Universalexport3599
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The Sunday Disney early evening television show was a moment in most homes. Early fading memories of the original Disney film The Incredible Journey with my mother in the 'safer world 'for some that it was. Waxing nostalgia puts one in rose-coloured glasses yet it is a sheer delight to watch a new French-made A Cat's Life made for family viewing that illustrates moments of life in a non-heavy-handed way.
The story is simple yet profound in many ways as you have a young girl Clémence (Capucine Sainson-Fabresse) who rescues a kitten found in her Parisian attic. She names it Lou and throughout the film, they form an unbreakable sentimental bond. This bond is one through life that those who have animals in their home. The four-legged dependant quadrupeds become part of the family for years, seeing one through tough times, good times and life changes.
Lou like Clemence is timid, shy and in some ways naïve to what changes can happen rapidly. The family ventures to the countryside for a cottage vacation, where Lou's curiosity leads to life-changing adventures in the woods from a curious kitten to an adventurous cat much the same as Clemence who faces her parent's imminent divorce.
The city of Paris and the rural settings are lovingly photographed somewhat in the style of the Netflix series Emily in Paris. This is the backdrop of a personal voyage for all its characters, mainly through Lou's eyes. The French have a way of doing this style of live-action film earlier successes like The Bear and others with exquisite photography of the cats both large and small, Parisian drain gutters with rats and later the lush green forbidding forest. The picture also has little dialogue enhancing the storytelling with the images making it good for children.
Clémence and Lou both are in adolescence and the pursuit of independence. In many ways, this film shows often that Cats, adopt you. Lou's adventurous escapades and Clémence's evolving companionship needs particularly when her parents announce their divorce are both transition points to adulthood. A journey that one grows into sometimes at the price of a loss touching on a tough point that one never grows up until one buries a parent. A Cat's Life may seem a simple cuddle film yet there is more in play in the world of the film.
Aside from four-legged Lou and her friends who do steal the show in points, there is Corinne Masiero's portrayal of Madeleine, the secretive hermit artist who lives near the family's cottage property. Her role deepens the story with her role philosophical moments, talking to her dog Rambo as if he were human. She also coexists peacefully with nature with deep abiding respect for the cycle of life and Death that makes up the natural world. In one profound sequence Madeline reveals to Clemence that she has a hypodermic with the drug to put her Dog Rambo to sleep should his time come. She mentions it is cruel to keep animals alive for our Love and when it is Rambo's time she will do it with dignity. Madeline also is forced to kill a wild boar to save Clemence in the woods She is deeply distressed and angry about having to do this act laying her hands on the animal with reverence and regret.
A Cat's Life is wonderful as a smaller version of themes from Born Free as it shows Humans and animals are not that far apart in some ways. People grow and change with time and so seek independence. Crafted with exquisite care with music and images the film is a narrative that is not just entertainment but a learning experience for some to choose to let yourself into the film world. Even the most hard-hearted unsentimental go through these moments in Life at one time. The reflections of love, loss, and deeper themes of growing up, and leaving bits of your past life even though it hurts deeply which we all do.
The story is simple yet profound in many ways as you have a young girl Clémence (Capucine Sainson-Fabresse) who rescues a kitten found in her Parisian attic. She names it Lou and throughout the film, they form an unbreakable sentimental bond. This bond is one through life that those who have animals in their home. The four-legged dependant quadrupeds become part of the family for years, seeing one through tough times, good times and life changes.
Lou like Clemence is timid, shy and in some ways naïve to what changes can happen rapidly. The family ventures to the countryside for a cottage vacation, where Lou's curiosity leads to life-changing adventures in the woods from a curious kitten to an adventurous cat much the same as Clemence who faces her parent's imminent divorce.
The city of Paris and the rural settings are lovingly photographed somewhat in the style of the Netflix series Emily in Paris. This is the backdrop of a personal voyage for all its characters, mainly through Lou's eyes. The French have a way of doing this style of live-action film earlier successes like The Bear and others with exquisite photography of the cats both large and small, Parisian drain gutters with rats and later the lush green forbidding forest. The picture also has little dialogue enhancing the storytelling with the images making it good for children.
