#but the whole wedding scene is peak cinema | Explore Tumblr Posts and Blogs

firelxdykatara · 3 years

Note

hello!! i just wanted to ask- i wanna do an ouat rewatch bc CAPTAIN SWANN but its pretty long and i honestly dont care for the other characters/how badly the overall writing was handled.. which are your favourite captain swan eps? anything them centered and i think ill just skip around to rewatch their romance as they did invent romance 😭😭 ty in advance <3

they absolutely did invent romance, you are right about that and i love them so much

UHMMMM as far as my favorite CS eps, here’s a roadmap of what I personally consider key eps in their journey (some of this is from memory but I haven’t done a full rewatch in a while so i’m going through the episode list as a refresher)

2x06: Tallahassee--this is a must-watch ep for any CS fan, and I really think this is the episode that sparked the fire that CS would become as a fandom. It has everything--flirtatious banter, all kinds of tension, deliberate parallels drawn between Emma and Killian’s pasts, as well as their first meeting being intercut with her relationship with Neal (which serves, especially in hindsight, to highlight just how sketchy that relationship was, and why she couldn’t bring herself to trust Killian--because the last time she felt this way about anyone, it ended horribly)

2x08 and 2x09: Into the Deep and Queen of Hearts--these episodes cover the race to the portal between Emma&co and Hook/Cora and while they don’t do a ton for CS as a relationship since they’re still enemies at this point, it lays great foundation for their future relationship development. Plus, sexy swordfight, Hook going out of his way to save Aurora’s heart--he may be a pirate, but he has standards ok--and Emma realizing Cora can’t remove her heart without her permission? Poetic Cinema

2x11: The Outsider--more of a Killian-centric episode, it shows a lot of Killian at his worst but it’s necessary for his overall character arc and I genuinely love looking back and seeing just how far he managed to come, to the point of eventually even letting go of his (very understandable) grudge against Rumplestiltskin.

2x12: In the Name of the Brother--am I including this purely for Emma&Hook banter in the hospital, and Killian saying ‘hey beautiful’ when he’s lying on the road because he just got hit by a fucking car? You bet I am. Also, go to youtube and look up ‘ouat season two deleted scene jello’, because it’s beautiful and there was a tremendous outcry in the fandom when we realized it had been cut from the episode lmao (It’s also the episode that made me start shipping Frankenwolf, which I’m still sad never went anywhere, but they had a lot of potential and great chemistry.)

2x22: And Straight On Till Morning--A few of the episodes in between have some fun minor interactions and flashbacks (and I always approve of episodes where Killian gets one up on Rumple, so 2x15 is fun for me if i ignore all the Neal bits) but the finale is where we finally get a glimpse of who Killian could be beyond his need for revenge. He didn’t have to come back, he didn’t have to bring back the bean and help the town--but he did.

Season 3a: there’s a lot of really good stuff here for Hook and Emma that is interwoven between the A plots of other episodes. I think, as far as half-season arcs go, it’s one of the best (and everything after 4a bombed hard, but I digress) But there are a few episodes that stand out if you don’t want to watch the whole season. (I recommend starting with the premier though, it was a really solid season starter overall.)

3x05: Good Form--this is the culmination of David’s poisoned-by-dreamshade arc, and is also Peak Captain Charming Bromance. Hook not only keeping David’s secret, but doing everything he can to help save him??? Poetic cinema. It also provides some crucial Killian backstory, showing how he lost his brother to the very same dreamshade. Plus, the character development--Pan offers Killian a chance to escape the island with Emma if he kills David, and instead, he saves him, refusing the deal and damn the consequences. Also also? The first CS kiss which drove the fandom WILD.

3X06: Ariel--not only to I love OUaT’s take on Ariel, but this episode has the infamous Echo Cave scene, which involves a lot of feelsy confessions and Killian being the one to tell everyone that Neal is alive and helping Emma save him despite his own growing feelings for her.....IT’S JUST A LOT AND I LOVE IT.

3x07: Dark Hallow--oh man, I’d forgotten about this episode, but it has Killian and Neal fighting over Emma, which may sound eye-roll worthy, but Emma is allowed to tear them a new one about it and it’s one of the few times she’s allowed to actually???? put her own feelings first so I have to include it here on spec

3x11 and 3x12: Going Home and New York City Serenade--these mark the end of 3a and start of 3b respectively, and it has some amazing shit like Killian vowing never to forget Emma and Emma smiling as she replies, “Good.” And then she and Henry are in New York with their memories completely altered, but Killian shows up because Storybrooke is back and in jeopardy, and he helps Emma get back to her family and her home and, much later, Emma finds out he sold the Jolly Roger to be able to do it and it’s just. It’s beautiful ok.

3x17: The Jolly Roger--there’s honestly not a whole lot in the back half of season 3 (until the CS movie) but of course anything named for Hook is a must-watch, and this is where we get the iconic line I swear on Emma Swan--which is Killian saying he’s in love with her before he even realizes it. We also find out just what he did to Ariel, and his attempts to make amends are what lead to Zelena being able to curse him, so it’s great from a character perspective as well.

The next four episodes round out the end of the season, and there’s a lot of great stuff in them--Hook refusing to get Emma to kiss him, but Emma feeling like she can’t trust him because he didn’t tell her about the curse to begin with, and then kissing him anyway to save his life regardless of the consequences.... but the only ones that are absolutely necessary are the final two episodes.

They are colloquially termed ‘The Captain Swan Movie’ for a reason, after all.

Killian and Emma essentially have an entire Time Travel adventure all to themselves, where they accidentally ruin her parents first meeting and have to fix it so that she’ll even be born, Emma finally getting into the storybook, the pair of them dancing at a ball, Killian rushing to save Emma only for her to get out of the cell herself, because “The only one who saves me is me.” Killian saying “I would go to the ends of the world for her... or time.” Finally fixing the timeline and making it back to Storybrooke and Killian feeling like he doesn’t deserve a place at the table so he doesn’t go inside, but Emma comes out to him anyway and finds out he gave up the Jolly Roger for her, the true start to their relationship...... IM CRYING JUST THINKING ABOUT IT I’M SORRY.

I personally really enjoyed 4a, the Frozen arc was one of the last good half-season arcs of the show, but a lot of people disliked it so it’s really up to interpretation. I don’t have as many Intense Opinions on this season (except hating almost everything about 4b and the queens of darkness arc), but I will say the episodes with good Killian/CS moments are 4x02 (Emma nearly freezes to death, Killian is desperate to save her, Captain Charming teamwork, my heart hurts), 4x04 (Emma asks Killian out on a real date, he tries to get his real hand back from Gold, things go massively awry and he winds up back under Gold’s thumb), 4x08 (Killian tries to save Emma from Gold’s plans), 4x11 (the 4a finale is just great in general), and then..... it cannot be overstated how much I hate season 4b, but 4x15 is the Killian-centric ep where his past with Ursula is revealed and he makes amends to her in order to get her to leave the QoD alliance and it’s great character stuff for him, and then there’s the season 4 finale.

Both parts are worth watching, if only because Deckhand Coward Hook still being a braver, more heroic man than ‘Hero Rumplestiltskin’ warms the very cockles of my heart, and of course the second part of the finale has him helping Henry to save Emma and it’s beautiful and also Emma watches him die for her and it is angsty as FUCK but gods I love it. Here’s where it gets tricky, though--my recommendation is, turn the episode off right after Emma finds Killian back in the present day of Storybrooke and they reunite.

Just turn off the episode there and skip right ahead to the s6 musical episode (Emma and Killian’s wedding ep) and pretend they got married and none of seasons 5 or 6 ever happened. >.> (Although I will say certain parts of the Underworld arc were incredibly feelsy despite how much I overall hated the season: 5x11 (the 5a finale, Killian as the dark one STILL being a better man than rumple, we love to see it), 5x15 (I am not immune to Brothers Jones feelings ok), 5x20 (emma literally takes a True Love Test trying to find a way to save killian, you don’t get more romantic than that--also Killian telling Emma to promise she won’t put her armor back up just because she lost him again??? my HEART), 5x21 (Hook does what he can from the Underworld anyway and zeus sends him back to Emma, they really just said ‘today I will invent romance’ and then Did That)

And then, yeah, just skip to the wedding. It’s beautiful, I enjoyed the music, personally, though I know musical episodes are hit or miss with most people. And if you turn it off when the last musical number starts (after the wedding ceremony, I believe) you can pretend it was the end of the show! =DDD

.....Oh my god I just rambled for years. I HOPE YOU FIND THIS USEFUL, ANON. I 100% support a CS-centered rewatch, their episodes were consistently some of the best across the entire series, and they are truly one of my favorite romances of all time.

#ouat #captain swan #captain swan episode rec #asked #long post #Anonymous

44 notes · View notes

julie1706 · 4 years

Text

Julie’s incredibly aesthetic incredibly autumny list of movies that she maybe recommends (part 2)

Oh sweet joy! It turns out that there are many more great, fantastic, cosy movies (and tv-series!) just absolutely perfect for autumn. By popular demand, I return with even MORE autumny recommendations, and this time, there might even be spell-checking. (Looking at you, “Silence of the Lamps”) (I won’t edit that, because that’s just funny.)

Thank you for reading the previous one, and I hope you’ll enjoy this one too! We have some GREAT ones coming up. I hope! Maybe! But what I believe will really perfect this second list, is the fact, that autumn is close to being at its peak right now, with it being October! Woohoo!

Pumpkins, Jack’o’lanterns, spooky movies, Halloween, tricks and treats, fog, rain, candles lit in the dark, delicious tea, and scarves, because the chill is back in the air! Amazing! The aesthetics are to die for!

I’m on a small break from university, and have actually been having some allowed free time, to do autumny stuff. By this I mean I can do autumny stuff with my family and friends, and not feel guilty, because this time I’m not procrastinating. Well, I’m a little behind on some books, but it’s not that bad. You’re allowed free time on breaks! They’re supposed to be mostly free time, anyone knows that. I refuse to be a good student on breaks!

This free time means that I have actually had time to watch some of these movies and tv-shows myself, and so I can feel a little better about recommending most of them, since I’ve actually seen them. Hehe. Still. I do have other, boring stuff to do, like reading for uni, emptying the dishwasher, cooking, vacuuming, etc., so there will be some of these I’m including, I have not watched, and those will be, again, backed by the power of optimism. Yay! Anyway! You’ve read enough not-halloween recommendationing, and is getting bored - Let’s get to it! (Also, these are still in random order, and I will put warnings at the end, again <3)

Coraline

I remember watching Coraline when it came out in theaters, years ago. I also remember that we had a little closet-thing in the wall, small and closed-up, but still very similar to the one she goes into, in the movie. Needless to say, this was not a favorite for little Julie, who was absolutely scared shit-less by this movie. I remember button-eyes, decaying puppets, and a very scary mom. Now, I have not watched the full movie since, but from bits and pieces through the years, I can wholeheartedly recommend this one. It’s stop-motion, the details are incredible, and wow, this movie is great. If you, like me, are no longer 9 years old, watch it! It’s wonderful, and surprisingly, very feel-good in the family aspect. A great movie!

Official synopsis:

An adventurous 11-year-old girl finds another world that is a strangely idealized version of her frustrating home, but it has sinister secrets.

//Warning: do not watch this, if you are around nine years old. It will absolutely traumatize you about small closets in old houses. If you are not nine years old, I think you’re good! Just the right amount of spookyness, I believe!

