Veronica Lake is seen showering twice in the movie. During the first time, she is visible through a clear shower curtain while covered in lather. A closer look reveals that the actress is wearing a bikini. In another scene, she showers while her upper chest is visible, with some cleavage.
A studio executive tells a director that his film has “a little sex” in it.


Film review:Translated by www.rabudo-ru.com


In the road to Wigan wharf, George Orwell spent a lot of energy on adjusting his clothes and accent in order to blend into the British working community for investigation, especially the latter. Because he grew up in another class and received different voice training, he was very different from the bottom workers in speech. He walked gingerly into a tavern, deeply afraid that the people there would suddenly see the flaws in his words and see through his disguise; But as a result, people don’t care at all.

Of course, if he didn’t ask the protagonist in Sullivan’s journey, “what’s the current labor situation?”

Sullivan, as a progressive intellectual in Hollywood, tried to fight the Hollywood market system: after he changed to make films that reflect social reality and educate the public, the producer sarcastically said that he had no social experience and pointed out that comedy was the only way to make money, so he chose to experience the bottom society in person. This resistance was raised again at the end of the film: Sullivan’s experience became national news, so the producer wanted him to shoot social themes, but Sullivan turned to comedy, because he felt that comedy was what ordinary audiences wanted. It seems that the roles are interchanged, but the internal motivation remains the same: the starting point of one party is the market and the starting point of the other party is the masses. The confrontation relationship between the two continues to extend at the end of the film.

However, such confrontation seems like a family affair in the face of class differences (Hollywood and the bottom society here). Just like the protagonist’s previous two wanderings, it shows his incompatibility with another way of life through comedy; The car carrying film company employees and reporters inseparable from him suggests Sullivan’s social identity. The tone of the film suddenly became heavy in the next two vagrancies, as if to tell the audience that the real guy was coming: Sullivan led the audience to wander around the vagrant settlements, shelters and labor camps in the southern swamp in the grapes of anger, and experienced rough treatment. So the two wanderings ended with the protagonist taking the initiative to escape from the dilemma and return to his familiar society. Sullivan admitted at the end of the film that he had not suffered enough and could not control the theme of social reality.

Therefore, the way to solve the film conflict by “choosing to make comedy” is more like “the end of a big reunion unlike a big reunion”. Behind its childishness is the irreconcilability between classes. Orwell also admitted that his disguise could only make him as close to the working class as possible, and the gap between classes could not be completely eliminated.

IMDB data show that in the scene of the church film, the director originally wanted to play Chaplin’s film. But both Mickey Mouse and Chaplin’s Tramp represent the image of breaking all barriers, so that people of different colors and classes can get together and enjoy the happy time brought by comedy. However, the elimination of this boundary is only an illusion after all. After realizing that the estrangement cannot be eliminated, it becomes the director’s best job to continue to maintain the illusion.

In my opinion, because this film was born in the 1940s when video equipment was not popularized, this conclusion that seems negative to some extent is also very realistic. In today’s environment where the liberation of technology has become a trend, the rise of grass-roots video and the great expansion of the social and political significance of images, it is unrealistic to tangle between “reflecting reality” and “creating illusion”. After all, the choice between private swimming pools and shelters can not fundamentally determine whether you can pick up the camera.

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