The Crucible

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It is a truism that texts can be read in entirely different ways. As we have different people with different backgrounds and experiences, it can be assumed that texts will be valued differently for each person- based on their values.

Two different views on the film 'The Crucible', written by Belle Moore and Greg King respectivley, express this fact. The two readings return mixed reviews to the reader through their distinctive elements of style and simultaneous use of the expressive and pragmatic values.

The view adopted by Moore expresses a subjective and valued judgement of the film which borders on hyperbole through it's extensive use of exaggerated praise.

On the other hand, King's view comprises a more objective and emotive stance shown through it's sophisticated comprehension of the film.

This review concentrates on the film's pragmatic values, as the writer easily indentifies the connection planned through the historical sense to the McCarthy era. Progressing, King analyses the more expressive side of the film by guiding his readers through aspects of acting and emotions entwined within the films portrayal.

The focus of both articles can be clearly defined as one of the main aspects separating the two. When examining Moore's article, it is evident to see how she has interpreted the film as a powerful love story, bringing to attention her focus on the universal theme that when 'placed in a different time period, (The Crucible) still remains powerful'. This is rather than King's view as a film concerned with historical and lightly social events.

The exaggerated review by Moore is concerned with the analysis of the power and lust felt between ruling characters. The constant referal to the romantic genre in brought to attention with phrases such as 'this power is an undeniably strong and almost erotic sensation' identifing a strong bond between the two. She is also able to identify motives of interest to her underlying focus through the recognition of Abigail's desire to have Proctor's wife disposed of.

This particular writer also works into her review, somewhat 'unrelated' genres, such as comedy which is used to appeal to the audience, which add to the less than professional tone carried out amidst exaggeration.

Genres of a much deeper value are identified by King through his recognition of the historical elements in the film and related links in history. This is evident with his expressive tone by stating ' (this film) parallels with the poisonous politics and relentless prosecution that occurred during the height of the 150's'. Foregrounding of Proctor as the unlikely hero signifies the broader view shown by King rather than the personal reading and likening of the love, power and romantic affairs focused on by Moore.

The technique and styles used by both texts also oppose each other in formality and expression of their individual viewpoints. The reading composed by Moore adopts a wide range of anecdotes and colloquialism. These are integrated throughout a strong personal opinion of the film and an extensive use of personal pronouns. A highlight of typical genres, common in popular films, presents a less sophisticated presentation in this reading through possibly false interpretations.

Through her focus on the film's social strife, her text uses strongly opinionated language to foreground interpreted points and areas of importance in 'The Crucible'. Back to back usage of exaggeration merges into hyperbole with strongly expressed comments such as 'this serious suspense provides a heart pounding climax'.

Repetition of colloquialism used for the praise of actors ('gives a top-notch performance') furthers the interpretation of Moore's text as a far less dignified and sophisticated account in terms of language techniques. The reading of the film by Greg King however, does not incorporate many of the techniques so fondly adopted by Moore.

King writes an emotive and strongly expressed opinion with a much higher usage of sophisticated language techniques. He acknowledgedly refers to the McCarthy parallels in descriptive detail. His stronly positive position on the film's adaption blends into his foregrounding of the negative political sense. His view contains frequent use of adjectives, which flow straight to the point when interpreting the events and their reasons in the film. King is also able to interpret John Proctor's deeper meaning in the film, and is able to analyse it's effect in terms of his character holding the literal backbone of the story.

The extensive use of a much more expansive vocabulary is able to adequately bring across the writer's direct thoughts. This is particulary evident when describing characters such as Abbey, an 'unsympathetic, manipulative, spiteful and vengeful' character. This example of language shows a fraction of the sophisticated wording which spans the text, also commenting on the films stylistic elements.

The characterization and context of the film 'The Crucible' has been foregrounded in different perspectives by each text, when taking a comparison of the two. The examination of character interpretation in Moore's review is strongly linked to article focus. The reason being both aspects are seen as equally meaningful and interconnected by the understanding of the film as a love story when viewed by this writer.

A close analysis of Wiona Ryder's character Abigail shows this text interpreting Abbey as a misguided, lost lover with 'the power to condemn anyone she wants'. This text falls prey to sympathy towards Abbey and likens her taken actions to be mearly those of an emotionally driven young woman. Moore also indentifies Abbey's motives to be derived from a new lust for her newly aquired power, which she then, in turn, uses at her own desire.

Moore does not report in significant detail on other main actors, unlike King who provides a very detailed analysis of John Proctor and Abigail. While Moore's less structured text did not recognise the evil intermingled within Abigail's motives, King has directly pinned it, and reports on her nasty character traits which 'fan the wave of hysteria' for her own emotional benefit.

King's text is also able to link this element into an interpretation of John Proctor, correctly inscribing Proctor's own moral dilemmas which cause his action against the court. King examines the adaptation of the film from the original source as the play; an aspect Moore's text so pre-occupied with romantic contemplations, failed to in depthly place on paper.

King examines contexts of the film's 'intense confrontations', it's 'rich characters' and it's ' marvellously rich and sumptous visual surface' to great effect. As a result, a clear and objective breakdown of character portrayal and film context is presented in a form to be valued highly.

When analysing the two reading of Arthur Miller's 'The Crucible', in terms of language, foregrounding of information and argument, it is evident to see the different paths taken by the two texts.

Belle Moore's review entitled ' Miller's 'The Crucible' is a great play adapted into a great film' can almost be forseen through it's repetitive and common use of colloquialism and high praise in it's title. Her hyperbolic tones are unique to her use of the first person and subjective view when examining the focus of the film.

The central concern with the romantic crisis that runs parallel to the town's witchcraft hysteria is brought across in a rather undeveloped style of writing including anecdotes and occasionally present slang.

The objective view by King clears the path of subjectively personal concerns and allows other more appropriate information to become apparent. The values concentrated upon by King are focused more on the story's social historical and political concerns, linking in greater detail the McCarthy trials some 60 years later.

His greater appreciation of the characters value in the progression of the plot and exploration of film context are displayed through a highly emotive review comprising a greater use of advanced vocabulary.

Thus, it can begin to be seen that through pragmatic and expressive values amongst many other focuses, texts can indeed be read in entirely different ways.

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