'Two friends sit in a kebab shop in London. One tells the other a story he'd heard about a boy who'd recently been stabbed by a gang in the street. He'd staggered into the very kebab shop they are sitting in, desperately looking for somewhere to hide, pursued by the gang, looking to finish him off. But the gang hadn't thought about the shop's owners...'
The Ellington Kid opens with a series of establishing shots of knives in the kebab shop accompanied by title cards. The first one shows the film's name, the second reads 'Based on a true story', and the third one says '(kind of)', establishing the comedic nature of the short film.
While the gang is clearly the dominant power in the chase scene, they slowly become the victims along the course of their stay at the kebab shop. At first, both parties face each other confidently, then as the kebab shop employees find weapons, the gang begins to lose their confidence, and finally, the audience sees a close up shot of a gang member's shocked face after the powerful shot of an employee locking the shop and turning the 'open' sign to say 'closed'.
The film is clearly focused on presenting a narrative, conforming to all of Todorov's narrative stages, and featuring some of Propp's prominent character types, as well as Strauss' binary theory. This is also shown in the first and last shots of the film, both of knives being sharpened, which suggests a cyclical narrative.
The Ellington Kid opens with a series of establishing shots of knives in the kebab shop accompanied by title cards. The first one shows the film's name, the second reads 'Based on a true story', and the third one says '(kind of)', establishing the comedic nature of the short film.
While the gang is clearly the dominant power in the chase scene, they slowly become the victims along the course of their stay at the kebab shop. At first, both parties face each other confidently, then as the kebab shop employees find weapons, the gang begins to lose their confidence, and finally, the audience sees a close up shot of a gang member's shocked face after the powerful shot of an employee locking the shop and turning the 'open' sign to say 'closed'.
The film is clearly focused on presenting a narrative, conforming to all of Todorov's narrative stages, and featuring some of Propp's prominent character types, as well as Strauss' binary theory. This is also shown in the first and last shots of the film, both of knives being sharpened, which suggests a cyclical narrative.
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