Tuesday 29 January 2013

Crocodile Dundee Script Breakdown


Dir- Peter Faiman
Year – 1986
Running Time – 94 minutes
Screen writing Genre – Fool Triumphant (Fool out of water)

The Film

Crocodile Dundee made a major impact upon release. It may seem hard to believe but it is one of the highest grossing films of all time. The film was made for around $9 million and went on to gross over $328 million. It was also nominated for an Oscar in the best screenplay category and Hogan picked up a golden globe for best actor. Adding to the onscreen chemistry is the fact that Paul Hogan and His co-Star Linda Kozlowski actually married in real life.

What’s in a name?

This is another straightforward one. It clearly refers to the main character with the “Crocodile” and poster image adding the humorous touch. The film must be considered from a slightly different point of view as it is a star vehicle for Hogan and thus would have been designed around his comic ability.

What makes it great?

Like many a stars vehicle the film hangs on the leads performance. Luckily for us Hogan does a great job of carrying the film. The structure is a little wayward in places but it hangs together on the strength of the script and humour. I feel the nomination for best screenplay is well warranted and the film remains timeless due to its good nature.

However, for me the screenplay is missing something at the start. It also has a twisting structure where the emphasis moves from Mick to Sue and back with regards to who is driving the narrative. The film mirrors itself at the midpoint as well.

Crocodile Dundee as a “Fool out of water” Movie

The “Fool out of Water” or fish out of water genre is the perfect description for Crocodile Dundee. It refers to films where someone is taken out of their natural environment and dropped into another. Another example would be Legally Blond.

The “Fool out of water” genre does break a number of conventions on occasion as the tension comes from seeing our hero being himself or herself in a new surrounding. As such we sometimes don’t get the name change and assuming of a new identity we often get in other fool triumphant genres.

Time Line

Opening Image – The New York skyline.

Theme Stated – Right from the start we know our theme is survival. It’s properly introduced when Sue says “And I will see where he was attacked and how he survived.”

Set-Up – Sue follows up on the crocodile man story and we meet Mick and his ‘mate’.

Catalyst –you can argue two catalysts. Right at the start we have Sue looking at the crocodile man story that stops her coming home when she should. Once in Australia it is the idea that she can’t survive in the outback that sets the real journey into motion.

Debate – Mick and Sue discuss if a city girl could survive the outback?

Break into Two – We break a little early but it is clear once we are in the outback and the boat has left we have crossed over into the special world of act 2. A little later we have a new dawn and the adventure can begin.

B Story – When Mick saves Sue from the crocodile the B story and love story starts.

Fun and Games – Mick and Sue adventure in the outback and we get to meet some aborigines, see our characters eat some bush food and Mick considers going to the city.

Midpoint – Mick enters New York and our fish is now out of water. Mick will go on to show the New Yorkers as savages through his friendliness.

Bad Guys Close In – Mick has to adapt, plus Sue’s boyfriend is on the scene and trying to make Mick look like am idiot. There is also a marriage proposal on the horizon.

All is Lost – Richard proposes and Mick is humiliated.

Dark Night of the Soul – Mick walks the streets, drinks and gets beaten up. He is saved by his ‘mate’ and recovers. He decides to see the rest of the country and find more friends.

Break into Three
Mick leaves the hotel to go to the train station and travel America.

Finale – Sue starts the ‘Chase to the airport scene’ and races to the train station which culminates in the iconic scene where Mick is literally held up by the people of the city as he walks over them.

Final image – Sue and Mick together, surrounded by New Yorkers who are now much friendlier having been changed by their meeting with Mick.

Monday 28 January 2013

In what ways, if any, is Black masculinity portrayed as powerful and powerless in African American cinema?

Through the history of cinema we are given constant representations of black men who have their masculinity compromised (mainly white characters). However, certain films do show the black man as, if not more, powerful than their white counterparts. One example of this is the film Shaft (Gordon parks (1971) USA) and it is this film that I will look at in order to see if, even in this powerful character, black masculinity is compromised.
   
The character of John Shaft represents a different type of character being portrayed by a black actor. Shaft appears to be an aggressive, highly sexually, highly influential character. Not only this but he isn’t constrained by anybody. He can go anywhere and into any space. But the main point is that his white superiors appear powerless to stop Shaft doing whatever he feels like. This contrasts strongly with the characters that Sidney Poitier used to play. Although Poitier did break through to the Hollywood film industry, Ed Guerrero points out, most people saw that Hollywood neutralised Poitiers sexuality and in doing so his masculinity.
   
