She's All That

Dramatica Analysis

by

Katharine E. Monahan

Huntley

You have seen this movie before. Whether it was My Fair Lady, Pretty in Pink, the dance sequence from Footloose, whatever, it all rings a bell. Which is not necessarily a negative, especially if the story in question is served with a Dramatica grand argument story and does a twist, and She's All That has all that.

The film, written by R. Lee Fleming Jr. and directed by Robert Iscove, opens as most popular boy (main character domain — situation) and main character, Zack (Freddie Prinze Jr.), is unceremoniously dumped (overall story thematic issue — commitment) by most popular girl (story driver — action). She has found true (unlasting) love with a puckish MTV Real World (scene stealing Mathew Lillard as Brock Hudson) castmate over spring break. Contagonist Dean (an unlikable 90210 "Steve" lookalike), masquerading as the best friend, laughs in Zack's face, especially as (gasp!) the most popular couple were shoe-ins to be crowned teen King and (ice) Queen of the Prom.

It's not a thing, Zack asserts (main character approach — do-er), he can take any one of the 2000 female population of Harrison High and, in six weeks, transform (story goal — becoming) her into tiara material (overall story signpost 1 — conceptualizing). The bet is set. (Note: Although six weeks indicates a timelock story limit, the goal is an optionlock. Zack's choice (main character — unique ability) must become queen.)

Zack's personal concern is his future. Specifically, college. As a graduating senior with the 4th highest GPA, he can go anywhere he wants. Or where his dad insists — which is alma mater Dartmouth (main character thematic counterpoint — preconception). Zack's vacillation creates conflict at home (critical flaw — attitude). The endeavor (main vs. impact character story concern — obtaining) to win impact character and dream (impact character unique ability) geek, Laney (Rachael Leigh Cook), provides a fine distraction from parental authority and moving on as BMOC (main character benchmark — past).

Laney has her own issues (impact character domain — fixed attitude). Bias against the cliques and an unwillingness to come to terms (impact character thematic issue — closure) with her mother's death (impact character benchmark — memory) aids in her avoidance (impact character problem) of having fun (translation — a boyfriend). She feels obligated (impact character critical flaw) to be the family caretaker, outside of this she withdraws into a narrow world of art.

The preconceptions Zack and Laney have about one another inhibit the relationship. Zack, however, doesn't allow this to prevent (main vs. impact character problem) him from chasing (main vs. impact character solution — pursuit) Laney. Of course, the more they hang out, the more they understand (main vs. impact character benchmark) each other. The makeover Zack orchestrates for Laney (main vs. impact character focus — control) is awfully quick and no surprise — we've seen Rachael Leigh Cook plenty in the media. (Oddly enough, it doesn't make Laney any less remote.) Laney puts up some resistance (main vs. impact character direction — uncontrolled) to Zack and her new look, and temporarily (overall story journey 2 — being to becoming) falls prey to the temptation of Dean, who surreptitiously hinders Zack's efforts towards Laney.

The usual high school high jinks ensue (breaking up/making up), scored with the latest hip-shaking funk. Film imitates television with the insertion of faux Real World clips and Buffy the vampire slayer making a cameo in the high school cafeteria.

At the big prom face-off, Laney loses (outcome — failure). No matter, dancing poolside with Zack she has changed (impact character resolve) into a "pretty woman" but "without the whole hooker thing." Zack is steadfast (main character resolve) to his essential Prince Charming self (judgment — good), yet he has matured (main character growth — start) — he is now open (main character thematic issue) to a world of possibilities beyond the superficial (mc signpost 4 — present).

Please note: An earlier version of this article is published on www.dramatica.com