Salt in the Wound

Saw "Salt" tonight. No reviews here BTW... I find they're exhausting to write. I will say I'm a big fan of all the lead actors in this movie (Jolie, Schreiber and Ejiofor) but was somewhat disappointed in most of the film (story, dialog, etc.). Entertaining, but a little flat. (And Angelina seemed more believable at kicking ass in Tomb Raider than here.)

Thoughts the day after:

The biggest "issue" I had with the film was a major plot point that sets all the wheels in motion.  Without trying to write a spoiler, I'll just say this... At some  point (about two thirds into the story?) I thought back to this initial plot trigger and my brain went, hey wait, "WTF!?!"  Suddenly - mid film - I couldn't make sense of that part of the storyline (it became a huge distraction). 

I'm still scratching my head trying to figure it out.  Either this plot point doesn't make any sense at all or I totally missed something.

Either way, it became (as mentioned) a distraction (smaller while watching but bigger in retrospect - the screenwriter in me just doing my thing).

So why bother bringing this all up in the first place?  I've run into this in at least one my scripts.  You NEED this to happen (e.g., it simply drives the story forward), but just can't make it "fit" later on.  You've created such a "clever" plot line, one that has great twist, turns and even back flips, but they've muddled (at best) or derailed (at worst) that initial catalyst  moment.

I think these conundrums probably tend to happen with thrillers, crime stories, etc., more than other dramatic or comedic genres, but they do happen.

So what's the resolution?

In the case of Salt, I think they simply needed to hope he audience wouldn't think too hard and would just "let it slide."  I think I've taken that same route at least once.

But I think, whenever possible, the elegant answer is: rewrite it to make it work.

Do whatever it takes - reshape, reinvent, destroy and rebuild that catalyst moment - OR - do the same for the plot twist or turn that "challenges" your initial plot trigger.

In the case of Salt, I think that avenue might have been closed.  That catalyst is just simply too powerful to reshape - she simply NEEDS to be identified as a Russian spy (and that's not a spoiler if you've seen at least one trailer).  And I don't know if there was any way to re-write the plot elements that conflict with the "hows and whys" of this initial reveal later (they shape who she is and why she does what she does).

Still, for some (most reviewers and screenwriters I imagine will suffer this fate) you'll just have to let this slide off to enjoy the ride.  After all, the ride's quite fun!