Tag Archives: Film & Reviews

Victor Hugo’s Hunchback

HunchbackI have just finished listening to a well-read audio book (in English) of Victor Hugo’s 1831 novel, Hunchback of Notre Dame, or more properly, Notre Dame de Paris, as the original title was written. I had read the novel several years ago in a more recent Penguin edition, but hearing it on my peregrinations around town with the dogs gave me time to focus on some sections I had glossed over in the written form.

Unlike the abysmal Disney animation of 1996, and unlike all the films and TV series that have been made of the story since the first (Esmeralda, 1905), the novel doesn’t have a happy ending. It’s a sad, bitter tale. And Quasimodo, the hunchback, is not the main character. It is only in part his story. The happy, dancing hunchback of Disney’s tale is a cruel abomination of the tragic figure in Hugo’s novel.

Lon Chaney’s 1923 version was the first truly great portrayal of Quasimodo, but the censors of the time, under the Hays Code, forced the writers to recast several characters – Claude Frollo goes from villain to virtuous, and his brother, the drunken scholar Jehan, goes from vain bumbler to villain. The plot is also twisted to include bits Hugo never wrote, including a Pygmalion-like ball where Esmeralda is disguised as a noble lady.

If you don’t mind silent film, you definitely should see it for Chaney’s portrayal, but it isn’t the story Hugo wrote.

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Rethinking John Carter

After recently going through the first five of Edgar Rice Burroughs’ 11 Barsoom books, I decided to give the 2012 Disney film, John Carter, another viewing. This two-hour-eleven-minute film bombed at the box office, and when I first saw it, I was deeply disappointed. But on reflection after a second viewing, it isn’t all that bad. It’s not great, but it deserves a better rating than it received, and it wears well in a second viewing.

It isn’t quite the Barsoom I grew up with, true, but it borrows heavily from Burroughs, enough to make it a close cousin in many parts. It’s the parts where the writers went off to play mix-and-match with other scifi franchises and stories where it’s actually weakest. That’s where the storyline unravels, but not so much it falls apart.

And, of course, no film or TV series can ever live up to the books, if for no other reason than that no matter how spectacular, no film cannot live up to imagination. Reading always wins, hands down, regardless of the film’s budget.

I initially saw John Carter through my own lens as a lifelong fan of ERB, who had grown up reading and rereading Burroughs’ tales and still has a substantial library of his novels on my bookshelves. That’s a mixed blessing, because while it allowed me to immediately understand the story, setting and the characters, it made me overly sensitive to that context. I compared the actual novels and the plots to the film from a purist perspective and found them wanting.

I should have been looking at the film more as a tribute, set in the Barsoomian universe, rather than a strict retelling. The film plays homage to the first two Barsoom novels, but also takes many liberties, conflating plots and characters and adding extraneous non-Burroughs elements. I didn’t like these additions at first, but now I understand better what the writers and director were trying to achieve by enhancing the drama.

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Pompeii: Swords-and-Sandals Flop

PompeiiAs a film setting, the town of Pompeii in the first century CE is a lot like the deck of the Titanic in 1912: no amount of special effects or clever script writing is going to save it from the disaster awaiting. As a film, Pompeii has a lot of the former, but precious little of the latter to rescue it. That’s probably why it’s in the $7 section at the DVD store.

Let’s start with the history. Pompeii was a Roman town on the west side of Italy close to the slopes of an active volcano, Mount Vesuvius. The recipe for disaster starts with the question: why would anyone build on the slopes of an active volcano? You might ask that of the many towns and villages that currently encircle its slopes, including the city of Naples, a mere 9 km away.

Vesuvius has been active for most of recorded history. The biggest eruption took place about 1800 BCE and the last one in 1944, with many, many in-between. None of the post-Pompeii eruptions have been as violent as the one on August 20, 79 CE, however. None, however, were as great as the eruption of Thera in 1570 CE, which destroyed the Minoan civilization and radically changed the face of civilization in the Eastern Mediterranean, but I digress.

