gigantism in the movies: the bad and the beautiful

Vincent cambyyoung
1986 this is a digital version of an article from The Times Print Archive, before it starts online in 1996.
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At the climax of the jewel of the Nile, an adventure is said to be easy and enjoyable --
Comedy shot mainly in Morocco
\"Why is the stinking ditch in the third world always so hot?
A character in the movie joked)
A crafty Arab nation made a big voice. and-
Show his divinity in the desert, and show his divinity in front of the gullible masses.
For the purpose of \"none\"too-
The plot was complicated and everything went wrong in the spectacular film technology presentation.
With the watch of hundreds of Moroccan actors, with the encouragement of due diligence, the pieces of lighting equipment exploded in flames, and the showers of fire were on the audience, the stage rocks, and the stunt actors, representing good people and bad people, shoot each other and roll down from the top of the temporary tower built for potentate\'s show.
Like everything else that happens in the jewel of the Nile, including a jet that crosses the streets of the Arab city and a yacht that exploded in the French Riviera, this climax sequence is far less interesting than dummies.
One does not laugh.
Awesome, as if seeing two trailers
The truck collided on the highway.
For the most part of the two hours, the film audience is playing an interesting contest with the lovers.
Catherine Turner and Michael Douglas)
In the smoke of the film\'s special effects, fiddling with sarcastic lines and enough money to rebuild ancient Rome.
As it happens, the gem of Nile is one of the most popular box office this season --
Many people responded to this.
Variety, BusinessWeek, estimates that by the end of 1986 it will receive a domestic rent of $25 million, compared with a production cost of $21 million.
This will eventually mean considerable profits.
However, advertising \"Neil\'s jewelry\" is also a new, especially the symptoms of the deadly giant disease, which is in the current economic environment in Hollywood, may not survive as successfully as in the past.
If it is not treated, the giant will die.
The ads, though \"the gem of nyler\" will eventually turn black, will not be so lucky for the other 1985 films that are also made on the same scale.
\"Perfect\", John Travolta motor (a high-tech Model-T)
At home, the investment of $6 million earned only $19 million, and Michael Simino\'s \"the year of the Dragon\" overproduced the underworld plot drama with considerable brilliance.
6 million $18 million from investment.
When people realize that the average cost of Hollywood movies last year was only $14, it is understandable that these budgets are surprisingly large. 8 million.
There was only one time --
The so-called spectacle film is so unnatural and expensive.
Today\'s \"perfect\" is an ordinary contemporary comedy with no visible special effects, millions cheaper than King David, a Bible epic with a budget of $22 million (
Return date: $2. 5 million).
Giant disease can currently be found in movies of various sizes, shapes, types and budgets.
Whether it is the expansion of the cost of the film, or the way the film is conceived, it is obvious.
In the end, it has a lot to do with the way a movie handles its emotions.
Comedy in particular (
But not exactly)
Suffer when the background of the work or the spectacular physical scale dwarfs everything that happens in the foreground.
In a movie about John Landis\'s spy like us, the theory of Giants is the most obvious, it\'s a small, kind about a few smart American intelligence guys
Spy Like Us is a 30-year-old movie that could take a few days out in the California desert. Instead, Mr.
Landis and his colleagues chose to take most of the photos in Washington, D. C. C.
Morocco, England (
Including the exotic town of warzazat used in \"The jewelry of Nile)
Norway has doubled Russia in \"Spies Like Us (
In Hugh Hudson\'s \"revolution\", for the Hudson Valley.
Giants are also in the vast desert landscape and dirty motel buildings that are chosen for a more modest budget \"love fool, the script for Robert Altman\'s Sam Sheppard was originally set in a room.
The \"love fool\" actually looks good, but it looks good and sacrifices all the tension --
Claustrophobic atmosphere
This made the show a success.
Spending a lot of money on sets, special effects, or exterior shots doesn\'t mean a movie is controlled by giants.
Only when the balance-
Physical Chemistry of the filmis off.
No matter what people think about Sydney Pollack\'s \"outside Africa (
Cost: $30 million)
People can\'t imagine that it can be made anywhere except Kenya.
Real Kenya
For movies, the script, the director and the performance are essential.
Kenya is a fundamental component of \"outside Africa\", as David Lane said in his trip to India. \'\' Norway-as-
Russia is just a luxury of \"Spies Like Us.
\"White Night by Taylor Harford is not a good film in which Mikhail barrichnikov and Gregory Heins play Ballet
However, since the story was filmed entirely in Russia, look-
Similar locations in Finland, Portugal and the United Kingdom can be supported.
This is not a giant.
It\'s just a movie without inspiration. making.
Steven spirberg\'s decision to shoot \"Color Purple\" in North Carolina is not a mistake either --
Only he chose what to do at the location where he was filming.
The sheer size of advertising is not necessarily equivalent to the great doctrine. \'\'Ran\'\' (Chaos)
Kurosawa\'s adaptation of King Lear is the most gorgeous and expensive film ever made by Kurosawa.
However, he spends every day on coordinating action with the landscape, even with the weather, reflected in the nature of the spectacle on the screen.
\"LAN\" needs such hard, expensive treatment.
Movies like The Jewel of the Nile, spy like us, and Terry Gillem\'s Brazil are not available.
The theory of Giants has brought a terrible financial burden to movies, which should not become a blockbuster to make money.
Filmmakers are in danger rather than leaving themselves out of business (
Although this is also possible)
Instead, he put himself into the poverty alleviation institute and replaced the real material with the so-called \"production value.
