Death Of a Salesman
-Themes, Motifs, Symbol
▣prologue
“Death Of Salesman”은 1949년 미국에서 발표된 아서 밀러의 대표작이다. 워낙에 유명한 작품이지만, 작품의 내용을 한 마디로 말하라면 어느 평범한 세일즈맨의 비극적인 죽음이라 할 것이다. 이 단순한 이야기가 1949년 발표하고 초연한 이래 2년간 계속 상연되었
hand is on
his shoulder. As the mourners go past and each takes a
turn shoveling a clod of dirt into an open grave --
SAM
If we start asking why well go
crazy. So, rule number one.
We dont ask why.
CUT TO:
CLOSE ON ANNIE REED
Pretty, blonde, animated. Jeans, a T-shirt, a Baltimore
Orioles hat.
ANNIE
Why? I just want to know why?
Thats my first rule. I always
ask why. Come on. Tell me.
Cmo
hand appears and
spins the tumbler. The safe door opens. Inside, we see the
dazed rabbit with little TWEETING BIRDS circling his head.
VOICE (O.S.)
Cut, cut, cut!
The cartoon action stops abruptly, but the goofy CARTOON
MUSIC PLAYS ON. We begin a slow PULL BACK TO REVEAL that
this cartoon is being filmed LIVE ON A SOUND STAGE. The
title card sits on an easle. The female legs are paper
mache props
handle. It is locked. Behind it the voice goes on, rising in
volume.
OLD SALIERI
Show some mercy! I beg you. I beg you! Show mercy to a guilty
man!
The Valet knocks gently on the door. The voice stops.
VALET
Open the door, Signore! Please! Be good now! Weve brought
you something special. Something youre going to love.
Silence.
VALET
Signore Salieri! Open the door. Come now. Be good!
The voice of
hands, studying it.
LOU
Youre still going to have to settle with
your mothers landlord on the back rent.
Nell watches Janes little boy, RICHIE. Unpacified by the
cartoons on the TV, he plows a plastic tank across a shelf
through neat rows of delicate PORCELAIN DOLLS.
NELL
Im not going to stay. Ill get a job.
Ill get my own apartment.
Richie knocks a porcelain DOLL off, and it breaks all over
the
hands up, holds both of his arms above his head.
She moves higher atop him... she reaches to the side of the bed... a white silk scarf is in her hand... her hips above his face now, moving... slightly, oh-so slightly... his face strains towards her.
The scarf in her hand... she ties his hands with it... gently... to the brass bed... his eyes are closed... tighter... lowering hips into his face...
motif...
the orchestra follows...
a column of sound emerges.
Thea von Harbous message,
Lang didnt believe in it.
He said: "I am fascinated by machines."
Metropolis, the mother city,
city of mothers, mother of all cities.
The city, the film...
they too are machines.
Flywheels,
a crankshaft,
an eccentric disk,
A machine without Workers,
devoid of function,
pure movement...
rotating, thrusting...
a
RELIC
a screenplay by Amy Holden Jones
based on the book by Douglas Preston and Lincoln Child
March 16, 1995
TITLE CARD... BELEM BRAZIL - JULY...
EXT. BELEM STREETS - NIGHT
A taxi careens down narrow roadways at breakneck speeds.
INT. TAXI - NIGHT
In the back seat is WHITTLESLEY. Early 40s, the wreck of a once
handsome man. Unshaven. Sweat stained. Rail thin. Scratches on his
arms, a fresh scar
hands)
What has the universe got to do with it?
Youre here in Brooklyn! Brooklyn is not
expanding!
??
??
DOCTOR
(Heartily, looking down at Alvy)
It wont be expanding for billions of years
yet, Alvy. And weve gotta try to enjoy
ourselves while were here. Uh?
He laughs.
CUT TO:
??
Fall shot of house with an amusement-park roller-coaster ride built over it.
A line of cars move up and then slides wit
hands become badly cramped and he is cut and bruised from the force of the fish. Santiago and the Marlin become united out at sea. They are attached to each other physically, and in Santiagos case, emotionally. He respects and loves the Marlin and admires its beauty and greatness. He sees the fish as his brother. Despite this, Santiago has to kill it. He feels guilty killing a brother, but after