Shafts character is in contrast with how black people and especially the black man had been portrayed in film before, Donald Bogle sets out five signifiers of the black subject in American film. That being toms, the good Negro enslaved and obedient, and the signifier that Poitier was considered to be a prime example of. Coons, lazy good for nothings, and the mulatto, the tragic mixed race figure. Mammies, large women devoted to the white family and bucks, sexually potent big black men who are feared by plantation owners. John Shaft breaks through all of these confined roles laid down in American cinema history. Where as these perceived roles serve to neutralise the black male and take away his masculinity by either showing characters as sexually powerless or controlled by the white man, the character of Shaft is shown as just the opposite. Showing that even though he is sexually powerful and threatening to those around him, he is not controlled and thus his masculinity is not compromised by any other character within the narrative.
   
We see right from the very start of the film that Shaft is completely unshaken by and in control of his surroundings - this is shown to us where he walks across the road and is almost hit by a taxi. Shaft responds aggressively to the driver and then he continues on his way. Again in the opening scene a man tries to sell Shaft a watch. Shaft shows the man his badge and he runs away, showing us that he could have arrested the man but choose not to, he has all the power and any decisions he makes are because he wants to make them, not because he is following orders from anybody else. This sets up the character as a powerful presence that stands out from anything else on screen, it's impossible for the character to have his masculinity diminished because he always appears bigger, brighter or just far more in control than anybody else. Instead, it is the characters around him that appear to be weak and have their sexuality neutralised.
   
Another example of Shafts power within the film is clearly shown by the fact that he knows all the information about what is happening. In one scene a white policeman is pleading with Shaft to tell him what is happening. The way this is done suggests to us that the entire mainly white police force is completely lost without Shaft. As nobody else seems to be able to find out the information that Shaft can, this boost his masculinity as he can have the knowledge required to enter any space. It also reduces the masculinity of the white policeman, as they cannot.

    Furthermore the representation of women in the film further adds to the idea that Shaft has a powerful masculine presence. The women serve just for him to reinforce his own masculinity, and not compromising it in any way. Where as in other films and notable in the film noir genre women act as femme-fatal characters or characters that serve to neutralise their male counterparts, hear they are clearly their to love Shaft and be made love to be Shaft. Not once does Shaft show any real feeling, other than sexual towards the women he beds. Without him showing any feelings for the woman his masculinity is never brought into question.

Another point which acts to emphasise the character of Shaft as a sexually powerful black male, is the fact that the characters around him are set up as completely unisexual constructs. The men in the text that surround Shaft tend to be middle aged, white policemen who are losing their hair and highly strung. So there is no possibility of Shafts masculinity, and sexual power being challenged by one of these characters. Even when Shaft is attacked by somebody he always comes out on top no matter how outnumbered or against the odds it may seem. For example, when he is ambushed by a gang of people he still manages to fight them all off and come out on top.
   
To conclude I would say that while it is clear that within the history of American film black masculinity is constantly undermined and rendered powerless by white characters - Shaft clearly breaks away from this. Nowhere in the film to we see Shafts masculinity compromised. He assumes almost super hero qualities as he tackles anything that comes his way, he becomes a construction of everything that is sexually powerful and masculine. To emphasise this every other character in the film is there seemingly to add weight to this idea, either in the guise of a submissive woman for Shaft to sleep with, a middle aged cop who acts as no threat to Shaft or a villain for him to beat up.



Bibliography

Hooks, Bell 1992 Black looks: Race and Representation South Bay Press UK

Guerrero, Ed 1993 Framing Blackness: The African-American Image in Film, Temple University Press USA

Bogle, Donald 1994 Toms, Coons, Mulattoes, Mammies and Bucks: an Interpretative History of Blacks in American Films USA

Thursday 24 January 2013

Casino Royale Script Breakdown


Dir- Martin Campbell
Year – 2006
Running Time – 144 mins
Screen writing Genre – Super Hero (People’s Super Hero)

The Film

Casino Royale marked the re-launch of the James Bond franchise and made a massive impact in the process. Very cleverly the film takes many aspects from the Super Hero block busters that were flavour of the month at the same time. The critics adored the film and Daniel Craig became the first Bond in history to be receive a best actor nomination at the Baftas.

What’s in a name?

Casino Royale is a quite straightforward name. Belonging to a well established franchise means we already know who the film is about and now we have an idea where it is set as well. The simple name also tells us that we are in for a more low key and serious film than other Bond movies.

What makes it great?

So many things stand out in Casino Royale. The music is exceptional, the action sequences are amazing and the script is incredible. The film is also paced well and the fact the writers manage to hold your attention through a card game is very clever. However, the biggest highlight is the performance of Daniel Craig which brings a gravity and credibility to Bond that has been missing for a very long time. It’s hard to think how the franchise could have been re-launched any better.

