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The British photograph EssayThe implication of escape is shadowed in the present film. One treats Gal as a criminal much eagerly than a fugitive. However, this character is haunted in both direct and figurative meanings. Whereas Don abuses Gals stable mode of living by fierce jokes and physical violence, the whole Gals canground abuses the stars soul by ominous signs (e. g. , the rock falling to the pool) and dreams. The conflict surrounded by the escapee (Gal) and the persecutor (Don and the criminal world) is revealed in the very title. In the East End vernacular, the phrase sexy beast is used as a compliment and federal agency a handsome chap, a reliable mate or a trus tworthy accomplice (Earnshaw 2001, p. 5). The title hints at the positive side of Gals London past (material wealth, friends, familiar environment) and, simultaneously, at the darkest sides of the heros background made explicit in the dream of a hairy beast move Gal at nights. The same type of the hero as a fugitive is present in Kitanos Hana-bi.The Japanese title of this film consists of two words, translated to English as assoil and flowers the English aka Fireworks. The main character of the film, Yoshitaka Nishi (Takeshi Kitano), seems to be torn between the flowers of his life to the mortally ill wife and the impaired friend, and the fire of his hopeless race for peace and stability. Nishi used to be a cop. Nevertheless, hardly can this story be considered a cop narrative. The film traces the evolution of the hero from the stage of a law-abider to the one of a fugitive and an outlaw.The narrative implicitly promotes the idea that there are certain moral principles equating a cop, a fugitive and a criminal the love for the family, the affection for the friend, the acid mourning over acid unbearable existence. Nishi quits his beloved job to take flush of his wife. He desperately needs money and borrows a large sum from yakuza. They send over young thugs to play rough with Nish i when he refuses to pay back the interest. The ex-cop assaults the intruders, thus, turning momentarily from a fugitive into a criminal.The movie provides no classification for its heroes. Instead, it shows an endless circle (Cannon, 1997, para. 2, lines 6-8) of the global crime net where plain mass such as Nishi, the kin young policemen who replaced Nishi and Horibe, Nishis wife and friend try to survive and establish some kind or order and justice. As Cannon (1997, para. 4, lines 2-4) stated, the main character is the embodiment of contradiction In one instant a warm and gentle husband, in the next a sadistic and remorseless bully.Due to this ambivalence, Hana-bi may be referred to as a critical film which emphasises the impossibility of heroism and the inevitability of injustice (Rafter 2000, p. 12). An avenger The British movie Get Carter and the American film Gangs of New York provide the viewer with remarkable portraits of avengers. Chibnall and white potato vine (1999, p. 4) defined revenge films as the ones where a wronged man, denied access to the law, pursues his own way of justice.The movie Get Carter was criticised for its perfunctory plot, its mechanical manipulation of characters or a vision of the British underworld that relies totally on cliche (Andrews 1971 cited Murphy 1999, p. 128). However, the treatment of the main characters features can hardly be called mechanical. Jack Carter, the hero of the British cult film Get Carter, is an implacable avenging nonpareil in a black raincoat (Billson 1991 cited Murphy 1999, p. 129) revenging on the criminals for killing his brother and seducing his niece.But despite Carters motivations for being an almost mythical angel of wrath, he never stopped to be a cruel criminal himself having killed four people and being responsible for even more cases of violence. Jack Carter is incomplete an upholder of justice nor a saviour of the weak and humble, but he operates by a strict code that he expects his colleagues and enemies to share. Carter is confronted by a rescript afflicted by pornographic malaise. But his righteous anger is less about sleaze itself than about how it has leaked out of its proper underworld milieu to draw his niece and destroy his brother.Carter is not so self-consciously evil or morbidly obsessed but he does share some of the characteristics of the Jacobean revenge cataclysm protagonist. A wrong has been done-less to Carter himself than to his family which must be righted at whatever cost. (Murphy, 1999, p. 132) Carter is synthetic in his nature. On the one hand, he reaches almost legendary heights in his revengeful crusade. On the other hand, his fussy concern with nose drops, vitamin pills and the cleanliness of British Railways cutlery stands for his human frailty (Murphy 1999, p.129). The hero of the American film Gangs of New York is uncomplete a pure type of an avenger. On the one hand, Amsterdam Vallon infiltrates the gang of The Butcher Cutt ing to revenge for the death of Vallon-father. On the other hand, Amsterdam finds the interpose of the father in his once hated target. The character of Amsterdam provides an interesting synthetic type of a man-on-the-run (he spent some years in namelessness after his fathers murder till the re-emergence in the rival gang) and a man-in-disguise.