Tim Burton’s “Ed Wood” (1994) Film Review

Catch a falling star and put him in your movie. “What a picture.” As many horror and horror-adjacent movies I’ve seen over the years, I am still finding those that I am familiar with–yet–have never taken the time to watch. And Ed Wood is one of those movies. Even if you know the story, and have even seen clips of the movie in your cinema studies class, believe me, you want to seek out this brilliant motion picture about the dark side of show business. There is perhaps no greater example of posthumous notoriety and success in cinema than the late filmmaker Edward D. Wood, Jr., most famously known for Plan 9 from Outer Space and casting the great Bela Lugosi in his final screen appearance. While his Z-grade movies were laughed at during their day, these movies provide inspiration to artists everywhere that you can pursue your dreams even when your harshest critics and financiers dismiss you. Ed Wood was a creator with a passion for bringing joy through entertainment into people’s lives. Perhaps his films were poorly produced, written, directed, and virtually everything else, but what this films demonstrate is a love of filmmaking and respect for great talent that flew in the face of a “town that chews you up and spits you out.” Ed Wood was in motion pictures for the art and love, not for the business. Tim Burton’s quasi biographical film about the production of Glen or Glenda and Plan 9 from Outer Space, and the relationship between Bela Lugosi and Wood is a beautiful portrait of love and respect. Of all the fantastic performances in this film, Martin Landau’s Bela Lugosi is a command performance that rightly earned him an Oscar for Supporting Actor. If you’ve ever had a dream, this film serves as inspiration and provides darkly comedic anecdotes that shine a light on the lengths independent filmmakers have to go in order to find a way to finance and produce films. This film is a sort of ode to all the misfit creatives out there, and probably the most sincere and personal film that Burton has ever made.

Because of his eccentric habits and bafflingly strange films, director Ed Wood (Johnny Depp) is a Hollywood outcast. Nevertheless, with the help of the formerly famous Bela Lugosi (Landau) and a devoted cast and crew of show-business misfits who believe in Ed’s off-kilter vision, the filmmaker is able to bring his oversize dreams to cinematic life. Despite a lack of critical or commercial success, Ed and his friends manage to create an oddly endearing series of extremely low-budget films. (IMDb)

From a visionary director, i

All the technical elements scream classic Tim Burton! From the moment the movie opens, even if you did not know that this was a Burton film, you would instantly identify the stylistic opening as quintessentially Burton. And not just the choice to make the movie grayscale, but the production design has a gothic poetry to it. Burton was able to successfully capture the look and feel of 1950s Hollywood. He was careful to recreate the world of Ed Wood, all the way down to the character blocking in the movies within the movie. For example, you can compare the recreated Ed Wood movies within this biopic to the real deal, and many are practically carbon copies. I appreciate this because it makes the filmmaking we see in the movie feel all the more real when what’s being shot in the movie is the same as was shot in real life. Perhaps Burton didn’t shut down Hollywood Boulevard like QT did for OUATIH, but he painstakingly transports the audience of the then 90s and even today’s audience to an era of independent film production that produced movies that look like they belong on an old UHF station.Most of the scenes are set in dank, warehouses or the empty streets of a nondescript section of the city. Other scenes are simply in a humble home. The filmmaker Ed Wood never shot a frame that he didn’t like; moreover, this practice was so extreme that he would ignore complete technical blunders and horrendous acting that was so bad that it achieved a kind of grandeur or cult status that can be appreciated decades later because Wood’s love of movies and movie making shines through in every frame of his masterful disasters.

