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Understanding Screenwriting #110 Trance, Evil Dead, Admission, On the Road, & More

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Understanding Screenwriting #110: Trance, Evil Dead, Admission, On the Road, & More

Coming Up In This Column: Trance, Evil Dead, Admission, On the Road, Alice’s Restaurant, Justified, but first…

A Changing of the Guard: You may have noticed that Slant Magazine has been redesigned over the past few weeks. Prior to that, Keith Uhlich, the longtime editor of The House Next Door, moved up to Editor Emeritus status. Keith hornswoggled me into writing this column in 2008, and it’s turned out to be one of the most enjoyable professional experiences of my life. I’m going to miss him. I’m not sure if I ever mentioned it in the column, but it was Keith who found the stills for these pieces, including ones for very obscure films I used to throw into my writing just to test him. When a new column was posted, I felt like a little boy on Christmas morning opening packages to see what wonderful trinkets and gizmos Keith had found. Some, such as the Polish film posters for ’50s B movies, just made me laugh out loud.

In the reorganization I’ve ended up with Ed Gonzalez, Slant’s film editor and co-founder, as my editor. So far our collaboration seems to working very well, and I assume it will continue to do so. I’m looking forward to seeing what Ed comes up with in terms of stills. Yes, I know I should find them myself, but I’m an absolute Luddite about computers—I’m still surprised when all the words I write show up in more or less the right order in the column—and getting the pictures is way beyond me. I suppose I could learn, but I’m not convinced that at my age I could. Besides, who wants to forgo Christmas morning? And I have already laughed out loud a couple of times at what Ed’s come up with.

Fan Mail:

The one comment on #109 was from Rich Vaughn. His entire comment was “Henry King??? LOL.” This was in reference to my comments on King as a smart director who spent time with the screenwriters finding out what they intended. With the “???” I assume Rich is saying he is “Laughing Out Loud” at the idea of King as a good director. On other hand, he may be joining with me and such notable film historians as Kevin Brownlow and David Shepard who think King is the “Love of Our Lives.” Abbreviations can be confusing.

Trance (2013; screenplay by Joe Ahearne and John Hodge; story by Joe Abearne; 101 minutes.)

Going downhill fast. I always like a movie that starts out quick, and Trance certainly does that. We’re behind the scenes of an auction house, get some sense of how difficult the security system is to break into, and then watch as a crew comes in and steals a painting worth millions. In the process, Franck, the leader of the gang, hits Simon, a worker at the auction. Simon knocks his head on the wall. Okay, except that Simon is the crew’s inside guy, he’s hidden the painting from the crew, and the knock on his head has given him amnesia. Well, you’ve got me interested.

So how does Franck get Simon to remember? Franck eventually has Simon go to Elizabeth, a sexy hypnotherapist (Rosario Dawson, enough said). Franck puts a wire on Simon so he can hear what Simon tells Elizabeth. But Elizabeth twigs to the wire, telling whoever is listening that she knows about the painting and wants her share. Still okay, but then we spend a lot of time on the hypnosis process, which is just as dull as psychiatric sessions. So we start getting time jumps, dreams, and imaginary sequences. Since the characters are pretty much one note, we don’t really want to follow them through all that. Then late in the film we begin to get several plot twists which aren’t particularly useful or interesting. Joe Ahearne first wrote and directed this as a 2001 television movie in England under the same title, but this is his first theatrical film. John Hodge has a longer film resume, which includes Shallow Grave (1994), Trainspotting (1996), and The Beach (2000), all of which were directed by Danny Boyle. I haven’t seen The Beach, but both Shallow Grave and Trainspotting have more substantial characters then Trance does. Unfortunately, it looks as though Boyle brought in Hodge not to beef up the characters, but to make this film more “cinematic,” i.e., a true “Danny Boyle” film. But, like Point Blank (1967, see US #108), this film gets over-directed, with all kinds of flashy cutting and camera angles that end up distracting us from the story. The night before I saw it, I watched the last two-hour segment of the British miniseries Spies in Warsaw, whose final sequence has the hero on a train getting the gold reserves of Poland out of the country as the Germans invade. The sequence was woefully under-directed. Maybe the producers of that should have hired Boyle to juice it up.

Evil Dead (2013; screenplay by Fede Alvarez and Rodo Sayagues (with dialogue by Diablo Cody, uncredited); based on the screenplay by Sam Raimi; 91 minutes.)

My scary film for the year. I’m not particularly fond of scary movies. I didn’t see the The Evil Dead (1981), or Evil Dead 2 (1987), or Army of Darkness (1992). Scary movies generally seem rather repetitive and often unintentionally funny in their excesses. But I do like to catch one every once in a while, and this one is it for the year. Why this one? Two reasons. Mia, the main character, is played by Jane Levy. I loved her in the TV series Suburgatory, at least until I stopped watching it this year when the writing simply fell apart. She’s certainly up to the physical challenges of this kind of film. The second reason is that Diablo Cody, one of my favorite young screenwriters, has been mentioned as having written the screenplay. Until the release of the film, she was listed as a co-writer on the IMDb page, but that’s now been changed. The idea of Cody doing a full-out horror movie sounded interesting, especially after she stuck her toe in the water with Jennifer’s Body (2009, see US #34). It might have turned out to be as much fun as The Slumber Party Massacre, the 1982 film written by no less than Rita Mae Brown. But she was apparently not that involved. As both an article in the Los Angeles Times and an online interview with Cody make clear, she came on the project merely to help out with the dialogue and whatever other assistance the two writers needed.

Unfortunately, Cody doesn’t seem to be very much present in the film. There are exactly two lines that are distinctively Cody-esque. One is at the beginning when somebody tells Mia she looks well, and she replies, “I look like road kill.” The other is late in the film and it’s Mia giving one of the demons a hard time. You can figure out which one it is. So if we don’t have Cody at full power, what do we have? A movie with a lot of flaws that’s not as bad as some I’ve seen. The setup is that Mia is trying to get off drugs and instead of taking her to a rehab facility, her friends take her to an isolated cabin in the woods. What could possibly go wrong with that, especially since one of Mia’s friends, Olivia, is a nurse? Well, there are demons in the house. The writers do spend at least a little time setting up the characters before all hell breaks loose. There’s some invention in the way the characters use stuff you would find in a deserted cabin. Somebody’s going to get at least a master’s thesis out of the use of the nail gun in this film. On the other hand, the blood flows so extensively that if this film had any pretense to realism, the entire cast would be dead 40 minutes into the film from shock at the loss of blood.

Neither I nor the audience I saw the film with was particularly scared by any of this, since there’s at least a slightly comic tone that seems partly intentional. That tone makes the film more palatable than it might otherwise have been.



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