LINDA HANDAYATI ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SYARIF HIDAYTULLAH JAKARTA

Transcription

1 THE PERSONALITY STRUCTURE OF THE MAIN CHARACTER IN MR. BROOKS FILM LINDA HANDAYATI ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SYARIF HIDAYTULLAH JAKARTA 2009

2 THE PERSONALITY STRUCTURE OF THE MAIN CHARACTER IN MR. BROOKS FILM A Thesis Submitted to Letters and Humanities Faculty In Partial Fulfillment of the Requirements For the Degree of Strata One LINDA HANDAYATI ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SYARIF HIDAYTULLAH JAKARTA 2009

3 ABSTRACT Linda Handayati, The Personality Structure of the Main Character in Mr. Brooks Film. A thesis: English Letters Department, Letters and Humanities faculty, State Islamic University Syarif Hidayatullah Jakarta, September This research is aimed to give understanding of what the structure of personality is and how is the work mechanism of the personality structure of the main character in Mr. Brooks film. The writer utilizes qualitative-descriptive analysis as the method to analyze the relationship between character and the personality structure in which the data is collected from the dialogues, acts and figures in Mr. Brooks film. Based on the data analysis, the writer found that there is one main character, Mr. Earl Brooks. Mr. Brooks is depicted as a successful businessman and has a harmonious family, but he is also a serial killer. According to Freud s Structure of Personality, there are three major elements of personality; Id, Ego and Superego. In the film, the Id of Mr. Brooks, which works based on the pleasure principle, has encouraged him to do some murders. The result of the research shows that the work mechanism of personality structure of the main character is depicting through the main character s behavior in some scenes of the film. The Id is identified as the most dominant element in Mr. Brooks personality structure. His strong Id makes him to do murder several times to fulfill his pleasure.

4 APPROVEMENT THE PERSONALITY STRUCTURE OF THE MAIN CHARACTER IN MR. BROOKS FILM A Thesis Submitted to Letters and Humanities Faculty In Partial Fulfillment of the Requirements For the Degree of Strata One LINDA HANDAYATI Approved by: DR. H. Muhammad Farkhan, M.Pd Supervisor ENGLISH LETTERS DEPARTMENT LETTERS AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2009

5 LEGALIZATION The thesis entitled The Personality Structure of the Main Character in Mr. Brooks Film has been defended before the Letters and Humanities Faculty s Examination Committee on November 3, The thesis has already been accepted as a partial fulfillment of the requirements for the degree of Strata One. Jakarta, November 2009 Examination Committee Chair Person, Secretary, Dr. H. Muhammad Farkhan, M.Pd Drs. Asep Saefuddin, M.Hum NIP: NIP: Members: Examiner I Examiner II Elve Octaviani, M. Hum Innayatul Chusna, M. Hum NIP: NIP:

6 DECLARATION I hereby declare that this submission is my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substantial extent has been accepted for the award of any other degree or diploma of the university or other institute of higher learning, except where due acknowledgment has been made in the text. Jakarta, November 2009 Linda Handayati

7 ACKNOWLEDGEMENT بس م االله الر ح م ن الر ح ي م All praises and gratitude belong to Allah, the most gracious, the most merciful and the Lord of universe and hereafter. Peace and blessing be upon to the Prophet Muhammad SAW, his families, fellows and followers. The writer would like to express her gratitude to her parents, H. Namat Suardy, S.Pd and Ibu Kartinah for their love, their support and for all of their contribution in the writer s life especially in finishing the thesis. The writer will always love and pray for them forever. May Allah loves and bless them. The writer also would like to thank to her family, her brothers and sister for always supporting and giving advice to the writer in finishing the thesis. For the writer s three nephews especially Ahmad Irfan, the funniest and naughtiest one, who can give the writer spirit in any condition. Next, the writer would like to thank to her supervisor Dr. H. Muhammad Farkhan, M.Pd for the guidance, advices, affection and for sharing his knowledge to the writer so that the writer can finish the thesis. May Allah loves and blesses him. The writer s special thanks is also dedicated to Mrs. Elve Octafiyani, M. Hum and Mrs. Inayatul Chusna, M. Hum as the examiners who is also the supervisors who have given so many knowledge, guidance and patience to the writer so that she can finish the thesis. The gratitude is also dedicated to Dr. H. Abul Chair, M.A, the Dean of English Letters Department; Dr. H. Muhammad Farkhan, M.Pd, the head of English Letters

8 Department; Drs. Asep Saefudin, M.Pd, the secretary of English letters department; and all of the lectures of English Letters Department who has taught her during her study at UIN Syarif Hidayatullah Jakarta. Special thanks also given to the writer s beloved friends Nero Muslimah ; Fetri Datiani, Nuraeni, Sukma Pertiwi and Rodiyah, for their love, laugh, support, care, and share in any condition. The writer also would like to thank to her best friend Abang, for teaching her how to be strong and survive (Thank you very much Abang, may Allah gives us the best) and Nina for their supports and advices. Finally, the writer would like to thank to all of her family, friends and many persons who has helped her in finishing the thesis. May Allah loves and blesses us. Jakarta, November 2009