\"Brazil\" is a particularly interesting case. Written by Mr.
Gilliam, Tom Stoppard, and Charles McKeown, the script is a variation of serious educated, serious comedy in George Orwell\'s 1984.
However, most of its comedy and all the less-than-fresh social and political observations are overwhelmed by the effects that often explode.
With the development of Hollywood movies, \"Brazil \"($15 million)
The film is not so expensive.
But even in this budget, the cost is too high.
The elaborate film did not support the film\'s attention, but reduced the wisdom of the script to a level of stupidity.
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Gilliam is a very interesting person, but something similar has happened to his \"time robber\"
I like to jump in and run over again.
The coins left on the rail track are as flat-
Through huge, strange props, the film looks much heavier than it was.
The wonderful opposite is the real \"Brian life of Monty Python\", a blithely ersatz biblical epic directed by Terry Jones and partially written by Mr. Terry JonesGilliam.
The script is so powerful and so dangerous and interesting that it can be relatively resistant to the impressive scale of physical production, which is actually as good as most \"serious\" biblical epics.
Giant disease is nothing new. Would-
Do D imitatorsW.
Griffith, even Griffith himself, could be attacked. Cecil B.
DeMille raised the theory of Giants to a dizzying height in his 1956 remake of his Ten Commandments. \'\' M-G-
M\'s 1936 \"Mary Antoinette\" is less noticeable due to the performance of Noma Shearer in the title character, but because of its redesign
The mirror hall of Versailles is much larger than the original one.
Heroism is part of the Hollywood tradition.
It was incorporated into the art of the 19 th.
Like Edison, Lumiere, Meis, Griffith, von Strom and Eisenstein, Century theater glasses and circus.
Giant disease is similar to the kind of virus we carry innocently in the system, that is, until something unfortunate triggers it to take effect.
The rapid increase in the cost of film production and the rapid profit of less and less successful films have prompted filmmakers to raise their bets.
They fleshed out their work with all sorts of excess baggage, which eventually became the only point of the film.
George Lucas\'s Star Wars trilogy is very popular, followed by dozens of films of the same science --
Novel effects, but without the wisdom, wisdom and romance of any prototype.
As in the film, the value of production itself becomes the purpose.
In Landice\'s Blues Brothers, the sight of a car chase is far more appealing than the comedy talent of John bellussey and Dan Ike Lloyd or the vocal talent of Aretha Franklin
Steven pilberg\'s 1941 is based on an interesting idea --
Shortly after Pearl Harbor, a Japanese submarine appeared, causing panic on the west coast.
However, in order to treat a dermere biblical epic fairly, humor has disappeared from the grand farce.
When, in an old two
Reel comedy, Stan Laurel and Oliver Hardy accidentally removed Stan\'s house when trying to fix the roof, on a small scale.
The house is only a little larger than the tool shed. In Mr.
Pilberg\'s \"1941\" change is on the same patch gag, and the House that shakes on the edge of the cliff is very large.
Looks too real.
One does not laugh.
Even people who are not interested in real estate tend to breathe.
Gag is neutralised by awareness of costs and planning required to set up gag.
Some people worry about it.
Watching the giant is exhausting, among other things. Mr. advertising
Pilberg found the right balance between technology and matter at his relatively low levelbudget \'\'E. T. \'\' and the big-
His budget \"Indiana Jones\" adventure, as well as the charming comedy \"Young Sherlock Holmes\"
His adventures with Barry Levinson.
Even though it will make a profit, \"Spies Like Us\", like Ivan Reitman\'s \"ghost and death squads\", work too hard and spend too much money to achieve the goal.
These movies are too bad.
They also seem likely to be weakening the sense of humor of the American Film public. Maybe not.
For every \"spy\" or \"ghost and death team\" like us, there will be six similar movies that fail.
One of the reasons why the film\'s effectiveness is different from John Bind\'s uforia, a comedy about some of everyone --
In a small town in California, the American geeks and Horton Ford\'s \"well-off tour\" are the stories that everyone\'s physical production sizes are perfect for them to tell.
The movie looks seamless.
Everything comes together effortlessly.
Robert zemikis and Bob Gale are also in charge of a film that operates in all ways that \"1941\" does not have.
\"Back to the future,\" by Mr.
Zammikis, from the script he wrote, sir.
Gail, it\'s a particularly satisfying time. Machine fantasy.
This human comedy is not allowed to rank second in film technology, which is rather strange.
Special effects have never been more dramatic than the comedy story of its young hero, who finds himself in an awkward position to fight the progress of a young woman, who is in the future, destined to be his mother.
The current plague of the giant can be traced back-I think -
Surprisingly, the 1978 click rate is not particularly large at all, sir.
The National House of satirized animals in Landis \".
However, where is the Sir?
Landis\'s \"Animal House\" seems to be lazy, as evidenced by his \"spy like us.
When the mohawai desert is right next door, why go all the way to Morocco to photograph Chevrolet Chase and Dan Ike Lloyd crossing a wasteland that represents Pakistan?
Why go to Norway (
There are reindeer here, which should be Russian territory bordering Pakistan)
When Bob Hope and bin Crosby can get laughter from the same situation that the studio filmed?
The movie sucks-
Art and economic production.
Spies like us have no food.
Equal struggle in \"Animal House.
It does not hang around a few frozen cream or other sticky foods.
In Spy Like us, the money is thrown --
A truck. This off-
Screen comedy is much more bizarre than anything that happens on the screen.
A version of this review appears on page 2002001 of the national edition of January 19, 1986, titled: Colossians in movies: bad and beautiful.