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I realized after writing my post that I had  not expressed my thought completely. Perhaps instead of calling it “rules of the genre” I should have called it “rules of expression.” Different art forms have different rules about how one’s thoughts and feelings are expressed. For example, in poetry there are rules about rhyme and meter. In ballet, there are rules about movement and music without words. In silent films, the rules of expression involve images, mime, and music. I think musicals simply create a different world, with different rules. Just like a fantasy creates a different world with its own rules: magic and dragons and special abilities. I guess I feel that if one can accept magic, why not song?

Though I totally understand if one is not into dance or song. If you don’t like ballet, then The Red Shoes is probably not for you. If you don’t like lots of action/fight sequences, then probably not Avengers. Do you not like gangster violence? Probably not Scarface. But that puts it down to preferences, not something inherently wrong with musicals.

Further Thoughts on Reality and Rules of Genre

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Posted by on March 28, 2017 in Uncategorized

 

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Willis O’Brien and Stop Motion Animation

Willis_H._O'Brien (1)When Ray Harryhausen made his last movie The Clash of the Titans in 1981 and Tim Burton produced A Nightmare Before Christmas in 1993, they were creating their worlds using the same technology pioneered by Willis O’Brien in 1925 with The Lost World: stop motion animation. Then, in 1993 with films like Jurassic Park, special effects technology underwent a revolution and CGI became the norm. In many ways, CGI has allowed filmmakers to do things they never dreamed of before.

But part of the allure of stop motion animation is precisely that it never achieved the same ubiquity in film as CGI. There is an aura of arcane knowledge, super-human patience, the personal touch in creation and animation, the magical illusion of an inanimate object coming to life.

Stop motion animation is the process of filming an object by adjusting the object between each frame so that it appears to be moving when the film is run at full speed (according to Steve Archer, who worked with Ray Harryhausen on The Clash of the Titans, five seconds of footage a day is average for an animator). This technique existed nearly from the beginning of film and was employed by George Melies, early animator J. Stuart Blackton and even Edwin S. Porter.

Willis O’Brien, however, seems to have stumbled on stop motion animation on his own. He created a boxer that he wanted to see move, so he made it move…using stop motion animation. He came to his vocation later in life. He was 29 and had already been a boxer, newspaper animator, cowboy, fur trapper, and bartender. He liked to draw and was fascinated by dinosaurs, anatomy and movement.

After making a variety of short films for the Edison Company and a 40 minute adventure/fantasy called The Ghost of Slumber Mountain (of which we now only have 16 minutes), O’Brien finally had a chance to showcase his work in the 1925 The Lost World, based on Arthur Conan Doyle’s novel of the same name.

The Lost World perfectly captures O’Brien’s capacity to imbue his creatures with unique personalities. One can almost follow their line of thought as they interact with each other: the Brontosaurus who sneers at the Allosaurus who dares attack him, the evident chagrin of the Allosaurus when the Brontosaurus falls over the cliff, the way the Allosaurus, clearly miffed, looks at the wound inflicted by the Triceratops and concludes that the Triceratops is more trouble than it’s worth.

However, in 1925, there was no way to directly interface the animated models with the actors and most of the interaction is limited to the people marveling at the dinosaurs. But audiences had never seen anything like it and there was a lot of mystery surrounding how exactly the effects had been achieved (there would be similar head scratching after King Kong). It would help set the template for fantasy/action/adventure films to come.

Willis O’Brien would spend the next few years of his life in a rut that would become very familiar to him throughout his life: creating story ideas that were not turned into film and working on projects that would be axed. However, in 1932 he began work on his greatest achievement. In fact, it can be argued that though there would be many improvements on these techniques and many incomparable films, King Kong represents the apotheosis of the dramatic and emotional potential of stop motion animation. It is Kong – fully integrated into a live-action story – who is the emotional center of the film, who provides the dramatic propulsion of the story filled with live actors.

