http://www.newyorker.com/arts/critics/atlarge/2007/03/05/070305crat_atlarge_denby
I recommend this article by David Denby for The New Yorker. He discusses the current trend of movies featuring a non-chronological storyline.
Monday, March 12, 2007
The New Disorder
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2 comments:
Interesting article, although the writer seems quite certain about the intent of filmmakers who use non-chronological story telling devices. I'm not certain that their reasons (explained in the article as being a lack of relationship between cause-effective) are always the same. That said, I agreed with his take on Babel (B-). I watched it over the weekend. Although some of the story lines are moving, the wrap-up in the end stretches credulity in a movie that seems to pride itself on being "the way it really is." It reminds me of all the Christians that point to the Passion of the Christ as an accurate portrayal of crucifixion when (and the doctor may be able to help me out here), there seems no way in hades anyone's going to live halfway through that beating. The notion is that anything this bleak MUST be true.
Personally, I think this style of non-linear film best serves when you have a sub-par plot with great characters and great dialogue. So, it works well with Pulp Fiction, Out of Sight, Memento, and even Eternal Sunshine. The device allows the audience to focus on the characters, with suspense not coming from the story but the the viewer's attempt to put the puzzle together.
I don't think Babel travels in time that much. Only a phone conversation between Pitt and his son shows the connection. Some films seem to jump back and forth in time for no reason (Out of Sight, 21 Grams). Films like Syriana, Crash, and (insert Altman film here) are linear with multiple story lines and don't really apply to the thesis. The greatest of the non-linear films have their unconventional structure serve the purpose of the story: 1) Memento ends where the 2 narratives intersect, at the exact moment where Guy Pearce decides to lie to himself intentionally, his nadir. 2) Eternal Sunshine is told in reverse order since that is how Carrey's memory is being erased. 3) Pulp Fiction's three stories shows the progression of each protagonist (Vincent, Butch, then Jules) to enlightenment and the effect their decisions have on their lives. Vincent chooses to save Mia's life (out of fear) but doesn't change. Butch saves Marcellus's life (out of rightnessnous) and appears changed but is unable to change those around him. Jules saves the lives of Pumpkin and Honey Bunny and is able to change their lives.
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