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The Wicker Man - Comparing 1973 to 2006

September 28th 2008 06:11
Today I found myself in an unusual set of circumstances, being able to watch a cult classic movie and then its modern remark in the same day. Perhaps I did a disservice to one or the other, but I doubt it. Even though much of the dialog was intact, as well as some aspects of the basic plot, the Wicker Man from 1973 is above and beyond the remake from 2006. In fact, so similar is much of the dialog that when a line from the original is used in this remake, I winced in pain, as the previous scene was that much better and the new was that much worse.

It is odd, because when you look at the two films on the surface they should be equals, as they both had solid casts, named stars, and the dialog and content of the film is riviting. A law enforcement officer comes to a remote, isolated island to answer a written summons about a missing girl and upon arriving everyone denies that she even exists. It is a powerful, classic concept that is at the heart of the gaslight plot-type. However, the 2006 version not only fails to deliver, it is bumbling (sorry for the pun) in its attempt.


The Wicker Man, in both renditions, is an occult thriller and horror movie where an outside is exposed to a culture that he does not know, understand, or is even aware existed and its unusual and mysterious pagan views. In the 1973 version it is obvious that we are working with concepts of folk beliefs and druidic concepts common to the time period, while the 2006 film hinted heavily toward the similiar Wiccan faith, including a mention of Salem, Mass.. Where the 1973 film did an amazing job with dialog, acting, music, research, and setting, the 2006 film seemed to just give a passing attempt at a movie that was ill fitting for Nicholas Cage.

In fact, I would almost say that the 2006 version was handled by a mysoginist who had an issue with what they saw as a feminine religion, Wicca. Even though you had normally strong female actors, their characters were poorly written and executed, which is sad given their talent and the source material. Even with the potential of Nicholas Cage, whom we have seen play serious rolls, the movie fell flat with a quirky, out of touch hero. At times when he should have appeared strong, he came across as weak, when he should have been funny or witty he was out of place and cruel.


Then you have the female antagonists, all of whom were paper thin man-hating shrews, borderline lesbian stereotypes, that seemed only capable of judgmental snark that was almost disrespectful of the 1973 movie's wit. Scene for scene, line for line, and plot for plot the movie was close, but not the same, as the original picture and while that is to be expected of a remake, or reimaging, it utterly failed each and everytime.

Where the 1973 film had it on for occult research, well executed wit, suspense, thrills, and even horror, the 2006 version was lopsided and with bad timing. Even Nicholas Cage's sock to the jaw of the gruff, female inn keeper seemed out of place and unneeded. The subplot of the males of the island being simpilton drones from a bee hive was also lost, what little development scenes that were had seemed to be tossed in, in case the viewer was not smart enough to get it.

All in all, the 1973 version of the Wicker Man is something that any fan of occult horror and thriller movies should see, it is, as some call it, the Citizen Kane of the genre. It is an excellent acted picture, at all levels, and if all you knee about it was that Christopher Lee and Britt Erkland were in it, that would be enough. But, the 2006 remake is poorly executed, with hollow acting, falling flat in the suspense and, even though I saw it for free, I want my money back.
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Thoughts on Curse of the Golden Flower

September 25th 2008 23:50
Now, I'll admit, I'm a sucker for Chinese culture as viewed through their own epic pictures and they're what turned me on to watch most movies with the subtitles on. But, for me, I pay less and less attention to the subtitles and more attention to the body language and emotion of the actors. Perhaps it is the acting style of Chinese actors, or the particular roles require it, but you see a level of acting that is very good, yet rarely seen in western motion pictures.

They evoke feeling in the viewer on such a deeper level, which can make their works so much more than the equivalent work in the west, save for having an unusual quality ensemble. But, let me get more specific to Curse of the Golden Flower.

Talk about a film full of tragic love, from all directions and in all types, Curse of the Golden Flower is right up there with Macbeth in levels of messed up. There is sexual love, fraternal love, parental love, taboo love, romantic love, and lust, not to mention a ton of anger, betrayal, hatred and violence. Plus, the underlying message of control and manipulation are just, well, harsh.

Even if it did not fit the period that it may have been set in, the sets and costumes were stunning, lavish, and titillating, too. I’d be lying if I said that the movie did not have a baser affect on my lesser virtues, in fact it made me lustful of quite a few Chinese actresses. But, so was the nature of part of the movie.

The martial arts of the film was stunning, with the Wire Fu (wired stunts) adding to the feel of the movie, but it was the end that just hits you hard and straight in the face. Through the whole movie you are getting idea of the nature of the father, of his control issues, but it is not until the very end that you realize that he is as crazy as his wife, either of them. It was as if he planned the whole thing to remove various people from his life, his planned pathes for them, and his wishes. However, you do not see it,fully, until that final scene.

Where is that kind of intelligent, harsh, and gritty writing in American movies? Why is it that only our action movies have action and our dramas have drama? Not all the time, as some slip through, but I think we are as deserving and as intelligent when it comes to having a movie with awesome writing, awesome stunts, and awesome fights, don't you?
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Rock Musicals

September 19th 2008 20:40
So, I was watching Tenacious D in the Pick of Destiny when it hit me; rock musicals, especially ones leaning toward the metal/hard rock spectrum, are just fun to listen to. While it wasn't the Rocky Horror Picture show, Tenacious D in the Pick of Destiny had a solid flow to it, some entertaining tunes, and an okay plot, regardless of the fact that it didn't make a ton of money.

