Today I saw The Wizard of Oz in 3D, starring Judy Garland and Margaret Hamilton.
It always feels odd reviewing a classic, especially one of this magnitude, because everyone already knows the story and has made their mind up about its merit.
But I'll give it a go anyhow.
Dorothy Gale (Garland) has dog, Toto, that can't seem to stay out of trouble. He's bitten Miss Gulch (Hamilton), eats hot dogs in mid-barbecue (before being asked) and jumps out of any basket he's confined to; really, he's a pain in the ass.
When Miss Gulch attempts to confiscate little Toto, he escapes back to his owner and fearing the authorities will return for him, Dorothy runs away from home.
While she's out the storm picks up and a twister forms near the small Kansas farm where she lives.
Not making it to the storm cellar in time, Dorothy runs into the house for cover and is soon transported to a magical place where she's greeted by a good witch and about a hundred little people.
Soon, she embarks on a journey to find her way home, following the path of a trusted yellow brick road, meeting friends along the way, all the while dodging the Wicked Witch of the West (Hamilton) who seeks revenge for the death of her sister, which she believes Dorothy caused.
The flying monkeys that help the witch never bothered me as a child, and they still don't now, but the dark forest is unsettling as are the voices and hairdos of the Munchkins.
The songs are fantastic (especially Garland's "Somewhere Over the Rainbow," which makes her sound years older than she was at the time) and the colors pop (even more so in glorious 3D), and Hamilton sets the bar unimaginably high for any woman who dares to be a witch thereafter.
When I was a child, watching this film was an annual event. It would come on the television on some random Friday night and we would put sleeping bags on the floor and eat popcorn out of a huge bowl. I don't remember ever paying attention to the beginning before the tornado hits or noticing that the Cowardly Lion had a Jersey accent.
It's still magic though, 75 years on.
~~~
Showing posts with label 3D. Show all posts
Showing posts with label 3D. Show all posts
Sunday, October 06, 2013
Saturday, April 07, 2012
Titanic
Today I saw Titanic in 3D, starring Kate Winslet and Leonardo DiCaprio.
The story tells of a fictional love between first-class Rose (Winslet) and poverty-stricken Jack (DiCaprio) who meet on the doomed real-life ship, the Titanic.
When I saw the film for the first time as a college student in 1997, and then repeatedly throughout 1998, I was drooling over DiCaprio and immersing myself in the history of the actual shipwreck. To me, every part of the movie was magical. The incredible detail of the sets and props; the uncanny resemblance between the actors and the real people they portrayed; the horror of the mammoth ship sinking. For a running time in excess of three hours, the pace went amazingly fast and not a moment was wasted on unnecessary scenes.
Today, as the 100th anniversary of the shipwreck nears, I found it just as effective.
Sure, it's fashionable to hate anything that is this successful—and even more so to trash 3D versions of older movies—but I could really care less about people with those 'opinions.' There is a reason Titanic is so successful, folks. And as for directors who know what they're doing when it comes to 3D, James Cameron is at the top of the list.
I liked seeing Leo and Kate dance a jig up-close; and loved seeing the ship practically jump into our laps as it drastically sunk, but I'm not saying the effects were overbearing. The 3D portion was done so masterfully, that for most of the movie, I forgot it was there. To me, the less trickery the better, so this was ideal.
It was also lovely to watch the young Leo and Kate shine in their leading roles, supported by the hilarious Kathy Bates and the sneering Billy Zane. It felt like going to a family reunion of sorts.
Though I agree with critics that don't think every movie should be re-purposed in 3D, as far as this one was concerned, it was a good call.
What a treat to have another excuse to see such a great production on the big screen.
~~~
The story tells of a fictional love between first-class Rose (Winslet) and poverty-stricken Jack (DiCaprio) who meet on the doomed real-life ship, the Titanic.
