*. I suppose the place we have to start talking about The Shawshank Redemption is with its cult.
*. The word needs some explanation. I don’t mean cult in the sense of an underground or indie favourite — The Shawshank Redemption is as far from that as you can imagine. Instead, I’m using cult to refer to the movie’s committed following, which (just to put my cards on the table) seems irrational to me.
*. When I say it’s irrational I’m talking more about the intensity of feeling the movie inspires rather than the fact that a lot of people like it. As is well known, for many years it was at the very top of the IMDb polls as the highest rated movie ever made (David Thomson: “Times are hard.”). And indeed it continues to hold a special, indeed singular place in many people’s hearts. This is one of those strange cultural facts that critics and commentators have for many years now struggled to explain.
*. I don’t think I can explain it either, aside from pointing out the obvious. It’s a feel-good movie with a message about the power of hope and the triumph of the human spirit. What’s not to like about that? Everything about it goes down as smooth as Morgan Freeman’s buttery narration, and while it mocks religious hypocrisy (a favourite target of author Stephen King) its own point of view is infused with spiritual feeling.
*. With regard to this final point, here’s a line about the film from David Thomson that I have to correct. Thomson writes that “It comes from a novella by Stephen King broadly dedicated to the notion that good nature will come through in the end, yet this is a principle that seldom operates in Mr. King’s customary horror works.” This isn’t true. King has always mocked organized religion, but his belief in a special providential force in the universe that sees to it that goodness and virtue receive their reward is almost always operative in his work. This is one of the things that has made him such a popular author, and which no doubt has contributed much to the staying power of this film.
*. Roger Ebert, a critic who could often be a reasonable proxy for an Everyman (I say that without any snark), had this to say about the Shawshank phenomenon: “Films about ‘redemption’ are approached with great wariness; a lot of people are not thrilled by the prospect of a great film – it sounds like work. But there’s a hunger for messages of hope, and when a film offers one, it’s likely to have staying power even if it doesn’t grab an immediate audience.”
*. So . . . hope. Redemption. The triumph of the human spirit. “No good thing ever dies” (that’s a quote from the film). There is a “hunger for messages” like this. The Shawshank Redemption is soul food for the needy.
*. It’s not to my tastes. I think it’s nicely turned out, but at the end of the day it’s such a hokey, clichéd fairy tale I couldn’t get anything out of it. Instead of feeling uplifted at the end as Andy and Red meet for a chaste hug on that great, safely nondemoninational heaven of a beach in Mexico with all the money in the world I just thought to myself, “Well, that’s nice.” How much more can you read into a film so well-meaning and so bland? Its chief virtue is its simplicity, resilient to criticism and open to all manner of interpretation. Apparently there is a whole moral philosophy contained in the admonishment to “get busy livin’, or get busy dyin’,” but it’s a line that strikes me as meaningless. Am I trying too hard?