Have you ever wondered how scriptwriters create characters? Do they start from scratch? What lenses do scriptwriters use when they watch movies? Here, we will do a mini-script analysis to understand this better. To do this, we will look at the theme (events), characters, and the plot. I will focus on the characters and events more.
A Scene from Thief (1981)
For the purpose, we are choosing Thief, a 1981 American neo-noir heist action thriller film directed and written by Michael Mann. The film is loosely based on The Home Invaders by Frank Hohimer.
Thief (1981) A Brief Summary
In this 1981 film, Thief, Frank is a jewel thief of unparalleled skill. He manages to keep his past hidden behind the façade of a successful businessman. He has two thriving businesses and a seemingly peaceful life, but is it all as serene as it appears?
A scene from Thief (1981)
Frank thinks he has everything figured out. But there is one thing missing from his life: a family. When he starts dating Jessie, a cashier, the missing piece seems to be falling into place.
But then, everything changes. Frank is double-crossed during one last job, a diamond heist. His fencer, Joe Gags, is brutally killed, and his share of the loot is stolen. He is betrayed by Leo, a mob boss who has been watching his every move.
From a thrilling diamond heist gone wrong, to a dangerous game of cat-and-mouse with vengeance, and an unexpected twist in his personal life, Frank’s world spirals into chaos. His trusted friend is murdered, his family is threatened, and everything he’s worked for is on the brink of ruin.
But Frank is not going down without a fight. A man with nothing to lose is the most dangerous kind. Armed with determination, a burning desire for revenge, and a whole lot of explosives, Frank is ready to burn his past to the ground and settle the score. He’s done playing by the rules. It’s time for the master thief to step out of the shadows.
A Perfect Script & A Well Written Character
Let’s analyse the script and try to understand how the screenwriter Michael Mann might have developed it. What might have been his thought process when he started developing the script about Frank?
Character Sketch
Frank is a complex character. He is a skilled thief with a hardened exterior, but he also has a desire for a simple, “normal” life. This desire for normalcy comes from his need for stability, which is likely a reaction to his tumultuous past and ongoing criminal activities.
A scene from Thief (1981)
He shows signs of trauma and post-traumatic stress disorder (PTSD) due to his past experiences in prison. He is hyper-vigilant, has recurring bouts of anger, and struggles with emotional intimacy. These experiences have also made him resilient and resourceful, but they have also made it difficult for him to trust others and let go of control.
Frank is an introverted individual who has adapted to survive in a world that demands extroversion. He is guarded, self-reliant, and meticulous in his work. He prefers solitude or the company of a select few. This could be a coping mechanism to manage his PTSD symptoms and control his environment.
Throughout the story, Frank goes on a journey of self-discovery and self-reconciliation. He is forced to confront his “shadow” (the hidden, darker aspects of his personality) and integrate it with his “persona” (the mask he presents to the world). This is a key part of his character arc.
Three Acts & Three Psychological Approaches
ACT ONE: Dissonance and Identity Crisis
In the first act, Frank aspires to live a normal life, indicating a clear cognitive dissonance between his personal identity and his occupational identity as a thief. This internal conflict plays a crucial role in driving the narrative and establishing the emotional tension in the film. This dissonance is a key driving force for the narrative and sets up the emotional tension.
Tuesday Weld as Jessie & James Caan as Frank from Thief (1981)
ACT TWO: Confrontation and Growth
In the second act of Thief, Frank’s inner conflict becomes too much to bear. After Leo betrays him, Frank’s dreams of a normal life are shattered. He is forced to face the reality of his criminal lifestyle.
A scene from Thief (1981)
Frank realises that he can’t have both. He can’t be a thief and have a normal life. This realisation is a turning point for Frank. It leads him to change his behaviour and attitude.
This confrontation can be related to thepsychoanalytic concept of ‘insight’. Frank’s confrontation with reality is a powerful moment of self-awareness. It propels him into the third act of the story.