Clémence and Lou both are in adolescence and the pursuit of independence. In many ways, this film shows often that Cats, adopt you. Lou's adventurous escapades and Clémence's evolving companionship needs particularly when her parents announce their divorce are both transition points to adulthood. A journey that one grows into sometimes at the price of a loss touching on a tough point that one never grows up until one buries a parent. A Cat's Life may seem a simple cuddle film yet there is more in play in the world of the film.
Aside from four-legged Lou and her friends who do steal the show in points, there is Corinne Masiero's portrayal of Madeleine, the secretive hermit artist who lives near the family's cottage property. Her role deepens the story with her role philosophical moments, talking to her dog Rambo as if he were human. She also coexists peacefully with nature with deep abiding respect for the cycle of life and Death that makes up the natural world. In one profound sequence Madeline reveals to Clemence that she has a hypodermic with the drug to put her Dog Rambo to sleep should his time come. She mentions it is cruel to keep animals alive for our Love and when it is Rambo's time she will do it with dignity. Madeline also is forced to kill a wild boar to save Clemence in the woods She is deeply distressed and angry about having to do this act laying her hands on the animal with reverence and regret.
A Cat's Life is wonderful as a smaller version of themes from Born Free as it shows Humans and animals are not that far apart in some ways. People grow and change with time and so seek independence. Crafted with exquisite care with music and images the film is a narrative that is not just entertainment but a learning experience for some to choose to let yourself into the film world. Even the most hard-hearted unsentimental go through these moments in Life at one time. The reflections of love, loss, and deeper themes of growing up, and leaving bits of your past life even though it hurts deeply which we all do.
Horror genre at its best tackles (sometimes literally) themes and the society in which it was made. James Whale's Frankenstein (1931) worked as a 'self-made in articulate man' in an era where The Depression and impending war clouds in Europe were gathering. Heady stuff to compare that film and the now Classic Bride of Frankenstein (1935) with The Yellow Wallpaper (2021). This film and James Whale's Frankenstein films of the thirties have a common thread that influences the way the world and the story is told.
The Yellow Wallpaper is a short story adaption of an original story penned by Charlotte Perkins Gilman in 1890. The work is regarded as an example of what we today call "Feminist Horror' as it shows the societal (male) attitude towards the mental and physical health of women in the 19th century. The key is the 19th century, not today although some women do experience this when they visit their Physician only to have real problems ignored or put away to 'nerves".
James Whale was a 'Gay" man who brought his perspective to his films. The Yellow Wallpaper (2021) director Kevin Potuti is a trans/non-binary artist who works in film.
The 2021 film adaption works that source material thought at 21-century glass producing a slow-paced, picturesque film with a similar impact to Roman Polanski's Repulsion (1965). The film is stark and naturalistic in its style drawing homage to the 'Found Film genre' examples of French New Wave such as Goddard's ground-breaking detective story Breathless (1960). I mention these examples as this style of film visual is not for all people who want their horror or their haunted house films with jump scares and faucets of blood.
The opening moments are classic Gothic with John (Joe Mullins) and his bride Jane (Alexandra Loreth) in her feature film debut making a trip by horse and carriage to a remote home. The closest moment to a jump scare occurs in the coach involving Jane and a reaction to a crying child. One wonders if this abrupt reaction was a hallucination or did happen as no one mentions it.
John turns out to be a Medical Doctor for the nearby village and has rented this home for three months. The stay is also twofold as Jane is thought to suffer episodes of depression. The two have had a child so this brings the postpartum depression into focus that was once thought of as laziness, madness and "feminine trouble all that Jane exhibits. While John works to pay for the accommodation Jane is left on her own tended to by two female servants Jennie (Jennie O Connor) and Mary (Clara Harte). This hire help tends to Jane's medication needs, serves breakfast and encourages her to get out in the world and explore. The two have an odd choice of costume as they appear usually in black lace heavy dresses almost funereal in look as they smile, dispense good wishes and thought that Jane's husband truly loves her. Jane explores the home and land each day growing more uneasy in small ways. She comes upon a mouse or rat tending to its family and is moved to tears. She is given her child to tend to and tries to bury the newborn in the dirt only to be rescued. All the while Jane is developing a thought that the yellow wallpaper in the bedroom is harbouring something. John is well-intentioned however he is forced to spend nights away tending to his patients creating more alone time for Jane.
