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The Golden Compass
Film, TV & DVD » The Golden Compass (Posts 1 to 30 of 77)
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- CommentTimeDec 7th 2007
Yesterday I went to see the long-awaited The Golden Compass, and well... I'm really disappointed.
I'm a huge "fan" of the books, so perhaps that kind of explains my disappointment, but still...
One of the things I admired especially in the books is the "subtlety" and the "greyness (not black vs white - really good vs really bad)" - Pullman takes the reader on a journey and let's him discover things himself, in world similar to ours but not totally, filled with characters who may be good, but who may also be evil.
In the movie, all subtlety is gone and the characters are plain good or evil.
For the moment, I'm not going to add much, since the movie won't be released till later today in other parts of the world, and I don't want to spoil it (although it's quite possible I already did )
I can't wait to hear your opinions! -
- CommentAuthorAnthony
- CommentTimeDec 7th 2007
Hmm ok, how well does the score fit in? -
- CommentTimeDec 7th 2007
I haven't read the book, but I'm going to see the film in a couple of hours.
I think I'll try and give the score another listen before then to try and see how it links with the visuals while it's still fresh in my mind as a standalone listen.
Reviews here in The Netherlands are lukewarm, so I'm not expecting too much.'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentTimeDec 7th 2007
Anthony wrote
Hmm ok, how well does the score fit in?
in general ok (especially the Mrs Coulter track and the Dust-theme)
but sometimes, it's annoyingly loud, like when Lyra runs away, or during the bear fight
and the "riding Iorek" track is strangely used - it's rather optimistic, heroic music but the part in the movie where it's used, isn't at all... -
- CommentAuthorTimmer
- CommentTimeDec 7th 2007
Martijn wrote
I haven't read the book, but I'm going to see the film in a couple of hours.
I think I'll try and give the score another listen before then to try and see how it links with the visuals while it's still fresh in my mind as a standalone listen.
Reviews here in The Netherlands are lukewarm, so I'm not expecting too much.
I'd like to know your view?
Let us know either here or in recent viewing.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentTimeDec 7th 2007
I saw the movie just an hour ago and I have to say its good but not brilliant, especially the first part it seems like badly edited and moving from one thing to another. From the moment Iorek the bear enters the screen and story it becomes much more interesting. The bear fight is definitely sublime solely because of the brilliant bear movement and effects and the end fight is good but not special. I have to say that the story isn't that strong, or at least strongly put to screen but Dakota Blue Fanning and a brilliant Ian McKellen sure give some extra weight to the movie
As for Desplat's score I have to say I wanted more from him, just like the movie the first part is nothing that special, sure the moments are there but nothing that can warrantee repeated listens, but just like the second part its becoming more interesting, stronger, louder (I like them strong and loud Marie-Lise ) and from the bear fight to the final coda all the themes sound much more epic. I perhaps hoped for just a tad more but the second part stilled my appetite, however as a whole its not brilliant but fairly good (this means both the movie and score)
Naturally you don't pick everything up in a movie, so the soundtrack release will surely show a lot more surprises This one I'll let Bregt review, just because he knows his Desplat scores
Movie: 7 out of 10
Score ***1/2 or **** for nowwaaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh -
- CommentTimeDec 7th 2007
Dakota Blue RICHARDS.I love you all. Never change. Well, unless you want to! -
- CommentTimeDec 8th 2007 edited
Just came back.
Not having read the book, I was seriously underwhelmed by the film's plot ("there will be a child, which the prohecies have foretold will after a great war bring balance to the Fo... Dust. Spice. Whatever." ). The story, such as it is, bubbles along nicely along a pretty standard Quest template, with the odd deus ex machina (witches, talking bears, googlemeter or whatever that golden thing is called) pushing things along when actually explaining things would apparently take too long.
But then an actual plot really isn't all that important: from the get-go it's pretty clear we're dealing with a Fantasy setting, which, for all its own idiosyncracies, still conforms to Jungian archetypes, so we don't have to work too hard to understand what's happening or what is to follow.
In fact I'll give the eventual ending of the epic away now: the quest ultimately will be successful, even though noble sacrifices are made and tragic losses occur, the Evil Empire/Magisterium/Inquisition/Queen is vanquished forever in a great battle (that only just is won by a heroic effort/sacrifice from Lyra) and free will, joy, happiness and balance is restored throughout the Multiversa.
Voila.
The next two films.
So it's not the content that counts, it's how it's given form in this particular vision.
And I must say it's pretty darn addictive!
It certainly helps that there's a darn reliable secondary cast, headed by the always redoubtable Sam Elliott (a really nice surprise to see!), Derek Jacobi and Daniel Craig. The dialogue might have been over the top, but the cast is more than capable enough to inject some serious earnesty into the concepts so that, the odd Rowlingsism notwithstanding ("gobblers"...ye gods. ), the audience is more than happy to go along with it all.
