Archive for Alice in Wonderland

The Monday Matinee, Episode 5: Beneath the Earth

Posted in FILM, literature with tags , , , , , on May 15, 2017 by dcairns

Kinda outrageous the way THE PHANTOM EMPIRE not only cheats its way out of every cliffhanger, but spends the first five minutes of every episode doing so — that’s 20% recycling! This time, Gene Autry and the kids escape being blown up because… the makers back-engineer a sequence we weren’t shown before, in which a couple of Junior Thunder Riders notice the peril he’s in — a trail of gunpowder has been lit, blazing through the secret tunnel he’s trying to escape down, certain to blow up the bag of powder he’s carrying — and ride to the rescue, somehow outpacing the blazing fuse and opening the secret door to let him out of the exploding tunnel. Nice work. You bastards.

The plot, though not really any more advanced than it was by the end of Episode 1, is now somehow so fankled and guddled that the opening recap cards read like a surreal fold-in exercise by William Burroughs. This one is my favourite ~

Now read on ~

For a man falsely accused of murder, Autry devotes a remarkable amount of time to ensuring his radio show doesn’t go off-air. This episode is mostly about him relocating his broadcast gear to a secret shack so he can continue riding the airwaves. Then the Thunder Riders attack, and once again there are echoes of BIRTH OF A NATION again as the homestead is besieged. The bad guy scorches the lock off the door using his highly technological… fire cock.

Fortunately, all the Thunder Riders ride off for very little reason, leaving the one guy with the fire cock to get beaten up by Gene. Gene then disguises himself as the felled fire cock operator, so that when the Riders come back, they take him with them. Which is exactly what they wanted, anyway. He may as well have just surrendered. His only advantage here is they don’t actually know they’ve got him.

Disappointing that so far the fun robots, with their tin boy scout hats, only wind the garage door leading to Murania open and closed. An automated door would probably be more efficient, and less likely to rise against one.

Queen Tika is not impressed by Gene’s disguise: “You dare to wear your oxygen helmet in my presence? Off with his helmet!” An echo of the Queen of Hearts here — there will be more Alice references later. We’re down the rabbit hole here, folks.

I’m starting to formulate a theory that THE PHANTOM EMPIRE is a prequel to SONS OF THE DESERT, and that Dorothy Christy’s Queen Tika gives up her underground kingdom to marry Stan Laurel. And that’s why she’s so bitter. But I’ll have to finish the serial in order to know how plausible my theory is.

The Queen gives Autry another of her lectures, using her big floor monitor. Over a shot of a beggar: “Feast your eyes. He is from your world. We have none of that here.” Shot of Frankie and Betsy: “There are friends of yours. They may become beggars.” Then a shot of the deadly lightning chamber: “The death chamber. There’s where you’ll be in five minutes.” Kind of an odd thing to show him on television, since like everything else in Murania it’s right next door.

So, Gene is shoved in there and they prepare to shock him with 200,ooo volts — which might be suspenseful if they hadn’t already shown us the secret exit. To try and ramp up the terror, they actually show Gene get zapped and DIE. So he is dead, then.

Tune in next week to see his scorched remains!

Airless in Wonderland

Posted in FILM, literature with tags , , , , , , , , , , , , , , on January 28, 2016 by dcairns

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I had never even heard of this 1949 British ALICE IN WONDERLAND. I have suspicions it may have been suppressed by Disney, but maybe it was just judged not entertaining enough. But if so, how to explain the 1972 ALICE’S ADVENTURES IN WONDERLAND, possibly the least entertaining thing since the Aberfan disaster, which got tons of airplay in my dim youth?

This one has wonderfully smooth stop-motion animation — their ways of integrating the live-action Carol Marsh (of BRIGHTON ROCK fame) are simple, but adequate. Split-screen predominates rather than matte shots or rear projection. Lou Bunin, whom I had never heard of, was in charge of animation. A Russian-born American and former apprentice to Diego Rivera…

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Unfortunately the script pursues some pointless conceit of Lewis Carroll’s characters all having real-life analogues. This extends the framing structure endlessly, a real problem since the movie also reproduces all of Alice’s to gain access to the garden of Wonderland — I’ve never seen the caucus-race presented on-screen before, and now that I have I understand why it’s usually cut.

Pamela Brown plays Queen Victoria and voices the Queen of Hearts. A couple of other popular actors do voice-only duty: Peter Bull (unspecified role/s) and Joyce Grenfell (Duchess AND Dormouse). There’s a preponderance of French crew, including Claude Renoir as co-cinematographer.

It’s curiously unaffecting, maybe because the material is so familiar and the film does nothing very effective to re-energize it. There’s an arch style of playing which nearly everybody adopts when doing Carroll (which is why Ian Holm’s White Knight is so startling), and you then need either magnificently odd production design or some other means of refreshing it. Here, the smoothness of the animation is coldly admirable but the designs and characterisations aren’t uniformly beautiful or charming, though there’s some nice use of Regency stripe and some of the flattened stylisation is pleasing in its approach to Yves Tanguy.

