How Screenwriters Described Iconic Female Characters

Posted on April 10, 2018 at 3:22 pm

We’ve seen so many awful stories about the way that female characters are described in movie scripts that it was a real relief and pleasure to read Vulture’s list of the way that fifty great characters were first imagined and described by their screenwriters.  There’s a whole extra level of delight in getting to see writing by some of the best writers in Hollywood that we would normally not get to see.  We think of them as only being responsible for the witty dialogue, but they are also every bit as good at defining a character in a few short sentences of description as they are with what we will actually hear her say on screen.  (Note: The odd capitalization of character names and other words is standard for movie scripts.)

Kyle Buchanan and Jordan Crucchiola lead off with one of the most vivid characters in the history of movies, aging theatrical star Margo Channing, as played by Bette Davis in “All About Eve :”

How do you create a memorable female character? It helps if you get it right from the very beginning, as Joseph L. Mankiewicz did in his screenplay for All About Eve when he introduced the woman who would be played by Bette Davis. “The CAMERA follows the bottle to MARGO CHANNING,” wrote Mankiewicz in his stage directions. “An attractive, strong face. She is childish, adult, reasonable, unreasonable — usually one when she should be the other, but always positive.”  

via GIPHY

One of the best ones is this wonderfully evocative introduction of the faded movie star played by Gloria Swanson in “Sunset Boulevard:”

via GIPHY

Norma Desmond stands down the corridor next to a doorway from which emerges a flickering light. She is a little woman. There is a curious style, a great sense of high voltage about her. She is dressed in black house pajamas and black high-heeled pumps. Around her throat there is a leopard-patterned scarf, and wound around her head a turban of the same material. Her skin is very pale, and she is wearing dark glasses.

Few women but Audrey Hepburn could truly live up to this description in “Breakfast at Tiffany’s:”

The girl walks briskly up the block in her low cut evening dress. We get a look at her now for the first time. For all her chic thinness she has an almost breakfast-cereal air of health. Her mouth is large, her nose upturned. Her sunglasses blot out her eyes. She could be anywhere from sixteen to thirty. As it happens she is two months short of nineteen. Her name (as we will soon discover) is HOLLY GOLIGHTLY.

via GIPHY

One of the best screen couples has got to be Nick and Nora Charles from “The Thin Man.” If you haven’t had the pleasure of falling in love with them onscreen, rest assured that this description of Nora will do it for you:

NORA CHARLES, Nick’s wife, is coming through. She is a woman of about twenty-six… a tremendously vital person, interested in everybody and everything, in contrast to Nick’s apparent indifference to anything except when he is going to get his next drink. There is a warm understanding relationship between them. They are really crazy about each other, but undemonstrative and humorous in their companionship. They are tolerant, easy-going, taking drink for drink, and battling their way together with a dry humor.

via GIPHY

I especially enjoyed the contrast between the descriptions of Sarah Connor in the first and second “Terminator” movies. And the quiz to try to guess the character from the description.

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Every Plot in Fiction/Movies

Posted on August 22, 2016 at 3:55 pm

I once heard that all movie plots fall into just two categories: a boy (or girl) leaves home and a stranger comes to town. Someone else said that every movie story is about the search for authenticity. In my book, I list thirteen plots, from the classic antagonists/strangers on a journey (“Wizard of Oz,” “Midnight Run,” “It Happened One Night,” “Toy Story”) to the ups and downs and sometimes ups again of romance (“An Affair to Remember,””Annie Hall,” “Bringing Up Baby”), to what Alfred Hitchcock called the macguffin search for anything from the lost treasure to the secret formula (“Raiders of the Lost Ark,” the James Bond and Jason Bourne movies), to rise-and-fall (and sometimes rise) biopics (“Ray,” “Dreamgirls,” “All the King’s Men,” “Race”).

New York Magazine has the most detailed and entertaining list of every possible plot in fiction, whether novels or movies. The examples include a wide range of classics to read or re-read.

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Understanding Media and Pop Culture

Worst Movies of 2013 — Round-Up

Posted on January 2, 2014 at 8:00 am

the-counselor-posterThanks to New York Magazine’s Vulture column for including my thoughts in the round-up of the worst films of 2013.  Here’s the consolidated list.

As always, there are some movies that end up on both best and worst lists, notably “The Counselor” and “To the Wonder.”  But that’s part of the fun of end of year lists!

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Charting the Age Differences of Movie Star Romances

Posted on April 20, 2013 at 11:02 pm

geresloveinterestEvery year I enjoy voting for the award the Alliance of Women Film Journalists’ “Most Egregious Age Difference Between The Leading Man and The Love Interest Award.” There are always a lot of contenders. Now New York Magazine charts the age disparities over the careers of stars like Denzel Washington, Harrison Ford, George Clooney, and Brad Pitt. If there was an award for the most likely to co-star with an actress in his age group, the winner would be…Tom Hanks

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