The Hero's Journey in Cameron Crowe's Film “Almost Famous”
Almost Famous (2000) is a dramatization of writer/director Cameron Crowe’s real-life experiences as a teenage rock reporter for Rolling Stone. Based on thinly-veiled autobiographical material from the precocious beginnings of Crowe’s early career, the screenplay shapes sentimental memories into movie magic. But how did Crowe give his own coming-of-age tale such universal appeal? A closer look reveals that Almost Famous, like most films worth their salt, is yet another incarnation of the greatest and only mythological adventure, “The Hero’s Journey.” This relationship can be explained using the framework of Joseph Campbell’s phenomenal book, The Hero with a Thousand Faces, along with certain terms and interpretations from The Writer’s Journey by Christopher Vogler.
William Miller, our unlikely hero, lives at home with his protective mother Elaine and rebellious older sister, Anita. His ORDINARY WORLD is the sheltered existence of a San Diego junior high school student. When Anita has a fight with her mother and decides to leave home to become a stewardess, her parting words to William make her the HERALD of his adventures to come. With the car packed and running, Anita takes hold of William on the front lawn, looks him dead in the eye and says: “One day, you’ll be cool.” Under his bed, the stack of albums she has left for him includes the Who’s Tommy, with a note taped to it. “Listen to Tommy with a candle burning and you will see your entire future,” it reads prophetically. And so it was written. Rock music is about to change William forever.
In the next scene, we are introduced to an older William—now fifteen and in high school—obsessively scratching band names into his notebook during class. It is time for the appearance of his SUPERNATURAL AID “to supply the amulets and advice that the hero will require.” (Campbell 72) William goes to meet the famous rock critic, Lester Bangs, who is being interviewed at a local radio station. Over lunch, Lester initiates his role as MENTOR to the aspiring young journalist, warning him against making friends with the rock stars lest he lose his objectivity to write about them. “You have to build your reputation on being honest… and unmerciful,” he says repeatedly. Seeing that William is serious about his quest, Lester offers him a bona fide writing ass...
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...to try to get back together with her, she tricks him into showing up on William’s doorstep instead. The two finally sit down to an interview together and we discover that Russell has called and come clean to the editors of Rolling Stone about the truth of William’s story. The film’s climax is thus resolved as its closing shot depicts a bundle of bound Rolling Stone magazines landing on the pavement with a thud.
Almost Famous tells the story of an uncommon adolescence, too unusual for audiences to relate to on a personal level, yet with a common resonance that speaks to millions. This effect can’t have been achieved on accident. Far from just a haphazard reminiscence, the screenplay succeeds by arranging its elements along the symbolism of our collective consciousness. Therefore, using the outline of “The Hero’s Journey” as the basis for analysis, we see how Almost Famous has also been wrought from the power of this infinite myth.
Works Cited
Campbell, Joseph. The Hero with a Thousand Faces. 2nd ed. Princeton: Princeton University Press, 1968.
Vogler, Christopher. The Writer’s Journey: Mythic Structure for Writers. 2nd ed. Studio City: Michael Weise Productions, 1998.
In “The Thematic Paradigm,” University of Florida professor of film studies, Robert Ray, defines two types of heroes pervading American films, the outlaw hero and the official hero. Often the two types are merged in a reconciliatory pattern, he argues. In fact, this
Macartney-Filgate, Terence. Timothy Findley: Anatomy of a Writer. National Film Board of Canada, Toronto: 1992.
Watching a film, one can easily recognize plot, theme, characterization, etc., but not many realize what basic principle lies behind nearly every story conceived: the hero’s journey. This concept allows for a comprehensive, logical flow throughout a movie. Once the hero’s journey is thoroughly understood, anyone can pick out the elements in nearly every piece. The hero’s journey follows a simple outline. First the hero in question must have a disadvantaged childhood. Next the hero will find a mentor who wisely lays out his/her prophecy. Third the hero will go on a journey, either literal or figurative, to find him/herself. On this journey the hero will be discouraged and nearly quit his/her quest. Finally, the hero will fulfill the prophecy and find his/herself, realizing his/her full potential. This rubric may be easy to spot in epic action films, but if upon close inspection is found in a wide array of genres, some of which are fully surprising.
Glaspell, Susan. Trifles. Literature and the Writing Process. Elizabeth Mahan, Susan X Day, and Robert Funk. 6th ed. Upper Saddle River, NJ: Prentice, 2002. 977-986
Ebert, Roger. Rev. of Almost Famous, dir. Cameron Crowe. Rogerebert.com. Chicago Sun-Times, 15 Sept. 2000. Web. 29 March 2011.
DeMyers, Sandra. "Intro to the Hero's Journey." Loyno.edu. Northshore High School, 21 June 2000. Web. 26 Nov. 2013.
Volgar, Christopher. The Writer’s Journey: Mythic Structure for Writers. Studio City: Michael Wiese Productions, 2007.
John Gibbs and Douglas Pye (2005) Style and meaning : studies in the detailed analysis of film. Engalnd: Manchester University Press, pp 42-52.
and Other Greats : Lessons from the All-star Writer's Workshop. New York: McGraw-Hill, 2006. Print.
Alistar Macleod’s “No Great Mischief” is a novel full of constant recollections of the Clann Calum Ruadh’s past and genealogy and relating it to the history of Canada; everything that happened in the family’s past effected the life they live currently. This is evident in the characters Alexander McDonald, his brother Calum, the different groups of people and all the connections they have with their family’s past and connections they have with the Clann Calum Ruadh. Alexander is the main character and is the one explaining the story of the past in a very short time period in the present and he connects the family lines throughout history. Calum, the older brother, was left to take care of himself and his siblings at a young age, which results in his drunkenness at the present. Included in the story, at many different time periods, are various groups of people, such as the French Canadians, the English, and the Migrant workers who make an impact on the characters of the story. The reoccurring phrase “Always look after your own blood” (14) was passed down the family line and is questioned and demonstrated by the characters.
Being one of the world’s most popular art forms, it was inevitable that these archetypes would find their way into film as well. In this essay I will argue that the films Pulp Fiction, Taxi Driver, Watership Down, and Trainspotting are all versions of The Hero’s Journey, consequently demonstrating just how prevalent these archetypes have become in modern cinema. And that mythology and storytelling are important parts of each culture because they prevent the darkness in our hearts from spreading.
Running Loose is a novel written by Chris Crutcher that shows the few difficulties that many teenagers seem to face while making their way through their senior year of high school. Louie is dealing with major problems that conflict with his morals and values. As he is facing these issues he is having to remember to think about what is best for himself. After facing the conflicts with football, losing his girlfriend, and trying to finish his senior year, in the process, he is learning how to face these challenges and how to become a better
Vogler, Christopher. The Writer’s Journey: Mythic Structure for Writers. 3rd Ed. Studio City: Michael Wiese Productions, 2007.
...s, Edgar V. Writing about Literature. 11th ed. Upper Saddle River: Pearson/Prentice Hall, 2006. Print.
"What happened then was both unexpected and extremely unpleasant. Lieutenant Kotler grew very angry with Pavel and no one - not Bruno, not Gretel, not Mother and not even Father - stepped in to stop him doing what he did next, even though none of them could watch. Even though it made Bruno cry and Gretel grow pale." This quote is from the the book.(Boyne, 148-149). The perception of women in “The Boy in the Striped Pajamas” is that they are useful so long as they believe the lie. The movie “The Boy in the Striped Pajamas” describes the Holocaust from a child’s point of view. Bruno thinks the concentration camp is a playground and a place that has a cafe.