Alice in Wonderland in 3D

a kate west review

directed by Tim Burton

The much-anticipated new Tim Burton project "Alice in Wonderland" has finally arrived. Combining Burton's distinct cult status and Walt Disney's immense marketing machine ensures there is no way you haven't heard of this movie. But whether it actually lives up to the year-long hype remains to be seen.

First off, it's yet another take-off/adaptation of a classic children's story; this time of the enduring tales "Alice in Wonderland" and "Through the Looking Glass" by Lewis Carroll. In this version, Alice is a young woman tumbling down the rabbit hole once again in order to escape a dreaded marriage. To her surprise, her childhood dreams of Wonderland (called Underland here) are all real. There is a brief nod to the well-known story, but the rest is all conjecture. Alice must fight the Jabberwocky and save Underland from the evil Red Queen, restoring the crown to the White Queen. During her arduous journey she reunites with old characters like the Mad Hatter, the Caterpillar and of course, the White Rabbit. While the personalities are fairly intact, the plot takes several jarring turns.

Mia Wasikowska is Alice, who must decide whether or not to take on great responsibility, in both her normal and other-world life. She gives an intense performance on heroism and will undoubtedly inspire little girls to stand up for themselves. She holds her own against monsters and villains and unlike the Alice from the books, she makes genuine friendships, especially with the manic Mad Hatter (Johnny Depp). Helena Bonham Carter's digitally bloated head as the Red Queen is quite disturbing, but effective in conveying petulant madness. Her shrill magnificence works well, as does Anne Hathaway's dreamily psychotic White Queen. Alan Rickman is properly sage as the blue Caterpillar and Christopher Lee has a brief, but ominous turn as the Jabberwocky, when Alice ends up confronting demons, literally and figuratively. The mix of digital vs live action is a tad perplexing, however. Tweedledee and Tweedledum (Matt Lucas) are CGI as is the March Hare (Michael Sheen), but Alice, the White Queen and the Mad Hatter are as real as, well, can be imagined in this fanciful world.

The visuals are stunning, as is Burton's rich imagination, but really has so little to do with the core of the story that one wonders why he didn't just call it something else. Naturally, returning to a childhood site is never as one imagines, but this veers so far off track that it is bound to disappoint some literary die-hards. And the especially unfortunate choice of having Depp's Mad Hatter finish with a bizarrely inappropriate modern dance reminds us that the movie is really pop culture at its best and not in keeping with classic literature, even as a childish homage.

Unfortunate, because there are some good ideas here like dragon-slaying and prison breaks, but none of them are nostalgic nods. More like frenetic hypothesis. It's not a bad movie and parts of it are interesting indeed; it just doesn't live up expectation. And if you are going to spend over a year enticing us with scrumptious ads, please make sure you keep a good script. The story is what is important, over special effects and celebrity names. At heart, we want to remember what it's like to fall down that hole and wonder what it would be like to shrink down to toddler size again. A different perspective can always fix a little social anxiety.

You can find the soundtrack here:

Alice in Wonderland

Read the classic:

The Annotated Alice: The Definitive Edition

Directed by
Tim Burton
Produced by
Richard D. Zanuck
Joe Roth
Suzanne Todd
Jennifer Todd
Written by
Linda Woolverton (screenplay)
Lewis Carroll (book)
Starring
Mia Wasikowska
Johnny Depp
Anne Hathaway
Helena Bonham Carter
Crispin Glover
Michael Sheen
Stephen Fry

Alan Rickman

Timothy Spall

Matt Lucas

Christopher Lee

Barbara Windsor
Music by
Danny Elfman
Cinematography
Dariusz Wolski
Editing by
Chris Lebenzon

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Tim Burton's Sweeney Todd

Sweeney Todd
The Demon Barber of
Fleet Street
a kate west review
DreamWorks & Warner Bros.



Pairing quirky film director Tim Burton (“Pee-wee’s Big Adventure,” Nightmare Before Christmas”) with Stephen Sondheim's darkly bloody musical "Sweeney Todd" seems like the perfect macabre fit. And for the most part, the movie works fairly well. But there are a few lapses. Primarily, much of the main cast do not come from Broadway or sing professionally. As theatrical genius Sondheim creates complex, discordant scores, this presents a bit of a challenge.

