Nothing New Under the Cinematic Sun?

By on March 19, 2010 ·

I finally saw Avatar. I realize it’s been out for months and earned an obscene amount of money at the box office, but I have a thing about crowds and prefer to wait until the hype has died down before I see a blockbuster like this in a movie theatre. I must say that James Cameron’s film certainly lives up to it reputation in terms of visual spectacle. The scenery is indeed dazzling, and the 3-D effects will likely spawn dozens of imitators for years to come—which is only fitting, since imitation is pretty much all you get with Avatar in terms of its storyline.

Granted, it’s nothing new for artists to build on the work of their predecessors. George Lucas freely admits that he dove deep into the archetypal pool (via Joseph Campbell) when scripting out his Star Wars saga. Likewise, the Wachowski brothers drew from a host of literary and religious archetypes when they created the Matix trilogy. However, Cameron does not pay homage to these traditions so much as he downright steals from the work of other screenwriters and filmmakers.

While watching the three-hour long Avatar, I found myself making a mental checklist of the cinematic allusions being played out on the screen. Dances With Wolves is there in bulk, as are the aforementioned Star Wars and Matrix movies. There are also echoes of Braveheart, Pocahontas, Medicine Man, Independence Day, Donnie Brasco, Apocalypse Now, The Search for Spock, Total Recall, and Kingdom of Heaven. Cameron even seems to borrow from himself a bit with nods to the Alien and the Terminator franchises. Plus you get a movie with Romeo and Juliet-esque star-crossed lovers and a narrator who is divided between two worlds—much like the protagonist in The Chronicles of Thomas Covenant novels.

Don’t get me wrong, many writers have built careers based on adaptations of other people’s ideas (William Shakespeare comes to mind), and James Cameron’s film is worth the price of admission if only to admire the work of a talented team of animators. But without the stunning visuals, Avatar’s storyline seems a bit shallow. Then again, this is Hollywood we’re talking about, and in a country whose reading habits continue to decline, perhaps movies are the only form of cultural transmission we have left.

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3:10 to Yuma- Weapons as Character

By on February 17, 2010 ·

I love Westerns and I don’t trust people that don’t. 3:10 to Yuma (the 2007 version) is one of my favorites for a bunch of reasons. Great performances, gorgeous cimematography, lotsa shoot outs, and a nice tight pace. The tight pace is accomplished partly by keeping exposition short and simple. Get him on the train, get paid, save the farm. It’s also smart enough to use genre convention to save time. We’ve all seen enough evil ranchers, poor farmers, suave outlaws, and ruthless pinkertons to know where we stand.

Yet the characters all feel real. What struck me about this movie (and stikes me everytime I watch it) is how smart the weapons choices were. I’m a gun enthusiast (some say gun-nut) and would guess that a lot of Western fans are as well. In this one not only are the guns and gear correct for the period, they serve as a shorthand for the characters.

The Whip: Okay it’s not a gun and some might (foolishly) not consider it a weapon but Ben Wade has a coiled whip on his saddle. He doesn’t use it, doesn’t even touch it I don’t think. So why is it there? It’s a long bullwhip with a bone handle, a stockman’s whip and a working tool. Wade hardly seems like the type to move cattle or drive freight. A whip is supple, has a long reach, a wicked lash, and despite being kind of cool to look at, relies on cruelty for effectiveness. Kind of like Ben Wade.

The Old Soldiers: It’s mentioned early that Dan Evans fought in the Civil War. Later he’s asked North or South but we can already guess. The gun he uses most is a Spencer Carbine, a Union weapon and a cutting edge design in the War but at the time of our story most folks would rather have a Winchester. His pistol is an open top Colt, an 1851 Navy with the cartridge conversion. Servicable but again old fashioned. In Dan’s house we even an old musket, probably a Springfield rifle-musket already a relic in the movie’s time frame. It could be that Dan doesn’t care about fads or newfangled guns when the ones he has work fine. It could be he’s just too damn poor to afford a new rifle. But it could also be that he’s stuck in the War, can’t let go or get over what happened to him.

The Hand of God: Ben Wade’s pistol is a Colt Single Action Army. Hundreds of thousands were made and carried and indeed it’s still made today. It’s a fine weapon but it was by no means the only pistol in the West yet it’s the iconic ‘Old West Gun’ today and that’s it’s place in the movie. There’s plenty of SAA’s in the film but Wade’s is special. It’s decorated with a crucifix, has a name (Hand of God), and according to Wade is cursed. He wears it in a holster that’s damn close to a modern quick-draw rig. All gunman’s affectations that are largely the stuff of fiction. There’s no doubt that there are two Wades. The real man and the image he’s had a large hand in crafting.

