Tag Archives: Fight Club

SIX OF THE BEST #12 – UNRELIABLE NARRATORS IN CINEMA (WITH HUGE SPOILERS)

SIX OF THE BEST #12 – UNRELIABLE NARRATORS IN CINEMA

**CONTAINS MASSIVE SPOILERS**

I find the nature of storytelling and narrative construction a fascinating craft. As someone who reads and watches a lot of stories via: books, cinema, theatre, comedy, radio and television, I am always drawn to devices which differ from the conventional norm. When I was younger I used to pour scorn on stories told straight and in chronological order. I like difficult or unconventional works as it appealed to my younger rebellious side. Of late though, I have come to realise that unconventional or non-linear storytelling can be used as a stylistic device for the sake of it and adds nothing to the story. Screenwriting navel-gazing devices such as fragmented timelines can detract from the emotional impact of the characters’ journey. Thus, to get a complex layered and non-linear storyline right is difficult. Many writers and filmmakers experiment with variant structures to escape standard narrative conventions. Indeed, with hard work and positive creative decisions it is possible to capture magic in a script and transport it to the screen.

Conversely, the device of the unreliable narrator is another means which a screenwriter can differentiate a narrative from conventional classic storytelling. Usually, in say a Hollywood blockbuster our hero or heroes will be those we root for from beginning to end. To switch our main protagonist or narrative focus from positive to negative or good to bad is brave writing. To even begin with an anti-heroic or even unlikable lead protagonist is obviously a risk and can alienate the audience. Furthermore, to make the lead character or characters unreliable is very difficult. However, the tricky craft of leading us one way with a protagonist before revealing them to be untrustworthy or twisted is a device which can provide much narrative satisfaction.

In 1981, William Riggan, created a study of various unreliable types, including: The Picaro, The Madman, The Clown, The Naif and The Liar. The Picaro will typically be a bragger, similar to the Liar but not as heinous. The Madman or Mad Woman, however, will be more sinister but The Clown and The Naif will either be playing for laughs or in the latter’s case, telling their story from a naïve position. Moreover, an unreliable narrator will potentially be hiding their own crimes or actions out of guilt. Or they will have amnesia, selective or deliberate to mislead the audience. They may just take great joy in telling lies or simply be unhinged to believe their fractured personality is presenting their version of the truth. It could be they are also attention seekers; OR actually a combination of all of the above.

Examples of unreliable narrators are legion throughout theatrical and literary presentations. Indeed, Agatha Christie and Jim Thompson often utilised them in their crime stories; as did novelists such as: Emily Bronte, F. Scott Fitzgerald, Bret Easton Ellis, Gillian Flynn, Vladimir Nabokov and many more. In this piece I would like to consider six of the best films featuring unreliable narrators. It was tough to get just six as I could have easily doubled it but here we are!

***CONTAINS MASSIVE SPOILERS***

Image result for unreliable narrator

ATONEMENT (2007)

Joe Wright’s majestic directorial adaptation of Ian McEwan’s tragic war story is a poignant study of petty revenge and romantic conflict. While the story focusses on the doomed love affair between James McEvoy and Keira Knightley’s class-crossed lovers, the narrator is novelist Briony Tallis (Vanessa Redgrave).  Due to a spiteful action by her thirteen year-old self the events of the drama are revealed at the end to be manipulated out of sheer guilt. While she attempts to give the romance story a more positive ending the horrors of war are to the fore and Briony’s remorse will never be humbled.

THE CABINET OF DR CALIGARI (1920)

This silent movie classic is seen as the epitome of German Expressionist cinema. Set within the confines of a mental health asylum it was directed by Robert Wiene and written by Hans Janowitz and Carl Mayer. The story concerns a man named Francis (Friedrich Feher) as he tells of a strange tale involving the mysterious somnambulist Cesare and nefarious Dr Caligari. Both stylistically and structurally formidable the film features: twisted and painterly sets, shadowy key lighting and ghostly make-up. Also, the story-within-the-story is both terrifying and all a lie in the mind of a madman. The ending would now be seen as potential cliché but on release it was astounding and clearly influenced another story with a troubled and unreliable narrator in Shutter Island (2010).

