1988 comedy
Rating: 15/20 (Jen: 17/20; Emma: 15/20; Abbey: 11/20)
Plot: A recently-deceased couple has to live out part of their afterlife in the house they owned at the time of their deaths, and that means putting up with an annoying family who has moved in. After attempts to scare the new owners away fail, they call on the titular ghoul for help.
Why would you have Robert Goulet in a movie and not give him a song? That cost this movie a point right there. The combination of Robert Goulet and Dick Cavett in the same movie seems irresponsible, by the way. Just think for a moment about how dangerous that could have been.
At one point in this, a character informs us that "Live people ignore the strange and unusual." Tim Burton is a live person, as far as we know, but he's spent his entire career putting the strange and unusual on movie screens for us. As a fan of the strange and unusual, I can respect that. There's enough weirdness here, but it's not a refined weirdness. The Salvador Dali-esque landscape has some dopey special effects, but the stop-motion sand worm, like all the stop-motion creations in this, is really cool. The handful of appearances of the shrunken head guy (a cameo by Dan Hedaya) in that lobby behind that chalk-drawn door are great because that one facial expression he makes is perfect in every situation. There's a lot of creativity and color behind that door, but it's all a little goofy and seems like stuff that just sprang from a Burton brain that was a little out of control rather than something that was well planned. A run-over guy glides in to make a too-obvious "feeling a little flat" pun; Sylvia Sidney comes in to play a great old-lady character and have smoke come out of a slit in her neck; and Douglas Turner, in his lone acting role after making models for Chopping Mall, gets to play Char Man. There's fun to be had in those lobby scenes, like a brief Disney-style ride through Burton's head. I also like the dark comedy as the inexperienced ghosts--one of those Baldwin brothers and Geena Davis, an honorary Baldwin brother--try their hand at haunting for the first time, and their earlier death at a covered bridge. A covered bridge might seem like an unlikely place to die, but that's always seemed like the exact kind of place where you could be murdered. The Baldwin brothers' death also seems impossibly tragic, almost in a humorous way although there's really nothing funny about any of the Baldwin brothers dying. Except for maybe Stephen Baldwin.
Hey, I hate to interrupt myself like this, but I just thought of a fantastic idea. Fantastic ideas are rare, so I have to make sure I get this down somewhere. I'm not sure how this could be arranged, but I think Danny Elfman should score Stephen Baldwin's death. Elfman's work makes everything sound better, even the shittiest of Tim Burton's movies, and an Elfman composition would definitely help people get through the loss of Stephen Baldwin. Sure, the other seven Baldwin brothers and Geena Davis are going to be upset, but they'd at least get to enjoy something about the tragedy. Elfman's score is really good here in his second collaboration with Burton, especially with the stuff that plays over the credits and the sweep over the model of the town.
I've got to digress again because I'm wondering if Josh, the person who both requested a blog entry about Beetlejuice and let me borrow a 20th anniversary dvd copy of the movie, has seen Forbidden Zone. If not, he needs to stop whatever he's doing (reading this) and watch that. It might be the greatest movie of all time.
Another digression: The Baldwin Brothers is such a good band name that I'm sure it's already been taken by somebody.
Little thespian Tony Cox plays a preacher in this. But not even Tony Cox can overshadow what Michael Keaton does as Beetlejuice or however the hell they want to spell his name. He's like an undead Tom Waits. He's not in the first half of this movie much at all, and if you've seen this before, you really miss him. But from his first appearance, where he says the great line "I'll possess myself if I gotta," you know you're getting a special character. When the living human characters are all kind of annoying and Burton's screenplay seems like it's about to spiral out of control, Keaton gives this thing a nucleus and is entertaining every single second he's on the screen.
12 comments:
Right off the bat, I'll tell you that I have seen Forbidden Zone, and thought it was pretty cool. I was much younger, and hadn't really developed a palate for all things cinema just yet. So, I was a little lost. Still, I bought the sound track, and did a little research on the movie later in life. It's cool flick that is well deserved to be called a cult classic.
I'm going to say that it was late, and you didn't really give the movie your fullest of attention. Not only did you underage this movie, but you also didn't give a hearty defense. Subtracting your 3+ digressions, you really only spoke about Keaton's character, Elfman's score, and some story elements.
I can definitely agree with you on those three things, though. You got it right when you say that Keaton is the glue for that movie. I mean, it's no coincidence that they named the movie after that character...But, also Keaton himself says that was his favorite character to play. I can see why because there's no rules with that character. There's no hierarchy in characters, there's really not even a single earthly/physical law he must follow. The character has total free reign over his scenes (I mean, except for the "say my name 3 times" schtick). You also got it right with Elfman's score. That guy knows how to structure music. I mean, that first overture is so good, they couldn't even use it as background music; they made it the centerpiece of the credits! That "Beetlejuice Overture", by the way, has been bought and played in a bunch of other movies since -- that's how good it is. One bad thing I will say that goes along with what you said is regarding the story. There are some elements that feel a little weak; like Burton decided on doing it that day of shooting. Or rewrote the script after it had been approved...Basically Burton shoving more sporadic Burton into the movie.
Here's where I think you were a little short-sided. I don't think the other characters were annoying. I mean, first off, we were supposed to be annoyed with the humans, but I think they each had they're moments. Glenn Shadix was born to play a character like Otho. Jeffrey Jones was almost restrained knowing what he could do with a yuppie character like Ferris Bueler's principal. Catherine O'Hara didn't exactly turn on the charm, but she had some funny lines and her facial expressions gave me a chuckle every now-and-again. She didn't get in the way. Alec and Gina were constant straight men, but didn't stray. Actually I thought they walked a fine line between action and reaction. At some points they had to drive the story, and then they would have to hand the leading role baton to whatever was more interesting (another actor, or set design) and become background for them. Winona played a good role where she didn't get too sappy; she had this sardonic teenager thing about her which fit well.
As far as the story, I thought it was pretty solid. I mean, who else could have told that story more effectively? Every scene was necessary, so we didn't have any wasted screen time. The story is definitely not predictable. I remember watching it for the first time as a kid and not know that Beetlejuice was the villain.
Which brings be to the brilliance of the Beetlejuice character. Hands down, one of the most interesting and engaging characters in cinematic history. Like I said, he has no rules. He is a villain in this movie, then a hero in the cartoon that followed. He's the villain that makes kids want to be villains. Seriously, I'd put this character up against most of the leading characters in AFI's top 100 movies of all time. What Burton and Keaton created gives a stamina, versatility, charisma, and depth that makes Charles Foster Kane look like a sappy day-time soap actor. The Beetljuice character alone gives this movie a 17/20...add with it the creative story and score, and you get 18/20. If you want to really dig deep and analyze how well-done the graphics are and how much editing had to go into this to make it as tight as possible, you could even add another point. I'm saying it's a perfect movie, but its flaws are few, and it has an originality that most movies don't.
Watching it blind: 17-18/20
My god, I mean just look at the cover poster you put up there! That ALONE is a 15/20. That art work/title offers mystery, humor, horror, and design. The colors and styling are so engaging and artistic that you can't help but want to know more about the movie...come on. The record can't stand at a 15...
No, I didn't watch this late. We all watched this before the football game. So 6:30-8:00 or something.
My point deductions for this were for storytelling, which you admit is a "little weak," and not giving Robert Goulet a musical number. Burton needs either a filmmaker conscience, like a Jiminy Cricket who acts as a co-director and says things like, "Wait a second, Timmy...are we sure this isn't going to hurt the tone we're trying to achieve here?" (reread that in a Jiminy Cricket voice), or he needs an actual human being to convince him that not all of his ideas are great ones. I think the storytelling suffers a bit because he's not in complete control of his own ideas.
I didn't mention this in my write-up, but I really hate the musical number with the "Banana Boat Song"...first, I can't figure out how two inexperienced ghosts are able to pull off those shenanigans. Second, I just didn't think it was funny.
You're right that the living characters were supposed to be annoying. I had that in my mind when I wrote about them being annoying. I suppose that makes them effective, but they kind of seemed too much like cartoon characters. I liked Winona fine, probably because we have the same birthday. And I wasn't including Baldwin and Davis in the "annoying" characters, just the living ones. I liked both of them. Even though they're dead, they're actually the characters you connect with in this movie.
That Charles Foster Kane reference...completely unnecessary.
