World War Z (the film)

I reviewed the Max Brooks bestselling zombie horror in September last year, and made the following remark about the film:

World War Z: An Oral History of the Zombie War (Max Brooks) was the zombie book I couldn’t be bothered reading, mostly because the trailer for the film left me a bit underwhelmed. (I have still not seen the film, having had it described to me as ‘Globetrotting Brad Pitt’, so any advice as to whether it is worth my time would be greatly appreciated.)

Having (finally) seen the film, I am disappointed to say that I stand by my earlier ‘meh’ stance, although I think ‘globetrotting Brad Pitt’ is perhaps a bit too harsh. I knew the film would not be faithful to the novel, but this is not even remotely the same story. The theme is not the same, the characters are not the same, and even the zombies are a different type of monster (think 28 days later zombies rather than shambling hordes). The elements I thought were excellent in the book (the social commentary and all-so-human failings including ineptitude, greed and selfishness) were ignored in the film (action, action and more action, plus Brad Pitt being a bit too stoic in the face of flesh-eating monsters). It is a pity, because a more faithful adaptation could have been fantastic. A social satire, District 9 kind of film. As it is, World War Z is a perfectly adequate zombie film feeling like a thoroughly wasted opportunity.

wwz_brad_pitt(Brad Pitt looking mournfully at the world burning)

World War Z is a good reminder not to underestimate your audience. The book does not, and is all the stronger for it. The film does, and I fully expect it to age as quickly as its special effects.

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City of Lost Children

If you have not seen La cité des enfants perdus, directed by Marc Caro and Jean-Pierre Jeunet, you have missed out. This film, although now more than 20 years old, is glorious. It is a French dark science-fiction film with steampunk and surrealist elements. It is visually stunning down to the smallest detail with gloomy canals and streets, atmospheric bars and old decrepit buildings, often presented at an almost grotesque, distorted angle. Even the costumes are top-notch, signed Jean Paul Gaultier. It is complicated, unnerving and almost claustrophobic, but beautiful in its unpleasantness.

For those that write, this is the kind of film that tickles the brain. Here, in viewing, sneaky plots are hatched and oddball what-ifs are born.

Synopsis (some spoilers ahead): The story revolves around the kidnapping of children from an unnamed port city by a cult of cyborgs, called the Cyclops. The children are delivered to a man-like creature called Krank, who steals their dreams for himself. Krank, unable to dream and aging rapidly as a result, keeps the children in his lair at an abandoned oilrig, guarded by his creations (six child-like sons (clones), a dwarf and a brain in a vat). One of the kidnapped children’s adopted elder brother, a carnival strongman named One, is hired by a gang of orphans to steal a safe, but spots the Cyclops during the theft. He then joins forces with Miette, one of the orphans, to save his brother. [End of synopsis, to avoid major spoilers]

The story contains conjoined twins that are also criminal masterminds, trained venomous fleas, a dream-stealing machine, a lost scientist and a fair few fistfights and explosions, in addition to everything mentioned in the brief synopsis above. Still, in my humble opinion, it is not that strange. Of course, the surrealism is present, but the story is quite easy to follow despite making the odd jump. My preferred mode of watching this particular film is letting it drift past, slowly sink in, and not worry too much about the details. To me, the City of Lost Children is more about emotion and ideas than about plot.

So what are the emotions and the ideas? It has been discussed in some detail, brushing upon the dual nature of capitalism and the different faces of human nature, to name but a few. My own thoughts go towards greed. Both sides of the story’s equation contain protagonists and villains. One and Miette are clearly heroic figures in this tale, foiled by very human (and very criminal) elements. At the same time, Krank’s creations are often innocent, foiled by their creator. To me, the overarching theme is how greed and personal gain at the expense of others (the twins, Krank, the Cyclops) conflicts with altruism (Miette, who helps One; One, who seeks to save his brother). It may not be a particularly advanced take on what is arguably a rather complex film, but it is a convenient umbrella for many of the finer discussion points (capitalism, human nature etc.).

I also think there is an interesting contrast between innocence and experience. Both the human side and the mechanical/created side has a sharp divide between those who are innocent versus those who are not. This is perhaps the most obvious in the relationship between One and Miette, where One is the innocent despite being the adult. It is a lovely contrast, and it allows Miette a very interesting role as the responsible person in their relationship, acting as the guardian of the interests of One. The difference in strength (highlighted by one scene in particular) serves to accentuate this unusual balance. This deviation from traditional roles and relationships is something I always appreciate in storytelling, and The City of Lost Children has it in spades.

Miette is, in fact, one of the most interesting characters in the film. Her experience and cynicism are believable, given that the landscape of the film is that of exploitation of children by adults (either by kidnapping and dream-stealing, or by forcing them into criminal activities). The city of lost children, and lost childhood, indeed.

