The opening title, discussed eatlier, serves subtly the funetion of a point of attack, insofar as it lays out in very broad strokes what the story will be about, Le, people in a shop. In Toy Story, the tension of the third sequence is identical to the main tension: Woody wants to regain his top spot against the usurper Buzz.
In The Shop Around the Corner, the tension of the third sequence revolves around Kralik getting the night off, From the moment the audience realizes that Kralik and Klara are the two anonymous lovers, every subsequent scene involving them, until the final minute ofthe film, is imbued with dramatic irony. It has an added meaning, since the man. Once everyone Js inside the shop, Mr, Matuschek is shown on the phone talking to his wife, who seems to be running through her money very quickly.
He promises to send her more, a dangling cause that is picked up at the end of the sequence. As soon as he hangs up, Kralik enters to ask fora raise, picking up on the dangling cause from the pre- vious scene. Matuschek coldly puts him oif before he can even asks afterward Kealik expresses his frustration to Pirovitch, who cautions him not to do anything rash, During their conversation, Vadas, listening.
Subplots basically have three functions: one, the plot function—they intersect with the main plot to help of hinder the protagonist; two, the thematic fune- tion—they show yarlations on the main theme of the picture by pre- senting altemting ways in which characters deal wth the situation the protagonist may himseit be confronting: and three, the steactura function—by cutting away from the main plot to a subplot, especially at moments of high suspense, the storyteller can retard the action and ty thus delaying it intensify the anticipation.
The subplot in The Shop Around the Comer serves all of these functions. This is the moment of recognition for Kralik, who, outraged at realizing her game, rejects her request. Both dramatic and ironic ten- sion are simultaneously resolved. Matu- schek, When Kealik piles on and also asks for the night off, Mr. Matuschek explodes in a tirade, momentarily interrupted by a comic interlude with a customer and an il-timed personal phone call to Piro- vitch.
In the end, Mr. The dramatic tension of the sequence—will Kralik get the night off? At this point, Mrs. Matuschek phones again, reminding Mr. Matu- schek to send more money. Matuschek asks Vadas to deliver it, closing off the dangling cause introduced at the start of the sequence. There is « brief scene of preparation by contrast before he gets fired, in which Kralik straightens out his tie and the other era ployees give him signals of encouragement as he heads into the boss's office.
Kralik says his good-byes, and Pirovitch assures him they will see each other again—a dangling cause picked up later in the sequence. Matuschek, who excitedly invites the caller to come over immediately. This in tuen leads Matu- schek to let everyone go for the evening. Before he goes, Pirovitch feaves a message for Kralik, telling him he'll be stopping by that night— picking up on a dangling cause and setting up an appointment.
After this, Vadas approaches Mr. Matuschek and tries to invite himself to din- ner in another example of verbal indirection: he talks about how beauti- fal the dining room table is, and how wonderful it must look at a dinner party, but never explicitly says what's on his mind, This motif— someone attempting to invite himself to dinter—is paid off in the last sequence of the picture.
Mataschek: Vadas is the employee having the affair with Mrs. Matuschek, much to Mr. Matuschek dismisses the private eye and, emotionally devastated, attempts to kill hirnself. The effort is thwarted by the timely arrival of Pepi.
The suicide scene is done using visual indi- rection: we hear the gun and see the damage the bullet makes to a chan- delet, but never see Mr, Matuschek fire it. This asymmetrical treatment of the ironic tension is noteworthy, It would have been entirely possible for the storyteller o continue developing the dramatic irony purely symmetri- «ally, with both characters remaining in the dark until the resolution at the end, whereupon both would recognize the mistake.
By fracturing the symmetry in this way, the screenwriter is able to explore the premise from a new, fresh angle while in the middle of telling the story, in effect giving the audience two films for the price of one: the first one about two lovers with 2 mutual misunderstanding, and the second about a man who pursues 2 woman by using secret information he has about her—ie.
Itis in fact the mirror opposite of the resolution, which occurs in the last minute of the film. But this moment actually fulfils two functions. The following sequence actually re- turns to the main subplot, and when the film returns to the main plot The Shop Around the Comer Fractured Symmetry 57 Figure 4.
