#i just love convoluted plots with layers of themes and storytelling that makes me use my brain

[the-kipsabian]

fr tho like a big part of consuming wrestling for me is that it makes me think and analyze stuff. like i enjoy the homoerotic rolling around and aesthetically beautiful people as much as everyone else, but i also love it when my brain is stimulated and challenged in a more thinking way with this sport especially

[theinsatiables]

10 Years Later, Why the Wachowskis’ Flop ‘Speed Racer’ Is Actually a Masterpiece

The ability to roll with punches and follow a movie into different emotional realms, especially goofy ones within serious narratives, is the ability to not take yourself too seriously. It is the ability to be adult and roll into all kinds of states of emotion, not just the ones we think we want to be in. To that point, Speed Racer basically requires you to roll with the punches on a pretty extreme level. Yes, the silliness feels silly. But if you accept that, then the danger is dangerous, too. And yes, the epic race across the desert goes on “too long,” but in doing so, it genuinely feels epic.The film is always itself. Especially as it slides back and forth between dramatic and comic emphasis with the blistering assuredness of pure operatic glee, all while living and breathing every moment sincerely. And what else would an 11-year-old’s fever dream about weaponized race cars, ninja fights and family togetherness be but achingly sincere?Speed Racer came out 10 years ago today, and I’m pretty sure I haven’t shut up about it since. But for good reason. I think it remains one of the most criminally overlooked films in recent memory and also one of the most oddly inspiring. While I know there are fellow fans who would wholly agree with this superlative, the notion runs contrary to the conventional wisdom surrounding the film’s release.

Coming off of the unparalleled success of the The Matrix films (even with the under-baked reaction to Matrix: Revolutions), fans were so excited for the Wachowski siblings’ next cinematic foray into something new. And it was going to be Speed Racer! An update of the beloved ’60s anime that many had grown up with! It implied there would electrifying, matrix-esque car chases! Frenetic action! All from the two filmmakers who had come to define the new serious-cool-ass cyberpunk! Hooray!  

But for those who loved the leather-clad adult fare of their previous work, they had no idea what to do with this fluffy, neon-soaked bit of confection that was being sold to them. And neither did the general audience. Speed Racer bombed, and it bombed hard. And as a result, many came to dismiss the film without ever seeing it. Or worse, those who saw it simply had no idea what to do with it.

Which is unfortunate.

But to really get on board with Speed Racer, you have to accept its varied intentions. Starting with the fact that yes, this is indeed a true-blue PG kids film. Because of that, it will be unapologetically goofy, over the top and prominently feature monkey gags. Moreover, you have to accept that it is going to devote itself to the notion of being “a live-action cartoon,” one that constantly eschews realism in favor of a hyper-stylized, bright aesthetic as far removed from The Matrix as I can think of.

A lot of people argued that the film’s aesthetic existed in the uncanny valley (which suggests “humanoid objects that appear almost, but not exactly, like real human beings, and which elicit uncanny or strangely familiar feelings of eeriness and revulsion in observers”). But, to me, it works precisely because it’s not even trying for the in-between. Instead, it’s trying to something closer to the humans-in-toon-space of Who Framed Roger Rabbit.

Simultaneously, you have to accept that this PG kids film will also be, at times, incredibly serious: a two-hour-and-fifteen-minute epic that delves into convoluted plot-lines of mystery identities, corporate white-collar intrigue, nonsensical plot fake-outs, a surprising amount of gun violence and even a weird climactic rant about stock price manipulation. And all the while, you have to accept that within this, the emotional backbone of the film will be a surprisingly wholesome exhibition of family love, understanding and togetherness.

Yes, all of this exists within Speed Racer. And, tonally-speaking, I mean it when I say it is one of the weirdest movies I have ever seen in my entire life. (It’s also a testament to the trouble that a lot of anime and non-naturalistic Japanese storytelling has in terms of adaptation.) And so I get why that is hard for people to swallow, I really do.

But what we’re really talking about is the push-pull of tone-changing filmmaking, wherein I will argue until I’m blue in the face that singular tones are dead-ends to adventurous storytelling. For instance, I love the work of Christopher Nolan, but if you just layer an entire movie in a singular tone you are, in a way, just lying to the audience. From start to finish, Nolan’s films feel propulsive, adult and entirely serious—even if when they, you know, aren’t on the deeper textual level of a moment. But that’s all part of the emotional coding for the audience and in service of the end goal: it makes them feel serious, too. All because it validates their interests as being equally serious.

