Tag Archives: deep Roy

Tim Burton’s Big Fish

There are so many ideas, myths, motifs, vignettes, episodes, characters and ideas swirling around in Tim Burton’s Big Fish it almost feels like several movies collided together to make their own sweet, sunny mixture and I love that feeling. It’s like a postcard perfect funhouse where you never know what you might get and some people saw a pacing problem or lack of focus in that regard but for me it’s this wonderful wellspring of creativity, visual audacity and fairytale lyricism. It’s also told from the perspective of a rascal who is notorious for making up wild stories so the narratively kaleidoscopic nature of the film seems very appropriate. Edward Bloom is one of the strangest Tim Burton characters to ever grace the screen, a magnetic individual played as a young man by beaming, idealistic Ewan McGregor and as an old fellow by wisecracking, lovable Albert Finney. Edward loves to tell stories, larger than life anecdotal adventures that he regaled his young son with throughout childhood, stories that couldn’t possibly be true.. right? As Edward grows up he leaves a town that just wasn’t big enough for him and meets many wonderful and strange characters along the way including a giant (Matthew McGrory), a poet turned bank robber (Steve Buscemi), a mermaid (Bevin Kaye), a reclusive witch (Helena Bonham Carter) a circus ringmaster (Danny Devito, scene stealing like nobody’s business) with a supernatural secret and eventually the love of his life Sandra, played as a young woman by the excellent Alison Lohman (whatever happened to her?) and later by Jessica Lange. The story finds an emotional core in the relationship between Edward and his son Will (Billy Crudup), a realist who resents being brought up amidst a bunch of tall tales and just wants, along with his wife (Marion Cotillard, lovely), to finally get to know his father as he is passing of terminal illness. The stories are besides the point here and as one character notes, at some point a man becomes the legends he tells simply by embodying them, and when it comes time for the narrative to tell us whether or not these tales are even true it hardly matters because the film has been so honest with us in the human connections we see unfolding. This film sits apart in Burton’s career because of how emotionally affecting it is, not largely focused on effects and makeup like he often chooses but crafted with its heart firmly planted on a bedrock of believable humanity. There’s whimsy, style and special effects galore mind you, all excellently, wonderfully done.. but the core of what makes this film so special lies in the final twenty minutes or so where we see a rich, cathartic final act that always brings me to tears. Edward Bloom may have told wild tales his whole life and Will must reconcile that they were just a part of who his father was, and that the greatest story in his life was the family he raised. It’s a beautiful, oddball, postcard pretty, occasionally surreal yet ultimately down to earth and deeply felt piece of storytelling.

-Nate Hill

Tim Burton’s Corpse Bride

I feel like Tim Burton’s Corpse Bride doesn’t get nearly enough love and praise for what a wonderful film it is. The acclaim and lasting impression really stuck to Burton and Henry Selick’s A Nightmare Before Christmas and rightly so, but this is every bit as inspired, packed with catchy tunes, casted with beloved actors and filled with gorgeous stop motion splendour. Plus it’s the keystone Johnny Depp/Helena Bonham Carter outing for me because even though we only get their voices the animation is tailored to each respective essence and we feel their physical presences heavily in spirit.

Depp voices Victor Van Dort, a spindly, nervous creation who’s about to be pressured into one of those delightful old arranged Victorian marriages by his domineering parents (Tracey Ullman and Paul Whitehouse). The bride to be is Victoria Everglot (Emily Watson) and wouldn’t you know it they actually do fall in love despite circumstances, which is a nice subvert of the trope that I enjoyed. There’s always gotta be a third though and she arrives in the form of the titular Corpse Bride (Bonham Carter), a deceased girl brought back to life when Victor practices his vows in the local cemetery. This sets in motion a chain of fantastical, macabre, adorable and altogether brilliant set pieces, musical numbers, fight scenes, rich and thoughtful character relations and visual genius like a big old animated Halloween parade.

The cast is stacked too, full of beloved Burton regulars like Albert Finney and Joanna Lumley as Victoria’s crusty, aristocratic parents, Christopher Lee as a cantankerous undead vicar, Richard E. Grant, Michael Gough, Deep Roy and Danny Elfman himself as a rambunctious spooky skeleton called Bonejangles who fronts an undead jazz band. Hell there’s even a worm that looks and sound like the great Peter Lorre which I couldn’t tell if was done deliberately but if so bravo. This thing doesn’t even breach ninety minutes but it’s so full of life, death, colour, incident, song, music, dance and joy that it seems way longer than it actually is. It’s also got a grounded maturity in the way we see this completely ridiculous yet somehow very touching love triangle unfold, and by the end you really feel for Carter’s Corpse Bride and empathize with her situation. A technical marvel, a beautifully told tale and one of Burton’s very best.

