ISP Blog #7: The Godfather

The final screenplay that I examined was The Godfather, by Mario Puzo and Francis Ford Coppola. This film is an absolute classic, and is considered by the American Screenwriters Guild to be the second-best screenplay ever written, after Casablanca. The story is a crime drama that centers around the themes of revenge and family honour. One of the strongest aspects of The Godfather is its use of suspense throughout the screenplay. The Godfather is an extremely long script, and without the suspense generated by the compelling narrative and the tension between characters many readers would lose interest. Perhaps the biggest lesson I've learnt from reading this screenplay is how to change the setting without losing the momentum and suspense from the previous scenes. The Godfather has several distinct sections, and the plot in each is driven by the events and unresolved conflicts of the previous section. In this way, the reader does not lose interest when the narrative shifts drastically. The use of characters with opposing personalities and agendas does an excellent job of creating conflict. It is this creation of conflict and suspense that I hope to emulate in my screenplay.
The Godfather is a classic in every sense of the word. The only possible weakness in the screenplay is its length. The length of the screenplay sometimes makes it difficult to recall past events, yet the excellent writing and characters keep the plot moving forward so that the reader is not continually trying to remind themselves of what happened in the past. The reader is constantly rewarded for reading more of the script, as the intentions of many characters are hinted at before a climax is reached. I would highly recommend both the screenplay and the movie of The Godfather to any reader who enjoys, not just crime drama, but drama of any kind.

ISP Blog #6: Withnail and I

Withnail and I, by Bruce Robinson, is the hilarious tale of two young men living a penniless existence in Camden Town, London. Marwood, a writer, is living with his friend Withnail. Withnail is a struggling actor who is having difficulty coping with his repeated failure to get a role. Couple that with his melodramatic disposition and his alcoholism and perhaps the best way to describe him would be the first full line in the screenplay, "I have some extremely distressing news. We've just run out of wine. What are we going to do about it?" Both men are fed up with their way of life in London and resolve to go on vacation to, "get away from it all." Withnail's uncle Monty, a fat, effeminate man, lends Withnail his cottage in Wales, and Withnail and Marwood set out in a battered jag, resolving to stay the week. Upon their arrival, however, they discover that they have no idea how to survive on their own, and hilarity ensues.
The thing that I enjoyed most about this screenplay was the characterization. Each of the characters has a distinctive personality that is showcased throughout the screenplay. The conflict and interactions that take place between these different personalities is what keeps the reader interested during Withnail and I. Another strong part of the screenplay is the snappy dialogue between different characters. This witty banter is absolutely hilarious. As a reader, I was so entertained by hurled insults that I couldn't put the screenplay down.
The humour in Withnail and I is a double-edged sword. The humour is primarily British, and is hilarious if you find that type of humour amusing. However, if you do not understand British humour, then the screenplay is filled with lost opportunities. Luckily for me, I am well versed in British humour, having grown up on such shows as Monty Python's Flying Circus and Ab Fab. Overall, Withnail and I is a wonderful misadventure that will keep you entertained for the entire course of the movie. The humour does make it appeal to a somewhat smaller audience, however I encourage you to give it a try anyways. You won't be disappointed.