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00:00Cuando fue lanzado, fue un box office flop.
00:03Prision dramas fueron de forma.
00:06No uno podría pronunciar el nombre Shasink Redemption correcto,
00:10mucho menos recordarlo.
00:13¿Cómo entonces un gran problema que fue tan bien recibido
00:17es una de las películas más populares de todo el tiempo?
00:19Shasink Redemption
00:29Shasink Redemption is not just a physical prison,
00:30it is an allegory, a state of mind in which there is no room for hope.
00:43A prison full of Christian symbols and redemption,
00:46but it is hell on earth.
00:47Prisoners who do not wish to escape to be free,
00:52but rather to stay in their cells until the end of their days
00:54and convicts who, more than criminals,
00:56seem like ordinary people who have been very unlucky.
01:01The Shasink Redemption is full of contradictions,
01:04but also like no other it shows the great resilience
01:06of the human spirit in desperate times.
01:11Let's analyze the different messages that the film sends
01:14and how its characters explore fear and hope
01:16when we are in a critical situation.
01:19And before continuing, as always,
01:21if you want to see more videos like this,
01:23don't forget to subscribe to the channel
01:25and hit the campaign button to find out about new videos.
01:28The Shasink Redemption is based on Stephen King's 1982 novel,
01:36Riza Hayford and Shivong Redemption.
01:39And this in turn is inspired by a short story
01:41by Lef Nikolayevich Stoy or Leon Stoy,
01:44as it is called in Spanish,
01:45called God Sees the Truth, But Waits.
01:47A story of a man wrongly accused of murder
01:51and banished to Siberia
01:52in which injustice and destiny are explored.
01:57This short novel by King was part of different seasons,
02:00a collection of novels he wrote to explore literary genres
02:03other than the horror stories for which he was best known.
02:05The first time Frank Darabond,
02:10the director and screenwriter of The Shasink Redemption,
02:13collaborated with Stephen King was in 1983,
02:16when he bought the rights to The Woman in the Room,
02:18another short story by King,
02:20and bought them from him solely to adapt it into a short film.
02:23A practice Stephen King has done a lot of throughout his career,
02:30granting students and young aspiring filmmakers
02:32the rights to some of his short stories
02:34just to help the next generation of creatives build their resumes.
02:42Years later, when Frank was first credited
02:44as a screenwriter on A Nightmare on Elm Street 3,
02:47Dream Warriors called Stephen King again,
02:49but this time with a check for $5,000
02:51to buy the rights to Risa Hapeford and Shang Redemption in 1987.
02:56King signed over the rights and accepted the check,
02:58but never cashed it.
03:02After serving a life sentence,
03:03the writer and director continued to collaborate
03:05over the next few years,
03:07giving us other iconic films like The Green Mile.
03:10Their mutual appreciation and understanding
03:12as artists forged a friendship.
03:16King would eventually return the check intact
03:17to Darabond with a message
03:19in case you ever needed bail money.
03:22Love, Steve
03:23In a 2016 interview,
03:26he also mentioned that The Shawshank Redemption
03:28is his favorite film adaptation of his books,
03:31along with Stand By Me.
03:34Frank wrote the script in eight weeks,
03:36although development didn't begin until five years later.
03:39When it came to approaching the adaptation,
03:41he had several references in mind.
03:43Frank Capra's films such as Mr. Smith Goes to Washington
03:46and It's a Wonderful Life,
03:47which mixed fantasy and reality.
03:51Also Goodfellas,
03:52inspired by his use of dialogue
03:53to illustrate the passage of time,
03:55and John Frankenheimer's prison drama
03:57Berman of Alcatraz.
03:58And well,
04:01if we take the Bible for granted,
04:03because Andy's figure
04:04is almost a messianic figure in the film.
04:07He forms a group of disciples who admire him,
04:10tries to improve the lives of those around him,
04:12and pays for the sins that others have committed.
04:16Darabond said that this was not his intention,
04:18but he understands how he could be interpreted that way.
04:20Frank changed several things from the original novel
04:28and expanded on others.
04:30Brooks, for example,
04:32in the novel,
04:32was a secondary character without much importance
04:35and ended up dying in a retirement home.
04:38But in the film,
04:39he is a tragic character
04:40who enriches the narrative
04:41due to his parallels with Red.
04:45In the novel,
04:46Tommy offered his testimony of Andy's innocence
04:48so that he could be transferred
04:50to a more pleasant prison,
04:51but in the script,
04:52he also becomes another tragic,
04:54important and key character for Andy's arc.
04:58Norton is a mixture of three different guards
05:00from the novel.
05:02He decided to unite them
05:04to create a single main antagonist
05:05who embodies everything
05:06that is wrong with Shao Shanning prison.
05:09And well,
05:10one thing that is explained in the book
05:12and not in the film
05:13is how Andy manages to pay Red $10
05:15in exchange for the hammer.
05:17And it is because Andy manages
05:18to sneak $100 into the prison
05:20by shoving it up his rectum
05:22before entering.
05:23A very important detail
05:24to understand the entire film,
05:26without a doubt.
05:27One thing that is the same
05:28in the novel and in the script
05:29is the end of the story.
