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Before he steps onto the bridge, he sinks his “big ole Lincoln-Continental” car with its “Sonny” license plates into the bayou.When he crosses the bridge, he humbly places his life and future into the hands of his God.A gigantic sea monster, spawn of nuclear radiation, dismantles a landmark bridge.Two strangers meet on a bridge and begin a lifelong romance.I have classified the films under the major headings that emerged as I watched the films and began to see both similarities and differences in the ways that bridges were employed in the stories. There are doubtlessly other ways of grouping the films.
Several films have exploited this more optimistic view of bridges as transitions to a new way of being.
Folktales and rituals sometimes incorporate the motif of the bridge, which is defined as a dangerous passageway, similar to the necessary terrors of rites of passage.
But such a death is meant to be a destruction of the previous, less enlightened self.
These are his first steps toward becoming “the Apostle E.
F.” On the other side of the bridge, he tells a kind-hearted, but wisely suspicious fisherman, “I am on my journey.” That journey leads him into the lives and hearts of several handfuls of economically poor people and grants him a deeper understanding of love and a complete redemption through his creation of a humble but vibrant church. Claudia is a waitress in a one-way working class town on the Atlantic coast, most likely New Jersey. There are two men in Claudia’s life, neither of whom can offer her much.
Socio-economic themes have been explored in films by depicting characters who live near, under, or even, in one case, on a bridge.