This is why so many of those inclined to like singular tones have trouble with the work of someone like Sam Raimi. I hear people commenting that his films are “too corny” all the time; that word choice is both telling and bizarre. Because, while Raimi’s movies can be goofy and over the top, they are also achingly dark, sincere, and full of emotion. So really “too corny” is just code for: “this was often goofy and I don’t like movies that make me feel like my interests are goofy.” Which, ironically, I find to be an incredibly juvenile attitude—one that is not trying to be an adult. It’s trying to dress up kid-interests to seem adult, when really adulthood is just rolling with the punches and embracing things for whatever they really are.

The ability to roll with punches and follow a movie into different emotional realms, especially goofy ones within serious narratives, is the ability to not take yourself too seriously. It is the ability to be adult and roll into all kinds of states of emotion, not just the ones we think we want to be in. To that point, Speed Racer basically requires you to roll with the punches on a pretty extreme level. Yes, the silliness feels silly. But if you accept that, then the danger is dangerous, too. And yes, the epic race across the desert goes on “too long,” but in doing so, it genuinely feels epic.

The film is always itself. Especially as it slides back and forth between dramatic and comic emphasis with the blistering assuredness of pure operatic glee, all while living and breathing every moment sincerely. And what else would an 11-year-old’s fever dream about weaponized race cars, ninja fights and family togetherness be but achingly sincere?

Even the much ballyhooed stock price rant is inspired: that’s the point of the film’s laser targeted messaging. While so many kids’ films depict the ethics of villainy as some mustache twirling vehicle for evil and evil alone, Speed Racer has the guts to tell you that evils of the world are far more mundane (and lucrative). But as one-note as the stock market speech feels (as Roger Allam gives a deliciously unhinged performance), the message itself is not some reductive estimation of art and commercialism. Given literally everything else about Speed and his family’s business, Speed Racer is arguing there is nothing wrong with success, fandom, and connection between the two. It is simply pointing out that any system that puts the tiniest bit of money and “the perpetual machine of capitalism” over the sanctity of that connection, will only ever manage to sever that same connection.

That may seem “too adult” for a kids film, but I think it’s inspired, especially as kids are a lot smarter than you think (especially when you don’t talk down to them and trust them to handle things). So, if you buy this notion, and if you buy the family drama that has brought Speed to the final race, then it all comes together thematically into one of the most electric, abstract and emotional endings I can think of—one that wholly reaffirms that we are so much more than any single moment, but the product of everyone who helped get us there along the way. I cry every damn time I watch it.

And nestled within that ending is the larger meta-narrative of the Wachowskis’ entire career, their core theme if you will: the notion of intrinsic identity and becoming your best self. I’ll admit, I often have a lot of trouble with the idea of “destiny” in modern storytelling, precisely because I see a lot of irresponsibility associated with it. What used to be a giant metaphor for hubris has sadly become short-hand wish-fulfillment to believing you are the specialist hero in the universe, an attitude that often reeks of a lot of unintentional uber-mensch vibes.

But within Speed Racer, the metaphor of “race car driver” doubles with artist, or any other childhood dream—the kinds of dreams that must be stuck to, and chased after, with gleeful joy in order to bring said dreams to life. More than that, the metaphor gains so much within the context of the Wachowskis’ personal lives, as we now can look at so much of their work within the landscape of trans messaging—to the point that a lot of their work now has slid into “full text” metaphors of trans identity shifting, such as with Cloud Atlas and Sense 8. In that, I find their work to be the most powerful. By reclaiming destiny and the hero’s journey, they take it all away from “you are destined to be better than everyone else” and make it instead “you are becoming who you always really were, while discovering empathy in all those around you.” This is precisely the sort of loving, hallmark messaging that many too-cool-for-school folks would eye-roll at, but there is no doubting that the Wachowskis’ arrival at this earnestness is both hard-fought and hard-won.

This is all not to say that I’m unaware of the contradictions within their work, most specifically within the catch 22 of violent glorification against anti-violence. But within the “hyper language” of cinema, their violence just becomes part of the operatic aching sincerity.

But I understand that a lot of people aren’t sure what to do with the aching sincerity of it all. I remember how many people saw Jupiter Ascending and made fun of Eddie Radmayne’s truly gonzo performance, but I feel like he was the only one who really knew what movie he was in. He wasn’t pushing it too far; everyone else’s plasticity was weirdly holding it back. I genuinely love him in that film. Sure, the performance might be “too corny” and make you feel “weird,” but it’s precisely the kind of weird that opens the world up and imbues it with life and verve.

Maybe weird and jarring is exactly what we need. For, in a cinematic world full of carefully structured disaffection, the Wachowskis are still the most passionate, jarring and unworried filmmakers we have. And in that journey of self-discovery, it’s the odd mix of gee-golly sincerity of Speed Racer that is both exemplary of (and marks the transitional point of) their entire career.

