Screen with a Mouth

Deconstructing the narrative significance of fourth wall breaks in English

language films from Annie Hall (1977) to Deadpool (2016)

A Research Dissertation Submitted as a Partial Fulfilment of the Programme

M.Sc. in Communication Studies

By

Aparaajith Sharmaa
Rohan Dasgupta

E-mail:
apraajit.s@gmail.com
rohandasgupta20@gmail.com

Department of Media and Communication Studies

Savitribai Phule Pune University

November 2016
Pune

Certificate

This is to certify that Mr. Aparaajith Sharmaa and Mr. Rohan Dasgupta, students
of Department of Media and Communication Studies; Savitribai Phule Pune University have completed their Research dissertation titled: Screen with a mouth
(Deconstructing the narrative significance of fourth wall breaks in English language films from Annie Hall [1977] to Deadpool [2016]) during July 2016- October 2016.

The dissertation is submitted for the partial fulfilment of the requirements of

M.Sc. in Communication Studies programme conducted by Department.

I have guided the researchers on the topic and methods during this research project.

Pune- 411 007

October 2016

Professor Ajit Gagare

DECLARATION ON PLAGIARISM AND COLLUSION

The following defines plagiarism:
Plagiarism occurs when a student misrepresents, as his/her own work, the work, written or
otherwise, of any other person (including another student) or of any institution. Examples of
forms of plagiarism include:
The verbatim (word for word) copying of anothers work without appropriate and correctly presented acknowledgement;

The close paraphrasing of anothers work by simply changing a few words or altering
the order of presentation, without appropriate and correctly presented acknowledgement;

Unacknowledged quotation of phrases from anothers work;

The deliberate and detailed presentation of anothers concept as ones own. Anothers
work covers all material, including, for example, written work, diagrams, designs,
charts, musical compositions and pictures, from all sources, including, for example, the
internet, journals, textbooks and essays.

The following defines Collusion:

Collusion occurs when, unless with official approval (e.g. in the case of group projects), two
or more students consciously collaborate in the preparation and production of work which is
ultimately submitted by each in an identical, or substantially similar, form and/or is represented
by each to be the product of his or her individual efforts. Collusion also occurs where there is
unauthorized cooperation between a student and another person in the preparation and production of work which is presented as the students own. Students found to have committed plagiarism or to have colluded in the production of work for assessment are liable to receive a
mark of zero for the assessment concerned. Subsequent offences will attract more severe penalties, including possible termination of studies.
STUDENT DECLARATION
I confirm that I have read and understood the above definitions of plagiarism and collusion. I
confirm that I have not committed plagiarism when completing the attached piece of work, nor
have I colluded with any other student in the preparation and production of this work.
Subject Code: CS304 A (Media Research Dissertation)
Title of the Dissertation: Screen with a Mouth (Deconstructing the narrative significance
of fourth wall breaks in English language films from Annie Hall [1977] to Deadpool
[2016]).
Name of the Students: Aparaajith Sharmaa and Rohan Dasgupta
Signature:
Date:

Place:

Acknowledgement

Working on this Dissertation has been an interesting experience. It taught us things beyond our
expectations. The completion of this research would have been impossible without the support
of a lot of important people, and their help was indispensable to this dissertation.
Firstly, we would like to extend our sincere gratitude towards our Research Guide, Professor
Ajit Gagare, who gave us a pivotal link for the development of this topic, provided opportunities to hone our ideas into a full length thesis, and helped us develop our vision. We are indebted
to our teachers Dr. Madhavi Reddy and Professor Vishram Dhole for their encouragement,
insights and direction; not only in our research topic but also research as a discipline. We would
also like to express gratitude to our teachers Professor Akash Dhopeshwarkar and Professor
Samar Nakhate for expanding our understanding of the audio-visual language. Our faculties
guidance and assurance is precious and has helped us a lot in gaining command over what we
achieved.
We would like to thank our juniors Mugdha and Payal for their sincere support. We are grateful
to our classmate Priyadarsh for an important suggestion regarding the research topic and designing the cover page for our dissertation. We would also like to thank our classmate Pratik
and junior Nikita for their help.
Our specialisation companions Mukta, Shamika, Subhojit and Akshay have been a constant
source of positivity. We recognize our batchs concern and goodwill for our dissertation.
Also, we are grateful to our seniors Apoorva and Madhura for giving us the opportunity to
assist in their dissertations.
We thank our institution: Dept. of Media and Communication Studies, Savitribai Phule Pune
University for conducting this course and providing a favourable environment for such work.
Our heartfelt appreciation goes out to our Family, for supporting us throughout this and always
being our pillars of strength. We would like to also take the opportunity to thank our close
friends who have been a great source of moral support.
We express our gratitude towards the creators of scholarly work and film crews, who produced
the knowledge and films which have been vital to this study. Their creations helped develop
ours.

Abstract
Films and audiences are like those shy neighbours who see each other frequently in the building, but never go to the extent of speaking to each other. If one of these neighbours breaks this
wall, the other might find this unusual. Breaking such walls does create atypical experiences.
The term breaking the fourth wall is used in film, theatre, television, and literary works; it refers
to a character directly addressing an audience, or actively acknowledging (through breaking
character or through dialogue) that the characters and action going on is not real. Like public
speaking, fourth wall breaks require considerable thought and preparation.
In films, Fourth wall breaks have not been used expansively. Annie Hall (1977) was one of the
first commercially successful and critically acclaimed exponents of this concept. This film can
be seen as a metaphorical turning point in the cinematic journey of breaking the fourth wall.
Deadpool (2016), The Wolf of Wall Street (2013), Fight club (1999) and The Big Short (2015)
are films involving fourth wall breaks, box-office success and critical acclaim. The researchers
studied a total of 83 fourth wall breaking scenes from 10 English language feature films (including the films above) using narrative analysis. The scenes were analysed with regards to
their audience centric construction. These films have characters: especially the protagonist,
addressing the audience in at least 4 scenes in the film.
This research borrowed some elements from Tom Browns book Breaking the Fourth WallDirect Address in the Cinema. These are number of fourth wall breaking characters, their
confessions, honesty and effort to build emotional connection. The researchers formulated
some elements to suit the special needs of the research. These are their attempt to retain attention, effort to entertain, characterization, significance of scene in the film, and placement of
fourth wall break in the scene. The research purpose is deconstructing how this concept has
been used as a storytelling device.
The research was able to quantify the usage of fourth wall breaks and also dissect multiple
layers of their intricacies. Patterns, range and uniqueness emerged among the chosen films.
The research also identified other dimensions for further research of fourth wall breaks.

Keywords: the fourth wall, speaking to the audience, direct address, Meta reference, storytelling value, narrative analysis.

Contents
CHAPTER1: Introduction, Scope and Relevance

CHAPTER 2: REVIEW OF LITERATURE

CHAPTER 3: AIM AND OBJECTIVES

Chapter 4: Operational definitions

10

Chapter 5: Methodology and Data Collection

11

Chapter 6: Data Analysis

13

Chapter 6.1: Annie Hall (1977)

15

Chapter 6.2: Ferris Buellers Day Off (1986)

38

Chapter 6.3: Spaceballs (1987)

55

Chapter 6.4: Waynes World (1992)

64

Chapter 6.5: Kuffs (1992)

79

Chapter 6.6: Fight Club (1999)

95

Chapter 6.7: Alfie (2004)

110

Chapter 6.8: The Wolf of Wall Street (2013)

132

Chapter 6.9: The Big Short (2015)

143
170

Chapter 7: Inferences and Conclusion

193

Chapter 7.1: Agency

193

Chapter 7.2: Characterization

199

Chapter 7.3: Engagement

202

Chapter 7.4: Ingeniousness

203

Chapter 7.5: Intimacy

204

Chapter 7.6: Showmanship

207

Chapter 7.7: Significance

220

Chapter 7.8: Synergy

221

Chapter 8: Scope for further research

222

CHAPTER 9: REFERENCES

223

Chapter1: Introduction, Scope and Relevance

I sometimes feel that my movements are being watched by otherworldly beings just beyond
the veil of my perception- Stephen Colbert, The Colbert Report.
Hey! Yeah, you! I'm down here, busting my ass, while you sit on yours watching me jump
around? How is that fair? - Deadpool, Marvel vs. Capcom 3.
It is not that these characters are oblivious to the camera. There is no camera in their world.
-VF Perkins (2005: 24)
We accept the reality of the world with which we are presented, it's as simple as that
- Christof, the Truman show (1998)
The fourth wall is a conceptual barrier between those presenting some kind of a communication
and those receiving it. The term originated in theatre, where it refers to the imaginary wall at
the front of the stage separating the audience from the performers. The fourth wall, along with
the sides and back of the standard stage, encloses the created world of the play.
The concept is usually attributed to the philosopher, critic and dramatist Denis Diderot. The
term itself was used by Molire. The presence of the fourth wall is an established convention
of modern realistic theatre, which has led some artists to draw direct attention to it for dramatic
or comedic effect when a boundary is broken, Breaking the fourth wall is common in pantomime and childrens theatre where, for example, a character might ask the children for help, as
when Peter Pan appeals to the audience to clap for Tinkerbell. One play that uses the fourth
wall extensively for comedic effect is The Complete Works of William Shakespeare
(Abridged). (Fourth Wall, n.d.)
The term breaking the fourth wall is used in film, theatre, television, and literary works; it refers
to a character directly addressing an audience, or actively acknowledging (through breaking
character or through dialogue) that the characters and action going on is not real. (Glynn, 2010)
In the 1890s, actors would mistakenly look at the camera. This cannot be considered a genuine
4th wall break moment because it is not intentional. The Great train robbery (1903) can be
considered the first one to break the fourth wall. The break in fourth wall occurs at the very last
scene when the director cuts to a close up of one of the bandits, who looks directly at the
camera, lifts his gun and fires a shot at the audience. Due to the age of the film it is difficult to
gauge what reaction this scene would have prompted from its audience, however the fact that
throughout the film we witness the innocent victims threatened at gunpoint, only to become

shot at ourselves, certainly suggests that this would have evoked a certain amount of shock or
confusion.
In the years that followed, Charlie Chaplin was criticized for using this concept in his films.
Critics are more welcoming of it today. Breaking the fourth wall is an interesting device used
by filmmakers to increase cognitive involvement.
There are instances in modern cinema where talking to the audience directly has become an
important character in the film. Breaking the fourth wall may allow characters to comment on
topics they wouldnt typically talk about. Arguably, breaking the fourth wall encourages a more
intimate sharing of thoughts and emotions.1 The audience, thus, is expected to function as an
active participant in place of a passive spectator who used to forget things the moment s/he
came out of the theatre. (Rai, 2009)
Clips that broke the fourth wall were rated significantly more entertaining on a semantic
differential scale, and significantly more sophisticated than were clips that did not break the
wall. Further analysis and careful use of such involving techniques as "fourth wall breaking"
may help program producers to achieve the goal of getting audience members to attend to the
message. Participation is a primary determiner of interest-involvement, and the shows studied
invite their viewers to participate in to the content by speaking directly to them with surprising
results (Davis)
The increasing popularity and acceptance of the reality program genre has made breaking the
fourth wall more ubiquitous. Televisions storytellers use a variety of narrative devices to tell
their tales. Voice-over narration and speaking directly to the camera indicate the point of view
from which the story is being told. These devices help viewers follow the story as well as invite
viewers inside the characters hearts and minds to understand their actions and behaviors. This
insight can, in turn, help to create greater empathy for characters. (Breaking the Fourth Wall
and Gender Stereotypes: An Examination of the 2006-07 Prime-time Season)

(Breaking the Fourth Wall and Gender Stereotypes: An Examination of the 2006-07 Prime-time Season)

Woody Allens Annie hall (1977) was a pivotal turn for this concept and it has grown in
strength since. Deadpool (2016) and The Big Short (2015) are the most recent examples of this
concept being an integral element of the storytelling. In movies like the Crosby-Hope Road pictures or Ferris Buellers Day Off, a fourth wall break can create a conspiratorial bond with the
audience, pulling viewers into the picture. And with dramatic projects like House Of Cards,
we see that the effect isnt limited to comedy. (Henne, 2013) . Fourth wall breaking Non English language films have also been successful: to be precise, Hindi film: Pyaar ke side effects
(2006) and French film: Amelie (2001) along with Italian film: Happy family (2010).
The Wolf of Wall Street (2013) and Alfie (2004) were a journey into the psyche and lives of the
protagonist. Deadpool (2016) employed first person narration and many novel instances of
fourth wall breaks. The purpose of each was different. Some of them were used to poke fun at
the producers, wolverine, the X-men. Some gave away hints about the future of the franchise.
Deadpool (2016) after credits scene was a tribute to Matthew Brodericks character in the landmark fourth wall break film Ferris Bueller's Day Off (1986). The Big Short (2015) which won
Oscar, BAFTA and multiple other awards, in categories like best adapted screenplay and best
theatrical motion picture, is proof that this narrative tool has enrichment value.
Television Audience analysis has been done in this area before; especially in the western world.
But, what can be studied is the inherent structure of the storytelling. In the assembly of fourth
wall breaks, other than participation, there are elements like number of fourth wall breaking
characters, their confessions, honesty and effort to build emotional connection. There are further elements like their attempt to retain attention, effort to entertain, characterization, significance of scene in the film, and placement of fourth wall break in the scene. These elements are
present in every fourth wall break.
Looking at this device from the film storytelling point of view is a premise that has been looked
into in this research. A comprehensive study of post-modern fourth wall breaking films through
its fourth wall breaking scenes is the central focus here.10 English language films from Annie
Hall (1977) to Deadpool (2016) were studied in this dissertation. Every fourth wall breaking
scene from the chosen films was analysed based on the elements from the above paragraph.
The researchs interest is in the underlying and internal construction of fourth wall breaks, its
interwoven bond with the narrative and the possible enhancement in storytelling.

Chapter 2: Review of Literature

Stories are everywhere. It creates a different meaning every time the same story is told by
different person. The story-telling is what makes the difference. In film, literature and other art
forms, different techniques and tropes2 have been used to make the story appealing; to bring
together the writer/director and the reader/ viewer into a mutual, collaborative and interactive
relationship to understand the better meaning of the text. Fourth Wall Break is an important
and inseparable technique used in films. Fourth Wall is not a new concept. It has been here
in the field of visual art and literature for over a century now though the concept was first
developed by Denis Diderot in the 18th century where he proposed to fill the gap between two
mutually exclusive genre Tragedy and Comedy by promoting natural style of acting addressing the audience which would break down the voyeuristic attitude of audience to a more
participative one. As the practice of realism progressed, the demarcation between stage area
and audience space gradually sharpened. In some ways, the concept of theatrical realism has
had its ultimate fulfilment in the motion picture. This has done something for the theatre
roughly analogous to what photography has done for painting (Stevenson, 1995)
In films, theatre, television and children cartoons, animation and literature, the creative liberty
on hand is exponential- one can follow, assemble or experiment with new forms of art. In 1903,
an American silent film called The Great Train Robbery created the final shot in an unconventional way, firing point blank at the audience. As immediately it was open to interpretation,
a new technique was introduced in film-making which had an additional engagement and entertainment value in terms of narrative. This can be considered as the first Fourth Wall Break
in film history. The term Fourth Wall has a theatrical origin where the first three walls being
stage left, the background, and stage right. Fourth Wall is this imaginary boundary between
performers and audience where former is not aware of latter and is absorbed in his own fictional
universe. While the audience can see through the wall, the conventions assume that actors cant.
When a character addresses the audience directly, the Fourth Wall is broken.

Trope: A significant or recurrent theme. A specific style used for desired effect.

Stan Laurel and Oliver Hardy broke the Fourth wall in his movies by staring at the camera to
seek comprehension from the audience. Mel Brooks in his movies Blazing Saddles, Spaceballs
frequently broke the fourth wall and used primarily as a comedic element. Woody Allen broke
the fourth wall several times in his movie Annie Hall, as he explained, Because I felt many of
the people in the audience had the same feelings and the same problems. I wanted to talk to
them directly and confront them (Fourth Wall, Wikipedia). Goodfellas (1991) ends the film
firing at the audience just like it has been done in The Great Train Robbery. Contemporary
films like Funny Games (2007) and Deadpool (2016) break the Fourth Wall as a comedic device between character and audience.
Our research deals with the usage and connection of Fourth Wall breaks to fiction films and
how it has been used over time. Each time a character addresses the audience he/she has some
specific purpose in mind. Tom Brown while analysing the Fourth wall breaks in the 1997 Austrian film Funny Games talks about how the film and addressing the audience are bound thematically and structurally. No clear segregation is possible between the narrative and the character Paul talking to the camera. Fourth Wall breaking is closely associated with self-referential
nature and medium awareness. Past works on Fourth Wall stress on the point of giving rise to
illusion- because once the character acknowledges the audience, he knows he is being watched
and admits its fictionality. On the other hand, Fourth Wall break is used as An emphasis on
reason and objectivity rather than emotion, or a type of critical detachment (Kattwinkel,
2004).
Philip J. Auter conducted a research with college students where he found out Clips that broke
the fourth wall were rated significantly more entertaining on a semantic differential scale, and
significantly more sophisticated than were clips that did not break the wall. The study concluded that programs that break the fourth wall are more cognitively involving (Auter, 1991).
Philip J. Auter concluded from his research that Techniques as "Fourth Wall breaking" may
help program producers to achieve the goal of getting audience members to attend to the message (Auter, 1991).

Independent researches has been done on the topic previously. By going through the literature
of the topic, the theory of direct addresses in film history have been strongly stressed on. By
attempting to break the fourth wall of the screen, the involvement and method in which the
actor does so have been criticized. Studies have shown the impact on audiences is also different
witch each different method of breaking the fourth wall.
Studies and observations have been done widely on the Netflix TV series House Of Cards
and is being considered one of the best execution of breaking the fourth wall phenomena in
contemporary times. Similar researches have been conducted on movies like High Fidelity,
Vanilla Sky, The Great Train Robbery, The Circus, La Dolce Vita and Submarine.
That special interaction with the normally passive relationship is redefined with Fourth Wall
Break. He also talked about the limitations of using Fourth Wall Break where audiences can
get habituated with frequent fourth wall breaking. Secondly, this is definitely a content manipulation technique but audiences may prefer the floating suspension of disbelief and get disturbed when characters make passes to the viewers directly. Lucy Weir traces the traditional
way of performance art to modern Avant-Garde techniques- invisible distinction known as
the fourth wall tended to remain unbroken, aiding in the viewers willing suspension of disbelief; the spectator became a passive observer in this ultimately rather conformist model. However, in the second half of the century (20th century), a number of avant-garde theatre makers
began to reject the use of this device, with some renouncing the fourth wall entirely (Weir,
2014).
Past studies have tried to point out instances where characters look at the camera but is not
considered a Fourth wall break. If the character is using a video camera to maintain a diary
inside the narrative, it is not meant for public viewing, hence not a Fourth Wall break. Blair
Witch Project is a fine example to this where the film is the footage on the video camera found
after all the characters are dead. Identifying a shot as Fourth Wall break also depends on if the
characters eye-line is clear or not (Brown, 2012). Similarly, character may look to the camera
on 180 degree axis but is replaced with an object or person in the next shot. Documentaries,
interviews and TV Reporters facing camera in films are not direct address to the audience.

The purposiveness, invocation and interactivity of Fourth Wall breaks have been studied in this
research. Each film has specific needs of addressing the audience. Though Direct Address 3
has abilities to destroy the illusion and suspension of disbelief and acknowledges the techniques
behind the cinema (i.e. camera); also tries to invade the viewers personal space, becomes bossy
at times, markets the film within the film, and creates confusion by creating paradoxical moments, however, the range of approaches it takes to communicate to the viewer finally intensifies the relationship with fiction.

Direct Address: starting point for interrogating the nature of a particular moments address of its audience,
and the extent of its directness (Brown, 2012).

Chapter 3: Aim and objectives

Aim
To deconstruct the narrative significance of fourth wall breaks in English language films from
Annie Hall (1977) to Deadpool (2016).

Objectives

To study breaking the 4th Wall in films in terms of

1) Agency
2) Characterization
3) Engagement
4) Ingeniousness
5) Intimacy
6) Showmanship
7) Significance
8) Synergy

10

Chapter 4: Operational definitions

A. Breaking the fourth wall in Films: When characters use first person narration, gestures
(physical movements, nods, glances, stares) and direct talk to converse with the audience.
B. Narrative significance: Enhancement in seriousness and strength of storytelling of the film.
1. Agency: Direct address will be the province of a single character who is often the protagonist
of the narrative; in some cases, called the narrator. There are rare exceptions to this. The
context of the scene, number of fourth wall breaking characters and the characters presentation are a part of this factor. (Brown, 2012)
2. Characterization: the characters awareness of being watched by audiences and how he/she
acknowledges it. His/her qualities and peculiarity of the characters fourth wall breaks together determine how the character is seen/wants to be seen. This factor is about how the
character is shaped.
3. Engagement: What activity the character is doing and the settings he/she goes through. How
he/she maintains the conversation with the audience in an attempt to hold their attention.
4. Ingeniousness: the honesty and confessional nature of the 4th wall breaking characters is
heightened in this category of films and is a peculiar aspect of the character and storytelling.
(Brown, 2012)
5. Intimacy: to have a character in a film address the film spectator directly is clearly a very
particular gesture towards intimacy. Dialogues, Honesty and emotional projection of the
character amount to a specific kind of bond the character attempts to form with the audience.
(Brown, 2012)
6. Showmanship: The antics, treatment of dialogues and situations by the fourth wall breaking
character/film. The purpose of this factor is to understand how these aspects are linked with
entertainment.
7. Significance: to understand the value of fourth wall breaking in the film; its important to
understand the importance of fourth wall breaking scene in the film.
8. Synergy: how strategically fourth wall breaks are treated and merged with the storyline and
subplot; decides the effectiveness of storytelling. This factor aims at studying the enhancement of narratives through application of fourth wall breaks.

11

Chapter 5: Methodology and Data Collection

The convention of what happens inside a screen is a different world is embedded in the way
films are made and seen. That is why real world time and facts do not match that of the fictional
world. Genres like sci-fi, fantasy, magic, sword and sorcery exist because this veil is firmly
guarded.
Characters becoming aware that they are being watched, read, heard, and observed changes
their behaviour. More so, they start interacting with the other side. Hence when this boundary
is broken, it gives rise to a different dynamic of film viewing experience. And in this new fourth
wall breaking world, there are multiple stories and different ways of storytelling. Each film
comes with its own brand of storytelling. But we know this only on the surface. What are the
latent layers under every fourth wall breaking scene, is not clearly visible. Humour and confessions dominate the attributes that these characters adopt in films. But, other aspects are not
clearly visible.
It changes the traditionally established convention that the screen and the audience share. What
effect it has on the seriousness and impressiveness of the narrative, and how it synergises with
the traditional style of narration is of importance to this study. The intricacies of the fourth wall
breaks matter more than their documentation here. The total run-time of all the chosen films
put together is approximately around 900 minutes.
To comprehend the value of fourth wall breaks with regards to storytelling in such a large
amount of data, the following choices were made:-

A. Methodology: Qualitative
B. Method: Narrative analysis

12

Sampling technique
The research shall be conducted using Non-Probability Sampling, under which the Purposive
Sampling method was the best to suit the needs of the research.

Sampling size and criteria

For the purpose of this study
A. The film should have a character/characters that break the fourth wall in at least 4 scenes
in the film.
B. It should be an English language full length feature film made in/after 1977 and in/before 2016.
C. Every fourth wall breaking scene will be analysed based on the operational definitions
stated in chapter 4.
D. Only fourth wall breaking scenes are under the purview of the analysis
E. The main priority here is Fourth wall breaking in films and not the entire individual
film.
F. The significance of the fourth wall break in the storytelling of the film, falls under this
study. The main reason for this is that fourth wall breaks can only be studied in the
context of the narrative.
10 such films were identified and chosen by researchers
1) Annie hall (1977)
2) Ferris Buellers day off (1986)
3) Spaceballs (1987)
4) Waynes world (1992)
5) Kuffs (1992)
6) Fight club (1999)
7) Alfie (2004)
8) The Wolf of Wall Street (2013)
9) The Big Short (2015)
10) Deadpool (2016)

13

Chapter 6: Data Analysis

14

15

Chapter 6.1: Annie Hall (1977)

The comedian Alvy Singer (Woody Allen) is trying to understand why his relationship with
Annie Hall (Diane Keaton) ended a year ago. Growing up in New York, he vexed his mother
with impossible questions about the emptiness of existence, but he was precocious about his
innocent sexual curiosity.
Annie and Alvy, in a line for The Sorrow and the Pity, overhear another man deriding the work
of Federico Fellini and Marshall McLuhan; McLuhan himself steps in at Alvy's invitation to
criticize the man's comprehension. That night, Annie shows no interest in sex with Alvy. Instead, they discuss his first wife (Carol Kane), whose ardour gave him no pleasure. His second
marriage was to a New York writer who didn't like sports and was unable to reach orgasm.
With Annie, it is different. The two of them have fun making a meal of boiled lobster together.
He teases her about the unusual men in her past. He met her playing tennis doubles with friends.
Following the game, awkward small talk led her to offer him first a ride up town and then a
glass of wine on her balcony. Though it seemed like a mild exchange of trivial personal data,
it is revealed in "mental subtitles" as an escalating flirtation. Their first date follows Annie's
singing audition for a night club ("It Had to be you"). He suggests they kiss first, to get it out
of the way. After their lovemaking that night, Alvy is "a wreck", while she relaxes with a joint.
Soon Annie admits she loves him, while he buys her books on death and says that his feelings
for her are more than just love. When she moves in with him, things become very tense. Eventually, he finds her arm in arm with one of her college professors and the two begin to argue
whether this is the "flexibility" they had discussed. They eventually break up, and he searches
for the truth of relationships, asking strangers on the street about the nature of love, questioning
his formative years, until he casts himself in Snow White opposite Annie's Evil Queen.
Alvy returns to dating, but the effort is marred by neurosis, bad sex, and finally an interruption
from Annie, who insists he come over immediately. It turns out she needs him to kill a spider.
A reconciliation follows, coupled with a vow to stay together come what may. However, their
separate discussions with their therapists make it evident there is an unspoken divide. When
Alvy accepts an offer to present an award on television, they fly out to Los Angeles, with Alvy's
friend, Rob (Tony Roberts). However, on the return trip, they agree that their relationship is
not working. After losing her to her record producer, Tony Lacey (Paul Simon), he unsuccessfully tries rekindling the flame with a marriage proposal. Back in New York, he stages a play
of their relationship but changes the ending: now she accepts.
The last meeting for them is a wistful coda on New York's Upper West Side, when they have
both moved on to someone new. Alvy's voice returns with a summation: love is essential, especially if it is neurotic. Annie sings "Seems like Old Times" and the credits roll. 4

Annie Hall(1977) plot retrieved from

https://en.wikipedia.org/wiki/Annie_Hall

16

o
o
o
o
o
o
o
o
o

Directed by Woody Allen

Produced by Charles H. Joffe
Written by Woody Allen and Marshall Brickman
Starring:
Woody Allen
Diane Keaton
Tony Roberts
Carol Kane
Paul Simon
Janet Margolin
Shelley Duvall
Christopher Walken
Colleen Dewhurst
Distributed by United Artists
Running time: 93 minutes
Country: United States

17

Scene 1
00:53- 2:34

Agency: The opening shot is a comedy monologue by Alvy Singer, the protagonist, breaking
the fourth wall. He is wearing a crumbled sports jacket and tieless shirt and the background
is a distinct, clear cut spread.
Characterization: The first shot of the movie starts with direct addressing to the audience in
an interior setup. Alvy confronts the audience in a stand-up manner and opens with a joke. His
gestures signify that he is in the show business where he is comfortable on stage in front of a
live audience.
Engagement: The desire to tell the honest story of his life, Alvy Singer starts off with a joke
which he thinks is the irony of life. Then he tells how he feels about his adult romantic relationships while relating it with a joke. The subtle need to lighten the situation and then introduce the audience to the problem that he is facing- his break up with Annie Hall. He tells that
he and Annie had broken off and how he cannot get his mind off it. The need of the protagonist
is to release the tension and desperation he is facing after the break up. The presentation and
narration style of Alvy implies that he is asking the audience to help him realize what mistakes
he made in the relationship.

18

Ingeniousness: Alvy is in an urgency to convince his audience.

ALVY
Tsch, you know, lately the strangest things have
been going through my mind, 'cause I turned
forty, tsch, and I guess I'm going through a life
crisis or something, I don't know. I, uh... and I'm
not worried about aging. I'm not one o' those
characters, you know. Although I'm balding
slightly on top, that's about the worst you can say
about me. I, uh, I think I'm gonna get better as I
get older, you know?
(MORE)
2. ALVY (CONT'D)
I think I'm gonna be the- the balding virile type,
you know, as opposed to say the, uh, distinguished gray, for instance, you know? 'Less I'm
neither o' those two. Unless I'm one o' those guys
with saliva dribbling out of his mouth who wanders into a cafeteria with a shopping bag screaming about socialism. (Sighing)

19

Annie and I broke up and I-I still can't get my

mind around that. You know, I-I keep sifting the
pieces of the relationship through my mind andand examining my life and tryin' to figure out
where did the screw-up come, you know, and a
year ago we were... tsch, in love. You know, andand-and... And it's funny, I'm not-I'm not a morose type. I'm not a depressive character.
You know is an American, usually meaningless filler; used to fill the spaces while the narrator
takes time to decide the next portion of what he is saying. Alvy Singer uses the connotation to
refer to his experiences which can be difficult to express in words but he thinks is relatable to
the audience. So in this fourth wall break it means do you relate to what Im describing? This
gives the idea that the protagonist doesnt want to simplify the context he is actually referring
to.
Intimacy: From the body language and speech it can be noticed that the character is uneasy
and fidgety. His fast hand movements, looking down at his feet, taking pauses and sighinggestures that audience can relate to once they had a tough break-up. Fourth wall has been broken in a very intimate way where the protagonist confronts the audiences and introduces them
to his childhood memories and problems.
Showmanship: Alvy Singers metaphorical innuendos and contextual jokes hold a certain
amount of assertion on the point that he is trying to make. The satirical references and openness
about his personal self draws attention.

20

Significance and synergy: By breaking the fourth wall on the opening shot of the film, the
film has introduced the protagonist as a showman and it has a significant implication on the
film. The opening monologue sets the mood and tone of the film and also talks about the title
character Annie Hall. As it initiates the story, the ending line of the monologue cuts to Alvy
as a young boy sitting on a sofa with his mother in an old fashioned, cluttered doctors office.
ALVY
I-I-I, UH, (Laughing) you know, I was a
reasonably happy kid, I guess. I was
brought up in Brooklyn during World
War II.

