Monday, March 27, 2017

Narratology; Screwball Comedy; The Marx Brothers: Duck Soup


Narratology: the study of narrative forms. 
Narratologists (people who study narrative structure) are interested in the rhetoric of storytelling.

That is, the forms that "message senders" use to communicate with "message receivers."

In cinema, the problem with this communications model is determining who the sender is because while the implied author is the filmmaker, multiple authorship of scripts is common, especially in the United States. Should we credit the director, writer, editor, actor, or cinematographer as the author whose vision controls the project? Or perhaps we should credit the viewer who is responsible for following the film story?

Narration also differs according to a movie’s style. In classical films, boring gaps in the narrative are edited out by a discrete storyteller, who keeps a low profile, yet maintains to keep the action on track, moving toward a specific ending—the resolution of the story’s central conflict.

The story can be defined as the general subject matter, the raw materials of a dramatic action in chronological order.

In the classical narrative style, the established conflict builds to its maximum tension in the climax. Films are often written in 3-Acts, each with a beginning, middle, and end of an established or introduced conflict. We have studied plot extensively in playwriting. Yes, you should note inciting incidents, major decisions, complications, conflicts, crisis or turning points, dark moments and enlightenments, etc.

Also, stories are divided into genres. Each genre has rules and expectations that help define its narrative elements: story, structure, character, plot, setting, etc.

For example, in a science fiction film, we assume that spaceflight is easily possible, or that alien life is probable. These are tropes of the genre. Absurd situations, for example, are expected in comedies, but not usually appreciated in dramas. A genre sets forth the rules of what is possible in a film (or novel or short story as well).

In film there are three super genres (broad genres that encompass the whole): they are STYLES of film:
A. Realistic: (qualities: objective, 3rd person POV)
B. Classical: (qualities: objective/subjective, 3rd person, often limited 3rd person)
C. Formalistic: (qualities: subjective, 1st person or unreliable narrator)
When narratives fail to act according to convention or what we have come to expect from tradition or from the genre, we, as viewers have to figure out what is meant from the deviation of the structure and style of the genre.

Good writers are able to push the boundaries of what a story can allow within its chosen genre. When watching a movie, or reading a script or novel, you should be aware of the genre rules and assumptions you are likely to be presented with. In the romance genre, for example, we must assume that people fall in love almost immediately (and that this love is real, as opposed to just a physical attraction). That's part of the genre. When we criticize a movie, we should first check our understanding of what the writer and director were attempting to present to us.

Some classical and formalistic narrative techniques we recognize:
  1. The flashback
  2. The dream sequence
  3. The distorted view (as if the subject or character is drunk, insane, troubled, drugged, etc.) Commonly uses an oblique angle or birds eye angle or view to disorient its viewers.
  4. Voice overs (this indicates we have a subjective narrator) 
  5. The use of intertitles reminds us that we are watching a story--like reading a book. While outdated today, some films still use this technique to great effect, as in Star Wars (1977, George Lucas) or Inglorious Basterds (2009, Quentin Tarantino)
Other narrative techniques include:
  • Crosscutting
  • Montage
  • Multiple perspective
Classical style narrative plots generally follow the typical 3-act structure. They rise through a series of events (rising action) to a definitive climax, and usually resolve in some definitive way at the end of the film.

These plots are generally linear: telling the story in sequence of time and ordered events or chronological time.

Important symbols or metaphors are usually explained; solutions are offered. These classical films, more than formalistic or realistic films, are directed to a general [genre specific] audience.

Most films fall into this category, but at the far end of the spectrum are the avant garde films that use formalistic narration. Formalistic films rely heavily on metaphor, implied meaning, subjective POV, unreliable narrators, and surprising special visual effects. Here are a few sample clips of this type of film (view these on your own time):
READING ASSIGNMENT: Read the following script. As you read, examine the script for its narrative style. We will discuss the script and the film next class.
In particular, be prepared to discuss how the film uses narratology as a device. Examine the genre, the plot structure, the character portrayal, the setting, POV, and intended audience. What elements of the film script are formalistic, which are classical or realistic, etc. How does the film script adhere to the rules of the genre (what are those rules?) and find examples of the narrative style.
From Tim Dirks, AMC: 

"The Marx Brothers' classic comedy Duck Soup (1933) is a short, but brilliant satire and lampooning of blundering dictatorial leaders, fascism, and authoritarian government. The film, produced by Herman Mankiewicz, was prepared during the crisis period of the Depression. Some of its clever gags and routines were taken from Groucho's and Chico's early 1930s radio show.

