Agent Vinod: Why ‘more’ is not always good…

Agent Vinod is a cautionary tale for me. A warning against the tendency to weave in more and more twists and turns and story elements in the story and to get lost in one’s own cleverness. What Tony Gilroy would describe as ‘story density,’ I would describe as ‘plot density,’ because I feel both are not the same. Agent Vinod is an example why both these are different.

Many criticised Agent Vinod as having a half baked script where enough time has not been put into it. I don’t think so. I think that it is not about less time being put into the development of the script. I think the problem has been that too much has been packed into it in terms of plot. Agent Vinod is running around all the time with no time for taking a breath. But the truth is, even if you take out two or three sequences of chases or fights or whatever, it wouldn’t affect the story much. And it would have given time to concentrate on his character and give it a sense of direction.

Even I thought that the ‘develop your characters well’ has become a sort of cliché for the screenwriters after all the repetition. But the truth is, Vinod is still a very uni-dimensional character and you don’t feel anything emotionally about him or the story. Bourne had his angst and remorse. Bond had his playboy charm and humor. Dirty Harry had his bad boy arrogance. What is it about the personality and preoccupation of Vinod that defines him? Nothing. He is just like any other action hero. Not only Vinod, but none of the villains (except to some extent, the Colonel) or the girls or the bosses stand apart from the typical action film characters. Development of these aspects requires some screen time. If you use that screen time to add more twists and action and running around, in the end, it is going to get monotonous because the audience doesn’t FEEL anything for what is happening on screen.

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3 thoughts on “Agent Vinod: Why ‘more’ is not always good…

  1. Well said! Twists and turns for the sake of them doesn’t work. Many a times, they are a lazy screenwriter’s way out. But will someone please tell me the definition of a “half-baked script”. Every critic/reviewer/analyst throws that term around when somethng doesn’t work. And every time, it leaves me totally mystified!! 🙂

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