Jane further detaches from reality when she looks out the bedroom window and sees someone like herself crawling in the dirt near a hedge. Like in Polanski's Repulsion (1965), sexuality becomes a chore to endure, and we see this in James's blank eyes during moments of coitus between her and the off-screen grunting husband. Her day is regimented by her caregivers which finally gives way to a final subtle descent.
This reworking of The Yellow Wallpaper (2021} features naturalistic acting means some of the words are slurred, spoken at low volume or booming at high levels. Alexander Loreth becomes more detached in the eyes and the voices as her world becomes hallucinatory. Joe Mullins as her husband delivers his work in large reassuring tones with stilted mannerisms of the day. This is a working medical man who has taken a young bride and had a child. Men of that time especially in professional occupations were often distanced from their families. Child rearing was left to the women. The acting is restrained and machine-like reflecting the disintegration of the household The Yellow Wallpaper (2021) is wonderfully photographed with expansive lush greens and stark echoey rooms in the home that add to the hollowness of the sound of the voices. The picture features no music except for a low electronic tone that is employed effectively like white noise. Most of the sounds are naturalistic with sounds of clopping feet on floors, birds, flies buzzing etc. And the pouring of water.
The Yellow Wallpaper is not a horror film but a descent into madness. Like Repulsion (1965) before it with jump cuts and naturalism in acting in Breathless (1960), particularly at the end, the film moves slowly to a feeling that this world is not right. Like Hollywood in the thirties with James Whale and others you have a non-heterosexual director making a comment on the story of Love from an 1890s source which makes for interesting disturbing viewing. Interesting another story that came from the period that took a look at the sexuality of the time was Bram Stoker's original novel Dracula. It did well for itself.
The Yellow Wallpaper is a short story adaption of an original story penned by Charlotte Perkins Gilman in 1890. The work is regarded as an example of what we today call "Feminist Horror' as it shows the societal (male) attitude towards the mental and physical health of women in the 19th century. The key is the 19th century, not today although some women do experience this when they visit their Physician only to have real problems ignored or put away to 'nerves".
James Whale was a 'Gay" man who brought his perspective to his films. The Yellow Wallpaper (2021) director Kevin Potuti is a trans/non-binary artist who works in film.
The 2021 film adaption works that source material thought at 21-century glass producing a slow-paced, picturesque film with a similar impact to Roman Polanski's Repulsion (1965). The film is stark and naturalistic in its style drawing homage to the 'Found Film genre' examples of French New Wave such as Goddard's ground-breaking detective story Breathless (1960). I mention these examples as this style of film visual is not for all people who want their horror or their haunted house films with jump scares and faucets of blood.
The opening moments are classic Gothic with John (Joe Mullins) and his bride Jane (Alexandra Loreth) in her feature film debut making a trip by horse and carriage to a remote home. The closest moment to a jump scare occurs in the coach involving Jane and a reaction to a crying child. One wonders if this abrupt reaction was a hallucination or did happen as no one mentions it.
John turns out to be a Medical Doctor for the nearby village and has rented this home for three months. The stay is also twofold as Jane is thought to suffer episodes of depression. The two have had a child so this brings the postpartum depression into focus that was once thought of as laziness, madness and "feminine trouble all that Jane exhibits. While John works to pay for the accommodation Jane is left on her own tended to by two female servants Jennie (Jennie O Connor) and Mary (Clara Harte). This hire help tends to Jane's medication needs, serves breakfast and encourages her to get out in the world and explore. The two have an odd choice of costume as they appear usually in black lace heavy dresses almost funereal in look as they smile, dispense good wishes and thought that Jane's husband truly loves her. Jane explores the home and land each day growing more uneasy in small ways. She comes upon a mouse or rat tending to its family and is moved to tears. She is given her child to tend to and tries to bury the newborn in the dirt only to be rescued. All the while Jane is developing a thought that the yellow wallpaper in the bedroom is harbouring something. John is well-intentioned however he is forced to spend nights away tending to his patients creating more alone time for Jane.
