Die Another Day (The Farce is Strong With this One)

Having watched half of Die Another Day, I now know why 1) I’ve been so resistant to seeing it and 2) why it is considered such weak entry into the Bond franchise.  I will be honest and say that I haven’t completed it as of yet (I’m about half way through), but even halfway is enough to start to figure out where it went wrong.

Story
To say that the story doesn’t make any sense would be disingenuous because there is sense to be had if you really take the time to follow the convoluted logic of the story, but none of the story scenes really resonate.  There is a tenuous tie through out the first half of the movie of uncovering the identity of spy/source who gave up Bond’s identity and helped to “burn” him (in spy parlance).  Yet, Bond goes from scene to scene without the audience clearly knowing what is driving him.  For instance, a short time after escaping from what we assume is a MI-6 recovery room after being tortured for 14 months in captivity, James is back to his normal “antics” with Jinx.  He is supposed to be consumed with a desire for revenge on the unknown “person” who set him up and a desire to clear his name, but he is back to his old “self” and is as right as rain, even back to the clever quips and ridiculous sword fight that would have (at the very least) sent members of the supposed fencing club running for their phones to call the police or running for their lives..

Too Much Farce
Which brings me to another point.  In DaD, there’s just simply too much farce to take seriously.  In one scene, Bond strolls into a ritzy and glamorous hotel (5 star) in his pajamas completely unshaven.  Now, let’s be real, even the local McDonalds has a no shirt, no shoes, no service policy.  If you or I tried to do what Bond did in real life, we would be turned away.  If we insisted, the police would be called.  Yet none of this happens in this movie.  Bond turns heads, but it is meant to be humorous/funny, but the writers forgot that humor doesn’t come from ignoring the way things work in reality, but highlighting them and pointing out the absurdity.  Guardians of the Galaxy‘s humor works because Rocket the Raccoon knows he is a Raccoon and comments on the fact (& takes umbrage when others belittle him for his origins).  Groot’s humor works because the audience only hears “I am Groot,” but we know based on the others’ responses that he is expressing himself in some manner that we are not privy to and that’s funny.  And so on with each of the characters.  DaD, on the other hand, expects us to laugh when they break the rules of how the world really works, when in fact, they are calling attention to the fact that this is unreal, that this is a “movie.”

Changing Tastes in Realism
M: The world changed while you were away.
B: I didn’t.
This is exchange was meant to emphasize Bond’s dedication to the mission, but what it really did was emphasize how Bond refused to change to be relevant to the change in audience tastes and expectations.  While Goldeneye still maintained much of the Bond tropes, it was actually a “forward-looking” Bond movie that was more realistic in a fun way than the dour realism of the Bond movies under Timothy Dalton’s reign.  Obviously, Ge’s realism was nothing compared to the gritty realism Casino Royal and Skyfall under Daniel Craig’s stewardship, but at the time, and for its time, Ge was fairly well received as a return to form for the Bond franchise.  DaD, so far at least, undermines this.  Yes, I know I like Roger Moore’s Bond and those Bond movies are often as silly as this one, but in the mid to late 70s and very early 80s, you could still get away with that.  Movies like Smokey and the Bandit, Cannonball Run, Silver Streak and even as late as Superman III with Richard Pryor were a lot of what the Roger Moore Bond movies were taping into with their campiness.  However, with the introduction of the Bourne movies with Matt Damon, the world’s taste in spy movies changed, and DaD didn’t change with them.  Audiences craved a more realistic depiction of the clandestine spy hero, but DaD regressed at the very time it should have been more like its more realistic sibling, Ge.

So, I’m going to wrap this up for this week.  If all goes well, I will either finish this up piecemeal over the coming week while I wait for my phone to be repaired or I will finish it next weekend, but unless something major changes, this one is very much neck and neck with the George Lazenby Bond movie for the one I currently dislike the most.  I will, however, reserve judgment until I finish it completely.

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Whale Song Revision

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MTSU Writing Center, Image Source: Tucolla.Wordpress.com

Another short (and late) blog post.  I went to the writing center yesterday as I mentioned in yesterday’s blog post entry and it was EXTREMELY helpful.  I had a short-story entitled, Whale Song that I’d sent out for a while before becoming frustrated by the rejections.  Specifically, when markets gave feedback on the story, they mentioned that the protagonist felt very “high-handed” and didn’t come across as sympathetic.