Scene 2
23:38- 3:40
Young Alvy at the food-stand concession watching three military men representing the Army, the Navy and the Marines arm in arm with a blond woman
in a skirted bathing suit. They all turn and run toward the foreground. The girl
stops before the camera to lean over and throw a kiss. The sign over the concession reads "Steve's Famous Clam Bar. Ice Cold Beer, and the roller coaster
is moving in full gear in the background.
ALVY'S VOICE
You know, I have a hyperactive imagination. My mind tends to jump around a
little, and have some trouble between fantasy and reality.

21

Agency: The blond girl in a red skirted bathing suit acts as an agency in the narrative where
Alvy describes his mind as jumpy and hyperactive.
Characterization: In Alvys narration, the woman is symbolised as an icon of Alvys hyperactive imagination. Thus, in a story where Alvy is deciding the course of the narrative, this
woman is a representation of his fantasy who is breaking the fourth wall and stepping into
reality.
Engagement: Kissing as a sign of love, caressing or greeting, engages the audience in an emotional way.
Ingeniousness: The womans attire and gestures arrays ingenuity and spontaneity.
Intimacy: The audience got a flying kiss from a woman who appeared only once in the whole
movie.
Showmanship: The woman is possibly a dancer as it appeared from her gestures and sexuality.
Significance and synergy: The 2 second sequence is the shortest of all fourth wall breaks in
the film. This little sequence has inconsequential relevance to the main narrative.

22

Scene 3
5:04- 5:23

23

ALVY AND HIS CLASSMATES

Agency: As Alvy continues the narration in the background, young students get up one at a
time and speaks directly to the camera. Total 5 of students break the fourth wall. 4 of them are
boys.
Characterization:
ALVY (AS CHILD)
(Still standing next to the teacher)
Tell the folks where you are today, Donald.
DONALD
I run a profitable dress company.
8. ALVY'S VOICE
Right. Sometimes I wonder where my
classmates are today.
The characters in this scene break the fourth telling what theyre doing in life as a grown-up.
The students get up from their desk and speak to the camera. All 5 of them starts the sentence

24

with I and talks in the same manner. Each of them uses one line to tell what they are doing
as a grown-up.
Engagement: Specifically, this scene is made to address the audience as Alvy wants the audience to hear from his classmates themselves, as an evidence to the point he made earlierALVY'S VOICE
I always felt my schoolmates were idiots.
Melvyn Greenglass, you know, fat little
face, and Henrietta Farrell, just Miss perfect all the time. And-and Ivan Ackerman,
always the wrong answer. Always.
The difference and variation of activity each of the 5 students say they are involved in, is also
an engaging factor.
Ingeniousness: The characters appear for one single time in the whole movie. Names of 4 of
them are unknown. The protagonist is not addressing the audience but making the real characters tell their story which he could have summed up. As Alvy felt all of his classmates were
mere ineptitude fools, he tried to show that neither of them actually went into the intellectual
industry or theatrics. The fourth wall break has been synchronised well with the scene as it
engages the audience with inclusion of 5 different characters speaking to them.
Intimacy: Young students talking about their future which is Alvys present, is a complex
narrative structure itself. The characters, in reality of the film probably are doing what they
said they are on camera, or Alvy thinks of them doing the things. Because he admits I lost
track of most of my schoolmates later; any which way, indirectly viewers are connected to
Alvys perspective about his classmates.
Showmanship: The entertainment quotient lies under the bland statements of the kids. It is the
showmanship of the narrator, who presents it to the audience.
Significance: The significance of the scene is to establish the point that Alvy was never impressed with his batch-mates and to prove his statement made earlier. Also, developing the
story to the next stage, Alvy declares that he wound up a comedian in the next shot. Hence,
giving the comparative ground between him and his classmates in this scene.

25

Synergy: This scene effectively covers up facts, shows a past setup of the protagonist and
pushes the narrative forward.

Scene 4
11:35- 12:19
Annie and Alvy waiting in line at the theatre lobby

26

Agency: Alvy Singer gets intensely irritated and bored with Annie ignoring him and at the
same time with the man behind them in line, preaching about Fellini, Marshall McLuhan and
comedy performances- subjects very dear to Alvy. It is in this hostile situation, where Alvy
decides to step forward, aggravated, and address the audience.

27

ALVY
(Sighing and addressing the audience)
What do you do when you get stuck in a
movie line with a guy like this behind
you? I mean, it's just maddening!
Protagonist was the first agent in breaking the fourth wall, but as he speaks to the audience, the
man behind the line takes notice and accounts his justification to the audience by speaking
directly to the camera. It is almost like the audience adjudicating the matter.
Characterization: Alvy is wearing a green army coat over a tieless shirt while the other man
is in a neat suit jacket and a brown tie. The knowledge over the matter discussed is important
in the scene and the main reason to break the fourth wall. Their appearances tell the differences
of their character and Alvy is dead serious to point out the mistakes in the mans dogmatic
views on Marshall McLuhan.
Engagement: The heated discussion obviously attracts audience attention when both of them
are trying to disprove the other one. The scene peak when Alvy brings out Marshall McLuhan
from behind the stand who refutes the other mans argument. Both the characters break fourth
wall either by speaking or just staring at the camera. This shot is shown as Alvys imagination
on how he would have probably taken the pretentious man down. Breaking the fourth wall here
is used to show what could have happened.
Ingeniousness: The fourth wall is broken in a crowded theatre lobby by the protagonist. It is
his story and he is only one who can include people to speak to audience. Marshall McLuhan
ingratiates with Alvy, but doesnt look at the camera. It is only the surprised look on the other
mans face that brings out Alvys righteousness over the matter. Annie during the whole time
looks away from the camera and is not aware of the situation.
Intimacy: By the end of the scene, Alvy draws audience attention towards him and concludes
cynically Boy, if life were only like this.
Showmanship: Absolute showmanship is shown by Alvy in mediating the cross between the
man and Marshal McLuhan. He addresses the camera in an assertive way and also concludes
the situation in a satirical manner.

28

Significance: It can be inferred that the sequence did not happen in reality of that moment but
it is a make-believe situation created for cinematic exposition of events. Breaking the fourth
wall acts as an important instrument in showing the protagonist in a certain way. Without Alvy
speaking to the audience, the intensity of the characters could have been lost.
Synergy: The conversation attracts a great deal of momentum to the narrative structure of the
film. The improbability of the character and intensity gets stronger after this.

Scene 5
17:15- 17:31
Alissa Portchniks bedroom

Agency: Alvy Singer explains the bedroom situation to the audience.

Characterization: In reference to his earlier Groucho Marx joke, which was a fourth wall
break, he applied it to the situation to reason out why he avoided sexual intercourse with the
newly met girl, Alissa Portchnik.
Engagement: Alvy talked to the audience because it was absurd to him initially that why he
turned down Alisson Portchnik. The purpose of the scene is to give instance of the reference
which he made in the first scene as a joke. The interwoven logic between two breaking the
fourth wall scenes is carefully handled and delivered.
Ingeniousness: The reference to the joke and his explanation of the conspiracy theory served
the backbone of the fourth wall break. Alvy as a narrator, talked in past tense which implies
that he avoided sexual intercourse at that point by doing something else, but when narrating he

29

turns to the audience to explain his logic behind what he did then. He juxtaposed the fourth
wall break in a situation where something different happened.
Intimacy: Alvy acknowledged that she made the right observation about him and needed to
confront the audience to show the trusts the viewers. He could have avoided the situation by
explaining things differently but his confession to the audience made the scene intimate.
ALLISON
You're using this conspiracy theory as an
excuse to avoid sex with me.
ALVY
Oh, my God!
(Then, to the camera)
She's right! Why did I turn off Allison
Portchnik? She was-she was beautiful.
She was willing. She was real... intelligent. (Sighing) Is it the old Groucho Marx
joke? That-that I-I just don't wanna belong to any club that would have someone
like me for a member?
Showmanship: Alvys understanding of his natural self is distinctly vivid- he knew a sexual
relationship with Allison will harm his relation with Annie. He addresses the audience in a
sarcastic manner.
Significance: The exploration of the character and his logic is displayed with the fourth wall
break.
Synergy: This nature of fourth wall break puts the narrative into a different direction where
what he does next makes the viewers curious.

30

Scene 6
44:49- 45:10
Dinner with Annie Halls parents at their house

31

Agency: Alvy talks to the audience in the middle of family dinner. He turns his head to the left
and starts talking. No one else notices.
Characterization: While everyone else is talking, Alvy talks to the audience. He is astonished
with the family while in his head he thinks how loud and different table talks used to be in his
family.
Engagement: Alvy raises his eyebrows and his gestures convey the shock he has got meeting
the family. He analyses Annies mother, grandmother and inferred that his and Annies family
are like oil and water.
Ingeniousness: As the narrator he chooses to show what the family is keen on talking about at
the dinner table and the scene is self-explanatory where Alvy calls Annies grandmother a
classic Jew-hater.
Intimacy: This fourth wall break includes a family setup which is the intimate relation in everyones life. His analysis and comparison brings out differential elements of the families.
Showmanship: Like the other instances, Alvy shows intuition and offers a background story
while addressing the audience.
Significance: The fourth wall break has an innate value in comparing the typical American
Christian family and his Jewish American family. It brings out his astonishment after meeting
this family.
ALVY
(To the audience)
I can't believe this family.

32

(Making chewing sounds)

Annie's mother. She really's beautiful.
And they're talkin' swap meets and boat
basins, and the old lady at the end of the
table(Pointing to Grammy)
-is a classic Jew hater. And, uh, they, they
realty look American, you know, very
healthy and... like they never get sick or
anything. Nothing like my family. You
know, the two are like oil and water.
Synergy: While everyone else is talking and eating, Alvy faces the camera to talk to the audience. The narrative value of the scene increases manifold when he includes the audience into
the intimate family lunch sequence.

Scene 7
50:08- 50:12
Alvy turns toward the camera.
ALVY
(To the audience)
She said, "Will it change my
wife." You heard that because you
were there so I'm not crazy.

33

Agency: Annie and Alvy are talking in Alvys kitchen. Alvy Singer breaks the fourth wall.
Characterization: Alvy is conscious of the fact that he is being watched by the audience the
whole time. During a conversation with Annie, Alvy turns to the audience to confirm that what
he heard Annie saying is right. This fourth wall break is like getting an approval on an opinion
from a third person watching an argument.
Engagement: As Annie was correcting herself, she actually said wife which instantly makes
the viewers engaged to the side of the right. Alvy assures himself on the fact that the audience
also heard the same thing which he heard. It establishes a connection between the audience and
the narrator.
Ingeniousness: Keeping the audience as a witness to the couples fight brings out the ingeniousness of this fourth wall break
Intimacy: Alvy feels satisfied with the fact that audience is watching them talking and the
Audience know what Annie meant at first.
Showmanship: Alvy asking the audience on something they just heard- theatrical approach to
the scene.
Significance: Alvy probably moderates his behaviour as he is aware that he is being watched
by the audience. His constant need to get the attention from the audience gets reflected here.
Synergy: The short use of breaking the fourth wall creates a crisp and quick effect on the
viewing.

34

Scene 8
1:25:25- 1:25:41

Agency: In this last fourth wall break of the movie, Alvy Singer addresses the audience after
the rehearsal of the first play he wrote. He looks straight into the camera and starts talking.
Characterization: Alvy looks calm and restful while he addresses the audience. He is seen
wearing a grey sweater vest and red check shirt.
Engagement: As Alvy starts his monologue with a question- What do you want? He wrote
the play using characters resembling himself and Annie Hall. He took expressions, phrases and
dialogue from the actual conversation that happened between him and Annie. But he changed
the ending where the characters in his play stay together, unlike the reality where Annie and he
went apart. Acknowledging the expectation of the audience, Alvy engages the audience in his
last part of the story and while he is talking to the camera, fourth wall break ends and the scene
changes with Alvys narration in the background.

35

ALVY
(To the audience, gesturing)
Tsch, whatta you want? It was my
first play. You know, you know how
you're always tryin' t' get things to come
out perfect in art because, uh, it's real difficult in life.
Interestingly, however, I did run
into Annie again. It was on the
Upper West Side of Manhattan.

Ingeniousness: Alvy creates a play manipulating the events rather than writing what happened
in his real life and after he is happy with the work, he felt the urge to speak to the audience as
he knows they have been following his story throughout.
Intimacy: Alvy justifies why he chose the happy ending as it was his first play. He addressed
the audience in a relaxed and comfortable way, in a way suggesting that he has understood the
things that went wrong in his relationship as he had solicited in his very first address to the
audience.
Showmanship: In Alvys storytelling, all the events revolve around him and the audience get
to see his course of action only. His ostentatious ability to tell a story hooks the audience in an
attentive way.
Significance: This fourth wall break discloses that Alvy met Annie again after she moved back
from Los Angeles to New York. As he keeps talking, his voice goes to background with different visual.
Synergy: The last fourth wall break is the only one that continues as a background narration
till the end. Through this address to the audience, Alvy starts concluding the narrative, winds
up few events and does the closure with a satire.

36

Note: Alvy is a professional comedian turned playwright who conducted the storys course like a
stand-up on the stage.
Annie Hall never looks at the camera. The story is about her, but from Alvys point of view.
There are few instances of actors looking at the camera mistakenly. This is not considered
breaking the fourth wall.
Alvy Singer tells a story about his life in his own way. Breaking the fourth wall is his way
of taking points into consideration.

Annie Hall(1977)- script retrieved from

https://indiegroundfilms.files.wordpress.com/2014/01/annie-hall-1977-shooting.pdf

37

38

Chapter 6.2: Ferris Buellers Day Off (1986)

In suburban Chicago, high school senior Ferris Bueller fakes sickness to stay home. Ferris
frequently breaks the fourth wall, giving the audience advice on how to skip school, and to
narrate about his friends. His younger sister Jeannie is less-convinced, but goes to school anyway. Dean of Students Edward R. Rooney notes and suspects Ferris is being truant again and
commits to catching him. However, Ferris uses a computer to alter the school's records to reduce his absences from 9 to 2. Ferris convinces his friend Cameron Frye, who really is absent
due to illness, to report that his girlfriend Sloane Peterson's grandmother has died. Rooney
doubts this, but they succeed as planned.
Borrowing Cameron's father's prized 1961 Ferrari 250 GT California Spider against Cameron's
instinct, Ferris, Cameron, and Sloane drive into Chicago to sightsee. Leaving the car with two
parking attendants, who promptly take it on a joyride, the trio visit the Art Institute of Chicago,
Sears Tower, Chicago Mercantile Exchange, and Wrigley Field. They then go to a French restaurant for lunch where Ferris poses as the "Sausage King of Chicago", Abe Forman, while
narrowly avoiding his father, who is eating lunch at the restaurant. Meanwhile, after humiliatingly failing to find Ferris, Rooney visits the Bueller residence and fails to enter, being attacked
by the family Rottweiler as his car is towed. Jeannie, skipping class, returns home and discovers
her brother's ruse, but encounters Rooney snooping. She kicks him and calls the police, who
arrest her for false reporting after Rooney leaves. While at the station, Jeannie meets a juvenile
delinquent, who advises her not to worry so much about Ferris.
After a cab ride where Cameron exclaims disinterest, Ferris impromptu joins a parade float
during the Von Steuben Day parade and lip-syncs Wayne Newton's cover of "Danke Schoen",
as well as a rendition of The Beatles' "Twist and Shout" that gets the entire crowd dancing. Just
as things shine bright, they retrieve the car and notice that, due to the attendants' joyride, over
100 miles have been added. The revelation shocks Cameron into a state of self-analysis, realizing his life is controlled by his father's figure. After coming sane again, they return the car to
Cameron's garage and unsuccessfully try to run it backwards to remove the miles; Ferris suggests that they crack it open and turn it back manually. Cameron refuses and vents anger towards his father, kicking, severely denting, and leaning on the car, which falls off the jack and
flies out the back, crashing into a ravine behind. Despite Ferris' insistence, Cameron decides to
take a stand against his father after destroying the car. At the police station, Mrs. Bueller picks
up Jeannie, whom she finds kissing the delinquent.

39

Ferris returns Sloane home, but realizes he only has a limited time to return home to avoid
trouble. He rushes back to the house, but is spotted by Jeannie driving their mother home, and
tries to run him down. Ferris avoids being noticed by Mrs. and Mr. Bueller, who is coming
from another direction. They make it home at the same time, but Rooney catches Ferris trying
to enter the back door and rhetorically asks if he would like to spend another year under supervision. However, Jeannie discovers his wallet on the kitchen floor as proof he broke in, and she
has a change of heart, letting Ferris in and telling Rooney he was hospitalized indicating
awareness of the break-in. She slams the door, and their dog attacks Rooney again. Ferris leaps
into his bed at the last second, assuring his parents don't suspect a thing. As they leave, Ferris
reminds the audience, "Life moves pretty fast. If you don't stop and look around once in a
while, you could miss it." Ferris then smiles at the camera before fading to black.
As the credits roll, the defeated Rooney heads home and is picked up by a school bus, further
humiliated by the students, one offering him a gummy bear. In a post-credits scene, Ferris
emerges from his room and bids everyone that "It's over," and to go home. 6

Directed by John Hughes

Produced by

o John Hughes
o Tom Jacobson

Written by John Hughes

Starring

o Matthew Broderick
o Alan Ruck
o Mia Sara

Distributed by

Running time: 103 minutes

Country: United States

Paramount Pictures

Ferris Buellers day off(1986) plot retrieved from

https://en.wikipedia.org/wiki/Ferris_Bueller%27s_Day_Off

40

Scene 1
00:03:14 to 00:05:48

Analysis of above scene

Agency: In this opening scene, the film establishes that Ferris Bueller will be the character who
will break the fourth wall throughout the film. His entire monologue about how he has been
bunking school while convincing his parents about new illnesses is a detail he wants the audience to know.
Characterization: this establishes his character as a street-smart youngster who doesnt care
a great deal about theoretical concepts like socialism. He is self-centric and is influenced by
John Lennon of the Beatles. Throughout this scene, he doesnt take his eyes off the audience
which establishes him as the fourth wall breaking protagonist of this film. He is seen wearing
a maroon and beige robe over a white t-shirt. His sense of style is seen as simple and casual.
His quotes about experiencing life can be understood as a marker of his young mind developing
a sense of understanding about the world.
Engagement: this is primarily a scene that initializes the film and sets the tone for what follows. His dialogues and antics like switching on the music, showering, singing and coming out
of the shower until now are an attempt to retain the audiences attention. His continuous chatter
directed at the audience is an attempt to establish a firm connection.
Ingeniousness: he confesses about having bunked school and lying to parents. Also, his opinions about how he doesnt care about ideologies is a pointer that he is being frank about his

41

intellect and orientation. He quotes John Lennon to say that he thinks most about himself rather
than these ideologies.
Intimacy: the showering in front of the audience aspect points towards the kind of relationship
the protagonist wants to have with the audience. It is personal and casual in nature. With his
listicle about how to fake illnesses and the part about he not caring about school tests and
ideologies, give the audience a sneak peek into his mind.
Showmanship: after announcing to the audience that his parents fell for his lie and theatricality, he goes on to switch the TV on and plays MTv on high volume. And while showering, he
sings while also making a Mohawk out of his wet hair. Also, the informative list about how to
fake an illness and what steps to be careful about; is a clear attempt to take on the role of an
entertainer.
Significance and synergy: the scene uses Ferris as the focal point and breaking the fourth wall
as the principal device. As an establishing sequence, this fuses well into the narrative of the
film. The above elements that have been achieved and the effect it was aimed to attain points
towards the fourth wall breaks will blend into the storytelling of the film.

Scene 2
00:07:47 to 00:08:16
FERRIS
If anybody needs a day off, it's
Cameron. He has a lot of things to
Sort out before he graduates. He
Cant be wound this tight and go
To college. His roommate will kill
Him. I've come close myself. But I
Like him. He's a little easier to
Take when you know why he's like he
Is. The boy cannot relax. Pardon
By French but Cameron is so tight

42

That if you stuck a lump of coal up

His ass, in two weeks you'd have a
Diamond.
(After-thought)
And Cameron would worry that he'd
Owe taxes on it.

Analysis of above scene

Agency: this is the 2nd instance of Ferris breaking the 4th wall. This is after a phone conversation
between Ferris and his best friend of many years- Cameron. Cameron is seen lying on the bed
covered under a blanket. Ferris is seen wearing only half pants while sitting on a lounge chair
sipping a drink by the pool under the sun.
Characterization: throughout the conversation, Ferris is seen convincing Cameron that his
illness is all in the head and he should come over in his car to Ferriss house. The attire of Ferris
and his relaxation by the pool; signify his laidback and carefree personality. While talking
about to the audience about his feelings about Cameron, his worries about Cameron being bullied by his college roommate and college mates because of Camerons uptight in the futurecomes to the fore. Ferris can be seen as a carefree but loving best friend in this fourth wall
breaking scene.
Engagement: Ferris tries to give the audience a sneak peek into his relationship with his best
friend Cameron.
Ingeniousness: Ferriss innermost honest thoughts about his best friend are a confession about
the sensitive side of his personality.
Intimacy: while discussing his feelings about his best friend Cameron, Ferris also establishes
how he sees and prepares himself by the time he goes to college. His opinion about Camerons
demeanour and his need of a break are an attempt to get more personal with the audience.
Showmanship: while affectionately making fun of Camerons way of life, Ferris tries to entertain the audience with a quirky metaphor.

43

Significance: since their friendship is one of the major plot points of the entire film, these
dialogues work to initialize this element so that momentum can be built up as the story progresses.
Synergy: these moments are of utmost importance to the film because they set the tone for the
styles of fourth wall breaks Ferris will use to improve the storytelling of the film.

Scene 3
00:08:18 to 00:10:44

Analysis of above scene

Agency: though the fourth wall is broken only by Ferris, the scene construction is the hero of
this sequence.
Characterization: this scene portrays the dean as a hard task master. He is seen to be alert and
concerned about students attendance and wary of what Ferris is doing. Joyce (Ferriss mom)
is a caring but nave mother who is more focussed on Ferriss health rather than his attendance.
Engagement: the dean and the mother try to support Ferriss Fourth wall breaks throughout
this sequence. They are engaged in a phone conversation with each other. Ferris speaks to the
audience at pivotal points in this sequence.
Ingeniousness: Ferris confesses to the audience that he got a computer when he asked for a
car, and that he feels he is not lucky. Also, he shows off his skills of being able to hack into the
attendance records of his school. In the last scene where he plays the instrument badly, he
affirms that he has not trained it before. Maybe Ferris feels that he is playing it well.
Intimacy: Ferris is seen hacking school attendance records and playing the instrument in this
sequence. This is an attempt to show the audience what he is capable of.
Showmanship: Ferris tries to entertain the audience by jumping in with bad music at the exact
moment when his mom calls him a sick boy. His desire of being passionate about music is
shown. Also, by hacking really casually, Ferris softly diverts the attention of the audience towards the bad luck of getting a PC instead of a car. He tries to entertain the audience by his
affirmation about his perceived bad luck.

44

Significance: this is more a sequence that carries on the quirky storytelling composition of the
film. The fourth wall break is of a short duration and placed between a pivotal scene where the
Dean is established as the villain archetype and the working mother is shown as oblivious of
her sons activities.
Synergy: the scene is constructed in a complex way and there are jumps from one environment
to the other. But it is well executed, and is aimed at leaving the audience with a want to see the
rest of the film to find out what finally happens. The 4th wall break is merged into the sequence
and adds to the effectiveness of the film.

Scene 4
00:16:40 to 00:16:52

FERRIS
I'm so disappointed in Cameron.
Twenty bucks says he's sitting
In his car debating about whether
Or not he should go out.

Analysis of above scene

Agency: Ferris breaks the 4th wall suddenly after a phone call with his father. Its very abrupt
and is aimed at catching the viewer off guard.
Characterization: this particular sequence and the one before is more about telling the audience about Ferriss father and best friend. Ferriss father can be understood to be a dutiful and
loving dad, but he has no clue about Ferriss attendance record. Ferris is able to lie to him very
casually. Cameron on the other hand seems to come off like a predictable accomplice to Ferris
and Ferris is seen to have a habit of convincing him about his plans.

45

Engagement: as, the fourth wall break is very abrupt, it is the kind of scene which is aimed at
forcing the viewer to constantly pay attention to the film. There are major chances that an
inattentive audience could miss scenes like this.
Ingeniousness: Ferris tries to show how well he understands his father and best friend. He
gives the audience a small instance of his relationship with the important people in his life. He
is seen being very frank and casual about it.
Intimacy: allowing the audience into his personal matters like his phone conversations shows
a definite attempt towards intimacy.
Showmanship: manipulating, convincing and lying to all the people in his life is an attempt at
keeping the audience hooked on to his antics.
Significance: this is a small instance of fourth wall break. This scene is more important to the
initial part of the film and capitalizes on the previous scenes of the film. This particular sequence is important from the standpoint of characterization.
Synergy: the fourth wall break element is just an addition to abrupt switches of location that
the scene takes. But the timing and placement of the fourth wall break can be perceived to be
important for the comedic effect to come through. Without it, this particular sequence might
not have been so effective.

Scene 5
00:30:48 to 00:31:00
FERRIS
If you had access to a car like this
Would you take it back right away?
Would you give up feeling like a
Ton just to ease your best friend's tension.
Neither would I.

46

Analysis of above scene

Agency: Ferris is seen breaking the fourth wall after fooling his dean. He is accompanied by
his girlfriend and his best friend.
Characterization: Ferris is wearing a costume which looks like a disguise to hide his face and
body, yet making him look like a wealthy man. He is shown as having prepared for this particular event of picking his girlfriend up from the school. Ferris shows his calculative side very
casually.
Engagement: it is a small instance of a fourth wall break. But asking the audience about what
they would do if they were in his situation can be seen as an attempt to involve and entertain.
Ingeniousness: The confession that any human being would take the beautiful car for a ride is
a moment of honesty. It portrays Ferris as a normal person and makes him more relatable.
Intimacy: directing a question at an audience is a clear indication of wanting to get an answer
from them. Also, the fact that Sloane and Cameron act oblivious to Ferriss Fourth wall breaks
is not an accident. It is previously decided that hell be the only one breaking the fourth wall.
Showmanship: the whole sequence is constructed to generate comedy at the expense of the
dean. Ferris is seen as a smooth operator in his plans and execution. It can be seen as an attempt
to entertain the audience. Also talking to the audience while driving away, is aimed at increasing their curiosity about what will happen now.

47

Significance: this scene is important to establish the nature of Fourth wall breaks Ferris will
be seen doing. The other 2 characters in the frame arent aware about the existence of the other
side.
Only Ferris conscious that he is in a film.
Synergy: this scene is the end of the beginning of the film. The Fourth wall break is smooth
and comedic in nature. It looks well placed. The end of the fourth wall break blends well into
the rock music and the racing/roaring car sounds that the film uses at this point.

Scene 6
00:44:47 to 00:45:48

FERRIS
I used to think that my family was
The only one that had weirdness
In it. It used to worry me. Then I
Met Cameron and I saw how his
Family functioned.
Cameron's home life is really shit.
He wasn't lying. That's why he's sick
All the time. It really upsets him.
If Id to live in that house,

48

Id probably pray for disease too.

The thing with

Taking his old man's car its good
For him. It teaches him to deal with
His fear. Plus, and I must
Be honest here, I love driving it.
I highly recommend picking one up.

Analysis of above scene

Agency: Ferris is seen breaking the fourth wall while freshening up in the bathroom. The attendant there has no clue that this is happening. Ferris wearing a casual jacket, a t-shirt and a
trouser.
Characterization: talking about his opinion of his best friends parents shows his concern for
him. He tries to give his opinion of them by saying that their house looks like a museum. Also,
Ferris tell the audience that if they have the means, they should spend it on a car like that.
Engagement: by this time Ferris has gotten used to breaking the fourth wall. It is more about
maintain the conversation with the audience.
Ingeniousness: Ferris speaks honestly about his best friends family. He speaks of being able
to understand why Cameron is the way he is. He expresses his empathy by saying that even
hed want to be sick if he were in that house.
Intimacy: the above dialogues and the scene itself is a clear attempt by Ferris to show the
audience about how he thinks about the world. It shows what his understanding of a healthy
family life is.
Showmanship: the scene tries to entertain by sharing Ferriss comedic thoughts. His innermost
feelings about his best friends family and a family should not function are revealed. He tries

49

asks the audience to imagine how Camerons life mustve been while growing up in a house
like that. All this while constantly focussing on Camerons movements ends up looking funny.
Significance: this scene is more about sharing feelings with the audience. It shows Ferriss
affectionate side. It also shows his understanding of his best friend. He urges the audience to
buy a car like that if they have the means, which is an indication of what Ferris would do if he
were rich.
Synergy: the fourth wall break easily enters and exits the visual narrative of the film. Also, it
works well in using itself to show character traits and thinking of the protagonist. The timing
of it is smooth, and the feeling it generates is pleasant. The flow from a serious topic like
Camerons family life to urging the audience to buy a Ferrari like that keeps the scene from
becoming too serious.

Scene 7
01:13:13 to 01:14:50

Analysis of above scene

Agency: Ferris again seen as breaking the fourth wall. It is becoming a habit for him to discuss
his best friend with the audience.
Characterization: this scene shows the audience that Ferris is wary of his future. He knows
that events like separation with his best friend is a given. He also expresses concern over the 1
year that his girlfriend has in high school, and him having to deal with that. He is shown to be

50

relatable and like any other teenager. He also makes his comment about marrying his girlfriend,
look serious. It looks like he is a teenager who has given this adequate amount of thought.
Engagement: Ferris leaves Cameron with Sloane and continues to talk to the audience. He is
still seen to have a desire to continue his conversation with the audience.
Ingeniousness: Ferris opens up to the audience about his insecurities. He also tells them about
the kind of life he will have to deal with in the near future. He shows a side of him that maybe
the audience wouldnt have expected to see. His honesty about his teenage securities can be
seen as confessional in nature.
Intimacy: by giving the audience a look at the kind of issues Ferris thinks about, the film and
Ferris try to make the relationship with the audience better.
Showmanship: this sequence is more about entertaining the audience through relatability and
sympathy.
Significance: this instance of fourth wall is used for the purpose of showing Ferriss current
problem and his fears about his and his love ones future. It also raises questions about what
will happen in the remainder of the film. This is used to create an enigma which will keep the
audience hooked for the rest of the film.
Synergy: Ferriss fourth wall break is indicative of his wanting to talk about his problems to
someone outside that scenario. It blended into the sequence so as to lighten up the film while
distracting the audience from the problem the characters are facing. Without creating a separate
scene, it shows Ferriss affectionate and vulnerable side. It also discusses the pitfalls of having
uptight nature like Camerons.

