Sleepy Hollow (1999) - Film Review: 3 Act Structure

October 28, 2019

Sleepy Hollow (1999) - Film Review: 3 Act Structure

Figure 1: Sleepy Hollow (1999) [Original Poster]

This essay aims to analyse how Tim Burton’s horror mystery Sleepy Hollows (1999), follows the three-act structure first analysed by Greek philosopher Aristotle. This comparison will be completed through highlighting key points within the film, at which adheres to the three-act structure.

Burton’s Sleepy Hollow, loosely based on the short story created by Washington Irvings, ‘The Legend of Sleepy Hollow’ (1820). The story starts in 1799 following the story of Ichabod crane, who works of the police department in New York City. When questioning the way in which justice is served through medieval devices, eh gets offered the option to try his scientific inventions to help find the one responsible for the severing of three heads in Sleepy Hollow. Here Ichabod must discover the mystery behind he mysterious deaths, and why they keep happening.

The three-act structure is a storytelling technique first mentioned by Aristotle, at which a story goes through three main parts, ending each act within the narrative to send the story into a different direction. The first act within the three-act structure mainly focuses around the setup, looking at the Exposition, Inciting Incident, and Plot Point One. This usually doesn’t take up too much of the entirety of the story, unlike the second act which will contain much of the narrative. The second act contains the Rising Action, Midpoint, and Plot Point Two. Lastly ending with the final act, act three, which brings the story to a close, with the Pre-Climax, Climax, and Denouement, meaning to resolve any unanswered questions within the story.

Figure 2: Ichabod speaking up to his officer about the cause of the body’s death [Film still]

In accordance with the three-act structure, Sleepy Hollows sets the stage, known as the Exposition. Within this first plot point, the audience discovers who the protagonist is, what is important to them and the challenges they face during this time. Ichabod is first introduced upon discovering a dead body in a river, showing his concern to the head police officer on the cause of death for the man. The head officer dismisses Ichabod’s concern, explaining how if the body was found in the water it will be confirmed as death by drowning. Yet, Ichabod proposes that the body could have in fact have been dead before hand and should do some tests to find out. Here the audiences gain an understanding for Ichabod’s curious nature, and how others view him as more of a hindrance among the police staff.

Figure 3: Ichabod facing the court to stand up against medieval torture [Film still]

Ichabod’s determination and drive to protect the innocent and for fair justice is only highlighted by his appearance in court to plea for his wishes to be adhered. These wishes include getting rid of their medieval forms of torture to seek justice and instead use more of a scientific approach to the new millennium. This also indicates the challenges Ichabod faces currently in his ordinary life, as once again he is undermined by the court, which is where the Inciting Incident takes place.

Figure 4: Judge giving Ichabod the option to put his scientific hypothesis into action [Film still]

The inciting incident is the point at which the protagonist is offered a proposal at which sets the adventure into motion and could potentially help them achieve their goal through changing the situation. This is evident within the courtroom scene, as Ichabod is offered the option to test his scientific inventions to help uncover the identity of a murderer in Sleepy Hollow, responsible for the decapitation of three different people within a fortnight.

Figure 5: Ichabod freeing his pet bird [Film still]

Ichabod accepts this challenge, beginning plot point one and begins to pack away his things setting the adventure into motion. While packing he also releases his pet bird out of its cage. This could be considered a metaphor for Ichabod’s freedom to adventure to bigger and better things, away from his trapped, and sheltered life. This all happens within the first ten minutes of the film bringing act one to a close.

Figure 6: Travelling to Sleepy Hollows [Film still]

To begin act two, rising action must first happen. Rising action happens from the point the protagonists journey begins to take form. In terms of Ichabod, his journey truly takes form when he faces the carriage ride from New York City to Sleepy Hollows.

Figure 7: Arriving in the new surroundings of Sleepy Hollow [Film still]

Upon arrival Ichabod is confronted by new surroundings and people, key assets to the rising of action, as each of these become plot points that will both challenge and help the character.

Figure 8: Meeting both Katrina Van Tassel and Brom Van Brunt [Film still]

Introductions with new characters not only effect the main protagonist but also help to elaborate on the story’s overarching conflict. There are various times this takes place within the film. When first arriving at Sleepy Hollow, Ichabod encounters both Katrina Van Tassel Van and Brom Van Brunt. These two characters play a large role within the story, both acting as the opposite to each other, as shown later within the film.

Figure 9: Calling all of the elders to discuss the murders [Film still]

Along with this, the audience also meets the elders of Sleepy Hollow key characters within the mystery of the film, which help to elaborate on the conflict within the film.

Figure 10: Ichabod clearly frightened by the tale of the Headless Horseman, with his tea shaking in hand [Film still]

This is illustrated through them telling the history of who is believed to be responsible for the murders, the Headless Horseman. They begin to then go into detail giving context of the narrative to both the audience and Ichabod. It is here, audiences grasp an understanding of Ichabod’s shaken personality, as he trembles in fear at the story of the Headless Horseman, then proceeding to undermine their warnings and ague with the logistics of the story. Later to become a big challenge for Ichabod as he struggles to comprehend the ghostly tales.

