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Don’t Be Afraid Of The Dark

June 30, 2011 by Post Team 

Don't Be Afraid Of The DarkDon’t Be Afraid Of The Dark, The original 1973 version of DO NOT BE AFRAID OF THE DARK is almost legendary in the annals of horror to terrify an entire generation of kids who turned on the TV at night. One can only imagine what kind of trauma of the new stage version could inspire viewers to preteens, as its protagonist, unlike her predecessor, is actually a child.

In reimagining the story of the new movie (opening August 26 FilmDistrict), co-writer and co-producer Guillermo del Toro has replaced the neurotic housewife played by Kim Darby with a girl played by the young accomplished actress Bailee Madison. She is still named Sally and still move into a new house, although it is significantly larger and more Victorian atmosphere, and is located in Rhode Island, which is home to the unseen terrors generated from the mind of HP Lovecraft. There are terrible things, horrible things, too little lurking in the shadows within Blackwood Manor, Sally now shares with her divorced father, Alex (Guy Pearce) and his new girlfriend (named Kim, a nice touch, and played by Katie Holmes) and while their form is not revealed for a while, we have a good sample of the nasty behavior that can inspire a restless, mood setting prologue.

Del Toro, DO NOT BE AFRAID script with Matthew Robbins, Troy Nixey hit to lead designer on the basis of so much admired the last lament of latchkey short, and he proves to be a good match for the concerns of Toro. The early scenes are strongly reminiscent of Pan’s Labyrinth, like the young explores her fantasy-tinged new playground; with disturbing connotations evoke Nixey since none of the creatures that inhabit this environment is friendly. Again, the father figure is negative, although not as bad as Alex Vidal maze, but too consumed by his task of restoring the old place and make the cover of Architectural Digest. That does not believe that Sally claims that she has made new friends in Blackwood Manor, and even blames her increasingly destructive evil of his daughter rather than give credence to her claims about the real culprits.

Nixey effectively keeps the little creatures off the screen for much of the running time, all we see are their eyes shining in dark places or claws to get through gates, established its presence through its whispers in the soundtrack (some supplied by del Toro himself). Unlike proper furry, shrunken heads of the gnomes of teleflick, these “homunculus” is finally fully realized via CGI, and even get their ugly close-ups, which are most effective when seen en masse shots long, and to scuttle a swarm around the floors, furniture and (most of the skin crawlingly) in and out of bed Sally and large worms. Further consolidating NOT AFRAID OF THE DARK as a grim fairy tale, it is with a particular interest that gives them a bad connection to an icon of childhood.

When creating a new mythology and reducing the view to better accommodate their personal concerns, del Toro and cooperation. Being respectful of their source material, the cornerstone of several television films is similar here. That is not the only way the new movie, while firmly established in the present, honor the past, much of DO NOT BE AFRAID OF THE DARK, set almost entirely in and around Blackwood Manor outdated limits, has been adapted to suggest fear of vintage plates, and the contributions of the creative team are all in harmony with that environment, the use of photography Oliver Stapleton of light and darkness of the old score by Marco Beltrami and Buck Sanders. The only drawback is the occasional appearance of the archaic conventions of terror could have done without, from “Why do not you?” Moments of a practical accident that just happens to be an expert at Blackwood Manor, its former inhabitants and their occult practices and beliefs.

It also provides a link to the story of the screen is old for Australian Jack Thompson (the film was photographed in Melbourne, without losing the identity of American Gothic), which authority Harris sudden, the gardener who vainly warns Sally did not go exploring in parts of the house should not. When you do, your behavior does not seem absurd because of the compelling mix of loneliness and curiosity Madison projects, along with the insecurity of their family situation that the little monsters prey. Pearce is serious enough that her father and distracted, but (as might surprise some viewers) Holmes records harder, as Kim, the exchange palpable stepmother / daughter chemistry with Sally, who gradually comes to see Kim as a friend, confidant and protector.

Avoiding slavish retread its source material, as well as free revisionism, NOT AFRAID OF THE DARK is the kind of remake that occurs when a filmmaker expresses his love for an older film, giving a personal touch. It is equally comfortable in the ranks of Redux worth and into Del Toro’s films, while standing as a mere vehicle to deliver a good case of goose bumps.

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