Year – 2004
Running Time – 120 mins
Screen writing Genre – Dude with a problem – Law enforcement
problem
The Film
Collateral is an often underrated but very slick thriller.
It puts Tom Cruise in the role of the bad guy for one of the only times in his career
and he excels. This film also provided the breakthrough role for Jamie Foxx who
received an Oscar nomination for best supporting actor. Collateral is also one
of the first films to be shot exclusively in HD video and the result is a rich
visual experience. The film was also nominated for an Oscar for best
achievement in editing.
What’s in a name?
Collateral isn’t the strongest name. It doesn’t tell us much
about character, setting or the genre, although it does hint at the tone of the
film. Much like the film itself the title is aloof. I believe this, along with
a lack of promotion, is one of the main reasons it didn’t become a smash at the
box office.
What makes it
great?
Handled by any other director ‘Collateral’ could have turned
into a mess. But Michael Mann handles the story with skill and shows and expert
awareness of how to build tension and pace (much like in one of his other films
‘Heat’.)
Aside from two very strong performances from the lead actors
and some very stylish visuals it is the sound that really sets the film apart.
Both music and sound effects are used perfectly to lull the audience into a
false sense of security before smashing the illusion suddenly and violently. If
you ever want to know how to use sound to build atmosphere, give a location
personality and be an integral part of a film, then this is the movie to study.
Collateral as a Dude
with a problem (Law enforcement problem) Movie
A dude with a problem movie has to contain and innocent hero
thrust into a life or death battle due to sudden events beyond his control.
This fits Collateral perfectly as Jamie Foxx is simply in the wrong place at
the wrong time (just like another classic dude with a problem), when Tom Cruise
gets into his cab. As the tag line says “it started like any other night...”
The sub genre of Law enforcement problem simply covers
stories where are dude must deal with a law breaker of some kind. This can
range from kidnappers, terrorists trying to take over the Nakatomi Plaza to hit
men who need a ride.
Time Line
Opening Image – A
bright, quiet airport where we meet the sinister Vincent. From minute One we
already know something sinister is going on. Cut to chaotic LA and Max in the
cab company. We get a nice montage of Max sorting out his cab that tells us
more about him than any dialogue.
Set-Up – We see
Vincent get a package at the airport and meet Max. We also meet Annie and learn
that Max has plans for the future. We also get some hints about the big federal
case that is going to start the next day. It seems like Max is a smart guy with a high
attention for detail (just like Vincent, shadowy reflection alert), but we will
learn later that he is mostly all talk. He will have to change the talk into
action to survive the night.
B Story – The B
story kicks in early and then disappears for a while. It is of course the love
story between Annie and Max. It will be Annie who inadvertently leads to Max
truly becoming a man of action.
Catalyst –
Vincent gets into the back of Max’s cab and tests him on a few routes. Max’s
skill at getting to places quickly and knowing the road layout makes Vincent
want to keep hold of him.
Theme Stated – Vincent
talks to Max about Darwin, evolution and some other things which may seem like
nonsense to Max. This reveals our theme which is that you need to adapt and
evolve to survive and move forward. In the ultimate irony Vincent will fail to
follow his own advice which will lead to his death.
Debate – Should
Max take the money and let Vincent hire the cab for the night?
Break into Two – When
the body lands on the taxi there is no going back and Max is now suddenly and
dramatically thrust into Vincent’s upside down world.
C Story – B story
disappeared? Now problem the C story kicks off with the investigation by the
lone cop who we (mistakenly), think will end up being Max’s saviour.
Fun and Games – We
follow Max and Vincent as they drive around LA and pick off some low level
goons. The strange relationship between the two develops as Vincent saves Max
in the alley. We also learn Vincent is slick, serious and the perfect hit
man…at least on first look.
Midpoint – Max
gets the best of Vincent briefly and runs off with the brief case. Max throws
the case into the highway and it smashes. This then leads to Vincent sending
Max in to meet Felix.
Bad Guys Close In – The
cops believing max to be Vincent begin to close in. This culminates in the club
shootout at Fever.
All is Lost – The
cop who believes Max, is killed by Vincent and now Max he has nowhere to go.
Dark Night of the
Soul – Max doesn’t know what to do as the only person who believes him is
now dead and talks to Vincent about why he had to kill the cop.
Break into Three
– Recovered, Max puts Vincent on the back foot and begins to drive erratically.
Max, with new found strength and belief after passing himself off as Vincent,
takes full control and rolls the cab.
Finale – Max
chases after an injured Vincent to try and save Annie. Vincent keeps making
mistakes and shows to us he isn’t some super beast but a man after all.
Vincent’s final mistake is on the train where he can’t adapt to his
surroundings and shoots directly into the trains doors.
Final image – The
train moves off with Vincent’s body on it. Max and Annie walk the away from the
station as the sun rises. The world moves on as if nothing has happened. The
only thing that has changed in the world is Max.
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