Saturday, October 29, 2011 at 1:18PM 
Friday the 13th bannerI wanted to link Steven Lambrechts' pretty exhaustive look at the Friday the 13th series he wrote for IGN AU. I just started reading it, but I wanted to share it before Halloween comes and goes! Enjoy!
http://movies.ign.com/articles/121/1210937p1.html
Friday the 13th
Saturday, October 29, 2011 at 11:32AM 
Master and CommanderPerhaps the most prevalent theme of this course, second to that of British history, would be the power of one’s artistic license. When basing a film on historical events a filmmaker can find a wealth of inspiration, from the noblest of actions to the dastardliest of deeds, characters from archival legends serve as hearty cinematic fodder. However, when attempting to bring to life a well-known person from the past, everyone involved has a responsibility to respectfully represent him or her in a manner fitting to his or her reputation and background. This duty to effectively recreate history can easily handicap directors and screenwriters. Forgetting the artistic license all filmmakers keep in their back pocket, some become a slave to details, forfeiting the chance to make a great film by instead focusing on creating a faithful one. Peter Weir’s adaptation of the Patrick O’ Brian novel Master and Commander: The Far Side of the World is not based on any real person, and this freedom gave the director the opportunity to produce one of the most historically accurate, and at the same time engaging films ever made.
Master and Commander is an exhilarating nautical escapade set during the Napoleonic Wars at the turn of the 19th century. “Lucky” Jack Aubrey is the captain of the HMS Surprise, an aging but serviceable vessel in his Majesty’s fleet. With orders to track and subdue the French privateer Acheron off the coasts of Brazil, Aubrey and the crew of HMS Surprise must effectively thwart Napoleon’s mission to extend his reach to South America. It is exciting, engaging, and complete fiction. Of course the time and place for which the film is set is accurate, but there was never a Captain Jack Aubrey or an HMS Surprise, and Weir takes advantage of this liberation from legacy to design one of the most praised films ever dealing with the time frame. At the time of its premier, Dr. William S. Dudley, director of the Naval Historical Center in Washington said, “I think it was the best portrayal of life in a warship during the Age of Sail that has been produced in Hollywood. The language, the uniforms, the rigging of the ship, the customs of the Royal Navy of that period, the portrayal of the captain by Russell Crowe, all seemed quite authentic to me.”
Master and Commander books
All of these details of which Dudley praises gives the movie its verisimilitude, but was this authenticity a result of the filmmaker not being forced to slavishly concern himself with a character’s real life prestige? To put it another way, would Master and Commander have been as successful, both narratively and historically, if instead of telling the tale of Captain Aubrey the film centered on the adventures of Royal Navy legend Vice-Admiral Horatio Lord Nelson? The short answer is “who knows,” but when embracing conjecture it is possible to theorize that the exploits of Lord Nelson, however true and rousing they may be, would by the nature of a writer’s creative ingenuity limit his or her ability to fully explore the themes and details provided by the circumstance of time. They would be artistically tied to their character’s celebrity.
Consider the response of historians to films like Elizabeth, Robin Hood, The Duchess, and so on. Biographical films carry too much baggage, their characters are too well known and that leaves room for error. If Queen Elizabeth, played by Cate Blanchett, cuts her hair too soon in the film, historians will notice. When Ridley Scott’s Robin Hood chooses to approach a version of the legend that most historians do not agree with, he will be criticized for the blunder. Master and Commander was heralded for its precise production of the era, its attention to detail, specifically because it could afford to do so.
Master and CommanderDocumentaries are considered to be the most historically accurate, and educational forms of cinema. They can employ knowledgeable commentators to explain any topic, and combine them with interesting images to best inform the viewer. And yet, the majority of documentaries focusing on the subject of the Napoleonic Wars and 19th century seamanship would have a hard time engaging the audience like Weir’s Master and Commander. While a documentary can provide pictures of war ships from that time, and perhaps even low-budget reenactments of famous battles, it is impossible for them to match the spectacle of an expensive Hollywood blockbuster.
