Movie Analysis:

"The Blair Witch Project"
and "The Sixth Sense"

The Blair Witch Project, co-writer/director/editors Eduardo Sanchez and Dan Myrick's faux documentary about an urban legend, has created its own mythology. The least of which is its tremendous financial success-a phenomenon sure to be recounted among aspiring filmmakers for years to come.

As a horror story, the scare factor is not as startling as one might expect. At least not when you are aware of how the cinema verite' was really produced. Certainly not when you're watching the film knowing full well one of its stars is appearing on Letterman that night. In spite of this, its realistic intensity and wild popularity indicate there's something about the Blair Witch.

Survival of the fittest is one take on the story-issuing forth a potential Dramatica grand argument. Student director Heather Donahue is the main character. Capturing the Blair Witch essence on 16mm is the objective story goal. Heather's crew, Josh and Mike, represent the obstacle character's (dissenting) point of view once the quest goes awry-which is almost immediately. The conflict and eventual disintegration between Heather and the boys is delineated in the subjective story. The outcome is a chilling success, however, the judgment is not just bad-it is horrific.

The Blair Witch Project may not be a Dramatica grand argument in the strictest sense. Nonetheless, it is a finely crafted work of filmic fiction and I, for one, am superstitious enough to stay out of the woods and in my hotel suite-room service and a concierge my essential camping necessities.

The Sixth Sense is another ghost story, but unlike The Blair Witch Project the ghosts are visible (along the lines of Dickens' restless specters) and the Dramatica grand argument story quite distinct. Writer/director M. Night Shyamalan performs a neat mind trick upheld by sharp storytelling that, upon replaying the narrative, answers all pertinent questions.

The opening sequence outlines the impetus for Dr. Malcolm Crowe's (main character) drive. A renowned child psychologist, his past (mc concern) is visited upon him with a violent suddenness (objective story driver-action). A former patient, grown up and still anguished, puts himself out of his misery by shooting Malcolm and then committing suicide. The good doctor did not understand (os story concern) the nature of his demons.

The next fall, the psychologist finds himself diagnosing an acutely sad and suspicious (obstacle character unique ability) young boy whose problems (desire) are uncannily similar-offering Malcolm a chance for redemption (judgment-good). Malcolm and Cole Sear conceptualize (subjective story concern) a way (limit-optionlock) to help each other, and in turn help others understand (os goal) the troubled child's gift.

The four throughlines are uncommonly well balanced. The main and obstacle characters are fully developed. Although Malcolm and Cole's interactions in the subjective story are the film's focal point, the roles the main and obstacle characters fulfill as objective characters in the overall story are clearly defined and key to the story's resonance-particularly exemplified by Cole's triumphant acceptance (oc resolve-steadfast) of his abilities (oc solution).

"Out of the depths I cry to you, oh Lord." An otherworldly plea treated with compassion in this fine Dramatica grand argument story, transforms The Sixth Sense from a "freak" show to one of benevolent humanity.