It was the Marx Brothers' fifth (and last) film in a contract with Paramount Studios before they went on to MGM. The film was directed by first-class veteran director Leo McCarey, and its screenplay was written by Bert Kalmar and Harry Ruby (with additional dialogue by Arthur Sheekman and Nat Perrin). The film was devoid of any Academy Award nominations.

The outrageous film was both a critical and commercial failure at the time of its release - audiences were taken aback by such preposterous political disrespect, buffoonery and cynicism at a time of political and economic crisis, with Roosevelt's struggle against Depression in the US amidst the rising power of Hitler in Germany. 

Insulted by the film, fascist Italian dictator Mussolini banned the film in Italy. Fortunately, the film was rediscovered by a generation of 1960s college students, and by revival film festivals and museum showings. As a result, the film has attained immortal status. 

This was the last of the Marx Brothers films to feature all four of the brothers. Their next film (without Zeppo), for MGM and its producer Irving Thalberg, Hollywood's most prestigious studio, was their landmark film A Night at the Opera (1935), with a more developed and polished plot-line.

The comedians in the film attack the pomposity of small-time governmental leaders (Firefly as President), the absurdity of government itself (the Cabinet meeting scene), governmental diplomacy (the Trentino-Firefly scenes), an arbitrary legal system (Chicolini's trial), and war fought over petty matters (the mobilization and war scenes). 

The non-stop, frenetic film is filled with a number of delightfully hilarious moments, gags, fast-moving acts, double entendres, comedy routines, puns, pure silliness, zany improvisations, quips and insult-spewed lines of dialogue - much of the comedy makes the obvious statement that war is indeed nonsensical and meaninglessly destructive, especially since the word 'upstart' was the insult word (Ambassador Trentino calls Firefly an 'upstart') that led to war between the two countries. 

Unlike many of the Marx Brothers other features, there are no romantic subplots (with Zeppo) and no musical interludes that stop the film's momentum - no harp solos for Harpo and no piano solos for Chico. There are, however, a couple of musical numbers that are perfectly integrated into the plot.

The film's title uses a familiar American phrase that means anything simple or easy, or alternately, a gullible sucker or pushover. Under the opening credits, four quacking ducks (the four Marx Brothers) are seen swimming and cooking in a kettle over a fire. Groucho reportedly provided the following recipe to explain the title: "Take two turkeys, one goose, four cabbages, but no duck, and mix them together. After one taste, you'll duck soup for the rest of your life."

The Story

The film opens with the flag of Freedonia (emblazoned with an "F") flying over the small village. The government of a "mythical kingdom" - the Balkan state of Freedonia, is suffering an emergency. It has gone bankrupt through mismanagement and is on the verge of revolution. The country's richest dowager millionairess, the wide and widowed benefactress Mrs. Gloria Teasdale (Margaret Dumont) has offered $20 million to sponsor and support the cash-poor government, but only if it is placed under new leadership.

The opening scene is the classic inaugural ceremony and lawn party for the conferring of the Presidency of the tin-pot republic to a newly-appointed leader, Rufus T. Firefly (Groucho Marx), characterized by a supportive Mrs. Teasdale as "a progressive, fearless fighter." 

In the coronation setting (a spoof of all such gala events), royal court guards at the entry announce the guests. Meanwhile, the representative of the neighboring Sylvania [the name of the country where Jeanette MacDonald ruled in Ernst Lubitsch's The Love Parade (1929)], Ambassador and rival suitor Trentino (Louis Calhern), schemes to win Mrs. Teasdale's hand in marriage by wooing the rich heiress (with the ultimate goal of annexing Freedonia to Sylvania). He has hired the seductive, sultry, and sinuous Latin temptress/dancer Vera Marcal (Raquel Torres), to function as a secret agent and keep Firefly distracted [in a satire of all Mata Hari films]."

As you watch (or read), notice characteristics of Screwball comedies:
  • Mistaken Identities
  • Crossdressing
  • Romantic storyline or plots (often with the lovers being mismatched)
  • Class or economic issues
  • Fast-talking dialogue (witty repartee) 
  • Ridiculous situations
  • Farce (sudden or unexpected entrances or exits, physical humor, etc.)
Read the script Duck Soup. Watch the film. Examine narrative structure and screwball comedy techniques. We will discuss these more in depth, next class when we conclude the film.

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