Casino Royale as a Super Hero of the People Movie


Super Hero movies deal with the burden of power and being so much more than the everyday man. They also deal with the trouble super heroes have with us lowly normal people. James Bond is a now mystic figure who can get out of any situation and deal with anything due to his brilliance at just about everything. This more than qualifies him as a super hero.

Super Hero of the People films deal with characters that rise from the ranks of the ordinary man due to their great skill. This covers James Bond and other films such as Robin Hood and Gladiator. Casino Royale charts James’ journey to full super hero the same as many other origin movies. By the end of the film he will have full control over his ‘powers’.


Time Line

 Opening Image – A shady organisation in Prague set in black and white. This is our introduction to a new, more brutal, Bond who shoots first and asks questions later. This is followed by a shady organisation in Uganda and our introduction to Mr White.

Theme Stated – As we have seen in the opening scene our new bond is a man who keeps tight control on his emotions and is a cool calm customer, he is also arrogant. This will continue throughout the movie and our theme is based around questions of emotional detachment. Our theme is simply- what do you need to be a true hero and a man? Bond will develop as the story goes on and by the end will emerge as more than the simple number 007. At the minute he lacks the emotion to be anything more than a super robot.

Set-Up – We get to know Bond and the fact he means business, is emotionally detached and cold. During this part of the film we also meet the main bad guys and get to see Bond in action.

Catalyst – Bond finds the bombers phone and uses it to track his next contact. (18)

Debate – Bond and M talk in her apartment about his conduct.

Break into Two – Bond is in the Bahamas to follow his lead. (25)

Fun and Games – Bond is following clues, playing cards in the Bahamas and seducing women. It all culminates in a chase to the airport scene to catch the bad guy.

B Story – Bond meets Vesper and the ‘love’ story starts. (55)

Midpoint – The card game begins.

Bad Guys Close In – The good guys may be closing on La Chiffre but so are the even badder guys from Uganda. The bad guys are also onto James and he is poisoned

All is Lost – This leads to our ‘whiff of death’ moment when he dies and is revived by Vesper. Bond then loses the card game after being outsmarted by La Chiffre

Dark Night of the Soul – Having lost the card game James loses his cool and is about to act rashly and try and take La Chiffre by force. Felix stops him and gives him a way to recover. Bond returns wiser, less arrogant and realising he is not invincible.

Break into Three
– Vesper is taken and Bond chases after her. He wakes up in the boat after the car overturns and we are now in act 3.

Finale – Bond recovers from his injuries and decides it’s not worth it. He softens and wants to leave the service. All is going well until Vespers betrayal is revealed.  He then follows her to the tragic end.

Final image – James has now become our fully formed Super Hero, not soft and weak or hard and uncaring but a mixture of the two.  We end with the line “the names James Bond”. Our hero is now more than a simple three digit number.

Wednesday 23 January 2013

Should feminist and ‘post-feminist’ film criticism take the action heroine seriously?


In order to understand whether or not feminist or post-feminist theory can take the action heroine seriously, it is important to look at the ideals surrounding both feminist and post-feminist ideals and concerns. I will look at the films Aliens (Cameron, US, 1986) and Tomb Raider (West, UK, 2001) in order to look at the notion of the female action heroine. 

From the nineteen fifties onwards second wave feminism began to develop. Drawing on first wave feminism, the second wave develops from shared concerns of different women’s groups. The second wave feminists felt the need to change women’s social condition and cultural representation. Their main concerns centred around stereotypes of women in the media and the notion that women were being used to sell commodities - or as Germaine Greer argued, women aren’t just used to sell the commodities, but are in fact commodities themselves.

Three main bodies of feminist theory developed in second wave feminism. Liberal feminism works towards the aim of helping women to gain equality to men within the existing system. Marxist or socialist feminism is founded upon the idea that the existing political framework of society, especially in areas of class needs to be changed or reformed. Finally there are the ideas put forward by radical feminism. This promotes the idea of the separation of women from men. This being done with the aim to form an alternative culture due to the fact that all language and knowledge is seen as male dominated. All three different positions work to challenge and subvert patriarchy, which as popularised by Kate Millett is the system of male authority that is integrated within the framework of society that oppresses women.

‘Post-feminism’ came about due to a backlash against feminism in the nineteen eighties and nineties when there was seen to be a crisis in the feminist movement due to it being seen as fragmented and becoming diverse. Furthermore, 'post-feminist' theorists see the 'old school' of feminism to be dominated by bourgeoisie. An idea enforced by Bell Hooks who puts forward the notion that feminism is easily dominated by bourgeois women due to the fact that the issues being shown are mainly about their experiences.

