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Jean Cocteau in 1963: “I Hope You Have Not Become Robots”

Thursday, September 15th, 2016

In August 1963, just a few months before his death, Jean Cocteau recorded a message for the year 2000.

As Josh Jones perceptively writes in Open Culture, “Jean Cocteau was a great many things to a great many people—writer, filmmaker, painter, friend, and lover. In the latter two categories he could count among his acquaintances such modernist giants as Pablo Picasso, Kenneth Anger, Erik Satie, Marlene Dietrich, Edith Piaf, Jean Marais, Marcel Proust, André Gide, and a number of other famous names . . .

As you’ll see in the short film above, Cocteau Addresses the Year 2000, the great 20th century artist considered the many awards bestowed upon him naught but ‘transcendent punishment.’ What Cocteau cared for most was poetry; for him it was the ‘basis of all art, a religion without hope.’

Cocteau began his career as a poet, publishing his first collection, Aladdin’s Lamp, at the age of 19. By 1963, at the age of 73, he had lived one of the richest artistic lives imaginable [though he was materially poor, and relied upon the generosity of others for his daily needs], transforming every genre he touched.

Deciding to leave one last artifact to posterity, Cocteau sat down and recorded the film above, a message to the year 2000, intending it as a time capsule only to be opened in that year (though it was discovered, and viewed a few years earlier). Biographer James S. Williams describes the documentary testament as ‘Cocteau’s final gift to his fellow human beings.’

He reiterates some of his long-standing artistic themes and principles: death is a form of life; poetry is beyond time and a kind of superior mathematics; we are all a procession of others who inhabit us; errors are the true expression of an individual, and so on. The tone is at once speculative and uncompromising…

Portraying himself as ‘a living anachronism’ in a ‘phantom-like state,’ Cocteau, seated before his own artwork, quotes St. Augustine, makes parables of events in his life, and addresses, primarily, the youth of the future.

The uses and misuses of technology comprise a central theme of his discourse: ‘I certainly hope that you have not become robots,’ Cocteau says, ‘but on the contrary that you have become very humanized: that’s my hope.’ The people of his time, he claims, ‘remain apprentice robots.’

Among Cocteau’s concerns is the dominance of an ‘architectural Esperanto, which remains our time’s great mistake.’ By this phrase he means that ‘the same house is being built everywhere and no attention is paid to climate, atmospherical conditions or landscape.’

Whether we take this as a literal statement or a metaphor for social engineering, or both, Cocteau sees the condition as one in which these monotonous repeating houses are ‘prisons which lock you up or barracks which fence you in.’ The modern condition, as he frames it, is one ’straddling contradictions’ between humanity and machinery. Nonetheless, he is impressed with scientific advancement, a realm of ‘men who do extraordinary things.’

And yet, ‘the real man of genius,’ for Cocteau, is the poet, and he hopes for us that the genius of poetry ‘hasn’t become something like a shameful and contagious sickness against which you wish to be immunized.’ He has very much more of interest to communicate, about his own time, and his hopes for ours.

Cocteau recorded this transmission from the past in August of 1963. On October 11 of that same year, he died of a heart attack, supposedly shocked to death by news of his friend Edith Piaf’s death that same day in the same manner.

His final film, and final communication to a public yet to be born, accords with one of the great themes of his life’s work—’the tug of war between the old and the new and the paradoxical disparities that surface because of that tension.’

Should we attend to his messages to our time, we may find that he anticipated many of our 21st century dilemmas between technology and humanity, and between history and myth. It’s interesting to imagine how we might describe our own age to a later generation, and, like Cocteau, what we might hope for them.”

It’s also remarkable that even in his last months, Cocteau remained dedicated to the future of humanity, and the humanities, and the need for poetry in the modern world, and that he created this last film entirely extemporaneously, speaking from the heart without notes or preparation, with a desperate urgency to communicate one last time with the youth of the future – albeit from beyond the grave. On his tomb, it says simply “I stay with you,” and so he does, more important now than ever, as one of the foremost humanists of the modern era.

This is an invaluable document; a real call for humanity to a future that desperately needs it.