When I saw the film for the first time as a college student in 1997, and then repeatedly throughout 1998, I was drooling over DiCaprio and immersing myself in the history of the actual shipwreck. To me, every part of the movie was magical. The incredible detail of the sets and props; the uncanny resemblance between the actors and the real people they portrayed; the horror of the mammoth ship sinking. For a running time in excess of three hours, the pace went amazingly fast and not a moment was wasted on unnecessary scenes.
Today, as the 100th anniversary of the shipwreck nears, I found it just as effective.
Sure, it's fashionable to hate anything that is this successful—and even more so to trash 3D versions of older movies—but I could really care less about people with those 'opinions.' There is a reason Titanic is so successful, folks. And as for directors who know what they're doing when it comes to 3D, James Cameron is at the top of the list.
I liked seeing Leo and Kate dance a jig up-close; and loved seeing the ship practically jump into our laps as it drastically sunk, but I'm not saying the effects were overbearing. The 3D portion was done so masterfully, that for most of the movie, I forgot it was there. To me, the less trickery the better, so this was ideal.
It was also lovely to watch the young Leo and Kate shine in their leading roles, supported by the hilarious Kathy Bates and the sneering Billy Zane. It felt like going to a family reunion of sorts.
Though I agree with critics that don't think every movie should be re-purposed in 3D, as far as this one was concerned, it was a good call.
What a treat to have another excuse to see such a great production on the big screen.
~~~
Saturday, February 18, 2012
Pina 3D
Last night I saw Pina 3D, a documentary directed by Wim Wenders.
Years ago, while on vacation in Venice, Wim Wenders girlfriend dragged him kicking and screaming to a dance performance. Instead of falling asleep, or being bored to tears, Wenders claimed he "cried his eyes out," because the dancers presentation was so beautiful. Of course, he was watching a creation by Pina Bausch.
Soon he became friends with Bausch, a celebrated German choreographer known for her avant garde theatrics and absolute joy for dance. Then, a few decades later, he convinced her to let him tell her story on film.
Sadly, in the early stages of production, Pina suddenly died (presumably of cancer) at the age of 68. Devastated, her dancers and Wenders proceeded with caution (after contemplating abandonment of the project altogether).
What resulted is a beautiful tribute to an amazing woman who had the passion and talent to get to the core of emotion in each of her dancers.
We see how she encouraged the artists to move following their spirit rather than sticking to stringent technique (though their technique is consistently jaw-dropping). We witness how much their beloved choreographer meant to them in a series of interviews paced between explorations of their performances.
About five minutes into the film, we also forget that we're watching 3D and feel as if we're in front of the actual stage where the dancers are performing. It's such an innovative use of the technology, one can't help but wonder why more documentarians aren't employing the same methods (Wenders said in a recent Q&A that he feels "documentary is the future of 3D").
The dance sequences may be too "out there" for those not fond of dance to begin with, but the respect and love demonstrated by all of the dancers is far too endearing not to at least appreciate.
This film is definitely worthy of its Oscar nomination.
~~~
Years ago, while on vacation in Venice, Wim Wenders girlfriend dragged him kicking and screaming to a dance performance. Instead of falling asleep, or being bored to tears, Wenders claimed he "cried his eyes out," because the dancers presentation was so beautiful. Of course, he was watching a creation by Pina Bausch.
Soon he became friends with Bausch, a celebrated German choreographer known for her avant garde theatrics and absolute joy for dance. Then, a few decades later, he convinced her to let him tell her story on film.
Sadly, in the early stages of production, Pina suddenly died (presumably of cancer) at the age of 68. Devastated, her dancers and Wenders proceeded with caution (after contemplating abandonment of the project altogether).
What resulted is a beautiful tribute to an amazing woman who had the passion and talent to get to the core of emotion in each of her dancers.
We see how she encouraged the artists to move following their spirit rather than sticking to stringent technique (though their technique is consistently jaw-dropping). We witness how much their beloved choreographer meant to them in a series of interviews paced between explorations of their performances.