9 TABLE OF CONTENTS ABSTRACT... i APPROVEMENT... ii LEGALIZATION... iii DECLARATION... iv ACKNOWLEDGEMENT... v TABLE OF CONTENTS... vii CHAPTER I. INTRODUCTION... 1 A. Background of the Study... 1 B. Focus of the Study... 4 C. Research Question... 4 D. Objectives of the Study... 5 E. Significances of the Study... 5 F. Research Methodology... 5 CHAPTER II. THEORITICAL FRAMEWORK... 7 A. Character Character Characterization B. Sigmund Freud s Psychoanalysis about Personality Structure Id Ego Superego... 15

10 CHAPTER III. RESEARCH FINDINGS A. Data Description List of the Main Character B. Analysis Character Analysis Mr. Brooks Structure of Personality CHAPTER IV. CONCLUSION AND SUGGESTION A. Conclusion B. Suggestion BIBLIOGRAPHY... 38

11 CHAPTER I INTRODUCTION A. Background of the Study Film, is usually depicting the phenomenon of human life. Therefore, many aspects of human life can be showed as the central theme of a film or other kind of fictions. The theme of a film or other kind of fictions controls its central insight. It unifies generalization about life, stated or implied on the story. In many stories, the theme might be equivalent to the revelation of human characters. It means that the theme can be determined from the development of the characters. Psychoanalytic theme is one of the themes which can be easy determined from the development of the character. It is because Psychoanalysis applied the concept about personality which is used to mean the configuration of individual characteristic and ways of behaving that determines an individual unique adjustment to her or his environment. 1 Personality includes any characteristic that are important in the individual s personality adjustment, in his maintained of self respect. Any description of the individual personality must take into the account of appearance, abilities, motives, emotional reactivity, and the residues from experience that have shaped the person as people find him or her. Therefore, a psychoanalytic research of a film or other kind of fictions must be related to the development of the character s personality. 1 Ernest Hilgard, Richard C. Atkinson, Introduction to Psychology (USA: Harcout, Brace & Worl, Inc, 1967) p. 483

12 Film with psychoanalytic theme still becomes an interesting theme to be aroused such as Number 23 (2003) and Monalisa Smile (2003). A film with psychoanalytic theme is not only good to be watched but also good to add someone s knowledge about psychoanalysis theory, and further it can be a source to be analyzed as a research. Psychoanalysis is generally the study of human personality. Sigmund Freud was credited as the first person who has brought out the theory of Psychoanalysis. One of many aspects of psychoanalysis which is very important in analyzing someone s personality is the existence of unconsciousness in his or her mind. Freud even stated that the most important aspect in human life is determined by the unconsciousness. Therefore, Freud proposed the theory of personality structure. According to Freud, personality is made up of three major systems. Those three major systems of personality are known as id, ego and superego. 2 The id is the original system of the personality. The id works based on the pleasure principle. It related to the biological aspect of a personality. The ego is the personality system which conducted the id encouragement. Ego has a contact with the reality world of the personality. The ego is said to obey the reality principle. The superego is the morality aspect of personality. It is the internal representative of the traditional values and ideals of society as a system of rewards and punishments of someone s activities. Based on the explanation above, there is a close connection between Psychoanalysis and film. The psychoanalysis is a theory about unconsciousness of someone s personality, while film is rather the product of imagination, the unconsciousness of the writer. Both of them have an aspect about unconsciousness. Mr. Brooks film is one of the films that has psychoanalytic theme. The film 2 Calvin S. Hall, et.al, Theories of Personality (New York: John Willey & Sons, 1997) p. 35

13 depicts Mr. Earl Brooks, the main character of the film played by Kevin Costner, who is suffering from personality problem Mr. Brooks is a 2007 thriller film directed by Bruce A. Evan who is also the script writer of the film together with Raynold Gideon. This film tells about Mr. Earl Brooks, a loving family man and a local business icon, but Mr. Brooks is deeply flawed and very aware of it. He is addicted to kill. Struggling with his pathology, he tries to quit, but his id, which is visualized as Marshall, has an altogether different idea. Marshall enjoys his existence and his work. Marshall whom only Brooks can see or hear is actually not the other person. He is the other side of Brooks. With the dogged Detective Atwood on his trial, Mr. Brooks are forced to play out an increasingly elaborate game. Mr. Brooks is a successful businessman but in the other side, he is also a killer. In this case, Mr. Brooks was identified as a person who can not repress his id. Therefore, he conducted the activities which only reflect on his own pleasure principle, that is killing. Generally, in a mature human s personality structure, the ego is able to repress the negative encouragement of the id because they have known the morality values of society. Interestingly, in Mr. Brooks film, Mr. Brooks as a mature and intellectual person is depicted as a character who is not able to repress his id which always encourage him to do negative things. The id is having dominant place in Mr. Brook s personality structure. Therefore, the writer interests to analyze the work mechanism of the personality structure of the main character in Mr. Brooks film, through Sigmund Freud s personality structure.

14 B. Focus of the Study Based on the background of the study above, the writer will focus the analysis on the characteristic of the main character and the personality structure of the main character in Mr. Brooks film. C. Research Question Based on the focus of the study, the writer would like to formulate the research question as follows: 1. What are the characteristics of Mr. Brooks? 2. How is the work mechanism of personality structure on Mr. Brooks character in Mr. Brooks film? D. Objectives of the Research Based on the research question above, the objectives of this research are: 1. To know the characteristics of Mr. Brooks. 2. To know the work mechanism of personality structure on Mr. Brooks character in Mr. Brooks film. E. Significances of the Research The writer hopes this research can help the readers in understanding the term of Sigmund Freud s personality structure in Mr. Brooks film. Furthermore, the result of this research hopefully can be used as an input in literary studies.