Louis Augustine Aimé Le Prince – The First Filmmaker

Wednesday, September 14th, 2016

Here’s a new documentary out on Louis Augustine Aimé Le Prince - the very, very first filmmaker.

As the site for the film on Vimeo notes, during “October 1888 Louis Le Prince produced the world’s first films in Leeds, England. These were shot on cameras patented in both America and the UK. Once he had perfected his projection machine Le Prince arranged to demonstrate his discovery to the American public and thus the world.

On 16th September 1890, just days before he was due to sail to New York Louis Augustine Aimé Le Prince stepped onto the Dijon to Paris train and was never seen again. No body was ever found so legally no one could fight the Le Prince claim that he invented a camera that recorded the very first moving image.

As a result, several years later, Thomas Edison and the Lumiere Brothers were to claim to the glory and the prize of being acknowledged as the first people to pioneer film. Louis Le Prince was never added to history books. But for one lone voice, who worked with him, Le Prince’s name and his pioneering work was forgotten.

The First Film is David Nicholas Wilkinson’s decades long quest to prove to the world that a Frenchman Louis Le Prince made the first films in 1888 and that the birthplace of motion pictures was not America nor France but in fact the city of Leeds in the county of Yorkshire, England.”

Le Prince’s story has long been one of the great mysteries of the cinema, and the subject of a book and a documentary by Christopher Rawlence, The Missing Reel. However, in the ensuing years, a great deal of new material has come to light, and The First Film takes full advantage of these discoveries, to demonstrate convincingly – though many have argued this for years, myself among them – that Le Prince is the true pioneer of the motion picture medium.

This is a fascinating documentary of a tragically forgotten pioneer – absolutely essential viewing.

The Bestseller Code by Matthew Jockers and Jodie Archer

Monday, September 12th, 2016

The Bestseller Code is a groundbreaking work, exploring the secrets of what makes a hyper-successful book.

As Leslie Reed writes in UNL Today, “after reading 4,500 of the latest English-language novels, a University of Nebraska-Lincoln supercomputer named Tusker helped crack the bestseller code and explain why some books shine while others languish.

Matthew Jockers, an English professor who uses computers to study literature, and his colleague, Jodie Archer, a former acquisitions editor for Penguin Books UK, enlisted Tusker in their quest to identify the secret to making the New York Times Bestseller List.

They found there is more to it than marketing, luck and a name like Stephen King. Their conclusions will be unveiled in their new book, The Bestseller Code, to be released Sept. 20 by St. Martin’s Press.

Tusker, a room-sized cluster computer based at the Peter Kiewit Institute in Omaha, is one of four supercomputer systems operated by the university’s Holland Computing Center. Red, the oldest and most powerful, is used by physicists working on the Compact Muon Solenoid project at the Large Hadron Collider in Switzerland.

Named for the mammoth-like creatures that once roamed the Great Plains, Tusker typically is used by biology researchers for gene mapping and genome sequencing, according to David Swanson, Holland Computing Center director, and Adam Caprez, a high-performance computing specialist.

For this project, Tusker’s reading list included some of the hottest novels published in the last three decades – titles such as Fifty Shades of Grey, The Girl with the Dragon Tattoo, The DaVinci Code, Gone Girl and The Devil Wears Prada. Perennial bestsellers Danielle Steel, John Grisham, James Patterson, Jonathan Franzen, Anne Tyler, Barbara Kingsolver, Lisa Scottoline and Jodi Piccoult were among the authors on the list.

Jockers worked with Emelie Harstad, a high-performance computing specialist at the Holland Center, to implement the algorithms that guided Tusker on the project. ‘It was a particularly interesting project. It wasn’t a typical field like physics, computer science or even economics,’ Harstad said. ‘It was kind of a unique use of our system.’

Tusker extracted approximately 28,000 features from each novel and then studied those data looking for patterns in word choice, sentence construction, topic, plot structure and pacing.