Both Tomb Raider and Aliens present us with different types of female heroines, in different situations, and presented to us in different ways. However, when the films are looked at it is clear to see that with so many different concerns surrounding different areas of feminism, what may be seen as positive by one group will almost certainly be seen as negative or unimportant by another due to how, or if, the groups feel that women can relate to the different characters. And also what the heroines are representing to us with their presence upon screen. 

The very first seen scene of Tomb Raider starts with the camera moving backwards from out of Lara Croft’s right eye, this sets up the idea that she is there to viewed, but also I would suggest, the idea that the audience must look through her eyes as well as their own as this will allow them to see more within the film than they may first expect to find. The fact the camera comes through her eye is showing her as part of the machinery of Hollywood cinema, so whatever she is representing in the film should be the dominant ideology being put across by the Hollywood film industry. An industry seen as dominated by patriarchy. However I believe that Lara Croft, at least in terms of liberal feminism is to be taken seriously, and thus meaning that a change has occurred at least in part towards more equality on the screen in the Hollywood system itself.

Croft is a powerful character within the film; notions of a struggle for power never enter into the equation during tomb raider, as there is never a question that it is Lara who is in control. We are shown in the very first sceen that Lara has the power in the film through the focus of the camera around the two guns on her legs. While this indicates that she has the phallic power, the contrast against her legs, which are nearly always uncovered, supports her as feminine and shows she is not masquerading in the role of a male. But instead is clearly a women who has equal power to those around her as she does not feel threatened by others, so can control situations without taking on a more masculine stance.

 This represents a challenge to patriarchy as no compromise is made to her femininity. For instance, Ibid says that the female action hero challenges gendered binaries due to her qualities of both ‘strength and determination,… her labour and the body that enacts it, mark her out as unfeminine.’ Lara Croft is beyond this definition, due not only to the counter action of her clearly feminine legs and the power icon of the guns, but also things like the fact she has very long hair and associates with men without taking on their traits as she simple does not need to. Thus this enforces the idea that something has changed in the dominant patriarchal system. Otherwise Croft would not be allowed onto the screen without us being shown a change in her behaviour in order for her to succeed with her goals.

In terms of radical feminism the film is problematic. Though Lara is a strong character within the film, we are never shown any inclination that she is uncomfortable with her position in society. Where as a more radically minded Croft would be fighting against the males around her in order to both separate from, and also take power away from them. What is represented is that Croft has the same power as the rest of the people around her. She has no wish to gain more power for herself or take power at the expense of the others in the narrative. The text is showing that what is represented is equality and Croft is happy being equal. This idea puts the film towards the notions and ideas of liberal feminism. And I believe in a liberal feminist context Lara can be seen as extremely useful and can indeed be taken seriously.

Furthermore, I would say that Croft is also useful to a small extent in terms of socialist feminism - although issues surrounding class remain unresolved due to the fact Croft is clearly part of the bourgeoisie. The element at the start of the film relating to ideas that Croft represents an on screen change in the point of view of the patriarchal Hollywood film system, shows that some of the ideas of socialist feminism are filtering through and actually being effective. Furthermore, In terms of ‘post-feminism’ the film is also useful as the film represents the notion of a female heroine without putting across the idea brought into focus by Imelda Whelehan in ‘old school’ feminism that women are encouraged to be victims.

 This certainly isn’t the case in Tomb Raider as Croft seems to have so much control with what is going on around her, that nothing actually ‘happens’ to her, everything is expected and dealt with by her in both a strong and feminine way. Furthermore, she never lets herself become trapped in a situation that she cannot get out of. Control is the key word in Tomb Raider, and Croft is always in control, whatever odds she is set up against the audience never feels that she needs any help from anybody else in order to get out of it. Also, although Croft does not require any help, she is not afraid to let people assist her - this suggests that she simple isn’t threatened by anybody around her, which are mostly men. She is a self contained, self-controlled individual who is treated by others as an equal during the film. So much so that the very notion of her gender is hardly mentioned, clearly enforcing the idea of equality.

Another point which puts the text forward as both representing ideas of equality and also the notion that the film is showing a change in attitude towards women in film comes in the unlikely form of two brief shower scenes. The first shower scene is centred on Lara Croft, presenting nothing new and in fact this would seem to suggest that Croft is being set up just as an object of male desire. However, I believe the second shower scene in film acts to disrupt this idea. To start with the audience is fooled into thinking that this is another shot of Lara, however as the camera moves down we realise that it is in fact Alex West, the male tomb raider. These scenes act in two ways. First of all the idea of equality being shown to the viewers is enforced, as it is not only the female body that is set up to be viewed with desire. But furthermore the scene’s act to reinforce the idea set up in the first scene that there is more to the film than meets the eye, I would suggest that the shower scenes act as a sort of joke from the film makers, a joke designed to make the audience look more closely at what is being shown to them.

