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    APPALOOSA

    April 26th, 2009

    appaloosa3

    Overall Impression – I love westerns, and really wanted to like this one.  But a misplaced protagonist and a surprise stakes character left this one a few head short of a herd.

    THE FOUR QUESTIONS

    Who is your main character? – Viggo Mortensen’s character Everett Hitch

    What is he trying to accomplish? – Professional: Bring order to the town of Appaloosa. Personal: Protect his best friend Virgil. Private: This is just a theory here, but reconcile his emotional bond to Virgil while also trying to let Virgil go.  I may be reaching here, but there was a strong through line that pointed towards a homoerotic relationship that never went full BROKEBACK MOUNTAIN, but felt like it almost wanted to.

    Who’s trying to stop him? – Randall Bragg, an immoral (wait for it…) rancher.

    What happens if he fails? – Virgil and he will die.

    THE FOUR ARCHETYPES

    Orphan – Everett and Virgil ride into town.  The town elders are desperate to get Bragg and his men under control, and they agree to Virgil’s demand that once hired, he is the law.

    Wanderer – After finding enough evidence, Everett and Virgil arrest Bragg and hold him for trial.  In the meantime, an attractive widow named Allison comes to town and Virgil falls for her.  Not being particularly good with women, he has to learn how to romance the classy widow.

    Warrior – Virgil and Everett must escort Bragg to another city where he’s to be hung.  Their train is ambushed by hired gunmen who have taken Allison hostage.  Bragg is released, and now Everett and Virgil set off to track him down and rescue Allison.  They must team up with the hijackers in order for all of them to survive the renegade Indians in the area.  Virgil must also deal with his feelings towards Allison when it becomes obvious that she and one of her kidnappers got particularly cozy…and she didn’t mind one bit.

    Martyr – Bragg is brought in to justice, however he gets a presidential pardon and become a “reformed” member of society.  Virgil and Everett go up against the kidnappers (now that they’re all out of danger and don’t need each other) and win the gunfight, though both are wounded.  With Bragg now out of the shadows, the town elders don’t particularly want Virgil and Everett around, and when Everett sees that Bragg and Allison are cozy (there’s that word again), Everett calls out Bragg for a gunfight in order to eliminate him so that Virgil won’t have to compete against Bragg for Allison’s affection.  Upon winning the duel, Everett rides off, leaving Virgil and Allison to presumably have a happy life together.

    AND, IN THE END…

    Here is another movie whose structure and character problems become very clear once looked at through the lens of Contour.

    Ed Harris did a wonderful, spare, job of directing APPALOOSA, however in the scripting he tries to have his cake and eat it too, splitting the protagonist arc between both characters Virgil and Everett.  It’s Virgil who seems to be making all the decisions, but it’s Everett’s narration we hear.   And even though Allison is introduced early enough and played as the stakes character, in the final showdown of Good Guy vs Bad Guy over Stakes, it’s Everett vs Bragg, over Virgil, and not Virgil vs Bragg over Allison as one might have expected.

    Virgil is painted as the alpha male, which is what attracts Allison to him in the first place.  He comes on very strong and seems to be placed as the protagonist, however he often loses our empathy by appearing weak, giggling like a schoolboy in love, and by pursuing a woman who basically will sleep with anyone she perceives as being able to protect her.  We’re not rooting for these two to get together.

    There is a core of an interesting story idea here that could have been explored more fully; the deputy as main character.  But if that’s the story you wish to tell, you have to tell the deputy’s story more fully than you do the sheriff’s. Such was not the case here.

    APPALOOSA comes out shooting, but once the protagonist arc gets split, the story starts misfiring as often as it doesn’t.

    – Jeffrey Alan Schechter

    CLICK HERE to buy APPALOOSA from Amazon


    AMADEUS

    January 10th, 2009

    amadeus

    Overall Impression – An impressive film, can’t get enough of it. One of the best movies of the famous composer, Wolfgang Amadeus Mozart, ever made… in my opinion.

    THE FOUR QUESTIONS

    Who’s your main character? — Salieri

    What’s he trying to accomplish? – Professional: Prove that he’s a superior musician to Mozart.  Personal: Destroy Mozart’s and prevent him from getting a job at the court. Private: Punish God by destroying His creation, Mozart.

    Who’s trying to stop him? – God (according to Salieri)

    What happens if he fails? — Salieri will be a frustrated composer who will always feel that he’s a mediocre failure.

    THE FOUR ARCHETYPES

    Orphan — Salieri is an unhappy child. He wants to be a great composer. His father, however, doesn’t allow him to study music and so, Salieri prays to God to make him a great composer.

    Wanderer — Salieri’s wish is granted, according to himself. His father dies and Salieri travels to Vienna to study music. Some years later, he becomes the court composer of Emperor Joseph of Austria. Salieri is happy being a famous composer, until he meets Mozart.  He recognizes in Mozart real genius, and tries to figure out how channel and control Mozart without letting on to the rest of the court that Mozart’s music is superior to his own. 

     Warrior – Salieri is angry at God because He gave not him, but “a monkey”, the bigger musical gift.  It is as if God is laughing at him!  From now on, he and God are enemies. He decides to destroy God’s creation by first ordering a beautiful requiem from Mozart and then kill him. During Mozart’s funeral he then will perform this requiem under his own name so the whole world will know that he, Salieri, is the greatest composer that ever lived!

    Martyr — As Mozart lies dying, Salieri helps him work on his Requiem, seemingly softening on and almost willing to give up his vengeance (the martyr moment), showing a real tenderness and appreciation to the man and his talent that he’s destroying.  Still, it’s not enough and Mozart dies.  Many years later, now an old man, Salieri tries to kill himself, asking Mozart for forgiveness. He adored Mozart, it was God he hated!

    AND, IN THE END…

    I have seen this movie so many times since it came out many years ago and never realized that it is in fact about Salieri and his struggle with God. It’s however great to see how Mozart does his tricks, like hearing a musical piece only once and then performing it even better than Salieri wrote it in the first place! And what about the scene in which he improvises on a given melody in the style of other composers; beautiful!

    – André van Haren


    Four Questions? Four Archetypes?

    January 4th, 2009

    In order to have a basic understanding of how these reviews work, you need to understand two concepts: the four questions and the four archetypes.

    The four questions are the questions that every movie must answer effectively:

    1. Who’s your main character?
    2. What’s your main character trying to accomplish?
    3. Who’s trying to stop your main character?
    4. What happens if your main character fails?

    The answers must be:

    1. A sympathetic character, who is…
    2. …trying to accomplish a compelling goal while being opposed by…
    3. … a powerful and committed opponent, over…
    4. life and death stakes.

    The four archetypes are the four classic archetypes that every main character moves through in every great movie:

    1. ORPHAN in Act One
    2. WANDERER in the first half of Act Two
    3. WARRIOR in the second half of Act Two
    4. MARTYR in Act Three.