Aug. 29th, 2016

proximoception: (Default)
Don't Breathe:








So someone who'd lost his sight in one of his country's oily wars and then lost his daughter to a careless rich person who was never punished, then drugged and robbed by home invaders who'd stolen his home security codes...

Versus the daughter of one or more abusive Nazi-ish trailer people who she still lived with and who'd herself had a child way too young who she realized would be messed up as much as or worse than herself in the same environment of poverty in a near-anarchic economic dead zone.

Each breaks the law and takes from another to restore what s/he feels is the one thing rendering life meaningful. Technically each has a choice, but it does not feel like one: merely subsisting miserably where survival is uncertain is something one will choose almost anything over.

So neither calls 911. Each is willing to kill their aggressor when 911 means losing their one chance.

The blind man puts each woman in the prison cell she should have been in, according to his understanding of the justice system. And for a much shorter period of time, if he means it about releasing them. This part was iffy, but I think we're to believe him - his "not a rapist" bit rather paradoxically suggests principles of a last-ditch sort, as may his hesitation before the initial shooting (and conceivably his only attacking back when he'd realized the basement lock was broken). Plus we're surely to think of him as in some sense principled based on the veteran stereotype - even movies seeking to change minds are careful about sacred cows. More careful, if anything.

His money is not in the bank, he protects himself with guns and a dog and locks and alarms rather than the police, there are no neighbors (or family) left. The courts failed him, presumably he feels the military did. I think the "no God" bit is mostly a stand-in for no social contract. He has to make the rules because there are no others.

Beautiful young protagonist girl is exactly like him, is I think what they're going for. And if her circumstances permit/make us forgive or even approve of her, therefore...

Yeah, I think you could say this film was an elaborate moral suasion attempt, using our liability to forgive certain crimes by certain persons as a prybar to make us reconsider the social causes of crime generally. The appearance of, like, any black people at all is delayed till the final shot (of a Detroit movie!). Not a coincidence. A final "therefore" is implied.

I wonder if this kind of movie works? Other than as a thriller, or interpretive diversion for me or whoever out there is like me.

Touching the girl-in-basement phenomenon with a ten foot pole certainly doesn't help.

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