Thought some of you might find this interesting. At first glance this scene of Lois opening her locker with a key is quite unassuming, but on further inspection a peculiar depth is unveiled.
There are two hidden purposes that this scene has. Firstly, it foreshadows Flash’s warning to Bruce. >Lois Lane. She’s the key. This message will gain importance in future movies.
Secondly, and the purpose that will be our focus of attention, the scene is a key in itself for the movie’s interpretation.
Take a look at the names on each locker. Surely they can be connected somehow if they are shown to us this clearly. After all, Snyder is very fond of adding little hints like this. The first and easiest connection to make is that the names Rigby and Lane can be linked to two Beatles songs: Eleanor Rigby (credited to Lennon/McCartney but written by McCartney,1966) and Penny Lane (also credited to Lennon/McCartney but written by McCartney, 1967). Notice how both of them are female names.
With this in mind we can link the incomplete name on the far left, that reads “-melstein”. At first one might think it’s simply another Beatles reference, since the band’s manager’s name was Brian Epstein. This might not be far from the truth, however, there is an even better connection with the other two names that can be found.
Miss Marmelstein (Rome, 1962) is a song first introduced in the musical I Can Get It for You Wholesale by Barbra Streisand in the minor role of secretary Miss Marmelstein. In the number Miss Marmelstein laments that no one calls her by her first or second name. This fits perfectly with the leitmotif of female names.
Next, on the far right, also scribbled crudely on a piece of adhesive tape, reads “Hendrix”. At this point this shouldn’t surprise. To follow the pattern, a female name on a Jimi Hendrix song title could be found. The only Hendrix song released on his main albums to feature a woman’s name on the title is The Wind Cries Mary(Hendrix, 1967). However, we couldn’t simply stop there. Another Hendrix song to feature on a Snyder film (Watchmen) was his cover of Dylan’s apocaliptic All Along the Watchtower (Dylan, 1967). Remember that there are other references to Snyder’s Watchmen and his other past films sprinkled throughout Batman v Superman. If we want it, we can take it even another step further, and link the name Hendrix through free association of his Dylan cover to another Dylan song used in Watchmen, The Times They Are a-Changin’ (Dylan,1964).
Finally, the name that has proven the most cryptic is Klaff. There are several candidates to whom this name might belong to. The one that seems to tie with the baby boomer musical epoch of the 60’s and 70’s is Heinrich Klaffs, a photographer of the folk/rock/jazz musicians of the era. Note that Martha Wayne was a baby boomer too, born in 1946.
The obvious thing to do is to analyze the songs and see what they tell us about Lois Lane. Contrasted with Miss Marmelstein, who complains about the lack of intimacy of being addressed solely with her surname, Lois thrives in this and embraces her professional persona.
So far, Sinatra’s Night and Day and Cole Porter’s Ev’ry Time We Say Goodbye have provided depth upon further inspection of their meaning within the film’s context (see the Kubrick/Nietzsche analysis). The Eleanor Rigby/Penny Lane dichotomy is by far the most interesting in this framework.
Lincoln Nelson
On one side, Eleanor Rigby continued the transformation of the Beatles from a mainly rock and roll / pop-oriented act to a more experimental, studio-based band. With a double string quartet arrangement by George Martin and striking lyrics about loneliness, it broke sharply with popular music conventions, both musically and lyrically. Richie Unterberger of Allmusic cites the band's "singing about the neglected concerns and fates of the elderly" on the song as "just one example of why the Beatles' appeal reached so far beyond the traditional rock audience".
The song is often described as a lament for lonely people or a commentary on post-war life in Britain. McCartney could not decide how to end the song, and his friend Pete Shotton finally suggested that the two lonely people come together too late as Father McKenzie conducts Eleanor Rigby's funeral.
On the other hand, Penny Lane is far more upbeat, although McCartney himself in interviews has brought to attention its nostalgic undertone. The song features contrasting verse-chorus form. Lyrically there are several ambiguous and surreal images. The song is seemingly narrated on a fine summer day ("beneath the blue suburban skies"), yet at the same time it is raining ("the fireman rushes in from the pouring rain") and approaching winter ("selling poppies from a tray" implies Remembrance Day, 11 November). Ian MacDonald has stated: "Seemingly naturalistic, the lyric scene is actually kaleidoscopic. As well as raining and shining at the same time, it is simultaneously summer and winter."
Ayden Powell
It’s obvious that many themes in these songs can be transposed to the film’s characters and to the film itself. Eleanor Rigby’s loneliness paints a picture of Bruce, or Clark’s feelings related to the burden of protecting the planet. The kaleidoscopic, surreal, and ambiguous traits of Penny Lane speak of the film itself, and its numerous interpretations and reception by the public that surfaced on its release. Similar to Eleanor Rigby, BvS is too bleak for some people, expecting another cookie-cutter conventional pop song, but to others it’s necessary commentary on death and isolation. On the other hand Penny Lane reminisces about the past in a positive light and remains uplifting throughout.
