For this exercise, I elected to read a script for a movie I have not yet seen, so that I can see how the movie played out compared to my read. This analysis will have two posts. Part 1, below, will be my analysis of the script itself, and the next post, Part 2, will be my comments after viewing the film.
Please remember, my intent with these script review posts will be to point out the things I thought were notable – unique aspects of the script or story based on my (albeit novice) experience and as seen from my eyes.
Part 1 – The Read
I picked this script because of the title and the fact that I had not yet seen the movie (or read the book). In fact, I had forgotten hearing or seeing anything about it. While I have since looked at the IMDB listing to check the user rating and other details. You can find the script online (http://gointothestory.blcklst.com/free-script-downloads/).
Young Craig is caving under the pressures of the expectations of his current academic path and the awkward situation of being in love with his best friend’s girl. Fearing his ongoing and escalating suicidal feelings, he seeks admission to the hospital for treatment. The story was written for the screen by Ryan Fleck & Anna Boden, based on the novel by Ned Vizzini.
The movie is listed several ways on the major sites: “Comedy-drama”, “Art House”, “Drama”, and the trifecta “Comedy-drama-romance.” One could even give it a nod as a coming-of-age drama, so possibly this movie is trying to be everything.
Art House – After wading through a few pretentious article on what constitutes an Art film, and the state of the art film today, I did find a good source linked from Wikipedia topic “Art film”. In the article by Lindsay Steenberg, actually referring to one of the references, we find an informative view on what the art film is:
Bordwell further describes the structuring basis of the art cinema as based on “‘objective’ realism, ‘expressive’ or subjective realism, and narrational commentary.” In brief, the art cinema relies on a recognizable authorial voice (or narrational commentary), self-reflexive stylistic choices, causal gaps in the narrative, episodic structure, ambiguity in reading, and a plot which relies on complex psychology rather than goal fixated action to provide forward momentum.
You can read Steenberg’s full article here: https://web.archive.org/web/20081113113059/http://www.film.ubc.ca/ubcinephile/cinephile/steenberg-framingwar.pdf
Drama – If drama is meant to show us characters as we would like to be, whereas comedy is meant to show how we really are (per our excellent teacher, Steve Kaplan), then we are inclined to classify this script as a drama. Even though we don’t necessarily hope to land in the mental hospital, we may hope that 1) we would be strong enough to seek help and admit ourselves before taking drastic steps, just as Craig did, and 2) we would maintain a caring and pleasant attitude such as Bobby’s, if we found ourselves in his situation.
Comedy – While there are humorous lines, I don’t really see the typical comic conventions in this film, so I think it’s a stretch to put it in this category. If I’m in the mood for a comedy, and someone recommends this movie, I’m not satisfied at the end. In fact, it seems a bit odd that we are supposed to take Craig’s situation as serious, but also be encouraged to laugh at his fellow patients.
Romance – While there are two key romantic sub-plots, I would hesitate to refer to this as a romance. The thin-ness of the two connections may actually be good representation of teen love, however.
The script is at 115 pages, for the copy that I have. The movie clocks in at 1:41.
- The setup of the situation and scenario runs until Craig is resolved to spend the minimum 5 days in the hospital; this covers the first 22 pages.
- The journey for Craig lasts most of the five days, until he gets the turning words of wisdom from Bobby, which is on page 93 (71 pages).
- From here, it’s a quick run through tying up loose ends and getting Craig out (22 pages).
Because of the schema we are dealing with, I’m not forming an opinion on the ratio of the sections.
Notable Script Tidbits
Voice Overs – Given the storyline is in the psychology of Craig, it makes sense that there is a heavy dose of voice overs. In reading, I have become concerned it will be too much. It will be interesting to see how it plays out on the screen.
Dream sequence, Flashbacks and Fantasy – Again, because we are really going through the story with full access of Craig’s point of view, we also wander through his thoughts in these varying forms. Technically, even within the same variation type the directives are noted a bit inconsistently (leaving me to wonder if it is intentional or not). One of the markings isn’t clear to me, where each step is marked with a reverse order letter with an ID which seemed to correspond to nothing (Possibly scene? But the number seems high…see page 35).
Supers – These are used to help keep the user oriented to the timeline and what is real.
Insert – This was a shot directive, used a few times. It is not one I see used often.
Speaking of scenes, I’d be interested to see how the non-current-day pieces are included in the scene counting.
The characters do seem to have their own voices. A few things stand out to me:
- The interaction with the parents seems authentic. The sort of obliviousness to the severity of the situation, the roles each parent plays, and the relation of the concern for the sister.
- I think the writers do a nice job with the play between Craig and Noelle, mostly in the beginning.
- The other is that the difference between Bobby, Craig and Noelle and the other patients in the way they speak demonstrated they were in different parts of the spectrum.
The premise is understandable: Teens dealing with pressure and not wanting to fail, the stress one feels, falling for a best friend’s significant other. While I can see the transitions and identify transformational scene, it feels a bit forced, and overall a bit shallow of a story. There are all of these touch points with people with real problems, but we don’t get deep enough, really, with anyone to truly achieve empathy or understand how the triggers really come to have impact. Even with Craig, we understand the idea of what makes him decide to stop the track he’s on, but we don’t buy into it fully. Same can be said with suddenly getting over Nia. I am hoping that the acting and directing help elevate the script, but seeing how little there is to work with, I’m not optimistic that this will happen.