Why The Hangover Is So Good

July 23, 2009

Actually two things: a compelling story engine and thematic elements that, for the most part, go unchecked in most modern American films. Both concepts can take responsibility, along with the humor, for propelling audiences back into the theaters for repeat showings.

Of course, the most interesting part of The Hangover is the fact that we never actually see what happened that night. Being a tremendous fan of story, my adrenaline kicked in when all we saw of the bachelor party was the time-compressed footage of the sun setting. The filmmakers weren’t going to take the obvious route! As it turns out, the path they did take was much more complicated than I had originally thought. In this first article, I explore the thought process I went through in analyzing the story engine behind this film.

The Story Goal

If stories are about solving problems, then the Story Goal is the focal point of the efforts undertaken to resolve those problems. In The Hangover problems don’t really start to occur until the morning after. The characters (bachelor party-ers?) wake up to find themselves surrounded by evidence of a night of debauchery and all around masculine excess. Coming to their senses, they soon come to realize that their best friend, Doug Billings (Justin Bartha as the Groom), has gone missing. With only one day until the wedding, they have precious little time to find him. Only problem is…no one can remember exactly what happened.

So that must be the Goal, right? The characters need to remember what happened?

At first I thought that was the answer. With that missing footage (that we really don’t get to see until the end credits), the story is set up as a memory story. Like Memento or The Sixth Sense these kinds of stories deal with thematic issues of faulty memory. The characters (usually led by the Protagonist) spend the entire story recalling or finding clues towards recalling exactly what happened. Often they deal with thematic issues of reality and perception and the pursuit of the truth.

Dental bills are the least of Stu's problems.

But while the characters in the Overall Story were dealing with those problems of memory, the Main Character himself wasn’t. Stu Price (Ed Helms) had his personal issues stemming from the relationship with his fiance; more specifically, what he was allowed and not allowed to do on the trip (as dictated by her). Thematically, those issues of permission and what one should do and shouldn’t do don’t really gel with issues of truth and reality. Congruency is everything in a well-constructed story and I had a sense that this film was built on a solid foundation. So remembering couldn’t be the goal.

Thinking about it some more, I began to realize what was really going on. When you come right down to it, what would remembering have solved? So they remember how Stu lost his tooth or why Phil (Bradley Cooper) had a hospital bracelet wrapped around his wrist. Would that have really brought the story’s central problem to a close? Wouldn’t there still be a furious bride left waiting in Los Angeles?

That is when it occurred to me that remembering what happened was only a step towards the Story Goal, not the goal itself.

Story Requirements

Just like stories can’t exist without acts, acts can’t exist without sequences, and sequences can’t exist without scenes, Story Goals cannot exist with Requirements. If you just had the goal with no progression towards it, you wouldn’t have a story; you’d have a binary switch. If the Story Goal is the focal point for the character’s drives, then the Story Requirements are the steps taken to reach that goal.

The groomsmen attempt to retrace their steps.

In The Hangover, the Story Goal is to resolve the problem of a wedding without a groom. Place the groom on the altar and all will be forgiven. To reach that goal the characters need to uncover what happened the night before. They’re basically recreating their steps starting with the wedding chapel, traveling through the hospital ward, and ending up on the roof of their hotel where they do in fact, find the groom. But finding the groom does not solve the story’s problem. They still have to race back home (purchasing tuxedos along the way) and get the groom back in his rightful place at his bride’s side. Only then can the story be considered over.

But this still doesn’t call into effect their struggles with remembering.

Notice the subtle difference between the characters uncovering what happened and their struggles to remember that night. They feel almost the same but in actuality they are two completely different contexts; one is looking at a problem externally (what happened), the other internally (remembering). The characters spend a lot of time doing both. Which one, then, can be considered the requirements of the story and how does the other one fit in?

Even More Detail

It turns out that just like acts can break into sequences can break into scenes, goals can break into requirements that then can be broken down into Prerequisites. Yep, there is even a finer level of granularity to story structure! A Story’s Prerequisites are the essential items needed in order to reach the Requirements. They don’t bring the Goal any closer (like the Requirements), they just describe what must be in place before the efforts towards reaching the goal can start (More on this concept can be found here).

In The Hangover, the Requirements revolve around the discovery of what happened to their beloved groom. Uncovering the events that happened are the steps needed to get Doug back to his beloved. But before they can even begin to uncover all those things, they first have to reconcile their own memories; they have to start remembering. And that’s where we find them at the beginning of the film, trying to resolve what they see in front of them with what they remember in their own minds.

