Posts Tagged Character Development
Via: Daily Prompt – Roots
Title Mr. Church
Starring Eddie Murphy, Britt Robertson, and Natascha McElhone
Director Bruce Beresford
Writer(s) Susan McMartin
Genre Comedy Drama
Release Date September 16, 2016
Filming Location Los Angeles, California, USA
Parental Guidance PG-13 for thematic elements
IMDB Rating 7.7
Synopsis: In 1971, 10-year-old Charlie Brooks (Natalie Coughlin) wakes up one morning to find “a black man cooking in their kitchen”. Mr. Henry Joseph Church (Eddie Murphy) is the cook Richard, her mother Marie’s (Natascha McElhone) ex-lover, hired to take care of Marie for the next six months that she has to live while cancer consumes her. Charlie, who is unaware of her mother’s condition, is immediately put on edge by the absent Richard’s overstepping their privacy to place this mysterious man in their home though his meals are “like a party all the time” and her friends all cotton onto the advantages of having a cook quickly. Mr. Church raises a lot of conflicting emotions in Charlie with his jazz and his books (that he offers to lend books to Charlie from like a library) and, especially, his cooking. Over time, Charlie gives in. Six months turn into six years and Marie continues to live while Mr. Church continues to take care of them. An older Charlie (Britt Robertson) is now an avid reader, a student who has been accepted to Boston University but might not be able to go due to financial constraints, and she is weary of expecting her bed-ridden mother to pass on any minute. She avoids her mother even as she checks her breathing to ensure she lives and finds solace in the presence of Mr. Church, to whom she has latched onto as the surviving parent. But Mr. Church remains a mystery as much as ever and protects his off-duty hour whereabouts determinedly. Friendship has bonded the three into a family and Mr. Church is ever-present to soften the blows while Charlie ventures onto adulthood and navigates its many curveballs.
Experience (a few spoilers): I have always loved Eddie Murphy, ever since I watched a re-telecast of Coming to America on TV when I was about ten/eleven. So I put on Mr. Church fully expecting him to live up to his acting prowess and he did not disappoint. Generally a comic actor, Murphy put on his drama mask with the grace and appeal that made me want to run a Murphy Marathon featuring all his classics.
From the get-go, he had me hooked. The quiet efficiency with which he chopped and stirred and sauteed in the kitchen to his gracious compassion for the young Charlie and her sick mother. The character is beautifully written and presented, not needing to be thanked but doing his best to fit into the lives of this pair without trying to do any more than his job. But behind his humility lurks humor, which peeks out whenever he presents a dish to Charlie and watches her battle with herself to continue rejecting him while devouring his food.
Here, I must say something about the child actor. I truly enjoyed Coughlin’s performance as well. Short as her part was, she brought that sweetness to the character that made me feel more sympathetic towards young Charlie than annoyed, which could easily have happened given the level of her hostility. Though often rude with the openly belligerent rejection of Mr. Church, Charlie was apparently a kind soul in her heart, if wary. And even though the movie did not explore the angle that the advent of Mr. Church denoted her mother’s inability to keep up with chores, hence harking her imminent demise, I believe Charlie’s distrust may have stemmed from such intuition. In any case, every time Coughlin’s big blues rounded at the sumptuous food laid before her, I felt like giving her the auntie-cuddle.
The older Charlie did not always inspire as much hold though I could also like her fairly enough. It must be the overall sense of goodness that emanated from Charlie’s character, from childhood to adulthood. I could feel sympathy for her teen self as she transferred her sense of security to Mr. Church while trying to deal with her mother’s (a woman she continued to believe the most beautiful woman on earth) impending death. Her withdrawal is real and her acceptance of life’s pitfalls also feels real. Robertson does a good job performing the role of the watchful-yet-retiring teenager and later the transgressing-and-learning adult. She is the character that has to grow and Mr. Church is the rock on which she founds herself.
McElhone did a great job in playing a woman trying to make the most of her last days with her daughter. The mother’s love is apparent and there is a particular scene in the bathtub that she performed superbly. The scene could easily have turned sappy but Marie’s struggle to make her daughter understand the importance of not giving up on life while waiting for death felt chokingly real. She depicted physical weakness while trying to muster emotional strength as she confesses her biggest regret is something beyond her control. I think that is the scene that dotted her t’s and crossed her i’s for McElhone’s take on Marie’s role.