Just as Ed Wood loved every frame of everything he ever made, the visual design of this film has got to be loved by Burton. His signature is on every scene. No mistaking it, there is more to the reasons for recreating Ed Wood’s Hollywood than just making an accurate biopic. Much like Norma Desmond took audiences on a journey into the life of a faded once-great(est) star of the silent era, It’s in these very dark corners and abandoned places where the true love of motion picture making lives, where the only reward for wrapping a picture is the love of the work itself and the cheers of those whom stood by you and helped take the idea from concept to screen. Ed Wood represents geek culture of the 1950s, future icons of horror and science-fiction are featured as unappreciated in their time. Fortunately today, geek culture is alive and well, and even celebrated. Yeah, there are obnoxious stans out there, but most of us movie and horror geeks simply love the medium and enjoy having fun with movies that still capture our imaginations. The director Ed Wood was not unlike many of us; he had a dream, and stopped at nothing to realize it. While I do not care much for Burton’s work after the 80s and 90s, he is a filmmaker that showed audiences through BeetlejuiceBatman Returns, Nightmare Before Christmas, Edward Scissorhands, Mars Attacks, and Ed Wood that he loves the art of motion pictures. When you went to a Burton picture in the 80s and 90s, you knew that you would witness the hand of the artist. In both Ed Wood’s and Tim Burton’s films, there is an effervescent life, a joy in their films that technically and critically “better” pictures only wish they had.

We cannot talk about Ed Wood without spending some on Landau’s Oscar-winning performance as Dracula himself Bela Lugosi! I was blown away by how sincere the performance was. What we saw Renee Zellweger do with Judy Garland in last year’s Judy, Landau did with Lugosi in Ed Wood. If I didn’t know any better, I would have said that I was watching Lugosi in this film. Both vocally and physically, Landau transforms into the famous Hungarian actor. From the moment we first see him laying in the coffin (creative latitude on Burton’s part), Landau captures our imaginations. Landau delivers a performance of a faded film star that Gloria Swanson would be proud of. In many respects, the characters of Bela Lugosi and Norma Desmond are similar. While Norma wasn’t living in near poverty, she was living in a world in which the parade of fans long sense passed her by; likewise, Lugosi fell into such obscurity that even people in the business thought he was dead. Landau embodies the mind and soul of someone that feels completely abandoned by the world and the fans that once loved to see his pictures. And it wasn’t the fame or money that Lugosi missed per se, but bringing joy to millions and simply the feeling of being wanted or needed is what Lugosi missed most. While Landau received negative criticism from the family and friends of Lugosi because his family said that Lugosi never used profanity or slept in coffins, there is no doubt that this is one of the finest performances of Landau’s career and in biopics.

Everything about this motion picture works brilliantly! I’m only disappointed that it took me this long to finally make time to watch it. Even though there is something in this movie for everyone, I feel that it impacts cinephiles and filmmakers the most. Though, there is a high degree of relatability for anyone that has ever had a dream and stops at nothing to continue to pursue it. Amid the recreation of all the tacky filmmaking and notoriously bad acting, there is a warmth and charm that will stick with you long after the credits role.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! If you’re ever in the Tampa area, feel free to catch a movie with him!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry

“A Beautiful Day in the Neighborhood” film review

Outstanding motion picture that celebrates the power of kindness in a real tangible way. Marielle Heller’s A Beautiful Day in the Neighborhood starring Tom Hanks as Fred Rogers and Matthew Rhys as the skeptical journalist Lloyd Vogel. While you may think that this is a movie about the beloved children’s television host, Mister Rogers is a supporting character in this move that is truly about Lloyd Vogel’s personal journey through grief, forgiveness, and learning kindness. It’s a portrait about being human, and all the struggles and obstacles that come with it. Perhaps there has been no greater (non-documentary/bio pic) motion picture that has so accurately captured the human kindness at its best. Mister Rogers was not only an influential children’s television host, but he left a powerful legacy for everyone. And as the film points out, he was not a saint. He struggled with some of the same things that many of us struggle with, but he knew how to work at overcoming those negative feelings, thoughts, and reactions. Didn’t come naturally, he has to work at it just like you and I have to every day. What this film and last year’s No.1 documentary (IMO) Won’t You Be My Neighbor? have in common is just how genuine, how authentic Fred Rogers was. The man in front of the camera was the man behind the camera and at home. He never saw himself as playing a character on TV, he was himself. His almost uncanny emotional intelligence and ability to counsel the young and old alike is incredibly consistent. And it’s that consistency on and off camera that truly testifies to his heart and the legacy he left behind. Based on the real article in Esquire Magazine titles “Can You Say…Hero” by Tom Junod, this film can be categorized as historical fiction because the background is incredibly real but the foreground story is a fictionalized account based on the real-life interview and relationship between once-skeptical journalist Junod and Fred Rogers. Just as Mister Rogers would have wanted it, this isn’t a movie about him, it’s a movie about one of his neighbors and friends.

