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The Great Escape (#110 of 2)

Understanding Screenwriting #78: Friends with Benefits, Crazy, Stupid, Love., Harry Potter and the Deathly Hallows: Part 2, & More

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Understanding Screenwriting #78: <em>Friends with Benefits</em>, <em>Crazy, Stupid, Love.</em>, <em>Harry Potter and the Deathly Hallows: Part 2</em>, & More
Understanding Screenwriting #78: <em>Friends with Benefits</em>, <em>Crazy, Stupid, Love.</em>, <em>Harry Potter and the Deathly Hallows: Part 2</em>, & More

Coming Up In This Column: Friends with Benefits; Crazy, Stupid, Love.; Harry Potter and the Deathly Hallows: Part 2; Point Blank (2010); Mr. And Mrs. Smith (2005); The Great Escape; MGM: Hollywood’s Greatest Backlot (book); The Fox Film Corporation, 1915-1935: A History and Filmography (book); Covert Affairs, but first…

Fan Mail: Contrary to what David E. thinks, I love films that are poetically structured. If you can find it, look at the great British documentary Song of Ceylon (1934), one of the most poetically structured films of all time. In my History of Documentary film course, the classes were always split: there were those who loved it and those who hated it because it didn’t tell a story. That gave me a chance early in the course to let them know that all films do not have to tell stories.

“Pippa” appears to be upset with David and me for taking things to “the Nth degree of irrelevance.” Then, alas, she goes on to provide a link to the “film structure in a circle” site that I wrote about in US#76. She ought to go back and read my comments on it. The problem I have with so much writing about screenwriting is that it is often only about structure (Syd Field’s plot points; the Hero’s Journey, etc) without a lot of understanding of the nuances of character, tone, et al involved. As in some of the films in this column…

Friends with Benefits (2011. Screenplay by Keith Merryman & David A Newman and Will Gluck, story by Harley Patton and Keith Merryman & David A Newman. 109 minutes)

Haven’t we recently seen this? Take one: No, actually we haven’t. In US#70, I wrote about No Strings Attached (2011) which has a similar plot: Two friends agree to have sex without any emotional attachments, but one of them naturally falls in love with the other and complications ensue. It was not particularly well done, for reasons I will come back to as we discuss this one. Friends is much better in a variety of ways.

5 for the Day: Steve McQueen

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5 for the Day: Steve McQueen
5 for the Day: Steve McQueen

What I learned from Roman Polanski’s playful political thriller The Ghost Writer is that the old man can still bring it. Not Polanski, the 77-year-old director, but Eli Wallach, the 94-year-old actor, who shows up about halfway through to deliver a very brief but charming performance as a crusty, all-weather resident of Martha’s Vineyard. Stepping out from behind a dilapidated screen door, Wallach’s face is revealed to be equally worn, but there’s still a sparkle in his eyes and a distinctive zing to his voice. He’s as feisty as ever, if not quite as intimidating, and seeing him up on the big screen, in what we’ve got to assume will be his final performance, might be enough to make you think that you’re in the middle of a cinematic dream from which you don’t want to wake. And yet, for me, Wallach’s presence is bittersweet. To marvel that he’s still around—more than that: still acting—is to be confronted with memories of Wallach’s costars past who have been off the screen and off this earth for years now. Even decades.

Among them is Steve McQueen, who starred opposite Wallach to memorable effect in The Magnificent Seven, near the start of McQueen’s career, and then to less memorable results in The Hunter, in what proved to be McQueen’s final film. McQueen died a few months later from complications due to cancer, and this November we’ll have been without him for 30 years. He was only 50 when he died, and today would have been his 80th birthday—old enough that he might have long since given up acting, but young enough that perhaps he’d have had at least one cameo left in him, like Wallach in The Ghost Writer, or like Karl Malden, McQueen’s costar in The Cincinnati Kid and Nevada Smith, who at 88 contributed to one of the greatest scenes in the seven-season run of TV’s The West Wing in 2000. We’ll never know.