Using a form of artificial intelligence, it learned which features best differentiated a bestseller from a flop, identifying about 2,800 features that make the difference. In rigorous, class balanced cross validation experiments, Tusker was able to correctly identify the bestselling and the non-bestselling novels 80 percent of the time.

It took up to 15 hours of computer time for each novel studied, Jockers said. An ordinary computer would have had to run constantly for nearly eight years to complete the analysis. Tusker, with the equivalent capability of thousands of laptops, analyzed the novels in a matter of weeks.

Now in his fifth year at the university, Jockers specializes in text mining, a technique that uses high-powered computing to identify thematic and stylistic patterns among thousands of literary works. A co-founder of the Stanford University Literary Laboratory, Jockers first began working with Archer when she was his doctoral student at Stanford.

Archer’s publishing background piqued her interest in using text mining to identify the traits of bestsellers. Her doctoral dissertation, which Jockers supervised, formed the foundation for the joint project that resulted in The Bestseller Code.’After her graduation, Jodie suggested we write a book together,’ Jockers said. ‘Neither of us could have taken on this project solo.’

The pair continued their collaboration after Jockers moved to Nebraska. In fact, Jockers now teaches a course on bestsellers at the university, with Archer serving as a guest lecturer. Though Tusker is smart enough to recognize the hallmarks of a bestselling novel, the computer is not yet capable of writing one, Jockers added.

Writing a successful novel still requires creative and critical thinking, Jockers said. Even though computers can be programmed to write, such efforts often pull strongly from previously published works, shared online texts and input from programmers. ‘We would rather just sit down together with pen and paper and use the findings of our research to attempt to write a novel ourselves,’ Jockers said.”

This is fascinating and groundbreaking work – a whole new way of looking at the craft of commercial writing.

Director Jerzy Skolimowski Wins Golden Lion at Venice Festival

Thursday, September 1st, 2016

Jerzy Skolimowski is long overdue for this recognition, as a filmmaker of the first rank.

As Damon Wise writes, in part, in the August 31, 2016 issue of Variety, “it has been said of Jerzy Skolimowski that making films turned him into a nomad. Forced by principle to leave his native Poland after the repressive government shelved his surreal, semi-autobiographical and politically incendiary 1967 film Hands Up!, the director moved first to the U.K. and then to the U.S. before finally returning to Poland in the early 2000s.

The journey home also resulted in Skolimowski’s first film in 17 years. After suffering a personal and financial failure with 1991’s 30 Door Key, the director took time out to explore his talents as a painter. The success of his comeback film, 2008’s Four Nights With Anna, encouraged him to return to cinema, and 2010’s Essential Killing claimed acting and directing prizes at that year’s Venice Film Festival.

Now 78, Skolimowksi comes to the 2016 festival to collect the Golden Lion for Lifetime Achievement, a celebration of a career that has spanned almost six decades and numerous cities, and perhaps marking a spiritual homecoming of sorts for the wandering artist. ‘I feel blessed and honored to be placed among Orson Welles, Fellini, Antonioni, Buñuel, Kubrick, and magnificent others,’ he says of the award. He adds with typical self-deprecating modesty, ‘but I still have to prove to myself that I really deserve it . . .’

Unusually for an auteur director, Skolimowski’s films defy categorization even by the many periods of his life defined by émigré status, and he’s not precious about the work. ‘To tell you the truth,’ he says, ‘I don’t look back at my films at all. I know well what is good in some of them. I know what’s bad in others. And I know I cannot change any part of them — what is done is done . . .’

Thankfully, Skolimowski is a director who has not been thwarted by either his occasional crisis of confidence or his mistreatment at the hands of the authorities . . . Indeed, his filmography is even beginning to gather pace again. Asked about this newfound vigor so late in life, he replies, quite casually, ‘by the standards established by Manuel de Oliveira I’m still a young filmmaker.’”

Read the whole article by clicking here – Skolimowski is a master filmmaker.

Werner Herzog Explores The Internet in “Lo and Behold”

Saturday, August 20th, 2016

Werner Herzog – who doesn’t own a cellphone – is tackling the history and mystery of the Internet.