‘Not the Prince of Cats’: We’ll leave for now the question of whether Ben Foster as Charlie Prince stole the movie (hint: he did) and just focus on his gear. Physically it’s the only thing to focus on. With his leather jacket and leather chaps he just looks like one big holster. It’s all about his pistols. Smith & Wesson Schofields worn butt forward. For the period the Schofield would be just about the pinnacle of handgun technology. The big selling point then was it’s quick reloading capability which Prince shows off in the film. Charlie Prince obviously loves his pistols and loves to use them. Were Charlie Prince in a modern setting he would never own a Glock. Sure it shoots bullets but where’s the style? Where’s the love of using the finest tool money can buy (to kill someone)? There’s no question Charlie is using his guns to compensate for something. But does that make him less dangerous or more?

The Scepter of Power: The shotgun in the movie is a brutal looking coach gun (I didn’t recognize the make but research says it’s a Colt 1873). It doesn’t really add to anbody’s character but I noticed that whoever had the gun seemed to be in charge of the group. First McElroy, the Pinkerton, then Wade, then Evans. I don’t know if that was on purpose or if it’s just the natural authority of a sawed off shotgun.

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Criminal Boredom

By on January 13, 2010 ·
John Dillinger wanted poster
Image via Wikipedia

I like Michael Mann’s work. I was (and am) a devoted fan of the Miami Vice show. The Last of the Mohicans is one of my favorites and high in my movie quote rotation. Manhunter, even though it differs quite a bit from the Harris novel Red Dragon, is superior to the generally more faithful Red Dragon with Edward Norton. True, Miami Vice the movie was less than perfect but I kind of enjoyed it. If you haven’t seen Collateral check it out. It’s underrated and I think it might even be brilliant and you will totally buy Tom Cruise as a grey haired professional killer.

So I was expecting to enjoy Public Enemies. I missed it in the theater and rented it the other day. Michael Mann, Johnny Depp, Christian Bale…what could go wrong? Well….

This movie wasn’t really about anything. There were plenty of threads there that it could have been about but none of them were developed or even looked at. A cursory glance at best and then events just sort of move on. It could have been Dillinger’s story but we don’t really get anything from the character. He has one scene where he talks easily with reporters at his mugshot but that’s the only glimpse of any kind of charm. Neither is he a blood thirsty bandit, nor somehow driven to rob banks for a living, nor yet a professional robber who goes about it in a workmanlike manner. He just does it. We don’t even see that much of it.

It could have been about Melvin Purvis, the G-man trying to catch Dillinger but we don’t get a whole lot of his character either. More than Dillinger for we at least get the idea he might be concerned about what kinds of methods he will have to resort to to get his man. It never rises above concern though and it sure doesn’t slow him down.

It’s not a chase movie like The Fugitive, or Catch Me If You Can. There’s a glimpse of how Hoover used the media to demonize Dillinger and his type and make interstate crime the FBI’s reason for being. That would have been a pretty good movie there but blink and you’ll miss it. It’s not about how the Italian mobs organized and turned away from the flashier and riskier shoot-em-ups of Dillinger’s gang either though thatwould have been a good movie too. If you think it’s a love story, think again. There’s no romance. Dillinger announces to Billi Frechette that she’s his girl and she has no say in it. You know what else she doesn’t have? Any real screen time or dialog.

In short, it was just a bunch of stuff that happened. It didn’t flat out suck either which is the really frustrating thing (for me anyway). All the elements of story were there. They just weren’t developed. It didn’t tell a story so much as record events. I can watch that on the History Channel.

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By Jove, Holmes, you’re an action hero!

By on December 30, 2009 ·
The photograph of Livanov as Sherlock Holmes i...

Image via Wikipedia

I understand why Hollywood turns to established stories and mangles them, but it still makes me sad. It’s a fact of life, like old age and reality television, but that doesn’t make it any more pleasant.

The first motivation comes from the Safety of the Known. A story like Sherlock Holmes has stood up to scrutiny and built an existing fan base, so it is almost a guarantee to bring in people at the box office. Film executives don’t want to take risks. They don’t want to promote art. They simply want to make money, and established stories seem like a safer bet.

Sadly, there is always someone who thinks they can improve. The list of victims here is long and savage, from the Phantom to League of Extraordinary Gentlemen, to the pending remakes of Clash of the Titans and… I shudder to even say it… The Karate Kid. Interpretation is valid and good, but that’s a fine line and requires the handling of an artist. Most executives that get involved lack that subtlety and what ensues is cinematic cole slaw.

It’s tragic, because when an original idea slips past the goalie it can be incredible. Star Wars comes to mind as an original idea that didn’t do too bad for itself. Contrast that with the latest Star Trek “reboot”, where a solid movie could have really stood on its own with entirely new characters. It didn’t need to be “Star Trek” to work with solid writing, characters, and ideas. Again, it was victim of the need to tie it to what the studios think the public will understand.

