making the enemy human also



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  • making the enemy human also

    i'm writing a ww2 flick.
    there's the us and filipinos vs. the japs.

    obviously, i'm showing the trials of the us and filipinos, but what if i show the trials of the japanese also. it's about all of the soldiers participating and how hard it is to be in a war. fundamentally, i will concetrate on making the us and filipinos the 'heroes' of the flick--the focus.

    will this kill the idea hero vs enemy--if i humanized them. actually thinking about it....lex luther in superman was having problems too. hmmmm...i think i just solved my problem.

    i'd like to hear your thoughts on this too.

  • #2
    okay, let the horses out of the barn.



    • #3
      I think if you ask Iris Chang, she'd say that that enemy wasn't human.


      • #4
        If you ask Iris Chang, she probably won't answer as she shot herself to death earlier this month.


        • #5
          I'm not sure I understand the question. Unless you're writing a propaganda screenplay -- and you're 60 years too late for that! -- I'd urge you to include the human Japanese viewpoint. It's certainly what I'd want to see.

          My Web Page - naked women, bestial sex, and whopping big lies.


          • #6
            Didn't they do that in Pearl Harbor (or should I say, 'Attempt that')?



            • #7

              try watching Bridge on the River Kwai and Hell in the Pacific


              • #8
                Midway did an excellent job of portraying the Japanese sense of honor, all the while focusing upon the heroism and ultimate superiority of the Allies. The same type of effort was made in We were soldiers (I think that was the new Gibson thing).


                • #9
                  Every movie needs a believable villain.
                  Who they are, what they do, and WHY they do it must make some degree of sense and have a reason for it.

                  When you are dealing with historic events keep in mind there were always two sides. The common soldier fights under his commander who follows the orders of the General who obeys his King or President.
                  Some of them may believe in the cause they fight for, many are just doing their duty.
                  But all of them are still sons and daughters, husbands and wives, human beings with hopes and dreams, and goals, and lives that will be forever altered by war.

                  This element is what makes stories great.


                  • #10
                    Always was fascinated with the sense honor behind the Kamikaze pilots, and their 'Samurai/Bushido' type of code.

                    Wow, you can really generate a powerful story from doing the dual-viewpoint approach. I love movies where you can also sympathize with the enemy in addition to the hero.

                    Good stuff


                    • #11
                      There is no greater conflict than good vs. good.


                      • #12
                        You gotta remember this little classic nugget: the villian is the hero of his own story.

                        that's all you need to know, and write from there.


                        • #13
                          Sure. This is one of the ultimate conflicts. Who doesn't root for Robert DeNiro in Heat?


                          • #14
                            I kind of of get what you saying. like what I'm writing. she kind of snoby and loves to make troulbe. but when she with her husband and kids. she totaly diffrent. not making trouble or anything soft side come out.


                            • #15
                              On the other hand, spending time with the enemy and making them human lends yourself to utter crap like Billy Bob's Alamo.

                              I think you give the bad guys a shred of humanity, so we know they're not one dimensional -- Hans Gruber's interest in men's fashion, for instance. But you still have to make them BAD GUYS.