In this blog post, we’ll examine the plot and psychological transformations of the characters in ‘Scent of a Woman’ through the lens of Propp’s 31 functions, analyzing the image of the modern hero through the misfortunes, deficiencies, temptations, hardships, and inner growth experienced by Charlie and Frank.

‘Scent of a Woman’ Viewed Through Propp’s 31 Functions

This analysis focuses on Propp’s 31 functions. The film was selected based on its exploration of psychological elements—specifically, inner growth—through the motifs of treasure and reward. We also examine whether fairy-tale narratives are being utilized in recent films. By analyzing the segments where the elements of misfortune and deprivation transition into a resolution process within a story structure driven by the characters’ psychological causality, we compare the similarities and differences between narrative structures of the past and present.
The plot of ‘Scent of a Woman’ can be summarized as follows. In Act 1, after witnessing his friend’s crime, Charlie leaves for New York with Frank, a retired military officer. Charlie does not want to report his friend’s crime. In Act 2, Charlie has unique experiences with Frank in New York. At the end of the trip, Frank attempts suicide, but Charlie prevents him from doing so. Frank recognizes Charlie as a sincere and worthy student. In Act 3, after returning from New York, Charlie remains silent about his friend’s crime until the very end. Frank defends Charlie, who has resisted the threat of expulsion and the temptation of special treatment at the university. Charlie becomes a student of honor.
The plot development of this film can be described as a classical narrative driven by changes stemming from the psychological interplay between Charlie and Frank. The characters are portrayed as individuals who uphold their convictions despite temptations and hardships, and the theme can be seen as a story about the dignity of those who live by honorable and meaningful actions.
Examining the film’s structure through the lens of the 31 narrative functions outlined in Propp’s narrative theory, it can be described as follows.
The first function of Act I is absence and departure. Unlike his friends who are going on a trip, Charlie is a poor college student who must work even on Thanksgiving. The film presents Charlie’s situation, in which even his diligence and good heart go unrecognized.
The second function is prohibition. Charlie has secured a job caring for Frank, a visually impaired veteran, in his home.
The third function is the violation of the prohibition. Frank leaves the house to go to New York with Charlie.
The fourth function is the investigation. The principal and the teacher, aware that Charlie witnessed a crime, begin to interrogate him.
The fifth function is the acquisition of information. Charlie witnesses his friends committing a crime.
The sixth function is the trap. Charlie is forced to keep the crime he witnessed at school a secret. We see that Charlie considers the students who committed the crimes to be his friends.
The seventh function is being deceived. The principal tempts Charlie by promising to help him get into college on a scholarship if he reveals his friends’ crimes.
The eighth function is perpetration and deprivation. Charlie’s friends force him to keep the secret. The principal pressures him by threatening expulsion if he doesn’t reveal the truth.
The ninth function is mediation. The principal gives Charlie time to think over Thanksgiving.
The tenth function is the beginning of a reaction. Charlie boards a flight to New York on Thanksgiving. Charlie decides to accompany Frank to New York and then return home.
The eleventh function is departure. Frank and Charlie set off for New York.

The Transformation of Charlie and Frank, Beginning in New York

The twelfth function of Act 2 is the Giver. Frank forcibly brings Charlie to New York. Frank arranges everything—Charlie’s plane ticket and hotel. Charlie confides in Frank about having witnessed his friends’ crimes.
The thirteenth function is the protagonist’s reaction. Although Charlie experiences first-class airplane seats, limousines, and luxury hotels, he wants to return to school to resolve the criminal case. Charlie rejects Frank’s advice to expose the truth.
The fourteenth function is the acquisition of magical means. Frank’s bold actions—having come on a trip with the intent to commit suicide and with nothing to lose—instill a sense of recklessness in Charlie as well.
The fifteenth function is spatial displacement. Charlie repeatedly calls his friends at the ski resort.
The sixteenth function is a fight. Charlie realizes that his friends are using him under the guise of friendship. At the same time, he discovers Frank’s suicide attempt.
The seventeenth function is a sign. Fueled by the recklessness he gained from various incidents with Frank in New York, Charlie resolves to face the danger head-on.
The eighteenth function is victory. Charlie prevents Frank’s suicide attempt.
The nineteenth function is the resolution of misfortune and deprivation. Frank acknowledges Charlie—recognizing him as a sincere person who stands by his convictions.

Charlie’s Return and the Choice to Uphold Honor

The twentieth function of Act 3 is return. Charlie and Frank leave the hotel.
The twenty-first function is persecution. They miss their return flight.
The twenty-second function is salvation. With Frank’s help, they take a long drive back to where they used to live.
The twenty-third function is anonymous return. Charlie is treated like a criminal and summoned to the principal’s office.
The twenty-fourth function is an unreasonable demand. The principal pressures him to report his friends’ crimes.
The twenty-fifth function is a difficult task. He must prove that reporting his friends’ crimes in front of the entire school is not an act of honor.
The twenty-sixth function is fulfillment. Frank steps in to play the role of Charlie’s parent. Frank delivers a speech explaining that Charlie’s silence is an honorable act.
The twenty-seventh function is identity verification. As a result of the Disciplinary Committee’s decision, Charlie avoids expulsion.
The twenty-eighth function is exposure. Frank reveals to all students that not informing on a friend’s crime is an honorable act, and that the principal, who used college admission as a threat, is dishonorable.
The twenty-ninth function is transformation. Charlie gains the recognition of the entire student body.
The thirtieth function is punishment. The principal and the criminals are humiliated in front of the entire student body.
The thirty-first function is marriage. Frank and Charlie promise to reunite and return to their daily lives.

Characters Reinterpreted as Modern Heroes

The order of the 31 functions has been altered, and some elements are placed in a somewhat contrived manner. However, most of the elements signified by the 31 functions are included, creating an organic narrative structure.
Both films analyzed here contain elements of a reinterpretation of the modern hero. They share the commonality of depicting characters who, after achieving inner growth, return to their everyday lives but end up living different lives within that same routine.
In ‘Scent of a Woman’, Charlie becomes a modern hero after his principled refusal to snitch is recognized, while Frank overcomes his suicidal thoughts, returns to his daily life with his family, and demonstrates a proactive, transformed approach to life.
This analysis demonstrated that Propp’s narrative structure can be applied to modern films and validated the rationale for utilizing it in creative works.