Speed racer (2008) Revisit

27 years ago a cult grew up around the films of the Wachowski Brothers / sisters, with the release of”The Matrix”. It was a groundbreaking film that utilized special effects, clever camera tools and frankly brilliant framing and staging, to make a science fiction film a classic. The two sequels never lived up to the promise of that first film, because they got bogged down in a series of philosophical and existential musings.

How could they redeem the promise that they showed with that first Matrix film? For my money the answer is apparently the gloriously overstuffed “Speed Racer”. When this film came out it didn’t do any business that is worth writing home about, which always amazed me because it looks spectacular. It may be that I am just one of those people who’s willing to go along with the conceit of a filmmaker if it strikes me as being appropriate in the moment. For example, I love films like “Snakes on a Plane”, “The Adventures of Buckaroo Banzai across the 8th dimension”, and “Swiss Army Man”. “Big Trouble in Little China” may be the most enjoyable film that John Carpenter ever made but I know there are people who just can’t get into it, well I can. And “Speed Racer” is a movie that I’m willing to do the same for.

This movie looks like a cartoon, moves like a cartoon, and is acted like a cartoon, and that’s one of the things that makes it so much fun. When Warren Beatty made “Dick Tracy” back in 1990, he used a very specific color palette and lighting strategy to evoke the comics of the era that the character came from. The Wachowskis are doing the same thing with this movie. The colors are dazzling, oversaturated Neon hued, and they whack you over the head.

If you’ve never seen the movie it’s hard to describe what the experience is like. It’s very immersive, and very loud, and I’m surprised that anybody who suffers from motion sickness can get through a screening of this film without passing out or vomiting. I guess I’m lucky because mostly what I get is an Adrenaline Rush and the kind of brain stimulation that occurs when I drive down the strip in Las Vegas. This particular screening was even more so, because it featured a new 4D presentation of the film on the largest IMAX screen in the state of Texas. It was an assault on your senses that you voluntarily take on, in the hopes that it will get you a kind of psychedelic High without actually having to drop acid.

In the nearly 20 years since the film came out, it has acquired a cult status, which overcomes its initial failings. When I see people criticize the film because they object to the little brother and the chimpanzee, I know they have completely missed the vibe that I experience when I see the movie. Sure the kid is corny, and some of the jokes are obvious, but if you take a look around you’ll see that that’s true everywhere in the movie. That’s one of the pleasures of this film, it is exactly what it wants to be. This movie wants you to give in to the sensory stimulation and the artificial nature of the visuals. If you can accept the little boy and his chimpanzee smuggling themselves in the back of a race car, or engaging in hijinks on a private plane, or simply just being a nuisance, then it’s easy for you to accept the ridiculous car chases, race sequences, and comic book villains.

As a kid I never really watched Speed Racer, so I don’t have that nostalgia to fall back on as a reason for my love of this movie. My embrace of it is clearly based on the audacity of the concept and its execution. I have not been enthusiastic about other films from this duo, but along with “The Matrix”, “Speed Racer” has my respect for them as filmmakers.

Grease (1978) and High School Musical (2006)

Grease

I’m not sure it would ever feel like summer without a film like Greece on the big screen. For a Nostalgia junkie like me, seeing John Travolta and Olivia Newton-John sing and dance across the picnic tables and bleachers at Rydell High, is just the ticket to enjoying an afternoon in the theater on a bright summer day.

As usual it continues to amaze me how the many more adult references in the song lyrics and story moments get pushed into the subtext. This allows families to enjoy the movie in spite of the references to heavy petting, oral sex, and assorted deviant behaviors. Most of that gets lost between the songs which are bouncy and fun, and even when they slow down are more about teenage angst than just doing it.

We lost Olivia Newton John a few years ago, and watching this film it’s easy to remember how great she was, in spite of being cast outside of the age range for the character. She had a purity of voice, and a general innocent demeanor, which sold as a high school senior, in spite of the fact that she was nearly 30. The split screen duet near the beginning of the film, “Summer Loving”, was so cleverly choreographed and shot, that it feels almost as if Travolta and Newton-John were actually singing together.

The higher energy “Greased Lightning” sequence glosses over some crude references, with energy and visuals that distract from some of the language and implications. I know there’s still families out there that share this film with their pre-adolescent children, and don’t worry about the subtext because nobody’s going to see it with all of the dazzling pretty things moving on the screen. Let’s face it, it’s just fun.

