The plot is the same - but it’s still new

Landscape is a kind of mystery. He is - and he is not. Like a mirage. In order to shoot a wonderful landscape, you don’t always even need an initially beautiful landscape, a beautiful state is enough. I have been convinced of this many times. Many landscape photographers are drawn to shooting in new places, and the farther the better. This is understandable. Human nature is such that he is always drawn to the new, the unknown. And where to look for it? Well, certainly not near the house, but somewhere in hard-to-reach places. To be honest, I am like that myself. I like to shoot in new places, it’s easier to find something new for yourself. There are a lot of beautiful places on the planet and, of course, you want to see and film it all yourself, but in this case you have to be God, or at least a rich American. Therefore, it is worth going down to earth, to your land, and - listen, look closely, wait. Maybe you'll find something new here too.

If you try to determine the difference between these two approaches, you get an interesting conclusion. When a photographer travels in search of landscapes across countries or even within one country, and ours is quite large, then he develops his creative potential in breadth, one might say, broadens his horizons. When it is within several easily accessible areas, then his creative potential develops in depth.

In one place you can shoot a large number of very diverse landscapes, but I want to narrow the circle even further, arguing that even the same plot can carry a completely different mood and reveal new images. So if you follow the life of this natural scene more often, you will have a chance to see a miracle and touch the beautiful. Unfortunately, even the most accessible places (for various reasons) are not always available to us when we would like. This means that many miracles happen without us, which, in turn, accumulates in us unfulfilled dreams of a miracle. By the way, you can’t shoot a lot of things, although you can see them, and this also contributes to the treasury of unrealized miracles. The question naturally arises, what miracles am I talking about here? About those created by the light-air environment. Indeed, on a typical summer, sunny day, even the most beautiful landscape will be boring, since nothing happens in nature, and the lighting is flat. Sometimes, however, even in such a situation you can make a decent picture if you shoot not the boring landscape itself, but, say, the quintessence of a sunny day. It’s another matter if the wind rose, or it rained or snowed, or there was morning or evening fog, and so on—you can’t count it all. Then the landscape can change beyond recognition, but it’s all so fleeting, and if you managed to build an expressive composition and shoot it correctly, then this moment will seem to someone like a moment of truth or a fairy tale. Isn't this a miracle? But someone will think that it is so beautiful there that there is no photographer’s work here at all. He just came and pressed the button. At the same time, they will forget that what they see was only a couple of minutes, or even a couple of seconds. Yes, by and large, this was not the case. After all, this is a photographer’s selection from space and time, followed by transformation using the chosen technical means.

I have been filming the plot that I present in this article for seven years now, although not as often as I would like. However, even what is available is too much for one article, so I will show it selectively.

Wind at sunset. April.

Sunrise before the rain.

In the above versions of one plot, it is clearly visible that, despite the fact that it is the same, that is, the camera stood in approximately the same place and looked in the same direction, the compositions are still different and so are the images. Now imagine how many more there could be. There is something to look forward to. Although, I admit, there were moments when it seemed that there was nothing special to expect and we had to look for new places for completely different photographs, especially since I shoot mostly for calendars, and there they don’t see the subtleties, and certainly are not able distinguish a masterpiece from a passing picture. The main thing for the customer is that it is beautiful, juicy and cheerful. If you focus on the consumer, you can easily turn into a craftsman - and this is not at all interesting. In order to create, you need to feel what nature offers, anticipate, if possible, its changes, and grasp how all this will respond in your own soul, and not rush around different regions and countries. It is enough to shoot at a couple of dozen places, and this will be enough for a lifetime. But these places do not remain the same. Some trees grew and blocked the beautiful view, or, on the contrary, created it. Some were cut down by men who had no idea that they had ruined the landscape. Somewhere Elektroseti laid a power line, forever crossing out the landscape, and somewhere the road was so overgrown that you didn’t want to get your car dirty to get to the shooting point. Some nondescript meadow suddenly becomes overgrown with daisies like a carpet—and it won’t happen again. So it turns out that there is always a lot of new things at old points, even visually. You can't track everything.

In my opinion, observing and penetrating through photography into the life of places that are well known to us is more important for the spiritual development of an artist than searching for exotic landscapes. I have tested this many times in my own skin. Of course, it’s interesting to feel and capture the features of nature unknown to us, but these are random forays, what you find is yours. Personally, this is never enough for me, and what’s native awakens poetry! And what is alien is mainly interest.

Passing Daughter

A charming but awkward French family tragicomedy about a father and daughter who are suddenly returned to by the girl's long-lost mother.

Carefree French ladies' man Sam (Omar Sy) receives an unexpected "gift". Christine (Clémence Poésy), with whom he had a short holiday romance a year earlier, brings him a baby and declares that it is his daughter Gloria. After this, Christine disappears. Sam is not eager to take care of a small child, and he tries to find Christine to return the girl to her. However, he soon becomes attached to Gloria and begins to genuinely care about her. Sam's search leads him to London, and he remains there to live and work as a stuntman. Years pass. Gloria grows up to be a charming schoolgirl who adores her father and misses her mother. Suddenly, Christine returns to her daughter's life and announces that the mental and everyday problems that led her to abandon the child are in the past and that now she wants to get custody of the girl and make up for lost time.

Still from the movie “2+1”

A review of the new French family tragicomedy should begin with the fact that “2+1” is a fairly close to the original remake of the 2013 Mexican film “Instructions Not Included,” one of the most commercially successful films in the history of Mexico. If the French had made a remake of the Hollywood production, this could have been the end of the review. Why watch an exact remake if there is a decent original? But Mexican cinema is much worse known in the world and in Russia than Hollywood films. In addition, the French comedian Omar Sy is noticeably more charming than Eugenio Derbez, who played the main role in Instructions, and the humor of 2+1 is less forced and farcical than the humor of the Central American original. So, although the Mexican film was released in Russia and was published on video here, it would be unwise to ignore the French remake because of this.

Still from the movie “2+1”

Another thing is that casting a black actor in the lead role ruined one of the key visual motifs of Instructions. Derbez's hero takes care of a blond baby who looks much more like her American mother than her Mexican father. Therefore, when the mother returns to her daughter’s life, the hero even has to prove to himself that he is a more suitable parent than the prodigal mother. After all, mother and daughter look so harmonious together! Sam is raising a cute little mulatto girl, who, although lighter than him, is still much more “black” than “white.” Therefore, white, and even blonde, Christine is visually perceived as an alien element, and not as a parent who has been missing all these years.

Still from the movie “2+1”

In addition, there is a colossal social gap between Americans and Mexicans, while there is none between Europeans. So Sam has no reason to believe that Christine will take better care of her daughter simply because her skin and passport are a different shade. This oversimplifies the sentimental perturbations that form the essence of the production. After all, despite the abundance of jokes and gags (in particular, the film squeezes a lot of humor out of the fact that Sam never learned English and that he uses his daughter as a translator), “2+1” is closer to family dramas than to family comedies , and by the end of the production the audience should be in tears, not in tears.

Still from the movie “2+1”

Without reproducing the social nuances of “Instructions,” “2+1” retained the Mexican plot with “Mexican” plot twists in the spirit of “soap operas.” At the same time, the French film, like the 2013 original, played with plot secrets. It is impossible to imagine that the main character, who, although he behaves eccentrically, loves his daughter with all his heart and thinks only of her good, will keep almost completely secret what becomes the main plot revelation at the climax of the film. If Sam didn’t tell this secret to either his daughter’s teachers, or Kristin, or the lawyer and the judge during the trial about the baby’s fate, then he’s just a bastard. You can make a case for why Gloria shouldn't know the truth, but all the adults in her life need to be aware of what's going on, and there can be no two ways about it. At least Instructions can hide behind a national soap tradition that rejects psychological realism. What can “2+1” say in its defense, other than “We are not to blame, we copied it from the Mexicans!”?

Still from the movie “2+1”

It should also be noted that, although the humor of “2+1” is not as clownish and childish as in the Mexican film, it is still sometimes rather awkward and does not fit well with the gloomy plot of the film. If director Hugo Gelin had cut out some particularly poor and unnecessary attempts at humor in the editing, the film would have turned out more complete and collected.

The above problems lead to the fact that when the film forgets about humor and goes into sentimental pathos, for the sake of which it was, in fact, filmed, the emotional blow turns out to be much weaker than it could have been if the picture had been staged and played out like clockwork, without distracting absurdities. Fortunately, the charm of the actors, which is critical for such productions, keeps the film afloat, and it is impossible not to agree with the moral of the film about how important every moment spent with a child is.

7 universal stories

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Constructing a plot is a difficult task even for experienced screenwriters. The options seem endless. What if all stories are based on only 7 universal plots? If the right plot, once found, can captivate your viewers over and over again?

In The Seven Basic Plots: Why We Tell Stories, Christopher Booker explains how our favorite stories are made up of just 7 types of plots. He explores a long line of theories that have attempted to explain why storytelling is such a universal and powerful means of communication.

Here, I will describe for you these main 7 types of plots. Of course, this is not a universal list, but try to think of a book, film or play that does not fit one of these plots.

