Choi Frankenweenie

Tim Burton’s 2012 version of Frankenweenie is quite unlike the original 1984 version of the film as it utilizes stop motion animation through the entire movie. Whether someone prefers live actors to stop motion animation is solely a matter of preference, but using stop motion animation to create a movie such as Frankenweenie definitely has its advantages in many different aspects.

Some might argue that using live actors would have been a better choice than using stop motion animation, as using live actors are more realistic. However, I believe Burton has made the right choice by choosing to utilize stop motion animation in his 2012 version Frankenweenie as stop motion animation grants more freedom than live actors in terms of visual and emotional expression.

Let’s take Sparky for example. Since Sparky is one of the key “characters” in the movie, it is crucial that the audience understands Sparky’s inner feeling and its emotional connection with Victor, its owner. This can be a tricky task, as facial expression, the main medium for delivery of emotion, is chiefly a human trait that a living dog doesn’t have. Sparky in 1984 version of Frankenweenie certainly doesn’t have any facial expression, and therefore it is hard for the audience to decipher Sparky’s inner feelings. The 2012 version of Frankenweenie, however, easily tackles this problem, as stop motion animation successfully personifies Sparky through use of facial expression. As a result, the modern version of Sparky effectively communicates various emotions such as happiness, sadness, confusion and loneliness, and we see a direct, two way emotional communication between the Victor and Sparky. This not only allows the audience to relate to their friendship to a much deeper level, but also adds a new dimension of emotional depth that adds to the dramatic aspect of the film.

Furthermore, stop motion animation allows a much more detailed characterization of the characters in the movie, which allowed Burton to blow more style and color into each character’s personality. Mr. Rzykruski is an excellent example of successful characterization that wouldn’t have been possible if it wasn’t for stop motion animation. Mr. Rzykruski, with its gothic energy and disproportionate head-to-body ratio, is a highly caricaturized figure that creates an unmistakable imprint in the audience’s mind. His highly stylistic visual characteristics also justify his cynical, dark, yet strangely likable personality. 1984 version of Mr. Rzykruski, in my opinion, is not nearly as memorable as the newer version of himself, as stop motion animation allowed the creation of such a visually and psychologically striking character. Other characters such as Edgar, Toshiaki and Nassor also are very visually memorable as they have distinct, exaggerated physical traits made possible through the use of stop motion animation.

By far the most interesting character in this film.

Stop motion animation also is an effective tool of justifying highly unrealistic aspects of the movie. For example, no one would question the validity of the absurd character Weird Girl, the turtle Godzilla, or the twisted Sea Monkey, as exaggeration of reality is a key aspect of any animation.

Choi Sweeney Todd

There has been numerous version of Sweeney Todd, none of which are identical to others. Likewise, Tim Burton’s Sweeney Todd, while maintaining the similar central plot as the theatrical version of Sweeeny Todd, is also quite different as it is thematically less far-reaching than on-stage version of the same story. However, no matter the version of the story, they all send a coherent message about cannibalism, urbanization and industrialism.

Meat Pie... Delicious or not?

Before investigating into those themes, it is best to first look at how Tim Burton justifies Sweeney’s heinous act of murder. Burton presents Sweeney as a victim of corrupt legal system, whose wife and daughter have been abducted by a corrupt official. Presenting that point of view of the character provides room for the audience to sympathize and empathize with such morally unsettling character.

Despite slight modification in Sweeney’s history, Burton didn’t lose hold of the themes of cannibalism and industrialism, effectively drawing on several issues that come with urbanization and industrialization. One of the very important issues addressed in the movie is social inequality, which can be seen at several different points of the movie. Right off the bat, Sweeney himself is a victim of social inequality, as Judge Turpin has taken Sweeney’s family away from him through abuse of his power. This idea of social inequality is further enforced through Burton’s use of mise-en-scene. Mrs. Lovett’s house is located on a dark and filthy alley, with almost colorless, roach-infested interior, which creates stark contrast with Judge Turpin’s pristine, spacious, well-furnished house. This visual contrast of the two households, though subtle, effectively communicates the theme of social and monetary inequality.

The idea of industrialization is further enforced by the use of cannibalism. In different versions of Sweeney Todd, Sweeney explicitly imposes the grotesque parallel between the nature of industrialization and cannibalism: “The history of the world/ Is who gets eaten and who gets to eat.” This line not only is a strong reference to the social inequality, but also is a criticism of disproportionately competitive nature of capitalistic industry, where people constantly have to step on others’ foot to climb the social hierarchical ladder. This concept of symbolic cannibalism is later expanded into more literal sense of cannibalism, as the lower class people literally start feeding off the people above the social ladder, which introduces a twisted, grotesque sense of vengeance and justice.

Choi Big Fish

Contrary to many people’s beliefs, our lives aren’t lived alone, and the people we make personal connections with very often become an indispensable part of our lives. Edward is a person who understands that his life is part of something bigger, and he is thoroughly aware of the importance of his friends as active components of who he is and what his life is like. Understanding that the concept of ‘others’ is of paramount significance in his life, Edward naturally is accepting towards other people, and takes them for who they are, as everyone is special in their very own unique way.

