Save the Cat! Goes to the Indies

by Salva Rubio

  Midpoint: However sweet (or cider-flavored) this false victory tastes, Mrs. Fox finds out about the robberies and stakes are raised when Boggis, Bunce and Bean discover the animals’ hideout. Clocks start tickin g for all the animals!

  Bad Guys Close In: The Nemeses Close In, Mr. Fox loses his tail and “the team starts disintegrating” when his wife tells him that he never listens to anyone, and that he broke his promise. As a sensible individual, she knows the “immutable laws of screenwriting physics” when she tells him, “In the end we all die... unless you change.” The “team further disintegrates” as Ash and Kristofferson are unable to resolve their differences. The Bad Guys Close In even more when they nearly force Mr. Fox and the others out of their underground hideout with excavators and dynamite. Our Superhero faces more hostility when he meets the animals who have been forced from their homes by the farmers, and they blame him.

  All Is Lost: Things seem “worse than ever before” when Kristofferson is caught by Bean’s wife and locked in an apple crate, and the animals are forced by the farmers into the sewers. “Do you still think we beat them, Foxy?” his attorney asks.

  Dark Night of the Soul: Mr. Fox seeks solace on an empty bridge (a typical location for our Dark Night of the Soul beat), and his wife arrives to comfort him. Mr. Fox acknowledges his wrongdoings and atones for his arrogance: “I think I need everyone to think I’m the greatest, the ‘fantastic’ Mr. Fox.”

  Break into Three: A and B Stories cross when Mr. Fox comforts his son: “It’s not your fault, it’s mine.” He is about to turn himself in to his Nemeses, but a short duel with Rat (voice: Willem Dafoe) shows him how necessary his powers are for the rest.

  Finale:

  Gathering the Team: All the community “gathers” to listen to Mr. Fox’s plan. And in a beautiful thematic turn, he uses the “differences” and talents of each species (Latin name and all) for the final attack (including having cool bandit hats).

  Executing the Plan: Everybody in town awaits the “execution of the plan” like in a Sergio Leone western. The animals set the town on fire, and Mr. Fox enters the farm to free Kristofferson. There, Ash apologizes and accepts himself: “I’m just different, apparently.”

  High Tower Surprise: They meet their surprise — the farmers are blocking the exit. How will they escape now?

  Dig, Deep Down: Mr. Fox “digs, deep down” about his reasons to win, as does Ash. The latter uses his fast-running “powers” developed while playing “whack-bat” to open the door and let them out. “You’re an athlete,” says the proud dad.

  The Execution of the New Plan: They execute their “new plan” by jumping from a stunt ramp and escaping. Our defeated Nemeses have a new plan, too: to wait until the animals get hungry to catch them again.

  Final Image: However, the whole tribe of animals will be taken care of for years, as they have underground access to the groceries in the brand-new Boggis, Bunce and Bean supermarket. They dance together in victory and toast to their survival, thanks to a now more than ever, truly “fantastic” Mr. Fox.

  BRAZIL (1985)

  Isn’t it amazing how some fantasy films become more and more similar to the supposedly imaginary worlds they portray? Brazil, with its Big Brother-like government, paranoia-state mood, terrorist menaces, small iPad-like screens and ducts (read: internet) invading each part of our private lives, seems more current than ever — except for, maybe, the slapstick humor!

  In Brazil, Terry Gilliam — ex-Monty Python member and creator of absurd-yet-plausible, humorous-yet-sad, violent-but-funny worlds with quirky characters (ask Jean-Pierre Jeunet, Alex Proyas, Tim Burton or Darren Aronofsky about his influence) — reached one of his creative summits with this fantastic tale about finding true love in a world deprived of it.

  Thus, it is an example of our “Fantasy Superhero” in which protagonist Sam Lowry plays the part of a government official trying to go unnoticed. His rise through the ranks to find out more about his love will teach him that “power comes with a price.” He does not belong to the oppressors, nor to the terrorists fighting the Man, and he knows it. So, he will pay for it.

  Finally, as a “Nemesis,” we have Jack, Sam’s shadow-like reflection, a torturer doing the exact opposite: trying to be noticed so he can rise faster in the ranks. Oh! And please note that among the versions that exist of this film, we have chosen Gilliam’s Director’s Cut to beat out.

