Table of Contents Simon Whereas Ralph and Jack stand at opposite ends of the spectrum between civilization and savagery, Simon stands on an entirely different plane from all the other boys. The other boys abandon moral behavior as soon as civilization is no longer there to impose it upon them. They are not innately moral; rather, the adult world—the threat of punishment for misdeeds—has conditioned them to act morally.
We don't need no thought control. No dark sarcasm in the classroom. Teacher leave them kids alone. Leave them kids alone! All in all it's just another brick in the wall. All in all you're just another brick in the wall. Leave those kids alone! Song In A Sentence: Pink continues to speak out against the cruel teachers of his childhood, whom he blames for contributing more bricks to his wall of mental detachment.
As a result, some countries, such as South Africa, have banned the song from being played on the radio, a few going so far as to place a national ban on both the album and Pink Floyd.
However, counter to these extremist views of total educational anarchy, the song was written as an attack against a specific type of learning, that which Waters endured as a child.
For Waters, the rote learning and sadistic delivery of his school teachers produced little more than faceless, social clones who knew the definition of an acre yet who could not produce an original, imaginative thought.
And yet despite being a song about fighting for individuality, the lyrics are full of apparent conformity. And just as the band ironically conformed to the most popular musical genre at the time by giving the song a disco beat, the carefully measure beat and still-repetitive rhythm suggest a young Pink also conforming to the conventions of building a wall.
The darkness and cynicism of the set design is due in large part to Gerald Scarfe, who based the factory-like school in the video on some of his previous artwork inspired by his own education.
The children march in unison to the same beat, rolling through a machine only to emerge as putty-faced clones void of individuality. Their hollow eyes and mouths evoke a certain amount of revulsion in the viewer. This is deformed humanity, beaten and pressed into a sightless, speechless mass incapable of seeing or speaking out against the oversized meat grinder that eventually minces them all into the same ground beef-like worms.
The images are effective in their exaggeration, making the message painfully clear. Oppression of any kind, whether personally or socially, leads to the death of individuality, which in turn leads to soulless homogeneity, which at last leads to decay.
Hammers are a major dichotomous symbol in the Wall possessing both creative and destructive powers, simultaneously beneficial and oppressive.
The same hammer that constructs a house has the power to tear it down. Both natures of the symbolic hammer are explored in greater detail later in the movie and album as Pink slips further into his dementia. The ideas of conformity in revolution inherent in the song are exemplified to a large extent in the accompanying film footage.
Although the children in the second verse sing lyrics of personal rebellion, their unified singing coupled with their symmetrical seating in the film are as eeriely structured as when they march down the hall in lockstep rhythm.
Despite their rebellious intentions, they have become just as homogeneous as when they were school clones. Furthermore, like the dual nature of the hammers, what begins as a productive revolution the regaining of individuality turns into destructive violence as the children destroy their school and create a funeral pyre for their teacher with the instruments of their past educational repression.
While overly-domineering figures are destructive to personal development, the absence of any authority figure is just as caustic. The dictatorial teacher represses each individual child, but the lack of any education whatsoever is just as harmful.
In this sense, living life is like walking a thin wire between two opposite but equally destructive forces. While the scenes of the children marching through the factory-school are undoubtedly fantastical, the rebellion that takes place during the guitar solo is much more realistic, thus causing a bit of confusion with some viewers as to whether these events are truly taking place.
There are no fantastical elements to the set, and the violence portrayed is certainly feasible. What Other Floydians Have Said "When the school children are all chanting 'We don't need no education' together in unison, this act, in a way, is MORE conforming than the education they have grown to hate.
If you think about it, Roger Waters was saying that even in a revolt against conformity there will still be the presence of conformists, or uniformed followers. The use of the helpless school children is magnificent and proves my point even more.
These kids do what they are told! I mean, I read somewhere that Roger got the idea to use a group of kids one day and then BANG, the next day he asked a school if he could come in and BANG, they all agreed and within a short period of time, the entire chorus of children was recorded.
Nobody raised a fuss or anything, even the teachers in the school were excited and caught up in the moment without fully understanding what was going on. My point is this: Roger Waters wanted to show how conformity is ever-present, even when we're little, and even when we are rebelling.
His point is definitely powerful.Get exclusive film and movie reviews from THR, the leading source of film reviews online. We take an honest look at the best and worst movies Hollywood has to offer.
Current and archived movie reviews by Chicago-based film critic Josh Larsen. A study of the film blow. Print Reference this. Disclaimer: This work has been submitted by a student. This is not an example of the work written by our professional academic writers. You can view samples of our professional work here.
Revisited on the Anniversary. October marked the 40th anniversary of the Cuban missile crisis, in which the United States and the Soviet Union came chillingly close to nuclear war over the placement of Soviet strategic weapons in Cuba.
This is a fantastic analysis. One minor point, though: Sigourney Weaver is fluent in French maybe that’s why she was able to follow those instructions to disengage the self-destruct? Blow is a American biographical crime film about the American cocaine smuggler George Jung, directed by Ted Demme.
David McKenna and Nick Cassavetes adapted Bruce Porter's book Blow: How a Small Town Boy Made $ Million with the Medellín Cocaine Cartel and Lost It .