Where the Wild Things Are

I remember reading "Where the Wild Things Are" back when I was in elementary school. My art teacher even had us paint a picture of one of the creatures from the story. Now, a movie will be released in Fall 2009.

According to the Book Blog, however, there are some problems with the film adaptation. At a test screening, the film was so frigtening that children were crying and running out of the theater. I suppose that's not good for a movie that's geared toward kids! In any case, here's the trailer:

BEHIND THE MOVIE: Looking at a "Pretty Woman"

Garry Marshall’s "Pretty Woman" (1990) emphasizes the difficulties among class relations by taking a look at the lives of a prostitute and white collar businessman as they transform from hiding their own inadequacies, to people wanting more out of their life. The plot follows Vivian Ward (Julia Roberts) and Edward Lewis (Richard Gere) in their journey to survive in a world that defines blatant class boundaries.


Edward, a businessman struggling with different aspects in his life, confronts Vivian on Hollywood Boulevard who escorts him back to his expensive Los Angeles suite. Previously uncomfortable about Vivian’s occupation as an L.A. hooker, Edward comes to terms with her inferiority and establishes her as a member of his own upper-class society. As Vivian learns to adapt in the world of the rich, she proves to be an outlet for Edward to express his concerns, hopes, and dreams.


The narrative comically shows Vivian’s own ineptitude at being a socialite and Edward’s escort to various business functions. Yet as the plot demonstrates her rising status, it correspondingly degrades her once again. Edward calms his lawyer Philip Stuckey’s (Jason Alexander) fears that Vivian is a spy working for a competing firm, by revealing that she is indeed a hooker.


Through the course of the movie, Edward and Vivian develop a strong bond that comes as a shock to both. As emotionally unattached characters, Edward and Vivian allow themselves to express emotion as the film progresses; something that in the past, neither has permitted. Their happenstance meeting on an L.A. street that established no expectations from the beginning, develops into a love affair that rejects all societal notions of how those of opposing classes normally interact. Various cinematic strategies define each class from the beginning to the end through a series of three major plot developments. Two very confident people outwardly satisfied in their own societal role at the beginning, adapt to their changing attitudes about class relations by learning from each other, and finally come to terms with the different class. Thus they gain a newfound alternate perspective about personal goals and their outlook on life.


The relationship and corresponding emotional development between these two previously emotionally detached characters shows that how despite drastically opposite lifestyles, people from different classes are intrinsically similar. "Pretty Woman" defines class politics through cinematic techniques, character dialogue and actions, and an established code of conduct that distinguishes the inferior from the superior. The film attempts to prove an ideology that money does not serve as the foundation of happiness nor does it solve all problems. Instead, it is not foolish to think people of different classes may not only have a relationship with one another, but indeed be a positive influence in each other’s lives.


The beginning of the film is characterized by references that indicate the differences between class relations. Vivian’s friend Kit De Luca (Laura San Giacomo), who is a hooker herself, exhibits a distasteful attitude and is called a “grouch” in one scene. Kit claims she is hungry, and this proposed hunger comes as a direct result of not having enough money for food. Likewise, Edward is characterized as a “grouch” by many due to his ruthless attitude, which he claims is simply inherent of a good businessman. The difference between the two attitudes, however, lies with the explanation for such unpleasantness. Kit’s mood is induced as a product of their means of living, whereas Edward’s distasteful persona may be categorized as a means of achieving a product — which in his case, would be closing an important business deal. The significance of such an observation proposes that the inferior class does not intentionally display unfavorable characteristics, but it is merely a consequence of their status. Contrarily, this indicates the opposite for people of Edward’s social class: that unfavorable characteristics are almost necessary and an accepted component required to succeed in their upper-class lifestyle.