  SH Type: Fantasy Superhero

  SH Cousins: Time Bandits, Pan’s Labyrinth, Princess Mononoke, Highlander, The Dark Crystal

  BRAZIL

  Screenplay by Terry Gilliam & Tom Stoppard & Charles McKeown

  Directed by Terry Gilliam

  Opening Image: “Somewhere in the twentieth century,” we behold a world in which terrorism, government control, bureaucracy, police forces and capitalism dominate the world and the lives of its oppressed citizens. Sound familiar? We also meet our hero, Sam Lowry (Jonathan Pryce), a low-level government official who seems quite satisfied with his unimportant job in a small ministerial department. Will he be just as happy at the end?

  Set-Up: A bureaucratic mistake provokes the incarceration of a family man named “Buttle,” when actually “Tuttle” was the man the authorities were looking for. Also, we get to know Sam a bit more — he has dreams in which he flies, is armor-clad and kisses a beautiful maiden (Kim Greist). Sam loves movies and is not what we would call a Company Man, taking his job a little less seriously. We behold his “powers,” which involve having access to information. These powers come with a “curse”: the more access he has, the more closely watched he will be. But he is happy where he is (Stasis=Death), so there’s no problem for him... yet.

  Theme Stated: “The truth shall make you free,” we can read on a statue’s plinth. But which truth? The government’s? The truth we seek? The truth we imagine? This theme, along with issues of misinformation, mistaken identity and misuse of power will take us to the film’s much-discussed ending.

  Catalyst: At the Ministry’s entrance Sam sees Jill, the woman who appears in his dreams. Then he discovers the Tuttle/Buttle mistake the system made and is notified that he is about to get a promotion. This is bad news for Sam, who just wants a tranquil life!

  Debate: Sam visits his rich, plastic surgery-addicted mother, who is pulling strings for him to advance in his career. He wants to Debate about rejecting the promotion, and while they are having dinner in a restaurant, a terrorist attack happens, which does not seem to bother them, accustomed as they are to such events. In Sam’s peaceful dreams, dark towers emerge, which seem like an inner Debate about a bad omen. He also meets the real Tuttle (Robert de Niro), who fixes his heating system but seems to be much more than that, possibly a terrorist?

  Break into Two: Sam gets a new notice that the Tuttle/Buttle confusion must be fixed, so he is sent to the Buttles’s home to take care of the affair. Unbeknownst to him, this is only the start of his adventure.

  B Story: Our “Love Story” pertains to Jill, the mysterious girl who appears in Sam’s dreams and who coincidentally seems to exist (but only with short hair) in the real world.

  Fun and Games: Sam visits the slums in which the Tuttles live. The family there seems to still be in shock, and he is even more surprised when he sees Jill again. He tries to find her, but children pretending to be cops burn his car down! Sam then tries to find out more about Jill, fulfilling the promise of the premise of showing us the inner workings of the Ministry of Information. When his attempts to locate Jill are unsuccessful, Sam realizes the only way to find her will be to accept the previously-rejected promotion, which will give him access to classified information. Meanwhile, his apartment is seized by the official air-conditioning specialist of the Ministry, and his dreams become more unsettling: he loses his wings and has to fight a huge samurai warrior.

  Midpoint: Sam attends his mother’s “Midpoint celebration” and A and B Stories cross as he plans to accept the promotion. Finally, he gets his false victory when Deputy Min
ister Mr. Helpmann grants his promotion.

  Bad Guys Close In: Sam attends his first day in his new position, not realizing he will now be subject to greater control, which of course means Bad Guys Close In. Asking Jack (Michael Palin) about Jill makes him appear more suspicious. He discovers Jill when she is being held at gunpoint but uses his position’s influence to leave the Ministry with her, though she doesn’t trust him. They flee together and survive a terrorist attack, but they are arrested by the police.

  All Is Lost: Sam has lost Jill and learns that Jack believes she is connected with Tuttle. Also, he is drawing too much attention to himself — he is “worse off than when the story started.”

  Dark Night of the Soul: Sam gets out of the Ministry, crestfallen and sad...