FIGHT CLUB (1999)

Chuck Palahniuk’s seminal novel and David Fincher’s incendiary cinematic adaptation is way too complex a piece to sum up in this little list. However, it still stands the test of time in terms of style and structure as Fincher directs the hell out of Edward Norton’s everyman and his charismatic alter-ego, Tyler Durden. A brutal, violent and coruscating vision of masculinity in crisis within a crumbling, corporate and schizophrenic society, Norton’s unreliable narrator spits and spirals and finally splits literally in half. Funny, dark, and a genuine film classic, no one’s meant to talk about Fight Club but it certainly deserves all the praise heaped upon it.

MEMENTO (2000)

Christopher Nolan’s early noir classic Memento (2000) is famously told in reverse chronological fashion, thus subverting the very nature of linear storytelling. His anti-hero, Leonard Shelby, has no means of making new memories thus via tattoos and Polaroid photos he constructs a present day movie of his own life in visual form. As the story unfolds we flash back and forth to a film within a film about a character called Sammy Jankis. Yet, incredibly and sadly, it turns out that Sammy is an imagined character used to suppress a terrible event in Leonard’s life and the film within a film is in fact the imagined vision of an unreliable narrator.

RASHOMON (1950)

Akiro Kurosawa’s superbly directed crime classic has not just one but numerous unreliable narrators. Structured around the investigation into a rape and murder in Japan the story splinters around the investigation of said crimes. Various versions of the same story are told from different perspectives as the subjectivity of truth is tested to the full. Are the characters’ stories from the perspective of: the bandit, the wife, the samurai and woodcutter lies or “true” reflections of the events in their respective minds? We all tell stories and is it possible we have got it wrong by mistake or manipulating the truth to our own benefit. Rashomon  posits such questions and more in a beautifully rendered cinema classic.

THE USUAL SUSPECTS (1995)

Christopher McQuarrie’s screenplay remains one of the best I have ever read and the film is not too bad either. Shot on a low budget but cast perfectly the whole story is set around Chazz Palminteri’s cop grilling Kevin Spacey’s Verbal Kint about a major crime at the docks. What follows is a fractured structure which twists and turns on the basis of the narratives Kint is providing. We flash into event within event which is initially perceived to be truth but ultimately is a fiction. The final reveal where we find Kint has, in fact, been hiding a devilish truth all along astounds the cop and audience beyond belief. The story was so complex that Gabriel Byrne and other cast members actually thought they were Keyser Soze; only finding out they weren’t when they’d seen the incredible twist ending.

“YOU’RE FIRED!” – SOME GREAT TV/CINEMA SACKINGS

“YOU’RE FIRED!”  – SOME GREAT TV/CINEMA SACKINGS

“I was looking for a job and then I found a job. Heaven knows I’m miserable now!” Stephen Patrick Morrissey

**CONTAINS MILD SPOILERS**

Cinema and television is often about reflection. What happens on screen reflects the dreams or loves or nightmares or hates of the audience.  There is no greater scene in a movie I love more than a good sacking or resignation scene. Indeed, I’ve had many jobs I’ve hated. I’ve had many jobs which hated me. Plus, in my “career” as a wageslave I’ve been constructively dismissed, made redundant and resigned from various places of employment.

So, when I see it occur on screen I thrill at the idea of a character NOT being in work; of leaving employment; of being free and damning the consequences. Of course, this is all wish fulfilment and projection as I am a responsible person and continue to punch the clock. Nontheless, if you have a desire for a certain level of existence and especially if you have children you need to pay your way.  But a sucker can dream and have the mirage of hope play out on a big screen. For your consideration I have pushed, filed, stamped, indexed, briefed, de-briefed, and ordered some cracking sacking or resignations scenes from television and film.

