Bernardo Villela is like a mallrat except at the movies. He is a writer, director, editor and film enthusiast who seeks to continue to explore and learn about cinema, chronicle the journey and share his findings.
As opposed to last month’s film, which featured dramas that can be presumed and inferred but are not in the Gospels Son of God deals solely with stories from the Bible, most of which are very well known.
I knew that in liking Son of God in spite of some of its sketchiness, incessant gravitas and occasional bouts of television (This film was spliced from a TV Mini-Series called The Bible), I would be in a minority.
Its tonality and casting of leading roles are among its strengths, namely Diogo Morgado, despite his occasional accent lapses; Adrian Schiller as Caiaphas, whose scenes are a persistent highlight of the film; and Greg Hicks who does great things in the thankless role of the sinfully noncommittal Pilate.
The film does try to be a bit too inclusive in the narrative and that creates some issues, but in covering the life of Jesus in a cradle-to-grave format you’re bound to have a tug-of-war between being too sparse or too packed. It’s an unenviable task the film deals with well. As for the aforementioned gravitas, with a tale of this nature that’s the better side of the equation to err on, however, it’s only somewhat lessened by that fact rather than ruined by it like some films can be
Back in 2014, when it was released, I included it in my blog’s year-end awards. It earned a BAM nomination for Best Art Direction. Son of God is available to stream on Netflix or to own on physical and digital media.
I’ve debated starting this theme for a few weeks, and I ultimately decided I would as it would encourage me to looks for options that actually fit what I’m aiming for. If one pays too much attention to Top 40 type music you tend to see a dearth of creativity in the music video form. The music video is spawned from short films and can be as creative if not more so than their predecessor. Far too often it does just become singing heads. I want to try and buck that trend and find ones both new and old that do something somewhat outside the box, at the very least have some sort of visual narrative. Here we go.
Treat You Better – Shawn Mendes
In the afterword in Stephen King’s End of Watch he makes a note that the National Suicide Prevention hotline number he included in the story is real. Similarly, Shawn Mendes’ video Treat You Better which crosscuts between his plaintive lyrics and soaring vocals to an abusive relationships in all ways possible. It ends with a title card with a site and number for the National Domestic Abuse Hotline. Rhythmically and aesthetically its as sure-handed in its message as it is powerful.
This was one of my favorite papers in college. In it I had to compare and contrast three stage productions of Chekhov’s Uncle Vanya, and then I discussed my adaptation ideas. Naturally, I wrote of attempting a cinematic portrayal. Enjoy!
Visions of Vanya
When a director takes on the job of reviving a play he or she has the unenviable task of breathing new life into the piece. It would be quite easy to go on staging the same play in an identical manner as it was first performed. This practice is not unheard of but it is both boring and lacking in artistic vision.
When dealing with a play like Chekhov’s Uncle Vanya, which has many timeless and universal qualities, an adaptation of some kind is almost a necessity. This is so as Chekhov’s work has different meanings to various different cultures.
The first interpretation of Uncle Vanya that caught my attention was a 1997 version of the play performed at Stanford Summer Theatre. Jarek Truszcynski, who formerly worked at the Polish National Theatre, did any unusual thing in that he got both local and foreign actors with varying backgrounds in both theatre and film. This blending of styles and backgrounds, while no doubt unique, must’ve lead to some inconsistency from one performance to another. The most interesting thing about this adaptation is what was done with the stage.
Jarek Truszcynski
Drawing on Chekhov’s poignant humor and tragicomic vision, director Truszcynski designed an intriguing set based on a series of doors and windows to highlight the failed connections that inform the life of Chekhov’s wonderful, if troubled characters. In a similar vein, live piano (Schubert’s Fantasia in F minor, 4 hands) was woven into the action, underscoring the erotic desires and mismatches that fuel the play.
While I have no photographs of this set, one who looks upon it will undoubtedly know that the set was designed that way to say something about the play itself. This would be further underlined if the actors used these doors and windows to their advantage. The use of music is something that I have considered when reading this play and it is an effective way to communicate to the audience something that may be, in fact, contrary to the words spoken or, as a last resort, to emphasize the emotional impact of the scene.
The next version of Chekov’s play that I found interesting was directed by Libby Appel at the 1998 Oregon Shakespeare Festival. What Shakespeare and Chekhov have in common I’ll never know. The way the set was constructed in this play reflects the most negative possible interpretation of the text.