Thus we come to poor Sherlock. A pugilist, sure, but the explosions and kaboomery of the current movie have nothing to do with the original detective. It wasn’t what made him an icon. I would much rather have seen a wholly new Victorian detective take the screen, or a truer interpretation of Holmes, than the hybrid that was made. It is quite possible that I’m tainted by my surname in this regard, but that’s how I view it.

However… I would posit an alternative. If Hollywood in its infinitesimal wisdom feels the compelling need to “modernize icons”, then take it to the limit. Stop mucking about with a few extra explosions, and really go for the gusto. For example:

Iron Holmes vs. Mecha Moriarty

Robert Downey Jr. combines his roles as Iron Man and Sherlock Holmes in this steampunk superhero smackdown in Victorian London!

Spartans vs. Predator

The Battle of Thermopylae takes a new dimension as 300 Spartans battle against 1 Predator. Tonight, the Predator hunts in Hell!

Noahtanic

Noah’s Ark, with every surviving animal on board, has hit an iceberg! Will Jack and Rose survive? Will the unicorns? It’s the Genesis of excitement next summer!

Dracula’s Twilight

Count Dracula, Prince of Darkness, shows up in Forks, Washington, to give Edward a lesson in how they do things… old school. You’ll impale yourself in hysterics!

Cyrano de Jedirac

Cyrano learns of his hidden heritage, and grows strong in the nasal powered aspects of the Force. Trading his plume in for a helmet and his rapier for a lightsaber, watch as Cyrano used the Jedi Mind Trick to convince Christian that Roxane is not the damsel he is looking for.

iPhone of Cthulhu

The Old God isn’t just calling - with the help of his High Priest Steve Jobs he is returning to our plane through a series of Elder Apps now available in iTunes, Don’t miss this great Armageddon cross promotion!

Avatarzan!

The tall blue Na’vi of Pandora refuse to give up their precious MacGuffinium. Who can Earth send that will be at home in the jungle? Who can communicate with the beasts? Lord Greystoke is up for the challenge.

Old Yeller 2: Judgment Day

You thought he was dead, you thought he had been put down, but Old Yeller is digging his way back onto the screen. He will not stop, ever, until he gets fed!

You get the idea. If you’re going to mess with the classics, do it with style. If you have any good modernization ideas of your own, I’d love to hear them!

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Cinephile or Movie Nut?

By on November 25, 2009 ·

I was channel surfing the other night and came across Mad Max on AMC. It was weird enough that it was on AMC but when they went to commercial I found out it was a special 30th anniversary edition. That means I first saw Mad Max when I was all of seven years old. I saw it at the same drive in where I first saw Escape From New York. Yes, my parents were awesome.

The point is for most of those thirty years in between Mad Max probably wouldn’t be considered a ‘classic’ by alotof people, certainly not a whole cable station about classic movies. I always thought it was though and for me it’s always been ‘instant classic’ with movies. If I see a movie I love I don’t really care how ‘good’ it is. These are some movies I love. The ones I’ve seen over and over (into the hundreds in some cases), the ones I never have to be ‘in the mood for’ or more accurately I’m always in the mood for ’em.

The Road Warrior. Also known as Mad Max 2 and one of the ones I’ve lost count of viewings for. I know every line (not that there’s much dialog) and I’m always pissed when Max’s dog gets shot. In the eighties there were tons of post apocalypse movies but this is the best.

King Kong. The original of course no offense to Peter Jackson. If you don’t love this movie there’s something wrong with you. Seriously, seek help.

Conan the Barbarian. Again, easily into the hundreds of viewings. Arnold is huge. His sword is huge. The guys he fights are huge. This movie is huge. Sandahl Bergman’s boobies are not huge but they are perky and more importantly, exposed.

Predator. Arnold again but this time with an ensemble! Talk about a Guy Movie. There’s only one chick in it and she barely speaks English (just like Arnold). Easy to mock? Sure, but that doesn’t stop it from being a bad-ass testosterone masterpiece. Watching this movie is like doing fifty pushups and a shot of Jack.

Babe. Yes the one about the talking pig. I love that movie and I love that pig and I love Hogget’sFarm. You got a problem with that?

The Princess Bride. There are people who haven’t seen this movie. When they ask what it’s about one doesn’t really know what to say. It’s a movie that defies genre/log line explanations (is it a fantasy? a romance? a fairytale?) but it is one of the most perfectly filmed movies out there. My wife walked down the aisle to the theme by Mark Knopfler.

There’s more. Probably quite a bit more. Cinephiles might be able to pick a top ten list but when you’re a movie nut you’ll have a psychotic break before you could fit all your favorite movies in one blog post. That’s what the comments are for. What are some you never get tired of and why?

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