Similarly, Jim mentioned the recent David Suchet adaptation of Murder on the Orient Express. More of less everybody knows the plot and who dunnit, so the suspense is inevitably lacking. However, when the murder has been revealed, the credits don't roll. The film continues...because it's not about Who Dunnit, it's about Poirot - his religious belief, his need for justice, his innate obedience to the command: Thou shalt not kill. Who Dunnit? becomes the wrong question.
I write novels that fall into the Romance category. Yet, to me, the books are never about Will the main character find love? That's not the right question - because the answer is inevitably Yes! My questions are more: In A Single to Rome, will Natalie find her way back onto the path she left when she was in her teens? In Adultery for Beginners, will Isabel learn to forge her own path rather than relying on others? In Nice Girls Do, will Anna develop her emotional IQ to match her academic IQ?
With In Bruges, the question isn't about whether he lives or dies, but whether he wants to live - and that's the question that gets answered. 'You mean it's about redemption,' said my boss. 'Ah. Now I understand.'