High School Musical

At the Paramount Summer Classic Film Series, “Grease” was paired with the Disney Channel Original film, “High School Musical”. I know I saw this when it was first shown on the Disney Channel, my kids watched it and I spent some time watching it with them, but I remembered almost nothing about the movie. Apparently I’m alone however, because the State Theater, where all the films are being screened this summer because the Paramount is under renovation, was filled with fans of this teenage film. You could hear them singing along with some of the songs and there were several adults, in their 30s, who were cheering and wooing at moments that they clearly recalled from their youth. The fact that some of it seemed coordinated, amused me to no end. I’m afraid I got more laughs from the audience’s reaction to the film than from anything that happened on screen.

There’s nothing wrong with High School Musical, it’s just that to me, pairing it with this ’70s film with two major Stars and a long history of nostalgia, it just doesn’t match up. Probably just an old man’s perspective on the thing, obviously the younger adults were pretty happy to be in a movie theater seeing something that they saw screening on their cable channels 20 to 25 years ago. 

I did appreciate the choreography of the basketball dancing scenes, I thought that the cheerleaders and players all did a fantastic job in working it out. But for me there wasn’t any song that stood out, any line that I would be quoting for years and years, and the comedic references just don’t have the same resonance.

Still I had a good time, and seeing both of the films in a double feature, on a Sunday afternoon evening in the summer, seemed like a good way to enjoy the season.

Snake Eyes (1998)

I’ve said it in the past and I’ll say it again now, for a period of 20 years Brian DePalma was my favorite film director. I saw all of his movies and thought they were great, even the ones that flopped at the box office. If you were ever in the mood you can visit my post on the 1984 film “Body Double” and see how I’m willing to commit to DePalma, even at his most lured and financially disappointing point.

“Snake Eyes” probably marks the beginning of the end of my DePalma era. The films that came after hardly seemed interesting, and never drew my attention in the same way. This 1998 film, with an over-the-top Nicolas Cage, and a fabulously understated Gary Sinise, shows the director’s talents at staging, framing, and editing a film in a way that few others have managed to succeed at. Structurally the screenplay starts well past the real start of the story, nowadays that’s fairly typical, but in 1998 it was pure DePalma.

The vast majority of the film takes place on a single night at a prize fight in Atlantic City. The former Resort town transitioned into a casino based economy, which struggles to survive while also trying to mimic Vegas. Nick Cage plays Rick Santoro, a corrupt local detective who’s old friend is a naval Commander in charge of security for the visiting Secretary of Defense. Of course the string of unrelated events creates a confluence of narrative around the assassination of the secretary. The heavyweight fighter, a mysterious blonde, a local newscaster, and some low-life bookies, all are connected to Santoro and the investigation of this crime.  Everyone in attendance at the prize fight is a suspect so they are all contained inside of the Arena and the adjoining Casino. This sets up a cat and mouse scenario with Santoro trying to figure out what happened, who to trust, and of course most importantly, whether to take a payoff.

The film is full of long single shot takes, a well-known characteristic of Brian DePalma films. There are also interesting angles, shot from above, clearly inspired by the Alfred Hitchcock films that DePalma has always mined for ideas. The movie feels kinetic without ever losing its coherence. It’s terrific to watch, with 90s style, and an indie attitude, in spite of its big budget and stars. It’s a different kind of dirt then you’d find under the fingernails of a Tarantino film, but the styles are very similar and equally compelling on the screen.

As always, there’s a conspiracy, and the principles have difficulty containing the situation when Detective Santoro becomes the fly in the ointment. Whether or not Rick is supposed to be high on cocaine, he certainly conveys such a personality. Cage has the ebullient voice, grandiose hand and arm gestures, and bug-eyed smirks, which characterize some of his most memorable characters. Gary Sinise looks great in his Naval dress uniform, but it doesn’t take long for us to suss out that there is something not quite right there.

After this film was originally released it showed up regularly on pay channels that we subscribed to on our Dish TV satellite. It felt like it was on a regular rotation at the house, and my kids who were still too young to really be seeing this kind of stuff, watched it anyways, and fell in love with both Gary Sinise and Nicholas Cage. So when a chance to see this film on the big screen showed up, inevitably we were going to go and I’m so glad we did. 

This movie is wild, well shot, and a little complex. It is also vastly entertaining. I probably haven’t seen it for 15 years, and I can’t really understand why. The truth is I’ll probably be watching it again in the next few days, because it’s just that addicting. It reminds me in every shot why I loved De Palma of the 70s, 80s and 90s.

