(White) Hats Off!

Hats off to stop motion and clay animators who still feel that we, mass movie goers, are worthy of their artistry and hard work! Thank heavens that they believe that we will appreciate and watch in awe the talent that has gone into every little bitty piece and every movement in films like the one I am singling out this time: the wondrous, treasure of a film called The Boxtrolls, directed by Anthony Stacchi and Graham Annable.

The Boxtrolls has a very old-fashioned feel to it, not only because of the Victorian outfits worn by the people in the city of Cheesebridge, where the story takes place, but because of how the story develops and is told. Children in this story are not spared from the cruelty and abandonment of adults. Adults, especially the cold-hearted aristocratic “cheese-eaters” with their tall, embroidered white hats, and the men they have carry out their “dirty work” for them, the “Snatchers”, are rather scarily too real. The Boxtrolls are not. They are the poor, box-dressed inhabitants of the underground of the city and, like in the stories of Dickens, are the warm-hearted, creative beings that give this story its fairy tale quality. There is, of course, a young man that bridges both worlds, so we aren't all bad, Mr. Pickles.

Elle Fanning, the voice of Winnie

The characters are well designed and truly come to life through the great talent of the voices behind them, most particularly Ben Kingsley as the Snatcher, the tremendously lovable Moss from the IT Crowd, Richard Ayoade, playing the philosophical Mr. Pickles, Nick Frost as Mr. Trout, as well as the young talents of Isaac Hempstead Wright as Eggs and Elle Fanning as Winnie.

But our hats are off mainly to those artists and animators that continue the tradition of stop motion animation, the painstakingly slow process that we, the viewers will cherish and admire, even if at a subconscious level, above all the computer generated movements to which we have grown increasingly accustomed. It is probably because we movie goers  are still able to discern that what we are seeing is something real that has been filmed and not just pixels.

Stop-motion is a technique that goes back to the late eighteen hundreds, but it is kept alive today because there are still a handful of studios and directors that unbendingly pursue the art. LAIKA, the Oregon-based studio behind The Boxtrolls, Coraline, ParaNorman; UK’s Aardman Animations and their Wallace & Grommit films, and directors like Wes Anderson and Tim Burton, with their stop-motion works of art: Fantastic Mr. Fox, The Nightmare before Christmas and The Corpse Bride.

Wallace and Gromit The Curse of the Were Rabbit - Fantastic Mr. Fox - The Nightmare Before Christmas

The challenge faced by these animators is  tremendous  these days when technology, in particular FX, VX and digital animation, seem to slowly remove the “wow” factor from audiences more and more used to seeing the impossible. That doesn't mean that there aren't digitally animated movies that still impress us no matter; I've written about them as well in this blog (see We are Groot). The competition is high, however. Stop motion has had to somewhat turn to technology to compete. In particular this is the case with the amazing facial expressions we witness in The Boxtrolls. To carve each face the many times it takes for a moving facial expression to have the flawlessness of digitally animated movies would be almost impossible. The Boxtrolls therefore had models of the facial expressions designed in computer and printed out with a 3D printer. But that was all, those faces, still had to be attached to the bodies and still scrupulously shot a fraction of a movement at a time.

The result is wonderful. Stay after the credits to see a behind the scenes piece, marvelously narrated by Mr. Pickles and his who controls who philosophy. I’m sure you’ll then join me in taking your white or red hat off to these artists that keep these gems of art in motion for us.

The Sins of Others

There is a scene in Calvary that has stayed with me. Brendan Gleeson, who plays a Catholic priest by the mane of Father James, is talking on the phone to Kelly Reilly, who plays his daughter, one he had before he took his vows and after his much beloved wife died. She is sitting on a terrace of a very modern building, in a steel and glass modern European city. He is on a pay phone outdoors, back in small town Sligo; behind him stands an ancient stone tower in ruins.  In the forefront is this priest in black cassock, surrounded by grass so green and a sky so blue they feel fresh and new, yet there he is with the remains of a period in time which is disappearing piece by piece, much like the Church and the values for which Father James stands. I’m not sure if John Michael McDonagh, the director of Calvary, meant this scene to be a representation of much that is conveyed by the film, but it came to me as a strong one.