Early History Branch historian Charles Brodine, after viewing Master and Commander said, “I was impressed with the depiction of the combat scenes: the crew moving to and fighting at their battle stations, the working of the guns below deck, the damage to ship and personnel from shot and shell, the care of the wounded and the repair of the ship after battle.” Many historians such as Brodine and Dudley praised the film for its effective retelling of one of history’s most exciting phases, a compliment rarely bestowed upon biographical films or documentaries, proof that fiction may in fact be the best method for manufacturing authenticity.
"A Brief History of the Royal Navy." National Museum of the Royal Navy. Royal Navy
Museum Library, 2004. Web. 26 Oct 2011. <http://www.royalnavalmuseum.org/info_sheets_naval_history.htm>.
Chi, Brian S. "Master and Commander; Is It Naval History?." Official Website of the
United State Navy. Navy.Mil, 13/11/2003. Web. 26 Oct 2011.
"Chronology of Lord Nelson." The Nelson Society. The Nelson Society, 2009. Web. 26
Oct 2011. <http://www.nelson-society.com/life-of-nelson/chronology/>.
"History." Royal Navy. Royal Navy, n.d. Web. 26 Oct 2011.
<http://www.royalnavy.mod.uk/About-the-Royal-Navy/History>.
Knows, Dear. "Interview with Gordon Laco, Historical Consultant on Master and
Commander: The Far Side of the World." The Dear Surprise. The Dear Suprise,
02/10/2010. Web. 26 Oct 2011. <http://www.thedearsurprise.com/?p=1989>.
Lally, Kevin. "Master and Commander: The Far Side of the World." Film Journal
International. Film Journal International, 2003. Web. 26 Oct 2011. <http://www.filmjournal.com/filmjournal/esearch/article_display.jsp?vnu_content_id=1000695483>.
Schultz, Cathy. "The British Navy Sails Again in Master and Commander." History in
the Movies. Joliet Herald News, 18/04/2004. Web. 26 Oct 2011. <http://www.stfrancis.edu/content/historyinthemovies/masterandcommander.htm>.
Wall, Ian. "Study Guide." Film Education. Film Education, 2003. Web. 26 Oct 2011.
<http://www.filmeducation.org/pdf/film/MasterandCommander.pdf>.
Weir, Peter, Dir. Master and Commander:The Far Side of the World. Dir. Peter Weir.
Twentieth Century Fox, 2003. Film.
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Thursday, October 20, 2011 at 6:26PM 
I Am Nancy 2011 PosterA documentary following Nightmare on Elm Street (1984) actress Heather Langenkamp as she attempts to answer her own question of why Freddy Krueger gets all of the fan love and her character Nancy has been forgotten could have been, should have been, a lot of fun. Instead I Am Nancy is a grating excursion into the mind of a has-been, or perhaps a never-was. Langenkamp and director Arlene Marechal travel around the globe attending horror conventions filming the actress’s interactions with fans of the Elm St. franchise. They spend 2-hours interrogating anyone willing to speak on camera, asking them why Freddy is a more popular character than Nancy, and for the most part these interviews are as banal as you would expect. The brief moments actor Robert Englund spends on screen proves that he has more charisma and charm in a single wink than Langenkamp appears to have in her whole body. If there was a point into this investigation for any reason other than Langenkamp’s own insecurity and neediness then it was lost on me, which is disappointing because the base themes do offer several cultural, cinematic, and feminist notions that deserve to be explored by a more capable filmmaker.
Thursday, October 20, 2011 at 6:22PM 
Absentia 2011 PosterThe plot for Absentia is a little involved, so I will allow director Mike Flanagan to explain: “Tricia's husband Daniel has been missing for seven years. Her younger sister Callie comes to live with her as the pressure mounts to finally declare him 'dead in absentia.' As Tricia sifts through the wreckage and tries to move on with her life, Callie finds herself drawn to an ominous tunnel near the house. As she begins to link it to other mysterious disappearances, it becomes clear that Daniel's presumed death might be anything but 'natural.' The ancient force at work in the tunnel might have set its sights on Callie and Tricia ... and Daniel might be suffering a fate far worse than death in its grasp.”
