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The most important critical analysis images of archetypes is the Wise Old Man, which is said to carry intuitions on one hand and moral qualities such as goodwill and a readiness to help on the other. In the play the old man showed these exact qualities. This old man appears when the main character is in a hopeless and desperate situation from which only faith and luck can help him. Unlike every other good ending, it was too late for the old man to help Faustus, and he was carried off to hell. The last of the archetypes was the trickster who was portrayed as the Satan or Lucifer in this play. He was the opposite of the wise old man and his primarily a divine being.In the last century, Dr Faustus enjoyed numerous revivals, many of which featured famous actors. Indeed, part of the play's popularity in performance is due to the vast scope for the two lead roles of Faustus and Mephastophilis. Michael Billington, writing in the Guardian in 2002, argues that the play '[attracts] heroic performers who seem to find in it a self-fulfilling prophecy of destruction', mentioning in particular Orson Welles's 1937 Broadway version. Welles also staged a version in Paris, featuring music by legendary jazz pianist Duke Ellington. Likewise, when in 1967 Richard Burton did both a stage and a film version starring Elizabeth Taylor as Helen of Troy, many people drew parallels between Burton's career and his role. Several reviewers, including Billington, have argued that the famous actors portraying the Doctor add an extra layer of irony to a performance because of their own success and the binding nature of Hollywood contracts: the temptation of fame and fortune is often seen by theatre-goers and critics as mimicking Faustus's own temptations. Other celebrity Faustuses include Sir Ian McKellan, who played the part in 1974 for the Royal Shakespeare Company and, most recently, Jude Law in 2002 at the Young Vic Theatre.