Save the Cat Goes to the Movies

by Blake Snyder

  Final Image: Mary packs. She’s been insulted — or found out — and instead of trying to change, she’s leaving. In a bookend of the opening, “Canon in D” by Pachelbel as we pull back from this town. We are wiser about what goes on behind its well cared-for facade.

  28 DAYS (2000)

  Tales of obsessive drug and alcohol use offer some of the most compelling starting points in modern story craft. From the breakthrough The Lost Weekend directed by Billy Wilder, to the best, Blake Edwards’ Days of Wine and Roses, to funny and surreal indie treatments like Trainspotting, the “Addiction Passage” can be heart-breaking … and triumphant.

  Director Betty Thomas tackles the subject by focusing on the story of a standard 28-day stay in rehab that has become not only a rite of passage, but also a badge of honor. It is a look inside a world in which people from all walks of life address a universal problem and face an overwhelming challenge: change. With an eclectic cast of characters, and the underpinning of program-based recovery, 28 Days focuses on those who take their recovery seriously, those who don’t, and one person who becomes desperate to “get it.”

  Sandra Bullock stars as a sophisticated urbanite whose drinking and using is out of control when we begin. She nearly kills herself in a scary opening scene that gives new meaning to the term “wedding crasher.” Sandra does not heed the wake-up call and has a way to go to discover that the problem lies inside. As her low-key guidance counselor, Steve Buscemi offers a portrait of someone already on the happy road of recovery, who wants all the company he can get.

  ROP Type: Addiction Passage

  ROP Cousins: The Lost Weekend, The Man with the Golden Arm, Days of Wine and Roses, When a Man Loves a Woman, Clean and Sober, Permanent Midnight, Postcards from the Edge, Trainspotting, Barfly, Clean

  28 DAYS

  Written by Susannah Grant

  Opening Image: Meet Gwen Cummings (Sandra Bullock), drunk and dancing in a club to The Clash’s “Should I Stay Or Should I Go?” Weird voices, weird music, and weirder behavior blur. Sandra’s boyfriend (Dominic West) takes her home and, while making love, they start a fire. Laughing, they put it out — not realizing they could have died.

  Theme Stated: Remembering her sister’s wedding the next morning, Sandra and her man race to the train station. He asks: “Are you all right, darling?” and she replies, “I could care less.” “Isn’t that the whole point?” says Mr. Sensitive. Caring about others, and herself, will be key to Sandra’s recovery and our theme.

  Set-Up: Arriving at the wedding, Sandra continues to drink to excess and act rudely to guests. During the reception, Sandra — now way drunk and dancing wildly — falls into the wedding cake. As her boyfriend laughs, Sandra teeters out of the reception, hijacks a limousine, drives away on a mission to replace the cake, and careens into a house.

  Catalyst: Sentenced to rehab for her crime, Sandra enters the world of recovery. Though this facility is a plush and touchy-feely kind of sober living, it’s either here or a jail cell.

  Debate: Should she stay or should she go? Despite the threat of prison, Sandra is torn. “They chant here,” she complains. But 28 days of rehab is not only the title; it is her punishment. Sandra meets the other patients, each with a different horror story. Even early on, separation from drinking has an effect. Experiencing withdrawal, Sandra has flashbacks — some about her alcoholic mother. Still, Sandra resists joining group therapy, holding hands, and saying the Serenity Prayer. On a break in the woods, she meets Cornell Shaw (Steve Buscemi). She thinks he’s a patient, but he’s her counselor.

  Break into Two: Caught by Steve after she and her boyfriend go on a bender during visitor’s day, Sandra is asked to leave. She is told she must go to jail. Desperately, she tries to convince Steve she’s not alcoholic. But when she climbs out of a second floor window to retrieve some contraband pills, she falls and injures her leg. It is the moment of clarity she has needed; she knows she must stay.

  B Story: Sandra’s relationship with everyone in rehab is how she learns to care and begin to heal. We also get a “love story” with handsome Viggo Mortensen as alcoholic major-league pitcher Eddie Boone. But it comes with an ROP curveball.