Absentia was one of my absolute favorite films of the festival, and a definite must see for fans of well done, low-budget horror films that bravely investigate subjects and ideas most directors wouldn’t dare. I can’t really talk about what I liked most without spoiling some pretty major sections of the film. I will say the women of the film are fantastic. Katie Parker and Courtney Bell do all of the heavy lifting and don’t even break a sweat. The story they are caught up in could have easily been lost in genre silliness, but both of these actresses do a superb job elevating Absentia above Sci-Fy channel filth. I wish I could say the same for their male support. Dave Levine as Detective Mallory is especially bad, consistently playing to laughable police officer tropes instead of finding a balance of fear, concern, and sincerity.
Thankfully this is Tricia and Callie’s show, and Absentia takes them into some pretty extraordinary situations. Director Flanagan knows his limitations and uses them to his advantage, employing darkness and interesting cinematography and camera design, giving Parker and Bell everything they need to motivate fantastic performances. Great Job.
Thursday, October 20, 2011 at 6:15PM 
Skew 2011 PosterThe opening film for this year’s Big Bear Horror Film Festival was Skew, director Seve Schlenz’s entry into the bustling found footage genre. When three friends take a camcorder along on a cross-country road trip, one of them notices the camera blurs the face of anyone who is about to die. Simple enough, right? All in all this was a fine film to kick things off, but there were better films to be found at the festival. Anyone already getting fatigued from the massive influx of found footage films since Paranormal Activity hit in 2009 would best stay away, since Skew does little to enhance or experiment with the subgenre.That being said, the film was entertaining. The acting was decent and Schlenz efficiently worked around a meager budget. Although the 3rd act fumbles the rising action built-up during the first hour or so, the suspense is functional and the suspense is sufficient.
I do not know if it is just because of the voyeuristic nature of found footage films, but I always find an inherent sexuality bubbling beneath the surface of the movies in this particular genre. What do you guys think, is it just me? Let me know.
Wednesday, October 12, 2011 at 1:29PM 
The Madness of King GeorgeCinema as a medium, by necessity, must always adhere to the strengths of its elements. As a means of storytelling, film is unequaled in its ability to quickly and succinctly engage its audience with visual tenacity. Restricted by the endurance of the common spectator, films are obligated to tell dynamic, fleshed out stories within a limited time frame. Of course filmmakers must attempt to “show” their story, not simply “tell” it, so when tackling such weighty topics found in historical period pieces similar to The Madness of King George (1994) and Amazing Grace (2006), a director must often choose between what is accurate and what is engaging. The filmmakers of these three films were given the opportunity to adapt divergent stories all set within the same location and time frame, often portraying the same characters. William Pitt the Younger and Charles James Fox appear in both The Madness of King George and Amazing Grace, but each film paints a decidedly different image of the 18th century politicians.
The Madness of King George is a heartbreaking, often humorous, account of King George III’s mental collapse towards the end of the 1700s. His son, the Prince of Wales, is nipping at the dying man’s heels, anxious to obtain the throne and the power it promises. The Prince has made an ally in James Charles Fox, a notable British Whig statesman eager to purge England of its tyrannical King. The country’s Prime Minister, William Pitt the Younger, has much to lose if the Prince were to successfully remove George III from power, and so must tirelessly defend the king while also desperately finding a cure for his illness.
The introduction of Pitt and Fox in the film would suggest a playful competiveness shared between the two politicians. Pitt patiently stands by as Fox criticizes the King’s choices and English politics, quipping “God wrought all royals, give us the wisdom of America.” Their amiability was an interesting twist that delivered spontaneous wit and some much needed exposition in the film, but to the frustration of many British historians, their relationship is highly improbable. According to author John Simkin, Fox resigned as Foreign Secretary for the Whig government following the death of the Marquis of Rockingham, as he was “unwilling to serve under the new Prime Minister, Lord Sherburne. Sherburne appointed the twenty-three year old William Pitt as his Chancellor… after this the two men became bitter enemies.” Less than a year later, at the age of twenty-four, Pitt would become England’s youngest Prime Minister. It seems in all actuality Pitt and Fox were more akin to being archenemies than playful competitors.
