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Beetlejuice In Retrospect

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As acid rain destroys one family to build another, the ploy of favoritism shows why a more materialist focus explain such evil and horror.


By Julie D. Griffin

Daylight come and we wanna go home ~

A six-foot banana and a beautiful people. After the scarie faces ghosts try to scare a poor young woman half to death, despite her heritage of original suburban city family origin, as if some freaky scarry torment, and they want to push her out of the home she just got into, she goes over the edge. Her suicide letter begins with "I am alone." Thus writes the writer and poet, Lydia, therefore I will fly, no plummet to my death. The teenager Lydia, more of a world of those more better identified from a land of spoken ghosts who speak with her daily, those ghouls who both comfort and offer her peace in place of those who refused to do so.

A skizophrenic brain piece of a work, the new sequel to Beetlejuice soon to grace the pages of film critics everywhere, promises one thing alone unless the press has something good to say about the upcoming film. Just like Lydia, we cry out, "Why are you doing this? Leave me alone! All of you!" Even the married couple who bought the small home town farm house, perhaps the stress of people forced them over the side of the covered bridge only to drown amidst the murky green pond water below. Of course, with the way life has gone for them the past year even though a fire lit for them upon return upon the crest of a better fireplace, do not know quite yet if dead or alive marks them. And the only one who ever rises delightfully to defend and watch out for the writer, the prosthetic daughter of Edgar Allen Poe is the wife of the dead man ~ An enigmatic puzzle for a wise person to unscramble, at least the social services worker knows a little of what is going on.

She says and she tells the dead couple, "Watch out for the living." In short, the life-filled others who invade the home of the supernatural ghost couple are like the rich who want to impoverish the poor and take what little money they have to live on and survive. One couple has a home, but if another couple gets one, they do not like it. It is like people who want children and take them, and then want no one else in the world except them to do that. Therefore, the film as rite of passage for a materialism critique rests very well on the hinges of a more sad and examinatory raven roost. The rich family who wants to take away the home that Jack built for the couple only expresses a kind of unfounded jealousy. Only one person, one character within the sphere of the story decides to do the right thing. And while the use of particular names mean absolutely nothing for this film identification, the most important thing to pay attention to are the absolutes of the representation of a philosophy and a more socialistic society. Even another model of the style of film techniques for the film which goes beyond of course as a horror comedy, surrealism, most of the Frankenstein movies, and much of anything to do with His Coy Mistress and of course Hamlet all mark a clear pathway of existential society.


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