The Worst Kind of Movie)
I remember a common occurrence when I was little and my Dad would bring home a VHS tape from the video rental store.
“Can I watch it, Dad?” I would ask. Sometimes it was a cartoon, or a comedy, or a musical, or an action flick. All of these I liked.
Dreaded, however, were the times that he would answer: “You can…but you should know this is a ‘talking’ movie.”
‘Talking’ movies were dramas. Boring films where the characters simply went from one conversation to another, all the way through to the end! I was okay to power through a scene or two of this pointless talking in a movie, but then there had better be something exciting or silly coming up next. More often than not, I’d sit out on these utter wastes of cinema!
Of course as I got older my perspective on this changed. The main contributor to this was just being able to understand the conversations people were having in dramas. At first I was too young to appreciate the ideas that were being put forward and the character development that was happening. As I matured I developed the ability to comprehend the importance of these scenes, and to my surprise I found that some conversations could be even more gripping than a gunfight!
Flip the Script)
In fact, now I’ve reached the point where I have little tolerance for action that isn’t “saying something.” Vehicles exploding for no other reason than to be flashy just feels empty. Nameless grunts filing into a room just so that the hero can hit them in the face is shallow. Far more meaningful to me is when the chaos serves a purpose. I want there to be character development and intrigue in every scene, even in one of action.
One of my favorite examples of this in the Bourne Supremacy, specifically towards the end of the film when Jason Bourne ends up in a car chase against a rival assassin. Of course this is a film franchise rife with car chases, but this one stands above all the rest because Jason Bourne and this rival assassin have a history. The hitman was sent at the start of the film to take Jason out, but accidentally killed his girlfriend instead. Thus the feud between them is extremely personal.
The inherent drama is further emphasized by the setup of the chase itself. Our assassin is in a powerful, dark Mercedes Benz G-Klasse, while Bourne is in a small Volga taxi. There are several police vehicles involved as well, slowly chipping away at Bourne’s vehicle until it looks like it’s about to drop its entire engine block. This gives the chase a strong sense of character.
And finally there is the vicious passion on display all throughout the scene. It’s honestly less of a car chase than a car fight, where Bourne and the assassin slam their vehicles into each other relentlessly. They enter a narrow tunnel where the other cars are shredded as collateral damage to their mortal duel. Finally Jason manages to get his car wedged underneath the other and rams it full speed into a barrier, bringing the conflict to a sudden halt.
Drama, character, and passion. With all three of these elements combined this isn’t just an action scene, it’s a scene of incredibly deep catharsis. The filmmakers aren’t just shattering rims and breaking off bumpers for the sake of looking cool, they are employing them as powerful symbols of hate and brutal intent.
Another example of an action scene that is laced with plot and character is the final duel between Luke Skywalker and Darth Vader at the end of The Empire Strikes Back. Luke is trying to save his friends from the clutches of the Empire but it is all a trap, one which leads him straight to an isolated room where Darth Vader awaits.
Without hesitation Luke walks up to his foe and activates his lightsaber. Darth Vader ignites his own in response. Luke makes the first swing and Darth Vader bats it away. Luke lunges again and Darth Vader pushes back with enough force that Luke falls to the ground. Rather than finish him, Darth Vader lets Luke return to his feet and try again. Luke begins the attack the third time.
The behavior of each fighter here is very intentional. The choreography in this moment was carefully chosen to say something. It perfectly communicates Luke’s overconfidence and headstrong nature. He dives into the fray time and again, even though he is clearly outmatched. Darth Vader is calculated and patient, allowing to let Luke trip over his own feet again and again. His intention is not to kill the boy, but to break him.
This becomes even more clear as things continue. Darth Vader slowly applies more and more pressure, dragging the fight out for a very over time, making sure that Luke feels the full weight of his own insignificance. Darth Vader exhausts Luke in battle, batters him with force-propelled debris, and even chops off his hand. The torture is as psychological as it is physical.
Then, last of all, Vader drops the most resounding blow of them all. He lets Luke know that the man who has been cutting him apart this whole while is his own father. And to that Luke cries in utter defeat.
It’s a very exciting battle just from the perspective of action and movement, but neither of those are the reason it has become such a timeless scene. It is timeless because all of that action is saying something, and it is saying it so very well.
Variety in Communication)
It’s often necessary to change one type of scene for another. This variety helps the audience to remain constantly engaged. But the conversation shouldn’t ever stop between these transitions, it should just start being spoken in a new language.
In the last section of The Favored Son I opened things with a conversation scene and then transitioned to an action scene. But the combat encounters in that action scene were not merely there to entertain the reader with their flashiness. They were meant to highlight the different characters’ relationships to each other. The combat is meant to make literal the psychological warfare the boys have been passively waging. Just as Reis is laying a trap for Tharol on the battlefield he has also been laying one in their little character drama.
This Thursday I will be continuing the action scene, and please pay attention to how I start communicating the underlying feelings of the other boys through the alliances they make and the battles they pick. I’ll see you there.