Sense and Sensibility

I watched this with a good friend in february, I think. So I’m not sure why I think this has to go on an autumny list, but I stand by it! Maybe it’s the beige and brown, beautiful clothing, the many shots of nature, and the relationships between these characters, that fits very well with the cold and chilling air, we find ourselves in, here in lovely October. I don’t know. Food for thought. But this is a great movie, and I really think you should try watching it under a blanket, with tea and a good friend. We didn’t know the story before we saw it, and it had us guessing! And there is a part my other friend Sif told me, always makes her dad cry, and I think that should be taken as a compliment to this movie! It’s great! Love, sisters, crisis and period drama (and great clothes), this movie has it all! (also - Emma Thompson!)

Official synopsis:

Rich Mr. Dashwood dies, leaving his second wife and her three daughters poor by the rules of inheritance. The two eldest daughters are the title opposites.

//Warning: It might make you cry. But I promise, it will be a good experience, in the end. It’s not scary, though.

Over the Garden Wall (animated series)

Well, this one, I’ve been dreading to add to my list. Now, you must not misunderstand, it’s not because I don’t like it. It’s because this series is so great, so weird, so beautifully drawn and made, that I’m afraid I could write a whole blog post dedicated only to Otgw, and still not feel that I have done it justice. It's just so good. It’s like the someone just decided one day, to make a series, that absolutely, perfectly encompasses autumn and halloween, and then did just that. The storyline is good, the art is good, the soundtrack is good. God, the soundtrack. I’ve also made sure to listen to this show’s soundtrack, since we left summer behind, and it’s just so good. There’s a reason tumblr went wild, when this show was first released. But since this is an AUTUMNY list, let me focus on those aspects. Big dark woods, scary noises in the dark, red and golden leaves, fantastical beings - this show has it all, and trust me, it WILL get you in the mood for autumn. I almost started puking leaves and pumpkins when I watched this with my friends, that’s how pumped it got me. This show has a special place in my heart, and if you promise not to tell all the other movies and shows on the list, I’ll admit something: this might be a favorite of mine. Maybe THE autumny favorite.

Official synopsis:

Two brothers find themselves lost in a mysterious land and try to find their way home.

Warning: May be a little spooky, but I have it on good authority from a friend that is a true scaredy-cat, with nerves of whipped cream, that’s it’s fine. She could handle it, watches it every year, and she’s fine. Good levels of scary.

Corpse Bride

Believe it or not, that same scaredy-cat of a friend, I just mentioned, actually instructed a musical, based on this story. Is she a horror-fan or not? I have no idea, but her show was so well-done, that it actually made me like this movie a bit better. I have seen it before, but she convinced me, by telling me the original story behind this movie, that it’s pretty great. And by association, this movie became pretty great, too. It’s been some years since I saw this, but it’s a pretty good halloween movie, I think. Dead people tormenting the living. Classic autumn stuff, I would say. And it’s pretty well-made, I think, stop-motion again! I like the aesthetic of a corpse bride, though you have to admit the actual thing is pretty sad. The premise is haunting and scary, but it’s more morose, melancholic and depressing, I think. Poor Emily. But a good movie! Sorry, maybe that wasn’t a very enticing description, but I promise, it will do you more good than bad, to watch it. And then go google the original story, the movie is based on!

Official synopsis:

When a shy groom practices his wedding vows in the inadvertent presence of a deceased young woman, she rises from the grave assuming he has married her.

//Oops, nearly forgot a warning! Warning: some people are dead, and therefore rotting a bit. If you’re squeamish, don’t watch. If you love sad love stories, definitely watch!

Harry Potter and the Sorcerer’s Stone

Yeah, I’m not sure why this has to go on my Autumny List either, sorry. It just has to. I know it takes place over an entire year, but in my head, it jut fits very well with the whole magic, supernatural, foggy halloween times we find ourselves in. I mean, look at the cover! Maybe it’s the iconic scene, right before the troll is discovered in the girls’ bathroom (sorry, spoiler), with the floating jack’o’lanterns, and tables almost crashing undet the weight of candy and cakes, that convinced my brain, that this is a halloween movie. I don’t know. Just trust me on this, and watch the first Harry Potter movie. It’s pretty good.

Official synopsis:

An orphaned boy enrolls in a school of wizardry, where he learns the truth about himself, his family and the terrible evil that haunts the magical world.

//Warning: Nah, you’re good ;-)

Little Women (Important: 2019 edition)

Alright girls, we’re hopping genres again! This is another period-drama (sort of), about sisters, and wow, I cried to this. I bawled, I sobbed, I choked on snot, and was a little inconsolable, when I watched it with friends, at the cinema. One of the best experiences this year, and one of the greatest movies I have watched in a long time. I love everything about this movie: the family-bonds, the clothing, the many nature-shots, the developments of characters, (almost) all the characters, and just, wow. No good way to end that sentence, because I want to just keep describing all the good parts of this movie, because it's everything. It’s amazing, and yes, i’m exaggerating, but I can’t help it. I forgot to eat my popcorn or drink my water, when we watched this, that’s how mesmerized I was by this movie. I love Jo, I think I can empathize a lot with her, and if I could talk to her, if she was real, I would thank her for telling her story. This movie is great, you should watch it, because it makes you feel so warm inside.

Official synopsis:

Jo March reflects back and forth on her life, telling the beloved story of the March sisters - four young women, each determined to live life on her own terms.

//Warning: Might make you break down crying. But in a good way. Very cathartic, actually.

Alien

I watched this for the first time last year, when I decided I was going to watch the classic older horror movies, and not freak the fuck out. I mostly succeed. And this movie was a joy to watch. That’s maybe weird to say about an alien horror movie, but wow I just love Sigourney Weaver, and the aesthetics of this movie. The story is thrilling, and I really did not like most of the characters, I thought they were hysteric and annoying, but I still rooted for them. It’s a different kind of horror movie, that’s for sure! But when I watched it, I totally understood why it has become such a classic.

Official synopsis:

After a space merchant vessel receives an unknown transmission as a distress call, one of the crew is attacked by a mysterious life form and they soon realize that its life cycle has merely begun.

//Warning: Uh, yeah, Sif, this is not one for you. It’s gross and scary. Malin, I think you’ll like this one! Go ahead! Maybe we should see it together?

Edward Scissorhands

Haven’t seen this one! I want to, though. I think I’ve seen one scene, where this man accidentally pokes a water-bed, and younger me felt that was a very tragic thing, on more levels. Johnny Depp yet again, so it has to be good, right? I know this poor guy, Edward, has it rough, and was given some really not that practical hands. Man, he looks sad, huh? So maybe more sad than scary, yet again. Dont know! But I really do want to watch it. Winona Ryder is in this, too, so really, it’s a no-brainer!

Official synopsis:

An artificial man, who was incompletely constructed and has scissors for hands, leads a solitary life. Then one day, a suburban lady meets him and introduces him to her world.

//Warning: I don’t know? Maybe not that spooky? I think it’s more sad, to be honest.

Pride + Prejudice + Zombies

I mean, why the hell not - right? I love Jane Austen. I love Pride and Prejudice. And I really like halloween, so OF COURSE, I’m including this one. I’ve seen it, too. My friend Malin and I watched it a couple of years ago, and yeah, it’s good. It’s not high cinema, no, but I don’t need that. It was a fun, weird twist, and sometimes, that’s all you need. There is a very interesting scene with a corset, that was NOT in the book, and I think it really added something to this story. And Lily James. Whew. Great movie. Great for autumn. I will be watching this one again.

Official synopsis:

Five sisters in 19th century England must cope with the pressures to marry while protecting themselves from a growing population of zombies.

//Warning: I can’t really remember, but I think there’s some pretty gross scenes with zombies. Rotting flesh is NOT pretty. But just close your eyes for that, and you’ll be good!

The Haunting of Hill House

I first watched this series when i came out some time ago. I never finished it, I don’t think my heart was in it, but by no fault of the show. Now, that the same creator has made another show, which my mom and I are hooked by, and almost through, I think I’ll be returning to this one - it deserves another chance! A great old house, ghosts, family secrets and INCREDIBLE aesthetics, mean there must be something here! Also, I think it’s based on a novel by Shirley Jackson, and it’s supposed to a classic horror novel, and Stephen King tweeted that he liked it, so yeah, it’s promising! The series I’m watching with my mom is spooky, but tumblr says the Haunting of Hill House is supposed to be much more spooky, terrifying, even, and I really want to find out if that’s true!

Official synopsis:

Flashing between past and present, a fractured family confronts haunting memories of their old home and the terrifying events that drove them from it.

//Warning: Very Scary! Faint of heart - Beware! Just enjoy this beautiful gif of Nell dancing by herself, and move on <3

Psycho

Another old classic! Woo! Have not watched, but really, I feel like that’s almost a crime by now. I HAVE to watch it. Soon, I’m planning to. Sadly, It’s old, and I grew up with the internet, so I’ve been spoiled oh so dreadfully, and knows all the bloody details and plottwists of this oldie but goldie. But I still want to watch it! It must be a classic for a reason - right? Also, I’ve never seen the full version of the famous shower scene, and that’s just embarrassing. Shame on me.

Official synopsis:

A Phoenix secretary embezzles $40,000 from her employer's client, goes on the run, and checks into a remote motel run by a young man under the domination of his mother.

//Warning: It’s a horror classic! It’s gotta be scary. Then again, it DID come out in 1960. Be careful about this one! Sorry, I have no idea, have never watched it.

Hannibal (the TV series)

It’s gross, it’s scary, it’s aesthetic, there is a danish elegant man eating people in snowy Baltimore, and you really shouldn’t pay him to be your psychiatrist. Hannibal! I first watched this as a young, edgy teenager, and all the blood and gore didn't get to me at all - I just enjoyed the cat-and-mouse game between Will Graham, our main character, very mentally unstable, and a dog-lover, and Dr. Hannibal Lecter, a renowned psychiatrist, elegant, high-society - and also, he talks like a mixture of the bible and an old greek sonet. What I'm trying to get at is that this show is weird. Good weird. But also, now no longer an edgy teenager myself, it’s really gross. A man’s leg is cut off and served to himself. That’s gross. I didn’t like that, and I definitely covered my eyes. Other than that, it’s a very vivid show, with great focus on presentation and symbolism. I would love for someone to analyse each episode, because there's so much attention to detail. It’s honestly impressive. And after having watched many, many shows about crime and murders, I must say, this show has THE most buckwild, creative, never seen before ways of killing people. How the hell do you come up with a murderer using people’s different skin colors to make a mural? I don’t know. It’s disgusting, but man is it different. I’m halfway through season two, and there is a lot to unpack! Also, have to mention, very homoerotic - that’s a plus. Don’t think I could’ve stomached all the blood, otherwise. I hate blood, and wow is there blood in this show.

Official synopsis:

Explores the early relationship between renowned psychiatrist, Hannibal Lecter, and his patient, a young FBI criminal profiler, who is haunted by his ability to empathize with serial killers.

//Warning: Yeah. You read how many times I wrote ‘gross’. Just trust me on this one, it’s gross. It’s good, but maybe don’t watch it. You don’t need to introduce your brain to this.

The Haunting of Bly Manor

Ooh boy. Ooooh boy. This series is very good. VERY good. I’m watching it with my mom right now, I think we’re at episode 7, and wow are we hooked. It’s spooky, it’s haunting, it’s thrilling, it’s mysterious, and wow is it scary. We both agreed to go together, the first night we watched this, and our dog had to be taken out on his night-walk. She didn’t want to go alone, and i didn’t want to stay back at the house, alone. So we went together, and I was so freaked out that I nearly peed my pants, when some kids screamed in our neighborhood. It’s so very much what I want a ghost-story to be, but it’s also a lot more, and much greater for it. I love all the characters, they’re all so well-rounded, and most of them are good. The big manor is spooky, and the woods surrounding it are foggy and dark, and yes, this is really a great series for autumn and halloween. It’s the second series made by Mike Flanagan. There are some similarities between the two shows, and surprisingly, some of the same actors! I think that’s very interesting, and it also made me very confused, as I watched the first episodes of the Haunting of Bly Manor, and could not, for the life of me, figure out where the hell I had seen these people before. It made it even more eerie in a way, and I appreciate that. I love this show, and I think I’ll be very sad when we’re through with it. I guess the natural thing to do, will be to follow up with Flanagan’s previous horror series, The Haunting of Hill House! Also, there’s lesbians in this one. Very nice. I appreciate that. Also, surprisingly - I love the children! They’re so cool and brave, and it would be very nice if especially Flora could go with me, the next time I’m going to a haunted house. Such a badass.

