Almost Fairest of Them All

"Snow White and the Huntsman"

I was anticipating very little from Snow White and the Huntsman.  Its marketing campaign didn't exactly win me over.  The trailers gave the impression that this film was to be a darker retelling of the classic fairy tale.  The only version of Snow White that will forever be locked away in everyone's memory is the timeless Disney animated feature.  Now I'm not saying that Mr. Disney's version is entirely, if at all accurate to the story conjured up by the Brothers Grimm.  However, was it really necessary for Hollywood to revisit and revamp what we knew and so dearly loved?  And we already had one Snow White adaption earlier in the year with Mirror Mirror.  That was strike one.  At least a big name director attached to direct the picture right?  Nope; strike two.  Rupert Sanders, a no name, rookie director was at the helm.  Universal Pictures was taking a big risk entrusting an estimated 170 million dollar budget for a big summer blockbuster to a guy with no previous films under his belt.  With two strikes there was still a slim chance the film could win me over.  Who did Universal and Sanders cast as their leading lady, the fairest of them all?  Kristen Stewart; strike three!  Snow White and the Huntsman was not going to make it on my list of must see films of 2012.  It did however make it on to the Oscar's list of 2012 earning nominations for Best Costume Design and Visual Effects.  Alas, I am a slave to the Academy Awards as I do try to see as many contenders as possible.  Well, my assumptions were wrong and I was pleasantly surprised.

To join Stewart as Snow White was Thor's Chris Hemsworth as the other lead character in the title.  Charlize Theron was to dawn the task of taking on the role of the evil queen and step mother Ravenna who has many special powers.  Her main power is having the ability to suck the youth and beauty from any girl she has in her icy clutches.  Snow White grows more beautiful by the day despite being locked away in a tower since childhood.  It is then revealed one day to Ravenna by her magic mirror (Christopher Obi) that she is longer the fairest in the land.  She demands that her step daughter be brought forth so her youthful looks can be inhaled.  Fortunately Snow White escapes her imprisonment and makes her way into the Dark Forest.  The queen dispatches a huntsman from the town to track her down.  While trying to stay alive the pair crosses paths with nine dwarves who look to be cousins of Gimli from The Lord of the Rings.  Everyone bands together and journeys across the land to bring back an army in hopes of ending Ravenna's reign of terror.

Despite my skepticism over Sanders, this guy actually has an excellent cinematic eye for what a fairy tale should look like.  The photography and the set design are fantastic.  The landscape of which the film is set against is beautiful and fits the story quite well.  I think that's due in part to Peter Jackson and his raising of the bar for the fantasy film genre.  The film's opening shot is of a courtyard blanketed in pure white snow with leafless trees lining a path for Snow White's mother, Queen Eleanor (Liberty Ross.)  She pricks her finger on a rose and drops of blood fall to the ground blemishing the naturally flawless snow.  What a good initial shot to entice the audience.  The color palettes are ever changing as Snow White and the Huntsman move further and further away from Ravenna's dark, grim, barren castle and kingdom into areas of blossoming flowers and hillsides covered in greenery.  It's a classic yet still effective representation of good and evil.  Three time Oscar winner Colleen Atwood's costumes looked good but not great.  Everything that Theron wore looked exquisite and was quite befitting to her character.   No one else’s costumes really stood out to me though.  I've seen better from Atwood.  I would’ve nominated the production design and photography ahead of the costumes. 

In regards to the visual effects of the film I believe they do deserve to be nominated.  All the creatures looked convincing enough to the fantastical world they resided in.  Also the way the mirror comes alive and actually assumes a form was certainly a different take on the character opposed to just a talking face behind some glass.   Lastly I liked how Ravenna’s dark army were made of shards of glass and how they shattered when one was vanquished.  Sanders had some unique ideas bringing something new to the table that I hadn't seen before and could not be brought to the screen without the use but not abuse of CGI. 

