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Office: Thriller! Analysis

Starting today, I will try to write short analysis from the point of view of the indent of films in theaters. If possible, I will once a month. Clearly, this analysis will

full of spoilers

(would be nice to find a English word that free us from this anglicized, by the way), so those of you see the movie without knowing what happens at the end, you should avoid reading. A note about these posts : someone (in this case me) write about a movie and point out things that seem wrong or else do not mean that he was able to make things better. When we see a spectacular sports in the street and, despite everything, we say that we do not like the design too, do not expect us to sit down at a drawing board and designed a vehicle more aerodynamic. I'm not a great cook, but I can say that the lamb I've eaten today was too salty and somewhat dry to what I like to me. Based on my experience as a spectator, writer and reader, try to analyze some movies, always with the utmost respect for them and their authors. After all these warnings, we go with "Buried " Brief summary

"Buried", written by Chris Sparling and directed by Rodrigo Cortés, is Paul Conroy, American truck driver Iraq kidnapped and buried alive until his captors received a ransom. Small

structure analysis (

spoilers here

a sack, I notice again) .

triggered the action: Paul Conroy awakens in a coffin, he discovers that he is buried. First act

: Conroy is released from its bonds, becomes aware of his situation and objects that may have, find a mobile phone, make several calls, most useless, because encounters with all imaginable bureaucratic difficulties. first turning point (approximately 25 minutes. Yes, I checked my watch): first communication with the kidnappers. Requirement ransom: $ 5 million or killed.

Act II: Conroy

contact with the hostage negotiators Dan Brenner, who happens to be his partner and ally. " Brenner, however, says that the U.S. Government will never pay the kidnapping. Paul resists the pressure of the kidnapper, requiring him to record a video. He faces a snake coming into the coffin. The abductor claims to know about Paul's family. He fears will attack them and accessing the video recording. However, this is useless. In addition, Paul learns that his colleague was killed. Conroy's morale is at an all low. Using a series of loopholes, the company he worked for fired Paul and his family left with no option to collect your life insurance.
(Possible) second turning point:

A bombardment of the area where Paul is buried nearly killed him. The kidnapper left to answer the phone. Paul imagines that the bombing has killed his captor, now nobody can find you.

Act III: the kidnapper calls again: he has not died in the bombing. Brenner, kidnapping negotiator, urges Paul to endure, an Iraqi is working, we're driving to where he is buried. Unfortunately for Paul, the Iraqi has led the soldiers to another coffin, which lies another soldier. No hope left for Paul. note on the structure

to: I have not clear which is the second turning point of the film. I agree with the supposed death of the abductor, as it deprives the star of hope. However, occurs rather late in history and is a "hoax." Perhaps the bombing that worsens the situation of the protagonist or even the death of his co-worker (which undermines morale and makes him even more aware of the seriousness of threats from the kidnappers) are other options as a second turning point. (I could not watch the clock to check on what happened minutes all these facts).

Starring Paul Conroy

Antagonist: Iraqi kidnappers

protagonist Objective: Survive

, leaving his funeral

Allies: Dan

Brenner (manager kidnapping) and some other phone callers.

Obstacles, setbacks

uncooperative people to your snake, pumps "friends", technical difficulties with the phone ...

My analysis

The premise of "Buried" is original and forceful, and conflict is very clear and understandable. The film boasts a spectacular technical mastery and a great wit. However, I think few things could be improved "Buried." They are opinions of course and do not ask anyone to share. I go with them.

