Once recognized the minimum identifying feature of the biographical movie in the fact that the protagonist is built imitating the existing person after whom he is named, we propose a new interpretation. In the autobiographical movie, the dramaturgic structure expresses a judgment of redemption or damnation on the protagonist’s way of life. Such an interpretation is supported by the analysis of the narrative structures of some biographical movies in the history of cinema, which are successful from a commercial and critical point of view (Butch Cassidy [1969], Amadeus [1984], Out of Africa [1985], Schindler’s List [1993], Erin Brockovich [2000]). For this research we referred to the narratologic analysis instruments specified by the main theoreticians of cinematographic dramaturgy (Robert McKee, John Truby) and by some scholars. They agree, from different perspectives that all axiological aspects are relevant for the interpretation of a text.