Official synopsis:

After an au pair’s tragic death, Henry hires a young American nanny to care for his orphaned niece and nephew who reside at Bly Manor with the chef Owen, groundskeeper Jamie and housekeeper, Mrs. Grose.

Warning: It’s spooky. It’s the perfect halloween series, so of course it’s very spooky! This gif I chose is spooky, and I promise the show itself is worse. But if you can handle dead people creepily staring in the background, and maybe has someone to watch it with, I think you’ll be fine!

Alright! We made it! Another spooky, aesthetic, autumny list, for us to enjoy this crispy season! Woohoo! Also, I’m sorry if there’s any spelling mistakes or whatelse, I hope you enjoyed reading anyway! Thank you! Now go drink some tea and relax, you’ve earned it. I recently tried chili-tea, and damn, that’s another recommendation from me! It was amazing!

Hope you have a great Halloween, it’s close now. Watch out for the cold weather, remember to bundle up, and don’t let the impending darkness get you down. Light some candles! And also, watch some of these spooky tv-series and movies with your family and friends! And have a great fall! <3

Love, Julie

91 notes · View notes

thewatsonbeekeepers · 3 years

Text

Chapter 12: Three Men in a Boat [TFP 2/3]

[This was completely missing from my tumblr, via every search function and everything! So I’ve reuploaded - thanks anon for letting me know!!]

This section of the meta is going to deal with the events at Sherrinford – I’ve broken TFP up into three sections to try and get the most out of it. This isn’t just a read through like the first part of the meta, it has a specific structure, much like Eurus’s trials for the boys, so it’s really important to take this bit in one chapter. My hypothesis is thus – that each episode of s4 has been a different obstacle to be broken through in Sherlock’s mind, and that each of them is represented by one of the different Sherrinford tasks. It’s essentially an illumination of Sherlock’s progress through his mind – but it’s set up by Eurus, who is Sherlock’s mental barrier, so these are going to represent Sherlock’s darkest fears about each of the obstacles. Ready? Let’s go.

We take up the episode at the pirate hijacking, which is quite BAMF, but also illuminates a couple of things that we should bear in mind going into this episode. The first is that the transition from a blown up Baker Street to Sherlock and John hijacking a boat without a scratch on them is absolutely bizarre and leaves SO many questions – it’s dream-jumping of the most obvious kind. The second is that water has played a long role as a metaphor through the show, particularly in the EMP sequence, and it’s climaxing now – we are in the deepest waters of Sherlock’s mind.

Mycroft and John working together in the disguise sequence is metaphorically lovely – in the Oscar Wilde scene of the last part we saw Sherlock’s brain and heart finally coming together, and here for the first time they’re working together to give Sherlock the ability to go and confront Eurus. This is what makes Mycroft’s line so powerful. He says:

Say thank you to Doctor Watson. […] He talked me out of Lady Bracknell – this could have been very different.

Comic throwaway? Maybe. But given what we know about Lady Bracknell from the first part, this also has a more powerful meaning – heart!John finally stopped brain!Mycroft from being an obstructive force in Sherlock’s psyche, and they started working together instead to save him. This could have been very different is far more loaded than it sounds. All this whilst creating an image of Mark Gatiss as a Victorian aunt – wonderful.

When we first meet Eurus proper, her similarity to Sherlock is striking. She plays the violin – this isn’t a Holmes thing, because Mycroft doesn’t – it’s Sherlock’s motif throughout. Her hair is like a feminine Sherlock, her pallor and cheekbones match Cumberbatch. For reference, this is a picture of Sian Brooke and Benedict Cumberbatch together in real life.

I’ve done a section on why I think Eurus is the most repressed part of Sherlock’s psyche, and his traumatic barrier to love and life – I sometimes glibly refer to this as gay trauma, but that’s its essence. The similarity between Brooke and Cumberbatch in this scene is really compelling, looking the same but lit and dressed in opposite colours. Similarity and difference both highlighted. Even nicer, the white of Sherlock’s shirt is the same notable brightness as Eurus’s uniform, but it’s hidden under his jacket – a visual metaphor for her being hidden inside him.

Eurus gives Sherlock a Stradivarius as a gift. This should set alarm bells ringing for anybody who has seen TPLoSH. If you haven’t seen The Private Life of Sherlock Holmes, please do so immediately because my God you are missing out, but TLDR – a Russian ballerina offers Holmes a Stradivarius to have sex with her so she can have a brainy child, and he declines because he’s gay. (This is not just my interpretation, this is genuinely what happens, just to be clear.) Eurus giving Sherlock a Stradivarius is a deliberate callback to the film which Mofftiss cite as their biggest inspiration; just like the ballerina tempted Holmes to feign heterosexuality, so does Eurus – and both make clear that it’s not without its rewards, which is unfortunately true for real life as well. This moment in Sherlock’s psyche also recalls the desperate unrequitedness of Holmes’s love for Watson in TPLoSH, a reference to our Sherlock’s deepest fear at the moment – he has realised his importance but not John’s romantic/sexual love for him, as we’ll see. So here, trauma!Eurus isn’t just referencing closetedness, but is actively drawing on a history of character repression with which to torment Sherlock – metafictionality at its finest.

The Stradivarius is specifically associated with closetedness, but violins more generally in the show are used to show expressions of love that can’t be voiced out loud – think of John and Mary’s wedding, or the desperate bowing of ASiB. So Eurus, gay trauma that she is, telling Sherlock that she taught him to play is a moment of distinct pain – she is the reason he can’t speak his love aloud, but instead has to speak in signs.

When Sherlock plays ‘him’, rather than Bach, to Eurus (he has a big Bach thing with Moriarty in s2, take from that what you will because I don’t know!), he’s playing Irene Adler’s theme. As a fandom, we’ve generally agreed on associating Irene’s theme with sexual love, which ties in nicely with Eurus’s question – has Sherlock had sex? It’s unanswered. At the end of ASiB, Irene calls Sherlock the virgin, suggesting that he hasn’t.

My favourite moment in s4 without a doubt is Jim dancing to I Want To Break Free. I know it’s the most boring thing to say, but my two greatest loves are Andrew Scott and Freddie Mercury, so it was like Christmas. Here it is also Christmas, but there are two possible timelines. I hypothesise that this refers to Christmas 2010, but it’s absolutely conceivable that it could be Christmas 2009. If we acknowledge that Sherlock is in a coma in 2014, then five years ago is Christmas 2009; however, given that we’ve jumped to 2015 in dream time, I’m going to make the guess that Jim’s visit to Sherrinford is supposed to take place in 2010. This ties up with the idea that this is when Moriarty first started taking an interest in Sherlock, who had never heard of him before ASiP, particularly as this is all in the EMP.

I firmly believe that Jim represents the fear that John is in danger – I highlight this in the chapter on HLV, where you’ll recall we first encounter Jim in the EMP and he sends Sherlock on his journey through the EMP with the words John Watson is definitely in danger – a pretty big sign. Even without this, though, his biggest threat to Sherlock has always been hurting John, whether in TRF or with the idea of burning the heart out of him with Semtex. It’s not unreasonable then to assume that MP!Jim first getting inside Sherlock’s subconscious to represent this fear happens in 2010, when he first meets John. He slips in and stays there, and he melds with Eurus. We see this in the powerful visual of the two of them dancing in front of the glass as Jim’s image slowly becomes Eurus’s reflection – the fear of John dying embeds itself into the gay trauma that Sherlock has stored up, even without him realising it. This ties in nicely with the choice of I Want to Break Free, which is famous for its use of drag in the music video – Jim melding into Eurus is the dark side of queer genderbending that we hate to see. It’s also a pretty fitting song name for an intensifying of repressed gay trauma, even without the association with queer king Mercury.

[A side note to all of this – there were wonderful TEH metas about trains in tunnels being sexual, which isn’t just a tjlc thing but is a well-established idea in cinema – Moriarty’s consistent train noises here seem like a horrifyingly inverted version of that sexual longing.]

Task 1 – The Six Thatchers

The governor is set up as a mirror for John in this task, which provides some helpful context for the episode as a whole. Heart!John makes this comparison himself, by drawing out the similarity between the situation with the governor’s wife and his with Mary, though in this case the governor does kill himself because of his wife – or so it seems. The suicidal instinct matches with everything we’ve learned about John in s4, but I want to hypothesise, perhaps tenuously, that he’s more connected with Eurus than we might think. We know that Eurus has had control of the governor for quite some time, and one of the things we hear her saying to the governor in the background of the interrogations is that he shouldn’t trust his wife. This is an odd thing to pepper into the background when he’s about to commit suicide for her, and perhaps suggests that he’s more of Eurus’s pawn than he lets on, though I grant this may be spurious.

The idea that he distrusts his wife because of Eurus is important, however, because we’ve already seen John engage with Eurus in various forms, but this seems like an extension of E; Eurus, aka Sherlock’s hidden self, has been making John doubt Mary, even before she shoots Sherlock. John cannot know she’s a spy at this point, so it’s unlikely he’s doubting her goodwill; he’s simply doubting her.

Before we look at how the actual task impacts the governor and how that illustrates what’s really going on in TST, it’s worth pointing out that it is the governor’s engagement with Eurus which prompts the entire shutdown of Sherrinford and forces Sherlock (with brain!Mycroft and heart!John ever at his side, of course) to engage once and for all with Eurus. This points to everything that s4 has been telling us – that Sherlock’s understanding of the relationship between him and John, including his power to save him (we’re going to see the governor play the foil here) is what sends his brain into stay-alive-overdrive. Sherrinford is the peak of this.

Summary of the task, for those who hate TFP: Sherlock is given a gun and told he can pick either John or Mycroft to kill the governor, otherwise the governor’s wife will be killed by Eurus. As I’ve written about in its chapters, TST is about Sherlock trying to get to the bottom of Mary and why she tried to kill him – and, of course, the impact this will have on John. In brief, by displacing the shot onto Mary in his mind, he’s discounting his own importance and instead thinking about what it will mean for John to lose Mary. His greatest fear is that losing Mary will break John, and it isn’t until the end of TLD that he recognises that the return of John’s suicidal ideation isn’t over Mary, but over him. TFP presents the horror version, the version of TST that Sherlock’s trauma wants him to believe but which he has to overcome. In this case, Mycroft and John resolve to keep the governor alive in their passivity, but that passivity – Sherlock’s coma – is not enough to keep the governor from killing himself over Mary. This is the most feared outcome from Mary’s death that Sherlock can think of – his fear of losing John combined with John’s love of Mary, which in TST Sherlock is still taking as read.

Double naming in this show should never be neglected, and in this case we learn shortly before the governor dies that his name is David. Again, the dramatic manner in which we learn this (on the moment of execution) draws our attention to it – we know another David in this show.

Yup – Mary's ex who’s still in love with her from TSoT. So even though Sherlock is experiencing the panic of John killing himself for loss of Mary, his subconscious is still pointing out to him that that’s not what’s happening here. This mirror version of John that he has set up, who is broken by the loss of Mary as Sherlock fears in TST, is actually the other man in Mary’s life – even with Eurus forcing the worst possible scenario onto him, this still can’t quite fit John’s character. And so we move onto the second task.

