[Quick Summary: When 11 y.o. Kevin inadvertently gets on the wrong plane during the Christmas rush, he heads to NYC while his family is in Florida.]
I am not fond of sequels, unless they have something new to say.
This one does not. It is essentially a rehashing of the first film.*
However, I do appreciate John Hughes' excellent use of suspense within a slapstick routine.
In the example below, note:
- Hughes does not release the tension of suspense too soon.
- Marv must struggle with the cheesecloth, react to something odd, then the reveal.
ex. "INT. BASEMENT
Marv stands up from the collapsed shelving unit. He's covered in paint. He wipes his face with his sleeve. His eyes are stinging. He looks for something to clean his face with.
CU. PAINTER'S TARP
Marv grabs a piece of cheesecloth off the trp.
CU. MARV
He puts the cheesecloth to this face. It sticks. He tugs on the towel. It won't come off. He grips it firmly with both hands and gives a fierce pull. it tears free with a dreadful RIIIP!
He SCREAMS and clutches his face. He notices something. He feels his face. When he lowers his hands, he's missing his eyebrows, moustache and goatee. He looks at the towel.
INSERT: TOWEL
Two eyebrows, a moustache and a fluff of goatee stuck to the towel."
WHAT I'VE LEARNED: This script got me thinking that the much of the pleasure that I find in slapstick is the suspense and release.
Home Alone 2: Lost in New York (1992)(9/10/91, production draft B)
by John Hughes
*I understand why Home Alone got a sequel. From a business point of view, it had all the hallmarks of a good decision: public awareness, successful box office, etc.
As a writer, I can understand the reason(s) behind the decision even if I don't particularly like it.
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