Act Three: Resolution and Reconciliation
In the third act, Frank undergoes a transformation. He wants to escape his criminal past, so he embraces his “shadow” – the part of his personality that he had previously tried to suppress or deny. In Jungian psychology, confronting and accepting one’s shadow is a crucial step in achieving self-integration. Frank’s decision to quit his life of crime marks his journey towards reconciling his conflicting identities.
Frank’s narrative, from conflict through confrontation to resolution, mirrors a psychological journey that many individuals undertake when they confront uncomfortable truths about themselves.
Title Card
In Thief, this journey is not only an exploration of Frank’s character but also a wider commentary on identity, morality, and the potential for personal change.
Why A Must Watch?
Thief is one of the best “One Last Job” or “Double Life Rom-Com” movies I have ever seen. The scriptwriter did an excellent job of developing the characters, and I highly recommend this movie to anyone who loves to write.
How South Film Industries are different in their ideologies? Are they Promoting Anti-Hindu elements? Why are Brahmins often targeted in Tamil films? Why is Tamil Movies are anti-Hindu or anti-God 😀 ? Is it a threat for Hinduism?
In recent times, there has been a prevailing notion among certain fanatic cyber warriors that Tamil and Malayalam movies are anti-Hindu, while Telugu movies are considered more pro-Hindu.
However, if you look closer, you will get a different narrative altogether. In this article, we will try to see a different shade of Tamil cinema (Kollywood) and explore how it is different from other industries.
If you don’t have much time, this is a short and sweet answer.
Neo Wave Tamil Cinema: Breaking the Shackles of Casteism & Oppression.
Movie Posters
The Neo Wave Tamil cinema movement, led by directors like Vetri Maaran, Ram, and Mari Selvaraj, directly addresses the issue of casteism. These films aim to break down caste barriers and raise awareness about the oppressive nature of the power.
Dravidian Identity: A Counterbalance to Hindu Nationalism
Tamil cinema has a strong connection with promoting the Dravidian identity. Filmmakers like Karunanidhi and Pa. Ranjith have used their films to support the Dravidian movement, which challenges the dominance of Hindu nationalism promoted by right-wing ideologies. Regional parties in Tamil Nadu actively support and endorse this expression as it is closely tied to their existence.
Now, let’s see other industries, in south, and let’s understand, how they are diversified in their core.
Kannada Cinema: Celebrating Linguistic Pride and Ethnic Minorities
In Kannada cinema, there is a strong emphasis on celebrating the language and Kannadiga pride, especially in popular mainstream films featuring superstars.
Furthermore, the emerging neo-wave Kannada films (Shetty gang) embrace and highlight the cultural heritage of the region, including its ethnic minorities.
These films explore the conservative perspectives from the past, emphasising the significance of preserving one’s roots and heritage.
Malayalam Cinema: A Diversified Motives in Narratives
The Malayalam film industry can be categorized into three distinct genres.
Firstly, there are films that promote communism and align with left-liberal ideologies. These movies often reflect progressive and socially conscious narratives but heavily biased with communism.
Secondly, there are films that explore stories related to the Islamic faith, particularly centered around the Malabar region. These movies shed light on the unique cultural aspects and experiences of the Muslim community.
Lastly, there is a group of creators who address a range of social issues, including casteism, oppression, bureaucratic atrocities, conservative mindsets and body shaming.
They challenge prevailing neo-wave thoughts and contribute to a diverse cinematic landscape in Malayalam. Notable creators in this realm include Jithin Issac Thomas, Krishaand, Ratheesh Balakrishnan Poduval, Don Palathara, Lijo Jose Pellissery, Shyama Prasad and Arun Kumar Aravind.
One distinct feature of Mollywood compared to all other industries is, Mollywood won’t promote linguistic pride, rather it talks against regionalism.
Telugu Cinema: Multiple Shades of Saviours, United by a Common Goal: Profit
Telugu cinema presents a diverse range of narratives and ideologies but with a common root: Conservatism.
Tollywood’s inclination towards conservatism can be attributed to a significant diaspora audience residing abroad. Telugu movies often evoke a sense of nostalgia and cultural pride among this diaspora community, creating a strong connection and a feeling of pride in their heritage.