One of the marvels of King Kong is how Willis O’Brien took an 18 inch figure (actually there were several figures of various sizes – as well as a giant face and a giant hand to hold Fay Wray) and made an immortal colossus out of him. Just a model, an armature with ball and socket joints, covered in rubber, foam and rabbit fur. It’s like magic.

There was a richness to King Kong, as well. O’Brien would paint glass to put between the camera and his models to create a dense, layered jungle. He also used a variety of techniques – rear-screen projection for the actors to react to, exposing part of the frame while filming the actors and then exposing the rest of it while filming the models, as well as rear-screen projection onto miniature shots of Kong. In fact, the animators went out of their way to keep the actors in the images with any of the animated creatures in order to enhance the sense of tension and awareness of the threat posed.

After the success of King Kong, a sequel was rushed into production, Son of Kong, though Willis O’Brien always said he hardly worked on it. It was a tragic time for him personally. His wife shot and killed both their sons and then tried to commit suicide. Eventually, O’Brien found stability in life when he remarried, but he was never to come close to the success he had with King Kong. Partly, according to his second wife, Darlyne O’Brien, he never asserted or promoted himself. He sold stories to people who used his ideas without hiring him to do the animation and he was unwilling to work on B movies (unlike Ray Harryhausen, who used B movies as a launch to greater things), though he eventually was obliged to make a few, simply to earn a living.

His last great film was Mighty Joe Young in 1949, made with largely the same creative team behind King Kong. By all accounts, however, he remained a contented man (if occasionally frustrated) and never let himself be discouraged. He just kept working, creating and generating ideas until the day he died.

One of the things that fascinates me about stop motion animation is that very quality of creating life, as it were, where there is none. It is in contrast to the modern method of motion capture to record an actor and animate a digital character (such as Andy Serkis as Gollum, King Kong and Caesar in Rise of the Planet of the Apes and Dawn of the Planet of the Apes). I can sympathize with Serkis’ frequent complaint that motion capture actors are not given their due. The emotion and acting is largely coming from them (which is not to take anything away from the extraordinary skill of animating that emotion digitally). But with stop motion animation, the emotion  and personality is coming from the animator.

During the making of King Kong, there was very little detail in the script about how Kong should behave. Much of his humanizing gestures come from O’Brien. The boxing moves King employs against the T-Rex, how he is picking a flower for Fay Wray (just before she is attacked by a giant snake), the way he sniffs her and starts to pull her clothes off, even the way that Kong kills the snake (he was supposed to strangle it, O’Brien had him grab its tail and dash its brains out).

According to Paul M. Jenson, author of The Men Who Made the Monsters, the script merely said that at the end of King Kong, Kong was to “stagger(s), turn(s) slowly, and topple(s) off the roof.” The defiance against the planes, the picking up of Fay Wray’s character to say a kind of goodbye, his expressions, that all came from O’Brien. It is a wonder how fresh and vital his work feels to this day.

Sources

“A Short History of Stop Motion Animation”

“Puppetry in King Kong, 1933”

Willis O’Brien: Special Effects Genius – Steve Archer

The Men Who Made the Monsters – Paul M. Jenson

This post was written for the Classic Movie History Project, hosted by Movies Silently, Silver Screenings, and Once Upon a Screen. Be sure to check out the rest of the fascinating posts, here.

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Posted by on August 6, 2016 in Movies

 

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The Beast From 20,000 Fathoms (1953)

downloadMy brother was reminding me that in the 1950s, the Arctic (Ocean) was kind of like the last frontier on earth. It had been visited, but was not well known and it was during the 1950s that nuclear submarines were engaged in mapping the arctic, floating both among and under the ice floes. It was not until the late 1950s that a submarine was able to push through the ice and, in the words of my brother, take a selfie on the North Pole. It was like the closing of a frontier. After the arctic, there was really nothing else to do but take the exploration in films to space and out-right fantasy. No more going to islands and discovering King Kong or the Arctic and finding prehistoric monsters or even aliens.