A journalist’s life is enriched by friendship when he takes on an assignment profiling Fred Rogers. Based on the real-life friendship between journalist Tom Junod and television star Fred Rogers.

Bring tissues! You are going to need them because this movie will undoubtedly touch you. And not just if you grew up (like I did) watching Mister Rogers Neighborhood on PBS. Even those who have no frame of reference beyond knowing his name will be touched. That was certainly the case with the friend that went with me to see this (and then Frozen II). He told me going into the movie that he has no idea who Mister Rogers was, but I assured him that he would enjoy the film. Occasionally, I would look over at him to see if he was an emotionally invested in the film as I was, and I couldn’t tell. It wasn’t until after the movie ended, and I was writing a tweet, that he told me how impacted he was by the film. That’s a powerful statement since this could have so easily been a film that connected best with those whom watched the show and others may have missed the emotional connection. I chalk that up to the timeless message of kindness, forgiveness, and emotional candidness of Mister Rogers. As important as his message was during the run of his show, it seems that it is needed even more greatly today in the tumultuous climate we now live in. Albeit fictional character, each of us either is currently or has been a Lloyd Vogel, hence why his character is highly relatable to general audiences. The help Mister Rogers provides Vogel transcends the screen into our own minds and hearts.

The film opens with a brilliant 4:3 recreation of the opening of Mister Rogers Neighborhood with Hanks in the title role. From the gentle piano music, camera sweeping over the miniature neighborhood, traffic light, and Mister Rogers opening his door to us with the iconic song “It’s a beautiful day in the neighborhood, a beautiful day for a neighbor. Would you be mine, could you be mine…” You may even find yourself singing along with Fred Rogers. I absolutely love how much this film ostensibly feels like a feature length episode of the beloved show. It begins and ends with a throwback to his brilliant show. The spirit of the television show can be felt throughout this film. I greatly appreciated the miniature recreations of “the neighborhood,” as well as New York City including Vogel’s neighborhood, Pittsburgh, and Vogel’s father’s neighborhood. Instead of showing us establishing shots of these places, Marielle Heller chose to use the same techniques employed by the set builders and production designers of Mister Rogers Neighborhood. And the wooden and cardboard miniature buildings, electric trolly, and planes suspended by (keyed out) dowel rods remind us of a simpler time when story and message were the most important parts of a picture. Using these models was an excellent way to transition from location to location.

While Mister Rogers Neighborhood favorites like Picture Picture, the trolly, Mr. McFeely, and the characters of the Land of Make Believe are all in it, none of these elements seek to steal the screen from the central character of Lloyd Vogel. He remains our central character for the entire time, because–quite simply–the film is about him, not Mister Rogers and his neighborhood of friends. Vogel has never forgiven his father for being a drunkard and philanderer; furthermore, he holds a strong disdain if not hatred for his father for leaving him, his sister, and their sick mother. While his father was out having an affair, Llyod’s mother died in the hospital. For these reasons, Llyod has a lot of emotional baggage that includes a general distrust for anyone whom is supposed to be a “good guy.” After receiving as assignment to profile Fred Rogers instead of his usual hard hitting, provocative, investigative pieces, Llyod goes into the cheerful WQED PBS studio in Pittsburgh with the intention to uncover Mister Rogers dark side and skeletons in the closet. It’s no spoiler to know that truthfully Fred Rogers did not have any buried scandals. He was the man you saw on screen. Lloyd is profoundly impacted by Fred’s authenticity and genuine desire to help people deal with their feelings. There are many moments that the table is turned and Fred becomes the interviewer and asks Lloyd some hard questions that initially upset Lloyd. It’s through Fred’s kind persistence and non-judgmental attitude that he breaks through to Lloyd in a way that Lloyd can do that hardest thing he’s ever done: forgive his father. It’s a real testament to those who may be carrying heavy burdens of grief, unforgiveness, or many other negative emotions, and how we can grow to deal with them and overcome to develop as a human being who can then help others. What we have here is a powerful, personal redemption story.

