In The Cinema Everyone Can Hear You Scream

Apparently the next big thing in the world of cinema is going to be 4D. A speculative truth (at best) that various cinema moguls would like to convince us of.

Essentially 4D is a fully immersive, interactive experience where your cinema seat is made to shake and veer during car chases, you get pummelled with air during onscreen whirlwinds, you get hosed down during rainstorms or deep sea dives and you get blasted with the odour of stale alcohol and garlic when the leading man / lady moves in close for a tongue sarnie.

To be honest, there’s nothing new about this gimmicky approach to movie watching – most kids’ entertainment / holiday resorts have some sort of 4D cinema these days where we willingly pay an exorbitant fee to allow our kids to be waterboarded whilst watching The Smurfs because it stops them whinging on about wanting an ice cream for all of 20 minutes. But family holiday resorts is where 4D should stay in my opinion.

There is nothing cinematically immersive about having your seat shaken so hard you end up wearing the popcorn of the person sitting next to you or hearing the neurotics in the front row squeal every time a hidden air cylinder blows a couple of bars of pressurized cold air up their trouser leg. If anything this totally removes you from the film; it shatters the pleasurable suspension of belief that you have lapsed into in order to enjoy the movie and places you undeniably back into a darkened room with a bunch of people who will immediately become your sworn enemy should the fire alarm suddenly go off and you find your way to the exit blocked.

Books don’t need 4D effects. I didn’t need the smell of wet dog to assail me when reading The Famous Five or to hear the jiggling of female flesh when reading Game Of Thrones. And I imagine I would not need to have my hands manacled and tied behind my back to get the full effect of 50 Shades Of Grey. Though you might need to do that and threaten the lives of my children in order to get me to read it in the first place. Such artificial devices would break the spell that reading a book – submitting yourself to an imaginary world – weaves. It is the same with cinema. The only senses that need to be catered for are sound and vision. You can never fully recreate the entire gamut of physical sensation that the characters onscreen are being subjected to as part of the plot – so offering the audience piecemeal approximate sensations is not going to add anything to the movie at all. If anything it will detract.

And to be honest if you really need your seat to be shaken for you during a moment of cinematic jeopardy in order to feel the correct emotional response then you plainly have major empathy problems and cinema is not for you anyway.

Indeed, anything that involves being around lots of people or dealing with any kind of quantifiable human experience is not for you - you’d be much better off getting your kicks in a vacuum where nobody at all will be able to hear you scream and I can watch the end of the effing film in peace.

The Black and White Minstrel Show

The wife and I watched Snow White And The Huntsman over the weekend… but this isn’t going to be a film review.

I’m writing because I was bugged by the dwarves.

Initially I was impressed by them. Amused. 7 dwarves running around offering various scatological jokes. As Hollywood dwarf effects go these celluloid dwarves did the business. I’d even go as far as to say that they out-dwarved Peter Jackson’s dwarves in Lord of the Rings and, as dwarf benchmarking goes, that’s setting the dwarf bar pretty darn high (for a dwarf).

Most amusing of all, these dwarves were played by some of the UK’s biggest and finest acting names: Ray Winstone, Bob Hoskins and Ian McShane to name but 3.

In short (ahem), as with Peter Jackson’s Gimli [Son of Gloin], these dwarves were all played by non-dwarf actors of high acting stature. Dwarfdom was temporarily bestowed upon them by the CGI gods of whatever studio produced the movie and Warwick Davis didn’t even receive a text let alone a telephone call*.

And that’s my problem with it.

Don’t get me wrong, our Ray and our Bob made excellent dwarves. There was comedic value in seeing their heads on dwarf’s shoulders. But I couldn’t help thinking: what about all those dwarf actors out there? Lord knows some of them are superb actors (Peter Dinklage springs readily to mind) and are wasted as it is, being typecast merely as dwarves in productions that just happen to need a dwarf as opposed to being accepted as fine actors who just happen to be dwarves in real life. But if they now can’t even get work as “dwarves” in fairy-tale and fantasy films what hope have they got to get work at all?

It’s finally happening: computers are putting people out of work.

OK.

I realize I’m being a bit tongue-in-cheek about this but there is a serious point to be made here. Imagine if, for example, white actors were being blacked up via CGI and were then taking roles that legitimately should have gone to black actors… Imagine the outcry! Imagine the uproar! Or what about if male actors were being CGI'd into women and taking all the leading actress roles? I think Helen Mirren might drop a few F bombs at that turn of events. And quite rightly so.

So why is it OK to do it with dwarfs? Because they’re funny? Because their entire movie raison d'etre is merely to provide light relief and a bit of carnivaleqsue exotique?

Anyone who’s seen Peter Dinklage’s performances in Game Of Thrones knows how ultimately short-sighted and short-change-giving that view now is.

It makes intellectual pigmies of us all.

And, at the end of the day, aren’t we all supposed to be a bit bigger than that?

* I'm quite willing to accept that Warwick Davis and Peter Dinklage were both approached to appear in the film but refused, perhaps feeling that the role was beneath them.

Special Delivery

Due to my little boy’s insistence I happened to catch an episode of Postman Pat the other day. And you know what it’s like; when you haven’t seen something for a long time and then you are unexpectedly re-familiarized with it you suddenly find yourself noticing oddities, making connections where you never saw them before, seeing evidence of a huge and dark conspiracy waving its huge naked bottom before your face.

Something is not right in the state of Greendale.

The children first aroused my suspicions. There’s a high percentage of ginger hairedness in Greendale which is difficult to reconcile when there is only one adult in Greendale who blatantly carries the ginger gene: Postman Pat. He is the only Alpha Male ginge in the entire area.

And this begs the question: just what kind of package is Pat stuffing through the letterboxes of all the ladies in the town? Is he siring a whole generation of little posties while he does his rounds? To paraphrase the theme song: Post-man, Postman Pat; we can guess what’s in his sack.

But it doesn’t end there. Or rather it doesn’t begin there. Because this wild sowing of the red haired seed plainly isn’t limited to the Greendale youth. Check out some of the older generation too. Mrs Goggins for example. Such an innocent grey haired old lady. But she’s obviously on intimate terms with Pat. Just a family friend you might say. But look again. If you imagine her hair as once being red she is suddenly a dead ringer for Pat himself. Their faces are virtually interchangeable. Now, she’s either Pat’s secret mother, his older sister or his prematurely aged daughter.

Either way the gene pool in Greendale is tighter than Jimmy Carr’s accountant’s wallet.

And there’s very little new blood that comes into the town. Sure, Ajay might drive that train in and out of the station all day long but there’s never anybody on it. No one ever gets off at Greendale. There’s just the locals. The same faces, day in, day out. And all those ginger haired kids who all have Postman Pat’s nose.

I’m telling you, Greendale is like Craster’s Keep in Game Of Thrones… with Postman Pat himself being the only single dominant male allowed to breed. A couple more series down the line and Greendale will start to see genetic defects manifesting among the populace – elephantitis of the limbs, mental disorders, a rise in Greendale suicide rates (especially when the kids put two and two together and realize they all have the same father as their own parents).

I may have to ban my boy from watching the programme way before then. We’ll certainly have to bail out before the riots start and the inevitable highly sensationalized tabloid news coverage.

I really don’t think this type of thing should be allowed on the BBC.

Thank God for Bob The Builder… He only has intimate relations with his cement mixer.