These same components are present again and again in the excellent movies, like King Kong, The Outlaw Josey Wales, She Wore A Yellow Ribbon, McCabe and Mrs. Miller, Meet Me in St. Louis, It Is A Wonderful Life, Sunset Boulevard and Touch of Evil and they are worth highlighting:
Strong Single Line
With one overriding problem or target for the hero – to give the story drive, momentum, plus a feeling of priorities, or in the extreme, a feeling of the first cause.
Digress from that powerful line to enable the movie to “breathe”.
That is, they play with the construction to cause the audiences to rethink their expectations to remark on what’s occurring, and to present words or actions which make an outline, or thematic, point.
Heroes with moral issue.
The hero does not commit actions that damage other people or commits. All these are characters with moral blemishes, along with the narratives drive toward the moment when the hero uncovers his or her moral blindness.
The audience believes what each is fighting about.
More significant, these movies attach entire clusters of beliefs and values to the two antagonists. The fantastic movies set up, around one fundamental opposition, an array of other resistances that grow till they have national or even international implications, and present the essential predicaments of human life.
Powerful, condensed openings
This will explore them in an explicit way and after that slowly bring these routines to the surface and present the crucial patterns of the storyline. By the end, the crowd has a sense of the patterns of thought and worth that cause problems, not just for these special characters but for anyone anywhere.
Great dream is shown by the amazing films. They ask the vital question: what makes a good life? They give various replies, a few of which may not be valid, but they drive the audience to see their own lives in this category of grand manner. And that’s the only method that meaningful change is possible.