After the snafu regarding the changing of directors in
Bohemian Rhapsody, I thought that’d be it for this year. I thought I’d be able
to get through this month without having to revisit that concept, or more
specifically how too many cooks in the kitchen can turn in a mess of a meal.
Then I saw this movie, and saw that possibility fully realised.
This is best highlighted in what is the film’s single
greatest moment: The ballet number that serves as the film’s exposition about
how main character’s Clara’s mother found the Four Realms. (Or possibly created. Or at the very least gave life to; the film isn't clear on whether Clara is actually Princess Jesus or not.) Paying homage both
to the original ballet and to the
music’s presence in Disney’s classic Fantasia, the sequence creates a quite beautiful
synergy of theatrical staging and cinematic framing, accompanied by some
genuinely impressive practical effects.
But then you dive a little deeper and discover that this
whole thing is as deep as a… actually, “puddle” isn’t really adequate. It’s
more that this is as deep as the mildew left over when the puddle’s dried up.
The acting either wastes perfectly good stock (Richard E. Grant is so wasted in
this thing, it actually hurts to think about) or goes for outright bizarre
decisions (whatever the actual fuck Keira Knightley is doing with her voice),
both of which induce severe discomfort throughout.
To say nothing of the writing, which truly feels like what
happens when an untested screenwriter in Ashleigh Powell has their work painted
over by Tom McCarthy, a filmmaker who is only as good as the people around him.
I would very much like to know what producer Lindy Goldstein was looking at,
but even at a glance, "strong, layered female characters"
aren’t even the millionth words that come to mind. Clara as the main
protagonist basically turns the whole movie into an idiot plot as, despite
being quite the tinkerer, her petulance throughout makes it quite difficult to
really care about what she’s doing. Between her and the spine-chilling
shrillness of Knightley as the Sugar Plum Fairy, rooting for the enemy becomes
an all-too-easy prospect… and with how the narrative turns out, oddly
appropriate.
Yeah, on top of everything else, the story for this is all
over the place. Despite taking aesthetic cues from the original story and
Disney’s history with it, this whole affair is just yet another fantasy war
story about an earthly child who has to bring peace and accept their place as
ruler of the land. To surprise of very few, co-director Joe Johnston is slated
to direct the next Chronicles Of Narnia film; it’s like he’s doing a trial run
of the same idea here.
But even beyond that, the biggest problem with the story is
that it feels like it was melded from two separate ideas on how to present the
source material. After a while, the idiot plot mechanics really kick into gear,
with the kind of twists that not only feel horrifically out-of-place for the
characters declaring them, but that they might as well have been improvised for
all the sense they make in any regard.
This is basically the same deal as with last year’s Beauty And The Beast: It looks good, and even does some things with the source
material that I can vibe with, but the treatment of the characters and the plot
at large is positively atrocious. Whatever good things I have to say about the
film’s visuals feel like afterthoughts in the wake of just how misguided this
whole thing is. Please, Disney; don’t let Clara become part of the official
Disney Princess canon. Or at the very, very
least, give her a good movie to be in first.
No comments:
Post a Comment