Central Station, a Walter Salles film, wrought with obvious religious symbolism and certain dialogue that does not translate well, is nevertheless a beautifully illustrated Dramatica grand argumentstory complete with characters that are portrayed realistically, in particular, the fabulous Fernanda Montenegro's protagonist, Dora.
Ex-schoolteacher Dora (main character) is a mean-spiritedmiserable old broad who takes a grim delight in (almost) never mailing the missives the illiterate pay her to write, and count on her to post, in Rio de Janeiro's central station. Her emotional situation (mcdomain-universe) is one of arrested development-resentment against her drunkard father (mc focus-oppose) who had abandoned the family informs her cynical state. Dora's economic future (mc concern) isbleak and without prospects (mc benchmark-progress).
God, however, works in mysterious ways. Into Dora's world comes nine-year-old Josue (obstacle character), reluctant mother in tow. He is fiercelydetermined (oc domain-mind) to unite (objective story goal-obtaining) with a father he has never met-one he loves (oc concern-subconscious) despite a lifelong absence and reports of drunkenness.Josue's mother dictates a bitter diatribe-it's business as usual as Dora writes the letter (os requirement-doing) and neglects to send it off. Later, his mother has a change of heart and enlists Dora towrite a second letter, this time one of love and reconciliation. Exiting the station, she is hit by a bus (story driver-action). Josue, for all intents and purposes, is orphaned (oc focus-uncontrolled),and the only connection, tenuous as it is, to his father is through Dora. Dora tries to ignore the homeless child (subjective story thematic conflict-self-interest vs. morality) who now huddles inthe train station and follows her with his enormous eyes.
Not entirely inhumane, Dora takes the boy in (subjective story catalyst-responsibility) after several days have passed-only to turn around...
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