“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
~ James Gray
By Mike Wilmington Wilmington@moviecitynews.com
Wilmington on Movies: Tomorrowland
U. S.: Brad Bird, 2015
To Morrow (Fragment: A Railroad Lament).
I started on a journey, about a year ago,
To a little town called Morrow in the state of O-hio.
I’ve never been much of a traveler and I really didn’t know
That Morrow was the hardest place I’d ever tried to go.
So I went down to the station for my tickets and applied
For tips regarding Morrow, not expecting to be guyed.
Said I: “My friend, I’d like to go to Morrow, and return
“No later than tomorrow, for I haven’t time to burn.”
Says he to me. “Now let me see, if I have heard you right:
“You’d like to go to Morrow, and return tomorrow night.
“You should have gone to Morrow yesterday, and back today,
“For the train today to Morrow is a mile upon its way.”
Says I: “My friend, it seems to me you’re talking though your hat.
“There is a place called Morrow on the line, now tell me that.”
“There is,” said he, “But take from me a quiet little tip:
“The train today to Morrow is a fourteen hour trip…”
“The train today to Morrow leaves today at 8:35.
“At half-past-ten tomorrow is the time it should arrive
“So the train today to Morrow, if the schedule is right:
Today it goes to Morrow, and returns tomorrow night……”
Lew Sully, arranged (mostly) by Bob Gibson, courtesy of The Kingston Trio.
Watching Tomorrowland –a great big film hunk of love and optimism and confusion from the Walt Disney Studio — you sometimes get the idea that director-writer Brad Bird and company are trying not just to create a new movie but maybe to found a new movement; Dianetics for Disneyphiles, or Pessimists Anonymous or Worldmakers. (Just kidding.)
I liked the show, or at least parts of it. But there’s something undeniably preachy and predictable about Tomorrowland — even though it’s an incredibly well-made picture, bursting with the usual Disney high grade talent, loaded with laudable ambitions and extraordinary technique, and packed with correct politics, directorial flair and top-chop acting by some very engaging, very attractive players. (The movie’s ensemble is headed by George Clooney, the British comic Hugh Laurie and two terrific young actresses, Britt Robertson and Raffey Cassidy, both of whom are younger than Tina Fey or Amy Poehler, at their snarkiest, would have wished on Clooney). It‘s also loaded with good intentions: those good intentions, as Robin Wood once cracked, with which we understand the road to hell to be paved. I was rooting for the movie from the early scenes on, which is, of course, a sure sign that it wasn’t quite working.
Tomorrowland doesn’t lead you to Hell — you‘ll find that elsewhere in the multiplex, especially in the theatres showing found footage horror movies, car-crash-a-thons and some of the more bourgeois romantic comedies. But it may be stuck in a kind of Purgatory of sermons and special effects. Bird’s story, which he co-wrote with Damon Lindelof of “Lost,“ is set first in the ‘60s, and then 45 years or so later (just about now). It revolves around those two girls, Casey and Athena, and a one-time prodigy kid inventor, Frank Walker, played by an actor, Thomas Robinson, who would have fit right in on the original TV “Leave it to Beaver,“ and who grows up to be an old grouchy recluse (Clooney, who is strenuously unsmiley in the last half of the movie).
In our current decade, Frank is rousted out of his hermit’s lair — packed with inventions nobody ever bought and books nobody is reading any more — and persuaded (after some well-groomed but murderous robots disguised as cops burn his house down) to undertake a curious expedition: to find the storied Tomorrowland. His on-the-road companions: a bouncy, smart teenager named Casey Newton (Robertson) and a mysterious little girl with a beguiling British accent named Athena (Cassidy), who met Frank back in the 1964 World’s Fair, and hasn’t aged a minute since. Casey lives with her dad Eddie (Tim McGraw), a nice guy NASA employee who‘s been laid off. Athena hangs around, then and now, with people like Hugh Laurie as Governor Nix, which is either a nickname for Richard Nixon, or some apt moniker for the ultimate negativist.
We first meet Casey at her Spielbergishly suburban home. We first met Athena at the 1964 world’s fair, where Frank discovered Tomorrowland — introduced by the Sherman Brothers’ maddening little ditty “It’s a Small World.” Tomorrowland, of course is one of the four theme parks that were combined in the original Anaheim super-theme park Disneyland (it was also the name of a segment on the ‘50s TV show “Disneyland,” hosted by Walt). The others, in case you forgot, are Adventureland, Fantasyland and Frontierland — with a pristine early 1900s Main Street, complete with ice cream parlor and a silent movie house showing Charlie Chaplin movies (at least they did when I was there last), a street that was the all-American nostalgia entranceway into the four parks and the whole wonderful Magic Kingdom.