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Worse, it isn’t funny. Disney’s version is criticised for Americanizing the characters but it does have a certain slapstick energy. When I saw it as a kid, on a double-feature with CANDLEWICK, it made me feel stoned, before I knew what that was. It’s interesting that Disney couldn’t completely Disneyficate this unconducive material. One reason I hated the Tim Burton version more than I hate my own body is that it mutilates and malforms Carroll’s nonsense into a bogus “empowering” Disney princess tale. There aren’t enough thunderbolts in heaven to punish anyone who (a) thinks that’s a good idea (b) attempts to do it (c) breaks box office records by doing so. The only good thing is that schoolchildren drawn to the book by the Burton monstrosity are due to have their minds blown all over the nursery walls by the unexpected psychedelic hilarity.

Because of the Wonderful Things He Does

Posted in FILM, literature, MUSIC with tags , , , , , , , , , , , , , , , on March 15, 2013 by dcairns

OZ THE GREAT AND POWERFUL

OZ THE GREAT AND POWERFUL should be seen for the fab 3D — Sam Raimi has always been a 3D filmmaker anyway, punching at that screen with his little girlish fists, trying to smack the audience in the face as if it were one of his beloved Stooges, and now he can finally do it, if only virtually. There are some really gorgeous effects here, particularly the snowflakes, which had us all swiping at the air like babies encountering soap bubbles for the first time. And during the Academy Ratio b&w opening sequence, Raimi keeps breaking the frame by having things like a fire-breather’s blazing puff burst out of the edges of the shot and into the auditorium.

There are, admittedly, some problems with the drama. There isn’t a lot of what you might call thrilling action, the non-period dialogue is irksome, and the mechanics whereby James Franco’s Oz actually destroys a decent character are troubling — he can never really be redeemed from this, and certainly doesn’t deserve to get the girl. If you watch this and then watch the 1939 original, the bit where Oz sends Dorothy to kill his ex-girlfriend will strike you as tonally rather off.

And an early scene where Oz, a Kansan magician, is threatened by an audience because he is unable to cure a crippled girl, is just peculiar. These may be hicks, but it’s unlikely they would expect a stage magician to perform actual miracles of healing. The scene could only make sense if Oz were a snake-oil salesman or faith healer, and I can only presume somebody thought that was too unsympathetic. But the character is pretty hateful at this stage anyway. He’s just ineffectively hateful.

My thoughts on the film seem to be whirling around like uprooted picket fence posts in a cyclone: let’s just sit by the window and check them out as they drift past. However — the movie may be best experienced knowing nothing about the story, so be aware there are a few spoilers below, and maybe avoid reading until you’ve seen the movie, if you plan to.

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The movie is a remake of Raimi’s ARMY OF DARKNESS. It is. But the ending is swiped from INGLOURIOUS BASTERDS. (“Revenge of the Big Face.”)

All along I had a problem with Franco, who can play a phony but can’t play calculation, insincerity and confidence-inspiring baloney. Fiona initially disagreed: “I liked him, I thought he was fine.” “They turned down Robert Downey Jnr.” “WHAAAAAAAT???!!!”

Michelle Williams is the best: the only character you always believe, for every line and look. There’s never any doubt with MW. And she’s playing the Billie Burke role, for God’s sake. It doesn’t exactly strike one as a gift to the actor. But she embraces the challenge of making Goodness and Strength interesting. Raimi has always had a touching faith in sweetness in women (and a corresponding fear of female sexuality).

Raimi’s connection to Oz goes back at least to the animate trees of EVIL DEAD, though his are considerably nastier than those Dorothy Gale tangled with.

Bruce Campbell gets hit with a stick, so that’s fine. By the dwarf from BAD SANTA: you get extra points for that.

Raimi’s still casting all his kids in crowd scenes, but he doesn’t shoehorn in irrelevant dialogue for them this time, as he did in SPIDER MAN III.

Fiona reckons Mila Kunis must look scary in real life, since her eyes are somehow bigger than the head that contains them. I was wondering how she would manage to the transformation from spherical to pointy head. Maybe she’d end up looking like a Sputnik. But the makeup is quite effective. Nobody can be Margaret Hamilton except Margaret Hamilton, though.

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The main reasons I liked this a lot better than Tim Burton’s ALICE IN WONDERLAND, which had the same producers and also a by-the-numbers Danny Elfman score:

1) You can’t turn Lewis Carroll into a parable of good versus evil, and only an idiot would try. It’s about sense versus nonsense, or ordinary logic versus strange and sublime logic.

2) Fewer curlicues in this one.

3) Burton had no ideas for 3D whatsoever, and seemed unable to focus pull or edit without throwing the viewers’ brain out of whack, since what your eye was led to by the 3D was never consistent with the other filmmaking choices.

4) Admittedly, nobody in OTGAP is as good as Anne Hathaway in AIW. But nothing is one tenth as bad as Johnny Depp’s dance.

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China Girl is a really great SFX creation. Too bad they couldn’t have left her sweet and sentimental: the more raucous humour spoils the character a bit.

The Munchkins attempt a song, making this the fulfillment of Raimi’s dream for the ill-fated CRIMEWAVE: “I wanted to make it the Ultimate Film of Entertainment.”

(Is this the modern cinema experience in a nutshell: a big, bloated, yet oddly uneventful event, miscast and indifferently written, yet winning a measure of our respect just by virtue of presenting a slight variation on the usual form of spectacle? But wasn’t it ever thus? But isn’t it more so now?)