While I can get that the studio system of making movies really prefers to make a huge profit, in addition to earning their investment back, should that be the only reason a movie gets made? Also, how is it that they only count the theatre profits, but rarely mention the DVD profits? I'm fairly sure, between video, Pay-per-View, movie channel licenses, and other avenues of profit, that most movies make their money back. Look at all the flops in existence, then compare it to how often a studio goes down, and I’m fairly sure there is an inequality.

This brings us back to a cult hit, which is when a movie tanks in the box office, yet people watching it in large groups and turn the viewing into an experience, such as theatre viewings of the Rocky Horror Picture Show and all the interactions, stunts, and so forth. There are tons of movies that people just love that, while not the most intellectual of fare, is just a good time to be had.

I think Tenacious D is well on the way to that, as people enjoy the heck out of those two tubby guys rocking their hearts out. Sure, they’re not the bare chest muscle-bound hair god that we’re use to when we see metal bands on stage, yet they’re rocking, which is the point, too.

If we follow the thought of the studios, no one should ever make a cult movie and they should be dissuaded, but we want them, too.

Right?


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The Occult Trope in Films

September 15th 2008 21:32
When all else fails, satanists make for good antagonists, even in a secular world. How often have we seen the occult practices of black robed chanters bring about the bane to our hero or heroines existence? Be it through demonic hounds, unusual children, mysterious figures in the woods, or other common place visuals, the occult is heavily used, for good or bad, in movies.

We have a fundamental desire to know whether or not there is something, anything, after life as we know it, and it plays out in movies and television all the time. Look at the Discovery and History Channels, both have shows devoted to the occult, preternatural, and supernatural on a daily basis, be they about hauntings, Satanism, Demonology, and other such topics


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Sequels walk a fine line between the continuation of a story, where we the viewer see more of the highs and lows of characters' lives, and profit for the studios who put the movies out, thus funding more movies and, potentially, more sequels. In an era where we see sequels to movies that need them, as well as movies that do not, it is something that we are more accustom to than any previous generation.

When the story of the 4077th went from the big screen to the small screen, more than just language and topic changed, but the potential usage of material on the big screen. Thought of what to do with a property beyond the initial release grew, including planning for sequels, both before a product was made and after


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Why are comic book adaptations so popular?

September 11th 2008 05:07
Why comic book adaptations are so popular is a rather easy question to answer, I think, which is most likely why I am positing it. When we look back through the various eras of film, so as to see what was popular in previous decades and why, it becomes an even easier question to answer.

Popular films are always about people we would like to be, or be like, because they contain elements and traits that we aspire to and do things that we would like to do. It is the heroic that we aspire to be, aspire to see upon the big screen, and their struggles are important to us and inspiring. Their actions, their stumbles, their victories and defeats are the things of legend, a fact that plays out in the hows and whys of movies from previous decades


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Once a staple exclusive to slasher and monster horror films, the potential defeat arise from a supposed victory has become more common in our twist rich environment. What was once a unique way to end a movie, the twist, has become more and more cliché.

How often has a movie had the hero or heroine survive extreme odds, insurmountable foes, only to have the audience see a chance for the evil to continue? Or, with a mounting foreboding, does the protagonist realize that this might not be the end


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Hope in Film

September 7th 2008 23:05
Although movies are there for our entertainment, they can be so much more influential than that because of the messages that surround the plot. One such message is hope, be it as a subplot or the core ideal of a movie, and it is a truly powerful aspect of film.

Be it an action movie or a romance, a drama or a comedy, watching someone come from a loss of hope to embracing it can be a powerful and inspiring thing. Look at Star Wars, Episode IV, A New Hope; within this science fiction story of a young man finding adventure in a galaxy far, far away is the kernel of hope in overcoming a powerful foe. We all know the story of the winsome young, the spunky princess, the gruff smuggler, and their allies fighting galactic fascism, however it is the key aspect of hope that pulls it all together. Hope in the beacons of justice from the past, the Jedi. Hope in the hard gained information toward a tactical edge against an insurmountable device. Hope in friends, new and old. Lastly, more importantly, the hope of their being a future of their liking


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Welcome to the Emerson View

September 7th 2008 22:07
Greetings, Folks,

I'd like to welcome you to The Emerson View, a blog where I'll talk about movies past, present, and future, my thoughts on their impact, and my own view on what was, or wasn't, good about them


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It's one of the mysteries of the universe for me. I can't work it out. Something funny happens to you and you remember it vividly because it is one of the highlights of your life so far but as soon as you go and try and tell it to someone they come out with "i guess you had to be there".
It never fails. The response is always the same, regardless of the material. I could maybe understand it if you try and recount something funny that happens during one of your drunken adventures but I'm talking about things that happen 6 minutes previously, someone late comes up and joins the group, you've all just stopped laughing about it, they say: "What's funny?" and you give them a play-by-play perfect recollection but it's still not funny. And I'm talking about things that are HILARIOUS on the first time, not just so-so incidents.
I guess it is just a particular frustration for me because I want to be a comedy writer and at the start you kind of think, oh yeah I'll just rewrite funny stuff that's happened to me over the years and you put it on paper and it just sits there, lifelessly. Then you realise you have to reconsider your whole career plan and that you've just lost 98% of your joke material and it has to be replaced with sight gags. 25 mins of men in wigs or getting hit in the groin accidentally. It's just not fair- Comedy should be timeless.
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