by Salva Rubio
Fun and Games: The promise of the premise consists of Chris’s further entering into the “establishment” of wealth, tradition and family values of the English upper class, including activities like skeet shooting, which is a nice way to set up our main character’s access to a gun. Here also, Chris finally sleeps with Nola. Though he wants to pursue an affair, she keeps him at a distance – she doesn’t want to ruin her relationship with Tom. Finally Chris marries Chloe and they start living together in a luxurious flat with a view. Chris soon learns that Nola and Tom have split up, as Tom has started dating a woman that his mother approves of. Chris tries to find Nola, unsuccessfully. It seems that he has lost her, so his initial plan of staying with Chloe is the only choice. We learn that Chloe is having trouble getting pregnant, causing some stress in their relationship.
Midpoint: Chris finds Nola by chance at the Tate Modern and he publicly comes out when he risks asking her for her new phone number even though his wife is nearby. Soon he experiences a false victory, starting an illicit relationship with Nola, who is much less wealthy now.
Bad Guys Close In: Preoccupied with his affair, Chris begins to neglect his work and even loses some money in the stock market. Meanwhile, Chloe is still desperately trying to “get lucky” so they can start a family. On top of that, Nola becomes pushy and needy, wanting to see him more and more. Chris almost freaks out when he realizes the reason: she is pregnant! Chris’s response? “What unbelievable bad luck!” Nola refuses to get an abortion, asking Chris to leave Chloe and raise the child with her. And elsewhere, Chris has a close call when a friend accidentally catches Chris in a lie in front of Chloe. Is Chris running out of luck? Nola continues to put the pressure on and finally Chris lies to her about having to leave London for a few weeks. In a conversation with a confidant, Chris reveals that he doesn’t believe he’s capable of creating his own success in life — if he doesn’t hang onto his good luck, he’ll have nothing.
All Is Lost: Nola discovers that Chris is really in London, so she ambushes him at his home, calling him a liar. She delivers an ultimatum: either he leaves Chloe, or Nola will call her and reveal all.
Dark Night of the Soul: Chris lies awake during his textbook Dark Night of the Soul. He contemplates his fate, and is about to make a desperate decision.
Break into Three: Chris takes a gun from the locker of Chloe’s father and A and B Stories cross when Chris tells Nola he’s leaving Chloe, and arranges to meet Nola after work the next day. Chris is ready to put his plan into action.
Finale:
Gathering the Team: Chris “gathers” Nola by lying to her and summoning her home.
Executing the Plan: Chris’s plan consists of killing Nola’s neighbor to make the police believe that there was a robbery. He waits for Nola there and, with no second thoughts, he shoots her, too! After that, he meets Chloe and acts as if nothing had happened.
High Tower Surprise: Even though his plan seemed successful, the police contact him. He gets rid of the last pieces of evidence, but in a clever mirror of the film’s Opening Image, one of the “stolen” items he’s disposing of – a ring – bounces and falls back to his side of the net. Will Chris be out of luck?
Dig, Deep Down: He “digs, deep down” in his lying and feelings to convince the police that he was not the killer, and they seem to buy it.
The Execution of the New Plan: Chris’s “new plan” is to conceal his feelings of guilt and trust his luck to not be caught. The policeman in charge of the case brushes with the truth, but Chris’s luck diverts his attention — the officer does not seem to have a case after all.
Final Image: Chris and Chloe finally have a son. Everyone seems happy about it except Chris. Even though he has achieved all he wanted, he seems weary and tired, trapped in the life he desired with people he does not love, a closing image drenched in irony. In the final lines, someone remarks about the baby: “I don’t care if he’s great. I just hope he’s lucky.”
THE ARTIST (2011)
Because France is one of the historic powers in cinema, it is certainly not a small thing to say that The Artist became the most-awarded French film in history at that time. César awards, Golden Globes, BAFTAs and of course Academy Awards ® were swept by this sweet movie, an homage to the old age of cinema and its silent stars, and also a $ 15 million film that earned back more than $ 130 million!
