Final Timed-writing

Name: Christine WANG, Yuting

Date: June 21, 2007

Timed-Writing Three

Directions: If you were to create a filmed advertisement (a "trailer" ) for a movie based on The Grass-Eaters, which scene would you select? Why? Discuss ways in which you might film the scene.

If I were to create a trailer for “The Grass-Eater”, I would prefer to select the scene that Ajit Babu is satisfied with his disabled leg, with the notion of self-deception and self-optimism.

I choose it because I think this scene vividly contrasts the harsh life Babu is facing and his seemingly-tragic optimistic attitude to the current situation. Actually, such a type of contrast is commonplace in the whole story. However, this one reaches a climax. Without delicate dishes, he is content with grass; Regardless of his dead children, he imagines bright future of his family. After all, those satisfactions are related to so-called happiness. But given his severely physical disabilities, the issue should be seen as a matter of survival instead of happiness. To be honest, one will hardly be calm to accept the fact of the loss of one leg. Hence, Babu’s impassive, even humorous tone of narrating his horrible experience will shock almost everyone. Any successful movie relies on conflicts, and will resonate among the audience. I think such a sharp contrast, representative of the topic of the story, will arouse interests as well as sympathism of audience, in purpose of drawing their attention on the movie.

As for how to film the scene, the best way is to amplify the contrast. There are many approaches to the effect. The first point is the background music because different kinds of music influence one’s mood without notice. I would like to select “Elove Song” by Goddess Reborn, which is a sad song with a relatively soft tune. The song may at first appear to be happy, but after careful listening, people would find sorrow lingering. It perfectly displays the topic. The second point is to use montages, a method of filming that place emphasis on contrast in one single composition by juxtaposing or superimposing many pictures or designs. I will film his relative who badly totters but has two legs, and then Babu’s satisfaction with his one leg, and then what happens on the roof of the train, and in the end, his optimistic words, “I think one leg is good! One leg saves on footwear and what I need now is only one sandal.” The montages should be used within a short time in order to amplify the conflict of humane nature and self-deception of Baju. At last, there goes a sentence for the ending - “Optimism? Tragedy!”