Narration and audio commentary
Burn Notice narrates Michael Westen’s post-spy life. Yet the narration is a little more than the visual on screen. The narration includes a second narration through the storyline. Michael consistently interrupts the plot to explain the situation. This commentary is akin to the commentators of a football game. The infiltration of narrational assistance bemoans the illustration.
Authors narrate their stories through characters. The author decides how much of the worldview the reader sees. The author’s perspective is scrutinised and limited. The film provides the visual array only imagined in the text. The text can only suppose so much while the visual fills in the missing gaps. The author is the shepherd guiding the reader through the story. A guide leading the volunteers through the maze. A tour guide doesn’t take the tourists everywhere just to specific locations. Other parts of the city exist even if they aren’t screenshot. There are other elements to the story that are irrelevant to the plot. The author could have supplied more details about side characters but felt that deviated from the plot. The author has created the universe and concentrates on a singular theme. Focusing on a character and his journey. Other characters may enter the frame but they are reflected in his perspective. There are other people in the streets but it is the guide’s words that are listened to. The visitors reflect the guide’s outlook.
An author can enter the protagonists’s mind. What the author wishes to show is the lone wolf hero’s journey. Sometimes other characters make an entrance. Some authors colour their characters others leave them as stick figures. The magnitude of a character’s importance generally rests on their engagement. How much of this second character does the reader learn about? How personal does the reader become with the character? There is a science to introducing the reader to a character. The author holds all the eggs and decides which eggs to give. They don’t allow the tricker treaters to grab from the bin but hand the candy out diligently. Selectively providing information little by little. This character gets a Snickers the other a Kit Kat. The fictional realm of the author is private. Only gradually is more information leaked out. The author intends to hold all the cards until the last turn. Unveiling herself in slow motion. The reader sits patiently receiving the information in small doses. Curious of the next step.
The Great Gatsby is an interesting tale since it focuses on one character. Nick narrates his adventure from his perspective. It is made clear that Nick has biases but more so that he is not the main character of the story. Nick is the commentator for the tale of Jay Gatsby and the face of Leonardo DiCaprio. Nick is second fiddle to the awe-striking interest to the mysterious noble but it is Nick’s character that gains the most attention. While Gatsby may be concentrated upon in utmost urgency, Nick’s emotions are smeared all over the pages. He journals his experiences chronicling the events as they occur. Nick’s affair with Jordan Baker is overshadowed with Gatsby’s affection. Nick is not short of criticism. While he adores his cousin Daisy he sees her as careless and dramatic. Nick idolises Gatsby for much of the story but is also remiss about his dealings. Though Fitzgerald’s depiction only further places Nick as an observer and film critic trolling along as a paparazzi. The narration hides the true intentions of other characters only periodically hearing their thoughts. Nick is the primary source of information as a premier journalist.
The film adaptation lends a new perception to the narration. Nick provides his audio commentary as the plot moves along. Similar to the book he is the ‘reliable’ narrator. He is an observer of the events even as he participates in them. Yet while he is a spy for the reader he is a crook for the viewer. The viewer sees the events and doesn’t necessarily need Nick’s voiceover. It only stands to question his legitimacy. The characters are visualised and examined. There is little that Nick can hide from the audience. The audience isn’t looking through a peephole but through military grade binoculars. In the movie if Nick isn’t present in the scene the scene still occurs. There is no reflection nor diary from Nick. Other events happen and the audience sees them. They are not waiting for their spy to return just trying to see the events with their technological abilities. Able to internalise the film’s visual personification. Extending the author’s universe just a little wider. Characters are no longer foreign species discussed but familiar voices. They speak with such profound being. Not puppets of someone else’s romantic drama.
Burn Notice is heavily more narrated than Gatsby. Michael narrates when he isn’t even in the scene. Michael’s narration accompanies the subsequent event. He anticipates the scene by readying the audience through tactical education. The show’s use of the narration is to explain to the audience Michael’s abilities. The show isn’t trying to teach the audience but to magnify his ability. The narration is solely concerning spy work. How would a spy act in such a situation. These questions are answered by Michael's voice over the action alone. The screen even screenshots the actions in line with his narration. Lining up what he says with what is happening. Sometimes the show pulls a fast one and the action is thwarted by the enemy. Nevertheless, the consistency per episode reminds the audience of his veracity. Michael is a spy with years of experience. Even if it feels overboard it is unique to the show. The message is clear. Educate the audience of Michael’s speciality. He was an operative and despite his current demotion he still has the skill. He can still apply those skills in everyday life. Once a spy always a spy.
The voiceovers are key to conveying strict intelligence to the layman. Apparently the show runner had a onetime spy as a consultant. Whether the advice was spy science or spy-like, the advice was personable. The audience was hearing straight from a spy how to be a layman spy. No need for covert missions or extravaganza in third world countries but things that could be done with simple gadgets bought from a hardwood store sitting in the garage. The advice was spyware from the master to the student. An educational tactic that honed in on Michael’s excellence. While they interrupted the show for a second they did deploy a curiosity into the audience’s mind. Wow that is cool. The show added a telling aspect that generally are overrun with showing over telling. An author is tasked with showing over telling but a film is by design showing thus the integration of the showing pivotally added nuance to the heavy illustration. Signifying the advice and then zeroing in snapshotting the device before executing the advice. It grew repetitive at times but it did portray a unique tale with expert intent.
Sports commentators narrate the game. On the old radio the listener was blind to action. The commentator was the listener’s man on the inside. The commentator relayed the action to the listener in real time. Now with television the “film adaptation” the viewers sees what the listener hears on the car radio. The viewer doesn’t need the commentator because he can see the action. He sees the running back receive the handoff running for a short gain before tackled. He sees the crossover and the floater only to be swatted by the big man in the paint. The commentator is just saying what the viewer is seeing. For the blind it is helpful but not for the sighted. It seems unproductive. The opinions on different situations is fare. They have knowledge and perspective. Yet that is different from narrating plays and sequences. Alternating between the two is itself juggling ideas. Sometimes they don’t get their idea through because the play resumes. Needless to say some of their takes are awful. The narration is useless to those who can see. The commentator explains the visual to the visual. Their perception is directly communicated retroactively to the viewer. Since they themselves are viewers at the same time as the fan. It is bound to be repetitive.
There is a silver lining for sports commentators. Their narration is akin to subtitles. The viewer hears the characters speak but enjoys the subtitles for additional accuracy. Using two senses at once is better than using one. Hearing and seeing solidifies the truth. Sometimes the ears deceive and sometimes the eyes deceive. Having both senses activated is synonymous with success. Commentators are helpful for those who don’t understand. Those who are perplexed by the visual. Yet the commentators also provide some flare for the regular fan. Al Michaels broadcasted three decades worth of sports. His voice brings comfort and familiarity. His narration is an audiobook soothing in its continuity. It’s like reading an audiobook on a kindle. Following along in the text while the audio speaks. Dick Vitale is famous for his catchphrases and fun personality. Elevating the passion and joy in the fan’s heart. Sitting alone on a Saturday night in the living room with the lights out is brightened by a powerful voice of excitement. Some commentators say the right thing that encases the phrase for eternity. The slogan is remembered by memory over the visual. Play-by-play sounds tedious but swirled the emotion and gravitas of sports.
Narration is but a purpose of guiding the visitor. The spectacle is attractive and enjoyed. The guide shows and tells of the great impact. A calming sensation and peaceful transition of internalised knowledge. A sacred dialogue between the teacher and the student. One that begins and ends with the plot but will forever be engraved.
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