The biggest challenge to the idea of patriarchy however comes in the films final scene. Through out the film Lara’s butler constantly admits to trying to turn her in ‘a lady’. In the final scene we see Croft come down the staircase, centred in the shot wearing a long dress and hat. However, at the climax of the scene Lara throws her hat off and picks up the two guns on the plate in front of her before the scene cuts to credits. This scene is showing that Lara is faced with a choice; she can conform to what patriarchy wishes her to be, in the reserved sexually unthreatening female. Or she can continue as an individual that threatens the dominant order. The fact she chooses not to fall into societies pre conceived role is another enforcement to the idea that not only is she strong enough to be herself despite others trying to change her, but also an admission by the Hollywood system that in the year two thousand women can be strong and sexual without having to be punished or made to conform by the end of the film.

‘Aliens’ shows a different approach to the idea of the feminist heroine. Ripley is much more aggressive than Lara Croft throughout the film. The notions that Ripley shows to the audience are much more in line with the ideas of radical feminism. Throughout the film Ripley takes control away from the men around her in order to achieve her goals. The most notable incident of this seen in the scene where she commandeers the armoured transport from the male marine and goes in to rescue the rescue the squad sent into the complex to search for survivors. Not only are we presented with the idea that this is the only course of action we are also shown that the male in the scene is completely overpowered. This can be read as saying to us that the only way forward to achieve goals for women as a whole is to overpower and overthrow the patriarchy that surrounds them, and also that this course of action is the only way that the women will survive in a male and patriarchal dominated environment.

Further reinforcing the idea that film is presenting a female heroine from a radical point of view is the fact that Ripley, throughout the film, leaves the others behind her. This is shown most clearly in the scene where Ripley and the marines are chased through the air vents by the aliens. Every time somebody falls behind she keeps on going, making no attempt to go back and save them. This is showing us that in order for her to survive she must be a lone figure and separate from the rest of the party, as they serve no purpose for her. In fact the only person Ripley does stop to rescue is the child she finds in the complex - who she rescues without the help of any of the marines. This shows us the notion of Ripley as a single mother. and also reinforces the idea that she doesn’t need help from anyone, or any man in order to protect her child. So in terms of the point of view of radical feminism I believe Ripley must be taken very seriously as a feminist heroine.

In terms of liberal feminism the idea of Ripley as a serious heroine is problematic, as she does not follow this bodies theories aims and objectives. Ripley does not seek to be equal to the men in the film but to be in charge and the most powerful among them, as she believes that if the marines are in charge she will not survive. We can see the transfer of power to Ripley in the scene where Hick’s is showing her how to use the assault rifle. In teaching her to use the weapon Ripley is learning to control and manipulate phallic power, and once she has control of this she no longer needs the men to achieve her aims.

Furthermore, I would say Ripley fails as heroine for socialist feminism as well. Ripley does not seek to change the political framework within the film. She seeks to destroy it. She refuses to listen to anybody who is higher in command than her, always doing her own thing. She has no respect what so ever for the notion of rank or authority, while this does subvert patriarchy as she is not following patriarchal rule. She does it by just failing to acknowledge any level of power exists, rather than recognising where the power is in the structure and attempting to change it to suit her own needs.

In terms of ‘post-feminism’ I also believe that Ripley cannot be taken seriously as an action heroine. This is due to the fact that she is set up as a victim through the film; something that ‘post-feminism’ sites as a criticism of the ‘old school’ feminist theorists. She is a victim of the organisation that forces her to go back to the planet. She is then a victim of the company man trying to exploit her with his attempt to use the face hugger aliens to bring a sample back to earth. Furthermore, almost every situation she finds herself in is one where she must run away in order to survive. She is a victim all the way through the film, always seeming to be up against almost unbeatable odds, all because she has been placed there by a patriarchal society and there is nothing she can do about it.

To conclude I would say that while each film has both its plus and minus points in regard to different theories surrounding feminism which support the heroines binge taken seriously, there is always points that will allow one group to find fault with the character. This means one groups heroine will always be another groups joke. I believe that this is apparent not just within the texts of ‘Tomb Raider’ and ‘Aliens’ but also within any film that has been made containing a female heroine. It is probable that any film that will be made will never be able to fill the criteria of one groups theory in a heroine without disrupting another. What is clear however is that both heroines disrupt patriarchy; they just do it in different ways.

