Me Before You
dpgSingularity
When the caregiver of a quadriplegic man realizes he intends to commit suicide in six months, she plots to make him want to live.
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I like this one. It deals with a sad issue, but lifts the story into a beautiful place. Simple yet effective logline.
I havn’t seen this one, so can’t say for sure, but wouldn’t you say that she was acting from the heart when she takes the job for the sake of her family?
Her objective need shifts from caring for her family to caring for the guy, I think this might be a change of approach for her to achieve her goal – as a means for caring for her family she needs to genuinely care about this guy.
Interesting aspects of the plot: Within the 1st 15 minutes, she signs a contract to take care of him for six months. ? That seems to be the initial inciting incident.
And then the plot pivot into Act 2 seems to occur at around 30 minutes with a positive breakthrough in their relationship. But that breakthrough doesn?t trigger her to lock into the objective goal that drives the action (and emotion) of the movie. ?She’s already decided to to be a caregiver and no new decision is made on the basis of their relationship turning from sour to semi-sweet.
Only after she ? and the audience ? learns at the 40 minute mark ? the Big Reveal ? that he has all the medical and legal details worked out to end his life, does she commit to the objective goal of making him want to go on living.
Furthermore, it?s worth nothing that up to the point of the Big Reveal she takes care of him out of need. ? Her motivation ?for taking the job — and ?hanging in despite all the grief he gives her in the 1st 30 minutes — is that she can?t afford to quit. She desperately needs the money to support her family.
In contrast, her objective goal triggered by the Big Reveal is motivated by what she wants .
In writing loglines, we are told to cast the plot in terms of what a protagonist objectively needs to do. But this seems to be an instance where the plot is not driven by mere objective need but by subjective desire. The plot seems to engage when she starts acting from her heart, not her head.
And the hook of the plot — the sizzle that sold the book to become ?a movie, and sold the movie to the audience — is about her desire to stop the suicide, not ?her economic need to take care of him for 6 months.