UNKNOWN

A review from a Writer's Perspective

Screenwriting Guru John Truby says that Hollywood is in the business of selling genres. He further posits that to be a truly successful writer in this very competitive industry that writers must become experts and specialize in a particular genre. This is an interesting line of thought and does have some merit. The thriller genre is one of the most popular and most profitable.

UNKNOWN is a perfect example of this genre. Thrillers, by design, follow the template of an apparently innocent everyman or everywoman becoming involved in life-threatening situations in which there seems to be no way out. Liam Neeson, in another dynamic performance, stars as Dr. Martin Harris, a scientist en route to a conference in Germany with his wife played by January Jones. After arriving at the their destination, Dr. Harris realizes he’s left his briefcase at the airport. Leaving his wife, he takes a cab to retrieve the case. Unfortunately, the taxi he’s riding in is driven off the road and into a river during a traffic mishap. Diane Kruger, the fearless cab driver, pulls the hapless doctor out of the drink and then disappears. After being released from the hospital, Dr. Harris goes to the hotel and finds his wife at a function with another man who claims to be Dr. Harris! The police think he’s crazy and worse, someone is trying to rub him out. Eventually he seeks out allies in the form of a retired German operative and the cabbie who saved his life but was initially afraid to come forward because she’s an illegal. The film is fast, exciting, and has a one big plot twist that explains what’s going on.

Just as many writers specialize in genres, there are actors that do the same. With TAKEN from a couple of years ago and now UNKNOWN it looks like Liam Neeson may be the new go-to-guy for the thriller hero with gravitas. He’s a 21^st century take on the Jimmy Stewart protagonist from the 50’s Hitchcock movies. Only Liam is tough and mean as well as moral.

On a structural level UNKNOWN follows the thriller playbook almost to a “T.”

1)Hero introduced as a likeable everyman.

2)Hero sees something he shouldn’t or makes some minor error in judgment that causes folk to come after him.

3)Folk try to rub the hero out but he escapes.

4)Hero seeks ally or allies.

5)Hero and Ally escape a dangerous situation and ally is now firmly on board.

6)A plan is made.

7)Something goes wrong with the plan.

8) A major reveal occurs. 8)The hero and bad guy have a final showdown

9) A new equilibrium is achieved.

Of course there can be variations and one or two steps may be switched in the order, but these basic beats help shape a thriller. It’s not a formula but rather an elastic story form that helps define a particular genre. Study the form, internalize the form, and use the form and you will most likely create a reasonably solid piece. If you want to transcend the form, mix two or more genres and clearly render your theme and make sure your main character’s arc is based on his or her internal character need rather than just their outer goal. Simple to say, I know, but more challenging to pull off. But then that’s the joy and frustration embedded in such a mercurial artistic endeavor like screenwriting.