The film portrays a “Fool Out of Water,” defined by Blake as a story where the protagonist “will end up finding his unlikely place (there), and where his skills suddenly have new impact.” That is almost by definition the storyline of our movie.
The rest of the FT prerequisites are here: George Valentin is a silent movie star, gentle and innocent, who will find himself “out of water” in the new world of talkies, and whose talents will be disregarded by the “establishment.” This, of course, is the new Hollywood of speaking actors, and as expected, our hero will not lead a revolution per se, but his presence and talents will ultimately make a difference.
The “transmutation” will not only involve George becoming a director, but also a new kind of actor, one that can dance and finally talk. We have an Insider too, but this time with a twist: instead of being the “jealous brother that ‘gets it,’” Peppy Miller is the only one who seems to understand the fool’s talents and will try to help him, despite his opposition. As writers know, change is difficult, and more so if it implies literally finding your voice!
FT Type: Fool Out of Water
FT Cousins: The Big Blue, District 9, Midnight Cowboy, After Hours, The Counterfeiters
THE ARTIST
Written and directed by Michel Hazanavicius
Opening Image: The year is 1927. George Valentin (Jean Dujardin) is a silent movie star in the heyday of his career, lauded by the audience and his producer Al Zimmer (John Goodman). But gentle as he is, he also seems to be a touch vain and too proud. Will he be more humble at the end?
Theme Stated: “I won’t say anything. I won’t talk,” says George’s subtitles in a scene from his latest silent movie. Ironically, this works as our Theme Stated, as his silence is also a symbol of his inability to adapt to the new times, in which he will definitely have to talk.
Set-Up: At the premier, George is cheered by the audience. He enjoys that all eyes are upon him, but at the same time, disregards the value of his co-star, not wanting to share the attention. Sure, George is nice and everybody likes him, but he is a little too self-centered. Some things will need to be fixed ! Outside the theater, he meets one of his fans, and the press implies that there is something between them, which George’s bored wife clearly dislikes. That girl is named Peppy Miller (Bérénice Bejo), fascinated by movie stars, trying to become one herself.
Catalyst: When chance causes them to meet again at the studio the next day, it is dancing which helps them realize how good they both can be together (and the Finale is cleverly set up). Nonetheless, Al decides to fire Peppy on the spot because of the bad publicity. George immediately “Saves the Cat,” securing her role as an extra in the film.
Debate: They start recording a scene in which they just bump into each other and dance for a second. But in each take, George seems to be more and more distracted, until he stops the filming. Later, they meet again in his dressing room and he sees her caressing his suit. He gives her “something that others will not have,” painting a little black mole on her face. But George is married, so it is impossible for them to be together. Or can they be… somehow?
B Story: Obviously, the “love story” of our film is the relationship between the aging star and the rising new talent — not just because they feel attracted to each other, but also because she will be the one who will finally change him for the best and will give him a new life as an actor.
Break into Two: George seems comfortable as a silent movie star, but one day, Al shows him a new technological invention: sound in movies. George just laughs at it: “If that’s the future, you can have it.” George has still not realized that there is “no
turning back.” Unless he changes, he will be literally out of the picture(s).
Fun and Games: This beat starts with one of the only two scenes in the film with actual sound. In a nightmare, George begins living in the upside-down world of sound, where everything can be heard except his voice. It is just a dream, but a premonitory one. The next day, he discovers that the studio will only make talkies, which means he is out of work. Another era has dawned, along with the need for fresh faces (among them, Peppy’s). George “changes his mission” and begins his “transmutation” when he spends time, effort — and lots of money — to make his own silent film.
Midpoint: George gets his false victory when he manages to finish the film, but he notices Peppy’s film premiere is the same day, so the stakes have been raised. Later, A and B Stories cross as George dines with his chauffeur Clifton and hears Peppy demeaning old actors and their “grimaces” in an interview. Full of pride, George publicly comes out to reject her and leaves the restaurant.
Bad Guys Close In: Although silent, Bad Guys Close In for George in many shapes and sizes. First, the 1929 Wall Street crash threatens to bankrupt him, but he still trusts in his movie. Sadly, almost no one attends; Peppy does, but George does not see her. What he does see is the big billboard with her name on it, making him even more resentful. After this, his wife abandons him, and although Peppy tries to make amends, George rejects her again.
