TRUE

HIDDEN TRUTH, SECRET SURPRISE AND SUSPENSE

One issue in question is always the final data revealing a key.
In general, it is better to address an ending that is the result of what happened in the
beginning and development, rather than one that reveals something through which the
author can wash their hands of all that was counted and only has the purpose surprise
changing the truth of facts numbered. Unless the whole story depends on that key data is
not known, it is not good to hide the viewer. Of little use hide that this was the son of such
or such other serial murderer he was gay or if the viewer while we wait for that information,
we give a story without interest. It's interesting to say that this is the son of so and hide it
from any of the characters, for example, but not the viewer. So, the best accompany the
whole story.
In Sixth Sense, M. Night Shyamalan hides the most important thing in the beginning. It is
not as honest or as witty. It's like telling the viewer, only at the end, it was all a dream. In
this sense, it is more respectable and brave making, for example, Christopher Nolan on
Inception, where it is known from the beginning that everything is a dream (several
dreams). Or what, in general, he has made Hitchcock, denouncing the murderer from the
beginning.
The hidden truth must have strong reasons for not having come to light. It's like a dramatic
conflict well designed. While the conflict is the effect of an internal process of accumulation
of factors and trigger another repair process, keep secret the truth, most of the time, is a
source of many ailments for the protagonist, who may try to avoid evils occurring higher.
But it also comes from within the characters. Dishonor, by fear, by mistake or whatever
reason, if the end reveals a truth, the beginning and development should have paved the
way so that when the truth comes to light, the viewer accepts the fact that there It is what
they have said before.
The secret articulates the narrative between what is said and what is hidden. Lies,
hypocrisy, omission, censorship and silence are actions that favor secrecy and are
aspects of it. It is revealed by confession, by inquiry, by chance or complaint. It can be
applied in the preparation of an enigma or the characterization of a character, you can be
exposed as a nexus linking certain players against others. In the latter sense, it becomes a
Dramatic Spring.
The secret is useful to keep the interest up to the end, but has a pair of flats. It is given to
know that it is hiding a fact, to arouse the curiosity of the viewer. And it should be a very
good secret because otherwise the disappointment will be important. Clint Eastwood on
Mystic River, pointed to count the hidden power in a particular city, and was not interested
in achieving a great revelation to discover the culprit. When the viewer saw that the culprit
was nothing too mysterious, interesting, or involved in the story, he understood as a
difficult mistake to justify.
In the book "Film as Hitchcock" by Francois Truffaut, the English filmmaker discusses the

concepts of surprise and suspense.

He says the surprise is when information is shared between character and viewer. It is the
case of the Observer and excl Focuser starting suddenly becomes an unexpected fullness.
It may appear wholly or partly as the suspense, and can be combined with it.
The suspense, according to Hitchcock, happens when the viewer has information before
the character. It has the complicity of the viewer and playing with their emotions. It
combines the interest and curiosity of the viewer in promoting uncertainty and tension it to
take until the end seeking to clarify their doubts.
To master the technique, it should be dosed information and take into account the
narrative voice, characters, setting, and plot. It boosts the voltage so acclimating situations
involving feelings of the viewer. The narrative default (eg intimate dialogues, memories
and delay) before the climax, favors suspense.-