The actual resolution is, of course, the mirror opposite. The use of this prop not only pays off the motif estab- lished earlier when Kralik was saying his good-byes, it is also a visual expression of the change in their relationship. After this, Kralik finally finds an excuse to fire Vadas his criticism of Klata. This refocusing of attention also marks the transition from second act to third, As noted previously, the main tension was premised on symmetry—neither Kralik nor Klara knew the truth, and the hopes and fears of the audience were bound up in the question of whether the misunderstanding would doom theit relationship.
Now, with the fracturing of the symmetry yielding light on the situation for Kralik but not Klara, a new question has replaced the old: will Kralik succeed in wooing Klara despite the misunderstanding? Inside the shop, Kralik announces that Mr. Matuschek is much better-—an update of his condition that serves to disarm confusion that might arise in the final sequence, when Matuschek shows up at the shop.
Matuschek enters the shop and congratulates everyone om the best Christmas sales since The fol- lowing scenes—involving the handouts of bonuses a payoff of a motif from Sequence B and Mr. The resolution of that tension does not deliver the emotional impact of a more dramatically driven piece such 2s Toy Story , so the need for an epilogue to bring the audience down from that emotional high is not as great.
Here, the screenwriter exploits the situation for maximum effect, delaying the moment of recognition—milking the vomic and dramatic irony of the situation—through a full ten minutes before finally delivering the goods. Popkin, and proceeding to torment her with less-than-fattering de- tails about him. Unifying Aspect; Dramatic Tension. Protagonist: Ensemble. Itis noteworthy as collaboration between Billy Wilder di- rector and Raymond Chandier detective novelist who wrote the script that generated the classic film noie.
Because it uses the principle of flashback, Double Indemnity tests the basic theory of dramatic tension—that audience atrention is achieved by creating in them hope and fear about the outcome of a question: will aa character get his or her objective?
In this picture, the protagonist, Wal- ter Neff tells the audience at the outset the outcome of his quest, yet the movie remains intensely involving, This is because while the audi- ence knows the ultimate outcome, itis unaware of when it occurs and under what circumstances.
The title sequence itself features a silhouetted figure on crutches moving ominously toward the audience while grand, intense music announces the dark, dangerous, suspenseful nature of the subject matter. The riddle of the man on. What's weong? Is someone after him? Even when the car skids to a stop and the door opens, we are not allowed a glimpse of the face of the person who emerges, so even that mystery is milked for a minute or so longer.
More substantial answers to the mystery do not come until Neff be- gins dictating a memo to his friend Keyes, almost five minutes into the film, Even here, though, the answers are given as pieces of a tantalizing puzzle, with important parts left out. Neff mentions the Dietrichson case, the fact that it wes murder, and confesses his guilt in it. In this confession, he describes himself using the terminology of the insurance business: age, height, occupation, health, even though he is addressing a friend who would know these things.
The scene ends with an appointment: Neff will return Thursday night at p. Neff returns to his office, where he witnesses Keyes interrogating a truck driver named Garlopis who has submitted a false claim.
The sequence ends when Neff arrives in his own office and finds a message from Phyllis, rescheduling the appointment. In voice-over, Neff indicates his intention to go, a dialogue hook that binds the first sequence to the second.
Though ostensibly there to sell auto insurance, it tpecomes quickly apparent to him that Phyllis has something else on her sind, which he readily misinterprets as sexual interest in him. His ob- jective in the scene i a sexual liaison with her, and the chief obstacles to that objective are her persistent questions about insurance.
Jn the end, when Neff realizes what precisely she is asking for—an accident policy on her husband which would enable ber to murder him and col lect 2 large sum of money—he abandons his sexual objective and re- treats The dramatic tension of the sequence is thus set up four minutes into it: Neff must resist Phyllis and her devious plan. He does this at first by food, drinks, and bowling, then, when Phyllis arrives at his apart- ment, by stridently pointing out all the things that could go wrong with such a scheme.
Note: while present in the Cain novel, the reversal is less developed. This sounds like two objectives but since they're entwined, they function as one. The answer to this question was of course given explicitly by Neff in the opening Dictaphone scene. What drew the audience into the story at that time was curiosity—not whether he'll obtain his objective, but rather, how did he fail? Like Toy Stony and The Graduate, this film features.