Travelling with a giant would be quite the adventure

Edward’s unassuming and open-minded quality becomes readily apparent on his encounter with the witch. While Edward’s companions cowered behind fences, Edward overcame his fear and approached the witch. When witch opens the door, Edward’s expression tells us that he is scared, but he suppresses his emotion and politely greets the witch. A normal kid would have run away in fear, but Edward treated witch as he would have treated any other person. Outsiders very often are hostile against others because others are hostile against him, but when greeted as a “normal person”, as Edward has greeted the witch, it is highly likely that they are going to open themselves up towards a person. Such is the magic that Edward possesses, and such magic attracts extraordinary, often neglected individuals to his side.

Edward’s magic comes into play once again when he confronts the giant. Edward is scared just as much by the giant as he was by the witch, but again, he remains truthfully himself towards the giant, a total outcast and a stranger. This in return allows the giant to be himself towards Edward, instantly creating a deep personal connection between the two.

Outcasts and outsiders in fact are just normal people who are in desperate need for love and casual social communication. Edward’s special ability is to provide what they need by not doing anything special, but by simply treating them with a genuine heart and a truthful attitude.

Choi Sleepy Hollow

While both Irving and Burton’s versions of Sleepy Hollow share the same title and characters, the true content and message underneath each version are quite different. Irving’s version of the story is focused more on the main character Ichabod Crane and is delivered with a light, or neutral tone, while Burton’s version of Sleepy Hollow centered on the supernatural events related to the Headless Horseman, delivered with much more somberness.

Horseman rocking the horse.

Irving’s version of Sleepy Hollow is conveyed in quite an indifferent tone. Although the village of Sleepy Hollow is depicted as an area with mild supernatural qualities, it still isn’t haunted, and is just like any other villages of that time for the most part. They have abundant supply of crops and cattle, people are rather welcoming compared to Burton’s villagers, and there is no irrational fear about the apparitions and other supernatural beings amongst the people. Irving’s Sleepy Hollow simply tells the story of Ichabod Crane’s stay in Sleepy Hollow, without going much in detail about ghosts and spirits. Burton’s version of Sleepy Hollow, on the other hand, is more of a horror story, and puts so great of an emphasis on the headless horseman that the entire story revolves around it. Burton’s version of Irving’s story differs in many ways, but the differences between the two versions are the atmosphere and setting in which the tale is told in. The movie Sleepy Hollow fully utilizes low-key lighting to generate an eerie, unsettling atmosphere than puts audience on the edge. The sky is always cloudy and dark, and the air is filled with blinding fog, and there is barely any natural lighting. In addition, the story takes place in winter unlike Irving’s version of story. The characteristics of a winter, such as barren fields and exposed tree branches adds to the eeriness of the story visually. The dynamic between Crane and the villagers are also quite different. While Irving’s Crane is well received by a number of villagers, Burton’s Crane doesn’t seem to be too welcomed at Sleepy Hollow. Such fundamental differences in the setting of story turned a regular tale to a powerful horror story

Choi Planet fo the Apes

Tim Burton’s Planet of the Apes touches upon sensitive topics such as civil rights, slavery, gender equality and primitivism, the same predicaments we have been through, or are going through even until this day. These conflicts and dualities are used in the film not only to highlight the problems that are underlying in modern day society, but also to develop characters by showing how they react when faced with obstacles imposed by such conflicts.

The female ape Ari is a perfect example of a character developed through the dualities of this movie, as she is the only one ape out of her entire tribe that truly cares about human beings. She supports civil liberties over slavery, and believes in interspecific equality rather than ape domination. The one scene that best demonstrates Ari’s qualities is the scene where she helps humans sneak pass behind the ape soldiers. Ari didn’t only believe in what is right and just, but supported her beliefs through action, showing that she’s not only just and civilized but also courageous and daring. Ari’s character is developed throughout the story, and more of her admirable qualities such as empathy and motherly strength are revealed.

Leo seems weak and helpless

Leo Davidson is another character whose qualities are exposed with the progression of the story. Starting out as a captive prisoner / slave of the apes, Leo seemed helpless and powerless. However, he does not conform to the human-ape inequality, and persistently puts on a fight against the apes, leading and empowering the primitive human beings residing on the planet, emerging as a hero amongst them. His heroic qualities are best shown when he activates CALIMA’s engine to wipe out the ape soldiers. In this scene, Leo demonstrates shrewd intelligence, fearlessness and bravery, which are traits that are developed throughout the movie. Outside this scene, he is also depicted as a character with charismatic leadership and a genuine good heart, as he saves Ari, an ape, by taking her across the river. Leo saving Ari seems like an odd move as he is in conflict with her kind, but it shows Leo’s undiscriminating righteousness and affection for weak individuals.