January 2022 - hacking cinema

SPOILERS AHEAD

Even during these doldrums of late-stage Marvel fatigue, I was hyped for Spider-Man: No Way Home. The Tom Holland entries to the canon have managed to be utterly charming and relatively low-stakes when compared to their self-important and bloated mainline Avengers installments. The strong implication that No Way Home would also include spider-men and spider-villains past was enough to temporarily revert my psyche to that of my circa 2007 self: really, really excited to see Spidey up on the screen.

Here’s the thing: No Way Home delivers the goods, just way too much of them. After a kinetic first act, proceedings drag to a baffling degree: nearly every scene in the movie overstays its welcome by several minutes. It’s not a long movie in terms of plot content, it’s a short movie dragged out to be a long movie with unnecessary business.

Even moments that had me screaming with joy at the outset ran on for an uncomfortable duration. One of the MacGuire/Garfield/Holland scenes that should have been a cathartic moment for longtime fans felt like an extended and unfunny SNL sketch. The meandering excess of every sequence made the pacing feel more like a Disney+ miniseries than a feature film. This is doubly frustrating because I enjoyed most of the plot beats and character moments in the movie, and adored quite a few — the movie just wasn’t edited down to a digestible shape.

I’m not sure what drove this editing decision. Do movies just need to be too long for streaming now? Would No Way Home have really made Marvel and Sony significantly less money if it had been forty minutes shorter? Is this how cinema dies? Help me out here!

Learned: This is really screenwriting 101 stuff: enter late, leave early. LEAVE. EARLY. But you can still make one and a half billion dollars by not leaving early, so nothing means anything I guess!

SPOILERS AHEAD. WATCH THE MOVIE FIRST.

I watched my first Jane Campion film, The Piano, last year out of respect for the G.O.A.T. Holly Hunter (bless her name). I enjoyed it, but seeing The Power of the Dog cemented Campion in my mind as a rare filmmaker who leverages the medium in specifically innovative ways. This is what I’m always chasing as a viewer: what can cinema do that other forms of storytelling can’t?

I would argue that what Campion does in The Power of the Dog is a more subtle version of what Christopher Nolan does in many of his films: she creates a puzzle for the viewer. Most won’t see the whole picture of the story until the very end, and even then it could take some pondering or even a rewatch before things come clearly into focus.

How is this puzzle set up? On the surface, the events of the film are straightforward and by themselves don’t really comprise a story. Here’s what technically happens in The Power of the Dog:

– A man (Phil) bullies a woman and her son (Peter)
– Phil’s brother marries woman
– Phil befriends Peter
– Phil dies from an infected wound

But in the end, we realize there’s an entire sub-narrative happening between these beats that is conveyed with hints from visuals, performance, and subtext. This is the story:

– A man (Phil) bullies woman and her son (Peter)
– Phil’s brother marries woman
– Peter discovers Phil’s weaknesses
– Peter gains Phil’s trust
– Peter kills Phil

It’s a revenge story. Peter repays the trauma that Phil inflicted on his mother, but it’s almost as hidden from us as it is from Phil. Campion is asking us to put this sub-narrative together ourselves. The characters themselves don’t necessarily arc, but if we solve the puzzle, our perception of them changes drastically.

Maybe the most brilliant hint is the rabbit sequences. As viewers, the second a cute little animal appears in a darker drama we just know it’s not long for this world. Popular film language tells us that it’ll be killed to demonstrate the monstrousness of the villain, who we assume is Phil. When the timid and frail Peter ends up calmly dissecting the animal, we’re initially confused, but we’re being shown who the monster actually is. Campion subverts our expectation and then reverts it when we finally understand what was going on all along.

Learned: Get your viewers to connect the dots themselves, making them an active participant in the storytelling. This is a pretty advanced technique for a n00b writer like myself, but it’s something to aspire to.