05:32The original idea
05:33was to end the film
05:34with Red on the bus
05:35heading to Mexico,
05:36leaving the question
05:37of whether or not
05:37they would finally be able
05:38to reunite.
05:40But the studio executives
05:41didn't think that was a good idea.
05:44They said that
05:44after two hours of suffering,
05:46the audience deserved this reunion.
05:49They deserved to be able
05:50to see these two characters
05:51finally hugging each other
05:52after emerging
05:53from the worst of hells.
05:56And that's how they left us
05:58with this mythical image
05:59of Reddy and Andy
06:00meeting in this blue Pacific paradise.
06:02There are two main elements
06:08that have made
06:08the Shawshank Redemption
06:10the classic it is today.
06:12A powerful screenplay
06:14with ideas typical
06:15of Frank Darabond,
06:16but also the participation
06:17of cinematographer
06:19Roger Dickens.
06:21Let's remember,
06:22the great master behind films
06:24like Fargo or Brother,
06:25No Country for Old Men
06:26or Hitman.
06:28Through subtle camera movements
06:30and the composition of the lights,
06:31Dickens manages to visually represent
06:33the emotional states
06:34of the characters
06:35and the themes explored
06:36in the film.
06:39When the characters
06:40are going through
06:41an emotional moment,
06:42whether it be sadness or hope,
06:44or they open up
06:45and allow us to get
06:45to know them a little better,
06:47the camera moves
06:48towards their faces,
06:49as if these characters
06:50were inviting us
06:50to get closer to them
06:51and feel what they are feeling.
06:55This contrasts
06:56with the treatment
06:56of the guards.
06:58With them,
06:58the camera remains stationary,
07:00devoid of emotion,
07:02as if they were just
07:02another brick in the prison
07:04and at times,
07:04we could even say paralyzed,
07:06as we are,
07:07when we see their acts
07:08of violence.
07:10The only moment
07:11where we see
07:12a clear zoom in
07:13on the faces
07:13of the villains
07:14is at the end of the film,
07:15showing the only emotion
07:16they are capable of feeling,
07:18fear of being caught.
07:21The character's fate
07:22is also revealed
07:22through the framing.
07:25When Brooks is released,
07:27he is focused
07:27directly on the camera
07:28and we see
07:29the prison behind him,
07:30visually representing
07:31that Brooks
07:32is still psychologically
07:33in Shaoshanc
07:34and that he is leaving
07:35his true home behind.
07:38But when Red is released,
07:40he is shown
07:40with his back
07:41to the bars
07:42and what we see
07:42is the outside,
07:43showing that his destiny
07:44is outside of Shao's
07:45and not inside.
07:48This is important
07:49because throughout the film,
07:50a strong parallel
07:51is drawn between
07:52Brooks and Red.
07:53Both spend a large part
07:56of their lives in prison
07:57and both undergo
07:57the same process
07:58of readapting to society
08:00as we can see
08:01in their identical shots.
08:03However,
08:04when Brooks leaves
08:05the apartment,
08:05the camera pulls away
08:06from his name
08:07written on the wood
08:08as if the very life
08:09is draining from his body.
08:11But when Red leaves
08:12the apartment,
08:13the camera zooms in
08:14on his name written
08:15on that same piece
08:16upside down
08:16as if it were
08:17filling with life.
08:19The lighting plays
08:20with the balance
08:20between darkness,
08:22fear and hope.
08:24The intimate conversations
08:25between Red and Andy
08:26take place mostly
08:27in the courtyard,
08:28full of light,
08:29as one of the few
08:29luminous moments
08:30the two have thanks
08:31to keeping each other company.
08:33And this culminates
08:34in their final conversation,
08:36where the two friends
08:37differ on their views
08:38on hope.
08:40Andy,
08:41still trapped in the shadows
08:42due to his devastation
08:43after Tommy's death,
08:44later steps partially
08:45out of them,
08:46representing a more
08:47optimistic view
08:48of the future.
08:50And with Red,
08:51it's the opposite.
08:51He believes he has
08:53a more realistic view
08:54of things,
08:55but he's also more
08:56afraid of the future.
08:59The good characters
09:00are surrounded by light
09:01and the evil ones
09:02are surrounded by darkness,
09:03but he also represents
09:04moments of hope
09:05and moments of fear.
09:08And when both hope
09:09and fear are present
09:10at the same time,
09:11the lights show
09:11this duality.
09:14Hope is one of the film's
09:15great themes,
09:16which is why it has
09:17such a prominent role
09:18in the visual representation.
09:21Ultimately,
09:22it's the story of a man
09:23who refuses to give up hope
09:24in a desperate situation.
09:28And Darabond explores
09:29how people have different ways
09:30of relating to it
09:31with his script.
09:35Brooks portrays a person
09:36who has completely lost hope.
09:39Dehumanized after years
09:41of incarceration,
09:42he can't imagine
09:43a life of freedom.
09:43When he's released
09:45into society,
09:46he's still scared and lost,
09:47consumed by the fear
09:48that has accompanied him
09:49his entire life.
10:07Red also represents
10:08this abandonment of hope.
