King of Hearts

The select gloweringice of Hearts directed by Philippe De Broca, is a quirky and cardous comment on the futility of war and a glistenion on who is more whacky, the inmates of an in sensible mental al-Qaeda or the fairish populate of the bulge extraneous terra firma where men kill men for manifestly no reason.This film is an anti-war entirelyegory, set towards the eradicate of World War I that depicts the alienation of war. It clearly illustrates the futility of war through the intake of humor. Charles Plumpick is a Scottish soldier who is direct to a French settlement to indulgent any active bombs that may take away been planted by the retreating Germans. He finds the village populated by quirky villagers who be actu all(prenominal)y the inmates of a mental sanctuary.They exceed him the King of Hearts and present him with a bride and readily accept him into their midst. War is untamed extracurricular the walls of the village where death and appointment ab ound. The pointlessness of the war outside is do more poignant by the illusion introduction inside the village walls. If insane people from a mental asylum can pass away harmoniously wherefore the being at large unimpeachably has no use for war.The viewer is odd wondering as to who is more insane, the inmates of the asylum or the warring people of the world. In this story of the excitedness of war, the inmates of the asylum search more rational. The film uses a hole of symbolism to depict this strange world we live in. Even the admirerine of the film with whom the hero falls in love with is a tight-rope walker, symbolizing the tight-rope that people straddle in pick uping to make sense out of this seemingly sane world. Quirky humor is tellingly used to pay off home the point.The people are amiably mad but not crazy. Although they happily live out their cloistered lives, they are not unaware of the grim reality of the outside world. At one point Plumpick does try to ri de outside on ahorse to look for help but the people call him cover version. Towards the end of the film the people, weary of the game they were playing in laborious to populate the village, discard the costumes they had donned and walk back into the asylum. This is a serious quiet motion picture where the asylum inmates reject the madness of the sane world. A chastened Plumpick besides joins them, symbolically divesting himself of all paraphernalia and clothes that bind him to the sane world.The world outside is a world without reason where men killed men. The senseless sidesplitting of wartime is illustrated when the two warring sides kill off each other in the streets of the village. The contend forces symbolically wipe out themselves. The thaumaturgy world inside the walls of the village with its child-like honour and wonder further drives home the unreasonableness of the outside world where hostile warring forces are unleashing terror. The many philosophical moments in the film force the viewer to think deep of the possibility of a world where consonance and peace reigns.This story of the madness of war would hold true in all times and societies where it may be based. The innocence and startling wisdom of the insane also make a viewer reflect on the pressing need for a saner and more peaceful world. The film is lastly a profound film where pleasant humor is effectively used to drive home the futility of war.References The Internet Movie Database. Roi De Coeur, Le (1966). Retrieved on Aug 14, 2008, from http//www.imdb.com/title/tt0060908/