The performances are solid. Particularly Daniel Emilfork as Krank, and Ron Perlman as One. Perlman was cast on the back of his role in Guillermo del Toro’s Kronos (another great film), and his performance as the taciturn, child-like adult is excellent. Again, it plays wonderfully against Miette, less than half his size and more than twice his intellect and experience.

Angelo Badalamenti (of Twin Peaks fame) created the soundtrack, with the theme sung by the amazing Marianne Faithful. The result is light and ‘carnivalesque’ at times, but with an underlying seriousness and a sombre feel. I particularly love the main theme, L’anniversaire D’irvin and Miette’s theme, but the entire soundtrack is worth a listen.

Have a look at the trailer for a taste of what the film is like:

Alexii Muftoll’s In The Tall Grass

I came across Alexii Muftoll’s short horror animation film In The Tall Grass when I was writing the review for Stephen King and Joe Hill’s novella of the same name. The animation is an atmospheric and unsettling account of twisted perception, told through the eyes of Joseph, hiding in his own flat from horrors that may only exist in his own head. Watch it for yourself or visit Muftoll’s vimeo page.

Salieri the villain

“I will speak for you, Father. I speak for all mediocrities in the world. I am their champion. I am their patron saint.”

If I had to choose a favourite film, it would be Amadeus, almost solely because of my appreciation for Salieri. It is Salieri who carries the story, Salieri who narrates, Salieri with whom we identify. Salieri is the protagonist, and Salieri is the villain.

I have pondered this film often enough to figure out why I love Salieri’s brand of villainy so much, and have narrowed it down to four reasons.

First, Salieri and Mozart are similar. They share their love for music and their ambition to compose and be applauded. They occupy the same niche, even as Mozart is vastly more talented than Salieri. A relationship, even an antagonistic one, is built upon similarities as well as differences. The shared traits are amplifiers of the conflict. Without such parallels, the hero-villain dynamic becomes a simple black and white affair, but with them, we get nuances of grey. It is in these patches of overlap that relationships become interesting, but to achieve that, there needs to be common ground. Salieri is hopelessly fascinated with Mozart’s music, adores it like no other in the film. He is touched to the core by reading the sheet music for Serenade for Winds, and while he engineers the failure of The Marriage of Figaro, he attends all of its limited performances in secret. This fuels his hatred for Mozart but also creates complicating moments of sympathy between the characters.

Second, Salieri and Mozart are different. We see Salieri in the beginning of the film, a respected composer with reasonable talent, likable, civilised: a fortunate, content man. Enter Mozart, a loud and crass man, and from Salieri’s (and therefore the audience’s) point of view undeserving of his talent. Where Salieri is reserved, Mozart is boisterous; where Salieri is knowledgeable, Mozart is ignorant; where Salieri is manipulative, Mozart is naive. Interestingly, this is perpetuated throughout the film, but increasingly in reverse. As Mozart’s flamboyance, braying laughter, thoughtlessness and tactlessness give way to a much more subdued and arguably more sympathetic character, Salieri becomes aggressive, overtly nasty (see the scene with Mrs Mozart) and cruel.

This balancing of Salieri’s villainy with the tempered Mozart is crucial to allow the two characters to stay at opposite ends of the spectrum as the story progresses. It maintains the diametrically opposite relationship and forms the contrast against which Salieri’s descent can be more clearly seen. At the same time, the love for music tethers the increasingly villainous protagonist and his increasingly sympathetic antagonist to each other, never allowing them to drift apart.

Thirdly, Salieri’s justification is clear. From Mozart’s introduction and his tactless reworking of Salieri’s welcome composition in a public and humiliating manner, we understand Salieri. Who has not felt mediocre, envious, and bitter at the success of others, and presumably with less cause? His every petty thought is relatable on some level. Upon Mozart’s arrival, Salieri’s talent is instantly dwarfed, his self-image and ambition crushed. He is humiliated and insulted. It is no great stretch to see that he wants retribution. Maybe even deserves it. Unlike weaker villains, Salieri gives us someone with whom to identify, leading us every tiny step of the way into the role of villain. It is a well-crafted slippery slope, each move so easily justifiable almost until the end. Particularly since Salieri’s jealousy is ever tempered by his love for Mozart’s music. Even in his final deceit, Salieri supports the composition whilst working to destroy the composer.

Finally, Salieri is unable to win. Even though Mozart dies, poor and almost alone, Salieri still loses and destroys himself through his own inadequacy, jealousy and rage. If the story had ended with Mozart’s burial, the film would have been a much simpler story of one man destroying another. Instead, we are given the final scene: Salieri wheeled away, old, mad and bitter, having endured a front-row seats to his own destruction for 32 years, watching himself judged by time and found lacking. All to the tune of the second movement of Mozart’s Piano Concerto in D Minor.

“Mediocrities everywhere… I absolve you… I absolve you… I absolve you… I absolve you… I absolve you all.”

Exit stage.