Monster House is a 2006 animated feature length film for a middle grade audience. The script was written by Dan Harmon and Rob Schrab. Harmon and Schrab had collaborated on Laser Fart previously, a film which I have not seen and will not be adding to my watch list. Monster House is already 12 years old, but the animation still looks pretty good. It was animated at a time when actors were just starting to be used as models, which is why this looks better than The Polar Express. The one thing significantly improved by modern processing power is hair. Inability to depict hair and skin is why Pixar decided to make their first animated film about toys. The hair on the characters of Monster House looks plastic, like you get on a 1980s Ken Doll, compared to what you see in, say, Brave, of 2012, in which hair is almost a character in its own right. (Animators have since gotten over their hair obsession, I think. Now hair is just hair!)
Screenwriter Harmon has been working in television since Monster House, notably on Rick and Morty. He also lists The Simpsons in his credits. Schrab has also been working in TV, most notably on The Sarah Silverman Program. Basically, these are youngish American comedy writers with a male sensibility.
To The Manor Born is a British romantic comedy series written by Peter Spence which aired from 1979 to 1981. The actors reunited for a Christmas special in 2007. The writer is also known for Rosemary & Thyme and Not The Nine O’Clock News. Spence is educated in politics and American studies, which come across in his one-liners — these English characters have a contempt for all things American and there is a stark division between the blue bloods and the Labour government. He married into the family that runs this estate, so I can’t imagine anyone better positioned to write from an outsider’s perspective about a small English community set around a parish than Peter Spence.
STORYWORLD OF TO THE MANOR BORN
Characters Who Stand In For Subcultures
Oftentimes when two characters clash in fiction, those individuals stand in for the clash between groups of people irl. This elevates an otherwise simple comedy or domestic drama. In Hud we have a clash between old values and new (1960s) values of the American South. In 2017 we saw a similar clash in Three Billboards Outside Ebbing, Missouri, in which certain characters exemplified racist, insular attitudes. Others struggle to deal with the new, kinder culture. Still others display progressive values. In To The Manor Born we have a very British clash between aristocracy and the nouveau riche — two very different kinds of rich, but both rich all the same, and therefore foreign to the vast majority of the audience.
My Summer Of Love is a 2004 film based on a novel by Helen Cross set in 1984. If you’ve seen Peter Jackson’s Heavenly Creatures (1994), My Summer Of Love bears similarities: A relationship of romantic infatuation between two teenage girls from very different backgrounds. My Summer Of Love puts the relationship between the girls to the forefront, making it a romance rather than a crime drama. This is a love story but it is a tragic one.
GIRLS AND FANTASY LIVES
Picture books and middle grade novels are full of boys with rich fantasy lives, in which the line between reality and fiction is blurred. But when it comes to young adult and adult fiction, what happens to all these dreamy boys? They disappear. Destructive, manipulative fantasies suddenly become a female characteristic.
At one point the girls enjoy a post-coital cigarette. This is such a Hollywood cliche that filmmakers themselves must be aware of what they’re doing. Here, the girls have themselves been influenced by what they’ve seen on the silver screen. Smoking in bed is what adults do, they have learned, and so they do it.
The girls’ whole summer is a construction of performed melodrama. There has always been handwringing about young women and the types of stories we let them read — a century ago it was thought that novels would rot their minds. Ten years ago it was Twilight, more recently it’s sick-lit, and concerns (justified or not, I’m not sure) that 13 Reasons Why encourages suicide as a legitimate and successful form of revenge. Mona’s background in fiction includes horror films. As evidence we see her mimic the voice of a movie devil. But what has influenced Tamsin? She says she loves Edith Piaf. We also see she has made up melodramatic things about Piaf’s life. (Edith Piaf did lead a rather tragic life but she didn’t murder anyone, and not with a fork.) Tamsin’s mother may or may not be an amateur actress but in any case Tamsin seems to worship (real) actors, and has no doubt seen a lot of plays and films. She has been exposed to Nietzsche, and encourages Mona to read him, but soon shows that she doesn’t really know anything more than his name.
Perhaps boys continue with their fantasies but those take a different form and are not seen as such. Tamsin’s father is having a series of affairs. Perhaps this should be compared to the sexual fantasies and longing of his teenage daughter. Continue reading “My Summer Of Love Film Study”
In Wallace and Gromit: A Matter Of Loaf Or Death, Wallace and his dog, Gromit, open a bakery and get tied up with a murder mystery. But, when Wallace falls in love Gromit is left to solve the case.
GENRE BLEND OF ‘A MATTER OF LOAF OR DEATH’
comedy, horror, romance >> cosy mystery
STORY WORLD OF ‘A MATTER OF LOAF OR DEATH’
The town’s milieu was inspired by thoughts of 1950s Wigan. It’s sort of like 1950s steampunk. Similar towns are seen in the live action Midsomer Murders series. It’s very English. As a consequence, Wallace comes out with very British idiomatic expressions pretty much every time he speaks. His life revolves around very English foods, especially cheese.