Meaning

Scorpions and Frogs

A condensed video version of my bloated analysis on the symbolism in Drive.

Original article is here if like me you struggle to listen to my voice.

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The Scorpion and the Frog: The Fable of an Anti-hero in Drive (2011)

Edit: Condensed the analysis into a video here

Faced with a river, a scorpion enlists the help of a frog to ferry it across the water on its back. Fearful for being stung, the scorpion explains that if it were to sting the frog they would both drown. Alas, halfway across the river the scorpion stings the frog. As they begin to sink to their death the frog asks the scorpion why it had doomed them both, receiving the reply that it is in its nature.

The broken halo of a violent hero

Ryan Gosling plays the part of a nameless Hollywood stuntman/ mechanic/ getaway driver turned breadwinning moral avenger in Nicolas Winding Refn’s Drive – subverting the strong-silent type of classic cinema and, like Refn’s Valhalla Rising and Bronson, calling into question the nature of violent heroes on screen. The following analysis will examine how the hero of Drive is made to appear reserved and unpredictable in an effort to make him unknowable – but really how his actions are undermined by his childlike sensibilities and confused sense of self.

Fuckers Who Kill People For Money: The Unsentimental Portrayal of the Hitman in Kill List

KillList

The hitman has become a cultural figure that has undergone various aesthetic and moral transformations in cinema. The most typical and somewhat surprising characteristic of the contracted-killer is that he or she is shown to be a solitary figure worthy of empathy or even admiration; a sleek and often charming loner that the story is attracted to – suspending the audience’s judgement or allowing them to explore his/her inner conflict in order to understand their motivation or veiled humility. Amongst his description of the subcategories of hitmen in his chapter of ‘Crime Culture: Figuring Criminality in Fiction and Film’, Andrew Spicer describes the aestheticised version of the hitman as the ‘Angel of Death’: “a highly masculine fantasy of total self-sufficiency”. This increasingly recognisable antagonist and the subsequent notion of fantastical perfection is precisely what Ben Wheatley challenges in his latest feature – Kill List (2011).

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