Hot Tin Roof Review

Stepping onto the top platform of the moving escalators, with the early evening glow of the setting April sun, all I could picture was a characteristically royal descent from the top tier landing of Pemberley Hall into a white marbled ballroom clad with adorning guests and silk-gloved anticipation.  Perhaps my own hype had filled my head with an overzealous notion of transforming the Green Hills Regal Cinema: Stadium 16 into the social event of the year, noting my basic bohemian black dress and cardigan paired with underwhelming flats instead of white seersucker with hand-sewn pearls and lace heals.  Nevertheless, the excitement of the atmosphere was far from basic and anything but boring.  From the bright bulging bulbs of the box office to the velvet sheen of the luxuriously laid red carpet, the opening night of the 2013 Nashville Film Festival exuded class, elegance, and a never-ending heir of possibility.  In my own eight nights of participation during the festival, I was most certainly lost to a world where fashion had its place, intellectual community was abundant, and the art of film had a choke hold passion on every attendee.

Opening night of the festival, I had the blessed privilege to work alongside some kind and talented board members for a silent auction with a wide variety of packages, get-a-ways, baskets and artist treats that not only further introduced me to a network of others that love film and all its opportunities as much as I do, but it also gave me an insider’s view of the world behind the backstage pass.  While I am no stranger to working with the general public, the eclectic set of people in attendance were warm-hearted, originally artistic, and above all else, wholly entertaining.

I returned to the festival the second night as a non-profit volunteer.  While I chose a couple of shifts that were well staffed, the evening did prove to be eventful as I made several friends who are also “aspiring-to-be” students, escorted several members of the academy (including Sid Ganis, Ellen Harrington, and Tom Pollock) to a debut screening, and managed to woefully lock my keys in my car with no spare key or money in sight.  But, of course, all of this hard work paid off into my own intrinsic reward of attending seven key films along with several other talented critics in order to demonstrate my full appreciation and thoughts about the 2013 Nashville Film Festival.  Despite the important detail that all of this took place at the same time as finals for the end of yet another college semester, I cannot and would not trade my experiences, opportunities, blessings, and the relationships that I created and built for any amount of sleep or extra moments to study.  Even if I was merely one belle at the ball, the memory of a well-orchestrated dance will stay with me forever.  The pastel faces of lightly reflected dancers, the clicking shoes of those rushing to take in all the sights, the films rising and falling to the swoon of the music, and the twirling of dreams, claimed a successful run for the festival that will certainly entertain the lips of society until the next year.

A rating system for a review site is a necessary evil. Rating systems are only good as a reference, barometer, or compass. While the rating system is there as a guide, it is extremely important that you read the review because you may just miss out on something that you want to experience. Enjoy!

1 Star: Poor.
While even the worst movies are not incompetently made, this rating encompasses the idea that a film is considered “bad” due to its lack of finality in editing, dialogue, sound and/or music, cinematography, direction, etc. This, in turn, usually elicits the emotions associated with boredom, loss of interest, irritability, unoriginality, and/or the failure of originality.

2 Stars: Basic.
This is clearly a step up from a Poor rating. It must present success in effort and finality as a product. While overall it may not be a solid project, it will demonstrate beginning ideas and concepts that will ultimately grow to something more satisfying. This can include, but is not limited to, amateur school projects and amateur short films or documentaries.

3 Stars: Average.
Although it is important to not overuse a Brilliant rating (a full 5 stars), it is just as important to not undersell a product. As a result, the Average rating has the tendency to be used the most as an effective medium between the two opinions. For this rating, the product must exhibit definition and solid demonstrations of accurate knowledge of storytelling in film. This is not to limit a film in its ability to be stable. Rather, it sets the bar for what should be expected from a potential excellent or brilliant product.

4 Stars: Excellent.
The bar of quality has been raised and dually met. Not only does the product confirm a knowledge of the industry and its range of storytelling, it also highlights elements of the human condition. This appears through the excellent use of editing, dialogue, sound and/or music, cinematography, direction, etc. While great, it lacks the overall ability to overwhelm with constant emotion, intellect, director’s initiative, or lacks the correct pacing and/or timing.

5 Stars: Brilliant.
Astounding. The product manages to focus its purpose of the human condition through the art of storytelling in a clear, concise, and effective manner that has the potential to enrapture the majority to all of the audience. A slight caveat may ensue at this point. The audience may consist of very few people and/or many films are subjective in nature, which could vary the analysis of the piece as a whole. This is not also to suggest that 5 Stars leaves no room for potential growth, it merely affirms that a job has been well done and even exceeded expectations.

*This rating system is also applicable for television. A slightly revised version is available for other media forms like literature and music.

I honestly and completely tried to watch this movie as an objective party. As an English Major in college it is terrifyingly difficult to repress the bias I have towards F. Scott Fistzgerald’s The Great Gatsby. Don’t misunderstand me, even as a novel, I hated it. My sentiments have usually been that Fitzgerald is a lyrical god and that the infatuation with The Great Gatsby is solely related to its rather bumbling performance on the page, making it sadly attractive to those who don’t know any better. There is a standard, unfortunate or not, in both the literary and film worlds. What too few realize is that they are linked in so many ways and films about novels have to be careful about how they want to portray it on the silver screen.

By having an eccentric director like Baz Luhrmann, the producers opened a portal of aesthetic extremism. This is usually quite successful when Luhrmann is working from an original screenplay like Moulin Rouge! (2001) or Australia (2008), but choosing a piece that is so defined by its era of style has proven to be an impossible flunk for the modern generation. If nothing else, this movie completely captured the art of excess. From costumes to production design to the ridiculously comical use of green screen animation, it seemed as though Luhrmann ran out of creativity, resulting in cheapness of storytelling as a discourse. By splashing famous quotes in cute fonts across the screen, there is no mistaking that this has been done for those who can’t quite follow along. But hey, it sounds pretty and it looks nice.

Normally, Baz Lurhmann does a superb job telling a story, but it unfortunately becomes lost underneath the displaced rap music, overly choreographed fireworks (Gatsby’s entrance made the entire audience I was with laugh out loud), and horrible casting (save Carrie Mulligan as darling Daisy and Joel Edgerton as chauvinistic Tom).

Despite its flamboyant mistakes, Luhrmann manages to pay meticulous attention to the detail the novel provides. He even makes sure that poor Myrtle Wilson’s gash above her left breast is seen before her body goes flying through the air. Perhaps the film could have been salvaged had there not been a direct focus on appealing to a youthful, more ignorant generation. Not a single argument has been able to trump mine simply because no one has been able to answer “yes” when I asked them if they read the book. This earned an unsurprising one star as I simply could not answer “What were they thinking?!”

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