Missed Masterpieces

Missed Masterpiece #2 – Scott Pilgrim vs the World

It’s still one of the most puzzling situations in cinema as to why Scott Pilgrim vs the World flopped so badly at the box-office.

Don’t get me wrong, I am a HUGE fan of Edgar Wright, and SPVTW is one of my favourite films of 2010. It’s like you hit play before then being gloriously crushed by a retro 80s arcade game, which is a surprisingly joyous feeling. However, whenever the film crops up into conversation people’s response is usually either ‘Scott What vs the Who?’ or ‘Oh yeah, I didn’t really fancy that.’ Why not?

On the face of it, it would appear that it is a sure-fire setup for a modestly successful film:

• Adaptation of a popular graphic novel series? Check.
• Young, trendy, successful stars (Michael Cera, Mary Eilizabeth Winstead, et al) combined with recognisable established actors from Hollywood (Brandon Routh, post Superman Returns and Chris Evans pre Cap’n America days) along with notable names from the Indie circuit in Jason Schwartzman? Check.
• Budding, British director with a string of hugely successful, home-grown comedy films attempting his first whack at a Hollywood? Check.
• Cool soundtrack including trendy bands like The Ting Tings, The Prodigy, Beck and of course The Sex Bob-ombs? Check.
• Respectable Hollywood budget (estimated at a minimum of $60 million)? Check.

All this would lead to the assumption that Scott Pilgrim vs the World would go on to be a critical and commercial success making stars of its leading duo and launch the director into the Hollywood big time.

Tragically, it didn’t.

Whilst it was generally a critical hit, with the majority of critics praising its surreal but nostalgic approach as well as the performances of the leads, it went on to gross a mere $31 million at the cinemas (pushed up to $47 million with DVD sales), and when you compare that with Toy Story 3, the highest grossing film of 2010 (over $1 billion), it is a pitiful amount.

So why did the film perform so badly at the box-office? The audience didn’t get it? People dislike Michael Cera? Bigger films released at the same time (The Expendables, Despicable Me)? Perhaps all of the above had their impact, but for me it is simple. It is too ‘geeky’ for mainstream cinema audiences.

The film is essentially a love letter to 80s/90s video games, and if these weren’t your cuppa, neither will the film. Some of the references are about as subtle as a girl with blue hair wielding a massive sledgehammer, notably the ‘getting a life’ scene, the coins after defeating the evil exes, the Pac-man anecdote and Sex Bob-omb themselves.

But it’s the inconspicuous references too that add a bonus level of geek to the film. The ring collection sound when Scott receives a sudden brainwave – a loving homage to Sonic the Hedgehog, the desert scene is a nudge-nudge, wink-wink to the ending of Final Fantasy VIII and even the one of the stunt doubles used in the fighting scene with Lucas Lee is none other than Reuben Langdon whom I’m sure you all know as the voice of Ken in Street Fighter IV. Duh!

It really is a damn shame that this had to happen to such an original, unique and often hilarious film, and unfortunately those involved have suffered arguably from the films flimsy commercial success. Cera hasn’t had a major leading role since, and we have only had glimpses of Winstead in Hollywood films (possible personal preference). Edgar Wright has returned to Britain with the final instalment of his Cornetto trilogy with The World’s End but there has yet to be any indication of an imminent return to Hollywood anytime soon. He was scheduled to direct the upcoming Marvel film Ant-Man, however he left the project due to creative differences.

It is not all doom and gloom however. Whilst the film performed dreadfully during its initial cinema release, it performed spectacularly in terms of DVD and Bluray sales, becoming the top selling DVD upon its initial release, gaining somewhat of a cult following amongst its fans.

For this film to perform so badly at the box office, it begs the question is there no room left for originality, imagination and creativity left in Hollywood? Or are producers too reliant on the tried and tested methods of releasing a box office blockbuster guaranteed to rake in millions, perhaps even, billions of dollars?

June 2013 - The Hunchback of Notre Dame

The Hunchback of Notre Dame

Release: 1996

Director: Gary Trousdale, Kirk Wise

Starring: Tom Hulce, Demi Moore, Tony Jay, Kevin Kline.

The Hunchback of Notre Dame is hardly considered one of the classics from the enormous Disney back catalogue. It's release in 1996 resulted in moderate commercial success for Disney going on to gross over $300 million worldwide though in comparison to The Lion King, released two years earlier, grossing close to $1 billion, this was an underwhelming box-office return, along with generally positive reviews however, regardless of this, it seems to have become a 'forgotten classic.' It was released a time where Disney began exprimenting with 3D animation, so perhaps audiences were a little more demanding and longed for the more ground-breaking visual spectacle they were becoming more familar with (the film's release was sandwhiched between Toy Story (1995) and A Bug's Life (1998)).

I know the main critic of the film is that is drifts too far from the original source novel by Victor Hugo, though kudos must be given to Disney for attempting to bring a new, younger audience to the story, whilst still keeping certain dark (often pitch black!) themes to accompany the whimsy. 

Given the initial premise of the story and characters you'd be forgiven for assuming the film would be nothing more than your standard Disney film, ticking off the conventions as they come along; you have the unnassured hero in Quasimodo, the love interest in the gypsy Esmerelda, love rival in Captain Phoebus, the villian in Lord Frollo and a trio of gargoyles providing the laughs. As well as this it features the usual musical numbers, some more memroable than the others (The Festival of Fools, a barn-storming, foot-tapping number).

However it is in the character of Lord Frollo (chillingly voiced by Tony Jay) where the film really packs its thematic punch. Lord Frollo is a man who is driven to near-insanity; torn between his faith and his lust for Esmerelda, and this is evident in the haunting Hellfire scene. Frollo sings (in a stunning vocal performance from Jay) how he is fearful of the 'spell' being cast on him by Esmerelda and begs for protection and forgiveness from God, before finally forcing her to submit to his lust or face an eternity in 'Hellfire'. It is a hugely powerful and uncharacteristly dark moment in Disney films, up their with Night on Bald Mountain from Fantasia and the terrifying donkey transformation scene from Pinnochio. The visuals and music work together perfectly to provide the best Disney villain song of all time, and arguably one of the best Disney songs of all time.

This scene, combined with the spectacular (Hell?)firey climax set atop of Notre Dame Cathedral allows this film to be more than a Disney film, but a Disney film with a light-hearted front but a pitch black inside, which deserves to be mentioned in the same breath as Snow White and the Seven Dwarfs, Fantasia and The Lion King.

Do you agree/disagree? Do you have any other suggestions for future Missed Masterpieces?