The only film I thought Ms. Stewart earned her paycheck in was Panic Room.  The experiences of having worked alongside director David Fincher and actress Jodie Foster apparently had done nothing to further her acting technique.  And those Twilight films...don't even get me started.  I will say this though about her in the role as Snow White, she's at least tolerable.  Although Snow White is the main character of the film she doesn't actually have much dialogue.  It's more about the presence her character has in the scene and how she affects other characters, creatures, and environments.  Hemsworth is fine as the rough and tough Huntsman.  He has a better shot at furthering his career as an action star than Sam Worthington does.  Theron proves she is certainly worthy of portraying the evil queen.  She was a much more convincing villain in this film than what I saw from her in Prometheus.  Theron plays Ravenna so devilishly because she's written so strongly.  I wanted a few more scenes with her but sadly she's mostly confined to the castle.  And as a nice treat, it came as a surprise to me to see that Ian McShane, Ray Winstone, Eddie Marsan, Nick Frost, and Bob Hoskins were cast as some of the dwarves.

Despite all the praise I give to the aesthetics of Snow White and the Huntsman, its screenplay remains clichéd and the characters are fairly one dimension (except for Ravenna.)  In the end I left satisfied that this was a good but by no means great summer blockbuster.  It feels restricted from becoming something truly unique and original because of its source material, after all Snow White is still a just fairy tale.  Sanders’s decisions as a director certainly elevate the picture to being a top notch fantasy film but nothing more than that.  I was impressed but not blown away.  As I mentioned before, Stewart is at least bearable in the leading role although she has a long way to go if she wants to consider herself an actress.  It all depends on how much time and effort the director is willing to spend working on her performance.  Snow White and the Huntsman suffers from typical flaws of being a summer blockbuster by giving us an apple that is somewhat sour but not poisonous.    

                  

Sink or Swim in the Bathtub

"Beasts of the Southern Wild"

Earlier this month the Academy of Motion Pictures released their nominations for this year's Oscars.  As usual there were pleasant surprises and disappointing snubs.  One of the more interesting films to compete in several of the "major" categories was Beasts of the Southern Wild.  This small, independent picture boasting a puny budget of less than 2 million dollars found itself receiving a limited release in the midst of all the big, loud, highly anticipated summer blockbusters.  But oh how the tables have turned.  Now that all the award shows are in full swing, Beasts of the Southern Wild has propelled itself to top of many lists across the nation.  With the summer long over and some of the major studios still licking their wounds, the risk that Fox Searchlight took on this film is now starting to pay off.  Oscar was quite kind to the indie pic by nominating it for four awards including Best Adapted Screenplay, Actress, Director, and Picture.  Director Benh Zeitlin proves that although its budget may be small Beasts of the Southern Wild has a big heart.

Hushpuppy (Quvenzhane Wallis) and her father Wink (Dwight Henry) live in a region of southern Louisiana known as "the Bathtub." Although living conditions are far from what you and I would consider acceptable, the community of "the Bathtub" is content with the way things are for them.  A violent storm is approaching and some of the townsfolk are unwilling to hang around and weather the outcome.  For Hushpuppy and Wink though, they aren't budging at all.  Wink is sick and knows that he probably won't be around much longer for his little girl. Throughout the film he teaches her the importance of staying tough through hard times, how to survive, and most all staying true to yourself and your community.

At the age of nine, Wallis is the youngest in Oscar history to receive a nomination and she absolutely deserves it.  Considering this is her first role in a film I'd say she knocks her role out of the bayou.  Zeitlin captures the tender natural innocence Wallis brings to Hushpuppy.  Everything she is doing just feels right.  Her appearance may be of this sweet little girl, but Hushpuppy is tough and can certainly take care of herself.  Given her living conditions, children of her age have to develop the means to survive on their own.  Sorry, there are no social services here folks.

The film is adapted from the play Juicy and Delicious and it retains some of that quality throughout the picture.  When Hushpuppy isn't off taking care of herself or narrating the film to us, she is with her father.  The scenes between Hushpuppy and Wink feel very theatrical.  The father daughter relationship the two have is genuine and believable.  The two butt heads on a number of occasions but their bond grows stronger and stronger.  I'm still in awe over their performances considering the two have no prior acting experience.

