Whilst intrinsically a violent film, at times brutal but never bloodthirsty, The Crow offers no sense of satisfaction or comfort in the deaths of the guilty, no greater meaning, deliverance or solace to be derived.

When Eric says "they're all dead, they just don't know it yet" there is no tone of animosity in his voice, only a resigned sense of purpose, he is one man in a world divorced from morality adopting its own values for one brief night to pursue vengeance.

The story is a gothic fairytale, a dance of "love, death and pain" whose only discernable moral is that evil does not prosper and love can continue beyond the grave. Which are granted greater resonance when the events of Brandon Lee's own death are taken into account. (He was shot and killed by a bullet fragment lodged in his spine during the scene of his characters death)

When we consider all the events involved in the production of The Crow, we can no longer see it as merely a film. It is a film making event mixing both diagetic and non-diagetic tradgedy to create one of the most personal, affecting and inspirational statements of cinema ever made. We see it not as a memorial of death, but an affirmation of life, a celebration of every breath that we breathe.

With The Crow as his vehicle of remembrance, the memory of Brandon Lee will continue for many years to come.