In 1961, a British double agent is blackmailed with his past crimes by a duplicitous former colleague, and forced to confront some old faces, as he becomes a pawn in the entrapment of a suspected Nazi war criminal, now an American jet-setter living on the French Riviera.
thedarkhorseSamurai
In 1961, a British double agent is blackmailed with his past crimes by a duplicitous former colleague, and forced to confront some old faces, as he becomes a pawn in the entrapment of a suspected Nazi war criminal, now an American jet-setter living on the French Riviera.
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The protagonist is made a puppet by his former colleague. His ‘past crimes’ seem to be an important piece of the inciting incident; the blackmail, to which his goal becomes ‘to entrap a suspected war criminal’ instead of reacting to it the way someone who deserves our attention for a feature film length should, a proactive protagonist.
I’d rather him be wrongfully exacted to do something – by evidence of what he never did? – to earn our empathy. His goal then becomes (as a direct result of the inciting incident) to do something which proves him innocent of an accusation that can ruin his life and career (stakes)
The double agent doesn?t seem like the protagonist here. The smart Americans doing everything they can to get a Nazi war criminal seem like heros.
>>> do something which proves him innocent of an accusation that can ruin his life and career (stakes)
The protagonist can be guilty as hell and still win over the the audience? by wanting to expose and take down the ex-Nazi as an act of redemption.
Whatever, variable and? Ckharper have nailed the primary problem:? the lead character in the logline doesn’t seem to be the progatonist.? Once again,? someone else seems to be in the driver’s seat of the plot; the lead character is along for the ride.
Thanks for the feedback, everyone. I’ll see what I can do.