About five minutes into the film, we also forget that we're watching 3D and feel as if we're in front of the actual stage where the dancers are performing. It's such an innovative use of the technology, one can't help but wonder why more documentarians aren't employing the same methods (Wenders said in a recent Q&A that he feels "documentary is the future of 3D").
The dance sequences may be too "out there" for those not fond of dance to begin with, but the respect and love demonstrated by all of the dancers is far too endearing not to at least appreciate.
This film is definitely worthy of its Oscar nomination.
~~~
Saturday, January 21, 2012
Beauty and the Beast in 3D
Last night I saw the animated classic Beauty and the Beast in 3D.
I loved the film the first time I saw it, became addicted to its infectious soundtrack and even dressed as Belle for Halloween. Seldom does an animated film capture me so.
Belle is a village girl who loves books and her eccentric father, Maurice. Gaston is the macho man of the town who wants Belle to be his wife.
Maurice is a confused inventor who accidentally ends up in the castle of the Beast, a former prince under a nasty spell that can only be broken by finding true love.
The Beast, so bitter about his situation, takes Maurice as his prisoner until Belle finds him and offers herself in his place. The Beast allows the switch, hoping that Belle will learn to love him and break the spell.
His lively staff of servants (a teapot and her young son; a candlestick, etc.) hope for the best (they'd like to be turned back into humans too) and welcome Belle with open arms. In fact, one of the shining moments in the film is the song "Be Our Guest," where the kitchen comes to life with an impressive song and dance as they serve Belle her first dinner.
Anyhow, most know how the story turns out, but just in case there are any left who don't, I'll refrain from spoiling.
Just know that the magic and beauty of the original version of the film is only intensified by this 3D treatment, and the story remains charmingly timeless.
It's not hard to tell why it was a Best Picture Oscar nominee—as you're watching, you sometimes forget you're seeing animation.
It's that good.
~~~
I loved the film the first time I saw it, became addicted to its infectious soundtrack and even dressed as Belle for Halloween. Seldom does an animated film capture me so.
Belle is a village girl who loves books and her eccentric father, Maurice. Gaston is the macho man of the town who wants Belle to be his wife.
Maurice is a confused inventor who accidentally ends up in the castle of the Beast, a former prince under a nasty spell that can only be broken by finding true love.
The Beast, so bitter about his situation, takes Maurice as his prisoner until Belle finds him and offers herself in his place. The Beast allows the switch, hoping that Belle will learn to love him and break the spell.
His lively staff of servants (a teapot and her young son; a candlestick, etc.) hope for the best (they'd like to be turned back into humans too) and welcome Belle with open arms. In fact, one of the shining moments in the film is the song "Be Our Guest," where the kitchen comes to life with an impressive song and dance as they serve Belle her first dinner.
Anyhow, most know how the story turns out, but just in case there are any left who don't, I'll refrain from spoiling.
Just know that the magic and beauty of the original version of the film is only intensified by this 3D treatment, and the story remains charmingly timeless.
It's not hard to tell why it was a Best Picture Oscar nominee—as you're watching, you sometimes forget you're seeing animation.
It's that good.
~~~
Wednesday, March 17, 2010
Alice in Wonderland
Tonight I saw Alice in Wonderland, starring Mia Wasikowska and Johnny Depp.
I must confess: as a child I never liked the famed Lewis Carroll book. It simply creeped me out. I had a wild imagination of my own and the last place I wanted to take it was to a world with black holes and talking cats.
But tonight, my love for the creative fusion of Tim Burton and Johnny Depp won out over the unfavorable memories I had of the story, and I sat through the whole film. I'm so glad I did.
Mia Wasikowska is the very picture of a perfect Alice (except her hair was too curly, but I digress), and she's all grown up. In fact, she's just been proposed to by a boy she's not in love with and needs to escape the situation to take some time and think. She finds the perfect excuse to depart as she spots a rabbit in a waistcoat in her peripheral vision, then bolts away after it, only to fall down a big black hole.