The Sukumar school of filmmaking strongly promotes native culture and conservative values rooted in the past. In contrast, the Balakrishna and NTR schools perpetuate the aura of royal lineage and uphold brahmanical racial purity.
Another significant aspect of Telugu cinema is its dedication to portraying Hindu mythology and its symbols. Directors like Trivikram, Rajamouli, Koratala Siva, and Boyapati Srinu lead the way in bringing these mythological narratives or symbols to life on the big screen.
Additionally, emerging talents in Telugu cinema are increasingly busy with promoting Telangana dialect and celebrating linguistic pride.
However, it is worth noting that Telugu films often do not explicitly address the social issues mentioned in other industries. Films like Viduthalai, Taramani, Kadaisi Vivasayi may be rare in the Telugu film industry.
Why Tollywood Is Not Getting A Renaissance
The Telugu film industry is largely governed by a few influential figures, and all of them belong to any of the 2-3 castes, either Kamma (NTR Family, ANR Family, Nani & Mahesh Babu) or Kapu (Mega Family) or Kshatriyas (Prabhas, Ravi Teja & Sunil).
Even the writers or lyricists belong to the same group, be it great lyricists or writers, like Aathreya, Aarudra, Sri Sri, Veturi, Sirivennela, Ramajogayya Sastry, Jonnavithula, Tanikella Bharani, Avasarala Srinivas, K Viswanath, or Trivikram (all are Brahmins, if I am not wrong, but that’s not the point; the point is representation and diversities of identities)…
Secondly, neo-producers often characterized as oligarchs, whose primary focus is on business profitability. Consequently, aspects beyond commercial considerations are often given secondary importance.
It is crucial to understand that Tamil cinema, alongside other regional film industries, is not anti-Hindu. On the contrary, it actively promotes social equality, addresses casteism, and incorporates Hindu philosophy in its unique way.
Do you remember the film “Arangetram” where a purohit’s daughter turns to prostitution to uplift her family’s fortunes?
K Balachander, Kamal Hassan in Arangetram
It’s been exactly fifty years since its release in 1973, directed by K. Balachander, a Tamil Iyer filmmaker often seen with holy ash on his forehead.
Being pro-Hindu or pro-any religion goes beyond blindly following orders or ideologies. It also entails the ability to criticize and refine, which is what makes Hinduism a liberal religion.
From Shankaracharya to K. Balachander, they all engaged in critiquing and fixing the system instead of blindly adhering to ancient manuscripts and commandments.
“Anti-Hindu” is a lens, if one holds extremely pro – Hindutva views, you will find any critic as a threat.
Now let me tell you a secret, that rarely people understands: It’s not only Telugu Films, Tamil Films are also great at promoting Hinduism. But both are not same.
How does Tamil cinema incorporate and promote Hindu philosophy?
For those interested in delving deeper, it’s worth noting that Tamil cinema is actually at the forefront of promoting Hinduism.
The term “anti-Hindu” is an ambiguous word, leaving us wondering what truly constitutes a film as anti-Hindu. Does it require explicit portrayal of Hinduism or Hindutva or its symbols to be considered pro-Hindu?
And who has the authority to determine these categorizations?
Before answering these questions and understanding the anti-Hindu or pro-Hindu elements in the Tamil film industry, let’s talk about Hinduism and its nuances.
Exploring the Nuances
Through conversations with a diverse range of individuals, including liberals and ultra right-wing fanatics, I’ve discovered that the true depth and adaptability of Hinduism often go unnoticed.
When compared to Abrahamic religions, Hinduism stands out with its tolerance and flexibility, offering a unique perspective. Hindusim doesn’t believe in Supremacy of one god and it help the followers to be tolerant to other religions & beliefs.
Now, let us see the essence of Hindusim, through the lens of a liberalist.
Hinduism: Beyond Religion
Hinduism transcends conventional religious boundaries and encompasses a way of life and a rich cultural framework. It move into profound existential questions, explores the purpose of life, and intricately examines the relationship between humanity and the divine.
