Edward Scissorhands Review
Edward Scissorhands is one of the most loved Tim Burton films. Johnny Depp as Scissorhands himself plays a lost, lonely, disenfranchised, childlike young man who is left as a partially completed experiment, with scissors in place of hands. "Edward Scissorhands certainly has its flaws, dwelling too long on Edward's talent for scissor work and leaving a number of characters too thinly sketched for comfort." Berry (2000).
The aesthetic of Edward Scissorhands is very reminiscent of German Expressionism, a style that director Tim Burton appears to be highly partial to, with it being used in other films such as Frankenwenie and Vincent. The subject matter of the film is also closely linked to the themes of Expressionism; with a mad professor character, an experiment or machine gone wrong and a distressed damsel. All of these tropes are clearly and cleanly present in the creation of Edward Scissorhands. The interior design for the film also carries many of the characteristics of Expressionist films. There are little to no straight lines with very strong, dark shadows and small intense areas of light (see Fig. 1). This creates suspense and tension that highly contrasts the lighter, more colourful areas of the garden and other spaces in public. The exterior spaces have a mix of time periods melded together to create a unique aesthetic (See Fig. 2). "Production designer Bo Welch has fashioned sets that look like a garish John Waters nightmare of Fifties suburbia with a Nineties twist." Rolling Stone (1990)
Fig. 1 Stairs (1990)
Fig. 2 Door (1990)
The appeal to the audience of the aesthetic and the main characterisation is clear, however many are disappointed with the intense amount of detail put into the first 2/3 of the film, but in the last section many emerge feeling let down. "Until then he's been a gentle, goofy soul, a quixotic outsider. Then Burton and his writer Caroline Thompson, go on autopilot and paste in a standard Hollywood ending." Ebert (1990). This lack of an idiosyncratic conclusion to the film wraps up quickly what could have been a much extended, more intriguing story if it were not for all the time lost to unnecessary details in the main body of the film. Audiences feel a strong connection to Edward, however that is definitely spoilt when a story book ending is in sight (see Fig. 3)
Overall the aesthetic and key characterisation is highly engaging and endearing to the audience, however these are ultimately let down by a poor narrative choice with a big jump and change in direction.
Bibliography
Berry, J (2000) Edward Scissorhands Review At: https://www.empireonline.com/movies/edward-scissorhands/review/ (Accessed on 23/12/17)
Ebert, R. (1990) Edward Scissorhands At: https://www.rogerebert.com/reviews/edward-scissorhands-1990 (Accessed on 23/12/17)
Rolling Stones (1990) Edward Scissorhands At: https://www.rollingstone.com/movies/reviews/edward-scissorhands-19901214 (Accessed on 23/12/17)
List of Illustrations
Figure 1. Stairs (1990) [Film capture] At: https://marinasfilmclass.files.wordpress.com/2014/08/edward-scissorhands-01.jpg (Accessed on 23/12/17)
Figure 2. Door (1990) [GIF] At: https://i0.wp.com/thehappihippi.com/wp-content/uploads/2016/06/door.gif (Accessed on 23/12/17)
Figure 3. The Kiss (1990) [Film Capture] At: https://s5.favim.com/orig/54/90s-couples-edward-scissorhands-johnny-depp-Favim.com-517938.jpg (Accessed on 23/12/17)
The aesthetic of Edward Scissorhands is very reminiscent of German Expressionism, a style that director Tim Burton appears to be highly partial to, with it being used in other films such as Frankenwenie and Vincent. The subject matter of the film is also closely linked to the themes of Expressionism; with a mad professor character, an experiment or machine gone wrong and a distressed damsel. All of these tropes are clearly and cleanly present in the creation of Edward Scissorhands. The interior design for the film also carries many of the characteristics of Expressionist films. There are little to no straight lines with very strong, dark shadows and small intense areas of light (see Fig. 1). This creates suspense and tension that highly contrasts the lighter, more colourful areas of the garden and other spaces in public. The exterior spaces have a mix of time periods melded together to create a unique aesthetic (See Fig. 2). "Production designer Bo Welch has fashioned sets that look like a garish John Waters nightmare of Fifties suburbia with a Nineties twist." Rolling Stone (1990)
The appeal to the audience of the aesthetic and the main characterisation is clear, however many are disappointed with the intense amount of detail put into the first 2/3 of the film, but in the last section many emerge feeling let down. "Until then he's been a gentle, goofy soul, a quixotic outsider. Then Burton and his writer Caroline Thompson, go on autopilot and paste in a standard Hollywood ending." Ebert (1990). This lack of an idiosyncratic conclusion to the film wraps up quickly what could have been a much extended, more intriguing story if it were not for all the time lost to unnecessary details in the main body of the film. Audiences feel a strong connection to Edward, however that is definitely spoilt when a story book ending is in sight (see Fig. 3)
Fig. 3 The Kiss (1990)
Overall the aesthetic and key characterisation is highly engaging and endearing to the audience, however these are ultimately let down by a poor narrative choice with a big jump and change in direction.
Bibliography
Berry, J (2000) Edward Scissorhands Review At: https://www.empireonline.com/movies/edward-scissorhands/review/ (Accessed on 23/12/17)
Ebert, R. (1990) Edward Scissorhands At: https://www.rogerebert.com/reviews/edward-scissorhands-1990 (Accessed on 23/12/17)
Rolling Stones (1990) Edward Scissorhands At: https://www.rollingstone.com/movies/reviews/edward-scissorhands-19901214 (Accessed on 23/12/17)
List of Illustrations
Figure 1. Stairs (1990) [Film capture] At: https://marinasfilmclass.files.wordpress.com/2014/08/edward-scissorhands-01.jpg (Accessed on 23/12/17)
Figure 2. Door (1990) [GIF] At: https://i0.wp.com/thehappihippi.com/wp-content/uploads/2016/06/door.gif (Accessed on 23/12/17)
Figure 3. The Kiss (1990) [Film Capture] At: https://s5.favim.com/orig/54/90s-couples-edward-scissorhands-johnny-depp-Favim.com-517938.jpg (Accessed on 23/12/17)
Hi Nelly!
ReplyDeleteA quick comment on making sure that your quotes support what you are actually saying; take your first paragraph, for example... you start by saying that this is one of Burton's most loved films, but your quote does not support this - in fact, its tone would suggest that it is a flawed film that might not be so well received.
Make sure that you italicise all the film names, as a way of making it clear that this is what they are (especially important when the film name is also that of a character... you can end up with some weird and wonderful sentences otherwise!)