The hypnotic allure of cinema often makes us overlook its minor imperfections. This phenomenon could be nothing short of enchanting, spinning a web of immersive experiences where the audience often overlooks minor failures. Some movie enthusiasts, on the other hand, are drawn into digging deeper, re-watching and studying the film under microscopic scrutiny. A few echoes of these individuals feel bound to shed light on overlooked errors in movies, even the most iconic ones. I, as one of these individuals, am about to shed light on some overlooked aspects of Frank Darabont’s magnum opus, ‘The Shawshank Redemption’.
The setting of Shawshank Prison, according to Stephen King’s original novel and Darabont’s rendition, is located in Maine. One expects a mix of strong New England accents breathing life into the characters. Shockingly, there is a conspicuously missing New England accent from almost every character, save for the warden, whose accent can be observed sporadically. This fact becomes more evident after a couple of revisits to the film, potentially serving as a minor flaw.
In the plotline of Shawshank, nearly two decades of life within the prison walls goes unseen, marked by the arrival of Andy (Tim Robbins) in Shawshank State Penitentiary in 1947, and his dramatic escape in 1966. However, the passage of time was not etched into the visages of Red or Andy. All characters retain their youthful aura throughout the film, save for the moment Andy drags himself through the muck to attain his freedom. Creative decisions may have sidestepped the aging process to avoid implausible portrayals, a trend often observed by folks inside the industry.
As the film progresses, it delves into an assortment of wide frames showcasing the grandeur of Shawshank. On careful introspection, it becomes apparent that these shots have shadows betraying a modern intrusion—the shadow of a helicopter carrying the camera. Moreover, the peripherals of the frame occasionally capture modern cars, clearly out of sync with the film’s timeline.
Red, the character essayed by Morgan Freeman, is touted as the ‘go-to’ man within the prison, with access to an array of items. Despite playing the role of a contraband provider, particularly cigarettes, the peculiar fact remains that Red is never once seen taking a puff. Perhaps an oversight, or was it intentional? Especially when you notice that the cigarettes Red deals in, Marlboro Miles, were indeed not around until the 90s.
The scene revolving around Andy’s escape through the sewer has been a subject of debate for many viewers. Accommodating the laws of physics, the flow of the sewage water seems to lose its natural rhythm as it leaks from the broken top of the pipe. The intricacies of this sequence might take some liberty with physical laws, potentially owing to Darabont’s then fledgling directorial experience—in such instances, the realms of cinema and true physics can often reside at opposite ends.
An added layer of intrigue in the movie surfaces with multiple easter eggs linking back to affiliation with Stephen King. Darabont seems to have left numerous nods to King subtly embedded within the storyline. For a King aficionado, these signs could turn into a prized hunt. Nudges towards King’s ‘The Shining’ and sly remarks on Red’s Irish roots reference King’s original works. While these additions are not exactly mistakes, they come across to some as somewhat overstated.
However individualistic or excessively detailed these criticisms may appear, it is important to acknowledge that filmmaking is, in essence, a human endeavour afflicted by imperfection. The Shawshank Redemption, nevertheless, continues to be a remarkable film, even more so considering ‘Shawshank’ was Darabont’s directorial debut. These minor mistakes do not in any way undermine the film’s brilliance, but merely serve as a testament to the rigor of the cinematic art form.
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