In this article on age-related categories drawn from Linda Seger’s book, Advanced Screenwriting, I examine themes related to old age and end-of-life.
As we enter old age we feel a pressing need to reconcile our past deeds with our conscience. We seek to resolve past hurts, overcome alienation, heal relationships, deal with regret. On Golden Pond, tells the story of three generations of characters who meet in order to reconcile with one another. In Magnolia, the dying father recognises that in order to affirm his own integrity he has to reconcile with his son.
In my own novel, The Land Below, the aging Troubadour, wracked by guilt for having kept a painful secret from his grandson, Paulie, chooses a climactic moment to reveal the truth about his lineage.
“Old age and end-of-life themes necessarily entail protagonists who pursue different goals to those of their younger counterparts.”
But as the prospect of death creeps ever closer, another issue gains prominence. Linda Seger relates her observations in a nursing home for the aged where she noticed two basic types of reactions from people close to death – anger and mellow acceptance.
There were those who felt that they had somehow been cheated out of living a better life, or that life had somehow passed them by. These were issues that they had not resolved earlier in life and that were now coming home to roost.
Then there were people who seemed to accept the end of their lives with a mellow acquiescence and a deep gratitude for having participated in life’s adventure at all.
Although some stories, such as Paul Harding’s Pulitzer winning novel, Tinkers, deal with the subject of death and reconciliation in an insightful way, there is generally a dearth of stories featuring this last stage of one’s life – certainly in film. This could be a rich source to explore in the future, especially for a population that increasingly is achieving longer lifespans.
The point to stress, as Erik Erikson indicates, is that if we fail to deal with life’s themes at the time they occur they will continue to fester, under the surface, until we do.
In Dead Poet’s Society, Todd is forced to resolve issues of self-esteem, identity, integrity, and belonging because he never resolved these issues as a teenager. In Rain Man, Charlie, who carries with him the pain of a childhood in which he felt he didn’t belong, has to reconcile issues of achievement and success juxtaposed against the need for intimacy and integrity before he can resolve his inner conflict.
A character who is dying, then, may be forced to face unresolved issues at the time he is least equipped to do so.
Confronting past, unresolved conflicts in our old age is the last great task to be performed in life and in stories.