Summer
2002
Volume 1 • Issue 4 Write Between the Linesis an exploration and articulation of the obvious and the obscure.
A cavalcade of creation and commentary designed to amuse and bemuse.
It
Came from Outer Space
Dramatica
Story Analysis
The Iron Giant
by
KE Monahan Huntley
Fascination
with aliens—paranoia (overall story thematic counterpoint-threat)
in progressive (overall story concern) times. Reaction to the
unknown is the topic explored in the politically subversive,
amazingly stellar, animated feature, The Iron Giant.
Inspired by Ted Hughes, written for the screen by Tim McCanlies
and directed by Brad Bird, The Iron Giant is a "top
notch" children's story for adults and a Dramatica grand
argument story relevant far beyond its retro time period—the
1950's Cold War (overall story domain-universe).
"Hogarth Hughes. Ready for action" (main character
approach-doer) is an imaginative boy with a sense of adventure
(main character domain-physics) that, more often than not, lands
him in hot water. Collecting strays (main character signpost
1-obtaining) he finds on outings is a source of affectionate
exasperation for his single working mother. When Hogarth saves
the metal man (impact character) who fell to earth (story driver-action)—the
nine-year-old is wise (main character thematic counterpoint)
enough to know this is one innocent creature that should not
follow him home. The "strange invader," however, is
determined to attach himself to Hogarth (main vs. impact character
story domain-mind).
Hogarth: Stay. . . . I mean it!
One train wreck later (overall story problem-effect) convinces
Hogarth the robot with regenerative powers needs a hideout,
before he is found out. And the town "wigs out." The
local scrap yard, run by resident beatnik Dean, is just the
place. Dean introduces Hogarth to espresso and philosophy. Hogarth
introduces the "Frankenbot with out-of-state plates"
to the stunned sculptor: "Dean stares at Hogarth in expressionless
shock."
Hogarth: He needs food. And shelter. . . . He can stay?!
Dean: Tonight. Tomorrow, I don't know . . .
Complications arise with the arrival of an officious government
agent, on the scene in the interest of national security (overall
story thematic issue):
Kent: Kent Mansly. United States Government. Unexplained
Phenomena Department.
It is not too long before Mansly takes a room at the Hughes'
and zeroes in on Hogarth (main character critical flaw-security):
Kent: Hey, mind if I ask you a few questions . . . Buckaroo?
Now why would you tell your mom about a giant robot, Slugger?
. . . How big is this thing, Ranger? . . . . You know, Hogarth,
we live in a strange and wondrous time. The atomic age. But,
there's dark side to progress (overall story concern). . . .
Hogarth gives Mansly the slip and bikes over to Dean's. Momentarily
casting worries (main vs. impact character story thematic counterpoint)
aside, Hogarth plays (main character concern; overall story
dividend-doing) with the Iron Giant—the "greatest
thing since television." He teaches the "robotron"
the difference between heroic Superman and villainous Atomo
and solemnly explains issues of life and death:
Hogarth: Things die. It's part of life. It's bad to kill,
but it's not bad to die.
Giant: You die?
Hogarth: Well, yes. Someday.
Giant: I die?
Hogarth: I don't know. You're made of metal. But you
have feelings. And you think (impact character thematic issue-thought)
about things, and that means you have a soul. And souls don't
die. . . . Mom says it's something inside—all good things.
And that it goes on forever and ever (main character solution-unending).
Hogarth returns home. His mother is working the late shift and
Mansly is in full G-man mode. Mansly confronts Hogarth with
factual (overall story catalyst) evidence of the Giant and announces
the Army will arrive in the a.m.
Hogarth
and Dean manage to circumvent the military operation—but
an incident far more disturbing occurs. They discover the
Iron Giant's capacity (main vs. impact character story inhibitor-ability)
to effect (impact character problem) annihilation:
Hogarth: It was an accident. He's our friend!
Dean: He's a piece of hardware, Hogarth. Why do you
think the Army was here? He's a weapon. A big gun that walks!
The Iron Giant is ashamed and clanks off—only to be spotted
by the retreating Army. Meanwhile, Dean determines the cause
(impact character solution) of the Giant's transformation
(impact character benchmark-becoming) is direct threat (overall
story thematic counterpoint) and that he is only reacting
defensively. Dean attempts to intervene before the Army can
destroy the Iron Giant—but Mansly exacerbates the situation.
An all out attack turns the Iron Giant into a killing machine—until
Hogarth stops (main character growth) him:
Hogarth: You don't have to be a gun. You are what you
choose to be. You choose.
At this time, Mansly, insane with power, orders the missile
launch that will destroy the Iron Giant—and take out
the United States. Once the Iron Giant comprehends an atomic
holocaust is at stake (limit-optionlock)—he heroically
jets to the sky with his afterburners supercharged—Superman
(impact character resolve-change) saving the world at the
cost (being) of his own life: "The ROAR of his engines
fades into silence as a look of peace falls over his iron
face. . . . The blackness of the night sky goes brilliant
WHITE."
What is recovered is delivered to Hogarth. An iron part that
will surely find its way back to the Iron Giant:
INT. HOGARTH'S ROOM-NIGHT
Hogarth is awakened by a RATTLING SOUND. He looks to see the
scorched PIECE OF IRON on his dresser as it drops to the floor
and starts moving toward his window. Hogarth BEAMS . . . and
opens the window to release it (main character resolve-steadfast).
MUSIC SOARS as the boy watches the piece of metal GO, his
mind swimming with new possibilities (main character judgment-good).
"Question authority." "Trust No One."
From The Iron Giant producer Pete Townshend's time
to the new millennium, a child who understands television
is good and the government is suspect is a wise (main character
unique ability) one indeed. Hogarth represents a new era of
enlightenment (main character thematic issue), and the Iron
Giant statue erected in the (Norman) Rockwell town square
serves as an indicator of progress (overall story goal; outcome-success)
towards intelligent life on earth.
Quotations are transcribed directly from the film and/or The
Iron Giant screenplay by Tim
McCanlies and Brad Bird; July 11, 1997 Draft by Brent
Forrester and Brad Bird; Screen Story by Brad Bird
Please note: An earlier version of this article is published
on www.Dramatica.com
