The film begins with setting consolidation through the regularity of long shots. I loved how Spielberg places great emphasis on an illuminated Big Ben, hinting with subtlety that he is sprinkling some magic upon 21st century post-modernity. As we approach the orphanage, amidst the humming of cars and distant chatter of locals late into the evening, I became undoubtedly fascinated (as was the case with War Horse and Lincoln) by the anticipative, refined nature of Spielberg's lighting, palette choice and imagery. This is certainly a key strength of his in my view.
Though it was invariably satisfying to see the BFG himself brought to life through the sorcery of CGI, I felt the extent of his presence minimal. The crankiness of hand-held shots only showing half or part of him in his cave, his ill timed introductory dialogue, and the obviousness at times of an enlarged Mark Rylance, dampened the conjecture permeated in the trailer. I only saw his other-worldliness to be effective in the beginning when we catch a concealed glimpse of his face, and a gigantic hand; towards the film's climax when he runs so fast he is the causation of the wind that animates the trees, and finally when he reluctantly emerges from hiding to present himself to 'your marjesty.'
There may have been other cases hindered by my natural inability to memorise every moment of the film. Spielberg, however, had to focus more on Sophie and the BFG's friendship overall, as it is unarguably the trajectory of Dahl's novel. For this reason, I could just be being picky here!
When considering the perspective of young children and our own secretive inner child, the BFG is an extremely loveable chap. The relentless attempts of the Queen's staff to accommodate him in Buckingham Palace, as well as his serenity in promoting 'whizzpopping', makes for some undeniable humour. The incorrectness of his language is endearing, and I came to admire his on-screen characterisation for this reason when taking note of how vulnerable he is portrayed in saying:
'I cannot be right all the time. Quite often I is left instead of right.'
His facial expressions are mesmerizingly crafted, and the image of him regarding the stars and the 'whisperings of the world' will cease to leave my mind as I witnessed the devotion he has to bestowing good dreams upon the world's inhabitants. The representation of the wholesale destruction of his work and his ensuing disappointment made me feel a strong sense of affection for him.
Despite my reservations above, it was inevitably wonderful to have the BFG's story visually and orally depicted, and I felt the highs and lows intended throughout. The BFG is fittingly displayed as having this clumsy sense of fragility, with a heart of gold that is constant and altruistic in the face of such inner guilt and social exclusion. Seeing his satisfaction in the film's denouement, and the emotive synchronisation between Sophie and himself (portrayed through the fluctuation between their respective lives) made for an exquisite ending to an adored tale.
The casting of Ruby Barnhill as Sophie was an excellent choice. I found myself smiling on many occasions at her interpretation of the little heroine. I was readily taken aback by the intelligible pluckiness Barnhill takes on in the first few scenes by decisively sorting the post, locking up, and defending herself at Witching Hour, evidently with a greater compass of responsibility than the matron! This sets us up straight away for her bravery in getting to know the BFG, as well as her determination in making his life a better one. There is a resolute aura in Sophie throughout the film that quickly teaches us not to become overly concerned for her safety, for she always has an adept plan up her sleeve however monumental they may at first be perceived.
Oftentimes I wound up forgetting her background as an orphan, and I scorned myself for this because her paralleled altruism with the giant shows on a universal level how capable of kindness we all are. Despite the uncertainty of who her parents were and her unfair treatment growing up, she takes it upon herself at such a young age to help rather than fear, even when she has every right to.
Similarly, despite being incessantly taunted by the clan of giants, the BFG does not steal Sophie out of selfishness, but because he wishes to cure her of her 'lonely heart.' I loved how her ending was illustrated by waking up to a mother of her own. Moreover, her steadfast appreciation of the BFG remains in the form of nostalgic reverie as she connects with him by looking out of her window towards the countryside that they traversed together.
Though voice work and graphics were a strength (as is always part and parcel with Spielberg), the narrative was the film's downfall. While I am by no means a child anymore, what with being 19 in just over a month, I found the narrative interpretation slightly implausible. Characters developed a cliché propensity for occupying scenes where they simply dwell on circumstances, which subsequently leads to a less enriching zeal for what comes next. At other times, we're rushing along a fitful and dubious route that very rarely takes us to a eureka moment. It was a case of 'Oh, they're doing this. Okay...' and I hate to admit that I sometimes stared about the cinema unpersuaded.
Overall I think the film scores a 3.5 from me. Its weakness lay mainly in the narrative arrangements, as well as the marginally uncouth approach to conveying the mysteriousness surrounding the BFG.
The film triumphed in visual composition and music. I think Spielberg deserves a hearty round of applause for his unique competence in these domains. I do believe overall he did some justice to the spellbinding, enchanted nature of Roald Dahl's legacy of enthralling stories.
I now recommend a generous glass of 'Frobscottle' (or if you're not too keen, then some Prosecco) after working your way through this!
No comments:
Post a Comment