A year passes and George is not only drinking too much, he is pawning his best clothes. Ashamed at not having paid the faithful Clifton in a year, George fires him, further “disintegrating the team” and remaining alone. To survive, George auctions all of his beloved belongings, souvenirs and furniture, painfully seeing how two elderly people buy everything. What he does not know is that they work for Peppy: she has bought everything and is still protecting him from a distance. George wanders alone through the streets (did you notice the “lonely star” billboard behind him?). George decides to see one of Peppy’s films, and boy, is she a star! George laughs in earnest, showing that he is a good man inside and appreciates her, but is still too proud to “talk” to her.
All Is Lost: George watches his old films, his former glory, at home. In a vision, even his shadow abandons him, and he realizes that he has lost everything because of his pride. Drunk and angry, he trashes the room, burning his films — and his apartment. The whiff of death could not be stronger.
Dark Night of the Soul: George clings to a particular can of film while he “contemplates his death” and passes out in the smoke.
Break into Three: Luckily for him, his dog alerts a policeman, and he is saved in time. When Peppy learns about this, A and B Stories cross as she visits him at the hospital, discovering the film he saved is the only one in which they appeared together. George wakes up in Peppy’s home and although happy to be alive, he is still a little uncomfortable with her helping him. But Peppy has a plan.
Finale:
Gathering the Team: Peppy “gathers the team,” in this case, all the film crew, and cunningly blackmails Al: either George is back in the movies, or she will not work for him anymore. Reluctantly, Al accepts.
Executing the Plan: Clifton brings George the script for the film, telling him that he now works for Peppy. George rejects the script, demonstrating that he has not changed enough, and Clifton says, “Beware of your pride.”
High Tower Surprise: Wandering inside Peppy’s house, George finds all his belongings and recognizes the elderly couple from the auction — instead of feeling thankful, he leaves, still unwilling to swallow his pride. But the outside world now is a talking one, and he does not find a place in it.
Dig, Deep Down: Depressed, George returns to his burnt home and picks up a gun. Before he harms himself, Peppy arrives. “If only you would let me help you,” she says. “No one wants to see me speak,” he answers. But then he realizes what he almost did and “digs deep down” to “talk,” asking for help.
The Execution of the New Plan: Peppy has an idea to bring George back to the movies with her through what united them in the beginning: dancing! In a fantastic number performed for Al, the two stars show what an extraordinary team they are.
Final Image: In the synthesis world, George and Peppy are together with a bright future ahead of them, both in the movies and in real life. George has finally accepted Peppy’s help, demonstrating his newfound humility. At last, as if to confirm his relevance in this new world... we finally hear him talk!
BOOGIE NIGHTS (1997)
Written, produced and directed by Paul Thomas Anderson, Boogie Nights is a truly special film about movies, dreams, love and how to remain innocent even in an “establishment,” the porn industry, which “decent people” consider dehumanizing and lacking in moral fiber.
Meet the innocent, gentle-mannered “Sex Fool,” one who will end up finding his own powers while making a difference bringing innocence to this world and finding success in it — thanks to his formerly-disregarded skills. But can he remain an innocent in this seedy establishment?
The “transmutation” here is one of the clearest you will find, since it includes a necessary “name change” and a new persona as Eddie Addams gets to be “Dirk Diggler” (his better self), but whose goodness becomes endangered when his darker, “Brock Landers” side takes over.
This Fool Triumphant film is further enriched by a large cast of great actors, giving the film a much-mentioned Altman-esque feel that makes it dynamic, easy and fast-paced, and also allows the writer/director to further explore similar “fool” themes shared by many of the characters. So let’s go back to the ’ 70 s and... roll!
