Ever wonder why certain movies are considered 'classics' or 'breakthrough films' and other films are quickly forgotten? Myth and mythic structure are often the key to defining the success factor in some of he most enduring films ever made.
Myth and the Movies analyzes over 50 US and foreign films in every cinematic genre including drama, westerns, horror, action-adventure, romance, comedy, romantic comedy, suspense-thriller and fantasy-science fiction. This comprehensive book will give you a greater understanding of why some films continue to touch and connect with audiences, generation after generation.
Customer Reviews
Average Customer Review
Interesting But Hardly Definitive, December 24, 2008
By
Dr. James Gardner (California)
Anyone interested in screen writing can probably benefit from reading this book, and people interested in film in general may find it entertaining. After all, it discusses 50 popular films and it's always interesting to read what people have to say about films we've all enjoyed. In addition, it is well written.
This being said, the film suffers from the pretention (in the best sense) of analyzing film structure according to Joseph Campbell's mythology. In fact it is a dumbed down version of Vogler's (The Writer's Journey) analysis, which itself is somewhat dumbed down from Campbell. Don't think that you are reading Campbell's work when you are reading this book (which doesn't mean that there isn't a lot of good stuff in this book, only that it is not like reading the original source).
Early on it becomes apparent that Voytilla is stressing and straining to analyze film structure according to Campbell. The films are stretched to fit the theory, to the point where we have such strange conclusions as Voytilla's idea that Martin Pawley is the hero of "The Searchers" (someone tell that to John Wayne and John Ford).Or his whole treatment of "The Invasion of the Body Snatchers" as if it was a science fiction film/article, when in fact it was a dark cautionary tale about suburban conformity in the 1950s (even if you take the literal appearance of the film, some reference has to be made to the hidden meaning as this changes completely the whole theme of the film).
Moreover, by choosing to illustrate his theory and looking only at 50 "unforgettable films", Voytilla begs the question. Better to compare 25 "unforgettable" films with 25 forgettable ones, and show that adherence to his theory is what makes the difference.
I'm not saying there isn't merit in looking at Campbell's work with respect to film (or literature for that matter). I firmly believe there is. I just didn't feel this book did justice to that endeavor.
In summary, I believe this is a fun and entertaining book, with appeal to screen writers and film enthusaists alike, but it shouldn't be taken too seriously.
Seems far more interesting as a concept than an actual execution, June 11, 2008
By
A. RezaiIf there is a 12 or 13th Edition to this book, give me a call.
As it is, it looks like an interesting work of progress that someone prematurely released when they should have still kept it on the editors desk.
It needs work. It needs lots and lots of work.
It is fantastic as a premise, but in its current form it needs be resubmitted for a re-edit.
Nothing new here, October 3, 2007
By
Film Student (San Diego, CA USA)
I had to read this book for a class taught by the author. There are not really any new ideas here. A person who has never been exposed to genre, character type and a three-act structure might find it useful. I found the dissection and analyses dry and un-insightful. Serious and seasoned screenwriters may be disappointed.
A Phenomenal Guide for Screenwriters, April 27, 2005
By
Caroline Ann Ponte (San Diego, CA.)
I am a huge fan of this book. It invites you into a secret club of those special people who can read a script or watch a film and and decipher all of its great qualities and not-so-great qualities. It gives you a complete template of how to write a succesful story so that it commits the audience to the film through emotion. A superb book!
Interesting Genre analysis, Nominal story analysis, , March 20, 2005
By
Enormo (Forest Hll, MD United States)
After reading Vogler I was interested in how an expert might wholisticly apply his structure to actual movies.
Unfortunately, Voytilla's analysis of individual movies is rather shallow and nominal. i.e. He basically rehashes movie plots using keywords for Voglers book to name them. There is no introspection into how these elements provide drama, work with the theme of the movie, or highten an audience's investment in the hero.
The only parts of the book that I found interesting were Voytilla's analysis of Genres. Here he writes about similar structures, themes, and purposes found within genres such as comedy, adventure, action etc.
If you are at a loss to apply Vogler's works, this book will be helpful. If you are interested in breif and somewhat interesting Genre analysis and don't mind dropping a few bucks then you might pick up a couple of interesting tidbits here and there.
However, if you're looking for an analysis that truly enlightens the dynamics behind the dramatic excellence of a movie, skip this book, rent a bunch of movies and apply Vogler's ideas for yourself. (Disney movies such as the Little Mermaid are a great place to start.)