51

Scene 8
01:38:34 to 01:39:00

Analysis of above scene

Agency: Ferris says this at the end of the film. He has successfully made it back to his house
without getting caught. He is covered under a blanket and convinced his parents that he is ill
and has been at home all day long.
Characterization: Ferris is shown as happy and fulfilled. The ending of the film reaffirms the
fact that the kind hearted protagonist always triumphs.
Engagement: Ferris tries to interact with the audience even in the last minute of the film. It is
an attempt to keep them involved in the film till the end.
Ingeniousness: Ferris makes it look like he always predicted the outcome of this narrative. His
honesty about his dialogues are shown as a statement Ferris lives by.
Intimacy: even in parting, Ferris cant get enough of the relationship he has established with
his audience. He tends to cling on to the personal bonding with them.
Showmanship: by demonstrating the same pretension that convinced his parents in the opening
sequence of the film, Ferris tries to entertain using the existent memory of the audience.
Significance: this fourth wall break is pivotal to demonstrate continuity is the storytelling of
the film. It is paramount to connect the end to the start of the film.

52

Synergy: It is important to provide closure to the audience of the film. And the scene has been
seamlessly woven in to the last minute. It also delivers the films message without coming off
as very preachy.

Scene 9
01:42:20 to 01:42:44

FERRIS
Youre still here?
Its over
Go home.
Go.

Analysis of above scene

Agency: the protagonist Ferris uses even the end credits to speak to the audience.
Characterization: Ferris is shown to be relaxed and at peace. He is wearing the same robe that
he wore in the start of the movie.
Engagement: Ferris doesnt pass on a chance to entertain the audience even at the last moment.
He is wary of the film ending and that the audience is still seated in the movie hall.

53

Ingeniousness: Ferris displays honesty about the film not having to offer anything to them
anymore.
Intimacy: it is made sure that Ferris is the last person the audience sees when they start exiting
the screening. It reaffirms the relationship that Ferris has with the audience.
Showmanship: this scene is almost as symbolic as Ferris taking a bow after entertaining the
audience. He is still naively playful with them.
Significance: this scene shows the confidence that the film and Ferris had in the overall narrative. Though this is in the end, it captures the essence of the entire film.
Synergy: fourth wall break as a concept is very well embraced by the film. The triumph that
Ferris attains in terms of entertaining the audience is conveyed to the audience by him announcing the end of the film. It is purposive and deliberate; though shown to be casual. It delivers a
quirky ending to quirkier narrative. 7

Ferris Buellers day off(1986) script retrieved from

http://www.imsdb.com/scripts/Ferris-Bueller's-Day-Off.html

54

55

Chapter 6.3: Spaceballs (1987)

Planet Spaceball, led by the incompetent President Skroob, has wasted all of its air. Skroob
schemes to force King Roland of the neighboring planet Druidia to give them their air by kidnapping his daughter Princess Vespa on the day of her pre-arranged wedding to the narcoleptic
Prince Valium. Skroob sends the villainous Dark Helmet to complete this task with Spaceball
One, an impossibly huge ship helmed by Colonel Sandurz. Before they can arrive, Vespa abandons her wedding and flees the planet in her Mercedes spaceship with her droid of honor, Dot
Matrix.
Roland contacts mercenary Lone Starr and his mawg (half-man, half-dog) sidekick Barf, offering a lucrative reward to retrieve Vespa before she is captured. Lone Starr readily accepts,
as he is in major debt with the gangster Pizza the Hutt. In their Winnebago space ship the Eagle
5, Starr and Barf are able to reach Vespa before Spaceball One, rescue both her and Dot, then
escape. Spaceball One tries to follow, but Helmet foolishly orders the ship to "ludicrous speed,"
causing it to overshoot the escapees.
Out of fuel, Starr is forced to crash-land on the nearby "desert moon of Vega". The escapees
travel on foot in blazing sun and pass out. They are found by the Dinks, a group of red-clad
little people, and are taken to a cave occupied by Yogurt, who is old and wise. Yogurt introduces Starr to "The Schwartz", a metaphysical power similar to the Force. Yogurt also introduces the audience to the film's merchandising campaign. Starr and Vespa begin to flirt, but
Vespa insists she can only be married to a prince.
Helmet and Sandurz break the fourth wall by using a VHS copy of the film to discover Vespa's
location, and Helmet orders Spaceball One to the moon. The Spaceballs capture Vespa and
Dot, and return with them to planet Spaceball. Their captors threaten to reverse Vespa's nose
job, forcing Roland to give over the code to the shield that protects Druidia. Helmet takes
Spaceball One to Druidia, where he transforms the ship into Mega Maid, a giant robotic maid
with a vacuum cleaner that begins sucking the air from the planet. Starr and Barf rescue Vespa
and Dot from captivity, and then race to Druidia. Starr is able to use the Schwartz to reverse
the robot's sucking action, returning the air to the planet.
Starr and his allies enter the Mega Maid to attempt to destroy it. Starr is forced to fight Helmet
with lightsaber-like "Schwartz rings" near the ship's self-destruct button. Starr manages to defeat Helmet, causing him to involuntarily strike the button. Starr and his friends escape the

56

ship, while Skroob, Helmet, and Sandurz fail to reach any escape pods in time. Trapped in the
robot's head as the ship explodes, they land on a nearby planet, much to the regret of its Planet
of the Apes-like population.
With Starr's debt to Pizza nullified by the gangster's untimely death, he returns Vespa to Roland
and leaves, taking only enough money to cover his expenses. After a lunch break at a diner and
a strange incident involving an alien and an astronaut, Starr finds a final message from Yogurt
informing him that he is a prince and thus eligible to marry Vespa. He manages to reach Druidia
in time to stop her wedding to Valium, announces his royal lineage, and then marries Vespa
himself. 8

Spaceballs(1987) plot retrieved from

https://en.wikipedia.org/wiki/Spaceballs

57

Directed by Mel Brooks

Produced by Mel Brooks

Written by

o Mel Brooks
o Ronny Graham
o Thomas Meehan

Starring

o Mel Brooks
o John Candy
o Rick Moranis
o Bill Pullman
o Daphne Zuniga
o Dick Van Patten
o George Wyner
o Joan Rivers

Production Company: Brooks films

Distributed by: Metro-Goldwyn-Mayer

Running time: 96 minutes

Country: United States

58

Spaceballs
The film Spaceballs acknowledges its fictionality by both direct and indirect addressing the
audience and admitting that they are in a movie. Fourth wall breaking is used as important
laugh it off tool in the movie. The antagonist, Dark Helmet addresses the audience multiple
times as a shout-out or to ask if theyre getting along with the movie. In the comedy, parody
and sci-fi space, this film has used contextual references while sticking to the fictional texts of
the movie.
The film has used fourth wall break as a trope for comedic purposes. All the 8 times fourth
wall had been broken in the movie by 4 characters (Dark Helmet 5 times, Commanderette, Barf
and Yoghurt once each), they have used the camera as a functional part within the narrativeinstances like Dark Helmet spitting hot coffee at the camera and where he gets hit by the camera
zooming at his face. While analyzing the fourth wall break moments and characteristics, the
other tropes used in the film cannot be neglected. Its all the other tropes and gags that make
the fourth wall break scenes more significant in the movie.
Spaceballs has addressed the audience in many different ways- it directly acknowledges the
mechanics of the medium they are inside, a movie. To understand this particular use of fourth
wall breaks, following are the features which can explain the events in the movie.

59

Scene 1
(6:52)

Agency: Dark Helmet, looks at the camera for the first time in the film, inside Spaceballs One.
Characterization: Colonel Sandurz explains the strategy to get the Air Shield Code from King
Roland. After he finishes, Dark Helmet looks at the camera to check if audience were fast
enough to process the information.
Engagement: Dark Helmet looks at the audience sceptically with utter disbelief that they might
have missed the point.
Ingeniousness: Dark Helmet crosses the explanation given to him by Colonel Sandurz by turning briefly to the audience. This emphasized the exposition of the plot as well as saved the
scene from looking like just an information dump.
Intimacy: It works as a comic relief.
Showmanship: The comical element present in Dark Helmets gesture and expression pulled
an entertaining fourth wall break act.
Significance: This fourth wall furthers the plot and introduces the camera as an integral part of
the film.
Synergy: Including the audience in the villains part of the story creates an appeal.

60

Scene 2
(25:10)

Agency: Barf addresses the audience from their spaceship Eagle 5.

Characterization: As a mawg- half man, half dog, Barfs ears point forward as he speaks
showing the excitement he feels in addressing the funny story to audience.
Engagement: Barf starts with Funny, automatically grabbing audience attention.
Ingeniousness: The fourth wall break comes from the stereotypical statement He doesnt look
Jewish. As improbable it is to guess someones religion by looking at them, the line takes a
sarcastic attempt by saying She doesnt look Druish (The name of the planet she is from being
Druidia).
Intimacy: Barf looks at the camera straight away as a reaction to the statement made by Lone
Starr- Thats all we needed. A Druish Princess.
Showmanship: Barf is in control of the scene, in a mid-close-up shot.
Significance: Inserting the satire based on stereotype and word-pun (Druish-Jewish), it also
paves the way for another exposition in the plot at a later stage.
Synergy: The effectiveness of the fourth wall break can only be understood at a later stage
when Princess Vespa is known to have had a nose-job to fix her disfigured nose (The stereotypes made in the 80s were Jewish people had big nose and that was the way to identify them.)

61

Scene 3
(46:50)

Agency: Yoghurt shows his Spaceballs movie merchandise collection and while demonstrating
Spaceballs, The Doll he looks at the camera and says Me. Then stares at the camera till the
doll talks after winding it up, and gives expression at the audience after saying Adorable.
Characterization: Half of Yoghurts lines in the movie is about merchandising the movie for
which he breaks the fourth wall.
Engagement: As he markets the film from within the film, he is a fourth wall observer. He
notices the medium and tries to keep the audience engaged with wearables, eatables, doll and
gadgets from the movie that can be made.
Ingeniousness: The comic scene serves as a good parody of Star Wars movie and the incessant
merchandises that is seen in the market.
Intimacy: Yoghurt compliments his own look-alike doll to be Adorable.
Showmanship: Yoghurt was assertive about the merchandises as well as entertaining. He appeared as a convincing salesperson trying to sell the product.
Significance: Establishment of the character Yoghurt.
Synergy: Thus introducing a different angle and reason of breaking the fourth wall in the
movie.

62

Scene 4
(55:37)

Agency: Female Commander of the planet Spaceballs, Commanderette Zircon looks at the
audience with a sarcastic smile.
Characterization: As a possible testament to her unfeminine demeanour, her video calls President Skroob at an unlisted wall for video calling- at the lavatory. After the call, she probably
tells that she can reach the President anywhere she wants as the Head of Central Control of
Spaceball City.
Engagement: An Officer who can embarrass the President shows strong, feminist character.
Ingeniousness: The sarcastic smile before she leaves the screen for the last time.
Intimacy: Zircons only address to the audience is also her last appearance in the film. Probably, addressing the audience created an instant intimacy.
Showmanship: A dominant, confident and mocking smile on her face makes it embarrassing
for the President and entertaining for the viewers.
Significance and synergy: To show the strong woman character, to portray the power structure
between President and Zircon, and to break the fourth wall in her last scene of the film. 9

Spaceballs(1987) script retrieved from

https://sfy.ru/?script=spaceballs

63

64

Chapter 6.4: Waynes World (1992)

In Aurora, Illinois, rock-and-roll fans Wayne Campbell and Garth Algar host a public-access
television show, Wayne's World, from Wayne's parents' basement. Learning that the show is
popular in the Aurora area, television producer Benjamin Kane offers to buy the rights for
$10,000. Garth has doubts about the deal, but is too shy to say anything to Wayne, and the pair
accept the offer.
Wayne and Garth attend a local night club, where they avoid Wayne's troubled ex-girlfriend
Stacy. Wayne falls for Cassandra Wong, vocalist and bassist of the band Crucial Taunt, who
are playing on stage. He impresses her with his Cantonese and purchases an expensive guitar
he has long yearned for.
Benjamin attempts to steal Cassandra from Wayne using his wealth and good looks. He distracts Wayne and Garth with tickets to an Alice Cooper concert and offers Cassandra a role in
a music video. At the concert, Wayne and Garth make the acquaintance of the bodyguard of
Frankie Sharpe, producer of Sharpe Records.
During the filming of Wayne's World, Wayne and Garth find it difficult to adjust to the professional studio environment. Their contract obliges them to give a promotional interview to their
sponsor Noah Vanderhoff, who owns a franchise of amusement arcades. After Wayne ridicules
Vanderhoff with insulting notes written on the back of his question cards, he is fired from the
show, causing a rift in his friendship with Garth. Jealous of Benjamin, Wayne attempts to prevent Cassandra from participating in the music video shoot; furious at his lack of trust, Cassandra breaks up with him.
Wayne makes up with Garth and forms a plan to win Cassandra back by having Sharpe hear
Crucial Taunt play. While Garth and their friends infiltrate a satellite station with the aid of
Benjamin's assistant Russell, Wayne goes to Cassandra's video shoot, where he embarrasses
himself by failing to uncover Benjamin's ulterior motives. As he leaves, Cassandra changes her
mind about Benjamin, Wayne apologizes to her, and they return to Aurora. They delay Benjamin's pursuit by having Garth's police officer friend perform a rectal search on him.
Broadcasting from Wayne's basement, Wayne's World successfully hacks into Sharpe's satellite television. As her performance ends, Sharpe and Benjamin converge on Wayne's basement.
Sharpe decides not to offer Crucial Taunt a record contract, Cassandra breaks up with Wayne
and departs with Benjamin for a tropical resort, Stacy confesses that she is carrying Wayne's

65

child, and a fire burns down Wayne's house. Unsatisfied with this ending, Wayne and Garth
re-enact the scene, unmasking Benjamin as "Old Man Withers" in a "Scooby-Doo ending".
They re-enact it again in a "mega happy ending" in which Cassandra signs a record contract
and reunites with Wayne, Russell learns that "platonic love can exist between two grown men",
Garth begins a relationship with a waitress at the local diner, and Benjamin learns that money
and looks do not bring happiness. 10

Directed by Penelope Spheeris

Produced by Lorne Michaels

Screenplay by

o Mike Myers
o Bonnie Turner
o Terry Turner

Based on Wayne's World by Mike Myers

Starring

o Mike Myers
o Dana Carvey
o Rob Lowe

Production company: NBC Films

Distributed by Paramount Pictures

Running time: 95 minutes

Country: United States

10

Waynes world(1992) plot retrieved from

https://en.wikipedia.org/wiki/Wayne%27s_World_(film)

66

Scene 1
00:04:13 to 00:05:06

Analysis of above scene

Agency: The protagonist does a customary introduction with the audience. He is clearly aware
that he is on camera. He is used to having the camera on him because he is a TV show host.
His show is quirky and different. He himself looks funky, wearing a cap endorsing his show,
which is also the films name. He is sporting long hair and casual clothes. Garth also breaks the
fourth wall by saying hi to the audience. The film establishes that there are 2 fourth wall breaking characters in this film.
Characterization: the protagonist explains that he lives with his parents. But that he is happy
about having a successful cable access show. He describes his dream of being paid for it. The
show itself is like a character in the film. It is his most loved possession.
Engagement: Wayne keeps talking to the audience while getting ready to go out with his
friends. From his body language, it looks like his usual routine. Then he comes out of the house
and still talks to the audience. After he sits in Garths car, Garth says hi to the audience, which
shows that there are 2 fourth wall breaking characters in this film.

67

Ingeniousness: Wayne confesses to the audience that he also knows that it is not good for an
adult to stay at his parents house. It shows that he isnt completely happy about that aspect of
his life. But that he is happy to be doing a show he is proud of. He explains his dream about
being paid for it.
Intimacy: Wayne takes the responsibility of talking to the audience right from the start. He
starts a conversation by introducing himself. The film declares that he will be the one conversing with the audience most of the time. Garth too joins the fourth wall break by saying hi to the
audience.
Showmanship: Waynes character could have been normal in terms of attire, body language,
speech tone and modulation. But he has been designed in a quirky way to make him look more
like a film character. Even Garth resembles Wayne a lot, but he is a more subdued version of
him. Their complete characterization is an effort to entertain the audience.
Significance: this scene is the introductory sequence of the fourth wall breaking characters.
There was an introduction for their show just before this. This puts these characters under the
magnifying glass. It builds a personal connect between them and the audience.
Synergy: for a fourth wall breaking film, its very important that the character introduces
him/herself in an interesting way. It is pivotal that the mode of introduction be a fourth wall
break rather than first person narration. This film keeps it simple by explaining the characters,
his house and his dream. It also uses a fourth wall break to introduce the second character who
will break the fourth wall.

68

Scene 2
00:09:27 to 00:10:05

Analysis of above scene

Agency: there are 3 characters breaking the fourth wall in this scene. Wayne breaks it by talking
to the audience about the hangout he and his gang regularly come to. Garth breaks it because
he is forced by the camera to. Glen breaks it because he notices the camera pointed at him.
Glen is instantly stopped by the camera, and he announces that only he and Garth will break
the fourth wall in this film. This is a rare occurrence where 3 characters have broken the fourth
wall.

69

Characterization: Wayne is casually showing the audience around at the hangout he is a patron of. He seems to have a personal connection with the joint. Glen starts talking about a
completely unrelated issue in a very serious manner. Glen has been shown as a very intense
character. But the intensity is not explained, because this film is all about Wayne.
Engagement: Wayne engages the audience by taking them around his localitys favourite
hangout. Garth has been shown to have nothing to talk about. Glen takes up the mantle and
starts talking to the audience too. The audience is taken from outside the joint to the inside.
Ingeniousness: Glen looks like he has a lot of liking for this place. He even recommends a
dish. Glen speaks from the heart without mentioning what he is talking about.
Intimacy: the effort to introduce that setting is an attempt by the fil to develop a relationship
with the audience.
Showmanship: When Wayne stops Glen from talking to the audience, he is primarily trying
to create humour while also stating a fact. Garths blank silence is also an element which has
been to show the charisma of the main Fourth wall breaking characters.
Significance: this scene is important from the standpoint of understanding Wayne and Garth
better. What places they frequent and their rapport with the staff there says a lot about them.
Synergy: since this scene is constructed with the aim of fusing with the fourth wall break, the
joke about only Wayne and Garth talking to the audience works in a good way. It adds shades
of comedy to an already quirky narrative.

70

Scene 3
00:48:21 to 00:49:23

WAYNE:
That's where I see things differently.
Contract or no, I will not bow to any sponsor. (HOLDS A PIZZA HUT BOX)
BENJAMIN:
I'm sorry you feel that way, but it's the nature of the beast.
WAYNE:

71

Maybe I'm wrong on this one,

But for me, the beast doesn't include selling out. (EATS DORITOS)
Garth, you know what I mean, right?
GARTH:
It's like people only do things because they get paid, (COMPLETELY COVERED IN REEBOK APPAREL)
And that's just really sad.
WAYNE: I can't talk about it anymore. It's giving me a headache.
Here. Take two of these.
Ah, Nuprin.
Little. Yellow. Different.
BENJAMIN:
Look, you can stay here in the big leagues and play by the rules
Or go back to the farm club in Aurora, your choice.
WAYNE:
Yes. And it's the choice of a new generation. (OPENS A CAN OF PEPSI)

Analysis of above scene

Agency: Wayne and Garth break the fourth wall again. They mock consumerism and advertising by sarcastically joking about them.
Characterization: the ideologies of Wayne and Garth are shown in a humorous way by using
ironies. Benjamin is displayed as a supporter of rules and advertising.
Engagement: The scene is constructed in such a way that the audience would be required to
pay attention to everything Wayne and Garth are wearing or holding. It makes concentration
necessary.

72

Ingeniousness: Wayne honestly talks about him approving of consumerism and advertising.
He just makes it look like he doesnt. Garth also makes a joke which sounds like a heartfelt
line. Both of the use irony as a device.
Intimacy: Wayne and Garth use humour to get closer to the audience. They try to build a
personal connection through quirky humour.
Showmanship: this element is heightened in this scene. The whole conversation is very well
constructed to produce humour. The words match the visuals and the flow is quick. It is a burst
of comedy at an unexpected time in the film.
Significance: this scene is important from the standpoint of understanding how these characters
think. It gives reasoning for why they handle their show in a quirky way. The fil itself adapts
humour when it could have gone for drama.
Synergy: the fourth wall break in this scene is synchronised and innovative. It is pivotal in
making the characters, scene and film look more quirky. It is a good demonstration in novel
uses of the fourth wall break, comedy and showmanship.

Scene 4
01:12:46 to 00:13:12

WAYNE:
What the hell's going on?
I lost my show, I lost my best friend, and I lost my girl. I'm being shit on, that's all, shit on.
And do you know what really pisses me off?
Where are you going? OK, OK, come on back. Come on back.
Things aren't as bad as they seem.
I'm sorry. I didn't mean to dump on you.
I'll figure something out. OK?

Analysis of above scene

73

Agency: Wayne breaks the fourth wall after losing is girlfriend, best friend and job. He looks
tensed and starts talking to the audience.
Characterization: Wayne starts freaking out in the initial part of the scene, but he goes to
apologize to the audience. He is displayed as a casual and fun loving character.
Engagement: Wayne tries to converse with the audience about his troubles. But the audience
is shown to be moving away because of this. Wayne promises the audience that he will fix
everything.
Ingeniousness: Wayne is honest about being worried about his issues with Casandra, his show
and Garth. But he realizes that he breaks character by getting into dramatic confession. That is
why he stops himself in the middle of his dialogues and goes back to his usual humorous and
enthusiastic self again.
Intimacy: Wayne knows that he is responsible for audience laughter and entertainment. He
also knows that he is being carried away with his worries and making his audience hear it. He
is careful about not upsetting the rapport he has established with the audience. He is specific
about what the relationship should be like.
Showmanship: Wayne stops narrating his worries because he feels that it is his duty to entertain them. He swears to fix everything.
Significance: this scene is important to give a clue about where the film will go from here. It
also shows the attitude of the protagonist when he is faced with such a tough situation.
Synergy: the fourth wall break is to fill up the gap that the absence of Waynes loved ones has
created in the film. Wayne is treating the audience like a friend until he realizes that he should
solve his troubles rather than worrying about them, if he is to maintain his friendship with the
audience that is.

74

Scene 5
01:26:55 to 01:34:20

BENJAMIN: You didn't really think

Shed end up with Wayne, did you?
WAYNE AND GARTH:
As if. As if we'd end the movie like that. Sh'yeah!
GARTH:
- The Scooby-Doo ending! - Good call.
SHARP:
Hi. Frankie Sharp. I saw your performance in my limo.
WAYNE:
Wow! We got through!
Well, that wraps it up, but there's one last thing.
Let's just see who you really are, mister.
Old man Withers from the haunted amusement park!
I would got away with it, too, if not for you snooping kids!

75

GARTH: - Good one, Shaggy.

WAYNE: - Excellent Scooby-Doo ending.
GARTH: - We should do the mega happy ending.
WAYNE: - That's doable.
SHARP: Hi. I'm Frankie Sharp. I saw your performance in my limo.
I must tell you, it was terrific.
In fact, I think it's so good, I'm going to give you a six-album deal.
See you in my office.
CASSANDRA:
- I love you, Wayne.
WAYNE:
- I love you, Cassandra.
GIRL FROM DONUT SHOP:
- I love you, Garth.
GARTH:
- I love you, dream woman.
NOAH:
Ever since I did your show, kids look at me in a whole new way.
WAYNE AND GARTHS FRIEND:
- I love you, man.
RUSSELL:
- And I love you.
Love can exist between two grown men.
BENJAMIN:
And I've learned something, too.
I've learned that a flawless profile, a perfect body,

76

The right clothes and a great car can get you far in America, almost to the top,
But it can't get you everything. Isn't it great that we're all better people?
WAYNE AND GARTH:
Fished in! Fished in!
Excellent movie. All right. Good one.
Well, that's all the time for our movie.
We hope you found it entertaining, whimsical yet relevant,
With an underlying revisionist conceit
That belied its emotional attachments to the subject matter.
I just hope you didn't think it sucked.
OK. Thank you for coming. Good night and party on.
- Party on, Wayne. - Party on, Garth.
Going to tell us when to leave.
Yeah. Good call, Garth.
I'll bet we're just going to sit here,
And when they're finished, they'll fade to black.
I can't believe they did that.
I told ya.

Analysis of above scene

Agency: almost the whole cast breaks the fourth wall in this sequence. They do it by playing
different ends to the film. Benjamin says in the first end that the audience is wrong to think that
the film would end in favour of Wayne. Then Wayne and Garth break the fourth by offering a
Scooby doo ending to the audience. In the end, more members of the acting crew break the
fourth wall.
Characterization: the quirkiness of the film is an aspect that is enhanced in this scene. They
explain how the film couldve ended in different ways. They also make a reference to Scooby

77

doo which is a completely different movie and cartoon. They also stereotype most films by
referring to a mega happy ending.
Engagement: Three different endings are offered to the audience. And each ending is in a stark
contrast with each other. The film shows multiple perspectives about how it sees itself ending.
Ingeniousness: Wayne, Garth and the other characters enact the 3 different endings with equal
amount of freshness. Each ending makes the film look different. The protagonists are honest
about wanting to please the audience by giving a happy ending.
Intimacy: The film continues the rapport it had established with the audience through its novel
use of breaking the fourth wall. The scene construction is changed according to the endings
and a humorous twist is added by using a Scooby doo ending. The end credit fourth wall break
about the audience review of the fil is also about maintaining the relationship with audience.
Wayne and Garth are very wary of their existence in a film and they use it till the very end.
Showmanship: the Scooby doo ending is not logically a requirement for the film. But it has
been added to entertain the audience. The other 2 endings also have been played out in an over
the top dramatic style. The film advances its quirky side by treating the ending as multiple
choice and including a whole cast fourth wall break to it.
Significance: each ending carries its own significance and adds humour, surprise, shock and
happiness to the experience of watching it. Also the end credits sequence has been done to
show that there is a film crew involved and that Wayne is making fun of them as well. Wayne
and Garth also speak to the theatre and homebound audience.

Synergy: the multiple endings is an innovative touch and makes the narrative more effective.
Fourth wall breaks enhance the quirkiness and innovation of this entire sequence. The whole
cast breaking the fourth wall and using simple humour till the very end of the film is a very
impressive aspect. The protagonists keep their conversation with the audience constant even at
the far end of the end credits scene. The fourth wall break element has been stretched out right
till the end of the film. The awareness of the characters of being in a film; has been utilized to
the maximum in the end sequence. 11

11

Waynes World(1992) script retrieved from

http://www.script-o-rama.com/movie_scripts/w/waynes-world-script-transcript-myers.html

78

79

Chapter 6.5: Kuffs (1992)

George Kuffs (Slater) is an irresponsible 21-year-old high school dropout from San Francisco
who walks out on his pregnant girlfriend Maya Carlton (Jovovich). Having lost his last job and
with no prospects he visits his brother Brad (Bruce Boxleitner), who serves as an officer in the
San Francisco Patrol Special Police, a civilian auxiliary police unit that sees potential officers
assign themselves specific areas and work on a for-hire basis. Brad is not willing to loan George
any money, though, and suggests George join him as a Patrol Special and work under him.
Before George can decide whether to accept the offer, a man named Kane (Leon Rippy) shoots
Brad in a church. George runs into the church to try to help Brad as Kane nonchalantly walks
away from the scene, and Brad is rushed to the hospital for emergency surgery.
George is brought in for a line-up where he identifies Kane as the shooter, but things quickly
go from bad to worse as the police are forced to release Kane because George did not actually
see him fire the gun. Shortly after this, George is told by Captain Morino (Troy Evans), a friend
of his brothers that Brad has died from his injuries. Morino also tells George that he has been
bequeathed the district Brad patrolled. Shortly after a local businessman named Sam Jones
(George de la Pena) decides to try and purchase the district so he can control it, but George
decides to keep it and train to be a police officer. Predictably, things do not go smoothly as
George draws the mocking of his fellow Patrol Specials and the ire of Officer Ted Bukowski
(Tony Goldwyn), a police liaison who has been assigned to work with the Patrol Specials as
punishment for having an affair with the police chief's wife (Alexandra Paul).
After George is shot by a suicidal writer, things slowly begin to change. He reconnects with
Maya, who has broken up with her new boyfriend, and then manages to kill Kane when the
latter tries to ambush him at his apartment. He also cracks a huge criminal enterprise run by
Sam Jones out of a Chinese dry cleaner, which gains him the respect and admiration of his
fellow police. However, his joy is short lived when Jones decides to drop a bombshell on the
Patrol Specials and hand them George's high school transcript, which renders him ineligible to
be a police officer because he dropped out of school. Sam then declares he will take control of
the district.

80

George is eventually kidnapped and seeks out a now-suspended Ted for help. This culminates
with a massive rooftop shootout between Sam Jones' goons and the two officers, who are eventually joined by the rest of the unit. George corners Sam in the lowest level of a parking garage
and, despite being wounded in the arm, fatally shoots Sam.
The movie ends with a much more responsible George having married Maya and now the proud
father of a baby girl. At Maya's suggestion, he has passed the high school equivalency exam,
allowing him to continue working as an officer, and has taken out a loan to expand his brother's
district. 12

Directed by Bruce A. Evans

Produced by Raynold Gideon

Written by Bruce A. Evans and Raynold Gideon

Starring

o Christian Slater
o Tony Goldwyn
o Milla Jovovich
o Bruce Boxleitner

Distributed by Universal Studios

Running time: 102 minutes

Country: United States

12

Kuffs(1992) plot retrieved from

https://en.wikipedia.org/wiki/Kuffs

81

Scene 1
00:02:58 to 00:04:15

Analysis of above scene

Agency: The protagonist of this film breaks the fourth wall just after receiving news that his
girlfriend is pregnant. He is wearing only pyjama bottoms and was earlier seen dancing with
her.
Characterization: the protagonist and his girlfriend look relaxed together. George hasnt even
finished high school and he has been fired from his last job. Maya is still in college. George is
shown as youngster whos not in control of his life. But he is going with the flow. He withholds
his opinion about her pregnancy which shows that he is not fond of tricky conversations.
Engagement: the music used in this sequence is catchy. The characters look casual. They seem
relaxed despite exchanging news about pregnancy. The film gives a clue about the kind of
people they are and their recent past.
Ingeniousness: George tries to get personal with the audience from the first scene itself. He
shares his opinion about his professional and personal life so as to build a conversation with
the audience.
Intimacy: George starts by telling the audience that he is not comfortable with the pregnancy.
This is an early juncture in the film to share such a personal thing with the audience. Also Maya

82

doesnt know what he thinks about it. This makes George and the audience a team right from
the beginning.
Showmanship: his dance and their conversation are a means to talk about their relationship in
a fun way. He reacting to the news about Mayas pregnancy straight to the audience shows his
consciousness of being in a film right from the very start.
Significance: This is a sequence that is pivotal to set the tone for the film. The audience will
judge the film based on how the start is. The visual appeal of the scene is casual which shows
that thats the quality the film chooses to centralize.
Synergy: The fourth wall break seems deliberate in terms of its use. First person narration
wouldve sufficed. But speaking to the audience establishes a more personal connection. It
conveys his feelings in a more visual way. The coupling of the fourth wall and the news grants
the scene a peculiar touch.

