By Julie Denice Griffin
~ A new light, a beginning. I don't understand. Where does all of this come from? Where do you get funding for something like this?
Chess on a hot summer day, whether as beautiful as your hell which splits heaven wide open, an early fall science-fiction film watch always seems to serve to start the school year out right. The twinkle of an eye or /oʊˈnaɪərɪk and pertaining to a dream form of film theory here brings to mind other films which starred only one of the multitudinous small group of film stars here, including Will Smith. Smith although a formal comic and especially at past times, also seems to do well as the part of a kind of a different character while bringing home box office success endemic as a strong and independent survivalist as well. I Am Legend is just one display of the actor's mete and merit for dramatic diversity. Also, as usual Jeff Goldblum toots his horn, and although some of the smaller scenes that seem insignificant, such as his search for Constance Levinston through a yellow pages kind of G.P.S. system, seem of no real value, this is an actor who really knows how to take and make the most of whatever role he is given. So many of the seeming thousand gateways to scenario settings make the film an exciting piece to watch and observe. And the equal challenge of the parallel of some five plus relationship dramas going on represent a kind of reality to and give a heightened meaning to the invasion of a planet of aliens who seem to want to only eat and devour mother earth.
The earthlings of the film want just the opposite. And while the quest to examine just what the aliens are made of appeals to most, it does seem a bit of even if quasi moron of earth to blame post tramatic stress disorder on aliens though when clearly the earthlings exhibited a proper maintenance of the endemic infliction. And as one small part actor shewed forth, the cause even seemed to support some of the truths expelled on Coast To Coast a.m., and even while the radio program itself exhibits some more heavy expoundation for the possibility of future alien invasions, serious supporters of this kind of film though usually know a higher value for the film theory and critique of such, and even basing the method used of the director of this particular film, he did seem to shew forth such joined motif as the meaning of the Bruce Springstein song by the same name put out about five years earlier.
The terrain for most of the film covers the turf of the northern desert of Iraq, a vast amount of geographical world goes heavily alien explored, and vastly conquered and then burned alive. And with flames as large as that one infamous film where tsunami oceans flooded the whole earth, a sheer introduction for night terrors, may exceed all manner of film theory here. In short, the film although not a clearly of the science tremor fantasial with mega relational drama, a more oneiric presence of film theory does after all exist still yet, despite. For all of the surreal blue fog of the story, the dramatic effects of a whole earth invasion run as a common thread throughout. One of the most interesting scenes of the film, in addition to three large space aliens discovered who seem representative of the symbolism of the three points of light and life which extend actually from a more literary basis for theory, actually seem to accentuate those same unpredictable organisms who rebel and resist to follow a warning from authorities to flee quiet and peacefully.
Five different scenarios of the film which stand out the most focus specifically on stereotypical things about America alone. That the information about a strip club as expressed for the film tries to put a more human approach on the act, one thing the film subtlety pulled out about the kind of business, is the need to express such more as a art form and less as a kind of thing to be shunned. And just as the other scene where a city dump reflects all of life as a place of with flames of gold amidst a crest of steady sky filled with unsafe space unseen in the sky all around, even the military man character of Will Garner here displays a state of sacrificial giving at a level as he drags a half-dying alien home and wrapped amidst a white cloud of the parachute of the soldier, the compassion of the army ensued and the act of the man puzzles more than comforts most. For the film represents that very fight of daily life at one level, and that one way we give up and just give in at another. Despite hints that this kind of a film might cover ground more surreal than real, still the film makes you think about life and other things. And after all, does not the very activity of some of the scenario of the film such as this lead you to wonder not so much about the possibilities for the magnificent conclusion of the story, but rather what the life of most of all film should really be about. The symbolic of the three personoe of the aliens while best represent what most of earth suspect advanced aliens from outer space as, of whom do not communicate by way of eye contact, vocal chords or by hearing, but rather through a more telepathic means seems to sum up a lot of human suspicion regarding visitors from the outer universe. However, the trek of the aliens to want to commit ultra violence does neither add up to nor explain the reason for a more advanced higher mind or other visualized spirit.
The film hints of of one brief bio for the road which indicates through the symbolic use of one beautiful lady, who feels laid aside, her New York crown only a glimmer of the hope she once knew. The Statue of Liberty. The blowing up of the earth coincides with another wise use of symbolism through a child cloaked up at the helm of for one the arms of one woman, perhaps a motif for the barren abilty of another to concieve or give birth to any children of her biological own. The Black Knights, of which no reserve of the Dark Knight, act as a chivalrous body to the woman slain and the woman barren.
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