CHRISTOPHER LEE (1922-2015) remembered

June 11, 2015

christopher lee Usually when a screen icon passes, we spend time reminiscing about the characters they played in the movies we loved. For Christopher Lee, this goes much deeper. When I first began an infatuation with movies, he was almost 20 years into his acting career. He truly has been an active part of my movie-watching for my entire life. So when I see today’s headlines labeling him as a “Movie Villain”, I cringe and think what an injustice and simplification that is. Christopher Lee has always been there – from 13 inch B&W television sets to 40 foot theatre screens – inspiring me to love movies.

This was a fascinating man … so much more than a beloved and talented actor. By the time he was 23 years old, he was decorated for his distinguished WWII service for the Royal Air Force and Special Services. He then moved into acting, and now leaves us with a remarkable 281 screen credits to his name.

Lee’s acting career was incredibly diverse, and certainly not limited to villainous roles, even if that’s how he is most frequently remembered. His screen time ranged from playing Frankenstein, Dracula, and The Mummy in traditional monster movies (many from Hammer films), to his iconic clash with James Bond as The Man with Golden Gun (1974). He also played Sherlock Holmes, Fu Manchu, and Rochefort in 3 – Three Musketeers films,  utilizing his expert real life fencing skills.

In 1977, Lee’s autobiography was published … “Tall, Dark and Gruesome”. He embraced his image, while working non-stop at broadening his roles. Many know him from the 1973 cult classic The Wicker Man, and how could we forget his hosting of “Saturday Night Live” in 1978 (musical guest, Meat Loaf)? This man embraced both horror and comedy – he was courageous enough to appear in one of the Police Academy movies!

christopher lee2 Lee experienced a career renaissance thanks in part to having a huge fan in filmmaker Tim Burton, who cast him in Sleepy Hollow, Charlie and the Chocolate Factory and Sweeney Todd: The Demon Barber of Fleet Street. Additionally, younger film fans know him from Peter Jackson’s Lord of the Rings trilogy, two “Hobbit” films, and of course three “Star Wars” films.

Of course, it’s Mr. Lee’s voice that always announced his presence with authority. A deep, booming resonance could spark fear or respect; however, he also used that voice for singing – opera, a Broadway tunes album, and two Heavy Metal albums. He was married (yes, to the same woman) for more than 50 years. A life well lived may be the highest honor man can achieve, and it is personified in Sir Christopher Lee … much more than a villain.

Here is a taste of Metal Christmas from Christopher Lee:

 

 

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Posted by David Ferguson

DARK SHADOWS (2012)

May 21, 2012

 Greetings again from the darkness. If anyone ever asks “What was the name of that late 60’s goth, supernatural soap opera with the cult following?“, it’s safe to assume they mean the TV series “Dark Shadows“. It ran from 1966-1971 for a remarkable 1225 episodes. For those who remember it, the image they recall tends to be actor Jonathan Frid as Barnabus Collins … the first vampire most of us ever saw outside of a Friday night horror film. The series made quite an impact on two young boys in particular: Tim Burton and Johnny Depp.

There are many reasons that movies get made. Pet projects or labors of love are not as common these days because of high production costs. But that’s exactly what this movie is – a pet project for Burton and Depp. They clearly have fun with the characters, and the film dallies ever so closely to the parody line. The initial set-up is brilliant and dark and ominous, leading us to believe this film will be in line with Burton’s Sleepy Hollow or Corpse Bride. Instead, the rest of the movie is more in line with Beetlejuice. Definitely not a bad thing – just different than what we were prepped for.

 Johnny Depp gives a wonderful performance as Barnabus Collins, the rich young man cursed by Angelique, the witch he spurns in love. His curse is to be turned into a vampire and buried alive. When his casket is discovered 196 years later, the world of 1972 is quite different than the one he left. He comically struggles to fit in and make sense of it all … not the least of which is his remaining family. At his beloved Collinswood Manor lives Elizabeth Collins Stoddard (Michelle Pfeiffer), Roger Collins (Jonny Lee Miller), Carolyn Stoddard (Chloe Grace Moretz), David Collins (Gulliver McGrath), the live-in child psychiatrist Dr Hoffman (Helena Bonham Carter), and their recently hired nanny Victoria (Bella Heathcote). While he was buried, the wicked witch Angelique (Eva Green) becomes the most powerful figure in town.  Ms. Green holds nothing back in her over-the-top jealous witch fun.

 Burton does a nice job poking fun at the 1970’s with comedy that won’t mean much to today’s youngsters, but will hit home with those from the era. The art direction and sets are terrific, especially Collinwood Manor. The music of the 70’s is used to comic effect, including a live performance by Alice Cooper. Michelle Pfeiffer does the best job at capturing the look and feel of the original series, but her daughter’s character (Moretz) takes an unnecessary turn as Burton tries to cram as much in as possible. In fact, the film is actually quite fun to watch, but is lacking real substance in the story department … not dissimilar to the original series.