 Bibliography
 
Aliens (Cameron, US, 1986)

Tomb Raider (West, UK, 2001)

Millett, Kate (1970) Sexual Politics, Virago

Tasker, Yvonne (1993) Spectacular bodies: Gender, Genre and the Action Cinema, London: Routledge

Greer, Germaine (1970) The Female Eunuch

Mulvey, Laura (1990) Visual and other Pleasures, London Routledge

Hooks, Bell (1991) Yearning: Race, Gender and Cultural Politics Turnaround


Monday 21 January 2013

Collateral Script Breakdown

Dir- Michael Mann
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.

Wednesday 16 January 2013

Lost In Translation Script Breakdown

Dir- Sofia Coppola
Year – 2003
Running Time – 102 mins (approx)
Screen writing Genre – Rites of Passage

The Film

Lost in Translation came out of nowhere and introduced Scarlett Johansson to audiences in her break through role. It also gives Bill Murray to show a different side to acting ability. The film was nominated for a host of awards and won a total of three Baftas, three Golden Globes and the Oscar for best screenplay. Bill Murray also narrowly lost out to Sean Penn in the best actor category.

What’s in a name?

Lost in Translation is a very apt title for a film about two people not only in a strange country, but also who seem to have their wishes ignored by those around them. The title also sets the mood well and hints at the subtle comedy drama element of the movie.

What makes it great? 

There are some absolutely beautiful camera shots and some lovely long takes but the thing that really makes this film work is the dialogue and chemistry between the two leads. The characters of Bob and Charlotte are scripted and played perfectly and really make us care about them. Many of the scenes are simple conversations between the two of them and it is the power of the words that keeps us interested.

Lost in Translation as a Mid-Life Rites of Passage Movie

A rites of passage movie concerns stories about painful but necessary growth and the emotional journey someone takes to get through a difficult period in their life. They nearly always end with the hero realising that life must go and it just a case of “that’s life”.  The mid-life sub genre concerns people reaching a certain age and often reaching for something they feel will solve all their ills. Bob is clearly dealing with mid-life issues but, though much younger, so is Charlotte.

Timeline

Opening Image – Although it is the first image, Charlotte on the bed alone is not the films real opening image. Our opening is Bill Murray looking tired in his cab on the way to the hotel.

Theme Stated – Bob is confronted with a parcel of floor samples at the hotel. Our theme concerns self identity and what we are meant to be. Is Bob meant to be foremost an Actor or Husband and Father? Charlotte is struggling with the same issues. Both are characters are currently in limbo and lost with the hotel representing a sort of limbo.

Set-Up – We meet Bob and look around the hotel. We learn he has a family and he is a movie star. We also meet Charlotte and see she is restless. We learn Bob is here to do an advert. We get the idea that both Bob and Charlotte are two lost souls.

Catalyst – Charlotte sends Bob a drink in the hotel bar.

Debate – Bob and Charlotte discuss why they are in Tokyo and what is happening in their lives. Charlotte jokes he is having a midlife crisis

B Story – comes before the break into two. Bob and Charlotte start their friendship and the love story.

Break into Two – Starts when Charlotte talks to Bob about a possible “prison break” and her husband leaves for a few days.

Fun and Games – At minute 40 Bob and Charlotte take on Tokyo together and grow closer over the course of the night. There is some seemingly innocent flirting over karaoke and Bob takes her home.

Midpoint – Bob gets a phone call from home, which puts him in a strange frame of mind and makes him feel he is no longer in a loving relationship.

Bad Guys Close In – The bad guy in this case could be time, as it’s running out for both Bob and Charlotte but the pace of film doesn’t really suit this. Instead the bad guy is the threat of sex and what it could do to both of them.

All is Lost – Bob sleeps with the lounge singer.

Dark Night of the Soul – Bob knows he has messed up, Charlotte is angry and Bob and Charlotte spend the day sniping at each other. 

Break into Three – The fire alarm at the hotel takes us into act three.

Finale – The question is raised as to if Bob should stay with Charlotte. The Jesus and Mary Chain song relates Bob conflict about walking away from the greatest girl he has ever known because it is the right thing to do.

There is a strange chase to the airport as Bob meets charlotte in the street and we get the iconic kiss.

Final image – Bob in the cab again, glad he came but knowing he is going home to his family and that it’s the right thing to do.

Interpreted via the theory and structure of Blake Snyder.

Tuesday 15 January 2013

Magic, Technology and Cyberpunk

'Any sufficiently advanced form of technology is indistinguishable from magic' (Arthur C Clarke). 

Discussed in relation to cyberpunk.