The overriding themes of this movie, home, acceptance, and friendship, is so beautifully slipped into the consciousness that even when tragedies strike, it’s ok – reassurance is just around the corner. It is as though the Mr. Church’s personality permeates the plot. It is one of those stories where nothing much happens other than life, and we are reminded every phase of the film that in life, tragedy is part and parcel of happiness. It allows the audience to realize that it’s not so bad. I cried many times through the movie but there was a joy. I felt peace. And the lovely way the scenes were scripted and directed, it did not allow any of the actors to overstep their roles. The steadiness with which the story progressed, I could have watched it for hours more. Again, it was as though Murphy’s portrayal of Mr. Church toned the entire movie, even the frames where he wasn’t present. And Robertson’s character did its best to compliment, reminding us that home is where you can trust to put your roots down.
Recommendation: Oh, yes, you must! Whenever you feel a bit down on luck, this movie is sure to make you feel more grounded. Although I really missed Murphy’s toothy grins, it might be my favorite movie of his now.
Andy clipped her client on the chin, forcing him to throw his head back with the blow. Next, she got down on her haunches and threw one leg out, swiveling it to push her client’s legs out from beneath him. All six-feet-three-inches and two hundred pounds of him came crashing down with an outraged gasp on the boxing ring bed, making her jump up to regain her footing as the structure quivered all around them. Grinning down at Bob around her mouthguard, she prepared herself to face his rebuke. However, he seemed less than inclined to satisfy her irritable mood today.
Bob groaned into a sitting position and rested his elbows on his upraised knees. Spitting out his mouthguard into a gloved fist, he leveled his resigned moss-green eyes up at her. “That must’ve been some meeting you had with your old man yesterday,” was all he commented.
Andy spat out her own mouthguard, disgusted by his consoling tone. She was itching for a thrash-out and he was refusing to take the bait. What must a gal do around here to get an able and willing male opponent in the ring? “Meetings with my dad are nothing if not out of the ordinary. You should know that by now.”
Bob grunted non-committally. He pushed himself off the bed with the sheer strength of his legs alone, his calf muscles bunching and releasing with the effort. Andy tried not to gulp audibly. Her pelvic floor muscles, however, she thought she heard squeak with yearning. Not that she would respond to such yearnings; Bob was her client, after all. Read the rest of this entry »
“Hi, Dad.” Andy stared into a pair of eyes identical to hers in more ways than just the shade of larkspur and hooded lids. They matched her discomfort too. “Can I come in?”
He shrugged and walked away from the open door to his condo. Andy walked into his Florida home for the first time, closing the door behind her as she tried to rein in her curiosity. Driving up to the complex, walking through the grounds and lobby, riding up the designer scented elevator, she had been amazed by the glamor and upkeep of the property. The inside of her father’s apartment, however, suited more with his lifelong philosophy.
There was something called minimalism and then there was how Allen Tybalt lived.
Growing up with an austere man such as Allen had been challenging every step of the way. His job had their family moving a lot. Even though he was always away for on-site projects, Andy and her mother had to keep accompanying him to new cities every couple of years because Allen insisted that they live as a unit.
Allen had been a power plant engineer, the best in his field apparently. He earned a sack full of salary every month but never allowed Andy’s mother to decorate their myriad of residence as she wanted. Whenever her mother proposed the idea to buy something for their home, Allen would insist the venture unnecessary since they would have to move again anyway. That a family subjected to as many location transfers as theirs be unencumbered by possessions was perfectly logical so her mother never argued. Besides, few people won an argument with Allen.
It was just as well because Andy’s mother died in a road accident when Andy was just twelve years old so she doubted her mother would have gotten much time to enjoy a fully decorated home.
“You have a nice setup here, Dad,” Andy now said, looking around. “Suits you.” Actually, upon closer look, the furniture did appear to be very vogue even if sparse. “I’m not sure how easy it will be to pack the Zeng Fanzhi painting if you decide to move,” she added, staring at the article in question hanging over the long blue crushed velvet couch.
“I hide the money behind that. Besides, I won’t be needing it where I’m going next,” Allen grumbled. Read the rest of this entry »
Via: Daily Prompt – Label
Are writer’s quick to judge? If writers habitually sit around in public places, siphoning characters out of their neighbors, are their inspirations founded on preconceptions programmed into their outlook of society? I mean, sure, they add onto what they see but would it be correct to say that their imagination is still founded on stereotypes that they are prepossessed to notice?
Today, a friend of mine was hashing over a story idea with me for a novel he wishes to write in the near future. Without giving away much of anything, there’s a part where the protagonist, after facing a tragic defeat in love, begins to imagine various alternate scenarios where he might come off as the winner. While the protagonist is aware that these various attempts to change his fate are imagined, he is unable to distance himself from the illusions. I, in my turn, threw in Dumbledore’s dialogue from the King’s Cross scene in Harry Potter and the Deathly Hallows, “Of course it is happening inside your head, Harry, but why on earth should that mean that it is not real?”
Dead silence followed this ejaculation from the other end of the line. My friend has not read the HP books and, if he has seen the movies, it was probably without much reflection. I try not to hold this against him.
