As usual, I would have done things differently. This time I did do things differently, and you will eventually be able to read the result as Situation Normal. But just as an example, consider "Four Kinds of Cargo", the acorn that became SN. If the POV character of that story were the Captain, it would be a by-the-numbers space opera, like Guardians of the Galaxy, because that's how the Captain experiences life. So instead the POV character is Kol, the guy who is just trying to survive, who is trying to make the Captain's space-opera fantasy work, simultaneously intrigued and frustrated by her ability to change everyone's minds with an inspirational speech.
In GotG terms, the correct POV character is Rocket. You can have the doofy white guy who brings everyone together, but he shouldn't be the POV character. The American people understand this. I've seen people talking about this movie as if Rocket is the lead, because that's the right way to do it. But that's not the way it happened.
The one place my ignorance of the comic book let me down was when the unaccountable police force/military/governing body led by Glenn Close with her big swoopy hairdo and Peter Serafinowicz with his creepy British accent turned out... not to be evil? Not guilty of anything worse than imposing the bourgeois values of its Federation-type civilization on a band of criminals? That was unexpected, and I'm not sure whether my cognitive dissonance was the intention or if they're just saving the evil for the sequel.
PS: there's a lot of tasing in this movie. I guess that's how horrifying violence becomes comedy violence.
I'm not going to accuse this movie of 'ruining my childhood', because it's just a dumb movie, but... it's a dumb movie. I am a fan of Chuck Jones's fluid gag-packed animation, but it's a bad fit with the cerebral subject matter of The Phantom Tollbooth, except in a couple cases like the integration of typography into everything in Dictionopolis, and the ever-shifting bodies of the Demons of Ignorance. The demands of the animated-feature-film medium require changes to the plot that frequently undercut the message of the book. An example will suffice: as Milo sinks into the Doldrums, the Lethargians stop being lethargic and become very enthusiastic indeed about sneaking up on Milo and violently killing him. Why? Because a book may vividly describe procrastination and laziness as perils in themselves, but when you're watching a cartoon all the evil things have to have pointy teeth and nasty Grinch faces.
Other examples: Milo permanently screwing up the sky when he takes over for Chroma (don't experiment, kids, you might destroy the world!), Tock dying and being resurrected for no reason other than that's what happens in the third act. It's obnoxious. One addition I really liked is that the Mathemagician's castle includes a wall of digital computers—something that probably wasn't on Norton Juster's mind when the book came out in 1961.
In the "don't really care" file, movie Milo lives in San Francisco instead of what is almost certainly New York in the book. The only reason I could think of for doing this was ease of obtaining filming permits, but this was after John Lindsay made it really easy to obtain filming permits in New York, so who knows. I guess San Francisco was a more magical, kid-friendly place in 1969 than New York.
Oh yeah, there's songs in this movie, they're all very 1969, and I'm not a big fan of 1969 music.
I decided to watch Popeye after hearing the Laser Time tribute to Robin Williams, where it was mentioned that Popeye was directed by Robert Altman. I thought "I've never seen an Altman film before, I'll give it a shot." I brought it up to Sumana, who was even more skeptical than with Celine and Julie go Boating:
I pressed on without Sumana. Imagine my surprise when a screenwriting credit for Jules Feiffer showed up! I knew I was in for a treat. A treat that was not forthcoming.
OK, yeah, honestly, I knew this wasn't going to be a good movie, no matter how many big names were attached. I watched it out of morbid curiosity. I would compare this movie to 1941: an unsuccessful experiment made while Hollywood was figuring out the parameters of the summer blockbuster. It looks great! There are some hilarious sight gags. But the action scenes were overwrought--maybe they should have brought in Steven Spielberg to direct the action scenes in Popeye and had Altman direct the comedy in 1941. There are a lot of characters in Popeye—more than I could have ever made up names for—but they're all pretty shallow and there's not a lot of good character comedy. I'm also disappointed that they never dramatized the time Popeye spent living in a garbage can.
The songs are a big problem. I mentioned to Rob I was going to see Popeye and he went on and on about how great songwriter Harry Nilsson was, so I'm not gonna say they're bad, but they're... really avant-garde for a musical adaptation of a Popeye cartoon? They play fast and loose with meter and rhyme and are generally not catchy. The problem is deepened by the inclusion of the insanely catchy theme from the cartoons, which tosses all the other songs under the bus. I do like that Shelly Duvall sang her songs slightly off-key.
Mon Sep 01 2014 09:49 August Film Roundup:
Another month full of major progress on major projects, but I managed to squeeze in four features:
S: Altman does ensemble films. Aren't there like four characters in Popeye? Popeye, Olive Oyl, Bluto, and I'm leaving space for one I don't know about.
L: Swe'pea.
S: Who is Swe'pea?
L: A baby.
S: Can a baby really be a 'character'?
L: How about J. Wellington Wimpy?
S: What?
L: Poopdeck Pappy?
S: Are you just making up names?
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