Rhythm and point of view in Billy & Molly
The normal fare my kids watch for family movie night is Moana 2 on repeat. But recently my wife and I decided to switch it up and watch a documentary. We stumbled on Billy & Molly on Disney Plus and pushed play.
The film is beautifully shot, showing the stunning landscape of Shetland through all four seasons. Right off the bat the story is patient, slowly bringing you into the world of its two human leads, Billy and his wife Susan. When Billy meets an otter on the shores outside their home, he strikes up a playful relationship with the cuddly animal.
There is always a question in a documentary of whose point of view through which the audience experiences the story. It might be the filmmaker, such as Michael Moore. It could be an omniscient point of view, like the historical documentaries of Frontline. Or it could be any of the on-screen characters, typically the main people the film focuses on.
Director Charlie Hamilton James chooses a different path with Billy & Molly. The narration throughout is that of Susan, Billy’s wife. This lends itself first to humor; the lengths Billy goes to in support of his little friend, and Susan’s observance of them, made my family laugh.
It also lets Susan observe her husband’s relationship with Molly. A poignant moment comes at the midpoint of the film when Susan ponders when Molly was there for Billy, instead of Billy being there for Molly.
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There is a natural rhythm to the film: Billy meets Molly. They become friends. Molly becomes a normal part of their family. Billy goes to great lengths to take care of her. Molly meets a male otter. Molly doesn’t come home during winter. Molly does come back (with a cute surprise). Billy says goodbye.
There is always a choice on what the flow of a documentary is. The film could have used the story to investigate human interaction with wildlife, or the plight of otters in an industrialized world. Instead the film focuses on one man and his unusual friendship, and lets the seasons take us through the story, both visually and thematically.
It’s these distinct choices, of who is telling the story and where the story starts and ends, that create an intimate story of friendship and emotion. No, my kids didn’t stay focused the entire time. But we were all on the couch by the end, trying not to cry as a bald man watched a little otter swim away from his row boat.
That’s when you know you’ve made a good film.
Tips
Interrogate the best point of view for your story.
Look at each character in your film. Who has the most to learn? Who goes on the biggest journey? Who is the most in need? Who is able to offer insight and emotion? Instead following your first assumption, dig into each character and question whether they might be a more intriguing, compelling, emotional, or powerful point of view to experience the story.
Look for natural rhythms in your story.
Where is a natural start? What is a natural end? Is there a sense of time portrayed in your film, such as an event, or seasons, or time of day/week/year? What can visually show that passage of time, and can you story mirror it? If your film is very topical, is there a deepening of understanding you can follow? Looking for these signposts can help provide the backbone for your film.
Need help identifying and editing these questions in your film? Let's chat.