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Willie Russell's Educating Rita In this play, Willie Russell has created two extremes of culture and put them together to focus on the differences between them and how
The comedy in Educating Rita is created by the clash of cultures. Educating Rita is a play in which the two main characters, Rita and Frank, are brought.
Rita begins as a stereotypical working-class girl, with a poor education, who hid behind humour. She goes through a series of changes and ends the play as a confident, wise, educated young lady, ready to make her own choices and get on with her life.
The Humour in Educating Rita Essays - 1551 Words | Bartleby
Having cast Michael Caine in "Alfie" some years earlier, director Lewis Gilbert reunited with him for the equally splendid "Educating Rita". Caine plays drunken, burned-out literature teacher Frank Bryant. Frank seems just about at the end of his rope when he meets hairdresser Rita (Julie Walters), who wants to continue her education. In the process, they both learn some things from each other.
This may sound like a cliché, but it's not here. They never let the movie turn into a sugary mess; they keep it strong from beginning to end. Michael Caine reaffirmed himself as possibly the Union Jack's most dependable actor of the post-war period, and Julie Walters jump-started a formidable career that would include "Billy Elliot" and the "Harry Potter" movies. Lewis Gilbert went on to direct "Shirley Valentine", another movie that everyone should see.
Educating rita humour essay - Santa Bárbara MG
Rita has a particularly determined character. At the start of the play she knows that she wants an improved life, with choices and she knows an education will give her that. So she is making sure she is going to get it, even at the cost of her marriage. When Rita leaves Denny she still wants to learn and discuss her ‘Macbeth’ essay immediately.
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In one of their last conversations Rita acknowledges that Frank had been right when he seemingly belittled her academic accomplishments: "You think that I just ended up with a load of quotes and empty phrases; an' I did. I was so hungry. I wanted it all so much that I didn't want it to be questioned. I told y' I was stupid." After thinking things over, however, and after having had a chance to take a closer look at the actual lives of people like Frank and Trish, she can see now that higher learning has to be questioned, and that seriously questioning it is an indispensable part of any liberal education worthy its name.
Play: Educating Rita, by Willy Russell Essay - 1324 …
Rita has to learn at the end of the movie that the culture and education that she has acquired with the help of people like Frank and Trish does not necessarily amount to the rich new existence that she had hoped for when she enrolled in the Open University. She has to understand that the life of cultured people may not be a real life at all, but rather a sort of substitute life--a series of preoccupations and activities without any deeper or meaningful purpose. Rita' s over-all education, in other words, consists of two parts. The first part is the learning of all the things that cultured people are expected to be in command of: articulate speech, knowledge of classic literature and music, important quotations and literary allusions, and so forth. The second part is recognizing that all this may mean little in itself, that a learned academic may essentially be as lost or impoverished a person as anyone without any formal schooling. Only after acquiring her academic training and recognizing its potential meaninglessness has Rita become a true graduate.
Play: Educating Rita, by Willy Russell Essay
A skeptical view of Rita' s academic accomplishment is persistently alluded to throughout the film, not only by the noteworthy unhappiness of Frank's and Trish's lives, but also by the theme of false appearances that runs through the entire story. The rows of classic books that hide Frank's whiskey bottles are introduced early on as an important and revealing leitmotif. The motif suggests that quite generally not everything is well behind the grand facades of the neo-classical buildings that dominate the campus of the University--that there really is "much less than meets the eye." Repeatedly we are shown the prominent wall of the auditorium inside which students attend lectures and take their exams, a wall that appears to be solid masonry, but which is in fact painted wood into which hidden doors have been cut. Fitting into such a tromp l'oeul decor, the two colleagues with whom Frank has personal relationships are not only somewhat pompous philistines, but they also try to deceive their friend by carrying on an amorous affair behind his back. Indeed, Rita herself may be said to partake in the culture of false fronts by assuming the name "Rita"--after Rita Mae Brown, the author of Ruby Fruit Jungle whom she greatly admires at the time of her enrollment in the Open University. Rita' s original name is Susan, and she eventually returns to that name once she comes to feel that her name change was an unworthy pretense. All the little deceptions and pretenses presented in the film are but so many hints at the possibility or even likelihood that the world of education and culture may not be nearly as sound and worthy as it is generally taken to be.
Educating Rita The play Educating Rita, only has two characters, Frank and Rita, Rita wants to learn literacy, and Frank is her tutor
Frank focuses on the problem by pointing out, for example, a difference that he sees between "poetry" and "literature." In Willy Russell's stage play "Educating Rita," on which the movie is based, Frank tells Rita: "Instead of writing poetry I spent--oh--years trying to create literature." And he declares categorically: "Poets shouldn't believe in literature." What he means is that genuine poetry is an expression of real life, not an attempt to impress a literary establishment. Genuine poetry is a response to problems and conditions that involve all important and pressing aspects of human existence. When poetry is truly creative it devises not just new and clever ways of saying things, but provides the reader with new visions, with new ways of understanding the entirety of life. Poetry, as Frank sees it, is not just sophisticated rhetoric, but a deep inspiration that affects our passions, our knowledge, and everything we do in the world. Literature, by contrast, is merely a cultural institution, a domain in which academic specialists concentrate on the primarily formal and aesthetic aspects of the expressions of life. Within culture as an institution there is an inevitable tendency to focus more on the forms of expression than on what is expressed; questions of form become more important than content. When the Bible, for example, becomes mere literature, it loses most of its power to offend or inspire; when Lincoln’s Gettysburg Address or King's letter from the Birmingham jail become specimens of fine speaking or writing, political struggles and real suffering recede into the background. For cultural establishments literature and high art become their own purpose, and the classes that support the institutionalized arts are not moved anymore by the disturbing questions and events that once inspired great works, but function more as expert consumers who delight in the aesthetic texture of things.