Tom Hanks was born to play Fred Rogers. Simple as that. Much like Mister Rogers, Tom Hanks also has the demonstrable reputation of being the nicest guy in Hollywood whom cares deeply for his family, friends, and fans. He’s even known to regularly help out on set between takes. There are literally dozens of stories of Hanks helping the grip guys, production assistants, and other below the line people on set. I cannot think of anyone else who could’ve played Fred Rogers more perfectly. Hanks performance successfully portrays Rogers as a real person whom, for all the wonderful things Rogers says and does, is–to paraphrase Roger’s wife–“an ordinary sinner just like everyone else…he just works diligently to overcome his vices.” This is one of Hanks best peformances because of how much he transformed into Fred Rogers in a way that you could almost swear that you were watching Mister Rogers on screen. Hanks and Renee Zellweger (in Judy) have both given us the best performances this year.

This movie challenges us to become better humans, whom care for those around us by listening, empathizing, and making the intentional decisions that will help us grow and develop. The movie also reminds me that I should pray for people by name every day. To be honest, that isn’t something that I do regularly. Another powerful line in the movie comes as Fred responds to Vogel in an initial interview question “what is the most important thing in the world to you?” And Fred responds with “…for instance the most important thing in the world to me is talking to Lloyd Vogel right now.” That line reminded me that when I am with my friends or family (or anyone for the matter), the most important thing in the world to me should be the conversation that I am having at that very moment. That’s going to be a hard one for me since I am constantly tweeting or “multitasking.” The life and legacy of Fred Rogers makes me want to be a better person. If Lloyd can change, then so can I.

Do not miss out on one of the most powerful motion pictures of the year. Definitely make it a part of your Thanksgiving next week, or even better, see it this weekend!

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry

“Ford v Ferrari” film review

Exhilarating! Ford v Ferrari is a high impact cinematic experience that you will want to see on the biggest screen possible. On the surface, this may look like a movie about motorsports; but thanks to James Mangold’s excellent screenplay and meticulous direction, the central conflict transcends the nuts, bolts, and motor oil to deliver this very human “David and Goliath” story. The captivating story of the American motor giant Ford taking on a name synonymous with speed Ferrari will take you for the ride of the holiday season through the outstanding technical achievement of this motion picture. And the accolades don’t stop there, prepare yourselves for fantastic performances from Matt Damon and Christian Bale as Carroll Shelby and Ken Miles respectively, not to mention the solid supporting role of Henry Ford II played by Tracy Letts. While I am not a car guy, there was still something special about the experience of watching the world’s most prestigious automobile endurance race, the 24hrs of Le Mans on the big screen. Maybe there is something patriotic about this underdog story, because it’s the US vs Italy? And in that patriotism, audiences have a unified enthusiasm to see the US beat the iconic Italian luxury automobile company. At the core of this movie is the powerful engine of the kindred-spirit friendship between Shelby and Miles. Furthermore, this film seeks to comment on the relationship between artists and their work, and the backers (or in this case, corporations) that commission the art. One might say that the car race in this film parallels that of the Oscar race that happens throughout the year, but mostly in the last quarter. Shelby and Miles are artists in every sense of the word, but even they must depend upon capitalism to fund their work and lives. While the race between the mass assembly plant versus the handcrafted studio supports the main action plot, it’s the character-driven story of artists versus the bureaucrats that give this story the power under the hood.

