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JScott Blog

  • Wondrous Oblivion

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    Wondrous Oblivion (Paul Morrison) is a warm and funny tale of prospering maturity.  When the Samuels, an astranged Jamaican family, move in to a predominantly white working-class neighborhood sides are quickly taken and the Wiseman's - the once ignored and maligned Jewish family - are caught in the middle.  Knowing what it feels like to be the odd family they are initially shocked but come to terms with their friendly neighbors.

    The youngest Wiseman, David (Sam Smith), has a passion for cricket and the Samuels come from a family tree, and an island full, of cricket players.  Their first task is to measure out and set up a cricket pitch.  The father Dennis (Delroy Lindo) and daughter Judy (Leonie Elliott) take him from cricket score keeper to superstar because of his openess towards them.

    David's own parents Ruth (Emily Woof) and Victor (Stanley Townsend) struggle with their son's acceptance of the Samuels and the neighborhood who wants them to push the unwelcomed vistors out.  Victor is hardly home, barely knowing anything of his son's interests and work ethic while his wife only knows a life of taking care of the family and little of what being a developed adult is about.

    Throughout the film many people's lives are transformed by the Samuels.  Passion, family, womanhood, understanding and kindness are all traits that the Wiseman's and the rest of the neighborhood will learn and embrace.  The line, "you can't miss what you don't have" is echoed through this film and it is certainly the backbone to the story.  Virtually everyone benefits from the family joining their community even if they are slow to react to it in the first place.

    Strong performances by the entire cast as well as an engaging soundtrack and great dialogue keep this film moving along.  If for nothing else this film is worth watching to better understand how cricket is played.  Trust me, it only takes one argument at the local bar for that bit of work to pay off.

    I would recommend this film to anyone.  The characters' own personal obliviousness is something to see and analyze which might also help us open our own thoughts about the changing world around us. 


  • Colonialization and Madame Butterfly

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    Madame Butterfly  (1995)

    While traditionally Cinema and Opera are seen as two completely separate medias, Madame Butterfly superbly transcends conventional thinking and delivers a work of art pleasing to the eye, the ear and the heart.  It is only fitting that Madame Butterfly returns to its Melodramatic roots that were common during the 16th-18th centuries as a spectacular staging of the struggle between love and death, the Opera. 

                An innocent girl, Cio-Cio San, is leased by an American Captain and emerges from her cocoon to become Madame Butterfly personal trophy.  Captain Pinkerton uses her, leaves her and inevitably kills her, although the death could have been looked at as a release from the death she had been living after Pinkerton left. 

    Not even the bond between two people who have a child together could keep this marriage together.  Even when she has chances to get out and move on, she refuses.  She cries out, to anyone who will listen, that she is American and that she has not been betrayed.  The truly sad part is she is the only person who doesn’t realize the position she is in.

    This movie best portrays what could happen if you use people and discard them like they don’t have feelings.  I am sure almost everyone can be empathetic towards Butterfly if even in some remote way.  You can’t be a complete person without having lost something or someone along the way, and that’s how she felt, but she would rather have not gone on than to live a life in shame and embarrassment.  She had to regain her family’s honor, or that’s likely how she saw it.  Clashes of cultures are potential breeding grounds for Melodramatic moments.

    Butterfly was devoted to Pinkerton’s whole life.  At the first chance she gave up her family, he country and her religion for her new American husband, but when she didn’t have him she fell back to her culture’s practices and what she was brought up on.  It’s too bad she didn’t turn back to her Japanese culture any sooner than the very end for her.

                It was until that time that he had his power over her.  She was living under his thumb because of the money he provided for her to live in that house.  He portrayed a stereotypical male using money and power for a sexual relationship.  Once he was done with the intimacy he was done with her.  He essentially polluted the beautiful scenery by throwing her away like garbage. 

                It was the scenery that caught my eye.  The whole story unfolds at the same place, which just gives us a better perspective of the one person (Butterfly) who we are studying.  It’s her entire world, so it should be ours too.  We are not able to cheat like in other films and know what is happening with the other side of the story so we are left completely vulnerable to all the actions that lead to Butterfly’s demise.

                We are lead to believe since the beginning that these two will not end up together, but even for the audience the prospect of Pinkerton returning to their home brings in further hope that it might end up on a positive note.  It’s unfortunate that it’s nothing more than an additional tug at the heartstrings before finally cutting the cord and letting it all unwind.

                The occasional glimmer of hope and happiness was the only thing to separate the cruelty of the universe that Butterfly lived in.  The ship came in, we felt like things might get better.  Could a reunion be in the works for this couple?  Well, if not that, surely a son would change things, right?  Guess not, and by the end we could see that in the climate change.