Kudos should also go to the director of photography, as the scenery looks astounding, without actually taking too much of the attention away from the cast or dialogue or distracting from the action.
But it's the art direction that really takes the cake here.
The "steampunk" design of this dimension is an absolute joy to behold and is flawlessly blended into the story. Everything looks right at home in its surroundings, whether it be bears, zeppelins, University lectors or gypsy piraty types: it's all just looks just so bloody good! Even the odd concept of everyone having a "spirit animal" walking beside him or her isn't an obstacle to suspension of disbelief after the first thirty seconds or so: so good the animals look and so flawlessly they interact with the actors and their surroundings. The clothes are beautiful, the lighting is magnificent. All in all, it's just an absolute visual banquet, which works so well though -as said- only because it's not "in your face" special effects.
Desplat's score is most functional, without many standouts rather than the main titles which are quite lovely. He's far more subdued than Gregson-Williams or Shore on "those other films", which is just fine.
All in all, I've had a most pleasant, though not very intellectually uplifting evening, from which I'm happy to take a way visions of beauty, and the hope that part two will be as enjoyable.'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentTimeDec 8th 2007
Great! Looking forward to that now although i would normally not plan to watch it, at least sometime soon! Thanks for the review Martijn!Love Maintitles. It's full of Wanders. -
- CommentTimeDec 8th 2007
Are you sure you want to be a part of this?
Apparently the film bothers some people...'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentTimeDec 8th 2007
Well, i want to watch it, out of curiosity.Love Maintitles. It's full of Wanders. -
- CommentTimeDec 8th 2007
I was only kidding.
While apparently I understand there is a certain Paradise Lost sensibility to the books (which I don't understand anyone could mind), there's virtually nothing left of it in the film. And even if there wereit could easily be construed as some sort of light counterweight to the blatant evangelical message of Narnia (which, by the way, was also pretty diluted to the point of absence in the film).'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentTimeDec 8th 2007
Both Narnia and The Golden Compass suffer mainly from being too SHORT.
Why don't they learn after both of the most successful films of all time...Titanic and the Lord of the Rings trilogy...are both 3+ hour epics?I love you all. Never change. Well, unless you want to! -
- CommentTimeDec 8th 2007
Scribe wrote
Dakota Blue RICHARDS.
oops, its indeed Richards, Dakota gets me every timewaaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh -
- CommentAuthorPawelStroinski
- CommentTimeDec 8th 2007
Tommy_Boy wrote
Scribe wrote
Dakota Blue RICHARDS.
oops, its indeed Richards, Dakota gets me every time
http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeDec 8th 2007 edited
Scribe wrote
Both Narnia and The Golden Compass suffer mainly from being too SHORT.
Why don't they learn after both of the most successful films of all time...Titanic and the Lord of the Rings trilogy...are both 3+ hour epics?
Oh Lord no.
Two hours is plenty (even if the 'exposure' information in the first ten minutes is a bit much... but at least it gives a good pace to the film). I don't think I would have been able to stand an extra hour though. The material (as presented in the film) simply isn't wealthy or robust enough for it.
No, two hours is just fine.
(I even though Narnia was way overlong...but then I didn't enjoy that film much at all. Cut it down to about 90 minutes with my remote control and the Fast Forward button...)'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentAuthorTimmer
- CommentTimeDec 8th 2007
Thanks for the views.
Most critics I've heard seem to agree along the same lines as you Martijn, as Mel read the books I WILL be seeing the film.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentTimeDec 9th 2007
Thanks for your comments regarding to the visuals, Martijn. I´m totally able to ignore any shortcomings of a movie if it has to offer something out of the ordinary, and your review was the final straw to convince me to give it a shot in theatre. I can absolutely have a blast with Episode 1 just by watching the phenomenal desing work, so Golden Compass should do well enough. -
- CommentAuthorEnemyToo
- CommentTimeDec 9th 2007
Haven't seen the movie yet, but I can almost assure there won't be sequel(s) since it made about $8 million the first day (as reported on Box Office Mojo). Can you say B-O-M-B? The production budget was around $250 million............. -
- CommentTimeDec 9th 2007
I think the budget was around 150 million, not 250. Well, according to IMDB anyway.
I have no idea where the 8 million comes from, but I doubt it's a global figure (and if it's only one country, then the film will have made its money back by the end of next week!). And for Heaven's sake, it's only out like three days! I think it's a bit hard making predictions based on those numbers alone!
There'll probably be a more consistent opportunity for analysis in January, I would think.'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentTimeDec 9th 2007 edited
Just did a little research.
As a matter of fact, the $ 8.8 million was the film's opening days' takings in North America.