15 F. Research Methodology 1. Method of the Research The writer uses the descriptive qualitative method in this research. By using this method, the writer will do the research by explaining, describing and analyzing the characteristic of the main character and the personality structure on Mr. Brooks character in the film. 2. Data Analysis The collected data will be analyzed by using Sigmund Freud s personality structure. Therefore, the study begins by analyzing the script and the pictures of Mr. Brooks film, and then focuses on the main character to find his characteristics and the personality structure of his character. 3. Instrument of the Research The research employs the writer herself as the main instrument by watching the film several times, analyzing the script of the film Mr. Brooks, identifying, classifying and giving some notes of the collected data. 4. Unit of Analysis The unit analysis in this research is the script of Mr. Brooks film written by Bruce A. Evans and Raynold Gideon and directed by Bruce A. Evans which first released on June 1, 2007 distributed by MGM Distribution Company, USA.

16 CHAPTER II THEORETICAL FRAMEWORK Since the story in Mr. Brooks is rich of personality issues, so the theory that the writer applies in observing the story is Sigmund Freud s Psychoanalysis about personality structure. However, to apply the theory of Sigmund Freud s personality structure, there should be an analysis about the intrinsic element of the story. The most important element that must be observed in the film is character. Character is not only playing a major role in the story but character is also creating a conflict that can develop and build the idea of the story. Therefore, there will be two theories which can be applied in the research; Character and Sigmund Freud s Psychoanalysis about personality structure. A. Character 1. Character Character is a vital and necessary element in the story. Without character there would not be plot and, hence, no story. Character is rather easily discernible, and it engages a natural interest in personalities. By understanding the characters in one story, someone can catch what exactly the story is about.

17 According to Judith A. Stanford in his book, Responding to Literature: Stories, Poems, Plays and Essays, character is the fictional people who are part of the action of a story or literary work. 3 The term character also denotes the essential qualities and personality traits of a fictional or real individual. The ability to create compelling and believable characters is one of the hallmarks of the literary artist. In most cases, we do not only see what characters look like, but also see what they do and hear what they say; we sometime learn what they think, and what other people think or say about them; we often know what kind of clothes they wear, what and how much they own, treasure or covert; we may be told about their childhood, parents or some parts of their past. 4 Based on the explanations above, the writer concludes that character is someone or something in a work of fiction that has some sort of identity. The identity is made up by the appearance, speech, action, thought and behavior. A character in a work of fiction may be realized in a number ways as follows: a. Major and Minor Character Major character is character that has a big part in the story. It is always developed in the story and mostly appears on the next. Meanwhile, minor character is not developed nearly as fully as the major character; it does not have demand or sympathy. Minor characters only complete the story and seldom appear on the next and have small part in the story. b. Protagonist and Antagonist Character 3 Judith A. Stanford, Responding to Literature: Stories, Poems, Plays and Essays 4 th ed (New York: McGraw-Hill Companies, 2003) p Jerome Beaty,et.al, The Norton Introduction to Literature8th Ed (New York: W.W. Norton & Comp, 2002) p. 104

18 The chief character or hero of a piece of fiction is usually three-dimensional and is known as the protagonist. His adversary, if any, is known as the antagonist. 5 The protagonist is usually easy enough to identify: he or she is the essential character without whom there would be no plot in the first place. The antagonist can be somewhat more difficult to identify, especially if he is not a human being. 6 In fact, the antagonist character need not be a person; it can be an animal, a superstition, a misconception, fate or any abstraction. c. Flat and Round Character Flat characters are those who embody or represent a single characteristic, trait, or idea, or at most a very limited number of such qualities. Flat characters are also referred to as type characters, a one-dimensional character. Round characters are just the opposite. They embody a number of qualities and traits and are complex multidimensional characters of considerable intellectual and emotional depth who have capacity to grow and change. Flat characters tend to stay the same throughout the story, but round characters often change-learn or become enlightened, grow or deteriorate. 7 From those explanations, it can be said that the main characters in fiction are usually round characters and the auxiliary characters are usually flat. d. Static and Dynamic Character Characters in fiction can also be distinguished on the basis of whether they demonstrate the capacity to develop or change as the result of their experiences. Dynamic characters exhibit this capacity; static characters do not. A character may 5 The Encyclopedia Americana 6 (USA: Grolier Incorporated, 1985) p James H. Pickering and Jeffrey D. Hoeper, Concise Companion to Literature ( New York: Macmillan Publishing Co., Inc., 1981) pp X. J. Kennedy, Literature: An Introduction to Fiction, Poetry, and Drama (Boston Toronto: Little Brown and Company, 1979) p. 48

19 also be either static, showing little change or dynamic, that is significantly affected by the events of the narrative. 8 From the statement above, the writer concludes that the static character tends to have no change until the end of the story. On the other hand, the dynamic one must have changed in some aspects like personality or outlook. The changes can be both the small and the large one. 2. Characterization Characterization is the presentation of the attitudes and behavior of imaginary persons in order to make them credible to the author s audience. 9 In presenting and establishing character, an author has two basic methods or techniques at his disposal. One method is telling, which relies on exposition and direct commentary by the author. He may directly describe a character s personality as do omniscient novelists. The other method is the indirect, dramatic method of showing, which involves the author s stepping aside, as it were, to allow the characters to reveal themselves directly through their dialogue and their actions. So many other choices that the writer of fiction is called on to make, the choice of a method of characterization depends on a number of different circumstances, including the author s temperament, the particular literary conventions of the period in which he or she is writing, the size and scope of the work, and many other reasons. 10 It means that the method of characterization that the writer chooses is totally their own right with their consideration. 8 The Encyclopedia Americana, op.cit, p Ibid 10 James H. Pickering & Jeffrey D. Hoeper, op.cit, p. 28

