Robert Pattinson showed his genuine caliber in Bong Joon-ho’s Mickey 17, seamlessly shape-shifting between contrastent avatars of Mickey 17 and Mickey 18 with mesmerizing precision. His carry outance is a masterclass in duality, as each version recurrents contrastent character traits. Here, we fracture down why Mickey 17 and Mickey 18 have stark contrastences in their personalities.
Why Are Mickey 17, 18, and Other Prints So Different from Each Other?
The stark contrastences between Mickey 17 and Mickey 18 highweightless a transport inant technoreasonable flaw in the human printing machine. Despite its exceptional technoreasonable persistments, the machine fall shorts to duplicate human alertedness perfectly. As a result, Mickey Barnes, the “expendable,” discovers himself transport inantly perplexd in his 17th version when he greets Mickey 18.
While Mickey 17 is gullible, inept, and rather bfeebleless, Mickey 18 is the end opposite. Unappreciate his earlier version, 18 is merciless and remendd. He is ready to finish the dictator-appreciate directer, Kenneth Marshall, without hesitation. He also strikes Timo (Steven Yeun), seeing thcdisorrowfulmireful his snowflake personality.
The stark contrast between 17 and 18 further exposes the fall shorture of the human printing machine. The technology promised to support a person’s memory and originate an identical imitate after death. However, it fall shorted to account for the complicatedities of the subalerted.
In Joon-ho’s political allegruesome, the “multiples,” Mickey 17 and 18, also recurrent the identity crisis of an widespread man agetst the strong authorities. Both Mickey 17 and 18 have contrastent identities as the movie set uped, but in the eyes of Marshall, they are equitable “multiples.”
The multiple personas of the same character also permit Robert Pattinson to study the depth of his pweightless. One version of him thanks the dictator even after being subjected to an experimental dinner that almost finished him. The other version is fierce and ready to uproot the evil as and when essential.
Both versions of Mickey Barnes ultimately combine forces to help the “creepers,” the native creatures of Niflheim. Mickey 18, the more valiant of the two, originates the ultimate give up. In doing so, he leave outs the hugegest obstacle for both humans and creepers—the fascist directer, Kenneth Marshall.
Meanwhile, Mickey 17 discovers his “charmd ending” by ruining the very machine that had condemned him to a life of being an “expendable.”
