We all have moments that change the game and define who we are as people. Mine came when I was 10. I traveled to the Bahamas with my mother and her work colleague – a business trip for them, but for me, it was my awakening.

They were having one of those “hey, we’re all women here” conversations that always makes me shudder.  This one involved my mother describing to this other woman what to expect in the first few weeks of pregnancy.  I won’t go into details now, but those details still haunt me.

I needed air.  Badly. So of course I went to throw spit balls over the balcony.

Being the rambunctious kid that I was, I leaned over the railing to see the damage. Instead of the screaming crowds below which I had anticipated, I saw directly onto the balcony below me. It took me a few minutes to adjust my eyes, but I ended up recognizing what I was looking at. Two men, one standing and one on his knees. I couldn’t see the face of the kneeling man, but the one standing had his head tilted up toward me with his eyes closed. Another few moments passed. Feeling a bit uneasy and a lot unsure, I went back into the bedroom to silently muse on what I had witnessed.

I knew what people did in bed, the vanilla version. Person A lies on top of Person B, and then there was wiggling. I also knew enough to know that not everyone had the same preferences. But I’d always assumed that if there were two men, they would just hug and kiss. The geometry just didn’t make sense to me in any other way. But, hey, to each his own.

No, something else was bothering me. And I probably thought about it a bit longer than was necessary.

I think it was my silence that gave it away. My mother immediately wanted to know what was wrong. I couldn’t bring myself to tell her what I saw. As she pressed, more of the story came out until her friend ran to the balcony and let out a squeal. At this point, pandemonium ensued. I don’t know what happened. My mother’s friend was laughing, doors were slamming downstairs, my mom was on the phone with the front desk.

In the madness, I walked back onto the balcony where I could be alone with my thoughts.

It still just didn’t make sense to me. I didn’t care about the sexual element of it, that part barely registered. No, I was confused as to why on earth they would do something like that in plain view. Why would people be intimate on a balcony where everyone could see them? Did they think they were alone in the universe? Didn’t they realize that by even being outside, the whole world was watching?

Then it dawned on me.

Slowly, my consciousness shifted and I became aware and hesitant.  With a lump in my throat, I slowly turned my head upwards.

It helps when writers break down other people’s stories, to get a sense of rhythm and pacing, characters and dialog. In addition to photography, I obviously work in film. And I guess you can tell that I’m working on a screenplay now because I have been focusing on deconstructing screenplays. When I get around to shooting something, you will be seeing a lot of deconstructions of cinematography and lighting on various films. I’m obsessive. I guess I am going to now just do a basic outline of the screenplay The Departed by William Monahan – which is based on Infernal Affairs by Siu Fai Mak and Felix Chong. I’m just focusing on point by point structure, not analysis. If anyone disagrees with my take on the plot points, please feel free to comment. So, here we go. Act 1: Frank Costello is introduced as a local mobster. When he is shaking down local business owners, he meets the young Colin Sullivan and recruits him into his crew. Sullivan grows up and graduates from the police academy, becoming a State Trooper. A few years later, he is promoted to Staff Sergeant of the Special Investigations Unit, assigned to build a case against the Irish mob run by Costello. He continues to be under the thumb of Costello and acts as his mole within the police department. Sullivan meets a psychiatrist named Madolyn and they being a romance. Meanwhile, we are introduced to Billy Costigan. Through his back-story, we learn that he [continue reading]

I am going to attempt to break down the screenplay Quiz Show by Paul Attanasio. It was made into a feature film starring directed by Robert Redford, starring John Turturro, Ralph Fiennes and Rob Morrow. But again, this breakdown is for the screenplay only. The plot of Quiz Show is centered on the need to prove self worth. Status, recognition and the lengths that people go through to achieve them is the major driving point of all three narratives. The story opens with the protagonist, Dick Goodwin, looking at an automobile that he cannot afford. He is a young, promising lawyer who graduated at the top of his Harvard Law class, as he is so quick to point out. He deeply laments the fact that with all these successes, he is still not able to lead the life that his peers have had handed to them. It can be inferred that Goodwin comes from a middle class family who never owned a car because he mentions that his father never even had a driver’s license. Goodwin is a Jewish man in a world full of wasps. He has a small, token job with the government in the Oversight Committee. His once brilliant future has been sidelined to some obscure Congressional committee. He believes that he has to work twice as hard to just be accepted by his colleagues. When he goes to NBC studios as a representative of the United States Congress, even the secretary doesn’t take him seriously. Because [continue reading]

Annie

Annie (John Huston, 1982) I had forgotten how much I loved this film. The casting, the music, the choreography, the spunkiness – all of it was stellar. I have no idea why this film was nominated for 5 Razzie Awards. Maybe because it was constantly being compared to the wildly successful Broadway musical instead of being judged in its own right? I really don’t know. At the time, the film was extremely influential on young women who were at the dawn of entering the workforce in a new decade. There are a lot of unfortunate clichés, but somehow they are presented in a refreshing light. Carol Burnett did an excellent job of portraying desperation. It’s 1933, jobs are few and far between. Husbands even more so. She comically threw herself at every man in her path, hoping for her own rescue. She wasn’t mean to the kids because she was a mean person, but because she gave up on life. I had so much sympathy for her. She is what Annie would have become, even down to the red curly hair. The aggression, the absence of the relentless optimism of youth. Annie could have easily grown up to be her. Annie is not a sweet and syrupy little angel, but a slick talker who knocks boys down with one punch. Unrealistic? Totally. But still entertaining and enjoyable. It was a little creepy to think about why Daddy Warbucks wanted an orphan for a week – and why there were panties [continue reading]

M

M (dir: Fritz Lang, 1931) is set during post WWI Germany. Berlin at this time in history had just come out defeated after the war and scraped through the Depression as best as they could. The influx of underground crime became a way of life for most that could not find steady work. Once thriving office buildings and warehouses were abandoned, and people were nervous and restless. It was a prime breeding ground for new recruits to the socialist party. As the need for National Socialism arose, Fritz Lang wanted to warn the public against mass hysteria and the lynch mob mentality. He wanted to encourage individual thought processes. This is the implicit theme of M. The plot centers on a child killer, identified only as M, who sexually assaults his victims before viciously murdering these young girls. The killer has a compulsion for this beyond any logical reasoning. The once safe city has become a haven for suspicions and fears. The public is now hysterical and fearful for their children. The various underground criminal organizations are under constant raids under the watchful eye of the police. Because of the need for their businesses to flourish, as well as disassociating themselves from this psychopath, they undergo a race with the police to catch this killer. The explicit theme of the story centers on capital punishment. More specifically, who gets to decide what kind of killing should be accepted within a society. The film explores the individual responsibility of those who [continue reading]

© 2012 Jeu D'ésprit Suffusion theme by Sayontan Sinha