Written By Gareth Chappell

The idea of cyberpunk developed as a sub-genre of sci-fi, which emerged in the middle of the nineteen-eighties. A writer named William Gibson wrote a series of novels containing narratives about individuals existing in a new world technology where information becomes the new currency. These narratives are set in the international settings of Japan, Los Angeles, London and Paris all linked together through a hidden network of computers. These ideas along with films such as ‘Tron (Steven Lisberger, US (1982)), ‘Blade Runner’ Ridley Scott UK (1982) and ‘Videodrome’ (1982) contributed to what developed into cyberpunk.

Within the realms of cyberpunk, whether they be in novels or film we are often presented with things that are not commonplace within our own worlds. Sometimes these take the form of advanced mechanical devices, different realms in which to explore and live or even certain members of a community reaching a higher stage of human evolution, and often in doing so developing some new power or skill. It is these aspects of cyberpunk worlds that seem to support Arthur C Clarke’s statement that ‘Any sufficiently advanced form of technology is indistinguishable from magic’.
 
As with films which deal in pure fantasy containing characters that may well be able to cast ‘real magic’, or contain mythological creatures of enormous power such as dragons, vampires and demons, cyberpunk films can also be read in terms of Todorov’s idea of the marvellous, uncanny and fantastic. This in itself shows there is a link between the magic of fantasy films and the technology within the cyberpunk realm. For instance, when looking at a flying car in ‘Blade Runner’ (Ridley Scott, UK (1982), we can argue that this creates as much a feeling of the fantastic as a flying carpet would, as because flying cars do not exist in our world we can be said to hesitate in believing what is being presented to us. Further more the flying car can also act to show us the concept of the marvellous as it clearly depicts a world that isn’t our own.
 
Furthermore, cyberpunk films may well depict mythological creatures within their narratives, however they are normally shown to us in terms of some form of technological monster instead of their magical counterparts found in fantasy films. This can be called, as Todorov puts it, ‘the scientific marvellous’. That being where ‘the supernatural is explained in a rational manner, but according to laws which contemporary science does not acknowledge’ and thus taking us away from the idea apparent in fantasy films, of the marvellous as ‘characterised by the mere presence of supernatural events’.

Looking at the Anime film ‘Cyber City Oedo 808’ (Yoshiaki KawajiI, Jap (English dubbed version) (1994). We see the idea of the scientific marvellous played out. First of all we have the character Sengoku confronted by a zombie creature. Where as in a fantasy film the creature would be re-animated through some magical means such as by invoking a curse for example, here we have the monster brought to life by a computer. So we have technology taking the place of magic in this instance and creating a mythical creature. Later in the film character Ben-Ten finds himself in a battle with what appears to be a vampire. The creature contains all the traits of the classic vampire figure, including the blood sucking fangs, only moving at night, as well as the ability to become invisible replacing the shape shifting ability. Again though, this creature is not created through any form of magic, instead we are told that it is a side effect of a drug that causes immortality, which has been developed through genetic manipulation. A clear example of magic being indistinguishable from advanced technology as here science has created a mythological creature with all its traits and behavioural patterns.

Another trait of the fantasy film which is apparent in a number of cyberpunk texts, both in film and novel is characters who can be seen to cast magic, except these characters rarely (with the exception of the Shadow Run series of novels) conform to the typical sorcerer or wizard character within the fantasy film. However, the notion of spell casting does still exist in a number of cyberpunk films. Looking at the film ‘Akira, Japan (1987)’ the ability to cast magic is presented to us as some form of human evolution that the character Tetsuo undergoes. As the film progresses he develops abilities far above that of the other characters, such as the ability to fly and produce blasts of great force which he directs at people that oppose him, as well as the ability to manipulate objects. If the character were placed within a medieval setting it would be almost impossible to consider him anything but a wizard. However, Tetsuo uses his mind or telekinetic power to produce these magical effects, again showing that the magic can be explained through a more scientific reasoning than that of just something supernatural.

Something else which often appears in bot, the fantasy film and the cyberpunk film is the idea of two different realms or lands to explore. But as where the fantasy film creates a ‘real’ world and a more marvellous world. The cyberpunk alternate reality is set in the realm of some virtual environment or cyberspace. This cyberspace realm has close links to the marvellous world of the fantasy film. For instance in ‘Labyrinth, Jim Henson, UK, (1986)’ the female protagonist Sarah must enter the marvellous world in order to solve a crisis in the real world, that being to rescue her baby brother. 