Young Washington (2026)

As far as I’m concerned they’re not enough movies about the American Revolution. This is one of the greatest moments in history, a point when the American people chose to stand up and change the world. To go along with my frustration about a shortage of films about the revolution let me also say that they’re not enough films about The Hero of the American Revolution who later became our first president. Young Washington is a film about this great American before he was an American. And frankly before he became great. Washington had several setbacks in his life, and everybody who thinks he was a privileged white guy doesn’t know enough about the nature of the world in the 18th century.

This story takes place 20 years before the American Revolution. It is in fact an evolution story about The Man Who Would lead this nation into Independence. First however he had to discover his own flaws and weaknesses so that the later story would be a success. Young Washington focuses on a two year period when George served British forces in the French and Indian Wars , and carried out his duties valiantly but also made major mistakes that produced failures in his military commands.

There is plenty of excitement in the recreated battles that are depicted on the screen in this film. It’s interesting to see how different Warfare was in the time period, and to see the seeds of Washington’s future campaigns being planted two decades before fruition. The story is not exclusively about his military experiences but it also covers some of the striving social climbing that he was attempting and for which the social structures of the time cemented his opinion of the British system.

The film was done on a smaller budget, and it was made by a director who has had success with more specific audiences. The fact that the movie works so well is a tribute to not just the actors but the Craftsmen and on-site technicians who always make a movie work. When you add a director who is competent and increasingly skilled in working under budgetary limitations , it is immensely satisfying to see a film like this succeed.

Admittedly the movie is not as polished as a major Blockbuster coming from a studio that had cash to burn, but the look of the movie matches up any of those things that a studio might have come up with, and I think it is edited in a way that does Justice to the facts of the tale but also the entertainment value of a film. John Erwin directed two earlier films that I did see and I enjoyed quite well,”Jesus Revolution”, about the Revival movement of the 1970s, and” American Underdog”, a biopic of the great quarterback Kurt Warner. This is a much more complex movie, and he acquits himself admirably as far as I’m concerned.

William Franklyn-Miller, is the star of the film as the eager young Washington seeks his place in the world. I think this is his biggest role outside of a couple of Television Productions that he’s been involved with, and it’s a good introduction for me. He plays Washington, an earnest, striving, and intelligent man who has been placed in an inferior position because of his family’s Birthright and the location of his family fortune. He was destined to be an outsider from the very beginning.

Three actors playing different characters in this film all reinforce the need for Washington to break out of this traditional social hierarchy. Kelsey Grammer plays a local family patriarch who becomes something of a Patron to the young Washington. Sir Ben Kingsley, represents the bureaucratic English Empire, who stumble on the acquisition of this talented young man, but also become the source of his failures. And Andy Serkis, plays The General that young Washington serves in his most distinguished military Enterprise on the field of battle, and who for a moment Grace’s Washington with the respect he deserves.

If this picture had been made in the 1930s or 40s, it would fit in well with the biographical films of the era. Since however it is 2026, most film critics would be expecting some sort of deconstruction or reinvention of this historic character. Edwin and his fellow filmmakers stick to the facts, tell the story clearly and make it interesting. If you care about Fidelity to history, you won’t mind the absence of a comedy sidekick, smart ass anachronistic dialogue, or revisionist approach to the American story. Maybe it helps to be a patriot to admire this movie, but I think that people who see this movie are more likely to become Patriots, that’s good by me.

Evil Dead Burn (2026)

For almost 40 years I’ve been a fan of the Evil Dead series. The Original Trilogy featuring Bruce Campbell is the most entertaining horror mixed with comedy films that I have seen and that includes “Shaun of the Dead” . I was also a big fan of the reboot in 2012 that took the Grim story of demon possession to a straightforward horror film without the presence of our heroic character Ash.

This film and its predecessor however go a long way toward making me question whether or not I should be seeing any future Evil Dead films. In addition to lacking very much humor, “Evil Dead Rise” and this film, “Evil Dead Burn” lack characters that you care much about and the films  go over the top in ways that suggest that there isn’t any good storytelling available to the filmmakers.

The technical aspects of this film are solid. The makeup effects and the various and sundry deaths and injuries are rendered in all too believable detail. So the incompetence of this movie has nothing to do with the technical abilities of the filmmakers but with their storytelling skills. This movie wants you to try and remember that there is a narrative structure but it mostly ignores that so that we just get from point to point to wallow in the most graphic and unpleasant visual images you’ll probably see on the screen this year.  It’s bad enough to have a body whose face gets smashed in, but then to have another character forced to shove their face into the smashed in face of the Dead character, well it’s just unnecessary. This movie is full of the unnecessary gross flourishes that the filmmaker seems to believe  would make a horror film fun. They are wrong, this was not fun, it did not horrify me so much as gross me out. You could probably accomplish the same effect by filming somebody taking a dump, looking up through a glass table that they’re pooping on. 

