Strange Bedfellows II: Converging Stories

As improbable as their coincidences may seem, there's something satisfying about parallel stories that eventually intersect (ignore the geometrical impossibility, if you will). If you like plot-driven stories with parallel narratives, take a look at this list of some of the best.

Paul Thomas Anderson, whose notable films include Boogie Nights (1997) and There Will Be Blood (2007) directs this mesmerizing film about a kaleidescope of characters dealing with the complexity of their lives in the San Fernando Valley. The opening prologue outlines three amazing, fatal coincidences-- one of which has been proven an urban legend-- that set the dark tone for the present-day melodrama soon to unfold before us.

Some of the knockout performances include Julianne Moore's portrayal of trophy wife Linda Partridge, who attempts, with limited success, to care for her dying husband, Earl (Jason Robards). Earl's last wish, meanwhile, is to contact his estranged son, Frank, before it's too late. Frank's (Tom Cruise, who fills his role to a tee) seminar on how to get women into bed has rocketed him into fame, but he faces difficulties when an interview becomes too personal.

At the same time, ex-Quiz Kid Donnie Smith (William H. Macy) is sacked from his job at an electronics store, an event that pushes him to take more drastic measures to obtain money for "corrective braces." Juxtaposed against the adult who has lost his former glory is the young, successful Quiz Kid Stanley Spector, who must deal with the pressure of his genius status, which may prove too difficult for a young child.

Finally, Jim Kurring (John C. Reilly) begins to fall for the depressed cocaine addict Claudia Gator when he answers a noise disturbance call against her.

Before it's all over, each of these characters will find their lives intersecting in surprising ways. Some of the plot may seem contrived, but every actor pulls his or her own weight, and their struggles add a genuine dose of humanity that compensates for the outrageous series of coincidences.

In America, Mexican director Alejandro González Iñárritu is probably better-known for Babel (2006) and 21 Grams (2003), both of which deal with parallel and/or converging plotlines. These are decent films, but the most worthwhile, in my opinion, is the heart-wrenching Amores Perros (2000), whose three narratives intersect by way of a terrible car accident.

Octavio (Gael Garcia Bernal, who also turned out a great performance in Bad Education and The Motorcycle Diaries) is in love with his sister-in-law. In the hopes of running away with her, he becomes involved in the underworld of dogfighting, with tragic repercussions (if you hate animal violence, use discretion when watching this film).

In the meantime, model Valeria (Goya Toledo) and Daniel (Alvaro Guerrero), begin a life of bliss in a new apartment, only to be torn apart when the same accident involving Octavio crushes Valeria's legs, effectively ending her career.

The third, and probably most moving, story is that of a semi-homeless dog-lover who witnesses the crash. As in Magnolia, the theme of family reconciliation emerges here, to tear-jerking effect. As he goes about his daily life, parts of which are not exactly legal, we see the worst of what Mexico City has to offer.

Why You Should Watch It:

Amores Perros works on the level of storytelling (again, the convincing acting makes up for the somewhat less convincing coincidence), but it also serves as a portrait of, and commentary on, social strata in modern-day Mexico. Its juxtaposition of the lower-middle class, the wealthy, and the completely impoverished make for a textured and beautiful visual aesthetic. If the slightly rambling nature of Babel turned you off to Inarratu, you would do well to watch this film, which is told with brutal precision.

If you're looking for something a little more subtle, Pedro Almodovar's Hable con Ella (Talk to Her, 2002) is a good bet.

In what feels like a more organic series of coincidences, a Lydia, a female bullfighter (Rosario Flores) and Alicia, a young dancer (Leonor Watling) end up in comas in the same hospital. Marco (Dario Grandinetti),Lydia's boyfriend, develops a friendship with male nurse Benigno (Javier Camera), who is suspiciously over-involved with the comatose Alicia.

Why You Should Watch it: 

Almodovar pulls off the three narratives as only a master director can: even as he uses what might be a "crutch" for a lesser director (dividing the film into chapters with headings), he subverts this cliche at the very end of the film. The movie deals with extremely lurid material with a subtlety that is rare in an Almodovar film, and is a must-see even for those who generally dislike the director. (In case it isn't obvious, Talk to Her is one of my favorite films.)

Woody Allen's Crimes and Misdemeanors almost didn't make it to this list, as it deals with only two parallel stories, which are loosely connected through a chance meeting of the main protagonists at the end of the film. 

The first storyline deals with successful opthamologist Judah Rosenthal (Martin Landau) and his mistress (Anjelica Huston), the latter of whom has decided to take action and tell Rosenthal's wife, Miriam, about the extramarital affair. Judah is unable to accept the consequences of what might happen if Miriam were to find out, and he finds himself going to more and more extreme lengths to keep his mistress quiet. As his problem looms larger, Judah is faced with questions of sin and forgiveness that harken back to his strict Jewish upbringing. 

The parallel narrative chronicles the struggle of an independent documentary filmmaker, Cliff Stern (the neurotic-as-always Woody Allen), who finds himself falling for film producer Halley Reed (Mia Farrow), who is overseeing his current project-- a documentary about a comedian who Stern despises. Stern, like Rosenthal, is married, but in this instance, both parties know that the union is disintegrating quickly. Stern's fumbling attempts to win over Halley actually constitute the more amusing, lighthearted half of what is a very dark film indeed. 

Why you should watch it

Although Allen's dry, understated comedy runs through the film, Crimes and Misdemeanors is an essentially dark look at humans and their capacity for evil.  While Rosenthal's story shows his abhorrent nature, Stern's tends to show his endearing side-- though they are both narratives about infidelity in marriage. This fact leads the viewer to question him or herself. What is it in Stern's situation that urges us to root for his extramarital affair, while we regard Rosenthal with disgust and contempt? Is Stern's infatuation more legitimate because we know his wife no longer has an interest in keeping up the marriage? Is lying ever the right approach to take with another human being? The careful juxtaposition of these two similar stories asks the viewer to consider these age-old questions.