The classical structure of narrative is established by Aristotle, whose analysis of classical plays convinced him that there is a liner format to all successful stories. It began at a low point and continually rises in a slope of approximately 45 degrees and reaches a climax which is in turn followed by a slight down slope that leads to resolution. Everything is linked by causality, and logically and chronologically organized. Over all this kind of stories holds a universal appeal because it portrays something that we all want but could not usually have in real life.

Film, as a form of art, does not always follow this kind of aesthetically pleasing format and constantly challenges it. For example, the movie The Bad and the Beautiful the story essentially started from the end of the story and used the telephone as a link that connected the parts of the plot. The “hero” Johanson shields was never really portrayed objectively; he was nothing but someone on the other end of the phone. What we know about him is told though the eyes of the other three characters. This is a different way to approach narration, which required audience’s involvement, leave them constantly guessing.

This advantage is reflected in the movie The Bad and the Beautiful because even though the audience already know the fact that all three subplot would lead to the despise of Johanson Shields, it make the viewer guess how it is done because it is not told through John himself. This derivation from the classically format is seen on other movies as well.

In the movie Crime and Misdemeanors the movie started where Judah Rosenthal is being recognized for his donation. However at the same time of establishing his as a generous individual, there are also awkward smile on his face suggesting it is not all there is to him. And the plot continuous to unravel and constantly making people guess what is the crime or misdemeanor he has committed.

Judah’s affair with another woman is somewhat predicable however the fact that he would be willing to kill her is not. There is a constant desire on the movie makers’ part to surprise the audience. This desire is a rebellion against Aristotle’s more liner and more predictable model. And this kind of rebellion is also what today’s Hollywood lacks today.