TODAY'S NUGGET: The Misfits (1961) - A Really Great "Willow-O'-the- Wisp" Role for Marilyn Monroe

[Quick Summary: A recent divorcee attracts three very different men in Reno, NV.]

One thing that isn't often mentioned about this film is that playwright Arthur Miller wrote Marilyn Monroe a really great character in the part of Roslyn.*

(I do imagine it didn't help Monroe that her husband (Miller) had written her a role is about a divorcee, and she was about to become one in reality.)

Roslyn is fully fleshed out.  On the one hand, she's effervescent, a "willow o' the wisp," and a fun charmer.

On the other hand, her emotional honesty can be rather blunt.  She dips in and out of humor as well as emotional quagmires with amazing dexterity. 

Prior to the scene below:
- Roslyn got a divorce and is now staying with Isabelle. 
- Roslyn meets Guido, who falls for her, and Gay, who's not as impressed.
- Roslyn wants to leave Reno for the countryside.
- Guido suggests the four of them go out to see his house in the country.
- Guido built the house for his wife, who died in the house giving birth 
- In the scene below, the foursome have just arrived at Guido's house.
- The house is half built, and overrunning with weeds.
- There's no front steps. The door is a few feet above the ground.  
- Guido has just said his wife wasn't like Roslyn, not graceful. Roslyn adds "She's dead."

Guido, struck with guilt and wounded by some aspersions on his fidelity to a previously hallowed wife, tries to keep his grin and the gay mood, but his eyes are resentful, and he halts. On the couch, Gay and Isabelle are observing, eating sandwiches and drinking, sensing something serious now.

GUIDO (Trying to laugh at her): What do you mean by that?

ROSLYN (She stays close to him looking up into his face): Whyn't you teach her to be graceful?

GUIDO: You can't teach that.

ROSLYN: How do you know? I mean you do you know? I mean did you ever dance that way with your wife? 

GUIDO: Well she just couldn't make that kind of . . . 

ROSLYN: You see? She died, and she never knew how you could dance! I mean it's nobody's fault, but to a certain extent -- (She holds thumb and index finger a half inch apart) -- I mean just to a certain extent maybe you were strangers.

GUIDO (Defensively; hardening): I don't feel like discussing my wife. 

ROSLYN (she takes his arm -- the jazz is going, she is high now): Oh! I didn't mean to make you mad. I just meant that if you loved her you could have taught her anything. Because we have to die, we're really dying right now, aren't we? All the husbands and all the wives are dying every minute, and they are not teaching one another what they really know! (Genuinely trying to plead with him) You're such a nice man, Guido -- why are you so afraid?! (She wipes her hair out of her eyes to blot out the sight of his resentful face, and suddenly . . . ) I want air! (She goes quickly to the door and starts to step out. GAY rushes from the couch and catches her before she goes down where the step is missing. ISABELLE rushes right behind him. GAY, holding her. . .) 

GAY: You better lie down, girl.

ISABELLE: Come on, let's get back home. Heist her down, Cowboy. 

ROSLYN: No, I'm all right, I'm all  . . . ! (She starts once again to walk out the door. GAY leaps down to the ground and SHE falls into his arms standing up. She looks into his face, laughing in surprise at her sudden drop) How'd you get out here?

ISABELLE (Calling from the threshold): Get me down, Cowboy! Get in the car, Roslyn! -- we're goin' home! 

WHAT I'VE LEARNED: I marveled at that Miller didn't betray Roslyn's effervescence while allowing for great emotional dexterity. It would be so easy to favor one way or the other. 

The Misfits (1961)
by Arthur Miller

*Things that are often said about this film:
- It was the last film for Marilyn Monroe and Clark Gable.
- Both passed away shortly after the film. 
- It was written for Monroe by her husband, the playwright Arthur Miller.
- Monroe did not enjoy filming. 
- She and Miller were having problems and would divorce after the film wrapped. 

TODAY'S NUGGET: The Life and Times of Judge Roy Bean (1972) - One Key to Writing an Exaggerated Tone in a Tall Tale

[Quick Summary: After outlaw Roy Bean appoints himself judge and jury of Vinegaroon, TX, he encounters wild adventures and famous visitors.]

How do you get across the exaggeration of a tall tale?  One key is that repetition can help the tone.

For example, this is the introduction of Bad Bob in today's script:
- Roy Bean has appointed himself the judge of the county.
- Nick the Grub has left the dangerous life of being one of Bean's deputies and has become an onion farmer. 
- Bad Bob is an antagonist. He arrives at Nick's farm.
- Notice the number of actions that say "Bob is tough," piled on one after another. 
- Notice also how quickly the actions happen in such a short period of time.