>'Penny Lane' was kind of nostalgic, but it was really a place that John and I knew; it was actually a bus terminus. I’d get a bus to his house and I’d have to change at Penny Lane, or the same with him to me, so we often hung out at that terminus, like a roundabout. It was a place that we both knew, and so we both knew the things that turned up in the story. >– Paul McCartney, discussing "Penny Lane" in a 2009 interview with Clash magazine.
Ayden Perez
The film too reminisces about Superman’s legacy as a character in pop culture, and its contemporary importance (see Umberto Eco’s The Myth of Superman within the film context’s analysis). It’s also worth mentioning that Superman and Batman’s character arc throughout MoS and BvS seems to be gravitating to their traditional roots, that nostalgic past modern society yearns so much. Much of the backlash has been rooted in this disconnect, because the characters are being destroyed and rebuilt from the ground up, provoking a great backlash from some fans. It’s pretty obvious at this point that Justice League will finally portray the characters the way a large segment of the audience has been expecting them to be represented, it’s meant represent a payoff.
>As you realized, this movie is a destructive art piece. The one which deconstructs 76 years of Superman and Batman mythology (along with all the preconceived notions that comes along with it) and breaks these characters only to build them from the scratch again, to turn them into the kind of Superman and Batman you love, the one which you refer to as “My Superman and My Batman”. When Justice League 1 comes around you will finally witness the canonical Superman and Batman that you love, because these two characters have been through a crucible which changes them into the heroes you love. >thegekdom.com/home/2016/4/30/a-thesis-on-batman-v-superman-dawn-of-justice
Owen Ramirez
But what does it all really mean?
Ultimately, this is simply an interpretation of the scene. It’s still the reader’s choice to accept it, refute it, or think of an alternate one. After all, art is subjective, and two of the pillars of postmodernism are open interpretation and free association: the personal meaning of a film to the individual. For instance, Kubrick encouraged people to explore their own interpretations of 2001: A Space Odyssey, and refused to offer an explanation of "what really happened" in the movie, preferring instead to let audiences embrace their own ideas and theories. In a 1968 interview with Playboy, Kubrick stated:
>You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he's missed the point.
Ultimately, the way a good film speaks personally to anyone is a reflection of the individual himself. I invite everyone to share their opinions and interpretations openly - good or bad - of the film. After all Snyder intended this. By hiding this key and understated puzzle in an early scene, he was inviting the audience to retroactively provide feedback and create a dialogue between film and audience. I could analyze the rest of the songs I mentioned too, but I leave that as a choice for you.
Luke Perry
Thanks OP
Noah Morgan
> (OP) > > > > > >
Jace Jones
WCIA is the CBS-affiliate in Champaign, Illinois. What do they mean by this?
Bentley Gutierrez
Absolute masterpiece.
Sebastian Watson
Jesus fucking Christ kill yourself. Your mom is the key, how about that? Because hurr she uses the key to her car wowowowowowow
Nostalgia fags should reconsider their life choices
Mason Cruz
2deep4 Jeremy Irons
Matthew Myers
Fuck off DCuck
Henry King
Rest my child.
Levi Gray
>Implying there will be future movies
Mason Richardson
But the bell has already been rung.
Owen Fisher
I feel like im on an IMDB trivia page.
Joshua Roberts
...
Kayden Scott
...
Matthew Turner
>two pillars ...wait
Liam Collins
Cocaine or addies OP?
Brandon Murphy
Pleb-filtered kino
Nathaniel Nguyen
OP is a retarded
Robert Thomas
I promise you they're not
Evan Moore
K I N O I N O
Blake Green
The main theme of Snyder's "Batman v Superman" on spiritual dematerialism is not eschatological, but a phenomenological ontology. Thus he implies that we have to choose between predialectic construction and deconstructivist neodialectic theory, essentially Heideggerian as seen in the concept of Dasein. The subject is interpolated then into a cinematic dematerialism that includes spirituality as a whole. But if the Kierkegaardian worldview holds, we have to choose between the cultural paradigm of expression and atomism. In Snyder's own "Man of Steel" he has a character says that "the world's too big”. Inherent in this is how the function of Lebenswelt (cinematically translated by Snyder as "world of life") operates in all his films, chiefly in "Sucker Punch" and "300". We see a phenomenological approach to the world showing a cinematic logic that presupposes a strucutral constraint in rootedness, another intentionality central to his filmography and philosophy. Because "metaphysical comfort" is not an object of temporality per se, but rather an aspect of automatic condition, as suggested by Cavell. Hermeneutic interpretations are also apparent in his post-"Watchmen" movies; in fact the interchangeable subjectivities are but another representation of Husserl's and Wittgenstein's "form of life". As his academic hero Heidegger succintly noted, "freedom is the ‘abyss’ of Dasein, its groundless or absent ground". This is essentially the thesis operating in Snyder's films.
Isaac Ortiz
Thanks OP
Nathan White
Thank you for the insight OP
I wish more films were able to elicit this sort of intellectual deconstruction
