TODAY'S NUGGET: How Green Was My Valley (1941) - How to Show Theme in Story & Subtle Visuals

[Quick Summary: Told through the eyes of the youngest son, a Welsh mining family has split opinions over a mining strike.]

This is a famous film from director John Ford that has influenced many others.  For example, see the classic, powerful framing in these stills: here, here, and here. 

Though it's not one of my favorite stories, I was impressed how the writer brought out the theme of family in the story and subtle visuals.

For example:
- The scene below occurs after mother Beth has spoken up at a strikers' meeting,
- The strike has pitted her husband (anti-strike) against her adult sons (pro-strike).
- She spoke up in support of her husband, who was not present.
- She and her youngest son, Huw (protagonist) begin walking home in bad weather.
- Her other adult sons, Ianto and Davy, attended the meeting separately.
- She falls through the rotting bridge.
- The theme of family in the story: mother vs. sons at the meeting.
- The theme of family in the visuals: mother falls through the bridge; mother separated from sons; sons coming to aid of estranged parent.
- Note how theme is also in the conflict: Huw's brothers dismissed their mother's plea in the previous scene.  Now, through Huw's point of view, we see he's barely hanging on. Where will his brothers' loyalties lie when there's an emergency?
 

The scene dissolves to a MOUNTAINSIDE. It is still night. Huw and Beth, almost totally exhausted, are stumbling down a steep place. It is raining fiercely and the wind shrieks through the trees above them. Beth is failing visibly. Huw puts his arm around her, struggling to support her.

HUW'S VOICE: Hours it seemed and no feeling or sense was in me - but I was crying to God to help me save my mother and I was helped sure or I could not tell where I found the strength -

The scene dissolves to a BRIDGE, as Beth and Huw stagger toward it. They reach the bridge. Beth clutches at the rail for support. The wood is rotten and breaks under her weight. She pitches forward into the icy water a few feet below the bridge. Huw gives a frightened gasp and throws himself in after her.

In the water Beth, inert, is slung around by the swift current. Huw struggles closer to her, as the current brings her up against a rocky point. Gasping with the cold Huw brings her head and shoulders clear of the water. He cannot leave the water himself, but must push against her with all his might to hold her clear of the racing stream.

HUW'S VOICE: So strong was the cold that for minutes I couldn't breathe--

Huw, his face contorted, is struggling to hold his mother up as he stands shoulder deep in the icy black water.  A faint light appears upon Huw and the inert figure of Beth.

HUW'S VOICE: How long it was I cannot tell, but there was a weariness of time before I saw a light--

Huw is desperately holding on as the light grows stronger and dark figures appear in the rain. It is a group of men from the meeting, headed by Davy and Ianto. They have a lantern.

Huw turns, his eyes glistening in the light, and opens his mouth to shout.

HUW'S VOICE: I tried to shout but my voice was gone from my throat.

Davy, Ianto and the men, not seeing Huw and his mother, start to cross the bridge. Huw's mouth is open. He is trying to shout against the wind, but he cannot make himself heard. He begins to fail, to slip. Beth's head rolls and she almost goes under the water.

Ianto and Davy with the other men are on the bridge. They are about to leave the bridge and pass on when Ianto almost casually notices that the rail is broken. He stops for a second look, holding the lantern high. Huw is straining mightily to hold Beth above the water. Ianto starts to move away, then raises the lantern once more As he looks down the stream, his eyes widen in horror. He turns and shouts into the wind.

IANTO (shouting): Davy--

He puts down his lantern and plunges forward into the water where Huw is giving his last ounce of strength to hold up his mother until Ianto reaches them. As Ianto pulls them to the bank, Davy and the other men are there to help them to safety. The scene fades out.

WHAT I'VE LEARNED: You don't have to hit the audience over the head with theme. Here, it is subtly baked into conflicts and drama. 

In fact, it's so good that I didn't notice the subtle metaphor of the rotting bridge until much later. 

How Green Was My Valley (1941)
by Philip Dunne
Based on the novel by Richard Llewellyn

TODAY'S NUGGET: Wuthering Heights (1939) - I Don't Want Him, But I Don't Want You to Have Him Either

[Quick Summary:  A servant recalls the story of her master Heathcliff's doomed love for his childhood sweetheart Cathy.]