I went on to explain to him, “Perception is reality. How you perceive things adds to your experiences, which is what shapes you. If your character should imagine various alternate scenarios in search for romantic success and continue to fail, can it not add to his growth even if the incidents didn’t really happen?”
He seemed to like the concept very much and we discussed it further. I mentioned to him the Wickham-Darcy controversy in Pride and Prejudice [another classic he has not read but I don’t complain] and described the scene where Elizabeth reads Darcy’s letter, discovers Wickham’s true nature, and realizes what a gross error in judgment she has made. And her epiphany is not in the clarity she receives in finally learning what a villain Wickham is but in learning her own failing. That she had let a bruised ego direct her away from properly assessing Wickham’s abuse of Darcy. That her pride in the ability to discern the characters of others was not as deserved as she had assumed.
“But the crux of this conflict is,” I explained to my friend with the level of excitement I always feel when discussing Austen’s works, “if Elizabeth had not initially got her evaluation of Darcy so wrong, would she have learned to appreciate his goodness as strongly as she did later? Maybe if she perceived reality correctly the first time – if she had always known the truth – he would be just another rude guy but who has his heart in the right place? Maybe reality alone was not enough to make her fall in love with him? She needed to experience the lie to become fit to love him. Maybe sometimes a character needs to experience the lie in order to appreciate the truth. The unreal in the now can contribute to creating a desired reality for a later period.”
Hah! Now I’m counseling others on writing. Go figure.
I recently came to learn that most of my fellow writers pick characters off real life. They sit around in coffee shops and roadside bistros, watching their neighbors and making up stories about them. This practice is, apparently, more common than when you watch TV on mute and try to feed dialogues to the people on the screen. Mind blowing, right? I always wondered how writers felt so comfortable tapping away at the keyboard in coffee shops. Turns out, they are really just describing their surroundings. Not a bad writing tip, I thought. Should speed up the process of character creation some.
My characters come completely out of my head – just as my stories come to me when a real life situation strikes me as though it didn’t pan out the way they should have. So I try to “fix” things, albeit in fiction, where my muddled heroes and heroines stumble around until they learn “the right way” of living. I’m a big fan of justice, and when justice is not to be found in the real world, I make up worlds of my own. I’m really a very balanced person.
The problem is if my characters come right out of my head, how do I allow them to become independent of who I am? When I already know the way I want my characters to behave at the end (to serve the moral I wish to convey), how do I let their journey become independent of mine? Also, it would be a terrible bore if every character turned out to be an extension of me. Read the rest of this entry »
There’s a loaded word. I always felt that nuances exist on the precipice of stereotypes. You take the expectations cultural dogmas have conditioned in you and add a little something-something. Voila! You have nuanced characters for your stories. Personally, I use the following template to guide me when creating my characters. This should help a few writers.
Title The Book of Love (originally titled The Devil and the Deep Blue Sea)
Starring Jason Sudeikis, Maisie Williams, Jessica Biel
Director Bill Purple
Written By Robbie Pickering and Bill Purple
Release Date January 13, 2017
Parental Guidance PG-13 for thematic content, language and drug materials
IMDB Rating 5.5
Synopsis: Henry is your average joe, his creativity only peeking out when he is off designing architecture for his real estate developer company, which is what he is brilliant at. The only thing that keeps his life from fading into the mundane is his oddball wife, Penny, whom he monikers hurricane. Penny tries to stamp her mark on Henry’s life by pushing him to do the eccentric things she lays out and simply “be bold!” Penny is expecting to deliver their first born in the coming month and he just gets an offer to be made partner at his office when Penny has a fatal road accident and Henry’s life is turned upside down. Recovery comes in the form of Millie, a homeless girl rummaging through his garbage. They interact over a cabinet he is ready to dispose of that she could use and she comments that the magenta sneakers he is wearing with his suit “is the shits”, which is what Penny had said to convince him to put them on the morning before she died, and he suddenly remembers that the last promise he had made to Penny was to help out the homeless girl who goes through their garbage. After a bit of harmless stalking, Henry discovers Millie is trying to build a raft to cross the Atlantic Ocean and he decides to dedicate all his time in helping her and in the process rediscovering his reason to go on.
Experience: Given the number of book-turned-movies playing at the cinemas these days, amazingly The Book of Love is not a book turned into movie. I walked into this movie without having seen the trailers or reading the synopsis, which in itself is very unusual for me. But I have always loved that Peter Gabriel song “The Book of Love” and find Jason Sudeikis one of the more versatile but underrated actors of Hollywood so it wasn’t difficult to hit the play button with so little nod to movie prerequisites. It turned out to be one of those uncalculated risks that provide the exact morale your life needs at the time.
