With the first AP exam week in full swing, my free time is understandably in short supply.
This has meant less time for movies and cinematic analysis, as the pastime has been pushed to the side. For the moment, time for film comes in short segments, a trend that will undoubtedly be reversed once we hit late May. Nonetheless, over the past month, I have made time for a handful of notable watches, some of which are as follows.
Moonrise Kingdom – an innocent island escape
I am hesitant to describe anything as “iconic,” but Wes Anderson’s production for Moonrise Kingdom simply is.
The movie was released in 2012 and captures the journey of twelve-year-old runaways Suzy Bishop (Kara Hayward) and Sam Shakusky (Jared Gilman). The slightly awkward and somewhat peculiar children escape their home and summer camp, respectively, with a plan to start their own lives together. The lovers travel across New Penzance, a fictional island off the coast of New England, trying to outrun family and authorities. As the two embark across the wilderness, they face a rapidly approaching storm while experimenting with their youthfulness and newfound freedom. The storyline is romantic in an innocent way, showcasing the faithful relationship between the two star-crossed lovers as they are being pulled apart.
More than the wholesome narrative, the best element of the film is undoubtedly its all-around production. The mere color palette of the story is beautiful, utilizing subdued pinks, greens, and yellows. This makes the movie feel as if it were shot with the retro cameras that the characters would have owned in the story’s summer of 1965 setting. As I have a sweet spot for vintage camera-quality, the style easily drew me into the story.
The childlike details further set up the fundamental aesthetic of the movie. Anderson plays into the main characters’ youth, setting up scenes that look authentically like the kids created them themselves—for example, their tent campsite on the beach. The children’s attempts to mimic adulthood can further be seen in their wholesome, elderly-like care for each other. Together, this makes for touching scenes of adolescence and optimism, a rarity for movies geared towards older audiences.
The characters’ naivety is reflected in the ways that they dress as well, making for fun and lighthearted costume design. I authentically adore the outfits, particularly those from the beginning of the movie. Sam starts out in his Khaki Scout uniform, essentially like that of a Boy Scout, with a Davy-Crockett-style coonskin cap. The look suits his prepared nature and eagerness to prove his strength and maturity in the wilderness. Similarly, Suzy’s attempts at maturity show through her clothing. Her light pink dress with its Peter Pan collar, binoculars, and blue eyeshadow is adorable, yet less than ideal for camping.
Even though I generally enjoy Anderson, his direction isn’t without its shortcomings. Recently, I watched possibly his most popular film, The Grand Budapest Hotel. While it had interesting, abnormal visual elements, the storyline was underdeveloped. After finishing, I still wasn’t sure what the point of the movie was. I felt similarly about Moonrise Kingdom, but to a slightly lesser extent. In both films, the aesthetics are prioritized, making for unique but mediocrely impactful productions. However, I’m not sure if this is because there is too little happening or too much happening at once, watering the story down with chaos.
On the whole, I could see the twelve-year-old version of myself watching Moonrise Kingdom and scoffing at the way that it portrays children as naive. Yet, I likely would have become obsessed with the film’s aesthetic all the same, even as a child.
The Lorax – the ideal mix of humor and impact
In multiple languages, The Lorax is an exemplary animated film. After watching the animated Dr. Seuss story in Spanish class, I was reminded of how well-done it truly is.
It lacks the innocent charm of a Disney movie, yet it conveys a meaning stronger than the vast majority of kids’ media. For anyone who hasn’t heard the story of The Lorax, the message warns audiences of their negative impact on the environment. The movie’s setting is the all-plastic, dystopian city of Thneedville, in which nature ceases to exist and air is sold in bottles. Zac Efron voices the main character, Ted, a curious teenage boy on a mission to impress his crush by finding her a real tree. As he travels outside of town to the desolate home of the Onceler (Ed Helms), Ted discovers his town’s history and sets out on a mission to fix the past.
While the movie is geared toward children, it can be entertaining for audiences of all ages. The “save the planet” message clearly comes across, yet the plot suggests that there’s still hope to reverse the destruction of the Earth. It instills a sense of existential anxiety, creating a call-to-action for viewers. The storyline retains enough complexity to be relevant to older generations, but it can be understood and internalized by children.
Even with its serious message, the film retains a playful nature. In the typical style of Illumination Entertainment, the characters are ridiculous and exaggeratedly emotive. They sing lighthearted songs and joke about certain animals’ obsession with marshmallows. While the movie contains its share of childish humor, it isn’t mindless, unlike many kids’ movies today (shoutout to A Minecraft Movie).
The Outsiders – the missing piece of my eighth-grade experience
In comparison to virtually every middle school in the country, at FHC, we neither read nor watched S.E. Hinton’s The Outsiders in eighth grade. The coming-of-age story centers around the life of Ponyboy (C. Thomas Howell), an introspective 14-year-old member of a gang called the Greasers. The gang gets into multiple scraps with their rivals, the Socs, throughout the story. Essentially, the classic showcases the danger that can come of fighting, showing this in the context of a socioeconomically divided, 1960s America.
Before watching the movie, I of course read the book—the correct order to do it in. The novel was solid, though I think it would have been more impactful if I were fourteen years old, as Ponyboy is in the book. Similar to most book-to-movie adaptations, I did find the book to be better than the film. Still, the movie follows the book to a T, with virtually no discrepancies between the two.
Knowing the story before watching made me slightly more forgiving of the movie. The 1983 release was directed by sensation Francis Ford Coppola, initially raising my expectations. Even though it went on to launch the careers of many of the main stars, the acting was mediocre throughout the film. Truthfully, my favorite acting moment was young Sofia Coppola showing up for no more than two seconds to ask one of the gang members for spare change.
In addition to the acting, the stylistic choices weren’t fully formed. The rough special effects can be excused, as CGI wasn’t what it is now back in 1983. However, the music choices were abominable and cannot be glossed over. For one, the soundtrack clearly didn’t fit the mood of most of the scenes in which it was inserted. Secondly, its volume was overpowering, drowning out the characters’ dialogue. With its average acting and production, The Outsiders made for an altogether average, 5/10-star watch.
With more free time, I hope to make it out to the movie theater more this May. I will undoubtedly see both new releases, such as Sinners, and re-releases of cult-classics like Pride and Prejudice. However, for the moment, I’m forced to channel the attitudes of Hermione Granger from the Harry Potter franchise and Taylor McKessie of High School Musical to make my way through the week.
