[Quick Summary: In the 1910s, journalist Louise Bryant and communist activist Jack Reed are tested when they report on the Russia revolution.]
Having heard a lot about Warren Beatty, I was skeptical of him as a writer. However, this script surprised me and it was unexpectedly easy to read.*
It was ok that I didn't quite understand all the politics because the dynamic between Louise and Jack is wonderful, as they tried (and often failed) each other.
I particularly liked how the script shows Louise's point of view and how she is often overshadowed by dynamic Jack, who is a natural is in front of the masses.
The scene below shows how this push-pull leaks into their personal relationship:
- Louise is trying to be seen for the person she is. Jack doesn't have those problems. and can't empathize. It wears on her soul.
- She is conflicted as she tries to tell Jack what she wants, gets frustrated when he doesn't get it, yet still wants to love him.
- Notice the unspoken subtext. These two are being honest, but can't quite pinpoint the obstacle between them.
- The dialogue is free from exposition and quite good to speak aloud.
INT. BEDROOM
...LOUISE: Listen, I want you to know something. I asked Whigham if he'd send me to France. [This seems to indicate she's made a decision without him.]
Silence. He sits on the bed. They don't look at each other.
JACK: Is that what you want?
LOUISE: Yes.
JACK: Why? (no answer) What are you doing? [He confronts by asking questions.]
LOUISE: I'm not taken seriously when you're around. [She's trying to explain without blaming.]
JACK: What do you mean you're not taken seriously?
LOUISE (turning away): This is not good.
JACK: Do you mean I'm taken more seriously? [He's annoyed.]
LOUISE: Do you mean you're not? You know what I'm saying. And you know it's true. Be honest with me. [She wants reassurance.]
JACK: Maybe if you stopped taking yourself so seriously, somebody else would have a chance. [Rather than talk about how she feels, he tries to solve the problem. They're on different pages.]
LOUISE: Thanks.
JACK: Why should you be taken seriously before you've done serious work?
LOUISE: I've got to find another place. [Thinking it's fruitless to explain, she reverts to protecting herself. This is another brick in the wall between them.]
JACK: I'm not sure I know what kind of work you're serious about. [He's trying, and failing to bridge the gap with facts vs. feelings.]
LOUISE (turning back to him): Well, I don't care. And I'm really not interested in whether your friends take me seriously or not. I don't think we like the same people, Jack, or the same kind of life. I want to be on my own. I may have found a place on Houston Street. [She feels misunderstood.]
JACK: Go ahead. Be on your own. I don't give a damn. You're on your own anyway. [He responds with hurt.]
LOUISE: I know you don't give a damn. [She responds with hurt.]
JACK (shouting): WILL YOU TELL ME WHY THE HELL I SHOULD GIVE A DAMN?
LOUISE: YOU SHOULDN'T. DON'T GIVE A DAMN. I DON'T GIVE A DAMN EITHER. I'M LEAVING. (she walks out)
JACK: O.K. ALL RIGHT. LEAVE! (she slams the door) I'M LEAVING TOO!
He drives his fist through the door. She stands in the living room. Silence. He lies down on the bed, rubbing his bruised hand.
LOUISE (finally): Is this what it's like? [After she unloads her feelings, she still cares.]
JACK: I guess so. [And so does he.]
She returns to the bed. He makes a hollow for her between arm and chest.
WHAT I'VE LEARNED: The disconnect seems so real because it's all below the surface.
She's looking for reassurance (emotional) and he's looking to solve a problem (anything but emotional).
Reds (1981)(undated)
by Warren Beatty and Trevor Griffiths
* Apparently there were a several uncredited writers, and the relationship parts I liked best were written by writer/director Elaine May:
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