The premise of the film is that somebody in a family vaguely connected to the original Professor who discovered the Book of the Dead has uncovered a weapon that can in fact destroy the deadites. So the Monstrous dead are attempting to find the weapon and destroy it so they can continue to take over the rest of the world and turn it into the hellscape that the deadites want. 

This time instead of an apartment building or a cabin in the woods we have a decrepit old mansion that the living are occupying as the dead try to take over. Frankly the biggest problem that I have with this film is that I forgot so much of what happened. I’ve been guilty of posting the last few entries about a movie days or even weeks after seeing that film. What happened here in this movie did not benefit from that pause but rather clarified for me how dull and boring the story really was. 

I didn’t hate this movie, but I didn’t love it either and from the point of view of the Evil Dead series, that seems to be a pretty important failure. Sam Rami and Bruce Campbell were both executive producers on this movie. , but they seem to have had very little creative input and somebody should have told the writers and the director that action needs to move a little quicker to have more zip to it

The Death of Robin Hood (2026)

I’m going to be completely honest with you. The first 40 minutes of this movie are some of the most brutal and violent moments I’ve seen on a movie screen this year. And that says a lot because this movie year has been filled with a lot of violent films. The violence in this film is not framed as like you might find in the low rent Tarantino knock off. It is endemic to the times and the character that we are seeing presented on the screen, it is not stylized or elegant, it is graceless and unpleasant to watch.

Robin Hood is a character that I have followed since I first saw the Errol Flynn movie back in the 1970s. There are several versions of the legend that have come about in the meantime and almost all of them have been faithful to the idea that Robin Hood is largely a heroic figure who sometimes acts in ways that are unconventional and maybe even not very praiseworthy. None of those other films however have come out and tried to reinvent Robin Hood as an amoral murderer who’s happy to Slit your throat over a few tuppence.

Hugh Jackman is a producer on this film and I’m sure he had a big part in getting it made and choosing to play the lead, I’m just not exactly sure why he would choose to do so. I sound pretty down on the film and in large part that’s accurate. In the long run there is some merit to the take that is being presented here. The era in which Robin Hood was supposed to have lived probably was a brutal one, principles are not always followed closely and people would make up their own rules as it was convenient for them. There’s an attempt to make this a Redemptive Arc but it doesn’t really go very far and I found the resolution less than satisfying. 

If you’re looking for a movie with a grim vision of the world, and a hero that you want to sympathize with but can’t then this is the movie for you. It’s competently put together, and very well made by a director that I have admired in the past, but I would warn you away from this, if you have any doubts about these kinds of reimagining, because this one was completely unnecessary and largely unpleasant.

Singin’ in the Rain-Revisit (Paramount Summer Classic Film Series)

This is the last full film I saw at the Paramount Theater before it closed.  For the next 11 months it’s going to undergo renovation and hopefully be restored to even greater Beauty. It’s hard to imagine a more fitting closure then seeing the greatest musical of all time one more time on the big screen.

I love singing in the rain, I can’t understand people who don’t like musicals, and I’m especially suspicious of anybody who doesn’t love this musical. This film has everything, is in hysterical comedy, with terrific dancing and singing numbers, set in the Golden Age of Hollywood, dealing with some of the real problems that came with the Advent of sound, and it stars the great Gene Kelly.

There are so many iconic numbers in this film, that I’m not sure I could get to the mall and it doesn’t paragraphs. So I’ll just remind everybody the gene Kelly’s dancing in the rain, will probably the most visually iconic, is certainly not the only memorable musical sequence in the film. Donald O’Connor steals the movie for 5 minutes with his routine make him laugh. Debbie Reynolds, takes the lead on good morning, and  Cyd Charice doesn’t sing she just dances like an angel Moving On A Cloud along with her partner Gene Kelly. 

Of course the biggest thief in the film is Jean Hagen, who plays the movie star with a voice to die for, I’m sorry I meant to voice to die from. Silent screen Stars sometimes didn’t make the transition to the talkies for a reason. Instead of making this a tragedy however, Gene Kelly and co-director Stanley donen turn this into a farce. And what a lovely time we all get to have as a result. 