10:10He tries internally
10:11not to get used
10:12to this place completely,
10:13but he doesn't allow himself
10:15to dream about
10:15what lies outside the walls.
10:18He enters a state
10:19of numbness
10:19because when we suffer
10:20it is normal
10:21to anesthetize ourselves
10:22precisely to avoid feeling.
10:25But that in turn
10:26disconnects us from ourselves
10:27and makes us forget
10:28who we are outside
10:29of our fear.
10:32Tommy sees those same fears
10:33of risking feeling hope.
10:36When he meets Andy
10:37and sees that he can help him,
10:39he dares to imagine
10:40a better future for himself,
10:41in which he graduates
10:42from high school
10:43and can change the course
10:44of his life,
10:45but his fears cause him
10:46to explode in panic and rage
10:48due to a deep fear
10:49of failure
10:49and the disappointment
10:50of not seeing his hopes fulfilled.
10:53When his test results arrive,
10:55he sees how wrong
10:56he was to let himself
10:57be carried away by fear.
10:59It shows us how easily fear
11:01can limit our ability
11:02to grow,
11:03create,
11:04and do good things
11:04for ourselves.
11:05and Andy shows us.
11:06And Andy shows that
11:09despite everyone around you
11:10telling you that you're crazy,
11:12hope is the most important thing
11:13to help you move forward.
11:16Andy is not just
11:17an exploited prisoner
11:18who just gets carried away
11:19by routine.
11:21He's a rebel
11:22and pushes the system
11:23to its limits.
11:26His hope for something better
11:28motivates him
11:28to take risks
11:29and sometimes he succeeds,
11:31and many times he fails,
11:32but he doesn't let fear
11:33stop him from taking risks
11:34with tenacity
11:35and persistence
11:36to try to make things
11:37better for himself and others.
11:41There are many ways
11:42to feel trapped,
11:43not just in prison,
11:44physically.
11:47Responsibilities,
11:48a draining job,
11:49an abusive relationship,
11:50financial problems,
11:51or addiction.
11:53We can all feel imprisoned
11:55in our own lives
11:55and our own minds.
11:57And I think that's why
11:59this film resonates
11:59so much with people.
12:01If you're going through
12:02a tough time,
12:03you can see a very
12:03encouraging message
12:04in this story.
12:07When we are in a painful
12:08situation for a long time,
12:10we can get used to the bars
12:11that surround us,
12:12forgetting that outside of them
12:13there is still a world
12:14waiting for us,
12:15but there is a way
12:16to free ourselves
12:17and that is by cultivating hope.
12:21Andy is a very
12:22introverted character.
12:24He barely speaks
12:24and when he does it
12:25is brief and concise,
12:27but as we get to know him
12:28through Red's perspective
12:28we can see that he is a person
12:30with a large inner world.
12:33The things the prisoners
12:34ask Red to bring to prison
12:36are tobacco and whiskey,
12:37but Andy asks for objects
12:38so he can pursue his hobbies.
12:42He sets out to improve
12:43the prison library
12:44so that other prisoners
12:45have access to books,
12:47music and movies,
12:48because he knows
12:48the great power
12:49that all these artistic works
12:50have to cultivate
12:51each person's inner world.
12:55And this idea reaches
12:57its high point in the film
12:58when he plays a piece
12:59of Mozart's
12:59Marriage of Figaro
13:00for everyone in prison
13:01at the risk
13:02of his own integrity.
13:18For some reason,
13:19beauty, hope
13:20and the feeling of freedom
13:21are closely related.
13:22When we listen to,
13:25watch or read art,
13:26our minds are freed
13:27for a moment
13:28from our lives.
13:30It makes us imagine places,
13:32people and situations
13:33that are far from us
13:34or that don't even exist.
13:37It's a way of liberating
13:38the human spirit
13:39from its limiting
13:40physical condition.
13:43Andy shows us
13:44the importance
13:44of cultivating
13:45this inner life,
13:46creating a place
13:47within ourselves
13:47where we can take refuge,
13:49because learning to imagine
13:50is the first step
13:51to being able to create.
13:55At the same time,
13:56we need hope
13:57to want to create something
13:58and run the risk
13:59that it doesn't turn out
14:00as we expected.
14:03Although the film
14:04wasn't very successful
14:05when it was released,
14:06it has ended up
14:07reaching people
14:07in a much more humane
14:08and genuine way
14:09through word of mouth.
14:1220 years later,
14:13it has now placed itself
14:14at the top
14:15of the most beloved films,
14:16competing with
14:17The Godfather himself.
14:18So, well,
14:19if you haven't seen it yet,
14:21I don't know
14:21what you're doing
14:22with your life,
14:22honestly.
14:23So, please watch it.
14:25As for me,
14:26that's it for the video.
14:27If you liked it,
14:28leave us a like,
14:29because that always
14:30helps a lot.
14:31And of course,
14:32what other things
14:33about the sentence
14:34of life do you like
14:35apart from the ones
14:35I've mentioned here?
14:36As always,
14:37I'll read you
14:38in the comments.
14:39Ciao!
14:39Ciao!
14:40Gracias por ver el video.
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