The city itself is a draw for drunken debauchery and many of the stereotypical Las Vegas attitudes and cultural keystones pervade the film. One of the friends marries a stripper named Jade, played by Heather Graham, who in fact is the mother of the baby the three friends find in their hotel suite near the beginning of the film. The film's attempt at complete plot extremes are realized in this plot twist, as well as when conservative, conscientious dentist Stu, as played by Ed Helms, awakes to find one of his incisors missing. Later in the film, the audience learns that Stu has removed his own tooth with a pair of pliers on a drunken bet. The base level irony and extreme nature of Stu's drunken behavior are also highlights of the film, and help make this comedy fun to watch and very unpredictable. The group of friends has to leave their wives and girlfriends, many of whom are suspicious of their plans to go to Las Vegas together. Some of the friends have to lie about their true destination or intentions, and the idea that men are always looking to have a fun time and get away from their significant others while the women are suppressors of true male desires also permeates throughout the film. The men often have to endure painful phone calls from their wives or girlfriends in which they lie and make up excuses as to where they are or why they have not called. Although it is taken to a very severe extreme, this is something that on some level, all men and women can relate to. At the end of the film, Stu is faced with a dilemma of how to come clean with his wife about the trip, since much of the plot is centered on the irreversibility of much of the friends' actions. Stu makes the "right" decision and decides to break up with his controlling girlfriend. While not a comedic device, this portion of the plot plays into the male fear of being controlled, and helps...
It also plays a redeeming role for the character Stu, who is always the last person to understand the jokes or make sense of the situations the friends get themselves into.
Schikaneder was both an actor and a producer in Vienna for a playhouse that traditionally catered to "lowbrow" audiences (Loomis 2). Mozart's brand of comedy was just the thing for Schikaneder's theater. But "lowbrow" was merely one aspect of Mozart's comedic ventures: they could be equally stunning, poised, high-minded, honest, and full of common sense at the same time. Like the man, they resembled a mystery that could not
Abstract This My Papa’s Waltz analysis essay examines the poem “My Papa’s Waltz” by Theodore Roethke published in 1942. It provides a summary of the poem, describing the action of what takes place; it then gives an analysis of the work, discusses the characters and the main theme of the poem; and finally provides an assessment of the poem’s use of imagery and symbolism. The essay shows that Roethke’s poem is,
Your answer should be at least five sentences long. The Legend of Arthur Lesson 1 Journal Entry # 9 of 16 Journal Exercise 1.7A: Honor and Loyalty 1. Consider how Arthur's actions and personality agree with or challenge your definition of honor. Write a few sentences comparing your definition (from Journal 1.6A) with Arthur's actions and personality. 2. Write a brief paragraph explaining the importance or unimportance of loyalty in being honorable. Lesson 1 Journal
Physical Comedy on Film Sophisticated, Funny and Physical: The Romances of Astaire and Rogers Physical comedy brings to mind Moe, Larry and Curly bopping each other over the head. Or it might suggest Lucille Ball stuffing chocolates into her mouth, her blouse or anyplace except on the conveyor belt in the neat little rows the candy-making supervisor intended. (Or better, her boozy bout with VitaMeataVegamin, the Peppy Picker-Upper.) A thousand reruns of
Kubrick An Analysis of the Evolution of Kubrick's Technique in His Early Films In contrast to his later films (A Clockwork Orange, Full Metal Jacket, Eyes Wide Shut), the films of Stanley Kubrick's early career may be seen as far more conventional in terms of plot, camera work, and realism. While such pictures as "Day of the Fight" and Fear and Desire are by no means reflections of the director's early innocence
Miller's Crossing gives the best example of the "ethics" of the crime film genre -- beginning as it does with the classic speech delivered by Giovanni Gasparo: "I'm talkin' about friendship -- I'm talkin' about character -- I'm talkin' about -- hell, Leo, I ain't embarrassed to use the word: I'm talkin' about ethics…" The film, of course, is full of characters whose actions are shady and unethical -- but
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