Jane further detaches from reality when she looks out the bedroom window and sees someone like herself crawling in the dirt near a hedge. Like in Polanski's Repulsion (1965), sexuality becomes a chore to endure, and we see this in James's blank eyes during moments of coitus between her and the off-screen grunting husband. Her day is regimented by her caregivers which finally gives way to a final subtle descent.
This reworking of The Yellow Wallpaper (2021} features naturalistic acting means some of the words are slurred, spoken at low volume or booming at high levels. Alexander Loreth becomes more detached in the eyes and the voices as her world becomes hallucinatory. Joe Mullins as her husband delivers his work in large reassuring tones with stilted mannerisms of the day. This is a working medical man who has taken a young bride and had a child. Men of that time especially in professional occupations were often distanced from their families. Child rearing was left to the women. The acting is restrained and machine-like reflecting the disintegration of the household The Yellow Wallpaper (2021) is wonderfully photographed with expansive lush greens and stark echoey rooms in the home that add to the hollowness of the sound of the voices. The picture features no music except for a low electronic tone that is employed effectively like white noise. Most of the sounds are naturalistic with sounds of clopping feet on floors, birds, flies buzzing etc. And the pouring of water.
The Yellow Wallpaper is not a horror film but a descent into madness. Like Repulsion (1965) before it with jump cuts and naturalism in acting in Breathless (1960), particularly at the end, the film moves slowly to a feeling that this world is not right. Like Hollywood in the thirties with James Whale and others you have a non-heterosexual director making a comment on the story of Love from an 1890s source which makes for interesting disturbing viewing. Interesting another story that came from the period that took a look at the sexuality of the time was Bram Stoker's original novel Dracula. It did well for itself.
Firstly, I am coming at this as a huge fan of the original series which I bought on DVD when it was released in two parts. I also own the 1966 film Munster Go Home (1966) that I saw in the theatre on release. That film was the first time I saw the Munsters in colour as the series was in black and white. To the current reboot by Rob Zombie, I say he got it right with a few minor hiccups.
This is a film for the generation of Monster Fans known as 'Monster Kids' of which I am one. The "codgers' delight in saying they read Famous Monsters of Film Land magazine and accompanying Warren Publications that like it or not influenced a wide variety of careers and interests.
Rob Zombie's reboot begins rather slowly, picking up speed into what should have been the pace of the whole film. The picture features countless moments of Universal Monster history and even a nod to Hammer Films in sequences. The film opens with the delightful black and white Universal Studios logo from the thirties which is out of place as the references in the finished print are from mostly the Forties.
Zombie has the trademark Universal studios fog on the ground and tilted grave markers. Doctor Henry Augustus Wolfgang (Richard Brake) and his hunchback assistant Froop (Jorga Garcia) are on their way to rob a grave to create the Man that will eventually become Herman Munster.
This is an origin story that works since it was not hinted at in the series or the films. Details of the story are not important as the moment is shot like the opening from Frankenstein Meets the Wolfman (1943). The comedy gets in the way as Zombie tries too hard with some of the one-liners by Froop. The over-the-top line delivery by the Doctor recalls Colin Clive and Gene Wilder in the abysmal overrated Mel Brooks film.
The creation sequence in all neon and flashing lights with the monster bound up in a metal coil setup is like Evil of Frankenstein (1964). The body of the creature is wrapped like Christopher Lee and those that played the monster in the Hammer Film series.
Of course, there is a brain switch by Froop resulting in Herman which is not his original name becoming a type of psychobilly rock star
Lily (Sheri Moon Zombie)lives with The Count or Grampa as he will later be known played by Daniel Roebuck. Lily is lovelorn in search of a husband, so she goes on a date with Orlock (Richard Brake again) Lily and the Count are in danger of losing their home to Zoya Krupp (Catherine Schell) who was previously married to The Count and seeks revenge. Zoya is set up in a Gypsy camp taken right out of The Wolf Man (1941). She has an assistant named Bela (Levente Törköly) made up to look like Bela Lugosi complete with a mustache and garb. Toss into Lester (Thomas Boykin) who is a werewolf made to look like a cross between Matt Willis in The Return of The Vampire (1943) and Michael Landon in I was a Teenage Werewolf (1957). He also speaks in a contemporary style and is out to get people into his get-rich-quick schemes.
