Moving On Up
2008; Taylor & Francis; Volume: 2; Issue: 1 Linguagem: Inglês
10.1525/jung.2008.2.1.57
ISSN1934-2047
Autores Tópico(s)Poetry Analysis and Criticism
ResumoAbstract Gavin O'Connor’s film Pride and Glory (2008), which features Edward Norton, Colin Farrell, Noah Emmerich, and Jon Voight, is reviewed by a Jungian analyst, who interprets it as depicting the dynamics of moral psychological movement within patriarchal complexes. The scenario involves the investigation of corruption within a Washington Heights precinct of the New York Police Department and its effects on an Irish-American family, many of whom are policemen in a neighborhood that is heavily Hispanic. The style and content of the film is compared to that of the night-boxing paintings of the American "Ashcan School" painter George Bellows (1882-1925), for instance, Stag at Sharkey's (1909). The effect of cinematographer Declan Quinn's dark December lighting amplifies the strong language in the script by Joe Carnahan and O'Connor, and the result is a sense of the shadowy unconscious out of which ethical consciousness must struggle to emerge. In the course of the movie, there is, at personifying developing realization on the part of several characters and they have to do something about their integrity. The film, though critical of abuses of patriarchal power, is not seen by this reviewer as like other American films, that scapegoat authority figures who are identified as patriarchal products. Rather, the reviewer sees Pride and Glory as illustrating a movement within patriarchy itself to rectify its own excesses and live up to its own standards of integrity. He finds this theme developed through the character of the father, as played by Jon Voight, who is as good at evoking the archetype of the senex as he was forty years ago in the movie Midnight Cowboy at personifying the archetype of the puer aeternus.
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