-Nate Hill

GORDON’S ALIVE! : An Interview with Lisa Downs by Kent Hill

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Flash Gordon was a staple of many an 80’s child’s cinema-going experiences. It was the first of its kind – as far as bringing a comic-strip to the big screen with all that campy, comic-booky, over-the-toppy goodness that would later manifest in films, stylistically related, like Dick Tracy and Sin City.

Life after Flash however, is not purely a retrospective documentary that deals with the making of the movie from script to screen with a lot of talking heads in between. No, what director Lisa Downs has brought forth from the void is a touching, insightful, and thought-provoking picture, which is more than simply a look back at Flash Gordon, but more so the impact of the movie both on the world and also on the people who came together to make this legendary hero flesh and blood.

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At the center of this awesome maelstrom is Sam J. Jones – the man who would be Flash – or, more appropriately, the man who is Flash. Jones’ story which really makes up the film’s core is both cautionary, touching and inspiring. Here is a man who was, like in many Hollywood stories, plucked out of obscurity and hurdled at maximum velocity on a collision course with international stardom. So where did it all go wrong?

Well – this man is not going to spoil it for you. I really urge you, when and where you can, to check out the first of Lisa’s ‘Life After films’. It is at once a treat for fans of Flash as well as this beautiful and moving tale of how hope survives even in the face of total annihilation. You’ll watch, you’ll smile, you’ll cry, you’ll put on Flash Gordon as soon as you’ve finished watching.

LET THIS BE KNOWN FOREVER, AS FLASH GORDON’S DAY!

 

WOULD YOU LIKE TO KNOW MORE:

https://www.facebook.com/lifeafterflash/

https://www.facebook.com/lifeafterthenavigator/

https://www.lifeafterthenavigator.com/

Wolfgang Petersen’s The Neverending Story

Although admittedly not quite as dense or thoughtful as Michael Ende’s classic novel, Wolfgang Petersen’s The Neverending Story is a stunning film full of imagery that has stuck with me for years. Petersen usually guns for sprawling adult oriented fare (Troy, Air Force One, Das Boot, The Perfect Storm, Enemy Mine), so this stands out as the one children’s story he’s done that still has that same epic magic he puts elsewhere, on a more whimsical scale. In a land called Fantasia, a threatening dark force called The Nothing is swallowing up real estate faster than Chinese investors, and many peaceful creatures are losing their homes to it. It lives up to it’s name in the sense that it is quite literally nothing, replacing tangible vistas with eerie black void, a spooky enough antagonist for any fable. It’s up to young prince Atreyu (Noah Hathaway) to journey across Fantasia, find the princess who is the origin of the land’s life force and restore balance in the universe. This is all in a dusty old storybook of course, eagerly read by a lonely kid (Barrett Oliver) holed up in some attic. I’ll admit I haven’t seen the film in a while, so I’m not up to speed on every little twist and crook in the story, but this one is kind of more about images and impressions than analytical narrative anyways, especially once Atreyu finds the Princess (Tami Stronach) and things get beautifully, cosmically surreal, then fairly meta as the world of Fantasia leaks out of the book’s pages into our own realm, and Oliver is treated to a flying escapade over the Vancouver skyline atop adorable dragon-doggo Falkor, a lovingly creaky reminder of the wonders of animatronic effects. I’ll always remember the council meeting between the rock biting giants, pint sized Willy Wonka looking dude and a sentient snail, all debating what course of action to take against The Nothing. The one primal element that stands out in my subconscious is the ongoing chase Atreyu finds himself in with a terrifying, ghostly direwolf that just won’t quit. For pure eerie suspense you can’t beat the seat grabbing moment where it ruthlessly pursues him through a haunted looking forest towards an escape so narrowly made that breathing isn’t an option while viewing it. Dark, scary stuff for a kids movie, but that should be the idea anyway. A wee bit dated on today’s terms, but all is forgiven considering the lasting impact it’s had on my generation, and the imprint on our dreams. I’d be wary of the two sequels, as I remember not a thing from the second, and only recall that the third is an abysmal thing that should have been left to the Nothing. Stick with this beauty instead.

-Nate Hill