“The stifling set has a black backdrop, with four bare walls on both side [sic] and a maze of doors. There are plain chairs, a table, and a piano which emanates original music reminiscent of some of the more gloomy music of Rachmaninoff.”
Libby Appel
We see some similar elements between this and Truszcynski’s version of the play. Here have a dark backdrop and every possible place where color could be added it’s plain. We find a similarity in the amount of doors. The doors on the set may not mean as much in this version. This is a play with quite a few sets and instead of having the actors constantly exit the director may want to have the actors simply move to a different part of the stage. Yet the doors here do seem to imply that all these characters are connected in that they’re unhappy with the life they’ve had to lead. The amount of black coupled with that fact make this the darkest version of this play possible. Any comedic element the play may contain has been removed.
The last and probably most intriguing version is that of the Steppenwolf Theatre Company. This is a company founded by Gary Sinise, best known for his portrayal of Lieutenant Dan in Forrest Gump, and some of his friends formed just after he got out of high school. It is now a big company and many other renowned actors have performed plays with them.
It’s Steppenwolf it seems that comes closest to striking the delicate balance between tragedy and comedy in this play.
“Chekhov’s Uncle Vanya can be played with bitterness and despair, or it can be played with a reminder of hope. Steppenwolf’s production chooses the latter. In the end, a certain equilibrium is restored – moody, perhaps, but with the smallest promise of realization and real change. What we come away with is hope not so much for Vanya and company, but for ourselves.”
Staging and the way the actors interpret their roles has a lot to do with its tone. Music may be helpful but it is only a necessity if the actors are not doing their jobs properly.
“Austin Pendleton (Vanya) and Jeff Perry (Astrov) play well against one another as the dogged, summer-love-sick estate-manager and the active environmentally-minded doctor; they are fittingly matched as complementary forces, friends as well as rivals, different yet reciprocal natures. Pendleton brings to Vanya a contemporary, Woody Allen angst and some rather appealing lickerish looks, as well as the capacity for desperation that moves us as he comes face to face with the falseness of his idols and the sterility of his life, a long road of untaken opportunities. Jeff Perry as Astrov moves with facility between comic and compelling, presenting a magnetic , engaging, human portrayal of the doctor, equally vulnerable to the beauty of saplings and Yelena’s charms.”
If this is the kind of response actors are eliciting then they are most definitely doing an amazing job. In reading the text one can easily see how it can be taken to either extreme. It is better to try and achieve some sort of balance between comedy and tragedy and lean more towards one side.
Anton Chekhov
Ultimately a play as well-written as Chekhov’s Uncle Vanya is one where the director has a lot of flexibility. Every decision that is made from lighting to set designate casting will influence the way the play is perceived and it is very interesting to see the ways in which, each of these directors have attempted to express their views of what this work is trying to say.
My Own Interpretation
An 1899 production of Uncle Vanya in Moscow.
Uncle Vanya is a hard play to adapt regardless of the medium one plans on performing it in. The play is a chameleon because if you read it while you’re in a bad mood you’ll see it as another play that proclaims life isn’t all it’s cracked up to be. Yet in that same vein the ending packs a wallop and is an incredible surprise proclaiming that this play is one about hope. Someone who is content with their life may read this as sort of a screwball comedy with tragically flawed and depressed characters.
I admit I’ve had both views of this material. However, I think that to play these roles in an overly dramatic way would demean Chekhov’s intent and his dialogue. The director should seek to strike a balance. And here’s where I see there can be a compromise, when a character is discussing about what they believe about someone else such as the discussions of Professor Sereoryakov at the beginning, the actors should go for the most comedic impact he or she can find without turning the play into a farce. When they discuss their own problems, they should be serious and seek out honest and emotional interpretation without being hammy. Both things are asking a lot of the actors, but this is demanding material.
Before even considering adapting it into a screenplay, I believe the lighting scheme should be considered. When one is dealing with the medium of film they have an advantage over people in theatre because natural light can be used to light the scenes and would be considerably more effective than any means of artificial lighting. While the use of both candlelight and sunlight would be very difficult, it would lend a great amount of atmosphere that couldn’t be accomplished on stage. I believe candlelight would be most beneficial during the scene where Elena and Sonya make amends and discuss their desires.
If I were adapting this as a film, more sets would be required than are in the original play. Basically, what we have here, while well written, are characters who talk too much to make for interesting cinema. As a matter of fact, when Chekhov first premiered the play theater-goers of the day were surprised at how much the characters spoke. Talking heads syndrome is something that is avoided at all costs in film.
Barry Lyndon where Kubrick created new lenses to shoot by candlelight.
While it would take many readings to decide where to actually cut dialogue, merely looking over the text after one reading we can see places where images from outside the Serebryakov estate would be helpful in making this play more cinematic.
First, I believe the use of flashbacks accompanied by voice over narration would assist many scenes in this piece. It would also be helpful in breaking up the long periods of dialogue. This tactic would be most effective in the following scenes:
When Dr. Astrov discusses the patient he lost.
Marina talking about the professor’s daily activities.
Sonya pontificating about people in foreign climates.
Vanya reminiscing about a girl he knew.
At the very end when Sonya is consoling Vanya some sort of imagery would be necessary.
While the closing speech is riveting it would be easy for an actor to go overboard with these lines.
The lens that would be needed to shoot the candlelit scenes.
I also feel that the strategic insertion of cutaways during breaks in dialogue or just after something is said would be beneficial and break up a play with a lot of talking. I believe this technique can be most helpful following the following pieces of dialogue:
Astrov’s comment about his mustache.
When Vanya says he’s haunted at night.
Vanya’s comments on an autumn rose
What might be going through Astrov’s mind while he’s making a pass at Elena
Serebryakov’s comments about the house being a labyrinth.
Vanya waking after comments about a waking life.
All of the prior images would almost mirror what was said in dialogue previously but some images would also be needed to demonstrate meaning such as:
When Vanya discusses the work of the professor not living.
A single page burning.
When Astrov complains about provincial life we move outside the estate momentarily.
When Elena makes the cynical comments about her real behavior she may look out the window and see fictitious characters demonstrating the very qualities she finds unrealistic yet longs to see.
Vanya on 42nd Street (1994)
In film the camera can also be used to heighten emotion and through the creative use of angles we may add some insight into the character’s emotions. On page 177 Vanya goes on a rant about the professor and I feel a gradual procession of tightening shots as his fury increases would definitely help drive home that the professor’s lifestyle is resented by these people. When Elena says there are demons in all of them I believe the best approach would be a medium shot in which Elena is in the center of the image with the back of the protagonists in the foreground. This is so the comment does not come off as judgmental or like preaching to the viewers. At the top of page 195 when Vanya speaks of illusions I feel it would best to see Vanya speaking from the lower right-hand corner of the screen. This show reflects the cinematic Russian tradition that states placing a character in the lower right-hand portion makes them appear weak. I also feel that alternating between single and wide angle shots during the shootout would be beneficial. It would be helpful to show both the entire room and how others are reacting to the situation and also to demonstrate Serebryakov’s fear and Vanya’s anger.
In the review of the Steppenwolf Theater Company production it states that their performance of the play was two-and-a-half hours long. This would be quite a long film and not many people would be willing to go for a film of this type that’s that long anymore. However, I feel that if one were to continue in this melange of styles and techniques both old and new it would become a more visually involving piece than many would expect.
Somewhere along the way I do believe I’ve seen this before. This is another one I can thank Open Culture for, as they’ve linked to this beautiful restoration/recreation. It’s a short with a simple idea that is hilariously done.
Roger Ebert gave this film 3.5/4 stars. He provided great pull-quote material but not without a caveat:
“The Spiderwick Chronicles is a terrific entertainment for the whole family, except those below a certain age, who are likely to be scared out of their wits. What is that age? I dunno; they’re your kids.”
Clearly that sentiment was truncated for the DVD release. He is correct in that it is likely a more 1980s PG than a 2008 PG. However, it is quite good and has an 80% on Rotten Tomatoes, which is rather high for a family fantasy.
In 2008 this film was nominated for 10 BAM Awards (tied for the most) in large part due to its technical prowess of it, but it was also in my top 10 and thus a Best Picture nominee for that year. It won the award for Best Sound Editing.
The lead actor, Freddie Highmore of the dual roles, was nominated for Best Performance by a Child Actor as it was called then, and likely would have won were it not for Will Poulter’s stunning debut which did not require the affectation of dual roles. Highmore won the year before in a comparatively stronger performance in August Rush.