You mentioned all that had to go into this to make the story "as tight as possible"...I didn't think it was a "tight" story at all, mostly because Burton's unhinged. It seems like sloppy storytelling to me, and the whole seance-that-transforms-into-a-macabre-wedding stuff at the end feels like a "Well, that's the best we could come up with for how to end this thing" instead of something that the rest of the movie drives toward.
I did like Keaton though. You know what that performance reminds me of a little bit? Heath Ledger...Brokeback Mountain, of course. A more manic version of Ledger's character in Brokeback.
Anyway, I think we agree more than we disagree about this, but I'm a lot less forgiving with Burton's storytelling. That and your continued ridiculous bashing of the cinematic classic, Citizen Kane.
My list of Tim Burton movies from favorite to least favorite:
1. Edward Scissorhands 20/20
2. Ed Wood (I know I've seen this in the last 3-4 years but can't find it on my own blog! Don't remember an exact rating [18/20 maybe?] but it belongs right here.)
3. Pee Wee's Big Adventure 16/20
4. Beetlejuice 15/20
5. Sweeney Todd 15/20
6. Frankenweenie 14/20 ('84 one--I haven't seen the newer one)
7. Big Fish 14/20
8. Corpse Bride 14/20
9. Batman 13/20
10. Alice in Wonderland 13/20 (Crispin Glover bonus)
11. Batman Returns (don't remember it at all--I'll put it here anyway)
12. Charlie and the Chocolate Factory (not on the blog apparently, but somewhere around here)
13. Mars Attacks! 10/20
14. Planet of the Apes (this and Sleepy Hollow are stuck together in my head...I barely was able to finish them)
15. Sleepy Hollow (don't remember the rating, but it's got to be better than the next one!)
16. Dark Shadows 7/20
So Beetlejuice is his fourth best movie. That's pretty good!
I need to watch the new Frankenweenie sometime.
So, I can explain the Banana Boat song part. I think it was supposed to get a laugh or two, but even if it didn't, it was purposefully chosen. That Calypso style music was supposed to elicit this feeling of black magic from the Creole witches down there. The folk lore of the zombies and undead "Midnight in the Garden of Good and Evil" "Serpent and the Rainbow" kind of stuff is really creepy when you think about it, and that was why that specific music was chosen.
Also, yeah, I misspoke about the "little weak elements". I meant moments in the movie, not the overall story. But, how in the hell can you say that "Edward Scissorhands" didn't have a few weak elements? At least "Beetlejuice" is a world where we are to accept that the "strange and unusual" and supernatural happen. "Scissorhands" doesn't prep its audience for that. Actually, now that I think about it, are we supposed to even believe that Edward is of the supernatural? That's a HUGE plot point not covered and you give it a 20/20...
Speaking of "Scissorhands" (which I loved, by the way). I think it's a step behind, or at least equal to, Beetlejuice for the following reason: "Scissorhands" is not original, and "Beetlejuice" is. "Scissorhands" takes from "Frankenstein," "King Kong," "Beauty and the Beast," and other monster movies where the villagers just don't understand the kindness and humanity of the "monster." Where the beautiful, kind girl comes to the monster's rescue. It's just an updated version of a timeless tale. "Beetlejuice", on the other hand, is completely original and continues to be one-of-a-kind.
I'm not as disappointed with where the movie falls in your Burton list, as I am about the overall rating knowing the rating of some of your other favorites.
Ed Wood is great, and so is Pee Wee. Here is my top 10 list:
1. Beetlejuice
2. Ed Wood
3. Edward Scissorhands
4. Batman/Batman Returns (Maybe that's nostalgia, but they still hold up every time I watch them as an adult. It was the first superhero movie for adults.)
5. Pee Wee's Big Adventure
6. Nightmare Before Christmas (I don't know if that's a fair choice, but it's got Burton written all over it)
7. Alice in Wonderland
8. Corpse Bride
9. Sleepy Hallow
10. ...I can't even choose between the rest of the crap...I'm including "Sweeny Todd" in the crap. It had bad singing, and the movie production wasn't even as good as seeing it live on stage.
Did you read or hear that about the "Banana Boat Song" somewhere? I don't buy it. If that's the reason it was chosen, it just further confuses things anyway.
I don't remember Sweeny Todd at all actually. I'd have to see it again, and I don't want to. I remember liking it fine though. Johnny Depp is dreamy.
Why would Edward Scissorhands be supernatural? I guess he's sort of like Frankenstein's monster, but I don't think the Beauty and the Beast or King Kong comparisons are there. Maybe superficially. And if you watched the movie and thought that Edward Scissorhands was the monster, you didn't watch it right. I'm also not sure what we needed "prepped" for with Edward Scissorhands. The world created in that movie was a sort of bloated, exaggerated version of suburbia, and the entire plot of the movie was about what happens when something different is introduced into that world.
Scissorhands > Beetlejuice because the tone is more consistent and the story is more cohesive. It's not as all-over-the-place.
Nightmare Before Christmas doesn't count because he only wrote it. It's a great movie though. If it did count, I'd put it above Beetlejuice and definitely the Batmans.
Of course Edward is supposed to be seen as the monster for the first part of the movie (and I use the word monster in the best sense possible). That's the genius behind the story. Burton was holding a mirror up to ourselves the entire time, it's only when the mob lashes out against the "monster" that we see ourselves as the true monster/villain. There's supposed to be this switch in perspective.
Edward Scissorhands themes aligned with:
King Kong: Monster taken out of his element and placed in the world as we know it. Young girl begging for people to not lash out against him just because he's different and poses a threat of some kind.
Beauty and the Beast: Young girl begging for people to not lash out against him just because he's different and poses a threat of some kind. She wants people to see his sensitive/sweet side. Alpha male becomes jealous over said young girl and challenges the monster.
I'll definitely give you that the storyline is more straightforward that Beetlejuice, but does that make it better? Titanic's storyline was pretty straightforward, and it's not any better. I HAVE seen movies like Edward Scissorhands (notably, though, they weren't as good as Edward Scissorhands), but I HAVE NOT seen any movies like Beetlejuice. Does that make Scissorhands a bad movie? No way. But it does make me appreciate a movie like Beetlejuice more.
As far as our movie lists, I think that's just a matter of taste and preference. I could definitely argue that the Batman movies are better for me than Big Fish or Sweeny Todd, but I don't know who would listen.
Nah, you know me well enough to know that I don't need things to be straightforward. That's not the word I used--I described Edward Scissorhands as more consistent and cohesive. It's just better storytelling even if it is (to you, at least) derivative. Beetlejuice just suffers from this sloppiness. Yes, the world created and the various hanky-panky within it are interesting, but it all needed to be shaped a little better in Burton's mind before he launched it at us.
I still think those similarities between King Kong and Beauty and the Beast are superficial, but I couldn't argue that it doesn't borrow from other pieces of literature or movies. However, it's not like the haunted house idea just sprang spontaneously from Burton's mind. Hell, it's the plot of every single Scooby Doo, isn't it? Some character or characters seen at the beginning of the episode end up trying to scare away people from a property for selfish reasons? Beetlejuice has as much in common with the 60's William Castle flick 13 Ghosts than Scissorhands has with KK or B&tB, doesn't it?
And you're exactly right in your analysis of Scissorhands in your first paragraph there...just wanted to make sure that you didn't think the guy was supposed to be the monstrous one in that movie.
13 Ghosts, no exactly William Castle's finest hour: http://shane-movies.blogspot.com/2011/11/13-ghosts.html
Ok, I'll give you the battle on the idea that Scissorhands is more cohesive and Beetlejuice's direction suffered. But, I maintain the war when it comes to originality. You can't deny the borrowed themes from classics which are at the HEART of Scissorhands. And, no: Scooby Doo isn't comparable. If it was, Scooby Doo and the gang would be the villains, and the grumpy old Mr. Withers (or whatever the bad guy's name was) would be the hero. That right there turns it on its head. 13 Ghosts could be the spawn of an idea like Beetlejuice, but in the end, the movie is character-driven instead of plot-driven.
They're both at least "very very good" movies. For Burton to be able to take Beetlejuice into "very very good movie" territories on originality alone is something. It's too bad he can't do that anymore.
Wow...we drug this out for a long time. I was seeing just how long you were willing to argue with me. Audrey seems to think this is a complete waste of time, but I told her that when you take all of the children, and relationships, and family, and friends, and careers, and economical obligation, and concerns for your health, and social awareness...THIS! This is all we have left.
Yeah, Burton is kind of a one note. His originality is long gone. All he has left is taking what already exists and twisting it to fit his frame of mind.
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