MY TWO THOUGHTS:

1) OLIVIER. This film and Rebecca (1940) gave actor Lawrence Olivier his first two Oscar nominations, in back-to-back years. 

I like to think it's partly due to the excellence in writing.

2) PING-PONG CONFLICT & MOTIVES = CRUCIBLE. I really liked how the writers juggled Cathy's various internal/external conflicts & motives.  

Heathcliff loves Cathy, but she knows he's not good for her and decides to marry neighbor Edgar. Rejected, Heathcliff starts to court Isabella, Edgar's sister.

In this love triangle, Cathy ping-pongs between several internal/external conflicts: 
- She half-wants him; she doesn't want him.
- She sees he is a wrong fit for Isabella; she doesn't want Isabella to have him.
- She's newly married to Edgar.
- She's trying to establish a relationship with new sister-in-law Isabella.  

When they're mixed, they create a crucible, like in the scene below:
- Edgar and Cathy's house is next door to Heathcliff's estate.
- Isabella lives with Edgar and Cathy.
- This scene occurs in Isabella's room.
- Cathy's goal is to warn Isabella, but Isabella is suspicious of her motives. 
- Notice that in this crucible, we don't really know which of Cathy's conflicts are motivating her.
- Is her concern for herself, Isabella, or Heathcliff? (internal)
- Does she love Edgar, or is she still in love with Heathcliff? (external)

Isabella has risen, and moves as if to pass Cathy. Cathy takes her by the shoulders, shakes her.

CATHY: You fool! You vain little fool!

ISABELLA: Let me pass.

CATHY: I won't be silent any longer. I'm going to tell the truth. You're old enough to hear it. You're strong enough.

ISABELLA: Let me pass, Catherine.

CATHY: Not till I open your eyes.

ISABELLA: My eyes are quite open, thank you.

CATHY: He's been using you...Don't you see what he's been doing - using you to be near me, to smile at me behind your back - to try and rouse something in my heart that's dead...dead! I'll not have it any longer!...And I'll not allow you to help him any longer....

ISABELLA (softly): It's you who are vain and insufferable. Heathcliff's in love with me.

CATHY (wildly): It's a lie!

ISABELLA: It's not a lie. He's told me so. He's kissed me...

CATHY (seizing her arm, digging her nails into her wrist): He's what!

ISABELLA (exulting): He's kissed me. He's held me in his arms. He's told me he loves me!

CATHY: I'm going to your brother.

She almost throws Isabella down in a gesture of rage.

ISABELLA (hitting every raw nerve): Go to him. He's asked me to marry him...Tell Edgar that! We're going to be married! That Heathcliff's going to be my husband!

CATHY (a moaned guttural): Isabella, you can't. Heathcliff is not a man but something horrible and dark to live with.

ISABELLA (slowly and cruelly): Do you imagine, Catherine, I don't know why you are acting so -- Because you love him...

CATHY (flaming): How dare you say that!

Cathy flies at Isabella and slaps her viciously. Isabella doesn't flinch.

ISABELLA: Yes, you love him! And you're mad with pain and jealousy at the thought of my marrying him! Because you want him to pine for you and dream of you, to die for you...while you live in comfort and security as Mrs. Linton.

CATHY: You little fool

ISABELLA (unflinching): You don't want him to be happy. You want to hurt him, destroy him. But I want to make him happy --and I will..I will!

There is a knock at the door.

WHAT I'VE LEARNED: It's natural that this many strong conflicts/motives within a single character will lead to such an explosive situation. 

However,  it's rare to hit on the right combination of conflicts like this so well.  This is a very high level of craft.

Wuthering Heights (1939)
by Ben Hecht and Charles MacArthur
Based on the novel by Emily Bronte

TODAY'S NUGGET: Rebecca (1940) - Foreshadowing with the Sly Inuendos

[Quick Summary: The second Mrs. de Winter struggles not to be intimidated by the shadow of the first Mrs. de Winter.]

