Cement Garden Pt2

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Uploaded by on Feb 12, 2007

Clip from the movie The Cement Garden.

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Entertainment

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  • this film has possibly the best cinematography ever ! so beautifully filmed hmm think i need to dig my copy out to Reminisce. cult classic and in my top ten

  • but kids making sweeping statements would appear to be a different thing...

  • This novella was set on my course to be compared to J.D Salinger's Catcher in the Rye. Another adolescent narrative that yes uses symbolism to express ideas but this not detract from Holden Caulfield's internal torments that are expressed in a method (approaching) stream of consciousness. All his worldly angers are voiced and yet are counterbalanced by a deep vulnerability at every turn. Salinger achieved this as he created a real character. McEwan cannot say the same

  • the stench of the mother surfacing in the house after death. This is lazy imagery relfecting what should be a deep psychological insight.

    This novella for me had far more potential. But the psychological realism is overshadowed by McEwan's flaws as an author. Instead of insight we get symbolism. The post-modern novel is supposed to be immerse in ambiguity for us to make our own conclusion. But thati s only achieved if the author deposits enough substance for us to process and reflect upon

  • But McEwan was also creating a story of psychological realism. You cannot have that without the appropriate setting/structures applying pressure to their desires.

  • Any "morality" is irrelevant and subjective. It is an amoral human story, one in which they come to terms with their double loss and grief. The 'conceit' that they follow their mother's wish to draw on an account to remain together whilst she was in hospital eventually sees them bonded as an orphaned unit. The reader knows by the end that whatever happens to them they will not be disintegrated as a family.

    I'm looking forward to viewing the torrented film. Interesting dialogue with you. ;D

  • This is hardly Samuel Richardson's Pamela and more importantly is a clumsy, lazy method of offering differing perspectives. We are treated to the motif of cementing surfaces such as in the cellar or the covering up of the flowers in the garden reflecting the psychological state of suppression instead of any real internalisation that might help to encourage reaer sympathy for their turmoil. Instead of reflecting the mother's impact through a subtle use of analepsis we literally are confronted by

  • Forget the ribbon. If you want to go down tha troute, there are plenty of other pseudo psychological metaphors to be seized upon. In that scene the dressing up of the boy Tom? is far more significant, not least because they do it as an act of sexual liberation for him, as opposed to forcing it upon him.

    Clichéed iconoclasm may demonstrate knowledge or technique but not complete understanding, as might using language without meaning. I am surprised you haven't re-evaluated your view by now.

  • as a symbol of their shared desires to lead. Instead of any real dialogue/internalisation of the internal despair of the characters we get the slow disintegration of the house/garden to reflect their loss of order with the removal of the nameless father. Instead of trying to create a realistic socio-economic backdrop for external commentators to pass judgment on their relationship McEwan leaves any sense of moral counterbalance to that of the infantile Sue who logs the goings on in her diary

  • (deleted comment edited and moved)

    Derek's is a two dimensional character and I don't agree that the incest "theme" is Oedipal. The socio-economic context is less significant than the geo-environmental one, in which the family is physically isolated from the neighbouring community.

    But ultimately this is a commentary on a short extract and neither the entire film nor the original book. Would it be put on an A level reading list were it as shallow and "ameteurish" (sic.) as suggested?

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