Scene 2
00:06:37 to 00:07:45

Analysis of above scene

Agency: George breaks the fourth wall again to tell the audience his plans for his brothers
birthday. He expresses displeasure when the truck runs over the turkey he had gotten for his
brother.

83

Characterization: this scene speaks a lot about the kind of brothers George and Brad are. They
seem to have grown apart. George still expects his brother to do a monetary favour, which
means that their relationship is close on a certain level.
Engagement: George tries to grab the audiences attention by explaining his plan. He then
explains why he has a turkey in his hand, telling the audience that he is aware that he is being
watched by them.
Ingeniousness: George starts with just stating what he is about to do for his brothers birthday.
But he also shares a secret about having an ulterior motive behind going to Brad. This secret
he says should be between him and the audience.
Intimacy: the honesty about wanting to borrow money from Brad for his needs shows a want
for intimacy from the audience. His dialogues are framed to make it look like a secret. George
wants to build a personal rapport with the audience.
Showmanship: the film tries to outsmart George by destroying the turkey he had in his hand.
This shows a tussle between Georges environment and him.
Significance: this is just a bridge between the introductory scene and the rest of the story. This
scene takes the film forward.
Synergy: George looks straight at the audience while saying that he is going to his brother to
borrow money from him. He clearly states that he wants that to remain a secret. Also the sudden
loss of the turkey and his expressions over it make the scene more effective.

Scene 3
00:12:00 to 00:12:35
He's a pretty cool guy,
Isnt he? Yeah.
After our parents died,
He got stuck with the thankless job...
Of raising little old' me.
I think he did
A pretty good job myself.

84

Now, about Maya and me.

Maybe I should give her a call.
In my note,
I, uh...
I told her she'd be
Better off without me.
I don't know if that's so true.
I mean, I miss her.

Analysis of above scene

Agency: George breaks the fourth wall again in this scene when he talks about his brother. He
also expresses a longing for his girlfriend.
Characterization: George has been shown as a typical loved younger sibling. His brother has
to raise him when their parents pass away. He expresses admiration for his brother. His brother
has been shown as the straight shooting and responsible older sibling. Brad doesnt take
shortcuts, and he takes care of George when required. Even when George is a grown up.
Engagement: George treats the audience like a friend he has newly met. He tells those details
about his childhood, that they didnt know previously.
Ingeniousness: George opens up about how he sees his brother. He says them in a way that
reveals that Brad is more a parent to him than a brother. George expresses his trust and admiration for Brad in this scene.
Intimacy: after talking to the audience about his relationship with his brother, George goes on
to tell them an important insecurity of his. He says that he is a negative influence on Mayas life
and that shes be happier without him. It is a moment where the audience sees his soft side.
Showmanship: George appreciates his brothers upbringing of him through a cheeky remark
about himself. His admiration for Brad is disguised as a clever comment appreciating himself.

85

Significance: this scene shows a glimpse of Georges past. It creates a cause effect relationship
between his present and past. It also shows that Maya is on his mind when he isnt with her
and that he longs for her company.
Synergy: The fourth wall breaks are used as a device to build more emotional connect with the
audience. Humour through cheeky comments and clever lines also looks more effective. His
relationship with Maya and Brad are given more sentimental weight.

Scene 4
00:25:05 to 00:26:30

Analysis of above scene

Agency: George breaks the fourth wall again. His brother was just gunned down by a gangster
and George chose to keep the district in spite of being offered a good price for it.
Characterization: George doesnt seem to be very confident about doing this line of work. He
looks nervous. It could be because of his belief that he is not suited to following the rules,
which one has to, in the law and order related departments.
Engagement: George has realized that he needs to step up. His supporting brother has recently
passed away and George is doing his job right now. In a chat with his commanding officer,

86

George realizes that everyone is expecting him to fail at his job. His sarcastic comment about
their support and the decision itself keeps the tempo of the film steady.
Ingeniousness: George might joke about it, but he does convey to the audience that he is not
confident about what he is doing. He does not even think that his decision is right.
Intimacy: George tries to build a personal rapport with the audience by bringing them in to
this new phase in his life. He opens up about his problems with waking up early and physical
training. He shows his vulnerabilities to the audience.
Showmanship: Georges ironical statements and his regretful comments are an effort to entertain the audience. Speaking to the audience is a way to make the humour more effective.
Significance: this scene and the fourth wall breaks try to bring the audience closer to this new
and unstable part in the protagonists life. They also drive home the message that the protagonist has stepped up and is doing something that is not easy for him to do.
Synergy: the fourth wall breaks in this sequence take the audience closer to Georges nervous
state right now. What looks like attempts at humour, could also be an effort to show the protagonists underlying emotions. The fourth wall breaks can hence be seen as a subtle attempt to
show the characters state of mind at that moment.

Scene 5
00:30:29 to 00:30:38

Analysis of above scene

Agency: George breaks the fourth wall again with a comment about his new partner. He talks
about his partners probable past.
Characterization: George is seen casually joking about his new partner. Ted is shown as an
uptight individual older than George, and a lot more experienced in that job. He is shown as a
strict and no-nonsense person. The base logic here is to show a contrasting personality who is
paired to the protagonist.

87

Engagement: George climbs stairs while talking to the audience. He seems to be in his usual
casual state of mind. He continues the conversation with the audience even while going up the
steps.
Ingeniousness: George is honest about his opinion on his partner Ted. He feels that Ted is an
emotionless person. He feels that it is his responsibility to bring out the pleasant person inside
Ted. But George isnt up for the task.
Intimacy: George tries to make the audience feel the same things he felt when he met Ted. He
feels that he is not emotionally strong enough to being out a better person in Ted. George subtly
conveys his current state of mind.
Showmanship: the humorous and sarcastic tone of his dialogues are an attempt by George to
create a light moment for the audience.
Significance: this scene might set the precedent for the interaction between George and Ted in
the rest of the film. It might explain why George and Ted behave a certain way with each other
in the rest of the film.
Synergy: for that kind of joke to be effective, fourth wall breaking looks like a good way to
deliver it. Also, his tired state of mind and how he decodes people through conversation is
shown effectively through the fourth wall break.

Scene 6
00:49:24 to 00:54:42

88

Analysis of above scene

Agency: George breaks the fourth wall again while driving home from the hospital after a
gunshot wound to his hip. He looks weak, tired and worried. A writer jumped from the building
while shooting George. It was Georges first day on the job.
Characterization: George is shown as a man in pain. He shares his first experience with a
gunshot wound, with the audience. George is shown as a laidback person. He doesnt emote a
lot even after having such a bad first day at his job. From his description, Captain Morino looks
like a no-nonsense person and continues to not like him. Ted seems like a victim of Georges
foolish behaviour and has been suspended. Sam Jones and Kane can be identified as the villain
archetypes through Georges fourth wall break. Kane looks very experienced at what he does.
He has a very professional demeanour. He seems like someone who goes about things in a
planned manner. Sam has been shown as two faced businessman. He has contacts in the top
brasses of the government.
Engagement: George is sitting in the back of a taxi. He narrates his worries to the audience.
He shows his gunshot wound and describes the feeling of getting it. He also describes the repercussions of his first day as a patrol special cop. He reveals the plot and villains of the film.
Then he comes face to face with them. He surprises Sam by scaring him in his car and intimidating him.
Ingeniousness: Georges feelings about his first day are heartfelt, though the dialogues are
written in a comical way. He is bogged down by the various problems at this point in his life.
He confesses to developing a feeling of struggle and failure. After having this conversation
with Sam, George feels in control of the situation.
Intimacy: George confesses his desire to bring his brothers killer to justice very subtly. The
dialogues show his love for Brad. Also he feels regret about getting Ted suspended and not
being able to come up with a plan to bring Sam Jones and Kane to justice. He also shares his
small victory of intimidating Sam; with the audience.
Showmanship: George tries to entertain by showing off his gunshot wound to the audience.
He also makes his mistakes look humorous for the sake of comedic effect. His dialogue in
response to seeing Kane sit in his apartment, adds to his characters wit.

89

Significance: this scene helps in identifying the villains of this movie. It also shows the protagonists helplessness in the problems hes faced with. It reveals that avenging Brad and bringing his killers to justice is at the core of the film. It reveals the aim of the film.
Synergy: the protagonists changed opinion on what he likes is shown effectively through the
fourth wall break. His shakiness after being shot also is seen. His state of helplessness and
being bogged down by problems is effectively displayed. His state of mind in terms of regret
and decline of his spirit is portrayed more emotionally through the fourth wall break. Then his
sense of a minor victory is displayed in the fourth wall break in which he talks about seeing a
roadmap to how he will deal with his enemies.

Scene 7
01:36:20 to 01:37:57

Flying' through the air.

Super baby!
Who!
Who.
Look at that little face.

90

Hello!
What beautiful eyes.
Rockette.
Well, obviously, I never
Actually made it to Brazil.
Ted and the chief's wife
Decided to go instead.
The chief was pretty angry
About his car, now, wasn't he?
What'd he do to Teddy?
He went, Bing, Bing, and Bing!
Yes, he did.
Yeah, I decided to stay in San Francisco
And marry Maya.
I really loved her
All along, you know.
See, this is
Our daughter, Sarah.
Say hi to the folks
Right there, Sarah.
Hello-bee. Hello.
MAYA: I thought you were
Giving her her bath.
GEORGE:
No, we were
Waiting for you.

91

Oh, come on, Sarah.

Daddy's a big silly.
GEORGE:
There she goes.
MAYA:
Oh, my pretty baby.
Come on. Let's go take a bath.
Let's go take a bath,
Sarah. Come on!
Bah-dah-bum.
My piglet.
Are you mommy's girl?
GEORGE:
My life!
Well, she came up
With the idea...
Of me taking the high school
Equivalency exam...
So I could keep
The business.
Believe it or not,
I actually passed the thing.
And then we decided
To expand.
So we borrowed a little bit of money
From her parents...

92

And, uh, bought

A whole 'mother district.
Yeah, she's a clever girl.
Women. If it weren't for them,
Thered be no civilization.
See yak!

Analysis of above scene

Agency: George breaks the fourth wall again after killing Sam. He earlier had to kill Kane to
defend himself. He is happy after avenging his brother. He is wearing a casual robe and is at
home. He is playing with a baby. He introduces the baby as his daughter.
Characterization: George is portrayed as a happy man now that he has accomplished what he
set out to do. He has saved his district and bought another one too. He has also settled down
with Maya and he states again that he loved her throughout the film. Ted is bearing the brunt
of helping George yet again. Ted has shifted to Brazil with the Chiefs wife who he is currently
dating. Maya and her parents have been shown as a supportive family to the protagonist. Maya
has been portrayed as a clever young knowledgeable lady.
Engagement: George plays with his daughter in a funny way. They are seen enjoying a usual
day as a family. The plot points other than the avenging of his parents is talked about, which
wouldve been a question in the audiences mind.
Ingeniousness: George is very transparent about his happiness of achieving what he aimed at.
He looks relaxed and grateful. He expresses gratitude to Maya for stabilizing him.
Intimacy: George through his expressions, conveys his sheer happiness and bliss of being a
family with Maya and their child Sarah. He also explains how he managed to keep his job and
buy another district. He makes a heartfelt comment about women and their place in human
civilization. He displays respect for his life partner and her gender at the same time. His sense
of accomplishment over avenging his brothers death and paying homage to him is displayed.
His admiration and respect for his brother who raised him is the latent emotion behind this
aspect of the scene.

93

Showmanship: the effort to entertain through showing a resolved problem is shown in this
setting. His happiness and explanation of current situation bring closure to the film. He again
creates humour at the expense of his comrade Ted. Ted is shown suffering a lot because of
George; which the film uses for comedic effect.
Significance: Breaking the fourth wall was pivotal to end the film in a uniform way. The protagonists conversation with the audience about how his life is a happy place now and how he
is grateful about it is shown. He is shown bidding adieu to the audience like saying bye to a
friend.
Synergy: A fourth wall break as an end scene is an effort to end the film on a more sentimental
note. The personal connection that the protagonist maintained with the audience has to be
acknowledged and a good exit has to be given. Revealing how his and other characters life is
at this point; is also a purpose of the fourth wall break. Bringing the audience into George,
Maya and their infant daughters life is a device to make the audience feel a relatable connect
with them. His respect and love for Maya and women, is portrayed in a light but effective way
through the fourth wall break.

13

13

Kuffs(1992) script retrieved from

http://www.springfieldspringfield.co.uk/movie_script.php?movie=kuffs

94

95

Chapter 6.6: Fight Club (1999)

The unnamed Narrator (Edward Norton) is a traveling automobile recall specialist who suffers
from insomnia. One night, he visits a support group for testicular cancer victims, where they
assume that he, too, is a victim, and he spontaneously weeps into the nurturing arms of another
man, finding a "freedom" that euphorically relieves his insomnia. He becomes addicted to participating in support groups of various kinds, always allowing the groups to assume that he
suffers what they do. However, he begins to notice another impostor, Marla Singer (Helena
Bonham Carter), whose presence disturbs his bliss. The two negotiate to avoid their attending
the same groups, but, before going their separate ways, Marla gives the Narrator her phone
number.
On a flight home from a business trip, the Narrator meets Tyler Durden (Brad Pitt), a soap
salesman with whom he begins to converse after noticing the two share the same kind of briefcase. After the flight, the Narrator returns home to find that his apartment has been demolished
by an explosion. He calls Tyler and they meet at a bar. A conversation about consumerism
leads to the Narrator moving into Tyler's dilapidated mansion. Outside the bar, Tyler requests
that the Narrator hit him, which leads the two to engage in a fistfight. They have further fights
outside the bar on subsequent nights, and these fights attract growing crowds of men. The
fighting eventually moves to the bar's basement where the men form a "fight club," a routine
opportunity for the men to fight recreationally.
Marla overdoses on pills and telephones the Narrator for help; he ignores her, but Tyler answers
the call and saves her. Tyler and Marla become sexually involved, and Tyler warns the Narrator
never to talk to Marla about him. More fight clubs form across the country and, under Tyler's
leadership, they become the anti-materialist and anti-corporate organization called "Project
Mayhem." The Narrator complains to Tyler that he wants to be more involved in the organization, but then Tyler suddenly disappears. When a member of Project Mayhem is killed by the
police during a botched sabotage operation, the Narrator tries to shut down the project, and
follows evidence of Tyler's national travels to track him down. In one city, a Project member
greets the Narrator as Tyler Durden. The Narrator calls Marla from his hotel room and discovers that Marla also believes him to be Tyler. He suddenly sees Tyler in his room, and Tyler
reveals that they are dissociated personalities in the same body. When the Narrator has believed
himself to be asleep, Tyler has been controlling his body and travelling to different locations.

96

The Narrator blacks out after the conversation, and when he awakes, he uncovers Tyler's plans
to erase debt by destroying buildings that contain credit card companies' records. The Narrator
tries to contact the police, but finds that the officers are members of the Project. He attempts to
disarm the explosives in a building, but Tyler subdues him and moves him to the uppermost
floor. The Narrator, held at gunpoint by Tyler, realizes that, in sharing the same body with
Tyler, he himself is actually holding the gun. He fires it into his mouth, shooting through the
cheek without killing himself. Tyler collapses with an exit wound to the back of his head, and
the Narrator stops mentally projecting him. Afterward, Project Mayhem members bring a kidnapped Marla to him, believing him to be Tyler, and leave them alone. The explosives detonate,
collapsing many buildings around them; the Narrator and Marla, holding hands, look on. 14

14

Fight Club(1999) plot retrieved from

https://en.wikipedia.org/wiki/Fight_Club

97

Directed by David Fincher

Produced by

o Art Linson
o Cen Chaffin
o Ross Grayson Bell

Screenplay by Jim Uhls

Based on Fight Club by Chuck Palahniuk

Starring:

o Brad Pitt
o Edward Norton
o Helena Bonham Carter
o Meat Loaf Aday
o Jared Leto

Production companies:

o Fox 2000 Pictures

o Regency Enterprises
o Linson Films

Distributed by 20th Century Fox

Running time: 139 minutes

Country: United States and Germany

98

Fight club
David Fincher, the director of Fight Club stretched the initial budget of 3 million to a whopping
63 million after the distribution. 20th Century Fox, who bought the copyright of the book with
same name from Chuck Palahniuck decided to make it a commercial movie than an independent film as planned at an earlier stage. The story of Fight Club, as put down by David Fincher
is an anti consumerist rantings of a schizophrenic mad-man is essentially a satirical piece. As
a psychological thriller, the movie had included some vital fourth wall breaks by the Narrator
and Tyler Durden. Each time the characters addressed the camera, it is the necessity to tell the
story from within the mind of the narrator. A majority portion of all fourth wall breaks happen
in flashback where Narrator tells the story to audience. Though this line gets blurred during the
end of the film, fourth wall breaks had different demand and importance over each scene it
happened.

99

Scene 1
(31:09- 32:15)

Agency: The Narrator addresses the audience providing some background information about
Tyler Durden. Standing on the left side of the screen, Narrator speaks directly to the camera
while Tyler Durden doesnt look at the camera but also takes part in the exposition by pointing
at the upper right corner of screen explaining the cigarette burns in film reels. They are in a
projector room of a movie theatre.
Characterization: Narrator is wearing a grey suit with black tie while Tyler Durden is in red
trouser and t-shirt. The last line before facing the camera is a freezing frame of Tyler Durden
with the background narration- Let me tell you a little bit about Tyler Durden. Narrator moves

100

along the horizontal breadth of the floor while talking, and the camera follows. In between
talking to the camera, there are mid close shots of Tyler and close-ups of film reels getting cut.
In fact, Narrator speaking to the audience and Tyler lifting his hand to show the cue points or
cigarette burns in the film, reveals their awareness about the medium they are in.
Engagement: Showing the audience the cue point in between two film reels by bleeping yellow
circle at the position engages the audience in noticing other marks as well. This fourth wall
break is included as a segment within the linear narrative which is not directly affecting the
plot. This scene is just for the character description.
Ingeniousness: This scene starts off as a monologue by the narrator, then turns into a conversation between narrator and Tyler Durden where narrator only breaks the fourth wall. The
whole scene talks about the mischievous hobby of Tyler Durden as a film projectionist who
attaches pornographic single frames in between the cue points or cigarette burns in reels of
family film which attacks the audience subliminally but disappears before anyone actually notices it. The camera moves with Narrator for one time, rest of the time it focuses at Narrator
who is speaking to the camera.
Intimacy: The storytelling through this fourth wall break portrays a black comedy where it
induces laughter as well warns the audience about the prospects of Tyler Durden.
Showmanship: Narrator describes in a steady, informational way in the first part. Then describes more of Tylers contribution as the projectionist and talks of him in a protective manner.
Significance and synergy: This fourth wall break served as an exposition and comic element
to the film. The narrative continues with a fourth wall break at a different scene.

101

Scene 2
(32:16- 32:24)

Agency: The Narrator continues speaking to the audience as giving review of Tylers past
work history. Here he is seated with guests at the table at the Pressman Hotel. Tyler shows up
as the waiter with headphones on his ears, serve food and leaves. He is wearing the same suit
from the last scene and the same fourth wall break. (31:09- 32:15)
Characterization: As the camera pans from left towards Narrator on right side of the screen,
he turns around from eating, wipes his mouth and starts talking in a soft spoken manner. His
pointed his eyes to the left upper portion of the screen signifying that they are at the Pressman
Hotel where Tyler works part-time as a waiter.
Engagement: This fourth wall break engages the audience in knowing more about Tyler
Durden and his professional background.
Ingeniousness: The monologue of narrator describing audience Tylers professional background by taking them to the actual places he work at, is a piece of ingenious work. This scene
also continues to the next fourth wall break.
Intimacy: In a crowded place, Narrator talks to the audience in a soft spoken manner, in a midclose-up, instantly creating an intimate narrative element. Narrator is seating with other people
at the table, but no one seems to notice him talking.
Showmanship: Narrator speaks to the audience in a whispering manner which enables him to
establish a more confident relation with the audience.
Significance and synergy: The scene enables the continuation and effectiveness of the last
fourth wall break and progresses the narrative forward. Though it is not part of the main narrative, this fourth wall break has a strong significance in the exfoliation of characters and events.

102

Scene 3
(32:30- 32:46)

Agency: Narrator continues speaking to the audience as he walks into the frame with Tyler on
the left side and camera tilts up to a mid-close-up shot of the narrator. He is wearing the same
grey suit and black tie. They are at the service elevator of Pressman Hotel.
Characterization: Narrator walks in simply to describe Tylers reputation in the food service
industry as the guerrilla terrorist. The left part of the screen shows Tyler, urinating on the
food trolley, and Narrator turns to look what he is doing. Tyler promptly comments not to look
and narrator continues. Both of them are in a conscious position that they are narrating a story
to the audience.
Engagement: The audience till now have prepared a broad review of Tylers character, attitude
and activities. Tyler is a rebellious, vindictive and malicious person who knew that he is being
observed by the viewers and asks Narrator to Go ahead, tell em when Narrator couldnt put
event into words. You get the idea- Narrator keeps his faith on the audience.
Ingeniousness: As the third segment of the same narrative, Narrator is in the same clothes, the
location changes three times, Tyler is seen doing different things.

103

Intimacy: This fourth wall break addresses the audience in a confronting manner where they
need to tell the story in order to take the narrative forward. Otherwise, without Tylers backdrop, narrative would be incomplete.
Showmanship: Narrator describes events as it happens and concludes with Well, you get the
idea.
Significance and synergy: These fourth-wall breaks act as a time-out where Narrator takes
time to explain Tylers night job and baleful attitude.

Scene 4
(1:01:51- 1:02:05)

Agency: Narrator who is wearing a sunglass, looks at the camera while his narration goes on
as voice-over. He is wearing the same grey suit and black tie from Projection Room scene.
(31:09- 32:15) He is at a departmental store.
Characterization: Narrator starts the scene with a side glance at the fourth wall, then looks
forward and to his left to Tyler and the scene ends with him looking at the audience with a grin
on his face.
Engagement: The audience are engaged with the crooked nature of Narrators business.

Ingeniousness: The originality of the scene can be understood properly after the complete narrative is studied. The Narrative person is a schizophrenic, discontented white collar worker
who used to imagine his alter-ego to be a person called Tyler Durden. So, in this scene, as Tyler
talks to the store manager, Narrator silently watches. In retrospective, it is understood that while

104

Intimacy: The side glance with grin makes the fourth wall break more intense and serious.
He himself talks to the manager, he also imagines that he is looking at the audience, narrating
the event.
Showmanship: Narrator is wearing the same dress from one of the earlier fourth wall breaks.
He is steady and probably trying to appear inconspicuous.
Significance: The significance of this fourth-wall break lies in its ingeniousness.
Synergy: Synergy between Tyler and Narrator, and Narrator and audience is in a balanced and
acted out firmly.

Scene 5
(1:21:15)

Agency: Tyler Durden speaks to the audience.

Characterization: The camera zooms forward from a wide shot to close-up when Tyler starts
speaking to the camera. The screen goes hazy and shaky as he looks at it, and film reel is visible
on sides. Addressing the audience while the reality of the movie gets blurred- is a peculiar way
of breaking the fourth wall.
Engagement and synergy: Direct addressing the audience as you and the message conferred
in the monologue has metaphorical and symbolic explanations. It is a strong scene in the narrative of the film.

105

Ingeniousness: Using VFX in a fourth-wall break to blur the lines between film and reality is
an ingenious attempt.
Intimacy: The scene gets intensified as Tyler talks to the camera and screen starts shaking.
The nihilistic and non-materialistic attitude of Tyler can be studied to break down the intimate
quotient of the scene.
Showmanship: Tyler with his strong hold on words, looks at the camera in strong, severe and
vehement way- trying to put his message across to the audience.
Significance: This fourth-wall break talks about the cause Tyler believes in and is substantive
to the formation of Project Mayhem. Importance of this fourth-wall break comes back again at
(1:48:37) when Jack realises his Dissociative Identity Disorder or Schizophrenia and is seen
doing this same monologue as himself.

Scene 6
(46:15)

Agency: Narrator gives a glance at the audience while he is on the phone with Marla. Narrator
doesnt speak directly, but background narration covers the scene.
Characterization: Narrator looks at the audience which can be called a fed-up glance. He
doesnt want to be on the call and is probably irritated with what Marla wants of him.

106

Engagement: Narrator felt the urge to include audience into the telephonic conversation where
audience can see both Marla and Narrator on opposite sides of the call. Narrator wants to show
the audience how badly he wants to avoid the call.
Ingeniousness: Just a simple stare invokes meaning into the scene.
Intimacy: The sexual tension rises between Narrator and Marla, who is trying to commit suicide and wants Narrator by her side. The fourth-wall break glues audience to the next part
where they want to see whether narrator receives her or not.
Showmanship: Narrator pulls the scene as an avoiding boyfriend.
Significance and synergy: This fourth wall break gives insights about their relationship and
progresses to the next part where narrator leaves keeping the receiver on top of the telephone.
(50:47)
Tyler looks at the camera after having sexual intercourse with Marla.

(1:03:42)
Narrator looks at the audience in a grimly and humourlessly manner after the call from Marla.
Background narration is present.

107

(2:03) and (2:04:22)

(2:03)
JACK V.O
People always ask me if I know
Tyler Durden.
TYLER
Three minutes. This is it. Ground
Zero.

The very first shot exposing the first human character is a shot that breaks the fourth wall.
Narrator looks directly at the camera. He has someone lodging a gun barrel into his mouth;
sweat on his face, scared eyes explain the situation that he is being held a hostage.

(2:04:22)

108

TYLER
Three minutes. This is it. The beginning. Ground Zero.
JACK V.O
I think this is about where we
came in.

Everything that happens between (2:03) and (2:04:22) is a flashback where Narrator tells the
story. It comes back to the same situation with barrel into his mouth where Narrator stares at
the camera then looks at his captivator.
Both these scenes have same look on Narrators face creating a loop of event, where end finally
meets the beginning. These two fourth-wall breaks are important to position the fact that all
that has happened in the film is a flashback-memory of the Narrator. After the Narrator has
conducted the trip around past events and his mind, he tries to tell that he has finished telling
the story by looking at the audience for the last time. 15

15

Fight Club(1999) script retrieved from

http://www.imsdb.com/scripts/Fight-Club.html

109

110

Chapter 6.7: Alfie (2004)

The film opens up by introducing Alfie (Jude Law), a self-confident, mischievous, womanizing, Vespa-riding Cockney who resides in Manhattan. An immaculately dapper boy in his early
thirties, Alfie funds his hedonistic lifestyle by working as a driver for the local limousine service. Meeting, romancing, and seducing women comes as second nature to Alfie. In addition
to maintaining a casual relationship with a single mother named Julie (Marisa Tomei) that he
refers to as his "semi-regular-quasi-sort-of-girlfriend thing", he also sleeps with various girls
on the side, such as the married-yet-neglected-by-her-husband blonde named Dorie (Jane Krakowski) whom he regularly meets for sex after work in the back of his limo. At the first inkling
Dorie may desire their liaison to grow into something more, he decides to block all contact.
Alfie ultimately views women as expendable, cutting them loose as soon as he feels they're
starting to cramp his style.
Alfie's best friend, Marlon (Omar Epps), is also a limo driver in the same company. In addition
to their friendship, the two are working on a plan that would eventually see them start their
own business. However, for the moment, Marlon is preoccupied with trying to win back his
ex-girlfriend, Lonette (Nia Long), who dumped him after he hesitated to commit, and is now,
despite his desperate efforts, stubbornly dismissive to his reconciliation attempts. At a loss for
ideas, Marlon eventually turns to Alfie for help by having him put in a good word with Lonette.
This takes place late one night following a closing shift in a bar where Lonette is waitressing.
As the staff is closing up, Alfie is trying to persuade her to take Marlon back, however, the
conversation soon goes in a different direction and eventually after a few drinks, and they end
up having passionate sex on the pool table. Alfie is so terrified about facing his friend in the
event he ever gets the word of what happened, but is amazed and relieved to be told by jubilant
Marlon that Lonette got back with him the very next day after her "conversation" with Alfie.
Around the same time, as he arrives to Julie's place looking for another booty call, Alfie is
informed she no longer wants to see him since she found the proof of his infidelity (Dorie's red
panties). He seems to take it all in stride with a smile on his face as he disappears down her
street. Alfie soon gets another unpleasant piece of news, this time from Lonette: she is pregnant
with his child. Without telling Marlon, the two of them visit a clinic in order for her to have an
abortion. Soon afterwards, Marlon and Lonette unexpectedly move upstate without even saying
goodbye to Alfie.

111

Alfie is then faced with an erectile problem that causes him plenty of embarrassment in front
of his next few female conquests. Following repeated failures to achieve an erection with various women, he visits a doctor who performs an examination and reassures him there's nothing
wrong physically that would stand in his way of achieving one, thus writing his erectile problems off to "probably stress". However, it's not all good news as the same doctor locates a lump,
indicating a possibility of testicular cancer. Alfie immediately has a test run at the clinic and
spends a few anxious days awaiting the results. During one of his trips to the hospital, Alfie
meets an older gentleman named Joe (Dick Latessa) in the clinic bathroom. After a brief conversation during which he reveals he's a widower, Joe imparts some life advice to the depressed
Alfie: "Find somebody to love, and live every day like it's your last". This is followed by him
offering his card to Alfie "in case he wants someone to talk to". Soon afterwards, Alfie finds
out he doesn't have cancer.
Alfie takes the whole erection controversy followed by a mortal health scare to heart and decides that "aiming higher" in his love life will be his new resolution. To that end, he picks up a
beautiful young woman named Nikki (Sienna Miller) before Christmas, and they quickly embark on a passionate but turbulent relationship against the winter holidays backdrop. Soon after
moving in together, Alfie is not happy about having to endure Nikki's unpredictable mood
swings and impulsive behaviour that occur as a result of her decision to go off her medication.
While beginning to distance himself emotionally from Nikki, he sets his sights on an older
woman, Liz (Susan Sarandon), a sultry cosmetics mogul whom he meets in the company of an
older man while driving them around. Although Alfie is clearly quite taken with her endearing
flair and high society ways, she, unlike many of the women in Alfie's life, seemingly displays
no intent to move their relationship past the physical stage. Unsurprisingly, his infatuation with
Liz serves as the final catalyst that leads to the end of his interest in Nikki, who soon moves
out of his life.
Not long afterwards, a chance meeting with his ex-Julie in a coffee shop renews his feelings
for her. To his dismay, she's now happily involved with someone else, filling Alfie with feelings of regret over his years of thoughtless womanizing. A trip upstate to visit Marlon and his
now-wife, Lonette, reveals that she never actually went through with the abortion opting instead to give birth to Alfie's child. Alfie also learns that Marlon accepted the baby and cares
for it now as though it's his biological child, all of which leaves Alfie feeling terrible. Crestfallen and sullen, Alfie digs up the number given to him by Joe and calls him up. Walking
along the beach together, Joe imparts some words of encouragement to Alfie. He then turns to

112

Liz for reassurance and comfort, but is crushed to discover that she has a new man in her life.
Shocked, Alfie insists on knowing what her new boyfriend has that he doesn't, to which she,
after some initial hesitation, simply states: "he's younger than you".
Horrified and pained by one blow after another, Alfie happens to run into Dorie. She walks by
the docks late one night, but at this point he is more interested in emotional support rather than
sex. She, however, informs him she's moved on, and, though friendly and calm, generally lets
him know she wants no part of him anymore. The film ends with Alfie's monologue in which
he begins to question his fickle self-indulgent lifestyle. 16

Directed by Charles Shyer

Produced by

o Elaine Pope
o Charles Shyer

Written by Elaine Pope and Charles Shyer

Based on Alfie by Bill Naughton.

