|
|||||||||||||||
|
|
|||||||||||||||
|
|
This has been a nice year for movies that look different and take chances. Where the Wild Things Are continues that trend.
About the film
Already this year, we’ve seen 9 (Movie Man No. 842, an 8) and Coraline (MM #813, 7) pictures that dared to be different. Now along comes an adaptation of another one of those dreaded “beloved children’s books.” Where the Wild Things Are was written by Maurice Sendak and it’s not a happy, sunshiny children’s book. All of nine sentences, it takes a hard look at the sensibilities of a little boy – those energetic whirlwinds who sometimes infuriate parents whose exasperated shouts of “Why are you acting this way?!” can’t be answered by anyone, including the boy. Sendak gives his little man a place to run off to, where he can be the boss of giant monsters and romp and destroy anything anytime he wants. That’s not much to go on for a major movie. But avant-garde director Spike Jonze and writer Dave Eggers fleshed out the story. The production hit some serious bumps – Jonze elected to use (for the most part) huge puppets instead of today’s popular computer generation to create the critters.
Another major concern for studios was that Jonze was making an adult movie, not a children’s film. The dark sometimes scary nature of the film freaked out executives. Sticking to his vision paid off. Mostly positive reviews, some beyond ecstatic, poured in. While some have derided the movie for being one of those adult-longing-to-be-a-child throwbacks, others sense that something deeper is working here and the Movie Man agrees. The plot Max (newcomer Max Records) is a rambunctious boy, his motor almost constantly running 90-to-nothing. Whether he’s instigating a snowball fight from his snow fort or lamenting the fact that his big sister is no longer interested in him, Records is a handful for his struggling single mother (Catherine Keener). When he freaks out seeing Keener enjoying the company of a man (Mark Ruffalo) not his father, an out-of-control Records bites her and races outside to escape Keener – and everything else that has made his young life so confusing and difficult daily. In a small boat, he sails through rough seas and makes a dramatic landing on a faraway island. There, Records discovers a group of big-headed monsters, including Carol (voiced by James Gandolfini) who is in the process of throwing a fit and destroying the abodes of the other monsters. Records, who convinces the creatures not to eat him by declaring himself king thanks to his penchant for spinning exotic yarns, relates to the volatile, energetic Gandolfini. Things are fun early as Records declares a “rumpus” be conducted – a wild, destructive run through a forest. And the group sleeps happily together before building a gigantic fort, the construction led by Gandolfini. But the atmosphere begin to change when Records’ promises to his monster subjects can’t be fulfilled. Like adult vows, Records can’t make everything all right even though he said he would. Gandolfini, Records’ soulmate, rampages again and threatens the king. Records, still very young, understands a few things now – why adults are like they are, the importance of decisions, the fact that you can’t make everyone happy all the time. He decides to head home and, after a tearful make-up with Gandolfini, has his own reunion with a worried, happy Keener. What works Records is a good child actor, an excellent choice. Jonze gets a great performance out of him, from being a brat (who would almost certainly be medicated today) to eye-batting cutie who tells enchanting, far-fetched stories to Keener. Jonze has made a beautiful movie that reflects the offbeat, twisted visuals of the book. The ploy Jonze-Eggers used of giving the monsters personalities helps flesh out the mirroring of the human counterparts. Another plus (for adults) is the uneasiness that permeates the movie. Records never seems safe, even in a world of his own creation: Giant trees fall all around him and there’s always the threat of him getting eaten. The movie is loaded with symbolism and is the sort of picture that film schools will revel in dissecting. From Records’ monster counterpart to the giant bird-like Ira (Forest Whitaker) to whom no one ever listens to literally (re)entering the body of female monster KW (Lauren Ambrose) when under distress, Records reflects his human acquaintances’ traits onto a variety of creatures. Where he Wild Things Are looks great, from the film stock to the cinematography to the little computer generation (the wild seas) that is used; it all fills every corner of the screen. Best scene While the scenes on the island are effective, the Movie Man was more attracted to the opening sequences that establish the chaotic swirl Records creates. The conclusion of his snowball battle with older kids goes from childlike exuberance to heartbreaking. What doesn’t work Some scenes are too compact, making figuring out what’s going on on screen difficult; the camera is in too close to the action. (Which might’ve been the idea.) It’s hard to root for Records sometimes – he’s a spoiled child who, in today’s world, would certainly be diagnosed as hyperactive then drugged. Most kids aren’t this bad and some discipline should be rendered. (When Records finally goes home, he’s given chocolate cake by his always relenting mother. Keener isn’t exactly a role model for today’s parents.) Some more placid boys might get the idea that this is the way they’re supposed to act – that isn’t exactly the message being delivered. The rating While it’s based on a kids’ book, Where the Wild Things Are is coated with a layer of dread. It’s dark and threatening – themes okay for older kids but not for the very young who might freak out considering there are several mentions of a child being eaten. (“You’re the first king we didn’t eat!” says one monster.) Summing up The Movie Man liked this film a lot. Mothers of little boys and one-time bratty boys now grown up will especially appreciate this unique effort. |
|
