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Tim Burton

5.13 The Mystical Science of DUMBO

April 7, 2019 by Steve Norton Leave a Comment

You’ve seen a horsefly. You’ve seen a dragonfly. You may have seen a house fly… but you’ve never seen an elephant fly… in live action that is. With the release of DUMBO, Disney continues it’s string of live-action remakes of it’s own animated properties (the first of in the next 4 months alone). Directed by Tim Burton and starring Colin Farrell, Danny Devito and Michael Keaton, the film is offers a different spin on the material but does it still carry the same endearing charm as the original? ScreenFish veterans Shelley McVea and Allen Forrest return to talk about family, the merging of science and mysticism and power within the film.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

5.13 DumboDownload

Thanks Shelley and Allen for joining us!

Filed Under: Reviews Tagged With: circus, Colin Farrell, Danny DeVito, Disney, Dumbo, elephant, Eva Green, Family, live-action, Michael Keaton, Tim Burton

Dumbo – Celebrating Our Flaws

March 26, 2019 by Darrel Manson Leave a Comment

Dumbo is the latest Disney animated classic to be remade as a live action film. The original, a 64-minute feature film from 1941, can be visually identified by most people, but I wonder how many have actually seen it in its brief entirety. Now the story comes back to life in an expanded adaptation under the direction of Tim Burton—a master in telling stories about outsiders. And outsiders abound in this new version.

Like the original, the plot revolves around a baby elephant with amazingly large ears that enable it to fly with the help of a feather. And as in the original, the baby’s mother is locked away as a “mad elephant” after protecting her child, leaving the baby alone in the world. Unlike the original, there are no talking animals in this retelling. No crows (which in the original were something of a black-face minstrel show) or Timothy Q. Mouse, Dumbo’s mentor.

Instead, the remake builds a human story around Dumbo. The story is set in 1919, right after the end of World War I. A run-down circus, presided over by Max Medici (Danny DeVito) is setting off on a new season. Two children, Milly and Joe Farrier (Nico Parker and Finley Hobbins) have lost their mother to the flu. When their father Holt (Collin Farrell) returns from the war, he has lost an arm. He can no longer do the riding and roping that was his act. He is relegated to caring for the animals, which brings him into contact with Dumbo. (Actually, the animal’s name is Jumbo Jr., but because of his freakish ears, people yell Dumbo instead of Jumbo.) When another trainer is cruel to Mrs. Jumbo, Dumbo’s mother, she attacks him and ends up (as in the original) locked away. Meanwhile, Milly and Joe take care of the baby and discover that his ears give him the ability to fly.

Already we can see that the film is about families struggling with brokenness. Mrs. Jumbo and Dumbo are separated. (The film includes its version of the sorrowful nighttime visit of Dumbo to his mother with the song “Baby Mine” from the original.) The Farrier family is without a mother, and Holt is without an arm. And the circus as a whole serves as a family, but one going through very hard economic times. Each version of family is in need of healing, acceptance, and a future.

When word of a flying elephant gets out, it attracts the attention of V.A. Vandevere (Michael Keaton) a slick promoter with arm decoration Collette Marchant (Eva Green) who swoops in to buy up the circus. He offers Max the vision of the big time, and the chance to take care of all his people—his family. He plans to bring Dumbo and the others to his new extravaganza park, Dreamland, where he will use the act to leverage new loans from banker J. Griffin Remington (Alan Arkin).

I found the vision of Dreamland interestingly similar to Disneyland, which seems like a small nip at the hand that feeds, given that Dreamland turns into a nightmare for everyone we care about in the film.

Getting back to the common Tim Burton theme of outsiders, each of the main characters fits such a category. Dumbo with his grotesque ears, Holt as a rider/roper with only one arm, Milly, a girl who wants to be a scientist, Joe, who loves the circus but is talentless, the whole range of strange circus performers, and Collette, a talented aerialist, who Vandevere treats as a toy. By making the physical or emotional flaws of each character so obvious, it ironically allows us to get beyond the surface to emotionally bond with each as they struggle for acceptance and search for happiness. That is one of the gifts that Burton brings to many of his films. He reminds us that humanity is not about perfection, but about the way all those flaws are what make us human.

I’ve been critical of Disney’s remaking animated classics as live action films. As with any endeavor, some will be better than others. My first reaction to the news that Dumbo was being remade was negative. After all, those animated classics were beloved because they told human stories in ways that touched us. However, Burton, screenwriter Ehren Kruger, and everyone else involved created a new depth to the story and all its emotional touch points. It becomes more than a story of separation and reunion. It is a story about the healing and enabling power of family. It is not about overcoming our flaws, but about making those flaws work for us and allowing us to soar.

Photos courtesy of Walt Disney Studios

Filed Under: Film, Reviews Tagged With: Alan Arkin, Colin Farrell, Danny DeVito, Disney, Ehren Kruger, Eva Green, family entertainment, live-action, Michael Keaton, remake, Tim Burton

The Nightmare Before Christmas: Who We Really Are

October 31, 2018 by J. Alan Sharrer Leave a Comment

“I must save Christmas. But how? Sorry; wrong story.”

Rebecca Sharrer

Since my oldest daughter, a junior in high school, enjoys The Nightmare Before Christmas immensely, I thought it would be a nice change of pace to have her review the film. Here’s what Rebecca has to say:

Today marks the 25th anniversary of Tim Burton’s classic film The Nightmare Before Christmas. It’s a tale of love and discovery of who we are inside. Though Jack Skellington (voiced by Chris Sarandon and Danny Elfman) longs to find a new way of life, he discovers that by trying to copy others and loses sight of who he truly is. In addition, he’s messing up Christmas. Throughout the film, director Henry Selick utilizes stop-motion animation to craft what I would deem the highlight of all Halloween movies.

The basic plotline is that Jack, ‘the Pumpkin King,’ is sick of Halloween. It’s the same each year, constantly repeating with absolutely no change. In his frustration, he goes walking through the graveyard and into the woods, where he stumbles upon a clearing of trees. Each tree has a door on it that leads to a land specifically catered to a certain holiday. The one that catches Jack’s interest is the tree-shaped door with garlands. When he opens it, he is swept inside into a world known as Christmas Town. While there, Jack discovers what Christmas is, and feels like he has found a new sense of purpose. He returns to Halloween Town and proceeds to explain to his friends exactly what Christmas is about. He then decides that Halloween Town is going to take over Christmas that year to give ‘Sandy Claws’ a break. He tasks the kids of Oogie Boogie (Ken Page) to kidnap jolly Ol’ Saint Nick.

Meanwhile, Sally (Catherine O’Hara), the creation of the weird Dr. Finklestein (William Hickey), has a vision of the outcome of the plan. She warns Jack that his version of Christmas will end in flames. But Jack doesn’t listen to her, as he is too caught up in seeing his own fantasies brought to life. (Aren’t we like this sometimes?) Meanwhile, the monsters of the town are changing things up, making Christmas more like Halloween. Oogie Boogie’s children return, bringing with them ‘Sandy Claws,’ and take him to their father. Once Christmas arrives, Jack rides off into the night to deliver the toys they built.

For the children of earth, what should have been a night of joy and happiness becomes a night of horrors and frights. The military gets involved, shooting Jack down from the sky. Ironically, he lands in a cemetery, in the arms of an angel. Jack then realizes that he was completely wrong about Christmas, that his job is to be the Pumpkin King instead. He quickly returns to the town to free Santa from Oogie Boogie so he can fix Jack’s mistake–and realize his love for Sally.

“What’s this?”

When watching the The Nightmare Before Christmas, I sang along to the catchy tunes especially (“What’s This?”).  The film has numerous iconic scenes, but I also picked up on a few biblical references: one was Jack falling into the arms of the angel before realizing that he wasn’t meant to be Santa.  Consider it his wake-up call.  A second was Jack’s consuming desire for Christmas–once he got a taste of it, he couldn’t think of anything else.  The same goes for certain types of sin we fall into–they can consume us to the point where we lose focus on everything around us.

I urge you to revisit The Nightmare Before Christmas sometime before December 25th. You won’t regret making the decision.

Filed Under: Film, Reviews Tagged With: Christmas Town, Halloween, Halloween Town, Jack Skellington, Oogie Boogie, Sally, The Nightmare Before Christmas, Tim Burton

7 Films You Should See For Father’s Day

June 17, 2015 by ScreenFish Staff Leave a Comment

Not everyone has the family experience they should have … or want. But the truth is, we can learn from the success (and failure) of those who have come before us, even our own parents. This Father’s Day, we hope that you’ll consider the lessons from your own life, and a few from these films, as you figure out how to be child, a parent, and a whole person, growing each day. 

Here are a few of our favorite films about fatherhood. 

Father of the Bride Father of the Bride 

As I grow older (and hopefully wiser), I begin to see more value in this film as a dad raising three daughters. It’s not easy, folks. Take it from George Banks (Steve Martin):

You have a little girl. An adorable little girl who looks up to you and adores you in a way you could never have imagined. I remember how her little hand used to fit inside mine. Then comes the day when she wants to get her ears pierced and wants you to drop her off a block before the movie theater. From that moment on you’re in a constant panic. You worry about her meeting the wrong kind of guy, the kind of guy who only wants one thing, and you know exactly what that one thing is, because it’s the same thing you wanted when you were their age. Then, you stop worrying about her meeting the wrong guy, and you worry about her meeting the right guy. That’s the greatest fear of all, because then you lose her.

Thankfully, I haven’t quite gotten to the ‘drop her off a block before the movie theater’ line. But fathers have a special role in the development of their kids that should not be overlooked. They’re supposed to love, care for, protect, and build up their kids to make right decisions consistently. The Bible makes it clear that dad are not to “embitter your children [i.e. provoke or make resentful], or they will become discouraged” (Colossians 3:21). Father of the Bride showcases a dad letting go and trusting that all the lessons he taught his daughter along the way would help her have a fantastic and fruitful life.  Isn’t that what all fathers secretly want to have happen? — J. Alan Sharrer

 

fieldofdreamsField of Dreams

There aren’t many things out there that is more iconic (in the US that is) than a dad playing catch with his son. Baseball, no matter how far behind it has fallen to other sports today, is and always will be America’s past time. So when you think of a great Father’s day film that really speaks to the heart of it, Field of Dreams ranks right up there. “If you build it, he will come” is the theme heard throughout the film leads you on this journey.

A dad (Kevin Costner) has that pressure we all feel of providing for his family. Yet, with his son believing in him, and his wife (although she doubts a little) backing him, he builds a baseball field on his farm. The field brings the past to life in the present. It’s a magical feel that saves his farm, creates a special connection with his son, and in the end reunites him with the father he never got the chance to play catch with. Baseball, fathers, and sons…..a perfect combination. — Arnaldo Reyes

 

pet_semetary

Pet Sematary

Dr. Louis Creed (Dale Midkiff) moves his family from the Chicago rat race to the idyllic countryside of Maine and all seems right…for about five minutes. Aside from the nearly non-stop slew of tractor trailers zooming past the front of his new place, the creepy pet cemetery at the rear, and the ghost of the college student who died in his treatment room on his first day in his new practice (who has now decided to haunt him), everything seems hunky dory. While his wife and daughter are away, the family cat, Church, falls victim to one of the endless trucks. Judd Crandall (Fred Gwynne, of The Munsters fame), a neighbor, helps bury Church, but not at the pet cemetery—at an old Indian burial ground just a little further up the hillside. A day later, the previously graveyard-dead Church shows back up at the house, now fully alive, and mean as a rattlesnake.

It isn’t long before another of the trucks claims the life of Louis’ toddler, Gage. Louis, non-plussed by Church’s hellish behavior, decides to bury Gage at the Indian site in the hopes that he too will return. And return he does, with a bloodthirsty vengeance.

Based upon Stephen King’s novel of the same name (King wrote the screenplay, as well), Pet Sematary is a most bizarre, macabre love letter from a father to a son. On the surface, it’s easily dismissed as a new twist on the classic zombie film. But sift through the layers and you’ll find a story of undying devotion (granted, an obsessive, borderline psychotic one). Louis will do anything he can to bring his son back, even if it means sacrificing his own life—and possibly, the lives of the rest of those he loves. In a warped sense, it dredges up the parable of the lost sheep (Luke 15: 1-7), whose shepherd risks the lives of the ninety-nine others in his flock to rescue the one who has strayed. Jesus tells us God–our Heavenly Father–is just as relentless in his pursuit of us; in his attempt to bring us, Lazarus-like, out of the dark tombs we wander into.  And if we will just believe in him, he promises us that one day we too will rise again to eternal life. Creepy zombie cats (hopefully) not included.–Jason Norton

 

firstknight

First Knight

First Knight (1998)—not to be confused with the Dark Knight—takes us back in time to the court of King Arthur (Sean Connery). Engaged to be married to Lady Guinevere (Julia Ormond), Arthur lords over Camelot with strength, power, and grace. When he meets the brave Lancelot (Richard Gere), he is immediately taken by the young man, inviting him to become a member of the Knights of the Roundtable. However, Arthur’s leadership is soon put to the test as Camelot comes under the attack of the evil Malagant (Ben Cross) and they are drawn into combat. What’s more, as Lancelot catches Guinevere’s eye and the two consider giving into their passions, Arthur soon discovers that not all wars are on the field of battle.

While this film is definitely more obscure than titles like Finding Nemo and Field of Dreams, I have to admit that it’s one of the movies that has had a significant impact on me over the years. Hardly considered a classic due to its obvious flaws, there’s still something about Connery’s King Arthur that has always humbled me. Released during his ’90s ‘renaissance period’ (somewhere between The Untouchables and Entrapment – and well before The League of Extraordinary Gentlemen ruined our lives forever), Connery carries the mantle of history’s most famous medieval king in a manner that reflects God-like qualities. Faced with the rebellion of Malagant and his army, he remains both calm and protective. As he hears of Guinevere’s betrayal, his heart breaks but his judgment never becomes vengeful. And, in the midst of it all, he constantly offers grace. In the end, we see a man who is both broken by prodigals, yet steadfast in his loving leadership.

To me, that’s the very definition of fatherhood.

 

The Lego Movie - Finn and DadThe Lego Movie

No; I’m not referring to the antics of Vitruvius, Wyldstyle, and Emmet, but to a deeper aspect to this film. When Emmet lets himself fall from the Octan Tower into the Magic Portal, he ends up . . . a part of real life.  It turns out that the whole film–up to that point–was from the imagination of Finn, a young boy playing with his dad’s Lego collection (a quite sizable one) and playing out what real life is like for him.

However, Finn’s dad (Will Ferrell) has taped all kinds of warnings on the tables to let people know that his Lego buildings are not to be messed with.  He wants order–just like President Business. And when he comes downstairs, he doesn’t like what he sees at all.  Finn tries to convince him that Lego creations are just toys, but Dad insists that they’re “a highly sophisticated, interlocking brick system” and sets out to restore things the way they were.

It’s through this discussion that Finn’s Dad comes to understand that, perhaps, it’s okay to keep the lines between kids and adults a little blurred. It’s important to spend time on occasion with your kids simply doing kid stuff.  It allows the relationship to grow and keeps resentment from creeping in. Their reconciliation scene is unexpected—and quite touching. The Lego Movie is also a fantastic reminder that, as the writer of Ecclesiastes noted, there is a time for everything (3:1)—like making memories with our children that will last a lifetime.— J. Alan Sharrer

 

instructions not included

Instructions Not Included

A film that many have probably not seen because of it is at least half Spanish with subtitles, Instructions Not Included will have you laughing throughout, only to make you cry at the end. The tears are not because the film is bad; it is because you finally understand the craziness of it! You will realize how one man, who had no idea what he was doing and for the most part appeared like he should not be raising a little girl on his own, turned out to be the best father in the world.

After he has a fling with an American girl, she drops off a little baby and runs off. Here is this man with no clue what to do and no idea how to raise a child. He goes to the United States looking for the mother and instead by wild occurrence becomes a stunt man. When the girl is a little older, she has free rein to do whatever she wants really. He buys her everything, he lets her have a vivid imagination, and he also lies about her mother. When the mother comes back, she attempts to take the girl back after seeing what appears to be an unfit dad raising a girl with no boundaries or discipline. The courts rules in his favor, but the mother pulls the DNA card and it turns out, he is not the father. All these years and now he has no choice but to give her up.

Instead, he runs off with her to Mexico, and when the mother threatens his friend, the truth is revealed. She has a terminal illness, so he lived everyday as if it was the last day he would see her. He gave her everything and allowed her to experience a full and happy life. In the end, in his father’s arms overlooking the ocean, she went just as happy and peacefully as she lived. A great example of how awesome fathers can be. –Arnaldo Reyes

 

bigfish

Big Fish

Tim Burton’s film didn’t immediately grab me the first time I saw it, but every time I’ve seen it since, it has opened up a little more for me. In this tall tale of a parable, Will (Billy Crudup) sits with his father, Edward (Albert Finney as an older man; Ewan McGregor as the younger one), as he dies. Will has been estranged from his father for as long as he can remember, and his father’s inability to “tell a story straight” continues to frustrate the son. But he sets out to find out once and for all whether these are true stories or figments of his father’s imagination.

To tell more would undo the magic of this story, but it does show, quite visually, that there is a deeper truth (to quote C.S. Lewis, “a deeper magic”) buried in the stories Edward tells. He is certainly not the father to Will that he hoped to be but he aimed to give his son everything he could, and to provide Will with the belief in himself that he could accomplish anything, no matter how insurmountable it might be. Big Fish is a parable you can’t see without getting a bit wet. — Jacob Sahms

Filed Under: Editorial, Featured, Film Tagged With: Big Fish, Emmet, Father of the Bride, Father's Day, Field of Dreams, Finn, Instructions Not Included, John Wayne Western Film Collection, Kevin Costner, Kids, President Business, Steve Martin, The Lego Movie, Tim Burton, Time, Will Ferrell, Wyldstyle

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