Category Archives: cinema

Skip’s Quips: If It Ain’t in the Book, It Might Work in the Movie

~

Blog Sketch 082813I’ve always been a bit bothered by the ending of David Lean’s otherwise masterful film of Great Expectations.

Pip winds up tearing the curtains off the windows to rescue Estella from a Miss Havisham-esque fate, and that just didn’t happen in the Charles Dickens novel.

The question is: Does it work in the context of the film? If so, maybe that’s not such a big problem after all.

I’m an advocate of that idea – that a scene need not be in the original source material to be warranted in a film version. Filmmakers change such content all the time in their adaptations of classic works for all kinds of reasons … sometimes, dare I say it, for the better. So why does it distress me so much in Lean’s version of GE?

It certainly makes a big impact at the end of the movie, and although I do find it somewhat melodramatic, the scene is very powerful. I think it’s also in line with the characters, as Estella was groomed by Miss Havisham to be … well, an awful person. Having her consider becoming her former mentor is an interesting way around the book’s ending, and Pip’s “rescue” ties her back to him in a romantic fashion.

Maybe I should watch this sequence again; sometimes, the more you get used to a film, the better it becomes. And I could definitely stand watching this great picture at least one more time. Especially if I’m looking to understand the ending better.

That just might happen.

Setter’s ‘Spectives: Sipping at the Cup of Jon Stewart’s ‘Rosewater’

~

Setter Drawing for Blog 082613Yesterday, while at the theater to watch Nightcrawler, I saw the trailer for the Jon Stewart film Rosewater.

I have to admit, I’m a bit skeptical about this production. Stewart directed the movie and wrote the script for it, and although I think he’s a funny, often insightful guy, I’m far from a devotee of his work and don’t agree with him on everything. This serious picture, which documents the imprisonment and questioning of a journalist in Iran, is hardly comic material, and comedy is Stewart’s specialty. From a cinematic standpoint, it’s a big risk.

On the other hand, the trailer suggests some interesting cinematography and intriguing dialogue, which would be a big step forward for the usually lighthearted Stewart. It’s also topical subject matter, given the tyrannical regime currently in Iran, and might call further attention to the events occurring there. So there’s a part of me that’s looking forward to seeing it.

The question is: Will it be good? It’s hard to say. I guess I have to wait and see.

I hate doing that.

Skip’s Quips: Hoping for a Film of ‘A Confederacy of Dunces’

~

Blog Sketch 082813One day, hopefully, A Confederacy of Dunces will become the movie it’s destined to be.

I’ve felt for a long time that this great John Kennedy Toole novel – which focuses on bizarre character Ignatius Reilly as he fumbles from mishap to mishap in New Orleans – was made for the cinema, as it’s got sweep, humor and a kind of beauty in its comic pages. Apparently, a project for a film of this book has been in the works for a while; its IMDB page notes that a picture is currently in development. This can, of course, take a long time to come to fruition, but I’m sanguine about the prospects. Ultimately, I believe, it’ll happen. It’s too good of a story not to.

Sometimes it doesn’t seem fair that so many lesser works have appeared onscreen before Dunces. I just have to keep hoping that this movie will become a reality. I also hope that it won’t be ruined like so many adaptations of classic tomes beforehand. It’s hard to know at this stage, though. Staying positive about the prospects is essential.

I think I can do that.

Skip’s Quips: The Song Process Remains the Same

~

Blog Sketch 082813If I had a dime for every movie that finishes up with some sort of awful song at the end, I’d be rich.

When did this trend in cinema start? It seems like every picture nowadays has some kind of rock tune playing over the final credits – and usually, they’re not that memorable. Once in a while, you get something along the lines of George Harrison’s “Dream Away,” which concluded Time Bandits. But it’s usually a noisy, guitar-heavy sound blast with screaming vocals. Not my cup of tea.

I like when filmmakers take the time to end their movies in interesting ways. A song can be appropriate, such as Simon & Garfunkel singing the “The Sound of Silence” in the remaining images of The Graduate. That ditty provided insight into the ways the main characters were feeling: lost and hopeful at the same time. I don’t see that kind of commentary, however, in most of the melodies ending films. And that should change. Directors can easily find songs that are germane. They don’t have to be just filler.

