Tron

28 05 2010

In the late-’70/early-’80s, Disney was attempting to reposition itself in a niche away from the traditional family product that they were known for, moving instead towards darker-tinged science fiction and fantasy. This was partly in response to the success of Star Wars in 1977, as is apparent with the generally goofy (but at times surprisingly sinister) Disney live-action feature The Black Hole, released only two years later.

So when a young, independent animator called Steven Lisberger approached the company, looking for someone to finance an experimental science fiction film about video games, it seemed like the perfect fit. This was the era of Pac-Man, Donkey Kong and Frogger, when home computing was beginning to make inroads and the potential of all things digital seemed limitless: the so-called “silicon revolution” had just arrived. What better way for Disney to remain relevant than to release a film that capitalised on such a current trend?

That film, of course, was Tron (1982). Combining back-lit animation, traditional animation and computer-generated imagery with live-action footage, this was Star Wars for the impending Information Age. Its setting was stark yet elegant and often beautiful; its themes struck at the heart of the increasing commercialisation of a market hitherto dominated by hobbyists and academics. In short, it was the mythology for a new age.
Read the rest of this entry »

Advertisements




Time Bandits

14 05 2010

Terry Gilliam’s career has come a long way since he animated the foot of Bronzino’s Cupid in Monty Python’s Flying Circus (1969-74). After the frustrations involved in bringing Brazil (1985) and The Adventures of Baron Munchausen (1989) to the screen, he found larger success in the ’90s with The Fisher King (1991) and 12 Monkeys (1995). And now, despite another troubled production, we have a return to classic Gilliam with The Imaginarium of Doctor Parnassus (2009).

But in terms of being a pure crowd-pleaser, Gilliam’s biggest triumph is undoubtedly Time Bandits (1981). While not as visually dense or bizarre as Brazil, nor as (relatively) sober as 12 Monkeys, Time Bandits possesses an innocent charm that his more cynical works lack. If nothing else, it was the first film to help establish Gilliam as a true auteur and cinematic visionary.

All of the director’s trademarks are here, such aa the use of giants and dwarves (allowing for many low-angle shots), the recurring motif of placing characters in cages (inspired by Walt Disney’s Pinocchio (1940)) and the blurring of the line between fantasy and reality. The production design veers between the stark and the lavish (this dichotomy being another trademark of Gilliam’s) and the humour is, as usual, dark-edged but playful.
Read the rest of this entry »