Trailing Tropes: When Angela Bassett Cries

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Trailing Tropes: When Angela Bassett Cries

I’ve been wanting to write about trailers a while now, but when I was sitting in the cinema recently, it again occurred to me how strongly trailers rely on certain tropes. It doesn’t mean that the movies they are advertising do things wrong because a trailer is never really as representative as we are supposed to believe. But what fascinates me is how trailers use certain images to promote their movies, how the reduction to a couple of images leads to images that have clear connotations audiences should respond to. I don’t know if this will become a recurring feature, but for now, let’s take a look at some trailers and the tropes they market besides their actual product.

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Behind These Castle Walls, Part I: Snow White and the Seven Dwarfs (1937)

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Behind These Castle Walls, Part I: Snow White and the Seven Dwarfs (1937)

Ever since I read J. Zornado’s revolutionary important book Inventing the Child, in which he examines children’s fiction and its underlying messages, I looked at books and movies in a different way. Among all the brilliant things this book achieves, what spoke to me in a special way was how he dissected Disney movies, specifically The Young Mermaid and The Lion King. Uncovering their themes of parent authority, gender politics and identity manipulation was a big revelation to me. And ever since then I wanted to look at Disney movies, which are so beloved and popular until today, and see if I could figure out which ideas they sell to kids. So, today I’m starting a new series in which I’ll chronologically go through every major animated Disney movie and try to analyze it closely. I’m not the first one to do this, but I hope I have something new to say anyway. I have seen most of them already in the past, but I will watch them again with different eyes now.

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This 40s Movie: Out of the Past (1947)

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This 40s Movie: Out of the Past (1947)

Out of the Past is considered to be a classic film noir, which doesn’t mean that much to me since I’m not a particular fan of this genre. It has been used for so long that it is hard to do anything new with it, but you can’t expect that from a movie from 1947 of course. You can expect the basic tropes of this genre, stereotypes and sometimes a surprise, if you’re lucky. Out of the Past doesn’t have that many surprises, but it’s a nice enough movie anyway. While the plot becomes rather convoluted in the second half, the movie is never really boring, well acted and has some nice directorial touches by Jacques Tourneur. But it’s also nothing special, really, one of those old movies that are fine to watch, but probably not too memorable in the long run.

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88 Minutes (2007)

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88 Minutes (2007)

(spoilers and some NSFW images)

88 Minutes is a terrible movie, even more terrible for using an interesting concept and not only ruining it, but not really using it at all. If a movie tries to attempt being real-time, it should at least tell the audience that and not fill the movie with scenes of car drives. I mean, screw all of that, the movie is not real-time, it’s just a very stupid, very boring and very cheap thriller that makes no sense whatsoever and baffles you in all of its (accordingly more than 88) minutes. The acting is horrible, even Al Pacino sleepwalks through it as the protagonist. The directing is as amateurish as possible, the script is laughable, so the movie fails on every level. What works is that it makes you laugh unintentionally, like when Al Pacino pays a taxi driver to give him his taxi, but lets the driver sit in the back all the time or when during a dialogue scene the poster of a local improv troupe is featured prominently. As a bad movie, it’s somewhat recommendable because it’s really a different kind of bad and it wastes its actors (poor Deborah Kara Unger, having one of the most pointless roles I have ever seen) spectacularly.

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North West Mounted Police (1940) [1940 Week]

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North West Mounted Police (1940) [1940 Week]

North West Mounted Police is a bad movie in many ways. It is a Cecil B. DeMille spectacle, which is what he was determined to do, but in this case the very concept of a spectacle for this story seems misguided. Using a rebellion of a minority group against the American government as a background is not a good idea, especially if it turns the rebels into caricatures and uses it to paint the North West Mounted Police, a group of horse-riding Canadian policemen, as heroes. Add in some intercultural romance, betrayal, honor and many stereotypes about natives and women and you get an overlong piece of pseudo-propaganda with overly bright colors and strange acting. It is a movie that has very problematic ethical standards and is not well-made. This is not a movie that needs to be remembered.

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This 50s Movie: Gun the Man Down (1956)

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This 50s Movie: Gun the Man Down (1956)

Gun the Man Down is an obscure 50s Western, which I only watched because I became fascinated by the idea of watching the debut movie of director Andrew V. McLaglen, from whom I haven’t really seen any other movie. Somehow it intrigued me to watch this “first movie” (although it might have actually been his second) and to watch a western. I didn’t expect to like it and it certainly nothing special, but it’s also not really bad. It has some interesting ideas for your run-of-the-mill western, even if the story is short on surprises. It’s a revenge story, bank robber left behind by his accomplices, seeking revenge. I thought when writing about my first western, I could about Native American clichés, but it seems this movie couldn’t afford more actors and locations than necessary. But it still has an interesting female character to talk about.

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The Room (2003)

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The Room (2003)

(spoilers ahead!)

The Room is the bad movie you wish for when you want to watch bad movies. I know I raved about I Know Who Killed Me as a great bad movie, but The Room is on a different level. It’s pretty infamous by now, so nothing I’m saying here is probably anything new, but the movie is just so awesome and weird, really unlike anything you’ve ever seen. It’s a bad movie I’d rewatch again anytime because it is really entertaining. But just for someone who doesn’t know the movie, I’m trying a plot summary here: Johnny (Tommy Wiseau, the writer/director/auteur) is in love with Lisa (Juliette Danielle), but she loves his friend Mark (Greg Sestero), who doesn’t really seem to love her but just can’t help himself sleeping with her. Add about half a dozen unresolved plotlines and you have a movie that makes no sense whatsoever. It plays mostly in one room, in which people at all times randomly enter and often leave again after 10-20 seconds. But actually, the less said, the better. If you haven’t seen this movie yet, go watch it now and come back to us trying to look at some of the thematic aspects of the movie.

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