  Break into Three: …and A and B Stories cross when Sam finds Jill in the street and is about to kiss her. Sam thinks there is a way to save her and makes her appear as “dead” in the Ministry’s files. They seek refuge at his mother’s home and make love, trusting each other at last. But the next day, they are arrested again, and a gunshot is heard!

  Finale:

  Gathering the Team: Sam has been arrested and he is “gathered” not only with Ministry officials, but with a Santa-Claus dressed Mr. Helpmann too.

  Executing the Plan: The “plan” is to have Sam’s old friend Jack torture him to death!

  High Tower Surprise: Fortunately, Tuttle and other terrorists break into the torturing “tower” and liberate Sam. They demolish the Ministry and flee until Tuttle is literally drowned in paperwork.

  Dig, Deep Down: Sam “digs, deep down” to save Tuttle from the paperwork, but he has disappeared. What has happened? Sam can only keep fleeing. He seeks refuge with his mother, but she is attending a funeral... and now she even looks like Jill! Sam has only one option: to get inside the coffin, fall into the darkness and escape the nightmarish creatures that chase him. He finally opens a door.

  The Execution of the New Plan: Sam finds himself in a truck driven by Jill! She drives them both out of the city, to the countryside, where they will be able to live the rest of their lives in peace, far from any control. Can they really find a place beyond the Ministry’s reach?

  Final Image: We suddenly go back to the torture room, and realize that ever since Sam was taken there, he has been hallucinating. He has lost his mind to the torture, and all has been a fantasy. His blank stare tells us the battle is over. He blandly smiles in a strange, deranged bliss, humming “Brazil.”

  THE ELEPHANT MAN (1980)

  Not many people would guess that comedy genius Mel Brooks produced David Lynch’s second movie, so we can thank both for this masterpiece. Inspired by two books, the producers dared to give the author of Eraserhead a story in which he would be able to show his talent for darkness, madness and the deepest pits of the human heart and soul.

  Don’t let the “Man” in the title fool you either; as most of you know, this is not a story about any powerful Superhero, it belongs to our “People’s Superhero” category. In this subgenre, a “civilian rising from the ranks” tale is told according to the guidelines of our primary genre, in which a very special, very “different” being must pay a price for being so.

  The Elephant Man (real name: Joseph Merrick) must have been as scary as John Hurt portrays him in the movie. Unlike in Fool Triumphant tales, he certainly knows he is different (his “curse”), but as Blake points out, his “mission to be great” will push him to keep fighting to be himself — a gentle, generous, sweet human being, whose heart was never hardened by hate or rejection from “us.”

  And his “Nemesis” is not a small one! Mr. Bytes, the self-made owner of the freak circus where John is basically enslaved, will never accept him as a human being, lacking the “faith” that others will have in him. Fortunately, unlike Bytes, “we,” inspired by John Merrick’s candor, will not succumb to hatred either.

  SH Type: People’s Superhero

  SH Cousins: Che, Milk, Whale Rider, The Imitation Game, Amazing Grace

  THE ELEPHANT MAN

  Based on the books by Frederick Treves and Ashley Montagu

  Screenplay by Christopher de Vore & Eric Bergren & David Lynch

  Directed by David Lynch

  Opening Image: The film opens with disturbing, properly Lynchian images of a woman being assaulted by elephants. Narrative, or just a dream? The impression we get is one of distress, violence and pain — quite the opposite of what we will see at the end.

  Set-Up: London, late nineteenth century. A certain doctor Treves (Anthony Hopkins) wanders in a fair in East London, when he notices something is happening at the freak show. It is being shut down by the police, apparently because a bizarre creature known as “The Elephant Man” is considered too much for the audience. Intrigued, Treves keeps investigating until he eventually finds a clue in the city’s poorest neighborhoods.

  Theme Stated: “He is a freak! How else will he live?” These words are uttered by Mr. Bytes (Freddie Jones), the creature’s owner, when the show is cancelled. But is The Elephant Man really a freak? And can he live by other standards than those that make him appear to be just a monster? Doesn’t he deserve respect, acceptance and a peaceful life? These are the questions that relate to our hero’s rejection by society.

