John Boorman's epic film 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 insight into the psyche of man, his struggle against nature and the elements, his conflict with individuality and his repressed battles. Boorman, creating deeper meaning for the more attentive viewer, deliberately places underlying notions into the film's mise-en-scène for purposes of interpretation and analysis. Say no to plagiarism. Get a custom essay on “Why Violent Video Games Should Not Be Banned”? Get an original essay The film follows a linear narrative along the 40-mile Cahulawassee River and was shot in Panavision, using a boxed format letters (widescreen) with an anamorphic lens. This narrowing of the frame gives the viewer a claustrophobic feeling and allows for greater detail and a wider view, integrating the characters and the natural landscape – an imposing and pervasive 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 haunting atmosphere. When Lewis honks the car horn, that sound is silenced for a second, then resumes. This reduction in natural sound is reminiscent of the alarm sound heard during the credits when the excavation and blasting occurs. The sound of the alarm and the subsequent explosion echo through the mountains, breaking the silence and extending to the panoramic view. This alludes to the imminent destruction of the area, when it will be flooded and turned into an artificial lake, and represents the intrusion of an urbanized society into pristine wilderness. The first few minutes of the film are a long sequence. it stops when Bobby talks to the mountain man who is refueling the cars. This long shot encompasses all the characters, grouping them together effectively. Junk and rusty cars are scattered around the yard. The old, dilapidated cabin seems deserted; however, the creak of a door opening can be heard. Dogs bark faintly in the background, almost giving the impression of a suburban neighborhood. The green canoe attached to the car and the clothes Ed, Bobby, and Drew are wearing look 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 highlighted in this scene. A following shot of Bobby talking from "his car" depicts his comical reaction and bigoted contempt for the mountain people, their way of life, and the state of the place where they live. This shows his arrogance and condescending attitude, typical of "city people". He is an obese, ignorant middle-class businessman who describes what men in our society fear becoming. He is the first to see the mountain man come out of the house and does not speak to him, turning away and calling Louis. Also, when one of the residents from the next town approaches Bobby and Ed asking, "Who picks a banjo?" here?" they have stony faces and do not respond rudely until the man leaves. This lack of dialogue reflects the unease between two very distinct groups. It becomes apparent later in the film that Bobby cannot not survive in the wild without help from others or civilization. The liberal-minded, soft-spoken Drew is the character the audience can relate to. people inestablishing a common interest: music. It is this peaceful and rational gesture that embodies the virtues common to most members of society. However, it is this virtue that ultimately leads to his demise; establishing the fact that rational thought and morality have no place in this situation, and that the primitive laws of nature ultimately prevail. His death in a later scene shows this; his mutilated body wrapped around the rocks, his arm dislocated and twisted around his head, his finger pointing toward the river. Lewis is the leader of the group – strong, virile and insightful. He controls the other characters, as his experience, prowess, and strength are far more evident than theirs. Lewis' cigar appears firmly stuck in his mouth, even as he approaches the gas pump, showing his willingness to take chances and risks. Lewis takes off his jacket when talking to the old man, exposing his tanned, muscular arms. This action is deliberate – an almost primal “display” of his body, attempting to establish his superiority by showing off his physique. The jacket, upon closer inspection, has a badge that reveals that he is co-captain of a skydiving group, which reinforces Lewis's position as a daredevil "macho man." The old man doesn't look at him, instead trying to look past him and see what's happening off-screen. The focus then shifts to the banjo boy and Drew "exchanging blows" in their "duel", cutting between the two of them as they pluck their strings. A long shot showing all the other characters can be seen. The old man with Lewis has his hand outstretched, waiting for his gas money. Lewis deliberately ignores him for several seconds, then hands him the money, which is quickly taken from him. Lewis's 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 serve as an intermediary 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 mountain man, thoughtfully smoking his pipe. His gentle demeanor and curiosity before the horrific events of the weekend are visible in this scene and, by the end of the film, have changed significantly, to the point where he seems more like someone like Lewis. Whether this is for the best or not is another story. These characterizations form a cross-section of modern society and constitute the central question of Deliverance: if society collapsed, who would survive? The cinematography uses cross-cutting techniques and alternates between two main lines of action: the boy with the banjo and Drew in a "duel", and the other characters and their reactions to the situation. Bobby starts clapping mockingly and continues until the song ends. A shot/reverse shot between Drew and the banjo boy gives the feeling of an exciting challenge between the two. The music is diagetic, synchronous and remains heard during crossings between characters. This juxtaposed use of sound in conjunction with image is important, because it gives a feeling of cohesion, and almost harmony between the characters, both “mountain dwellers” and “city dwellers”; the whistling of one of the highlanders, the “jigging” of another, an old woman watching from a window and clapping with Bobby, emphasizing this. This spontaneous musical duet is the only positive interaction between the men and the locals. Even Ed, rather silent until then, briefly addresses one of them. However, this foreshadows events to come. Drew is dominated and outclassed by what Bobby calls a "pathetic genetic monster", and admits defeat. This shows that.