EXT. PRAIRIE - FULL SHOT - RIDER

...Bob looked around and dismounted. Nick the Grub had just come out of his hut and was feeding his horse and watering onions. He had a pot of water boiling for coffee. Bob strode over to him, looked the horse up and down and SHOT it between the eyes. It made a hideous SOUND and settled into the dust. [Action 1: Bob shoots a horse without thought or remorse.]

BOB (continuing): Cook it for me. [Action 2: Bob orders Nick to cook a horse, which is a meat that most westerners will not eat.] 

Bob sat down and pulled out a huge onion from the ground. He dusted it off, then took a big bite out of it like it was an apple. He took another and washed them down with the scalding water. That's how mean he was.  [Action 3 & 4: Bob eats an eye watering onion raw, then drinks scalding water.]

WHAT I'VE LEARNED: Exaggeration is helped in a tall tale by the repetition of the outrageous actions, in both number and speed of delivery.

Audiences unconsciously compare this to real life, and know that repetition of this sort does not really occur. 

The Life and Times of Judge Roy Bean (1972) (10/18/71 final draft)
by John Milius  

TODAY'S NUGGET: Fat City (1972) - Strong Introduction to a Character

[Quick Summary: At the same gym, life is repeating itself in the lives of two boxers (one older, one younger).]

THREE THOUGHTS: 

1) HUSTON ON EXPRESSING IDEAS. I agree with what John Huston wrote in his autobiography about the difficulty of expressing the writer's ideas:

The most important element to me is always the idea that I'm trying to express, and everything technical is only a method to make the idea into clear form. I'm always working on the idea: whether I am writing, directing, choosing music or cutting. Everything must revert back to the idea; when it gets away from the idea it becomes a labyrinth of rococo.  

2) FILM VS. SCRIPT. I watched this film first and thought, "What's the point?" I couldn't figure out what Huston's central idea was. 

When I read the script, it also meandered and seemed pointless...until the last 2 pages coaleses into a full circle moment that explains the pointlessness.  

3)  STRONG INTRODUCTION. I did like the strong introduction to the protagonist, Billy Tully (below) because it sets the tone and our expectations.

In this scene:
-  Tully was a good boxer, but has gone to seed.  
- His wife left him, which was a turning point for when things went sour, and from which he hasn't recovered.
- Here, we see that he's the kind of guy always trying to escape responsibility.  
- I also liked that it didn't try to do overload the audience with too much information. This sets the mood of a guy who's sloppy with his work.

INT. STOCKTON BOX FACTORY - TULLY, SAW OPERATOR, FOREMAN, OTHER WORKERS - NIGHT

Tully goes to a saw that is not in use. The SAW OPERATOR, an aging, discouraged-looking man, rises as Tully approaches.

SAW OPERATOR (carefully extinguishing cigarette; yelling over noise of saws): Foreman's been by.

TULLY (voice raised): What he say?

SAW OPERATOR (same pitch): Wanted to know if you were here yet. Said I thought you were in the can.

Tully takes up his position on opposite side of table from the Saw Operator, who now switches on saw and begins feeding small boards into it. Tully stacks the sawed pieces according to size.

THE FOREMAN, a large, muscular, fairly young man, comes up to Tully.

FOREMAN (loud): Well, Tully, I see you finally made it.

TULLY: I got here on time. I been in the lavatory.

FOREMAN: I was just in there. I didn't see you. 

TULLY: When you came in I went out. You walked right by without seeing me.

FOREMAN: I don't have to see you, Tully. If you'd walked past me I'd of smelled you. I 'd know that wine breath anywhere. I could close my eyes and walk right to you. (reaches out, takes an incorrectly sorted piece of wood from Tully's stack, moves it to proper place) Look what you're doing here! Are you drunk? Lucky for you you're not running a saw.

TULLY: Now you got a lot of nerve. In the first place I'm not drunk and, in the second place, I wouldn't have one of your damn saws. I'm not leaving any of my fingers behind for these wages.

FOREMAN (turning away; disgustedly): I never seen such a bunch of deadbeats as on this night crew!

As he walks away, Tully begins to sweat and swallow. He grimaces, closes his eyes. Nausea overcomes him. He gestures to the Saw Operator to stop the saw, hurries away. 

WHAT I'VE LEARNED: I liked this introduction because it leaves us with more questions than answers. What will he do next?

