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goldlyrics, story, jennifer lien, actresses, robert j. steinmiller jr., gina mastrogiacomo, kenneth utt, sumerian, actors, musica, reviews, bandnames, mos def, joe pesci, listof films, kool kieth, week, italian mafia, arabian, yemen, moroccian, song, (in other words, leave her in PEACE), rather than finish her off, which seems the more humane choice (through a paradoxical act of VIOLENCE). The sniper, a teenaged girl, even begs Joker to shoot her. It seems a simple, humanitarian jim turner act when he finally pulls the trigger, but in a long, ambiguous close-up on his face, jim turner we see the same demon lurking in Joker's eyes that haunted Lawrence back in Parris Island, just before he killed Gunnery Sergeant Hartman, then himself. The connection is clear; even the jim turner same music cue (by Kubrick's daughter Vivian, under the pseudonym of "Abigail Mead") can be heard on the sound track. By setting up a situation where both possible choices (to kill or not to kill) seem at once sadistic and kind, virtuous and evil, we are forced to see the situation on a more abstract level - where words fail, but a horrible insight reveals itself.
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motivation is more "moral"? Which leads to the "high-ground"? Doesn't annihilation always entail moral decay? And doesn't compassion always lead, ultimately, to gina mastrogiacomo peace, rather than violence? Through Joker's journey, from killer-in-training to killer-in-fact, we get gina mastrogiacomo a disturbing answer that, by its very simplicity, defies the kind of dumbed-down platitudes most war films (even really good ones like Kubrick's own Paths of Glory) try to feed us. gina mastrogiacomo The end finds Joker facing a wounded, disarmed sniper who has killed several of his fellow soldiers, as well as his best friend. In a typically Kubrickian reversal, the sadistic thing would be to "...leave her to the mother-lovin' rats..."
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