In both Toy Story and The Graduate, a musical interiude Serves as a curtain, Frame eniargement mation revealed by Diettichson becomes important immediately after ward: his anticipated trip to Palo Alto. Phyllis wants to go ahead with the plan in some form, but Neff warns her against it, a dangling cause closed off at the end of the sequence. When Phyllis calls with the news that Dietrichson is going to Palo Alto after all—and on the train, as they'd planned—the reversal is effected. When Neff lights Keyes's cigar at the end of the scene, the sequence also comes to an end, with the plan having overcome its one significant obstacle Sequence D: Dietrichson Makes a Wrong Turn This thirteen-minute sequence is in essence a short film about two peo- ple committing a murder, and it ends when the murder is complete.
Its engine is overwhelmingly dramatic—will Neff and Phyllis pull off their murder? He recounts how he set up his alibi and arranged the doorbell and phone so that he'd know if he had visitors or callers. These steps help enhanice the anticipa. Once on the train, Neffhobbles to the observation car at the rear paying off the motif ofthe silhouetted man on crutches from the title sequence and is about to leap onto the tracks when the character Jackson interferes, Dramatic irony infuses this scene, forcing Neff to be discreet as he attempts to get Jackson off the platform.
Cain book. How these moments of the story are handled is a good example of the virtuosity of the Wilder—Chandler collaboration. During the first five minutes of the sequence, much atiention is given to creating a sense of impending doom, picking up on the dangling cause of the previous sequence.
This is accomplished by withholding important information from the audience as long as possible, then de- livering it for maximum effect. The scene is infused with dramatic icony—audience fear that the secret will come out and Neff will be exposed. In the meeting with their boss, Norton announces he is not satisfied with the conclusion of accidental death in the Dietrichson case—but he does not say why. The scene is driven by cramnatic irony, and delivers a devastating blow to Net's hopes for his scheme's success.
Frame enlarge meni to wait before hearing what it is. The suspense is thus milked for maxi- mum effect. When Phyl- lis arrives, Norton makes introductions and then begins to make his case against her. At last, Norton announces his conclusion that it was a sicide—an innocuous conclusion as far as the hopes and feats of Neff and Phyllis and the audience are concerned, This moment of relief is punctuated by some business involving the glass of drinking water that Neff hands to Phyllis, which allows the two to make surreptitious eye contact.
Keyes completes the demolition of Norton's ease in a memorable lectuce about suicide. Phyllis anrives before Keyes leaves, but happens to ovethear him be- fore she's discovered.
Along the way, attempts are made by the storytellers to use the momentary elevation of hope to set off further calamity by contrast.
The scene is infused with irony: our knowledge, un- enown to Lola, that she is confessing her suspicions of foul play in her father's death to the man who engaged in that foul play. Neff disarms this potential disaster by treating Lola to dinner and taking her to the beach. The mood again becomes upbeat—Neff noting that by the second day Lola was able to laugh—just in time for the next bit of disturbing news: Neff seeing Jackson, the last man who saw him on the train platform, sitting outside Keyes's office.
Ironic tension is milked to maximal effect in the scenes with Keyes and Jackson, First, Keyes announces he isa great man, having unraveled the Dietrichson murder conspiracy. He articulates the conspiracy with devastating accuracy—to the man who was involved in that conspicacy.
As Phyllis goes away vowing to make the claim a dangling cause picked up in the following se quence , Neff remarks in his voice-over narration that it was the first time he'd pictured her dead. The moment marks the second culmina- tion—the end of the second act—the resolution of the main tension. Neff calls Phyllis and makes an appointment with her: eleven o'clock that night, with the front door unlocked and the lights out. The two embrace, and Phyllis confesses change in her rotten heart to him, which serves as a brief preparation by contrast to Neft's kalling ber a moment later.
Sequence A in the screenplay, ike that of The Shop Around the Cor ner, encompasses the entire first act. As detailed above and in the ac- companying chart, it clearly has a significant shift midway tbrough.
Third-et tension: dealing with Phyllis. Objective: To sell Phys on a the gir and he's not going to get the money ca insurance poh policy. Undying Aspect Dramatic Tension. Objective: Resist the temptation posed he. He goes oer place and il her. Protagonist Nef. Objective husband and got the insurance money. Protagonist Neff. Whereas American films are particulatly interested in involving the audience in a chronological, cause-and-effect story from moment 10 moment, Nights of Cabiria is primarily interested in the exploration of the title character and her circumstances.