Fat City (1972)(11/4/70 draft)
by Leonard Gardner and John Huston
Adapted from the novel by Leonard Gardner

TODAY'S NUGGET: The Man Who Would Be King (1975) - One Element in World Building To Deliver "Adventure in All Its Glory!"

[Quick Summary: In 1880s India, two Englishmen decide to become kings in Kafiristan, a place where no white man had been since Alexander the Great.]

Recently, I read Kipling's famous short story, The Man Who Would Be King (1888),  and marveled at how it takes you so effortlessly on a grand adventure. 

Would the script deliver the promise from the film's posters ("Adventure in all its glory!")?  It did.

I was surprised at:
1) how faithful this script is to the short story 
2) the fact that the script's ending is more hopeful than the short story.
3) the fact that what sells a great adventure film is how it brings the audience into an untraveled world.  (After all, international travel was uncommon at the time.)

An example of the last point can be found in the scene below: 
- Kipling, the author, put himself into the story as a young newspaper publisher.
- Carnehan (Michael Caine) is one of the English con men.
- I really liked how the writers took the time to set the scene with vivid details, both familiar (our protagonist buying a ticket) and unfamiliar (swarming travelers). 
- I also really liked how they didn't rush the timing of the reveal. Carnehan doesn't look at his loot until he's certain Kipling isn't looking for it. 

 

INT. LAHORE RAILWAY STATION - FULL SHOT - DAY

A swarm of travellers: Sedate Brahmins, shrill Vishnamites, Shivites with caste marks on their palms, Sikhs with daggers in their hair. Crouching Moslem women, in purdah, are like a cluster of little tents.

Two Laden Orderlies shout to clear a passage for a brace of young English Subalterns in the brilliant turbans, sashes and coats of a Horse Regiment. An English family, women and children, wait beside an enormous bastion of trunks and hatboxes. CAMERA PANS to the MOVING CUE before a ticket window, MOVES to:

CLOSE SHOT - KIPLING

KIPLING (to Clerk): Jodhpore... 

As he unbuttons his coat and reaches into a trouser pocket, a HAND comes into SCENE and deftly removes a watch and chain from his waistcoat. Kipling pays for his ticket, picks up his telescope traveling case and turns away from the window. His place is taken by the thief, a sharp-faced man in soiled whites: Carenhan. He pushes a small coin forward onto the counter.

CARNEHAN: Platform ticket.

The roar of a train entering the station SOUNDS over scene as he, in turn, leaves the window. He watches Kipling climb the ramp to the station platform and continue out of sight - then takes the stolen watch out of his pocket and examines it. He frowns and starts slightly.

 INSERT - WATCH-CHAIN AND EMBLEM

The Enblem resting int he palm of his hand: it is the insignia of a Grand Master Freemason - the rayed, all-seeing Eye of God above a pendant square, within the spread arms of a compass.

CARNEHAN'S VOICE (O.S.): Blast!

MEDIUM SHOT - CARNEHAN

Pocketing the watch, he begins to push his way through the crowd toward the ramp. 

WHAT I'VE LEARNED: When building an unfamiliar world, it's helpful to include things that ARE familiar in order to give the audience some context.

The Man Who Would Be King (1975)(11/15/74 draft)
by John Huston and Gladys Hill
Adapted from a short story by Rudyard Kipling/

TODAY'S NUGGET: Juarez (1939) - The Best Way to Give Two Possible Endings

[Quick Summary: In 1863, Benito Juarez, the new president of Mexico who has taken land from the rich for the poor, is maneuvered out of office by unhappy Mexican politicians, and French Napoleon III, in order to install Austrian prince Maximilian von Habsburg as emperor.]

I admired, but did not like, this script, co-written by director John Huston.

It is essentially about historical political maneuverings, which is hard to make cinematic, unless it's about individuals (see my Reds review).

However, I found the ending interesting because:
1) It resolves how Juarez and  von Habsburg both had similar hopes for Mexico, but only one (literally) could survive.
2) The script include two possible, good options, for the ending, which is unusual.

In the ending below:
- Maximilian von Habsburg has just been shot.
- The first ending is more metaphorical, cinematic, and features children, i.e., the future of Mexico.
- The second ending is more conventional and simple (and probably cheaper).

