TODAY'S NUGGET: Turning Point (1977) - Delivering an Emotionally Satisfying End of Character Arc

[Quick Summary: A former dancer faces her decision to give up ballet, after her daughter joins a NYC company that features her (the mother's) former competitor.]

This week's script was a huge pop cultural sensation when it was released.* 

Perhaps one of the reasons is how the writer delivered emotionally satisfying endings, for both mother and daughter separately.

For example, in the scene below:
- Emilia, the daughter who has just joined this NYC company, has been dating Yuri, a very talented fellow dancer. 
- She's been wrapped up in him, thinking they're a couple.
- However, he's been seeing other women without telling her.
- This hits her hard, but it matures her. 
- How does the writer show the triumphant end of her character arc? Through her changed behavior. 
- Notice how she is no longer swayed by every emotion and  keeps it professional ("better give me more support").
- Also note that the fruits of the maturity are not just in private, but also in public ("she smiles -> but not for him -> it's a performer's smile").

INT. MISKOFF THEATRE - UNDER THE STAGE - NIGHT

...She starts to pull away, but he, holding her, makes her dance and then lifts her up in the air just as Wayne lifted Deedee. He smiles up at her.

YURI (coaxing): Emilia...?

She looks down at him. He is very handsome, very appealing. She inclines down just a little, then stops. Cool, confident:

EMILIA: You better give me more support tomorrow night.

He adjusts their position.

CLOSE SHOT - EMILIA

Now she smiles. But not for him. It is a performer's smile, a ballerina smile. Her head goes up, her back arches gracefully and as her hands and arms reach up, her whole body shoots up through the ceiling.

INT. STAGE  - MINSKOFF THEATRE

And there she is, on stage, in full costume and makeup, dancing with Yuri and dancing magnificently. They are perfect together -- as partners on stage. They finish spectacularly and applause breaks like a cloudburst.

WHAT I'VE LEARNED: I really liked the description "her whole body shoots up through the ceiling" because it's not only how the character felt, but also how I felt going through the arc with the character. 

Turning Point (1977) 
by Arthur Laurents

*Also, it garnered 11 Oscar nominations, including ones for actors Anne Bancroft, Shirley MacLaine, Mikhail Baryshnikov, and writer Arthur Laurents (his only nomination).

TODAY'S NUGGET: The Way We Were (1973) - When You Need to Beef Up the Guy's Part; Pollack's 1st Rule in a Love Story

[Quick Summary: After WWII, an idealistic political activist and a super-popular society guy try to navigate being a couple despite their opposite temperaments.]

TWO THOUGHTS :

1) BEING REWRITTEN.  This was the situation here:

- Writer Arthur Laurents wrote the role of Katie for Barbra Streisand.
- According to director Sydney Pollack (here), Laurents was so committed to Katie's story that the love interest, Hubbell, was not as strong a character.
- Thus, Robert Redford wouldn't sign on.  Streisand wrote about it (here): 

Bob was concerned that the script was so focused on Katie that Hubbell's character was underdeveloped. (He was right.) Bob asked Sydney, 'Who is this guy? He's just an object...He doesn't want anything. What does this guy want?' In Bob's opinion, he was 'shallow and one dimensional. Not very real.' ' A pin-up girl in revers,' as Sydney put it."

[She told Pollack], "Give him anything he wants."

Write more scenes to strengthen his character. Make it equal....So Sydney hired two excellent writers, David Rayfiel and Alvin Sargent, to beef up Bob's part and go deeper, beneath that golden-boy exterior. And I told Ray to pay him whatever he wanted. But Bob's answer was still no. I was heartbroken.

In other words, it's sometimes necessary to get another (more objective) writer(s).

2) POLLACK'S FIRST RULE IN A LOVE STORY.  All the above goes to why the original draft didn't work.  Pollack put it well (here):

Never make one character attractive at the expense of the other. You have to bring the character up but not at a partner's expense.

Note in this re-written scene below:
- This is a more balanced meeting of equals, who both upend expectations.
- Katie and Hubbell were in a college writing class together.
- She wanted to be a writer, but isn't as good as he was. Writing comes easily to him, but he can't share it with his friends.
- This was a chance meeting at an outdoor restaurand their first real conversation.

MED. SHOT - KATIE

She makes for the curb, trying to sneak off into the darkness. But softly comes:

HUBBELL'S VOICE: Have a beer?

FULL SHOT - KATIE AND HUBBELL

She stops dead and turns to him. He grins.

HUBBELL (continuing): It's a celebration.

KATIE: Team team team.

HUBBELL: Wrong.

KATIE: Your crew won.

HUBBELL: Oh well, we always win. That's easy.

KATIE: That's right, everything's easy, I forgot. (pause) Listen, I'm sorry but I've...well, I've let the months slide by without telling I...I really loved your story. You're a good writer and...

HUBBELL: Thanks, Katie.

KATIE: ...I'll see ya. I've got to get to work.

She starts off.

HUBBELL: Hey, Katie? I sold one.

KATIE (turning): Huh?

HUBBELL: I sold a story.

