DEVILISHLY GOOD DETAILS

January 15, 2018 by in category The Write Life tagged as , , , , , with 4 and 0
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Yesterday my husband and I decided to inaugurate the MoviePass cards our son gave us for Christmas. With one swipe (and $10 a month) we can see as many movies as we like at any theater.

Our first movie would be The Post at our local theater. It took both of us, and the manager, to figure out how to make the card work (which in hindsight should not have been necessary if we understood our phone settings). Finally, we swiped our cards only to find that The Post was sold out. That pushed us to our default selection: any movie that was not sold out. We ended up in a nearly empty theater watching Jumanji, the 20-year-later sequel to Robin William’s wonderful movie by the same name.

Jumanji is a fanciful action-adventure movie about a game that sucks people into an alternate universe and in order to get home, the player must win the game. In William’s version, he was the only one who disappeared. This version has an ensemble cast that includes The Rock, Jack Black and two other actors we weren’t familiar with but who were perfectly cast.

The movie began, the music was ominous, the set up delightful, the locations beautiful and the direction energetic. The kids in the theater reacted with oohs, aahs, and other exclamations of delight.

Oh, wait! That was me oohing and aahing!

Yep, I loved every bit of that movie and when I got home I realized the reason I loved it was because I lost myself in the storytelling. Everyone from the screenwriter to the lighting guy and cast was on board with the creative vision. The premise was quickly and clearly established. Casting was based on character and not on what looks that the producers deemed ‘sexy and salable’. The computer-generated stunts did not overpower the story nor did they last so long that the viewer could literally leave, have dinner and come back and they would still be crashing about on screen. If something fantastic happened – like characters dying and getting shot into space and suddenly falling back to earth again without injury – the viewer accepted it because it quickly became apparent that each piece of this story had a purpose. There was always a payoff that made sense. Threads were wrapped up at the end. The story built to a conclusion and didn’t present it. But better than anything, the actors never broke character. The adult actors were asked to channel their teenage counterparts in the real world that had been left behind. I have seen this transference in movies before but too often the adult actor simply remains an adult. The last time I saw this plot point beautifully executed was in Tom Hanks’s Big.

So, here’s what I want you to do. Before you write another word, before you start editing, go see Jumanji. It is one of the best lessons in pitch-perfect storytelling I’ve had in a very long time. As for me, I’m going back to work and give my manuscript the Jumanji treatment because the devilish details are what make for a heavenly story.

 

http://rebeccaforster.com/

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4 Comments

  • Marianne
    on January 15, 2018

    What a great review, Rebecca. Makes me want to see at the movie.

  • Veronica Jorge
    on January 15, 2018

    Great post and observations about the film and what we can learn about writing from it. I think you just invented a new term, The Jumanji Treatment. Love it!

    • Author
      Rebecca Forster
      on January 15, 2018

      I will own that term Veronica. TY. Maybe I’ll tour the country talking about the Jumanji Treatment. Maybe the Rock will hear about it. Maybe I’ll be in Jumanji III LOL

  • Erica Fay
    on January 15, 2018

    I love that you present this film as a sample of storytelling writ well. Still – go see THE POST. Gripping even though we know what happens all along the way!

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