Shot handheld on 16mm, Zeitlin's camera gives the audience a great sense of the setting and the characters who dwell within making the film feel like a documentary at times.  It's hard to believe there are places in these United States where living conditions are just that bad.  But here's what's interesting about Beasts of the Southern Wild, despite what we may think or how the media might portray living conditions such as this, some folks are fine with the way things are.  That is their way of life and they are sticking to it.  I always wondered why some people refused to leave their homes in the aftermath of a storm.  This film makes you realize certain people's roots have grown so deep within their community that for them to be uprooted to a shelter would be tragic for them.   

Beasts of the Southern Wild is a little film with a lot to say much like its main character.  Well-acted from a cast of untrained unknowns with unforgettable imagery, this film deserves to be put on the shoulders of award shows.  Zeitlin shows us a world of poverty and despair but we see it through the eyes of a little girl.  Hushpuppy's imagination and wild spirit take us on a journey I would have never thought possible in place such as "the Bathtub."  Propelled with undeniable will and might Zeitlin and his cast handle the material in such a way that is actually quite impressive.  There's nothing amateurish or improper about the filmmaking techniques used to tell this story.  By the end you too will feel that you have walked amongst the beasts of the southern wild.    

Sam and Suzy's Excellent Adventure

"Moonrise Kingdom"

I've always enjoyed the works of director Wes Anderson.  He has a quirky sense of humor that seems to beam from his characters who spout his very particularly written dialogue.  I can understand though that Anderson’s films are not everyone's cup of tea.  For me though he lets his characters and plot steep just long enough so that a certain tasteful flavor is enjoyed after each of my viewing experiences.  For Anderson's latest project Moonrise Kingdom, the director gives his audience more of what they've come to expect from him.  That isn't necessarily a bad thing and I'm certainly not saying that Anderson is a one note writer/director.  He has become quite comfortable at creating situations and placing individuals within these situations that somehow just end up working.  Moonrise Kingdom is definitely his strongest film since Rushmore and The Royal Tenebaums.  

Sam (Jared Gilman) and Suzy (Kara Hayward) are two twelve year olds living on the New England island of New Penzance in 1963.  Although the two pre-teens come from  different backgrounds they share some of the same characteristics.  Sam and Suzy are both troubled and lack the social skills of acquiring any friends that is to say except for the mutual attraction they have for each other.  Sam decides to resign from his post in Troop 55 which is part of the Khaki Scouts of North America led by Scout Master Ward (Edward Norton.)  Suzy flees the home of her parents Laura (Francis McDormand) and Walt (Bill Murray) Bishop.  The two star-crossed lovers run away together for a ten day romantic getaway.  The two adult parties enlist the help of Captain Sharp (Bruce Willis,) head of the local law enforcement.  Even though opposing forces are trying to tear Sam and Suzy apart their hope is that love conquers all.

Newcomers Gilman and Hayward are so good together.  I imagine that the casting process for the two leads took Anderson quite a while before he found the perfect pair.  The two choices he settled on were perfect for their roles.  Sam and Suzy are the most mature twelve year olds I've ever seen.  Gilman and Hayward tackle Anderson's typical dialogue seemingly with ease.  Also thematically I think the duo understands what each of their characters want and what motivates their actions.  Parallels to Romeo and Juliet can certainly be drawn from Sam and Suzy's relationship but this time Romeo and Juliet are in the setting of a Wes Anderson film.      

Themes of individuality, love, togetherness, and family are certainly universal but the material is still fresh and handled in such a way that only seems natural to Anderson.  As I already mentioned, the two leads are splendid.  That's probably why this film works so well.  Gilman's and Hayward's performances are convincing to me because they understand these themes as well as what they are saying to each other.  The two are also able to hold their own while sharing screen time with any of the adult actors.  They are clearly the centerpiece and without them the film would most certainly fall apart.  I also give a lot of credit to Anderson because working with children is no easy task.  Whatever sort of direction he gave them while shooting this picture was excellent.

Praiseworthy too are the adults of the film.  I was most impressed with Willis.  True, he is playing another character that is sworn to protect and serve but this time he isn’t running around chasing terrorists in a high rise, an airport, or the streets of NYC and Washington DC.  Captain Sharp is the complete 180 of John McClain.  Maybe that’s why Willis took the role because playing Sharp would be a nice change of pace for him.  His character is still a hero, just not an action hero.    

