The originality of the studio executives in Hollywood this year has truly been amazing. And when I say originality, I mean lack thereof.
“Shrek 4″ got greenlighted. Not only was the third installment nothing if not proof that it’s time to lay that empire to rest, but by the time numero cuatro is finally completed and released, it will have been such a long stretch of time since the last one that few people will remember or care. I give it two decent weekends at the box office, max!
Oh, and note to chick-flick theatre goers (we’re a huge market, nothing to be scoffed at), if you haven’t seen the original 1939 version of “The Women” with Norma Shearer and Roz Russell, you must save this site, open a new window, and add it to your Netflix right now.
Based on the play by Clare Booth Luce, the original film was ahead of its time because of the strong wit and independence exercised by the women in the story. Cut to the trailer for the 2008 remake, and we have a cast with little chemistry who look physically pained trying to make Diane English’s poor dialogue sound human. Next they’ll probably try and tackle remaking “Casablanca.” Not only will they rewrite it, but pee on the original as well.
In an age where modern technology is proof that new ideas can still formulate, will our generation’s art of cinema be defined by trilogies and quadralogies and remaking old films that were successful in part due to the fact that they were ahead of their time? This is our time! Where are the music makers? Where are the dreamers of dreams?
Some of them manage to creep through. And when good writing, good acting, and good filmmaking garner not only praise and reputation, but gratitude from a public dying to hear original voices, it’s surprising that producers don’t pay closer attention when those voices try and speak up.
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