The Greatest Showman’s Misleading Trailers

‘The Greatest Showman’ is one of the most anticipated films of the festive period. A host of huge name stars is topped by Hugh Jackman, Zac Efron and Michelle Williams. Bill Condon has co-written the screenplay, following successful involvement in the films ‘Chicago’ and ‘Gods and Monsters’, getting an Oscar nomination for one and a win for the other. Seamus McGarvey is involved as cinematographer, a man whose successes are so great its hard to list.

One thing is distracting me when watching the trailers though. For all the brilliant theatrics, set pieces, costumes and star power, there appears to be no mention of the fact this is a musical. Well, that’s not strictly true. There’s a brief mention right at the end of each trailer to “music from Academy Award and Tony Award winners Benj Pasek and Justin Paul”. Not much of a way to sing the praises of the central crux of the film.

My question is: why? In 2017 we’ve already had proven to us that cinema-goers love musicals. ‘La La Land’ achieved a global box office of $445,669,679 (as of 25th November 2017), based on a budget of $30m. Admittedly, this may be an exceptional and unexpected success, but it sets a precedent that there is certainly an appetite for a well-delivered musical.

It’s not as if this hasn’t bitten other films before. When Tim Burton’s Sweeney Todd was released in 2008, cinema-goers in the UK were seen to walk out of screenings due to the misleading nature of the trailers. Complaints were made to the Advertising Standards Authority. It looked like a horror film but turned out not only to be a musical, but a faithful version of a Sondheim musical. Guess what? Sondheim famously makes his musicals extremely musical-y, with seemingly the entire film being delivered in song form.

It just feels incredible that a studio would make the same mistakes again. The craziest thing is that the music is absolutely brilliant and should be being trumpeted to help sell the film. The lead cast are all seasoned musical professionals – a huge improvement on the likes of ‘Beauty and the Beast’ and ‘The Jungle Book’, which featured the more experienced musical performers in minor roles.

You can listen to a couple of tracks below and make your mind up yourself.

I’m a great believer that audiences are intelligent enough to make their own decisions. We hate to be lured into an auditorium under false pretences.

I guess we’ll find out if there’s any backlash this Christmas.

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Film review – Logan (James Mangold, 2017)

THIS ARTICLE IS FULL OF SPOILERS

Hugh Jackman is, in the superhero film world, a living legend. There has never been a single actor or actress that has achieved relentless success across so many different films in this genre, making a character his own and developing it into one of the big guns instead of just part of a team. Like the character Wolverine, the actor behind him seems like he’ll play the part forever.

And yet we come to Logan, a wisely-timed and fitting ending to the franchise and Jackman’s input into the character. It’s hard to believe it but this is the tenth time we’ve seen the character – seven X-Men films have now been made, along with three Wolverine-focussed standalone films. It seems impossible to think anyone will fill the role, meaning this could be the last time we see the character for many years, possibly ever.

It could well be the best superhero/mutant-hero film ever made.

Set in the world 2029, the film finds Logan worlds apart from his former self. Hiding out in a disused smelting plant in New Mexico, he is working as a chauffeur whilst hustling for prescription drugs for Professor X (Patrick Stewart), whom he lives with alongside Caliban (a surprisingly sincere Stephen Merchant). He is tracked down by a mysterious woman named Gabriella (Elizabeth Rodriguez) who is trying to get him to take a young mutant girl named Laura (the brilliant Dafne Keen) to specific co-ordinates in South Dakota before Transigen finds her to either kill her or take her back into their shady mutant development programme. The company, which we have previously glimpsed in X-Men: Apocalypse, is headed up by Zander Rice (Richard E. Grant), whilst they are hotly pursued by head of security and leader of the Reavers Donald Pierce (Boyd Holbrook).

Jackman reportedly took a pay cut to ensure this film received an R-Rating in USA. The result is certainly the most brutal cinematic portrayal of Wolverine yet, with no holding back on any of the gruesome details. It is certainly not a kids’ film. Jackman looks battle-worn from the start, the reasoning given that the adamantium is now poisoning his body and losing its regenerative abilities. His best cure is to drink alcohol, which may mask the pain but won’t cover the endless scars across his body.

The perfect muse for Jackman’s final turn as Logan is Patrick Stewart, reprising one last time his Professor X character. Now in the midst of a horrific battle with dementia, he struggles to keep control of his telepathic abilities. What is really interesting here is that it is a study of people at the end of their life who are losing their usefulness to society. Okay, this is shown in the most extreme manners when someone has superpowers, but the poignancy is still there for everyone to see.

To add extra emotional weight to the film, the young girl is revealed to be the kind-of-daughter of Wolverine, in that she shares some of his genetic make-up. In the greater comic book storylines she is X-23, who first appeared in 2003. Whilst not strictly his daughter, this is a clever plot device as it means the two characters are immediately drawn to one another, despite their tendency to mistrust those around them.

It may be masquerading as a film about mutants but this is so much more – a character-driven drama about old age and retirement.

Inevitably, the ending is upsetting, as we see our titular hero sacrifice himself to ensure the safe passage of his daughter. The final scene, especially the final shot, is absolutely perfect.

A fitting end to one of the greatest film characters of our time.