The Awakening ( film) - Alchetron, the free social encyclopedia
The Awakening () Charlton Heston in The Awakening () Charlton Heston .. Before the shard falls from the panel, the pointy end is facing downwards. The bouncing ball evokes The Changeling () and The Shining (). and sister relationship, with the boy in each coming to a bad end. The adaptation of Bram Stokers story perhaps is little matter of fact and the hints of a darker relationship between Heston and his daughter in the film were not.
Corbeck and Jane tell Margaret all about Kara, the violent murders she committed, and the myth that she could reincarnate herself. Corbeck's obsession with Kara grows and Margaret exhibits personality changes.
The Awakening (1980 film)
People who resist Matthew and Margaret mysteriously and violently die. Margaret begins to notice the changes in herself and believes she is the one responsible for all the deaths.
While visiting Kara's tomb, she and her father discover the jars that contain Kara's organs. Corbeck wants to try the ritual to resurrect the ancient Queen. He believes that the spirit of the queen possessed his daughter at the moment of her birth, and that she intends to resurrect herself through the girl's body.
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He proposes that the only way to save Margaret is to perform the ritual. He realises too late that Kara tricked him, and that the ritual enabled her to completely take over Margaret's body. The reincarnated Queen kills Corbeck and leaves the tomb, her intentions unknown. Please help by spinning off or relocating any relevant information, and removing excessive detail that may be against Wikipedia's inclusion policy.
The Awakening () : DVD Talk Review of the DVD Video
Corbeck is a fictional British archaeologist and the main character in the film. Corbeck is obsessive about his work  which leads to the end of his marriage with Anne. Even children are not spared, the teachers brutalised veterans, having possibly displaced women brought in for the duration, unable to connect emotionally with their charges and intolerant of perceived weakness.
There are suggestions of repressed sexuality as well as repressed emotions, tapping into Freudian theories that were making an impact in the s: Florence spying on Robert through a hole in the bathroom; the suggestion that when she herself is in the bath she is about to masturbate, until she thinks that she is being spied on; and when we find out her familial relationship to the spy it adds another layer to the interpretation.
Fortunately, Florence is able to move beyond her mourning with assistance from Robert as they help each other with their emotional scars.
There are puzzling weaknesses in the script. If her aim was to get Florence to remember her repressed trauma, and to be a companion to Tom, it would have made more sense for her to have been sympathetic to the idea that the place really was haunted. Her scepticism was not required to persuade Florence to visit the school as Robert, far from sceptical, managed to do that. It is also odd that Thomas should display so much fear.
If lonely children can see Thomas, as Maud suggests, why cannot the teachers, who seem as lonely as the boys, and particularly Robert, who shows some sensitivity, and sympathy to the idea of ghosts?
Why does Robert tell Florence that there are only three of them there when there are four adults? On a first viewing these reservations are glossed over by the speed of the exposition in the final section, but they leave a nagging feeling that the bulk of the effort went into keeping the twists coherent at the expense of characterisation, and the suspicion that there may have been a few cheats along the way.
This is certainly a film which rewards intense concentration, and a second viewing to see how the twists work.
The film is beautifully shot with good production values. The atmosphere created by lighting and camerawork is suitably creepy, using shadows and darkness to generate fear and menace, effectively combining the unease that accompanies going into the dark on your own with jump-in-your-seat scares. As Corbeck prepares to breach the entrance, Anne begins a painful premature labour.
Corbeck and Jane return to the camp and find Anne lying on the floor in a trance-like state. Corbeck takes her to the hospital and leaves her there so that he can return to the dig. Anne's pregnancy ends in stillbirth. As Corbeck and Turner open the mummy's sarcophagus, the stillborn infant is restored to life.
Corbeck neglects his wife and daughter Margaret, and Anne takes the baby and leaves him. Eighteen years later, Corbeck is a professor at a British university and married to Jane. Corbeck learns that traces of bacteria have been found on the mummy that threaten to destroy it. Corbeck tries to have the mummy brought back to England because he disagrees with the methods used by Egyptian professionals to preserve it. One of the specialists opposing Corbeck is killed in a freak accident, allowing Matthew to transport the mummy to England.
Margaret Stephanie Zimbalistnow eighteen the age of Queen Kara when she diedgoes to England to meet her father against her mother's wishes. Corbeck and Jane tell Margaret all about Kara, the violent murders she committed, and the myth that she could reincarnate herself.
Corbeck's obsession with Kara grows and Margaret exhibits personality changes. People who resist Matthew and Margaret mysteriously and violently die. Margaret begins to notice the changes in herself and believes she is the one responsible for all the deaths. While visiting Kara's tomb, she and her father discover the jars that contain Kara's organs.
Corbeck wants to try the ritual to resurrect the ancient Queen.