One of the best representations of life after death is the turning point. More than a simple plot twist, a turning point takes the momentum of a movie to an abrupt halt to completely change directions. You have to kill it before you end it, but it must be organic. The outcome is the spirit of the film, the soul, and breaks free of the physical trappings of what happens prior to the turning point. Fail to mark this event and you will have predictable and boring results. Fail tactfully employ this procedure and your ending will seem unjustified and lazy. If you do your job right, with the end in mind, you will lead the story away from the outcome, until the perfect moment comes to finally guide your characters toward their intended purpose. Whether it’s a slap or a whisper there are several effective ways to bring your story home by way of the turning point. Here are some of my favorites (this list contains SPOILERS by its very nature):
From Dusk ‘Til Dawn (the game changer)
More than a mere turning point, From Dusk ‘Til Dawn completely changes genres. It’s like if Butch Cassidy and the Sundance Kid got halfway through and suddenly became The Lost Boys. The criminal protagonist take a traveling family hostage in order to sneak across the border into Mexico to escape the law. Once they are home free, the trouble begins when the bar they stop at to meet their correspondent turns out to be a trap run by vampires who aren’t after repeat business. The switch is fun and very surprising if you don’t already know it’s a vampire movie. It feels as though the movie is nearly over before the real fight for survival even begins. Less effective was the much earlier implementation of this tactic in the recently released The World’s End.
Fight Club (reveal reversal)
I call this one the reveal reversal. The movie itself doesn’t change at all. it’s only your perception. You go through with blinders on until you can’t take it anymore and the blindfold is replaced by a mirror to show you where you’ve been before finally showing you where you are in order to finish the story. In the case of Fight Club it’s the realization that Tyler and… well, let’s call him Jack are actually the same person after Tyler has built up and subsequently destroyed the narrator’s sense of self worth. The epiphany puts all that has happened previously into perspective, just before Tyler’s master plan is revealed so the stage is set for a massive showdown nobody saw coming. This method was also used in The Sixth Sense as a twist ending rather than a turning point.
Rocky (the mind changer)
Sylvester Stallone is not known for subtlety, but as Rocky prepares for his match against Apollo, expectations mount in the collective audience. Sly must have known this and cleverly decided to reshape those expectations and add an extra layer of satisfaction to an already superior ending. Anyone going into the film for the first time would expect Rocky to beat Apollo, even though it would not make much sense. If he wins it’s phony and predictable, but if he loses its just sad. It’s a catch 22 nicely fixed with a small scene where Rock confides in Adrienne that he knows he can’t win and all he wants to do is go the distance– something nobody else has ever done. Boom! Surprise! Perfect ending. This method was also used but did not work so well in Ghost World.
Independence Day (the ray of hope)
Possibly the most common and with the most varied success rate, this is a fake out turning point. It goes where it was always intended to go, but only after creating a false sense of hopelessness and creating a small sliver of a chance for the audience to grab onto. In ID4 it seems as though Earth is doomed. David gives up on his “save the world through recycling” philosophy and has absolutely no hope of redeeming the human race by fighting off an alien invasion. That is until the idea is put into his head that he can give them “a cold” (In this case, a computer virus, but also a clever nod to H.G. Wells) Suddenly, the plot goes from a stand still with nowhere to go, to a grand climax on board the mother ship. Minority Report accomplishes this with another slip of the tongue from the film’s antagonist that regenerates the plot motion towards completion, but more commonly it is done intentionally through a mentor.
Back to the future (the turn straight!)
There are the movies that refuse to turn despite the characters’ will. The outcome is anticipated, yet the protagonist is repeatedly held back from achieving his goal, especially when time is of the essence. This can be maddening, but is hugely effective, especially in the case of the above listed title. This is a difficult move to accomplish, resisting an easy answer and drawing out a climax can have audiences on the edge of their seat or, bored to tears. You have to have some sort of time element involved, even if it’s the slowly sinking Orca at the end of the captivating shark hunt in Jaws.