During the session, I mentioned this and brainstormed ways to combat this impression while keeping the core of the story intact.  With the help of my consultant, I was able to think of ways to both change the character as well as the structure so as to better tell the story that I wanted.

I will post an Author’s Note here when the revisions are complete.  There is an anthology that I’m hoping to submit the story to and its deadline is Nov. 1, so (in addition to the graphic novel and the rough draft of the short story I’m trying to create), I will be revising the story with this deadline in mind.  I keep you posted on my progress.

Dark Tower Redux

 

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You know, I’m almost sorry that I posted that I was conflicted about the failure of the Dark Tower movie to connect with fans.  I mean, this very blog takes its name from a line that Jake speaks in the first book (paraphrasing): “Go then, Gunslinger.  There are Other Worlds Beside this one).  My point being simply that Stephen King DID NOT invent the Dark Tower or the mythos that has grown up around it.  His story is but ONE of MANY out there–yes, it is the most popular, but it is NOT the only story that has been told or will be told about the Dark Tower.  He doesn’t own the Tower anymore than J.K. Rowling owns “Magic.”

However, some really ugly arguments and memes have sprung up around the failure of the movie and just want to take a moment to address some of the most problematic ones.

SCRIPT
So this is where most of the critics and fans have expressed most of their disappointment.  The movie is only approx. 90 minutes long, but tries to infuse 7-8 books worth of material (from my understanding–haven’t seen the movie yet) into this (very) short time-frame.  However, the element that really concerns is the fact the movie writers are essentially “work-for-hire” contractors and considered the lowest on the totem pole for the creative endeavor of the movie.  This is where the problem lies–a movie is a creative endeavor, true, and you need all parts to work, but the script (the story) is the most important part.  Without a solid script, even the best actors and directors are going to struggle.  Yet, writers of screenplays get no version of royalties if the movie does really well nor is their input sought (usually) for rewrites as in many cases they are replaced with other writers and movies become written essentially by committee.  Another thing that hurts writers is the fact that it is a closed system that privileges only a few.  Even in today’s internet connected world, you still have to move to Hollywood if you really want a serious chance at writing a screenplay–how is this even still a requirement in 2017?  If there’s an awesome screenwriter in Wisconsin, the internet is MORE than robust enough to allow that writer to write wherever works for them.

IDRIS ELBA AS ROLAND
This one is the most troubling.  Yes, King based Roland on the “gunslinger” archetype made popular by actors like Clint Eastwood and Yul Brynner.  However, nothing precludes Roland from being portrayed by an actor of another race, even though King’s description may have indicated/favored another race.  There is a tendency on the Internet today to label a person, or group just to be able to belittle said person or group.  Everyone wants a winner, or wants to be associated with a winner.  However, in a capitalistic structure such as the American movie industry there HAVE be winners and losers–there’s no way around it.  You can do things to help swing the pendulum in either direction, but there are no guarantees in a creative endeavor.  If it doesn’t “win,” then there’s this need to find a scapegoat and the Internet is currently on this kick where a diverse person/group gets the blame irregardless of whether or not its fair (I direct your attention to the 2016 Ghostbusters movie as prime example of this).

SONY
Speaking of Sony, I should probably note that Sony also has taken blame in this from many circles.  Sony, as a huge faceless conglomerate, tends to get a lot of blame for things that are beyond their control.  We (probably wrongly) think of the director as the most important component of a movie (I would argue it is probably an equal weight between writer, director, and movie talent), but I haven’t seen or heard anyone criticizing the director, but the studio.

We all hope for our favorite properties to “hit it out of the park” (a la The Lord of the Rings), but at the end of the day–is it the studio that failed to deliever on the story you wanted or was it the script?  Which of the two is more intricately tied to “story” and “story” formation, ideation, and creation?  For me, opening up the system and allowing it to be based on merit (good writers) and not location (living in Hollywood) or more importantly, networking (good a “pitching” a story instead of good at “writing” the story) would be a far more equitable system that might result in a rise in quality in the stories being told, and as a result, increased satisfaction from fans who just want their stories “done right.”