"There was one moment, and it happened in school.
I had a big final exam—we were supposed to write a 20-page
report on this book about Houdini. I probably would have
loved reading it, but I didn't, so I just decided to make a
little Super 8 movie based on it. I tied myself to the railroad
tracks and all that. I mean, this is kid stuff, but it impressed
the teacher, and I got an A. And that was maybe my first
turning point, when I said: 'Yeah, I wouldn't mind being a filmmaker'."
How can a filmmaker, who for over 50 years has actively been creating original stories, adapt to the present? I find it really interesting that each filmmaker has different ideals and values about what it means to do films and not get lost in the way and they convey them in their work. By doing this, they are trying to tell a world that is constantly changing everything in an increasingly faster manner "here I am, this is me." Accordingly, Tim Burton's name comes in. This director has never betrayed himself and, apart from some exceptions, he has always focused on the stories he wants to tell and not the ones he is commanded to narrate. Tim is a kid dressed as an adult who, with his latest film― which premieres in a few days in cinemas, and thanks to my profession I was able to watch beforehand―, reminded me that it is never too late to get to work and fully pursue our dreams.
Even though I'm not a diehard fan, I have always admired his work. From the peculiar beauty of Edward Scissorhands to his two glorious Batman adaptations with Michael Keaton, and the exciting Frankeenweenie—his only film completely produced with stop-motion—I consider him a true and unique author of modern cinema—without taking into account his disastrous version of Planet of the Apes. In recent years, his latest films didn't resonate with the audience as much. Therefore, his only option was to resort to what most mildly forgotten authors know best: return to their moment of glory. Regarding the movie mentioned in the title, the sequel had been rumored to come to life for a few years, and it seemed to follow the natural course of long-delayed sequels…
In relation to these glorious comebacks which not many people look forward to, I had experienced something similar two years ago with a film that exceeded my expectations: Top Gun: Maverick—the amazing sequel of the 80s classic starring a then young Tom Cruise. Beetlejuice Beetlejuice, the subject matter of this article, can also be categorized as a glorious comeback like Maverick.
Beetlejuice Beetlejuice is a continuation of the first of many commercial successes in Burton's career and an unexpected and glorious comeback with many signature elements of his early years. Yes, there's plenty of affection for handcrafted elements, a mixture of different film techniques like stop-motion and classic animation, an infinite love for German expressionism—which permeates every corner of his visual creations—and a delusional outpouring of visual imagery and pure creativity. I must say that I haven't seen something like this on the big screen for a while and I now feel endlessly happy. This is Burton's best version, the only version which should have existed and the version that's back.
Tuesday, 10.15 a.m. Many people attended a private screening, the cinema was almost full. Everyone was, at least, waiting to see what Burton was going to present after 36 years of the premiere of this peculiar universe had gone by. Among the crowd, there I was, relaxed, at ease, casual as a completely naive kid. I hadn't read, listened nor seen anything related to this sequel. Nonetheless, I started to feel cheerful, even though I had only had a few sips of black coffee and a couple of cookies. The lights were turned off and the movie started. Danny Elfman's legendary soundtrack and the camera showing Winter River's small streets from a high angle immediately transported me to a type of cinema which no longer exists and a part of my younger memories which became tangible in the present time.
With a great ability for subtlety, Burton overlaps reality with fantasy by showing some models of the city which serve as a bridge between coming and going from death as if it was a simple procedure. This is how the director addresses the subject: with a lot of humor. Beetlejuice Beetlejuice is a movie that knows the game and goes all in. We can appreciate the dramatic exaggeration after the surreal beginning, where we witness Lydia Deetz (Winona Ryder), a true paranormal legend, hosting a television show directed by her boyfriend Rory (an impeccable Justin Theroux), who seems to also manage every part of her life. But the most interesting aspect is the relationship with her daughter Astrid (Jenna Ortega, who once again plays an antisocial role). She's skeptical of ghosts and her sole motivation is the hate she feels for not being able to say goodbye to his father before he passed away.
73-year-old Michael Keaton proves he's one of the most versatile actors of his generation that tackles every project as if it were the last. The actor, who is known for his few but successful collaborations with Burton and his artistic renaissance after Birdman, seems to be in an amusement park. He breaks the fourth wall by constantly looking at the camera and talks in different languages—at least, that's why I understood, particularly in his character's origin scene which is also a tribute to Mario Bava's giallo cinema and some Universal monster movies. In addition, he shapes his language in diverse ways and shows himself before the audience with body movements and gestures proper of a 30-year-old actor. In comparison to the first movie, he has more screen time, which lives up to the movie's title. He's presence is worth every second.
From a technical point of view, the sequel is a tremendous success. The production design, which imitates dreams' distortion and the apparent Land of the Dead, is a treat full of details one more clever than the other. The distorted shapes of people waiting their "turn" underground are an absolute pleasure for those like me, who love to see every possible scenario the imagination can conjure. I would rather stop spoiling the plot, but yes, there are surprises, more character development, less excessively descriptive dialogue, a stronger aesthetic, and a comeback... that is undoubtedly glorious.
BY JERÓNIMO CASCO
Posted on SEPTEMBER 5, 2024, 17:18 PM | UTC-GMT -3
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