The Scent of Green Papaya & Miss Julie
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Drama reflects the culture that produces it, but there are certain characteristics of drama which may be found across different cultures, themes which are simply human and not tied to a particular culture. My own ethic background is Vietnamese, and I understand the nature of that culture when it is reflected in drama on stage or screen. A recent film from Vietnam is The Scent of Green Papaya (Tran Anh Hung, 1993), and while the themes and treatment are distinctively Vietnamese in nature, there is much about the film that is echoed in the Swedish drama Miss Julie by August Strindberg. The main character in The Scent of Green Papaya is a 10-year-old girl from the country who becomes a servant for a family living in Saigon on the 1950s. There are major differences that have to be faced by the girl between living in the city and living in the country. She has much to learn about, and even though she is a servant, she does have this chance to learn about the family, about the city, about this kind of world as opposed to the one in which she was raised. This does not mean this is a rich family with no problems, and indeed the fortunes of the family begin to decline once the father leaves so that the girl. This film is more like a play than some because it is so closely tied to the interior of this family's home. As the girl develops as a woman and a human being, she becomes involved with the young musician in the next house in which she lives, and the affair between the t
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he course of the play and to the evocation of the themes of the play even though he is never seen. Indeed, the fact that he is never seen makes him a more menacing presence, someone who is feared and talked about even though he is not present. He is also the one character whose personality and strength crosses all boundaries so that he is respected by both the upper class in the form of his daughter and the lower class in the form of the servants. The interaction of these two social classes takes place at this time in part because the Count is absent, and there must be a resolution at the end because the Count has returned.
The play begins with a symbol of the Count being placed in clear view of the audience--his boots, brought into the kitchen by Jean. These are high riding boots with spurs, symbols of power, money, and social class. At the end of the play, the Count calls for his boots to be brought to him in half an hour. The boots frame the play and remind the audience of the Count and of his power over all members of the household. The speaking tube through which he communicates with Jean is another symbol of the Count and his control.
The interaction between Jean and Julie takes place in the shadow of the Count, w
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Some common words found in the essay are:
Green Papaya, Miss Julie, Count Julie's, Miss Julie's, Jean Julie, Jean Sexually, Jean Count, , Anh Hung, miss julie, social class, upper class, servant girl, August Strindberg, lower class, scent green, scent green papaya, social classes, green papaya, jean miss julie, country servant, tran anh, girl country servant,
Approximate Word count = 1782
Approximate Pages = 7 (250 words per page)
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