                The universe that Butterfly lived in was her house.  That was her entire existence, her reason for living.  It was great to leave us only there for the entire film.  When everything went dark, and became stormy, we knew the relationship was over, and so was Butterfly, or Mrs. Pinkerton, I am not quite sure who she was at that point.  Cio-Cio perhaps? 

                The death of Mrs. Pinkerton symbolically, the taking of her son and the new wife, left the protagonist to return to the only thing she knew anymore.  She reverted back to Cio-Cio and knew she had done nothing other than tarnish the family’s name, so she commits hari-kari to restore that honor.  The colonizer came in and violated the surroundings and left it in worse condition that it began, hmm, sound familiar?

  • Cockaboody

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    Cockaboody couldn't be simpler in concept.  Co-creators John and Faith Hubley recorded their two daughters having a bedtime conversation.  They then illustrated eight minutes of the conversation with under lit sepia-wash drawings.  We see the two little girls, but they have become shape-changers.  The Hubley’s use many creative ideas in order to illustrate their children’s thoughts.

    This short was made by the Hubleys using a technique they used a number of times -- taping a more-or-less free form conversation, usually between two of their children to form the soundtrack and then animating around the conversation. They won an Oscar in 1959 using this technique with Moonbird. 

    Films such as Moonbird, Cockaboody and Everybody Rides the Carousel re-defined prior notions of animation in their break from Disney literalism and linearity and in their exploration of animation's potential to communicate serious ideas and confront crucial social issues through the use of innovative graphics and improvisational soundtracks.

    Their pioneering use of jazz served as an aural equivalent to their alternative graphics and critical content and speaks directly to their commitment to diversity. The Hubleys worked with some of the greatest composers and musicians in the history of Jazz, the American contribution to music, including Dizzy Gillespie, Ella Fitzgerald and Quincy Jones.  When Cockaboody was finished in 1974, they had definitely refined their technique.

    In Cockaboody, Emily, the older sister, says sagely of grownups, "They laugh and laugh and laugh until they stop laughing and they cry. And then it starts all over again. Laughing crying, laughing crying, laughing crying." The films of the Hubley Studio open a new window on a whole galaxy of human intelligence and emotion: laughing-crying, feeling-thinking, being-doing.

    During the film Emily grows taller and shorter, depending on what she's saying.  Her body size seems to be attributed to how she feels about what she is saying, whether or not she is whole heartedly believing in it or not.  Putting her in her father’s shoes and walking around the room makes us remember that we are just watching kids at play, no matter how grown up either of them are pretending to be.  Georgia still got very upset and threw a fit.           

    When Georgia screeches, her Inner Screech Cat fills her chest and jumps right out of her mouth.  The green cat puts a tangible quality on a feeling and makes it easier for us to see the despair in Emily’s eyes after she had just made her sister upset and forced the cat out of the bag so to speak.A mop smiles and weeps.  Used as a prop in the bathroom but is almost used as a 3rd character in the scene.  Emily’s mannerisms closely mirror that of the mop she is holding who is supposed to be a representation of a significant other.  This is an echo of the earlier question “Georgie, are you going to get married?” that Emily asks her sister.  Not only is marriage already on this young girl’s mind, but also her parents much have thought about it to include it in the visual part of the short.

    Faith Hubley is in this film as well.  She has the small, non-vocal role of sitting on the couch in the living room and looking surprised and dumbfounded.  I found her lack of vocals to be very crucial because she doesn’t attempt to interrupt the children at play, which is something that Faith and John must have had to do often to manage such high quality recordings of their daughters.  It’s almost like because she had no input on what they were saying originally so she should show no input on what the kids do in the animation.

    The Hubley’s have worked with dialogue that was improvised (The Hat) or even recorded without the speakers' knowledge (Moonbird).  This procedure is questionable, because it reduces the director's control over his cartoon, and especially its timing. Dialogue is often times a straitjacket for a cartoon director, even when the director has written it; when he surrenders that responsibility to someone else, he is tightening the straps.

    Allowing two small children to dictate how a line comes off requires a lot of faith in your ability to make it work.  Editing can help this somewhat, but there are so many ways to make something tough to animate.  Were they not clear enough in all the words?  Can an animation be set to what was said?  Is there even a story there?  The upside to taping conversations is that you aren’t asking for genuine emotion, you are getting it.  You can’t write ideas or stories that come out of a 5-year-old’s mind or understand it because we simply are not that age anymore.  It comes to you raw and if you have the ability to handle it and craft it in such a way where it works, you can have a great piece of animation on your hands.


  • One of my favorites

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    Walkabout  (1971)

    Walkabout 

                If Dr. Emmett Brown slid his DeLorean into my driveway and said, “Grab your duffle bag Marty, we’re going back… to the future” I would first tell him my name is not Marty, and then I would grab Nicolas Roeg’s masterpiece Walkabout, pull down the passenger door, buckle up and prepare to be dazzled by the wonderment that the future holds.