KATIE (softly): Jesus. Oh boy, Hubbell. Congratulations.

Hubbell holds out a stein of beer.

HUBBELL: Drink.

She hesitates. Then takes it, holds it up.

KATIE: To your first novel.

HUBBELL: Hey. Not so fast.

KATIE: Why not!

HUBBELL: Okay. Why not. You say so. 

KATIE: I say so.

They clink steins and drink. Then he looks at her. They smile.

WHAT I'VE LEARNED: I'd never considered "bringing a character up" to the level of the other character in a love story.

This is especially eye-opening in light of the several crossed out, rewritten pages in this draft, where the Hubbell role is not as well written as Katie's role.

The Way We Were (1973)(A.S. draft, 7/21/23)
by Arthur Laurents, Alvin Sargent(uncredited)

TODAY'S NUGGET: The Fortune Cookie (1966) - How to Do Irony Right

[Quick Summary: After a crooked lawyer convinced his brother-in-law to fake an injury, the latter has qualms.]

Though this isn't the strongest Wilder-Diamond script, I did like the crooked lawyer, Willie, who is the quintessential example of an ironic character.

Let's see how his actions and words are the opposite of what he means:

INT. GINGRICH OFFICE - DAY

Willie has the phone to his ear, but is covering the mouthpiece with his hand.

WILLIE (to tailor): I'd like to have a matching tie and handkerchief - nothing flashy - maybe something like this.

He opens his coat to reveal the lining - blue polka dots on a white ground. [He actually wants something flashy.]

WILLIE (into phone): Sorry, You were saying? 

INT. O'BRIEN'S OFFICE - DAY

O'BRIEN (into phone): In return for a release from all future claims, we are willing to compensate your client with a lump sum - say, two thousand dollars. Fair enough?

INT. GINGRICH OFFICE - DAY

WILLIE (into phone): It may be fair - but it's not enough. I had a slightly different figure in mind - say, five hundred thousand? [He knows $500k is not fair for a fake injury.]

INT. O'BRIEN'S OFFICE - DAY

O'BRIEN (into phone): Five hundred thousand? (a reaction from the other partners) You're being grotesque! (boiling over) Let me tell you something, Gingrich - as one member of the Bar to another - if indeed you are a member of the Bar - 

INT. GINGRICH OFFICE - DAY

The tailor is removing Willie's coat, and as he talks, Willie switches the phone from one hand to the other, to accommodate him. [He's showing that he's more interested in his suit than the negotiation.]

WILLIE: Look, Mr. O'Brien, I don't want to be unreasonable. You say two thousand - I say five hundred thousand - tell you what - let's split it down the middle. [His reasonable 'split down the middle' IS unreasonable because it greatly favors his side.]

WHAT I'VE LEARNED: This character is shameless and swings for the fences with gusto.  It reminds me to let all the flaws hang out.  

Don't be so subtle the reader can't see how the actions and meaning are opposite each other.

The Fortune Cookie (1966)
by Billy Wilder & I.A.L. Diamond

TODAY'S NUGGET: Ninotchka (1939) - Breaking Up a Couple with "The Lubitsch Touch"

[Quick Summary: When a Russian bureaucrat goes to Paris to sell seized jewels, she falls for a guy who represents all she stands against.]

I first encountered German director Ernst Lubitsch in a story about writer-director Billy Wilder posting a sign in his office, "What would Lubitsch do?"

Who was this revered director? And what exactly was his famous "Lubitsch touch"?

After reading this quote by Samson Raphaelson (who wrote 9 films with Lubitsch), I think this "touch" is more about his approach:

 ...I never caught Lubitsch ever thinking in terms of a formula; that is, he wouldn't say, "How can ve use a door in this scene?"...He would face the problem and say, "Vat do ve do here? How do ve lick dis? How do ve say it vit style? How do ve say it different? How do ve say it different and good? Different and true?" but he was also one of the few great practitioners who was not a victim of his own inventions and of his own style. In The Smiling Lieutenant, for instance, he used a minimum of dialogue and only at the high moments - this was soon after talking pictures came in, still using the rich resources of silent invention, so that the dialogue would become the cream, the peak of a scene. (my underlines)

Today's script is one of Lubitsch's top 3 favorites and most often cited.  

It is a prime example of: 1) doing a breakup differently; and 2) holding off on dialogue until the high point.

In the scene below:
- Ninotchka has come to Paris to sell the jewels of the former Grand Duchess Swana, who now resides in exile in Paris.
- Ninotchka falls for Leon.
- Swana is Leon's ex-girlfriend and is suing for her jewels back. 
- Meanwhile, someone stole the jewels back for Swana.
- After Swana bleakly states the reality of the situation, notice how this breakup is different.  Ninotchka and Leon are matter-of-fact and holding back emotions.
- I love how previously Ninotchka would not drink champagne nor ask for a funny story, and now she does, i.e., she's changed.
- The dialogue peaks when Leon expresses he will never be the same (see below):

INTERIOR, SMART NIGHT CLUB

...SWANA (rubbing it in): It is unfortunate that you have so few more days in Paris. (she turns to Leon) Be sure and redouble your efforts so that madame can take some pleasant memories when she returns to Moscow. (she rises, Leon rising too) Good night. (Ninotchka nods without answering. To Leon) Good night, Leon.