Good luck and for a short time farewell to the Paramount Theater, You Are My Lucky Star.

Raiders of the Lost Ark-Revisit (Paramount Summer Classic Film Series)

As Indy himself said, it’s not the years it’s the miles. Although 45 years does seem like a long time and that’s how long it’s been since the first Indiana Jones Adventure stormed onto our screens and blew away the movie houses and their audiences.

We’re not going to go into depth on this particular post, there are plenty of other entries on the blog then look at the particulars of the film. I’m just happy to see it once again on the big screen and in particular at the Paramount Theater during the summer classic film series. The Paramount Theater is about to close for a year for renovation and remodeling so I have one final week to enjoy the beautiful old theater and then a whole 11 months to wait to get to enjoy the restoration.

I’m not sure there’s a better way to go out than with the screening of Indiana Jones and the Raiders of the Lost Ark. The theater was packed this evening, and I was flying solo, Amanda haven’t gone to a conference.  Believe me at the first crack of the whip I was set to enjoy the evening, I wish I had my old Indiana Jones fedora, it either shrink or my head got too big and I lost it long ago. I did have on the right shirt for the evening though and I got a couple of comments about that.

Don’t let any may tell you that there’s a plot hole that makes Indiana Jones completely irrelevant to the outcome of the film. First of all that short-sighted, the point of the film is to enjoy the adventure, and without Indiana Jones there would be no Adventure. As for solving the puzzle, there are actually two or three spots where Indiana Jones presence is necessary for the plot to proceed. Those nitpickers who are trying to tell you otherwise should just mind their own business.

Seeing Raiders on the big screen immediately invites me to revisit the rest of the films in the series. Although the world is full of people who hate the fourth movie, I’m not one of them. It may be the least of the Indiana Jones films but it’s still a heck of a good time. Indiana Jones and the dial of Destiny, the fifth film in the franchise, and the only one not directed by Steven Spielberg, is also quite good, but let’s face it the first and the third are the best in the series. So maybe for Father’s Day I’ll catch up with Last Crusade, but until then I’m just going to enjoy the memory of Indiana Jones swinging out to the biplane, punching Nazis in the face, and falling in love with Marion all over again.

Pressure (2026)

What started out as a boutique experience at the movies for us turned into one of the most compelling films of the year. We saw this film while we were in New York City for a wedding, and it was a last-minute choice on our part because it was playing at an AMC theater and we have the A-list pass so it just seemed like a fun idea to go to a movie in the Big Apple. This is a relatively small film about one of the biggest events of the last century: the invasion of Europe by Allied Forces to defeat the Nazis. The plot revolves around one of the smallest details imaginable but one that is crucial to the events that take place.  This is a movie about a weather forecast.

Brendan Fraser returns to the screen as General Dwight Eisenhower, the supreme commander of Allied Forces in World War II. He and the Brain Trust of the allies are planning the invasion of Normandy for time and secrecy. I thought Frasier’s performance was very effective and probably close to the way Eisenhower must have felt at the time. Although I’m reasonably well first in the history of the war I was not particularly aware of the drive run failure that Eisenhower took responsibility for when Friendly Fire killed a number of Allied troops. The uncertainty of War is thus introduced as a key element of the story here. The general is looking to replace his own doubts with confidence in data that he doesn’t really understand. The inability to trust your own decision making and look for other information that’s going to help you to choose is what makes this movie compelling. 

Andrew Scott plays Captain James Stagg, a meteorologist for the British army who is trusted implicitly by Churchill but whose brittle demeanor and prickly personality alienates him from his Allied meteorologist and the chain of command that ends with Eisenhower.  Everybody who has read about World War II will have some understanding about the timing of the invasion. Operation Overlord had to be delayed because of a storm, it turns out however that the storm was not really well predicted and that the English meteorologist who had a better understanding of the North Atlantic weather patterns was the one Authority the military should be relying on. It’s always interesting to me when an historical event that people know the outcome of can be presented with some suspense in spite of the fact that we know how things ended up.

The title pressure refers not only to the weather pattern but to the choices that were faced by General Eisenhower and by Captain stag. Ike is looking for certainty where none is possible, but the meteorologist working for the Americans wants to provide that certainty. The British captain, on the other hand, recognizes that such certainty is not possible when it comes to the weather of the North Atlantic. That does not however mean there is no confidence in his predictions. His perceived arrogance combined with his prickly manner, make it difficult for others to trust him in spite of his wisdom.

