Adam: Here we are
at the end of February, and I still have a cluster after this one to do. Oops.
Oh well. Thanks for hanging in there, everyone. I know you’re probably crushed
that I didn’t get this finished in January or even February. (Hint: I’m the
only one who’s actually mad at myself for not getting it done.)
This cluster takes place in a world far from our own. Kind
of. The theme of these films is “fantasy” in many senses of the word. Some take
place in other lands, some take place in a blend between our world and another,
and some take place in “altered” versions or perceptions of our world. Enjoy this,
part four out of five. We’re almost there.
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AJCFP #4: Magic, Mindfunks, and Mawage
The Princess Bride (dir. Rob Reiner, 1987)
There are few films that can be described as classic, and
even fewer that can bear the description of flawless; The Princess Bride is one of those films. Everything about this
film is timeless. The story is one of adventure, romance, suspense, and of
course, true love. The laughs are never cheap, the characters are
unforgettable, the plot never once drags, and not a single moment is wasted. I
cannot say much more beyond thank God this movie exists, to take us on an
adventure, to enchant us with its magic, to make us laugh and cry, and to
revive our belief in true love, even if it is mostly dead.
Labyrinth (dir. Jim Henson, 1986)
Until this particular viewing, I had only ever seen Labyrinth in special big screen events,
and never in private at home. But when one of my favorite people ever got me
the collector’s edition for my birthday this year, I finally got the solo
viewing I had wanted since the first time I went on this fantastical journey.
Labyrinth is a
sort of coming-of-age story about a young girl who wishes her baby brother
would be kidnapped by goblins when she is forced to babysit him on a night
where she would rather be out with her friends. But she isn’t your typical
early-teens popular girl; Sarah enjoys role-playing the fantasy stories she
reads, particularly the one about the Goblin King and a mythical Labyrinth,
which is where she gets the idea to wish for her baby brother to be “removed”
from her situation. Her wish actually comes true, and this warrants a visit
from said Goblin King, played by none other than legendary musician David
Bowie. Sarah is transported to the land of the Labyrinth when she tells the
glam-tastic Goblin King that she wants to take back the wish. He gives her
thirteen hours to reclaim her brother before he is transformed into one of the
Goblin King’s goblin minions.
If you’ve talked to me in the past month, you know I’ve
recently acquired a swiftly onset and quite potent obsession with David Bowie
and his music, so to rewatch this movie during said musical investigation was
an absolute treat. But Mr. Bowie isn’t the only highlight of this movie. A very
young, very beautiful, and very talented Jennifer Connelly plays the role of
Sarah wonderfully, and the music (written by Bowie) is catchy and classic. But
all of that aside, I have to admit the best part of this film is the
magnificent puppet work by Jim Henson Productions. The non-human characters (of
which there are many) come to life in a way that has not been close to matched
with CGI (although I suppose Gollum and Smaug give them a run for their
money…), and quite honestly, I forget they are puppets very quickly. This movie
is escapism at its finest for me, and a quirky fantasy journey unlike any
other. I recommend it highly, but be warned…it’s pretty trippy sometimes, but
if you just let it happen, you’ll find yourself singing “dance, magic, dance!”
and hoping Sarah saves the day and grows up...but not too much.
The Fountain (dir. Darren Aronofsky, 2006)
I obtained my copy of this epic romance for free from
someone who didn’t want it anymore. I had seen it once before and gladly took
it off his hands, but then realized I couldn’t remember what it was about, at
all. It started coming back to me when I watched it this time, but what really
came to me was something much more. The
Fountain is split into three storylines, all of which starring Hugh Jackman
and Rachel Weisz. The first is about a Spanish conquistador searching for the
Tree of Life by order of his Queen; the second is about a present-day
doctor/scientist looking to cure his wife of cancer; the third takes place in a
celestial bubble, where a man is floating through space trying to protect a
tree (presumably the Tree of Life) until their eventual rebirth. It’s kind of
trippy, yeah. But the themes of this film are death, and the human desire to
thwart it, rather than accept it. There are recurring themes of religion,
philosophy, science, history, and, again, death, all throughout the film, which
also contains some incredible cinematography and sound work (I’m going to
repeat this in my review of Black Swan,
but watch this with headphones to get the full effect), and excellent
performances by all involved. If you’ve never seen any of Aronofsky’s work and
you want a safe, but still mind-blowing, entry point into his work before you
hit the really dark stuff, The Fountain
is that film. I’d also recommend it to lovers of movies that make you think the
whole time you’re watching them, working to wrap your mind around what’s going
on and how to follow three story threads, only to have to do it again when
something changes. But if you want a straightforward love story or a linear
plot, look elsewhere. This one is quite a tangled thread to undo, but if you’re
willing to undergo it, the payoff is ever so worth the trouble.
