Of Mice and Men (1992 Film) - Plot

Plot

George Milton (Gary Sinise) is in a train boxcar, reminiscing upon the events that have just happened. He thinks back to when he and his companion Lennie Small (John Malkovich), who has an intellectual disability, are fleeing from their previous employment in Weed. They were run out of town after Lennie was accused of attempted rape when he touched and held onto a young woman's pretty red dress (prompted by his love of stroking soft things). After running from Weed, George and Lennie are trying to attain their shared dream of settling down on their own piece of land. Lennie's part of the dream, which he never tires of hearing George describe, is merely to have soft rabbits on the farm, which he can pet. The two go to work at a ranch named Tyler Ranch. At the ranch, the dream appears to move closer to reality. Candy (Ray Walston), the aged, one-handed ranch-hand, offers to pitch in with Lennie and George so they can buy the farm.

The dream disappears when Lennie accidentally kills the young and attractive wife (Sherilyn Fenn) of Curley (Casey Siemaszko), the ranch owner's son, while trying to stroke her hair; as a result, a lynch mob led by Curley gathers and goes after Lennie with the intent to kill him. Realizing he is doomed to a life of loneliness and despair like the rest of the migrant workers, and wanting to spare Lennie a painful death at the hands of the vengeful and violent thug Curley, George shoots Lennie in the back of the head while distracting him with their dream of the ranch, releasing Lennie happily. George reminisces in the train boxcar, he has one final memory of him and Lennie working together and going off into the distance happily.

Read more about this topic:  Of Mice And Men (1992 film)

Famous quotes containing the word plot:

    James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.”
    James Thurber (1894–1961)

    The plot! The plot! What kind of plot could a poet possibly provide that is not surpassed by the thinking, feeling reader? Form alone is divine.
    Franz Grillparzer (1791–1872)

    If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.
    John Ashbery (b. 1927)