Throughout, the story establishes those of lower class to have a greater moral compass, which is contradictory in the sense that Vivian is a hooker. Yet time after time, repeated images and dialogue suggest to the viewer that Vivian is ultimately a good person. Family photos adorn her apartment in the beginning of the film, whereas any personal effects are distinctly absent from Edward’s material things. His relationship with his father, viewers find out, was strained and complicated and he was not present when he died. Vivian shows concern with how people feel, and asks Edward if he wants to talk about his father dying. She likewise points out that the owner of a company that Edward wants to buy seems like “a nice old man.” These references to emotion and an understanding of people on a personal level seem contradictory to Vivian’s own standoffish feelings, such as her rule of never kissing on the lips.


As a very linear film that clearly develops the characters based on past actions, the first scenes of the movie establish both Vivian and Edward as people apparently confident in their business role, but a bit rocky internally. A series of cuts that show Vivian getting ready for a typical night on the street proves to be a cinematic technique that allows viewers a chance to understand her character. She uses a black marker to color her boots, which she then straps on with safety pins. She puts on bracelets, her makeup, her wig. Symbolically, each in their own form actually serve as a mask that covers her true self. As viewers learn in a later scene, the black wig covers her own naturally long, curly red hair. A ladder by Vivian’s window provides her with an escape route to avoid her landlord who stands a few doors down. As a visual testament to not only her own troubles with figures of superiority, but her belief that she is “not good enough” as a human being, she descends by ladder. Literally and figuratively Vivian prompts the audience to consider how she is climbing down the ladder in society.


Despite cinematic reference to class status, this does not indicate Vivian is a weak member of society. In fact, she displays characteristics that define her as a confident woman who does things her own way. “You can’t charge me for directions,” Edward says to her when he first meets her on the street. “I can do anything I want to baby,” Vivian replies. Finally Edward retorts with “You win, I lose,” and admits she can do as she pleases. Not only does this scene establish that Edward is actually helpless because he is lost on the streets of L.A., but also foreshadows how he is lost within himself. In fact, in a later scene Vivian meets Edward’s friends on a horse outing and questions the sincerity of his friendships: “No wonder you came looking for me.” Vivian additionally verbally displays a sense of power over Edward by repeatedly telling him that “we say who, we say when, we say how much,” in reference to the hooker’s control in a situation. An overtly physical reference to Vivian’s display of power comes in the former car scene when Edward is unable to successfully drive his lawyer’s manual car. Often in movies, a car references a man’s masculinity and when a car is destroyed or taken, similarly is his status as a powerful and effective male. In this case, Vivian literally gets in the seat of Edward’s car and prepares him for the “ride of his life.” Thus through these series of verbal comments and physical actions, money is, for the time being, blatantly disregarded and the two people come down to a level playing field. Vivian exerts her power while at the same diminishing and exploiting Edward’s own faults.


Edward’s faults, however, are not limited to this one scene. Not only does Vivian exhibit her knowledge about cars, but she serves as a direct contrast to Edward’s apparent lack of knowledge on the subject. In fact, he tells her his first car was a limousine: which only references how once again, he is not the driver but merely a passenger. Furthermore, Edward’s inadequacies come forth when viewers learn how he has an ex-wife, an ex-girlfriend Jessica, and never eats or sleeps. He does not know how to properly tie his own tie — which of course Vivian knows how to do — and has a fear of heights. It is his anxiety toward heights that Vivian most emphasizes throughout the movie, questioning why he chooses to live in a penthouse, why he decides to sit in the highest seat at the opera, or why he owns a plane if he has such a fear.


Yet Vivian’s faults are exhibited in a similar fashion. This parallel helps viewers erase the line that drew a distinction between classes in terms of inferiority. Both Vivian and Edward become exposed for their own shortcomings, and ultimately learn from each other to improve themselves. Edward, in turn, points out Vivian’s restlessness and habit of fidgeting. She has trouble buying clothes at stores whose employees ask her to leave, does not know to tip the bellboy, lacks proper dinner etiquette, and is insecure about people looking at her awkwardly when she shops on Rodeo Drive. Her seeming lack of money proves to be a factor of discrimination when she tries to shop in an upscale store. Likewise, Edward’s apparent wealth is also a factor of discrimination. He parks in the alley behind the club Vivian frequents, and people demand money from him.