Which is about as much as Eragon did, but way below Narnia, which did a whopping $ 27 million. New Line signed off on a budiget for the film of $ 180 million (bloody hell...that's about twice as much as Fellowship Of the Ring, I think!).
Oddly enough, a lot of people are rooting for this film to fail...but (aside from the hosts of people who are more ready to jump on a crusade bandwagon because a children's book hasn't been filmed in exactly the way they want it, rather than to defend basic freedom or oppose injustice, but hey-ho. All a matter of priorities, I guess), nobody is actually sure why, as no one seems to think the film is actually bad. (Not very good either, but certainly not bad).
Very strange...'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentTimeDec 9th 2007
Well, both Eragon and Compass started their trailers with "the next big thing after LOTR", followed by stuff that actual wasn´t convincing enough. You always get the fantasy fans, but to get a broad audience, you have to do better than that. -
- CommentTimeDec 9th 2007
Ralph Kruhm wrote
Well, both Eragon and Compass started their trailers with "the next big thing after LOTR"
Ouch.
Selfdefeating much?
What sort of PR genius would think THAT was gonna work?
Heads will be rolling I guess.'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentTimeDec 9th 2007
Yup. -
- CommentTimeDec 10th 2007
I just came back from the film. I guess I would really have loved this as a 13-year-old or something, but to be honest, it didn't strike a chord with me now. Either I'm too old for this or the fantasy elements weren't refined or intelligent enough (like LOTR) for me to latch onto.
To me, this seemed like a weird concoction of elements from a long string of other established fantasy literature, spiced up with some quasi-profound philosophies here and there - atheist, religious or whatever.
I was also a bit disappointed by the portrayal of "Norwegians" which, once again, was stereotypical. I recognized one or two real Norwegian phrases, but for the most part it was just mumbo-jumbo that actually sounded more like Icelandic than anything.
Oh, and I have DEFINITELY become too old for "talking animals" in live-action films.
The music...well, it was quite good for the most part. Desplat knows his stuff, no doubt about that, but it seemed to be far more "orchestral fantasy flourishes" than any real sense of integrity or melodic finesse. I don't know, it lacked....something. I've never really caught onto this Desplat frenzy.I am extremely serious. -
- CommentTimeDec 10th 2007 edited
Thor wrote
The music...well, it was quite good for the most part. Desplat knows his stuff, no doubt about that, but it seemed to be far more "orchestral fantasy flourishes" than any real sense of integrity or melodic finesse. I don't know, it lacked....something.
That's what i am saying too so thank you; (Although the "I've never really caught onto this Desplat frenzy." tag doesn't apply to me)Love Maintitles. It's full of Wanders. -
- CommentTimeDec 10th 2007 edited
Thor wrote:
I was also a bit disappointed by the portrayal of "Norwegians" which, once again, was stereotypical.
Well apparently the gypsy-piratey people were supposed to be Dutch-counterparts, so you got away lightly I think.'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentAuthorfranz_conrad
- CommentTimeDec 10th 2007 edited
Well, it is an alternative universe, gentlemen. We're lucky they still speak the most important language in the world, English.
If 'talking animals' really are all the daemons seem to be, then they're really bungled this film in a major way. A shame, as I'd heard that aspect of the adaptation wasn't bad.
(And beware latching onto Thor's views on music too much Demetris. You'll be trumpeting Hans Zimmer's symphonic prog rock as the greatest thing in film music since Harold Faltemeyer if you drink from that well. 'Melodic finesse' my hat. )A butterfly thinks therefore I am -
- CommentTimeDec 10th 2007 edited
Hahah no worries mate; i am careful. But to the first part of what he said, i agree. I have difficulties getting it too and as for your questions in the now playing thread, although too extensive to be answered like this by me now, still, i would never compare THE GOLDEN COMPASS to the bold and primal sound of Shore's LOTR. There's no relation musical-wise; concept-wise you might be right in drawing some parallel lines but never musicallyLove Maintitles. It's full of Wanders. -
- CommentTimeDec 10th 2007
franz_conrad wrote
If 'talking animals' really are all the daemons seem to be
That's not how it came across to me.
I still find the whole "soul" aspect faintly ridiculous, but these animals seem to hold different functions for different people. Lyra's shapechanger seems to be challenging/confronting her continously with personality aspects that are seemingly absent from herself (or she doesn't want to deal with). Mme. Coulter's seems to have a very disturbing hate/love relation with her baboon.
Unfortunately that's the two most complex ones.
For the rest it seems the animals are extensions of their "owner"'s personalities: Asriel's quiet and strong panther. All the minions' slavish dogs. The Coassack's fiery wolf hounds.
Pretty two-dimensional.
I'm not sure what that all means in terms of psychology or spirituality though. Split personalities? Your own Jiminy Cricket? Shamanic Rite of Passage issues? It's not extensively researched in the film, that's for sure.'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn