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I’d love to hear an old stand-by; Howard Shore or Elliot Goldenthall could help breath some life into the rather tiresome super hero scene of late.
And here’s a link to the cover art:
Okay. So perhaps more than before, Burton is shifting his feelings to children? But why then add a subplot involving Willy Wonka and his estranged father? To show that Burton is learning something from his own children? God dammit you’re debunking my theories!!!
Exactly. Remember how great his opening credits used to be? Beginning with APES, the tone setting style of a Burton opening credit sequence has fizzled…
“Wonka’s attempt to isolate himself from society and fill his factory with whimsical diversions only leaves him empty and miserable – he’s ultimately only saved by entering back into the family unit and community.”
“And in Corpse Bride, the heroine is not an outcast at all, but part of a loving and loyal community. The entire film is about interpersonal relationships, people reaching outward, not inward.”
That’s a good idea, but it’s nothing new. It fits with Burton’s characters looking for family or dealing with a father am is something that can also be said with BIG FISH. But he fumbles this idea BIG TIME.
The idea of reaching outward has always been there. His “outcast” characters always reached out for help. Pee Wee relied on people to help him find his bike, Lydia in Beetlejuice reached out to the ghosts of the previous homeowners, Edward literally reaches out to Peg when they meet in the attic…
Burton seems to be struggling with real family. He’s always dealt better with surrogate ones (Ed Wood and Bela Lugosi is such a wonderful father/son relationship.) I think he’s still searching for something, but it’s been a long while. Maybe I’ll change my tune, but he’s becoming dangerously predictable.
Depp singing. Sure. I’ll give you that one. But this hardly screams “musical” to me:
And no mention of Sondheim? Just who was the film being marketed towards? PIRATES fans or Sondheim lovers? Of course they would know when they hear the song. But no “based on the most successful broadway musical in history”, or something like that. Nope. Just Depp. Horror. Gothic. Tim Burton. Blood. Like I said, it barely hints at the fact it’s based on a musical.
The subtext is inconsistent from BIG FISH to CHARLIE. There’ subtext in any film or screenplay. That’s a limp argument. No common theme from film to film that might draw an artist to making a statement? Something that compels one to tell a certain kind of story? I don’t see him exploring any ideas from film to film they way he used to. I guess they’re all still “outsiders”, but he’s in serious need of growing up. He’s perpetually spinning his wheels. There no sign of discovering new ideas or themes. Look at Terry Gilliam over the past 5 years. Far more satisfying output than Burton. Less commercially successful, but hey, Burton’s got two new mouths to feed…so again with my theory that he’s just choosing a safe middle ground for the best interest in his career.
Stop motion may be a niche market, but Burton isn’t. COPRSE BRIDE may not have lit the box office on fire, but it was pushed heavily as a (guess what?) Oscar contender for Animated Feature! Burton was campaigning for that movie all over LA when the DVD came out – autograph signings at Best Buy; screenings and Q&A at the DGA, etc. He was even at The Oscars; something he has consistently avoided over the years.
SWEENY may have been edgier without the lineage of past Oscar baited musicals that proceeded it, but otherwise, Burton has by and large set up camp in Dullsville.
Burton may not have pulled back from the violence, but it was made and marketed with the intent of being a major Oscar contender. It was a gamble in content only. Would that film exist with Depp prior to PIRATES OF THE CARIBBEAN? Exactly… And remember the marketing campaign? Barely hinted at it’s musical roots.
What subtext in BIG FISH and CHARLIE? Men coming to terms with their fathers? Watch that scene where Billy Crudup confronts Helena Bonham Carter about having an affair with his dad. Major fumble. He can’t handle realistic drama. Willy Wonka coming to terms with his father at the end of CHARLIE? It was a sloppy conclusion to a half baked idea. No emotional ending at all. If they wanted to add such a subplot, why not make it between Charlie’s father and grandfather. They were far more likable and had more screen time.
Subtext in SWEENY? Not really. It’s a pretty cut and dry (sorry for the pun) revenge melodrama.Stop motion version of FRANKENWEENIE is not radical. Burton + remake + Disney + Stop motion = safe idea.
Disney would love to rekindle the marketing cash cow that was NIGHTMARE I’m sure.Doing well at the box office and critically well-received means nothing. Critics have lightened up on him and he has distilled his edge. I wonder if part of it was becoming a father too. Remember when his movies upset people? Parents hated NIGHTMARE BEFORE CHRISTMAS, McDonalds was stuck with a massive marketing campaign to tie into BATMAN RETURNS after it was criticized for it’s violence (Penguin chomping off a guys nose anyone?) and making an R-rated black and white comedy about a transvestite b-movie maker was a devious gamble; resulting in his finest movie – EVER.
Now it’s all safe bets: remakes and Oscar bait. With the latter belching back in his face. People often seem to get excited at first glance when they see his movies, only to stop and re-think it. I too was such a person. BIG FISH, CHARLIE, SWEENEY – all glitter on the outer shell, but hollow inside. My tastes may have changed, but I can detect when an artist is sticking with the middle-ground.
Bleeeeeech….
I think Burton has lost his edge since becoming involved with Helena Bonham-Carter. Seriously. I detect a serious shift in his creative work post-PLANET OF THE APES. Oh Tim, how I used to love your films…
I reckon this DVD is out of print. Which is why ebay dealers are asking so much for it. The chances of you finding this at a retail level sounds slim.
Joe Johnston is director-for-hire after Mark Romanek committed career suicide and left the project. Bennicio Del Toro is a major force behind the film and I’m sure with Danny’s past Universal gigs, it just seemed appropriate.
I’m pleased as fucking punch that he’s doing this movie….
Uh, did we all just get our wishes to come true? Jesus Christ, what a happy bit of news. Hope it turns out to be true…
And I guess it kinda comes full circle. Watch this just past the first minute mark.
