What's Up, Doc?
Two researchers have come to San Francisco to compete for a research grant in Music. One seems a bit distracted, and that was before he meets her. A strange woman seems to have devoted her life to confusing and embarassing him. At the same time a woman has her jewels stolen and a government whistle blower arrives with his stolen top secret papers. All, of course have the same style and color overnight bag.
Despite its modest budget of $4.0M, What's Up, Doc? became a runaway success, earning $66.0M worldwide—a remarkable 1550% return. The film's innovative storytelling engaged audiences, confirming that strong storytelling can transcend budget limitations.
1 win & 1 nomination
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
What's Up, Doc? (1972) exhibits carefully calibrated narrative architecture, characteristic of Peter Bogdanovich's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 1 hour and 34 minutes. With an Arcplot score of 7.5, the film showcases strong structural fundamentals.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Howard Bannister, mild-mannered musicologist, arrives in San Francisco with his controlling fiancée Eunice for a foundation grant presentation. His life is orderly, repressed, and entirely dominated by Eunice's rigid plans.. The analysis reveals that this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 9 minutes when Judy Maxwell boldly approaches Howard in the hotel, pretending to know him. She's chaotic, spontaneous, and immediately attracted to him. This free spirit crashes into Howard's controlled world.. At 10% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 21 minutes marks the transition into Act II, occurring at 22% of the runtime. This demonstrates the protagonist's commitment to Howard's room is ransacked by people looking for the bags. Despite his better judgment and Eunice's fury, Howard becomes entangled in Judy's chaotic world. The bag mix-up forces him into the adventure., moving from reaction to action.
At 41 minutes, the Midpoint arrives at 44% of the runtime—arriving early, accelerating into Act IIb complications. Notably, this crucial beat The banquet dinner: Judy poses as Eunice and sits with Howard before the foundation board. The ruse works brilliantly - Judy is charming and helps Howard shine, showing him what life could be. False victory: everything seems to be working., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 62 minutes (66% through) represents the emotional nadir. Here, The chase ends in disaster. Howard, Judy, and all the conspirators crash into San Francisco Bay. Howard is arrested, loses the grant, and loses Eunice. His entire life has been destroyed. The chaos has cost him everything he came for., demonstrates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 67 minutes initiates the final act resolution at 71% of the runtime. During the trial, Howard realizes Judy was right all along - he was living a repressed, joyless life. He chooses chaos and authenticity over control and propriety. He defends Judy and embraces the madness., demonstrating the transformation achieved throughout the journey.
Emotional Journey
What's Up, Doc?'s emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs proven narrative structure principles that track dramatic progression. By mapping What's Up, Doc? against these established plot points, we can identify how Peter Bogdanovich utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish What's Up, Doc? within the comedy genre.
Peter Bogdanovich's Structural Approach
Among the 4 Peter Bogdanovich films analyzed on Arcplot, the average structural score is 7.2, reflecting strong command of classical structure. What's Up, Doc? represents one of the director's most structurally precise works. For comparative analysis, explore the complete Peter Bogdanovich filmography.
Comparative Analysis
Additional comedy films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid. For more Peter Bogdanovich analyses, see Paper Moon, The Last Picture Show and Mask.
Plot Points by Act
Act I
SetupStatus Quo
Howard Bannister, mild-mannered musicologist, arrives in San Francisco with his controlling fiancée Eunice for a foundation grant presentation. His life is orderly, repressed, and entirely dominated by Eunice's rigid plans.
Theme
Judy Maxwell (not yet introduced) will later state the theme: "Love means never having to say you're sorry" - a commentary on spontaneity versus control, and how real connection transcends social conventions.
Worldbuilding
Howard and Eunice check into the Bristol Hotel. We learn about Howard's research on igneous rocks and prehistoric music, his competition with Hugh Simon for the grant, and Eunice's micromanagement of every aspect of his life. Four identical plaid overnight bags are introduced.
Disruption
Judy Maxwell boldly approaches Howard in the hotel, pretending to know him. She's chaotic, spontaneous, and immediately attracted to him. This free spirit crashes into Howard's controlled world.
Resistance
Howard resists Judy's advances while she pursues him relentlessly. The four identical plaid bags create confusion: one contains Howard's rocks, one has government secrets, one holds jewels, one has Judy's clothes. Judy maneuvers herself into Howard's orbit despite his protests.
Act II
ConfrontationFirst Threshold
Howard's room is ransacked by people looking for the bags. Despite his better judgment and Eunice's fury, Howard becomes entangled in Judy's chaotic world. The bag mix-up forces him into the adventure.
Mirror World
Judy and Howard's relationship deepens as she challenges everything about his repressed life. She represents spontaneity and passion - everything Eunice and his controlled existence lack. The romantic subplot becomes the thematic heart.
Premise
Classic screwball chaos: the four bags get swapped repeatedly, spies chase them, jewel thieves pursue them, hotel rooms are destroyed, and Judy drags Howard through increasingly absurd situations while Eunice fumes. Howard's presentation approaches.
Midpoint
The banquet dinner: Judy poses as Eunice and sits with Howard before the foundation board. The ruse works brilliantly - Judy is charming and helps Howard shine, showing him what life could be. False victory: everything seems to be working.
Opposition
Eunice exposes Judy's deception. The bag confusion intensifies with spies, thieves, and rivals all converging. A massive chase through San Francisco streets involving a grocery delivery bike becomes iconic. Everything spirals out of Howard's control.
Collapse
The chase ends in disaster. Howard, Judy, and all the conspirators crash into San Francisco Bay. Howard is arrested, loses the grant, and loses Eunice. His entire life has been destroyed. The chaos has cost him everything he came for.
Crisis
In court, Howard must face the consequences. He's lost his career prospects, his fiancée, and his dignity. The dark night: was breaking free from his controlled life worth this destruction?
Act III
ResolutionSecond Threshold
During the trial, Howard realizes Judy was right all along - he was living a repressed, joyless life. He chooses chaos and authenticity over control and propriety. He defends Judy and embraces the madness.
Synthesis
The courtroom becomes the finale as all plot threads resolve: the bags are sorted, spies and thieves are revealed, Hugh Simon is exposed as a fraud. Howard and Judy work together to untangle everything. The judge dismisses all charges.
Transformation
Howard and Judy fly away together on a TWA plane. When she says "Love means never having to say you're sorry," he responds "That's the dumbest thing I ever heard." He's found his voice, embraced spontaneity, and chosen passion over propriety. The buttoned-up musicologist is now free.