"We're about to embark on quite a journey. 4 days of hard work."
Most movies take a lot longer, but not Ed Wood's infamous "Glen or Glenda." At least according to Tim Burton's 1994 biopic about the worst director of all time. "Ed Wood" was released twenty years ago this week, and it remains one of my all time cherished films.
"Ed Wood" tells the true story of Edward D. Wood, Jr. the movie director of such 1950s horror movies as "Bride of the Monster" and "Plan 9 From Outer Space." He follows his Hollywood dreams as he writes, directs and acts in no-budget pictures about monsters, aliens, and transvestites. When he meets the cranky and retired Bela Lugosi, they form a friendship and creative partnership that gives Ed Wood the credibility he needs to make big movies.
I love the black and white, romantic reimagining of old Hollywood. The authentic locations are pefect - I'd swear that the entire movie takes place on Hollywood Boulevard. I love the humor, the acting, and the witty dialogue. But most of all, I love "Ed Wood" because it's a very true profile of someone in love with movies. It's about dreamers and their struggles. Ed Wood tries like hell to make one, but realizes how incredibly difficult filmmaking can be.
Written by Scott Alexander and Larry Karaszewski, "Ed Wood" was an odd premise that seems unlikely to get made today. Before DVDs and Netflix, it was much harder to see forgotten movies, so being aware of the director Ed Wood and his movies was a rarity. Deciding to make a movie about him was a risk, but the end result is such a mainstream entertainment it's a testament to all the filmmakers involved. Clearly all of the cast and crew love movies - especially the old obscure ones.
Of course the movie would not have such charm without Johnny Depp playing the title character. Before he was Captain Jack Sparrow and other caricatures, Johnny Depp accepted bold and risky roles. Each one invented an indelible persona, yet this may be his finest work. His energy and emotion carries the picture; he brings to life this marginalized, weird character taking Ed Wood from the fringe to the megaplex.
During Awards season it was Martin Landau, however, who got all the attention. He won the Best Supporting Actor Oscar for his mesmerizing portrayal of Bela Lugosi. Watching the movie today I still forget that it's not actually the real Bela Lugosi. It's a brilliant imitation where Mr. Landau uses his whole body and voice to capture the soul of the original Dracula. It many ways he steals the show.
On one hand, "Ed Wood" is a very funny movie, inviting the audience to laugh at Mr. Wood's amazingly bad choices and even worse movies. On the other hand, it's a very thoughtful look at the creative process. No one - not even Ed Wood - tries to make bad movies. But even the best ideas sometimes crash and burn. Of course, Ed Wood knew he had no budgets, no time, and actors who were at best beyond their prime. He approached each movie with passion, found the positives in every review, and he persevered. In reality, Ed Wood made a living from writing and directing movies for over twenty years. He's even the subject of a recent retrospective at the Anthology Film Archives in New York.
Were most of his movies really that bad? It's safe to say they really were. But "Ed Wood" exists to introduce him to subsequent generations who will be inspired to watch "Plan 9 From Outer Space" and judge for themselves. In many ways, Ed Wood is more immortal that many of his contemporaries.
"Worst film you ever saw? Well my next one will be better."
Much has been written and much has been praised about Richard Linklater's epic new film "Boyhood." Epic is an understatement - the movie took twelve years to film, using the same actors for a few days each year. No other narrative feature has ever done this - cinematically chronicling the coming of age of children, and the metaphysical growth of parents. It was a tremendous risk, and amazingly it worked. Still, the question arises if it's just a gimmick, or actually a good movie?
"Boyhood" follows Mason from age 6 to age 18, from elementary school to college, from one parent's bad advice to another. We see him move from town to town, as his divorced mother (Patricia Arquette) remarries, divorces, and remarries again. Every so often his boyhood-ish father (Ethan Hawke) shows up in the same shirt and vintage Pontiac to whisk him away and offer half-assed wisdom. Mason makes friends, meets girls, and discovers a passion for photography. He watches events pass, such as the Battle of Fallujah or the election of Barack Obama. He even sees Roger Clemens pitch.
Mason grows, starts driving, works a crappy job, and gets dumped. Most of the events in his life are quiet, everyday moments. And that's the beauty of "Boyhood" - the movie takes it's time and shows life. One boy's world from one time and place. It's a joy to watch Mason grow, and it's a brilliant stroke of luck that writer-director Richard Linklater found the young actor Ellar Coltrane. He turns out to be an inspired choice, from cute young kid to compelling young man.
Even though I knew what was coming I was still amazed. Kids grow up so fast, right? Yet here it was front and center in a movie. In one scene Mason is a scrappy child with a high voice, and in the next he's shot up several inches and his voice has deepened. Pretty soon he's got a scruffy chin and girlfriend problems.
The
soundtrack is a highlight, as each transition in Mason's life includes
authentic period music. The movie opens with Coldplay's "Yellow"
(released in 2000), and ends with The Arcade Fire's "Deep Blue"
(released in 2010). Both are melancholy songs about time and change and remembrance.
"Boyhood" is not a documentary. It's a narrative work of fiction. Yet it is missing the drama. Mason lives a relatively trouble-free life, never forced to shed too many tears. In trying to be realistic, Mr. Linklater makes the story too middle-of-the-road. At one point, Mason's father takes him bowling and Mason complains about not being able to use the bumpers. Dad warns him that life is tough and doesn't come with bumpers. It alludes to a moment that never happens. Mason's problems are more simplistic than just first-world dilemmas - they seem almost privileged. Actual boyhood is full of scraped knees and head-on collisions. Failures and frustrations. It's what makes children ready for manhood. If Mason experienced this, we as the audience don't get to see it.
And that brings me to another thing missing from "Boyhood" - more boyhood. Pretend magic through an innocent's eyes. And mischief. Rule pushing, curiosity, and rebellion. I didn't see much of that in the movie either. Aside from a great scene where Mason asks his father about the existence of elves, Mason doesn't imagine or even play much. Most of his reactions are responses to things happening to adults. Without being too sentimental, I would have liked to have seen more of the boy's unique childhood imagination.
The movie (or the editing) seems to underline the passage of time. Rather than drawing you into the story, this has the opposite effect by focusing attention on the filmmaking. This is where the twelve year shooting plan becomes a gimmick.
Scenes are deliberately set at specific moments that show where in the past we are. This includes a Harry Potter book release party, various references to presidential elections, and a cute Britney Spears imitation.
Near the end, Mason asks his dad what the point of it all is. His father laughs and rattles off a few thoughts, but he knows as much and as little as Mason. As we all do. It's the essence of boyhood.
"Boyhood" is a very good, yet flawed movie that is definitely worth seeing. It's a film that will make you think and remember, and quite possibly change your life. Or maybe it's just a movie and it will be over in an instant.