Overcoming the Monster

Beowulf and Star Wars: A New Hope have in common ? In both cases, the plot is based on the protagonist's struggle with a strong villain or evil force that threatens him or his home.

It often seems that all circumstances are against the heroes, and their chances of victory are not great, but their courage and resourcefulness help them overcome all difficulties and win.

See: David and Goliath, Star Wars: A New Hope, Avatar.

This plot is good in the following cases:

A story about following a goal, despite all the difficulties encountered along the way.
Discussion of life lessons, what overcoming obstacles teaches.
Showcasing how you, your team or company have become stronger through overcoming adversity.

From dirt to Kings

The hero, modest, perhaps humiliated, suddenly gets what he wants; money, power, love, but soon he is forced to part with what he acquired in order to find it again, but through overcoming difficulties, in the struggle for his happiness.

Usually the hero “bites off more than he can eat” and fails to cope with his success, because... I'm not ready for it yet. He must grow as a person and achieve what he wants himself.

This plot is good in the following cases:

A story about the importance of learning from your mistakes and gaining happiness through overcoming difficulties.
Discuss the ability to take risks and accept failure.
Demonstrating how the hero earned his success.

Travel and return

The main character finds himself in an unfamiliar place, meets new characters and overcomes difficulties while trying to return home. The friends acquired on this journey and the wisdom accumulated through overcoming obstacles allow him to find his way home.

This plot is common in children's literature; quite often you can see a story about how the hero finds himself in a fairy-tale land and travels through it, participating in various adventures.

This plot is good in the following cases:

A story about the benefits of being open to new experiences.
A story about what the hero learned on his journey, how he changed.
Demonstrating the power of friendship.

Adventure (Quest)

The hero goes in search of a specific prize, being exposed to various temptations and trials along the way. To achieve his goal, he will have to overcome all his shortcomings, perhaps he will have to face his fears and past.

The hero is most often accompanied by a group of friends who complement him with their skills, support him along the way and help him achieve his goal.

This plot is good in the following cases:

A story about the importance of sticking to your beliefs.
If you need to show how, by trying to succeed, the hero grows emotionally.
Demonstrating the power of teamwork.

Comedy

A comedy is a light-hearted story, in the center of which there is often some confusion, misunderstanding, which leads to conflict, but in the end everything is safely resolved and returns to its place.

This plot is good in the following cases:

A story about the beginning of the difficulties of a partnership - romantic, friendly or business.
Discussion of what experience your hero gained in the current difficult situation.
Demonstrating how both sides are beginning to accept and support each other.

Tragedy

The main character is a negative or unpleasant person, often a villain, and we are told the story of his downfall.

Sometimes the villain begins to repent, usually towards the end of the story, but often it is too late for him. And he, in any case, dies or is defeated. The downfall of the negative character allows the positive participants in the story to flourish.

See: Dorian Gray, Sweeney Todd, the Demon Barber of Fleet Street, Scarface.

This plot is good in the following cases:

Using a strong, principled character to highlight issues in society.
Comparison of your own principles with the principles of a negative character.
Demonstration of how not to act, we can learn from the mistakes of the negative hero.

Rebirth

The main character is a negative character who, as the story progresses, realizes his mistakes and atones for them.

Usually, a character appears in the plot who helps the negative hero make the transition to the rebirth (rebirth) of his personality. Often, such a motivating factor is the hero's love interest in one of the characters or the appearance of a child and the hero's attachment to him. Their task is to show the hero his perverted worldview and open his eyes to the true essence of things.

This plot is good in the following cases:

A story about a learning experience.
When you need to show the importance of having support from loved ones.
Demonstrating that every person can change for the better.

Not dark enough?

All of these types of plots have counterparts in which the happy ending is reversed and the story ends darkly. The exception to this is a tragedy, the ending of which, by default, is not meant to be happy.

Of course, these types of stories are not the ultimate truth. If you have an idea that doesn't fit these types of plots, or combines several of them, great! But hopefully this quick guide has helped you choose the type of story that will best convey your intent and message.

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Translation - video design studio "Tut Infographics"
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The plot is the same - but it’s still new

I found a wonderful post from Oleg Kodol, which I immediately wanted to share.

Borges saw four main plots of literature.
Modern researchers - six.
Booker - seven.
Vonnegut counted eight.
The gathering of writers at Litkult saw twelve.
Polti distinguished himself - he listed thirty-six.

And now - more details!

Four plots of Borges

“There are only four stories. And no matter how much time we have left, we will retell them - in one form or another." - notes Jorge Luis Borges. These stories are as follows: the first is about the fortified city, the second is about the return, the third is about the search and the fourth is about the suicide of God. Classic examples of these stories that Borges himself gives are: Homer's Iliad and Odyssey, Jason's journey, the crucifixion of Jesus and Odin's self-sacrifice.

However, the number of these stories can be reduced to just two, which we will retell in one form or another. Namely: these are stories about a Woman and a Man and about a Man and his Path. That is, stories in which events revolve around a woman or women, and stories in which they do without this. The story of the fortified city began with several women and one man. The story of return ended with a return to a woman. Stories of the search rarely included women. They were also in the story of Jason. And only the story of the crucifixion is not tied to women. Of all these, the stories where everything revolves around women are the ones we retell the most. But no one learns from stories of self-sacrifice.

There were only six main literary subjects - modern researchers!

A team of scientists from the USA and Australia analyzed changes in emotional coloring in the texts of popular literary works and found several common types of plots in them. Among them, six turned out to be the most popular: “rags to riches”, “tragedy”, “fall and rise”, “Icarus”, “Cinderella” and “Oedipus”.

Booker's version: 7 main plots of world literature

"1.
From rags to riches: the story of an ordinary man who discovers something extraordinary in himself. Examples: Cinderella, David Copperfield, Jane Eyre. From films: Gold Rush, My Fair Lady.

2. Adventure (quest): a journey full of difficulties in search of an elusive, distant goal. Examples: The Odyssey, the myth of the Argonauts, King Solomon's Mines, Around the World in 80 Days

3. There and back: some event takes the hero/heroine out of her usual environment. The plot is their attempts to return home. (Why isn't Odyssey here, by the way?!) Examples: Alice Through the Looking Glass, Robinson Crusoe, The Time Machine.

4. Comedy: Not just a general term, but an identifiable form of plot which follows its own rules.
(Still a very slippery definition). Examples: Tom Jones, all the novels of Jane Austen, Some Like It Hot.

5. Tragedy: At the climax, the main character dies due to his character flaw, usually the passion of love, or the lust for power. Examples: Macbeth, Faust, Lolita, King Lear.

6. Resurrection: Hero, under the power of dark forces or a curse. A miracle brings him out of this state into the light. Examples: Sleeping Beauty, A Christmas Carol, The Sound of Music

7. Victory over the monster: the hero or heroine fights the monster, defeats it in an unequal battle, and receives treasure or love. Examples: David and Goliath, Nicholas Nickleby, Dracula, James Bond stories.

D. Johnston's version (also 7 types):
· Cinderella (unrecognized virtue),
· Achilles (fatal mistake),
· Faust (debt that must be paid),
· Tristan (love triangle),
· Circe (spider and fly),
· Romeo and Juliet,
· Orpheus (selected gift).

Eight Plots of World Literature - Kurt Vonnegut

Writer Kurt Vonnegut managed to fit all the works of world literature and cinema into eight simple plots. In general, all stories tell us about how people get out of pits, meet their other half, or lose everything they could get in this life.

The genius of Hamlet, according to Vonnegut, lies precisely in its uncertainty: “Shakespeare told us the truth, and people so rarely do this, being too carried away by their own ups and downs. The truth is that we know so little about life that we are not even able to determine what is good for us and what is bad.”

Here are these 8 plots:
· A man in complete ass
· A guy meets a girl
· The story of the creation of the world
· The Old Testament
· The New Testament
· Cinderella
· Getting worse and worse
· How to get to the top

12 plots of world literature

The FIRST plot, the most hackneyed one, is Cinderella.

It is very stable, all variations fit into a clear plot outline of the “standard”. The plot is loved by authors of women's literature, and is often used by screenwriters of melodramas. There are a lot of examples.

SECOND plot - The Count of Monte Cristo is a secret hero who becomes clear towards the end of the play, receiving wealth or opportunities from somewhere.

His mission is to take revenge, or bring justice! The plot is very popular among authors of adventure novels and detective stories. It appeared long before Alexandre Dumas, but this novelist most successfully “smoked” this plot, and after him many people used and used the above-mentioned plot.

THIRD plot - Odyssey.

This story can be called the first; it is extremely popular. Variations based on it may be different, but you just have to look closely and the ears stick out quite clearly. Science fiction writers, fantasy writers, authors of adventure literature, travel novels and some other genres are very fond of this ancient plot, and sometimes copy details of ancient Greek history, which can conditionally be considered the starting point, the reference.

FOURTH story - Anna Karenina.

Tragic love triangle. It has roots in ancient Greek tragedies, but Lev Nikolaevich managed to write it out most clearly and in detail. In the twentieth century, especially at the beginning and middle of the century, this plot was one of the most popular (even ordinary copies copied from Tolstoy, when skilled authors change only names, historical settings and other surroundings, I saw several). But there are many talented variations on this theme.

FIFTH plot - Hamlet.

A strong personality with an agile psyche. A broken hero, reflective and bright, fighting for justice, having tasted the betrayal of loved ones and other delights. In the end, he achieves nothing, capable only of tormenting himself, but achieving some kind of spiritual enlightenment and purification, to which he encourages the viewer. Interesting to a fault.

There is nothing to comment on here. The plot is stable, very popular, there is a lot of Dostoevsky in it (near and close to the Russian heart, and mine in particular). At the moment, this story is more popular than ever.

SIXTH plot - Romeo and Juliet. A story of happy love.

The total number of repetitions of this plot exceeds the number of repetitions of all other plots, but for some reason there are very few talented works, you can literally count them on your fingers. However, in current TV series, in fiction (especially women's fiction), in drama and song writing, the plot is unusually popular.

The plot, again, is extremely stable, as it has been since ancient times and to this day, there are few special variations.

SEVENTH Plot - Fathers and sons.

Its origins are ancient Greek, the plot is complex, and there is a lot of room for variations in it. This also includes the story of Jason’s bride, who is forced to choose between her father and her groom, and to sacrifice one of them. In short, the whole diversity of parental egoism colliding with the egoism of children is described by this ancient tangle of plots that are similar to each other. There is also altruism of parents, and even less often altruism of children, but usually this also ends in tragedy (as if someone has jinxed our entire human race. Ask King Lear, he will tell you).

EIGHTH Plot - Robinson.

It partly echoes Hamlet, primarily in the theme of loneliness, and a little with Odysseus, but Robinson’s story can still be called a separate large plot of world literature. Today's writers and screenwriters often copy, word for word, the work of Daniel Defoe. But there are also many talented and original variations. The hero, most often, is absolutely alone on the island, but this is not a necessary condition; it happens that several heroes find themselves in some kind of isolation from the big world, trying to survive and remain individuals in order to ultimately be saved. My favorite variation is Saltykov-Shchedrin’s story “How one man fed two generals.”

NINTH plot - Trojan theme, war theme.

The confrontation between two systems, enmity and hatred, the other side of which is nobility and self-denial. This plot, as a rule, is layered on other plots, or they are layered on top of it, but classic war novels are also not uncommon, descriptions of wars in detail, with varying degrees of artistry.

TENTH plot - The catastrophe and its consequences. Classic antique story.

At the present time he has been worn out so much that there is no desire to talk. There are a lot of mediocre copies, but occasionally there are interesting ones. The plot is very narrow in terms of semantic variations, but very broad in terms of descriptive possibilities, surroundings and details. But, to be honest, almost every subsequent novel repeats the previous one, even if you don’t go to a fortune teller!

ELEVENTH plot - Ostap Bender - a picaresque novel, an adventure novel.

The origins and classic examples are in the literature of France of the New Time. Extremely popular these days, most often comedic. The tangle of plots is quite bright, and there are often successful variations, but all of them, one way or another, copy a couple of templates created at the beginning of the twentieth century.

Plot TWELVE - Time machine, travel to the future.

Its mirror image is the stylization of travel to the past, historical novels. However, this type of work, as a rule, uses “travel to the past” only as an entourage, and the plot is one of those that I listed above, while “travel to the future” is often a “pure plot”, that is, its essence is reduced precisely to the description of how it all works there in this unknown future.

36 stories by J. Polti:

· Prayer
· Salvation
· Revenge following a crime
· Revenge for a loved one
· Hunted
· Sudden misfortune
· Sacrifice of someone
· Riot
· Brave attempt
· Kidnapping
· Mystery
· Achievement
· Hatred between loved ones
· Rivalry between loved ones
· Adultery accompanied by murder
· Madness
· Fatal carelessness
· Involuntary incest
· Involuntary murder of a loved one
· Self-sacrifice in the name of an ideal
· Self-sacrifice for loved ones
· Victim of immeasurable joy
· Sacrifice for loved ones in the name of duty
· Rivalry of unequals
· Adultery
· Crime of love
· Dishonor of a loved one
· Love encountering obstacles
· Love for enemy
· Ambition
· Fight against God
· Unfounded jealousy
·
Miscarriage of justice ·
Remorse · Found again
· Loss of loved ones

“It 2”: how did King’s new film adaptation turn out and how does it differ from the novel?

Starting September 5, “It 2” is in theaters, a continuation of perhaps the highest-grossing horror film of all time. We explain what to expect from the final part of an ambitious project designed to bring one of Stephen King's most ambitious and complex novels to the silver screen.

27 years have passed since the events of the first film, and the company of teenage outsiders, who once battled an ancient nameless monster living under their hometown of Derry, has long fallen apart. But one day, the members of the Losers' Club receive an unexpected call from: they learn that a series of brutal murders has begun again in Derry, and old enemy Pennywise is on the hunt again. Seven very different adults now have to return to the place where many years ago they encountered an incredible monster, and this time destroy it completely - or die themselves.

The first part of the duology, released two years ago, became a real sensation, breaking all possible box office records and setting a new genre standard. In the sequel, director Andres Muschietti was faced with the task of not only maintaining the bar he himself had achieved, but also doing it within the framework of a new, more mature in every sense, story, organically continuing the old plot. We can say that the filmmakers coped with this task, although with some significant reservations.

But first it’s worth saying that all fans of the previous part should like the new film. It has the same combination of dynamics and scale that make it a worthy adaptation of King's novel. At the same time, she does not simply reproduce his schemes and techniques, but processes the gigantic material into a valuable work in its own right with her own findings. With a gigantic running time (almost three hours - a lot for a horror film), the density of events is very high, and the action never sagging: there are many heroes, and Pennywise always keeps an eye on them, never missing the opportunity to also eat a couple of kids on occasion.

You don’t have to worry about the visual part: everything is done perfectly, and every appearance of the clown decorates the film. But the matter is not limited to Pennywise alone: there will be other, no less impressive manifestations of ancient evil - there are many of them here, and only some of them are taken from the book - it seems, even less than in the first film. There are also a couple of interesting references to horror classics, such as Carpenter’s “The Thing” or “The Shining,” and the last scene is made with obvious dark humor. But perhaps the best joke in the film involves a cameo by Stephen King himself in a rather unexpected - although somewhat logical - image.

There are surprisingly a lot of jokes in the film. And this is precisely one of the very reservations mentioned above. Yes, in the book, fear is often interspersed with laughter, and it is obvious that Muschietti sought to maintain the same balance, but, unfortunately, it is not always possible to maintain it. As a result, the atmosphere that was more clearly felt in the first part, when defenseless children were faced with something malevolent, powerful and inexplicable, is often lost. And if earlier Pennywise was mainly responsible for the humor - and extremely black ones at that - now almost every appearance of monsters is accompanied by gags for which as many as two characters are responsible, which is why the comedy sometimes overshadows the entire horror.

A much more serious caveat relates to the general logic of the script, which this time was entirely the responsibility of Gary Dauberman, well known for his work in the Conjuring franchise and its spin-off Annabelle. Although in general Dauberman clearly follows the plot lines outlined in the book, cutting off historical excursions into Derry's past, as well as many details of the heroes' past, in several important details he seriously changes - if not overturns - King's plan. It is worth noting at least the line with Henry Bowers - which is unclear why it is needed in the film in the form in which it is shown - and also the ending, in which one of the seven heroes retrospectively explains his sacrifice in terms that sound like a frankly artificial attempt to justify his own powerlessness.

But these rough edges are unable to obscure the wealth of style and imagination that literally pours out of the screen - and this powerful flow does not subside until the climactic moments of the fight with Pennywise. This is where the similarities and differences between the two parts of It are best understood. Like the first film, the sequel is about the power of the human imagination and its ability to overcome one's own fears - only the context for this overcoming is now completely different. The first part revealed the traumatic nature of growing up. In the second - the traumatic nature of parting with the past, pain and the need for changes in oneself. Here the book and its film adaptation converge at one point, giving rise to a powerful, very beautiful and bloody horror that will undoubtedly go down in the history of the genre.

PS How far did the film adaptation go from the original source?

Unlike the first part, the sequel has many more semantic and plot differences with the book. Not only is the entire Good vs. Evil cosmology removed, but the fate of Mike Hanlon, one of the most important characters, is also seriously changed. The very way in which the heroes ultimately defeat Pennywise is also not entirely similar to what is described in the book. By the way, about Pennywise: in the book - unlike the film adaptation - he actively prevents the heroes from gathering in Derry, constantly putting a spoke in their wheels, which is understandable. Henry Bowers, one of his main confidants, also plays a much more important role in the plot of the book than in the film. Finally, the final battle with It in the book is much larger, since it is accompanied by the destruction of a large part of Derry, which for hundreds of years was a favorite hunting ground for the monster.

Strong plot. Story arc

Start:

V STORY ARC

How can all of the above be organized into a harmonious, proportionate whole?

Draw a Story Arc .

