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pirate1_power

Iscritto in data ago 2000
Ti diamo il benvenuto nel nuovo profilo
Stiamo apportando alcuni aggiornamenti e alcune funzionalità saranno temporaneamente non disponibili mentre miglioriamo la tua esperienza. Il versione precedente non sarà accessibile dopo il 14/07. Non perderti gli aggiornamenti futuri.

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Santa Claus Conquers the Martians

Santa Claus Conquers the Martians

2,8
8
  • 25 nov 2005
  • What to explore: How Santa continues to conquer the Martians (collectively)

    Un giorno... di prima mattina

    Un giorno... di prima mattina

    6,4
    8
  • 29 set 2005
  • Richard explores the Star!

    The story of the life and times of Broadway veteran Gertrude Lawrence was a unique odyssey in the realms of legitimate theater, and, by all accounts, it seems a unique bit of subject matter to devote an entire movie musical to telling her story. Yet director Robert Wise did exactly that when, re-teamed with producer Saul Chaplin and the one and only Julie Andrews in the lead role, the folks at Fox asked them to make the "totally magical musical entertainment called Star! Star! covers the period from Gertrude's childhood to her triumphant show-stopping run in "Lady in the Dark." Interspersed with the various episodes are stretches of newsreel footage (some of it in black-and-white) narrated by Peter Church. The idea, you see, is that Gertrude and producer Jerry Paul are screening one of Paul's "Screen Profiles" at 20th Century-Fox Studios; and Paul needs Gertrude's approval to release the footage that has been prepared, along with the Star! title song.

    The most telling aspect of Star! lies in the problem that not many audiences in 1968 were aware as to who this Gertrude Lawrence was. Sure, she wowed them on stage night after night on Broadway and in London, but most critics of the film found themselves asking why her story should be told as a movie. A further problem that plagued Star! was the fact that the genre of the movie musical was dying a slow death; the big-budget, movie musical extravaganzas were now being considered by the newer, younger studio executives as little more than "loss leaders," and Fox, in the midst of a re-emergence after the horror that was the Burton-Taylor Cleopatra, was just bouncing back. That Star! proved to be an out-and-out failure is not at issue; the REAL question is: Was Gertrude Lawrence a popular actress; and, if so, what was the justification in terms of bringing her story to the big screen? Even after having seen Star! in its widescreen version, I have to say that it is probably one of the underrated musical landmarks of its day. The bottom line is simply that here was a film made at the wrong moment, involving the wrong subject matter, and yet possessing the right kind of magic essential to a movie musical of its period. In light of the recent death of Donald Brooks, the film's costume designer, one would go so far as to suggest looking deeper into how he went about crafting his designs for Star! The distinctive style and force of Brooks' costumes represent a wonder and fabric we will likely never see again..... and all because the film for which these costumes were crafted did not prove successful.

    In the end, it is not the songs, or the costumes, or the story, that allow us to re-examine Robert Wise's Star! Rather, it is the gist of the film's plot overall: that here was a woman who took risks to rise to the top of the heap as an actress and performer, continuing a tradition as eternal and unblinking as the eye of a hand-held motion picture camera.
    Willy Wonka e la fabbrica di cioccolato

    Willy Wonka e la fabbrica di cioccolato

    7,8
    7
  • 6 lug 2005
  • Exploring the Chocolate Factory

    With the release of Tim Burton's Charlie and the Chocolate Factory looming upon us, I think it's time we explored the original one more time.

    One commentator whose review of this film was totally hostile got a lot of the elements of the production's backstory utterly incorrect. Thank goodness that Mel Stuart, the film's director, set everyone straight with his recently published book, "Pure Imagination: The Making of 'Willy Wonka and the Chocolate Factory'." According to Mel, his then 12-year-old daughter, who had read the Roald Dahl book, was the person who first suggested the idea for the film, and that her father take the idea to his then boss, producer/presenter David L. Wolper. After Mel did exactly that, Wolper in turn took the idea to executives at the Quaker Oats Company.

    "Quaker Oats? That's not a studio, that's a food company," Mel told Dave. But that, oddly, was exactly why Quaker wanted to get into the movies to begin with: to promote a candy bar to be made by its then confectionery division. The irony: even when the Wonka movie was completed, Quaker never got around to manufacturing its proposed candy bar, let alone promoting it.

    Yes, the film was released in its original theatrical run by Pararmount, but the initial deal called for that studio to hold onto the U.S. distribution rights for seven years, at the end of which time said rights would revert back to Wolper Pictures, Limited and the Quaker Oats Company, who, after all, were the joint copyright holders of the film. Paramount was anxious to relieve itself of that 7-year deal anyway, and was therefore not willing to renew the terms of the deal. In 1977, David L. Wolper sold his namesake Organization to Warner Bros., at which point he then joined WB's Board of Directors, ultimately selling to Warners his own and Quaker Oats' 50% shares in the Wonka movie.

    The Stuart book explores the terms of the deal in greater detail than can be shared here; suffice to say, the incident shows us just how unwilling we sometimes are to get all the behind-the-scenes facts straight. It seems to me, friends, that Willy Wonka and the Chocolate Factory in its 1971 version was a film reeking of sweetness and magic, yet created specifically as an infomercial for a candy bar that in the end was neither manufactured, marketed or distributed. Today, any movie with a candy bar as its centerpiece would not be burdened with such problems; movie dealmaking today is more covering every base than skipping certain loopholes.

    Besides, I think the Burton remake represents a perfect opportunity to celebrate and re-examine the Wonka legacy. Oompaloompa.com, anyone?
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