Apt Pupil Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

In Southern California in 1984, 16-year-old high school student Todd Bowden discovers that his elderly neighbor, Arthur Denker, is in reality Kurt Dussander — a former Sturmbannführer in the SS who is now a fugitive war criminal hiding from justice. Todd blackmails Dussander by threatening to turn him in to the police. However, the teenager is fascinated with Nazi atrocities perpetrated during World War II, and forces Dussander to share disturbing stories of what it was like working at Nazi extermination camps, and how it felt to participate in genocide.

Todd purchases an SS uniform from a costume shop, and forces Dussander to wear it. When he spends more time with the old man, his grades suffer, he loses interest in his girlfriend, and he conceals his bad grades from his parents. In turn, the Nazi blackmails the young boy into studying to restore his grades, threatening to expose the boy's subterfuge and his dalliance with Nazism to his parents. Dussander even poses as Todd's grandfather and goes to an appointment with Todd's school counselor Edward French. Talking about the war crimes affects both the old man and the young boy, and an intoxicated Dussander attempts to kill a cat in his gas oven but fails when it attacks him and escapes. Dussander also takes great pride in Todd's unbelievable turnaround, going from near dropout to straight As in a matter of weeks.

One night, Dussander tries to kill a hobo who earlier had seen him in the uniform. When Dussander has a heart attack, he calls Todd, who finishes the job, cleans up, and calls an ambulance for Dussander. At the hospital, Dussander is recognized by a death camp survivor sharing his room and he is arrested, prior to being extradited to Israel. Todd graduates as his school's valedictorian and gives a speech about Icarus, saying, "All great achievements arose from dissatisfaction. It is the desire to do better, to dig deeper, that propels civilization to greatness." The scene is juxtaposed in a montage with Dussander's home being searched and the hobo's corpse being found in the basement.

Todd is briefly questioned about his relationship with Dussander, but he manages to convince the police that he knew nothing of the old man's true identity. At the hospital, Dussander hears a group of Neo-Nazis demonstrating outside the hospital; realizing his identity has been hopelessly compromised, he commits suicide by giving himself an air embolism. When French learns that the man who met Todd at school was not Todd's grandfather but a war criminal, he confronts Todd, who then blackmails him into silence by threatening to accuse him of making inappropriate sexual advances towards him, and to thereby expose him publicly as a homosexual and pederast.

Ian McKellen stars as Kurt Dussander, a Nazi war criminal who hides in America under the pseudonym Arthur Denker. Screenwriter Brandon Boyce described Dussander as being "a composite of these ghosts of World War II" but not based on any real-life individual. McKellen was attracted to the role because he was impressed with Singer's The Usual Suspects and saw the role of Dussander as "a nice, meaty part and difficult". Singer, who enjoyed McKellen in John Schlesinger's 1995 film Cold Comfort Farm, invited the actor to take the role. The character's language was written originally for "a very stoic German", but Singer felt that McKellen's "complex" personality could contribute to the character. The director said of choosing McKellen, "I felt if I could combine his complexity, his colorfulness, to the stoic German character it would create a character that, although evil, would garner more sympathy and would be more enjoyable for the audience to watch."

Brad Renfro stars alongside McKellen as Todd Bowden, a 16-year-old who discovers Denker's criminal past. Singer auditioned a couple hundred young men and chose 14-year-old Renfro, saying of him, "Brad was the brightest, the most intense and the most real. Not only could he have the intensity when we wanted, there was a hollowness that he could convey, and by the end of the picture he had to become this empty vessel." Portraying a manipulative character temporarily influenced Renfro, who said that people around him were worried about his state of mind. Renfro said of his performance, "It's a trip I have to take. People just kind of have to leave me alone when I'm doing it. It's my job." Singer described his impression of the character:

I don't believe for one minute that was pure as the driven snow. The capacity to blackmail an old man — obviously there's a search for something going on that's a good hard step beyond innocence. I think he had it within him, some emptiness that needed fulfillment and taken to a new place, a new direction. His school, his parents, his environment weren't doing it for him. This particular individual came along before some other, but it perhaps could have been drugs, it could have been rape. Todd was probably not a very good guy. But that kind of bad guy can exist within a lot more people than we realize.

