Classical Structure in the “Perfect Ensemble” of The Big Chill

Lawrence Kasdan’s The Big Chill (1983) has been called a “perfect” ensemble film. A computer analysis of 600 screenplays showed that the film has the tightest presence range for any multi-protagonist cast, suggesting that it eschews the Campbellian “Hero’s Journey” in favor of a more egalitarian piece. The Big Chill, then, does not appear to conform to the norms of classical narrative structure. Yet, by applying Kristin Thompson’s four-act-structure paradigm – based upon characters’ goals rather than story action – then this chapter demonstrates how the film still follows the traditions of classical Hollywood storytelling, though it is visual choices that guide the viewer to understand character motivations rather than explicit script elements. The chapter posits that the restrained visual style actually accentuates such spotlighting maneuvers. Finally, the chapter interrogates a major story development in the closing scene that is so hidden by style that it seems to have escaped the notice of any viewer or critic, and invites Kasdan to explain his rationale firsthand.