DARK SHADOWS **

http://zogarok.wordpress.com/2012/05/19/dark-shadows/

DARK SHADOWS **

19

May

3sur5 Promoting Dark Shadows announced a kind of Visitors mode romantic operetta and trash sandbox. Echoing with the morbid tics and manufacturing to fill the conspicuous lack of challenge in terms of cinema. Dark Shadows was destined to become either a remake Unofficial Addams Family, is an entertainment standard and ugly of Saturday night. On arrival he is a good product sleek and languid, exuding an almost reactionary morality and references proven but sublimated: Burton is back-in-chief d'orchestre kitsch.

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Burton, inventory

In recent years, film Tim Burton is a dying man on borrowed time and seems to have no prospects. From Sleepy Hollow, this is a production under the influence of a yo-yo always tending to decline, on one occasion (and only formal) is necessary and already connects with Burton film devitalized and anecdotal. Dark Shadows does not reanimate the artistic career of Burton, but it is nevertheless a step in the possible stabilization of bleeding.

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After the disappointment of decisive Alice in Wonderland, it is no longer legitimate nor reasonable to expect the next Burton as a potential wonder. Anticipating a simple and honest delivery with the Burton brand or at least some bits of his essence, that's rational and sincere (not to forget that some have already been there for Mars Attacks!).

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It is sad to see a caricature artist to become an author for teenagers and young telegraph of the brilliant and healthy cultural value (r) it's time. This is particularly unfortunate that Burton proposed, until the early 2000s, a work outside the box, the kind of films of large crowds (and Batman to Edward, not necessarily the same) to realize fantasize in the parallel world or imagination can unfold. Instead, there is no more now that the film that aspires to consume between two activities (Corpse Bride is a beautiful product, with the claw sought, but it is after all a fairly hollow object); in this, it is more fully from the film, but ready-to-candling .. and ready-to-see for teens looking for iconic grounds, ready to greet emphatically critical for leering and become postmodern traditionalists who do not.

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Pop'movie

Adapted from a soap opera of the late 60s, the eighth collaboration of Jonny Depp and Tim Burton, Dark Shadows is the film for a while and it will rapidly fall into the dustbin of history, but it is equipped to avoid the garbage. Of course, Dark Shadows fits easily in this film and immature and manufactures artificial fond the great Tim, fleeing the daily and complexity to prefer the currency and the pompous parade of vignettes. Dark Shadows, but also appears as a nice pop movie, not just a product "popcorn" on Saturday night, but also the opportunity to brew several cultures, work references and common or usual to make tidal waves of his film. So much so that if Dark Shadows does not look quite in his time, he emerges from vulgar imperative to reach a dimension slightly greater than, or very different individuals will regain some of their world (that s 'Whether an inner world or diagrams, a legacy of imaging experience whatsoever) or aspirations of spectators.

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Naturally, there is no eloquence of Edward here speaks so cleverly (or just well, that's another subject) of America, the extravagance of Mars Attacks or sweet, and this is especially the More importantly, the universality and truth of both human Batman. But Dark Shadows are, for himself and a few references or pillars offering everyone an outlet, a plot in the works. Thus, the fan of the first hour, but the cinéphage, have ample time to address the stigma of inheritance and dirty burtonien quirks reminiscent of Burton: they arise regularly, through characters or dialogue echoing previous work of the artist. However, the young audience remained paramount, is served, but Burton manages to reconcile its requirements with those of a more adult audience (ie, the compromise is less "discount"). Therefore, the identificatory character (but missed relevant) of scabby teen-Carolina is secondary, the very impulses "Darky Disney" Alice and the "gothic destroy" Corpse Bride so agree with an eye for flamboyant baroque, prompt others to reach agreement as lovers sagas swollen (whether or Stargate and the Restless - just listen to the exchanges between Pfeiffer and Depp on arrival of the vampire) than in love and outrageous shows top-to-color. Somehow, Dark Shadows is an opportunity for reconciliation shy aficionados Burton, a bridge between different worlds he has outlined. But all is still too feverish, or trivial, to give pledges for the future.

