Author: Cinemasitter
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Back to the Planet of the Apes
As a follow up to my review of the film, here are a few more personal thoughts about Rise of the Planet of the Apes and the series that inspired it.
Like many a nerd, I grew up a big fan of the Planet of the Apes movies. I was far too young to catch either the TV series or the comics, but after my dad introduced me to the original film I was pretty much hooked. There is of course the infamous ending; a brilliant Twilight Zone-esque twist which gives new meaning to everything that has gone before. There are the layers of allegory within a razor-sharp script; the great action sequences; the superb make-up, costumes, photography and sets; and the iconic performances of Charlton Heston, Roddy McDowall et al. It is, in a word, a classic.The sequels couldn’t quite match their illustrious predecessor, but most of them do at least offer a new angle on the same concept, pushing the story forward in intriguingly daring directions. The apocalyptic nihilism of Beneath, the satire and romantic tragedy of Escape, and the social upheaval of Conquest all brought something new to the table; only Battle, with its minuscule budget and compromised script, failed to say much of interest (though it does boast an ambiguous ending).Perhaps it’s no coincidence that the first three sequels shared the same screenwriter, Paul Dehn; he also worked on the final film, but his original draft was rejected for being too dark and it ended up being rewritten for the family market. It would have been fascinating to see how it might have turned out as originally conceived. Even so, the fact that the sequels aren’t simply dull retreads of the original story has given the POTA franchise a quality and longevity that is quite unusual for the period.Since the late 80s a new Apes project was in development at Fox. It would have been amazing if, as was rumoured, it emerged as a genuine sequel, one that would fit in with the original series’ timeline. Alas, in 2001 we ended up with Tim Burton’s version of the saga: not without interest but a disappointment nonetheless, hamstrung by a wooden lead performance from Mark Wahlberg.Now, ten years later, Rise of the Planet of the Apes honours the heritage of its forebears far better than Burton’s misfire by refusing to be satisfied with mimicking past glories; instead it views the familiar scenario with fresh eyes. Some fans may quibble it doesn’t fit in with the existing series, but then why should it? It’s been too long to hope that a real sequel might one day come along. And what worked for one generation doesn’t necessarily work for another. The filmmakers have delivered a prequel that cherishes the ideas behind the original films, and comes up with one or two new ones of their own. It might look and sound different on the surface, but I for one am glad that the apes have taken over the planet once more. -
The Tree of Life (2011)
It's been a while since I last came out of the cinema on a high. You know that feeling: buzzing with excitement, genuinely thrilled with the experience that a film has given you – one that seems to speak to you personally. It rarely happens, but it did for me coming out of The Tree of Life, Terrence Malick's latest.
It took me a little by surprise. Going in, I was hopeful I would like it. Terrence Malick is not a filmmaker I have especially loved in the past, though I did enjoy his last film, The New World. What intrigued me most reading about it in advance was Malick's intention to explore the origins of the universe, and the involvement of Douglas Trumbull in the special effects sequences (striking a chord with my genuine love of Kubrick's 2001: A Space Odyssey). Here perhaps was a film that could genuinely lay claim to joining the ranks of the other great science-fiction films Trumbull had contributed to, like Close Encounters, Blade Runner, Silent Running, and of course 2001.The Tree of Life ultimately isn't one of those films; it's so much more. Crammed with thoughts and ideas about the nature of existence and the "meaning" of life (and indeed whether there is any), Malick's visual poem is a wonder to behold. Beautiful to both look at and listen to, it's a genuine work of art, whether earthbound with Brad Pitt's family in 1950s Texas or leaping back to witness the origins of life, the universe and everything. The space sequences are quite simply breathtaking. But no less powerful are the emotions running through Pitt's family following the death of a child, and the struggle for understanding and resolution.That's not to say it's flawless: it certainly drags a little in places, particularly towards the end (though I disagree with the common view that the dinosaur sequence is a mis-step; on the contrary, it is a necessary counterpoint to the view that humanity is the beginning and end of all life). But it's easy to forgive the flaws when the ambition and success of the whole is so dazzling. Maybe it's just taken me a while to tune in to his sensibilities, but the genius of Malick certainly revealed itself to me this time. -
Biggest is Best
I recently managed to catch the newly remastered Apocalypse Now at the cinema this past weekend. As a jaw-dropping slice of pure cinema it’s pretty hard to beat, and to me re-enforced just how much a film can benefit from the sheer scale that the big screen offers. It’s not just a question of technology; obviously the darkened theatre, larger canvass and superior sound equipment (hopefully) allow for a more powerful and enveloping experience. But the very fact that you are not in control of the projection is also, I think, a major factor.
Not having your TV or dvd remote control to hand, allowing you to pause when and for how long you like, forces you to concentrate on the film that much harder. Not being in control – to cede your authority – is an act of submission, a sacrifice at the high altar of cinema, and in return you are permitted to enter the world of the film that much more.
Of course, you could just bury your remote control in the garden to achieve much the same effect, but it’s not nearly as much fun.
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Review: Bridesmaids
And here’s my review of the latest Judd Apatow-produced comedy:
http://cinema.thedigitalfix.com/content/id/74018/bridesmaids.html
