Name: ______________________________
Film Analysis
Date: _______________________________
Period 4
November 30 – December 4 – Week 14
Genre – Action
Focus: Character Arcs
Character Structure Meets Mythic Structure
Mon 11/30
Tues 12/1
Wed 12/2
Thu 12/3
Fri 12/4
Per 3 & 7
Mary vs. Misery Presentations
Fugitive Screening 1: Who is Kimble?
Fugitive Screening 2: Who is Kimble now?
Drop Day
Fugitive Screening 3: How does Kimble changes?
Cast:
Harrison Ford
Dr. Richard Kimble
Tommy Lee Jones
Marshal Sam Gerard
Sela Ward
Helen Kimble
Julianne Moore
Dr. Anne Eastman
Joe Pantoliano
Deputy Marshal Renfro
Andreas Katsulas
Frederick Sykes
Jeroen Krabbe
Dr. Charles Nichols
Daniel Roebuck
Deputy Marshal Biggs
L. Scott Caldwell
Deputy Marshal Poole
Tom Wood
Deputy Marshal Newman
Ron Dean
Detective Kelly
Joseph Kosala
Detective Rosetti
Eddie Bo Smith
Copeland
Crew:
Andrew Davis
Director
Arnold Copolson
Producer
Jeb Stuart
David Twohy
Screenwriters
Michael Chapman
Cinematograher
Maher Ahmad
Art Director
Rick Gentz
Set Decorator
Aggie Guerard Rodgers
Costume Designer
Peter Robb-King
Makeup Supervisor
Roy Arbogast
Special Effects
William Mesa
Visual Effects Supervisor
Terry Leonard
Stunt Coordinator
Academy Award:
Tommy Lee Jones
Best Supporting Actor
Ordinary World
Fugitive Mythic Elements and Structure
Inciting Incident
Call to Adventure
Refusal of the Call
Progressive Complications
Meeting with the Mentor
Crossing the First threshold
Tests, Allies, Enemies
Approach to the Inmost Cave
The Ordeal
Crisis
The Reward
Climax
The Road Back
Resolution
The Resurrection
Return with the Elixir
Theme:
Characterization and Deep Character
In your study of literature up until now, what three things have you been told define
character?
1.
2.
3.
For the purposes of film study, we will look at character in a different way:
Characterization:
Deep Character:
CHARACTER ARC Example
1. Characterization is laid out.
Shrek is an ogre
2. We’re led into the heart of the character – true nature revealed through choices.
Allows Donkey to stay; goes to Farquad to regain swamp
3. Deep nature at odds with outer character, contrast established.
Ogres have layers; Shrek has a sense of humor
4. More pressure, more difficult choices.
To kill or not kill dragon; to love or not love Fiona; to go or not go to final
rescue
5. By climax, choices have profoundly changed the humanity of the character
At end, Shrek worthy of friendship and love
CHARACTER ARC
1. Characterization is laid out.
2. We’re led into the heart of the character – true nature revealed through choices.
3. Deep nature at odds with outer character, contrast established.
4. More pressure, more difficult choices.
5. By climax, choices have profoundly changed the humanity of the character
The Fugitive Character Analysis
Antagonist:
Mentor
Protagonist:
Reflection:
KIMBLE
Romance:
The Fugitive Character Analysis
Antagonist:
Mentor
Protagonist:
GERARD
Romance:
Reflection:
CHARACTER ARC
KIMBLE
GERARD
1. Characterization is laid out.
2. We’re led into the heart of the character – true nature revealed through choices.
3. Deep nature at odds with outer character, contrast established.
4. More pressure, more difficult choices.
5. By climax, choices have profoundly changed the humanity of the character
The Fugitive Character Analysis
Assignment Due: Monday, May 7 at 5 p.m.
Task: Using your notes from the classes during which we’ve reviewed The Fugitive,
trace the character arc of Dr. Richard Kimble and U.S. Deputy Marshal Sam Gerard.
This is a “fill in the gaps” assignment to test how thoroughly and effectively you have
taken notes and how well you understand the concept of character structure. No group
work is allowed on this one; you are responsible for turning in your own
completed papers. No late work accepted, no alternate formats.
Submission Procedure: Via Turnit.com
Kimble
Starting Point: Lost Soul
Gerard
Starting Point: “I don’t care” (about
Kimble)
Act 1 Climax:
Act 1 Climax:
Act 2 Climax:
Act 2 Climax:
Act 3 Climax:
Act 3 Climax:
Resolution:
Resolution:
Ending Point: Found Soul
Ending Point: “I care.”
The Fugitive Character Analysis
Assignment Due: Wednesday, December 9
Format/Font: Double spaced Georgia 12
Length: Minimum 3 paragraphs, and each of those paragraphs had better look like a
paragraph.
Remember, we said that Richard Kimble’s character starts with losing his soul and ends
with having his soul restored. The train crash sequence is a microcosm of that arc as it
turns on the value of Life or Death.
Remember also that during this scene, Kimble is faced with all three major levels of
conflict: personal, interpersonal, extra-personal.
Task: Using your notes from class, explore how these three levels of contribute to
Kimble’s character arc in just this scene alone. Consider the following questions:

How is he conflicted with himself?

How is he conflicted with those around him?

How is he conflicted with his physical surroundings?

How does he deal with each of these challenges?

Who is Kimble at the beginning of the scene and who is he at the end?

Why does he make the decisions he makes and what do they say about him in
terms of deep character?

Why do you think he makes those decisions, primarily the decision to run at the
end rather than waiting for the authorities to arrive?

What turns him from a well-respected doctor into a fugitive from justice?
Note: In our next 2 films, you will be tracing a character arcs for these entire films.
Train Crash Sequence – Value > Life or Death (Incarceration or Escape)
BEATS
+/–
–
20 miles from prison
+/–
Prisoner convulses
+/–
Guard opens the door
–
Guard stabbed, prisoner shot, driver shot, bus out of control
–
Bus rolls downhill – guards and prisoners bounced around
+
Bus settles at bottom of hill
+
“Unlock me” – Kimble’s wrist shackles are unlocked
–
Train approaches bus
+/–
Kimble helps guard but others bail
+
Kimble tosses guard clear of bus and train track
+
Kimble leaps from bus before impact
–
Train jumps track and “chases” Kimble
+
Kimble takes cover
+
Copeland helps Kimble up hill and unlocks leg irons
–
Kimble discovers injury to hip
+
Kimble runs from wreckage
Note that every sequence in The Fugitive turns on a value from negative to positive or
positive to negative. There is no such thing as static action or static character
development in this movie. Every beat propels both the plot and Kimble’s character to
the obligatory scene and conclusion.