  Catalyst: Treves finally finds The Elephant Man (John Hurt) and offers Bytes money to see him. His wishes are granted and he beholds a terribly deformed individual, whose intelligence, on first sight, seems to be on a par with his disgraced body. The doctor cannot but cry. He requests the creature be sent to him for examination.

  B Story: As we can guess, Treves is our B Story Character, the one who will act as “us” in his progressive acceptance of The Elephant Man. Their story of mutual respect and appreciation will be the embodiment of our theme, but another seemingly small role is noteworthy — that of Byte’s boy, The Elephant Man’s caretaker, another frightened version of “us” who will cross paths with our hero in key beats.

  Debate: Can Treves really cure him? Will he be able to see the creature’s humanity? Is The Elephant Man more than a “creature”? Things do not start well, as Treves basically performs another freak show with his colleagues, showing the “monster” for what he is (or seems to be): a deformed, illness-plagued being. Treves asks The Elephant Man several questions but does not receive a reply, so he just lets the creature go back with his master, saying, “I pray to God he’s an idiot.” For who could live sane in a body like that? Soon, Treves is called by Bytes to check on The Elephant Man’s condition, and the doctor realizes that he has been severely beaten by his master.

  Break into Two: Treves takes the “monster” to the hospital again, trying to do so in secrecy, but the hospital director, Mr. Carr-Gomm (John Gielgud) discovers him. However, The Elephant Man will be able to stay with them — for now.

  Fun and Games: Our promise of the premise consists of seeing The Elephant Man’s life in a new environment with different people; instead of drunks and lowlifes, he will be around cultured and well-meaning folks. But will they see his humanity? Bytes arrives to regain possession, and Treves manages to get Bytes off his back, but the chief nurse says, “He doesn’t belong here.” Seeing that he could lose The Elephant Man, Treves asks him to talk, realizing he not only can, but he is a gentle, Bible-knowing, good-mannered man named John Merrick. Behold our character’s change of name ! He was only too afraid to talk, a completely human reaction to the treatment he had been subjected to. He reveals how his disease began and that he must sleep standing up… or die of suffocation.

  Midpoint: A long Midpoint beat begins with a false victory: John will be able to stay in the hospital indefinitely thanks to Treves (A and B Stories cross). Stakes are raised when Bytes’s boy, working as a waiter, hears a night porter charging people to see the monster in the hospital — John is not yet safe. Meanwhile, John performs a public coming out dressed in an elegant suit and visiting the Treves’s home. There is even a hint of “love at the Midpoint” when
he plays a little bit of Romeo and Juliet with a theater actress, who tenderly kisses him. John cries out of happiness.

  Bad Guys Close In: Our Bad Guys for now appear to be good-natured, since it becomes “in” amidst high society circles to meet John at the hospital. The chief nurse recognizes the situation, telling Treves, “They don’t care anything about John.” Treves realizes his error, his internal Bad Guys rearing their ugly heads as he acts like “Nemesis” Bytes, showing John off like a freak. They all dodge a new Bad Guys attack when the hospital’s board members debate if they should keep John there, but royal intervention saves the day. However, Merrick is assaulted at night, not only by his nightmares, but by the night porter and the drunks this evil man brings to John’s quarters to humiliate him. John almost chokes to death.

  All Is Lost: Bytes steals John away from the hospital. Treves’s now dear friend is nowhere to be found.

  Dark Night of the Soul: Merrick is living his own long Dark Night of the Soul when he is taken to the continent and shown again like a freak. But this time, he is very sick and faints, a whiff of death. Angered, Bytes shoves him into the monkey’s cage — John’s lowest point. He was finally starting to be treated as a human, but now he is subjected to abuse like an animal.

  Break into Three: A and B Stories cross when Bytes’s son defies his father, taking John’s clothes, including his hood and cape.

  Finale:

  Gathering the Team: The boy and the rest of the “freaks” free John so that he can escape.

  Executing the Plan: Helped by his friends, John gets dressed with his hood and cap, and sets sail for England.

  High Tower Surprise: Before he can leave the station, a flock of cruel children mock him, drawing the attention of a crowd that harasses him.