This defect arises from the director's attempt to overuse the fort enclosure as a symbol for the present social and family system. The film is saved from appearing to be projecting a superficial and naive solution to social problems that have their roots in the private property system by the forceful and realistic depiction of social reality within the film itself. The spectator is made aware that the couple travelling in the car are carrying with them the destruction caused in their lives by capitalism and that there is no escape or haven for them as long as the existing system lasts. The film succeeds in bringing home to the spectator the realisation that it is necessary to do away completely with this system for mankind to be able to explore and utilise the immense resources for happiness that nature and life offers. I can see the bright green strip of grass beneath the wall, and the clear blue sky above the wall, and sunlight everywhere.
Life is beautiful.
Let the future generations cleanse it of all evil, oppression and violence, and enjoy it to the full. The pattern of separation, union, birth, baptism, marriage and death as it appears in the film makes one realise the futility and barrenness of life as it is lived by men and women in class society. Walls Within is the kind of artistic work that has the ability to make a Marxist feel glad that he or she is fighting for the overthrow of the outmoded, destructive capitalistic system, to pave the way for the socialist transformation of society. The WSWS invites your comments. Please send e-mail .