The next film up for discussion is “Brief Encounter” – the 1945 film directed by David Lean. You can watch the live analysis of the Brief Encounter Dramatica–Users Group in September when it happens. If you would like to be invited to join in on the conversation and you don’t think you’re on the list, please let me know here. Thanks!
Jim, I’d like to be added to the list please. Already have a storyform, but will watch again to see if it holds.
Hi @Jerome - you were already on the list, so you should see the invite or notification shortly after 7pm. See you then!
1 Like
Was a good one. Thanks!
Yes, glad you had a good time. And glad we got that “Good” Story Judgment in there!
The video for the Brief Encounter analysis has been attached to the Dramatica site.
1 Like
So if I saw correctly, it’s
Brief Encounters
Change, Stop, Be-er, Holistic, Action, Optionlock, Failure, Good, Psychology, Conceiving, Expediency, Production
That’s interesting, considering that last month you got
Social Network
Change, Stop, Be-er, Holistic, Decision, Optionlock, Success, Bad, Psychology, Conceiving, Expediency, Production
Kinda weird coincidence. I also notice that more and more movies analyzed (especially Animated ones) seem to fall into the Present/Learning/Conceiving/Conscious concern type. Or am I just imagining things?
No - it seems like lately many films have been in the lower right quadrant. I think it shifts over time. Brief Encounter came out in 1945 – but it’s a British film, and many overseas/European stories seem to be in that same area.
To me it seems like everything was in the lower right (Obtaining, Future) during the 20th century, particularly in the middle. Then, at the turn of the century, everything moved to the upper left (Understanding, Past). Now it seems like everything is in the lower right (Learning, Present). You could say that the 70s were in the Upper Right (Doing, Progress), but that seemed brief.
It’s an interesting to think of. As far as similar storyforms … Collateral is the EXACT SAME storyform as Finding Nemo, so this similarity seems small in comparison!
[quote=“jhull, post:7, topic:406”]
As far as similar storyforms … Collateral is the EXACT SAME storyform as Finding Nemo, so this similarity seems small in comparison![/quote]
I mostly meant that two storyforms this similar where analyzed back to back. I’m very well aware of similar storyforms (and Kung fu Panda == Erin Brockovich is still my favorite oddity).
[quote=“jhull, post:7, topic:406”]
To me it seems like everything was in the lower right I think you mean left (Obtaining, Future) during the 20th century, particularly in the middle. Then, at the turn of the century, everything moved to the upper left (Understanding, Past). Now it seems like everything is in the lower right (Learning, Present). You could say that the 70s were in the Upper Right (Doing, Progress), but that seemed brief.
It’s an interesting to think of.[/quote]
I wonder if someone could link these phases to social change (at least in the USA).
One could also look at the character elements within these quadrants… first we’re questioning our motivations, then evaluations, then purposes, and now our methodologies… I don’t know.
And funnily enough, this progression (lower left, upper right, upper left, lower right) can’t be used as a Plot Progression in the Dramatica Software. (And obtaining -> doing -> learning -> understanding always ends in tragedy… guess I know where we’re heading ;))
Now, that’s crazy! I’ll have to check that one out …
I know this was literally 5 years ago, but I decided to use Subtext to learn about illustrating the story form by watching Brief Encounter and making notes in subtext.
Afterwards I listened to the user group podcast. I was particularly struck with how making plans causes conflict for all the characters in act one, and how Laura has that love struck moment when Alec talks about his work (which I think was his unique ability in the storyform).
Anyway, I thought I’d post my noteform treatment (not complete or in exactly the right order) here in case anyone else finds it interesting! I’m a total beginner with dramatica so bear that in mind…
Act One
1.
Goodbye, interrupted
Some woman arrives and interrupts the tete a tete between Alex and Laura, Laura is visibly upset
Visualising ways to move on and clashes that arise from making plans.
Laura talks to the gossipy woman about Alec’s plans for a new life in Africa, the gossipy woman says she could never be dragged away from her life, Laura wishes she had a trustworthy friend to talk to instead. Laura tries to figure out how she will carry on despite her misery, she visualizes being able to talk to the only person who could help her, her kind husband, the very person she cant talk to. The kids talk about their birthday plans and disagree, Fred suggests they could do both activities, Laura says they can’t, they’ll be too tired. Fred jokes they’ll send the kids to bed and go to the pictures themselves, causing Laura to think about her cinema trips with Alec and burst into tears. Fred thinks Laura should see the doctor about her fainting (causing her to have to lie about why she was upset and ask him to shut up). Fred figures out a crossword with the solution ‘romance’ causing Laura to contrast actual romance with the mundane marital life.
Laura struggles to process her memories of the love affair.
Laura speaks of wishing she could forget them immediately realizes she wants to remember every minute even though it will cause her pain. These memories are causing her to find it difficult to maintain her contentment with family life, as well as conceal her upset from gossipy neighbours, bursting into tears etc. Laura begins to recount, as if justifying her behaviour to a sympathetic friend (her husband in different circumstances) her memory of meeting and falling in love with Alec.
Alec has made their happy marriage a thing of the past.
Laura talks about how their time as a happy marriage is “in the past” because of Alec. Alec recounts how he came to be a doctor, his passion for his area of expertise makes him seem ‘like a little boy’ and causes Laura to fall in love a little bit.
Travelling to Millford together
Laura and Alec travel to the same town on Thursdays, they go to the cinema and do stuff together and in the process they begin to fall in love and betray their spouses. (Chance plays a part in their meetings, eg no seats available, grit in eye).
STORY DRIVER
Bobby is hurt in a car accident, causing Laura to feel she is bring punished and decide this is wrong.
Act Two
7.
Laura let’s loose
Laura realizes she feels anxious to see Alec again and goes with that impulse, allowing herself to enjoy herself without concern for her marriage.
The characters live in a fantasy
That escalated quickly
Alec articulates what is happening, speeding up their progression into a relationship, saying it is too late to put the brakes on, despite Laura’s hope that it’s not too late. They kiss.
Trapped
They aren’t free to be in love, and yet they are trapped in love. It is unavoidable
Reality interrupts fantasy
Someone sees Laura and Alec at lunch.
Becoming a stranger in your own home
Laura lies to Fred for the first time and asks her friend to lie for her. She becomes “a stranger” to herself.
Cover stories
The lovers are preoccupied with stopping Fred (or anyone) from learning about their affair.
Indecent proposal
Alec says he plans to stay in the flat. The implication is that Laura could join him and they would make love.
Laura’s choice
Laura feels romantic and elated, knowing it is true she is in love; imagining a time when there are no obstacles to their love, and this contrasts with her feeling at home. She feels shame, fear, guilt. She can’t decide whether to go home or stay and, presumably,sleep with Alec. She jumps off the train at the last minute and goes to Alec.
Coitus interrupted
The owner of the flat comes home early so Laura has to sneak out through the tradesman’s entrance. It seems to prompt a decision to recognise thos relationship can’t continue.
Act Three
17.
Laura’s Limbo
Laura spends 3 hours trying to collect her emotions, thinking about poor Fred as she tries to get over her upset.
This is our moment
Alec focuses on this moment they have together arguing if they just cut it off without giving themselves these moments, it is too cruel, causing Laura to allow herself to meet him one more time to say goodbye, even though she knows there is no future and she feels they’ve gone too far already.
It’s almost over
Alec and Laura accept they have no future together and try not to let it spoil their last moments together.
The characters invent a false explanation
Concluding Story Driver
Laura hears the Express train and goes to kill herself but she couldn’t even though she had an overwhelming desire not to feel anything ever again. Fred says it must have been a bad dream but you’re home now. They embrace.