20 B. Sigmund Freud s Psychoanalysis about Personality Structure The most influential single individual, in terms of influence upon society s conception of the nature of man, was Sigmund Freud. Freud s major contributions came during the last decade of the nineteenth century, and certain elaborations upon his earlier ideas were made into the 1920s and the 1930s. 11 Freud is the first to suggest the now widely concept that human mind and personality are like an iceberg, with only a small part visible and the great bulk submerged and concealed. 12 One of Freud s most influential ideas concerned so central to the study of psychology is his concept of the unconscious mind, composed in part of repressed motives and thought. Dealing with the unconsciousness of mind, Freud brought out the theory of Psychoanalysis. It was a reasonably deterministic approach to explaining personality and behavior of an individual. 13 In this theory, Sigmund Freud saw personality as developing out of conflicts between the three basic structures of personality: id, ego and superego. Each of them serves a different function and develops at a different time. Although each of them has different function, feature, principle, mechanism and dynamism, but they interact one to another. So, it is difficult to separate their influences and their contribution in human behavior. Behaviors or actions of an individual are produced by the interaction of these three systems. 1. Id 11 Walter M. Vernon, Introductory Psychology (Chicago: Rand Mcnally College Publishing Company, 1974) p Jerome Kagan, Ernest Havement, Psychology: An Introduction 2 nd edition (USA: Harcourt brace Javanovich, Inc, 1968) p Walter M. Vernon, op.cit, p. 403

21 Id is the most primitive part of the personality, present in the newborn infant, from which the ego and superego later develop. Id consists of the basic biological impulses; the needs to eat, drink, eliminate wastes, avoid pain and gain many pleasures. The id operates on the pleasure principle; it endeavors to avoid pain and obtain pleasure regardless of the external circumstances. 14 The id is the core of consciousness in human s mind. It includes the instinctual drives, sex and aggression. The id seeks to gratify its desires immediately and to reduce uncomfortable physical tensions. In attempting to satisfy these needs, the id acts without considering external circumstances, whether these needs can or should be satisfied at the moment. To accomplish its aim of avoiding pain and obtaining pleasure, the id has its command two processes. These are reflex actions and the primary process. 15 Reflex actions are inborn and automatic reactions like sneezing and blinking: they usually reduce tension immediately. The organism is equipped with a number of such reflexes for dealing with relatively simple forms of excitation. The primary process involves a somewhat more complicated psychological reaction. It attempts to discharge tension by forming an image of an object that will remove the tension. For example, the primary process provides the hungry person with a mental picture of food. This hallucinatory experience in which the desired object is present in the form of a memory image is called wish-fulfillment. The best example of primary process in normal people is the nocturnal dream, which Freud believed always represents the fulfillment or attempted of a wish. The hallucinations and visions of psychotic patients are also examples of the primary 14 Rita L. Atkinson, et. al, Introduction to Psychology (New York: Harcourt Brace Jovanovich Publisher, 1981) p Calvin S. Hall, op. cit. p. 36

22 process. Wishful thinking is highly colored by the action of the primary process. These wish-fulfilling mental images are the only reality that id knows. Obviously, the primary process by itself is not capable of reducing tension. The hungry person cannot eat mental images of food. Consequently, a new or the secondary psychological processes develops. When this occurs, the structure of the second system of the personality, the ego, begins to take form. According to Freud, there are two broad types of drives or instinct in the id. The first type is Eros, the constructive life instinct responsible for survival, self-propagation, and creativity. 16 In Eros are included the need for food, warmth and sex. Freud used the term sex broadly to cover a wide range of life-giving and life-sustaining activities from genital intercourse to artistic creation. The energy of Eros is generated by what Freud called as the libido. The second type of instinct is Thanatos, or the death instinct, is opposed to Eros. 17 This instinctive attraction to death gives rise in each individual to aggressive tendencies directed at the self. However, since self-destruction is opposed by the life-preserving energy of libido, aggression against the self usually is redirected outward against the world, motivating human being to compete, to conquer, and to kill. Aggression can take many forms; angry attacks, verbal insults and even self punishment. However, punishment comes about, some children and some adults develop strong tendencies to injure themselves or others. The extreme forms have been given name sadism for the extreme motives to pain others. In the id, those instincts operate irrationally; impulses 16 Darley, et. al, Psychology 3 rd edition (New Jersey: Prentice Hall inc, 1986) p Ibid, p. 492

23 push for expression and gratification no matter what, without considering whether what is desired is realistically possible Ego The ego represents the individual s picture of physical and social reality, of what will lead to what and which things are possible in the world as it is actually perceived. 19 It develops soon after birth when the infant realizes that all of she or he wants will not automatically come to her or him, that she or he will have to figure out a way to get what she or he wants. The ego is conscious control system that is formed in the child as someone becomes aware of social demands. A person with the strong ego has ability to plan ahead, to tolerate frustration, to work for delayed gratification, and to adapt with social norms. The ego is the realistic personality process, therefore ego is said to obey the reality principle: the gratification of impulses must be delayed until the appropriate environmental conditions are found. It is essentially the executive of the personality, in that it decides what actions are appropriate and which id impulses will be satisfied in what manner. The ego mediates among the demands of the id, the relatives of the external circumstances, and the demand of the superego. External circumstances, however, can not be ignored. A thirsty person can not satisfy his need simply by imaging a glass of water. Consequently, the ego develops out 18 Philip G. Zimbardo and Floyd L. Ruch, Psychology and Life, 9 th edition (USA: Scott, Foresman and Company, 1975) p Ibid p. 414

24 the id as a means of dealing with reality. The ego attempts to control the id, delaying gratification until conditions are appropriate. 20 Freud saw the ego as part of person that must resolve conflict between id and superego. The ego must find the realistic way to satisfy the demands of the id without offending the superego. 21 Ego as a part of personality is responsible for controlling behavior in socially life. The very important aim of ego is to maintain individual s life proliferation. It conducts and controlled the action, also choose the environment which will be responded, then decides what instinct that will be satisfied and how the way are. 3. Superego The third system of personality is superego. Superego is the internalized representation of the values and morals of society as taught to the child by the parents and others. 22 It is essentially the individual s conscience. The superego judge whether an action is right or wrong. The superego develops in response to parental rewards and punishments. It incorporates all the actions for which the child is punished or reprimanded as well as the actions for which the child is rewarded. Through the incorporation of parental standards into superego, behavior is brought under self-control. Children no longer need anyone to tell them it is wrong to steal; their superego tells them. The inferred superego is most nearly synonymous with conscience. It keeps someone working according to an ideal of the self arising in early childhood, an ideal 20 Stanley Berent, Introductory Psychology (New York: McGraw-Hill, Inc, 1977) p Floyd L. Ruch, Psychology and Life 7 th Edition (USA: Scott Foresman & Company, 1995) p Rita L. Atkinson, et. al, Op. Cit p. 396

25 formed especially as a consequence of parental prohibition. It operates on what called as perfection principle. 23 From the point of view of a dynamic interpretation of personality, the key concept is that the three parts of the personality are often at odds: the ego postpones the gratifications that the id wants right away, and the superego wars with both the id and the ego because they often fall short of the moral value that it represents. The bearing of these concepts on personality theory is that the balance of id, ego and superego processes differs from one individual to another. How one approaches a problematic situation may be a way not only of coping with the environmental problem but perhaps of trying to solve a personal problem at that time. According to the three parts of personality, it is ego that controls most of everyday behavior and it is crucial that it be adequately well developed so as to constitute social and emotional maturity. 24 The task of ego is to reconcile the instinctual urges from id and internalized controls from within superego and the demands of the outside world. A weakly developed ego can contribute major problems of someone s personality. 23 Ernest R. Hilgard, et. al, Introduction to psychology 5 th edition (USA: Harcourt brace Jovanovich, Inc, 1971) p Walter M. Vernon, op. cit, p. 405

26 CHAPTER III RESEARCH FINDINGS A. Data Description In analyzing the personality structure in this film, the writer focuses to analyze the dialogues and actions of the characters which can be used to identify the characteristic of the main character, and to find the work mechanism of the personality structure of the character in the film. The dialogues are identified as the corpus of the research. They are presented in the following tables. 1. The list of the main character No. Character Corpus Remark 1. Mr. Brooks Man : I could go on and on about Successful what a great guy earl is, how he cuts businessman his toe nails, how he gives freely of his time and money, but let s get Earl up here to speak for himself. Ladies and gentlemen, I give you a businessman, a philanthropist, a great friend and the Evanston Chamber of Commerce Man of the Year Mr. Earl Brooks. (Mr. Brooks 2007, scene: 2) Jane : I m going to have an abortion anyway, so there is nothing to get upset about. I wasn t even going to tell you guys. Mr. Brook : There will be no abortion. Jane : Daddy, you are not going to tell me what to do. It s my body and I will do what I want to do with. Mr. Brooks : You re right. I m sorry. I said it wrong. I m not trying to tell you what to do. I m trying to say that a grandchild would be a Wise and patient

27 wonderful gift for your mother and me. (Mr. Brooks 2007, scenes: 34-35) Mr. Brooks : Oh, yeah. How s the morning sickness? Do you want to ride in with me today? Jane : I feel fine, but I don t know how long that will last. (Mr. Brooks 2007, scene: 98) Caring person Mr. Smith : So, what do we do now? What s the plan for evening? Mr. Brooks : We drive around until we see someone we think we might enjoy killing. Mr. Smith : Really? That s it? I thought you might already have someone in mind. (Mr. Brooks 2007, scene: 46) Detective Atwood : It has never been revealed to the public that the Thumbprint Killer retrieves the slugs. [ ] Detective Atwood : Leaving them like this, he must have been angry at them for some reason. (Mr. Brooks 2007, scene: 16) Enjoy killing Thumbprint killer B. Analysis 1. Character Analysis Mr. Earl Brooks is the main character of the film. His appearances mostly appear in every scene of the film. He is also the protagonist character. His big trouble is coming

