Produced by: Michele Bennett, nash Edgerton, Danny Gabai
Cast: Mia Wasikowska, Damon Herriman, Benedict Hardie, Gillian Jones, Virginia Gay etc.
**MAY CONTAIN SPOILERS**
If you’re not aware of the good, old-fashioned Punch and Judy puppet show, then it was basically a seaside attraction that has its origins in 16th century Italian commedia dell’arte. Over the decades it thrived and would move from marionette stylings to a mobile glove puppet show. Punch would batter various characters including his wife, Judy, a crocodile, a police officer, a dog, a blind man and the Devil. He would be a very bad parent; often drunk and violent in charge of his own baby. Incredibly, this rather unsavoury character would become very popular with children, appearing at carnivals, fairs and coastal shows.
With Disney cornering the market adapting myths, fairy tales and Theme Park rides over the years, I’m surprised they did not have a go at Punch and Judy. How they would reconcile this brightly coloured, but despicable character would have been fascinating. Yet, it is Australian filmmaker Mirrah Foulkes, who has written and directed this arthouse drama starring Mia Wasikowska as the harassed Judy, and Damon Herriman as the drunken puppeteer. Set during the Dark Ages in the town of Seaside, the plot follows the traditional narrative of the original puppet show. Except, this time Judy is very pissed off and about to go medieval on Punch’s arse!
Part revenge thriller, part-black comedy and part mythical origins drama, Judy and Punch (2019) is full of fantastic and gritty detail. The reconstruction of the theatrical puppet shows are brilliant, and evocation of the era is very realistic. The film performs well as a savage denouncement of toxic masculinity in the #MeToo era. But, despite the excellent performances from Wasikowska and Herriman, the characters were a bit too one-dimensional to really grip me. Yet, Wasikowska is especially memorable as Judy, eliciting an inner strength to overcome the cruelty of her husband and the town she lives in.
Lastly, the story also felt a little flat and lacked surprise in places, but that may be because the trailer gave a lot of the narrative away. It’s also because I am very familiar with the original Punch and Judy show, as I watched loads of them as a kid. Having said that, Mirrah Foulkes has delivered a stylish film curiosity which is destined for cult status. Moreover, she deserves much praise for attempting to give a children’s puppet show story depth. The visual iconography is powerful, as is the exploration of themes relating to domestic violence, child neglect, witch hunts; and the exclusion of the outsider or other by petty townsfolk mentality.
SIX OF THE BEST #10 – GAME OF THRONES FINEST HEROES!
According to Christopher Booker’s text The Seven Basic Plots: Why We Tell Stories, there are in essence only a limited number of narratives including the: ‘Overcoming the Monster’, ‘Rags to Riches’, ‘The Quest’, ‘Comedy, ‘Rebirth’, ‘Tragedy’ and ‘Voyage and Return’. Booker echoes too the studies of mythologist Joseph Campbell who argues that the ‘Hero’s Journey’ or monomyth is the common template of most stories.
Christopher Vogler followed on from Campbell’s extensive work in his book, The Writer’s Journey: Mythic Structure for Writer arguing that most popular stories can be narrowed down to a series of basic structures and archetypes. Indeed, while watching Game of Thrones you can certainly identify many of them notably the Heroes Journey!
So, to continue my exploration of the first six seasons of one of the greatest shows ever, I look at some of the more heroic characters in HBO’s TV masterwork.
**CONTAINS MASSIVE SPOILERS – SEASONS 1 – 6**
ARYA STARK – MAISIE WILLIAMS
A young tomboy at the start of the show Arya’s transformation from fresh-faced waif into a face-shifting-sword-fighting-deadly-assassin has been nothing short of extraordinary. What strikes me as most heroic is Arya’s propensity for bouncing back and that mental toughness has seen her overcome going blind, being enslaved, kidnapped, beaten and left for dead and STILL managing to get revenge on her enemies.
BRIENNE OF TARTH – GWENDOLINE CHRISTIE
I don’t think there is a nobler character than Brienne of Tarth. She is an honest and loyal Knight of the highest order and an incredibly tough swordsperson too. I was surprised more than anything when she defeated the Hound in combat. Furthermore, her unrequited romance with Jamie was very touching. She is probably the hero with the biggest heart and I hope she gets a good ending in the show.
DAENERYS TARGARYEN – EMILIA CLARKE
Daenerys is arguably not as sympathetic a hero as many of the others on the list. Perhaps, her demand and pursuit for the Iron Throne could be seen as power hungry; and in recent seasons her desire for fire and blood have shown a more dangerous side to her. However, her journey has been from a naïve, sold-off bride to a storming Queen; one that has not only commandeered the Dothraki and Unsullied but also defeated the venal Slave-Masters.
JON SNOW – KIT HARRINGTON
Probably the most heroic character of them all as he had outsider beginnings as an illegitimate bastard before growing in stature and experience to become the King of the North. Having made vows to the Nightwatch his desire to form an alliance with the Wildlings became his undoing and only the Lord of Light prevented him passing into the next world. A handsome, rugged and fine fighting specimen, Jon Snow leads by example inspiring those around him to greater things.