American automotive designer Carroll Shelby and fearless British race car driver Ken Miles battle corporate interference, the laws of physics and their own personal demons to build a revolutionary vehicle for the Ford Motor Co. Together, they plan to compete against the race cars of Enzo Ferrari at the 24 Hours of Le Mans in France in 1966. (IMDb)

Where this film may see nominations is in the technical achievement categories. The cinematography, editing, and sound design are running at 10000RPMs! The camera does more than take you where so few have gone before, but it places you in the drivers seat in such a way that you will feel completely transported to the runways and raceways of this film. Even more impressive than the cinematography is the sound design that equally audibly moves you to the various locations of the film. You hear everything in such clarity that you will forget that you are sitting in the auditorium. And it all comes together in the magnificent editing process. Whereas the editing is not particularly stylistic (much like with the cinematography), it is absolutely stunning in every measurable way. This is the kind of film that can fall apart during editing. The editing never sticks out like “here, don’t you like this editing.” It remains in the background, yet holds every element together so that the story is consistently the focus. General audiences won’t notice the editing per se, and that is the best kind.

For artists out there, you will love the parallel between the racing life on screen and the artist’s life. Much in the same way that Shelby was commissioned by Henry Ford to build a stronger, better, faster, more nimble GT40, artists are commissioned every day to create something for audiences, the public, or private collectors. As much as artists love their art and possess an integrity that is poured into their respective art form, and seldom like to answer to anyone when they are in the zone, even then an artist has to answer to those whom are funding the work. And therein lies a great conflict. When the artist knows what will work and what is best, but the one with the purse strings is more concerned with turning a profit or pleasing the bottom line than the integrity of the art itself.

We witness this over and over in Ford v Ferrari (aka Ford v Shelby) the Ford Motor Company telling Shelby what will work best, when he is the expert in designing and building race cars. Although, Miles is even more of an expert than Shelby is. And that brings up another conflict between approaches to a project and solution. Just as much as the film is Ford vs Shelby, the film is more about Shelby vs Miles. If Ford vs Shelby is the Corporation vs The Artist, then Shelby vs Miles is the mainstream Artist versus the indie Artist. Both Miles and Shelby love cars. However, they each have wildly different temperaments and people strategies. Miles is the unapologetic artist whom refuses to compromise on anything, would rather not accept much-needed money than feel trapped as a designer. Shelby is the mainstream artist whom has an individual vision, but tends to bend to the will of Big Business in order to keep his business running. He a compromiser. Three distinctly different irons in this fire.

By the end of the film, Henry Ford is a static character, having learned nothing through this process except for one brief moment in which he made a decision against his initial thoughts. However, on the other hand, both Shelby and Miles demonstrate great growth in the film. Shelby reconnects with his uncompromising roots that initially got him to where he was, he rediscovered the love and passion for race card that made him the world champ that he was. Miles learns that sometimes that you need to be a team player in order to achieve the greater success. It’s these characters that make this a movie that you need to see. It’s the human story behind the wheel, not what happens on the race track. That being said, going into this film you may not know or ever cares who won the 1966 24 Hours of Le Mans, but for two and a half hours you will care so deeply that the unlikely victory in this film may even bring a tear to your eyes.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com! You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, feel free to catch a movie with him!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry

“JUDY” Biopic Film Review

A truly gripping motion picture that will bring you to tears during this somewhere over the rainbow redemption story. Bring tissues. Renee Zellweger is captivating as Judy Garland, and you’ll swear that you’re watching Garland on the big screen. Although we may be familiar with the broad strokes career of the legendary entertainer, this film goes beyond the headlines and tabloids to deliver a true life story that could ironically be titled A Star is Born, or perhaps reborn. Ironic in that this film shows the life of a movie star after the lights have faded and the offers stop coming in, much like the movie she starred in. It’s a rise and fall story, of sorts, but is more precisely a fall and rise story as the movie focusses in on the last year of Judy Garland’s life. If you are worried that the film ends on her death, you can be relived that the film chooses to stop the story prior to the end of the iconic star’s life. And it works so incredibly well! While there are many movies (not unlike A Star is Born) that focus on the rise and fall of a talent in showbusiness, this movie skips all the glitz and glamor to paint a realistic portrait of what it is like for those whom grow up in front of the camera, controlled by those around them, just to wind up in front of booing crowds, empty bank accounts, homelessness, and a tumultuous custody battle. Not to mention her addiction to pills that was caused by abusive treatment at the hands of the old studio system because of being force fed pills from an early age. Whether you are a fan of the iconic diva or not, if you love command performances, then you do not want to miss the uncanny performance of Zellweger as Judy. All the way down to the mannerisms, vocal inflections, and over all behavior, she IS Judy. Although we all know of the tragic ending, no mistaking it, this film is an inspirational story of redemption.

