Talk:Joe Versus the Volcano

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[edit] POV

The Analysis and Conclusion segments of this article reek of POV. --Feitclub 19:15, Nov 7, 2004 (UTC)

Whoops the NPOV tag was added on 05-10-18 15:56:31 Bwithh (NPOV (regarding Conclusion section)) - I moved the tag to the section thinking it had been there for almost a year. Anyway the whole article doesn’t have a POV, just like Feitclub said the last two sections have this and that is why I moved the lines. Instead of getting a first impression (right now at least) that the article has problems, the reader can read a good section then read the stuff with the NPOV tag. It might get a better response for cleanup(?).

[edit] Fair use rationale for Image:Joe Versus The Volcano.jpg

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If there is other other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images uploaded after 4 May, 2006, and lacking such an explanation will be deleted one week after they have been uploaded, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.BetacommandBot 06:56, 5 June 2007 (UTC)

[edit] Existential Themes And Unique Metaphors

Someone should mention the wonderful (and subtle) existentialist themes and metaphors throughout this film.

For instance, the movie is primarily about a man's "existential leap" and several references to the "existential leap" idea appear in the film such as while talking to the orange-haired Meg Ryan, he says, "Why not take the leap and do what you're scared of doing?", also, the soda the Waponi Wu have is called "Jump" and finally, Tom Hanks and Meg Ryan ultimately "take the leap" by getting married before they literally jump into the volcano.

Another metaphor is the "crooked road" theme which appears as the path Joe takes to enter the factory, the logo to the factory and the lightning bolt that sinks the Tweedle-Dee and the path of torches the natives take up to the top of the volcano. Joe, at the mouth of the volcano, refers to his life as "a crooked road."

The duck image appears when characters are lying or when there's "quack" medacine such as when Joe's doctor is explaining the brain cloud. Another appearance is after the Waponis do the cleaning ceremony of Joe and yet another is when Grahammore is telling joe about the idea he has and he prominently displays his duck-head-cane-handle.

Also, although dying, the luggage salesmen tells show "may you live to be a thousand years" and eventually, twice the luggage saves his life. As the movie ends he says, "wherever we go, whatever we do, we are going to take this luggage."

Another, sort of, quirky element is that the factory he works for manufactures "petroleum jelly" and a "rectal robes" which they show a glimpse of and look pretty rough!

Joe's boss has a pair of testicles display in what mysteriously looks like a trophy suggesting that the company has Joe "by the balls."

It's curious that Joe's boss is refered to as "Wahoo Waturi" and the natives are similiarly called the "Waponi Wu".

When Joe receives the bad news about his brain cloud he hugs a big dog for support, which later, he very subtly chooses not to do later when he's out "discovering himself" through shopping.

The orb on Joe's doctor's desk is certainly odd.

When Joe sings the cowboy song to the sleeping Meg Ryan the song ends with "gideyup".

Also, it's a great touch how the LA Meg Ryan has this fake persona (involving the orange color of LA Joe remarks that"it looks fake" in the taxi).

The Waponi's ancestors were blown off course around "the horn of Africa" and previously Joe went to "The Horn of Africa" which was the store Joe made fancy purchases in.

When Joe is shopping and experiencing a new freedom, he chats with someone doing that "painted-statue-people" routine who looks like the Statue of Liberty.

Grammore says "i can't find more than a gram of this stuff".

The Waponis, who came from a complex and rich blend of culture,

The painting the LA Meg Ryan made is a situation she tries to recreate as if she'd gone through the relationship facade many times before and her other partners played along with her phony version of love.

There are more, but I can't think of them.