Helen Writings
We’ve discovered how to capture life, move the pieces around, and set it to music. The classics can remind us how primitive it was or how “corny” we’ve become; and moviesjavascript:void(0); will inevitably, overtime, become “dated.”
“Dated” can pertain to the composer being overly forceful, or in the late 60’s, hip. “Corny” moments arise when truth and honesty are completely left out of the picture (literally).
It takes practice, but it’s easy to learn the difference between “corny” and “dated.” Nowadays, if we make the mistake of laying a popular song over the establishing shot of a city, or cut from an intense scene to a preposterous moment to get a laugh, we know better, and we shouldn’t have.
Whichever the case, certain scenes of the many classics could have been cut. Music could have eased up. The blocking and action could have increased. Sometimes, however, the most intriguing ideas were not fully fathomable to the creative minds behind those ideas. Special effects were not risks but innovations. Tasks had to be tackled. The film world evolves, and over time, improves the movie-going experience.
“Vertigo” (1958)
5 out of 5
Alfred Hitchcock’s art house movie is an adventure in the world of obsession.
Admiring, fantasizing, and stalking in a San Francisco land of wonder is passionately expressed. “Vertigo” is one of the few films where frames can be stilled, printed, and hung in a home (or gallery). This is also the film responsible for Brian De Palma’s entire career (many of his corny movies derive from imitating the master Alfred Hitchcock).
An overly dizzy Jimmy Stewart (when high upon a stool) is “corny,” for he could have used a less theatrical take. Stewart’s head floating around for a dream sequence is “dated.” Now we know there were subtler ways to get Jimmy’s fears across, but those tactics were the first of their kind. There was only so much to study when it came to an obscure type of suffering like vertigo, and dream sequences at the time consisted of wavy dissolves and people looking into the camera.
Hitchcock is known for his more adventurous films, as well as one-location, play-like films. See if you can differentiate between the “corny” and “dated” moments of his collection. I’ll warn you, though. Hitchcock was often attempting dark humor and black comedy which were not yet being made and are even stranger today.
BEWARE, trailers may give some twists away!
“Cat People” (1942)
3-1/2 out of 5
“Cat People” does not fall under the B-movie creature feature. The characters drive this story, and the few suspenseful obstacles they encounter are dramatized through creative movie techniques. We may not care if the protagonists survive, exactly, because the infatuation and “dated” love affair which ensued was a bit rushed. The love triangle, however, brings an understanding and relevance to an ancient cat people legend. Just in time, we want everyone to be safe and muster sympathy for the cursed.
There are ways to scare without showing the monster. This is easy for us to say now, but at the time, was not what the audience expected.
The imagination of what lurks in the dark is always the haunting factor of any thriller. In this case, it’s a feline beast; but later, specifically 1975, it will inspire a movie to have a scarcely-seen shark remotely controlled by Steven Spielberg. By 2009, a frightened couple, and millions of audience members, will scream at a door closing in “Paranormal Activity.”
Director Jacques Tourneur and producer Val Lewton have teamed up for other interesting suspense films as well. “Cat People” is loosely documented as being the first film to startle the audience. Where would we be today without such a unique idea as this?
STAY TUNED right here for future classic articles.
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Tags: movie review
Posted in Film · July 16th, 2010 · Comments (0)
“Why the World Needs Pixar”
What praise can I give that hasn’t been given? Look up anything about Pixar’s early days or background, and the studio’s positive mottos and missions inspire. But you figured as much, because you’ve seen the movies. You’ve tallied up the awards. film has been aware of their productivity well before they received the Special Achievement Award from the Academy fifteen years ago.
So what do I have to say that’s new? How shall I flatter the best studio ever? Well, it’s been tough, but l dug deep to see what it is about Pixar that replenishes my hope in cinema, and I’ve managed to find a few factors that will help you differentiate between Pixar and the other animating studios out there. Consider this an article celebrating the 15th anniversary of Pixar’s first full-length feature film “Toy Story.”
Over the past fifteen years, Pixar Animation Studios has been responsible for ten carefully assembled films: “Toy Story,” “A Bug’s Life,” “Toy Story 2,” “Monsters Inc.,” “Finding Nemo,” “The Incredibles,” “Cars,” “Ratatouille,” “WALL-E,” and “Up” ? a flawless track record not to be confused with any other computer animated studio. This is your reminder. A Pixar film is a sure thing.
Since their feature-film debut in 1995, they’ve been able to grow within the world of animation while setting themselves apart from CGI artists simulating real, live human action. Although they come close to making a junk-covered Earth or a shag carpet appear life-like, Pixar, thankfully, never forgets they’re making cartoons.
The amazing animation, however, is no longer the main draw-in for a Pixar film. They successfully entertain the world, inspire the youth, and know how to keep the human spirit alive through cartoon role models. The heaps of animated animals, dragons, ogres, extinct and rare species trampling the screens rarely represent more than pop culture and gimmicks. Laughter is good for the soul, but the sexual innuendos tickling the adults are only confusing the story and the child next to you. (And the sequels keep on coming.)
On June 18th, Pixar released their eleventh film, “Toy Story 3,” and proved to be our hero. Perhaps you haven’t noticed, but the trick behind the sequel is to take the formula that worked and do it all over again. Force some of the familiar lines from the original and regurgitate the similar conflicts with new villains and locations. “Toy Story 3″ may stick to a formula, but more importantly, continues the story of Woody, Buzz Lightyear and friends because there’s more to tell. No one’s journey has ended. Not Woody’s, not Pixar’s, not ours. We want to know how it will end, or see if it should ever end. Those weren’t just Andy’s toys, but they belonged to all of us (in some cases, literally).
The genius behind “Toy Story 3″ (and every other Pixar film) is how often they make you smile at the situations they’ve come up with. Sometimes shocking, sometimes touching, sometimes haunting; but your imagination has been expanded like a child’s. A “What if THIS happened” mentality. And maybe you’ve forgotten, but these films are not written, nor animated, by children. These are grown men doing what they love, and the quality and success is enough to arouse a self-conscious teen to gather his friends and see the next Pixar release opening day. (I’ve witnessed this.)
Are these cartoons for kids? Sure. But they’re not “not bad … for a kid film” movies. They’re not cheeky for adults either. They’re the elite moving works of art for the world, for all ages, setting the standards. And now they’ve set the standards for sequels – make them as good, if not better, than the original. This may be a goal for some sequel creators, but “Toy Story 3″ was a necessary sequel. For what purpose? To what end? To remind us that there’s no limit to the imagination.
Times have changed; and today, no one really knows if a sequel should or shouldn’t be made until it’s too late. For Pixar Animation Studios, it’s never too late. Sequel or not, you can relax when they come to the rescue; and that’s something to celebrate.
“Keep moving forward.” (A Pixar motto)
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Tags: movie review
Posted in Film · July 13th, 2010 · Comments (0)