At its core, Hinduism is way of life (just like Democracy), shaping a holistic worldview (Loka samstha sukhino bhavanathu).
Fundamental Philosphies
To understand how South movies, especially Tamil films, promote Hinduism, it is essential to explore some of the unique philosophies within the religion.
These philosophies form the very foundation of many Tamil films, resonating with audiences and communicating profound messages.
The Cycle of Rebirth
Reincarnation, a central belief in Hinduism, explores the concept of the soul’s successive rebirth in new bodies after death.This aligns with the idea of a cyclic theory of time, where the divine takes multiple incarnations to restore cosmic harmony.
Translation: “Whenever there is a decline in righteousness and an increase in unrighteousness, O Arjuna, I manifest Myself on earth.”
Awe, Nenjam Marapathilley, Maanadu, 24 Movie posters
From 1963 film “Nenjam Marappathillai” to Films like “Maanaadu,” or the bilingual film “Awe” directed by Prashanth Varma, or Suriya’s “24,” and Vishnu Vishal’s “Indru Netru Naalai” beautifully showcase this philosophy of reincarnation or cyclic theory of time.
Atman and Brahman
Hinduism introduces the concept of Atman, which refers to the individual self or soul. Hinduism believes that Atman is eternal and intricately connected to the god or divine power known as Brahman. Unlike the Abrahamic religions that view the soul as a distinct, separate entity created by God, Hinduism emphasizes the inseparability of the individual self (soul) from the divine.
“The self is never born nor does it ever die; nor having come to be will it ever cease to be. The self is unborn, eternal, ever-existing, undying, and primeval.” (Chapter 2, Verse 20)
This fundamental philosphy is different from the idea of resurrection.
While Abrahamic religions such as Christianity, Islam, and Judaism believe in the resurrection of the physical body in a transformed state, Hinduism presents a different perspective.
Tamil Films Promoting this Core Philosophies are many. Let’s explore a few remarkable examples:
Image credits: Amazon prime
Kamal Hassan’s “Anbe Sivam” (2003)
This thought-provoking film revolves around the concept of “Ayam Atma Brahma,” highlighting the belief that the divine essence resides within each of us. It celebrates the profound connection between individuals and the divine, fostering empathy, compassion, and spiritual growth.
Image credits: Amazon prime
Bala’s “Naan Kadavul” (2009)
Directed by Bala, “Naan Kadavul” embodies the essence of Hindu philosophies with its exploration of divine intervention, the paths of karma, and the transformative power of devotion. It delves into the complexities of human existence, while emphasizing the cosmic interconnectedness between mortals and the divine.
Naan Kadavul Poster with “Aham Brahmasmi” tagline.
“Karnan” by Mari Selvaraj
“Karnan” weaves a powerful narrative rooted in social justice and equality, drawing inspiration from ancient Hindu epics. It highlights the struggles of the marginalized and champions the notion of dharma (righteousness) against oppression, the hero is supported by the soul of his sister.
This list won’t ends here, it’s long.
Diverse Paths to Salvation
In Hinduism, individuals have the freedom to choose from multiple paths to attain spiritual liberation.This is in contrast to Abrahamic religions, which often advocate a more singular path to salvation
Karma Yoga
Karma Yoga advocates selfless service as a means to spiritual growth. It emphasizes performing actions with a sense of duty, without seeking personal gain. Tamil heroes often deliver dialogues that reflect this philosophy, inspiring audiences with the importance of altruistic heroism.
“Karmanye vadhikaraste Ma Phaleshu Kadachana, Ma Karma Phala Hetur Bhurmatey Sangostva Akarmani.” (Chapter 2, Verse 47)
Krishna advises Arjuna to focus on his duty without being attached to the outcomes or being driven by personal desires. He emphasizes the importance of selfless action.
Bhakti Yoga
Bhakti Yoga focuses on devotion and love for the divine. It involves cultivating a deep and personal relationship with a chosen deity or form of the divine. While this philosophy was more prominent in the 80s and 90s, its representation has become relatively rare in contemporary Tamil cinema.