The Team
The film is an amalgamated adaptation of a number of books in the series. The team in front of and behind the camera is impressive. Director Mark Waters, just coming off his remake of Freaky Friday, which was a big hit in every sense; but the names behind the scenes of The Spiderwick Chronicles get bigger. James Horner provided the scoring, Michael Kahn, whom usually cuts Spielberg’s films was editor, and Caleb Deschanel, the noted multi-Oscar nominee, was the cinematographer. So the team was in place to deliver this story as well as possible.
Flanking Highmore was Sarah Bolger, Mary-Louise Parker as his mother, Joan Plowright as Aunt Lucinda, David Strathairn as Arthur Spiderwick, and Nick Nolte as Mulgarath. Freddie Highmore
Highmore has become better known in his early adulthood as Norman Bates on Bates Motel, which will have upcoming its 5th and final season. However, his transition from young actor to adult actor has been, albeit not well-publicized, fairly smooth and persistent.
in 2010, at age 18, he appeared in Toast, which earned a bit of notice on my site and at the BAM Awards. In 2011 he was in the lackluster The Art of Getting By and in 2013 Bates started up. This year he featured in a BBC mini-series called Close to the Enemy an indie called The Journey, and his most outstanding work on Bates Motelto date.
Even becoming a working actor after being one of the biggest young stars of your day is quite a feat.
As for The Spiderwick Chronicles, dual roles is not something that young actors normally do for pragmatic reasons first and foremost. Young actors, due to union and legal regulations, work fewer hours on set. Minors also have schooling requirements if they’re not working a summer shoot. To put a young actor in two major roles is a logistical hardship more so than merely having a young lead or ensemble, which is the reason why you see so many “high school” shows populated by actors in their 20s and even 30s.
So there’s a tribute to Highmore in that they found him capable of playing these twins, rather than finding twins to play the roles, and also in making scheduling a bit more of a headache as a trade-off for a better end product.
If you then consider that this is was Highmore working with his non-regional American dialect for a 3rd film and this time while playing two characters, it’s even more impressive. Clearly, when playing two characters, even when one if far more involved in the plot than the other, it’s still twice as much work and the actor has to work two characters through their arc while also differentiating their mannerisms, physicality, and demeanor.
This is established almost right away. Jared, the character who carries most of the action in this film, gets into a spat with his older sister Mallory (Sarah Bolger). Highmore is intense and angry and seeking to engage her physically. Wanting help from his twin, Jared says:
“Simon, get her!”
“I’m a pacifist.”
The response is a throwaway wherein Highmore makes no eye contact with his alter ego. This instantly makes an impression about how to set the twins apart. They are not the dress alike, inseparable brand. Jared is more the everyman, who is angrier about the move, and in general; Simon is more studious and uptight.
Jared is the doubter at first of anything magical going on, but is also more adventurous and finds the book, uses the dumbwaiter. His character is not only introduced in a fit or anger but it is intimated he had anger management issues in the past.
Simon doubts Jared’s story´at first. When he’s taken by ogres Jared’s on a journey whether he wants to be or not having started the ball rolling by reading the book and taking it outside of the protective circle around their house.
Among the other challenges present to Highmore in this film is that he has to interact with a CG counterpart on more than a few occasions. There is also a scene wherein Jared and Simon are fighting each other which required Highmore to play both sides of the fight opposite stand-ins and doubles, it’s a demanding piece of physicality that cuts well.
After Jared brings Simon back to safety, literally dragging him, his leg injury (prosthetic make-up time added to logistics to consider – time in the make-up chair is time on the clock for a young actor) makes him most useful at the house. This allows for fewer scenes where Highmore would have to shoot two sides if he went with them to try and fight Aunt Lucinda.
While we’re far removed from the silent film days where there were Hollywood legends of directors literally willing to traumatize young actors to get them to produce real tears on film, crying scenes are still very demanding on an actor of any age. Highmore as a youth had these scenes as one of his calling cards and in this film there is a point where each of his characters is pushed to tears. For Jared it’s when he learns the truth his father won’t tell him about their parents separation that their dad has been too chicken to say to him himself.
Toward the end there are scenes where the two characters collaborate such as when Jared summons the Griffin and Simon settles him down. Simon is teary in the cage when captured and also toward the end I believe. Here is the former scene for an example of Highmore as his own scene partner:
Below is another example of his work, this time in a climactic scene. Please do not watch it if you’ve not yet seen the movie. Scroll past.
There was less fanfare for this film than say The Parent Trap, as that was Lohan’s breakout and a remake, but this film is not too well remembered, and it should be in part because Highmore shines throughout.
