Maestro and Pleasantville

The composers of the novel Maestro by Peter Goldsworthy and the film Pleasantville by Gary Ross are both successful in conveying their purpose through the use of distinctively visual images. In Maestro, it is clearly evident through Goldsworthy’s use of a memoir styled novel, the reader can see Paul’s (the protagonist’s) journey to a changed in perception after maturity has been accomplished. Goldsworthy reveals his purpose through his distinctively visual portrayals of Eduard Keller, Paul’s music teacher, and how they come to change through his life. In Pleasantville, Ross conveys his purpose through distinctively visual images expressed through cinematic techniques such as colour and juxtaposition. Throughout the film, it is clear that Ross uses a distinct use of juxtaposing colour to reveal his thoughts about how one can change through new experiences. This is portrayed in scenes in the film such as Skip’s first sexual encounter and Betty Parker’s first sexual pleasures

In Maestro, it is through Paul’s experiences throughout the novel, that the reader can sense his changed perceptions of characters such as Keller. Paul’s perception of Keller changes dramatically throughout the novel, the younger Paul reveals Keller as a “boozer” however the older, mature Paul kisses him, and reveals him as a “Great Man”. Paul’s changed perception of Keller is also conveyed through the recurring use of adjectives when Goldsworthy writes “The red glow of his face – a boozers incandesant glow” as it reveals Paul’s lack of respect for him, and immature, judgmental nature as the first thing he notices about Keller is his alcoholic habits. It is also noteworthy, as Paul is portraying Keller with unflattering adjectives, which also reveals his immaturity at the time. Throughout the novel Goldsworthy repetitively uses distinctively visual images to portray Keller through Paul’s eyes, which makes the Paul’s change of perception more powerful. It is at the conclusion of the novel,