                My vision of the future has the Internet as the main pipeline that feeds world information from all corners to all corners.  Some cultures will get trampled and possibly even forgotten in the shuffle.  Not only is Walkabout an incredible movie technically speaking but it also tells the story of maturity and warns against globalizing culture.

                The driving essence in Walkabout is the rite of passage.  For the three main characters the survival of the outback is their survival from childhood.  The Black boy (actual character name, I am not racist, played by David Gulpilil) is the guide for the white children, but in the end, the British colonials destroy the life of the aboriginal people.  The use of Aboriginal people to mass produce sacred artifacts for market perfectly illustrates the way the British view the culture of the Aborigines.  It’s quaint, it is something to take home and put on their mantle, like a trophy.

                Roeg does an incredible job showing the hypocrisy of the British family.  In the opening of the film we see the two children swimming in a pool not 10 feet from the ocean.  The father, a geologist, reads books about the outback from the inside of his car, which is parked in the outback.  Roeg does an incredible job by subtly implementing examples to support the overall theme of the film.  That is exactly why I feel this film is art.

                Roeg combines a socially conscious message with incredible aesthetics.  That is my passion in art.  Striving for equality and humanistic values for everyone is something I strongly associate with.  Visually Roeg is able to create a world of fantasy by emphasizing the creatures that inhabit the outback. 

                By contrasting the images of the sterile city and the rich natural landscape Nicolas Roeg is able to show that savagery is in the eye of the beholder.  You are forced to ask yourself if the fences and walls are keeping the barbarians out or locked in?  The aboriginals are only shown to kill what they need and to be peaceful people, while the only images of British people are destructive or corrupt forces, except for the little white boy.  He might be Roeg’s hope for a future of cultural awareness as he is able to communicate with the aboriginal boy.

                Ultimately it is lack of communication between the white girl and the aboriginal boy that destroys lives and leaves dreams unfulfilled.  She does not understand his attempt to win her over.  It is only years later after she is assimilated in her mother’s image as a housewife that she realizes what she lost in the outback.

                Even though they cannot speak to each other the aboriginal boy tries to take the white girl to some drawings on a wall in order to bridge the communication gap.  In cultures with no written language, or little to no literacy, drawings and painting are used to tell stories. 

  • Bay and Company deliver a high energy action film *shock*

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    Transformers  (2007)

    Michael Bay’s Transformers satisfies the summer-action-movie-fan in me as well as any film I have seen this year.  While the overly simplistic and predictable storyline means there isn’t much that is “more than meets the eye” (sorry, I was contractually obligated to mention that) the top notch special effects provided by George Lucas’ ILM more than make up for it. 

    Earth’s survival hangs in the balance as the Autobots and the Decepticons both come from Cybertron looking for the All Spark – a cube that turns electronic gadgets into battle ready robots.  The humans are basically powerless to stop the advanced life forms.   

    The responsibility of saving the planet falls to Sam Witwicky (a convincing performance by Shia LaBeouf) and Mikaela Banes (Megan Fox), two kids dealing with their own struggles in very different ways.  His family has money but he isn’t accepted by his peers while she has her own family problems but has a lot friends.  I don’t think we need a score by John Williams to figure out where that pairing is headed.   

    Transformers is an action film on the surface but laced with subtle references and pop-humor it has a strong comedic presence.  Bobby Bolivia (Bernie Mac) has a very memorable scene as the owner of a used car lot.  Bumblebee, the Chevy Camaro, pulls up next to a yellow VW Bug and proceeds to prove why he is the better choice for Sam.  If you don’t get the reference, don’t worry, it’s still funny.   

    Ultimately the biggest issue in the film is the same problem I had with Spider-Man 3.  Is it possible to have a scene in a film that isn’t drowning in flesh?  I imagine that the female characters would be taken much more seriously if they weren’t trying to save the world in mini-skirts.  It’s just like why Ginger Rogers gets no love compared to Fred Astaire even though she did everything he did but backwards and in high heels as the popular bumpsticker suggests.   

    Don’t get me wrong, there are moments when the women do provide insight that the men couldn’t come up with and help further the story, but it still seems like they were used more as additional eye-candy rather than full fledged characters.  Hello, we already have 50 foot robots that are difficult enough to follow during the action scenes.  I would really appreciate a dose of reality in an action film now and again, but such is life. 

    Going in I had higher-than-average expectations for the movie, not so much as a life changing film with boat loads of deep subversive meaning but rather a high adrenaline non-stop action film, and I got exactly that.  If you want a 2 1/2 hour thrill ride then Transformers will deliver for you.  If you plan on seeing this movie do yourself a favor and see it in the theatre as it would be underwhelming on the small screen. 

    *** (3 Stars out of 4)


 

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