Centre Stage, despite the abundance of relatively poor reviews, is one of those films that "everyone has seen". Directed by Nicholas Hynter and released in 2000, the film documents the journey of twelve young dancers who have auditioned, and subsequently gained entry into, a major Ballet Academy in New York City. The personal and social dramas that accompany the pressure of making the Ballet "leagues" so to speak, are showcased in the film (albeit overly dramatised by a weak female lead - Amanda Schull), as are the politics of Ballet and conformance to expectations (like bulimia).
Regardless of whether or not the film was actually 'good', Centre Stage is a teen drama that has survived the test of time. 14 years on and the younger generations still iconacise the film as "that dance movie" that every young Ballet dancer aspires to. For that, the film should be credited. Sure, the acting was weak, particularly the chemistry between the Schull and her love interest (played by Sascha Radestsky), and the plot was unrealistic and over-dramatic, but the dancing was truly impressive, and "every girl's dream".
One would think the premise of a normal girl turning into a princess provides the basis for a happily ever after fairytale, but we all know our most respected director Guillermo del Toro better than that. Pan's Labyrinth goes past and further beyond than the darkened fantasies of Tim Burton, and brings us a beautiful world both resplendent and horrific. This film is a must see, and it's no wonder Pan's Labyrinth is on the imdb top 250 sitting comfortably at rank 120 as I write this blog post.
If you haven't seen this film yet, then it certainly would be an eye opener for you.
Set in the aftermath of the Spanish Civil War, we are introduced to Ofelia who along with her pregnant mother are moving into a forest to stay with her stepfather Captain Vidal. I have to admit I'm not the best at summarising stories, and especially since this is one of those you'll have to see for yourself.
Let's just say this world Ofelia moves into, is both fantastical as it is dangerous. While she tries to fulfil three tasks given to her by the mystical faun to prove herself as the real Princess Moanna of the Underworld, her stepfather makes the world around her a real dystopia as he attempts to hunt down rebels and control all those around him.
One thing (out of the many superb things) that del Toro does in this film is that he somehow allows both realms of fantasy and reality to converge, but at the same time never really. All the fantasy elements in the film are mostly present through Ofelia. When she isn't there, there's no fantasy. Keep in mind she is the only child besides her baby brother in the whole of the film, everyone else: adults. This really says something about the way we, the audience, see the film. While we can see fantasy in the film, just like the adult cast we cannot believe the truth of it.
While we root for Ofelia's success in becoming a princess, we know this is just a fallacy to make the bleak reality of the film seem less than it is. Hell, the ending even gives us both sides of the coin of fantasy and reality. (one I'd refrain from explaining due to spoilers). Let's leave it at the fact that del Toro wants us to make a decision of how we watch the film: either through harsh reality, or sublime fantasy. But the reality is (ironically), the latter is hard to choose.
In an industry typically terrified of subtitles and child
actors “Let me in”, the 2010 remake
of 2008’s hit Swedish film “Let the right
one in”, performed surprisingly well, sticking to much of the films
storyline quite admirably. However it is what has been left out and what has
been exaggerated that ultimately brings a greater disparity between the
interpretation and the original to light.
In “Let the right one
in” there is a lot left ambiguous; particularly in relation the
relationships between adults and the children whose stories make up the bulk of
the film. In the remake it’s stated to all but a certainty at the beginning of
the film that it was her father she was living with, while in the original the
relationship is left unexplained beyond the fact that he most certainly was not
her father. Whether he was a friend or partner is never explained, nor is it
viewed as important but the possibility that such a relationship was less than
wholesome clearly did not meet Matt Reeves’ (writer/director of “Let me in”) vision for a more accessible
adaption. Despite the fact that it is later revealed that he was not her
father, but rather another boy who met at the same age in years past (as the
young female vampire at the centre of both films does not age) the fear of
ambiguity is clear, and stifles the adaption significantly once noticed.
A frame from the original film
Similar ambiguities lie in the nature of
Oskar’s (The lead young male in “Let the
right one in”) parents and their relations ship with each other. Tomas
Alfredson (Director) here clearly isn’t interested in explaining specifics,
subscribing instead to the notion of “show, don’t tell” while the remakes approach
seems to lean more towards a “show and explain” model; explicitly showing they are seperated. To me this sums up the
attitude behind most remakes in general; to exert far greater control over the
experience of the film; to eliminate all subtlety. In order to make a more
palatable film Reeves removed many of the sinister possibilities and
implications of the film to show a stricter, more tightly controlled and far
more specific story.
Ultimately the point of this post is not to knock remakes.
Some of them are great films in their own right, however there is a significant
change of attitudes that accompanies shifts from a country of origin to another
that must be acknowledged. So keep that in mind next time you see a film
remade, and do yourself a favour and watch both before passing judgement on
either.
If you're not into football, there isn't a single scene in Draft day (2011) you will care about. Its draft day at the NFL, and according to the voice over, it's a day when "lives are changed, fates are decided, dynasties are born and the clock is always ticking." Sonny Weaver Jr. (Kevin Costner), who is the general manager of the Cleveland Browns, is looking to turn the franchise around with the NFL Draft. Given the first-round pick by the Seattle Sea-hawks, Sonny must decide what he's willing to sacrifice in order to save football in Cleveland.
While the movie isn't necessarily about the game itself, its about the behind-the-scenes business end, which may seem dull but is actually surprisingly thrilling. The insider look from within the offices is somewhat as compelling and interesting as Moneyball, which also showed the attempts of a professional sports team do something with their name. Nevertheless, if your not into football, you may find yourself at times clueless as to what is actually happening. With an amazing performance from two time Academy Award winner Kevin Costner, this film is surely one to watch for all you football fanatics out there. Check out the trailer below.
