Not much to add to the gleeful hubbub surrounding Edgar Wright’s adaptation of Bryan Lee O’Malley’s SCOTT PILGRIM VS THE WORLD. A rare film which takes faithfulness to its source as a call to have fun rather than stifle invention, it’s also one of the few movies that really works for me in terms of juggling sort-of-real characters with personalities and issues, and awesome fight scenes where people get exploded. There’s no sense of a mismatch at all, you don’t worry about the death side of things, you just accept that the mild mayhem is some kind of metaphor, and nobody really gets hurt within the world of this film.
Taking his cue from the graphic novel/s, Wright plays games, literally, with cinema, cheerfully eating up anime and comic book and video game techniques. It makes me curious to see what he’d do with 3D, since his showcasing of technique for the sheer hell of it makes self-consciousness a virtue. Also, it’s very funny.
Wright has always had a lovely sense of comic timing, and his hyperkinetic style actually works hand-in-hand with that. The sharp cut following Michael Cera’s reaction to the line “Bread makes you fat,” — a single, horrified, “What?” — is made retroactively funnier by the abruption of the edit following fast on the heels of the line. In a split second, your brain is reprogrammed to upgrade the line from amusing to hilarious.
Cera is of course delightful, but so is everyone. My new conversational opener for after a film viewing with a friend is “Who was your favourite?” and it works very well with this movie [Maybe wouldn’t be so helpful with something like SECRET HONOR] I asked Fiona, “Who was your favourite?” “What?” “Who was your favourite?” “Oh. Girl drummer.” An instinctive reaction to a good bob. And then, “And gay guy.” My favourite is Ellen Wong as Knives Chao, because everything she does is cute and funny. But it’s a tough call, because there’s a whole trench-full of cute funniness in the flick.
As one who’s gone on the record with a deep, almost sexual admiration for Cera, I felt uncertain about his darker hair coloring here, and Wright does a lot of profile and three-quarter views of his star, which makes him less beautiful, less a Starman and more a 21st Century Sterling Holloway. But that ain’t bad.
Is Scott sitting on a swing in the snow a reference to Kurosawa’s IKIRU? It seems like it might be. Or it might be a reference to Bruce MacDonald’s THE TRACEY FRAGMENTS, which likewise has teenage issues, split screen and Canada as sub-topics. Two references that seem fairly certain are the use of the hypnosis sting from Mike Hodges’ FLASH GORDON, and the appearance by the Monster from the Id from FORBIDDEN PLANET. What’s he been doing with himself in the last fifty years, anyhow?
He’s certainly kept in trim.