The conflict model, or perspective, states that society is made up of an unequal distribution of limited, desired resources some individuals get more of the resources than the others, and this ultimately causes the conflict. The one that I believe to be the most accurate in this particular film is the conflict perspective. Social stratification is the system by which society characterizes and ranks people into strata, …show more content… This is an obvious issue in the movie, but it can be observed and analyzed by using two different perspectives-conflict and structural-functionalism. The major issues of this movie are social stratification and social mobility. In order to find similar movies to Sweet Home Alabama weve taken into account a large range of possible influences including movie genre, storyline and. However, all of that falls apart when she comes back home to Alabama. Overall, the story explains how she wanted a better life than she had back in Alabama so she pretended to come from a wealthy background, built her own fashion line, made a name for herself, got engaged to a very wealthy and famous man. The major conflict in the plot is that Jake, Melanie’s ex, never signed their divorce papers, making them still married.
She married a man when she was younger, but after they split, she moved to New York where she made a new life for herself and met her now fiancé, Andrew. They discuss their future together, with Jake asserting they will be married one day. Jake has brought Melanie out to show her the glass sculptures that result when sand is struck by lightning. Melanie grew up in a small town in Alabama her family was like many of the other families there: country and part of the working, middle to lower class. The film opens on a stormy Alabama beach with two children, Melanie Smooter and Jake Perry. The movie is focused on the life of one particular character, Melanie Carmichael (actually Melanie Smooter). Rent it now.Show More I decided to watch and analyze the movie Sweet Home Alabama. Oscar stupidly snubbed the Reese peak to date as high school politicaliller Tracy Flick.Ī never-sexier Reese (and that includes Cruel Intentions in 1999) twists Little Red Riding Hood into Lolita. Her paycheck has since climbed to $15 million. “I’m Elle Woods, and this is my dog Bruiser Woods.” Playing a dumb-as-a-fox Harvard student, Reese turned a cheapie farce into comic gold. Even in this less-than-magic-kingdom, Reese rules. Who else could turn the wimpy Sweet Home Alabama into a date-movie winner? She’s one of that select group who is worth watching in anything. Witherspoon has the class, the sass and the full-out talent to sustain a major career. It takes a skilled actress to pull that off (don’t let Madonna try it). She even had me in that shameless moment when Melanie visits the grave of the dog she left behind and whimpers, “You must have thought you did something wrong.” Let the going get soppy she still keeps it real. As Melanie, she’s selfish and often cruel. Her lack of vanity helps put the crunch in her comedy. She’s unafraid to squint and screw up her pretty face until she resembles a pissed-off Pekingese. It’s the tough side of Witherspoon that grounds her performances. It’s no surprise the public wants to know about this Nashville-bred actress: her marriage to Cruel Intentionsco-star Ryan Phillippe, her career of artistic ( Election) and commercial ( Legally Blonde) feats and her rep as one toughookie. Still, there’d be no movie without Witherspoon (she’s descended from John Witherspoon, who signed the Declaration of Independence, in case you’re wondering about her mile-long moniker). Jean Smart, as Jake’s mom, and Ethan Embry, as a gay friend of Melanie’s, also register deftly in roles that could have easily slid into gross caricature.
Tennant, whose career tends to swing fromad ( Fools Rush In) to better ( Ever After) to bad again ( Anna and the King), has a saving grace: He is very good with actors.
Whatever the case, the trend unfortunately continues with 'Sweet Home Alabama,' star Reese Witherspoons anticipated follow-up to her surprise hit from 2001, 'Legally Blonde. The rest might just be repeated bad luck. Jay Cox, for approaching each cliche with sense of real discovery. Part of thats due to few such songs actually containing enough of a 'plot' or premise to fill out a full-length feature. Credit director Andy Tennant, working from the script by C. If you don’t see where this is going, you’ve never seen a movie. And so Melanie sneaks home, the tabloid press on her tail (the New York Post would have broken this story in five minutes), to confront her past and ultimately her own conscience.
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