LEON (coldly): Good night, Swana.

Swana leaves the table. Leon sits again. The mood of the two has been changed by the problem of their separation, which has been brought before them. They sit in silence for a moment. Ninotchka speaks first. 

NINOTCHKA: Now I think I need a glass of champagne. 

Leon fills their glasses. They drink. Then Leon takes Ninotchka's hand.

NINOTCHKA (trying to break the mood): Quickly, please...tell me one of your funny stories.

LEON: A funny story?

NINOTCHKA: You never finished the one about the two Scotchmen with the names.

LEON: Well, there were two Scotchmen. One was named McIntosh and one was named McGillicuddy. They met on the street.

He stops.

NINOTCHKA: Go on.

LEON: No, darling. I'll tell you another story, a much better one. (with deep sincerity) The only thing that will be over on Thursday is the lawsuit. There will be no Thursday for us. Not next week or any week. We won't let it happen. I'll tear it out of the calendar. Is that a good story? ["Tear the calendar out" is a beautiful image. What a different way to say he'll never forget her.]

NINOTCHKA (touched): Wonderful -- if one could believe it.

LEON: You must, darling.

NINOTCHKA (lifting her glass): To the loveliest story I ever heard.

They drink. The orchestra starts a number.

NINOTCHKA (afraid of where the conversation may lead): Shall we dance?

They both start toward the dance floor.

WHAT I'VE LEARNED: This breakup is so poignant because it's got deep emotional truth that's so graceful, elegant, and amusing too.

The more I read about Lubitsch's work ethic, the more I realize that "how do we say it different?" takes a whole hell of a lot of work.

Ninotchka (1939)(shooting draft)
by Charles Brackett & Billy Wilder and Walter Reisch
Based on the original story by Melchior Lengyel

TODAY'S NUGGET: Love in the Afternoon (1957) - If You're Having Trouble Writing a Romantic Chemistry, It Starts With...

[Quick Summary: The daughter of a detective falls for the playboy that her father is shadowing.]

Q: When creating romantic chemistry, "start with the status quo,"* right?
A; Yes.  It is "what is missing" from the protagonist's life. 

Q: So "what is missing" = the antagonist. 
A: Not exactly.  

Q: Ok, if it's not "getting the guy," then what is it?
A: It is what the protagonist is missing emotionally, which the antagonist may point out or helps her realize. 

Q: What does status quo look like on the page?
A: There's a good example in today's script. 

The writers took their time laying out Ariane's inner and out life.**  She's curious, smart, but feels excluded.

So when she and the playboy hit it off later, we understand why she's so taken by him.  She's included in on a grand adventure, which fills that emotional need.

In this scene from the first ten minutes: 
- We see that Ariane yearns for adventure, love. She is lonely.
- We want to root for her.  She's considerate about her Papa, persistent, curious.
- Note also how humor is used to establish the fun tone, especially Ariane's parting line.

THE OFFICE

Ariane puts the cello aside, gets up, comes into the office. Chavasse has opened the briefcase, and taken out the camera.

ARIANE: I'm worried about you, Papa. You've been working every night.

CHAVASSE: It's my busiest season.

ARIANE: You need a rest, Papa.

CHAVASSE: Thank you, darling, but in my profession -- it's like being a doctor. I have to be on call night and day. A good doctor can never rest -- not until the patient is out of bed.

ARIANE: I never thought of it that way.

CHAVASSE:You shouldn't think of it at all!

ARIANE: Sorry, Papa.

CHAVASSE: How are things at the Conservatory?

ARIANE: So-so. We're rehearsing.

CHAVASSE: Rehearsing what?

ARIANE: A symphony. Haydn's 88th. You see -- I always tell you what I'm doing. But you never tell me what you're doing.

CHAVASSE: That's because I love you. And because I want to protect you from these sordid matters I have to deal with. Now go back to your cello.

ARIANE: Yes, Papa. Wouldn't you like some breakfast?

CHAVASSE: Later. I have some work to do in the darkroom. I'm expecting a client.

He has taken the roll of film out of the camera, now crosses to the door of the darkroom, opens it.

ARIANE: When Mama was alive, I'm sure you discussed your work with her.

CHAVASSE: Your Mama was a married woman.

ARIANE (with affection): I'm so glad.

She goes back to her room.

WHAT I'VE LEARNED: I often worry about taking too long to establish the status quo.  However, this script showed me I should take my time for a great pay off later.

Love in the Afternoon (1957)
by Billy Wilder and I.A.L. Diamond
Based on the novel by Claude Anet

*For more explanation and examples, see Ch. 7 "Structuring Conflict" in Writing the Romantic Comedy (2020, 20th anniversary edition), by Billy Mernit (here).

**I found it interesting to see that it took the writers 36 PAGES before the girl and guy meet in person! Though to be fair, she learns about his situation through her dad and sees his photo early on.