- The premise is the great advantage and ... the great problem of the film. Screenplay manuals (and logic) require that the protagonist of a story to be active, especially if this is a commercial screenplay. Locked in a box underground, the chances that the character be active are, of course, very restricted. However, I think they could have explored other ways:

- The main character just try to physically leave the coffin. Even at the time that the shelling tears it apart. I think it's an avenue that should be exploited more (to possibly close it after as unfeasible) and Paul had become a more active character. - Phone calls. Analysis on the activity that Paul does perform (talking on the phone) I think that the script also leaves many options to explore options that would make Paul someone more active and interesting:

- For example, negotiating the ransom is quickly parked. Once the negotiator Paul does see that the government will not pay the money, the issue barely mentioned again. Even when the hijacker makes a big discount on your order. Would not it be interesting to see Paul trying to push for money to be paid? Why not contact the media to pressure their government? Why does not attempt to raise money from friends, family or business? Why not try to deceive the hijacker, assuring that money is being raised, for example, to save time? - The character is limited only talking on the phone should not mean, as I believe happens in the movie, it becomes a victim permanently installed in the complaint and indignation. Unfortunately, the only personal initiative of Paul is to make a few calls for help. His only rebellion, to postpone their obedience to the orders of the kidnapper.

(Note: I think it's really hard to write something interesting about a victim, especially if it is for the duration of the story. A victim is a passive, in many cases, devoid of freedom. The executioner is often more interesting , since before he was usually have several options. I think that ideally, dramatically, is to describe the transition from victim to executioner or vice versa). - Which brings us to that, to me, is the main problem of "Buried" outcome. When the character is essentially passive (a victim in this case) any final (positive or negative) is very problematic. If the resolution is positive, Paul Conroy would be removed from its coffin by soldiers basically have found themselves (by locating the mobile signal or capturing an Iraqi involved in the abduction, for example). The only thing Paul would have done to their salvation in this case would survive and a couple of phone calls. That is, we would be facing something very much like a "Deus ex machina", which we know from Aristotle

, it is very unsatisfactory for the viewer. - Maybe fled this happy ending "little justification" the writer opted for the bitter end have already related, although the soldiers abroad seem to have found a good track, it fades as it appeared, but Paul has nothing to do with it. Our hero is in a worse situation than at first, more tired, with little hope on the phone or battery. Die. In my opinion, this is a final betrays the film genre and, therefore, the viewer. I'm not a big supporter of happy endings ... but personally I think that a script of this kind of thriller, usually consists in bringing the player to a situation of extreme danger and let it get out of it thanks to a logical solution but, the same time surprising to the viewer. The ability of the writer is usually expressed in the plant so as unobtrusive as possible, the tricks they use the hero to come out well in an extreme situation.

- In a way, it seems that he was locked up in despair and without peer no way out was the writer, who found no way out of the extreme assumption that he had created. His end is, in my opinion, a certain air of sleight of hand, what happens to a guy buried when no one lends a hand? Dies, we answered all. Yes, indeed, that's what happens. As predictable as that. Great ideas written and directed no longer hide the fact that we have a very absurd story: We've seen a guy get rid buried hopes of conceiving through the words of others. Shortly thereafter, these hopes vanished, thanks to remarks made by the same people. Yes, a guy buried under sand serious risk of dying. Suspected it before seeing the movie, we have something more clear now. Cortes made reference Hitchcock in a few interviews on "Buried." I think that would have been good to hear these words of English director.

Hitchcock begins by explaining his famous theory of suspense: he prefers to anticipate the danger (the bomb under the table) to load a sequence voltage to make it explode by surprise. However, what is the case here is what he says from minute 1:05 "

The only difference is that ... I made this mistake in the film" Sabotage "but not I returned to commit ... The pump should never be exploited. If you take the public to this situation (tension), they will be angry if then gave them no relief. So, someone with your foot touches the pump, looks down and sees her, jump out the window and then the bomb explodes. Just in time

" - One last thing, in this case the script, but a significant choice of director, is that the film, after such a devastating outcome, it concludes with a joyful country-style song (a genre that clearly evokes great outdoors) made by the director and musician in the film. acabaca When it is hear a few laughs from the musicians and humorous comments about the song they just play. This choice of music and, for me, I did disappointing end justified doubts about the honesty of "Buried." However, I still think this is a very risky and interesting movie and recommend it to anyone who, even after reading this text, I want to see that, please do not quit.