But this might be why the Arctic features in a few 1950s sci and fantasy films, most prominently in The Thing From Another World and The Beast From 20,000 Fathoms.

The Beast From 20,000 Fathoms begins with a test of a nuclear bomb in the Arctic, which releases a prehistoric monster that had been frozen in the ice for millions of years. A specialist in radioactive isotopes, Dr. Tom Nesbitt (Paul Christian) sees the monster, but no one will believe him. He contacts the respected paleontologist, Dr. Thurgood Elson (Cecil Kellaway), but he finds the idea of a frozen dinosaur come to life incredible. Only his assistant, Lee Hunter (Paula Raymond) believes Tom. Together, Tom and Lee track down several fisherman who claim to have lost their boats when attacked by a giant monster.

Eventually, the evidence mounts up so that not only Dr. Elson, but also Tom’s military friend, Col. Evans (Kenneth Tobey) believe him and they try to locate the monster (which they call a Rhedosauros, a fictional dinosaur), except that the monster has other ideas and invades New York City a la Godzilla.

Interestingly, The Beast from 20,000 Fathoms was released over a year before the Japanese classic Godzilla and served as an inspiration. There are many similarities: the connection between atomic weapons and monsters, the way it attacks boats, the way it comes ashore to destroy a whole city. Ray Harryahusen’s Rhedosaurus probably looks better than the original Godzilla, which is really a man in a suit. However, the Japanese film gave their monster a much deeper significance. Godzilla is not just a rampaging dinosaur, but a direct product and representation of the atomic bomb and it’s deadly effects and trauma.

The-Beast-from-20-000-Fathoms-images-e6efcd1b-fdec-44e1-b9c8-efc46c46273However, despite the lack of an especially deep meaning, The Beast from 20,000 Fathoms is still a fun movie. It’s not a long movie, only 80 minutes, and incredibly was made for little more than $200,000. It’s a testament to creativity on a shoestring, a creativity that influenced films from Godzilla to Them! and beyond.

The idea came from a short story by Ray Bradbury called “The Fog Horn,” which featured an attack by a giant monster on a light house (a scene which makes it into the film). Ray Harryhausen – who had previously worked with Willis O’Brien on Might Joe Young – was for the first time able to work alone. He said they could only afford one model of the Rhedosaurus, unlike King Kong, where there were multiple models – you can even track the changes through the film. Ultimately, Harryhausen’s Rhedosaurus looks to me like a cross between a T-Rex and a Komodo Dragon.

The director, Eugene Lourie apparently used to tease Harryhausen that he made his monsters die like a tenor in an opera. This made me laugh when I heard it because it’s so true. The pathos Ray Harryhausen manages to wring out of the death of a rampaging creature is impressive. He did the same thing at the end of The 7th Voyage of Sinbad, pausing for a truly operatic end for a dragon that really wasn’t in the story that much, but managed to convey more emotion that the entire cast put together.

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Cecil Kellaway, Paul Raymond, Paul Christian

In The Beast from 20,000 Fathoms, the Rhedosaurus goes out amidst a burning roller-coaster on Coney Island, taken out by a radioactive isotope. He gets all the drama, while the people are along for the ride, though Cecil Kellaway as Dr. Elson is quite good. I am always happy to see him in a film and the character even makes jokes about leprechauns, which I thought was ironic since Cecil Kellaway had played a leprechaun in a movie only a few years before. Another familiar face is Kenneth Tobey as Colonel Evans. He makes a crack about flying saucers, another irony, since he helped discover one in the 1951 movie The Thing From Another World.

The film grossed over $5 Million, an impressive return for a film made for only $200,000. But the creative returns were even more impressive, inspiring Godzilla and Them!, but also launching Ray Harryhausen as solo creator and unique genius.

This post was written as part of the Ray Harryhausen Blogathon. My thanks to Wolffian Classics Movies Digest for hosting! Click here for more posts about Harryhausen’s work.

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Posted by on July 11, 2016 in Movies

 

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