1. Exposition - a characteristic moment in the life of the hero, which will show weakness and end in crisis.

2. The plot - the hero solves the crisis and ends up in the ass

3. Turning point - GG takes the first step out of his ass and ends up in a bigger mess: he finds out that he has an enemy (GA), and GA has a plan

4. Development of action - the GG draws up a plan to achieve the goal ( a large middle )

6. Counterstrike (preparing the big middle)

7. The stakes are rising. Punch, counterpunch, even bigger ass

8. The stakes are still rising. Punch, counterpunch, ass grows

9. 65% or 75% - a big event in the middle , after which everything rolls towards the finale

10. Imaginary defeat

11. The climax begins. Everything is bad, GG is alone in Big Ass

12. The GG makes a new plan and faces the GA, full of determination

13. Confrontation is not in favor of the GG

14. GG makes difficult, bad, crazy, wrong choices.

15. Dramatic turn - the events of the confrontation change in the opposite direction, the GG won and lost completely

16. Denouement, distribution of goodies, new identity, return

The diagram shows that towards the end events accelerate and the tension grows. The maximum voltage, the highest rates - from 75 to 95-99%, that is, until the denouement.

VI EPISODE OUTLINE: SCENE+CONTINUATION

Important: all characters must have a goal not only for the entire plot, but also for each scene - a very specific goal.

Conflict underlies not only the entire story, but every scene .

And now I want to tell you about such structural plot bricks as Scene and Continuation. In fact, your entire novel is built according to the scheme

SCENE + CONTINUATION + SCENE + CONTINUATION...

As many times as needed.

I took this division from Jim Butcher; if you want, you can read it in the original source; by the way, he explains it well, clearly and with humor. But I will briefly retell the meaning of his lectures here, otherwise some will be too lazy to follow the link, and without this information, knowledge about the plot will be incomplete.

SCENE

What is a scene, according to Butcher? This is the finished piece of text in which the action takes place. What should be in your scene, how to build it?

Character

Target

Conflict (scene issue)

Regression (scene response)

Character : If you have multiple characters, choose the one for the scene who has the most to lose emotionally if it fails.

Goal : active, specific, clear, obviously achievable, meaningful.

Let's say Bilbo is hanging upside down, suspended by trolls who are sitting around a fire waiting for the water in the cauldron to boil so they can make soup out of Mr. Baggins. The character's goal in the scene is to escape captivity without being eaten.

Conflict : occurs between characters. The hero and his antagonist in this scene . Conflict is two characters locked in a head-to-head battle, both trying to achieve mutually exclusive goals. In the example above, the antagonist is trolls. The trolls' goal is to eat Bilbo, Bilbo's goal is not to be eaten.

Stage question : which hero will achieve his goal?

Regression (scene response): GG does not achieve the goal (does not fully achieve)

Scene response options:

1. “Yes” is the worst from a dramatic point of view;

2. “Yes, but...” is a better option;

3. “No!” - good, but should be used with caution, otherwise the hero will look like a mug, not achieving the goal over and over again;

4. “No, and even worse” - excellent. It is desirable that the deterioration be the work of the hero.

So, the scene. The hero has a problem; he has a goal, which he strives to achieve, since it is a step towards the global goal, the goal of his entire journey (that is, the goal for the novel). While trying to achieve an intermediate goal, the hero discovers that someone wants to stop him. Or he encounters someone whose goal is exactly the opposite. Or the scene begins with the hero hanging upside down over a boiling cauldron, which is about to become a pot of soup and, symbolically, the hero’s grave.

For some time, the characters exchange blows (in a general sense, they make efforts to achieve their goal, preventing the enemy from achieving the goal in one way or another). After which the conflict is resolved by one of the options: either the hero achieved the goal completely, or achieved it, but with reservations, or did not achieve it and more attempts are needed, or achieved the goal and found himself in an even worse situation. This worse situation can be determined by the new information that the hero received as a result of resolving the conflict to achieve the goal for this scene.

The result of the Scene - the failure of the Scene's efforts or new information that changes the situation - will lead the hero to the Continuation.

CONTINUATION

The continuation (Jim Butcher's term translated by Anastasia Parfenova) happens after the scene. The continuation tasks are as follows:

1. React emotionally to the consequences of the scene

2. Consider the facts and understand the options for solutions

3. Think about the consequences of the choice

4. Make a choice and set a new goal

Continuation scheme:

Review of information, logical analysis and reflection

Only in this order!

Why this is so - read in the original source.

The emphasis in the sequel depends on the genre. For example, in a romance novel, the emotional reaction is more important, while in a detective story, the emphasis should be on reviewing information and logical analysis. In action films, the sequel consists mainly of a brief emotional reaction and a choice procedure.

The scene speeds up the action, the continuation slows it down.