The film picks up speed when Herman weds Lily and becomes a member of the family who allows the Count to live with them. Of course, house troubles happen, and the quips between Herman and the Count change the tone of more of the series. The Munsters head to an ending that does set up a sequel or series of films in the future.
The Munsters (2022) features archival footage of the Universal monsters throughout as characters watch television. Some of the familiar jokes from the series are redone for today even to extend fast motion exits from scared people.
The actors on screen pretty much nail the original Munsters quite well as the film progresses. Sheri Moon Zombie has her Yvonne De Carlo hand movements and flowing walk and diction down. Jeff Daniel Phillips has his Fred Gwynne in his child-like gaze although his laugh is not robust. Add to these numerous cameos appearances like Cassandra Peterson as a realtor, and original Munsters second Marilyn Pat Priest as the voice of Transylvanian airlines, Butch Patrick, the original Eddie as the voice of the Tin Can Man from the television series who marries Lilly and Herman. Dee Wallace is the voice of Good Morning Transylvania. Lost in all this in a thankless role is Sylvester McCoy as Igor, the Count's Faithfull servant.
All huge positives especially in the later part of the film when a panicked Herman finds the neighbourhood, not in Halloween mode, run into the house and shouts "Car 54 Where are you ?' which is a phrase Fred Gwynne says Munster Go Home (1966) as a homage to a series of that name he starred in before The Munsters. The Munster House is the same wonderful rendering as they move back to 1313 Mockingbird Lane in Hollywood.
Missing and what really cannot be duplicated is the camaraderie and timing of the original Munsters in the persons of Al Lewis, Fred Gwynne and Canadian-born Yvonne De Carlo. These were seasoned show people with Lewis working in Vaudeville and Gwynne doing some early work. Yvonne De Carlo was a seasoned Hollywood female actor with many screen credits from Film Noir to Biblical epics and a former dancer in revues. This skill took the form of many of the comic moments from the television series being adlibbed and in some cases worked out between the performers. They all knew how to play off each other and pick up cues which is a lost skill
Where the picture falls is in the first half which is bogged down with establishing characters and some poor verbal comedy choices. The film would have been spectacular in black and white yet from what I understand there was opposition to that from the studio. Zombie does give us a glimpse at the end with the wonderful black and white second season opening of the Munsters complete with the original music. If you can get by the vibrant colour through the film making it like a comic book you are in for a treat without a trick.
THE MUNSTERS (2022) is one personal vision of The Munsters that does succeed on some levels. Zombie has the knowledge and affection for Universal Films which he treats with reverence at the same time making fun of them which is lacking so much in many horror comedies. Next, we need Marilyn, Eddie, the Munster Mobile, the Dragula vehicles and the all-important toy Wolfie to comfort Eddie as he sleeps in the drawer.
This is a film for the generation of Monster Fans known as 'Monster Kids' of which I am one. The "codgers' delight in saying they read Famous Monsters of Film Land magazine and accompanying Warren Publications that like it or not influenced a wide variety of careers and interests.
Rob Zombie's reboot begins rather slowly, picking up speed into what should have been the pace of the whole film. The picture features countless moments of Universal Monster history and even a nod to Hammer Films in sequences. The film opens with the delightful black and white Universal Studios logo from the thirties which is out of place as the references in the finished print are from mostly the Forties.
Zombie has the trademark Universal studios fog on the ground and tilted grave markers. Doctor Henry Augustus Wolfgang (Richard Brake) and his hunchback assistant Froop (Jorga Garcia) are on their way to rob a grave to create the Man that will eventually become Herman Munster.