Task 2 – The Lying Detective

This section of the Sherrinford saga is the three Garridebs, the closest thing that the fandom has ever got to a collective trauma. I do think, however, that it’s fully reclaimable for tjlc and means the same as we always wanted it to; I also think that it’s possibly the most gutting part of Eurus’s metatfictional power play.

If you haven’t read The Adventure of the Three Garridebs, it’s quite short and the most johnlocky of the Holmes canon, so I’d thoroughly recommend. For the purposes of mapping bbc!verse onto acd!verse, however, here’s the incredibly short version. A man called Evans wants to burgle Nathan Garrideb, so he calls himself John Garrideb and writes an advertisement from a man called Alexander Hamilton Garrideb (make of that what you will, hamilstans) declaring that he wants to bequeath his fortune to three Garridebs. “John” gets someone to pretend to be a Howard Garrideb to get Nathan out of the house to meet him – he comes to burgle the house but Holmes and Watson are lying in wait. He shoots Watson, and Holmes thinks Watson is seriously injured and so we have this wonderful section:

“You’re not hurt, Watson? For God’s sake, say you are not hurt!”

It was worth a wound–it was worth many wounds–to know the depth of loyalty and love which lay behind that cold mask. The clear, hard eyes were dimmed for a moment, and the firm lips were shaking. For the one and only time I caught a glimpse of a great heart as well as of a great brain. All my years of humble but single-minded service culminated in that moment of revelation.

“It’s nothing, Holmes. It’s a mere scratch.”

He had ripped up my trousers with his pocket-knife.

“You are right,” he cried with an immense sigh of relief. “It is quite superficial.” His face set like flint as he glared at our prisoner, who was sitting up with a dazed face. “By the Lord, it is as well for you. If you had killed Watson, you would not have got out of this room alive. Now, sir, what have you to say for yourself?”

Mofftiss have referenced this moment as being the greatest in the Holmes canon for them, the moment when we see the depth of Holmes’s affection for Watson, and so it seems odd to waste it on such a tiny moment in TFP. Many fans, myself included, were really upset to see Eurus drop all three Garridebs into the sea, the implication being that tjlc would never be real, and it was that moment that caused many (including me) to walk away. I came back, obviously, but I completely understand why you wouldn’t. However, I want to map one Garridebs story onto the other to show how they might match up.

The Garridebs that Eurus presents us with are not the three Garridebs from the story. In the story, there are three physically present Garridebs – Nathan, John and Howard – although admittedly only Nathan is an actual Garrideb. Alexander was completely invented by John and existed only in a newspaper advertisement. Evans, alias John Garrideb, is the criminal in the Garridebs story; Alexander is an invention.

So – what happens if we substitute John for Alex in bbc!verse, as in canon they are the same person? This is interesting, because double-naming means that John becomes the killer. Whilst it’s true that John Garrideb is known as Killer Evans for his murder of a counterfeiter back in America, in canon he is done for attempted murder – of John Watson, of course. Here we have a situation where a John is set up killing John. This is exacerbated by the victim in bbc!verse being called Evans; Roger Prescott, the counterfeiter, would have been a much more canonical nod to the books, so we can assume that the choice of Evans is therefore significant. It should be noted that Evans and John/Alex Garrideb are the same person in acd!canon - so killing Evans is a representation of suicide. But, in case we weren’t there yet, the reason that Evans took the name ‘John’ is acd!canon is very likely to be because Evan is Welsh for John – so whatever way you look at this situation, you have Sherlock deducing John killing John.

This is, of course, exactly what Sherlock deduces at the end of TLD, far too slow, when we see Eurus shoot John in an exact mirror of the shot from TST – I explained in a previous chapter why this means that John is suicidal without Sherlock. However, much like the passivity of Sherlock, John and Mycroft in the first task, here we see that Sherlock’s act of deduction is good, but can’t actually save anyone; Eurus kills off our Garridebs moment as Sherlock is left to watch, and it’s notable that heart!John is the most distressed about this. Remember, in the first task Eurus left Sherlock with an image of a John who was suicidally devoted to Mary, and although the Garridebs moment is one which metafictionally highlights the relationship between Sherlock and John, she’s still presenting him with a Garridebs moment in which he is fundamentally unable to save John. This is a direct result of the Redbeard trauma that Sherlock has experienced – helplessness is key to that, and this is what Eurus has come to represent in his psyche. But – Eurus isn’t real, Eurus is testing Sherlock, trauma trying to bring him down, and Sherlock’s job in TFP is to break through the walls that his consciousness has set up for him.

The power in Sherlock saying I condemn Alex Garrideb is heartbreaking, then, because it is Sherlock recognising that he is the reason that John is going to die. Eurus is there to make him confront that reality, which she explicitly makes him do. We get the split-second moment where he thinks he’s saved Alex, and then he’s plunged into the sea – but remember, this is Eurus taunting Sherlock, presenting him with worst-possible-scenarios. TFP is set up as a game for a reason – it is a series of hypotheses cast in Sherlock’s mind by his trauma that he has to break through one by one. Remember, although she’s ostensibly trying to hurt Sherlock, Eurus’s ‘extra’ murders in the first two tasks are aimed at hurting John, which wouldn’t make sense if he weren’t the mp version of Sherlock’s heart.

Task 3 – The Final Problem

Pretty much straight after this episode aired, people were pointing out that Molly is a clear John mirror and that pretty much all of the deductions Sherlock makes here could be about John. Again, we’re seeing Sherlock’s emotions being resolved in a heterosexual context – the presence of Eurus means that he’s unable to process them in their real, queer form. However, if we take Molly to be a stand-in for John in this scene, it may tell us what TFP is about – and the scenario that Eurus presents will be the worst one, the thing that is causing Sherlock the most pain.

TLD/the previous task have shown us that John is in imminent danger, so the transition to Molly Hooper’s flat being rigged with bombs is not a difficult one; we must assume this to be the suicidal ideation that we’ve just deduced. The time limit suggests that Sherlock is running out of time to save him (fucking right he fell into a coma SIX YEARS AGO). Putting Molly in a bad mood isn’t really necessary for this scene – they make her seem a lot more depressed than she would necessarily need to be, and they emphasise her aloneness and her ability to push people away, which isn’t something we know Molly to do. These traits are all much more important in the context of a suicidal John – they paint a much clearer picture of someone who is depressed and alone than we really need for this scene, where it’s not relevant to the surface plot.

Sherlock and the audience believe he has won this task, but of course he hasn’t - there were never any explosives rigged up in Molly’s flat, and it was a ruse to destroy his relationship with Molly. This is what he fears then – what if he’s wrong? What if coming back to life because he loves John won’t save him – it will destroy him and their relationship? The problem to be wrestled with is how to save John – according to the symmetry of these tasks, that is the final problem. We know that the scenario Eurus has presented isn’t real, but Sherlock doesn’t; he is being held up by his inability to cope with interpersonal relationships, and to get to the bottom of that we’re going to need to understand what he’s been repressing – part 3 of this meta.

There’s a wonderful shot just as Sherlock is destroying Molly’s coffin which zooms up and out through a ceiling window, all the way above Sherrinford, as though to emphasise not how remote Sherrinford is but just how deep inside it Sherlock is. Given what we know about the height metaphor as well as the water metaphor, this shot is a pretty clear way of telling us – this is as deep inside Sherlock’s mind as we go, this is the nub. But Sherlock smashing up the coffin has another powerful connotation – he's refusing death. In terms of metaphor, he’s refusing John’s death – there will be no small coffin, because he will not let it happen – but the visual of him smashing the coffin also suggests that he is rejecting his own death. The two are, of course, inextricably linked. Our boys’ lives are tied together.

Epilogue: The Hunger Games

I can’t watch this without thinking of The Hunger Games, I just can’t! But regardless of how much Sherlock seems like Katniss in this section, let’s press on. I don’t count this as one of the typical tasks, because this isn’t Eurus presenting a ‘haha I tricked you scenario’ - far from it. This is Sherlock’s way into unlocking his repression. The key takeaway from this scene, as we’ll see is that trauma has hurt Sherlock, and it’s going to try pretty hard here to mutilate him – but it can’t kill him.

We get a great line from Sherlock at the beginning of this, where he tells John that the way Eurus is treating him isn’t torture, it’s vivisection. Because it’s an experiment? Perhaps. But the more logical way to phrase this would be that it isn’t vivisection, it’s torture. Torture is much more emotionally charged than vivisection as a phrase – from a writer’s perspective, this phrasing is strange because it seems to negate rather than intensify the pain our characters are undergoing. Why, then, would vivisection be more important than torture? Well, put simply, vivisection is the act of cutting someone open and seeing what’s inside – and that’s what we’re doing. This isn’t just an analogy for experimenting on people, it’s an analogy for going literally inside somebody. In EMP world, then, these words are well chosen.

Sherlock is offered the choice – John or Mycroft? Heart or brain? We might initially think that this is Eurus pressuring Sherlock into death, but that’s not the case at all – we know from the early series that Sherlock has survived before (although very unhappily) with just one of these two dominating the other. It has taken his EMP journey to unite them into a functioning entity, and Eurus is bent on destroying that, mutilating either his emotional capacity or his reasoning, the two parts that make him human. This is a good sign, as well, that trauma has been acting on Sherlock through the first three series, when his psyche was dominated by brain!Mycroft - Eurus is keen to revert to that state, when trauma had control. It is touching, then, that brain!Mycroft is willing to relinquish that control and leave Sherlock with his heart, perhaps because this new unity allows him to recognise how damaged the Sherlock he created was. We should also note that this diminishing of Sherlock’s heart is compared to his Lady Bracknell, which we know to be his repression of all Sherlock’s romantic/sexual impulses – except this time it’s less convincing, because his brain doesn’t believe it anymore. What is also devastating is heart!John’s lack of self-esteem or knowledge, the sense that he isn’t useful to Sherlock, which of course will be proven wrong.

[if anyone has thoughts on the white rectangle on the floor, do let me know. It’s bugging me!]

Mycroft says that he acknowledges there is a heart somewhere inside of him – again, this is emotionally powerful in the context of the brain/heart wrangling that we’ve seen inside the EMP. Just as Sherlock’s psyche has tried to compartmentalise them all this time and they’re finally working together, now there’s an acknowledgement that the compartmentalisation into personae is maybe inaccurate as well – brain!Mycroft’s pretence to be emotionally detached is not in fact correct, as we’ve been suspecting for a long time.

Brain!Mycroft also states that it’s his fault that this has all happened because he let Eurus converse with Jim. If you spend any time thinking about the Eurus + Jim meeting, like many elements of this show it doesn’t make sense. There isn’t a feasible way this could have been planned, recorded etc in five minutes, and although it’s true that Jim could have come back to shoot the videos under the governor’s supervision, it’s not clear why he’s so important. Unless he takes on the metaphorical significance that we’ve assigned him, letting Jim see Eurus seems pretty unimportant – he is only the garnishing on Eurus’s plan. Instead, Mycroft is at fault for letting John be in danger – not only did Sherlock misdeduce Mary (although we can lay the blame for that at the feet of heart!John - see meta on TST), his reasoning was blinded and so he missed John’s suicidal urges and the danger to his life. Brain!Mycroft holds himself responsible – all of these EMP deductions are way late, comprised of things Sherlock should have noticed when his brain wasn’t letting his heart in.

Five minutes. It took her five minutes to do this to all of us.