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Some even become embedded poetic outbursts here and there, led by the arrival of the young governess, Victoria in Collins, in an atmosphere of initiatory tale, evoking both The Texas Chainsaw Massacre as Little Red Riding Hood. The last third will be more violent with Barnabas from the attack and the wrath of a vengeful Angelique. The film then takes its final dimension of fairground attraction glam kitsch, and even rich enough in terms of strangeness gratin large-clowns (the death of the china doll).

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Dark Shadows, however, fails in its purely commercial intentions, as if the specifications had lost the ascendancy this time, the benefit of visual escapades or lightness claimed. In particular, the relationship between the doctor to cool (for camped HBC) and Barnabas (the hero vampire) is unsuccessful. This was likely to introduce an element of personal mythology to the biography of the two stars, but their relationship is muddy and does not lead to anything. These reports, which would offset ambivalent or not ultimately consist in a simple exchange of confessions and the shock does not occur.

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And also it will be a source of frustration for those who prefer pure comedy to musicals, Dark Shadows does not deliver the promised clash of ages, except by very few dualities winded and felt much of Laius Barbaras. The tone is more fun in the relationship between characters, almost cartoony. In the same vein, the portraits are cleaned, guaranteed without human fat, to better enable hysterical sketches unfold. Therefore, Dark Shadows is also the story of the struggle between supporters of two local domination: the battle of a family of large landowners and aristocrats and eccentrics broke, against a witch bling to get damn gorgeous (Angelique Bouchard - Eva Green), beautiful heiress, patroness cynical and poisonous temptress. Michelle Pfeiffer is in a different key, is a housewife, a matriarch of great sweetness, a priestess rather than a glam castrating mother. This role reminds her character Witches of Eastwick, revisited in a more mature, more charismatic.

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Alongside this joyous gallery, however, the tone is pompous, conventional view: there is never a shadow of a doubt that the Prince will switch on the right side in preferring the young girl and integrated with aggressive tigress . Everything is for Burton, in reconciling Manichaeism Puritan structure its case and the desire of passion and unconditional love that always seeks to express in his productions. By reducing the good governess to a status of figurehead cute but without grace, without scale, Burton sends a sign perhaps because they are lame ducks again that hold the front of the stage, even if the social order will prevail.

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2010s Burton, master of kitsch?

Maybe Dark Shadows is the film-will of all illusions about engineering Burton announcing its conversion into a goldsmith of kitsch. See kitsch, making it a revolution in his personal scale. Johnny Depp is still a vampire romantic and Victorian, landing in a period of change, the 70s hippie culture fragmented between classicism and neo-bourgeois.

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In fact, Dark Shadows is locked in a modernity of the past (which allows him to touch a fiber of intimate bobo obsolete), enhanced by a sense of kitsch restored. Just like at the time of Edward, but this time not to establish a personal essay or a pamphlet. The time is out of social criticism, but to design an elegant jewel, the approach is to animate and collide critters flashy, stereotypes of course, but heightened and refined.

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Burton Himself becomes kitsch, as it is now a sort of veteran perched overlooking the whole media sphere, cultural and film of its time. It is necessary spontaneously and has only to announce that everyone is trained on him, therefore, will involve a little more than minimum is a victory for artistic Burton post-decline. There he spent as a kind of cajoling conservative with relics and adding kitsch seventies (and transgressions that are no longer - the presence of false trash Alice Cooper is demonstrative in this sense) to the gothic romance, he finds a more attractive combination - together, in terms of graphics and aesthetics, the annals of Mars Attacks and sensitivity of Sweeney Todd.

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His cinema has and will have no depth, he can ride the fashions of the moment (perhaps belatedly - the figure of the vampire is certainly sanctified from the Twilight Era, but the excitement comes probably completion) but never quite surprising. Expectations will be well, now, on the side of brilliance, splendor and performance. And in this sense, this Dark Shadows, consensual entertainment, is a pleasant surprise.