28 from Marshall, the visualization of his id. From his physical appearance, everybody can easily notice that Brooks comes from a high social status in the society. Brooks is a businessman, a leader of a big box factory. Everybody in business world has known his great reputation in business. Man : I could go on and on about what a great guy earl is, how he cuts his toe nails, how he gives freely of his time and money, but let s get Earl up here to speak for himself. Ladies and gentlemen, I give you a businessman, a philanthropist, a great friend and the Evanston Chamber of Commerce Man of the Year Mr. Earl Brooks. (Mr. Brooks 2007, scene: 2) What was the man said indicated that Brooks is really a successful businessman because of the award as Man of the Year in great business license, Portland Chamber. Brooks seems perfect because of both his success and his philanthropy. His success was also confessed by his daughter, Jane. Jane : You didn t go to college, Dad, and you re successful. (Mr. Brooks 2007, scene: 21) [ ] Jane : No, dad, you re a very wealthy man, you can afford to keep me. (Mr. Brooks 2007, scene: 24) Mr. Brooks success is also depicted by his luxurious Toyota which always accompanied him wherever he goes. Besides a big and successful company, he also has a private ceramics studio and has an awesome home. All that Brooks had is the result of his success in business.

29 As a businessman, Brook has a good instinct in taking the opportunity to expand his business and invest his wealth for the future. When he arrived in a cemetery with Mr. Smith, the photographer, he said that he is the owner of the cemetery. It means that Brooks has more than one business. Mr. Smith Mr. Brooks Mr. Smith Mr. Brooks : What are you doing with a key to a cemetery? : I own it. : Why do you own a cemetery? : You always want to invest in things people can t do without. Water and cemeteries are pretty safe. (Mr. Brooks 2007: scene: 117) Brooks always wants to be seen professional in his work. He is very friendly to his secretary and treat his business partner as kind as possible. There is a scene where Brooks and his business partner checked for his products in the company and talked about it. Mr. Brooks : This is not the top of the line or the bottom, but for the money we re talking about this is the quality I can provide you. Your packaging is the first impression your customers will have of your product. We d love to work to you with on the design. It s fun to challenge our machines. If you check around, you ll find we re not the cheapest, but we are the best. (Mr. Brooks 2007, scene: 20) One thing that should be noticed from the dialogue above is that the key to be a successful businessman according to Brooks was the importance of product s quality. Someone should maintain the product s quality to be the best instead of to be the cheapest. Brooks has a beautiful wife, Emma. Brooks is a devoted husband. As a successful businessman, Brooks has everything. He has a proportional body shape, good looking, and of course he has a lot of money. For some men, this condition can be useful to make an intimate relationship with other women. In fact, Brooks never think about it. He is

30 depicting as a loyal husband. There is no act where Brooks had an affair with other women. He just admired Detective Atwood because of her bravery and he wants Jane, his daughter to be like Atwood. Mr. Brooks : I like her because she found something that s hers. It s not the family business. And she s good at it. I d like Jane to find something that s hers and that she could be good at. (Mr. Brooks 2007, scene: 58) The dialogue above, clearly described that Brooks never think of having an affair with other woman, even with a woman whom he admires. Another way for Brooks to show his love is spending the time together with his wife. One night, after receiving the award as Man of the Year, Brooks asked Emma to enjoy the night. Mr. Brooks : The food tonight was very good, but I wasn t crazy about the dessert. Would you like to stop somewhere and get something sweet? (Mr. Brooks 2007, scene: 5) In both, Brooks and Emma are sharing a sundae. They seemed that they are really enjoying the night. Mr. Brooks knew how to make an intimate relationship with his wife. Generally, every woman is happy to get the flattery from men, especially from her husband. As a romantic husband, Brooks knew how to treat his wife as well. When Emma put on her sleep-wear, Brooks steps into the doorway close to Emma. Mr. Brooks : I m going to stay up a while, maybe go to the studio and play with some glazes. Emma : Okay, I m going to read. If I m not awake, wake me when you come back. (Brooks comes forward, puts his arms around Emma and hugs her, then easing back, kisses her) Mr. Brooks : By the way, I thought you were wonderful tonight. Emma : Thank you. (Mr. Brooks 2007, scene: 6)

31 The dialogue above describes that Brooks always wanted to treat his wife softly. He wants to make Emma feels happy and being respected by him. The Brooks only daughter is Jane. She is a college student and lives far away from their parents. Jane was coming home by bringing a lot of problems. For some parents, those problems can take their emotion out of control. For Brooks, his love is too big for Jane so that the condition did not reduce his love at all. Before going to bed, Brooks enters Jane s room leans over and kisses his daughter on the cheek. At one moment, Jane goes on to visit Brooks at work and mentions that she was having dropped out of college. Hearing Jane s condition, Brooks felt a little bit surprised but he tried to calm down and control his emotion. He did not say anything that can hurt Jane, he just listened to Jane s explanation carefully. Mr. Brooks : What are you doing here, gorgeous? Jane : I m sorry, Daddy, please don t be angry with me. (Brooks kisses Jane on the forehead and goes to sit at his desk) Mr. Brooks : I can guess what you ve done, but why don t you tell me and then I ll decide. Jane : I dropped out of school. Mr. Brooks : Okay. Have you told your mother this? Jane : No, I wanted to speak to you first. Mr. Brooks : You ll have to tell her, I m not going to do that for you, and then together the three of us will decide where to go from here. (Mr. Brooks 2007, scene: 21) For some parents, knowing that their children have dropped out of college can make them really angry with them. Brooks did not do that. He gives Jane an opportunity to explain the reason why, and tries to solve the problem by family s discussion.