Johnny Depp is Sweeney Todd (formerly Benjamin Barker), a long-suffering British barber, whose wife and child were cruelly stolen from him by the envious Judge Turpin (Alan Rickman). He returns to London years later to wreak revenge and falls in with his mad match Mrs. Lovett (Helena Bonham Carter). The Greek-like tragedy unfolds more and more bleakly as the story goes on and Burton knows quite well how to provide a somber and terrifying mood in spite of some musical shortcomings.

Depp takes on this musical challenge gamely, and is a black demonic Todd, indeed. Although his voice is less Broadway and more pop, it works for him and his wretchedly tortured misery pervades all nicely. Weak link Helena Bonham Carter on the other hand, is grossly miscast. She sings pathetically weakly (“The Worst Pies in London” and “A Little Priest”) and her subtle performance does not fit the grotesquely extreme character of Mrs. Lovett, the psychopathic meat pie maker (Broadway fans will remember Angela Lansbury bawdily booming her little heart out). She looks nightmarish enough, but needs to be much bigger in order to posses the role of someone who can so strongly influence the demon barber of Fleet Street. After all, she needs to convince Todd to butcher people for pies (not that he needs much convincing in his crazed state).

The supporting roles are all fine, such as Alan Rickman’s brooding and lecherous Judge Turpin and audiences unanimously delight in Sacha Baron Cohen’s outrageous rival barber Signor Adolfo Pirelli. The young and rambunctious barber’s assistant Tobias Ragg, earnestly played by Ed Sanders, is a special highlight of the film (sweetly singing of Pirelli’s magical elixir and “Nothing’s Going to Harm You” in devotion to Lovett). Jayne Wisener is all right, if a little wispy and airy, as Todd’s lost daughter Johanna (“Green Finch and Linnet Bird”) as is her love, Anthony Hope (Jamie Campbell Bower). Timothy Spall is a properly slimy henchman to the Judge as Beadle Bamford.

Musical theater purists may protest some of the necessary cinematic changes, such as cutting the operatic opening number which sets the tone for the stage show and basically narrates the story in the grand old fashioned style of ancient tragedy. But since the film medium is one of narration in itself, we don’t need such heralding. The rest of the tunes are intact, including Depp’s eerie introductory “London”, the weirdly delightful “By the Sea” Mrs. Lovett sings to Todd, in foolish hope of a normal life. The makeup, costumes and set are quintessential Burton and most of the acting is quite strong. Again, the main problem is the inconsistent singing.

The constant blood and gore absolutely define Todd’s character as do the dire consequences of one’s action. Abject life and death lessons are to be learned here. If you approach the film as a specific adaptation of a certain work, of Burton’s version of a Sondheim story, it can work for you. Go with someone unfamiliar with the musical, without prejudice, so you can see it with fresh absurdist eyes. No plot giveaways here, just prepare yourself for deep tunnels of horror.

Directed by
Tim Burton

Produced by
Richard Zanuck
Walter F. Parkes
Laurie MacDonald
John Logan

Written by
John Logan
Christopher Bond (story)

Music by
Stephen Sondheim
Hugh Wheeler

Cinematography
Dariusz Wolski

Editing by
Chris Lebenzon

Starring
Johnny Depp ... Sweeney Todd
Helena Bonham Carter ... Mrs. Lovett
Alan Rickman ... Judge Turpin
Timothy Spall ... Beadle Bamford
Sacha Baron Cohen ... Signor Adolfo Pirelli
Jayne Wisener ... Johanna
Jamie Campbell Bower ... Anthony Hope
Laura Michelle Kelly ... Beggar Woman
Ed Sanders ... Tobias Ragg
Anthony Head ... Ballad Ghost
Peter Bowles ... Ballad Ghost


The Original Score:
Sweeney Todd, the Demon Barber of Fleet Street (1979 Original Broadway Cast) Read more!