The lighting is dramatic, so I can’t properly gauge Ben’s expression at this moment, but his eyes look crinkled in confusion, just like they are at the moments when a sense of unreality starts to set in in TAB. Indeed, these aren’t very appropriate words for when you’re about to kill your brother; it’s like he’s being distracted, like there’s something important that he’s missing. Mofftiss are drawing attention to the sheer impossibility of the situation – and Sherlock’s nearly there. His Katniss Everdeen move, threatening to kill himself, is the recognition that his trauma doesn’t have that power – it can hurt him and deform him by twisting his psyche into unbalance, like it has before and like Eurus is trying to here, but it cannot kill him. We can see that Sherlock has risen above the one-sided dominance that he began the entire show with when Eurus shouts at him that he doesn’t know about Redbeard yet – that’s not going to change his mind today, but it’s a direct throwback to the days when it would have, in ASiP with the cabbie. Character development, folks.

The shot of Sherlock falling backwards into the dark water links to two aspects of the EMP. One is the continued metaphor of water to represent sinking into the depths of his mind. The water is so dark it looks oily – it could be argued that this is the oil that is corrupting the waters of his mind as we finally cut to the repressed memories. I quite like this reading, though I have little other oil imagery to link it to in the show. The other notable point is the slow-motion fall backwards – instead of showing Sherlock, John and Mycroft all falling, we cut to Sherlock falling backwards exactly like he did in HLV when he was shot by Mary. This is a really clear visual callback. Even though we’re going deeper, we’re linking back to the original shooting, back in reality, suggesting that this depth is paradoxically going to lead us back to the start. To go back to the oil imagery, don’t forget that oil floats on water – although it looks like we’re sinking, there’s a real sense that these repressed memories are actually pulling us to the surface of Sherlock’s subconscious, quite unlike the deep zoom out we saw when Sherlock was destroying the coffin.

And that’s it for part 2 of the TFP meta! Part 3/3 will deal with such highlights as John not being able to recognise bones and presumably getting his feet pulled off by chains. Good thing this is just a dream. See you then!

#meta #emp theory #tjlc

13 notes · View notes

365days365movies · 3 years

Text

February 6, 2021: Romeo + Juliet (1996)

From the top!

Two households, both alike in dignity In Fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross’d lover take their life; Whose misadventured, piteous overthrows Do, with their death, bury their parents’ strife The fearful passage of the death-mark’d love, And the continuance of their parents’ rage Which, but their children’s end, nought could remove, Is now the two hours’ traffic of our stage; The which, if you with patient ears attend, What here shall miss, our toil shall strike to mend.

I mean, c’mon. It’s Shakespeare, I practically had to.

Which is why it may come as a surprise to hear that I think this play is overrated, far too overexposed, and honestly stars two of the most obnoxiously immature protagonists that Shakespeare ever wrote. Which is not to say that I don’t like it, but it is to say that it isn’t my favorite. Which one is my favorite, you ask? Eh, I vacillate between a few, but I might get into it, we’ll see.

Weirdly fitting, though, since this film is directed by a director who also isn’t my favorite. Can’t say I have a definitive favorite director either, but Baz Luhrmann ain’t it. To be fair, I haven’t seen Moulin Rouge (probably should, huh?), but his turn on The Great Gatsby...wasn’t my favorite, I’ll just leave it at that.

And while we’re into it, lemme just address Romeo and Juliet adaptations on film real quick. To be completely transparent, before today...I’ve only seen one adaptation of the play: Franco Zeffirelli’s excellent 1968 turn on it, and it’s a fantastic adaptation at that. Sone of you, however, may now be realizing that, if I’ve only seen one adaptation of the play...there’s an extremely glaring omission to my film repertoire.

Yeaaaaaaaaah...we’ll get there, I promise.

But, of course, the adaptations only scratch the surface of this plays influence. See, the whole point of the rivalry between the Montagues and the Capulets is that it’s SO OLD, that nobody truly remembers why it started in the first place. Because of that, other romance films have sought to supply a reason for that rivalry.

In other words, the two protagonists destined to fall in love often come from two backgrounds, if not families, that class. And, yes, only ONE FILM that I’ve watched this month doesn’t do that. Dirty Dancing and The Notebook make their “ancient grudge” class-based; low-class vs. upper-class. Even You’ve Got Mail makes it about money, although that one’s a little more of a stretch. In any case, versions of this trope have lasted for centuries, and it’s...maybe poisoned romantic cinema? I mean, there’s a reason they all seem similar. They’re all taking from a classic. And, yeah, more of them than you’d think use this formula. I mean...

Hell, if you think about it, both of them are technically dead by the end.

Anyway, jumping right smack dab into the ‘90s, where teen heartthrob of the decade, Leo DiCaprio himself, is cast to play the titular teen boy, and sort-of popular at the time Claire Danes is cast as the titular teen girl. Put them together, and you have a hatred that will last for centuries. Because yeah, they HATED each other apparently. Let’s watch! SPOILERS AHEAD!!!

Recap

...Look, here’s a quick recap of a story that EVERYBODY KNOWS.

Two families hate each other, and each has a teenage kid; a boy named Romeo and a girl named Juliet. They see each other at a party, they IMMEDIATELY get those teenage hormones a flowing and fall in love at first sight. They talk a few times, then decide to get married. Romeo’s friends say, “Dude, her family’s all dicks,” and Romeo says “naw, dude, she’s hawt,” They hook up, and they get secret-married. But, since they can’t be together in life, and since Juliet’s supposed to marry a whole other dude, Juliet runs to the priest and says, “hey, fake my death real quick?” He gives her a potion, she pretends to be dead, Romeo finds out (after one of his friends is killed by Juliet’s cousin), and runs to her side. Dude then ACTUALLY kills himself with poison, only for Juliet to wake up, see his dead body, and then kill HERSELF with a KNIFE, and then the families find out, and the Prince comes by and just says, “Goddamn, you guys are dicks. So much so that you killed your kids, congrats.” And that’s the end.

Yeah. Two hours of play and movie (nice touch, by the way, Luhrman) compressed into a paragraph. And yet...I’m still gonna recap this movie. Glutton for punishment, I guess. And with that said...

It all starts with a newscaster, speaking the lines of the Prologue in the guise of a newscast, which is...very neat, actually! That’s followed by...Pete Postlethwaite saying the whole thing over again, backed by a hell of a lot of fast cut editing.

...Oh God, it’s a Luhrmann movie. I forgot. Also, uh...really trying to stretch out that runtime to make that 2-hour mark, huh, Bazzie? I admire that you’re trying to stick to that “two hour-stage” quote from the Prologue, really I do...but you had to repeat the Prologue TWICE to do that?

As the lines flash on screen, we’re also introduced to out major players, whom I’ll just introduce as they come up. After a little montage of the movie to come, and a confirmation that the ancient grudge has broken out into a gang war on the streets of Verona Beach (clever), we jump in the car of a few Montagues: Sampson (Jaime Kennedy), Benvolio (Dash Mihok), and Gregory (Zak Orth).

At a gas station, they meet some Capulets, specifically Abra (Vincent Laresca) and a few others. After some thumb-biting, they all draw their swords. Which are guns that have sword written on them. Well, that’s just silly.

This standoff is interrupted by the arrival of another Capulet: Tybalt (John Leguizamo). This, of course, leads to a swordfight (ugh), during which all players are, just...REAL dramatic with their movements, holy shit. In the process, Sampson’s shot (or...stabbed, I dunno), and the gas station explodes.

It’s war in the streets now, as Tybalt and Benvolio are eventually intercepted by Captain Prince (Vondie Curtis-Hall), the chief of police for Verona Beach. He reads out his rage upon the heads of the families. For the Montagues, these heads are Ted (Brian Dennehy) and Caroline (Christina Pickles); and for the Capulets, they’re Fulgencio (Paul Sorvino) and Gloria (Diane Venora). Is...is the grudge taking place because one of them is named “Ted,” and the other is FUCKING “FULGENCIO”? Because that’s one hell of a dichotomy.

Captain Prince lets them all off with a warning (I mean, no, they should ALL be arrested), and Caroline and Ted question the whereabouts of their melodramatic emo son. That son is, of course, Romeo (Leonardo DiCaprio), who laments poetically about how fucked up his family is.

Hanging out at a decrepit carnival (because of course he is), he’s soon found by Benvolio, and he laments on the lack of love between their two families. They bond over talk of women, and decide to secretly go to a party held by the Capulets that night to check out some girls.

Meanwhile, Fulgencio is speaking about this whole mess to Dave Paris (Paul Rudd). D...Dave? Really? We’re keepin’ fuckin’ Benvolio and Balthasar, but we had to name Paris DAVE? Guys, a little consistency with the name shit, PLEASE! Anyway, Dave (uuuuugh) is the governor’s son, and very wealthy, while also being a suitor for Fulgencio’s daughter.

That daughter is, of course, Juliet (Claire Danes), who’s being attended by her vain mother and kindly Nurse (Miriam Margoyles). As her mother’s preparing for the party, she talks up Paris as a suitor, although Juliet doesn’t seem SUPER into it. And s the Nurse tells her to “seek happy nights to happy days,” we go to Sycamore Grove, and to another party.

And this is where we meet my favorite character (everybody’s favorite character, let’s be honest): Mercutio (Harold Perrineau). Mercutio has been invited to the Capulet’s party, and invites Romeo to come along, in disguise. In the process, he gives one of the play’s most famous monologues: Queen Mab’s Speech. It’s truncated here, ad to be frank, Perrineau’s performance is a bit...over the top. But, it ends up to be fairly effective.

Also, Queen Mab is ecstasy. Yeah, that kinda dulled by enthusiasm for the whole enterprise, I ain’t gonna lie. But Romeo lies with Queen La, and they head to the Capulet’s party. And we’re about to hit PEAK LUHRMANN, people.

Look, I’m lame, I’ve never really done drugs, ecstasy included...but it FEELS like I’ve taken something now. And Romeo’s now trying to sober-up a bit. He dunks his head into a sink in the bathroom, and looks at a tropical aquarium that’s in there. And through that aquarium...

However, Juliet’s quickly spirited away by Nurse, and brought to dance with Dave. Romeo, meanwhile, gives his “Did my heart love till now” speech, and DOESN’T SAY THAT SHE DOTH TEACH THE TORCHES TO BURN BRIGHT??? Seriously, the beginning of that speech is completely deleted. That line, in and of itself, should’ve been left in.

Anyway, Romeo and Juliet speak, and the teenagers kiss...a lot. And yeah, they do kiss in this scene in the ply, but not that much. Immediately afterwards, they discover their family alliances, and Romeo and Mercutio flee the party. Romeo heads back soon after, and, well...you know the line. But soft...

youtube

This movie...LOVES water, huh? We see both Romeo and Juliet from underwater at separate points, they see each other for the first time through an aquarium, they’re making out in a pool right now. I mean, I’m sure there’s some symbolism to that, but I’m not sure what it is yet.

Anyway, the two starcross’d lover come just short of crossing stars, and they IMMEDIATELY get engaged to marry.

After a bit of ‘90s music whiplash, we meet Father Laurence (Pete Postlethwaite), a botany-loving priest, and soon-to-be ally to the young couple. Romeo asks Laurence to wed them, despite the fact that Romeo actually was in love with a woman named Rosaline. But, yeah, she’s one of the unseen casualties of this play, only sometimes making it into adaptations. As Romeo speaks to the Priest, I think this is a great time to mention that there is a FUCKTON of Jesus and Christian imagery in this movie. Water and Jesus, goddamn.

The Priest agrees, believing that a marriage between the two could bring peace to Verona Beach at last. We also get a bunch of quick edits showing various parts of the Luhrmann Shakespeare Cinematic Universe, all backed by a choir boy singing “When Doves Cry.” This is an...unusual movie.