SAMWELL TARLY – JOHN BRADLEY-WEST
Samwell is what I would class as a quiet hero. Ridiculed for his larger size on first meeting he slowly, through intelligence and diplomacy, came to be respected by the Nightwatch; notably Jon Snow. However, it is his protection of Gilly which has seen his heroic stock rise. Having rescued her from the evil Crastor; adopted Gilly’s son as his own; fought off a White Walker; he even stood up to his bullying father, proving Sam to be a right decent chap all round.
TYRION LANNISTER – PETER DINKLAGE
Much maligned and ousted from the Lannister family following Joffrey’s deserved death Tyrion has proved his bravery and fortitude in many desperate circumstances. I feel his heroism comes from the determination to never give up despite his physicality and the demonization which occurred when he was born. Be it on during the Battle at Blackwater Bay or when standing up to his father Tywin, Tyrion just refuses to buckle and heroically ploughs on.
Here’s a re-blog of an article I wrote for the excellent http://www.sothetheorygoes.com website. It’s arguably a better researched article than I usually turn out and the original can be found here.
OVERCOMING THE MONSTER
As an avid cinemagoer and fan I watch a hell of a lot of movies. I am aware that Hollywood film releases rarely contain original screenplays due to the massive flux of literary, journalistic, radio, televisual and comic-book adaptations. Moreover, there are reboots, remakes and re-imaginings of older and, in the case of the recent Spiderman releases, not-so-older films too. I have even noticed another trend where on top of the usual remakes there are a number of films which are unofficial remakes of other films. Does this mean originality is finally dead in Hollywood and is now cannibalizing itself to produce product. Or, has it always been that way?
I want to explore the nature of storytelling, mythmaking and modes of classic Hollywood film production to consider whether there is a trend toward unofficial remakes in the current filmmaking era. I will examine cultural theory and film history to decide whether filmmakers are knowingly copying other works but hiding their intentions; or subconsciously replicating past cinema works while emulating both the historical traditions of storytelling and the classical Hollywood mode of film production. I will look at some recent film releases to further reflect on such theories.
The blockbuster or big budget spectacular has been a major business tool of Hollywood production since movies. In his book Blockbuster, Tom Shone points to the 1970s as the beginning of the blockbuster summer movie era with films such as Jaws (1975) and Star Wars (1977), making huge money and beginning a business convention which continues today. However, there has always been huge behemoth product coming out of Hollywood with the likes of D.W Griffiths’ Birth of a Nation (1915), Gone With The Wind (1939), Cleopatra (1963) being examples of big-budget spectacular produced down the years. As such the blockbuster is as much a genre in its own right as opined by Shone and also Peter Biskind in his book: Easy Riders, Raging Bulls: How the Sex-Drugs-And Rock ‘N Roll Generation Saved Hollywood.
The summer blockbuster film release is clearly a huge money-making enterprise on behalf of Hollywood studios. Indeed, according to a recent Indiewire article films such as The Force Awakens (2015), Avatar (2009), Avengers: Assemble (2012) have together made over $2.5 billion dollars in at the box office. With the Marvel and Star Wars universe or franchises ever increasing their reach across galaxies far, far away it is important to note that the new Hollywood is still following the classical Hollywood system in regard to mode of production.
In their book The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, Staiger, Thompson and Bordwell, a Hollywood film derives its’ competitiveness from a standardized norm and differentiated delivery. Film genres take place between the dialectic of standardization and differentiation which allows films to be produced along a conveyor built quickly and more profitably while some innovation generates differentiated elements to enable successful marketing of the product. For example, Ford produced and continued to produce a lot of the same model motor vehicles but change the colours and extras to differentiate the product. Likewise, Hollywood produces a hell of a lot of action, superhero and blockbuster films but in using different actors, directors, composers and source materials they are able to blind the audience to the storytelling structures and plots being used.
But is this a mode of production considered lazy, unoriginal, uninspired or even plagiaristic? Possibly, yet it seems to make sense that Hollywood studios, while risking a hell of a lot of money on their blockbusters, standardize their product and use what has worked before to protect their investment. While some of us would like to see David Lynch given $200 million to direct a Marvel Universe movie, his idiosyncratic vision of the world would be such a leap of differentiation it would possibly – like his adaptation of Dune (1984) – create a potential box office bomb. Even a brilliant director like Edgar Wright was considered not “house style” enough for the Marvel film Ant Man (2015) and left the production due to the oft-quoted “creative differences”.
Is it fair to accuse Hollywood studios of unoriginality or even plagiarism? Are writer and filmmakers merely following the rules of the world? I mean according to Christopher Booker’s text The Seven Basic Plots: Why We Tell Stories, there are in essence only a limited number of narratives including the: ‘Overcoming the Monster’, ‘Rags to Riches’, ‘The Quest’, ‘Comedy, ‘Rebirth’, ‘Tragedy’ and ‘Voyage and Return’. Booker echoes too the studies of mythologist Joseph Campbell who argues that the ‘Hero’s Journey’ or monomyth is the common template of most stories. Christopher Vogler followed on from Campbell’s extensive work in his book, The Writer’s Journey: Mythic Structure for Writer arguing that most popular stories can be narrowed down to a series of basic structures and archetypes.