The great drama happened in 79 CE when Vesuvius exploded spectacularly, and in doing so wiped out the town of Pompeii, killing an estimated 16,000 people. Good setting then for a disaster film, right? But it wasn’t quite like in the movie – well, nothing ever is.

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Lucy and the 10% Brain Myth

LucyWe watched the film Lucy on iTunes last night and, while reasonably entertaining, its plot is founded on a persistent bit of pseudoscience: that people only use 10% of their brain capacity. It’s so widespread a myth that Wikipedia has a page on it that opens:

The 10 percent of the brain myth is the widely perpetuated urban myth that most or all humans only make use of 10 percent (or some other small percentage) of their brains. It has been misattributed to many people, including Albert Einstein. By extrapolation, it is suggested that a person may harness this unused potential and increase intelligence.

Sure, we all know people who don’t appear to use much of their brain’s potential power, but the simple truth is that we all use all of our brain’s capacity. We evolved a big brain to handle the growing demands of increased consciousness, speech and sophisticated motor control, and that’s what it’s for.

Sure, not all of it is used in a conscious manner. Much of the brain’s function is taken up in processing, storing and interpreting the huge bandwidth of information that is fed to it every second of every day. Even acts we do daily and take for granted – like walking upstairs with a cup of tea in one hand while talking – take a huge amount of processing power. Sight, balance, motor control, memory, logic, vocalization, muscles control… the brain takes care of it all without spilling a drop.

Your consciousness – the ego – doesn’t see all this work going on and never will because you would quickly be overwhelmed by the huge amount of data being managed by your unconscious. Yes, yes, a lot of people don’t appear to even use the whole capacity of their conscious brains – anti-vaxxers, chemtrail wingnuts, creationists and some local bloggers come to mind – but that’s just a portion of what the brain does. Critical thinking is a skill one has to acquire and practice, not an inherent brain function.

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Weaponized Aryan Jesus?

Not the real guyThe term “weaponized Jesus” comes from an article I read on politicsusa.com, from November 2013, titled “The Religious Right With Their Weaponized Jesus Are Not Christians.”  It’s worth a read, if you enjoy the political-religious debate.

I eventually traced the phrase back to a 2010 story in Mother Jones. It’s a good description of the way some fundamentalist Americans are taking their religion. But that’s not at issue right now. It’s the guy on the left of the movie still that I want to write about.

Someone on my Facebook stream recently posted the picture above and talked about how she loved the show. It shows a still short from a movie called “Son of God.” I hadn’t heard of the movie before this FB post, so I had to read more about it because I’m pretty sure that the hippie guy in the still doesn’t look anything like what a Middle-Eastern, radical Jewish preacher called Jesus* would have really looked like.

This guy looks a little too much like Russell Brand, or a younger Brad Pitt, and not quite enough like the Roman-era, Palestinian Jew he would have been. And where was his hat?

If you watch the trailer, you’ll see I’m right.  That might be one reason the movie got a one-star rating on Rotten Tomatoes, but there are many more. The movie, it turns out is a spin-off from the History Channel’s apparently successful Bible series (didn’t see it), but the film was apparently crafted from content edited out of the TV series. As it says on the IMDB site:

…there was a reason all of that footage was cut. If it wasn’t good enough for television, how can this possibly be good enough for the cinema? Well, it’s not. This movie is a bore. With an unnecessary 138 minute run-time, the film drags through dialogue delivered at a pace slow enough for the slothful to keep up. Even then the script isn’t interesting. The selections of the gospel that get quoted are mercilessly butchered. And that’s another thing, if not the most important criticism of a movie of this caliber — the filmmakers had no respect for the source material.

But this isn’t a movie review, per se, since I haven’t seen the film (nor have I seen Mel Gibson’s overly-violent Passion of the Christ, although from the stills I’ve seen, actor Jim Caviezel, playing the Jesus role looks like he, too, is miscast…). It’s about history, ideology and cultural prejudices.

