Stranger Than Fiction. In this world nothing is certain but death and taxes. -- Benjamin Franklin.

Stranger Than Fiction

In this world nothing is certain but death and taxes.

-- Benjamin Franklin

This unique tale weaves together the story of Harold Crick’s simple, lonely life with the dilemma faced by famed novelist, Kay Eiffel, in writing Harold Crick’s life and more specifically, his death.

In reviewing this film, movie critic Roger Ebert says: “How rare, to find a pensive film about the responsibilities we have to art. If Kay Eiffel's novel would be a masterpiece with Harold's death, does he have a right to live? On the other hand, does she have the right to kill him for her work? ‘You have to die. It's a masterpiece.’”

This is the ultimate conundrum of Stranger Than Fiction. One would realistically say that no, poor Harold should not have to fall victim to Kay’s typewriter; however, although this film maintains a firm grasp on the humanity of the characters, it is at the same time part fantasy and as often is the case in fiction, there is nothing like a solid dilemma to create conflict and move a plot forward!

Interestingly enough, Harold ultimately comes to peace with his fate after reading Eiffel’s work, but not without a personal journey.

This, however, is a film that offers more than a mere escape.

In watching Crick grapple with his pending doom and through his discussions with Professor Jiles Hilbert, the audience is educated about the mechanics of fiction.

The first thing Crick must determine is whether he is in a

comedy and a tragedy. According to Hilbert,

what is the difference?

In a comedy the hero gets hitched…

…while in a tragedy he dies.

Think about other films you have seen or stories you have read; does this definition hold true?

There is also discussion of plot…

Poor Harold discovers soon enough, through a

near-miss with a wrecking ball, that he

does not control his own plot…

…or does he?

Though Harold becomes convinced that he is simply at the mercy of his omniscient narrator, and to a point he certainly is…

…is there any evidence that he has some control

over the plot of his life?

Watching the film, the viewer is exposed to the deconstruction of the narrative and within this, brought into the struggle of the writing process.

As Kay agonises over how to kill Harold, the audience begins to understand not only the elements of fiction, but the anguish that can accompany its creation.

Even in the early stages, Harold is not simply a character to the author, but rather someone who matters – someone who is worth more than a meaningless death…

…and while Hilbert clearly does not fully approve of Harold’s last minute reprieve, Eiffel attempts to explain…

“Because it's a book about a man who doesn't know he's about to die. And then dies. But if a man does know he's about to die and dies anyway. Dies- dies willingly, knowing that he could stop it, then- I mean, isn't that the type of man who you want to keep alive?”

Ultimately Kay decides to compromise “excellent” literature, for the more mediocre “okay” variety, but that is a decision she can live with.

Her understanding of her responsibility to her art has deepened beyond the scrutinizing eye of her reader, through to her responsibility to her main character…

…Harold Crick