Jnana Yoga
Jnana Yoga centers around knowledge and wisdom. It emphasizes the pursuit of self-realization and understanding the true nature of oneself and the universe. Modern Tamil heroes and heroines often embody this philosophy, celebrating personal freedom and intellectual introspections.
Tamil Films Showcasing Diverse Paths & Moksha
Films like “Oh My Kadavule” (2020), Thiagaraja Kumaraja’s “Super Deluxe,” Vikram’s “Anniyan,” Manikandan’s “Kadaisi Vivasayi” and Suriya’s “7 am Arivu” serve as noteworthy examples that showcase the philosophy of diverse paths to salvation and talks about Moksha. These films explore different aspects of the paths to liberation, offering audiences thought-provoking narratives that inspire introspection and self-discovery.
Hinduism introduces the profound concept of Karma, where the consequences of one’s actions and intentions shape their future experiences and circumstances. Even God can’t escape Karma.
In contrast, Abrahamic religions emphasize the concept of divine judgment, where individuals are held accountable for their actions and face rewards or punishments in an afterlife.
In simpler terms, irrespective of prayers, good deeds, or repentance, Karma remains as a nasty b**ch which follows individuals throughout their lives. Tamil cinema frequently explores these themes, offering thought-provoking narratives that showcase this nasty face of Karma.
Prominent Examples which explore Karma in Tamil Cinema
Tamil films have explored the depths of Karma, presenting captivating stories that reflect the consequences of one’s actions.
Let’s explore some noteworthy examples:
Nalan Kumarasamy’s “Andavan Kattalai” examines the struggles of two individuals as they face the repercussions of their choices, illustrating the complex workings of Karma.
Kamal Hassan’s iconic film “Nayagan” portrays the journey of a gangster grappling with the Karmic consequences of his actions, ultimately seeking redemption.
Manikandan’s “Kutrame Thandanai” delves into the life of a man caught in a web of events driven by Karma, highlighting the impact of past actions on the present.
Two scenes from Thiagaraja Kumaraja’s Super Deluxe
Films like “Dashavatharam,” “Super Deluxe,” and “Katradhu Tamizh” also explore the themes of Karma, inviting audiences to contemplate the interconnectedness of actions and their consequences.
Dharma: Morality and Ethical Duties
Hinduism embraces the concept of Dharma, encompassing moral and ethical duties. It recognizes that moral standards can vary based on circumstances, life stages, and social roles.
Abrahamic religions often adhere to a divine commandments and sins, where moral standards are considered fixed and rooted in the commands of God. In Hinduism it’s not black and white, rather it’s grey.
The conversation between Arjuna and Krishna during at Kuruskhetra is the proof for this.
“Better is one’s own dharma, though imperfectly performed, than the dharma of another well-performed. Better is death in one’s own dharma; the dharma of another is fraught with fear.” (Chapter 3, Verse 35)
Filmmaker Thiagaraja Kumaraja aptly captures this philosophy in his own words, “Yethu Thevaio Athu Dharamam” (What we need is Dharma).
Films like “Aaranya Kaandam” and “Super Deluxe” illustrate this philosophy, where the concepts of right and wrong become blurred. These works challenge viewers to navigate through the shades of gray, exploring the complexities of morality and the multifaceted nature of human actions.
A Scene from Super Deluxe
There is nothing absolute right or wrong; it’s all depending upon the lenses and the needs. Essentially, It’s about you and your survival.
Maya: The Illusion of the Material World:
Hinduism introduces the concept of Maya, acknowledging that the phenomenal world is an illusion, and true reality lies beyond the perceptions of the senses.
In contrast, Abrahamic religions generally consider the physical world as real, created by god and not inherently illusory.
“The wise mourn neither for the living nor for the dead.” (Chapter 2, Verse 11)
Once again, director Thiagaraja Kumaraja delves into the concept of maya in his recent film “Ninaivo Oru Paravai,” questioning the boundaries between reality and imagination.