This is an origin story that works since it was not hinted at in the series or the films. Details of the story are not important as the moment is shot like the opening from Frankenstein Meets the Wolfman (1943). The comedy gets in the way as Zombie tries too hard with some of the one-liners by Froop. The over-the-top line delivery by the Doctor recalls Colin Clive and Gene Wilder in the abysmal overrated Mel Brooks film.
The creation sequence in all neon and flashing lights with the monster bound up in a metal coil setup is like Evil of Frankenstein (1964). The body of the creature is wrapped like Christopher Lee and those that played the monster in the Hammer Film series.
Of course, there is a brain switch by Froop resulting in Herman which is not his original name becoming a type of psychobilly rock star
Lily (Sheri Moon Zombie)lives with The Count or Grampa as he will later be known played by Daniel Roebuck. Lily is lovelorn in search of a husband, so she goes on a date with Orlock (Richard Brake again) Lily and the Count are in danger of losing their home to Zoya Krupp (Catherine Schell) who was previously married to The Count and seeks revenge. Zoya is set up in a Gypsy camp taken right out of The Wolf Man (1941). She has an assistant named Bela (Levente Törköly) made up to look like Bela Lugosi complete with a mustache and garb. Toss into Lester (Thomas Boykin) who is a werewolf made to look like a cross between Matt Willis in The Return of The Vampire (1943) and Michael Landon in I was a Teenage Werewolf (1957). He also speaks in a contemporary style and is out to get people into his get-rich-quick schemes.
The film picks up speed when Herman weds Lily and becomes a member of the family who allows the Count to live with them. Of course, house troubles happen, and the quips between Herman and the Count change the tone of more of the series. The Munsters head to an ending that does set up a sequel or series of films in the future.
The Munsters (2022) features archival footage of the Universal monsters throughout as characters watch television. Some of the familiar jokes from the series are redone for today even to extend fast motion exits from scared people.
The actors on screen pretty much nail the original Munsters quite well as the film progresses. Sheri Moon Zombie has her Yvonne De Carlo hand movements and flowing walk and diction down. Jeff Daniel Phillips has his Fred Gwynne in his child-like gaze although his laugh is not robust. Add to these numerous cameos appearances like Cassandra Peterson as a realtor, and original Munsters second Marilyn Pat Priest as the voice of Transylvanian airlines, Butch Patrick, the original Eddie as the voice of the Tin Can Man from the television series who marries Lilly and Herman. Dee Wallace is the voice of Good Morning Transylvania. Lost in all this in a thankless role is Sylvester McCoy as Igor, the Count's Faithfull servant.
All huge positives especially in the later part of the film when a panicked Herman finds the neighbourhood, not in Halloween mode, run into the house and shouts "Car 54 Where are you ?' which is a phrase Fred Gwynne says Munster Go Home (1966) as a homage to a series of that name he starred in before The Munsters. The Munster House is the same wonderful rendering as they move back to 1313 Mockingbird Lane in Hollywood.
Missing and what really cannot be duplicated is the camaraderie and timing of the original Munsters in the persons of Al Lewis, Fred Gwynne and Canadian-born Yvonne De Carlo. These were seasoned show people with Lewis working in Vaudeville and Gwynne doing some early work. Yvonne De Carlo was a seasoned Hollywood female actor with many screen credits from Film Noir to Biblical epics and a former dancer in revues. This skill took the form of many of the comic moments from the television series being adlibbed and in some cases worked out between the performers. They all knew how to play off each other and pick up cues which is a lost skill
Where the picture falls is in the first half which is bogged down with establishing characters and some poor verbal comedy choices. The film would have been spectacular in black and white yet from what I understand there was opposition to that from the studio. Zombie does give us a glimpse at the end with the wonderful black and white second season opening of the Munsters complete with the original music. If you can get by the vibrant colour through the film making it like a comic book you are in for a treat without a trick.
THE MUNSTERS (2022) is one personal vision of The Munsters that does succeed on some levels. Zombie has the knowledge and affection for Universal Films which he treats with reverence at the same time making fun of them which is lacking so much in many horror comedies. Next, we need Marilyn, Eddie, the Munster Mobile, the Dragula vehicles and the all-important toy Wolfie to comfort Eddie as he sleeps in the drawer.