Edward Scissorhands

Edward Scissorhands
a kate west review
directed & choreographed by Matthew Bourne
original story by Tim Burton
music & arrangements by Terry Davies
original themes by Danny Elfman
at the Ahmanson Theatre, 135 North Grand Ave, Los Angeles 90012
running December 2006; contact (213) 628-2772 / CenterTheatreGroup.Org
www.edwardscissorhands.co.uk/mk2/index.html


Brooding Goth man-child Tim Burton (with writer Caroline Thompson) created the cult film Edward Scissorhands, forever memorable for its childlike magical wonder. The decision to transition from screen to stage could only work with someone as in tune with childhood beauty and fantasy. Matthew Bourne, cult leader in his own right (from such innovative takes on “Swan Lake” and “The Nutcracker”), is the perfect choice. Both artists identify with the societal problems of being brilliant but different and their creative ingenuity match nicely.For those unfamiliar with the story, Edward Scissorhands (Richard Winsor) is a boy with scissors for hands, created by an inventor as a companion in his old age. When his mentor dies, he is forced to fend for himself and discovers a retro-1950’s suburban heaven outside his dark castle.

Initially fearful of each other, Edward and the neighbors learn to co-exist, in no small part due to the acceptance of one of the prominent families, the Boggs. As an added bonus, Edward falls for their teenage daughter Kim (Kerry Biggin), and eventually wins her over. Meanwhile, Edward becomes the popular local hair stylist, at last finding one use for his talented scissorhands. His fearful nightmare appearance hides a fragile and vulnerable heart and it is this juxtaposition that makes the story so interesting. Kim’s boyfriend Jim (Adam Gabraith) is one of the people who misunderstands him, ultimately causing a series of disastrous events.

As usual, director/choregrapher Bourne uses no dialogue, relying instead on the emotion of the music and the passion of the dancers. The ensemble is strong, especially the two leads, Richard Winsor and Kerry Biggin, and their supporting cast delves delightfully into Bourne’s amazing choreography. Lez Brotherston’s set and costumes are a visual feast, with vibrant colors and fantastical shapes of hedges and landscaped manicured houses. Bourne’s trademark humor shows in many ways; for instance, in one scene the dancers walk in and out of tiny set houses. Terry Davies (“A Play Without Words”) maintains the musical integrity of Danny Elfman’s film score, while adding his own appropriate jazzy style. Also, Howard Harrison’s lighting sets the mood evenly between dark and light and in the end we even get snow.

Tim Burton’s essential cinematic story remains the same, from the old woman “narrator” to the man-eating husband stealer. Not only is it a modern fairy tale, but also a microcosm of social stereotypes. Edward, with his awkward appendages, is the least able to physically touch anyone but the most able to reach people with his heart. The rest of the townspeople don’t seem to learn this in the end with the exception of a few - so like life. Edward retires to his empty castle, leaving the others to wonder about him from time to time. Kim, of course, is profoundly changed, and becomes his guardian angel in the end.

The film and the play may be of different styles, but are alike in their touching tale of humanity. And both hold the essential appeal of a storybook romance. Plus Bourne's "Edward Scissorhands" is a great holiday event and appeals to all audiences, drawing a younger, newer crowd to Los Angeles theater, which is never a bad thing.

Burton's Original Movie:
Edward Scissorhands (Widescreen Anniversary Edition)

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Pee-wee and Poltergeist

Pee-wee's Big Adventure
and Poltergeist
a kate west reflection





The 1980's were the cinematic frivolous response to the heavy hitting 70's power movies. And my generation loved them. In particular, my brother and I loved "Pee-wee's Big Adventure" and "Poltergeist". To this date, we can pretty much quote every line. To view them again as an adult is to trip down nostalgia lane and find that they still stand the test of time.

Tim Burton is now an established Gothic director and his "Pee-wee" film is as far away from that style as you can get, but still holds fascination. It is a well-made version of the manic Pee-wee world, created from the "Pee'wee's Playhouse" television show and as a character from the reputable Groundlings Theatre main show.

Basically, Pee-wee is a child in a grownup's body, living in a world as a child might see it, with scary bad people trying to steal his bicycle, the one possession he holds most dear. The colorful universe he exists in delights the viewer and all those quotable lines ("I know you are, but what am I?" "I love that story!" "I like you Dottie, LIKE!") are embedded in our collective consciousness forever, for better or for worse. Objectively, it's a fine cinematic achievement and kudos to Burton for capturing that voice so well.

The late beloved Phil Hartman (also of the Groundlings, as well as Saturday Night Live) has a fun little cameo, as do many other notable celebs. That fact that the entire storyline revolves around Pee-wee's adventures in searching for his bike is yet another indication of the brilliant simplicity of the film. Plus it's just plain great fun.

