John Boorman's epic Deliverance has long been described as the ultimate "macho" film; a rite of passage that separates the "men from the boys", glorifying strength and physical prowess over ethics and decency. As uncompromising as this conception may be, Deliverance is an evocative look at the psyche of man and his struggle against nature and the elements, conflict with individuality and repressed battles. Boorman, creating a deeper meaning for the more attentive viewer, deliberately places the underlying notions of this into the film's staging for interpretation and analysis. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The film follows a linear narrative along the 40 miles of the Cahulawassee River and was shot in Panavision, using a letterbox (widescreen) format with an anamorphic lens. This narrowing of the frame gives the viewer a claustrophobic feeling and allows for greater detail and a broader view, encompassing the characters and natural landscape, a massive and omnipresent theme in the film. The sound of crickets and birds, invisible to the characters, is heard in the background throughout the film and creates an almost disturbing atmosphere. When Lewis honks, this sound is silenced for a second, and then resumes. This natural sound muting is reminiscent of the alarm sound heard during the closing credits, when the excavations and explosions occur. The sound of the alarm and the subsequent explosion echoes through the mountains, breaking the silence and spreading across the landscape. This alludes to the imminent destruction that will occur in the area, when it will be flooded and transformed into an artificial lake, and represents the intrusion of urbanized society into pristine nature. The first minutes of the film are one long sequence. that ends when Bobby talks to the hillbilly fueling the cars. This long shot contains all the characters, effectively grouping them together. Wrecked and rusted cars are scattered around the yard. The old dilapidated shack seems deserted; however, you can hear the creak of a door opening. Dogs bark softly in the background, almost giving the impression of a suburban neighborhood. The green canoe tied to the car and the clothes Ed, Bobby and Drew are wearing appear to be new. This supports the fact that they are inexperienced outdoor enthusiasts and probably bought them specifically for the weekend. The personalities of the four main characters are all made evident in this scene. The next shot of Bobby talking about "his car" portrays his comical reaction and bigoted disdain for hillbillies, their way of life, and the conditions of where they live. It demonstrates his arrogance and condescending attitude, typical of 'city people'. He is an overweight, ignorant middle-class businessman and describes what men in our society are afraid of becoming. He is the first to see the mountain man leave the house and does not speak to him, but turns away and calls Louis. Also, when one of the nearby townspeople approaches Bobby and Ed, asking, "Who picks a banjo?" Here?" they are stone-faced and do not respond rudely until the man leaves. This lack of dialogue portrays the discomfort between the two very distinct groups. Later in the film it is evident that Bobby cannot survive in nature without l the help of others or civilization. The liberal-minded and soft-spoken Drew is the character the audience can identify with. He tries to have a decent interaction with people by establishing a common interest: music Andrational person who embodies the virtues common to most members of society. However, it is this virtue that ultimately leads to his death; establishing the fact that rational thought and morality have no place in this situation, and so ultimately the primitive laws of nature prevail. His death in a later scene describes this; his mangled body wrapped around the rocks, his arm dislocated and twisted around his head, his finger pointing towards the river. Lewis is the leader of the group: strong, virile and insightful. He controls the other characters, as his experience, skill and strength are much more evident than theirs. Lewis' cigar appears firmly lodged in his mouth, even when he approaches the gas pump, showing his predisposition to risk and danger. Lewis takes off his jacket when talking to the old man, exposing his tanned, muscular arms. This action is deliberate: an almost primal "showing off" of his body, seeking to establish his superiority by displaying his physique. The jacket, upon closer inspection, has a badge revealing that he is a co-captain of a skydiving group, which reinforces Lewis' position as a daredevil "macho man". The old man doesn't look at him, instead trying to look past and see what's happening off-screen. The focus then shifts to the banjo guy and Drew "exchanging blows" in their "duel", cutting between the two of them as they pluck the strings. You can see a wide shot showing all the other characters. The old man with Lewis has his hand out, waiting for gas money. Lewis purposely ignores him for several seconds, then hands him the money, which is quickly snatched from his hand. Lewis' independence, strength, and power embody the attributes that men would like to have. These types of men are embodied in the character of Ed. He is the central character, and seems to mediate between the two polarities of the group; typical suburbanites Bobby and Drew and outdoor adventurer Lewis. Ed calmly watches the action between Drew and the banjo-playing hillbilly, smoking his pipe thoughtfully. His meek demeanor and curiosity before the weekend's horrific events are seen in this scene, and by the end of the film, he has changed significantly, to the point where he is more like someone like Lewis. Whether all this is good or not is another story. These characterizations constitute a cross-section of modern society and form the central question of Deliverance: if society collapsed, who would survive? The cinematography uses cross-editing techniques and alternates between two main lines of action: the banjo boy and the "dueling" Drew, and the other characters and their reactions to the situation. Bobby begins clapping mockingly and continues until the end of the song. A shot/reverse shot between Drew and the banjo guy gives the feeling of an exciting challenge between the two. The music is diagetic, synchronous and remains heard during transitions between characters. This juxtaposed use of sound alongside image is important, as it gives a feeling of cohesion and almost harmony between the characters, both the "hillbillies" and the "city folk"; the whistles of one of the hillbillies, the 'jig dance' of another, an old woman watching from a window, and Bobby's clapping, underline this. This spontaneous musical duet is the only positive interaction between the men and the locals. Ed, mostly silent until then, also speaks briefly to one of them. However, it foreshadows the events that follow. Drew is defeated and outclassed by what Bobby called a "pitiful genetic monster" and admits defeat. This shows that the characters are actually "out of their element" and "out of their depth" in this strange and alien world. The discomfort between men and women.