When Kit first sees Vivian after a time apart, she tells Vivian that, “It’s easy to clean up when you got money.” Yet the focus turns away from the money aspect and focuses more about their emotional relationship. The turning point in the story is not when Kit identifies Vivian’s transformation through acquiring monetary funds, but during the bedroom scene when Vivian finds Edward asleep. Marshall makes use of a medium shot that shows Vivian going up to a sleeping Edward, and then cuts to a close-up of her kissing him on the lips. This scene functions as a confrontation of past anxieties; Edward apparently never sleeps, but is shown doing so in this scene. Vivian likewise never kisses on the lips, but is shown doing so here.


Ultimately money doesn’t solve all problems, and often people put on a persona to hide insecurities and faults. It is not the money that saves Vivian from a perpetual life as a hooker, nor is it the money that transforms Edward into the man he becomes. In the end, in a dramatic flourish, Edward rides his white “steed” of a limo to “rescue” Vivian from her apartment tower. Similar to other movies in the typical Hollywood blockbuster, the woman ends up exactly where she started. This notion, although true of Pretty Woman, is only partially correct. Vivian literally ends up back where she started: in her old apartment. Yet she is intrinsically different as the audience makes the assumption, with indication from Vivian, that she will not revert back to her old ways as a hooker.


By meeting an upper-class man, Vivian has shed her class conceptions and learned a great deal about opening up to people and being herself. Likewise, Edward conquers his fear of heights as he climbs up the ladder to her apartment — which serves as a nice circular structure that parallels the beginning of the film when Vivian climbs down the same ladder. Perhaps Edward stated it best when he said, “You and I are such similar creatures. We both screw people for money.” Yet although it was the money that defined them before, money, like class, is no longer an issue by the end. Despite this, viewers are still aware of such prejudices when it comes to money, as Edward reminds Vivian: “People are never nice to people. They’re nice to credit cards.” "Pretty Woman" redefines class stereotypes to be less about the money and more about how people can reshape each other’s attitudes and outlooks on life. The “I Love Lucy” show that Vivian watched on television at the beginning of the movie foreshadowed events to come.


The characters on the screen were crushing grapes, which translated into the relationship between Edward and Vivian. The grapes, which taste all right if eaten alone, were made into something better with some direction and implementation by others. They were made into wine.

"The Three Stooges" Movie To Be Released 2010

It may seem like an early April Fool's joke, but there's no "nyuk nyukking" here. Sean Penn, after winning a Best Actor Oscar for his role as Harvey Milk, is set to star as Larry (one of the three stooges), in the upcoming movie adapated from the famous short films. It will be directed by Bobby and Peter Farrelly, and released sometime in 2010.

The New York Times reported that MGM is still admid negotiations with Jim Carrey, who will play Curly. They also hope to bring Benicio Del Toro on board as Moe.

I can see why they chose Jim Carrey, but Del Toro and Penn seem to be a cut above a slapstick comedy role. What about Jack Black or Mike Myers?

Here's a clip from "The Three Stooges," the vintage version:

100 Movies to See Before You Die

The Yahoo! Movies Editorial Staff recently compiled a list of the Top 100 movies you should see before you die. I think it's an interesting list, and agree that most of those that I've seen, are indeed classic movies. I was surprised by "Gone With the Wind," "Braveheart," "Dances With Wolves," and "Forrest Gump" not making it, though. What about "The Breakfast Club"? Another classic. I think it's hard to pick just 100, as tastes in movies are personal and one list is never going to satisfy everyone.

In total, I've personally seen half (49). They're listed below. See the full list here. So what do you think? What great movies are missing from the list?

