While I have no plans to see this piece of modern art in theaters, it did make me think about movies and phones and how so many of our favorite classics wouldn’t exist if cell phones existed when they were made.
While we can still easily imagine that the McCallisters are horrible parents capable of leaving their youngest child home alone, we can’t ignore how a simple phone call would have solved everything. Didn’t the father in the little princess also suffer from some sort of memory loss, at lest for awhile?
The Secret Garden (1987) DVD Description:When a spoiled English girl living in 19th century India loses both parents in a plague, she is sent back to England to live in a rural mansion.
Rekindled interest in Frances Hodgon Burnett's classic tale has prompted a Broadway musical, two TV movies, and this latest big screen version. Fred Fuchs, Fred Roos, Tom Luddy, Francis Ford Coppola, American Zoetrope, Warner Bros.
Agnieszka Holland, the director of Europa Europa, creates a blood-quickening Holocaust drama about Poles who were hidden in the sewers.
It stars Halle Berry and Abigail Breslin as two people who just keep missing each other’s calls. Second of all, it also has to be said, that I think TBS made a deal with the devil to play it every single weekend until the end of time. The lord is a strange old man-- frail and deformed, immensely kind but so melancholy.


Mary Lennox is an orphan sent to live in her reclusive uncle's forbidding mansion filled with secrets, including a crippled cousin she didn't know she had. This film adaptation of Frances Hodgson Burnett's beloved novel -- a childhood classic -- has a broad appeal. She wishes to discover what has caused him so much sorrow and to bring joy back to the household. Neither talking down to children nor pandering to their parents, The Secret Garden functions something like a fairy tale in the way in which we all can latch onto different aspects of meaning during different stages of our lives and also in the way in which primordial and psychosexual concerns are made palpable in narratively distanced and socially acceptable terms. It all must have something to do with the screams and wails which echo through the house at night and no one wants to talk about.
Befitting director Holland's reputation this version is beautiful but dark, with children prey to very adult anxieties.
Like a fairy tale, we can, over time, return to the story and experience fresh meanings, conflicts and insights.
I mean, you shut down my mother’s bookstore, then you catfish me, then you have the audacity to sit here while I try to guess your identity.
It is also fitting that a first draft was written years ago for Coppola's American Zoetrope by Carroll Ballard as a follow-up to his previous children's tale The Black Stallion.
Many script rewrites later, The Secret Garden emerges as a deserving successor to The Black Stallion's mantle of classy kid entertainment.


But the chief horticulturist of The Secret Garden is director Holland, here making her debut as a director of an American, rather than a foreign, production. The adults in the audience are likely to catch on to all the film's implications; the little ones are more likely to sense feelings of ominous foreboding and chaste pleasure.
Holland's visual strategies enhance the thematics of burgeoning emotions with its fragrant natural images of sprouting, blossoming, seasonal cycles and the all-encompassing sky. Narratively, these rejuvenating images are set against images of an earthquake, the dank, repressive household, and the loneliness of people without love.
And Holland has maintained her interest in the dilemmas of childhood on the horns of adulthood. The children's performances are the biggest drawback to The Secret Garden as their earnestness occasionally gets in the way of the dramatic illusion. Cast in a classic Dame Judith Anderson-type repressive housekeeper role, Smith's nuanced abilities turn what ordinarily would have been a one-dimensional villain into a rich, sympathetic character.



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