Starring:

o Jude Law
o

Marisa Tomei

o Susan Sarandon

Distributed by Paramount pictures

Country: United Kingdom and United States

Running time: 105 minutes

16

Alfie(2004) plot retrieved from

https://en.wikipedia.org/wiki/Alfie_(2004_film)

113

Scene 1
00:01:05 to 00:03:12

Analysis of above scene

Agency: this is the sequence in which the protagonist gives a brief introduction of himself.
Something on the lines of him interviewing to get your attention for the next few minutes. Film
studies claim that audiences decide to watch or not watch the film in the first few scenes. By
that assumption, the introductory sequence for a fourth wall breaking character like Alfie
Elkins has to be just perfect. The camera takes a tour of his room, which is his creation; a
reflection of how he is. And only after this does he start talking about himself.
Characterization: he starts with dialogues that say enough and show enough for an audience
to get a clear picture about the kind of person he is. His opinion about women and the manwoman relationship is clearly shown. He tends to be more into the practice of buying good
clothes and has a decent sense of matching different parts of his attire. He also feels that he
seeks attention in general and that he likes it.

114

Engagement: the casual and straightforward statements about himself can be seen as an effort
to entertain the audiences without complicating aspects of his own personality. Also, he shows
you how his morning routine goes and his preferences in shopping.
Ingeniousness: his honesty about being into casual and short lived relationships with women
are confessions about where he stands with regards to them. Also, he is honest about wanting
and seeking attention. He makes no excuses about the kind of person he is.
Intimacy: an early introduction to what kind of person he is draws the audience closer to the
protagonist. Coupled with a Fourth wall break, it can be an effective device to hold and sustain
the audience.
Showmanship: right from the word go, Alfie starts entertaining the audience with honest and
funny statements. He lets his dialogues do the work of impressing the audience and waits till
the end of the scene to introduce himself while also introducing the film.
Significance: it is paramount for a scene like this to be very clear about what it wants to say
and how it will say it. There is no juncture more important than the start to accomplish this.
The first few minutes and the repeated mid close shots of Alfie put him in the limelight. It
projects the message that this film is about him, because of how he is.
Synergy: if broken down, the dialogues flow from one string to another. And like many films
set in cities and based on a single character, the morning schedule says a lot about the character.
The fourth wall break element starts from the first few seconds itself. It sets a good tone for the
rest of the film.

115

Scene 2
00:03:40 to 00:03:47
So she's a tub of lard. The ship's already sailed,
So why not make her feel good about herself, right?

Analysis of above scene

Agency: Alfie breaks the wall again, but this time in the middle of a conversation with his
neighbour. He is suited up in the pink shirt and Gucci suit he picked out earlier. His neighbour
is a well-dressed senior woman who seems to like Alfie in general.
Characterization: Their body language shows familiarity and habit. This is an indication that
Alfie has lived in this particular apartment for a long time.
Engagement: Alfie tries to speak to the audience even when he is rushing to the office. When
he stops in between the conversation with his neighbour, to talk to the audience, to intensify
the personal connect he has with them.

116

Ingeniousness: Alfie treats this scene like giving the audience a secret about what he really
thinks about his neighbour. His confession about buttering her up for his benefit and that no
harm will come of it; shows his honesty.
Intimacy: by sharing his feelings about his long time neighbour, Alfie shows his twisted but
harmless side. It gives a glimpse of how the protagonists mind works in social situations.
Showmanship: sharing a secret about his feelings and adding clever reasoning to it is an effort
to entertain the audience through humour.
Significance: this sequence is about continuing the effect of the previous scenes fourth wall
break.
Synergy: it acts as a fitting end to Alfies going to work schedule. It continues to show his
street-smart side. The film also adds reasoning to the protagonists thinking through this.

Scene 3
00:04:20 TO 00:10:10

Analysis of above scene

Agency: Alfie breaks the fourth wall for a long time in this particular sequence. He uses this
scene like a small story in itself.

117

Characterization: Alfie treats like this scene like a small narrative in itself. He plays the role
of a storyteller more than anything else. And he finds reasoning for what his life is at the moment, how he came till here and how he goes about his daily life now. It is all crunched into
mere moments.
Engagement: From gliding through the streets while showing beautiful women on the streets
of New York to breaking the fourth wall while having making love to a woman, Alfie plays
the role of an entertainer with a lot of commitment. His rating system of women is added as an
effort to engage the audience through his standards.
Ingeniousness: breaking the fourth wall while making love, is a novel way to break the fourth
wall. He also goes on to explain how he is doing a favour to her and her husband. Though his
logic and reasoning is questionable, Alfie makes his deed look convincing.
Intimacy: Alfie gives the audience a glimpse of his past. But this is done in a few sentences
instead of a separate flashback scene. Also, he states his priorities in life while adding a subtle
joke in the mix. And the fourth wall break while making love to a woman in the limo he drives,
shows what kind of life he leads on a daily basis.
Showmanship: traversing through the streets of New York on his scooter, Alfie looks like a
guide who is presenting the benefits of living in a city like New York. Then he is shown
enjoying a meal in a caf while explaining the priorities of his life. Alfie makes it look entertaining. And the fourth wall break in the Limo is for pure entertainment purposes.
Significance: this whole sequence shows how Alfies life has been up till now. It also provides
reasoning for his daily activities. It establishes a transparent connection between him and the
audience by breaking the Fourth wall even while lovemaking.
Synergy: fourth wall breaks are pivotal to this entire sequence. The scene wouldve had a very
different effect if only first person narration was used. But the entire sequence from start to end
is a long chain that is tied around the fourth wall break concept. This is a sequence that progresses the look and feel of the film.

118

Scene 4
00:11:56 to 00:13:30

Analysis of above scene

Agency: after casually stating that he has a pseudo girlfriend, Alfie demonstrates how he interacts with her. He uses the audience like a friend: who is supposed to understand what he is
saying and doing.
Characterization: a normal audience would expect Alfie to stop at one night stands. But he
goes on to show his relationship with Julie, so as to explain why he has a problem with committing to someone.
Engagement: the entire scene tries to keep the audience guessing about how Alfie would deal
when faced with questions about committing to a long term companion.
Ingeniousness: Alfie is honest about needing someone to go to on a regular basis. He shows
that he is like any other person who seeks stability. But his appetite is less than average for it.
Intimacy: Alfie predicts the Audiences thoughts well in advance. That is why provides reasoning for why he is not committing to this companion. He nullifies the argument by saying
that even she isnt up to his standards.

119

Showmanship: he warns the audience about not dating single mothers. He says that it comes
with its consequences. The whole bit has been presented like an instructional video. Alfie also
shows how he deals with tricky situations.
Significance: this scene is important from the standpoint of showing the variety of women
related scenarios in Alfies life. Also, there are shades of a family man in him. Its just that he
doesnt want to explore that side.
Synergy: fourth wall breaks are very carefully selected in this scene. Alfie mostly uses it in
this scene for reasoning why he is talking or behaving a certain way. The purpose of the wall
break is providing details. It is woven into the narrative for a singular purpose. Also, Julies
character and her place in Alfies life is important to understand, because it gives a deeper
understanding of Alfies personality.

Scene 5
00:13:50 to 00:18:30

Analysis of above scene

Agency: Alfie goes on to break the fourth wall in this entire sequence. He is shown having a
normal work day after which he has drinks with his best friend in a bar.

120

Characterization: Alfie has been portrayed as a Limo driver in New York. He goes on to
critique his boss, who is shown treating his wife badly. Alfie might be into casual relationships,
but this scene provides the reasoning for it. He feels that Wing and his wifes relationship is a
representation of how the institution of marriage has become. Also Alfie feels that Marlon only
wants Lonette because she doesnt want to be with him anymore.
Engagement: Alfie keeps on changing environments, from the street to his office to the bar.
But he doesnt let go off the conversation with the audience.
Ingeniousness: Alfie speaks from his heart when he describes his opinion about adult relationships. He tries to make the audience believe in his reasoning for his ways.
Intimacy: knowing why someone adopts a certain lifestyle makes any human being feel close
to that person. Alfie might not be respected by sections of the audience. But he will clarify why
he is that way. That will build a personal rapport with the audience.
Showmanship: In both these sequences, Alfie is more of a spectator. The scenes take care of
the entertainment. The only part where Alfie tries to entertain is the part where he says that he
stopped seeing Carol after the first night they were together, because she had arm hair. He plays
with Marlon and the audience by initially holding back, but then stating the above dialogue. It
solves the purpose of a little humour and shows the superficial side of his personality.
Significance: Alfies critique of the institutions of Marriage and adult romantic relationships
is conveyed using these scenes as the device.
Synergy: Alfie starts by saying that everyone has an Expiration date. And then he goes on to
show his office, a glimpse at his bosss marriage and his best friends relationship, and his way
with most women. It all happens pretty fast. The sections have been bound together using Alfies day as a glue.

121

Scene 6
00:25:39 to 00:27:40
How fucking crazy.
Chalk one up for the blokes. Thanks to me, Marlon won the game.
Which means he's off scot-free, and so am I.
This is a bloody miracle. That's fantastic. Fantastic.
MARLON:
- Come on, what did you say to her? - Look, look.
- It's all good. - Come on, what did you say?
I asked her to marry me.
You know you're my best man, right?
ALFIE:
Moral of the story:
No good deed goes unpunished.
New word for the day?
''Resilience:
The ability to readily recover after disappointment or loss.''
Capacity to spring back.
Understand, it's not about replacing Julie.
I just want to get back to the simple life:
Women who mean nothing to me.
So I've struck up a friendship with a nightclub hostess called Uta.
Hello, Uta.
Now, as a heat-seeking bachelor,
I have to live by some very simple rules.
Alfie Elkins' credo or philosophy,

122

Which is probably best summed up by the only advice

My father ever gave me.
He said, ''Son, whenever you meet a beautiful woman...
...just remember, somewhere there's a bloke who's sick of shagging her.''

Analysis of above scene

Agency: Alfie is seen having an awkward conversation with Marlon while trying to hide his
sleeping with Lonette. After that, Alfie is dumped by Julie. Alfie then lets the whole situation
sink in, and then goes back to his standard ways and what he calls a normal life.
Characterization: Alfie is shown as a man who has no control over his sexual drive. Also, he
hides his mistake, which makes him look cowardly. Alfie is dumped by Julie which shows that
women can look through his faade. Whenever he is faced with setbacks, Alfie goes out and
enjoys himself. Alfie has been shown as a person who would befriend someone mostly with an
ulterior motive.
Engagement: Alfie maintains the conversation with the audience while transcending through
settings again.
Ingeniousness: Alfie is honest about him finding it awkward to own up to Marlon. He states
that Julie dumping him has given him grief. But he confesses that he doesnt want to live with
that grief anymore.
Intimacy: These confessions from a fourth wall breaking protagonist builds a personal connection with the audience and makes him look more relatable.
Showmanship: Alfies awkward encounters and his breakup with Julie have been shown in a
comical way. His fathers words of wisdom are something a section of the audience might find
entertaining.
Significance: You get a glimpse of the similarities between Alfie and his father when Alfie
talks about what his father told him. A cause-effect relation is revealed. The film tries to give
flashbacks in small subtle ways.

123

Synergy: the fourth wall breaks in this sequence are fewer. They are more carefully chosen.
They are fused into the narrative by treating the audience as a friend who is accompanying
Alfie through different situations.

Scene 7
00:29:00 to 00:41:40

Analysis of above scene

Agency: Alfie takes the audience through a bunch of problems in this phase of his life. Its like
hes going through a sad phase and he is very aware of it. The streak of bad luck keeps going
for a long time and he is very conscious of it.
Characterization: As a fourth wall breaking character, the audience is made very aware of the
fact know that he feels bad. These scenes are used to show a side of Alfie that is not really in
control of his life. He has become a more isolated entity. Alfie is good even with strangers,
which is shown in his interaction with Joe. Though Joe seems to have had a fuller conventional
life, even he has made some regrets about his choices. This is where he is like Alfie. Alfie feels
respect for him and sympathizes with his wifes death.

124

Engagement: this particular sequence follows the enigma after enigma after enigma pattern.
It is an effort grab the attention of the audience and generate mystery and sympathy around
Alfies life. Alfie is treated as an isolated entity and situations around him keep getting problematic. The audience by now is expected to look for a respite; much like Alfie.
Ingeniousness: there was a lot of scope for showing Alfies soft side in this sequence. And the
film has done that. Starting with developing a sexual issue just when his life started turning
around, to being faced with the wait of finding out the magnitude of the sexual issue, Alfie is
put through a lot. He starts looking more vulnerable with every passing moment.
Intimacy: this sequence shows Alfies other side. As a human being with problems in the most
crucial areas of his life, he will look more relatable to an audience. His fourth wall breaks at
this point will carry more emotional appeal and find a resonance with the audience.
Showmanship: Alfie holds on patiently to his sense of humour even through this sequence.
The film uses Fourth wall breaks to cultivate the audience as a companion to Alfie in these
troubled times. The possible goal is to entertain and generate sympathy through the same sequence.
Significance: Alfie might have been able to keep his emotions in check through his appointment at the doctors, and his streak of problems in sex and with Julie. But after finding out that
the child Lonette is carrying might be his, he begins to contemplate his life. He expresses basic
human feelings like wanting to spend time with a child, his to be specific. Though his personality itself is different from the protagonists usually shown in films, his basic desires are not
very different from them. He is like everybody else. Joe is introduced in a pivotal time in Alfies
life.
Synergy: Fourth wall breaks through his troubles with erectile dysfunction and his appointment
at the doctors are fused into the narrative to look more effective. Alfies gentle side is shown
when he accompanies Lonette to the clinic. It is important for the film to convey that Alfie is
a good person though his lifestyle choices are alternative. The remorse and distress he experiences look more believable when he speaks to the audience through those scenarios.

125

Scene 8
00:42:00 to 00:55:57

Analysis of above scene

Agency: Alfie breaks the fourth wall by declaring that he is starting a new section in his life
now. He has switched to healthier food. He interacts with the audience even while flirting with
his customer in the Chanel shop. Also, he narrates the whole part about how he started dating
Nikki and is very happy about it. Until he breaks the bad news about his newly developed
dislike for her.
Characterization: Alfie is reintroduced in this section of the film. His new attitude is projected. His ability to charm women is still intact. Alfie is also shown to have a sense of loss
about Marlon and Lonette moving to another place. His fourth wall break accentuates the grief
of being without them. He clearly states that everybody needs companionship through the
American holidays.

126

Engagement: the audience is given a streak of good incidents to compensate for the bad patch
witnessed previously. They are also given reasoning for him choosing to be with Nikki. But
they are not allowed to assume that he will end up with her. The last element of shock is important from the standpoint of keeping Alfie in his character design.
Ingeniousness: Alfies oath to lead life with a new set of principles look heartfelt when he
announces it to the audience. His opinion about his female customers appearance seems natural and honest. He looks like he is enjoying the company of Nikki, until he gets irritated. He
makes his irritation of Nikki evident to the audience by repeating what she says and mocking
it in front of the camera.
Intimacy: when Alfie narrates the story of how he noticed cracks in a statue of Aphrodite, he
provides reasoning to the audience about why he doesnt get too close to women. He looks
more convincing about his belief that Women should be appreciated from afar. His grief about
missing Marlon and Lonette is also more convincing when he talks to the audience about the
situation and the complexity of it.
Showmanship: Alfie tries to entertain through his comments about the female customer. He
also looks like he is in total awe of Nikki. The visuals showing their relationship are very stylish
and tabloid like. It is packaged like a celebrity relationship. He expresses dislike of Nikki in
the end of this sequence.
Significance: the earlier scenes show how Alfie interacts with women who already exist in his
life. This sequence is more about how he charms the women he meets. It also shows his love
for Marlon and Lonette. It shows that even a person with a lifestyle like his, needs friends. The
scene with Nikki explains why Alfie chooses to keep a distance from women.
Synergy: fourth wall breaks are important to develop support for his new life goals in the
audiences mind. His account of his relationship with Nikki was required to be one-dimensional
because the film is about him. Projecting this section with fourth wall breaks, cements the
subject matter of the film. The incident about noticing cracks in Aphrodites statue shows his
critical mind in a metaphorical way. He related that incident with Nikki. It is an effort to push
the audience to understand his side, and more so; think like him.

127

Scene 9
00:56:20 to 01:02:45

Analysis of above scene

Agency: Alfie breaks the fourth wall throughout this conversation. He is dressed in a nice black
suit and a muffler. He looks excited and happy to be going to Lizs apartment. There he talks
about his feelings while spending time with Liz at her House.
Characterization: Alfie though faced with the awkward situation with Nikki and his best
friend shifting out of New York, Alfie seems determined to continue his life on the new path
he chose. His going to Lizs apartment and his appreciation of the small experiences there,
show the kind of aspirations he has.
Engagement: Alfie himself announces that he is moving up in the world. He wants to keep the
attention of the audience to himself even when the visuals are filled with a beautiful apartment
and Liz. That is why he keeps breaking the fourth wall throughout the sequence.
Ingeniousness: he is honest with the audience about losing his way a little bit because of a lot
of incidents in the recent past. He confesses joyously that the life at Lizs house is the kind of
life he desires and she is the kind of woman that he wants to be with.
Intimacy: Alfies troubles may have started making the film look a little gloomy. He is very
aware of this, and he tries to cheer the audience up with the Liz scene. He expects the audience

128

to be as happy as he is. This shows the personal connect that Alfie has with the audience at this
juncture of the film.
Showmanship: Alfie shows off his lifestyle and his aspirations. He also pretends to like classy
things that he doesnt know. He breaks the wall to explain why. He keeps the audience connected to his experience at Lizs apartment.
Significance: this scene is important to understand Alfies dreams and his intellect. He feels
happy about his Business plan being liked by Liz. His pretensions and demeanour in front of
her show what he does to impress women he really likes.
Synergy: The fourth wall breaks at this juncture are more about how accentuating his Joy at
Lizs apartment. He sees himself as someone who is progressing in the right direction. He is
happy and shares the details of it through Fourth wall breaks. The fourth wall breaks are devices
that carry his happiness to the storytelling.

Scene 10
01:07:10 to 00:08:20

Analysis of above scene

Agency: Alfie breaks the fourth wall to express his mild confusion and sadness over breaking
up with Nikki. He is wearing sweaters and boiling a pot of soup/stew to recover from a cold.
Characterization: Alfie looks very relatable when he expresses his remorse over breaking up
with Nikki. It looks like he had given the decision a lot of thought. He goes on to explain his
feelings about her. His comments describe Liz as someone with great looks and show stopping
attitude. But even she couldnt manage to hold Alfies attention. He seems to be blaming himself more than her.
Engagement: Alfie asks for the audiences attention like he considers them his close friend.
Ingeniousness: Alfie is honest about questioning his split with Nikki. He like anybody else
becomes sad about losing a companion. He clearly states that he misses the companionship.
Intimacy: Alfie strengthens his relations with the audience by letting them into his vulnerable
moments. The fourth wall breaks act as a stimulant to accentuate Alfies grief.

129

Showmanship: there is not much showmanship shown in this sequence. Alfie only asks for
audience attention and sympathy.
Significance: this is one of the few scenes in which Alfie is shown grieving an incident. The
audience is given a look at him in his most private moments. His clothes and body language
display grief and stagnancy.
Synergy: it is important for a fourth wall breaking protagonist to show his soft side to the
audience. Speaking to the audience at this juncture makes the character and the film look more
convincing. The emotions start looking more real.

Scene 11
01:28:00 to 01:34:10

Analysis of above scene

Agency: this is Alfies last Fourth wall break in the end of the film. He has just been dumped
by Liz, the only woman he wanted to go ahead with. He is standing at a promenade contemplating how the Breakup happened.

130

Characterization: Alfie might have started the film as a character who was in control of his
life, but by now he has gone soft. Life has caught up to him and everything has not gone according to his plan. He feels a lot of remorse over not giving the women what they deserve. It
shows depth in his feelings for them.
Engagement: this scene is completely Alfies. He tries to make the audience feel more sympathy for him. He tries to answer questions about his life, and life in general.
Ingeniousness: Alfie is very transparent about being hurt about his breakup with Liz. He feels
that these emotions along with the Liz incident has come at an unexpected time. He says that
emotions like grief, remorse and regret sneak up on people when they dont see them coming.
Intimacy: this sequence is about looking relatable. Alfie started the film stating that he was
different from most people. But in this scene his regret over treating the women in his life
questionably, shows how normal he really is. Along with this he starts contemplating how he
got to this stage despite being so clear about what makes him happy. He asks existential questions about the purpose of life. It is more about making him look normal as a person. He is now
one of the audience.
Showmanship: this scene is meant to end the film on a fitting note. It is about generating
sympathy and getting final comments.
Significance: Breaking the fourth wall in the last scene gives the film a homogenous ending.
It is like saying bye at the end of a long conversation. This scene ties the whole film together
when Alfie says that he wishes he had done more for the women he has been with. It makes
him look human. His pain screams for approval and his questions try to connect with the audience.
Synergy: fourth wall break in the final scene shows that the film is parting with the audience.
The dialogues about his past and his life sound and look more heartfelt when he looks the
audience in the eye while saying them. His questions about the purpose of life and what goes
wrong, are an effort to build relatability with all sections of the audience. Alfie might have
come in to the film rising above the audience, but in the end he becomes one of them. 17

17

Alfie(2004)-script retrieved from

http://www.script-o-rama.com/movie_scripts/a/alfie-script-transcript-jude-law.html

131

132

Chapter 6.8: The Wolf of Wall Street (2013)

In 1987, Jordan Belfort (Leonardo DiCaprio) procures a job as a Wall Street stockbroker for
L.F. Rothschild, employed under Mark Hanna (Matthew McConaughey), who quickly entices
him with the sex and drugs-fueled stockbroker culture and teaches him that a stockbroker's
only job is to make money for himself. Jordan soon finds his career terminated following Black
Monday, and takes a job at a boiler room brokerage firm on Long Island that specializes in
penny stocks. Thanks to his aggressive pitching style and the high commissions, Jordan makes
a small fortune.
Jordan befriends his apartment neighbor Donnie Azoff (Jonah Hill), and the two found their
own company. They recruit several of Jordan's friends, whom Jordan trains in the art of the
"hard sell". The basic method of the firm is a pump and dump scam. To cloak this, Jordan gives
the firm the respectable name of "Stratton Oakmont". After an expos in Forbes, hundreds of
ambitious young financiers flock to his company. Jordan becomes immensely successful, and
slides into a decadent lifestyle of prostitutes and drugs. He has an affair with a woman named
Naomi Lapaglia (Margot Robbie). When his wife Teresa (Cristin Milioti) finds out, they divorce and he marries Naomi, soon having a daughter, Skylar. Meanwhile, the U.S. Securities
and Exchange Commission and the FBI begin investigating Stratton Oakmont. Jordan illegally
makes $22 million in three hours upon securing the IPO of Steve Madden. This brings him and
his firm to the attention of the FBI, mainly agent Patrick Denham (Kyle Chandler). To hide his
illegitimate money, Jordan opens a Swiss bank account with corrupt banker Jean-Jacques Saurel (Jean Dujardin) in the name of Naomi's aunt Emma (Joanna Lumley), who is a British
national and thus outside the reach of American authorities. He uses the wife and in-laws of
his friend Brad Bodnick (Jon Bernthal), who have European passports, to smuggle the cash
into Switzerland.
Donnie gets into a public brawl with Brad, and while Donnie escapes, Brad is arrested. Jordan
also learns from his private investigator (Bo Dietl) that the FBI is wiretapping his phones.
Fearing for his son, Jordan's father (Rob Reiner) advises him to leave Stratton Oakmont and
lie low while Jordan's lawyer (Jon Favreau) negotiates a deal to keep him out of prison. Jordan,
however, cannot bear to quit, and talks himself into staying in the middle of his farewell speech.
Jordan, Donnie and their wives are on a yacht trip to Italy when they learn that Aunt Emma has
died of a heart attack. Jordan decides to travel to Switzerland immediately to settle the bank
account. In order to bypass border controls, he forces his yacht captain to sail to Monaco, and
the ship is capsized in a storm. After their rescue, the plane sent to take them to Geneva is
destroyed when a seagull flies into the engine. Jordan takes this as a sign from God and decides
to sober up.
Two years later, the FBI arrests Jordan because Saurel, arrested in Florida on an unrelated
charge, has informed on Jordan. Since the evidence against him is overwhelming, Jordan agrees
to gather evidence on his colleagues in exchange for leniency. Fed up with Jordan's lifestyle,
Naomi tells Jordan she is divorcing him and wants full custody of their children. Jordan loses
his mind and tries to run off with Skylar in his car, but ends up crashing it in the driveway. The
next morning, Jordan wears a wire to work. Jordan slips Donnie a note warning him about the
wire. The FBI discovers the note, and Jordan is arrested for breaching his cooperation deal.
The FBI raids and shuts down Stratton Oakmont. Despite this one breach, Jordan receives a

133

reduced sentence for his testimony and serves three years in a minimum security prison. After
his release, Jordan makes a living hosting seminars on sales technique. 18

o
o
o
o
o

o
o
o
o
o
o
o
o
o

o
o
o

18

Directed by Martin Scorsese

Produced by
Martin Scorsese
Leonardo DiCaprio
Riza Aziz
Joey McFarland
Emma Tillinger Koskoff
Screenplay by Terence Winter
Based on The Wolf of Wall Street by Jordan Belfort
Starring:
Leonardo DiCaprio
Jonah Hill
Margot Robbie
Matthew McConaughey
Kyle Chandler
Rob Reiner
Jon Bernthal
Jon Favreau
Jean Dujardin
Production companies:
Red Granite Pictures
Appian Way Productions
Sikelia Productions
Distributed by Paramount Pictures
Running time: 179 minutes
Country: United States

Wolf of wall street(2013) plot retrieved from

https://en.wikipedia.org/wiki/The_Wolf_of_Wall_Street_(2013_film)

134

Scene 1
(3:56- 4:05)

Agency: Jordan Belfort walks down the stairs in a costly suit and a red tie with a glass of orange
juice in his hand. He concentrates on the flight of stairs but keeps talking to the audience looking at the camera till he walks to the main door. The scene happens inside his mansion.
Characterization: He starts from the top of the stairs and the camera follows him till the main
door. The camera follows him from top of the stairs and to the left of the screen where he walks
off the main door. Also, the juice glass in his hand suggests he tries to keep himself healthy the
next morning after drugging himself the last night.
Engagement: Jordan Belfort engages the audience by talking about his drug habits. He is engaging the audience by telling something about himself which is not present in many people.
Also, he is filthy rich and his drug habits dont embarrass him at all.
Ingeniousness: Jordan is seen getting down from his helicopter drunk and drugged last night,
so he starts the scene with Yup. On a daily basis I consume enough drugs to sedate Manhattan,
Long Island, and Queens. For a month. He is being shameless and straight-forward in exposing his usual drug habits to the audience.

135

Intimacy: Jordan wants to have a close and intimate relationship with the audience and thats
why he breaks the fourth wall. He winks at the audience before he walks out of his house. He
is open about his lifestyle and wants the audience to be a part of it.
Showmanship: He walks confidently, having no regrets or guilt about the last night and winks
in the end.
Significance: This scene implies that Jordan is admitting himself as a drug addict.
Synergy: Jordan breaks the fourth-wall for the first time in the film and the scene continues
fourth-wall break when he gets out of the house.

Scene 2
(4:06- 4:20)

Agency: Jordan Belfort continues addressing the audience as he exits the mansion and walks
through the garden.
Characterization: Jordan keeps talking describing the drugs he takes and the specific reason
for use. He uses drugs as an inclusive part of his lifestyle. His careless attitude is shown in the
scene when he casually throws out the glass of orange juice in the garden. The camera follows
him to the car.
Engagement: Engaging the audience with a detailed description of all the drugs he use. It is
not normal for anyone who is rich or poor, but a person who takes drugs on a daily basis will
have some impact on his character. That engages the audience.
Ingeniousness: Jordan honestly tells all the drug and its use like it is nothing harmful to him,
but his honesty about the profession as a stockbroker of wall street- he needs the drug to function professionally.

136

Intimacy: Jordan breaks the fourth-wall to include audience into his daily routine and lifestyle.
Showmanship: Jordan doesnt look at the camera till the end where he says Morphine is an
awesome drug, but he keeps breaking the fourth wall even when he doesnt look. It is only
because there is no one else on the screen who he is talking to; he is not talking to the air and
when he looks at the camera before entering the car, the scene just explains itself.
Significance: Audience get to know about various drugs that Jordan use on a daily basis- for
his health or for fun.
Synergy: This scene is in between two other fourth wall breaks, and the narrative value applied
to the scene amounts to a great deal when Jordan exits the house and enters the car- narrating
the journey from his home to office.

137

Scene 3
(4:27- 4:50)

Agency: Jordan enters through office through the door looking at the camera.

138

Characterization: He enters the office talking on the same line (about his drug use) and confesses he prefers one of these as best. The scene changes to his office room where he gives a
side glance to the camera and talks about his favourite drug- money. He is a power-hungry,
rich person who will do anything to get richer and his affiliation to making money is clearly
visible.
Engagement: Audience has been listening to Jordan while he explores his drug habits but IN
Ingeniousness: He honestly comments on money being a drug and his favourite one. Jordan is
seeing snorting cocaine in between the fourth wall breaks and then he stands up to show a
hundred dollar bill to the audience. Then he changes to saying that money is his favourite drug.
Intimacy: Jordan wants to show the secrets of his lifestyle and his ideas about working in wallstreet.
Showmanship: Jordan is confident and clear when he walks into the office. He is the boss of
the company and entertains the audience with his style and charisma.
Significance: The scene shows the office life of Jordan Belfort.
Synergy: This fourth-wall break makes the point visible that Jordan loves money more than
any drug or anything. All his speeches to the audience tell about how money can make a man
all powerful and invincible.