Schwimmer plays Edward French, Todd Bowden's high school guidance counselor. Before Schwimmer, Kevin Pollak was attached to the role. While Schwimmer was known for his comedic role on the television show Friends, Singer was impressed by the actor's performance in a Los Angeles stage production and decided to cast him as the counselor.

Obsession with Nazism and the Holocaust

In The Films of Stephen King, Dennis Mahoney writes that the obsession with Nazism and the Holocaust that unfolds in Apt Pupil is the result of the paternal bond between Nazi war criminal Kurt Dussander and high school student Todd Bowden. Such bonds are common themes in Stephen King's works: "King's portrayal of evil most often appears to require an active, illicit bond between a male (often in the role of a father or father surrogate) and a younger, formerly innocent individual (often in the role of a biological or surrogate progeny) who is initiated into sin". In the film, the year 1984 highlights, in addition to Orwellian overtones, the time in American history in which the Holocaust is treated as a week-long course with little time "to be tempered with self-questioning as to the motivations behind it". Bowden's obsession with the Holocaust is a key plot device "wherein the past has this unbreakable hold on the present". The film's opening sequence shows how Bowden treats this history as a simulacrum in which the history becomes his own, as evidenced by his head's brief overlapping with the Nazis he is studying. Though history becomes alive for Bowden, he perceives it through the perpetrators (namely Dussander) and not through the victims, characterizing Bowden as "apt" in the sense of "a natural tendency to ... undesirable behavior".

Mahoney says language serves as "a vehicle for corruption", as Dussander tells Bowden horrific stories of his service at the fictional Death Camp of Patin. Bowden, in listening to the stories, becomes "a vampiric extension of the evil" that Dussander exhibits. The sharing of stories lead both Dussander and Bowden to have nightmares, and for Bowden, the nightmares are "a past that is becoming ever more present". One of the key motifs of the film is that "a door was opened that could not be shut", referring to Dussander's confession about following orders and being unable to hold back. The motif is also conveyed in the scene in which Bowden forces Dussander to put on a Schutzstaffel uniform and to march to Bowden's commands. Dussander continues marching despite Bowden's insistences to stop, emulating the premise of Goethe's poem The Sorcerer's Apprentice in which the untrained apprentice uses magic to enchant brooms and lacks the skill to stop them. The scene is "the figurative and literal turning point in the film".

Sadomasochism, homoeroticism, and homophobia

Mahoney says that sadomasochism, homoeroticism, and homophobia are highlighted in Bryan Singer's retelling of Stephen King's novella. In Frames of Evil: The Holocaust as Horror in American Film, Caroline Picart and David Frank write that the face of evil is represented in the film as Nazism, oft labeled as "quintessentially innate supernaturally crafty", but also "in a more subterranean way, dangerously blurring ... the boundaries between homoeroticism and homosexuality". The Nazi monstrosity in Apt Pupil is structured through sexual "abnormality", where a series of binary dichotomies are introduced: "normal versus monstrous, heterosexual versus homosexual, and healthy versus sick". An additional dichotomy, victimizer (masculinized) versus victim (feminized), reflects the film's "hidden tensions" in which Bowden and Dussander's roles of powers are reversible. While the "set of perversions" that unfold in the novella are misogynistic, the film unfolds the set as "ambivalently homoerotic and homophobic". The film removes the novella's misogyny and leaves intact the underlying homoeroticism of the central characters. The film also expounds the connection between homophobia and how male Holocaust victims are portrayed.

The central characters Todd Bowden and Kurt Dussander are onscreen most of the time, and they are frequently framed in close proximity, which Picart and Frank describe as " a homoerotic intimacy punctuated by dread of contact with the monstrous". Homoeroticism in Apt Pupil is further demonstrated by the focus on Todd's body. In the opening scene in which Bowden is in his bedroom during a stormy night, "the ever-encroaching camera and the lighting fetishize Todd's youthful body", similar to the fetishism of the female body in films like Psycho (1960). This depiction creates a dualism in which "he is now simultaneously dangerous and endangered" in his homophobic and homoerotic ties to Nazism.

When Bowden gives Dussander an SS uniform to wear and in which to march under Bowden's ord