GAGGING on THE PRINCESS BRIDE

March 16, 2013 § 1 Comment

fr. kpbs.org; an image of the 1970s

WHY do I ALWAYS want to stick a finger down my throat while watching THE PRINCESS BRIDE?

fr. upmagazine.com

fr. upmagazine.com

It’s witty, it’s cult classic, the Spaniard scenes are oft quoted over frat house beer.

I’m watching it now, with commercials, which is a trial, I assure you, and a whole ‘nother topic about living in the hinterlands and trying to keep up on the film industry.  It is raining.  I will soon drive thirty miles into “town” to stream Rebecca Thomas’ new movie, ELECTRICK CHILDREN, at my favorite coffee shop.  Producer Jessica Caldwell (@JessBCaldwell) kindly “followed” me on twitter (@lightscamwomen) after I started posting about what a cool flick I thought ELECTRICK CHILDREN would be- ONCE I COULD ACCESS IT!

I am that person lucky enough to live amid nature’s vast, untainted beauty on a hundred acre farm near great tracts of forestland, no neighbors close enough to hear me when I scream.  I am that hermit who could eschew all technology, even the electricity delivered to me by a community company, not a big firm.  But I like my well pump working.  So I don’t.

Right now, on TV, Wesley and Buttercup are in the fireswamp.

I finally get why I didn’t like the movie when I first saw it in 1987.  It’s not a bad movie, it simply is yet another movie pretending to be about love and artificially promoting that ruse in the title.  What woman in her early twenties in the late eighties didn’t react positively to the word “Princess”, and worse still, to the word, “Bride?”

That’s how they got women to watch this thing with their eighteen year old dates.

At least there’s the wise old crone who “Boos” Buttercup when the nuptials are officially announced in the Monty Python-esque European village scene.  The crone serves, as usual, as the voice of reason, the saving grace.  This is the part where the foolish virgin realizes it’s better to sacrifice herself and save the hero than give in to her baser desires.  Of course, this particular Hollywood virgin, dear old Buttercup, hasn’t an ink jot of base desire in her.  Dear old Robin Wright, the actress who played the chillingly stiff and childishly beautiful Buttercup, presumably must.  She later married Sean Penn.

I wasn’t independent enough in my thinking or in touch enough with my SELF in the eighties to recognize my dislike of PRINCESS BRIDE for what it was.  A downright internal revolt against portrayals of women in such stupid roles.

Buttercup’s darling, and her character works in the movie.  But the fact that I didn’t understand my own feelings about her portrayal chills me now, since I’m finally the over-fifty wise old crone.

I’ve nothing against Buttercuppy characters continuing to be written for the screen.

I only hope that young women today can see them for what they areImageProps in movies for men.

It’s worth pointing out that PRINCESS BRIDE (1987) was based on a novel written in 1973 by William Golding, who also wrote the screenplay.  The seventies were a scary period for women.  Just look them up.

I honestly believe that if young women today can experience enough well written movies starring strong, realistically portrayed women, they’ll also be able to watch the Buttercups and get how dumb they are.  And laugh.  And walk away being strong, realistic women themselves.

Not Wesley’s prize.

Tell me it’s already happening.  Tell me I didn’t need to make this point.  Please?

ELECTRICK CHILDREN, and the OLW of successful newbie directing!!!

March 13, 2013 § 2 Comments

SO much information comes one’s way- online, on twitter, on the sidewalks, even, of small towns.  I’m seriously sidetracked daily, tweeting while I walk.  I meant to write about Bing Crosby, no kidding.  Just finished a book made into a movie in which he starred.  Blah blah blah…

Just when I wasn’t looking for it, I noticed a tweet of Susan Sarandon’s promoting what she considered to be a “Surprising, original and beautifully shot” film.   That sounded surprisingly tempting.  I bit.  I watched the trailer.  I’m hooked now.

Writer/director Rebecca Thomas fr. lvwomanmagazine.com

Writer/director Rebecca Thomas fr. lvwomanmagazine.com

Rebecca Thomas,  “fairly obedient Mormon kid” turned Columbia film school student turned one of Variety’s 10 Directors to Watch, wrote and directed it.  She says it’s not about her, really, but does recall how music was the way she rebelled when she was younger, the stuff her older siblings brought home.  And then add to that childhood memory the same delicious rebellious feeling she says she got singing hymns in church.  And you’ve got a great emotional hook for a movie.

ELECTRICK CHILDREN.  It started out as a $20,000 microbudget film and simply burgeoned, apparently.  Attracted an angel investor, some real talent including Rory Culkin  and Julia Garner, and opened on 8 March 2013.

For those of us in outlying regions away from the big theatres, fortunately it will be On Demand this Friday, 15 March.

Jacob Hall, of “Culture Map Austin”, an American city that’s undeniably a hub of today’s arts and cultural activity, and where they seriously know their music, calls it “A touching, deeply felt look at the strange collision between religion and music…(and) a tribute to rebels of all kinds, from scummy punk rockers to Jesus Christ.”

Remember these things?

Remember these things?

It’s about a young Mormon girl who thinks she’s been impregnated by listening to a forbidden rock music tape. 

When her parents arrange a marriage for her, she runs off to LA in search of the man she considers to be the father of her child, the tape’s lead singer.

Okay, wow.  What a concept.  Haven’t we ALL, face it ladies, “gone there” in some way or another during weird, misguided, romantic pubescent fits of dreamy teenage girl insanity?  And this movie’s filmed it.  Our young girl secrets are out of the bag!  And there’s a great soundtrack to go with it.  ‘Nuff said.

Here’s the link to the trailer: http://vimeo.com/36104775.

There’s an interview Thomas gave, at www.shockya.com, in which she outlines an interesting way she conceived of and controlled scenes as a newbie director.  She pared each down to one word, and kept that word in mind, constantly bringing everything about the shoot and the acting and maybe even any tweaking she was tempted to do in the script, back to that one word.  The LBD, little black dress, of directing.  One little words.  OLW.

I’ll enjoy watching her film now, wondering for myself what OLWs she’s used along the way.  Heck, I think I’ll enjoy watching the film regardless of the one-worders.

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