The resulting film, then, is a kind of allegory, and may be read as the allegory of the film industry itself. The film is not interested in Jones, but rather it is interested in the spectator. It is interested in how the spectator views Jones' sacrificial act, it is not interested in the act itself. The film is interested in our perspective on the film. We are invited to speculate as to the meaning of the film, but the film itself is not committed to a resolution. It is an ironic allegory of the film industry, which is not the kind of film the industry is interested in making. It is a film that is interested in itself, not in us.
The film, then, is poised on the verge of revealing a resolution which is in direct opposition to its plot. It makes clear to the audience that what it takes to save Jones from his fate is not his own heroism, but rather the temporary suspension of his heroic character. We are put in an ironic position. We have been anticipating that the hero would act in a heroic manner, and yet now we are forced to confront the possibility that he will not do so. The spectator is not informed of the gap in the plot, but rather it is the spectator who must perceive it. Jones will not do what he must do. Yet this is not a resolution to that which is in the script. Rather, this is a resolution to the spectator's expectation. What is missing is not the heroic or heroic action, but rather the moment at which the hero must commit himself to it. The spectator may see the gap in the film, but only because the film itself is not ignorant of it. It is the film's awareness of this gap that enables the spectator to perceive it. The film is not committed to an outright resolution of the situation, the film is aware of the gap in the plot. If this gap is not resolved, then the film is not committed to an outright resolution, no matter how convinced we may feel that it is. This awareness is a consequence of the film's necessary tension between Jones and Willie, which the film builds to in the final moments of the film. The film is ironically aware of this tension and yet is bound by its ideological purpose to resolve it in favor of the hero. At the level of the narrative, the film's awareness of its own awareness of the missing step is not a resolution, but rather is a resolution only to the spectator's speculation.
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