A frightened DOVE is seen flying as the sound of a volley is heard This dissolves to a CHAPEL from the entrance a coffin is seen on a catafalque in the presbytery. A figure comes into view and goes slowly down the nave. It stands motionless over the coffin, and as the scene moves up to a close view BENITO JUAREZ is seen looking down into an open coffin in which rests all that is mortal of Maximilian von Habsburg. A look of pity softens his stone face, following which a wider view shows Juarez straightening up and starting from the coffin.  He continues up the aisle of pews. --He passes an Indian woman who is kneeling in prayer. On her back, int he folds of her serape, she carries her baby, a robust Indian boy of a few months. The baby sucks on his fingers as he gurgles to himself.

The moving scene stops with Juarez as, attracted by the sounds from the baby, he pauses to look at it, following, which a close view of the BABY shows its velvet black eyes fixed on Juarez, as its face crinkles into an ingratiating smile.  A close view of JUAREZ shows the stone mask of his face slowly softening and for the first time we see him smile. Then, the scene widening quickly and revealing both Juarez and the baby, Juarez squares himself and continues down the aisle as his short, squat figure disappears in the gloomy shadows of the church. The scene fades out. 

(ALTERNATE ENDING)

This dissolves to a CHAPEL and a coffin is seen on a catafalque in the presbytery. A figure comes into view and goes slowly down the nave. It stands motionless over the coffin, and as the scene moves up to a close view of BENITO JUAREZ is seen looking down into an open coffin in which rests all that is mortal of Maximilian von Habsburg, Emperor of Mexico and Archduke of Austria.

JUAREZ: Forgive me.

The scene fades out.

WHAT I'VE LEARNED: I liked how the writers had made a definitive decision about the meaning of the ending. The alternate was just another way to show it. 

I don't particularly enjoy it when the writers create "happy" and "sad" alternates in order to avoid taking a stance on their story.

Juarez (1939)
by John Huston & Aeneas MacKenzie, and Wolfgang Reinhardt
Based on a play by Franz Werfel, and the novel, The Phantom Crown, by Bertita Harding

TODAY'S NUGGET: The Dead (1987) - Using Close Ups to Convey the "Unfilmable"

[Quick Summary: During at dinner party at his aunts' home in 1904, Gabriel begins to see himself, his wife, not in roles, but as human beings.]

Q: What is an "unfilmable" novella?
A: It most often means a story with a lot of internal action, i.e., inside the character's head.  Alas, this is not good for film, which depends on external action.

Q: This script is an adaptation of James Joyce's "unfilmable" novella.  How did the writers tackle an "unfilmable" scene?
A: One tool they used was a close up which should be used sparingly, because it emphasizes something the director wants pointed out.

In this script, the close up is used to show what the character is thinking.

In two examples below (a) at the piano; b) with photograph):
- Notice the complex thoughts each one is trying to convey:  In a), Gabriel pities Aunt Julia.  In b) Gabriel remembers his mother.
- Notice the reason for the close ups: We're going into Gabriel's internal thoughts, which is a very intimate space.  A wide shot would keep us distant from him.

CLOSE ON GABRIEL

As he is struck with bitter intensity by the irony of her choice. Here is his Aunt, a withered old maid, giving expression to emotions and experiences which, in real life, have alluded her.

CLOSE ON AUNT JULIA

The CAMERA taking in the signs of old age - the grey hair, the wrinkled hands, the flaccid folds at cheek, neck and elbow, the crow's feet at the corners of the eyes, etc.

AUNT JULIA (cont'd)(singing): Who would not love her?

CLOSE ON GABRIEL

Hardly able to bear it.

CLOSE ON GABRIEL

As his gaze drifts from Aunt Julia to the inanimate objects around the room.

....

The final photograph is one of Gabriel himself in a man-o-war suit as he leans on his mother's knee reading a book in her lap.

CLOSE ON GABRIEL

Indicating that he and the boy are one and the same person and that this woman was his mother.

WHAT I'VE LEARNED:  A close up can convey unfilmable complex thoughts.  

However, it should be used judiciously because we lose objectivity if we're constantly in that close.

The Dead (1987)(undated)
by Tony Huston & John Huston
Based on the novella, "The Dead," from "Dubliners," by James Joyce

TODAY'S NUGGET: The Asphalt Jungle (1950) - Giving Cast & Crew Interesting Conflict to Shoot

[Quick Summary: When a jewelry heist goes wrong, a net closes in on the crooked cop, the financier, a hooligan, and the brain.] 

I was fascinated by this 20 min. video about Asphalt Jungle's visual style. 

I was particularly interested in the complex diner scene (at 12:35-14:48): 3 men, a cat, shifts from foreground, background, 2 shot, ceiling, etc.

Was it like that on the page? In short, yes and no.