But isn’t a little strange to treat Tomorrowland as if it were El Dorado? These two Spielbergishly spunky kids, along with grumpy Frank/George, who needs a shave, have discovered a sort of alternate universe in the place, which boasts a spectacular variety of futuristic rides and hangouts and knockout visual effects, and which Casey can reach by pressing a little Tomorrow pin she‘s picked up — a talisman that then zips her in and out of the place and its world and the waving wheat-fields outside, without a ticket or a pass. (Let’s hope word on these pins doesn’t get around and bankrupt Disneyland.) The girls are eager to see more — just as we‘re relatively eager to see them see it.
So the three Amigos take off together, pursued by those evil robot kind-of-Matrix cops (so evil they actually kill real cops), bantering away (and nobody, of course, banters like Clooney), to ride, boldly ride, in search of Tomorrowland. They arrive just in time to save the world. (Did I forget the Spoiler Alert? Sorry.) As I said, I was rooting for them.
Tomorrowland the movie is a technical marvel, full of moving sidewalks and futuristic cityscapes and electronic super-gizmos and almost everything else you’d want to see if you were a prodigy kid inventor in 1964 who stumbled into a time warp, and met the Big Crush of your life, or at lest of your boyhood. It’s also probably one of the most optimistic and fervently good-hearted movies around right now, saturated with a faith in the future and a liberal idealism that come just this side of clanging you over the head and handing you a petition. Remember those flashing “Author’s Message” signs that budding screenwriter Woody Allen inserted into 1965’s What’s New, Pussycat?? A few of them would fit right into Tomorrowland, especially in its climactic “Hey Kids, Let’s Put on the Future!“ scene with Frank, Casey and the youngsters gathered around them who’ll make the new world.
Unabashed liberal George Clooney has taken a little heat in some reviews for stuff like this: for what some pundits choose to see as his malign ultra-liberal influence on the movie — as if Clooney were some kind of Johnny Appleseed of the Hollywood Left, or as if Bird hadn’t put out messages pretty much like this into his other pictures as well. It didn’t bother me, because my politics are somewhat the same as Clooney’s, and here as elsewhere he’s one of those effortlessly ingratiating actors whom you mostly don’t mind getting proselytized to by. Anyway, I doubt that he rewrote Bird’s and Lindelof’s script to give himself a sermon or two, and President Obama and Michelle don’t show up here, as they just did (via archival trickery) in Pitch Perfect 2. But it is (perfectly) true that Tomorrowland could use a few less speeches and good intentions and a few more snazzy inventions and spectacular set-pieces and many more memorable characters.
What sense does it make to spend all that money and energy on the setting for a movie, and expend so much less on imagining the people who live or hang out there? In the middle of the show, Keegan-Michael Key and Kathryn Hahn show up as Hugo and Ursula, the weirdo salesgeeks at an overflowing pop culture shop called Blast from the Past, and when the script almost immediately rubbed them out, and then 86’d some character actor cops as well, I felt cheated.
A lack of characters and unforgettable small roles is one of the movie’s big problems and one of the script‘s big holes. The writers seem to be spending all their energy on setting off the technological whizbangery of Tomorrowland, and relatively neglecting to imagine the fictional people who actually live there, or the people our three amigos will meet along the way — which is rather like basing a movie on the Taj Mahal or the Eiffel Tower (which makes a guest appearance here) and neglecting to populate them, or skimping on writing some more dialogue for the actors to say against those spectacular backdrops. As it is, even though there are hundreds of people in the ultimate Tomorrowland cast and crew list (the end-credits offer another sea of names and participants: enough, it almost seems, to swing a small gubernatorial election), they‘re mostly nameless walk-ons, or too quickly killed off, like hapless Hugo and unlucky Ursula.
Brad Bird became a star animation director (for The Iron Giant, Ratatouille and The Incredibles), before becoming a star live action director (with Tom Cruise’s last Mission Impossible), and he was so successful (financially and artistically) with all those shows, that maybe everybody figured this one was an unblockable slam dunk. But, despite all those magnificent effects and those visuals, and the small city of people employed to put it all together — or the fact that the film becomes such a passionate advocate of education. youthful invention and innovation, and the unleashing of dreamers and their dreams everywhere — Tomorrowland drags more, and is more obvious, and less delightful and just plain less entertaining than Bird’s other major outings. Not, I hasten to add, because of any shortcomings in Clooney and his two very gifted and mucho charming girl chums in the bantering, wisecrack, speechifying, or chemistry departments. They’re all just fine — although Clooney could use a shave. (Doesn’t Brad Pitt complain?)
To me, it seemed largely the fault of that old culprit and usual suspect these days, the script, which seemed to be in better than good hands, with both Brad Bird and “Lost‘s“ Lindelof, and may be better than a lot of what rolls down the chute these days, but still seems deficient dramatically and comedically. Perhaps everybody was lulled by anticipating those dynamite effects and visuals, and by figuring that the wondrous technology could dig them out of any hole that opened up under them. AUTHOR’S MESSAGE! AUTHORS MESSAGE! But you need people to fill up a theme park, and also, most of the time, to tell a good story in the movies. And, as a great man, dream-weaver and inventor named Disney (or his songwriters) once said, “It’s a small, small world.” END OF MESSAGE. END OF MESSAGE.