Calvary is the type of movie which speaks volumes, both literally and figuratively, for much of the movie is made up of scenes in which two people are talking, one of them Father James, but it is also a movie about the things unsaid, the messages conveyed by the story and its symbolism. The movie starts in a confessional, where Father James hears of the monstrosity that befell one of his parishioners as a boy at the hands of a pedophile priest that has passed away without punishment in this world. This unknown voice lets Father James know that he is going to kill him the coming Sunday to atone for the sins of the bad priest, even though he is innocent and a good one. The movie then plays a little like a murder-to-be mystery and a lot like a reflection on our new world and its dwindling faith and values. And despite what I have described so far, it does so with humor, as well as with despair.

Gleeson and Reilly

Over the week we are introduced to the particular wretchedness of some of the people that inhabit this small, seemingly overlooked town in Ireland: the bar keep, the butcher and his wife, a mechanic who is an African immigrant, the inspector, a male prostitute, the doctor, the wealthy landlord, all of them people Father James is trying, unsuccessfully, to reach or help; most of them also his potential murderer. There are a few that believe and care for him, most particularly his emotionally damaged daughter who has herself felt, at one time, abandoned by him and his vocation. But he mostly faces his antagonists alone, kept together by his faith.

Brendan Gleeson and Chris O'Dowd

Father James is focused on the recovery or redemption of these, his ever more violent adversaries, rather than on his impending demise; something that is getting harder to find in a person in these our self-absorbed times: someone who cares more about others than himself, someone that still believes in sacrifice for his fellow man or woman. And this he certainly seems to be: a sacrificial lamb, another innocent to die for the sins of others. The film does not hide the parallels or symbolism in this sense either. He is met with temptation, at the hands of the wealthy stock broker, he faces his impending death with fear and has his moment of doubt, at night, alone. The symbolism is there: we know He who faced His Calvary before Father James faced his.

This is the second feature length film directed by McDonagh, the first one being The Guard (2011). Both of his films star Brendan Gleeson and there couldn’t have been a better choice of an actor. Gleeson carries the film and he is, without a doubt, astounding in his portrayal of Father James. He is able to convey the complexity of feelings in this priest and very much overshadows the other actors in the film, which may be one of the films only flaws. Their characters come off as stereotypes; very one-dimensional to how rounded out Father James is.

But all is forgiven because of the smoothness of the direction, the beauty of the photography (and Ireland!), the strength of Gleeson’s acting and the messages contained in the film. The final scene in the movie, also between two actors, is wordless. And yet, it is the silence, now, that speaks volumes.

Farewell to Our Genius Friend

I am engulfed by sadness at the death of Robin Williams. I feel that I've lost a dear relative, a good friend. I know millions of people around the world are feeling this. We are all, today, members of Robin’s extended family. And we are grieving him.

How could we not? He made us roar with laughter, not just smile or chuckle. He kept our minds nimble and swift as we tried to keep up with his brilliant one. Watching him in stand-up or on interviews, you couldn't help but be in awe at the speed with which jokes came to him.  What talent! No; what genius! Film never could capture that speed. Movies confined him and reduced his brilliance. And yet he shone.

On the screen he wasn't just funny, he was also all heart. We wanted to stand on our desks with the incredibly young Ethan Hawke and yell “Captain, my Captain!” at him in Dead Poet’s Society. Or salute his Adrian Cronauer character like the also very young Forest Whitaker did in Good Morning, Vietnam! ; two of his better films, along with The Bird Cage, which was actually even better than the original, thanks to his portrayal of Armand Goldman next to Nathan Lane.

He did drama well, like in his award winning role in Good Will Hunting, or besides Al Pacino in Insomnia, but without a doubt it was in comedy where he excelled. The interesting thing is that he had comedy for all tastes as well as ages. His stand-up was for adults and without being prudish it also wasn't salacious; it was always smart! His movies for kids brought adults to the theaters to see the marvelous genie in Aladin, the absent minded professor in Flubber, the father in Jumanji or RV, Teddy Roosevelt in the Night at the Museum series.

It hurts to know how much pain he must have been feeling. We can only hope that he knew he was a cherished friend to millions, one that we never met in person, but a friend who made us enjoy life a little more through laughter. 

Robin Williams, how we will miss you!

We are Groot!