The course chosen for this exploration is episodic—the discovery of the chatacter and a series of tales about her. Nights of Cabiria has eight sequences, but unlike the other movies analyzed herein, half are connected logically and thematically, rather than causally.
Three quarters of the way through the movie, she gets it in the marriage to Donoftio, resolving this main tension. Before the picture was screened at Cannes, it had an adgitional seven-minute segment in the fourth se- quence, after the subject of the pilgrimage to La Madonna del Divino Amore is discussed by Cabiria and her friends, and before they set out fon the pilgrimage.
During this segment, Cabisia encounters an enig- matic man with a seck, and follows him around as he distributes food and blankets to poor people living in caves outside of Rome. A spisited disagreement about the segment erapted between Fellini, who thought it belonged in the final film, and the producer, Dino De Laurentiis, who fet it slowed the pace to a point that was fatal.
In the end, the picture screened at Cannes without the seginent, which was only restored in the DVD version more than forty years later. Cabiria is com pletely passive in it—she participates only as an observer who asks ques tions. Further, the only conflict in the segment—two people refusing to answer questions that Cabiria puts to them—seems forced.
These alone may not have been fatal to the segment, but what is noteworthy—from 29 Sequence structure viewpoint—is what its presence does to the length Of the fourth sequence. The use of a puzzle— arousing the audience's curiosity—is in play in the opening minute— who are these two? What are the circumstances? For the next three minutes, audience attention revolves around the question of her survival. Here, in another example of preparation by contrast, the dialogue among the rescuers suggests that she has dieds a late-arriving man pronounces her dead just before she comes back to life.
As soon as she does so, she inquires after Giorgio—the man who'd pushed her into the water. The rescuers express perplexity, and Cabiria angrily sets herself to the task of finding him. Just how important her dignity is, and her love of love, becomes clearer when she arrives at her shack. The challenge for the filmmaker is that this struggle is an internal one, and the great prab- lem of drama is that it gains its power by having the audience witness an unfolding of life being acted out—as seen from the outside—and the inner struggles of the characters can only be conveyed indirectly.
How, then, to make an internal struggle external and seeable? Cabiria left alone by Wanda, storms angrily into her house, only to be confronted by the photos of Gioxgio on her dresser. Upon seeing his image, she smiles and her anger subsides, She heads back out of the hhouse and paces, deep in thought. She picks up a chicken, strokes it, talks to herself, realizing she might have died. The scene dramatizes Cabiria casting Giorgio out of her life, without Giorgio even appearing in the scene.
After she destroys his effects, a scene of aftermath follows see text box, page 54], with Cabiria walking slowly into a darkening sky, hurling a bottle in a last expression of anger.
This gradual filling in of pieces of the puzzle of her life continues in the second sequence. Cabiria immediately notices the new Fiat that one of the hookers has purchased, and uses it as a springboard to express her values—ihen you ride in a. Here, she encounters the movie star Lazzari and his girlfriend Jessie in the middle of a quarrel, In this scene Lazzari warns Jessie that that if she walks away, its over between them-the first dangling cause of the picture Lazzati, left alone, invites Cabiria into his car, the car serving as a big, elegant contrast to the tiny Fiat Cabiria had arrived in.
With Cabi- ria's success in getting a customer at last, the resolution of the sequence is at hand, but it plays out in a surprising way: instead of going to some remote location, Lazzati takes her to another lub. It plays out as an elaborate preparation by contrast, in a distant echo of the opening sequence. For the first nine minutes, the action brings Cabiris and Lazzari gradually closer, both physically and emotionally, tll it appears they will Have an Fellini's Nights of Cabiria: Nocturnal Episodes 85 intimate encounter.
Here, he scolds his servant and warns him to tell Jessie he is asleep if she should call, a dangling cause closed off later in the sequence. The two begin far apart physically, with Cabiria standing awkwardly on the far side of the bedroom while Lazzari lounges on his bed with his shoes still on. The two gradually get acquainted, with Lazzari asking her about her background. In deseribing her life, Cabiria empha- sizes her dignity, bragging about how she owns her own house and is, friends only with Wanda—she does not hang out with the other tifftaff, and rarely, if ever, sleeps under the arches.
Cabiria confesses she recognizes him as a movie star, then sits down with him and begins to touch him, carrying out her job, but he tells her it's not necessary, and instead answers her request for an autographed photo. This, and a sarcastic remark to Cabiria from one of the hookers about Alberto Lazzari, com.
