But that might be giving the Mouse House a bit too much credit. One can formulate theories, based on the film itself my best guess is that the hilariously outsized hoopla from “social conservatives” that greeted the barely-there same-sex relationship in Lightyear, coupled with the rapidly escalating rhetoric of the borderline-fascist governor of the state that houses Disney World, made the studio a bit more nervous about a picture with an openly, casually queer hero. Strange World: One day, someone’s going to write one gripping account of exactly why and how Disney’s most recent animated adventure was buried, with the hastiness and sloppiness, of Goodfellas’ Billy Batts – barely promoted, half-heartedly screened for critics, quickly shuffled off to Disney+ when it predictably underperformed. But this isn’t simply a case of roman a clef curiosity either – Spielberg isn’t interested in mere nostalgia, and the clarity with which he sees the actions of the adults in this tale (and the specificity with which they are played, by Michelle Williams, Paul Dano, Seth Rogen, and others) is startling. So it’s obviously very personal to him, and that sense of genuine emotion, of pathos via memoir, is beating under every scene. It is, of course, inspired by Spielberg’s own child- and young adulthood, following the broad strokes of his early years and the beginnings of his obsession he co-wrote the screenplay with his frequent collaborator Tony Kushner, his first such credit since AI: Artificial Intelligence (and before that, Poltergeist). The Fabelmans: Steven Spielberg’s latest is the story of how a movie-crazy kid turned his love of movies into a career, and a life.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |