # 8220 ; The middle class has stripped of its aura every business hitherto honored and looked up to with reverent awe. It has converted the doctor, the attorney, the priest, the poet, the adult male of scientific discipline, into its paid pay labourers & # 8221 ; ( Marx hypertext transfer protocol: //www.anu. edu.au/polsci/marx/classics/manifesto.html # Bourgoise ) . Thomas Crown is shown holding & # 8220 ; stripped the aura & # 8221 ; by utilizing the labor as pawns in his several rip-offs. In the 1968 version he uses five in-between category work forces who are all in some kind of fiscal problem to draw off a bank robbery for the mere opportunity of acquiring $ 50,000 each, while Crown would maintain $ 1,750,000 for himself. That is, as Marx would set it, & # 8220 ; working the proletariat. & # 8221 ; At the terminal of the film, merely as a joke for the constabulary, Crown hires five more work forces to make the same thing. He is shown invariably utilizing people to make the unsafe portion of the work that he does. This is taken even further in the 1999 version of the movie. The 1999 Thomas Crown hires Iranians to try to rob the art gallery. Merely, the Iranians are ne’er meant to win. As Crown AIDSs in their gaining control, he steals the picture himself. The fact that he does it himself is really of import in demoing that America & # 8217 ; s position of the middle class has improved. As the Capitalism that America perpetuates alterations, so does societies responses to the peculiar parts and categories. & # 8220 ; Capitalism is non merely an economic system, but besides something that affects attitudes, values, personality types, and civilization in general & # 8221 ; ( Berger, MAT 40 ) . The opinion category is now displayed with such a power, that the labor is supposed to idealise them. Whereas in the 1960s, the middle class was displayed as an unachievable place. It is a place that was out of range during that clip due to the fact that the period from the depression through the Vietnam war killed the American Dream. Back so it was non a affair of idealising them but fearing them and remaining out of their way. The new Thomas Crown is used to demo a member of the middle class so successful he could make anything and everything himself, and the fact that the Iranians hired by Crown were sent to prison or possible deported, goes somewhat touched on and so merely bury. In the 1999 movie, Thomas Crown & # 8220 ; has converted the doctor, the attorney & # 8230 ; into [ his ] paid pay laborers. & # 8221 ; He is seen acquiring over his jobs by a head-shrinker, who is surely acquiring a good hourly pay to do Crown experience better about himself. When confronted by the constabulary, who represent the authorization of the movie, Crown merely calls upon his attorney who is doing breakfast in the kitchen. Most surely a high paid lawyer whose lone occupation is to maintain Crown out of problem any, legal & # 8217 ; manner necessary. All of his plaything & # 8217 ; ( his auto, plane, chopper, sailplane, etc. ) were no uncertainty built particularly for him by high paid applied scientists, mechanics, etc. When the 1999 Thomas Crown plays the gag on the Katherine Banning of allowing her discovery the losing picture, even though it is a counterfeit, he has paid a forger to make it for him. & # 8220 ; The middle class can non be without invariably revolutionising the instruments of production, and thereby the dealingss of production, and with them the whole dealingss of society & # 8221 ; ( Marx hypertext transfer protocol: //www.anu. edu.au/polsci/marx/classics/manifesto.html # Bourgoise ) . Thomas Crown as he exists in the film would be nil if non for the changeless development of the instruments of production. And the audience reveres him for it. He is the heart-throb to the females, and the enviousness of the males. Regardless of category, his craft, bumptiousness, speedy humor, demeanour, and appeals make him about resistless to the audience.

