Turning real events into a working screen drama is a hell of a challenge. Whether it be a historical movie, biopic or docu-drama, the smart screenwriter stays true to the spirit of the subject, not the newsroom version of the events.
by Karel Segers
The principals of drama must dictate how the story is (re-)structured. UNITED 93 is exemplary in this respect.
Whoever believed that the sheer magnitude of the events would guarantee the movie would work should’ve checked out the TV dud “FLIGHT 93” first. I believe here’s a hell of a great script at work.
I watched Paul Greengrass’ movie last weekend and was truly impressed. When I had recovered from the emotional rollercoaster ride, something quite unexpected dawned upon me: this story boasts an amazingly conventional structure.
– ACT ONE: Boarding until cruise altitude; hijackers take control.
– ACT TWO/A: Passengers try to notify the ground.
– REVERSAL: News of the WTC attacks – this is a suicide flight.
– ACT TWO/B: Passengers prepare to fight back.
– ACT THREE: Attack on the cockpit and crash.
An important subplot dominates the first half of the movie and intertwines with the First Act: Ben Sliney’s struggle at the FAA to stay in control of the US air space. Here I’d like to refer to my very first post and my structural note on SCHINDLER’S LIST and THE INSIDER. Both movies start with a major subplot, in the case of THE INSIDER possibly even a second protagonist. Once we’re in the Second Act of the subplot, the main story kicks in. Same here: we’re well into Ben Sliney’s Second Act before the action on board United 93 starts.
For all above reasons – and I know this one is hard to prove – I believe it still would’ve been a great movie for anybody completely unfamiliar with the 9/11 events. While we sit through the relatively uneventful First Act (if you don’t know what’s coming up), we empathise with Ben Sliney whose air traffic controllers are becoming increasingly helpless.
You may argue that this structure is a mere reflection of the facts. Don’t forget filmmakers have always made their own choices about how and which events are presented over the course of the available screentime.
With this matter, I initially didn’t believe Greengrass really HAD to be this rigorous in his structuring for the movie to have an adequate effect. Still he did. Why? To create maximum empathy with the protagonists. And it pays off!
– Karel Segers
First published August 21 2006