Why, then, do so many contemporary writer/directors label their symbols? The hamhanded treatment of “symbolic” images in the remake of CAPE FEAR, BRAM STOKER’S DRACULA, and THE PIANO, to name three of the more barefaced examples. I can think of two likely reasons: First, to flatter the elite audience of self-perceived intellectuals that watches at a safe, unemotional distance while collecting ammunition for the postfilm ritual of cafe criticism. Second, to influence, if not control, critics and the reviews they write. Declamatory symbolism requires no genius, just egotism ignited by
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