Five days; two movie previews; two bizarre starts.
Last week, before a movie preview, comic Richard Gadd persuaded me he was half-Finnish and starred in the film. Neither was true.
Last night in London, I went to a preview of the movie Don’t Think Twice. I had not actually been invited. I was a last-minute stand-in as someone’s +1.
I arrived well before they did, explained to the PR people who I was and who I was with. We got right through to the point where my name badge had been written out, put in its plastic sheath and handed to me when I – for no real reason – asked: “This IS for the Don’t Think Twice preview, isn’t it?
It was not.
It was for a New Statesman talk on Brexit and Trump.
I was tempted to go to that because I actually HAD been invited to that event and had not been invited to the film preview.
But I took the movie title to heart and went to the Don’t Think Twice preview.
It was what used to be called a ‘talker’ screening and is now apparently called an ‘influencer’ screening. In this case, an audience of comics and comedy industry people.
Afterwards, one comedian told me they loved it. Another told me they thought it was awful. Yet another told me that, as long as they remained within the confines of the building, they would say it was very good.
As I wasn’t officially invited to this screening, I feel I can actually be honest about my thoughts.
The story is about a New York improvisational comedy group – they are middling fish in a small pond – all of whom see their next career step as being invited to be one of the regular performers in the TV show Weekend Live (a not-really disguised fictionalisation of Saturday Night Live). The publicity says the movie “tells a nuanced story of friendship, aspiration and the pain and promise of change”. And therein lies the problem.
Mike Birbiglia is the director/co-star (it is an ensemble piece). He is a comedy performer as are most of the cast. It is shot in a successfully easy-going style. But it falls prey to the problem of a movie created by actors about and for actors.
Actors are interested in building atmosphere, character and relationships.
Which is good.
But that ain’t plot.
The movie tells a story – Which, if any of them will get on the TV show? There is a sub-plot about their live theatre closing and the father of one of the performers is dying. And there is the thought: Will success spoil existing relationships?
But those are stories, not a movie-movie plot.
Clichés are clichés because they tend to be right.
The cliché plot structure is:
- You start with a major unresolved problem. That is the ‘hook’.
- The body of the film involves the unravelling of the problem.
- The problem is resolved at the end of the film.
- Along the way, the hook is refreshed and additional subsidiary temporary hooks are inserted and resolved while the main plot continues.
A subsidiary ‘rule’ in a movie-movie is breadth of scale and that, ideally, the entire set-up of the movie, the main characters and the hook are established in the first 2-4 minutes. (The best example I have ever seen of this is the original Die Hard movie in which everything is set-up, including an important back-story, under the opening titles.)
Don’t Think Twice starts with sequences which establish the main characters and the general setting but the main hook (the not-quite-strong-enough Saturday Night Live Will-they?/Won’t-they? plot) is brought in far too late.
The film is high on atmosphere and fine on characters. Good.
It has a story.
But not a gripping plot structure.
There is nothing particularly wrong with it as a piece of entertainment. It will probably feel better watched on a TV or computer screen at home rather than in a cinema because it is not a movie-movie. It is a TV movie or (in olden days) a straight-to-DVD movie.
It got some laughs of recognition from the rather industry audience I saw it with. But, at its heart, it is a movie created by performers, about performers and for performers. Average punters Dave and Sue in Essex or Ohio, in South London or East LA have no real reason to be gripped.
‘Story’ is not the same as ‘plot’.
But – Hey! – What do I know? I did not like the multi-5-star-reviewed Finnish film The Other Side of Hope and liked Guy Ritchie’s $175 million mega audience disaster King Arthur.
Don’t Think Twice was shown in the US last year. It opened on one screen in New York City and grossed $92,835 in its opening weekend, the highest per-screen gross of 2016. Rotten Tomatoes currently gives the film an approval rating of 99% based on 111 reviews.
What do I know?