The film The Typhoon directed simply by Norman Jewison claims to accurately reflect the life of injustice experienced by middleweight champion Rubin ‘Hurricane’ Carter. The movie director uses spreading, characterisation, lighting and music in order to persuade the audience of Carter’s purity. Jewison uses evidence, in some cases false, to manipulate the audience into believing the Hurricane can be and always has been an harmless man.
This clever manipulation is evidently evident in the casting and characterization different types of Lezra to emotionally vest audiences into his journey alongside Rubin Carter’s.
This technique is also accustomed to create and perfect the different cast members to guide audience’s thoughts and opinions as the director wishes. Furthermore, the lighting and music are coldly manoeuvred to garner an emotional reaction from audiences, this is evident in the prominent scenes of Carter because the victim of tragic injustice. Without Jewison’s very clear bias filmmaking, the people would have been left with another type of view of Carter. Casting and portrayal in the film The Hurricane are utilized to persuade visitors of The Hurricane’s innocence.
The casting of the characters Rubin Carter, Lezra Martin, Lisa Peters, Sam Chaiton, Terry Swinton and Lt. Jimmy Williams was necessary to create the image of goodness, even as associate desirable people with following your rules and kind hearted. Athletically attractive actors have been completely cast in every these jobs in order for us to quickly assume these to be good. Yet , Det. Sgt. Della Redada and the Prison Warden (the major villains) are cast as older, overweight, balding men to ensure us with their wickedness.
By simply casting Rubin Carter because an attractive guy the representative persuades us into believing in Carter’s innocence. Furthermore, the character of Lezra Martin is properly created to act as an audience stand in for the film. It is used thus Lezra works as our wait in to Carter’s life. Lezra, like the viewer is fresh to Carter’s existence and his story, while he learns regarding Carter, so do the audience, when he grows to love and trust Carter, so do the group. Like Lezra the visitors become attached and psychologically vested inside the Hurricane, and so the questioning of his purity becomes ludicrous to the audiences.
The film technique of manipulating the viewer’s point of view is also present in the use of light. The use of lighting in the film The Storm positions the viewer into trusting that Hurricane Carter is a great innocent gentleman. Jewison’s usage of lighting to persuade the viewer is usually evident within an early landscape depicting Carter and Della Pesca facing towards each other, the only light in the frame is on the operating stand behind them, so the audience can easily see the part on caractère of both Rubin Carter and E. Sgt.
Della Pesca but no detail in their encounters. In this picture, we see the stark distinction of their profiles, The Hurricane’s soft features and Della Pesca’s indicated and upturned features. It which has been applied since the times during the ancient Greek theatre is used to depict the proganist, usually the leading man, with gentle flowing features and the antagonist, usually the villain, with sharp, directed features. In this way, Norman Jewison has automatically positioned the audience to see Rubin Carter being a good and innocent guy.
This sort of positioning is also particularly evident in Jewison’s usage of music inside the film. Norman Jewison emotionally influences the viewer into believing that Carter is definitely innocent through his careful use of music in The Storm. The audience slowly and gradually finds themselves emotionally attached with the story through subtle although effective music. At different points in the film a grave, slower, low, brighten melody performs which always coincides with a landscape where the viewers are positioned to trust injustice is usually shown.
Once Della Pesca interrogates a new Rubin Carter, when Rubin is brought into the hospital in the victim, through the Hurricane’s initially trail as well as when Carter is placed into solitary confinement by the serious prison warden. The audience can be persuaded in to associating this music with injustice, so with the use of this music on the right level, such as if the Hurricane can be imprisoned the viewers instantly believe it is injustice, which causes all of us to truly feel emotionally effected by this and believe in his innocence.
Norman Jewison positions viewers with the film The Hurricane to find out Rubin Carter as a great innocent person. This is performed through sending your line the protagonist’s role to a aesthetically pleasing gentleman, the spreading of the antagonist’s role to a older, less attractive man, the characterisation of Lezra Matn, the precise lamps of moments and the meticulous use of emotion triggering music. Without these manipulative film tactics, viewers might have been left with a different image of Rubin Carter and a larger doubt of his innocence.