Yes, the conflict was there. No, the staging and composition were not.

However, because the writers* did their jobs and created great conflict on the page, the director and cinematographer had great building blocks to do their jobs.

Here's what that conflict looked like on the page:

MED. SHOT - INT. GUS'S HAMBURGER JOINT - NIGHT

A truck driver stands at the magazine rack, eating a king-sized hamburger and stealing looks at the girl pictures in a movie magazine. The cat jumps on to the counter and Gus starts feeding him meat, bite by bite. Dix enters. He and Gus exchange nods. Dix takes a seat at the counter.

...TRUCK DRIVER: How do you mean, Humpty-Dumpty?

GUS: I mean you don't belong around here. You're just passing through - only not fast enough.

Gus comes around the counter with surprising speed. He seizes the truck driver by the arm; whirls him around; grabs the seat of his pants; jerks it up tight until the big fellow is on his tip-toes; then "Spanish walks" him swiftly to the front door, where he gives the flabbergasted driver a push.

GUS: And if I ever see you running over a cat, I'll kick your teeth out.

The driver stands staring at Gus, trying to recover from the surprise attack. He is unable to make up his mind whether to clout the little hunchback or beat a dignified retreat. 

DRIVER: I'd take you apart if you were a foot taller, and straightened out a little.

Gus steps toward the driver, carrying his hands low. The driver hurriedly gets into his truck. Gus comes back into his join. Dix watches Gus turn the lock in the door, and pull the window blinds. Dix is smiling for a change.

GUS: I suppose you want your heater back? Well, you ain't goin' to get it! What do you think of that?

DIX: Quit kidding Gus!

GUS: I mean it...

Dix stops smiling.

WHAT I'VE LEARNED: Help your collaborators.  Keep the conflict moving on the page.

The Asphalt Jungle (1950)
by Ben Maddow and John Huston
Based on the novel by W.R. Burnett

*FYI: One of the writers was also the director, so that was helpful.

TODAY'S NUGGET: #47 WGA Script of All Time - The Maltese Falcon (1941)

[Quick Summary: When a private investigator takes a case from a gorgeous client, he faces three thugs, two dead bodies, and a boatload of lies that surround a missing Maltese falcon.]

I've struggled for years to write suspense. 

But how to craft an artful punch-in-the-gut reveal?  I read several great ones in this script.

For example:

A) Sam Spade gets an early morning call to come to a crime scene. [He's a p.i. This is part of the job, you know?]

B) He looks down a hill at a dead body, but doesn't move closer. [Wow, wonder what happened to the deceased.]

C) Police tells Spade it was a single shot. Spade reconstructs what happened: "Miles goes back, taking the top of the fence..." [Wait a minute - Miles? Oh no! Not Miles, Spade's partner! How can Spade be so controlled?]

You see, the suspense here is built around Spade:

A) His non-reaction in here does not alert the audience. We think it's just part of the job.

B) He does not approach the body. This is also normal. Only later do we see why that's odd.

C) This is the first time we realize the likeable Miles has died. It's a shock for us, but Spade is just pragmatic, which is very consistent with his character.  We're just not prepared for HOW pragmatic he is.

WHAT I'VE LEARNED: For a good reveal, don't announce the reveal.

However, an unexpected (but in character) response works well.

The Maltese Falcon (1941)
by John Huston

TODAY'S NUGGET: #70 WGA Script of All Time -The African Queen (1951)

[Quick Summary: After the Germans burn down her jungle village, the only survivor, a missionary's sister, convinces a riverman to hunt down enemy's warship.]

*Sigh.*

I know I'm supposed to like this script, but I did not.  I wish I did.

It's well crafted.  There are stakes.  The dialogue flows.

Yet, it didn't move me.

Well, except for the spark between Allnutt (Bogart) & Rose (Hepburn).  Allnutt changes dramatically because of Rose.  She's a strong female who doesn't fall into overused female stereotypes. 

Guess what is her strongest tool? Her opinion of Allnutt.  It's more effective than a sword.

ex. Rose has just dumped all Allnutt's precious gin into the jungle river.  He is aghast.

ROSE: So you think it was your nasty drunkenness I mind.

A foolish, helpless gesture from Allnutt.

ALLNUTT (bewildered): Well --wot else?

ROSE: You lied to me.....You promised.

ALLNUTT (shouting): Well, I'm takin' my promise back!

WHAT I'VE LEARNED: To write a strong female character, make her a woman to be reckoned with.

The African Queen (1951)
by James Agee, John Huston & Peter Viertel