The money is gone, career on the rocks, and risking the loss of custody of her two youngest children, that is the last year’s of Judy Garland’s life. Unfortunately the other side of the rainbow for Judy was anything but magical. Three decades after starring in one of the greatest film musicals of all time The Wizard of Oz, the beloved actress and singer is in dire straights. She is left with virtually nothing except her name and what remains of her timeless voice that charmed millions throughout her early illustrious career. In order to prove that she can provide for her two youngest children, she accepts a gig in London playing to sold-out shows at the Talk of the Town night club. While there, she reminisces with friends and fans, fights her depression and anxiety over performing, and begins a whirlwind romance with her soon-to-be fifth husband.

“For one hour, I am Judy Garland, and the rest of the time I am just like everyone else…I want what everyone wants, I just seem to have a harder time getting it” is a paraphrased quote from the movie, but it illustrates how the actress and singer felt about her relationship with the world. The movie chronicles her inability to stay afloat financially in Los Angeles and must accept a gig in London where her personal troubles continue to follow and haunt her. Her character is so incredibly relatable because many of us have found ourselves in traps that we have stepped in and are at a loss as to how to get out. If you thought this was going to be another cliche musical biopic, then you would be mistaken. No pretense about it, this is an unapologetic look at the dark side of Hollywood in perhaps one of the greatest stories that is right up there with Norma Desmond. Now, I am not equating Judy with what is, in my opinion, the greatest film of all time Sunset Boulevard, but her story is not unlike the one experienced by Norma. The movie also comments on the far reaching effects of childhood trauma on the adult psyche. No one understood the extent that she was abused by the studio system except for Judy herself. If her present-day handlers knew what she went through during the years that American fell in love with The Wizard of OzMeet Me in St. Louis, and more, then they would not-so-casually write her off as a wrecked hasbeen who mismanaged her money and relationships. The film deals with perception versus reality. Strategically placed in the film are flashbacks to her childhood at MGM that provide context for moving the present story forward as each moment reveals a new layer to the legendary entertainer.

Zellweger delivers a performance for the ages in this film. More than a spot-on impression, she transforms into Judy Garland to the extent that you will almost believe that you are watching the iconic actress and singer on the big screen. It is clear that Zellweger studied Judy Garland for months in order to get into character. Her movement, speech pattern, posture, and other behaviors completely sell the audience on this audacious portrayal of such an icon. Never once does she break character and allow the actor to shine through, she remains committed to this phenomenally genuine portrayal of Judy Garland. We all know Zellweger can sing, after all, she wow’d us in Chicago (a rare example of when the movie adaptation IS better than the live show); but nothing will prepare you for the power of her singing in this movie. Other than Have Yourself a Merry Little Christmas, you will hear Zellweger sing other famous songs by Garland such as Get HappyThe Trolly SongCome Rain or Come Shine, and of course the encore of Over the Rainbow during the movie’s climactic, emotionally charged, showdown. Even when singing, Zellweger is determined to deliver the songs just as a late-40s Garland did, complete with all the stubbornness, anxiety, and even anger. I truly hope that Zellweger is nominated for this role.

