[…] In your writing career, you will almost certainly have to write scenes in which characters express grief. Let’s pull together seven notable scenes next week that explore a variety of these type of reactions to help inspire …read more […]

Four Weddings and A Funeral Matthew: Gareth used to prefer funerals to weddings. He said it was easier to get enthusiastic about a ceremony one had an outside chance of eventually being involved in. In order to prepare this speech, I rang a few people, to get a general picture of how Gareth was regarded by those who met him. Fat seems to have been a word people most connected with him. Terribly rude also rang a lot of bells. So very fat and very rude seems to have been a stranger's viewpoint. On the other hand, some of you have been kind enough to ring me and let me know that you loved him, which I know he would have been thrilled to hear. You remember his fabulous hospitality, his strange experimental cooking. The recipe for "Duck à la Banana" fortunately goes with him to his grave. Most of all, you tell me of his enormous capacity for joy. When joyful, when joyful for highly vocal drunkenness. But I hope joyful is how you will remember him. Not stuck in a box in a church. Pick your favourite of his waistcoats and remember him that way. The most splendid, replete, big-hearted, weak-hearted as it turned out, and jolly bugger most of us ever met. As for me, you may ask how I will remember him, what I thought of him. Unfortunately there I run out of words. Perhaps you will forgive me if I turn from my own feelings to the words of another splendid bugger: W.H. Auden. This is actually what I want to say: "Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffin, let the mourners come. Let the aeroplanes circle, moaning overhead Scribbling on the sky the message 'He is Dead'. Put crepe bows 'round the white necks of the public doves, Let traffic policemen wear black, cotton gloves. He was my North, my South, my East, and West. My working week and my Sunday rest, My noon, my midnight, my talk, my song; I thought that love would last forever: I was wrong. The stars are not wanted now; put out every one, Pack up the moon and dismantle the sun, Pour away the ocean and sweep up the wood; For nothing now can ever come to any good." http://www.youtube.com/watch?v=DDXWclpGhcg Why is the dialogue notable? Stop all the clocks rings so true to the feeling of losing a loved one, with the injection of personal nods to Gareth, Matthew, even in his grief, conveys the warmth, love, and good humour that existed in their relationship. By making it so personal the audience is really drawn in.

Dallas Buyer's Club Rayon: God, when I meet you, I'm going to be pretty, if it's the last thing I do. I'll be a beautiful angel. http://www.youtube.com/watch?v=Hyfh5tW4rvk Why is it memorable? The realisation and acceptance of the inevitable, whilst grieving a life that still wants to be lived. Dialogue that is made outstanding in the performance.

https://www.youtube.com/watch?v=AWgPo29WbiA [Will's father came back into town, and then lied to Will about being around more and left. Phillip is trying to comfort him] Phil: I'm sorry, Will. Will: You know what? Actually this works out better for me. The slimmies in summer come to class wearing next to nothing, you know what i'm saying? Phil: Will, it's alright to be angry. Will: Hey, why should I be mad? At least he said goodbye this time. I just wish I hadn't wasted my money buying this stupid present. Phil: I-I'm sorry. If there was something that I could do- Will: Hey, you no what, you ain't got to do nothing, Uncle Phil. You know, ain't like I'm still five years old, you know? Ain't like I'm gonna be sitting every night asking my mom 'when's daddy coming home?' You know? Who needs him? Hey, he wasn't there to teach me how to shoot my first basket, but I learned it, didn't I? And I got pretty damn good at it too, didn't I, Uncle Phil? Phil: Yeah, you did. Will: Got to do my first date without him, right? I learned how to ride, I learned how to shave, I learned how to fight without him. I had *fourteen* great birthdays without him; he never even sent me a damn card. The hell with him! [pause] Will: I didn't need him then, I won't need him now. Phil: Will... Will: No, you know what, Uncle Phil? I'm gonna get through college without him, I'm gonna get a GREAT JOB without him, I'm gonna marry me a beautiful honey and I'm having a whole bunch of kids. I'm gonna be a better father than he ever was. And I sure as hell don't need him for that, 'cause there ain't a damn thing he can teach me about how to love my kids! [long pause; he's crying] Will: How come he don't want me, man?

Cast Away [Chuck finally visits Kelly and as he leaves she runs after him.] For a moment her eyes meet Chuck's. This is really what he missed. And Kelly knows it and feels it. KELLY: So. What now? CHUCK: I don't know. (beat) I really don't know. Chuck gets into the driver's seat. Kelly stands by the door, leaning down on it, watching him, really close now. He turns the key and starts the engine. She's staring at him, all the emotion bubbling up. His hand goes to her face, his eyes saying, you are so beautiful. KELLY: Right back, you said you'd be right back. CHUCK: I'm so sorry. KELLY: Me too. They have a sweet kiss through the window, safe with the car door between them. Then it has to be over and it is. He looks at her with as much of a smile as he can muster. Then he puts the car in reverse and backs out into the rain. We stay with Kelly as it backs out and onto the road. Then it stops, goes in gear and starts to move forward—slowly, as if Chuck can't quite bear to leave. But she can't stand it. She runs after him, into the rain. KELLY: Chuck!!! EXT. KELLY HOUSE—SAME: Kelly runs down the driveway, but the Jeep is gone. Suddenly it backs into frame! Chuck jumps out and runs toward her through the rain. She comes into his arms. They're both soaked. She kisses him totally and utterly, and he her back. Chuck holds her tight. God, how he dreamed of this. For the longest time we watch them embrace in the rain, water pouring off them. Then he helps her into the car. INT. CHUCK'S CAR—SAME: She's breathing hard, her hair soaked, tears and rain on her face. She tries to explain, her breath coming in gasps. KELLY: I always knew you were alive. I knew it. But they said I had to stop saying that. I had to give you up. So I tried. Jerry was there for me. He's so good. A good father. I love him (beat) But I've always loved you. You're the love of my life. (beat) Oh God, I don't know what to do. Now it's up to Chuck. CHUCK: I love you, Kelly. (beat) More than you'll ever know. Chuck starts the car. KELLY: Chuck... He looks at her for a long time. This is the moment. Forward, together. Or back, to her house. With him. Or with them. CHUCK: You have to go home. He puts the car in gear. And pulls into the driveway. EXT. KELLY HOUSE—NIGHT—CONTINUOUS: And the car drives back toward Kelly's house. It reaches the garage and stops. For the longest moment we watch it sit there, in the rain. Then the passenger door opens and Kelly gets out. Kelly stands watching in the rain as Chuck pulls out and drives down the street. Good-bye. Video clip: http://movieclips.com/Mtuz-cast-away-movie-youre-the-love-of-my-life/ Notes: This scene is incredibly powerful. Mostly I attribute this to the actors. Although the dialog and action certainly give them a framework. The rain, him driving away, and her running after him is a very poetically dramatic and symbolic departure. The minimalistic dialog, alone, is not that all that dramatic. But it hits the core points of "I love you" and "You have to go." The action is similar with her running to him; and their long heartfelt, tearful, futile embrace standing in the rain. It has everything to do with how it's played. It's completely about the history of the characters and how they got to this place. This is the death of their romance. It's as grieving as it would be had one of them died, maybe more so. For me, this is really what the entire movie is about.