TWO THOUGHTS:

1) PROTAGONIST W/O A NAME. This is the first script that I've seen in which the main character has no name and is never called by her name.* 

2) FORESHADOWING.  I think this is still one of Alfred Hitchcock's most famous films** because of its foreshadowing what "I" is about to face.

Why does it work? One element is the atmosphere of unresolved feelings. 
ex. Everyone else has opinions about Rebecca, the first Mrs. de Winter, except the protagonist and the audience.  It feels like we are lagging behind.  

How does it work? I think it's a snowballing of a string of hints and clues. 
ex. The protagonist only gets pieces of the story.  It keeps the audience engaged to try to put them together and see what comes next.

For example:
- The protagonist, "I", has been paid companion to Mrs. Van Hopper.
- She and Maxim de Winter have just announced their engagement to Mrs. Van Hopper in her hotel room.
- Maxim leaves the room to make wedding arrangements.
- Mrs. Van Hopper is the first to drop sly innuendos that can be taken two ways.
- She plays with "I's" fears of losing Maxim.
- The scene below is from the shooting script. The "official" script in the anthology is slightly different.

[NOTE: I have bolded several innuendos and hints below.]

Mrs. Van Hopper walks to "I", dropping all pretense.

MRS. VAN HOPPER: So this is what has been happening during my illness! (She smiles unpleasantly.) Tennis lessons my foot! (she goes close to "I") I suppose I've got to hand it to you for a fast worker. How did you manage it? Still waters certainly run deep! But it's a lucky thing for you that you haven't a family to ask embarrassing questions. When did you first meet him?

"I": The day after we arrived here.

MRS. VAN HOPPER: Really! And all this time you've been listening to me talk about him - and never a peep out of you. And I took you for an innocent, unsophisticated child!

She takes a few steps away from "I" CAMERA FOLLOWING HER, then turns quickly round.

MRS. VAN HOPPER (taking a cigarette out and lighting it): You realize that he's much older than you.

SEMI CLOSE UP

"I" slightly on the defensive.

"I": I'm old for my age.

Mrs. Van Hopper comes back into the picture and laughs.

MRS. VAN HOPPER: You certainly are.

She leans closer to "I" and speaks in a lower tone.

MRS. VAN HOPPER: Tell me, have you been doing anything you shouldn't?

She looks "I" up and down appraisingly like a judge at a cattle show. "I" backs away from her

"I" (with some indignation): I don't know what you mean.

Mrs. Van Hopper shrugs her shoulders. Her cigarette still in her mouth, she takes out a compact and starts to powder her nose.

MRS. VAN HOPPER: Oh well - never mind. I always did say Englishmen have strange tastes. But you'll certainly have your work cut out as mistress of Manderley. To be perfectly frank with you, my dear, I can't see you doing it. (she strolls out of picture)

SEMI CLOSE UP

She strolls into picture by the mirror as she continues:

MRS. VAN HOPPER: You haven't the experience, you haven't the faintest idea what it means to be a great lady. Personally, I think you're making a big mistake - one you will bitterly regret.

Through the mirror we see "I" watching her unhappily, and Mrs. Van Hopper starts to adjust a few stray hairs under her hat.

MRS. VAN HOPPER: Of course, you know why he's marrying you, don't you? You haven't flattered yourself that he's in love with you. The fact is, that empty house got on his nerves to such an extent he nearly went off his head. He just couldn't go on living alone.

SEMI CLOSE UP

During the last long speech we cut in a flash of "I" getting more and more unhappy and angry.

"I": You'd better leave, Mrs. Van Hopper. You'll miss your train.

CLOSE UP

Mrs. Van Hopper turns and faces "I". A queer, twisted smile crosses her face.

MRS. VAN HOPPER (with withering sarcasm): Mrs. de Winter. (With a sour laugh) Good-bye, my dear, and good luck. 

She turns and flounces out. The slam of the door is heard.

CLOSE UP

"I's" worried face as she looks after her.

                                                                                                  FADE OUT.

WHAT I'VE LEARNED: The hints and clues don't need to be obvious. Just enough to play with the character's weakness or fears.  It can then escalate from there.