It also seems that Tybalt has issued a challenge against Romeo, which Mercutio and Benvolio muse upon. They meet with Romeo on the beach, and as they hang around, their revelry is interrupted by the arrival of the Nurse. She gives him a warning not to fuck with Juliet’s heart, which he says that he won’t, as they’re planning on marrying. She appears to approve, but Mercutio seems not to. Definitely going with a more superficially mercurial take on the character, which fits. But that’ll be more apparent later.

Nurse goes to Juliet, and...OK, is she supposed to be Italian or Hispanic? Because I feel like I’m supposed to be mildly offended, but I don’t even know what she’s going for here. Anyway, the wedding time approaches, and the two get wed in secret. But on the beach, Tybalt has come to go after Romeo. Romeo tries to make amends, even giving up his “sword” to him, much to Mercutio’s anger. Which, uh...he’s not gonna stand for.

And, of course, Mercutio’s fatally stabbed while defending Romeo’s honor. He lays A PLAGUE O’ BOTH THEIR HOUSES, and dies. Romeo’s PISSED, and immediately goes to kill Tybalt. That leads to Romeo’s banishment, although they consummate their marriage before he takes off. Also, Juliet KNOWS that he KILLED HER COUSIN...but it’s Leo, I guess, and...hormones.

Romeo’s banished and goes to Mantua, AKA a trailer park in the middle of the desert. Juliet, meanwhile, is commanded by her father to marry Paris, although she REALLY isn’t into it now! She goes to Laurence and, yeah, threatens to kill him AND herself if he doesn’t have an idea. Hormones, man. They’ll fuck you UP.

Laurence’s solution, of course, is to have Juliet pretend to have killed herself by drinking a potion. No idea why he comes up with this idea, or has the skill to make the potion, but some questions aren’t meant to be asked or answered. He also says to that he’ll send a litter to Romeo, to let him know what the deal is.

Juliet pretends to kill herself, and it interred with her relatives. Meanwhile, Romeo’s cousin Balthasar (Jesse Bradford) comes by the desert, having just gone to Juliet’s funeral, and tells him that Juliet’s dead. And since Romeo never got the goddamn letter, he’s decided, “Well! Guess I’m gonna kill myself.”

He gets some poison, then goes to Juliet’s tomb, which is...decked in neon crosses. I mean, it looks nice, even it’s very, uh...over the top. Goddamn.

And, at this point, you know how this goes. Romeo drinks the poison and dies, Juliet wakes up JUST after, then kills herself as well, and the parents of both parties arrive to see them both dead, along with the Prince, who says “Y’ALL ARE DICKS,” and bounces.

That’s Luhrman’s Romeo + Juliet. And it’s a movie. Yeah, that I’ll give you. What did I think? What rating does it get? Well...I’ll elucidate in the Review.

5 notes · View notes

thecoolestfreakyouknow · 3 years

Text

listen I don’t think Love Actually is a very good movie. BUT that scene where Keira Knightley is watching the video Andrew Lincoln took of her wedding and that slow realisation that it’s all footage of her and he’s been desperately in love with her the whole time to the tune of that excellent score is peak cinema. It’s like the mortifying ordeal of being known CONDENSED

#the way the realisation goes to her eyes? the way he doesn’t say anything because what would he say?#their performances are so good and MAKE that scene #my Dad LOVES that film and watches it all year round and 20 times at Christmas and I’ve been forced at gunpoint to enjoy it.

1 note · View note

myownpersonalbrandofherion · 4 years

Text

SOME NOTES ON THE BEGINNING OF BREAKING DAWN PT.1

I watched this in my essay breaks last night for the first time in ages and omg I have so much to say...

THE BEGINNING

Jasper and Emmett look like they're struggling with with the jump to that window lmao this reminds me that they said the harnesses for the stunts really hurt

Eddy boi in the cinema in the 20s or whatever is just ART.

THE WEDDING:

Alice coordinated everyone to wear purple omg i never noticed

Flightless bird you kill me every time

Edward has SUCH dry lips get some vaseline hun

Omg when she grabs his lapel to kiss him harder

Jaspers hair in the wedding scene is delicious

Seth I love you

Why is Billy so protective of sue? let charlie be happy ffs he deserves it after his trainwreck of a daughter

The way Billy slurps his drink when irina stares at him hahahahahaha

Irina sort your eyebrows out

Omg emmetts speech is peak himbo

'The hair'

Omg Renee get off the stage I wanna die

Eddie your speech is so emo

I really like the way they did bellas hair like it's not too polished she looks like herself I likey

THE HONEYMOON:

This bit is my favourite in the whole franchise (minus the training seen I fw that) it is so under appreciated!!!

the moonlight aw

the bit where Eddie breaks the bed and Bella is like ‘it’s okay’ breaks my heart that’s so fucking cute

FEATHERS

god i am touch starved

I am also pissed off Bella, why you gotta ruin every moment with your emoness Edward

ahahah Bella is so horny

aawww the waterfall bit

god Kstew is so hot, tanned Bella is God

MORE TO COME....

#twlilight #breaking dawn #breaking dawn part one #edward cullen #bella swan

1 note · View note

introvertguide · 5 years

Text

West Side Story (1961); AFI #51

The movie that I have spent so much time reviewing has been the absolute classic West Side Story (1961). It is the cinematic version of the Berstein and Sondheim play that was based on the Shakespearean story of Romeo and Juliet. The film was far and away the big winner at the Oscars getting ten awards including: Best Picture, Best Director, Best Supporting Actor, Best Supporting Actress, Best Art Direction, Best Editing, Best Cinematography, Best Sound, Best Score, and Best Costume Design. The AFI awarded it with 3 of the top 100 songs in American cinema (”Somewhere,” “America,” and “Tonight”) and it is considered the 2nd greatest musical. I want to go through the plot of the film briefly and then discuss some of its aspects:

SPOILER ALERT!!!

The movie begins with the toughest gang dance scene ever put to film. There is tension between a white American gang, the Jets, and a Puerto Rican gang, the Sharks. The Jets are led by Riff (Russ Tamblyn) and the Sharks are led by Bernardo (George Chakris). A fight breaks out and Lieutenant Schrank and Officer Krupke arrive and break it up. The Jets decide to challenge the Sharks to a rumble at an upcoming dance for neighborhood control. There is singing.

Riff says that his best friend Tony (Richard Beyman) should fight in the rumble, but Tony now has a job. Riff invites Tony to the dance, but Tony is uninterested. He tells Riff that he senses something important will happen and Riff says that Tony should come to the dance because maybe that is where that important thing will take place. Then there is singing.

Bernardo's younger sister, Maria (Natalie Wood), is excited to go to the dance because it is her first time going out, almost like a debutant ball. She is harassing Bernardo’s girl friend Anita (Rita Moreno) to make her neckline lower so she can impress at the dance. Once everyone gets there, despite the efforts of the DJ, the different racial groups do not mix and take turns dancing around the center of the room. Tony arrives and he and Maria fall in love at first sight in one of the most strikingly cinematic scenes. Bernardo is not having it and demands that Tony keep away from his sister. At the end of the scene, the gang leaders agree to have a war council at the local drug store.

Maria is sent home in a romantic daze while the rest of the Puerto Rican gang and their girlfriends dance on the roof and compare Puerto Rico and the US in a lovely rooftop dance. There is lots of singing.

Tony discreetly visits Maria on her fire escape, where they reaffirm their love. There is singing and it is very similar to the balcony scene from Romeo and Juliet. Side note, Maria keeps telling Tony to be quiet but they are both belting out their love for each other. Very silly. Krupke, who suspects the Jets are planning something, visits the drug store and tells the Jets to keep clean. After Krupke leaves, the gang has a rather long song and dance number explaining why their behavior is not their fault. When the Sharks arrive, both groups agree to have the showdown the following evening under the highway, with a one-on-one fist fight. Schrank shows up and tells the Sharks to leave then askes the Jets to tell where the rumble will be so that Schrank can protect them. The gang reveals nothing about the fight.

Maria is on cloud nine the next day at work and goes on about feeling like the prettiest girl in the world. There is singing. Anita accidentally tells Maria about the rumble. Tony arrives to see Maria, which shocks Anita. The couple admits that they are in love and Anita warns them about the consequences if Bernardo learns of their relationship. Maria makes Tony promise to prevent the rumble and the couple fantasize about their wedding ceremony. There is more singing.

The Jets and Sharks approach the area under the highway. Tony arrives to stop the fight, but Bernardo antagonizes him, trying to bait Tony into a fight. Unwilling to watch Tony be humiliated, Riff initiates a knife fight. Tony tries to intervene, which leads to Bernardo killing Riff. Tony see his best friend dead and kills Bernardo with Riff's knife. Police sirens blare and everyone flees, leaving behind the dead bodies.

Maria waits for Tony on the rooftop of her apartment building when the boy that Bernardo had wanted her to date, Chino (Jose De Vega), arrives and tells her what happened. Tony arrives later and relates his side of the story and asks for her forgiveness before he turns himself in to the police. Maria is upset about her brother but does not want to lose Tony so she asks him to stay with her.

The Jets assemble outside a garage with a new leader and decide that they need to lay low in case they run into the police. There is singing. The idea of the number is that they need to play it cool, but the members keep spazzing out like they can’t hold in their rage.

Tony and Maria arrange to meet at Doc's, where they will pick up getaway money to elope. Anita goes to see Maria and sees Tony running away. She is angry about Tony but agrees to help them since Maria loves Tony like Anita had loved Bernardo.

Schrank arrives and questions Maria about the rumble. Tony is waiting at Doc’s drug store and she can’t leave, so Maria has Anita go to the drug store in her place to tell Tony that Maria is detained from meeting him. When Anita reaches Doc's, the Jets harass her until Doc intervenes. Anita declares that Bernardo was right about them and that Chino killed Maria. Doc banishes the Jets and gives Tony his getaway money in the basement and delivers Anita's message. Tony runs into the streets, shouting for Chino to kill him as well.

In the playground next to Doc's, Tony spots Maria and they run toward each other, only for Chino to shoot Tony. The Jets and Sharks arrive to find Maria holding Tony, who dies. Maria stops the gangs from fighting and takes the gun from Chino and threatens to shoot everyone, blaming their hate for the deaths. Schrank, Krupke and Doc arrive and the gangs form a funeral procession, with Maria following. The police arrest Chino and lead him away. There is no singing.

This film stays very close to its roots and follows the timing beats of Romeo and Juliet almost spot on. Tony is Romeo, Maria is Juliet, Riff is Mercutio, Bernardo is Tybalt, Anita replaces the role of the Nurse, and Doc is the Friar. There is a lot less singing in the Shakespeare play. The opening fight scene, the balcony scene, the death of Mercutio by Tybalt, the revenge of Romeo. The story is all there. All are punished.

I try very hard not to be topical with these reviews, but I wanted this to come out before a 2019 remake was finished. Steven Spielberg is directing so it will likely do well and I did not want to have to delineate between the two by constantly referencing the year.

There is only one gripe I have with the film and that is the two lead actors. Tony does not seem like a tough guy who is won over by love and Maria is played by Natalie Wood in dark make-up. Neither of them are very good dancers and apparently neither of them could sing because both of them were dubbed completely for any singing sequences. But everything else is so vibrant and beautiful with spectacular music and dance sequences. The film is cinematically appealing with huge crane shots that show these massive scenes. The film could have put just about anybody as the lead and it would still have been fantastic, it is too bad there weren’t actors cast who could have elevated the role.

