‘Gothic’ as a film genre
Did you know that I’ve seen three Michael Fassbender movies in the same room? Jane Eyre – my poorly written review here – is playing now at the Varsity 8, possibly the biggest screening room in Toronto (if you don’t count the repertory and TIFF theatres). I also saw Hunger and Inglorious Basterds at the same screening room. That’s one hell of a coincidence.
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This post exists because Anthony Oliveira retweeted A.L. Day’s mini review: ‘Jane Eyre: solid “meh.” tried to be Austen; suffered for it. go gothic or go home.’
Then I thought about the difficulties of perfecting Gothic literature into cinema in the age of colour, the grainy textures of the walls of a grand old house pale in comparison against the shadows of black and white films?
ph. MGM
Gothic cinema to me are movies released in the 1940’s or 50’s. Rebecca, Hamlet, The Secret Garden, but those movies are also called ‘noirs,’ referring either to genre or style. I looked up Gothic cinema on Google but the films that the pages listed belong to more genres – German Expressionism, Hammer horror, giallo and new Spanish cinema. Maybe ‘Gothic’ is too big and elastic of a bracket to have ever been considered a genre in the first place?
Anthony actually brought up Shutter Island as Gothic film’s ‘truest recent inheritor,’ which makes sense since the film checks off things on the list, scary men, haunted architecture, jagged rocks, insanity, damsels in distress. The film’s sensory overload, with the blaring bass of the soundtrack to the white screen flashbacks, also matches the descriptive prose of the Bronte sisters and Byron.
Jane Eyre has a slightly faster pace and is more plot-centred than the impressionistic feel of Emma Thompson’s Austen adaptations. The visuals are Campion-esque. I looked for Gothic references through the artwork featured in the film. The pictures within books that the young Jane (Amelia Clarkson) reads are minuscule, mature Jane’s (Mia Wasikowska) drawings more ethereal than ghostly, the paintings in Rochester’s (Fassbender) walls are French academy. I’m sure he has a Goya or a late Rembrandt tucked behind the walls somewhere, like ‘Grace Poole.’
The film has harsh close-ups under candlelight, foggy moors with barren trees, claustrophobic dark rooms and hallways but those images together don’t a Gothic movie make. I blame Dario Marianelli‘s score, its violins playing at a slightly slower pace than the faster piano footsteps in Atonement, although I’m not saying that those scores aren’t great.
Shutter Island embraces its campy insanity, as Anthony said it’s more Poe than Romantic. Fukunaga and crew, however, didn’t want Jane Eyre to associate too closely with genre, hoping it would bring the film some quality (it succeeds in doing so). I’m also hesitant in Gothic cinema’s campy tendencies, especially in its manifestations in Hammer or giallo. Is it scary if I’m laughing at the cheesy organ music? The visuals might be seen as gags if they veered closer into genre film, and Fukunaga then seems to tone it down.
Rochester should also be scary, my father’s girlfriend distinctively calling him a monster. But Fassbender gives the character heart, talking about horrific things with concern instead of disgust. Sally Hawkins‘ Mrs. Reed also seems more misguided than fiercely cruel. These sympathetic villains outweigh the abuses of Mrs. Reed’s son John, the Lowell headmaster and the force behind the terrors within Rochester’s home. One is underage, another is insane, all are bit parts. The movie decides to absolve those characters’ sins despite their actions. The wise forgiveness of an adult governs this film instead of the fears of a biased, oppressed child.
But in the end, do I care if Jane Eyre didn’t meet nor revive a genre’s expectations? Not yet, still swooning.
The Brothers Grimm
ph. MGM
The titular Brothers Grimm (Heath Ledger, Matt Damon) are quack exorcists, redundant as that is, who, by order of a conquering French military official (Jonathan Pryce), have to face a real enchanted forest and risk their lives in the process.
Sure, there are references to the Limbourg Brothers and the pre-Raphaelite movement, but The Brothers Grimm just has too much CGI and there’s nothing real and/or astounding about the film. Sure, that might be too much to ask for in a fantasy film, but director Terry Gilliam usually uses something concrete. Remember when Parnassus has painted cardboard or plywood trees, but even that was awesome? Actual sets in this film are unfortunately given some weird post-production finish. Even the gold lighting doesn’t help. Auteur hunter Damon and Gilliam regular Ledger do great work, settling for a ‘theatrical’ British accent, even if the plot takes them nowhere. And it’s kind of nice to see Gilliam regular Pryce combine his roles in The Age of Innocence and the Pirates series in one movie. Now if only he can do half-Brazil, half Peron. What is he up to, by the way?
I remember this film being advertised as a horror film, taking the Gilliam-esque comedy out of the trailer. It’s not like the comedy worked too well anyway. The most fascinating thing about this film is the strange surge of German nationalism in a Hollywood film. When was the last time that happened? It focuses the country’s folkloric history. The British or cockney-accented Germans are the good guys and the French-accented French are the bad guys. The film risks labeling Germans as hicks, but they’re not hicks if the tales they believe in are true. And the Red Riding Hood sequence was more haunting than the one in the Amanda Seyfried-Catherine Hardwicke movie that I will probably never see. But unfortunately, those are the film’s only redeeming values.
Okinawa Assault 