32 Jane actually has another bigger problem, she was pregnant. At Brooks house in front of her parents, Jane said that she has dropped out of college because of her pregnancy. She decided to have an abortion. Once more, Brooks tried to be calm down and be a wise father. He forbids Jane to have an abortion with a very wise reason. Jane Mr. Brook Jane Mr. Brooks Emma Jane Mr. Brooks : I m going to have an abortion anyway, so there is nothing to get upset about. I wasn t even going to tell you guys. : There will be no abortion. : Daddy, you are not going to tell me what to do. It s my body and I will do what I want to do with. : You re right. I m sorry. I said it wrong. I m not trying to tell you what to do. I m trying to say that a grandchild would be a wonderful gift for your mother and me. : Please, honey, don t have an abortion. : Would you really want to have a grandchild, even though I m not married? : Yes. The child is what s important. We would love it and cherish it completely and help you raise it. (Mr. Brooks 2007, scenes: 34-35) The dialogue above shows that Brooks and Emma are very wise parents. Instead of blaming her daughter, they want Jane to maintain her pregnancy so they can get a grandchild. He was a too wise father and a high sense of morality father who can forgive his daughter s great mistake and can accept the existence of a grandchild although it comes from a wrong way. Besides wise, Mr. Brooks is also depicted as a caring person. It can be showed from the dialogue below between Mr. Brooks and Jane. Mr. Brooks Jane : Oh, yeah. How s the morning sickness? Do you want to ride in with me today? : I feel fine, but I don t know how long that will last. (Mr. Brooks 2007, scene: 98) The dialogue above occurred in the morning when Jane was having breakfast. Mr. Brooks asked about the morning sickness of Jane s pregnancy. It showed that Mr. Brooks

33 was really caring about his daughter pregnancy, although the pregnancy occurred before marriage. Meanwhile, Mr. Brooks is also having bad behavior. Mr. Brooks is depicted as a man who can control his emotion well, he is also a temperament man. He can not accept the thing that contradict to his own idea and can disturb him. He even says to Mr. Smith, the photographer who captured Mr. Brooks when he conducted the first murder, that he enjoyed killing. Mr. Smith Mr. Brooks Mr. Smith : So, what do we do now? What s the plan for evening? : We drive around until we see someone we think we might enjoy killing. : Really? That s it? I thought you might already have someone in mind. (Mr. Brooks 2007, scene: 46) Mr. Brooks is easily to decide of killing someone. It really contradicts with his other characteristic as a person with a high tendency of loving each other. By the detectives, Mr. Brooks was known as a Thumbprint Killer for the evidence in the murders location. After doing a murder, Mr. Brooks leaves each of the victim s bloody thumbprints on the lampshade. He makes fastidious preparation and cleaning up the crime scene before departing. That was the reason why the detectives can not reveal their murder cases. Detective Atwood [ ] Detective Atwood : It has never been revealed to the public that the Thumbprint Killer retrieves the slugs. : Leaving them like this, he must have been angry at them for some reason. (Mr. Brooks 2007, scene: 16) Mr. Brooks is also depicted as a cruel person. He killed all of his victims with a sadistic way. The first and the second victims were killed by the shut gun. And the most sadists way is when Mr. Brooks killed Mr. Smith. Without warning, Mr. Brooks swings

34 the shovel. The force of the blow breaks Smith s left arm. He howls but Brooks did not care about it. The next blow comes almost immediately. It smashes into the left side of Smith s head. Brooks takes a step to the side, cocks his wrists and swings again. The flesh that was once Smith falls to the ground. The blade of the shovel strikes Mr. Smith in the throat very nearly taking off his head. From his way of killing his victims, Mr. Brooks can be identified as a cruel and mean person. 2. Mr. Brooks Structure of Personality Mr. Brooks is identified as the major character because of his highest intensity of involvement in each event that happened in the film. In the age of 40 s years old, Mr. Brooks seems that he has a perfect life. He has a harmonious family with a beloved wife and the only daughter Jane. He also has a big box factory and becoming a successful businessman, but nobody knows, even his own family, that Mr. Brooks actually has a serious problem in his personality. According to Sigmund Freud, human personality consists of three main structures. They are id, ego and superego. These structures have their own functions which relate each other, and their function has a great role in producing human behavior. In this part of analysis, the writer would like to analyze the work mechanism of those three structures in Mr. Brooks personality. In the film, there are some events of Mr. Brooks life which depicts how is the work mechanism of the three main structures of personality of Mr. Brooks and how they are interacted each other in producing Mr. Brooks behavior. Those work mechanism will be discussed in the following explanation.