While the plot was not something I would call riveting, the script has been very well written. Despite the lack of brief on its premise, I could pick up on the cues of what was about to come early on. The director cut straight to laying out who the lead characters are, that something was about to happen to render upheaval into this young couple’s lives. In fact, I could tell Penny (Jessica Biel) would die soon as she made Henry (Sudeikis) promise he would take care of the homeless girl if he meets her. I could also tell how much Henry doted on Penny by the way he gave in to her every whimsy regardless of the level of contrast they drew to his personality as well as work life (wearing the magenta sneakers with his suit to a major career altering meeting). I could smell the devastation brewing but not in the way that the end was given away. I did not feel like, oh! It’s just another movie about a guy getting over his wife’s death, I was intrigued by the idea of how… how will Millie (Maisie Williams) the homeless girl help him get over her death, how did he come to love her even? Obviously Millie is too young to be of romantic interest, which would have been just abhorrent so soon after Penny’s death.
The cinematography of the movie also sets the mood. The color scheme, mostly muted tones to set the atmosphere of loss with the only contrast allowed in the spaces of the house where Penny, who was also an artist, spent most of her time, like the kitchen or the bedroom. There is a lot of clutter everywhere that Henry goes, as though he needs to find a way to draw himself out of the rubble. The director used a lot of montages in the movie to pace the travel through time, both in flashbacks as well as how Henry’s life progresses. There are two junctures of the movie portraying the moments of changes in Henry’s life that really resonated with me. First, at the wake at the house, where everyone moves in slow motion, discussing the death matter-of-factly while Henry sits ignored until he really attempts to isolate himself. The other is when Julia (Mary Steenburgen), Penny’s mother triggers him into a panic attack when she pushes him into realizing that he might be having a breakdown as he risks his career to build a homeless girl build a raft to cross the Atlantics. Pivotal moments when Henry is both at his worst and his best because after each panic attack, he works out a puzzle, somehow left behind by Penny.
Which brings me to the overall theme of the movie. A bit of study online showed that the most highlighted quote from the movie is “Sometimes, things are better when they’re not perfect.” But I felt what defined the movie best was “Death ain’t about the people who died anyway. It’s about the ones who have the shit luck of having to go along without ‘em.” The central trope of the movie depicts how each character deals with Penny’s death. There is Henry, who after withdrawing into himself focuses his energy into fulfilling his last promise to Penny by helping Millie and thereby pushing further the moment when he must truly accept her absence in his life. There is Julia, who strives for control in Penny’s death just as she has during her life, and focuses on the minutest details involving the funeral, the obituary, charity, etc. as though it is just another responsibility she must take care of – clearly, her daughter leaving the world before her is a burden, especially given the guilt of never cherishing the time she had her. There’s Henry’s boss, Wendell (Paul Reiser) who lacks even the basic sense of empathy to put aside the company goals to allow Henry the time to grieve but you can also see how he is embarrassed by this lacking. There are even “Dumbass” (Orlando Jones) and Pascal (Richard Robichaux), the guys who were working on the renovation of the house and who were endeared by Penny who took care of them while they were around, who take it upon themselves to help Henry through his grief. Without revealing too much, in the end you get to see even Millie had a reason to deal with Penny’s death. But there is a likeness in the way both Henry (for Penny) and Millie (for her father) use fulfilling promises and the lost dreams to get over their own losses, which sort of answers the conundrum of the movie. I enjoyed how this theme remains consistently throughout the movie as each character’s arcs are developed.
When speaking of the characters, of course something must be said about the actors’ portrayals of them. First and foremost, I was thoroughly convinced by Sudeikis. Despite being a comic hero, he was able to invoke the tragedy Henry undergoes. In fact, I especially enjoyed the nuance he rendered the role with subtle moments of comic disaster he ends up in. Initially, I felt it a bit unbelievable that he could be propelled to fixate on the raft-building so soon after Penny’s death but his motivation came out to dispel that disbelief. Another actor I felt did a good job was Jones. He took what minimalist role he had and really bit into it. Williams, on the other hand, though played the other lead role, did not come into character until halfway through the movie. However, that might also be because her bayou drawl was a bit contrived and unnecessary even to the plot. Also, I could see how narration by Millie created bridges to allude to each segment of the movie, I did not really see why it had to be there. The only actor that really was the oddball was Biel’s. But while Penny the oddball was a necessary and endearing element, Biel was something the movie could have done without. Biel just did not have the ethereal quality that Penny needed to make her peculiarities blossom. In fact, Biel looked a bit haggard all through.
Recommendation: Again, if plots are dead important to you, I would suggest skip the movie. It is a bit whimsical yet ordinary, which the narrator warns of in the prologue of the movie. However, if you just like good character building, acting and enjoy a good script and direction, you will enjoy this movie like I did