elpais.com
The End": A Post-Apocalyptic Musical
Joshua Oppenheimer's "The End", inspired by "Dr. Strangelove" and "Fail-Safe", depicts post-apocalyptic survivors in a salt mine, featuring a poorly executed musical style and a late-introduced plot twist regarding a wealthy family in a bunker.
- How does the musical style of "The End" contribute to or detract from its overall narrative effectiveness, and what alternative approaches might have been more impactful?
- Joshua Oppenheimer's "The End" draws inspiration from these films, placing survivors in a salt mine, echoing "Dr. Strangelove's" radiation-safe refuge. However, unlike the concise and impactful discussions in the earlier films, "The End" employs a lengthy, underwhelming musical approach.
- What contrasting perspectives on post-apocalyptic societal reconstruction are presented in "Dr. Strangelove" and "Fail-Safe", and how does "The End" engage with or deviate from these perspectives?
- Dr. Strangelove" and "Fail-Safe" (1964) explored Cold War nuclear holocaust survival scenarios. Kubrick's film suggested a computer-based selection prioritizing health, fertility, and intelligence, while Lumet's proposed survival of hardened criminals and bureaucrats, highlighting contrasting visions of post-apocalyptic society.
- What are the underlying criticisms of societal structures or human nature implied in the survival scenarios depicted in "Dr. Strangelove," "Fail-Safe," and "The End", and how do these critiques intersect or diverge?
- The film's central mystery—the identity of a family living in a luxurious bunker—is introduced too late and underdeveloped, diminishing its potential impact. The musical interludes, though intended as unconventional, detract from the narrative, resulting in a slow-paced and ultimately unsatisfying viewing experience.
Cognitive Concepts
Framing Bias
The overwhelmingly negative framing of the review shapes reader perception. The initial positive comparison to Kubrick and Lumet is quickly undermined by a relentless focus on the film's negative aspects. The headline (not provided) likely amplified this negative framing.
Language Bias
The review uses loaded language, such as 'plomizo' (leaden), 'extravagante' (extravagant), 'losa' (slab), 'feas canciones' (ugly songs), 'mal cantadas' (badly sung), and 'vacuos' (vacuous). These terms create a strongly negative impression. Neutral alternatives would include 'slow-paced,' 'unconventional,' 'long,' 'songs of varying quality,' 'vocally uneven,' and 'sparse'.
Bias by Omission
The review focuses heavily on the film's flaws, particularly the musical aspects and pacing, potentially omitting positive critical reception or artistic merit that may exist. It doesn't mention the film's budget, which could influence the assessment of its production values. The analysis primarily reflects the reviewer's personal preferences, neglecting a broader range of critical perspectives.
False Dichotomy
The review presents a false dichotomy by implying that the film is either a 'brave unconventional' attempt or a complete failure. It fails to acknowledge the possibility of a middle ground – a film with some merits alongside its shortcomings.
Sustainable Development Goals
The film explores themes of societal collapse and rebuilding, indirectly touching upon the need for strong institutions and justice to prevent such catastrophes and ensure a peaceful future. The discussion about who should survive and lead the post-apocalyptic world highlights the importance of establishing fair and equitable systems.