Which only leaves me with one question: why, in a career full of identity questions, systematic oppression and selfhood, is their most exemplary film about the message of family perseverance and togetherness? In truth, I don’t know what their relationship is like with their larger nuclear family, nor does it matter. What we do know, and have always known, is who Lana and Lilly Wachowski are to each other: friends, collaborators, sisters. They are as loving a literal family as we have ever seen in cinema. And within their art, they’ve been telling us of their specific, powerful experience in the most universal and commercial of cinematic ways.

For well past 10 years now, they’ve telling us by shooting, chopping, rocking out, screaming, singing, dressing up, joking, lecturing, goofing, laughing and anything and everything in between. Many often roll their eyes at such naked, heartfelt audacity. “Too corny,” they say out of the side of their mouths. But such disdain is all part of the pains of being pure at heart.

And really, they are the joys.

< 3 HULK

[theironweasel]

Fullmetal Alchemist: Brotherhood and why Avatar hasn’t completely spoiled me.

Spoilers for both franchises!

Fullmetal Alchemist Brotherhood is what I was looking for from the Original Series. While still not quite at Avatar Level for a number of reasons It’s just a step below and I believe I will consider it one of my favorites and I definitely want to rewatch it someday! I will do some comparisons between both the Original Series and Avatar as my gold standard for storytelling.

The Music. This is something I will give the Original series, there were a number of really memorable tracks, such as Dante’s Theme that really helped give some atmosphere. Brotherhood on the other hand while having a serviceable soundtrack, doesn’t have anything very memorable or any tracks that really elevate a scene beyond its other qualities. Avatar is, of course, renowned for its music, Legend of Korra, in particular, had top-notch music that elevated many scenes emotionally into truly epic, sad and many other emotions.

The Humor. The humor is about on the same level as the original series, though even more exaggerated at many points. Though there are a number of more natural humor moments, like a guard snapping to attention with “I’m awake!” Other than a few moments like that the humor doesn’t work that well and it’s pretty much abandoned in the last third of the series, which makes sense given how serious things get but even Avatar managed to get good jokes in near the end. Hell one of the best jokes in ATLA is the war balloon “birthday party” in the penultimate episode. I think this may also be a dub issue, unless an anime is focused on comedy it can be very difficult for a dub to pick up on the comedic timing necessary to make the jokes work.

The Pacing. Although better than the original series, a lot of the plot of the last half of the series feels kind of like padding and could have been condensed into 2/3rds or even half the number of episodes and the series would have felt a lot tighter. The Final Arc especially drags on for way too long though it does pay off for the most part.

The Plot. This felt like a significant improvement over the original series. First, the scale felt a lot bigger and more epic and where the original could come off as convoluted, Brotherhood feels more like it’s complex. While there are plenty of twists and turns I never really had difficulty keeping everything straight up until towards the end and it wasn’t that bad and all the stuff going on helped give things an epic feel. However, like I said earlier it does feel like the plot is stretched out more than it needs to be, I wish it had been trimmed a bit to keep things going at a better pace.

The Characters. Again, a significant improvement over the original series as the side characters get a lot more development and more tend to have full arcs such as Scar and Greed. However, this is where I feel the show could have lived up to Avatar but didn’t quite make it. I think the key to being on that level, for me at least, is with the characters. As I said in my FMA review, ATLA and LOK were great in creating minor characters that had interesting personalities and designs such as Huu, Ryu, and the Nomads. But they don’t overstay their welcome, only appearing in an episode or two and often with a lot of space between appearances. Even the less interesting of these tend to have arcs that lend to character development for the main characters such as Haru to Katara, Teo to Aang and Tahno to Korra. Brotherhood while focusing more on character development than the original series it does tend to have too many side characters to get on the same level as Avatar’s characters. While LOK isn’t quite as strong in this regard it knows when to put certain characters in more minor roles when they aren’t relevant to the story or their arcs have finished. I think the definitive difference comes in several points. First, while I wouldn't call the characters in Brotherhood one note, as many have two or three levels to them, however what Avatar, particularly ATLA, did was make characters with many layers such as Zuko and Lin Beifong or even characters who were almost two people in one such as Katara where this fact isn’t even fully looked into until the last regular episode before the finale but is also a fact that can be seen from the very first episode. The other aspect I think that Avatar has is it’s cast and voice director that manages to give some of the best performances I’ve ever seen from comedy to drama, from John Michael Higgins legendary Varrick that manages to be both hilarious and occasionally intimidating and believable as both a Villain and Hero, to Mae Whitman as Katara who manages to have some of the most heart-wrenching scenes in the show almost purely through her performance from breaking down in tears over how hurt she feels because of her absent father to making the word “Me” one of the most powerful and emotional moments of the series. I will give Brotherhood this, while I wasn’t super invested in most of the characters, I did appreciate how in the end they managed to use some of the characters very well. In particular Greed’s sacrifice and Hohenheim's arc with his family, both of which were played well enough to get me teary eyed, even if I didn’t really care much about the characters themselves.

