Winter
2002 – 2003
Volume 2 • Issue 2 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.
Oh,
Lordy
Dramatica
Story Analysis:
Gods and Monsters
by
Katharine E. Monahan Huntley
James
Whale, as dapper in death as he is dressed for dinner, is the
main character in Bill Condon's Gods and Monsters. He
is conscious (main character focus-self-aware) his deteriorating
health (main character domain-situation) signals the inevitable
end (main character thematic issue-destiny), however, the proper
Englishman's courteous ways and impeccable manners remain unfailing—as
does his ardent desire for beautiful boys (main character resolve-steadfast).
One young man Whale takes a fancy to is his new gardener Clay
Boone, a heterosexual intent on staying that way (impact character
domain-mind). Boone's throughline is attended to only enough
to allow for a certain amount of character development—the
emphasis of the film is on the main vs. impact character story.
The relationship between Whale and Boone is explored through
manipulations (psychology domain), commencing on James Whales'
part as a game of seduction. Boone is quite simply an Adonis
in dire financial straits—which is why, in addition to
keeping the estate well manicured, he agrees to sit for the
director's sketches. His suspicions (impact character unique
ability) of Whales' motives toward himself, and the fact the
cultivated gentleman is less than forthcoming about why he wishes
to spend time with his unrefined gardener (main vs. impact character
inhibitor-falsehood), represses the relationship. Certainly,
the two men are on unequal (main vs. impact character problem-inequity)
footing—the concept (main vs. impact character concern)
of an affinity ridiculous. Yet, as the past (main vs. impact
character concern) James Whale has neatly dismissed encroaches
upon him, it points up a common ground. Further, like the Frankenstein
he had created, he now (main character benchmark-present) needs
a friend far more than a lover.
Boone wrestles with his perception (impact character problem)
of homosexuality. His innate decency and the confidences he
shares (impact character concern-memory) with the forgotten
Hollywood player, however, eventually overcome his fears and
reservations (impact character resolve-change). Boone becomes
(main vs. impact character signpost 4) an intimate of James—who
is not a god, not a monster, but a mere lonely mortal.
As an understated, character driven drama, Gods and Monsters
is elegant indeed, Ian McKellen's performance—stunning.
From a Dramatica perspective, however, the scant overall
story is a missed opportunity. Instead of providing an account
(as fine as it is) of an actual and fictional characters' friendship,
the big picture would have been more powerful had it been developed
to a greater extent. The film could have been elevated to an
important social critique of the film industry's acquiescence
of the general public's negative perception (overall story problem)
of homosexuality—and the rampant misunderstanding (overall
story concern) that is, now as then, inherent to the subject
matter.
Please note: An earlier version of this article is published
on www.Dramatica.com.