As Hayley Tsukayama writes in The Washington Post, “filmmaker Warner Herzog didn’t make his first phone call until he was 17, and still doesn’t ever use a cellphone. That may make him seem like an odd guide to take a hyper-connected society through an examination of how the Internet has affected society.

But, in truth, it makes him an almost ideal observer — one of the few who can step back with some impartiality — to look at the effect this technology has had on the world. Released Friday, Herzog’s new film, Lo and Behold, looks at development of the Internet — something Herzog calls as ‘momentous as the introduction of electricity into our civilization.’

He spoke with The Washington Post last month ahead of the film’s debut; Magnolia Pictures provided me with a copy of the film ahead of its release. Here are a few snippets from our discussion of the film, which strings together vignettes examining the good and bad of the Internet. On his own tech use:

Werner Herzog: I have to say, right away, that I hardly ever use the Internet.

Hayley Tsukayama: Really?

WH: I do have a laptop and I do emails. Sometimes I do Skyping with family. But I don’t use a cellphone.

HT: Not at all?

WH: No.

HT: Why don’t you use a cellphone?

WH: For cultural reasons. I’m not nostalgic, but I like to maintain contact, like, with you, directly sitting across a table.  I’m not delegating my examination of the world to, let’s say, applications. I like not being available all of the time.

And, at the same time, I like knowing that no hacker or no hostile government could track me down. Now I’m sitting in this hotel in this room for how long. And they would know with whom I’m speaking and how many minutes. Nobody knows where I’m sitting, with the exception of you.

HT: That’s somewhat dark. One thing I liked about the film was that it shifted often between looking at the dark side and the benefits of the Internet. It doesn’t draw its own conclusion — why did you do it that way?

WH: It would be a silly approach to say the Internet is bad or the Internet is good. It would be too shallow. It is too complex. And besides, it’s a very American obsession to see movies that way — it makes sense in westerns, which have to do with a definition of basic justice, of good and bad.

You can see the trailer for the film by clicking here, or on the image above.

Nine Great Filmmaking Tips from Roger Corman

Monday, August 15th, 2016

Roger Corman, still active as a filmmaker at 90, is being honored at the Locarno Film Festival.

As Sophia Harvey writes in No Film School, “while many directors consider low-budget filmmaking to be just a step in an ever more glamorous career, Roger Corman has made his home in the indie world.

And now he is one of the most lauded director/producers in Hollywood, still active at age 90, with over 400 works on his filmography. Many of these are beloved cult gems, especially the “drive-in” teen movies, both comedic and horrific, of his early career, and the heated political films that mark his later period.

In describing his youth, Corman recalls a time when he ‘was directing one picture during the day, during my lunch hour casting the next picture, and in the evening I was editing the previous one. That night I thought, “I have to sleep fast.”‘ He slowed down a bit after that, he laughs, but only a little.

In celebration of his lengthy and notable career, Switzerland’s Locarno Film Festival invited Corman to be their Filmmaker’s Academy Guest of Honor at this year’s festivities. Last week, he spoke about his experiences, from landing his first job as a messenger at 20th Century Fox and discovering Francis Ford Coppola, to his admiration for James Cameron. Below, we’ve put together some of the most important takeaways from his Locarno talk.”

Here’s one great tip for starters: “1. Build A Crew That Makes You Proud. As a producer, Corman knows that the key to an efficient and well-run set is a cohesive crew. ’The first picture I directed, when I finished shooting, I made an A list, a B list and a C list of everybody on the crew. The A list were the ones who were very, very good. Those were the ones I wanted to hire back.

The C list were the ones who were not good and I would never hire them back. And the B list, which was more complex, were the ones who were just OK, I’ll hire ‘em back if I can’t get any better’ he explained. ‘I made another list after each picture. And over a short period of time… I had a crew where everybody was friendly, they were all outstanding, and we all worked together. It was also sometimes known as the Corman Crew.’

The Corman Crew was often hired as one unit, which is unusual in the indie world. He described the ‘great camaraderie’ that was created by this dynamic and the ‘enormous sense of pride’ felt, by him and the rest of the crew for garnering such a reputation in the independent field.”