Black Swan (dir. Darren Aronofsky, 2010)
This was the first movie I ever screened when I became a
projectionist at Celebration! Cinema Crossroads. I was alone at 1am watching
this psychological, psychosexual, thriller-horror film about a ballerina who
loses herself in her art, and it left me pretty deeply disturbed and walking
around a movie theater at 3am worried that my evil twin was going to jump out
and kill me. I should probably write a review so this story isn’t as confusing.
Black Swan is
about Nina (Natalie Portman in an Oscar-winning performance), an innocent and
sensitive ballerina who wins the role of her dreams: the Swan Queen. However,
in order to play the role perfectly, this performer has to embody both the
White Swan and the Black Swan. When she gets the part, Nina can only play the
White Swan because she hasn’t found the Black Swan in herself yet. Cue Lily
(Mila Kunis), a sexy and unorthodox ballerina who, oh my gosh, always wears
black. Through a series of minor corruptions, and one infamous sex scene, Lily
(or rather, the idea of Lily as Nina’s doppelganger), starts to bring out
Nina’s Black Swan. Nina also has a very controlling (and probably abusive)
mother, who adds a Carrie-esque aura of terror to the already chilling film,
and the director of the ballet also has an air of sexual threat about him. As
Nina starts losing her mind, she also starts losing herself and discovering
that she can be, and is, the Black Swan.
The film uses recurring motifs of mirrors, evil
doppelgangers, doubles, fleeting youth, the pursuit of perfection, and lots of
other dark themes if you wish to dig deeper. The cinematography is gorgeous,
the lighting and make-up are marvelous, the dancing is fantastic, and (here it
is) watch this movie with headphones because the use of sound is out of this
world.
This was one of my favorite films of 2010, but like
Aronofsky’s other work, this is not for everyone. The theme alone is pretty
disturbing, but when you throw in some unsettling gore, possible child abuse
(her mother is pretty messed up), sexual awakening (both healthy and unhealthy),
a downward spiral into insanity, including hallucinations of murder and a
lesbian sex scene (if that’s the one that made you scoff, you have bigger
problems than I could start to write about in this review), you have definitely
narrowed down your audience. So yes, I recommend this film highly, but you must
know what you’re getting into, and know that what you’re getting into is
actually a brilliant, dark tale of the pursuit of perfection.
Big Fish (dir. Tim Burton, 2003)
Tim Burton’s Big Fish
(which could also be titled That Tim
Burton Movie That Doesn’t Feel Like A Tim Burton Movie) eluded me for years
after I saw it. I first watched it early in high school (so actually shortly
after it came out…maybe 2005?) and adored it. It had something different about
it, and I vowed to figure out what that was…but I didn’t watch it again for
almost ten years. I bought it on a whim a year or two ago, but only just now
watched it for that much anticipated second time. I am pleased to report that
it did not let me down one bit.
The story centers on a literal, calculated man and his
whimsical, storytelling father. For his entire life, the man had heard these
tall tales about his father’s life, and now that his father is on his deathbed,
he wants to finally hear the truth about his old man. The story is long,
elaborate, and strides the line between believable and unbelievable until it
blurs. And the ending is perfect.
Like I said earlier, this doesn’t really feel like your usual
Tim Burton film, which is a good thing no matter if you’re a long time fan (as
I am) or one of those hater-people who think they’re deep by commenting on how
Burton casts Johnny Depp a lot. Directors do that. Get over it. I digress. This
doesn’t feel like a usual Burton film because it’s not his typical blend of
Gothic cartoonish style and morbid storytelling (although this is very much a
Southern Gothic story, and there’s a dying father, so maybe it’s not all that
different…). But it wouldn’t be the same without Tim at the helm, because his
touches are still very apparent. The cast is wonderful: Billy Crudup and Albert
Finney believably play son and father respectively, and Marion Cotillard is so
very charming as Crudup’s wife. However, the real treasures in the cast are
told in the fairy tale flashbacks, starring Ewan McGregor as a young Albert
Finney. McGregor shines as the naïve, but clever, Edward Bloom who leaves his
small town in search of something bigger. On his journey, he meets Danny DeVito
as a circus ringmaster, Steve Buscemi as a missing poet, Loudon Wainwright III
as the mayor of a mysterious town, Alison Lohman as the girl of Edward’s
dreams, Helena Bonham Carter as…a few people (just watch it, you’ll
understand), and there’s even an 8-year-old Miley Cyrus (credited as Destiny
Cyrus). And that’s not even the whole group.
The cast isn’t all this movie has to offer though, by a long
shot. The story alone is beautiful enough to carry a cast of unknowns, and the
visuals are colorful, vast, but also personal and intimate. Danny Elfman’s
score was also Oscar-nominated, which is almost always a good sign.
I would argue strongly that this is one of Tim Burton’s best
films, and I would recommend it not only to Burton fans, but also to anyone who
likes fairy tales. It’s a pure-hearted film about life, family, death, and
storytelling, and will please viewers of any and all ages. Please watch it, if
you haven’t already.
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