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Movie Review:
Arts & Life
The Clarion | September 9,2005
‘Charlie and the Chocolate Factory’ a mediocre rendition
by Matt Rutherford
Arts & Life Editor
Charlie and the Chocolate Factory
Directed by Tim Burton
(Warner Brothers, 2005)
★ ★ ★
When Tim Burton announced he
would be directing his own rendition of
Roald Dahl’s acclaimed children’s book
Charlie and the Chocolate Factory, many
fans of the original Willy Wonka film (1971)
that stared Gene Wilder, were upset at hav
ing their movie “ruined” or “remade”.
Actually, the movie was not a remake
at all. Of course, similarities ran through
out the film (musical rants, the candy gar
den, even the boat ride), but Burton’s film
drew nearly its entire story from the leg
endary book. Even the Umpa-Lumpa songs
came directly from the pages of the dark
children’s story.
While Johnny Depp seemingly ap-
Album Review:
pears to be Burton’s godsend for nearly
every one of his films as of late, including
the upcoming Corpse Bride, his perfor
mance in this film was particularly disturb
ing.
Perhaps it was due to his artificial
youthful exuberance, or maybe it was just
his uncanny resemblance to the present
state of Michael Jackson, whichever the
case, this was by far not his best perfor
mance.
The movie’s effects on the other hand,
while mostly (and sometimes obviously)
blue screen, were fantastic. There was the
outside world, where Charlie and his im
poverished family lived in yet another one
of Burton’s crooked houses surrounded
by a vast sea of gray, snow covered streets.
And then there was the factory. There, the
colors were rampant and wild with candy
cane walls, mint grass, and purple gummy
boats.
But one of the biggest disappoint
ments in the overall effects, however, was
the Umpa-Lumpas! It just seemed so bor
ing to see the same man redone digitally, in
both male and female versions to produce
these creatures. But once again Danny
Elfman {The Simpsons, Sleepy Hollow)
came to Burton’s rescue with an interest
ing score. While I enjoyed the random
ness of the Umpa-Lumpa songs, I espe
cially liked the fact that each song repre
sented a different era in musical history.
This film is by all means intended for a
young audience and is family appropriate.
Charlie and the Chocolate Factory will
by no means satisfy any of the fans of the
older rendition of Dahl’s book, no matter
how visually stunning and star studded
the movie is. I’d give this film 3 stars, with
out a good recommendation.
The Clarion Review Rating Guide
★ ★ * Outstanding, well worth your time &!
*■ * *: Not top-notch, but still wortti a look
**: May do in a pinch
*: Don't tjother
Kung Fu Hustle’ Soundtrack a mastery of sound
k.. by village who have to come out of hpooinr,
by Matt Rutherford
Arts & Life Editor
Kung Fu Hustle Soundtrack
VariousArtists
(Varese Records, 2005)
★ ★ ★ ★
The soundtrack to the year’s most
unique foreign film, Kung-Fu Hustle, also
known as Gong Fu, is without a doubt an
amazing blend of traditional Chinese mu
sic combined with a twist of western infiu-
cnee.
Composer Stephen Chow knew exactly
what he wanted when he combined his
country’s musical masters with the national
orchestra. Besides, how can you hate a
soundtrack that’s made especially for a
choreographed axe murder dance? In his
follow up to 2001’s Shaolin Soccer, Chow
pays homage to the cheesiness of the
world of Kung-Fu flicks.
In a nut shell, the story behind
Kung-Fu Hustle is about a notorious axe
gang and the few warriors who live in a
near by village who have to come out of
their seclusion in order to protect what they
love most. What’s great about the
soundtrack is that each group has its own
theme. For example
the axe gang is rep
resented by track
number two: “Noth
ing Ventured, Noth
ing Gained”. This
tune is an infectious
combination of the
brassy roaring twen
ties and casino
lounge.
On the other
hand you have the
villagers, whose
theme is a traditional
Chinese piece that
has been orches
trated without losing its roots. Track num-
ers three and seventeen are without fail
the soundtrack’s best two pieces The
villager’s theme, which is entitled
I-isherman’s Song of the East China Sea”
IS so sweeping and majestic that before
you know it, its over and you’re nearly
begging for more.
Raymond Wong tends to fills the
gaps between the more spectacular pieces.
He has written and performed the tracks
that consist of a solo
stringed instrument.
His plucking is used to
depict the sinister
brotherly duo in the
movie that uses the
same instrument as a
weapon. “Blade of Q”
and “Midnight Assas
sins” are two of the
least memorable
tracks, but, like this
entire album, they will
eventually grow on
you and become part
of the bigger picture.
This is prob
ably the best foreign soundtrack I’ve heard
since Amelie. The emotion behind each
piece is so striking and completely over
done that you can’t help but be taken by
Chow’s mastery of sound. I’d give this
soundtrack a perfect score.