No art form is as indelibly linked to technology as the seventh art. The velocity with which technology has transformed this medium is awe inspiring and nowhere is it more visible than in the science fiction genre of films. When Georges Méliès set off for space in 1902 with Le Voyage dans la Lune, generally considered to be the earliest film of the science fiction genre, spectators increased their fascination with movies tenfold. We were able to see the seemingly impossible; back then in a very rudimentary form.  A whole century and many billions of dollars later, we are blasted through space led by Rocket Raccoon and the humanoid tree-like creature known as Groot, two of the most amazing digitally animated characters to hit the big screen in Marvel’s most recent film Guardians of the Galaxy.

It was another George, Lucas this time, that launched a new wave of science fiction movies, introducing the marvel that are special effects, visual effects and, a bit later on, digital animation. Industrial Light & Magic, the company which Lucas created for Star Wars back in 1977, thirty-seven years later bedazzles on with Guardians of the Galaxy, albeit now as part of the mammoth corporation that is Disney.  How far we’ve come, however, from being fascinated by Master Yoda who today, even with the digital restorations, is so very muppet-like when compared to the real-to life raccoon that is Rocket in Guardians!

The facial expressions, the detail in fur, whiskers and movement of the raccoon is truly astonishing. Granted, Bradley Cooper gives voice to Rocket and does so in an award worthy manner, but it is the talent of the artists and animators that give life to this tough, gun-toting and hilarious little being. Groot, the tree with human form and heart, voiced by Vin Diesel, is also precious in every sense and hard to take your eyes away from.  Such wizardry is only explained when you sit through the credits to the film. It is not just Industrial Light & Magic that made this possible, there are other FX, VX and digital animation companies involved and the list of animators, visual and special effects artists is almost never ending (though most Marvel movie fans know to stay through the credits for the final short scene included after they pass).

This is the work of thousands of artists made possible only with the $170 million that this picture cost to make.  Yet another contribution of George Lucas to the history of movies. Star Wars, although a movie shot on actual sets and filmed on film, was an expensive movie to make and probably the first “summer blockbuster” in the history of film. It cost 11 million, which would be about 44 million adjusted to today’s dollars, but in a mere three years had revenues near $150 million. But even in that times do change and Guardians of the Galaxy has, in three days, already made $94 million.

There are, or course, the serious, realist science fiction movies that augur our future, and we’ve written many a post about them in this blog, those like 2001 A Space Odyssey, Alien, Blade Runner, Brazil and, to name two presented this year, Lucy and Snowpiercer. And then there are the comics.

 I have already dedicated a post to my inner geek fascination with Marvel and DC Comics-based movies of recent origin (see Heroes for all Ages, May 2013), so I won’t go into that again; but I will add, in reference to the movie that is popping up here and there in this post, that Guardians of the Galaxy, based on the Marvel comic of the name that dates back to the sixties, does something that other recent comic-based movies don’t, it makes you have loads of fun!

Superhero comics had their serious side to them, for sure, but they also had humor and weren’t meant to be treaties on philosophy or the meaning of life. Some of the more recent movies have forgotten this and are really rather dark and dreary (the Thor series, for example). Enter Chris Pratt, with his rascally smile, gleaming eyes and funky dance moves, leading a troupe of  misfits and “losers” (as he explains: those who have lost someone special) and with Groot and Rocket (originally Rocky Raccoon, in honor of the Beatles) and we’re flown and blown back to our Walk-man toting, comic reading summer days!  

This is a film with a script that takes us for a fun ride. That it takes $170 million dollars to do so is something we could write about a bit longer, but this is a marvel of technology, it is summer and it’s good that we finally see a blockbuster that hasn’t totally wasted our time and money. 

Eyes Wide Open, Heart on Hold

As we wilt from the summer heat, a cool autumn breeze flows through the cinematic community by way of the major film festivals that have announced the movies they will showcase. The 71st Venice International Film Festival takes place from August 27th to 6th September 2014; the 39th annual 2014 Toronto Film Festival takes place September 4 to the 14^th; and the 52nd New York Film Festival follows on September 26 to October 12th.