For your consideration I have pushed, filed, stamped, indexed, briefed, de-briefed, and ordered some cracking sacking or resignations scenes from television and film.

AMERICAN BEAUTY (1999)

This brilliant ensemble drama confirmed Kevin Spacey as an actor of some force and the scene where he turns the tables on his boss in just magnificent. I also love it when he’s interviews for the job at the fast food place because he wants a job with as little responsibility as possible.  A mid-life crisis has never been so much fun!

BOYS FROM THE BLACKSTUFF (1982)

A tragic and darkly comic “poster-man” for Thatcher’s Britain, Yosser Hughes became synonymous with the catchphrase “Gissa job!” A pale, ghost of a man who would essentially get hired and fired on the spot due to his uncontrollable anger and violence. The whole series is classic British TV at its best and in Yosser’s Story I’m both laughing and crying inside at the same time.

BRIDESMAIDS (2011)

I’ve used this scene before on a previous blog item about great dialogue scenes and happy to use it here again. Kristen Wiig and the teenage nemesis exchange verbal blows ending in a cracking payoff right at the end. The scene has wonderful performances and cracking comic timing as they take the comedy staple of battling one-up-woman-ship right up to eleven.

“DO I NOT LIKE THAT!” ITV DOCUMENTARY (1994)

One of the greatest sporting documentaries ever!  The tragi-comedy of Graham Taylor’s ill-fated attempt to get England to the 1994 World Cup is a brutally honest and painful to watch.  Taylor is a fine football man but this whole documentary is one big sacking waiting to happen. David Brent doesn’t manage football teams; but if he did.

FIGHT CLUB (1999)

One of my favourite films of all time this is a wonderful, wonderful scene which captures the mood and violence of the thematics in a heartbeat.  Smashing yourself up AND blaming your boss is just a magnificent way to leave a job. Awesome!

THE HUDSUCKER PROXY (1994)

While not one of the Coen Bros more celebrated films The Hudsucker Proxy has many wonderful visual tricks up its sleeve. The opening set-piece where the Chairman of the Board “resigns” is a wonderfully constructed sequence edited and shot with their usual flair, humour and precision.

KILL BILL: VOL. TWO (2004)

I really felt sorry for Michael Madsen’s Bud in this scene.  Here’s a guy who is a part of infamous assassin team called The Viper Squad, in a deadbeat backwater town bouncing to make ends meet with a coked-up-douche-bag-boss to boot. For being late he is catigated in the most humiliating way and yet doesn’t react.  Perhaps he’s above it all but I really wanted Bud to thump his scumbag boss but he just takes it and walks out.

NEED FOR SPEED (2014)

Great driving and car stunts do not save this video-game adaptation from being an also-ran as a narrative. However it does have a very memorable resignation scene which transplants some much needed humour in the over-serious petrol-headed plot.  Here mechanic Fin quits his job in hilarious fashion.

NETWORK (1976)

“I’m mad as hell!”  Stunning Paddy Chayefsky script holds a burning mirror up to the news media governed by a desire for ratings in Network. The film reflects flaming ire and wide-eyed fury via Peter Finch’s Howard Beale who not only is under threat of the sack but actually promises to “resign” permanently on live television.  It’s a stunning film which in many ways is just, if not more, relevant today.

THE OFFICE (2001-2003)

Even though he probably deserved his sacking/redundancy for his somewhat eccentric management style I still felt sorry for David Brent. His self-delusion knows no bounds as he offers his resignation believing him to be irreplaceable only to find it accepted by the management.  It’s made all the more amusing because he’s adorned in ridiculous fancy dress for Comic Relief. Priceless.

THE PRISONER (1967 -1968)

This TV show from the 1960s is an enigmatic masterpiece. Set in the mysterious Village we follow one-can-only-presume-a-former-spy called Number 6 (Patrick McGoohan) as he attempts to escape from his nefarious captors. Kafkaesque to the extreme it begins with one of the great resignation/credit sequences ever.

“BE SEEING YOU…”