 This is the 8th film collaboration between Burton and Depp. They make a wonderful team, and Depp has added another entertaining character to his Captain Jack Sparrow, Edward Scissorhands, Mad Hatter legacy. His movements and speech pattern are especially entertaining as we are mesmerized by his milky white complexion. His dialogue (written by Seth Grahame-Smith) demands attention and is both comical and majestic simultaneously. Burton’s tribute to the TV series includes cameos by four of the original actors: Kathryn Leigh Scott, Lara Parker, David Selby, and the recently deceased Jonathan Frid (pictured left) as guests at the ball. It’s a classy touch. Danny Elfman’s score is a bit overwhelmed by the use of numerous 70’s classics, and it was disappointing to hear The Killers version of “Go All the Way” rather than The Raspberries as the closing credits rolled.

Burton is one of the more visual directors and even though the story is a bit lacking, each scene gives us plenty to absorb. The ghosts are especially well done, as is the fishing town of Collinsport which was built just for the movie. It has many similarities to Bodega Bay, which film lovers will recognize as the setting for Hitchcock’s The Birds. Lastly, Burton gives us another scene with the great Christopher Lee – this time as a boat captain caught between Angelique and Barnabus. Good stuff.

SEE THIS MOVIE IF: you are a fan of the original TV series OR you enjoy Burton/Depp collaborations OR you “get” 1970’s humor

SKIP THIS MOVIE IF: in your mind, the 1970’s have as much relevance as 1870

watch the trailer:

2 Comments | Comedy, Fantasy, Horror | Tagged: , , , , , , , , , , , , | Permalink
Posted by David Ferguson

HUGO

November 29, 2011

 Greetings again from the darkness. This latest from Martin Scorsese can be fitted with multiple labels and each would be correct: a tribute to the birth of movies, a case for film preservation, a children’s fable, a special effects/3D extravaganza, a family movie with touches of Dickens. Very few directors would tackle such an ambitious project and succeed in producing such a magical experience.

Based on Brian Selznick‘s (relative to the film giant David O. Selznick) children’s book “The Invention of Hugo Cabret”, this is a story of redemption and fulfillment. Asa Butterfield plays Hugo, made an orphan when his watchmaker father (Jude Law) dies in a fire. Hugo gathers up the project he and his dad had been working on, and  moves in with his drunkard Uncle Claude (Ray Winstone). They live in the walls of a 1930’s Paris train station and maintain all the clocks, ensuring accurate time for travellers. When his uncle disappears, Hugo carries on the daily mission unseen by passengers and station staff. He steals the occasional croissant and milk to survive, all while continuing the mission of repairing the fantastic automaton his dad salvaged. Hugo is convinced there is a hidden message from his father that will be revealed when the automaton is fully functioning.

 Hugo gets cross-ways with a station toy vendor named Georges, played by Sir Ben Kingsley. Georges is a bitter old man and has no time for Hugo the urchin. Chloe Moretz plays Isabelle, a ward unto Georges, and she and Hugo strike up a friendship. Hugo introduces Isabelle to the world of cinema … previously off-limits to her thanks to Georges. She returns the favor by awakening Hugo to the power of books in a store run by the mysterious, and always great, Christopher Lee. All this is happening while Hugo tries to evade the grasp of the oddly dedicated and slightly twisted station inspector played by Sacha Baron Cohen.

 The kids’ research and automaton revealed hint lead them to a film history book written by Rene Tabard (Michael Stuhlbarg). It’s here that they discover Georges is really George Melies, the famous pioneer of film who developed the first special effects and studio system. If you know much of film history, then you recognize Melies as the one who brought us the 1902 A Trip to the Moon. It is here that Scorsese delivers a quick recap of the origination of film, including the Lumiere Brothers, the famous clock stunt by Harold Lloyd and other silent film classics like Buster Keaton and Charlie Chaplin. The best portion is dedicated to recreating the creative community  used by Melies to produce films with his wife in a make-shift studio.

 It is here that we are allowed to remember just how magical movies can be and how the best ones fill us with a sense of wonderment. The lines between what we feel and what Scorsese is showing us becomes so blurred it no longer matters. As Isabelle is overwhelmed in the theatre, that same feeling sweeps over us. How interesting that Scorsese’s first special effects film features the man who originated film special effects. We even get a re-creation of the famous Lumiere Brothers’ oncoming locomotive clip that caused audiences to jump. We get it in 3D in Hugo’s own station!

 I have been extremely critical of 3D and its misuse in movies these past couple of years. It rarely adds to the movie and always dims the colors and brightness. Scorsese is a firm believer in the technology and set out to show what can be done and how it can compliment the story. While more impressive than any 3D since Avatar, I still have my doubts about the benefits. What I do know is that if you can overlook the story that drags a bit and the possibly unnecessary 3D effects, you will probably find the film to be extremely entertaining and fun to watch. Howard Shore‘s score plays a vital role and supporting work comes from Emily Mortimer, Richard Griffiths, and Helen McCrory. It’s not for the youngest kids, but it will make you feel like a kid … while reminding you that movies are the stuff that dreams are made of.

Note: with a budget of almost $170 million, there is almost no chance that this film turns a profit, but for full effect, I would encourage you to see this on the big screen.

SEE THIS MOVIE IF: you can enjoy a tribute to film history wrapped in a family film designed to flaunt the power of 3D OR you have a pretty smart kid aged 8 or older who could appreciate the most impressive movie prop of the year (automaton).

SKIP THIS MOVIE IF: you lean towards a cynical mindset and are unlikely to open up for a big budget children’s fable making a case for film preservation

watch the trailer:

3 Comments | Drama, Fantasy, Sci-Fi, Thriller | Tagged: , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson