41 lines
4.9 KiB
Plaintext
41 lines
4.9 KiB
Plaintext
" if there's a beast in men , it meets its match in women , too . "
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starring sarah patterson , angela lansbury , tusse silberg , david warner directed by neil jordan written by jordan and angela carter , from a story by carter cinematography by bryan loftus
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in recent years , there has been a trend in the field of fantasy : writers have been revisiting the fertile world of myth and fairy tale and reclaiming that world , investing it with new life and energy .
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in modern times , fairy tales have become disneyfied and debased ; they have become trite adventures involving leering witches , friendly dwarves , and cuddly talking animals .
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but in their original forms , fairy tales have a dark , wicked edge .
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crows tear out the eyes of cinderella's sisters , a gorier fate then they receive in the animated version .
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hansel and gretel relish cooking the witch in her own oven .
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writers have become fascinated by the bloodier , morally ambivalent aspects of fairy tales , and are now modernizing the old stories while simultaneously going back to their roots .
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before this trend was in vogue , angela carter--whose stories always have a dark , wicked , subversive edge--had been reinventing fairy tales for years .
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in the company of wolves , she and neil jordan retell the story of red riding hood , enlivening it with werewolves , rolls royces , and a visit from satan .
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the story is structured as a dream , occurring in the mind of rosaleen ( sarah patterson ) , an adolescent girl about whose 'real' life we learn very little .
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within the dream , there are a number of inset stories , most told by dream-rosaleen's grandmother ( angela lansbury ) , and these tales gloss the central story in intriguing , suggestive ways .
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the result is a surprisingly successful example of a sinister , contemporary fairy tale .
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i say " surprisingly " because there are so many ways this film could have gone wrong .
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and there are ways in which it does .
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the performances are mediocre , except for lansbury's--she finds the right note for the prim , apple-cheeked granny , the wise and stern teller of cautionary tales .
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the soundtrack , synth-heavy , reminded me of bad 80s horror movies , as did the special effects in the shapechanging scenes .
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probably state-of-the-art at the time , they are now laughable .
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but jordan succeeds at what i consider the trickiest aspect of the film : he transcends the poor acting/music/effects and conveys a sense of the fantastic , of otherness .
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one of the problems in adapting full-blown fantasies is that fantasy is often best left to the imagination of the reader , rather than being subjected to the 'realism' of the screen .
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part of me would love to see an adaptation of 'the lord of the rings , ' but , on the other hand , i know that any filmmaker's recreation of ents , hobbits , and balrogs is inevitably going to be really lame compared to what i picture in my mind .
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this makes jordan's accomplishment here seem mighty impressive to me : he imbues the company of wolves with a genuine sense of magic and mystery .
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the somewhat ruritanian dreamworld becomes a kind of ur-reality .
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the sunshine is exceptionally warm and abundant .
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the nights are quiet and misty and eerie and ghostly .
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the peasant village is rustic and cozy , the woods old and hoary .
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this archetypal realm is the setting for a smart , subtle , literate script , a script which is as good as you'd expect from jordan ( himself an accomplished fiction writer ) and carter .
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for carter , the cauldron of story is a witches' brew , bubbling over with primal ingredients : mist-shrouded forests , ancient graveyards , virginal girls and wise women , wolves with glowing eyes .
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she adeptly blends them all together .
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there is a symbolic richness to the film ; everything is permeated with a sense of significance .
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the point of it all , i think , is to represent a girl's rites-of-passage on an unconscious , primordial level .
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a night-journey through the forest , from the village to the grandmother's home , is the crux of the company of wolves .
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" don't stray from the path , " rosaleen is told , again and again , and the path is both literal and figurative : the path through the forest and the path of life .
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staying on the path is the conventional approach suggested by rosaleen's elders .
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carter and jordan , never conventional , explore what goes on when you leave the path .
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those who stray will supposedly meet with a dark fate .
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this fate is literalized in the dream as werewolves , but the werewolves connote many things : death , sex , knowledge .
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if straying from the path leads to death , then it's not a good idea--but if that's what you have to risk to get sex and knowledge ( and therefore power ) , then maybe it's worth the risk .
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when you leave the path , the world becomes a dangerous , ambiguous place , but it's full of potential .
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and it's certainly more interesting than the disney version .
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