Pinea goes against the common norms in today’s films of the same quality, highlighting the highly religious nature of our society. However, it was not about the collision factor, but the story that lay within. It forces the viewer to look deeper into the common life and to understand the saturated “Quills” to make it, explaining the problems of society, does not want to address those that are below it.
The beauty of Cherton Insane Asylum, where the story takes place, is not in the ornaments of the French countryside, but in the likeness of the representative of the people rejected by society ; It has been shown that the patients and the staff meet you. You have the Battle Field, which represents all the prisoners. Fischard, who enjoys setting fires, is like anyone who has obsessive behavior or is obsessed. Another inmate, dressed as a woman, is constantly cooking; it signifies those who wish to be the opposite of the sex, and so deny themselves to be subject.
Madelyn refers to those who associate themselves with people who are considered socially acceptable. Madelyn’s mother, a blind woman, represents the disabled generally ignored by the world. This perception or branches include: Abbey, which signifies the Church; Dr. Coyard, who stands for corrupt politics and government; and Marquis, who for each
March represents the individual through the films because of his choice not to follow what others in authority have told him, namely the Church and the Government. For example, when he first interrupts Abbey to agree to stop writing lustful things for himself, but later to perform the play “The Crimes of Love” at the Cherton Theatre, as far as Dr. Coyard’s personal sex life, or lack thereof. In this way he deserves the pleats, the ink, and the film. Thus he had the ability to write, or learning, which many during those times did not have.
He confirmed the Abbey’s comment to the Marquis as he was leaving his chambers: “You are not allowed to write your name.” Always persistent, he write the next story writes on the cards until he is finally caught. Both furniture and personal belongings were removed, thus symbolically to their comfort and home. Then, in such a narrative, he makes progress in his blood, in his own clothes, which discovery also leads to an inspection of the clothes, or dignity, and the ring, a symbol of his dignity above the common people. to remain in the asylum with him.
In the end, he left nothing but a shell of himself, and the very essence that drives him to continue spreading his stories outside the Asylum. And he further recalls that it is not the person, not the possessions, that makes us who we are.
He manages to tell yet another story, word of mouth from the inmates of the asylum through Madelyn’s cells down the hall. This leads to her death by Beaucampo, who, following the story of each partition, blocks her with two rocks. Grief-stricken by death, broken bonds and torture, his last act is just write more story over the stone quarries in his dregs, before taking his own life, suffocating on the cross of the abbey which he had to kiss. As a result, seeing the Church as a symbol of “community”. The very community that started the Revolution, and placed the first in Cherton.
Madelyn is young in the story, and everyone is convinced that they can control her, or know what is best for her. But Madelyn has a sense of her own. He has his own hopes and dreams, involving a mysterious horse rider who steals manuscripts from the Marquis’ stables. The show, asking him for his name, suggests that he should tell him one day if he would come up with him.
His convictions and willingness to pursue the help of the Marchius to send his writings into the world resulted in his punishment, and in the end his death. Abbey, asking her once how she could enjoy such stories, replied that she placed herself in each story. “If I wasn’t such a bad woman on the page, I think I couldn’t be so good in life.” Thus asserting that there is one choice with those considered evil, does not mean that it is necessary that it should happen as they do.
The Abbey, the opposite mirror of the Marchioness, stands for the Church and Christianity throughout most of the film. Nevertheless, he struggles in that he does not want to be the authority that Dr. Coyard demanded of him, or made him break the priest’s vows. This is easily seen in the scene where the Marchioness forces the Abbey to remove his clothes so that he cannot write stories. /a> in fabrics. The Marquis asks him how he feels about having power over another person if he wants to. However, when the Abbey is asked by the Marquis to take off his trousers, he cannot bear it too much, because the dignity of the empire demanded the disgrace to which he once felt an affinity.
Even after the marquis’s tongue was cut out, and he wrote in his feces on the wall of his cell, the abbess still makes a point of reciting a prayer in the marquis’s name to save him, or in some attempt. he will save himself from running the actions he takes against him in the movie. However, when the Marquis demanded that the Abbey kiss the cross, the Marquis responded by swallowing and suffocating. Abbey, and all the patients in the Asylum; for the abbey knows that it is already condemned. Enraged with fury, Abbess, already once a patient of the institution, When he recently arrived at the abbey, he asked for pleats.
When they are gone, the Head Laundress, Madeline’s mother, comes to change the sheets; what is he asking to deliver? “Use it well,” he said, “you owe him a lot.” For all the gesticulations and remonstrances, the Abbey became exactly like the Marquis, for every life to be written would perish, or be consumed by the hell witnessed from within. Indeed, the “Church” becomes “individual”, but only through the work and coherence of the government.
Dr. Coyard is a symbol of corrupt politicians/government because of his attitude towards action films. What Abbey, Marquis, and Madelyn say is very unforgiving. In fact, when Dr. When Coyard demands that the Marchioness be punished for creating a disturbance in the dining room, the Marchioness replies: “The first rule of politics is that the man who orders the execution never drops the sword.”
It is also seen in response to Cherton’s pestilential problems – they are very cold and bloodless as he does not think about another person’s safety, but his own. The main supporting evidence is shown at the end when the recently sent replacement Abbey is shocked to learn that the Doctor is printing the Marquis’s writings. He informs her that Cherton will take good care of the money, and that no money will end up in his pocket.
Our delightful story ends with the Marquis’ tales in countless printed languages, and the Abbey, as a part of the tales, abounding in irony, imprisoned in the same cell once occupied by the Marquis. Marchion’s voice narrates in the background as Abbey writes passionately in the final moments of the film. He says that he will live in the Abbey. At last the Marquis was heard to say, “Turn the page now.”