139

Scene 4
(1:06:26- 1:06:53)

140

Agency: Jordan Belfort walks down his crowded office, with everyone working on the trading
floor, he talks to the audience but no one notices him.
Characterization: Jordan explains the concept of IPO- Initial Public Offering. He wants the
audience to understand the stock market terms which runs in the market. But in middle of
explaining IPO, he stops and acknowledges that it is too complicated for a non-stock exchange
person to understand. So he simplifies it to the business hes doing as illegal. The camera
follows him till he was explaining, once he stopped to say that audience dont follow things
that he explained, the camera stays still till he moves out of the screen after speaking to the
audience.
Engagement: The audience probably followed what Jordan was trying to explain. Then when
he stopped and said everything was illegal, audience took away their own meaning from the
scene that Jordan was making more money than he knows what to do it with.
Ingeniousness: Jordan confesses that everything was illegal while this was his own secret of
making more money. It is a confidential plan, IPO is a complicated subject but Jordan admits
he was making more money than he could have ever imagined. The scene ends with a question
where he gives a hint on what he does after making substantial amount of money.
Intimacy: The relation Jordan tried to establish was to include audience into the secrets of
running the stock market- the illegal ways in which he makes money.
Showmanship: Jordan walks straight, starting the shot which looked like an info-dump. Then
he changes it to a comical way and puts things lightly.
Significance: Explaining IPO was important.
Synergy: The fourth wall break infuses Jordans knowledge about stock market terms, whether
he wants it to explain to the audience and also he exposed his way of making more money.

141

Scene 5
(1:26:30- 1:26:42)

Agency: Jordan sits in his office with his feet on the table and a champagne is seen being
opened in the foreground.
Characterization: Jordan looks confident and victorious in this sequence. He starts explaining
how he made his profits but then again stops midway in a humorous way saying no one cares
about the reasons.
Engagement: Jordan engages the audience in a sporty way where he tells how much money
can be made in total. The scene ends with him saying as always, the point is this- then Donnie
completes his sentence with 22 million dollars in three hours.
Ingeniousness: Jordan declares he doesnt care about how he made the money, but believes in
amount of the money made.
Intimacy: In between opening the champagne and Donnie exclaiming, Jordan makes his statement.
Showmanship: Jordan came off as a money-minded eccentric person.
Significance: The scene opened up new possibilities of making money for Stratford Oakmont
Company.
Synergy: The fourth wall break blends between Donnies action and exclamation and Jordan
explains how he makes a million for every two million earned. 19

19

The Wolf of Wall Street (2013)-script retrieved from

http://www.paramountguilds.com/pdf/the_wolf_of_wall_street_screenplay.pdf

142

143

Chapter 6.9: The Big Short (2015)

In 2005, eccentric hedge fund manager Michael Burry discovers that the U.S. housing market
is extremely unstable, being based on high-risk subprime loans. Anticipating that the market
will collapse during the second quarter of 2007, as interest rates would rise on many adjustablerate mortgages, he envisions an opportunity to profit. His plan is to create a credit-default swap
market, allowing him to bet against the mortgage-backed securities that are based on the housing market. He proposes his idea to several major investment and commercial banks. These
firms, believing that the housing market is secure, readily accept his proposal. Burry's huge
long-term bet, in excess of $1 billion, entails paying substantial "premiums" to the banks. This
proviso incurs his clients' ire because they believe that he was wasting their capital. Many
demand that he reverse course and sell his swaps, but Burry, confident in his analysis, refuses.
When the rate-hike arrives and begins triggering heavy mortgage failures, however, the freefall
he anticipates did not occur. As he later discovers, the banks collude with a major bond-rating
company to maintain high ratings on bonds that were essentially worthless. This ploy allows
the banks to sell off their losing positions before the true value of the bonds became known.
Pressed by his investors, Burry restricts withdrawals from his fund, again angering his investors. Eventually, as the housing market collapsed as he predicted, the value of his fund increases
by a net of 489% with an overall profit of over $2.5 billion, but the backlash he received from
his investors, coupled with his own sense of disgust for the industry, convinces him to close
down his fund.
Salesperson Jared Vennett is one of the first to understand Burry's analysis, learning about
Burry's actions from one of the bankers that sold Burry an early credit default swap. Vennett
uses his quant to verify that Burry's predictions are likely true and decides to put his own stake
in the credit default swap market, earning a fee on selling the swaps to firms who understand
that they will be profitable when the underlying mortgage bonds fail. A misplaced phone call
alerts hedge fund manager Mark Baum to his plans, and Baum is convinced to buy credit default swaps from Vennett due to his own personal distaste with the big banks. Vennett explains
that the impending market collapse is being further perpetuated by the packaging of poor, unsellable loans into CDOs large enough to be considered diversified and thus given AAA ratings.
Baum sends some of his staff to investigate the housing market in Miami, and they discover
that mortgage brokers make more money if they only sell risky mortgages to the Wall Street
banks and these mortgages are so easy to acquire that a speculative housing bubble has been

144

created. In early 2007, the mortgages loans begin to default, but the prices of the corresponding
bonds increase and their ratings remain the same. When Baum questions an acquaintance at
Standard & Poor's, he discovers there is conflict of interest and dishonesty amongst the credit
rating agencies. When Baum's employees question Vennett's motives, Vennett maintains his
position and invites Baum and his team to the American Securitization Forum in Las Vegas,
where Baum interviews CDO manager Wing Chau, who creates CDOs on behalf of an investment bank while claiming to represent the interests of investors. Chau describes how synthetic
CDOs make a chain of increasingly large bets on the faulty loans, involving twenty times as
much money as the loans themselves. Baum realizes, much to his horror, that the scale of the
fraud will cause a complete collapse of the global economy. Baum convinces his business partners to go through with more credit default swaps, profiting from the situation at the banks'
expense. Baum laments that the banks will not accept any of the blame for the crisis.
Eager young investors Charlie Geller and Jamie Shipley accidentally discover a prospectus by
Vennett, which convinces them to become involved in the credit default swaps, as it fits their
strategy of buying cheap insurance with big potential pay-outs. Since they are below the capital
threshold for an ISDA Master Agreement needed to pull off the trades necessary to profit from
the situation, they enlist the aid of retired securities trader Ben Rickert. When the value of
mortgage bonds and CDOs rise despite the rise in defaults, Geller suspects the banks of committing fraud and thinks they should buy more swaps. The three visit the Mortgage Securities
Forum in Las Vegas, where they learn that the Securities Exchange Commission has no regulations to monitor the activity of mortgage-backed securities. They manage to successfully
make an even higher-pay-out deal than the other hedge funds by shorting the higher rated mortgage securities, as they will become worthless if defaults rise above 8% and their real value is
likely less than stated. Shipley and Geller are initially ecstatic, but Rickert is disgusted, since
they're essentially celebrating an impending economic collapse and soon-to-be-lost lives
(40,000 for each 1% rise in the unemployment rate). The two are horrified, and take a much
more emotional stake in the collapse by trying to tip off the press and their families about the
upcoming disaster and the rampant fraud amongst the big banks. Ultimately, they profit immensely, but are left with their faith in the system broken.

145

A note is given that CDOs have come back into the current market, under a different name:
"bespoke tranche opportunity". 20

Directed by Adam McKay

Produced by

o Dede Gardner
o Jeremy Kleiner
o Arnon Milchan
o Brad Pitt

Screenplay by

o Charles Randolph and Adam McKay

Based on The Big Short by Michael Lewis

Starring

o Christian Bale
o Steve Carell
o Ryan Gosling
o Brad Pitt
o Melissa Leo
o Hamish Linklater
o John Magaro
o Rafe Spall
o Jeremy Strong
o Finn Wittrock
o Marisa Tomei

Production companies :

o Regency Enterprises
o Plan B Entertainment

Distributed by

Running time: 130 minutes

Country: United States

20

Paramount Pictures

The Big Short(2015) plot retrieved from

https://en.wikipedia.org/wiki/The_Big_Short_(film)

146

Scene 1
00:01:25 to 00:04:45

Analysis of above scene

Agency: an unknown man breaks the fourth wall in the first scene of this film. He doesnt
introduce himself. He is wearing a grey suit, is medium height and fair skinned. He narrates
his dialogues like the introduction to a childrens novel.
Characterization: it is from this scene that the film establishes the principal narrator. He
speaks about how the banking scene was in the 1970s. His voice and modulation shows expertise and knowhow about the subject.
Engagement: the narrator appears on the screen and then talks about how the mortgage bond
and banking became its top industries. These are treated like main characters in the movie itself.

147

Ingeniousness: the narrator looks like he is from the industry he is talking about. He calls it
boring and drab. He confesses to it being monotonous. He is honest about the world and the
audience not really understanding what happened to the American economy in 2008. He states
it in a very matter of fact way.
Intimacy: the narrator tries to establish a personal bond with the audience by starting with a
story. He also refers to himself as cool, which shows how he wants to come across. He also
tells the audience that will not definitely be their last encounter. He also makes the world look
stupid by saying that they could never see such a disaster coming.
Showmanship: by taking the role of the storyteller, the trader tries to engage the audience. He
makes a remark about the people who saw the 2008 debacle coming by saying that they were
the only ones who looked. This is done to make the audience feel interested in the premise of
the film.
Significance: this opening scene provides an introduction of the premise of the film in an interesting way. It makes certain revelations about the American banking industry in a casual
way. It provides context to the story to the film. A fourth wall break at this point enhances the
outline of the premise.
Synergy: the fourth wall break is weaved into a strategic point in the introductory sequence of
the film to make the narrator increase connection with the audience. After his visual presence,
his audio presence carries his monologue effectively. He tries to give an overview of the theme
of the film in a casual and relatable way. He also makes a comment which shows that he is
aware about the presence of the audience.

148

Scene 2
00:05:56 to 00:07:08

MICHAEL BURRY (V.O.)

Ive always been more comfortable
alone. I believe its because of my
glass eye. I lost the eye from a
childhood illness. It separates me
from people. Most social
interactions are awkward. For me,
for the person. Even when I try to
compliment someone it comes out
wrong... The compliment, not the
eye.

Analysis of above scene

Agency: Michael breaks the fourth wall to talk about how he feels about his life. He speaks
about his preferences and his defects.
Characterization: Michael displays his social isolation through his words. His individuality
and the reasoning for it is explained. His perennial state of discomfort in basic life situations is
explained by showing a glimpse of his past.
Engagement: Michael tries to talk to the audience about his emotions. He provides reasoning
for it by showing a flashback of his past. He tries to make the audience feel curious about his
personality.
Ingeniousness: Michael is honest about himself from the start. He confesses to his and others
awkwardness during interactions. He is also frank about the causes of the discomfort he and
others face while being with him.

149

Intimacy: Michael tries to tap into sympathy and empathy of the audience by discussing his
situation. He also speaks on behalf of others by saying that his glass eye is probable the reason.
He tries to establish a personal connection with audience by talking about what he thinks is an
abnormality in him.
Showmanship: this fourth wall break is more about sentimentality and honesty to make the
audience feel connected to Michael.
Significance: this scene is to make Michael more understandable to the audience. Certain aspects of his personality like his intentions and his acceptance have been projected in a significant way.
Synergy: the fourth wall break has been blended with the introduction of Michael, who is a
pivotal character in the film. He talks about his acceptance of his place in the world, in a sentimental way.

Scene 3
00:13:26 to 00:14:53

MODERN TRADER (V.O.)

Mortgage backed securities,
subprime loans, tranches... Pretty
confusing right? Does it make you
feel bored? Or stupid? Well, its

150

supposed to. Wall Street loves to

use confusing terms to make you
think only they can do what they
do. Or even better, for you to
leave them the fuck alone. So here's Margot Robbie In a bubble bath to explain.
MARGOT ROBBIE:
Basically Lewis Ranieris Mortgage
bonds were amazingly profitable for
the big banks. They made billions
and billions off of their 2% fee on
each of these bonds they sold. But
then they started running out of
mortgages to put in them. After
all, theres only so many homes and
so many people with good enough
jobs to buy them. So the banks
starting doing something different.
Instead of creating mortgage bonds
that were guaranteed by the US
government, they started creating
their own private mortgage bonds.
No government, no pesky standards
like good credit or minimum income.
And then the big banks were able to
fill the bonds with riskier and
riskier mortgages and keep the
profit machine churning. By the
way, the risky mortgages are called
subprime. Anytime you hear
subprime, think shit.
13A.
Michael Burry found out these
mortgage bonds that we supposedly

151

65% AAA were actually mostly full

of shit, so now hes going to
short the bonds, which means tobet against.
Got it? Good.Now, fuck off!

Analysis of above scene

Agency: Jared Venett (modern trader) and Margot Robbie (the actress is playing herself) break
the fourth wall in this scene. Jared does it to state a fact about the world of banking and economics. Margot Robbie has been used by the film to explain a complex sounding concept in a
simple way.
Characterization: Jared intervenes as the principal narrator of the film. He speaks on behalf
of the banking world while also criticizing it. Margot on the other hand has been placed in a
bathtub so that she can extract maximum audience attention to the concept she is explaining.
Margot is a popular contemporary actress and is well known for her beauty. She is aware of
her place in the real world and she uses it to solve the films problem of explaining concepts in
a simple way.
Engagement: Jared states a heartfelt belief about the world of Wall Street. He explains the
motive behind it. Margot has been depicted in that way so that she that she attracts maximum
attention to herself and the concept she is explaining.
Ingeniousness: there are 2 confessions here. One is Jareds confession about the banking world
confusing people deliberately. The second one is the films perception of the audience, as people who will focus if there is skin show by a beautiful actress. Margot also is conscious of this
and she plays her part to perfection.
Intimacy: Jared tries to further his strengthen his bond by letting them in on a secret from Wall
Street. Margot is very casual in front of the audience and owns the attention she is getting. The
film understands the basic instincts of the audience and capitalizes on it. This shows the films
understanding of the audience.
Showmanship: Jared states his message in a funny way. He leaves the frame so that Margot
Robbie can keep the attention on herself in the bathtub. It is an attempt to keep the audience
focussed at what she is going to explain.

152

Significance: this scene explains the base of the premise of the entire plot in a interesting way.
It tries not to make it sound drab and plain.
Synergy: the 2 fourth wall breaks have been well planned and written. They fuse into the narrative and play a major part in keeping the audiences interested in the concepts which might
have made the narrative uninteresting to many sections of the audiences. The fourth wall breaks
are crucial to making this scene entertaining.

Scene 4
00:16:06 to 00:16:54

Mark Baum had built a career on

never assuming anyone or any
company was legit without proving
it. When he was a kid he excelled
at studying the Talmud in Yeshiva.
That was great. But one day the
Rabbi told his Mom whyINT. YASHIVA SCHOOL - DAYA30 A30
10 YEAR OLD Mark Baum and his 8 YEAR OLD BROTHER PAUL run
around with kids in the hallway of a Yashiva while his MOM,
35, talks to the RABBI, 52.
RABBI
Paul is a fine boy. But his brother
Mark... He is the best student of

153

the Torah and the Talmud...

MOM
Then whats the problem Rabbi?
RABBI
Its the reason.. He says he
studies so hard because...
(MORE)
RABBI (CONT'D)
BUFF REVISED, MAY 11, 2015

23A.

he is looking for inconsistencies

in the word of God.
BUFF REVISED, MAY 11, 2015

24.

Beat.
MOM
So has he found any?
BACK TO MANHATTAN STREET
JARED VENNETT (V.O.)
Later Baum started his own fund on
Wall Street. He had an amazing nose
for bullshit and wasnt afraid to
let everyone know when and where
the bull had gone number 2. But
then a tragedy happened to Mark
that turned his world view dark and
ready to believe the whole system
was a lie.

Analysis of above scene

Agency: Jared breaks the fourth wall again to talk about the other main character of the movieMark Baum.

154

Characterization: Jared talks about how Mark was able to spot mistakes in the places where
others wouldnt. Mark studied a religious text very sincerely to find discrepancies in the word
of god. This showed that finding mistakes was a quality ingrained in Marks psyche. It was not
something he developed.
Engagement: the small incident from Marks past explains to the audience why Mark was in
this position in his life today. Even before the 2008 debacle happened, Mark was already of the
opinion that the whole system was a lie.
Ingeniousness: the film is honest about Marks past. It shows that the character was always
like this but was pushed over the edge by a recent incident.
Intimacy: by the time the 2008 debacle happens, Mark is shown to have a paranoid worldview.
He is of the opinion that everyone is cheating.
Showmanship: talking about Marks past is an effort to show the crux of how he is as a person.
Significance: this fourth wall break tries to bring the audience closer to Marks character. It
attempts to build relatability.

Scene 5
00:24:10 to 00:24:20

JARED:
I told you we'd meet later.
Unfortunately, it's in a place
like this which I would never be.
I never hung out with these
idiots after work, ever.
I had fashion friends.

155

Analysis of above scene

Agency: Jared breaks the fourth wall again. He is standing in a bar surrounded by people he
works with.
Characterization: Jared makes it clear that he is a man of his word. He also tries to establish
that he is a certain type of person because he hangs out with people from the fashion industry.
Engagement: Jared talks to the audience in the middle of a conversation with his friend in a
bar.
Ingeniousness: Jared is honest about not liking the people he is spending the evening with.
Intimacy: Jared tries to establish a certain image in front of the audience by providing reasoning for what he is doing right now.
Showmanship: Jared makes it clear that he means what he says.
Significance: this scene is treated as the start of a new story element. It makes the big short
look like something on the verge of booming.
Synergy: the fourth wall break makes Jared look like the principal narrator again. He also tries
to get closer to the audience by talking about his preference of friends.

Scene 6
00:26:50 to 00:27:50

156

Analysis of above scene

Agency: Jared and Vinny break the fourth wall in this scene of the film. Jared talks about
Marks investment firm which goes by the name Frontpoint. Vinnys fourth wall break is very
sudden and he reacts to Jareds voiceover. Vinny knows that he is in a film and he is being
talked about.
Characterization: Mark has been subtly shown as a person who likes getting distressed. Cynthias character of being a strong willed persuasive woman is the undertone of the dialogues
about her. Vinny has been shown as a guy who doesnt talk about his feelings. Porter has been
shown as someone who believes in Marks capabilities and leadership, and Marks colleague
since a long time. Danny has been shown as a person who is a bit irritating, but good at what
he does.
Engagement: Jared does this fourth wall break to introduce Marks team members. Here, their
firm has been treated like a character in the film. Vinny suddenly talks to the audience, which
is unexpected, but novel.
Ingeniousness: Vinny is honest about not wanting to talk about what happened to him when
he was a child.
Intimacy: Jared tries to bring the audience closer to Marks team by talking about their past
and their association with each other.
Showmanship: Vinnys fourth wall break has been timed that way to entertain the audience.
Significance: The whole dialogue tries to build a personal connect with Mark and his team.
Synergy: Jareds fourth wall break was a requirement of the scene. But Vinnys fourth wall
break is a total surprise. It shows that characters in the film are aware about them being filmed.
Jared brings the audience closer to the Frontpoint team.

157

Scene 7
00:34:00 to 00:34:52

Analysis of above scene

Agency: Jared breaks the fourth wall to announce that Anthony (playing himself) will demonstrate the meaning of CDO.
Characterization: Jared continues to explain complex concepts to the audience. Anthony simplifies how the concept by giving a real world example. And in the end, the concept ends up
looking very simple compared to the alien entity it looked like earlier. Anthony knows his
credibility as a renowned chef.
Engagement: this scene has been treated like an infomercial by giving a simple real world
example of CDO. It is done to simplify the concept.

158

Ingeniousness: Anthony owns his image and attempts to explain the concept of a CDO. Jared
is honest about the term being difficult to understand.
Intimacy: Jared acts as a mediator between the financial concepts shown in the film and the
audience. He makes efforts to make the audience understand how these things work. Anthony
already has a loyal audience. He knows that the audience will easily understand.
Showmanship: Jared only announces that CDO is a key player in the film. He leaves the screen
after telling the audience that Anthony will explain the concept. Anthony owns the scene and
explains the concept in an informative and entertaining way.
Significance: CDO as a concept is a pivotal character in the film. It is given a more understandable image in front of the audience.
Synergy: Jareds fourth wall break is like that of an announcer. He leaves the metaphorical
stage for Anthony to use his publically accessible and established persona to explain a concept
that sounds alien and inaccessible to the audience.

Scene 8
00:40:18 to 00:42:44

Analysis of above scene

Agency: Jamie breaks the fourth wall to clarify that the depiction of that incident is not true.
Charlie explains the strategy of their firm. Ben doesnt break the fourth wall, but Jared breaks

159

it to describe Ben in a better way. Jamie is aware of the presence of Jared in the film, though
they dont share the screen in the same scene.
Characterization: Jamie and Charlie have been shown as young entrepreneurs. They are smart
and ambitious, and have an interesting strategy. They seem to be proud of what they are doing.
Ben has been shown as a paranoid ex banker who has vowed to never return to that world.
Engagement: Jamie and Charlie explain how they came in contact with the concept of shorting
mortgage bonds. The journey of their business is also shown. Jared explains the main aspect of
Bens personality in short.
Ingeniousness: Jamie and Charlie are honest about how they got to know about Jareds shorting idea. They also honestly tell the audience their business strategy.
Intimacy: this fourth wall break brings the audience up close with Jamie and Charlie who are
the main characters of this film. Ben is integral to this element of the storytelling because he
shows how experience in the world of Banking can leave a person suspicious and paranoid.
Showmanship: the character introductions are carried out in an interesting way by wrapping
it with the current situation in the characters lives.
Significance: this sequence is important to understand the intricacies of Jamie, Charlie and
Bens characters. They are shown connected because they live near each other. It also helps the
audience understand that the movie has taken factual liberties at certain places.
Synergy: the fourth wall breaks have been woven into this sequence to show the aspects of the
characters that are integral to the storytelling. Jamie and Charlie are the only ones other than
Jared and Michael to introduce themselves through a fourth wall break. Bens introduction has
been written in a short and precise way.

160

Scene 9
01:14:34 to 01:14:45

Mark Baum really did that.

When we were in Vegas, he did that.
He said that, he took the call.
Now you see what I had to deal with?

Analysis of above scene

Agency: Jared breaks the fourth wall to talk about his recent experience with Mark Baum.
Characterization: Mark has been displayed as a person who has poor social skills and sense
of dialogue and timing. Jared is shown as a person who had to put up with Marks behaviour.
Engagement: this sequence is about the element of surprise and Jareds heartfelt opinion about
Mark.
Ingeniousness: Jared is honest about Mark not being a treat to work with. He explains what a
man in his place has to deal with to earn money.
Intimacy: Jared strengthens his bond with the audience by sharing how he feels in this business
relationship with Mark. He also validates the reality of this scene in a confession cum announcement style.

161

Showmanship: Jareds sudden fourth wall break to share his feelings about Mark has been
treated in a comical way to entertain the audience.
Significance: This scene explains the character traits of Mark. It also shows his mental state
while dealing with the dishonesty of the financial world in the face of such a crisis. Jareds
comment about Mark is just a mask to show Marks feelings about that scenario.
Synergy: the fourth wall break is sudden and heartfelt and shows the bond that Jared and Mark
have. There was a scene before this where Jared told Mark to be a listener and act in a passive
way.

Scene 10
01:20:48 to 01:20:59
CHARLIE
This is the thing we did that no
one else did. Even Burry and Baum
didnt imagine the AAs could fail

Analysis of above scene

Agency: Charlie breaks the fourth wall for the second time in this film. His comments about
the other characters of the film show that he knows that they exist in this film, and that he is
aware that he is a part of it.
Characterization: Charlie has been shown to come up with a helpful idea under pressure. He
shows that happiness through this fourth wall break. The relief of having a plan is shown.
Engagement: Charlie uses this moment to show his place among the characters of the film.
Ingeniousness: Charlie shares with the audience his plan, and his opinion about the plan; that
it will get more returns than the other characters shorts.
Intimacy: Charlie talks to the audience to share his happiness with them. This is done in an
effort to form a closer bond with the audience.

162

Showmanship: in the middle of a very serious scene, Charlie shows how he plans to go about
his situation and what the expected outcome from it is.
Significance: this scene shows what aspect of shorting the mortgage bonds the other characters
of the film missed out on.
Synergy: the fourth wall break makes Charlies character look aware of the future of his plan
and the consciousness of the characters of the film.
Scene 11
01:25:40 to 00:27:55

Analysis of above scene

Agency: Jared breaks the fourth wall again to explain the concept of Synthetic CDO. Thaler
and Gomez provide a clear understanding of it through a demonstration. They are playing
themselves in this sequence. They know their place in the real world and they use it to provide
a clear explanation of Synthetic CDO. The other characters act according to their plan.
Characterization: this sequence shows how twisted the world of finance is. Thaler has been
shown as the father of behavioural economics and Selene as a pop singer. Their real world
personas of being an intellectual and a celebrity have been used to explain the concept in a
simple way.
Engagement: this sequence provides a personality to the concept of a CDO by explaining it in
detail. Selena and Thaler engage the audience by demonstrating it through the other people in
the casino.

163

Ingeniousness: Selena and Thaler know that they are in the film to get audience attention. They
demonstrate how faulty synthetic CDO as a concept is. Jared knows that this demonstration
would be better for audiences to internalize it. That is why Jared leaves it to them after explaining its repercussions.
Intimacy: Thaler and Gomez are public figures with an existing connection with the audience.
The film tries to improve its bond with audience by demonstrating the concept of synthetic
CDO through them. Jared explains the impact of it and leaves the conceptual explanation to
Thaler- the father of behavioural economics and Selena- the popstar. He uses graphic and destructive dialogues to explain the impact of a synthetic CDO.
Showmanship: this scene has been treated like an infomercial. Jared announces the catastrophic effects of the concept while Thaler and Selena explain how it is designed.
Significance: this is the third explanation of this kind in this film. It explains an integral concept
through people who play themselves in the film and are more relatable to the audience.
Synergy: the fourth wall break by Jared provides a simple graphic monologue about the disastrous effects of the financial system. The demonstration about the concept involves a revolutionary economist and a popstar who explain the structure of the concept. Their fourth wall
breaks use their public image and credibility to improve the films connection with the audience.
The main purpose is to describe the concept in an unpretentious way.

Scene 12
00:48:10 to 00:48:40

Analysis of above scene

Agency: Jared breaks the fourth wall to talk about how he feels after getting his payment for
his ordeal with shorting mortgage bonds.
Characterization: Jareds relief has been shown in this scene. His feelings about going
through the journey of getting questioned about his belief in shorting housing mortgage bonds
is explained.

164

Engagement: this scene focusses on the payment that Jared gets for his efforts. His awareness
of his place in the financial world is shown.
Ingeniousness: Jared is unapologetic for what he has earned. But he also affirms his belief in
what he did. He displays pride and faith in this scene.
Intimacy: Jareds honesty about knowing that the audience is judging him for the money he
received, is an indication of the closeness of the bond he feels he has with the audience. He
knows that the audience can relate to him now and that they have reached a comfortable space
in their relationship.
Showmanship: Jared uses this scene to further strengthen his connection with the audience.
He also shows his consciousness about their feelings.
Significance: This sequence signals the start of the conclusion of the narrative. One of the
characters becoming successful in what they set out to achieve through the risk, is clearly the
announcement of the last chapter of the story.
Synergy: the fourth wall break here is heartfelt and it capitalises on Jareds fourth wall breaking character. The bond between the thinking of the audience and Jared has been utilized to
make this aspect of the film more effective.

Scene 13
00:49:38 to 00:50:18

JARED VENNETT (V.O.)

As the housing markets and banks
continued to hemorrhage only one of
the big shorts refused to sell:
Mark Baum. So it was beyond perfect
when he was asked to speak at a
conference opposite Bruce Miller, a
famous bullish investor. After he
and Mark had their debate, Alan
Greenspan, one of the architects of

165

the whole crisis was scheduled to

speak. Everyone in Marks office
showed up and even invited
friends.... This was Ali versus
Foreman of the financial world...
The realist versus the fools. If it
seems almost too perfect, trust me,
this happened. And it was
beautiful.

Analysis of above scene

Agency: Jared breaks the fourth wall in this scene to announce how Mark is about to face a
Bullish investor in a public faceoff. He also directs the audiences attention to Wall Street
failing rapidly.
Characterization: Mark and his firm are shown as determined and sure about their stand on
selling the shorts. The fight that Mark is about to have is shown as a relatable entity by comparing it with a famous boxing match.
Engagement: Jared tries to get the audience to focus on what is going to happen in the following scene. He also makes a declarative statement about the magnitude of the clash between
Mark and his opponent.
Ingeniousness: Jared knows that the audiences wont understand the seriousness of the clash
he is announcing. That is why he gives it more relatability through a metaphor.
Intimacy: Jared announces the clash and the magnitude of it. He explains to the audience what
Mark and his team have done and the ridicule they are facing from the rest of the market.
Showmanship: Jared tries to drive the audience attention to the event that is about to happen.
He also announces the fall of Wall Street to the audience in a casual way.
Significance: this scene acts as an introduction between the rest of the film and the final scene
of the film. It adds gravitas to the event that is being shown visually.

166

Synergy: the fourth wall break here not only increases the audience understanding of the situation but also tries to build their anticipation for what is about to happen.

Scene 14
00:02:00 to 00:02:51

JARED (V.O.)
But Mark was wrong. In the years
that followed 100s of bankers and
ratings agency executives went to
jail. The SEC was completely
overhauled.
MONTAGE OF REFORM IMAGERY: 1. HEARINGS AT CONGRESS. 2. THE 158 158
DODD/FRANK BANKING REFORM BEING SIGNED, 3. BANKERS BEING PERP
WALKED IN HANDCUFFS.
JARED (V.O.)
And Congress had no choice but to
break up the big banks and regulate
the mortgage and derivatives
industries.
(Beat)
Just kidding.
SMASH TO: VT. OF 1) PEOPLE SCREAMING AT IMMIGRANT CHILDREN ON 159 159
THE BORDER. 2) GOVERNORS AND TALK SHOW HOSTS BLAMING TEACHERS
3)CONGRESS VOTING DOWN SERIOUS BANKING REFORM.
JARED (V.O.)
The banks took the money the
American people gave them and used
it to lobby the Congress to kill
big reform. And then America blamed
immigrants and poor people. And
this time... even teachers.

167

(MORE)
JARED (V.O.) (CONT'D) BUFF REVISED, MAY 11, 2015

126.

