That was one of my favorite movies of this year so far. I actually created my own Dramatica storyform after I saw it. I think it’s pretty close, but I’d love to see a group take on it.
Source Code and Groundhog Day have different storyforms (great idea for an article by the way!). I haven’t seen Edge of Tomorrow but the trailer from iTunes last night looked way better than the ones they had when it came out in theaters. I’ve heard its better than you would think and when its out for rent (I think next week) I’ll give it a look
I think Edge of Tomorrow is an excellent film and would make a great triptych for your article.
I’d like to suggest Die Welle, a German movie about a teacher who wants to teach his pupils that an autocracy is still possible in today’s Germany. I’ve recently rewatched it and I was surprised by how well developed the story is.
I’d love to see (For Analysis):
-
Gandhi (1982)
Director: Richard Attenborough -
Syriana (2005)
Director: Stephen Gaghan -
Thirteen Days (2000)
Director: Roger Donaldson -
JFK (1991)
Director: Oliver Stone -
Z (1969)
Director: Costa-Gavras -
Traffic (2000)
Director: Steven Soderbergh
I’d love to see an analysis for Interstellar and Gone Girl. I liked them very much.
SPOILERS
In Gone Girl are we talking about one story or two? I mean, I think we start with Nick as MC, [spoiler]but suddenly the story shifts and I would think that BEGIN SPOILER another character becomes MC when major spoiler happens END SPOILER [/spoiler]
And at lest for me, also the characteristics I perceived of both characters seem to change as we know them.
And Interstellar, with all those time-travel related paradoxes it would seem to me that Cooper would be MC and IC? (“present Cooper” and “future Cooper”)? Am I right?
Anyway, I think both films would be extremely interesting to analyze.
And Gone Girl’s screenplay is available online, legally.
Ida. A gorgeous B&W Polish film about a young woman living in a convent one week away from taking her vows who meets with her last living relative only to discover she’s a Jew. Interesting film where, as I understand it, the OS throughline ends somewhere just after the midpoint. Available on Netflix.
Though I don’t know if they’ll end up being Grand Argument stories or Tales, I’d love to analyze any of the following:
Diva, 1981 (French)
Moonstruck, 1987
The Holiday, 2006
Something’s Got to Give, 2003
Parent Trap, 1998
Mostly light fare, but enjoyable movies.
The Babadook would be fun. One of the better reviewed films of the year (and it’s horror, though some viewers will cry otherwise - but how many films in that genre even have four throughlines?). It’s also an allegory and it’s expressionism which would make it all the more fun to analyze (I actually wrote an article that’s getting a lot of reads regarding the use of these elements.)
I’d like to do Oculus. The Throughlines are kind of tricky to pull apart, since most of the movie is the MC and IC alone in a house.
Traffic would be fascinating to analyze, because of the tightly woven relationships between characters and events; and also Crash , which I recall had story weaving between seemingly unrelated characters that came together in the end.
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Hi. I’ve just watched “Mr. Peabody & Sherman”. I liked it a lot, it’s funny and smart. I think it would be nice to analyze it because it uses very few core characters. I think some of them fill more than one function and/or are complex.)
The Babadook worth a look for sure.
Lots of these suggestions are on the schedule for next year!
The Babadook
Edge of Tomorrow
Dead Poets Society
Moonstruck
The Social Network
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The 1970’s French film, le Cercle Rouge.
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1982 — Sophie’s Choice
How about:
2001: A Space Odyssey - The monolith as IC?
Citizen Kane
High and Low - Akira Kurosawa. Three stories?
Mulholland Drive - David Lynch
Pulp Fiction
The Sweet Hereafter - Atom Egoyan
I was thinking The Odd Couple would be an interesting film (I haven’t seen the stage play) to analyze. I’m pretty sure Oscar is the MC and Felix is the IC, but haven’t thought much beyond that.
The Sweet Hereafter would be a great one. I think Pulp Fiction is propaganda (missing throughlines)
No Way Out
Every time I flip through the channels and land on the film, I get hooked…and watch it from wherever it is, again. There must be some powerful storyforming going on.