Theme and Narrative Approach: A Discussion of Three Films - Essay Example

Section/# Theme and Narrative Approach: A Discussion of Three Films A key differential between complex narratives/plot lines and those that are much more simplistic has to do with the different viewpoints and/or approaches to a particular issue that are presented to the viewer. Unfortunately, many films do not leverage this approach and oftentimes come across as rather one dimensional. As a function of the reality that is thus far been presented, the following analysis will focus specifically upon three movies and attempt to trace a thread of commonality between them. Even though they are unrelated at face value, the particular narrative structure and plot design that is incorporated within all three of these films is uniquely comparable. Accordingly, the films that will be discussed and analyzed will be Pan’s Labyrinth, Run Lola, Run, and Vantage Point. It is the further hope of this author that such a level of analysis will not only lend the reader to develop a degree of comparative understanding between these three films but will also assist the individual in defining an understanding of the core elements that can create a multifaceted and multidimensional narrative as compared to one that would merely engage the particular viewer in one given way. The first movie that will be analyzed, Pan’s Labyrinth, represents a fantastical tale in which a young girl escapes the underworld and arrives in the normal world through a small cavern that she finds that connects the two. Upon reaching this “normal world” this sun blinds her and erases her memory. Soon thereafter, the girl who was a Princess of the King of the underworld dies. Only later does the viewer find out that the following story that is presented is in fact a type of reincarnated segue to the Princess and the way in which these stories can be linked together (Pötzsch 131). Facing the repressive regime of Francisco Franco, the girl is subsequently caught up in a fast-paced world of espionage and intrigue; as anti-Franco elements viciously track down those that they believed to be involved in the Franco revolution. Although somewhat uninvolved in the real world events, Ofelia, the girl in which the story is concentric upon, disease herself in a realm of magic and fantasy; quite possibly as a way to distance herself from the realities of the violence and turbulent world around her. Eventually, this interest in magic and intrigue creates a situation in which the young girl is placed into a magical world and given three tasks. The remainder of the film focuses upon the way in which these three tasks are accomplished (Bateman and Tseng 359). The story resolved as it is proven that the entire labyrinth and series of quests was merely a test to see whether or not the young girl was fit and prepared to return to the kingdom of the underworld. Whereas it is of course true that the filmmakers could have represented this particular story in a one dimensional manner and focused on the characters development via a third person omniscient standpoint, a more effective approach was to represent these seemingly disjointed stories and stitched them together in such a way that the ultimate resolution would be more gratifying and powerful as compared to one in which the character herself was responsible for her own reclamation/salvation. Another film that leverages this narrative structure is with regard to Run Lola, Run. Rather than focusing upon the fantastical and utilizing magic as a way of representing particular storyline in question, the filmmaker analyzes the way in which distinct occurrences helped to shape the development of the character (Bywater 16). Whereas it is true that many writers use the structure of character development and the impacts that the environment has upon directing the energies and activities of the main character, Run Lola, Run depicts the string of seemingly correlated action sequences that all take place under the frenetic demands of a debt that must be paid; with the repercussions of non-payment being only alluded to in terms of very negative ramifications. The development of the narrative structure is predicated solely upon the separate but related action scenes that find Lola desperately seeking to locate the required money. Although this film utilizes a narrative structure that is entirely based within the “real world” as compared to the fantasy world of Pan’s Labyrinth, the same approach of leverage unrelated stories as a means of describing the action and understanding new aspects of the plot is evidenced in Run Lola, Run as well. The final film that will be analyzed within this brief analysis is that of Vantage Point. Resembling the real world structure of Run Lola, Run, at least as compared to Pan’s Labyrinth, the film goes in depth within 23 minutes of time and analyzes an attempted assassination of the president of the United States through the lens of the different viewpoints of individuals that witnessed it. Beyond merely serving as a means to relate the plot, this particular approach allows for the viewer to come to a more distinct and informed understanding of the events that actually led up to and culminated in the assassination attempt. Although it might be stated that this particular film falls directly in line with the approaches that have been discussed thus far, this is not quite the case. Of all of the films that were discussed, Vantage Point is one that focuses upon a specific event and reiteration of much of the information from different viewpoints as a means of sticking together a story/revealing a mystery from such an approach. Rather than gaining a broad or categorical level of understanding with regard to the world, morality, and/4 adventure suspense, this particular narrative structure is utilized as a means of relating the events that took place in much the same way that a crime thriller might affect (Allen 15). Rather than allowing the action to take place over a broad range and impact upon a great many different characters and events, the storyline is concentric upon these 23 minutes and the actions and events that took place in order to culminate in the final scenes. In effect, although all of the films that have thus far been discussed are related with respect to their narrative structure, there is a great deal of liberty and the level of artistic expression and freedom that are exhibited within all of these three films. For instance, the first film that was analyzed represented something of a mythical and mystical journey in which the resolution allowed for the viewer to have a take away that was mainly concentric upon morality and the process of redemption/salvation. By means of extension, the plot mechanism that was leveraged within the second film that was analyzed was mainly concentric upon the extreme weight that individuals will go to in order to salvage reputation, life, and material wealth. Thirdly, the final film that was analyzed utilizes these same plot mechanisms and narrative structure as a method of revealing the way in which a single situation, seemingly simplistic and straightforward, can be understood and a litany of different ways; revealing different nuances and shades of meaning that might otherwise be lost upon the viewer. Ultimately, the narrative structure that has been represented within all three films is surprisingly uniform. Although the ultimate plot resolution is distinct and specific to each film, such a form of representation allows for the viewer to gain a level of understanding that might not be represented with regard to any other narrative structure that could have been engaged. Works Cited Allen, Richard, J. "Beginning, Middle, End Of An Era: Has Technology Trumped Aristotle?." Journal Of Film & Video 65.1/2 (2013): 9-29. Communication & Mass Media Complete. Web. 21 Jan. 2014. Bateman, John A., and Chiaoi Tseng. "The Establishment Of Interpretative Expectations In Film." Review Of Cognitive Linguistics11.2 (2013): 353-368. Communication & Mass Media Complete. Web. 21 Jan. 2014. Bywater, William. "Subject Position." Film Criticism 4.1 (1979): 9-17. Academic Search Complete. Web. 21 Jan. 2014. Pötzsch, Holger. "Ubiquitous Absence." NORDICOM Review 34.1 (2013): 125-144. Communication & Mass Media Complete. Web. 21 Jan. 2014. Read More