This post is one that serves a few purposes. First, it is to turn you toward Open Culture. If anything is out there and legitimately free of charge they’ll tell you about it. It was in their posting that I discovered that not only did North Korean autocrat Kim Jong-Il write film theory but also directed some films. I read this shorter work first and will see his Godzilla film soon.
I’ve debated starting this theme for a few weeks, and I ultimately decided I would as it would encourage me to looks for options that actually fit what I’m aiming for. If one pays too much attention to Top 40 type music you tend to see a dearth of creativity in the music video form. The music video is spawned from short films and can be as creative if not more so than their predecessor. Far too often it does just become singing heads. I want to try and buck that trend and find ones both new and old that do something somewhat outside the box, at the very least have some sort of visual narrative. Here we go.
Since this video features Noah Schnapp (Will Byers, Stranger Things) it’s gotten a lot of press for that but the video is that good though and deserving of the attention – and I like the song a lot as well.
As I watched it there were echoes of many other videos and films that came to mind but it is definitely its own thing.
And on a personal note, I went to film school with the executive producer of the company that produced this video, which is very cool indeed!
It was hard to know how to categorize this old writing. This was a lengthy reaction piece, not quite a traditional review, that I wrote after viewing the film in my Films of Spielberg class. Part of why I chose to post it here is how it ends, which (scout’s honor) I did not recall until I re-read it, not that it takes a clairvoyant to predict Jurassic World, but it is longer for here roundabout 12 years ago.
Jurassic Park (1993)
Yes, it was the box office champion of the world when it was first released, but in a way I feel that Jurassic Park did suffer from bad timing as it came out only a few months before Schindler’s List. If there had been more separation between the two or maybe if the Academy viewed ’93 like they viewed ’00, Spielberg would have had two Best Director nominations. Although, I’ll always think it’s underrated.
According to Spielberg he got on the project when working on ER as a film script. Spielberg asked Crichton out of curiosity what his next project was. Crichton was hushed, as writers usually are. Then he finally gave Spielberg only two words: dinosaurs and DNA. Spielberg got it immediately and wanted to be the first to read it. Crichton agreed but he said Spielberg would have to direct. The rest is history. Sometimes you’re good and lucky.
The concept of this film is so tremendous I don’t know how everyone wasn’t out flocking to make dinosaur films of every and any kind. The only thing I think that kept people away were budget concerns. Dinosaurs were quite big in the silent era but then faded away. What a lot of people fail to recognize is that this story is so tight; it’s so well acted and flat-out well done. It’s unquestionably a cinematic masterpiece that is as grand as it is great and here’s why…
In Spielberg’s renowned tradition the dinosaurs are kept out of view early on, so we’re not bombarded. In many action movies people are moving around so long and so much that all focus is lost. We get taken into Jurassic Park very slowly, first we’re on Isla Nublar and the tree shake and we get a subjective shot from inside the dinosaur cage the handler gets attacked but we see no blood nor any “monster.” And in the very beginning the issue of responsibility, which is a theme throughout, is raised.
We then move to an amber mine in the Dominican Republic, the globe-hopping Spielberg loves to do in the Indiana Jones films only occurs here in the first 20 minutes. The atmosphere and setting of Isla Nublar is huge in this film. The purpose of these scenes is two-fold being to introduce the safety questions surrounding the park and also for the exposition of the fact that two experts will be needed to approve the park. Alan Grant is brought up and we only learn that he is a digger.
We then move to Montana. We see Alan Grant (Sam Neill) on a dig, there’s an annoying kid (Whit Hertford) to whom he demonstrates a raptor attack with his 6” fossilized claw. This also foreshadows the very last of the dinosaur attacks in the film. Not only is that introduced but also the notion that the T-Rex’s vision is based on movement. It also serves to establish the relationship between Grant and paleobotanist Ellie Sattler (Laura Dern). They are then visited via helicopter by John Hammond (Richard Attenborough) he asked them to come to the island, never really reveals the true nature of the park, and bribes them by offering to fund their digs for three more years.
We then move to San José on the Costa Rican mainland where Dennis (Wayne Knight) meets with Dodgson (Cameron Thor) and we see there is a conspiracy afoot, in which, he will be paid quite a bit of money for fertilized embryos. Knight, best known for his supporting appearances on Seinfeld and 3rd Rock from the Sun gives a great performance as a the nervous, over-anxious, bumbling conspirator.
Upon arriving on the Island, Grant and Sattler are introduced to Dr. Malcolm (Jeff Goldblum) he provides a lot of comic relief and also has his own unique scientific perspective juxtaposed with Sattler’s knowledge of plants and Grant’s knowledge of dinosaurs.
This is without a doubt some of John Williams’ best work in scoring. It’s definitely some of his most melodic and well-placed work. The main theme appears at the right spots and stays in your head long after the movie is over.
We’re shown a sign upon arrival reading “Danger!/1000 Volts” which is another piece of foreshadowing. Another sign that provides a little hint is “When Dinosaurs Ruled the Earth,” which is draped over the exhibit of skeletons.
Another great touch is its timing. It’s 20 minutes before we see a dinosaur in its massive glory. Spielberg knows this is what we’ve come to see and isn’t going to throw it out too much or two quick or it might get stale. After this we move into the plausibility aspect and walk the audience how it could and did happen through a film strip and a little cartoon character named Mr. DNA.
The film shows its intelligence when dealing with cloning whereas most films just gloss over the issues that might make it more difficult or simply changes a few laws of natural science around to make it more convenient for themselves. In Jurassic Park one of the first things we see is that cloned dinosaurs are born where other cloning films might make them full size from the get go. Secondly, there are gaps in the DNA sequences which are filled by frog DNA which comes into play later.
When walking in the park we get some information in the Raptors which actually shows later films have kept the series consistent in that regard. One place in which there may be an inconsistency in parts 2 and 3 is that on Isla Nublar there is a plan called the “Lysine Contingency” in which, the dinosaurs are purposely engineered without the amino acid Lysine and if they are not given doses through injection or in food they will fall into a coma and die. If this is the case, how are they still even alive in parts 2 and 3?
Another clever link-up is first Dr. Malcom uses water to explain Chaos Theory and then cups of water shaking is the clincher that tells us the T-Rex is after these people. This only occurs 63 minutes into the film; this is not what one would call action all the way. Case in point, the big chase with Dr. Malcolm looking back at the T-Rex and the famous “Objects in Mirror Are Closer Than They Appear” shot, doesn’t begin until the 82nd minute of the film.
We’re occupied with suspense elements with the plot to steal the embryos and Dennis’ encounter with a Dilophosaurus. Coupled with the attempt to try and get the systems back up and running after the virus made itself known with Dennis’ caricatured image in the scene repeating “Uh-uh-uh, you didn’t say the magic word.”
A major element of fear that these dinosaurs cause is that these people realize that there is only so long that they can run and outdistance these beasts before they are caught. There is a lot of hiding. Tim (Joseph Mazzello) is forced to hide under the Jeep when the T-Rex is stomping on it. Later on he is hanging in the tree and they rest for the night perched on a branch. The same holds true for the fear we feel when the tandem of Raptors are after the kids, during this part we also see a genetic sequence displayed in light on a Raptor which is quite an impressive shot.
While waiting out the night Hammond tells of how he used to run a flea circus and how he used to love to make people happy. He said he wanted his park to be something real but is told it’s the same thing because there’s no real control over the animals.
The situation escalates when we find the dinosaurs are breeding even though they are all supposed to be female. The explanation there is that the gaps were filled with frog DNA. Frogs have been known to spontaneously change gender and it has occurred here. Life has found a way.
The dialogue in Jurassic Park is just great and I could go on an on listing smart and snappy lines that are funny and/or thought-provoking but it all just works. In this film Spielberg yet again showed his unique talent for having people and things that come out of nowhere and just scare you. What cements Jurassic Park’s greatness is when the Raptors meet up with the group on the museum/lobby. This element of Spielberg’s greatness comes when the Tyrannosaurus Rex, while the Velociraptor is the breakout species of the film, T-Rex is the star – and saves the day by knocking the Raptors aside allowing the people to escape as the main theme chimes in with perfect timing. As the banner rains down the T-Rex gets into the perfect pose and roars. It’s one of the most personally pleasing moments I’ve ever experienced and it was the work of a crowd-pleaser and a true genius.
What marks Jurassic Park the most is how it ends. In this respect, it understands its own modesty. There’s no corniness at the end of the first or the third, I’m trying my best to forget the sequel. They got away. That’s what mattered in the end. There may have been a lot going on but that’s about it right there, they’re flying away.