Upon landing she's in a place she once called Wonderland (though she has no memory of ever visiting before) where she encounters all types of interesting characters: the Mad Hatter (Depp), Tweedledee and Tweedledum (Matt Lucas), the Cheshire Cat (Stephen Fry) and a pair of sister queens—one good and one bad.
The good one is the White Queen (Anne Hathaway) who lives in a white palace with white things surrounding her. She seems sweet if not a little bit spacey.
The bad one is the Red Queen (Helena Bonham Carter) who suffers from harboring a huge head and a horrible demeanor to go with it. "Off with his head" is a common phrase she screams, perhaps because she wishes she could rid herself of her own.
Anyway, somehow Alice gets caught up in the drama between sisters and has to slay the Jabberwocky to make everything right. She repeatedly insists that she doesn't slay and believes the whole ordeal is a dream from which she will soon wake, driving home the metaphorical theme of free will throughout the film.
And themes are big here.
In a deep conversation with the Mad Hatter, he asks her if he's bonkers and she replies that he is, but all great people are. It's a theatrical fist pump to all the crazy geniuses out there, and it was a nice—if not obvious—touch.
Also emphasized is female independence. From Alice confronting her sister with the fact she may not marry her suitor, to the queens leading their respective entourages into battle, this whole world is controlled by women.
I'm glad I got to spend time in Wonderland. This version is much less frightening than the one I created in my head as a child, and even the scariest of characters have comedic redemption.
Plus, watching Johnny Depp do a mean Futterwack is worth the price of admission.
~~~
I must confess: as a child I never liked the famed Lewis Carroll book. It simply creeped me out. I had a wild imagination of my own and the last place I wanted to take it was to a world with black holes and talking cats.
But tonight, my love for the creative fusion of Tim Burton and Johnny Depp won out over the unfavorable memories I had of the story, and I sat through the whole film. I'm so glad I did.
Mia Wasikowska is the very picture of a perfect Alice (except her hair was too curly, but I digress), and she's all grown up. In fact, she's just been proposed to by a boy she's not in love with and needs to escape the situation to take some time and think. She finds the perfect excuse to depart as she spots a rabbit in a waistcoat in her peripheral vision, then bolts away after it, only to fall down a big black hole.
Upon landing she's in a place she once called Wonderland (though she has no memory of ever visiting before) where she encounters all types of interesting characters: the Mad Hatter (Depp), Tweedledee and Tweedledum (Matt Lucas), the Cheshire Cat (Stephen Fry) and a pair of sister queens—one good and one bad.
The good one is the White Queen (Anne Hathaway) who lives in a white palace with white things surrounding her. She seems sweet if not a little bit spacey.
The bad one is the Red Queen (Helena Bonham Carter) who suffers from harboring a huge head and a horrible demeanor to go with it. "Off with his head" is a common phrase she screams, perhaps because she wishes she could rid herself of her own.
Anyway, somehow Alice gets caught up in the drama between sisters and has to slay the Jabberwocky to make everything right. She repeatedly insists that she doesn't slay and believes the whole ordeal is a dream from which she will soon wake, driving home the metaphorical theme of free will throughout the film.
And themes are big here.
In a deep conversation with the Mad Hatter, he asks her if he's bonkers and she replies that he is, but all great people are. It's a theatrical fist pump to all the crazy geniuses out there, and it was a nice—if not obvious—touch.
Also emphasized is female independence. From Alice confronting her sister with the fact she may not marry her suitor, to the queens leading their respective entourages into battle, this whole world is controlled by women.
I'm glad I got to spend time in Wonderland. This version is much less frightening than the one I created in my head as a child, and even the scariest of characters have comedic redemption.
Plus, watching Johnny Depp do a mean Futterwack is worth the price of admission.
~~~
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