Tobe Hooper supposedly directed the modern ghost classic "Poltergeist" but we all know that Producer Steven Spielberg had a heavy hand in it's execution as evidenced by many a suspenseful scene. The quintessential closeup of horror-stricken faces and the old-fashioned special effects may seem dated but again, are so powerfully engrained in our memories that we love them anyway.

The Freeling household needs to be purged of poltergeists when daughter Carol Anne (the late Heather O'Rourke) is missing. Apparently, she's still in the house, just in another dimension. Aided by supernatural experts, played by Zelda Rubinstein and the late Beatrice Straight, frantic mother Diane (JoBeth Williams) is finally able to get her baby back, after battling many dead things. It may seem tame by today's standards, but back then it was pretty scary stuff, especially little brother Robbie's (Oliver Robins) fight with a demented clown doll (shiver!)

Just be wary of those eerie words, "They're here!"

Pee-wee
Directed by:
Tim Burton

Writing Credits:
Phil Hartman
Paul Reubens
Michael Varhol

Cast:
Paul Reubens ... Pee-wee Herman
Elizabeth Daily ... Dottie
Mark Holton ... Francis
Diane Salinger ... Simone
Judd Omen ... Mickey
Irving Hellman ... Mr. Crowtray
Monte Landis ... Mario
Damon Martin ... Chip
David Glasser ... BMX Kid
Gregory Brown ... BMX Kid
Mark Everett ... BMX Kid
Daryl Keith Roach ... Chuck (as Daryl Roach)
Bill Cable ... Policeman #1
Peter Looney ... Policeman #2
Starletta DuPois ... Sgt. Hunter
Professor Toru Tanaka ... Butler
Ed Herlihy ... Mr. Buxton
Ralph Seymour ... Francis' Accomplice
Lou Cutell ... Amazing Larry
Raymond Martino ... Gang Member
Erica Yohn ... Madam Ruby
Bill W. Richmond ... Highway Patrolman
Alice Nunn ... Large Marge
Ed Griffith ... Trucker
Simmy Bow ... Man in Diner
Jon Harris ... Andy
Carmen Filpi ... Hobo Jack
Jan Hooks ... Tina
John Moody ... Bus Clerk
John O'Neill ... Cowboy #1
Alex Sharp ... Cowboy #2
Chester Grimes ... Biker #1
Luis Contreras ... Biker #2
Lonnie Parkinson ... Biker #3
Howard Hirdler ... Biker #4
Cassandra Peterson ... Biker Mama
Jason Hervey ... Kevin Morton
Bob McClurg ... Studio Guard
John Paragon ... Movie Lot Actor
Susan Barnes ... Movie Lot Actress
Zachary Hoffman ... Director
Lynne Marie Stewart ... Mother Superior
George Sasaki ... Japanese Director
Richard Brose ... Tarzan
Drew Seward ... Kid #1
Brett Fellman ... Kid #2
Bob Drew ... Fireman
John Gilgreen ... Policeman at Pet Shop
Noreen Hennessey ... Reporter (as Noreen Hennessy)
Phil Hartman ... Reporter
Michael Varhol ... Photographer
David Rothenberg ... Hobo
Patrick Cranshaw ... Hobo (as Pat Cranshaw)
Sunshine Parker ... Hobo
Gilles Savard ... Pierre
James Brolin ... Himself - as 'PeeWee'
Morgan Fairchild ... Herself - as 'Dottie'
Tony Bill ... Terry Hawthorne
Dee Snider ... Twisted Sister / Dee Snider (as Twisted Sister)
Milton Berle ... Himself (uncredited)


Poltergeist Cast

• Craig T. Nelson, Steven "Steve" Freeling
  
• JoBeth Williams, Diane Freeling
  
• Oliver Robins, Robert "Robbie" Freeling
  
• Heather O'Rourke, Carol Anne Freeling
• Dominique Dunne, Dana Freeling
  
• Zelda Rubinstein, Tangina Barrons, Clairvoyant
• Beatrice Straight, Dr. Lesh
  
• Richard Lawson, Ryan
  
• Martin Casella, Dr. Marty Casey
  

Watch It:
Pee-wee's Big Adventure (Widescreen)

My Other Obsession:
Poltergeist (25th Anniversary Edition)

www.groundlings.com Read more!