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In mainstream Hollywood films, and especially genres of films, there is an inexpressed agreement between the film and the audience regarding a happy ending. To be sure, the goals of this have been around for decades, especially after the collapse of the production code has meant that American films should not be in line with stable morality or vibrations that feel good. One of the reasons that the lines between the standard "happy" end and proper is blurred thanks to a deeper general understanding of the genre - in other words, the audience now realizes that the western part of the gun can end up in the death of the character, just like noir for the morally corrupt gum. However, the assumption exists, and thus a movie that seems to deviate from this unspoken promise

With "Caught as stealing", the latest film by director Darren AronofskyThat deal is spoiled when the unfortunate hero of the film, Hank (Austin Butler), rushes to his girlfriend, Yvonne (Zoe Kravitz), only to discover that it is too late and one of the very bad criminals with whom she found. It is a twist that feels like injury to several levels. First, Aaronophic and writer Charlie Huston (which adapts his novel by the same name in 2004) play fast and loosely with the tone of the film, making it look fun and frivolous as it allows darker elements to creep. Second, Yvonne's death seems to be an example of the Fried trophy, A term invented by Gale Simon who is short for "Women in Refrigerators", named for the infamous edition of the "Green Lantern" comic book. In short, the term refers to the trophy where violence made on female characters is used only as an emotional motivation for the male protagonist.

While Yvonne's death in "caught theft" seems to be in line with this surface trophy, it is actually far more important than just to provide emotional stakes. The film tries to tell a story full of shame incidents, while it remains nasty and grounded, a balance that makes it quite unique in the landscape of crime films, as most tend to choose a tape rather than walking between them. The murder of Yvonne is something that not only motivates Hank, but informs the whole culmination of the film. In other words, while the choice to kill Yvonne is controversial, the film does not work without him.

"Caught theft" contains a number of tropes that are common for Aaroofsey's filmsMain among them the concept of exiled protagonist. This is combined with many trophies of the story of noir/crime that Huston carries from his source of novel, resulting in that Hank Thompson has a much harder time physically, emotionally and spiritually than your average "Guy's head" story. This bow is in itself a subversion, because Aronofsky and Huston seem to have set the film as a light romantic adventure: Hank, a mild bartender, is only involved in searching for the missing pile of money that includes several aspects of the underground of Cuyork, because his roar, All this is the case of wrong intentions and bad timing, as Rus was not trying to take off his partners in mass money, but they assume that his departure suggests that, and Hank only ended up keeping the key to wealth.

It is a plot full of wrong identities and escalation circumstances that seem to be focused on a farce, a "fish called Wanda", "The whole nine yards" or "playing night". "Caught stealing" as long as it is intentionally comical, as it is, does not want to be that kind of movieAfter all, it is Yvonne's murder that makes it clear. Yvonne's murder can be cruel to the film in the way he pulls the rug under the audience in the hope that more than the couple's chemistry, but not aligned, as it appears outside the screen. It is also not incident, as it sets tones and emotional stakes for both the film and the Hank itself. Unlike other crime films, Hank is not a former (or current) professional policeman or criminal; He is an average man and never killed anyone in life (deliberately, however - more about it at one point). Thus, a few stabbed killers in the film, especially the detective Roman (Regina King) and the Orthodox Jewish duo Shmuli (Vincent D'Onofrio) and Lipa (Liyev Schreber), confidently believe that Hank is not a killer. They are right, and yet Lipa and Shmuli-which are otherwise good Jewish boys who love their mother and make their faith-prolong to remind Hank that the world is corrupt and that the murder is a non-complex issue rather than triggering activation. When Hank reveals that the duo is responsible for Yvonne's death, his deliberate murder-by-car feels weighted, more important and more than only if Hank would be an experienced killer.

Of course, it is true that Yvonne's sudden exit from the film leaves her character to feel incomplete, despite the short moment at the end of her last scene when Kravitz points out that Ivon might have been ready to "go deeper" in her relationship with Hank, as she alluded to. Yes, her death is used to motivate Hank to increase his fear, anxiety, sadness, loss and ultimately, the desire for revenge. It also motivates the finishing of the film and allows for the development of Hank, as well as closing the plot to fully align. During the film, Hank proved to be well -intentioned, but irresponsible, running from dedication and his deeper emotions, which is something Yvonne was trying to make him fix. It turns out that Hank's questions stem from a tragic incident in his past, with he and his high school baseball team Dale (D'Afara Won-a-Tai) drank while driving, and the resulting car accident left the car, and left the car. Hank is suffering from repetitive nightmares around the accident and has since refused to step down from the steering wheel of the car. Only through his experiences in the film, he can finally take responsibility for the life he took, as unintentionally as he could.

In another smart subversion, Aronofsky and Huston provide a fax resolution of the film just before its real climax. After eliminating the criminals trying to kill and/or shape it, Hank finally pulls behind the wheel, driving Lipa and Jamuli at home (who are abstained from driving in respects), men promising to leave Hank alone and give him several hundred. That's when Lipa pulls out the characteristic cigarette lighter that used to be Yvonne, telling Hank and the audience that they are responsible for her murder. Thus, Hank brings murderous revenge The only way he knows how to deliberately crash the car in sex. It is a moment that brings every main thematic thread of the film and character: Hank takes responsibility instead of the lightweight exit, he finds his moral explanation of killing, he makes peace with his past and he faces it essentially activate it. None of this would work emotionally or logically without Ivonian loss, proving that her death, although robbing the film of a great actress who gives a charming performance, is important and necessary for the story. While the choice may still dislike and criticize it, it is not frivolous or irresponsible.