Perhaps the reason why Liza Minelli was quite objectionably vocal about her mother’s portrayal in this movie is because there are creative liberties taken by the writers in order to further dramatize Judy’s story. As I’ve told my screenwriting class, dramatize don’t tell. If a “based on a true story” or biographical film was simply concerned with the timeline of events, the cold hard facts, and cause and effect, then it might feel more like a police procedural or college lecture. Hence why it is imperative that writers DO get a little creative in the dramatization of events for cinematic purposes. For instance, the facts are largely correct in this story as I have compared them to Wikipedia and other newspaper articles, but where I can see the difference is Judy’s reaction to the timeline of events. Articles and tabloids may be able to show what happened, but it is up to the screenwriters to dramatize the reaction to the conflict. So perhaps that is what Liza is upset with, she doesn’t agree with the story details between what we know from Hollywood history. One of the tangential components in the movie is Judy meeting up with “Friends of Judy” at the end of one of her shows. Judy joins them, rather than be by herself for a night of poorly made omelets and casual singing around a piano. It’s an emotionally moving tribute to all the gays who’ve loved her over the years. In all likelihood, this was written for the movie as there is no way of verifying if this night ever happened. This is the scene where I feel that she should’ve sang Have Yourself a Merry Little Christmas because tonally it was similar to that scene in Meet Me in St. Louis. Instead, she sings Get Happy.

Maybe this is an unconventional redemption story, but that quality is clearly communicated through the film. Rising up against the internal and external monsters in your life that have dragged you down so far that there is no end in sight. Whereas Judy may not have changed as dramatically as Scrooge did in  A Christmas Carol, she does change during the climax of the movie. If you want to know just how, then you need to go out and watch it!

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter or email him at RLTerry1@gmail.com!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry

“Tolkien” BioPic Movie Review

One of the world’s most engaging authors in one of the world’s most un-engaging biopics. Go behind the prolific fantasy writing, linguistics, and mythology to discover the origins of author J.R.R. Tolkien. From his early childhood as an orphan to his studies and teaching at Oxford, follow the famed author on his own unexpected journey to eventually pen those iconic words “In a hole in the ground there lived a hobbit.” Biopics are often challenged with balancing what the audience wants to see with the reality of what was, both the attractive, inspiring moments and, if applicable, the gruesome or repulsive. And over all, Tolkien does an adequate job of highlighting the personal history of Tolkien (tol-Keen); however, where the biopic does not deliver is evoking a significant emotional response from the audience. If you’ve read that it comes off as a glorified Wikipedia article, then don’t worry, that is not true. But, it isn’t an I, TonyaTheory of Everything, or Amadeus either. As biopics go, it is pretty much middle of the road. Though the story may not be as fascinating or gripping as audiences want, it does deliver command performances by Hoult, Collins, and JRR’s three best friends. In addition to the impeccable casting, the production design is gorgeous and the score is compelling. Sometimes biopics make the mistake of treating the subject with too much reverence, thus overlooking or glossing over low points or decisions that place the subject in a less than favorable light. And, without knowing a detailed history of his life, I am left with the real possibility that this biopic did just that. Perhaps it’s the oversimplification of Tolkien’s quasi-privileged life that predisposes the screenplay to falling short of evoking strong emotion from the audience. If there is one message that is clear from this biopic, it’s that imagination served as an escape from the obstacles and trials of life, especially during WWI.

Years before he would write The Fellowship of the Ring, J.R.R. Tolkien found himself in a childhood fellowship with three other outcasts at King Edward’s School in Birmingham, England after his mom, who would regale him of stories of dragons and knights, unexpectedly passed away. This close friendship would follow him all the way through to college and even into WWI. These four friends would draw upon one another for courage and artistic expression. Taking inspiration from his own fellowship including the personal/interpersonal challenges Tolkien faced as he and his friends challenged one another and his affections for Edith Bratt, Tolkien reflected on these experiences to write The Hobbit and The Lord of the Rings.

Although the scenes from WWI serve as a framing device for this biopic, it is the formidable years spent at King Edward’s School and Oxford that truly defined Tolkien and set him up for his timeless masterpieces. Had the movie taken a more linear approach, the story may have been much more impactful. As it stands, there is so much oscillation between the “present day” moments and the flash forwards/backwards (yes, there are both in this movie) that it was difficult to focus. The majority of the movie takes place at Oxford, but the number of flashbacks and flashforwards took me out of the story periodically. Flashbacks can be a useful storytelling tool, to provide visual exposition, but they are often misused. Had this movie followed the approach that Fried Green Tomatoes took with the use of present-day and flashbacks, then I think it would have delivered more powerful story. Although as a screenwriting lecturer I recommend that my students not use flashbacks because of how tricky it can be to integrate them in such a way that they advance the plot, if a screenwriter chooses to use flashbacks, then the writer has to make sure that the flashback or flashforward works to move the plot forward–add something of value to the story. With Tolkien, the flashbacks do little more than frame the story. Other than some impressive visuals and opening a window into the world that inspired and shaped Tolkien, these moments do not significantly advance the plot in meaningful ways.

