Argo – Blue’s Beats #2
Blue’s Beats is a new blog series where we break down various nominated feature screenplays by identifying and discussing their important beats.
Today we’ll be taking a look at the 2012 Best Picture Award Winner and political thriller Argo, written by Chris Terrio and directed by Ben Affleck.
To view a .pdf of the screenplay, click here.
The film opens with the famed attack on the US embassy in Iran in November of 1979. During the attack, fifty embassy staff members are taken hostage, though six manage to escape and hide inside the home of a Canadian ambassador. Meanwhile, CIA exfiltration specialist Tony Mendez, played by Ben Affleck, begins concocting a daring, go-for-broke rescue mission involving secreting the six erstwhile captives out of the country by posing as a film crew scouting for exotic locations.
(Pages 1-9) The action begins immediately as a group of angry Iranian activists break down the gate of the American embassy in response to Jimmy Carter’s decision to grant the Shah of Iran asylum during the Iranian Revolution. Instantly, we’re faced with a simple and effective conflict: the bad guys have taken hostages, and the good guys want to get the hostages back. If simplicity is the ultimate sophistication, then this snappy, effective opening might luncheon with the Queen.
PLOT POINT ONE
(Pages 27-44) So things have gone to Hell in a hand basket, as they inevitably must, and Tony Mendez is called to action (literally, on the telephone) to restore the status quo—that is, rescue the hostages before they’re ground up for fertilizer. In what we experts (read: unpaid interns) refer to as the “Eureka moment,” Mendez is on the phone with his kid one night when he notices Planet of the Apes playing in the background, thus providing the inspiration for the hair-brained scheme that is to follow. From there, we’re treated to a sort of odyssey of colorful characters and clandestine meetings as one-by-one the various specialists are brought on board Fellowship of the Ring style to aid in what would eventually come to be known as the Canadian Caper.
(Pages 80-86) As per usual with your standard three-act dramatic structure, things get real bleak real fast in the second act. There’s an almost audible clunk marking the shift of tone between the Happy Hollywood Fun-Time Hour in the first act and the point where we spend the rest of the film with the escapees in Iran, miserable, hunted, and afraid. The juxtaposition between the two, however, is a masterful touch, serving to drive home how high the stakes actually are. Of course, what is a Hollywood film without some good old-fashioned sensationalism? Accordingly, the story has to contrive an excuse for the hostages to go out in public, resulting the bazar sequence, wherein the escapees attract unwanted attention from an antagonistic shopkeeper, nearly blowing their cover in the process.
PLOT POINT TWO
(Pages 87-92) One of the other major plot points takes us back to the States, allowing us to get embroiled in the administrative side of things. There’s an ongoing conflict between Mendez and his supervisor, Bryan Cranston’s Jack O’Donell, who, like any good authority figure in a governmental hierarchy just can’t resist stepping on the toes of his subordinates. O’Donell threatens to shut the operation down on the grounds that it’s too risky, but Mendez is loath to see all of his hard work go to waste. Even with its predictable outcome, this sub-plot is handedly well and its last-minute resolution adds an extra basting of adrenaline to the conclusion.
CRISIS AND CLIMAX
(Pages 95-113) When we talk about the crisis, we’re referring the chain of events, often becoming incrementally tenser, leading up to the climax. The climax itself, however, is the point of no return. Argo’s crisis, that extended and incredibly tense sequence during which the escapees, accompanied by Mendez, waltz their Western-sympathizing selves through a remarkably airtight security checkpoint. For the sake of drama, all the possible ways in which our motley crew can be sniffed-out are avoided or solved at the last possible moment, allowing them to hightail it to safety while still retaining possession of their limbs. The climax itself occurs moments later, at the point when their plane actually takes off. The wheels leave the tarmac, the perusing Iranian officials shake their fists with impotent rage, and the audience can breathe a sigh of relief knowing that the six luckiest McGuffins in all of existence got away safely.
(Pages 114-122) It’s wheels-up in Iran: cut to reaction shot of CIA staff members going berserk in celebration. Not exactly original, but it gets the job done, I suppose. As the audience decompresses from the tense excitement of the preceding sequences, we learn which governmental department gets the credit, who has to share, and who’s bummed about it. Moreover, Mendez himself is bestowed certain honors, but owing to the degree of secrecy surrounding the whole enterprise, they’re supposed to be classified. Ah, but surely reuniting with his family after such a close brush with death is enough reward for old Mendez, who we’ve all come to love and respect. So all’s well that ends well, except for the other fifty-two hostages, obviously.
By Albert Cantu
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