I want to point out again the scene where the star crossed lovers meet at the dance hall and how it is so beautifully cinematic. The two see each other and everything around them becomes dull and fuzzy. Only the faces are in focus. The music goes from blasting brass and super expressive dancing of all the people in the hall to just the couple dancing to light woodwinds very slowly and sweetly. It is exquisitely shot. The music then catches up and Bernardo steps in to break up the meeting. It is only about two minutes of run time, but it is one of my favorite bits of cinema that I have ever seen.

I have made fun of how strange the dancing is with the serious tone of the film (the intro fight scene, the “play it cool” number, the knife fight that looks like a dance number), but the incongruous actions add a charm that I absolutely love. I tried to get some of my housemates to sit down and watch the film with me and they were having none of it. I told them that one of the main characters was Russ Tamblyn who played the weird doctor in Twin Peaks, but they did not care. I told them the film had white actress Natalie wood basically in brown face. Nothing. I even threw in the “Beat It” video style knife fight and I still got nothing. So I watched alone. I still loved it.

The question of whether or not this should be on the AFI list is not much of a question: Of course. It is a beautiful story and a beautiful movie. It won 10 Oscars. It adapted Shakespeare’s great tragedy and set it in New York. The whole concept is pure genius. Would I recommend it? I would say that if you haven’t seen it then you need to go out right now and find it. It is referenced in so many things that not seeing it means you are missing out. The depth that this movie is ingrained in Americana is staggering. It is political, it is sweet, it is fun, and it is a tragedy. Managing all these things puts it in my top 10 of all time.

#west side story #Natalie Wood #rita moreno #bernstein and sondheim #musical #Oscar winner #shakespeare #romeo and juliet #race #Puerto rican #singing #cinematography #AFI movies #introvert #dancing

26 notes · View notes

therealkn · 5 years

Text

David’s Resolution: Day -2

Day -2 (December 30, 2018)

The Night of the Hunter (1955)

“And then the good Lord went on to say, ‘Beware of false prophets which come to you in sheep’s clothing, but inwardly, they are ravening wolves. Ye shall know them by their fruits. A good tree cannot bring forth evil fruit. Neither can a corrupt tree bring forth good fruit. Wherefore by their fruits, ye shall know them.’”

There have been plenty of actors who’ve tried their hand at directing films, with varying degrees of success. A big example is Ron Howard, who started out acting in The Andy Griffith Show and Happy Days, then went on to become an accomplished filmmaker with a lot of good films like Apollo 13 and A Beautiful Mind. Clint Eastwood’s had a pretty solid career as a director, with films like Unforgiven and Million Dollar Baby. Same with Rob Reiner, who went from being known as Michael “Meathead” Stivic on All in the Family to being known as the director of This is Spinal Tap, The Princess Bride and Misery (and also North, much as we’d like to forget that film exists).

Mel Gibson took on directing Braveheart himself, and that film was also a big success commercially and critically (also has a great soundtrack by James Horner); same thing with Tom Hanks and That Thing You Do!. But not every actor who goes into directing met big success, at least initially, and one such example is Charles Laughton.

Charles Laughton was a great actor whose more memorable roles include William Porterhouse in 1932′s The Old Dark House, Dr. Moreau in 1932′s Island of Lost Souls (a really good old horror movie where he is the best thing in it), and Quasimodo in the 1939 adaptation of The Hunchback of Notre Dame, which portrayed Claude Frollo as a judge over 50 years before Disney’s animated adaptation of the story. He was a fantastic actor who sadly directed only one film, but at least the film he made is fucking incredible and one of the best thrillers of all time.

The Night of the Hunter is the story of one Rev. Harry Powell, played by Robert Mitchum. Powell is a traveling preacher who also happens to be a serial killer operating in the same vein as Bluebeard: he finds wealthy widows, marries them, kills them, takes their money, rinse, repeat. And his latest target is Willa Harper (played by Shelley Winters), a widow living in Depression-era rural West Virginia. Willa’s husband Ben (played by Peter Graves) was arrested, sent to prison, and executed for bank robbery and killing two men during the robbery, but it just so happens that Ben’s cellmate was Rev. Powell himself, who was serving time for car theft. And Powell learns that Ben, before his arrest, gave the money to his two children - his son John and his daughter Pearl - for them to hide, meaning that not only is Powell going to go after Willa, he’s going to go after her kids.

So after Powell is released from prison, he goes to Willa’s town and begins charming his way into the town and endearing himself to the townsfolk, which does two things. One is to show Robert Mitchum’s talents as an actor: he is legitimately charming and charismatic as he tells the now-famous story of why the words “hate” and “love” are tattooed on his knuckles, and he quickly endears himself to the town and to Willa and Pearl, even to the viewer in some degree. And that’s where the other thing comes in, and that is that it shows how goddamn terrifying Robert Mitchum can be.

I ended the It Happened One Night review saying “Robert Mitchum is a scary motherfucker”, and this movie shows why. There’s a reason the American Film Institute put Powell on their list of the 50 greatest movie villains of all time. The way Mitchum plays Powell is captivating not only in how charismatic he is, but also in how sinister he is. At all times, even when he’s singing hymns with the townsfolk at an outdoor picnic, there is always this sense that something doesn’t feel right. Even when he is played a little more for comedy, like when he’s peeking upside-down at Ben in prison like he’s Kilroy, or when he’s hollering like Daffy Duck after getting shot in the arm (we’ll get to that later), there’s still this feeling of unease around him. If anything, the fact he can be more comedic makes him scarier because it makes him feel more like an actual person. It makes him more grounded and fleshed out and all the more disturbing.

Powell soon marries Willa and kills her, but not before convincing her that she has been a wicked woman - their honeymoon is him making her feel ashamed for wanting sex in a marriage, and she soon adapts herself to her beliefs. This leads to what I feel is the most disturbing and terrifying scene in the movie, where Willa is preaching to the townsfolk about her “formerly wicked” ways, surrounded by torches as she preaches her rhetoric. It’s legitimately terrifying to see her indoctrinated into these beliefs and speaking these words in this way.

Willa dies at Powell’s hands, and it eventually leads to John and Pearl striking out on their own, travelling downriver to avoid the pursuing Powell. This eventually brings them to Rachel Cooper, an old woman played by Lillian Gish who takes care of stray children, and who takes them in to live with her. Rachel is established as a badass old lady who does have a very kind and understanding side. The film reaches its peak when Powell tracks the children to Rachel, who doesn’t buy his sob story about Willa’s death for one moment and, when Powell goes after John, immediately goes for her shotgun to force Powell off, leading into a tense nighttime standoff between the reverend and Rachel. And how it ends... yeah, not spoiling this one. You’ll have to see it for yourself.

Put simply, it’s really depressing that Laughton didn’t direct another film. This is one of those movies that took some time to be seen as a classic. When it first came out, it did not do very well with critics or audiences, and it really got to Laughton to where he didn’t direct another film. It sucks because I’d have loved to have seen him direct more films, because if The Night of the Hunter is anything to go by, he’d have given us more great classics like it. This makes me wonder if after his death, he saw the film’s reception even today and how so many see it as a classic.

All the acting in the film is great, from Mitchum and Gish and Winters to the child actors, even to the Spoons, an old couple who are friends with the Harper family and whom the wife Icey (yes, her name is Icey Spoon) I absolutely fucking hate as a character. That’s not a bad thing, I think she was designed to be a character you hate, and if that is the case then it’s done very well. The music by Walter Schumann is excellent at conveying mood, especially when things get dark. But then you get to the cinematography and the lighting, and that’s the really good shit.

That screenshot I used for the film is the perfect example of that. The use of lighting in this film is god-tier and there are few films before or since that have used light like The Night of the Hunter. The symbolism behind it is very simple - light and dark, good and evil - but it’s absolutely striking. There are shots that are beautiful to look at and haunting at the same time: the ethereal depiction of Willa’s body in her car at the bottom of the river, the whole thing framed like a painting; the shot of John and Pearl sleeping in a barn when John sees Powell on horseback in the distance, searching for the kids; and the scenes with John and Pearl floating downriver, with the night sky above and the animals watching on the ground. There’s some really beautiful imagery in the film and it’s worth watching just for that.

I highly recommend this movie. Just the cinematography and lightning’s enough to make you want to see this movie for how great it looks, but it’s also a top-notch thriller with one of cinema’s greatest and most terrifying villains. Also, this is the first movie that I’d recommend you watch in the dark, preferably in the evening or in the early morning before the sun rises.

Next time: a Joan of Arc film, but not the kind you’re thinking of.

#David's resolution #The Night of the Hunter

1 note · View note

thefilmsimps · 2 years

Text

Fanny and Alexander (series) (dir. Ingmar Bergman)

-Jere Pilapil-

Fanny & Alexander was intended as Ingmar Bergman’s last work, and I would love it if every filmmaker of note got to say “this is my last work” and went all-out with their pet themes and obsessions. Imagine if Michael Bay got to do that and did a 5 hour special effect heavy action movie extravaganza about male bonds with robots thrown in. Zack Snyder kind of did this, in spirit, with Zack Snyder’s Justice League. One of the top reviews on Letterboxd compares this series to Twin Peaks: The Return, and I can’t disagree. Especially seeing it in the context of the Criterion Collection’s Ingmar Bergman’s Cinema boxed set, it’s clear how much this is meant as an encapsulation of everything Bergman worked to express up to this point: the bonds between people, families, theater, the existence of God, fantasy and reality, marriage… just listing out its ideas makes me think “of course this is five and a half hours”. And it’s worth it the whole way.

I’m hesitant to go too deep into my thoughts, since it’s long work that I’ve only watched this one time (so far, and I’m very interested in checking out the 3-hour movie cut). But the primary conflict is that of Alexander, a child whose father dies and mother remarries to a cruel and abusive bishop. The bishop is such a Bergman character: a priest who is strict out of what, I guess, he sees as a duty to his position, but is hated by those around him for it. Alexander tells a lie that the ghosts of the bishop’s deceased first wife and daughters died trying to escape being locked away without food and water for days at a time, and the bishop’s punishment is outsized (Alexander’s lie is believable, from what we see from his perspective). Jan Malmsjö plays the bishop, and what a great performance it is: I went to Wikipedia between parts 3 and 4 to check that he gets his comeuppance.

That’s the main story of the movie, but there’s so much more than that. Alexander (Bertil Guve, big eyes absorbing everything) has a great imagination, creating a nice excuse (not that one is needed) for many fantasy sequences, such as a great illustration of the kinds of fears that haunt him when he’s afraid of the dark. Some time is spent in a theater owned by Alexander’s family - first his father, then passed to his mother - and this setting has its own eccentric cast of characters. Among them, Alexander’s uncles, larger than life characters with fleshed-out feeling lives of their own, and his grandmother, played by Gunn Walgren, a centering force for a family in flux. And Alexander’s mother Emilie, played by Eva Fröling, who exceeds in an extremely demanding role that takes her through a range of extreme emotions.

The one thing I’m not sure about is the first (longest?) part, which luxuriates in a Christmas celebration featuring the family before tragedy strikes. It’s a pleasant form of world building, but did make me restless. Christmas parties often do that to me, though, and I suspect it might be like The Deer Hunter and its prolonged wedding scene. Test audiences supposedly liked the movie better with the near-hour outside of the war zone of the movie’s main body. In some ways, the opening of Fanny and Alexander maybe serves the same purpose. I don’t know. It’s a movie that is so earnest in its use of magic, I will allow that movies are their own magic, and that tampering with the spell, well, I’ve seen how that worked out in the latest Spider-Man.