Thus, we could argue that originality is in fact impossible and Hollywood blockbusters, as well as following the classical Hollywood model of standardization and differentiation; are simply passing on the traditional and mythical structures which hark back to the cave drawings of our ancestors, Greek myths and those wonderful stories in the Bible. Let’s have a look at some examples of recent blockbuster films which echo the theories of mythic storytelling, concentrating specifically on those that could be considered unofficial remakes of previous films.
VOYAGE AND RETURN
The biggest box office hit of recent years is the JJ Abrams directed The Force Awakens (2015). After Disney paid an absolute fortune to Lucasfilms for the rights to own the Star Wars franchise it’s safe to say that there was no way the studio would be taking any risks on their product. Thus, in my opinion, JJ Abrams and his writing team took a safety first approach to the storyline by unofficially remaking the original Star Wars: A New Hope (1977). They standardized their product by using most of the same characters, settings, design, costumes, music and themes. Moreover, on the whole it follows the same “Hero’s Journey” and “Overcoming the Monster” models within its structure as at its core a plucky young “orphan” must rise up and defeat the dark side of the Empire. Conversely, the original Star Wars could be argued to have heavily borrowed its structure and archetypes from Akiro Kurosawa’s Hidden Fortress (1958). However, George Lucas’ epic space opera was so original in presentation and design one cannot reconcile notions of plagiarism.
A Force Awakens was only marginally differentiated with more diverse casting as the female leading character Rey (Daisy Ridley) took the Luke Skywalker role. The only main difference is her character was arguably more passive in the narrative compared with the dynamic enthusiasm of Mark Hamill’s Luke Skywalker. In remaking A New Hope, complete with a total-replica-ending culminating in the rebels destroying the Death Star, the filmmakers tick all the fan boxes yet with just enough difference in the details so as not to be accused of self-plagiarism. For me, however, A Force Awakens is not as credible a story as Rogue One (2016), which, while invoking World War II “suicide-mission” genre structures such as: The Dirty Dozen (1967) and Guns of Navarone (1966), had more original characters and differentiation and thus felt a fresher product.
Unofficial remakes or the echoing of known texts are rife in the blockbuster era. James Cameron’s environmentalist Sci-Fi fantasy Avatar (2009) has exactly the same “Voyage and Return” structure as Kevin Costner’s revisionist Western Dances with Wolves (1990). In both films our hero, a soldier, finds himself at first a prisoner and then falling in love with an indigenous tribe’s more natural lifestyle; ultimately defying the patriarchal and oppressive capitalist society from where he came. Both culminate in a thrilling battle at the end where our gone-native hero overcomes the monstrous enemy. Avatar, of course, differentiates markedly in presentation to Costner’s epic due to the incredible special effects on show but the structure and storylines are exactly the same.
Screenwriters have not just plundered cinema’s back catalogue for narratives. The original storyline of Marvel comic books The Hulk is an unofficial adaptation of Robert Louis Stevenson’s Dr Jekyll and Mr Hyde; with a scientist splitting his personality between man and monster following an experiment gone wrong. Marvel indeed are experts at absorbing literary texts into their works as Age of Ultron (2015) echoes the story of Frankenstein as Stark’s experiment wreaks monstrous havoc on the Avengers. Moreover one of the best Marvel films Captain America: Winter Soldier (2014) uses the plot of spy thriller Three Days of the Condor (1975) as a springboard.
Of course, these are very loose interpretations, however, with Avengers: Assemble (2012) the filmmakers have, in my mind, essentially remade Kurosawa’s Seven Samourai (1954). Of course Seven Samourai has been remade many times as The Magnificent Seven in both 1960 and 2016, respectively. Indeed, in Avengers Assemble the plot of the villagers-in-peril being protected against a vicious foe by a rag-tag bag of gunslingers is mirrored by the Earth being guarded by the Avengers against Loki and the Chitauri. Even the beats of the story are similar with Nick Fury (Samuel L. Jackson) building his team in the way Chris (Yul Brynner) did in the Western version and Kambei (Takashi Shimura) did in the original. Overall, The Avengers is a terrific film, with a very solid narrative founded on the powerful structure of works released before it.
In summary, the unofficial remake is probably not a recent trend as I am sure further investigation will reveal more examples of this occurrence in Hollywood film production. The question remains though: is there evidence of plagiarism within the modern Hollywood blockbuster and cinema examples used? I would say there probably isn’t. Filmmakers today are generally following the age-old tradition of passing on stories and myths, combined with the conscious structural safety of following genre conventions and the standardization and differentiation models Classical Hollywood cinema established decades ago. Either that or they are following Quentin Tarantino’s lead when he says,
“I steal from every single movie ever made. If people don’t like that, then tough tills, don’t go and see it, all right? I steal from everything. Great artists steal, they don’t do homages.”