This idea of righting something in the ‘real’ world by entering another realm is re-iterated in terms of cyberpunk by Andy Butler who states that ‘Often some crisis in the real world can be solved by going into the virtual one’ An example of this can be seen in ‘Strange Days’ (Bigelow, US, (1995)) where the male protagonist Lenny has to ‘jack’ into a virtual world through a head set that sends messages straight to the brain, thus allowing him to see through the eyes of the killer that he is tracing, without entering this world he would never learn the identity of the man he is following. The idea of the virtual world can be again be seen in ‘Tron’ (Steven Lisberger, US (1982)) While the film is not strictly cyberpunk it does clearly demonstrate the idea of a ‘real’ and a virtual world existing simultaneously.

Furthermore the notion of one of the worlds being false, and the characters becoming confused about not only which world they are currently existing in, but also which of the worlds is actually real. For instance in the film ‘Total Recall, (Paul Verhoeven, US (1990)) We have the character of Douglas Quaid fighting with the idea of weather the world he is in, is one that has been created in his own mind, or weather it is actually the real world and his life before was the virtual world. It can be argued that this sense of not knowing which world is real, and which world is fantasy is no different than any number of films of the fantasy genre where the characters are shown waking up from what seems to be nothing more than a dream. The only difference being that one world seems to be magically created, where as in the cyberpunk text the world comes from some form of technological implementation or mind manipulation. In both instances either genre of film serve to make both the audience and often the characters themselves wondering weather anything actually happened, or even if the magical world where the character appears to have been only existed within their own mind. A good example of this occurring is in ‘The Wizard of OZ’ where we see Dorothy awaken surrounded by people she has seen represented in her other world, that being OZ. Often we no distinct answer or explanation is given to clarify which world the character ends up in, at the end of ‘Total Recall’ for example Quaid says the line “but what if this is just a dream?” showing us that he is still not completely convinced that the world he ends up in is his real reality. 
  
‘Blade Runner’ (Ridley Scott UK (1982)) illustrates to us another point that is often apparent in both the fantasy and cyberpunk text. That being the individuals search for identity. Within the fantasy genre we often see the weak character undertaking a task in order to come of age or prove something to them. And by the end of the film they have found they have grown as a character and found whatever it is that they need in order find out who they really are. For instance ‘Excalibur’ John Boorman, US (1981) shows us a number of examples of this. We have the character of the naive squire Perceval who doesn’t really have any idea what he wants to do, apart from become a knight of the round table. However by the end of the film he has developed into the champion and saviour of the text. And however this only comes about after King Arthur has given him clarity about his purpose. This clarity of purpose also serves to give Perceval clarity of his own identity, and with this resolved he is then free to develop into the hero.

Within the ‘Blade Runner’ (Ridley Scott UK (1982)) world all the characters seem to be on a quest for identity. The film focuses around the idea of memories and what is being seen by people. The character of Deckard seems to doubt what he believes to be his identity more and more as he progresses with his quest to find the replicants. This culminates at the end of the film where while leaving his apartment he finds a small paper unicorn left on the floor. This refers back to a dream of a unicorn that Deckard had experienced earlier in the film. The Unicorn serves to pose the idea to us that Deckard may himself be a replicant. It makes us ask weather the unicorn image had been implanted in Deckards mind, and the unicorn being a fantasy creature. This suggests that Deckards world may be indeed fantasy. The fact the image of the unicorn comes from another of Ridley Scott's films ‘Legend’ also adds weight to this theory. So while in ‘Excalibur’ idea of identity comes from the idea of undergoing a marvellous quest of some sort, in ‘Blade Runner’ (Ridley Scott UK (1982))’ the idea of identity comes from the scientifically marvellous idea of technology such as mind implants and fake memories being used. And then as we see with Deckard, the character gradually beginning to realise perhaps what he is experiencing is not real, so a new identity has to be found. I believe Deckard realises this new identity when he leaves his world and runs away with Rachel, breaking his programme so to speak

To conclude I would say that clear links can be made between the fantasy genre and the sub genre of sci-fi films that is cyber punk. The idea of fantasy worlds, mythological creatures and so-called ‘magic’ are very much apparent in both. The difference being, whereas in the fantasy text. These occurrences appear to us often in the gaze of something that is nothing more than just magic, in the cyberpunk text these often-same magical happenings are then explained in terms of Todorov’s scientific marvellous. Supernatural instances are then explained in terms of some advancement which we are not able to connect with in our own society - due to contemporary science not having developed to what we are presented with on the screen.   



Bibliography


Butler, Andrew M, (2000) Cyberpunk (Harpenden: Pocket Essentials)

Springer, Claudia, (1999) Psycho-Cybernetics in the Films of the 1990’s, Alien Zone II (London and New York: Verso)

Landsberg, Alison, (1995) Prosthetic Memory: Total Recall and Blade Runner (Body and Society volume 1)
  
Todorov, T, (1975) The fantastic: a structural approach to a literary genre