Parallel Action

Parallel action varies the linear unfolding of a story.  In a sequence the editor will cut from one character or object in a story to another in a different location.  It is supposed to build tension by making viewers ask themselves the following questions:

1.    When will the two stories meet?

2.    How will the two stories meet and how will they influence each other?

Although the viewer is omniscient, in this case they don’t know how the story will end or the answer to the above questions until there is a revelation on the subject.  

 The below diagram is an explanation of how parallel action works.  The red arrows indicate which shot we are watching as viewers.  The blue and green arrows are representative of the two storylines, and the yellow arrows show the cuts between shots of the different stories.  In the end, traditionally, the two storylines will interact or come together in some way.

To explain this further with an example, I am going to discuss a movie called Strangers On A Train (U.S.A, 1951 - Alfred Hitchcock) .  I will also analyse the sequence with as much detail as possible.  It contained parallel action and the sequence is an iconic early use of it.  The scene I will be talking about is the opening scene, a link to which is supplied below:

 

- http://youtu.be/7bjA-4no1ZY


Synopsis:

Amateur tennis star Guy Haines wants to divorce his vulgar and unfaithful wife Miriam so he can marry the elegant and beautiful Anne Morton, daughter of a senator.  While on a train to meet Miriam, Haines meets Bruno Anthony, a forward stranger who recognizes Guy from gossip items in the newspapers that detail his marital problems. During lunch in Bruno's compartment, Bruno tells Guy about his idea for the perfect "Criss-cross" murder(s): he will kill Miriam and in exchange, Guy will kill Bruno's father. Since both are strangers, otherwise unconnected, there is no identifiable motive for the crimes.

As one will see when they watch the scene, there are shots of Bruno and Guy one after the other, as decreed by the rules of parallel action.  While watching the scene we ask ourselves, as viewers, the two questions about the finishing of the sequence: in this case we want to know if, when and how the two men meet each other.  Then, at the end, they sit opposite each other on the train and begin conversation, giving us the answers to our questions.

In terms of shot structure, screen direction and pace are used to create the expectation of their meeting for the audience.  Notably, there’s use of the 180° Rule.   The two characters appear to be walking towards each other.  Additionally, there's the exclusion of the characters’ faces – the audience presumes that their identities will be revealed soon, perhaps when we see their whole body during the doorframe shot - but we only see their backs.

Despite the two walking towards each other, they both actually are just walking towards a doorframe they both go through, one after the other.  In regards to their identities being hidden, at the end of the sequence we see their faces and they begin to talk to one another.                                                    

From the two characters we gather the following information: they appear similar.  This is probably supposed to represent how they are both in similar situations.  They catch the same taxi, both have similar bag carriers, both catch the same train for some reason and both cross their legs once they sit down.

There are several techniques used with metaphorical resonances in this passage.  To begin with, it’s worth mentioning that the hiding of the characters’ faces represents how they are strangers to each other – they have no relations to each other whatsoever before they meet on the train.

Secondly; one of the two gets out of the taxi, walks through the doorframe and sits down on the train before the other, implying that this man (Bruno) is one step ahead of the other guy (Guy).  It is important to bear in mind that Bruno is the one who proposes the criss-cross murder.

Furthermore, before they meet, there is music that builds up to quite a high level of intensity.  This may be indicative of the stress either of the plot or of the relationship of the two characters.

Finally, the most important metaphor is that of “criss-crossing”.  One evident example of this is how, as the train begins to leave the station, it crosses over several other train lines.  Also, as the two men sit down, both of them cross their legs.  These two actions both refer to both guys’, Guy’s and Bruno’s, lives crossing.  It also connects to the idea of parallel action and two storylines crossing.