35 One night, after Mr. Brooks receiving the award as Man of the Year, he and his wife, Emma were having a chat in their car. Among the chat, a man leans out from behind Mr. Brooks head in the back seat. He is Marshall, the visualization of Mr. Brooks id. Emma can neither see nor hear Marshall, because he exists only in Mr. Brooks mind. At the very beginning of the film, there was a sentence written The hunger has returned to Mr. Brooks brain, it never really left. The sentence explained that actually Mr. Brooks has becoming a killer since a long time ago, and at that night, when Marshall appeared in his brain, his killer instinct returned. In Marshall first appearance in the film, it is clearly depicted that Mr. Brooks is inconvenient with his existence. It can be seen from Mr. Brooks face which looked panic. At that time, his id, Marshall, talked to him. Marshall : Come on Earl, give yourself a break, you know you want to do this. Mr. Brooks : No. Marshall : You re the fucking man of the year, you deserve it. It s not like it s not set up. You already know how to by-pass the alarm, you know how to pick the locks. Tonight s the perfect night. Mr. Brooks : (over his shoulder) No, Marshall, I said no! Marshall : I heard you, Earl, but you don t mean no. (Mr. Brooks 2007, scene: 4) According to the dialogue above, Marshall as the visualization of Mr. Brooks id, encouraged Mr. Brooks to do murder. Marshall tried to remind Mr. Brooks that he was a professional killer which has known the step how to kill, and killing can give a self break to Mr. Brooks.

36 The id, works based on the pleasure principle. In Mr. Brooks personality, killing has become something fun and can give pleasure for him. Therefore, his id encouraged him to do murder. At that time, Mr. Brooks answered No to the force of his id. The superego in his personality, which can judge whether an action is right or wrong, produced the word no as the way to reject the id s negative encouragement. Several times Mr. Brooks were fighting so hard to his id encouragement to do murder, but his id were also still working to encourage Mr. Brooks. Marshall Mr. Brooks Marshall Mr. Brooks : (from the back seat) They have their dance class tonight. What if we go by and just look at them. There s no harm in just having a look. : No means no, Marshall. : Please pretty please. : (to Emma) the food tonight was very good, but I wasn t crazy about the dessert. Would you like to stop somewhere and get something sweet? (Mr. Brooks 2007, scene: 5) Marshall the id, tried to flatter Mr. Brooks to just have a look at the dance class and found someone who might be interest to be killed. When his id still force him, he turn his attention to his wife and made a conversation with her then finally they came back home. In this conflict between his id which encouraged him to do murder and his superego which refused it, the ego, the executive of the personality decided not to do the murder and let the id lost of his mind. At the same night, when Mr. Brooks arrived at his home, Marshall returned to Mr. Brooks mind. Marshall still encouraged Mr. Brooks to do murder. Marshall : I bet your dick s getting hard, isn t it, just imagining what they would like dead?. Mr. Brooks : I don t want to start again, you promised Earl, you promised. Please, please, don t do this, don t do this, please. Marshall : why do you fight it so hard earl? (Mr. Brooks 2007, scene: 6)

37 The superego is dealing with the morality values in society. Based on the dialogue above, the superego of Mr. Brooks was actually occurring so hard in his mind. Mr. Brooks thought that he did not want to kill anymore because he realized that killing is something wrong. In this time, it is clearly described that there was a conflict between the id and the superego. The id wanted to do murder to fulfill the hunger for it and to get pleasure. At the other side, the superego fought against that encouragement. It tries to defend its function as the control system of the mind. The superego considered that killing is something wrong and Mr. Brooks did not need to do that again. In this second conflict between the id and the superego, the ego, which deals with the reality world, have to choose which one should be done in resulting the behavior. Mr. Brooks finally killed the dance couple. It describes about the ego, which conducted the id encouragement. It occurred because the existence of the id was so strong in Mr. Brooks mind so that the superego can not repress it. Then it made the ego followed the id encouragement that is killing. After killing the dance couple, Mr. Brooks came back to his ceramic studio. He was kneeling naked in front of the kiln where his murder clothes are being reduced to ash. Mr. Brooks : Oh, God, forgive me. Please forgive me Please forgive me (Mr. Brooks 2007, scene: 11) That was the representation of Mr. Brooks guilty feeling. The guilty feeling is produced by the superego in his mind because the ego has conducted something wrong. At this scene, there was an appearance of Marshall as the visualization of Mr. Brooks id, but he was showed just standing behind Mr. Brooks neither doing nor saying something to Mr. Brooks. It showed that, the contrary function between the id and the superego.

38 Mr. Brooks is actually a kind person who really care either to his family or other person. He even received an award for his successful business and his kindness who is described that he is able to cut his toe nails and gives freely of his time and money to other people. All of his bad habit that is killing is actually the representation of his id, the unconsciousness of mind. In reality, he knows that he is a businessman, a husband to his wife and a father to his daughter. Therefore, he always feels guilty of all of his bad habit. One night he confessed to his family that he has a serious illness by a piece of letter. Mr. Brooks letter to his family: Dear Emma and Jane, my loves. I have a terminal illness and instead of subjecting you to my deterioration, I have decided to disappear. Don t try to find me, I don t want to be found. Please believe that the time I spent with you brought me the greatest joy of my life. As an educated person, Mr. Brooks did not decide to do a stupid thing like suicide as an instant way to cure his illness. He decided to disappear and leave his family because he did not want to involve them in his problem, but it does not work when Marshall takes over his mind. Marshall always succeeded in forcing Mr. Brooks to do murder. One night, Mr. Brooks asked Mr. Smith, the photographer who captured Mr. Brooks when he killed a dance couple, to kill him because he wants to disappear from his family and his bad life. In the middle of the road, Marshall appeared and have a chat with Mr. Brooks. Marshall Mr. Brooks Marshall : How do you feel? : Dirty. : That s understandable. The feeling will go away.