There is a certain likable quality to Moonrise Kingdom that passionately glows from Anderson's peculiar characters, specifically framed shots, and meticulously detailed sets.  The film compares itself to that of a symphony.  Each instrument has a part that is played at just the right time.  Once all the parts are introduced they produce a beautiful piece of music that is to be enjoyed by all who listen.  Anderson is obviously the composer and conductor of his symphony and everyone involved is in perfect harmony with each other.        

     

Rain Rain Go Away Humanity Waits For Another Day

"Rashomon"

Director Akira Kurosawa's Rashomon took me by surprise.  I knew almost about the film except that it is regarded as one of his finest masterpieces.  The picture's runtime spans a mere 88 minutes in length.  I should put aside my assumptions that just because his film is considerably shorter compared to some of his other works that doesn't mean Kurosawa still had something important to say.  Rashomon has a lot to say in a little amount of time.  Moral philosophy runs extraordinary deep in such a way I was left still trying to process what I just saw.  I was caught off guard in one of the best ways possible.  

Stop me if you've heard this one, a priest (Minoru Chiaki,) a wood cutter (Takashi Shimura,) and a commoner (Kichijiro Ueda) are seeking shelter beneath a large gate (known as a rashomon) from a torrential downpour.  The three men huddle around a fire and discuss a crime that has recently taken place.  It is a crime of murder.  A samurai (Masayuki Mori) is found slain in the forest.  The man responsible for this heinous crime is the notorious bandit Tajomaro (Toshiro Mifume) who is brought to trial and stands at the mercy of the court.  Case closed right?  Wrong.  As our storytellers point out it's not about how the samurai was killed but the motives behind why he was killed.  The priest saw the samurai, Takehiro, with his wife Masako (Machiko Kyo) the day he was murdered and the woodcutter was the one who discovered his body.  Both men were present at the trial of Tajomaro and recant to the commoner what they heard.  This tale of murder is told from four different viewpoints:  Tajomaro's, Masako's, Takehiro's (through the use of a medium channeling his spirit,) and the woodcutter's.  Each character offers a completely different telling of what occurred on that sweltering day in the forest.

Rashomon's script works on a number of levels.  Through brief, yet intense storytelling it's clear that each character has his/her own set of ideals.  How ethical of person is someone?  You don't really know until you're left with an ultimatum that is going to change the lives of all the parties involved.  Who is most important to you and what actions are you willing to take to protect what is at stake?  If man is willing to sink to this level of disparity is there a path to his redemption?  Is there any good left in humanity?   These questions are not easily answered but are certainly explored.  And that's how Kurosawa gets his audience right where he wants them.  

I suppose one could think that these questions are a bit too grand and philosophical given the size of the film.  I don't think Kurosawa's goal was to overwhelm his audience with seemingly pretentious ideas and concepts.  On the most minimalistic level of realization and interpretation Rashomon makes you think about these characters, the choices that they make, and why they are making them.  The larger scope of the picture dealing with its themes, theories, and viewpoints are to be talked about on the car ride home with your fellow moviegoers.  The film doesn't offer much in the way of answers although Kurosawa definitely points you in the right direction.  By the end it's up to you the viewer to decide what really happened that day.  Even though there isn't one definitive answer the ending doesn't feel like a cop out.  

I want to see Rashomon at least two more times in my life.  It's one of those films that earns the right to be rewatched because it can be examined on varying degrees of appreciation.  Rashomon's aesthetics, characters, plot, and themes all carry a certain weight to them that unfortunately can't be fully realized on its initial viewing.  I liked what I saw but have the feeling I missed quite a bit in the subtext of the film and am not doing it justice.  Rashomon might seem straightforward from its description on the DVD jacket but the film is layered with great depth and complexity that only Kurosawa knows how to tell.  When watching the film you may be wondering where Kurosawa is going with the picture and then it subtly hits you why he is a master storyteller.  The human soul is charred and blackened by this crime and only the downpour which the film opens with can wash away this great wrongdoing.  Kurosawa lends us his umbrella to weather us from the storm.