Michael Keaton in Birdman - Willem Dafoe in Pasolini - Isaac & Chastain in A Most Violent Year 

Just reading the titles, directors, actors and topics covered by the films showcased in these festival gives us film lovers the air we need to make it through the doldrums produced by the summer blockbusters!  The films are a little tilted towards parading famous late forty to early seventy year old male actors, but otherwise, there seems to be a bit every type of genre lover.  Here’s a taste of the goodies (we hope) to come:

Title	Director	Featuring	Plot
Big Eyes	Tim Burton	Amy Adams, Christopher Waltz, Jason Schwartzman	The story of painter Margaret Keane
Pasolini	Abel Ferrara	Willem Dafoe	A look at the final days of director Pier Paolo Pasolini
Inherent Vice	Paul Thomas Anderson	Joaquin Phoenix, Josh Brolin, Benicio del Toro	The investigation of a former girlfriend.
Miss Julie	Liv Ullman	Colin Farrell and Jessica Chastain	Adaptation of the Strindberg play
The Equalizer	Antoine Fuqua	Denzel Washington	Kidnap drama
Birdman	Alejandro González Iñárritu	Michael Keaton	An actor who once played a superhero mounts a Broadway play
A Most Violent Year	JC Chandor	Oscar Isaacs, Jessica Chastain, David Oyelowo	Thriller set in NY in 1981.
A Little Chaos	Alan Rickman	Alan Rickman, Kate Winslet and Stanley Tucci	Period piece about King Louis XIV
The Reach	Jean-Baptiste Léonetti	Michael Douglas	A thriller about a ruthless businessman who tries to cover up a homicide while on safari
The Drop	Michaël R. Roskam	James Gandolfini, Tom Hardy and Noomi Rapace	A robbery gone awry and entwined with the past of a neighborhood
The Humbling	Barry Levinson	Al Pacino, Greta Gerwig	Relationship between an aged, suicidal actor and a younger woman
Time Out of Mind	Oren Moverman	Richard Gere	A homeless, drunken man tries to reconnect with his daughter
Love & Mercy	Bill Polhad	Paul Dano	A Beach Boys biopic
Good Kill	Andrew Niccol	Ethan Hawke, January Jones	A soldier questioning his work dispatching drones to Afghanistan
This Is Where I Leave You	Shawn Levi	Rose Byrne, Jason Bateman	A husband juggling bereavement and infidelity
The Judge	David Dobkin	Robert Downey Jr., Robert Duval	A man trying to clear his father of a homicide
Black and White	Mike Binder	Kevin Costner and Octavia Spencer	A custody battle over their grandson
Nightcrawler	Dan Gilroy	Jake Gyllenhaal	A crime drama set in LA
Pawn Sacrifice	Edward Zwick	Live Schreiber, Peter Sarsgaard, Tobey Maguire	A movie about chess master Bobby Fischer
While We’re Young	Noah Baumbach	Ben Stiller, Amanda Syefried	A documentary filmmaker and his wife who befriend a younger couple
The Theory of Everything	James Marsh	Eddie Redmayne	A Stephen Hawking biopic
The Imitation Game	Morten Tyldum	Benedict Cumberbatch, Keira Knightley	A biopic about enigma code breaker Alan Turin
Samba	Olivier Nakache	Charlotte Gainsbourgh	Senegal
Men, Women and Children	Jason Reitman	Adam Sandler and Emma Thompson	A sexually frustrated father
Still Alice	Richard Glatzer	Julianne Moore and Kristen Stewart	A movie dealing with early onset Alzheimer’s
Cake	Daniel Barnz	Anna Kendrick and Jennifer Aniston	A chronic pain support group
Mangelhorn	David Gordon Green	Al Pacino	A locksmith and love
Trash	Stephen Daldry	Martin Sheen, Rooney Mara	Set in the third world, three children discover something in a garbage dump.
Fury	David Ayer	Brad Pitt, Shia LaBeouf	World war II
Into the Woods	Rob Marshall	Johnny Depp, Emily Blunt	A witch
Unbroken	Angelina Jolie (written by Joel and Ethan Coen)	Jack O’Connell	Louis Zamperini, an Olympic runner who was taken prisoner by Japanese forces during World War II.
Far from the Madding Crowd	Thomas Vinterberg	Thomas Hardy, David Nichols	Remake of 1967 movie
Gone Girl	David Fincher	Ben Affleck	Based on the best-selling crime novel

Pacino in The Humbling and Manglehorn