12 Angry Men (1957)
Directed By: Sidney Lumet
Starring: Henry Fonda, Lee J. Cobb, E. G. Marshall
8 ½ (1963)
Directed By: Federico Fellini
Starring: Marcello Mastroianni, Anouk Aimee
All About Eve (1950)
Directed By: Joseph L. Mankiewicz
Starring: Bette Davis, Anne Baxter, George Sanders
Annie Hall (1977)
Directed By: Woody Allen
Starring: Woody Allen, Diane Keaton
Casablanca (1942)
Directed By: Michael Curtiz
Starring: Humphrey Bogart, Ingrid Bergman, Paul Henreid
Chinatown (1974)
Directed By: Roman Polanski
Starring: Jack Nicholson, Faye Dunaway, John Huston
Citizen Kane (1941)
Directed By: Orson Welles
Starring: Orson Welles, Joseph Cotten, Dorothy Comingore
Die Hard (1988)
Directed By: John McTiernan
Starring: Bruce Willis, Bonnie Bedelia, Alan Rickman
E.T. the Extra-Terrestrial (1982)
Directed By: Steven Spielberg
Starring: Dee Wallace Stone, Henry Thomas, Drew Barrymore
The Exorcist (1973)
Directed By: William Friedkin
Starring: Ellen Burstyn, Max von Sydow, Linda Blair,
Fast Times At Ridgemont High (1982)
Directed By: Amy Heckerling
Starring: Sean Penn, Jennifer Jason Leigh, Judge Reinhold,
The French Connection (1971)
Directed By: William Friedkin
Starring: Gene Hackman, Fernando Rey, Roy Scheider
The Godfather (1972)
Directed By: Francis Ford Coppola
Starring: Marlon Brando, Al Pacino, James Caan,
The Godfather, Part II (1974)
Directed By: Francis Ford Coppola
Starring: Al Pacino, Robert Duvall, Diane Keaton
Goldfinger (1964)
Directed By: Guy Hamilton
Starring: Sean Connery, Honor Blackman
Goodfellas (1990)
Directed By: Martin Scorsese
Starring: Robert De Niro, Ray Liotta, Joe Pesci
The Graduate (1967)
Directed By: Mike Nichols
Starring: Anne Bancroft, Dustin Hoffman, Katharine Ross,
Groundhog Day (1993)
Directed By: Harold Ramis
Starring: Bill Murray, Andie MacDowell, Chris Elliott
It Happened One Night (1934)
Directed By: Frank Capra
Starring: Clark Gable, Claudette Colbert
It's a Wonderful Life (1946)
Directed By: Frank Capra
Starring: James Stewart, Donna Reed, Lionel Barrymore
Jaws (1975)
Directed By: Steven Spielberg
Starring: Roy Scheider, Robert Shaw, Richard Dreyfuss
Why You Should See It
King Kong (1933)
Directed By: Merian C. Cooper, Ernest B. Shoedsack
Starring: Fay Wray, Robert Armstrong
Lawrence of Arabia (1962)
Directed By: David Lean
Starring: Peter O'Toole, Alec Guinness, Anthony Quinn
The Lord of the Rings (2001,2002,2003)
Directed By: Peter Jackson
Starring: Elijah Wood, Ian McKellen, Viggo Mortensen
Monty Python and the Holy Grail (1975)
Directed By: Terry Gilliam, Terry Jones
Starring: Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, Michael Palin
National Lampoon's Animal House (1978)
Directed By: John Landis
Starring: John Belushi, Tim Matheson
On the Waterfront (1954)
Directed By: Elia Kazan
Starring: Marlon Brando, Karl Malden, Lee J. Cobb
One Flew Over the Cuckoo's Nest (1975)
Directed By: Milos Forman
Starring: Jack Nicholson, Louise Fletcher, William Redfield
Princess Mononoke (1999)
Directed By: Hayao Miyazaki
Starring: Billy Crudup, Billy Bob Thornton, Minnie Driver
Psycho (1960)
Directed By: Alfred Hitchcock
Starring: Anthony Perkins, Janet Leigh
Pulp Fiction (1994)
Directed By: Quentin Tarantino
Starring: John Travolta, Samuel L. Jackson, Uma Thurman
Raiders of the Lost Ark (1981)
Directed By: Steven Spielberg
Starring: Harrison Ford, Karen Allen, Paul Freeman
Rear Window (1954)
Directed By: Alfred Hitchcock
Starring: James Stewart, Grace Kelly, Raymond Burr
Schindler's List (1993)
Directed By: Steven Spielberg
Starring: Liam Neeson, Ben Kingsley, Ralph Fiennes
The Shawshank Redemption (1994)
Directed By: Frank Darabont
Starring: Tim Robbins, Morgan Freeman
The Silence of the Lambs (1991)
Directed By: Jonathan Demme
Starring: Jodie Foster, Anthony Hopkins, Scott Glenn
Snow White and the Seven Dwarfs (1937)
Directed By: David Hand
Starring: Adriana Caselotti, Harry Stockwell
Some Like It Hot (1959)
Directed By: Billy Wilder
Starring: Marilyn Monroe, Tony Curtis, Jack Lemmon
The Sound of Music (1965)
Directed By: Robert Wise
Starring: Julie Andrews, Christopher Plummer
Star Wars (1977)
Directed By: George Lucas
Starring: Mark Hamill, Harrison Ford, Carrie Fisher
Terminator 2: Judgment Day (1991)
Directed By: James Cameron
Starring: Arnold Schwarzenegger, Linda Hamilton
The Third Man (1949)
Directed By: Carol Reed
Starring: Joseph Cotten, Alida Valli, Orson Welles
Titanic (1997)
Directed By: James Cameron
Starring: Leonardo DiCaprio, Kate Winslet
Why You Should See It
To Kill a Mockingbird (1962)
Directed By: Robert Mulligan
Starring: Gregory Peck, Mary Badham, Phillip Alford
Toy Story (1995)
Directed By: John Lasseter
Starring: Tom Hanks, Tim Allen, Don Rickles
The Usual Suspects (1995)
Directed By: Bryan Singer
Starring: Kevin Spacey, Gabriel Byrne
Vertigo (1958)
Directed By: Alfred Hitchcock
Starring: James Stewart, Kim Novak
When Harry Met Sally... (1989)
Directed By: Rob Reiner
Starring: Billy Crystal, Meg Ryan, Carrie Fisher
The Wizard of Oz (1939)
Directed By: Victor Fleming
Starring: Judy Garland, Frank Morgan, Ray Bolger