  Fun and Games: Recommitted to the program, Sandra starts to take a look at herself. “I don’t want to die,” she says to Steve. Recovery begins. This is why we came to this movie: Rehab stories, the grind of cleaning bathrooms, going to group, sharing feelings, being honest, and getting at the root of the problem are the “promise of the premise.” There’s more fun as the patients are brought to a nearby farm to learn to shoe a horse — a lesson in “letting go.” Sandra continues to have flashbacks about her mother’s death by alcoholism — set to the groovy sounds of Crosby Stills Nash & Young.

  Midpoint: On his second visit with Sandra, her boyfriend proposes. He brings champagne to celebrate. Sandra dumps the champagne out and refuses this “false victory.” “Maybe there is something wrong with me,” she now admits to Steve. Sandra is changing. A and B stories cross as she starts to care about other people when she rescues her Goth roommate (Azura Skye) from cutting herself. And she’s starting to like Viggo, too. She learns they both are fans of the same soap opera, which they begin to watch together.

  Bad Guys Close In: Pressure mounts on Sandra as both her past and current behavior threaten her recovery. Sandra’s sister (Elizabeth Perkins) agrees to show up for family day, and reveals that Sandra mortified her with the rude wedding toast she gave during an alcoholic blackout. And when Sandra seems to be getting closer to Viggo during a game of catch, they’re interrupted by her boyfriend, who winds up getting punched out by the pitcher.

  All Is Lost: Unable to face the trauma of life on the outside without drugs, Sandra’s Goth roommate OD’s. Now Sandra has lost her sister, her boyfriend, and this new friend. The final swizzle stick in her heart: She catches Viggo with another girl. Sandra’s hoped-for happy ending in rehab seems out of reach.

  Dark Night of the Soul: Sandra sits by the river and contemplates her life. Her sister arrives and, in an effort to make up, reminds Sandra that she has always been the special one.

  Break into Three: Sandra leaves rehab. A and B stories cross as she gets a send-off from her buddies knowing she might not “make it.”

  Finale: Sandra resumes her life, but it’s different without booze. Her apartment that seemed bohemian by candlelight now looks dirty and cheap. And when Sandra’s boyfriend takes her to the club where we began this story, their conversation is dull. While taking a stroll after dinner, she approaches a horse on the street and motions for it to raise its hoof, just like she learned in rehab. The horse complies, which Sandra takes as a sign: Nature or God is ready to help if she asks. Sandra kisses her boyfriend goodbye forever and walks away. Synthesis as Sandra accepts herself for who she is.

  Final Image: A last scene has a clean and sober Sandra buying a houseplant — a first step toward “caring” for another. She spots a friend from rehab doing the same. A new life has begun.

  NAPOLEON DYNAMITE (2004)

  Director Jared Hess’ film of the script written by him and wife Jerusha Hess began as a short and expanded to feature length as its hero found fans (and backers). It is an ROP story that seems to defy structure analysis. As Napoleon might say to one attempting the task: “What are you stupid or something?”

  The “Adolescent Passage” Napoleon goes through is not only a direct descendent of Porky’s, Sixteen Candles, and American Pie, it hits all the beats — both structural and emotional. Napoleon begins this movie under the watchful eye of his grandmother, but when she has an accident and his dim-bulb Uncle Rico takes over as guardian, Napoleon’s ROP adventure begins. Frozen in his teen years like a bug in amber, young Master Dynamite experiences a journey of growth through friendship. And while you may not have had to deal with a pet llama or a brother who swears by a time machine when you were a teen, you recognize Napoleon’s embarrassing plight. His world may not be real; it just feels like it is.

&n
bsp; In his quest for dignity, Napoleon (the brilliant Jon Heder) will come up against bullies and prom queens, yet ache to belong. And the finale, in which he takes the stage to save his pal Pedro from embarrassment, is one of the most celebrated — and hypnotic — moments in film history.

  ROP Type: Adolescent Passage

  ROP Cousins: American Graffiti, Breaking Away, Risky Business, Sixteen Candles, Lucas, American Pie, Porky’s, Pretty in Pink, Dazed and Confused, Thirteen

  NAPOLEON DYNAMITE

  Written by Jared Hess & Jerusha Hess

  Opening Image: Titles are displayed on shag rugs, plates of junk food, high school library cards, Chapstick, and pencil drawings on three-hole-punch binder paper. Then we see our dorky hero, outside his house, waiting for the bus — alone.