The separation of the categories does take to a job for Thomas Crown. He is lonely. There is an disaffection that leaves Crown ever wanting for challenge. & # 8220 ; Bourgeois capitalist societies generate disaffection and a host of afflictions that are connected to it a sense of impotence, insecurity, alienation, rootlessness, and deficiency of individuality & # 8221 ; ( Berger, MAT 164 ) . & # 8220 ; Powerlessness & # 8221 ; and & # 8220 ; deficiency of individuality & # 8221 ; seem like harsh words to tie in with Thomas Crown due to his word picture up to this point. The fact of the affair is that in both films Crown is seldom seen with friends. In the 1968 version, the golf stake is the lone clip he is seen & # 8220 ; out holding merriment with the guys. & # 8221 ; In the 1999 version, Crown & # 8217 ; s golfing spouses appear to be concern associates. Although his sailing spouses are likely friends, Crown is ne’er truly seen holding true friends or even person to dispute him. Crown most surely has friends, but they do non play as of import of a function in his life as they would for a member of the labor who defines an being more so by the people around them than the things around them. That is what makes Vicky Anderson ( 1968 ) and Katherine Banning ( 1999 ) so exciting to Crown. She offers him something to alleviate his disaffection.

Ideology is another of import characteristic as is shown in this movie. To understand political orientation it must be more clearly explained. Berger restricts political orientation to, & # 8220 ; any system of logically consistent and widely applicable socio-political beliefs & # 8221 ; ( Berger, & # 8220 ; Film & # 8221 ; 47 ) . That non being a really narrow limitation, the theory of philistinism mu

st come into drama. Materialism is really of import from a Marxist point-of-view. The Marxist materialist’ stance is that societal being determines consciousness ( Berger, MAT 39 ) . Implying that anyone involved in the universe around them is witting of the universe and its positions. Both of the TCA’s affect this overmastering political orientation that it is all right for the improbably affluent to blow money. In the 1968 version, Crown is scene blowing $ 2000 on a simple golfing put. When this gross shortsightedness of money is questioned, Crown chortles, “what else would you hold us make on a beautiful Sunday afternoon? ” A statement which immediately defines the character of Thomas Crown. He has no regard for money. The 1999 Crown is even more showy. In the same scene in the 2nd film, he blows “ $ 100,000 on a god-damn golf shot.” This shows how small money means to these work forces.

Thomas Crown & # 8217 ; s deficiency of regard for money must be farther interpreted before this goes on. The two Thomas Crown & # 8217 ; s live the lives of rich work forces. They both have big houses with amahs and pantrymans. The 1999 Thomas Crown even has a chaffier. They both have avocations that no normal working adult male can hold. They both are shown winging sailplanes, & # 8220 ; a avocation which costs 10s of 1000s of dollars to acquire good at and takes old ages and old ages of pattern & # 8221 ; ( hypertext transfer protocol: //www.pubnix.net/ rmacpher/sac.html ) . The Crown & # 8217 ; s both besides have beach houses. The Crown of 1999 has a Jet and a Helicopter every bit good, but that is merely a mark of the position of the times. In 1968, it was less likely for a affluent adult male to hold such things in his personal ownership. The Crown of 1999 besides has an extended aggregation of invaluable art, which is another of societies influences to do his character appear really upperclass and affluent. Merely a really rich adult male can hold a avocation of roll uping art. So, it becomes evident that the Crown & # 8217 ; s do hold a usage for there money, and they are invariably mistreating all of its power. As for regard, nevertheless, it is non necessary for either character to esteem there money. With it they can carry through anything, so it losingss value as an existent plus, because at no point in clip in either film, was money every a job or incommodiousness. To that category of people, money can be wasted on gags or thrown off in stakes. The 1999 Thomas Crown is said to & # 8220 ; bust up a $ 100,000 sailing boat, merely because he liked the splash. & # 8221 ;

The attitude of money holding no existent value is appropriate to the word picture of Thomas Crown in the 1968 version because the Crown household was old money, the 1968 Crown did non do his 1000000s from abrasion, he has the household concern to make it with. This implies more of an Ideology which would take to Crowns maltreatment of money. However, in the 1999 version, Thomas Crown is new money. He merely made it to Oxford because he had a boxing scholarship. The thought of Crown working from the land up would connote a regard, and possibly even a fear for money. The stereotyped political orientation for new money would non be the sophisticated air that the 1999 Thomas Crown represents. The inquiry so must be raised, how has societies positions of this Ideology of money non being of any effect for the wealthy changed, and how are these alterations are depicted in these two films.