10/10

#movie review #criterion #Swedish film #Christmas movies #Bergman

0 notes

mrmichaelchadler · 6 years

Text

Elizabeth Harvest

From almost the moment cinema was invented, directors have been drawn to the 17th-century fairy tale Bluebeard. Pioneer Georges Méliès did a version in 1901 (with some truly spooky effects). Alfred Hitchcock's "Rebecca" is a Bluebeard-inspired tale. So is "Crimson Peak." There was a witty modern version called "Bluebeard's Eighth Wife," starring Claudette Colbert and Gary Cooper. Catherine Breillat, born to tackle Bluebeard, made "Barbe Bleue" in 2009, exploring the story's undercurrents of passivity and sexuality. More recently, Alex Garland's extremely effective "Ex Machina" owes much to Bluebeard. The original author, Charles Perrault, father of the fairy tale, often wrote about women and girls in peril ("Little Red Riding Hood," "Cinderella," "Sleeping Beauty," "Bluebeard"). Writer-director Sebastian Gutierrez is the latest to tackle the rich implications of Bluebeard in his film "Elizabeth Harvest," bringing a modern horror-sci-fi sensibility to the story. The horror is already implicit. Gutierrez makes it explicit.

In the first scene, Elizabeth (Abbey Lee), a dreamy young woman in a wedding dress, is carried over the threshold by her husband, the much older Henry (Ciarán Hinds). The glass house he has brought her to perches in a mountainous isolated landscape. Elizabeth wanders around agog at her new surroundings, at the closet full of clothes fitted just for her. She submits to Henry's grunting sexual needs, staring at the ceiling with open flat eyes, and does her best to ingratiate herself with Claire (Carla Gugino), the mysterious "Mrs. Danvers" of the household, and Oliver (Matthew Beard), Henry's visually impaired son, who glides around noiselessly like a cat. The house is funereal and immaculate. Henry, a Nobel prize winner, warns her not to go into the room in the basement. Elizabeth disobeys, freaking out when she sees a row of cryogenic tanks, filled with her exact replica, submerged in a kind of amniotic fluid. Henry discovers her disobedience and chases her around the house with a huge knife.

The story loops back and repeats. Dylan Baker, a cop friend of Henry's, shows up on occasion, driving out to the house, asking questions, but other than that, we're stuck in the belljar with the members of the household. The characters' secrets pulse into the air, and at times the atmosphere is so over-charged the whole thing tips over into camp melodrama (and not the good kind).

The complicated structure of the script is made more so by Gutierrez's stylistic flourishes, some which work better than others. He uses split screens and single-color palettes, along with gigantic closeups of Elizabeth's startlingly blue eyes, fringed by wet eyelashes. The split screens are fun, intensifying the tension as we see Elizabeth hiding from Henry, and Henry in hot pursuit. The single-color scenes seem to signify "flashback", but it comes off as slick affectation. The house is beyond spooky and Gutierrez and his talented cinematographer Cale Finot explore the space with gliding cameras, and almost imperceptible zooms into a vase of flowers, an empty door, the fire in the fireplace. These are eerie choices, giving a sensation of emptiness and dread.

But the pace is glacial. There is so much explanation necessary to help us understand the basement room that Gutierrez throws in lengthy flashbacks, monologues, plus the discovery of Claire's private diary which details her backstory in a long voiceover sequence. As a character says in Noël Coward 's Hay Fever, "Talk, talk, talk. Everybody talks too much." Bluebeard taps into some pretty primal fears, and these elements are presented in a highly literal way. There's no room for the metaphoric, the emotional or symbolic. "Ex Machina" created a mood where issues of identity, womanhood, personhood, could be explored, all the things present in the original story. "Elizabeth Harvest" instead explains its own plot. This is a tough slog at 105 minutes.

Hinds is very creepy, a true madman, and Gugino does her best to fill in the character of Claire with overheated secret torment. Abbey Lee is mainly a fashion model, although she's done some film (memorable as one of the brides in "Mad Max: Fury Road"). Her resemblance to Mia Farrow calls up unfortunate comparisons to "Rosemary's Baby," another story about a helpless woman controlled by a sinister husband. Think of Farrow's submissiveness at the start of "Rosemary's Baby" and the amount of emotional territory she has to travel to get to Rosemary's final horrifying moment. Abbey Lee doesn't have the skill to traverse similar terrain. There's something mask-like about her face, appropriate at first since Elizabeth is a woman in a fog, but there are times when the mask holds her back, and shuts us out.

There's something queasily fascinating about the women in fairy tales. They have no political or economic agency. They are chattel, prey. But viewed another way, these women and girls seethe with disobedience and wild agency. They are forbidden to do certain things. They say, "Of course, honey, whatever you say" and the second they are alone, they go right ahead and do the forbidden thing. Pandora, Eve, Lot's wife, are blamed for the downfall of mankind. But without Eve's curiosity, there'd be no science, philosophy, intellectual inquiry. It's such a potent symbolic landscape. In "Ex Machina" you could feel Garland's urgent devotion to the movie's themes. The real lack in "Elizabeth Harvest" is it's not clear where Gutierrez's interest lies, why this story matters to him, what he's trying to say.

from All Content https://ift.tt/2MesIgN

0 notes

thewanderingmacy · 7 years

Text

Salzburg and Innsbruck and Tubingen

Time is flying now. (And I’m also forgetting all recent travels and beginning to remember the Asian countries I was in at the beginning).

But let’s talk about Salzburg.

I arrived at night, I remember that. I checked into my hostel and made a mental note that every night at 8pm they play the Sound of Music, since the film was shot in and around Salzburg. Then I went to sleep.

The first day it was boiling hot out, I do remember that. I had three full days to explore so I split the town up into two days and spent the third day in the surrounding mountain villages. So that first day, I explored the northern half of the town and the palace across from the main town (on the side of town I was on). It was so hot so I quickly checked out the cute streets (no cars are allowed on the nice side of town) and shops, got some lunch, and some ice cream to cool me, and visited a Mozart Museum. Mozart was born in Salzburg but in his adult life, he lived in Vienna/traveled, but his youth was, in theory, spent in Salzburg. A couple of his old childhood apartments are museums and I visited the earliest one. It was cool, I guess- they had a piece of his hair on display. I was more interested in his family and the fact that his sister was also a child prodigy but had to give up her talent for him. The palace was where a whole dance sequence was shot with Julie Andrews and the kids (in the garden). Then I went back to the hostel. I was only out for a few hours (it felt like longer tbh) but it hot and I had the following day to explore everything else so I wasn’t concerned. I did end up watching the Sound of Music that night. It’s a solid movie but it never really had a huge impact on me/my childhood so, like, it’s cool to see the film sights but I ain’t that interested.

The next day was another scorcher. I explored the south half this time. I saw the cathedral and a crypt, all nice and stood up to the other cities I’ve been to. I also ate apple strudel for check that off my list. Then I went up a huge cliff (I took a tram because it came with the ticket of the castle on top, thank gOD) and saw some stellar views of the alps behind Salzburg. It was really stunning and actually quite breathtaking. Then I explored the castle a bit. It was broken up into various museums. Honestly, as this point, I’ve seen so many artifacts, the only time museums impact is when they’re important buildings set up historically- like state rooms, princely apartments, that sort of thing. I love seeing that but the typical museum bores me now. So I saw a bit of what I liked in a part of the castle- they had a tour through part of it explaining the history of the castle, which I always appreciate. Then they had the Typical museum, explaining Austria’s history and then they had a late Middle Ages dining hall and apartment which was pretty nice, since most halls and apartments are from the Enlightenment/18th century and it was cool to see an earlier one. The rest of the castle was meh so I wandered out and wandered back to the hostel.

The next day was a good one. It was hard to figure out how to get out to the surrounding scenic areas but I figured I’d go with a hop on, hop off bus that hit the main stops. I started in the afternoon and landed in St Gilgen. There was some decent commentary through an audio guide on the way but it never came up again on the other buses. The town was where Mozart’s sister lived or something. It was a really stunning place, nestled between mountains, with a river running through them. The drive was great too, with lots of nice views. I figured I’d start the main attraction which was a tram/ski-lift thing that takes you to the peak of a mountain. I waited in line and almost got in with a group of tourists but I asked if I had to share and the guy just mumbled something so I waited for the next one and got to ride up by myself. It was a pretty long ride- around 10 minutes so I took a lot of photos. It kept going and going, even when I thought I was at the peak. Once I got off, there was a five minute walk to the very top. I took my time getting up there, taking a photo with every step I took. Once I got to the top, I was surrounded by stunning panoramic views of the alps. I stood up there for a while, I guess, because the bus comes every 90 minutes and I (spoiler alert) missed it. I know I had to sit down a few minutes to delete photos because I ran out of room, I was taking so many. Once I was satisfied, I left to catch the bus. I gave myself like 20 minutes but of course, there was a lineup to get down since I ended up mixed in with a large tour group. For a second, I thought they were gonna get in my cart but they didn’t thank god. So I got down and, from up there, I could see the bus arrive and leave (early, I might add- I would have made it if it followed the schedule). So I left and wandered around the town, got some fries and caught the next one. I learned that I really can kill an hour and a half without any effort or worry. The next stop was a short one, only 30 minutes (which is really 20 minutes since you want go be early incase the bus leaves early again). The bus actually stops and waits for the 30 minutes. I forget the town name but it’s where the wedding scene was in Sound of Music. I speed walked to the church, took a single photo, speed walked to the lake, took some photos (saw a weird play-train with a band on it going around?) and went back to the bus. And that was it for the day.

The following morning, I left (early) for Innsbruck. It was a 2 hour train ride that left at 8am (tomorrow I have a train at 6:11am ahh) so I just vegetated the whole way. I arrived and, after a bit, caught a bus up to my airbnb. Innsbruck is a town (bigger than the previously visited villages) nestled in the alps. The airbnb I was in was a little bit elevated, along the base of the alps, and there were some sick views. I was only there for two nights and, since I arrived early, I forced myself to only relax for a bit before going out. It was a Sunday, so I planned on seeing a castle, naturally, and then I walked through the main touristy part. The castle was honestly, not my favourite. It had a nice hall but besides that, it was eh. I got in for free, though, using my 18 year old trick. Then, I took a bus to the city center. I saw a church (for free again!) where Maximillian I was buried and his tomb was massive. Then I wandered through the streets, looked at souvenirs, stopped in a church and got tired, so I called it a day.

The next day, my phone had died because my charger broke so I was a bit off my game since I didn’t have a map or anything. So, I just bought a charger in the tourist center, checked out the southern half (the day before was the northern half) and wandered some more. I also had schnitzel and fries, finally. I’d been meaning to for a while and I did it and it was delish. I knew I had to see a movie that day, since I hadn’t seen one in Austria and it was my last day and I have to see one in every country. I wanted to see the new Alien (and even prepped by watching the original) but, when I got to the cinema, the employee said the english showtime wasn’t until 8:30pm and it was like 3pm and was not interested in waiting. The next english film was King Arthur at 5:45pm. And, as mentioned before, I can kill time very easily. I wandered to a McDonald’s, had a coke (something I hadn’t had in a longgg time), and wandered back and it was time. I saw the movie. It was terrible, I know it has bad reviews but it was your typical medieval action type of thing. It held my attention and got the job done. Then I headed back.

The next morning, I caught a train (well I had to transfer twice) to Tubingen, Germany, where I’m writing from. I haven’t done much here, to tell you the truth (and secretly loved it). It’s a very cute German town. It has a large student population since there’s a university here so there’s always youths around (which I don’t care for). I wandered around it a few times in the week I was here. Got ice cream, read my book, climbed a hill, went to a book market. Yesterday, I took a train and a bus to see a very pretty castle on a hill. Honestly, it was nice from afar but the interior was average (considering how many historical buildings I’ve seen). Today, I straight up did nothing. Went grocery shopping, watched Veep and somehow passed 8 hours.

And that’s it.

0 notes