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In 1942, Ronald Colman played a character so shell shocked by the trenches of World War I that he walked out of the hospital where he was recovering, having no idea who he was.
He was taken in by a singer in a vaudeville house (Greer Garson), fell in love and the two married. Then years later, he suddenly, out of nowhere, remembered who he really was, but totally forget that his wife existed. He discovers he’s the scion of a wealthy family and eventually runs for political office, not knowing that his secretary is actually his wife.
This movie is Random Harvest and is perhaps the most romantic and delirious use of amnesia in film. But amnesia has always been a useful tool of storytelling, whether romantic (here and in Law of Desire) or in thrillers (Mr. Budwing and Mirage) or comedy (The Hangover and 50 First Dates).
Coming Home, written by Jingzhi Zou and directed by Yimou Zhang, falls into the more melodramatic end of the spectrum like Random Harvest. It’s unabashedly sentimental and relishes in a sort of 1930’s studio romanticism tone and style, though the grittiness makes it more Warner Brothers than MGM. Continue reading →
Ever wonder what a reader for a contest or agency thinks of your screenplay? Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013. Only $2.99. http://ow.ly/xN31r
Much has been made of the new summer blockbuster Edge of Tomorrow (or as I usually call it, the new Tom Cruise movie, because, damn, if I can ever remember its real name) having a structure based on the Bill Murray comedy Groundhog Day.
But it’s not, really. I mean, yeah, I guess, sort of, because it does have a similar structure. But no, it’s really not. Continue reading →