The Homecoming Film Analysis

Given circumstances are communicated through various different theatrical elements in all plays, including characterization, dialogue, costuming, props, and setting. This is consistent in Peter Hall's 1973 film production of The Homecoming. In this production, the props and set help to display the given circumstances such as financial status, relationship dynamics, and the overall demeanor of the characters. Specifically, these are communicated through the physical characteristics of the set, Max's chair in the living room, and the consistent color scheme. The overall aesthetic of the set help to portray both the financial status of the family and the conflict that is present in their relationships. The artistic choice to use peeling wallpaper
His chair, placed in the center of the room in front of the fireplace, dictates who has control in the scene. Starting at the opening of the film, Max, sitting in his chair, holds the authority in the scene. Whether he is making demands, critiquing his family, yelling at his son, or whacking people with his cane, he remains the primary user of the chair and the primary authority figure in the house. However, in Act II, Joey temporarily seizes control in the scene and sits in his father's chair. After he comes down from spending intimate time with Ruth, Lenny and Teddy give him the dominance by the direct and indirect interest in what occurred upstairs. Joey maintains control in the scene by inventing a story about an encounter with a prostitute to discredit and impress his brother, Teddy. Subsequently, in the last scene, Ruth sits in the chair. Making demands about her living situation and manipulating the men to get what she desires, she holds all of the control and authority in the scene. As a result of the placement of Max's chair, the audience has a clearer idea of who controls the scene and the shifts in the relationship