And don’t forget, when Ingmar Bergman astonishingly couldn’t get a US distributor for his film Cries and Whispers (1972), and Corman was by then running his own production/distribution company, New World, Corman instantly came up with completion money, and a solid US distribution deal for the film (it even played drive-ins), which was subsequently nominated for five Academy Awards (winning one Oscar for Sven Nykvist’s luminous cinematography].

And he’s still out there on the cutting edge, doing retrospectives and championing the work of young filmmakers, such as Ana Lily Amirpour, doing an hour long on-stage discussion / screening of her film A Girl Walks Home Alone at Night and in general keeping up with the latest movements in cinema, even if he has slowed down just a tiny bit.

Words of wisdom from one of most prolific and successful filmmakers in history.

New Article: “It’s All About Relationships” – An Interview with Peter Medak

Thursday, August 11th, 2016

I have a new article out today – a career interview with director Peter Medak in QRFV.

As I write in my introduction to the interview, “by his own admission, Peter Medak has had a very unusual career as a director. Forced to leave his homeland at the age of 18 during the Hungarian Revolution, leaving his parents behind in the process, Medak fled to London, then a welcoming haven for emigrants, and began a film career from the absolute bottom rung of the business, eventually working his way up to his first film as a director, Negatives, in 1968.

Along the way, he had a lot of good luck, and made many connections within the film business that were of great value to him later – and still are today – but after the critical and commercial success of arguably his most famous film, The Ruling Class (1972), for which Peter O’Toole was nominated for an Academy Award for Best Actor, Medak made the great mistake of doing a favor for his friend, the actor Peter Sellers, by agreeing to undertake the direction of Ghost in The Noonday Sun (1973), a film which soon ran aground due to Sellers’ capricious demands and the interference of his friend, the British comic Spike Milligan.

Completed but immediately shelved by the studio, the blame for Ghost in The Noonday Sun’s failure fell, unfairly, on Medak, who suddenly found himself going from “hot” to “not” status almost overnight, beginning a long period of working on films that he didn’t really believe in to pay the rent, until he managed to break the losing streak with the ghost story The Changeling, starring George C. Scott and Trish Van Devere, and more spectacularly with The Krays (1990) and Let Him Have It (1991), two films in which Medak finally had a free hand.

But even when he worked in television, Medak’s visual style and his skill with actors always shines through, and as we both agreed during this interview, there’s nothing wrong with working on an episode of a series like Breaking Bad – “Peekaboo,” in 2009 – and Medak continues to be active to the present day, and is now working on a documentary of sorts on the film that almost ended his career, with The Ghost of Peter Sellers, a work in progress which reunites the surviving cast members of that memorable debacle for a fascinating “what went wrong?” trip down memory lane.”

What followed was a fascinating and frank interview with a gifted filmmaker; I hope you get a chance to read the article, which is unfortunately behind a paywall. But you should be able to gain access easily enough through many of the online databases that UNL subscribes to, and I hope you’ll take a moment to read the really amazing adventures of this uncompromising artist – who suffered through a difficult time, and came out the other end with two stunningly successful films.

I’m glad I got a chance to talk to Peter – it’s great stuff.

Nitrate Film Makes A Comeback

Tuesday, July 26th, 2016

A scene from the film Cinema Paradiso, which celebrated the beauty of cellulose nitrate 35mm film.

As Turner Classic Movies has just announced, the Egyptian Theatre in Hollywood is being retro-fitted with 35mm nitrate projection, an absolute rarity in today’s world, thus giving contemporary audiences a direct view of the shimmering beauty that only nitrate film can provide for viewers.

As the press release notesThe Film Foundation, the Hollywood Foreign Press Association (HFPA), and Turner Classic Movies (TCM), in conjunction with the American Cinematheque and the Academy Film Archive, today announced a partnership to ensure that the Egyptian Theatre on Hollywood Boulevard in Hollywood has the capability to screen 35mm nitrate film prints.  This powerhouse collaboration to retrofit the projection booth will make the Egyptian Theatre one of the few public venues in the country with the ability to project these rare and fragile prints.