Figure 11: Struggles with riding the horse Gunpowder [Film still]

His struggles begin relatively small starting with small challenges such as not being able to properly adapt and ride the horse Gunpowder. This visually sets him apart from the other characters, and also contrasts him to the antagonist of the film the Headless Horseman.

Figure 12: Using his scientific instruments to prove his theories [Film still]

One of his first main challenges for the rising action, is proving his scientific hypothesis’ work, by using his various inventions to help work out how the Headless Horseman killed Masbath’s father, on the night of his arrival. It is here audiences also become aware of Ichabod’s squeamish nature, not being able to fully look upon he course during his examination.

Figure 13: Brom frightens Ichabod pretending to be the Headless Horseman [Film still]

Although roving his knowledge, Ichabod still struggles to come to grips with the story of the Headless Horseman, until crossing the bridge where he encounters what looks to be the Headless Horseman but is in fact Brom playing a park on the young constable. Brom becomes a small obstacle for Ichabod, although it is through this that Brom later becomes of use to Ichabod, helping to discover how the Headless Horseman operates.

Figure 14: Katrina pens up about her past to Ichabod [Film still]

Katrina also assists in the challenging of Ichabod, pushing him as a character. During her discussion with him about her past, Katrina gifts a book about spells and witch magic. Ichabod is unsure about this, as his beliefs are strictly logical, along with Katrina commenting saying, “Are you always so certain?”. This challenges Ichabod’s views, as his mind begins to open up a little to the possibilities.

Figure 15: Ichabod hides in his bed away from the Headless Horseman [Film still]

The Midpoint of the film is when the protagonist experiences a significant event, usually something going wrong, which results in throwing them off their previous rhythm. For Ichabod this takes place when he finally meets the Headless Horseman for the first time. In the scene, the Headless Horseman comes after Philipse while Ichabod is asking him questions about the murders. This is a key moment for Ichabod as he didn’t believe in the Horseman prior to this encounter.

Plot point two follows closely behind as Ichabod has now fallen on a hard time, trying to come to terms to what he believed to be a fairy tale is now reality. This leaves Ichabod in so much shock he hides away in his bed from the towns people.

Figure 16: Receives a boost of encouragement from Katrina [Film still]

Luckily during plot point two, the protagonist is then given a ‘pep talk’ that will later aid them in their journey. In this case Katrina becomes a key point within Ichabod’s life, as she encourages him to continue after the death of Brom, she admits to not feeling any heartache towards him but Instead to Ichabod. This strengthens his pride, making him continue to figure out the mystery of the Headless Horseman.

Figure 17: Finds evidence to who is behind the murders [Film still]

The pre-climax of the film centres around the antagonist and protagonist, shown with a lot of build up of tension. This is evident when Ichabod becomes closer to finding out who is responsible for controlling the Headless Horseman, as they are responsible for the murders. All signs at this point lead to Katrina who Ichabod believes to not be true, yet still cannot argue with the logistics of the matter.

Figure 18: Lady Van Tassel is found to be behind controlling the Headless Horseman [Film still]

All the tension then brings the film to its climax, as audience discover the one responsible is in fact Lady Van Tassel. Ichabod returns to save Katrina from her as she uses the Horseman to hunt them both. During these scenes we see Ichabod finally begin to adapt with his surroundings as he takes part in rather gory scenes which he would have before not dared, developing his character arc.

Figure 19: The Headless Horseman’s skull is returned [Film still]

Lastly reaching the resolution of the film. The resolution usually concludes the film answer any previously unanswered questions, and brings the story to a close, with the end goal being reached. His is true of Sleepy Hollow, as both antagonist and protagonist achieve their end motive. For the antagonist, the Headless Horseman, his skull is returned to his body, and he is able to return to the spirit world with Lady Van Tassel in hand.

Figure 20: Ichabod returns to New York City at the beginning of the millennium with a new outlook. [Film still]

While the protagonist of the story Ichabod, returns back to New York City having proved his inventions work, just in time for the new millennium. As well as also developing as a character with new companions such as Katrina and Masbath, who have changed him to become a much more open-minded character overall.

To conclude, Tim Burtons Sleepy Hollow follows the three-act structure relatively well, ending with a closed ending in which the main protagonist Ichabod Crane achieves his goals of using his scientific logic to understand the murder mystery. However, still learns and grows as a character due to his relationship with the citizens of Sleepy Hollow, in particular Katrina, who opens his mind up to more spiritual conclusions. Due to this, it could be argued that both plot and story work together, as each is present throughout the entirety of the film, as characters are developed yet this isn’t overdone to the point of taking over the plot of the narrative.

Illustration list

Figure 1: Sleepy Hollow (1999) [Original Poster]

Figure 2: Ichabod speaking up to his officer about the cause of the bodies death [Film still]