  Theme Stated: “What are you gonna do today, Napoleon?” the hero is asked by a little kid. “Whatever I feel like I wanna do, gosh!” he yells. The conflict between what Napoleon wants to do, and what he can do, is what this ROP is about. He lives in his own world, but will he ever succeed in the real world? We’ll see.

  Set-Up: Between doing reports on the Loch Ness monster (“our underwater ally”) and playing tetherball alone (in a snapshot that will have a bookend in the Final Image), Napoleon invents stories about wolverines and gets beat up at his locker by Don the bully. After a particularly rough day at school — when his brother Kip (Aaron Ruell) refuses to pick him up — Napoleon reaches a Stasis = Death moment.

  Catalyst: Napoleon is introduced to the new kid in his school, Pedro (Efren Ramirez). And at Minute 11, a knock at Napoleon’s door: School crush Deb (Tina Majorino) is selling her glamour photography services. When Deb leaves her sample case behind and runs, Napoleon’s much-repressed quest to win her love begins.

  Debate: Will Pedro and Deb be a way out for Napoleon? Will the friendship of these newfound commiserants change his life? To remind us of where he still is, Napoleon meets the local Tae Kwan Do teacher and learns that self-respect is key to winning the girl; Lyle, Napoleon’s farmer neighbor, shoots a cow; and Napoleon’s grandmother — and surrogate parent — leaves their home to go motorcycling out on “the dunes.” Later, over “tots” in the school cafeteria, Napoleon secures Pedro’s friendship and is prompted by him to speak to Deb. We also meet prom queen Summer (Haylie Duff). But what lucky girls will the two friends take to the school dance?

  Break into Two: At Minute 21, Grandma has a motorcycle accident and calls Napoleon’s Uncle Rico (Jon Gries) to watch the two brothers. The sudden loss of this parental authority gives Napoleon an unnerving freedom. There’s no real adult in charge as Napoleon steps into a brand new world.

  B Story: The “false mentor,” Uncle Rico, is a former high school football player, perpetually longing for 1982. At the moment, Rico is selling Tupperware and breast-enlargement cream door-to-door. Despite his emotionally challenged moxie, he is the Sears catalogue version of the best Napoleon can hope for in his family. Rico enlists Kip to help in his schemes, but a wary Napoleon has his number from the get-go.

  Fun and Games: Let loose to try new things, Napoleon and Pedro bond as they work together to help Pedro ask Summer to the dance. Napoleon looks on as Kip brings Uncle Rico to Deb’s photography service, and we see her trick to relax subjects by imagining they’re “floating in the ocean surrounded by thousands of tiny seahorses.” When Pedro scoops Napoleon and asks Deb to the dance first, Napoleon must use his “skills” to ask Trisha (Emily Tyndall), a friend of Summer’s. A and B stories cross as Rico urges Napoleon to get a job (“Do the chickens have large talons?”) and buy a suit for the dance.

  Midpoint: Trisha agrees to go with Napoleon, then abandons him at the prom. Napoleon has a “false victory” when he dances with Deb. There are sparks between them, but neither is “there” yet. At the dance, Pedro sees the sign that will change his life: a poster announcing elections for student president. Pedro decides to “raise the stakes” — for himself and for Napoleon.

  Bad Guys Close In: The two challenge Summer in a campaign they are sure to lose. The biggest challenge to Napoleon’s goal occurs when Pedro shaves his head. Not even Deb’s wig stylings can help his chances now. Pressure builds on Napoleon. Uncle Rico is embarrassing him by hawking his breast-enlargement cream to the girls at school. Kip has an Internet girlfriend, LaFawnduh. When she visits, Kip blooms. Why can’t Napoleon? Tired of “the wrong way,” Napoleon turns inward and, using a dance video he found in a remnant store, begins to learn new moves in the privacy of his bedroom.

  All Is Lost: When Uncle Rico speaks to Deb and implies Napoleon wants her to use his breast cream, Napoleon’s life crumbles.

  Dark Night of the Soul: Deb calls to let Napoleon know she’s mad. Napoleon’s life is “worse than when this movie started.”

  Break into Three: Napoleon fights back. He attacks Uncle Rico for ruining things with Deb. And when he sees Uncle Rico videotaping yet another rendition of himself throwing the football, Napoleon realizes his uncle is no role model. A and B stories cross.

