Tag Archives: Julie Taymor

CAPSULE: ACROSS THE UNIVERSE (2007)

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DIRECTED BY: Julie Taymor

FEATURING: Jim Sturgess, Evan Rachel Wood

PLOT: More than thirty Beatles songs illustrate a romance between a working-class

Still from Across the Universe (2007)

Liverpudlian and a New England WASP during the tumultuous 1960s.

WHY IT WON’T MAKE THE LIST:  Set in a sentimentalized Sixties, it’s inevitable that Across the Universe heaves to that decades psychedelic squalls.  Spectacular director Julie Taymor relishes slathering lysergic pigment on her CGI canvas for five or six of the thirty plus songs, but the ultimately the story is more about how all you need is love than it is about girls with kaleidoscope eyes.

COMMENTS:  In a career of a mere eight years, the Beatles probably cranked out more memorable melodies than Mozart.  It was a minor stroke of genius to adapt that songbook into a musical.  The script of Across the Universe, which tells the story of a pair of young lovers and their friends with the Vietnam War protests and the Summer of Love as a backdrop, can be viewed in two ways.  It could be seen a complete failure, built out of equal parts of romantic cliché and self-congratulatory Baby Boomer nostalgia.  Or, it could be looked at as a masterpiece of craftsmanship, considering the fact that the scriptwriters had to weave a coherent epic tale from a relatively small catalog of three-minute song-stories containing no recurring characters.  Like most musicals, however, the story is almost beside the point; it only needs to be good enough to set up the next production number.  Fortunately for weirdophiles, the numbers Universe‘s story sets up are frequently cosmic, though you will have to wade through an hour of character setup before it starts coming on.  This being an archetypal 1960’s tale, there’s a nod to acid culture: more than a nod, it’s a magical mystery tour through an extended three song medley.  It starts with the principals sipping LSD-spiked drinks at a party while a Ken Kesey type (played by Bono) lectures on mind expansion using “I Am the Walrus” as the holy text; whirling cameras and and tie-dye colored solarization gives their trip to the countryside via magic bus the requisite grooviness.  This sequence segues into “For the Benefit of Mr. Kite,” where another acid-guru (Eddie Izzard) takes the crew inside his magic tent for a twisted computer-generated carnival complete with a roller skating pony, a dancing team of Blue Meanies, and contortionists in spooky wooden tribal masks.  The scene’s an impressive visual spectacle whose impact fizzles thanks to Izzard massacring the lyrics through an off-the-beat, spoken-word delivery with some unfortunate improvisations.  The dreamy comedown features the flower children staring up at the sky, imagining themselves tastefully nude and making love underwater.  Psychedelia intrudes into other numbers, as well: the carefully layered images of “Strawberry Fields Forever” feature bleeding strawberries that morph into fruit bombs splattering on the jungles of Vietnam; “Happiness Is a Warm Gun” includes a cameo by Salma Hayek as five sexy dancing nurses, and a bliss-giving syringe filled with a nude dancing girl.  The best and weirdest segment may be “I Want You/She’s So Heavy,” which addresses the draft board and stars a talking poster of Uncle Sam, dancing sergeants with square plastic chins, and a platoon of soldiers lugging the Statue of Liberty.  Standout non-weird numbers include a gospel version of “Let It Be” set during the Detroit riots and a funky “Come Together” performed by Joe Cocker, who sings as three different characters, including a natty pimp backed by a chorus of hookers.  Hardcore Beatles fans will rate Universe a must see (and they’ve probably already seen it); unless you’re some sicko who absolutely can’t stand Lennon-McCartney compositions, you’ll want to check it out just for the visuals.  It can get pretty far out.

Despite its weird parts, Across the Universe was able to secure a mainstream release.  Audiences were willing to accept the unreal scenes because they were presented in the lone format where the average person expects and accepts surrealism—the music video. Unfortunately, however, even the Beatles fan base couldn’t make Taymor’s experiment profitable at the box office.

WHAT THE CRITICS SAY:

“A cameo by Bono as a sort of godfather among hippies (delivering a forceful cover of ‘I Am the Walrus’) shifts the movie into a hallucinatory realm, with a tie-dye color scheme that suggests scenes were shot during an acid trip with Baz Luhrmann. Viewers who like movies to reflect their out-of-body experiences will gladly inhale, but for others, the excess may seem off-putting.”–Justin Chang, Variety (contemporaneous)

AVANT OPERA ON FILM, PART TWO

Daniel Barenboim and Harry Kupfer followed their acclaimed “Ring” cycle (discussed in last week’s column) with Richard Wagner’s final opera, Parsifal, which, if anything, was even more successful.   Alas, the film of this version has been long unavailable.

Scene from Syberberg's Parsifal (1982)
Scene from Syberberg’s Parsifal (1982)

Comparing their geometric, sparse Parsifal to that of Neues Kino director Hans-Jürgen Syberberg’s controversial 1982 multi-layered collage film would be a pointless task.  Syberberg’s famous film is a case of a director with so much to say, that it literally becomes a truly rare kitchen sink moment in which repeated viewings reap priceless rewards.

Syberberg’s Jungian references abound with fascist symbolism, Nietzsche, Christian mythology, Post World War II Euro culture in a narcotic texture unlike anything before or since.  Entire books could be written about this one of a kind film.

In 1993, long before TitusFrida, or her most recent (and amazing) work, Across the Universe, Julie Taymor was known to modern opera buffs as the director of Stravinsky’s Oedipus Rex. Taymor filtered Stravinsky’s opera through her own undeniably powerful, highly individualistic voice.

Undoubtedly, Stravinsky (who, like Picasso, went through numerous phases, from neo-classicism to post Webern serialism and yet made everything  he touched sound like his own) would have approved of Taymor’s kindred aesthetic spirit.

When Taymor’s production first became available on the video market, word spread quickly, with many proclaiming it to be one of the very best, if not the best, opera yet filmed.

The sets (by George Tsypin), masks, sculptures, puppets, costumes ( Ei Wade), make-up (Reiko Kruk), Japanese dance and narration (the libretto by Jean Cocteau, originally in Latin, allowed for translation to the native language), Ozawa’s incisive conducting, add up to one of the most extraordinarily stylized and emotionally draining operatic Continue reading AVANT OPERA ON FILM, PART TWO