The Dark Crystal

Retro

TAKE 1: One Man’s Opinion

…because film is largely subjective

by Frederick William Springer III

The Dark Crystal

Release Date:  17 December 1981                                                          Runtime:  93 Minutes              

Review Date:  19 March 2006                                                                 Rating:  6 (of 6)

 

     "Another world.  Another time.  In the age of wonder."  So starts Jim Henson's puppet masterpiece "The Dark Crystal," co-directed by Frank Oz, and it never fails to deliver.

     It is the story of Jen, a Gelfling, who is told by his dying master, the Wisest of the Mystics, that he must save the world.  A thousand years ago, the crystal cracked and the gentle Mystics and cruel Skeksis appeared.  Upon hearing the prophecy that a Gelfling would heal the crystal and hence they would cease to exist, the Skeksis eliminated the entire Gelfling race.  Or so they thought.  Though Jen has never left the valley inhabited by the Mystics before, he must now embark on his journey alone, find the crystal shard, and restore order to his world.  But he must hurry because if his mission isn't complete before the three suns eclipse, the Skeksis will rule forever.

     Character design and costumes go a long way in a fantasy film such as this.  Graphic designer Brian Froud, known for the imaginative book Faeries which he co-illustrated, was tapped as conceptual designer and proved to be an excellent choice.  Evil oozes from the Skeksis, bird like creatures with sharp features--beaks, teeth and long bony fingers.  The Lords of the Crystal are self-involved, walk around with scepters, and dress in gaudy, colorful and ornamental garb.  Those under their control are also horrific creatures--giant beetle soldiers, spy bats, and zombie slaves.

     On the other hand, the Mystics come across as majestic and serene.  Their real-life counterpart is hard to place, perhaps somewhere between a pony and sloth, except with an extra pair of arms.  Their features are rounded, they wear simple, naturally-colored clothes, and live off the earth.  The Gelfling are a child-sized, humanistic race (making it easier for the audience to identify with them) and they also don simple, earth-tone attire.

     The puppets in this movie are more believable than many live actors.  They have intricate movements in their face that supplementary convey the emotion in their speech and body language.  It certainly doesn't hurt to have mimes among the performers.

     The sets are beautifully constructed and no detail is spared.  Whether it's one of the many rooms in the castle, out in the valley, the wilderness, or exploring ruins, you believe that you have been transported to a real world in another realm.

     Trevor Jones' score, performed by the London Symphony Orchestra, compliments the film perfectly.  Wind and string instruments are predominant in the themes for the Mystics and other assorted good guys, a seeming overture of awe when Jen discovers something new.  The Skeksis and their henchmen are horn heavy with creepy additives.  The music completes the fantasy.

     Originally released in 1982, "The Dark Crystal" stands the test of time.  Twenty-four years later, it is still as imaginative and entertaining as ever.  And that's why it remains my all-time favorite film.

V for Vendetta

Retro

TAKE 1: One Man’s Opinion

…because film is largely subjective

by Frederick William Springer III

                                                                         V for Vendetta

Release Date:  17 March 2006                                                               Runtime:  132 Minutes  

Review Date:  18 March 2006                                                                 Rating:  Pre-dates My System

     There are many movies (and television programs too for that matter) whose concept sounds intriguing enough to offer promise.  That sounds like a really great premise, can't wait to see it!  However, more often than not, from there the piece usually falls flat on its face and "V for Vendetta" is no exception.

      V is for Vision of the future, and not a good one at that.  Over time, freedoms have been taken away from the people of England in order to ensure their own safety, so says the dictator.  V is for the Vulpine revolutionary who believes that government should fear the people, not the other way around.  And V is for Voice, the one our hero gives to the Victimized Masses.

     While the actors deliver believable performances, the characters fail to stir any emotion in the Viewer, sympathy or otherwise, and so you watch the screen not really caring what happens to them one way or the other.  The imposing dictator (John Hurt) is always angry, Vehemently spewing forth orders, but he isn't particularly scary.  Nor are his henchmen.  The society they have created is, if you think about it, but the movie doesn't allow you to do that.  It doesn't dwell on what has been lost but focuses more on the upcoming revolt with bland apprehension.

     V is for Vague references to curfews and food rationing.  Human guinea pigs and elimination of homosexuals are injustices also briefly touched upon, but not with the dramatic affect needed to carry our hero's mission.  (I don't think that there is any room for debate that the dictator is the real terrorist and not the revolutionary, so I don't see how promoters are trying to spin this as a controversial film.)

     Our masked hero (Hugo Weaving) is elegantly charming and appears knowledgeable.  He understands the movement he sets into motion is bigger than himself and that as a symbol (aptly revolutionist Guy Fawkes), rather than a person, the message he brings forth is more effective.  (In this regard, it seems here that a page was borrowed from another comic book based movie, "Batman Begins," whereas the whole book should have been copied since that was a more dynamic depiction of a revolutionist rising against a corrupt government).  Our hero saves damsel in distress Evey (Natalie Portman), they exchange what is sometimes lively banter, and she eventually comes around to his way of thinking.

     Special effects are kept to a minimum and most of them are realistic, nothing overtly screaming CGI, except for one battle scene where homage is unwarrantedly paid to the writers (the Wachowski Brothers) with blades moving in slow motion, a la "The Matrix," but blood from the wounds still spurting at real time.  We get that our hero is quick without seeing the swoosh of his knives in the air and the effect feels contrived and campy since its only appearance late in the film lasts merely a minute.

     The music suited the film well though, keeping with the mood.  And there is always something about Violence set to classical music that makes me snicker, like civility and unrest are two sides of the same coin bound to come together at some point.

     But I am Vexed by two implausible happenings in the confine of the plot:  (1) Our hero's powerfully superhuman call to his cause when he is anything but superhuman and (2) our damsel's impeccable hygiene while she is a tortured prisoner.  Something tells me that when the clothes given to you are barely enough to cover your body and the food is literally not even fit for a rat to eat, that the nice captors aren't going to give you a razor to shave your armpits and legs (not that that would even be on the mind of someone so terrified and wallowing in self-pity that they remain in the fetal position when not being interrogated).

     Someone should also talk to the marketing department at Warner Brothers.  With so much hinging on the Gunpowder Treason of 1605, you would think that the head honchos would "Remember, remember, the fifth of November," and release the film on the weekend of, especially in the U.K. where the constant reference would have the most potency.

     In the end, V is for Vacuum as it sucks away 131 minutes of your life that you'll never get back.  If you're smart, you'll leave the theatre seats Vacant as this is the kind of movie you wait to come on cable and watch only if the other 100 plus channels are devoid of good programming.