In the opening of the sixteen-minute fourth sequence—which is cen- tered on the pilgrimage to La Madonna del Divino Amore—Cabiria and Wanda become reacquainted with Limpy, whose presence is explained by Amleto, his nephew: they hope the Madonna will grant him mira- cle—a dangling cause creating anticipation for the rest of the sequence.
Soon, a group of pilgrims walks by barefooted, on theit way vo the church, and the atmosphere is transformed from nonchalant to deeply religious.
Cabiria becomes gradually more humble and fearful as the singing of hymns grows louder and the cries for mercy from the pilgrims more intense. At last, Cabiria goes on her knees and tearfully pleads with the Ma- donna for help in changing her life a request at odds with her self In the first released version; for the DVD version, see the introduction ta the chapter, Fellini's Nights of Cabiria: Nocturnal Episodes Ed satistied opinion early in the sequenc: , and Anleto lets go of Limpy so he can receive a healing miracle and walk without crutches.
Limpy promptly falls down, and the scene switches to a picnic on the grounds afterward. While a scene of aftesmath might typically be expected here— marked by wordless performances, thick atmosphere, and somber music appropriate for the profound disappointment Cabiria has just stuffered—the storytellers instead revive the camival atmosphere of the opening through accordion music and the mundane activities of food and games.
Cabiria, though, does not join in the fun, and promptly pro- hhounces the pilgrimage a failure: no one has changed. Since the kind of, change Cabiria is seeking—a profound, spiritual, inner change—does not lend itself to cinema, Limpy is employed as a reference point.
After Wanda tries to calm her, she storms away and slumps against a bus, looking longingly at the nuns passing in the distance, and the music changes from cornival to religious; the aftermath scene is delivered at last. After several men come up to the stage, he requests 2 woman, and chooses Cabiria, who happens to be just finding her seat.
Geiting Cabiria onstage is a storytelling challenge, because the idea that the magician just happens to choose her among all the women in the theater runs the risk of seeming contrived, but if he does not pick her, the sequence won't work.
What follows is yet another approach to studying the inner life of a character in all her contradictions—making visible and actable what lies inside— this time through the device of hypnosis. The magician sizes her up and assumes sbe would like a hus- band; she declares forcefully that she is happy the way she is a demon- stration of denial, given the pilgrimage she'd just been on , then, under hypnosis again, acts out a scene of tenderness and longing that is ia direct contradiction to her consciously stated attitude toward marriage.
The climax of the hypnosis scene comes when Cabiria lays bare an- other issue for her—one of trust, of fear of betrayal by het lover—and the magician abruptly ends the show. This episade, even more than the thtee before it, ends in catastrophe, and ike the others before, involves a considerable in- vestment in preparation by contrast.
In this, Fellini was careful not only in the storytelling but in the casting as well, choosing to place Francois Perier—a French actor known to European audiences as a romantic leading man—in the role of Donoftio, the scoundrel. Donofrio approaches Cabiria as soon as she leaves the theater, and overcomes her initial objections to his overtures, persuading her to join him for a drink, In their conversation, Donofrio presents himself as man unique in the movie—he is kind, sensitive, and focused on her.
By the end of the scene he makes an appointment with her for the following Sun- day afternoon. Cabiria, to0, is somewhat skeptical—skepticism that helps to disarm any skepti- cist the audience may have toward Donofrio, who truly seems a dream come true. Cabiria reveals another appointment for the following night, just before the police arrive, scatteying everyone. Giovanni urges her to get matried, and as he leaves, invites her to get in touch if she needs him—two dan- sling causes closed off during the final two sequences.
Bright day gives way to rainy night in the following scene, where Cabiria is shown waiting for customers while apparently deep in thought. When a customer shows up, she is too preoccupied to respond to him. Bright sunshine marks the transition to the next date Cabiria has with Donofrio, Here, Cabitia creates conflict immediately by telling him she wants to break it off; he responds by proposing marriage.
This marks the second culmination of the picture, the resolution of the main tension—will Cabiria find love and respectabil- ity? The answer is an emphatic yes. Cabiria tells Wanda her plans—a wedding in two weeks an appoint- ment that is, of course, never kept , and her decision to sell the house and everything she owns a dangling cause that provides the central focus of the following sequence.
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