I was lucky: big single twists are revealed quickly on tell-tale social media, but The Shawshank Redemption uses enough of them to keep its secrets hidden. Darabont creates some painterly moments – I loved the crane shot above the prison yard as Andy Dufresne ( Tim Robbins) illicitly plays opera over the PA to the cons below, an image from LS Lowry – but everything is in service to the storytelling. The Shawshank Redemption is a movie, not a film: all plot and no pretension. It’s telling that it’s top of that IMDb list, while nowhere to be seen on the lists of greatest films put out by serious-minded institutions such as the BFI. It earned seven Oscar nominations, became a slow-burn hit via video rentals, and King said it was his favourite adaptation of his work (though he doesn’t like The Shining, so, pinch of salt). Adapted in 1994 by writer-director Frank Darabont from a Stephen King story about a man clinging on to his humanity during a wrongful sentence for murder, The Shawshank Redemption has long been deemed the No 1 movie of all time on the user-voted IMDb chart, ahead of The Godfather and The Dark Knight. Anyway, having not seen it, I felt very much in the minority.
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