A revolution in car seats for babies.

What About the Funny?

Granted, that’s a lot of conceptual theory to deal with, especially when you’re using to evaluate an R-rated comedy full of penis jokes and rowdy behavior. I fully appreciate that the major key to the success of The Hangover lies in the jokes and the performances (particularly on the part of Zach Galifanakis). But it is precisely this level of detail in the story engine that creates the need for an audience to see it again; the story offers more than simple gags. Most comedies struggle to have a Goal, let alone Requirements or God-forbid, Prerequisites! The Hangover, lucky for us, has them all.

Next I’ll be discussing the rarely-used thematic elements in this film.

Writing Complete Stories

If this is your very first time here, you definitely want to read this article about the one thing all great stories have in common. If you gain nothing else from this site, understanding the concept of four throughlines within every complete story will drastically improve anything you write and increase your appreciation of effective storytelling.

What Character Arc Really Means

The second most important thing to learn about great stories is the difference between a character who changes and a character who grows. Other paradigms or understandings of story dictate that the central character must always undergo some significant transformation. This simply is not true as it discounts a countless number of great stories where this does not happen. A montage of films that explore this dynamic is provided.

Of Ticking Clocks and The Ending of Stories

Another feature of great stories is their ability to communicate with an audience exactly when the damn thing is supposed to end! When there is no limit set in place, the film can often meander on and on causing many a viewer to question if there really is a point to what they are watching. Attention spans are shorter than ever now; better to give them some signal as to when the crisis will occur.

Redefining Protagonist and Main Character

Many hold true to the notion that the Protagonist is always the Main Character. This is an old idea that does not accurately describe what is really going on within the structure of complete stories. While it may seem foreign at first to separate the two, an entire world of new storytelling is open to those willing to take the plunge.

Meaningful Endings

Some articles are gathered into a collection, or series that explores a certain subject. Perhaps the most important, at least to first-timers, would be the idea of providing an audience with a Meaningful Ending. There should be a point to the two hours that proceeded these final scenes. To that end, this series seeks to provide writers with an understanding of the dynamics that gives stories their meaning.

Archetypal Characters

Another popular subject is the idea of Archetypal Characters. Usually, this refers to the characters Campbell discovered in his exploration of world mythology. The Herald, the Trixster, the Shapeshifter -- all of these are what most consider archetypal characters. The reality is that these are interpretations of the basic forces at work in a complete story. This series explores Campbell's more familiar characters and then gives insight as to what really makes them tick.

Dramatica: Story Theory for the 21st Century

Most, if not all, of the analysis and insights into story presented on this site are informed by a deep exploration of the Dramatica theory of story. The usual reaction to the theory is that it is "too complicated" or "I'm not going to let a computer program tell me what to write." And you shouldn’t. The theory is complex, but it has to be in order to cover the magnficient creation that is a great story. If you have any interest whatsoever in why stories are so dang compelling, you owe it to yourself to at least investigate a little further.

Not Everything Is A Hero’s Journey

It is almost impossible not to hear about the Hero’s Journey paradigm within the context of story structure. While at first glance, it may seem helpful in writing a story, it doesn't account for every story nor does it accurately describe why stories exist in the first place. It assumes a spiritual or transcendental context for a character’s ultimate transformation. Now, this can occur, but it doesn't always have to. This article explains why.

Two Sides of the Same Coin

Who says story theory can't be fun? This article takes a humorous look at a cliche that shows up from time to time in the course of storytelling. But beyond simply pointing it out, it explores why this dynamic exists and suggests ways of masking it while maintaining the meaning behind it.

The Illusion of Change

What would a story structure site be if it didn't include an analysis or two? This article takes a closer look at Christopher Nolan’s thriller The Prestige. While both of the characters in this film are well developed, only one truly transforms the way they see the world. This concept, shared by all great stories, elevates this story of battling magicians beyond mere spectacle and grants us a greater understanding of our own lives.

Up In The Air

A personal favorite from 2009, Up In The Air communicates a deeply meaningful argument concerning the issues facing the modern worker. What is most fascinating about this film is the connection between the Main Character's personal problem and the problems endured by the other characters in the story. This article explores why great stories often have this correlation.

Hotel Rwanda: Story Analysis

Historical dramas are often great places to find complete stories, and this film, nominated for Best Original Screenplay in 2004 is no exception. Writers find themselves drawn to the subject matter because of the chance to draw some greater meaning from the tragic events of our collected human history. This analysis explores the dynamics that went into establishing some sense from the chaotic events of 1994.