  Finale: The election campaign requires a speech from Pedro, but when the two friends get to the assembly, they discover they have to put on a “skit,” too. Pedro’s speech promises students that “all your dreams will come true.” The audience expects more, but Pedro has prepared nothing. To save the day, Napoleon takes the stage and begins to dance. He’s good! Amazing, actually. And all, including Deb, are impressed. A nerd’s fantasy becomes real.

  Final Image: Life returns to normal. Grandma is back home, Kip’s girl and Rico leave, Pedro is “El Presidente” — and Napoleon has found his true tetherball partner: Deb. One is now two.

  A boy and his dog … I mean whale … I mean horse/But does it matter? The Black Stallion proves what “Buddy Love” movies are really all about: My life changed for having met another.

  Love is a many-splendored thing, or so the ballad goes. And aside from the fear of being eaten by sharks, the topic we most relate to, good cavemen that we are, concerns stories that deal with our primal need for this very special gift.

  All stories are about transformation. Usually, a hero is changed by a key moment or event. But in the genre of movie I call “Buddy Love,” the thing that most transforms the life of the hero is … someone else.

  There are many variations on the “Buddy Love” story. Whether it’s a traditional love match of “boy meets girl,” two cops on the trail of a crook, or a couple of goofy pals who just like to hang out together, the same dynamics apply. Beneath the surface of all those Laurel and Hardy, Butch and Sundance, or Buddy Cop movies are the same elements found in Bringing Up Baby, Pat and Mike, and Two Weeks Notice. The only difference is that in the latter examples, one buddy is missing a Y chromosome. While sex is at the heart of a lot of these films, they are more about “completion, “the slow realization the buddies are not as good apart as they are together. And though we often get confused due to the fact so many movies have a “love story” in them, the true “Buddy Love” is that film in which the main story is about two individuals whose lives are less without the other.

  Be it a “Pet Love” fable like Lassie, Air Bud, or The Black Stallion; “Rom-com Love” like You’ve Got Mail and When Harry Met Sally …; “Professional Love” like that found in Lethal Weapon and Rush Hour; “Epic Love” in which sweeping events bring our lovers together, such as Titanic or Gone with the Wind; or “Forbidden Love” like that found in Brokeback Mountain — and even in the animated fairy tale, Beauty and the Beast — what these stories have in common is a lesson we can all identify with:

  My life changed for having known another.

  Buddy Love movies seem vast and unwieldy but have three simple components: (1) an “incomplete hero,” (2) a “counterpart” he or she needs to make his life whole, and (3) a “complication” that is keeping them apart — even though that force is actually binding them together!

  I know that Danny Glover is the “incomplete hero” of Lethal Weapon. Why? Because despite the fact we
probably all think of Mel Gibson as the star of that film, it’s about Danny. What I remember is that scene at the movie’s beginning: It’s Danny’s birthday and he’s sitting in a bathtub depressed about his gray hair, imminent retirement from the police force, and general middle age exhaustion. Here is a guy who needs help he can’t get from his loving wife and family — or his job. Danny needs something else to resurrect him.

  He needs Mel Gibson.

  Picture Danny in the bathtub (well, not for too long) and you have roughly the starting point for many a Buddy Love hero. The hip, slick, and cool Tom Cruise in Rain Man may be on top of his game as a Ferrari importer, but something is missing from the weigh bill of his soul. Likewise, when we meet her in Titanic, Kate Winslet is shackled to her mother and her fiancé without hope or a solution. Billy Crystal in When Harry Met Sally … is like this, too. Though Billy may not know that he’s superficial in his relationships with women, we do — and so does Meg Ryan, the Sally who will fix his Harry and make him true. Yes, the adventures Tom and Kate and Billy go on are exciting, and you’ll cite scenes of action and fun when you recount the movie to friends. But what these movies are “about” is the incomplete hero who can only be fixed by a special other, and who must have the other or “die.” Despite all the cool scenes, that is our hook.

  It’s what all “love” stories teach us.

  And who is that other? Odds are “the counterpart” is unique — and often bizarre. Think Katharine Hepburn in Bringing Up Baby, Dustin Hoffman in Rain Man, Mel Gibson in Lethal Weapon, a horse called Black, or a dog named Lassie. These are catalyst characters that shake the bathtub-sitters from their lukewarm malaise.