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All American

All American

Script written by Jessi Thind  |  Review by Triptayan Chatterjee

[dropcap]W[/dropcap]oven with the beautiful thought and projecting it with proper characters makes the script ALL AMERICAN wonderful. A linear storyline has followed the plot accordingly. A script for the film becomes successful when it does not have only the material of literature, but also a cinematic representation prepared to be presented in every frame. Just by reading the script you can imagine the scenes and how they could unfold. The character-based and relationship-based script ALL AMERICAN brings the message of the unique identity of humanity in Americanism. The speechless action sometimes gives the script a flavor of film language, which is rarely seen today in the international arena of linear dramatic film. But Jassy Kind, the writer of the script, establishes that the cinema is for art, cinema is for message and cinema is for entertainment also. This alone makes the story unique.

Let us look in-depth and from the cinematic approach. The basic theme of the script revolves around the fact of humanism and relationship. When strangers meet, they don’t know what similarities they might share. If the link exists and they can get the scopes for interaction, they discover one another and themselves. At last, they become woven with each other. A good cinema should have good literary content. The writer does not only show this universal truth basing upon the upper layer of relationship. The writer has gone to the depth of this mysterious truth. Moreover, the social context and burning topics of the time in America has added a flavor to it. The relationship between two strangers, the Sikh temple in Oran, Arizona, the multicultural identity of the American peoples, interior terrorism depicts this unique melting pot that only exists in the US.

The success of a film script always depends upon how it is narrated and captured in the frame of the camera. But when a fictional idea still lives only on a paper, there’s a particular type of freedom where creativity can flourish. Ironically, it’s this same creativity that needs to limit and pick a path for the film to be born. The high-level imaginative power of the scriptwriter makes it easy for this story to be turned into a film with its precise descriptions, story and character descriptions. By reading, you can imagine the possible frames that one day will come out of this script. These imaginative frames include locations like a regular park bench, a house, kitchen or a Sikh temple. the

Let us go through the storytelling part of the script. There is a good storyline in the film. It has no branches or sub-branches. Only two strangers along with some other characters are portrayed, and that’s more than enough. This storyline does not tell just the story; it shows a story beyond the story.

If we go into the frames which are created by the writer, they tell us where the camera should be focused, where it can be placed.a
Her we can take a look at the first part of the script. At the very beginning, an anchor reads out news of a terrorist attack on a Sikh temple. Just after it, the shot says that the president of the country is talking about constructing a wall along the border. Two contemporary incidents are drawn showing the growing Americanism in a narrow sense. Sometimes the character Kal says that he takes pride to be an American as he has read that Americans are superman. So among this vast arena of racial discrimination, the vast field of narrow nationalism, the script is sending us the message that Americans are Americans with its multicultural identity grown out from the great melting pot, irrespective of all castes, religions, and races. Here lays the universal message of the script. With a beautiful theme, which adequate thoughts of making a plot, a beautiful presentation of characters and historical analysis of the human relationship.

Overall, it would be a great loss for the cinema world if All American stays just a script. It’s a story worth filming and I hope one day, the film will see the light of the day.


Triptayan is a filmmaker looking for a different horizon. Earlier a journalist Triptayan has done intensive research on film language and made different documentaries so far. He is now concentrating upon feature film in a vast landscape. Professionally a teacher, Triptayan has also passion for making films threaded with the international and universal thoughts.

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