The Academy Awards Cross Borders

Either the Academy Awards seem to be going more international, or America has less top talent in Hollywood. Sean Penn, sans accent, was the only U.S. winner for one of the top five big awards. He was born in Burbank, California. The others?

Best Supporting Actor: Heath Ledger -- Born in Perth, Australia


Best Actress: Kate Winslet -- Born in Reading, England

Best Supporting Actress: Penelope Cruz -- Born in Madrid, Spain

Best Picture: Slumdog Millionaire -- British drama that is set and filmed in India

In addition, the Best Picture winner had seven other wins, which went to British filmmakers -- one of which was Danny Boyle, born in Radcliffe, England.

Japan won the Best Foreign Film category, as well as Best Animated Short Film for "La Maison en Petits Cubes." Kunio Kato, the Japanese filmmaker, had some difficulty forming his thoughts into English, offering many thank-yous and finally quoted the Styx song (which has the Japanese saying): "Domo arigato, Mr. Roboto."

Even the host himself, Mr. Hugh Jackman, was born in New South Wales, Australia.

81st Academy Award Winners

Hugh Jackman will be hosting tonight's 81st Academy Awards. In an interview with Barbara Walters, Jackman said there needs to be "more show, less business" at the Oscar award's ceremony. Hopefully he'll deliver an entertaining show. He's reported to sing in some capacity.

