Who am I? [Revisited]

I recently posted this, reflecting on the issue of self-identity exhibited in two animated movies out this year Rango and Kung Fu Panda 2:

This Mentor figure — the Spirit of the West — gives Rango some existential advice, speaking directly to the chameleon’s question of self-identity. I don’t even know who I am. Just like Po’s question, Who am I?

My point: The theme of self-identity is present in many, if not most movies.

In comments Darmeesh made this point:

Lawrence of Arabia is probably the best example of the identity theme. At one point a soldier shouts “WHO ARE YOU?” to Lawrence. Also, Lawrence dressed in Saudi attire is a physical representation of the theme.

Indeed the Protagonist’s very physical appearance gives rise to the question, “Who are you?”

It got me thinking about some of the best movies of 2010, how the theme of self-identity is prominent in them:

* Toy Story 3: The toys’ sense of self-identity, tied to their relationship with Andy, is threatened when the boy prepares to head off for college.

* The King’s Speech: Bertie must overcome stuttering, an introspective personality, and self-doubts when he is thrust into a monarchical role.

* The Social Network: In his pursuit to gain entrance into the upper echelons of power, money, and fame, Zuckerberg creates Facebook, reshaping his understanding of friendship, success and his own self.

* The Kids Are All Right: The self-identities of Nic and Jules, as well as their children, Joni and Laser, are all called into question when the children’s biological father arrives on the scene.

The Fighter, True Grit, Winter’s Bone, The Town, How to Train Dragons, Inception, all of those movies and many more from last year have a strong self-identity dynamic.

What does the prevalence of this theme in so many movies suggest? One thing is this: A story is in part a psychological journey. Characters confront challenges that cause them to question who they are, how they came to be, why they are they way they are, and what they can become.

Indeed as I have suggested before, there is a way we, as writers, can look at a story as existing precisely in order to service those characters on their psychological journey. As suggested by Carl Jung:

The psychological rule says that when an inner situation is not made conscious, it happens outside, as fate. That is to say, when the individual remains divided and does not become conscious of his inner contradictions, the world must perforce act out the conflict.

Ponder that thought: An individual must engage all aspects of their psyche, including that which they have attempted to repress. If they don’t, the world creates circumstances which force them to do so.

To me, that is the perfect paradigm for a writer approaching their story’s psychological plot.

As a writer, look at your key characters, especially a Protagonist who goes through a significant metamorphosis, and ask this question: Why does this story have to happen to this character at this time?

Chances are is it’s because now is the time they have been called upon by fate and their story universe to confront their self and answer the question, “Who am I?”

In what other movies do we see this dynamic?

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