And when all was said and done,

only one single banker went to
jail.
PICTURE OF THE ONE BANKER WHO WENT TO JAIL.
JARED (V.O.)
This poor schmuck. Kareem Serageldin from Credit Suisse.
He hid a few billion in mortgage bond losses.
Something most of the big banks do on a good day.
Im sure it didnt hurt that he was of Egyptian decent...

Analysis of above scene

Agency: Jared breaks the fourth wall for the last time in this sequence to talk about the repercussions of the catastrophic explosion of the financial world.
Characterization: Mark is his usual righteous self when he expects the culprits to be punished.
The people of America are shown to be nave and misinformed. The banking and political
world are intertwined and dishonest. The people who are not at fault are shown to be facing the
repercussions of someone elses wrongdoings.
Engagement: this scene answers the questions the audience might have about the entire 2008
economic debacle. It provides context to the effects of it and shows how different sections of
the population reacted to this incident.
Ingeniousness: the film plays a joke on the audience by fooling them with the right but fictitious events. The reality of what happened shows how twisted the world is. It shows the films
emotions about the facts in a strange comical way.
Intimacy: the film conveys its grief about the culprits not being punished, and the innocents
taking facing the flak for being who they are. It also demonstrates the sheer dishonesty of the
world we live in. it points to double standards in the areas of racism, political and economic
conditions.

168

Showmanship: Jared treats this scene like a magic trick while also conveying the films feelings
about what happened during this debacle. The first part of the monologue followed by reality
is meant to surprise the audience.
Significance: this scene provides a fitting end to the narrative in a quirky way. It answers
questions about different sections which got affected by the financial debacle that happened in
America during that time.
Synergy: a fourth wall break at this juncture provides closure to the narrative. It effectively
conveys the films imagination of who should have been punished and what kind of steps
should have been taken to correct the wrongs of the entire system. It also talks about political
and economic corruption. Public perception about certain members of non-American descent
and other innocent sections of the public; has been discussed.21

21

The Big Short(2015) script retrieved from

http://www.paramountguilds.com/pdf/the-big-short.pdf

169

170

Wade Wilson, a former Special Forces operative working as a mercenary in New York City,
meets an escort named Vanessa at a local bar, and their one-night stand becomes a relationship.
A year later, Wilson proposes to her, but is then diagnosed with liver, lung, prostate and brain
cancer. Despite Vanessa's love, he detests the thought of her watching him waste away, and
leaves her in the middle of the night.
A recruiter from a covert organization approaches Wilson and promises him abilities that will
cure his cancer. Wilson reluctantly agrees. He is taken to a remote laboratory where he meets
Ajax and Angel Dust, and instantly resents them. Ajax injects a mutation-activating serum into
Wilson and subjects him to daily torture to activate it. When Wilson's body fails to respond,
Ajax asphyxiates him in an oxygen chamber, developing an accelerated healing factor that
cures him but leaves him disfigured. Wilson finds a way to destroy the lab and escapes his
confines. He battles Ajax, but relents when Ajax promises a cure. Ajax then impales him with
a rebar and leaves him for dead.
Wilson survives and attempts to return to Vanessa, but is afraid of her reaction to his disfigurement. After consulting his best friend Weasel, Wilson begins the task of tracking down Ajax
to get the cure. He becomes a masked vigilante, adopts the alter ego "Deadpool", and resides
with an elderly blind woman, Al. Following a string of leads, Wilson tracks Ajax to a convoy
on an expressway. He executes the numerous convoy guards, subdues Ajax, and demands the
cure. He is interrupted by Colossus and Negasonic Teenage Warhead. They try to convince
him to join the X-Men, and Ajax escapes. They attach a restraint to Wilson, but he frees himself
by severing his own hand, which regenerates overnight.
Ajax and Angel Dust go to Weasel's bar and learn about Vanessa. Weasel warns Wilson that
she is in danger, and they go to the strip club where she works to warn her. Ajax and Angel
Dust abduct Vanessa and tell Wilson to meet them at a decommissioned Heli carrier in a
scrapyard. Wilson persuades Colossus and Negasonic to help him rescue Vanessa. They travel
to the scrapyard and battle Ajax, Angel Dust and their team of mercenaries. As Colossus and
Negasonic fight Angel Dust, Wilson kills most of the mercenaries and engages Ajax in a handto-hand combat atop the Heli carrier. Negasonic accidentally destroys the equipment stabilizing
the Heli carrier, tipping it and scattering Ajax and Wilson. As Colossus carries Negasonic and
Angel to safety, Wilson saves Vanessa and injures Ajax. When Wilson demands his cure, Ajax

171

laughs and reveals there is none. Wilson kills Ajax, despite Colossus's pleas to spare him.
Vanessa is angry with Wilson for abandoning her, but they reconcile and kiss after she learns
why he did not return sooner.
In a post-credits scene, Wilson tells the audience that the film is over and announces a sequel
featuring Cable. 22

Directed by Tim Miller

Produced by

o Simon Kinberg
o Ryan Reynolds
o Lauren Shuler Donner

Written by Rhett Reese and Paul Wernick.

Based on: Deadpool by Fabian Nicieza and Rob Liefeld

Starring

o Ryan Reynolds
o Morena Baccarin
o Ed Skrein
o T.J. Miller
o Gina Carano
o Leslie Uggams
o Brianna Hildebrand
o Stefan Kapii

Production companies:

o Marvel Entertainment
o Kinberg Genre
o The Donners' Company
o TSG Entertainment

Distributed by 20th Century Fox

Running time: 108 minutes

Country: United States

22

Deadpool(2016) plot retrieved from

https://en.wikipedia.org/wiki/Deadpool_(film)

172

Analysis of above scene

: Deadpool breaks the fourth wall for the first time in the film while sitting on a bridge
over the road whichll have Franciss convoy passing through. He is wearing his usual costume
while conversing with the audience.
: Deadpool is conscious about being in a film which is based on him. He
starts setting the humorous tone of the film from the first instant by making a joke about the
superhero film genre. Francis is shown to be Deadpools enemy though its not specified why.
Deadpool is aware that wolverine is one of the biggest stars in this genre.
: after showing a visual of him killing Francis, Deadpool suddenly starts talking
to the audience. He is waiting for Francis to arrive so that he can right the wrongs done to him.
The plot concerning Francis is not talked about in further detail.
: Deadpool is honest about how tough it has been to get his own film. He describes it in a comical way.
: Deadpool starts by sharing his happiness of getting his own superhero film. He talks
about his eagerness to get revenge from Francis. It seems like he has a lot of rage against
Francis. He speaks appreciatively of Wolverine, though hid dialogues are comical.

173

: Deadpool sets a humorous tone for the fourth wall break right from the first
scene. He makes jokes about other superheroes and the film industry. He also states his to-do
list.
: this scene describes how hard it was to make this film for the character. He also
sets a tone for the remainder of the film. It gives a glimpse of the plot of the film.
: Deadpool comes with a history of fourth wall breaks from comic books and animated
movies. The trailer of this film also focussed on this concept. The first few minutes of this film
are normal, until Deadpool gives the audience a fourth wall break in his signature style. He
knows that the audience is looking forward to it. The fourth wall break is times well and written
in a short but sure way.

174

Analysis of above scene

: Deadpool breaks the fourth wall in the middle of a fight with Franciss convoy. He
has pierced two strong swords into one of the hitmens bodies.
: Deadpool knows that the first few scenes have started with plot points that
wont make sense to an audience because the context is not provided. He knows that this Genre
of films is loved more by certain sections of the audience.
: Deadpool freezes the frame in the middle of a fight with one of Franciss hitmen.
He knows that the frozen frame is very graphic. His dialogues show why it was done that way.
: Deadpool starts with saying that he knows that he is not a superhero like many
other comic book characters. His confession is heartfelt and is delivered in a humorous way.
He doesnt apologize for his actions and why he is doing what he is doing.
: Deadpool knows that female sections of the audience expected a normal superhero
film whichd be devoid of such violent imagery. He also knows that these sections are watching
this film because of the insistence of their partners. He tries to explain that the film is more
about romance, which is what these sections might like more.
: while the frame freezes when Wade lifts the hitman after piercing his swords
into his body, he shows off his strength and combative prowess. His fourth wall break which
speaks to the couples present in the audience is done with an aim to entertain them.
: This scene is executed in such a way so that there is a clear announcement for
Deadpools past in the scene that will follow.
: Deadpools fourth wall break is essentially a declaration for providing the section of
the story that will narrate the flashback. The time jump is specified and a joke about the superhero genre and its perception is made; so that the humorous tone of the film is maintained even
after a fight sequence.

175

Analysis of above scene

: Wade breaks the fourth wall during his flashback sequence. He is about to enter the
bar which also serves him and other mercenaries as an office.
: this scene provides reasoning for why Wade does not consider himself a
superhero. While talking about his place of getting employment, he also talks about the nature
of his work in a simplistic way.
: this scene shows what Deadpool did in the recent past. He also gives the audience a peek into the world of mercenaries.
: Wade honestly admits to being a criminal in the past. He is unapologetic about
it. Also, he is unpretentious about what he feels about himself and other mercenaries.
: Wade admits that he is someone who is more a hitman than a hero. He explains his
employment situation to the audience in a very simplistic way.
: in this sequence Wade acts as an announcer for Sister Margaret and the crux
of what it is.
: Wade uses this sequence to explain to the audience his of work. He announces
that the audience will get a glimpse of the world of mercenaries in the next frame. This scene
acts as a bridge.
: the fourth wall break facilitates the perception of Wade, other mercenaries and Sister
Margarets. It is fused into the narrative to act in an explanatory manner.

176

Analysis of above scene

: Wade breaks the fourth wall to announce that something bad is going to happen to
him. He also does it to tell the audience about his feelings for Vanessa.
: Wade has been shown as person with a lot of emotional endurance. He has
been displayed as someone with a tough life, though the details of it havent been completely
shown. Vanessa has been portrayed as a caring and affectionate partner to him. Her positivity
even in such a situation and Wades negativity about life is an integral element of this part of
the narrative. The clash of perspectives shows the kind of people and couple they are.
: Wade diverts the audience attention to his cancer, right after the scene where
they decide to get engaged. The tempo of the film shifts to a more serious shade.
: Wade is honest about his perception about the ups and downs of life. He speaks
about Vanessa in a loving way. Vanessas positivity is not something that Wade shares.
: Wade brings the audience closer to his life journey with the first line. He talks about
his love for Vanessa in the middle of the scene in which he realizes that he is facing Cancer.
He talks about how he admires Vanessa and how he thinks that she is the best aspect of his life
in a long time.
: Wade maintains his humorous side even while hearing that he is in the latestages of cancer. He is unpretentious about not having the hope of surviving this.
: Wade announces beforehand that something is going to happen to him. He says
that train-wrecks are ever present in his life and he can predict that something bad is coming.
This scene shows the nature of the bond between him and Vanessa effectively.
: the fourth wall break is treated as an announcement of what is to follow. Also, the
second one shows Wades love for Vanessa and the differences in the perception of the same
situation. Wade gets lost in the moment and talks about how he feels that this might be the last
time he sees Vanessa.

177

Analysis of above scene

: Wade breaks the fourth wall in 2 parts. The first part is when he leaves Vanessa and
sets out to the place agent Smith told him about. The second part is when he talks about superheroes is front of colossus who is not aware that he is in a film.
: the clash between Wade and Vanessas perspectives shows the kind of person Wade is. He is more concerned about what his predicament will do to Vanessa. He exhibits
his version of superhero-ism by ridding her of the pain of having to see him die. It is his best
choice in the situation according to him.
: this scene shows the kind of partner and person Wade is. The cut to the scene
with colossus keeps the audience alert about what is happening on screen. The fourth wall is
broken by transcending environments.
: Wade is honest about his perception of heroism. He feels what he is doing is
right. He also discusses the aspects of being a superhero in a casual way with the audience.
: Wade shows his emotional side to the audience by explaining the reasons behind
leaving Vanessa and going to agent Smith. He discusses his opinion about superheroes and
their perception among the audiences.

178

: His sacrifice is accompanied by a joke about Colossus and a subtle jab that he
is the only one breaking the fourth wall in this film. Wade maintains the light feel of the film.
: this scene shows the kind of character Wade is. He is an alteration of the superhero concept. He does things with an ulterior motive: of money or vendetta.
: the fourth wall break transcends 2 different phases and locations in the film and ties
them together. The timelines and fourth wall breaks have been interwoven strategically to keep
the audience alert about the plot of the film.

Analysis of above scene

: Wade breaks the fourth wall in this scene to talk about the humiliating experience of
falling in a garbage truck. He jumped from the bridge by cutting his hand which has cuffed by
Colossus. He bleeds into the garbage truck while saying this line. He is seen in the end being
taken to agent smith in a dull and cold environment.
: Wade narrates a dialogue which builds relatability with the audience. He
talks about how life usually gets spoilt by one bad decision. His perspective about life decisions
is shown in this scene.
: while confessing to the audience also that Wade is at a very low point in his life,
he gives the audience a precursor about the next bad thing which will follow.
: Wade confesses to being in a bad place in his life. He also accepts the fact that
his decision to leave Vanessa and go to agent smith was a life changing blunder.
: Wade build a more personal connection with the audience by relating normal life
with decisions. Though the dialogue is about his life, it also applies to the audience. He also
shares his disappointment about Francis escaping.

179

: Wade strengthens his bond with the audience and admits that his decision making has been bad. His casual style of delivering the dialogues is meant to entertain the audience.
: this scene shows Wades remorse over leaving Vanessa and all the events that
followed. It also ties the rest of the story with what has already happened. It build expectation
and suspense about what is to follow.
: the fourth wall break communicates wades feelings about his decisions and his bad
state at that juncture. It also ominously announces the unpleasant things Wade will go through
after this scene.

WADE: Did I say

This was a love story?
No, it's a horror movie.

Analysis of above scene

180

: Wade breaks the fourth wall while being tortured by Francis to get his mutant gene
activated.
: Wade knows that the imagery being shown to the audience is unpleasant.
He reviews and revises what he said before. He clearly tells them that is a film with graphic
imagery and torturous visuals.
: Wade keeps his conversation with the audience going by talking through the
pain he is going through.
: Wade maintains his pretension less conduct when he confesses to knowing that
the unpleasant visual of him being tortured makes it more of a horror story than a love story.
: Wade has built up a bond with the audience by this point. He knows that they will
cringe at the sight of his disfigured skin and their perception of the film will change. That is
why he announces that it is not completely a horror film.
: He shows resilience in a tough time to build a personal bond with the audience
and get their sympathy and admiration.
: this scene shows Wades tumultuous journey to becoming Deadpool through a
small unpleasant visual frame. It shows Wades pain and his understanding of the audience.
: the fourth wall break has been placed here to alert the audience about the kind of film
it is. It also conveys Wades state of pain and his despair because of Francis.

181

WADE: I didn't just get

the cure to
el cancer...
I got the cure
To el everything.
But there was
only one thing
that really mattered

Analysis of above scene

: Wade breaks the fourth wall again in this scene to announce what he will be doing
next.

182

: after burning the place down and surviving, Wade realizes that he is immortal and cant be killed. Though his skin is disfigured and he is in pain, wade knows that he
has to go back to Vanessa. Their bond is shown through this scene.
: Wade speaks to the audience while rising from the abyss of a burnt building to
say that he has realized what his peculiarity is.
: Wade confesses to the realization that Franciss experiment had granted him
the ability of being indestructible.
: after attaining healing powers, Wade announces to the audience that he will go to
meet Vanessa right away. He doesnt say it directly but knows that the audience would understand his hint.
: he announces to the audience that he has superhuman healing abilities and is
very close to becoming Deadpool.
: this scene brings the torture and Francis part to completion. Wade is now free to
go and meet Vanessa. Wade is rid of his state of physical pain and something positive merges
at the end of the hardships he faced at the facility. It shows his fighting spirit.
: The fourth wall break is used to tell the audience what Wade finally attained and
what the main thing is, which he looks forward to. It also shows Wades resilience and
Vanessas place in his life.

183

Analysis of above scene

: Wade introduces a very complex concept when in this particular instance. He does a
double fourth wall break. He also controls the flow of the visuals and creates a sense of control
around him. He explains who he lives with and tells the audience to recall the instance when
they saw her before this.
: Wade is shown as a fourth wall breaking character who is in control of the
visuals of the film. He creates a flashback with a small joke in between the rapidly paced visuals. He also does a fourth wall break inside a fourth wall break and does a comical jab about
its complexity. Al has been shown as Wades housemate and their bond has been displayed as
an unconventional one.

184

: after realizing that the film has gone back to the start, Wade brings it back to the
present moment to introduce his housemate Al. He tells the audience about how they met and
what kind of a bond they have.
: Wade is honest about not being able to control his anger and his bad decision
making. He confesses to having had a bad series of events and his plan not working out.
: Wade tells the audience about the comfort level he has with Al and how relaxed he
feels while living with her. He knows what the audience is thinking and plays with visual structure of the film. He also speaks in behalf of the audience when he talks about the fourth wall
break inside a fourth wall break.
: His description about how he met Al has been done in a playful way. The
fourth wall break inside the fourth wall break and the play with the visual flow are attempts to
entertain the audience in a quirky way. Wades bond with Al and her nature have been shown
in an unusual way. He makes a joke about Batman and Robin being in love with each other to
connect with the comic book loving members of the audience.
: this scene shows the importance of Al in Wades life. It also shows Wades disappointment over his plan failing.
: Wades control over the visual structure of the film shows that the fourth wall break
has evolved beyond its plain definition. It is used by the film in a novel way to play with the
audience expectations and the subconscious predictions they make. The fourth wall breaks have
been treated in an unusual way to breathe freshness into the narrative. Wade also shows his
consciousness about being watched by pop culture enthusiasts when he makes a joke about
batman.

185

Time to make
The chimi-fuckin'-changas.
WADE: Not often
a dude ruins your face
skull-stomps your sanity,
grabs your future baby mama
and personally sees to four
of your five
shittiest moments.
Let's just say it's beginning
to look a lot like Christmas.

Analysis of above scene

186

: Wade breaks the fourth wall just before his faceoff with Francis. While heroic music
is playing in the background, Wade gets out of Dopinders car and talks to the audience. Colossus and Negasonic are oblivious to him doing this. He is wearing his Deadpool suit and he
speaks in an angry and excited way.
: Wade might have not acted to his destructive potential till now. But that is
because whatever Francis did was to him. Wade finally is pushed over the edge when Francis
kidnaps Vanessa to get to Wade. This shows the archetypes the film has touched upon. The
audience will realize that this is a typical love story.
: wade talks to the audience just as he starts walking towards the dockyard where
Francis is holding Vanessa. He looks determined to get her back.
: Wade was earlier honest about being scared about Vanessa being abducted by
Francis. In this scene, he shares his rage with the audience and disguises his fear with excitement.
: the audience knows how much Wade hates Francis for what he did to him. But you
never hear him talk about Francis by listing all of Franciss wrongdoings against him. In this
scene Wade shows the audience how much fury he has and how he feels about unleashing it.
: the dialogue for this scene has been compressed to convey the crux of Wades
relationship with Vanessa. Also, it shows Wade and Franciss rivalry in an effective and humorous way. Wades lingo is deliberately casual and comical.
: this scene acts as an announcement for the action sequence that is to follow. It
maintains Wades conversation to the audience. It sets up the stage for the hero vs villain archetype to save the heroine from the clutches of the Villain.
: the fourth wall break is a declaration of the clash that is about to start. It provides
reasoning for the clash also. Wades fourth wall break maintains the passive aggressive tone of
the film.

187

Superhero landing.
She's gonna do
a superhero landing.
Wait for it.
WADE: Whoo!
Superhero landing!
You know, that's really
hard on your knees.
Totally impractical.
They all do it.

Analysis of above scene

: wade breaks the fourth wall to make a joke about the genre of superhero films. He
does this when he, Negasonic and colossus face off against angel and Franciss crew.
: the film portrayal of superheroes has been shown to be against the laws of
physics in this scene. It also shows wades consciousness about existing in the same film universe as other comic book characters.
: the fourth wall is broken to provide comic relief while also criticizing the superhero centric films.
: Wade honestly accepts that many stunts shown in such films are completely
unreal.
: by criticizing his own genre, wade strengthens his bond with the audience. He also
is unpretentious about mocking his own movie.

188

: Wade maintains an entertaining hue even during a serious fight scene in order
to amuse the audience.
: this scene shows Wades knowledge of other members of the category of comic
book based cinema and his opinion about them.
: this fourth wall break ensures humorous layering under the action sequence.

FRANCIS: When I'm finished...

parts will have
to grow back you.
WADE:
Good one.
Yep, that was a good one.

Analysis of above scene

: wade breaks the fourth wall here right in the middle of his faceoff with Francis.
: Franciss serious dialogue shows the kind of no nonsense person he is.
Wades enthusiastic persona is depicted through his chatter even in the middle of a fight.
: while getting ready to combat Francis, Wade breaks the fourth wall to compliment his dialogue and his delivery.
: Wade speaks from the heart when he appreciates the dialogue writing of the
film. He says that to compliment the writer of the film.

189

: it seems like Wade is able to guess that the audience will side with him even though
Francis is a formidable opponent. That is why Wade stops to compliment Francis on his dialogue and its delivery.
: Wade preserves a charming hue even during a serious fight scene in order to
please the audience.
: Wades taste in writing and his clam demeanour during serious episodes is exhibited through this compliment.
: The fourth wall break is needed in this scene to do justice to the dialogue and provide
comical relief.

Analysis of above scene

190

: Wade breaks the fourth wall again in this scene to give a fitting conclusion to the
story. He speaks on behalf of the audience when he says that everybody has been waiting for
this moment. He speaks on behalf of the superhero universe also. And he concludes the dialogue by singing to the audience.
: Wade has been shown as an ecstatic hero archetype in this scene. After
finishing a year of avenging himself against Francis, he also gets to save Vanessa and reunite
with her. Vanessa has been displayed as an accepting and affectionate person who only cares
about Wade being alive and their companionship. Their relationship has been embodied in the
song that wade sings.
: Wade continues his conversation even while enjoying his reunion with Vanessa.
He controls the visual by adjusting the angle of the camera.
: Wade speaks about how he only pursued Vanessa and wanted to be with her.
His goal was not be a superhero. He confesses to feeling the lyrics of the cheesy song he is
singing at this juncture. He is unpretentious about it.
: Wade is initially fearful of what Vanessa will feel about his disfigured skin. He
knows that he looks unpleasant and is very nervous about what she will feel and say. He fears
her not taking him back. After she finally does take him back, his happiness is displayed for
the audience through a song and some jokes.
: even during an intense romantic scene, Wade makes sure that there is adequate
humour and music to entertain the audience. He points out the difference between this film and
rest of the genre. He makes a joke about Spiderman by using a reference from Spidermans
comic books.
: the fourth wall break at the end of the film provides closure to the audience. It maintains the flow of fourth wall breaks right till the end. Wades willingness to speak to the audience even in the end shows his commitment to fourth wall breaks. He even sings along to his
favourite bands song while playing with magnification of the visuals of this scene.

191

Analysis of above scene

: Deadpool pays tribute to Ferris Buellers day off (1986) by wearing the same robe as
Ferris wore in the end credits to speak to the audience for one last time. It is a cultural reference
which gives homage to this film because it was a landmark film among fourth wall breaking
films.
: Deadpool has been shown as character that is aware that he is part of a film
franchise. He also knows how the Avengers films are concluded with a hint about the next film.
He maintains his causal and humorous approach to this fact by finally telling the audience who
will star in the next Film.
: Since it belongs to the Marvel cinematic universe, the audience is expected to
wait for the post credits scene. The scene talks about what plans the Deadpool franchise has
for the next film, in its signature humorous way.
: Deadpool makes a joke about the producers and himself by saying that they
dont have enough money for a genuine after credits scene. He also subtly conveys that this
film inspiration for fourth wall breaks from Ferris Buellers day off. He is also aware about
multiplex audiences and their habits and tells them to keep the theatre clean.

192

: Deadpool talks about not having enough funding to deliver a genuine marvel post
credits scene. He also knows that the audiences expect at least a hint about the next film. He
initially denies it, only to tell them that the popular character Cable will be a main part of the
next film. He also tells the audience to keep it a secret, though he means to tell them the opposite. Also, he shows his socially conscious side by telling them to keep the theatre clean.
: Deadpool delivers what the audience want in terms of post credits scene construction, though he gives it his unique touch. He also shows his respect and admiration for
Ferris Buellers day off (1986) by doing a similar scene narration. This is done in order to
entertain the audience through nostalgia.
: the post credits scene is a very important element in bridging a marvel universe
film with the next or other franchises connected with the Film. Deadpool uses this scene in his
own signature way to play with the audience. He reveals the addition of Cable and the probable
actors who might play him.
: This scene is based on using Deadpools fourth wall breaking persona to reveal the
details of the film. Adapting his aura to this scene is an effort to make it a refreshing change
from other post credits scene in the marvel universe films. Deadpool also does a pastiche of
another popular fourth wall breaking character; Ferris Bueller by wearing the same robe and
speaking in a room with similar wallpaper. 23

23

Deadpool(2016) script retrieved from

http://genius.com/20th-century-fox-deadpool-script-annotated

193

Chapter 7: Inferences and Conclusion

Chapter 7.1: Agency

A. Through the Analysis, the researchers put together a list of characters who broke the
fourth wall 1. Alvy singer
2. the stranger Alvy has a quarrel with in the theatre lobby
3. Alfie
4. Deadpool
5. Ferris Bueller
6. Jack
7. Tyler Durden
8. George Kuffs
9. Dark helmet
10. Barf
11. Yoghurt
12. Zircon
13. President Scroob
14. Wayne
15. Garth
16. Glenn
17. Benjamin
18. Jordan Belfort
19. Jared Venett
20. Michael Burry
21. Jamie
22. Charlie
23. Vinnie
24. Anthony Bourdain
25. Margot Robbie
26. Selena Gomez
27. Richard Thaler

194

Principal narrators: got maximum screen time and fourth wall breaks. They are1. Alvy Singer
2. Ferris Bueller
3. Dark Helmet
4. Wayne
5. Garth
6. George
7. Jack
8. Tyler
9. Alfie
10. Jordan
11. Jared Venett
12. Wade/Deadpool

Strangers: they had a negligible presence in the entire film. Characters who were part of the
film and didnt have real importance in the film1. Stranger Alvy quarrels with in theatre lobby
2. Glenn
3. Anthony Bourdain
4. Margot Robbie
5. Selena Gomez
6. Richard Thaler

195

Others: There were also characters who did break the fourth wall, but were not narrators or
strangers. They played a significant role in the film and got considerable screen time.
1. Barf
2. Yoghurt
3. Zircon
4. President Scroob
5. Michael Burry
6. Jamie
7. Charlie
8. Vinnie
9. Benjamin

Agency

others
33%

narrators
45%

strangers
22%

narrators

strangers

others

This goes to show that Narrators act as the agency most of the time. Centrality of the narrative is maintained by doing this, is the probable reason. Also, it reduces clutter.

196

B. Usage of strangers
Strangers were used for comedyo stranger who quarrels with Alvy in Annie Hall [1977]
o

Glenn: the owner of the cafe in Waynes world [1992]

Strangers were also used for Information/exposition- Anthony Bourdain, Margot Robbie,
Selena Gomez and Richard Thaler in Big Short [2015]

Usage of strangers

comedy
33%
information/exp
osition
67%

comedy

information/exposition

But it is important to note that Big Short [2015] has a special purpose of making the audience familiar with the financial concepts displayed in the film.

197

C. Fourth wall breaking scenes

number of scenes
16

14

12

10

8
14

14

6
11

9
4

8
7
6
5

number of scenes

Annie
Hall(1977
)

Ferris
Bueller's
Day
off(1986)

Spaceballs
(1987)

Wayne's
World(19
92)

Kuffs(199
2)

Fight
club(1999
)

Alfie(2004
)

the wolf
of wall
street(20
13)

the big
short(201
5)

Deadpool
(2016)

11

14

14

number of scenes

Total number of fourth wall breaking scenes were 83. The average number of fourth wall
breaking scenes per film is 8.3.
The maximum number is 14. Both the films which have this are different in terms of distribution of Fourth wall breaks. Deadpool (2016) only did it himself. But in The Big Short
(2015), 9 characters broke the wall. This makes Deadpool the highest fourth wall breaking
character.

198

The least is Spaceballs (1987) which was a parody of the star wars series. Probably, it used
the concept to make the parody more effective. And the concept wasnt the central focus of
the film.
Chronologically, there is no linear pattern here.
But, what is noteworthy is that the number of fourth wall breaking scenes was lowest from
1987 to 1999.
Annie Hall (1977) is the first true exponent of this concept and its number of fourth wall
breaking scenes is 8: same as the average.
Annie Hall (1977), Ferris Buellers day off (1986) and Alfie (2004) were just a bit above
the average number of scenes, and had the principal narrator engage in constant conversation with the audience.
The Big Short (2015) and Deadpool (2016) have the maximum number of Fourth wall
breaks which shows that the film world is probably getting more comfortable with the concept being used as a device.

199

Chapter 7.2: Characterization

A major part of these films was moulded through the Narrators. They not only occupied a main
part in the film, but also had most of the Fourth wall breaks. They can be looked at in different
phases of the film.
A. Start
A films start is important because it sets the tone for the rest of the film. These starts were
used in a careful way.
Alvy did a monologue about him and his life in general. He made it look like a stand-up
comedy bit.
Ferris surprised the audience after fooling his parents in a comedic way. Also, his scene in
the shower while talking about homework to the audience is peculiar.
Deadpool gave a demonstration of his skills as a mercenary and spoke about his revenge
plans.
Wayne literally showed the audience his house and then elaborated on his dream to get his
show commercialized.
George Kuffs started with telling the audience about the problem he is facing.
Jordan spoke about his drug usage habits and what he considers the greatest drug.
Alfie opened with a string of dialogues about his morning routine, and introduced himself
in the end of the scene. It gave a clear idea about his personality and lifestyle.
Jared Venett gave the audience an idea about the specific issue his film will be addressing.
The scene was crisp; it evoke curiosity while also maintain a suspense.