Rebecca (1940)(shooting script, 3/26/40)
Rebecca (1940)(anthology)
by Robert E. Sherwood and Joan Harrison
Based on the novel by Daphne du Maurier

*The editors of this anthology note: "This story is the dramatization of a first person narrative related by the second Mrs. De Winter. Except for her formal name, later in the story, she can be known to us only as "I" and is therefore so called throughout."

**This was Alfred Hitchcock's first American film, and garnered 11 Oscar nominations, including one for best screenplay.

TODAY'S NUGGET: Here Comes Mr. Jordan (1941) - Do You Have A Premise So Strong That It's Been Remade Three Times?

[Quick Summary: When boxer Joe Pendleton accidentally is taken 50 yrs. too soon, Mr. Jordan helps Joe's soul to be placed in the body of a millionaire. ]

Q: What are buyers looking for today?
A: A strong premise.

Q: But what IS a strong premise?
A: A story line that audiences want to see to its conclusion.

Q: What can I look to for a great premise?
A: I think this script is a great example because:
- Back in the day, it won both Oscar winners for story & script in the same year.*
- It is only one of two scripts to ever achieve that status.**
- It has withstood the test of time.  It is based on a play and has been remade at least three times.***

Q: So what makes it a great premise?
A: For me, it was a new approach to the afterlife.  Who had seen an angel (Messenger 7013) take a soul (Joe) before he was supposed to go? 

In the scene below:
- This occurs in the waiting area where souls wait in line to board a plane to heaven. 
- Messenger 7013 has brought Joe to see the head man, Mr. Jordan.
- I particularly like Joe bargaining with Mr. Jordan ("I expect you to make good, Mr. Jordan") because it made me curious to see how this would end.

JOE: Now you're talking, Mister Jordan! You got to get busy and do something about this.

JORDAN: I intend to. Come along, Joseph.

JOE: Where to?

JORDAN: I'm taking you back.

JOE: But you can't! Didn't we tell you? I have got a body any more -

JORDAN (annoyed): What of it? I'll get you another body.

JOE: You'll do what?

MESSENGER 7013 (to Jordan; in amazement): Another body, sir?

JORDAN (testily): That's what I said. Come along. 

He takes Joe by the arm as if to lead him off. But Joe holds back.

JOE (hotly): Wait a minute, now - wait a minute. What kind of a deal is this? You fellas aren't shoving anybody else's body off on me. Not on your life!

MESSENGER 7013 (seeing the light): Oh, but Mr. Pendleton - if Mr. Jordan says he'll get you a body, it'll be as good as your own - if not better.

JOE (stubbornly; troubled): There isn't any better! I put in ten years getting that body in the pink. No! just because you two fumbled the ball is no sign--!

JORDAN (with authority): But Joseph - it's gone! Your body doesn't exist any more!

JOE (doggedly): That isn't my fault. You fellows can do anything. Now come on - do your stuff!

JORDAN (kindly): We shall, Joseph. You may have your choice of a thousand bodies, all excellent specimens.

MESSENGER 7013: A thousand bodies, Mr. Pendleton. Think of it!

JOE: I am thinking of it, and I say no dice! I want my own body - nobody else's!

MESSENGER 7013: Oh tush! Don't make such a fuss. What is it, after all?  A mere physical covering -- worth chemically -- just thirty-two cents!

JOE: Not mine. It was in the pink, I tell you!

MESSENGER 7013: Oh dear!

JORDAN: Suppose we get started, Joseph.

JOE (holding back): Now wait. Let's understand each other before we go running around--

JORDAN: I promise you - we'll keep looking until you find a body you like. Is that fair enough!

JOE: I only want what's coming to me -- What I was and what I was going to be --Nothing more, nothing less. And I expect you to make good, Mr. Jordan.

JORDAN (smiling): I'll do my best, Joe. Come along.

He starts off with Joe.

WHAT I'VE LEARNED: The premise should avoid a predictable ending, so the audience will want to go on the journey and see how it ends.

Here Comes Mr. Jordan (1941)
By Sidney Buchman and Seton I. Miller
Based on a story by Harry Segall

*Before 1956, the Academy used to have three separate awards in the writing category: original script, adapted script, and story. 

**The only other script to achieve this was Miracle on 34th Street (1946).

*** Down to Earth (1947); Heaven Can Wait (1978); Down to Earth (2001).