FT Type: Sex Fool
FT Cousins: The Dreamers, The Piano Teacher (La Pianiste), Crash, Intimacy, Belle de Jour
BOOGIE NIGHTS
Written and directed by Paul Thomas Anderson
Opening Image: 1977, San Fernando Valley (California): a masterful continuous shot immerses us in a world of neon lights, disco music and celluloid in which several characters are introduced. We will soon know that they all belong to the porn industry (our “establishment”) directed by suave, easy-going film director Jack Horner (Burt Reynolds). By the end, not only the world, but the era, environment, film industry and characters will be very different.
Set-Up: Meet our “fool,” Eddie Addams (Mark Wahlberg), waiter and school dropout with a “gift”: apparently, he is marvelously endowed and a great lover, too. Eddie is gentle, nice and lovable (in a non-sexual way), but suffers at home under an obsessive mother. “I plan on being a star. A big shining star,” he says. As we will see, many of his future companions are a little bit of a “fool,” living in their own self-made worlds of illusion.
Theme Stated: “I’ve got a feeling, beneath those jeans there’s something wonderful just waiting to get out,” Jack tells Eddie. This is our theme, not only referring to his maleness, but also to his big heart, which will change them all.
Catalyst: One night, Jack and his crew ask Eddie to come home with them. Although reluctant, he joins them and learns about Jack’s ambition to make a “film that is true, and right and dramatic.” Eddie has sex with Rollergirl (Heather Graham) and he is “in.” In the industry, we mean.
Debate: Can innocence survive in this tough establishment? Can a sweet soul really be a “star”? Several new characters show us the darker side of the business: cocaine, underage actors, absent families, competition, lack of true love and commitment, self-esteem issues... and the list goes on. Eddie seems to be developing a relationship with Jack’s wife Amber (Julianne Moore). She is the Insider, the one who seems to “get” that everything around them is not as bright as it seems and who will not see Eddie as an actor, but as a substitute son.
Break into Two: As in every good Fool Triumphant story, our hero gets a change of name, this time solemnly announced: a new persona is born as Eddie Adams turns into magnificent-sounding Dirk Diggler. As Blake said, the “transmutation” is offered by circumstances that seem divine, and as if to confi
rm it, Jack says, “I think heaven has sent you here, Dirk Diggler.”
B Story: In this case, the film’s love story takes the shape of a mentor-mentee relationship between Eddie (sorry, Dirk) and Jack. His respect and faith in Dirk as an actor will give Dirk the self-esteem he needs, and in dark times, Jack will be the one to put Eddie back on the right path.
Fun and Games: At last, the ’70 s world of porn films is finally explored, surely the promise of the premise. Script, lighting and camera roll record the upside-down world of love and human relationships, bad acting and extraordinary, well, performances. Parties, leisure, debauchery and sleaze are the world in which Dirk finds himself at home. New clothes, shoes and bad haircuts mark the passing of time and the fulfillment of Dirk’s ambitions — critics and audiences love him, and he is on his way to becoming a star.
Midpoint: Dirk gets many industry prizes in his false victory and publicly comes out at the ceremony, still showing that he is a “fool” at heart with his gentleness: “These movies we do... they can help.” But the stakes are raised and new times are ahead as Dirk gets a new persona: Brock Landers, a darker, more violent character that mirrors his own slow, dark turn. A and B Stories cross when Jack realizes that he has fulfilled his own dream: “It’s a real film, Jack.” The clock starts ticking as an era ends: “Goodbye ’70 s, hello ’80 s.”
Bad Guys Close In: The advent of video and the modernization of “the business” is a Bad Guy, though Jack refuses to change. Much worse Bad Guys are cocaine and shady new characters like Todd Parker. The “team starts disintegrating” when Dirk rejects Scotty (Philip Seymour Hoffman) and Little Bill (William H. Macy) shoots himself. Dirk, in Brock-character, justifies violence and grows apart from Jack over creative differences, and their producer gets imprisoned for owning child pornography. Bad Guys further close in when a young actor is hired, a possible new star rising.
Drugs, partying and stress also cause Dirk to have trouble getting erections, and he even fights Jack in front of his crew, getting fired. Dirk tries to start a side career (getting his “change of mission”) in music. Hearing him sing a verse, we know he will fail, while the rest of his team find it difficult to make new lives for themselves because of their past in porn.