Over the weekend we cleaned up our previously totally wrong analysis of John Patrick Shanley's Doubt and aligned it to the 500x times more accurate official Dramatica analysis of Doubt. Our new analysis of Doubt takes into consideration all we learned over the past two weeks.
In addition, we added the film to our Storyforms section--an exclusive area where Narrative First members can quickly access complete stories and download their individual DR5 files for use with the Dramatica Story Expert application. For more details on how you can access our complete collection, please visit the Narrative First Membership page.
Called upon by Dramatica co-creator Chris Huntley to take over the monthly Dramatica Users Group meeting, I was sure—based on that original analysis—that we wouldn't find anything. Eight years of greater understanding later and living and breathing narrative theory as a full-time career now, the storyform for the film couldn't be more clear.
My previous thoughts on teaching the class explain more and you can find the entire 2 1/2 hour video analysis of Doubt here.
For the sake of posterity, we leave behind our original analysis:
A wonderfully acted film that falls two notches shy of telling a complete story. While “Doubt” is clearly the topic of discussion, it is only within the final scene that we truly discover what the film is really about. This revelation is also the film’s downfall, for stories to truly work they need to explore different themes within each throughline (four to be exact). With only doubt and certainty bandied about, the story feels light and the argument one-sided. Sister James (Amy Adams) wavers between Main Character and Sidekick, disappearing conveniently when necessary for the story to proceed. Ultimately, her character only exists to serve as a bouncing board for Sister Aloysius (Meryl Streep). In the context of story structure, she only serves to confuse the story’s message. A compelling film that could have been so much more.