Tim Burton in his repertoire. Turned on a grave theme, again and again embodying on the screen his ideas, which have long ceased to be insane and, even more so, original. It's no secret that for the last twenty years he has been marking time. Periodically `` shoots '', but either he is afraid, or deliberately refuses to go beyond his own gloomy world. But what can I say if the Frankenweenie released on the screens nothing more than a remake of the eponymous Burton short movie produced in 1984! Or something more?
You could say Burton pulled the trigger again. Not commercially (which is already obvious), but creatively. Surprisingly, his trademark, rather boring, the atmosphere that gives off carrion here does not at all cause the feeling of a boring routine. On the contrary, spiced with the suburbs of the American Dream, it allows the movie to bring a bold, final line to all of Burton's work. No matter how loud it sounds.
The story of the gifted young necromancer Victor (I wonder if he, having matured, met a slightly dead bride on the other side of death?), for all his, shall we say, freakishness, it looks incredibly charming. This is especially true of the introduction, scenes of acquaintance with New Holland and its extraordinary inhabitants. It reminds me of the beginning of some kind-pre-kind drama or comedy, passed through the meat grinder of Burton's perception – which in itself looks like a gloomy joke of the director.
Other humor is also peculiar – as usual with Burton. These are ominously ridiculous situations, and the behavior of the characters, and even their appearance and facial expressions (which is only one goggle-eyed cat with his no less goggle-eyed mistress). Plus to this – references to horror classics, starting with the names of the heroes, through themselves and various quotes, up to rethinking the plot twists. In the case of the latter, Mary Shelley's story is just a skeleton on which everything else grows.
But the main thing is – the plot itself does not look hackneyed, but rather classic, largely due to the above-described references. This is not a thoughtless use of a set of stamps and cliches – it is a carefully calibrated homage to everything that is beautifully horrible that Burton loves, that generations of fans of horror classics love, that has long been included in the intangible analogue of the House of Weights and Measures. And the dynamics with which Burton sweeps from the introduction to the credits, through these one and a half hours, leaves no choice but to be imbued with this story, filled with enchanting images of Burton's attractive characters.
As for them, they are traditionally impressive in their grotesque guises. An evil mayor and a slightly melancholic niece, sporadically caring parents and an eccentric girl, the governor of Quasimodo and his colorful `` patrons '' from among especially active classmates, finally, the main character himself, about whom a few words should be said separately. It is not difficult to guess that he is largely autobiographical – it’s enough to skim through Burton’s childhood to read him without much difficulty in this character. In a word, a parade of freaks, interesting personalities, who would benefit from a local psychotherapist. Which does not in the least prevent you from feeling genuine sympathy for them.
Finally, the very animation of these wonderful dolls. High-quality, expressive and, despite the black and white color scheme, in its own way bright, juicy. Bewilderment is caused only by stereoscopy, over which one can only laugh. In a cartoon, and even a puppet one, and even with such and such a color scheme, it looks at least inappropriate. Let's hope that it was dictated not so much by a markup on tickets, but by a desire to experiment.
Of course, Burton lately … no, I didn't give up much - just didn't make any progress. The last twenty years. But Frankenweenie as if he had absorbed all the most famous and sensible of what he is capable of – from favorite dolls to applied necromancy, from colorful characters to his own atmosphere, and worship of the classics can also be attributed here. And, most importantly, – love of the director himself, sincere, almost youthful, as he endowed his best works. Of course, there is no point in hoping that after all this, after a kind of summing up of the results, he will either finally direct the flow of his creativity in a new direction, or completely abandon business. It will not happen. But so far it is a sin not to enjoy the old, in his own way kind Burton, as he was at the beginning of his journey. Fresh.
the most important thing – love of the director himself, sincere, almost youthful, which he endowed with his best works. Of course, there is no point in hoping that after all this, after a kind of summing up of the results, he will either finally direct the flow of his creativity in a new direction, or completely abandon business. It will not happen. But for now, it is a sin not to enjoy the old, in his own way kind Burton, as he was at the beginning of his journey. Fresh.
the most important thing – love of the director himself, sincere, almost youthful, as he endowed his best works. Of course, there is no point in hoping that after all this, after a kind of summing up of the results, he will either finally direct the flow of his creativity in a new direction, or completely abandon business. It will not happen. But so far it is a sin not to enjoy the old, in his own way kind Burton, as he was at the beginning of his journey. Fresh.
The Topic of Article: Review of the Frankenweenie cartoon. Remembering your youth.
Author: Jake Pinkman |