Thomas Crown & # 8217 ; s ignore for all authorization, even to the point of jeer and fraudulence, leads the audience to believe that those with position need no regard for authorities enforced regulations and ordinances. The thought that the upper-class does non hold to & # 8220 ; play by the regulations & # 8221 ; is a construct which has thrived in society of all time since the division of categories. In mid-evil times, male monarchs were non expected to stay by the same regulations as common mans. A separation or disaffection between the two groups is once more present. & # 8220 ; Peoples who live in a province of disaffection ( or status of disaffection ) suffer from & # 8220 ; false consciousness & # 8221 ; a consciousness that takes the signifier of the political orientation that dominates their thought & # 8221 ; ( Berger, MAT 47 ) . A false consciousness rises from this which allows the proletariat part of the audience to believe that the jurisprudence is something designed to maintain the low-class down, and does non use to the upper-class. Both versions of the Thomas Crown Affair perpetuate this theory.

Another facet of these films which displays an of import facet of American civilization is the fact that throughout the full film the chasers of Thomas Crown, with the exclusion of Vicky Anderson ( 1968 ) and Katherine Banning ( 1999 ) , are bluish collar constabulary officers who are members of the labor. Society dictates that the labor can non get the better of the middle class. & # 8220 ; Simply as a Marxist-leninist morality drama, one notices a conspicuous absence: the victory of the revolution is non portrayed & # 8221 ; ( Berger, & # 8220 ; Film & # 8221 ; 81 ) . The revolution in this instance would be the runing the perpetrator of the several offenses by the constabulary officers. The terminal of both films involves Thomas Crown pulling of his offenses one time once more, and this clip he has told the constabulary he is traveling to make it. In the 1968 version, Crown hires five different work forces who rob the bank in the same manner. Merely this clip when the driver goes to the graveyard to do the & # 8220 ; slump, & # 8221 ; the constabulary are waiting. They allow the bead off, and the audience sees Crown & # 8217 ; s Rolls Royce drive up to the & # 8220 ; slump & # 8221 ; indicate much like it did in the beginning. This clip, the constabulary officers box in the Rolls, and seek to collar the driver. The driver is non crown, it is merely another subordinate, a member of the labor, and he has a message for Vicky. The presence of the message is a atrocious jeer of the system, and of the middle class & # 8217 ; s power over the labor. In the 1999 movie, Crown stages the offense one time once more. This clip he has hired members of the labor to mask themselves in the same frock as him, which is really a para on the Rene Magritte painting & # 8220 ; Portrait of a Businessman & # 8221 ; ( Just another facet of the 1999 version which brings higher category wit into drama ) . The dress uping involves business communities in trench-coats and bowler-hats transporting briefcases. The constabulary lose Crown in the see of bowler-hats. Finally, Crown sets off the fire dismay which melts away a antecedently donated picture to uncover the painting Crown stole in the beginning. & # 8220 ; The pictures been here the whole clip & # 8230 ; & # 8221 ; remarked the look intoing officer upon his realisation of the large, ill gag played by Crown. The labor ne’er even had the upper manus at anytime during the class of the movie. The overarching rule of middle class & # 8217 ; s laterality of society reigns true.

The two versions of & # 8220 ; The Thomas Crown Affair & # 8221 ; offer many insightful positions of American society and the ever-present Marxist facets of that society. The places of the middle class and the labor have non changed significantly, during the alteration in clip since the movie was released in 1968 and so once more in 1999, nevertheless, societies increased philistinism has been, and can be noted through these movies. If by nil more than the acquisition of wealth that is far more established in the 1999 version. The audience sees the new construct of philistinism. Thomas Crown, 1999, does non necessitate to steal money, he needs to travel every bit far to steal something money could ne’er purchase. That is a definition of position that did non be in the sixtiess. The visual aspect of the middle class by the labor has besides changed in a noticeable manner, leting the labor to eventually see the middle class as a place non merely as hardhearted cold existences, but as successful enterprisers of all time pull stringsing the system the put them where they are. Social alterations such as these will ever attest themselves into media such as movie because films tend to alter with society and demo all the aspects of that alteration.

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