How to Turn Your Drama into a Thriller With a Single Line of Dialogue

As a seasoned film enthusiast with over three decades of cinema-watching under my belt, I must say that “Good One” has left a lasting impression. This unassuming gem, reminiscent of Kelly Reichardt’s “Old Joy,” masterfully weaves tension into the quiet moments of everyday life.

Spoilers ahead for the plot of Good One.

Over the course of its brisk 89 minutes, the film “Good One” unfolds as a subtle, insightful drama with minimal action, drawing comparisons to Kelly Reichardt’s “Old Joy“. Initially, the movie offers a calm soundtrack, light humor, and portrays a mostly harmonious bond between the central characters – Chris (James Le Gros) and his daughter Sam (Lily Collias). Any unease regarding their upcoming short camping trip in the Catskills could be chalked up to the normal dynamics between a perceptive high school student and her overworked parent. The pair engage in leisurely hikes, friendly banter, card games, and tent-pitching activities with the finesse of seasoned campers. However, approximately an hour into the movie, there’s a sudden change of tone. It isn’t until a pivotal dialogue exchange that “Good One” transforms from a serene drama into a suspenseful thriller.

It’s Matt (a friend of Sam’s father, who has been seen on Elsbeth and Somebody Somewhere), whose sudden change in plans for a weekend trip has left an imbalance that leaves Sam feeling sidelined. Matt, going through a tough time with underemployment, divorce, and emotional instability, is prone to tears over simple things like a bowl of ramen. He often speaks admiringly of Sam, but on their second night together, his compliments turn into uncomfortable advances. After discussing his marital problems, Matt suggests that Sam should keep him warm by the campfire, making her feel uneasy. Despite her discomfort, he persists with his suggestive comments, leaving Sam feeling distressed and ending the scene with a sense of dread. This intense moment was also felt by Collias while filming it.

How to Turn Your Drama into a Thriller With a Single Line of Dialogue

In her debut as a filmmaker, India Donaldson, the writer and director of “Good One“, purposefully structured the movie to include a significant moment. The challenge was determining its optimal placement. “I aimed to give the audience a chance to be with these characters and become familiar with each of them,” Donaldson explains. “Rather than a typical inciting event shaping everything that follows, it’s almost like the event redefines or adds complexity to what happened before it.”

Suddenly, little things Matt said leading up to the campfire conversation become a little queasy, like when he asked Sam about her “nature pee” — probably not something you want your dad’s middle-aged friend to comment on. Or when he referenced Sam’s sexuality, insinuating that being a lesbian means she can ward off male attention. Still, Donaldson wasn’t interested in framing Matt as a villain. In her mind, his overture to Sam is not premeditated. It’s far knottier, the ramblings of a lost soul desperate for connection. Donaldson maintains a lot of affection for Matt, and her goal was to avoid a “one-dimensional violation” committed by an archetypal bad man.

“Donaldson notes that Sam’s exceptional knack for truly understanding others exposes her in this instance. Matt finds solace and security in her presence, a role she doesn’t necessarily bear the burden of. In this situation, he mistakenly conflates feelings of connection, warmth, and intimacy with romantic desire or affection. It’s an instinctual act of self-undermining.”

In the last ten pages of Donaldson’s script, the interaction between Sam and Matt happens, despite there being 25 minutes left in the movie. The rest is mostly silent, with Sam contemplating events as she wanders through the wilderness during their final morning. It feels like she’s matured quickly, having to make decisions such as whether or not to inform Chris about what transpired. When she does share, it only adds to her turmoil, as he responds with, “Can’t we just have a peaceful day?” implying that Matt’s advance was an oversight regarding the mountainous conditions. The original scene featured a longer conversation between Sam and Chris, which Donaldson shortened during editing to emphasize Chris’ indifference more strongly.

In essence, “Good One” primarily explores a young person’s experience of dealing with disillusionment during a significant life transition, rather than focusing on sexual predation. The journey into adulthood often involves confronting your parents’ complexities as they reveal themselves in unexpected and sometimes less flattering ways. In the scene where Sam suggests they move past their discussion and have a good day, she is assuming various roles that are beyond her years. Donaldson portrays Sam as a dutiful daughter, therapist, mother figure, and potential love interest all at once.

Donaldson found it significant for Sam to respond in a way that was on her own terms; thus, she secretly puts rocks into Chris’s and Matt’s backpacks as a subtle form of revenge. “She has a unique sense of humor,” Donaldson notes, “and there’s almost a rhythmic quality to it.” Although this may not be explicitly conscious in Sam’s mind, she intuitively comprehends, “I’ve been carrying your loads, your emotional burdens for three days. Now, you can carry some weight too.” The act of retribution serves as a testament to Sam’s ingenuity and suggests that she will navigate her own adulthood successfully. In truth, she might be more mature than the adults she is spending time with.

In this scene from “Good One,” I find a quiet humor in the rocks we’ve collected. They serve as a subtle interlude during our journey back to New York City. Chris, without uttering a word, places one of these stones on the car dashboard – a silent acknowledgment of Sam’s point of view. This small gesture feels like a promise that we’ll discuss things further at home. It’s as if he’s saying, “I got your message loud and clear,” offering a sort of apology or truce through this heavy backpack burden he carries. As Collias put it, the rock on the dashboard is Chris giving Sam a pat on the back, acknowledging that he found Sam’s joke amusing.

2024-08-14 18:54

How to Turn Your Drama into a Thriller With a Single Line of Dialogue

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