Key Principals: Three Act Structure and Character Journey

The three act structure, sourced originally from the layout of early fairy tails then elaborated into plays and novels is a common trend in story telling methods. This structure is typically split into the proportions of '30:60:30' to keep a balanced set. The first quarter, traditionally defined as the initial equilibrium to the story, is where the story's scene is laid out, and our standards are given. This is contrasted with the final 30/quarter of new equilibrium, where by a new set of standards are given. This final equilibrium, also known as the resolution or conclusion is in response to the stereotypically middle half, referred to as the crisis section. Here, a series of events occur to alter and challenge the initial equilibrium, and end up at the final/new one.

Beware, spoilers and serious mind f$%kery. You have been warned.

For the analysis of the three act structure, I have chosen the mid 2000 film, 'Memento' by the director Christopher Nolan, a personal favourite of mine. This film though, is not strictly set to this three act parameter. Seeing as the entire film is set to make sense both backwards as it is forwards (in order to convey the message that we are not only working our way from the initial equilibrium through the crisis to the resolution, but the resolution is actually the cause for the crisis and thus the initial film equilibrium: Nolan you mind f$%ker) This three act principal ties in perfectly with the character journey, as it is structured to display the protagonists journey through his amnesia-esque condition; thus it disorientates us to feeling we have 'forgotten' aspects of the story, while still maintaining a grasp and intrigue on the film itself. Within the first quarter section of the film, we are given the premise that our protagonist, Leonard has murdered Teddy our other main character, yet we have been taken back in time to where Leonard is searching under a vendetta for his wife's killer (who we currently believe to be Teddy, due to the opening clip) This opening standard of seemingly backstage knowledge and revenge, results in the ending, which loops back to elaborating on the opening clip explaining that Teddy is not in fact the true target but a fall-guy/has been set up. Being a Nolan film, the concluding equilibrium also explains a deeper answer to subtle and seemingly decorative threads within the story; that Leonard was not in fact the person he thought he was, but rather the person he used to example and reference to his own sate of mind. This draws us to the end of the characters journey and the film; although this is where the three act structure really gets confusing. The crisis, traditionally in the middle of the film is actually made apparent to be a crisis in two stages. One, where we may expect it near the middle to second third of the film where Natalie our female character prevails to be an actual antagonist rather than ally. She does this by deceiving Leonard in a vindictive and manipulative way. This is a relatively small 'crisis' section in the film, as the main crisis is given at the end of the film where the two strands of the story meld after fluctuating throughout the film. This shows us that Leonard actually killed another man, boyfriend to Natalie and set up by Teddy thus leading to the sequence of events leading to his death. This explains Leonard's appearance in contradiction to his narrated backstory, Teddy's death in vengeance by Leonard for 'using' him to benefit and why Natalie used and manipulated Leonard in subtle revenge for her boyfriends death. By placing the crisis near the middle and end (as well as hinted start when seeing Teddy's death followed by his appearance in the story) a seemingly paradoxical loop is created (one that is carried out and modified in his following but unrelated film, Inception). This loop allows us to comfortably link back to the start of the film to feel a conclusion and sense has been made, while also promotion the suggested mind state of our protagonist.

As far as characters journeys go, we are put directly into the unique mind of Leonard, through two correlating and converging scenes. One viewed in black and white, the other colour in order to easily differentiate. These, like the reverse viewing of the scenes generate an atmosphere of illusion and disorientation while allowing us to slowly feel we are arrow heading our way towards a series of answers to our escalating questions and intrigue. This is portrayed though the use of omni-narration suggesting we are hearing his thoughts, a personal slant on him scrawling notes on polaroids to remember, cut scenes to relative side stories or his memories, and obviously the style of using reversed ordered scenes. We are aided in this otherwise confusing premise of reverse filming through the reduction in not only character knowledge, but more tangible and solid presets, like the physical state of his car, clothes, wounds, and personal photograph notes. As mentioned earlier, he gives himself a backstory of being an insurance investigator and thus was legible to owning the expensive Jaguar car and smart clothes. As we discover him to not be the person he imagines though, his facade changes to a far different style; rough and worn clothes and a wild animal lust to replace the sleek predator approach. This shows the characters development both in finding himself through this story, and too reveals the true nature behind the plot. Overall character development is an intrigal element to story, allowing the viewer to suitably relate characters to their ascribed histories and intentions, as well as seeing them as relatable characters in real life: the more relatable they are, the more they are likely to be drawn into the story and feel connected with the characters. This doesnt have to be through visual aspects, but can be emotional or personality based keynotes such as (the audiences aspired) heroism, or (the audiences inner) vulnerability.

In conclusion, the story is set and delivered chronologically in reverse, yet the audience still learns the plot in a regular or standard manner, as does the character development take place in. The three act structure is thus displaced depending on which standpoint you adopt, with the same rule applied to character development. If I had tried to explain Inception, I'm afraid I might not have lived to tell the tale.