‘When I was told that one of the most beautiful movie theaters in the country could be retrofitted for nitrate projection, I was overjoyed, moved, and excited by the potential,’ said Martin Scorsese, founder and chair of The Film Foundation. ‘I hope that this is the beginning of a trend. The art of cinema developed with nitrate from its beginnings to the early ‘50s, and the silver content gave us a luminosity and a richness that was never quite matched by the safer stocks that followed or their digital reproductions.

I’d like to thank all the partners that came together with The Film Foundation—the Hollywood Foreign Press Association, Turner Classic Movies, the Academy Film Archive and the American Cinematheque itself—to make this happen. Needless to say, I’m eager for the completion of the necessary work so that I can see those glorious images projected in that one-of-a-kind theater.’

‘As actual film disappears from most of the world’s eyes, we should be screening our existing nitrate prints as much as we safely can,’ said Alexander Payne, director and board member of The Film Foundation. ‘Nothing in theaters or on television today matches the thrill of seeing films on nitrate, and we should take full advantage of our being, sadly, among the last humans able to screen them.”

‘The Hollywood Foreign Press Association has long been a supporter of preserving the integrity and history of the art of filmmaking for generations to come,’ said HFPA President Lorenzo Soria. ‘We are proud to partner with organizations whose values are in line with those of the HFPA, and together we will bring to the historic Egyptian Theatre film the way it was intended to be experienced.’

Cellulose nitrate was the standard film stock in commercial use from the earliest days of cinema until it was discontinued in 1951. Widely agreed to possess a uniquely beautiful image quality, the stock is highly flammable and was replaced by cellulose acetate ’safety film.’ Nitrate prints, some nearly a century old, still survive in carefully controlled vault environments, but are rarely seen because only a handful of theaters are equipped to screen them.

‘Film preservation and the ability to share and celebrate all aspects of film history are central to the mission of TCM,’ said Genevieve McGillicuddy, vice president of partnerships and brand activation, TCM. ‘We’re thrilled to be part of this partnership in order to bring film fans a truly unique opportunity to experience nitrate films.’

American Cinematheque chairman Rick Nicita says, ‘This exciting project will truly make it possible for the American Cinematheque at the Egyptian Theatre to show every film format possible. A state-of-the-art digital projector will sit side-by-side with our 35mm/70mm machines – representing the rich history of cinema, as well as the future of the art form.’

As someone who has experienced first-hand the intensity and beauty of 35mm nitrate projection – during a visit to the British Film Institute in the late 1990s – I absolutely applaud this decision. Projecting nitrate is certainly not without risk – it’s highly flammable, and needs to be treated with the greatest care during projection and preservation – but for more more than half a century it was the dominant medium for film production, and for quality of image, it simply is in a class by itself.

Sometimes a return to the past is a good thing – this is excellent news!

Where Do Dead Scripts Go When They Refuse to Die?

Sunday, July 24th, 2016

Listen to what Perrin Chiles, the CEO of Adaptive Studios, has to say about his business model.

As Alexandra Alter and Brooks Barnes write in The New York Times, “‘We’re basically rummaging through studio trash for stuff that’s been discarded,’ said Perrin Chiles, a founding partner and chief executive of Adaptive Studios. Mr. Chiles is exaggerating only slightly.

Hollywood movie studios are renowned for buying up scripts that never see the light of day. They are warehoused for years, even decades. Four years ago, Mr. Chiles founded Adaptive to go Dumpster-diving through these neglected screenplays, searching for the best of the worst. Adaptive turns the scripts into novels — which it then adapts into films or TV shows.

‘We want the stuff where you have lost all hope,’ Mr. Chiles said. ‘We will take the crumbs off anyone’s table.’ One executive’s crumbs can be another’s all-you-can-eat buffet, apparently. Adaptive has acquired 50 scripts, 25 from Miramax, and the rest from other studios, agencies and production companies. (Mr. Chiles declined to say what Adaptive pays for bundles of scripts.)

