In the well-known scene on the roof, a footstep away from death, Dufresne leaves his standoffishness behind to take advantage of the situation and even to assist Hadley. Originally it was pretty so, yet Andy’s will to transform himself and the lives of the others around him would later become a guarantee of survival. It may seem, that Andy’s encounter with RED had always been no more than a parameter while surviving the sentence within a maximum-security prison. Outside the walls of Shawshank, Dufresne was indeed the very hotshot smart banker, in the worst stereotypic sense, who had loved his wife but never had guts to express this feeling as a human being. Going enough back to 1947 and the ‘fishing’ that night, Andy could be regarded (emotional on-scale) with no more than a ‘cold fish’ label. At the very edge of a breakdown and possible death, the character finally admits his guilt in the death of his wife: not on the physical level of taking the revolver, but a rather emotional level. It would take Andy years from that first night in jail to progress his self-analysis beyond the cliche-like ‘being in the wrong place in the wrong time’. His sin lies in indifference, coolness to the outer world and people, a standoffishness, and disregard to a reality. Scratching beneath the surface, Andy Dufresne spent his first night in the joint ‘never making a sound’ not because he had control over the situation, an escape plan, or because he was tougher than the others. Having none of the records in their possession, a bunch of convicted criminals takes advantage of the behavior and the given reaction of new inmates to a new world outside. That sort of story element as ‘fishing’, insignificant at first sight, has proven itself to be another litmus test paper in a way of designating the nature of the ‘fish’ newcomers. The only thing is that back in 1947 Andy’s personality had no much beyond the image of a smart banker.
It may seem that the outer world tags Dufresne with labels, showing no real interest in who he is: ‘the wife-killin’ banker’ (Red), ‘the smart banker who shot his wife’ (Hadley), ‘some hotshot banker’ (Blatch). While reading the authentic narrative by Stephen King, it was Andy’s cool presence of mind, if not to say his indifference to the goings-on entitles verdict with credence. It would be not until two hours later for the characteristic, given by the judge to be re-interpreted with alternate signification. At this induction sequence, the onlooker is left with only a six sense doubt and the rigid verdict sits well with the given context.
The preface scenes in a courtroom treat Andy Dufresne as a double homicide convicted murderer, who would take the consequences by means of life imprisonment. Relatedly, the baseline state of the character could be regarded as a litmus paper to a lesser extent than a journey that Andy was fated to break through from the opening credits to the metaphor-like epilogue. An envious education, a high office in a bank, an expensive car, the own household, a beautiful woman next to his brand new tailored suits. As far back his life as the time prior to the Shawshank, ANDY DUFRESNE was endowed with a wide array of what could be appreciated as social markers of a successful man.
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