Looked upon separately, the portrayal of each man is rather true-to-life. Simkin confirms Fox’s controversial opinion of American policy, that in fact he was opposed to the “taxation of the Americans without their consent,” and when war broke out between the countries Fox argued for peace. Jim Carter portrays the statesman as conniving and outspoken, devilishly quick tongued but lacking true obedience. Marg Baskin complies with this notion, “As with many radicals, his political views were marked by forward-looking ideals but marred by a lack of practicality… (Fox) was subject to wildly emotional highs and lows which sometimes led him to resign power, and seek to regain it again on a changing whim… he left his mark on late-18th century politics for the brilliance of his way with words far more than for tangible accomplishments.”
Amazing Grace 2006Pitt, on screen and factually, was almost the polar opposite of his political nemesis. In The Madness of King George Pitt is self-contained, a calculating and cold man that is always the politician. This portrayal too seems quite accurate. Information found on the Blankeney Manor site dedicated to The Scarlett Pimpernel novels describes Pitt as “notably withdrawn.” His frigid demeanor is understandable considering the difficult predicament he found himself in during George III’s fall from grace. His political future was reliant on a man who was literally losing control of his sanity. Blankeney Manor and the film concur on just how close Pitt came to losing everything: “(Pitt) most serious crisis came in the winter of 1788-89, when, during George III’s madness, Pitt lost the support of the crown. Had the dissolute Prince of Wales, who favored the opposition, become regent, Pitt would certainly have been dismissed.” In retrospect “notably withdrawn” could have easily been misperceived for quiet concern.
The Duchess 2008From sworn enemies to political confederates, both Pitt and Fox receive a major character overhaul in the 2006 film Amazing Grace. No longer fighting over British regency, the politicians join forces to support William Wilberforce and his twenty-year campaign to abolish the British Empire’s involvement with the slave trade. Although both men are portrayed differently in Amazing Grace compared to The Madness of King George, it is William Pitt that receives the most apparent reconditioning. His indifference is replaced with empathy, frigidity with compassion. This is not only a direct contradiction to the character on display in Madness, but also challenges documented accounts of the man. Blankeneye Manor explains that Pitt never bothered to marry, had very few friends, and that his inaccessibility caused problems with other members of government. This notion of a disagreeable statesman is hard to believe having been introduced to the sensitive activist fighting for human rights in Amazing Grace. It is true that Pitt and Fox both worked for the nullification of the slave trade, but this film does little to suggest any history of animosity or vitriol between the men.
This notion that historical figures can be appropriated for narrative design is an interesting one. Filmmakers seem to pay no mind to the sounds of wincing historians, dismayed at the blatant disregard for accuracy in the name fictional fusion. Should the directors of films like The Madness of King George and Amazing Grace be slaves to the details, or does history just make-up the building blocks for their interpretations? The answer is of course subjective, but one must consider the medium. The films discussed in this essay each admirably strove to depict a moment in time, an event worthy of representation, in the most engaging manner possible. The cold, unlikable William Pitt the Younger found defending his position as Prime Minister and that of the King’s in The Madness of King George, out of narrative necessity, would make no sense befriending William Wilberforce in Amazing Grace. Films cannot be expected to reach the intellectual and factual watermarks that textbooks define. James Fox is the conniving politician in Madness, the spunky supporter of human rights in Amazing Grace, and the outspoken playboy in The Duchess, because that is exactly what those films required to achieve narrative success. Each of the three films presents a different character, but when taken in context with documented history they combine to create an amalgam of the man, which in a way is perhaps accurate enough.
Monday, October 10, 2011 at 4:33PM 
Big Bear Horror Festival 2011I am organizing my thoughts and getting ready to start talking about the 3-day event held last weekend. Saw a bunch of awesome films and met some really cool people, so I am anxious to talk about it. Stay tuned. . .