I've listed some of the award categories that most interest me. I'll update with the Oscar winner as they're announced:

Best Actor in a Leading Role

Richard JenkinsTHE VISITOR

Frank LangellaFROST/NIXON

Sean PennMILK

Brad PittTHE CURIOUS CASE OF BENJAMIN BUTTON

Mickey RourkeTHE WRESTLER

Best Supporting Actor

Josh BrolinMILK

Robert Downey Jr.TROPIC THUNDER

Philip Seymour HoffmanDOUBT

Heath LedgerTHE DARK KNIGHT

Michael ShannonREVOLUTIONARY ROAD

Best Actress in a Leading Role

Anne HathawayRACHEL GETTING MARRIED

Angelina JolieCHANGELING

Melissa LeoFROZEN RIVER

Meryl StreepDOUBT

Kate WinsletTHE READER

Best Supporting Actress

Amy AdamsDOUBT

Penélope CruzVICKY CRISTINA BARCELONA

Viola DavisDOUBT

Taraji P. HensonTHE CURIOUS CASE OF BENJAMIN BUTTON

Marisa TomeiTHE WRESTLER

Best Animated Feature Film

BOLT

KUNG FU PANDA

WALL-E

Best Director

THE CURIOUS CASE OF BENJAMIN BUTTON

FROST/NIXON

MILK

THE READER

SLUMDOG MILLIONAIRE

Best Score

THE CURIOUS CASE OF BENJAMIN BUTTON

DEFIANCE

MILK

SLUMDOG MILLIONAIRE

WALL-E

Best Song

"Down to Earth"WALL-E"

Jai Ho"SLUMDOG MILLIONAIRE"

O Saya"SLUMDOG MILLIONAIRE

Best Picture

THE CURIOUS CASE OF BENJAMIN BUTTON

FROST/NIXON

MILK

THE READER

SLUMDOG MILLIONAIRE

Best Adapted Screenplay

THE CURIOUS CASE OF BENJAMIN BUTTON

DOUBT

FROST/NIXON

THE READER

SLUMDOG MILLIONAIRE

Best Original Screenplay

FROZEN RIVER

HAPPY-GO-LUCKY

IN BRUGES

MILK

WALL-E

Chicago in the Movie Scene

Today's Chicago Tribune Magazine features Johnny Depp on the cover. Depp will be playing John Dillinger in the upcoming movie "Public Enemies."

I actually had the chance to almost walk right on the set while they were filming in Chicago back in July.

As I was walking on Wacker Drive, a security guard came up and said they were filming ahead and that we couldn't walk into the scene. Sure enough, a camera was positioned at the corner of the street and a pack of vintage cars drove across the bridge.

Individuals dressed in period costumes strolled on the sidewalk just ahead of me. It was a cool experience to witness the filming firsthand (although I unfortunately didn't get a glimpse of Johnny Depp or Christian Bale), but movies set and filmed in Chicago is certainly nothing new.

Some of the most notable movies filmed in Chicago (at least partly) include: "The Blues Brothers," "Ferris Bueller's Day Off," "High Fidelity," "Home Alone," "Risky Business," "Road to Perdition," "The Sting," "The Fugitive," "In the Heat of the Night," Ordinary People," and "Batman: The Dark Knight."

Ironically, the Best Picture Oscar winner not filmed at all in the Chicago area? The musical "Chicago."

Not only the films themselves, but many famous actors have connections to Chicago as well.

Richard Jenkins, currently up for Best Actor for his work in "The Visitor," was born and raised in suburban DeKalb. Harrison Ford, Terrence Howard, Virginia Madsen and John C. Reilly were also born in the city. While Joan Cusack was not (she was born in New York City), the Cusack family moved to suburban Evanston.

The youngest-ever Best Actress winner, Marlee Matlin (who is almost entirely deaf), was born in Morton Grove, Ill., and attended high school in nearby Arlington Heights.

Lastly, the ultimate Oscar connection to the city? The Oscar statuettes are made in Chicago.

The Academy Awards officially start tonight at 8:30 PST on ABC.