The Fights. While being better than the original series fight scenes, having a bit more creativity and energy, I do think Avatar has spoiled me forever so that only purely fight focused animes can live up to the level of Avatar as they are extremely well thought out with real martial arts and elemental abilities that make the fight scenes feel so intense. Additionally, I feel Avatar has a wonderful ability to incorporate emotion very well into the fights both in the lead-up and how the fights play out. From the beautiful and almost artistic fiery destruction that was the Last Agni Kai to what may be one of the best fight scenes of all time in the final battle between Korra and Kuvira that has such strong intensity and speed with constantly shifting tactics and moves. Additionally, the fight cinematography is fantastic, always showing us the battlefield and movements of the characters, rarely resorting to speed lines or distortion to make the action look faster and more intense, something Brotherhood was guilty of even in it’s most epic and near end fight scenes such as Scar vs. Wrath.

The Villains. This was one of the biggest improvements from the original series in my opinion. While most of the villains are still pretty one note, they are handled much better. First, they don’t have the bizarre desire to become human despite how the reasons were only explained, poorly, in a single line. Two, contrary to the original series, the villains loathe human beings and revel in their own inhumanity, but for some at least it is a cover for their envy of humanity and while it’s the same idea as the original series it is done in a much more compelling way. In particular what they do with Greed is fascinating, showing how Greed as a concept is really just seeking empty things that a person believes will make them feel whole but that ultimately what they are “greedy” for is the love of other people, showing how it isn’t just an evil. This was hinted at in the original series, but Brotherhood makes it a complete Arc. And while I found Homunculus himself to be boring most of the time, I did really like his final moments which made me wish we had seen a deeper exploration of this aspect of his character.

Winry. She is done a lot better in Brotherhood, making her more 3 dimensional. When she makes a mistake she feels guilt and will actually apologize and try to change, and her issues with her parents’ death are fully explored and resolved. Finally, while her relationship with Ed doesn’t get an Avatar super romantic ending, it does feel way more resolved than in the Original series as in this they at least admit their feelings.

Izumi. This is probably the best improvement from the original series. While she isn’t an amazing character in Brotherhood, she was so insufferable in the original and was around far too long. While she is still a bit of a wacko, the hateful aspects of her character are toned down to almost zero. While she still has the brothers live on an island for a month, she doesn’t have some dude beat the crap out of them and the show does actually question if this is the right thing to do and implies that Izumi may have a skewed perspective. And she is able to have a legitimate emotional moment with the brothers without resorting to violence and recognizes her mistake in not telling them about messing up herself. Again while she is not an amazing character in Brotherhood, she was so bad in the original that it almost ruined the show for me.

The Ending. Again, while I feel the final arc lasted way too long the payoff was mostly worth it. While there were some plot details that were a bit confusing and some metaphysical stuff that made me raise an eyebrow (Avatar was great in establishing its metaphysical aspects in preparation for the finales). However I feel that most of if not all the important characters have satisfying resolutions to their stories, with Hohenheim finally wanting to live in his dying moments, Roy realizing he has to ascend to power while doing good instead of waiting until he’s there, Scar learning to look beyond his hate to do what’s best for his people, and probably the best with Ed. While Ed was a good character, I never really loved him, but I will give him credit for having one of the best resolutions to an arc I’ve seen, deciding to give up his power in order to save his brother. And I love how the seemingly indifferent/malevolent Truth was actually pleased in the end to see Ed make the right decision, that despite his harshness and some mean-spiritedness, Truth ultimately wants Humanity to learn and change for the better and will punish anyone both well and ill-intentioned who has the hubris to play god.

Ultimately, while I can’t put Brotherhood in the same ranks as Avatar, I do place it as one of my favorite shows I’ve watched and look forward to rewatching it someday and would like to share it with a friend who may enjoy it. But here is where I can define a tangible difference, I can show Avatar to anyone, I watched it with my rather intellectual father and he loved both series and even liked some of the humor quite well. I don’t feel him or certain other people would appreciate Brotherhood on that same level even though I am pretty close myself.