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The story Killings written by Andre Dubus narrates about parents coping with a sons death which shattered Matt and Ruths world. They were full of sorrow for their son, and hatred for the man who did this to him. But what is more vivid is that this story is an exiting depiction of murder created by two people who seem unalike but in reality are actually quite the same. The story focuses on the two murderers different approaches to their crimes, creating a question of whether or not either murder is reasonable. Throughout Killings, Dubus provides many differences and similarities between the two murderers, Matt and Richard, and in such a way he supports the theme of the story that no murder has good reason. Dubus provides many similarities that Matt and Richard share which helps prove that neither murder has validation.
Both men live normal lives before the murders take place. Both are husbands and fathers, and, after the first murder, both have two remaining children. One of their strongest similarities is that both use their wife as justification for the murder. Matt and Richard are also both ironic in the way they use their families as justification for murder. As Dubus points out: Richard Strout shot Frank in front of the boys. They were sitting on the living room floor watching television, Frank sitting on the couch, and Mary Ann just returning from the kitchen with a tray of sandwiches.
Strout came in the front door and shot Frank twice in the chest and once in the face with a 9 mm automatic. Dubus provides several distinct differences between the two men that also aid in supporting the theme. Richard Strout has more jealousy and rage than Matt Fowler, and he simply shoots Frank out of anger and never shows regret. Matt doesnt seem to regret his actions; he just kills and prepares for his punishment. Fowler, on the other hand, thinks about the consequences of killing Strout. He humanizes Strout by describing the furnishings in his house and his unknown girlfriend.
Though Strout is supposed to seem like the villain, Fowler, unlike Strout, carefully plans his crime which makes him appear like even more of a killer than Strout. Dubus provides evidence when he states that They were on the main street, and all the stoplights were blinking yellow. Willis and Matt had talked about that too: the lights changed at midnight, so there would be no place Strout had to stop and where he might try to run. Fowler's careful plans give him the resemblance of a professional or some individual taking pride in his work. He even feels bad about what he is doing at one point, but doesnt back out. It is illustrated when, As they drove back through town, Matts body sagged, going limp with his spirit and its new and false bond with Strout, the hope his lie had given Strout (1414).
Fowler's careful planning and determination to finish the job make him appear to be more of a murderer, even though his crime is supposed to be acceptable. Andre Dubus style of writing is interesting and effective. He reinforces the theme of his story, Killings, by comparing and contrasting two murderers, revealing that murder is unacceptable even in cases of revenge. By incorporating two different murders, he is able to divulge the consequences behind each iniquitous crime and prove that no murder is justified. Speaking about the movie In the Bedroom based on this short story by Andre Dubus, I can say that this the movie is a soul-searching personal journey into loss, anger and the often-bitter search for justice in the wake of a crime. It's also a tragic examination of the failure of communication in a proud family that lives to regret it But I believe that Todd Fields, the director of this film, seems to make his debut in this movie.
The movie doesnt portray all the details of the characters and their inside world as the story does. Fields made an over indulgent movie which neither paces itself or practices any restraint for the benefit of pacing. Fields, I believe, should have paid less attention to his external factors and more attention to the inside part of his characters. Much of the film's failure is due in part to director Fields, who gives the movie a pace that takes away any sense of intensity it had going for it. From long periods of silence between dialogue to artsy insertions of flowing curtains and sunny pastures, there are moments here that are sure to bore people out of their wits, if they haven't already headed for the concession stand in an attempt to reawaken themselves. We do not learn much about these characters outside of what is visible to the eye.
There is some tension that lies between Natalie and her husband, Richard, but it is smothered by the fact that we have no idea why the two have been apart for so long, leaving us little choice but to succumb to Ruth's own belief that Natalie is little more than a trollop whose latest adventure just happens to be her son. There is also some promise within the relationship between Frank and his father, who approves of his love affair, and between Frank and his mother, who dislikes the relationship. Here, Field displays his actor's instinct throughout, allowing the characters to grow and sometimes get confused in detailed ways. This is particularly true following the tragedy, when the lengthy grieving process is charted with an almost maddening attention to daily detail. The film's focus is fuzzy and muddled, moving from one scene to another without much care for developing characters or rhythm, all at a pace that will provides many with a well-deserved nap, if nothing else. Bibliography web web
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Research essay sample on Matt And Richard Andre Dubus Strout