With Tolkien’s infatuation with (future wife) Edith Bratt, there was certainly opportunity to turn this into a romance, shifting focus away from the fellowship Tolkien had with his three close male friends. Thankfully, the romance between Tolkien and Edith was a nice B story to our A story. I say B story instead of subplot because it is a counterpart to the main outside action plot (story A). Furthermore, the romance between the two does heavily influence the and even inspire the romance between future characters Aragorn and Arwen in The Lord of the Rings. From romantic to close platonic relationships, that is truly what the plot of the biopic is about. Throughout the movie, you will encounter various relationships that Tolkien experienced during his life. Although we don’t spend much time with him and his younger brother, it is well-established that he has a moderately strong relationship with his brother. Furthermore, we see that Tolkien had a strong relationship with his mother, whom helped to shape his imagination in his younger years. It is widely known that Tolkien was a Catholic, but that is not highlighted in the movie (and it isn’t missed) but it’s that element that explains why the family priest is his legal guardian. Tolkien and the priest have a contentious relationship, but it is clear that the priest wants Tolkien to succeed in life. We don’t get to spend much time with his foster mom, but she seems to understand Tolkien and Edith’s relationship. Before getting to focal relationships, Tolkien has a strong relationship with his mentor and professor whom is chiefly responsible for Tolkien pursuing his scholarly studies at Oxford.

The central relationship(s) in the movie is between Tolkien and colleagues Christopher, Geoffrey, and Robert. For most of the movie, they are shown to be as close as brothers, but I appreciate the movie spending some time on the development of the relationships. What starts out as heavy conflict (that even devolves into physical altercations), soon evolves into the kind of friendships that you and I hope to have with close friends that ostensibly become our family. Despite Tolkien not coming from wealthy families like his friends, they share one very important thing in common: a desire to change the world through art. Each of the boys has a different interest, but they each inspire one another to stand up to the obstacles of life and achieve what each deeply desires. Of all his friends, Tolkien was closest to Geoffrey, whom was tragically killed during WWI along with Robert. Christopher is the only survivor out of Tolkien’s three friends. While Christopher’s scares (we are led to believe they are more emotional/psychological than physical) impacted his ability to compose music, Tolkien harnessed the atrocities of war to inspire The Hobbit and The Lord of the Rings. I absolutely love the depiction of close friendship between these young men because we seem to have very few examples of this level of male companionship in cinema, by in large. Many of the closest friendships are often shown between women. The structure of the plot keeps the movie from being as inspirational as it could have been, but there is still a lot to like here.

As biopics go, this one is middle of the road. It is not outstanding nor is it a bore. For fans of the author, I feel that you will get quite a lot out of the movie. The impeccable casting is the strength of this story. Each actor/actress delivers solid performances. Whether you are more familiar with the books or movies, you will find surrogates for notable characters throughout Tolkien’s most famous writing. Interestingly, the late author’s estate released a statement saying that Tolkien’s family members “do not endorse it or its content in any way.” In fact, the estate has yet to see the movie. Perhaps its the exclusion of nuances that the family is aware of in the author’s life, but I am unable to see why any parts of this biopic are controversial in any way. If you enjoy reading his books or watching the movies that were inspired by them, then you should see this biopic. Not because it is an outstanding motion picture, but because it does give you insight into the real world of Tolkien.

You can catch Ryan most weeks at Studio Movie Grill Tampa, so if you’re in the area, let him know and you can join him at the cinema.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

Follow him!

Twitter: RLTerry1

Instagram: RL_Terry