The plot is the same - but it’s still new

compiled from 22
viewer reviews

compiled from 7
critics' reviews

Description of the film 2+1 (2017)

In the film 2+1, the main character found himself in an extremely difficult and unexpected situation when a baby suddenly appeared in his life, planted by one of his ex-girlfriends. The search for a mother for the girl led to even more unexpected results, so the man has to take responsibility and become a good, exemplary father.

Trailer

Viewer reviews

Cool movie, only it was copied down to the smallest detail from “Instructions not included.”

I really liked the film, it was shot well and conveys all the emotional experiences.
I cried almost the entire movie.
I don't want to watch it again.
I don’t like to be nervous again, I’ll take care of myself.

2+1 is a complete copy of the film “Instructions Not Included,” so it didn’t interest me at all and even disappointed me!

The beginning of the film was very reminiscent of “instructions not included.” I read the description of the film, everything is clear. An actor from the movie “1+1”, but here it’s 2+1, and the script was copied from “instructions not included”. Brilliantly simple. They are using Omar Sy's face, advertising. Pure plagiarism. Disgusting.

A very good, positive and kind film! I recommend it to everyone, it puts you in a good mood and you can watch it with children, the whole family.

The film is great. Touching, with an unexpected ending. I recommend to everyone

An interesting experience of a sad comedy, from which they made a melodrama as a gift for fans of this genre (as in “It Doesn’t Hurt Me” they made a melodrama from a social film). It turned out to be a funny demonstration of the disorderly life of some circles, in particular artistic circles, some things were wittily noted, but the dramatic events were presented schematically and with stock phrases of the characters; as a result of such a gap, for example, for half an hour I thought that Samuel was sick. It’s worth watching, but carefully (this is already a virtue), and it’s good to know that Wong Kar-wai is a famous director, that the British have a hearty breakfast, and the French only have a snack in the morning, and that “second” and “twelfth” in French differ in one letter.

Nothing! The plot is structured in such a way that all the actions of the heroes look reckless, naive and feigned. The situations are far-fetched.

Briefly for those who are too lazy to read a long text.
The film, which begins as a comedy, tells a stunningly touching story about how a carefree womanizer, finding himself with his infant daughter in his arms, whose mother simply ran away, becomes a wonderful father with a capital F.
After 8 years, the mother will appear, but will she bring happiness? The film was shot dynamically, with constant unexpected turns and simply unpredictable moments, with humor, kindness and amazing acting. A wonderful video and subtly, to the point of tears and a lump in the throat, conveyed the feelings of mutual love between father and daughter.

In 2011, the magnificent film “1+1” (the name of the film in domestic film distribution) was released.
At the end of 2016, the French, in collaboration with the British and in the person of another director, the young Hugo Gelin, released the film “Tomorrow It All Begins” worldwide. Domestic distributors, presenting the film here in January 2017, gave it the name “2+1”.
This move, of course, was primarily a marketing move, but also turned out to be fair in cinematic and emotional terms. Both films are united by the country of production, Omar Sy in the leading role and the quality manifested in the fact that the film does not “let go” and moments from the film do not leave the head for a long time and subsequently only settle deeper in the memory. But the most important thing is not this, but the fact that 2+1 is a format for relationships between three people.

However, this is a remake, and a fresh remake, because the film by Eugenio Derbez, a Mexican film director, was released not so long ago, in 2013. The Mexican film is called "No Instructions Included."

Let us return, however, to the French film.
A young, charming and sexy slacker lives carefree. He doesn’t have a dusty job, beautiful women don’t refuse him, especially since he has a luxury yacht, and it doesn’t matter that it belongs to his employer. This could go on for a long time, but on a beautiful sunny day, one of the former lovers, whom the hero does not even remember, comes to him with a baby and declares that he is the father.

Being responsible for someone is not at all part of Samuel's (Omar Sy) plans. However, his former fleeting lover Christine (Clamence Poesy) forces Samuel to hold the child in his arms while she disappears.

A comedy ensues that seems predictable. Find the mother, hand the child back. But when the mother cannot be found, the comedy ends and a good film with humor begins about the life of a father and daughter, where the relationship between people who love each other is very accurately and therefore touchingly conveyed.

The mother will unexpectedly return to her daughter's life after 8 years. And then the title of the film, which is distributed in Russia, will justify itself once again, because the film is accurate in its illustrations of life manifestations. 2+1 is a relationship format. With the appearance of the mother, the film genre slowly and smoothly flows into drama.

I liked the performance of all the actors, I would especially like to mention young Gloria Colston, who plays Samuel’s daughter, Gloria, she does it amazingly cute. I think after her debut there will be a lot of films with her participation.

A film with very strong positive emotions, there are few of those.