Hilarious is the operative term for THE BRACELET OF BORDEAUX.
It is a fast-paced, fanciful film that offers a nudge-wink mix of slapstick, irony, and withering social satire about "Chem City," Texas. Adults and children alike laughed long and hard at the showing I attended, with nary a mean-spirited gag in sight.
The quality I liked best about BRACELET was its overarching emphasis on the importance of choosing -- and keeping -- the right kinds of friends. Although clearly aimed at kids, the film has both a sense of humor and message adults would benefit by heeding.
Thank goodness the filmmakers chose to emphasize fantasy over realism. Is anyone besides me tired of films that fail to take advantage of the nearly boundless theatricality and visual creativity the medium allows? Without giving away the plot, I can say that a form of magic, with roots in an important period of contemporary world history, plays a pivotal role in the development of the story.
Equally refreshing was the use of believable, average-looking child actors, playing characters resembling real kids. Again, is anyone besides me tired of movies that present children as tiny, physically idealized, wise-cracking adults? Speaking of wisecracks, I liked the way the film's abundant humor sprang not from one-liners or clichés, but from the wild images on the screen or the irony of the situations orchestrated by the script.
Since I knew this was an independent film shot on a shoestring, I was surprised by the quality of the production. The photography was professional, as were the sets, costumes and props. Effects were high-quality, and acting was top-rate. I give extra points to the adult actors who portrayed the marionettes behind the juvenile-delinquent puppets. Sal's role added necessary weight to the plot, while the scenes featuring him and his hapless toady added levity to the proceedings with their straight-faced absurdity.
In reading background on the film, I learned that BRACELET is the first by Frank Eakin and that it was so low-budget it was practically no-budget. The information begs the question: Has digital technology made film a truly democratic art form? The success of THE BRACELET OF BORDEAUX is enough to make believers out of the most stalwart doubters in the power of digital video technology.
It is a fast-paced, fanciful film that offers a nudge-wink mix of slapstick, irony, and withering social satire about "Chem City," Texas. Adults and children alike laughed long and hard at the showing I attended, with nary a mean-spirited gag in sight.
The quality I liked best about BRACELET was its overarching emphasis on the importance of choosing -- and keeping -- the right kinds of friends. Although clearly aimed at kids, the film has both a sense of humor and message adults would benefit by heeding.
Thank goodness the filmmakers chose to emphasize fantasy over realism. Is anyone besides me tired of films that fail to take advantage of the nearly boundless theatricality and visual creativity the medium allows? Without giving away the plot, I can say that a form of magic, with roots in an important period of contemporary world history, plays a pivotal role in the development of the story.
Equally refreshing was the use of believable, average-looking child actors, playing characters resembling real kids. Again, is anyone besides me tired of movies that present children as tiny, physically idealized, wise-cracking adults? Speaking of wisecracks, I liked the way the film's abundant humor sprang not from one-liners or clichés, but from the wild images on the screen or the irony of the situations orchestrated by the script.
Since I knew this was an independent film shot on a shoestring, I was surprised by the quality of the production. The photography was professional, as were the sets, costumes and props. Effects were high-quality, and acting was top-rate. I give extra points to the adult actors who portrayed the marionettes behind the juvenile-delinquent puppets. Sal's role added necessary weight to the plot, while the scenes featuring him and his hapless toady added levity to the proceedings with their straight-faced absurdity.
In reading background on the film, I learned that BRACELET is the first by Frank Eakin and that it was so low-budget it was practically no-budget. The information begs the question: Has digital technology made film a truly democratic art form? The success of THE BRACELET OF BORDEAUX is enough to make believers out of the most stalwart doubters in the power of digital video technology.