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Running head: STORYTELLING IN STARDUST

Stardust: A Well Told Story

Jane Student

COMM 258

Vanguard University

12 October 2009

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Stardust: A Well-Told Story

The analysis of whether or not the story of a film is told well is based on many

different variables; but it is not enough just for the variables to be present, they must be

presently symbiotic in that these variables, or elements, must be present in roughly the

same amountthat is, the elements must be of equal quality. To experience a good

example of this definition of a story told well, an audience could look at the 2007 film

Stardust, directed by Matthew Vaughan. Upon viewing this film, it becomes apparent to

the audience that the formal elements and the stylistic elements of this movie come

together and compliment each other quite masterfully to tell this story. The execution of

how the film was delivered was truly complimentary to the content and plot, and in this

case, it would have been quite obvious if it had not been so.

As far as the formal elements are concerned, all were done with depth and

purpose and were interwoven to really tell the story. Of these elements, it is the plot and

the characters that really stick out. As this is truly a fairytale for adults who never let go

of their imaginations, the audience is exposed to a world of endless magical possibilities

where the viewers experience the journey of how the boy, Tristan Thorne, becomes a

man and finds his rightful place in the world. The plot really served the story in that there

were no loose threads, the audience was revealed interesting information in due time and

while it was somewhat formulaic as far as the genre of a love story goes, it was never dull

and the outcome of the story was very satisfying. This kind of linear plot of the journey

of a young man obviously fit into the structure of an archetypal classical design, which

allowed the three-act structure to serve the lot in that so much of the story was driven by

inciting incidents and reaction.

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On this point of action and reaction the characters may be mentioned because it is

the actions and choices of the characters that really give the story merit and carry it along.

While this film was archetypal in structure and genre and did have archetypal characters,

in terms of the young boy who becomes a man or the young couple who dislikes one

another until they realize that they are in love, the characters were unique in that they

each had their own quirks. They were likeable, and their quirks made them real and

therefore relatable. In addition, all the characters in this film had believable and solid

back-stories that explained their motivations. For example, the character of Yvaine, the

star that Tristan falls in love with by the end of the film, makes the decision to go along

with Tristan on a deal that he can get her back home into the sky where she belongs. The

decisions that the characters make in this film make sense, and that is to be appreciated.

While discussing the basic decisions of the film it is important to touch on the use

of the point of view in this film as it was extremely useful in its incorporation. The point

of view was a combination of character-centered and omnipresent. The story did take

place along the linear timeline of Tristans life as he was the protagonistthe story

started at the beginning of his life and went to the end of it and the audience is made to

sympathize with and root for Tristan. But the story also followed many of the actions of

the other characters, and the viewers are the only ones who get to know what all of the

other characters are up to.

On that note, the viewers are led into the stylistic elements of the story which all

add to the effect of the formal elements. The mise-en-scene and the cinematography of

this film really worked hand-in-hand. The director created such epic pictures with so

many of the shots. The pictures were just beautiful and appealing and the setting,

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costuming and lighting all added to the epic look of the film. There were so many

different settings from the ocean, cliffs and sky to the English countryside and township.

The costuming was inventive and specific to each of the personas in the film and their

attire evolved with the evolution of their character arches. For example, in the beginning

of the film, Tristan was dressed as a simple shop-boy and towards the end he is dressed as

a suave confident swash-buckling young man.

The use of lighting also really added depth to the mood of the story; the choice of

green fire and dark tints for the witches added a really unique look. Many of the lighting

effects were due to the cinematography as were the camera angles used. The choices for

the angles in this film were really interesting and unique because there were many shots

that allowed the audience to feel larger than life, like they were moving in a way that is

not possible in reality, and this aided in giving the film that extra feeling of mystical

magic.

This leads into the use of editing, in which the choice was made to use some

cross-editing which really serves to allow the audience to know what all the characters

are doing and experiencing at the same time. This editing technique serves the purpose of

this film as it allows the producers to really communicate the time-lock incorporated in

this movie as most of the characters are looking to capture the fallen star first. The music

incorporated in the film only adds to this story and the sound track is especially key in

adding to the plot further depths of suspense to the epic journey.

All in all, when both the stylistic and the formal elements are taken into

consideration, the film Stardust really comes into focus as an excellent example of the

synthetic nature of a well-told story.

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Works Cited

Vaughn, M. (Director). (2007). Stardust. [Film]. Los Angeles: Paramount Pictures.