In the interest of getting “hard” copies of my work under one roof, I plan to spend the next few weeks posting the entire archive of my film journalism here on ScullyVision. With due respect to the many publications I’ve written for, the internet remains quite temporary, and I’d hate to see any of my work disappear for digital reasons. As such, this gargantuan project must begin! I don’t want to do it. I hate doing it. But it needs to be done. Please note that my opinions, like everyone’s, have changed a LOT since I started, so many of these reviews will only represent a snapshot in time. Objectivity has absolutely no place in film criticism, at least not how I do it.
We’ve all heard of the synchronicity between The Wizard of Oz and Pink Floyd’s Dark Side of the Moon. I’ve experienced it myself (in a dorm room, complete with Fear and Loathing poster) and as much as I don’t really care about either item individually, together they make a fun and interesting product. No, it’s not the “so perfect it’s spooky” experience as touted by Sage, the guy who lives in the van around the corner with a seemingly unending supply of money and no job, but there are moments which are quite striking. It got me thinking about some other movies which, if tweaked, take on a new life as well.
Dark City + Radiohead’s Kid A
The narration at the beginning of Dark City (theatrical cut) is unfortunate. Not only does it plainly state the film’s big reveal, but it undercuts a lot of the intrigue which Proyas lays on thick during the first act. And remember the way that Kiefer Sutherland speaks? As … if … every … word … he … says … requires … an … entire … lungful … of … air? It fits the character for sure, but I’ll be damned if it isn’t annoying. What if you could eliminate both of these irritants from an otherwise excellent film and replace it with the soothing-yet-upsetting digital alternative of Radiohead’s Kid A? This synchronicity doesn’t have as many rules as Oz/Moon (it’s much looser regarding where you need to press play on the album), but the effect is quite chilling. The film and album are a complete tonal match, while many of the lyrics prove to be thematically appropriate as well. It’s also a great preview to the future scoring work of Johnny Greenwood.
Silent Mad Max: Fury Road
George Miller has stated that with Fury Road, he wanted to make a film which could be enjoyed with no sound. He wanted each and every shot to tell a complete visual story, citing the work of Buster Keaton as inspiration (Seriously, the parallels between Fury Road and The General are uncanny). This one requires absolutely no editing or synching on your part. Next time you put on Fury Road, turn the sound off. You’ll be amazed at how clear and compelling the story remains even without dialogue. Extra credit: Pick your own soundtrack. Just about ANYTHING will work (maybe not Adele).
The Mist in black and white
When Frank Darabont first conceived his film version of Stephen King’s classic novella, he did so in black and white. Both the author and the filmmaker were seeking to take the 1950s monster movie template and update it by shedding the camp and adding layers of human horror. Darabont’s decision to release the film without color was eventually overturned by producers who felt that it would create a more niche market for a film that potentially had broad appeal. Color or no, The Mist is an exceptional film, and as released it takes on a 70s exploitation vibe, which works wonderfully in its own right. But if you have a chance to see it in its original version (it’s part of the special edition DVD – or you could just turn the color off on your TV) you really should. In black and white, the film takes on a tone that is much more in tune with the source material. It also cleans up some of the rubbery CGI work which is apparent in the color release.
The Shining forwards AND backwards
This one may take some work, as you’ll likely have to find a special screening. As argued in the documentary Room 237, cineastes have decided that The Shining is a film that needs to be watched forwards and backwards … at the same time. According to those who have seen it, when the regular and reverse cuts are layered over one another, the intricacies of Kubrick’s technical acuity come to the forefront, and it becomes easy to see how meticulously he constructed the film. Simultaneously, when certain scenes are juxtaposed with one another, thematic elements crystallize as well. Film nerds have exhibited screenings of this experiment, but I have yet to find one, so I’ll have to take their word, yet one thing is absolutely certain: Kubrick is such a skilled filmmaker – The Shining being some of his most intensely crafted work – that any sort of tweak to the viewing of his film will likely bring to light unseen nuance. He, and The Shining, are thatgood.
Got any film nerd tricks up your sleeve? Hit up the comments!
