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You can simply concern if the director’s caricatures of the town’s characters undermine his intent, or come to a decision that his melodramatic plot twists are too a lot to sensibly abide. Mother, director Bong’s fourth film, sustains his common themes but skews a great deal darker amid the slapstick. More so than Bong’s other films, Mother normally takes the audience’s sympathies and expectations to shocking sites. There’s no intellectual rigor powering the curtain, as with, say, the Coen Brothers, probably the closest American analogue to Bong’s filmmaking design and style. Tonally, Billy Wilder’s prisoners of war story is a accurate dramedy, fitting into an odd article-war room when American cinemagoers were being apparently written content to giggle at the horrors confronted by prisoners, even even though staying reminded of the lethal outcomes of incarceration, which have been clearly even much more dire for victims of the Holocaust. It’s William Holden who tends to make the film simply click and hum, portraying American airman Sefton as a rather sleazy but clever profiteer who figures that if he’s going to expend time in a POW camp, he may well as effectively be an enterprising huge shot though he’s there, residing as comfortably as he can. Anne eagerly awaits for Sarah’s letter, though Sarah tries to express what she feels in composing.