This is a modestly budgeted film that features a lot of talking and rooms filled with data sheets and War plans. The setting is the headquarters of the American expeditionary Force, a beautiful estate that seems like the perfect setting for observing the weather. There are a few battle sequences that concern The Invasion much of that however gravel footage. There are a few second unit set pieces to illustrate how the weather affected the invasion, but this remains for the most part a suspense film based on the conflicts between men who are all under a high degree of stress.

I have a weakness for films that move me emotionally. That’s really why I go to the movies, to feel something. Sure there are times when those emotions are manipulated and if it is done in a heavy-handed way it could create a little bit of resistance to the film. That is not what is happening in this movie. The true nature of the cause is enough to inspire us. The drama between the two men at the heart of the story is compelling enough to keep us glued to the screen. The performances seem honest enough to make our emotional reactions feel sincere. More than 80 years after the events depicted in the film I can still feel a sense of pride in the men and women who made such a significant difference in the world. Thank goodness they could sustain themselves through the pressure.

Moulin Rouge (2001) Revisit Paramount Summer Classic Film Series

I’ve actually seen the musical theater presentation of Moulin Rouge more frequently in the last couple of years than I have the film.  So it was a real treat to get a screening as part of the Paramount summer classic film festival. This was our first return to the Paramount Theater for the summer season, and of course it will be a brief return because the theater is closing down for 11 months for renovation. Screenings will continue next door at the State Theater, which will be pursuing renovations after the Paramount is done.

There is a cacophony of sounds in Moulin Rouge, times can be overwhelming. There are however other moments of quiet Melody that said a tone of romance very effectively. The juxtaposition of these two styles can be jarring at times, which probably accounts for the fact that not everybody cares much for this film. I on the other hand appreciate the effort to do something authentically different well at the same time appealing to an audience with familiar songs and music.

The tone of the film is occasionally comic, but usually it is overwhelmingly sincere in spite of its simplistic supposedly bohemian themes. Nicole Kidman was at the Apex of her beauty when this film was made. Not that she doesn’t continue to be a lovely presence on screen, but this was a moment in time when her appearance could almost be described as created by artificial intelligence. Stunningly, she also has a very nice voice and conveys power and emotion with the songs that she sings. The Old Chestnut that Marilyn Monroe made famous, Diamonds Are a Girl’s Best Friend, is used continuously throughout the film to reflect the amoral attitudes of the gold diggers who populate the chorus in the film. We are however supposed to sympathize with them because after all they are exploited by others who are well off. To me the pretentious themes of the Bohemians feels like a long-term joke, that is playing out again a century after the events depicted in this film.

Ewan McGregor also has a naturally developed singing voice that carries a lot of the narrative of this jukebox Musical. He also is a handsome spectacle that would be enticing to that part of the audience drawn to a vibrant young man. For me the most fun in the movie is trying to discern which song is having its chorus or verse edited into The Continuous stream of exposition in the form of music. Those of you who know me will understand how I was delighted when a kiss song appears in the film.  Director Baz Luhrmann has consistently found innovative ways to make movies look different. There is some criticism of his style because although his movies look different from other people’s films, they sometimes seem reminiscent of his own. Since he isn’t producing films on a yearly basis I don’t find that problematic.

In addition to the music the visuals of the film combine practical stage sets with miniatures and traditional optic effects to make the movie look spectacular( spectacular). Sometimes there’s sepia-toned filters, occasionally soft focus camera work, and frequently there is dynamic use of light to make the screen come alive. All of it is accentuated by bright colors, particularly Reds, which hold our attention and stimulate our emotions.  

Is salt on our auditory senses can be overwhelming, which might make the movie Something of a chore for some moviegoers. Accounts for the reason I’ve not seen the film much since it opened 25 years ago. We first acquired the DVD of the film the year it was in theaters and my kids watched it frequently for the next couple of years, but they moved on to other movies and by 05, we were done with this for the most part. In the last couple of years however, my youngest daughter has become a theater kid, and on one of our trips to New York City, we saw Moulin Rouge with the original leads of the stage Musical reprising their roles. Just last year Broadway Austin presented the touring version of the musical here at the Bass Concert Hall, and we attended that as well.

The nostalgia that comes from watching a movie that was so distinctive 25 years ago and to which my children were devoted for a period of time was one of the main reasons I enjoyed are screening this last month. The movie is still a technical Marvel in an artistic gamble that I think pays off, but I will admit that it will not be something I rush out to see again. I need to catch my breath.