Through its publishing arm, Adaptive Books, the company has released a dozen books and plans to publish 18 more over the next year and a half. The novels include Pasta Wars, a romantic comedy for foodies; The Silence of Six, a teenage technology thriller; and DC Trip, Sara Benincasa’s raunchy adult comedy about a high school trip to Washington that goes horribly wrong. Eight of the books are in development for film and television.

Adaptive is producing some projects on its own, like Bleeding Earth, a postapocalyptic young-adult novel that is being turned into a low-budget indie horror movie, and Coin Heist, made for less than $5 million. Others have been picked up by outside producers, including an adaptation of Air, a young-adult novel by Ryan Gattis, which the musician-turned-producer John Legend has signed on to produce. Budgets range from indie (a few million dollars) to midrange ($40 million or more).”

Hey – why not? Sounds like an interesting approach to the business – perhaps it’s the best scripts that don’t get made, which would make this an excellent strategy, with budgets in the Jason Blum / Blumhouse range of roughly $3 million per film – that’s my guess, no matter what it says in the story. It’s outlaw filmmaking all over again – like The Asylum, American International Pictures, or Blumhouse – giving audiences what the majors won’t.

The best of luck to Adaptive Studios – and what a perfect name for the company!

Wonder Woman Trailer Drops at Comic-Con

Saturday, July 23rd, 2016

The new Wonder Woman trailer just premiered at Comic-Con.

As Eliana Dockterman writes in Time Magazine, “The first Wonder Woman trailer premiered exclusively at San Diego Comic-Con on Saturday. The movie looks like it will deliver on female empowerment. In the trailer, Wonder Woman (Gal Gadot) finds a passed out Steve Trevor (Chris Pine) on the beach. ‘You’re a man?’ the warrior who has never seen the opposite sex before asks.

We see shots of Wonder Woman carrying a sword in a ballgown, fighting on horseback, blocking bullets in the World War I trenches with her shield and wielding her golden lasso of truth. Hammering home the message that Diana Prince is an independent woman, when Steve Trevor tells her, ‘I can’t let you do this,’ she replies: ‘What I do is not up to you.’

‘I wanted to portray this character in a way that everyone could relate too. Not only girls, not only boys, but men and women too,’ said Gal Gadot. ‘The world needs love and forgiveness in such a huge way. It’s not about who’s right anymore,’ director Patty Jenkins said during the panel. ‘We need heroes who are strong enough to be loving and forgiving . . . That’s what Wonder Woman in particular stands for.’”

With Patty Jenkins directing, there’s some hope for this, and the trailer looks like a typically loud and action packed comic book movie film, but on the poster for the film, Will Brooker perceptively noted in another article in Time by Raisa Bruner on the film that “I have not yet found a single male superhero poster that cuts his head off and focuses solely on body” – a sharp comment indeed.

Since the world is currently ruled by comic book films, it’s good that Jenkins and Gadot got a chance to compete in the big-budget arena, but just from the trailer, it seems like the film amps up the love relationship between Diana Prince and Steve Trevor over all the other plot elements, and somehow, I just don’t think it will be as solidly grounded as Lauren Montgomery’s 2009 animated Wonder Woman feature film – but then, that had a minuscule budget, and went straight to DVD.

Here, there’s more than $150 million at stake, just in getting the film to the screen, to say nothing of promotional and DCP “print” costs, as well as other exhibition expenses. But it has to be better than Batman v. Superman: Dawn of Justice, though that’s setting the bar very low indeed. And Gal Gadot was the best thing about that film, so I hope this turns out as well as it possibly can, for all concerned.

For, as Raisa Bruner notes, “‘Power. Grace. Wisdom. Wonder,’ reads the stripped-down poster, which features a striking silhouette of Gadot against a fiery sky. Her iconic costume has gotten an update — they added knee guards and dropped the traditionally spangled tiny blue bottoms in favor of a simpler skirt, doubling down on the Amazonian origins of the character — but it’s the glinting sword in her hand that makes the strongest point. The takeaway? You don’t want to mess with this woman.”

It’s way overdue – should have happened decades ago – but at least now it’s here.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

In The National News

Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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