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47 Ronin Reviewed


This week, after watching the 2013 film, 47 Ronin, starring Keanu Reeves, I had to wonder why Hollywood felt it necessary to take a powerful story, a great historical drama, and mess with it. And, of course, why they would put Keanu Reeves into a film about 18th century Japanese samurai. Or, for that matter, into any film.

I’m not an actor, so my appreciation of their talents is only as an outsider. But Reeves seems to be pretty much a one-dimensional character. It worked in the Matrix, albeit less so in the sequels, but in films like the 2008 remake of The Day the Earth Stood Still, he was awful. (the 1951 original remains so much better…). His breadth of emotional expression seems very limited: his face always shows an angry bewilderment.

Perhaps that flatness was thought well-suited to the stoicism expected of samurai culture. And in part it does work in the scenes of fighting and warrior bonding, but then there’s the whole love scene thing and he just doesn’t come across as the romantic lead when required.

Reeves plays a half-breed, a role not fully explained (why did the director, Carl Rinsch require a Western lead in a story that is purely Japanese?). Nor is the whole isolated-Japan-no-contact political situation fleshed out (which didn’t really alter until the Meijin era, almost two centuries later), which might explain somewhat better why Reeve’s character was shunned by the samurai (and that whole sold-into-slavery gladiator thing was a very odd inclusion, especially since slavery was banned in Japan in 1590).

The film didn’t score well at Rotten Tomatoes or IMDB. It scores much lower than the black-and-white 1941 film of the same name by Kurosawa.

But to be fair, what critics like and what the public likes are often at odds with one another. And personally, I am often entertained by films that critics panned. And 47 Ronin entertained me, despite my reservations about Reeves and the Hollywood accouterments. It’s a fun film, but it could have been a great film.

Hollywood hasn’t learned that colour, action and special effects can’t make up for good storytelling, solid acting, well-written dialogue and effective directing.

This film has some of that – aside from Reeves, the acting is good, albeit straight-jacketed by the emotionally restrained period. Just not quite enough to make it a great film. The story is confused; context isn’t clear and it seems to dart around without purpose at times. The special effects detracted me (as they often do in Hollywood films) from the story.

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Falling Skies: Aliens as Metaphor

Falling SkiesWe watched the last of Season Two of the Falling Skies series last night. After a bit of research this morning, I learned I have two more seasons to watch and a fifth season has been scheduled. Something to look forward to. I wasn’t sure about how it would turn out, but the series has matured nicely, although one can’t say that about its politics.

If you’re not familiar with the series, it’s about American reaction to an alien invasion – one could say it is a drawn-out remake of War of the Worlds. The aliens, of course, have more advanced weaponry and technology and aim at world domination. And enslavement of the human race along the way. Falling Skies spices up the mix with a rich back story about the aliens I won’t spoil here. But at least by the end of Season Two, there’s no indication that anyone else on the planet has survived and formed a resistance. It’s solely an American underground.  One bridles at that.

My first impression was that it was Walking Dead with aliens instead of zombies. I personally didn’t care much for the Walking Dead series and didn’t manage to watch even the whole first season. But, as a scifi buff, Falling Skies caught and held my attention.*

The ostensible premise is straight out of H.G. Wells: high-tech aliens invade, destroy much of the planet’s civilization and infrastructure, and pockets of humans fight back. But there’s more to it.

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Gravity: A Review

gravity
While watching director Alfonso Cuarón’s film, Gravity, this weekend, I was struck by how powerful the mixed themes of isolation and survival can be. I was reminded not simply of films – Tom Hanks in Castaway came to mind immediately – but in literature, too; from Robinson Crusoe to Blindness. Stories of survival have captivated humankind since the Gilgamesh epic was scratched into clay tablets by an anonymous Sumerian scribe.

I really enjoyed Gravity for several reasons and highly recommend it.

First it’s a science fiction film and scifi is my favourite genre of movies. And it’s a good, well-done, high-quality production, not the usual cheesy B-flicks I consume. This one is visually stunning, especially on Blu-Ray. And the sound is gorgeous too – watch the extras about how the sound was developed. Fascinating.

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