Always lived, very quiet life
I ain’t never did no wrong
Now I know that life without you
Has been too lonely too long
One night with you
Is what I’m now praying for

“One Night” (1957) Elvis Presley

We can build upon existing strengths of THE VAST OF NIGHT (2019) to create a story more engaging and impactful.

To review (from my previous post), strengths of the film, based on a summary of online consumer reviews and my own response, include:

• Strong aesthetics – visual and sound elements that capture the setting (small town 1950s) and story (sci-fi mystery)
• Interesting plot – searching for the source and meaning of a mysterious, other-worldly audio frequency
• Likable characters – curious high school girl (Fay) who likes a boy and the boy she likes, a smart small-town radio DJ (Everett) with lots of potential which may lead him to leave town for bigger opportunities elsewhere

Possible weaknesses of the film, again based on a summary of online consumer reviews and my own response, include limited depth and development of the plot and characters which may be limiting audience engagement and impact.

To address these limitations, I have suggested selecting 2-3 core human needs from our model to center and give direction to plot and character development.

Considering the strengths of the film at present, we clearly want to build around the mystery and feel of the aesthetics established, the search for that extraordinary sound, and the likable two lead characters whatever new human need elements might deepen and enhance the film.

Some have indicated stories of the paranormal like this tend to be bound to big life questions such as what is our potential, is there life beyond this one, and are there ways to connect with others beyond this life (Kripal, 2010).

Given the above, I suggest three core human needs that could best center a reimagined THE VAST OF NIGHT would be: (1) connection, (2) clarity, and (3) continuation.

The first prioritized theme of connection within this particular film allows us to think about the question, “Are we alone in the universe?” in two ways: the potential to find extraterrestrial life elsewhere and the potential to find fellow earthlings here with whom to genuinely connect.

In the film at present, while outwardly gregarious, Everett seems a bit detached from others in town. He has great potential, which others can see and admire him for, but he keeps himself somewhat aloof. He reminds me a bit of the basketball star Jimmy in the film HOOSIERS (1986) in that blend of revered talent and being socially removed. And like the HOOSIERS’ Jimmy, while Everett can do big things elsewhere, he has stayed in his small hometown. Why?

One possibility is to give Everett a significant loss, perhaps of his parents or a love interest. Let’s go with the latter. Everett’s high school sweetheart disappears mysteriously two years prior the start of our story. There are indications she had died; he isn’t sure. Each night Everett signs off his radio broadcast with Elvis Presley’s “One Night” (verse and a half from which open this post), which was his and his girlfriend’s song.

Before continuing with this reimagined version of the film, let’s explore what key insights might fit the core “gap” for our main character (Everett) that can help him connect again with others and find some meaning in life that may or may not include his girlfriend.

One of my first applied research studies, perhaps more than 15 years ago, involved learning about the experiences of college students who had joined clubs of varying kinds, everything from clubs for martial arts to clubs for film enthusiasts. What became clear to me was just how meaningful these clubs became for students who felt alone and isolated within a large campus of thousands of students, as they were able to find a small set of peers and perhaps a faculty advisor with whom to bond over a shared, even obscure interest (e.g., a club for students who liked trying different kinds of root beer!).

More recently in a study of well-being for working adults, I saw this same insight reinforced: individuals who had a special interest or hobby tended also to report better social well-being (e.g., feeling they have people around them who would help if they had problems or difficulties). Further, findings from recent published academic studies have also supported this notion of combating loneliness and associated emotional health concerns by helping individuals engage with and enhance existing social networks and, when needed, establish new ones (e.g, Haslam et al., 2019).

Returning to the reimagined film, if Everett starts to hear that mysterious sound and wonders, hopes, it might mean something about his missing girlfriend, perhaps he turns to a set of high school science-obsessed students (including Fay) to help him figure things out. And while they have each other, these students also feel largely removed from others in their rural community so are eager to help the popular local DJ.

Something like the above could give an emotional grounding to the overall search, and something deeper than mere curiosity driving the main character. Now perhaps some tweaks to the plot itself could help deepen it also.

The theme of possibly supernatural visitors communicating via sounds has been used previously, notably in CLOSE ENCOUNTERS OF THE THIRD KIND (1977). In that film, two-way communication was explored, with humans mirroring the tones first shared by their visitors. Using Everett’s job as radio DJ, perhaps communication using music contemporary to the time (e.g., Elvis) and other sounds could be explored. As such communication efforts are enacted, Everett could teach his younger comrades about music and about dating, and they could teach him about the science of radio and space.

This wouldn’t be the place to fill in all possible blanks for what a reimagined THE VAST OF NIGHT could include, but it can give some insight to the characters (and to us as viewers) as to how to connect in meaningful relationships (to no longer be lonely too long) along the way. Then together, the characters together and vicariously we as viewers, could ultimately come to some larger clarity (our second selected core human need) about life and its meaning that squares with the developed ending. Maybe that insight could include something to the effect that those we may have lost are still with us in memory and perhaps even beyond memory (Myers, 1904; also cited in Kripal, 2010). And, finally, as our initially mismatched group of characters search together for answers, they would encounter similar dangers as only appear very late in the current film and would be called upon to protect each other, perhaps even if sacrificing themselves, which would pull in our third selected core human need of continuation.

These suggested changes and additions to the present film wouldn’t need to fundamentally change what the plot is about (i.e., searching for the source of a mysterious sound), or the characters, or the setting, or, likely, the budget much, but I would submit they could clearly increase its relevance and impact.

NOTE: In considering these possible modifications or others, we would certainly want to conduct further research involving individuals whose lives and situations fit with key elements of this film (e.g., interviews with groups that might be searching for extraterrestrial life and/or with individuals whose loved ones are missing).

References

Haslam, C., Cruwys, T., Chang, M. X. L., Bentley, S. V., Haslam, S. A., Dingle, G. A., & Jetten, J. (2019). GROUPS 4 HEALTH reduces loneliness and social anxiety in adults with psychological distress: Findings from a randomized controlled trial. Journal of consulting and clinical psychology, 87(9), 787-801.

Kripal, J. J. (2010). Authors of the impossible: The paranormal and the sacred. University of Chicago Press.

Myers, F. W. H. (1904). Human personality and its survival of bodily death (Vol. 2). Longmans, Green.