I don’t like watching filler onscreen. The credits can be just as much a part of a film as the dialogue; they can add something integral. Why can’t an ending song do the same?

Mundane melodies be damned. Let’s have topical tunes close more pictures … and more attention paid to these cinematic parts. A good, relevant ditty can keep fannies in the seats throughout the end of a movie. It would keep me in my place, for sure.

And that’s nothing to sneeze at. Or scream at, for that matter.

Setter’s ‘Spectives: Oy, Vey, ‘Don Quixote’

~

Setter Drawing for Blog 082613How much longer do you think we’ll wait for Terry Gilliam’s The Man Who Killed Don Quixote to come to fruition?

This project has been in the works for a long, long time, and there’s scarce information available on progress, though IMDB shows that John Hurt has been cast as Quixote. That’s interesting news; Hurt is a terrific actor who’d be great in this role. I’ve been disappointed with Gilliam’s recent directorial efforts, but this project – should it ever get off the ground – could be an intriguing one.

Or it could be The Brothers Grimm. Yecch.

Gilliam’s a great talent, though his directing career has been mixed, to say the least. Still, he has a distinct look and style, which worked wonderfully in flicks such as Time Bandits. Hopefully, if his new Quixote movie ever comes to fruition, it will resemble his older work more than his later efforts.

I must have faith.

Skip’s Quips: A Little Complaining Can’t Hurt Now and Then

~

Blog Sketch 082813I just realized something: I think I like kvetching about movies more than watching them.

That definitely holds true for bad films. But what about good ones? I infrequently complain about those, though I do whine once in a while about some overacting here and there, a cut that should’ve been sooner.

I’ll tell ya, however: I think lousy pictures were put on this planet so we could gripe about ’em.

For some reason, I love coming out of a theater and whining about the picture I just saw if it’s particularly crummy. I’ve done this on countless occasions with friends and relatives. I think people do get sick of it; most, I feel, would rather talk about good movies than bad ones. But the latter really make me excited. I feel they should be discussed, dissected, analyzed – to ensure all facets are covered.

All right, so going to the flicks with me may not be everybody’s bowl of popcorn. I understand that. Still, the process helps me digest what I’ve just seen, and I love talking about it. And when I go with like-minded people, the conversations are quite lively.

The moral of the story: In my opinion, bad movies are just as worthy of discussion, if not more so, than good ones. Some people would rather forget them. I’d rather keep them top of mind – at least for the time being. That way, you can identify what you don’t like about them … making the next film, hopefully, more enjoyable. And if it isn’t, well, you can kvetch about that one, too.

I can’t complain about that.

Setter’s ‘Spectives: Your Seats Won’t Make a Bad Movie Better

~

Setter Drawing for Blog 082613It’s nice to know there are movie theaters out there that are trying to make the film-consumption process more palatable than the tired popcorn that’s churned out every day before being drizzled with slimy butter topping.

I recently had the experience of sitting in such a theater, which featured a kind of stadium seating that might be found in the first-class cabin of an airplane … if such flights featured cinema-oriented stadium seating. Composed of soft padding, the chair had a bit of a recline thing going on, as well as lots of space for me to shift my tuchas when my position became the least bit uncomfortable. The requisite cup holder added convenience; extra leg room added area.

Unfortunately, it didn’t improve the movie I was seeing: This Is Where I Leave You.

That’s too bad. I only wish the theater concentrated more on providing a better film than it did on offering cushy seating. For a good picture, I’d sit on hard wooden benches. I’d sit on the floor. I’d sit in the smoking lava of the Mount Doom caldera.

Well, maybe I wouldn’t go that far.

My point is that the quality of the seating in a theater is less important to me than the quality of the filmmaking. I prefer to see movies based on how good they may be, not how comfortable the space is. And I just don’t think a huge number of mainstream theaters consider that.

I understand numbers are important. I understand luring eyeballs is essential. But I just would like to see more of a focus on bringing great pictures to the theaters than one geared to bells and whistles. I don’t know if this will happen; it’s probably not a realistic hope. It’s the wish of a moviegoer, though. The wish of an individual.

That should factor in somewhere.

Skip’s Quips: I Want a Hero … Just Not ‘Super’

~

Blog Sketch 082813Movies that start promisingly yet end up mundane are a pet peeve of mine.

Super, director James Gunn’s pre-Guardians of the Galaxy flick about an ordinary man who dons a homemade superhero outfit in a quest to win back his wife from drug dealers, falls into this category. Featuring a host of satiric elements (including some pointed attacks on organized religion), the film collapses into dull, hyperviolent shoot-’em-up mode toward the end, which negates its previous appeal. The enthusiastic presence of Ellen Page as a sidekick wannabe gives the picture a boost, but even she can’t save it.

That’s too bad. Gunn has a distinct style and carefree sensibility that can be infectious, as proven by the success of GotG. Super, however, ultimately offers little to differentiate it from the average bloody man-with-a-mission actioner. This is strange considering the peculiarity of its protagonist, a withdrawn fellow (played by Rainn Wilson) who has religious visions and may be mistaking them for his heroic calling. The movie should be more interesting or at least comic, right? – especially since the only skill this character seems to have is the ability to cook eggs well. Perhaps something along the lines of The Greatest American Hero, no?

No. I expect better things to come from Gunn and have high hopes. Super was a misfire, but every director has those. I’m assuming Gunn has learned from his mistakes, as all heroes do.

Setter’s ‘Spectives: What Happened to All Those Great Opera Movies?

~

Setter Drawing for Blog 082613Remember Franco Zeffirelli’s excellent film of Verdi’s Otello? Lush production, sexy direction, terrific acting, and of course, the great Placido Domingo as the titular Moor.

Why can’t we get more movies like that today?

It seems like there isn’t as much of an impetus to develop cinematic spectaculars based on classic operas as there was three decades ago, and I think that’s a shame. Once upon a time, you had Ingmar Bergman doing Mozart’s The Magic Flute, too. But now, it appears that directors of a certain stature are more content to craft large-scale pictures out of popular contemporary musicals than operatic standards. It makes sense from a commercial standpoint, as the latter have a more limited audience. From an artistic perspective, however, it’s lamentable.

I want to see a great celluloid version of Wagner’s Tristan und Isolde, darn it! And not the nonsense that is Tristan + Isolde, see?

Today, with New York’s Metropolitan Opera doing HD films of various productions, it’s easy to think that we’ve come to an era where the genre is made accessible to everyone. I don’t think that’s the case, though. Movies of productions aren’t the same as cinematic iterations that aren’t confined to one stage; Zeffirelli’s Otello is proof of that. It was an actual film, not a filmed opera. That’s one of the reasons why it worked so well onscreen. Editing, cinematography, music, art direction – everything combined to make a powerful whole. It became a motion picture.

I don’t think opera is a dying art, nor do I believe it should be relegated to the upper class. It’s for everyone, and the great works deserve to be viewed and listened to by all. That’s why I’d like to see more of the type of thing that Zeffirelli has done in the theaters – not just HD versions. Many of these stories are quite cinematic, with fanciful plots and engaging characters. Shouldn’t they be put onscreen where they belong?

I think so. And I hope one day, we’ll see opera once again take its rightful place in the cinema.

Skip’s Quips: It’s High Time We Get a Remake of ‘The Illustrated Man’

~

Blog Sketch 082813I never thought Jack Smight’s adaptation of Ray Bradbury’s classic science-fiction short story collection The Illustrated Man measured up to the standards of the book, and I lament that.

The pace was plodding, the direction was uninspired. It didn’t work, despite a fine cast that included Rod Steiger and Claire Bloom.

Someone should remake it.

Yes, I do believe it could be a success if redone today. The technology exists to provide the kinds of special effects needed for some of the stories, which deserve a better treatment. Steven Spielberg, methinks, would be a great fit for this kind of project. So would Peter Jackson.

I don’t know if it’s the type of thing that would appeal to directors nowadays, but the tales that have dated more than others – like the one that take place in a rain-soaked landscape on Venus – could be avoided in favor of greater stories in the collection. The entire film could focus on, say, only about four or five pieces in all and still be successful. It might make a fun project.

We need more thoughtful, perceptive sci-fi pictures in theaters today. Hollywood has mined so much already … why not go after more of the classics to improve on previous iterations? I’d watch them. So would legions of Bradbury and genre fans.

Just an idea.