Jurassic Park is a classic film which succeeds at something very difficult taking creatures many people loved as kids and showing the scary side of them and having us embrace that too. The anti-cloning sentiment won out quite easily, but with the T-Rex saving the day we see that these creations are victims of circumstance and not so unlike Frankenstein’s monster.
Paleontology is a science I devoted most of my childhood to. It’s also one that’s full of new discoveries and theories which provide unlimited amounts of material. Just one example is that in recent years many paleontologists through kinetics and computer simulation now support the T-Rex was a scavenger and not a hunter as believed since its discovery. This is a franchise I think has a lot to stand on and a built-in audience and I wouldn’t be surprised or disappointed if it were to continue.
While this In Memoriam starts more like a traditional obit, I continue in my new tradition of enlivened posts, as opposed to Gene Wilder, where I posted clips, here I have entire features where you could build your own film festival if you want. Thanks, public domain!
Bobby Breen
Bobby Breen passed away on September 19th, 2016, he was born Isadore Borsuk in Montréal, Québec, Canada on November 4th, 1927; he was 88. His parents were Jewish immigrants from modern-day Ukraine (then USSR).
While the case with most child stars was that their parents that pushed them, Breen’s parents did not. His much older sister, a music student, discovered his talent and allowed him to pursue a career shortly after they moved to Toronto.
He was touted as the boy soprano. His voice is undoubtedly incredible but what’s really intriguing is the films are truly built around him and showcasing his singing.
Bobby Breen and his sister.
Shortly after his first gig at a nightclub he started entering and winning competitions. In 1934 he was on a bus to Chicago and working in the theatre, with his surname already changed to the more anglophonic Breen.
A year later he was in Hollywood and Sol Lesser, a producer best known for discovering Jackie Coogan and being involved in many Tarzan renditions, signed him to RKO.
Films
After some radio appearances his first film, Let’s Sing Again was released. Most of these videos are links to whole features. Enjoy!
After its success RKO signed him to a three-picture deal.
Rainbow on the River (1936)
How good or bad the films he was in usually hinged on how naturally the opportunities for him to unleash his voice were folded into the plot. On the rare occasion both of these combined perfectly.
Make a Wish (1937)
It may not be the best film he was in, I’d argue the melodrama Make a Wish was, but it may be the best showcase of his singing talent.
Way Down South (1939)
You can get this film on DVD with a great introduction by Lou Lumenick:
I did the intro for this almost out-of-print DVD release of an odd Bobby Breen musical co-written by Langston Hughes and Clarence Muse. pic.twitter.com/aKQTK8waqi
However, like all his films it ends well and enjoyable enough to watch and there is decent spacing and plenty of singing.
Hawaii Calls (1938)
In 1939, following Escape to Paradise, and with two more films still on his contract. He retired from the industry.
Four films Bobby starred in were nominated for Academy Awards in scoring categories so they were fine productions.
Life After Film
In a 1977 article he discussed his decision to leave the industry:
When you’ve been a child star and suddenly find yourself with a husky voice, it’s hard to convince agents that you’re not over the hill. I stopped singing at 16 because of the huskiness and took up the piano. I had the knack for it, but never wanted to be a concert pianist. I just wanted to be back in the world I’d known all my life.
In 1942 he returned to appear in Johnny Doughboy as himself. This film is very hard to find, save for wildly overpriced Amazon resellers.
He served in the army during World War II, and despite not performing at the time, was recruited to entertain the troops along with Mickey Rooney. He did see action on the battlefront though. In 1945 he was hospitalized in France and won a Bronze Star after the war was over.
After retraining his adult voice over time he did return to performing in his new tenor range.
In 1964 he recorded an album with Motown called Better Late Than Never, which was not claimed not to be released. However, that song and some of his other recordings can be found on Spotify. These were his first recordings since 78 rpm releases in the 1930s.
In his later years he was living in Tamarac, Florida and was running Bobby Breen Enterprises which focused on local talent after having managed bookings of what he called the “Condominium Circuit” which meant hiring aging stars of the past.
Breen was also featured on the cover of the Beatles Sgt. Pepper’s Lonely Hearts Club Band.
I have found more to say as I wanted to share these under-viewed films and his incomparable singing. The sad truth is that far too often human nature dictates that we don’t look to the past too often unless we hear of a death. However, since I first saw his films I’ve written of them, and saw this as a last chance to alert the uninitiated that there’s more out there than you realize, and you don’t know what you’re missing.
Rest in peace Bobby, may choirs of angels come to greet you.
The Movie Rat 