![]() ![]() We were quickly whizzed through the restaurant and sat at a table overlooking the garden. Interesting and puzzling at the same time, A Bigger Splash is the kind of film which leaves you thinking, ‘did I miss something?’ and will have you scouring film reviews after to try and get in on the joke, but nonetheless it was enjoyable and watching Tilda in action is always a pleasure.Īfter leaving the Curzon, we lazily sauntered across the road to the Ivy with our stomachs growling after forbidding ourselves from indulging in the usual cinema sweets. The Luca Guadagnino film, follows famous rock star, Marianne (Tilda) and her recovering alcoholic boyfriend, Paul (Matthias) as their idyllic holiday in Italy is disrupted by the unexpected arrival of Marianne’s ex-lover Harry (Ralph) and his supposed daughter, Penelope (Dakota). An indie film featuring Ralph Fiennes, Dakota Johnson, Matthias Schoenarts, Tilda Swinton and many an appearance from Ralph Fiennes penis. ![]() No comment on that one) in time for our 5.20pm showing of A Bigger Splash. But where is the wildness? I waited in vain for the rumpus to start.Myself and my boyfriend sauntered along the King’s Road (or KR as he called it. The beasts are still howling and the supper's still hot. ![]() This sense of distance is all very well, but it keeps us at arm's length from the action, framing Max's escapade in terms of a teasing, cerebral thesis. They rustle up a melancholy rite of passage that's not so much a children's film as a movie that, deliberately, looks back at childhood from an adult perspective. Jonze shoots with an airy, hand-held camera, with the sun's glare on the lens, while Eggers's dialogue is attuned to the otherworldly logic of playground squabbles. "He's only a boy pretending to be a wolf pretending to be a king!"įull credit to the film-makers for taking the road less travelled. "Why!" say the wild things when the penny drops. They'll eat Max up, they love him so, although the boy's authority is built upon a bluff. At the same time, their grouchy, depressive nature seems to point towards a very adult strain of discontent. Jonze plays them as overgrown kids, by turns vicious and vulnerable. ![]() The beasts are embodied by gambolling adults in furry headgear, augmented with computer-generated facial expressions and voiced by the likes of James Gandolfini, Catherine O'Hara and Forest Whitaker. He bites his mum (Catherine Keener), flees home and hooks up with the wild things, who accept him as their king. Max (Max Records) is a lonesome kid who runs about tossing snowballs and wearing a wolf suit. In telling us – definitively – what Sendak's story is about, it risks letting too much sunlight into these shadowed nooks. If anything, they have understood it so well that their movie becomes an extrapolation and an explanation a cinematic York Notes. The problem is not that Jonze and Eggers have missed the point of Sendak's tale. Sendak's wild things have been harnessed anew, courtesy of this frequently beguiling yet oddly frustrating film version by Spike Jonze and the novelist Dave Eggers. In Max's case, they may even be aspects of his unconscious: horned and furry demons to be soothed and brought into line. In a few deft strokes, the book appears to suggest there is a world of adventure, and a safe place to come home to, and that monsters we meet on our travels are not so different from you and me. Maurice Sendak's Where the Wild Things Are is a 1963 children's book, nine sentences long and illustrated from a moonlit palette, that spins the tale of Max, who sails to a land of monsters and returns to find supper still hot. ![]()
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