200

B. Middle
There were also scenes in which the mental images of the character were displayed, like

the woman who blows a kiss to the audience in Annie hall(1977)

Alvys sudden fourth wall break to make a fool out of the stranger criticizing Marshall
McLuhan is entertaining and relatable at the same time. Alvy also explains how his family
and childhood was. Fourth wall breaks were instrumental in how the narrators past was
shown.
Ferris used the fourth wall breaks to talk about how his father and his best friend. In the
same film, his dean and his mom have a serious conversation, while Ferris is playing a
musical instrument the wrong way. His description of their personalities is done through
the fourth wall break. Ferriss serious side was also revealed when he speaks about his
future. Wayne has also been shown as a hypocrite by showing him mocking consumerism.
Yoghurt does the same thing but in the context of merchandising. Georges brother has
been shown as a caring, loving and fatherly figure through Georges fourth wall break.
George has also spoken about his feelings about his new partner.
Tylers rebellious and individualistic personality has been displayed effectively through his
camera shaking fourth wall break. Throughout the film, Alfie has broken the fourth wall to
talk about his situation and his life. Deadpool and Jared Vennetts character have been
established through the fourth wall breaks. Deadpools resilience is shown as someone who
has gone through extreme pain to stay alive for his partner. Jared Vennetts guilt filled
satisfaction of getting paid showed the nature of the financial business itself.
Sometimes, complete strangers were used for informative or comedic purposes like Jareds
announcements about the real world personalities like Anthony Bourdain and Margot Robbie. Marshall McLuhan makes a brief appearance to support Alvys claim.
Jordan Belfort and Alfies questionable moral standards have also been shown in a nonchalant and effective manner through their fourth wall breaks. These scenes are pivotal for
the audience to stay with the character, though they may not see him as a good person.
George, Wayne, Garth, Alvy and Jack are displayed as principally good people. Their es-

sence has been displayed through fourth wall breaks at selective places in their respective
films.
Wade hasnt broken the fourth wall much. It is after becoming Deadpool that he starts

breaking the fourth wall. Even his violent side has been shown to a larger extent when he
becomes Deadpool. His aggressive side is probably justified in the film by referring to the

201

multiple psychologically and physically troubling experiences he has had. His comedic demeanour even through such a journey, is what elevates him as a character.
C. End
Ferriss carefree self has been shown changing over the run time of the film. Though he

starts more as an entertainer, he goes on to become a lovable teenager. Also, in his film,
the city he lives in, is displayed subtly as a major part of who he is. Same goes for Wayne
and Garth.

Through the run time of films, characters go through transformations as people. George
finally realizes his love for Maya and settles down with her. Ferris successfully evades
getting caught bunking. Wayne offers multiple endings to the audience. Jordan ends up
becoming a sales trainer and continues being himself. The entire cast of the big short (2015)
change their lives after the 2008 financial debacle. Deadpool finally gets together with
Vanessa and announces the franchises plans for a sequel. Alfie (2004) has the most transformative ending with Alfie questioning his lifestyle and principles while feeling philosophical and apologetic about it.

202

Chapter 7.3: Engagement

Among the sampled films, the Fourth Wall break scenes have an engagement value attached to
each of them. Fourth Wall breaks are some additional interesting information containing a surprise element, comprehensiveness, checking with viewers to see that they are following the
story etc.; the need and purpose varies according to the narrative of the film but few features
are common that takes place as an engaging factor.
1. Describing daily routine, lifestyle of the character.
2. Characters engage audience with explanation, critical expositions, disclosing plot points.
3. Humor, comic elements, satire, jokes instantly engages the audience.
4. Coming to audience with expectation to judge a situation.
5. Introducing characters, attitude and activities, talking about backgrounds and describing
nature of relationship.
6. Meeting the audience for the first time as a friend. Friendliness is a common engagement
factor.
7. See what I have to put up with. And Let me tell you a secret are the kind of dialogues
these characters direct at the audience.
8. Confidence, success, heroic feats, loneliness, confusion, and pain- all these make the characters turn to the camera and engage with the audience.

203

Chapter 7.4: Ingeniousness

The originality of scenes make it stand out from another. All the scenes in the film are different
from each other. In this ingeniousness of scenes, Fourth Wall break scenes also impose an
originality which makes it worth remembering. Fourth Wall breaks are creative and crisp in
nature. Characters are honest and confessional in few cases like in Annie Hall (1977) and Alfie
(2004) where loss of love creates interesting Fourth Wall break situations. While Spaceballs
(1987) and Deadpool (2016) have their original Fourth Wall breaks in comical and self-referential way. Fight Club (1999) used stares and glances as an effective Fourth Wall break approach. Conversely, in Kuffs (1992) emotionality and personal secrets are exposed. It is observed that majority of Fourth Wall breaks are in front of a stationary camera and not a moving
one.

204

Chapter 7.5: Intimacy

A. Start
Alvy starts with a very heartfelt monologue about his past with his body language giving
out a clear indication that he is upset and in trouble. This type of transparency with the
audience, right in the start of a film is rare to find.
Alvy had a close understanding of the audiences of his time. He is also a stand-up comedian
who has to perform in front of audiences. Tyler Durden could connect his rebelliousness to
the happenings of the world and the feeling of the youth of that timeline. Character perspective about the people around are also shared: Alfie talking about his neighbour, George
talking about his brother and Alvy talking about his classmates are the efforts to connect to
audience through opinion.
Elaborate character introductions like the ones by Wayne, George and Jordan are created
to use the fourth wall break to set a faster pace of intimacy with the audience. Jared introduces the rest of the characters through decisive fourth wall breaks. The screenplay has
been carefully written to make the fourth wall breaks a standard and intimate device in the
film.
Almost every film in this study had a scene in which the character introduced the audience
to his world. This is the surrounding of his home, office or usual watering hole. They show
the audience their daily routine and lifestyle. Their enthusiasm and comfort in showing the
audience around in their natural setting was very non pretentious on the films part.
B. Middle
Spaceballs (1987) and Waynes world (1992) had very casual protagonists who were in
control of the fourth wall breaks. They interacted with the audience by playing with the
camera movement too. Deadpool was another character who played with the camera, but
he added his touch by also playing with the editing of the film. Transitional cuts with changing environments were displayed in these films.
Ferris kept on conversing with the audience about his state of eternal relaxation, which
brought the audience closer to his carefree persona.
Stares and glances have been used in multiple scenes to retain constancy in the companion
like relationship between the film and audiences.
Alvys scene with the stranger in the theatre lobby and his line about wishing for a real life
with a scene like that shows intimacy with the audience. Ferriss scene where he hacks the
school attendance records in front of the audience are also indicative and then bringing the

205

audience into his phone calls are clear attempts to establish a more personal relationship.
Seeing these characters on a normal day, is the closest an audience can get to them.

Ferris and Alvy talk about their understanding of families through the scenes in which they
criticize their friend/partners family. Alfie plainly refuses to be committed to his long-time
companion Julie because he does not believe in domestication and family relationships.

Jack talks about Tyler repeatedly because he has to solve the dual function of speaking to
the audience and speaking on behalf of Tyler. Tyler has broken the fourth wall lesser times
but his comments about contemporary social and political culture were intense and heartfelt.
Ferriss dialogues about his and his friendships future when his best friend is lying unconscious after a nervous breakdown is very personal. It has been done with the intention of
strengthening the bond that the character has with audience. George has even spoken to the
audience when he is in the room where a bomb will detonate. Similarly, Deadpool continues his chat with the audience when is thrown by colossus and is swinging in mid-air.
Sometimes, these characters have simply refused to let go of the conversation with the
audience. That relationship is intimate in itself.
George and Deadpool have even discussed plans about how they will get back at their adversaries, with the audience. Wayne discusses the laundry list of the bad incidents that have
happened in the recent past in his life. The audience occupies the role of a friend in these
situations.
There are very raw moments in every film. They are like an exposed wound and the character can no longer entertain the audience. Their essence is that the problem that the character is facing, has to be given due respect because of the magnitude of it. Alfies sexual
problem and Deadpools fall in the garbage truck after cutting his hand, are the most intimate moments in the film.

206

C. End
Jared finally gets paid after 2 years. His conversation with the audience was very unpretentious. It was almost like he could feel what the audience was feeling and vice versa. Jordan
never really cares about the rules and he is open about it. He treats the audience like someone from his social circle.
When characters ask questions to the audience about what they would do if they were in
the characters place, shows not only the effort to evoke imagination, but also the empathy
of these characters.
Deadpools scene in which his skin gets disfigured is a heart wrenching site. He does not
let go of the audience even in that moment.
At the very end of most films, the protagonists life looks favourable. In these moments,
these films have gone on to express the enthusiasm about it through fourth wall breaks by
the protagonist. Ferris Bueller ends the film by restating what he had said in the start.
George shows his infant daughter to the audience and speaks proudly of his wife. Jareds
last fourth wall break seriously mocks the ignorance and bias of American people. Alfie
shows the audience his sensitive side without giving hints about how he plans to go on.
After credits scenes werent spared. Wayne and Garth continue breaking the fourth wall till
the very end of the film. This shows a refusal to let go of the audience. Deadpools after
credits fourth wall break was a homage to Ferris Bueller; it was even shot in the same
camera angles. Deadpool added his own touch to it by talking about the future of his film
franchise and later signalled the audience to pick up their trash.

207

Chapter 7.6: Showmanship

1. Annie Hall (1977)
Alvy Singers metaphorical innuendos and contextual jokes hold a certain amount of assertion on the point that he is trying to make. The satirical references and openness about his
personal self draws attention.

In the same film, a sudden scene where his school classmates have been shown is peculiar.
The entertainment quotient lies under the bland statements of the kids. It is the showmanship of the narrator, who presents it to the audience.

Alvy mediates a cross between the man and Marshal McLuhan. He addresses the camera
in an assertive way and also concludes the situation in a satirical manner.
In Alvys storytelling, all the events revolve around him and the audience get to see his
course of action only. His ostentatious ability to tell a story hooks the audience in an attentive way.
2. Ferris Buellers Day off (1986)
After announcing to the audience that his parents fell for his lie and theatricality, Ferris
goes on to switch the TV on and plays MTv on high volume. And while showering, he
sings while also making a Mohawk out of his wet hair. Also, the informative list about how
to fake an ill-ness and what steps to be careful about; is a clear attempt to take on the role
of an entertainer.
While affectionately making fun of Camerons way of life, Ferris tries to entertain the audience with a quirky metaphor.
Ferris tries to entertain the audience by jumping in with bad music at the exact moment
when his mom calls him a sick boy. His desire of being passionate about music is shown.
Also, by hacking really casually, Ferris softly diverts the attention of the audience towards
the bad luck of getting a PC instead of a car. He tries to entertain the audience by his affirmation about his perceived bad luck.
A whole sequence is constructed to generate comedy at the expense of the dean. Ferris is
seen as a smooth operator in his plans and execution. It can be seen as an attempt to entertain the audience. Also talking to the audience while driving away, is aimed at increasing
their curiosity about what will happen now.
One scene tries to entertain by sharing Ferriss comedic thoughts. His innermost feelings
about his best friends family and a family should not function are revealed. He tries asks

208

the audience to imagine how Camerons life mustve been while growing up in a house like
that. All this while constantly focussing on Camerons movements ends up looking funny.
In the last scene, by demonstrating the same pretension that convinced his parents in the
opening sequence of the film, Ferris tries to entertain using the existent memory of the
audience.
3. Spaceballs (1987)
A. Medium awareness: The characters acknowledge and interact with elements and conventions that shouldnt technically exist in their medium. Generally, actors cannot see themselves within the movie, are not aware of the money the movie is making, doesnt know
about transitions used in editing nor does it acknowledge the crew working behind the camera. Spaceballs used all these tropes as a direct acknowledgement of their awareness about
the reality. Yoghurt talks about merchandising of the movie (46:08). He also directly hits
the subject of making a sequel of the movie with the name of Spaceballs 2: The search for
more money (52:56).
YOGHURT
Merchandising. Merchandising. Where the real money from the movie is made.
Spaceballs-the T-shirt, Spaceballs-the Coloring Book, Spaceballs-the Lunch box,
Spaceballs- the Breakfast Cereal, Spaceballs-the Flame Thrower.
In the desert, where Lone Starr, Barf, Vespa, and Dot are lost, Barf comments on
the transition, when the night scene gets dissolved into next morning by saying
Nice dissolve! (40:50) When the same gang tries to escape from Spaceball One
(the Spaceball spaceship), battling against the Spaceballs gunners, Dot Matrix comments anxiously Oh, I hate these movies. (1:01:22) President Scroob comes running across the hall hastily and addresses the audience The ship is too big. If I
walk, the movie will be over. (1:04:10)

209

At one point, the villains believe they've captured Lone Starr, Barf, Vespa, and Dot,
only to learn they've mistakenly captured their stunt doubles (1:02:48).) Addressing
the production part of the film within the film, shows awareness of the medium by
the characters.
B. Camera abuse:

210

The camera collides with Dark Helmet during a zoom-in shot. Just before, Colonel Sandurz
blatantly sees the camera approaching and backs out of the way (22:26). Camera acts as an
integral part of the narrative itself. Fourth wall break is considered fragile a lot of times.
The solidity of the fourth wall (in relation to the three traditional walls) can be questioned
many times. But the clattering sound that the camera makes after hitting Dark Helmet has
formed a metaphysical boundary between the screen and the audience. Dark Helmet falls
on the ground after the collision. Another instance, where Dark Helmet spits hot coffee into
the camera lens (7:08), would make the audience shift to their side if itd been made in 3D.
The fourth wall is thus shown as tangible and physical. During the duel between Lone Starr
and Dark Helmet, one of the camera crew gets killed by a wayward strike (1:13:31).

211

C. Construction of spatial-temporal reality: Villains Dark Helmet and Colonel Sandurz

watch Spaceballs: The Movie to find out where the Heroes have escaped to. This confuses
Dark Helmet when the video gets to the part thats currently going on. At one point, Sandurz and Dark Helmet look at the camera turn by turn seeing the infinite number of themselves watching themselves on the screen (36:28). Dark Helmet realizes that they are
fictional characters in a movie which is still in the making and comes to him as a shock.
This continuity crossover between the film and instant cassettes (as it has been explained
in the film) happens in the middle of normal action. This course of action within the film
actually creates the rest of the narrative and the world of the film exist inside itself. Spaceballs has not gone for clarity and has shown both the realities as fictional to each other in a
stable fiction loop. Thus, this fourth wall break uses the act of reading ahead of the script
as a comedy troupe.

212

The movie stops at the exact same thing that is actually happening now.
HELMET looks at the camera, then he turns back to the monitor.
SANDURZ looks at the camera when HELMET looks back at the monitor, then he
looks back at the monitor. HELMET looks at the camera when
SANDURZ looks back at the monitor. When HELMET turns back, he waves his
hand. He turns back to the camera.

HELMET
What the hell am I looking at? When does this happen in the movie?

SANDURZ
Now. You're looking at now, sir. Everything that happens now, is happening now.

HELMET

213

What happened to then?

SANDURZ
We passed then?

HELMET
When?

SANDURZ
Just now. We're at now, now.

HELMET
Go back to then.

SANDURZ
When?

HELMET
Now.

SANDURZ
Now?

HELMET
Now.

SANDURZ
I can't.

HELMET
Why?

SANDURZ
We missed it.

214

HELMET
When?
SANDURZ
Just now.
D. Another scene where Colonel Sandurz and Dark Helmet observes the fourth wall is when
Sandurz tries to turn off the wall communicator after forcing King Roland to give up the
Air Shield Code, and accidentally turns off the visuals with the remote. Audio keeps rolling
on the blank screen. The screen turns black for the audience as well for the characters in
the movie. This apparently creates a willing suspension of disbelief among the audience
neglecting realism and logic for the sake of enjoyment. When the visuals resume, Doctor Schlotkin and Gretchen are found kissing, taking the advantage of the dark screen.
SANDURZ takes a remote out of his pocket, points it at the wall, and hits a button.
Instead of turning off the wall, he turned off the whole movie. A blank screen
appears. GRETCHEN is making sensual noises.

HELMET
What'd you do?

SANDURZ
I turned off the wall.

HELMET
No you didn't. You turned off the whole movie.

SANDURZ
Well I must have pressed the wrong button.

HELMET
Well, turn it back on. Put the movie back on.

SANDURZ

215

Yes, sir. Yes, sir.

The screen comes back on. HELMET and SANDURZ are standing in front.
SCHLOTKINS is kissing on GRETCHEN'S breasts. She is still making sensual
noises.
Other fourth wall breaks: There are few fourth wall break scenes in the movie which has
addresses the audience just by looking straight at the camera. With or without dialogues,
these fourth wall break scenes have importance in the narrative.
4. Waynes World (1992)
Waynes character could have been normal in terms of attire, body language, speech tone
and modulation. But he has been designed in a quirky way to make him look more like a
film character. Even Garth resembles Wayne a lot, but he is a more subdued version of him.
Their complete characterization is an effort to entertain the audience.
When Wayne stops Glen from talking to the audience, he is primarily trying to create humor
while also stating a fact. Garths blank silence is also an element which has been to show
the charisma of the main Fourth wall breaking characters.
The whole conversation about consumerism is very well constructed to produce humor.
The words match the visuals and the flow is quick. It is a burst of comedy at an unexpected
time in the film.
The Scooby doo ending is not logically a requirement for the film. But it has been added to
entertain the audience. The other 2 endings also have been played out in an over the top
dramatic style. The film advances its quirky side by treating the ending as multiple choice
and including a whole cast fourth wall break to it.
5. Kuffs (1992)
George reacting to the news about Mayas pregnancy straight to the audience shows his
consciousness of being in a film right from the very start.
The film tries to outsmart George by destroying the turkey he had in his hand. This shows
a tussle between Georges environment and him.
George tries to entertain by showing off his gunshot wound to the audience. He also makes
his mistakes look humorous for the sake of comedic effect. His dialogue in response to
seeing Kane sit in his apartment, adds to his characters wit.
The effort to entertain through showing a resolved problem is shown in this setting. His
happiness and explanation of current situation bring closure to the film. He again creates

216

humour at the expense of his comrade Ted. Ted is shown suffering a lot because of George;
which the film uses for comedic effect.

6. Fight Club (1999)

Narrator describes in a steady, informational way in the first part. Then describes more of
Tylers contribution as the projectionist and talks of him in a protective manner.
Tyler with his strong hold on words, looks at the camera in strong, severe and vehement
way- trying to put his message across to the audience.
Stares and glances
Some fourth-wall breaks in the movie are short and meaningful exchange of glance to the
camera. Done by Tyler Durden or Narrator, they find themselves in position where they are
scared, surprised, irritated, amused or simply bored. The specific context of reference of
these scenes are located in the movie. This research points out such instances. Behind these
stares and glances, there is background narration included in some of the cases.
(12:09)
Voice-over of the narrator is played while Narrator is looking at the ceiling, he swiftly
changes his glance to the camera, then again back staring at the ceiling. He is an insomniac
here, thinking about Marla, the girl who joined all community groups for distressed that he
attended, and disrupted his life.
(21:02)
Narrator wakes up at a plane due to sound of seat-belt alert and stares at the camera in front
of him with his eyes wide open.

217

7. Alfie (2004)
Right from the word go, Alfie starts entertaining the audience with honest and funny statements. He lets his dialogues do the work of impressing the audience and waits till the end
of the scene to introduce himself while also introducing the film.
Sharing a secret about his feelings and adding clever reasoning to it is an effort to entertain
the audience through humour.
Traversing through the streets of New York on his scooter, Alfie looks like a guide who is
presenting the benefits of living in a city like New York. Then he is shown enjoying a meal
in a caf while explaining the priorities of his life. Alfie makes it look entertaining.
While talking to Julie, Alfie warns the audience about not dating single mothers. He says
that it comes with its consequences. The whole bit has been presented like an instructional
video. Alfie also shows how he deals with tricky situations.
His fathers words of wisdom about Women are something a section of the audience might
find entertaining.
The film uses Fourth wall breaks to cultivate the audience as a companion to Alfie in troubled times. The possible goal is to entertain and generate sympathy through the same sequence.
Alfie tries to entertain through his comments about a female customer (Nikki). He also
looks like he is in total awe of Nikki. The visuals showing their relationship are very stylish
and tabloid like. It is packaged like a celebrity relationship
Alfie shows off his lifestyle and his aspirations. He also pretends to like classy things that
he doesnt know.
8. The Wolf of Wall Street (2013)
In the opening sequence, Jordan walks confidently, having no regrets or guilt about the last
night and winks in the end.
Jordan doesnt look at the camera till the end where he says Morphine is an awesome
drug, but he keeps breaking the fourth wall even when he doesnt look. It is only because
there is no one else on the screen who he is talking to, and when he looks at the camera
before entering the car, the scene just explains itself.
Jordan is confident and clear when he walks into the office. He is the boss of the company
and entertains the audience with his style and charisma.
There is a shot which looked like an info-dump: but it changes into a comical way and puts
things lightly.

218

9. The Big Short (2015)

By taking the role of the storyteller, Jared tries to engage the audience. He makes a re-mark
about the people who saw the 2008 debacle coming by saying that they were the only ones
who looked. This is done to make the audience feel interested in the premise of the film.
Jared states his message in a funny way. He leaves the frame so that Margot Robbie can
keep the attention on herself in the bathtub. It is an attempt to keep the audience focussed
at what she is going to explain.
Vinnys one and only fourth wall break has been timed to entertain the audience.
Jared only announces that CDO is a key player in the film. He leaves the screen after telling
the audience that Anthony will explain the concept. Anthony owns the scene and explains
the concept in an informative and entertaining way.
The character introductions are carried out in an interesting way by wrapping it with the
cur-rent situation in the characters lives.
Jareds sudden fourth wall break to share his feelings about Mark has been treated in a
comical way to entertain the audience.
In the middle of a very serious scene, Charlie shows how he plans to go about his situation
and what the expected outcome from it is.
There is one scene that has been treated like an infomercial. Jared announces the catastrophic effects of the concept while Thaler and Selena explain how it is designed.
Jared treats the last scene like a magic trick while also conveying the films feelings about
what happened during this debacle. The first part of the monologue followed by reality is
meant to surprise the audience.
10. Deadpool (2016)
Deadpool sets a humorous tone for the fourth wall break right from the first scene. He
makes jokes about other superheroes and the film industry. He also states his to-do list.
While the frame freezes when Wade lifts the hitman after piercing his swords into his body,
he shows off his strength and combative prowess. His fourth wall break which speaks to
the couples present in the audience is done with an aim to entertain them.
Wade maintains his humorous side even while hearing that he is in the late-stages of cancer.
He is unpretentious about not having the hope of surviving this.
His sacrifice of cutting his palm with a knife to escape from Colossus is accompanied by a
joke about Colossus and a subtle jab that he is the only one breaking the fourth wall in this

219

film. Wade maintains the light feel of the film. His casual style of delivering the dialogues
is meant to entertain the audience through relatability.
Wades description about how he met Al has been done in a playful way. The fourth wall
break inside the fourth wall break and the play with the visual flow are attempts to entertain
the audience in a quirky way. Wades bond with Al and her nature have been shown in an
unusual way. He makes a joke about Batman and Robin being in love with each other to
connect with the comic book loving members of the audience.
In the scene before the climactic fight, Wades dialogues while arriving at Franciss location show Wade and Franciss rivalry in an effective and humorous way. Wades lingo is
deliberately casual and comical. Wade maintains an entertaining hue even during a serious
fight scene in order to amuse the audience.
Even during an intense romantic scene, Wade makes sure that there is adequate humour
and music to entertain the audience. He points out the difference between this film and rest
of the genre. He makes a joke about Spiderman by using a reference from Spidermans
comic books.
Deadpool delivers what the audience want in terms of post credits scene construction,
though he gives it his unique touch. He also shows his respect and admiration for Ferris
Buellers day off (1986) by doing a similar scene narration. This is done in order to entertain
the audience through nostalgia.

220

Chapter 7.7: Significance

Narrative in the Fourth Wall breaks have huge significance to the main plot. Fourth Wall breaks
are inseparable from the main narrative and comes off as important exfoliation of events. The
story unfurls to a next level after Fourth Wall break in many cases in Deadpool, Annie Hall
and Wolf of Wall Street. The main features observed:
1. Descriptions in a Fourth Wall break appears later in the film as a brick joke24 or connection to earlier statements made by characters. In no way, some Fourth Wall break scenes
are understood separately from the main narrative. On the other hand, contextual references
to marketing strategy of the film (like in Spaceballs) may stand out alone as a comic scene.
2. Characters are established, their background is described which again furthers the plot.
Fourth Wall breaks often have significant effect on the narrative.
3. Power structure between characters are portrayed through Fourth Wall breaks; where one
character lampshades another character by saying something to the audience instead of directly replying to the character (Dark Helmet turning to audience asking Everybody got
that? after getting a brief from Colonel Sandurz; Spaceballs)
4. Fourth Walls breaks are important in creating make-believe situation, usually by the narrator/ protagonist who imagines things to turn out a certain way and explaining it to the
audience. Also, taking audience to the past where a character stops doing what he might be
doing really and instead explains the situation. Several such moments executed by Alvy
Singer, protagonist of Annie Hall (1977)
5. Fourth Wall breaks are used significantly in endings. Deadpool recreates the Fourth Wall
break scene from Ferris Buellers Day Off (1986), ending the movie the same way like the
latter. Fight Club comes back again to the scene with which the film began towards the
end, creating a completion of event and the whole film being the narrators point of view.

24

Brick Joke: An old joke that seems irrelevant initially but comes back much later with the punchline when
reader/ viewer had forgotten about it.

221

Chapter 7.8: Synergy

Fourth Wall breaks did not feel out of the place in any sampled films. It is perfectly integrated
within the narrative structure and while the film had its own narrative going on, interaction
with viewers made it a parallel storyline where the characters know their fictionality and tries
to establish a relation with the viewers also. The synergy between the Fourth Wall breaks and
the films narrative and subplot can be positively pointed out:
1. Alfie (2004) continues speaking to the audience about his loneliness, health and misery
which connects the audience emotionally. Again, Significance and Engagement of the
scene is important in determining the synergy.
2. The merchandising and marketing gimmick inside the film Spaceball probably can be
found unnecessary to the plot but as a parody of Star Wars (Star Wars global retail sales of
licensed merchandise rose 4.2% to $251.7 in 201525), it has a synergy with the comical,
mimicking nature of the film.
3. In Ferris Buellers Day Off (1986), Fourth Wall breaks are made to show the audience what
is happening with a talked about character in some other scene. Ferris guesses correctly
what his friend might be doing sitting in the car, and the audience is shown that hes right
in his guess.
4. Waynes World (1992) uses Fourth Wall break to declare who can break the Fourth Wall
in the film.

25

http://variety.com/2016/film/news/star-wars-licensed-merchandise-sales-1201799640/

222

Chapter 8: Scope for further research

1. This research hasnt been able to include High fidelity (2000) and its kind of a funny story
(2010). Also, films before Annie Hall (1977) like the first Alfie (1966) can be studied. All
the films given above have fourth wall breaks.
2. Fourth wall breaking Non English language films can help analyse different dimensions
that were overseen or not shown before. To be precise, Hindi film: Pyaar ke side effects
(2006) and French film: Amelie (2001) along with Italian film: Happy family (2010).
3. A research into the Indian performance art Tamasha is also a possibility.
4. Brechtian theatre will serve as a fertile ground for effects study of the live audiences.
5. There can be an analysis of the landmark events leading up to the development and acceptance of this concept in filmmaking. This research can be of a documentary nature.
6. Audience analysis can be conducted where the key questions are related to the confusion
between real and reel, the extent of interest it generates among them, the dramatic and
comedic effect of the dialogues, repeat value and the emotions they go through.
7. Audience empowerment can be studied through a detailed research of video games,
mockumentaries, horror and reality TV.
8. Netflixs House of Cards (U.S. TV series) can also be studied based on any of the aspects
listed on this list.
9. A semiotic analysis of such films might reveal meanings that a normal person might not
think of at face value.
10. The latent and underlying ideologies can be shed light upon through a discourse analysis
of films that have used this concept.
11. The rhetoric value of this concept in advertisements is a fertile ground for study.
12. Psychoanalysis of the protagonist, who speaks to the audience, can identify commonalities
and differences between each protagonist. Psychopathic, sociopathic, narcissistic and
schizophrenic traits can be the focus of this analysis
13. Its an era of change in message and medium, like the convergence/exchange content between mobile, TV and computers. It wont be long before characters from web-series start
breaking the fourth wall. The intermediality of this concept will be a complex and extensive
area of study.

223

Chapter 9: References
1. Auter, P. J. (1991). When Characters Speak Directly To Viewers: Breaking The
Fourth Wall In Television. Journalism Quarterly, 8.
2. Breaking The Fourth Wall. (2013). Retrieved from TV Tropes:
http://tvtropes.org/pmwiki/pmwiki.php/Film/Spaceballs
3. Brown, T. (2012). Breaking the Fourth Wall: Direct Address in the Cinema. Croydon:
Edinburgh University Press Ltd.
4. Brown, T. (2012). Breaking The Fourth Wall: Direct Address in the Cinema.
Stockport: Edinburg University Press Limited.
5. Davis, P. (n.d.). When characters speak directly to the viewers. Journalism quaretrely.
6. D'Souza, S. (2014, june 1). Retrieved from DNA india:
http://www.dnaindia.com/entertainment/report-5-popular-youtube-channels-youmust-subscribe-to-1992706
7. Fourth Wall. (n.d.). Retrieved from Wikipedia:
https://en.wikipedia.org/wiki/Fourth_wall
8. Glynn, M. (2010). Breaking the fourth wall. Winston Churchill Memorial Trust.
9. Hang, M. (2007). Media Business Venturing : A Study on the Choice of
Organizational Mode. Sweden: Hgskolan i Jnkping.
10. Henne, B. (2013, August 24). Breaking the fourth walls history of redefining
cinematic boundaries. Retrieved from A.V. club:
http://www.avclub.com/article/breaking-fourth-walls-history-redefining-cinematic224290
11. Jean Burgess, J. G. (2013). YouTube: Online Video and Participatory Culture.
Cambridge,UK: Polity Press.
12. Kattwinkel, S. (2004). Brecht and Artaud: basic facts and differences. miscallenous
WWW sources, 10.
13. LaFrance, M. (2011). The Dissapearing Fourth Wall: Law, Ethics and Experiential
Theatre. Fourteenth Annual Conference of the Association for the Study of Law,
Culture and the Humanities. Nevada, Las Vegas.
14. Roberts, J. W. (n.d.). Metafiction: An Introduction on Dramatizing the Boundaries of
Social Discourse.
15. Sandrine Sorlin, 2015 Chapter 7. Breaking the fourth wall, the pragmatic functions of
the second person pronoun in House of Cards, Aix-Marseille University, LERMA,
IUF Stevenson, J. (1995). THE FOURTH WALL AND THE THIRD SPACE. Center
For Playback Theatre, 4-5.

224

16. Style and Technique. (2009). Retrieved from GradeSaver:

http://www.gradesaver.com/annie-hall/wikipedia/style-and-technique
17. Thoss, J. (n.d.). "This Strip Doesn't Have A Fourth Wall" Web Comics and the
Metareferential Turn.
18. Weir, L. (2014). Audience manipulation? Subverting the fourth wall in Pina Bauschs
Kontakthof (1978) and Nelken (1982). Scottish Journal Of Performance, 18.
19. Wikipedia. (n.d.). Retrieved from
https://en.wikipedia.org/wiki/Fourth_wall?oldid=740760718