Even Thiagaraja Kumaraja’s “Super Deluxe” talks about the same in the end with the characters alien and Gajji.
Vijay Sethupathi’s disappearing scene from Kadaisi Vivasayi
Films like “Bogan” by Lakshman, “Awe” by Prashanth Verma, “Kadaisi Vivasayi” (Vijay Sethupathi track) by Manikandan, “Diary” by Arulnithi, “Eeram” by Arivazhagan, “Karnan” by Mari Selvaraj, and “Deja Vu” by Arvind Srinivasan also touch upon the theme of Maya. One personal favorite is Nalan Kumarasami’s “Soodhu Kavvum.“
These films challenge our perception of reality, inviting us to contemplate the illusory nature of the material world and the deeper truths that lie beyond.
Panentheism: Divine Presence in Nature
One striking aspect of Hinduism is its belief in panentheism, acknowledging the divine presence within all aspects of the natural world.
This one is my personal favourite philosophy considering Hinduism as a way of life. All the ancient civilisations followed this.
This sets it apart from the monotheistic beliefs of Abrahamic religions, which emphasize the existence of a singular God or Supreme God.
Hinduism perceives the divine as immanent within nature and all living beings.
I remember when I was a child, I was scared of a centipede and tried to kill it. Then my grandma shouted at me, “Lakshmi Devi” will curse me if I kill a centipede. Because the centipede is Lakshmi Devi’s chariot. This might sound ridiculous, but there is a strong impact on nature. After that incident I never intentionally hurt any animals or reptiles, be they a snake, a spider, a lizard, or a dog. It’s a fear, for a good cause.
Everything in nature is related to God. From Ganges, Himalayas, Rats, Snakes to even Ashes.
This pantheistic approach fosters a deep sense of interconnectedness, reverence, and responsibility towards the nature..
Environmental Conservation and Sustainability
Hinduism’s panentheistic perspective aligns harmoniously with efforts towards environmental conservation and sustainability. By recognizing the divinity in nature, Hinduism instills a profound respect for and protection of the environment. It promotes the idea that humans have a sacred duty (dharma) to preserve and care for the natural world, perceiving it as an integral part of their spiritual journey.
The film “Kadaisi Vivasayi” directed by Manikandan, serves as a remarkable example that exemplifies these themes.
Hinduism’s panentheistic perspective
Kadaisi Vivasayi’s title card is shown with a shot of a peakcock on the rock and a song in the background, which translates to “Whether you are a figment of imaginations or an idol made by humans, Muruga, you have a boundless devotion.”
In the movie, later, the farmer asks the court, “How can I kill Murugan’s peacocks?” Will write another post on this soon.
Through the portrayal of peacocks, paddy fields, trees, and stones as divine entities, the movie beautifully captures the interconnectedness between humans and the natural world.
Farmer talking about his paddy fields
It emphasizes the significance of living in harmony with nature, showcasing the traditional practices of elderly farmers who deeply respect and protect the environment.
Personal Freedom and Fanaticism
It is essential to note that the philosophies discussed here aim to empower individuals rather than impose religious dogmas or the authority of a godman.
That is why I said, Hinduism is a way of life.
Unfortunately, some fanatics distort these philosophies in the name of culture and heritage, thereby disrupting the true essence of this “way of life” nature of Hinduism.
I have heard stories from my friends about the challenges they face when it comes to inter-religious marriages. They often share the consequences they encounter from church communities and religious dogmas.
In many cases, if they marry someone from another religion, the expectation is that the non-islamic partner must convert, or else the community may resort to ostracizing the family.
It’s disheartening to witness the impact of such rigid beliefs on personal choices and the potential for social exclusion.
Thankfully, as a Hindu, I have the freedom to marry a girl from any community without interference from temples or pandits. However, I am concerned that these fanatics may soon infringe upon this freedom of choice in the name of religion and culture.
In my opinion, those who attempt to confine this vast philosophy within rigid structures and commandments are the ones who are anti-Hindu.
On the other hand, those who promote the philosophy and question or criticise the evils in beliefs can be considered pro-Hindu.
