John Carter is very good and extremely complex.
I could be working on this one for awhile, but if you get a chance to see it this weekend, here are some things standing out for your attention (and for those interested in the Therns--the characters played by veteran bad guy Mark Strong--please see my in-depth analysis of them at John Carter And . . . the Anti-Christ?).
Why is the film so complex?
It's heavily encoding itself.
After John Carter (Taylor Kitsch) has been transported to Mars, he's taken in by the tribe of green martians with many arms and one of them, Sola (Samantha Morton), gives him a drink which permits him to understand their language, saying, "You can understand the language of Barsoom if you listen" but here's the trick: she's not saying that to John Carter, she's saying that to us and we have to be willing to "drink the drink" and listen to what's being said and, if we listen, we will hear (Barsoom is what Mars is called in the film).
Indiana Jones and the Last Crusade of 1989 when Indy has to spell the name of God by jumping on stones with letters written on them; starting out spelling "Yaweh," Indy realizes he has to spell "Jehovah" instead. Yet the film itself (hopefully you guessed where I was going) is like John's tomb, we are the key, and like Edgar trying to find the right combination, we have to find the right combination to enter in and find the most important pieces of the puzzle.
If it has something to say, why not just come out and say it plainly so everyone can understand it? As in the Iranian film A Separation, the message of the film could (as in the past) have gotten the film makers arrested because of the criticisms of the government the film contains (for my analysis please see A Separation: Sacrificing the Future); I am not saying John Carter contains anything critical of the American Government, . . . that is, I'm not saying it yet, but the purpose of a story, the purpose of art, is to present us with a persuasive argument about how things could be otherwise, how things became the way they became, and what we need to do.
John Carter is a movie filled with references to other films.
Cowboys and Aliens, released last year, certainly shares quite a bit of aesthetic quality and storyline; Avatar, Star Wars, the remake of Clash of the Titans, Sherlock Holmes: A Game of Shadows, the Wizard of Oz and probably several others, but what is important is, again, John Carter wants us to be thinking of those films. (We can also site Thor because, like the god of thunder, John Carter is separated from his home and true love by millions of space miles). How can I prove that? The princess' name is Deja, as in deja vu, the sense that you have all ready been someplace before or experienced something. But the film ties itself to current films just now being released, especially those reminding us of the Civil War (Cowboys and Aliens, Abraham Lincoln Vampire Hunter, Lincoln) the Victorian period (Sherlock Holmes A Game of Shadows, A Dangerous Method) and there are the plethora of "end of the world" films (Mars is a "dying planet" and war is tearing it apart, A Friend For the End for the World, Melancholia, The Avengers, Contagion, etc.).
There is something singularly unique about John Carter: he jumps.
How bizarre is that? Who else jumps besides "Jack be nimble, Jack be quick?" but I believe the jumping has a twofold consequence. First, the scientific explanation: because the gravitational pull on earth is stronger than on Mars, John Carter's usual ability to walk translates as the strength to jump due to lesser gravity (which also explains his greater strength). Symbolically, however, jumping can be likened to his social status: on earth, he jumped tremendously high from the lower social/economic class of not having enough credit to buy beans, to being one of the richest men in the world. (His ability to "jump" economically also reminds us, as Americans, the reason why many of our ancestors came to this country: upward mobility. They were "chained" to their class in the motherland from which they came, and wanted a chance to "move up" in the world).
Again, there is still another explanation for the jumping.
When he unwillingly returns to earth from Mars, John Carter "jumps" from place to place searching for the medallion, going from one end of the world all the way to the other, hoping to discover a place where another portal exists that he can get back to Mars. Not succeeding, he then creates a situation that will lure in a medallion by staging his death.
I have only just begun to scratch the surface of this film, and will continue putting things together, and working them over in my mind, but if you are considering seeing it this weekend, I hope I have persuaded you that it would be worth your while.
I could be working on this one for awhile, but if you get a chance to see it this weekend, here are some things standing out for your attention (and for those interested in the Therns--the characters played by veteran bad guy Mark Strong--please see my in-depth analysis of them at John Carter And . . . the Anti-Christ?).
Why is the film so complex?
It's heavily encoding itself.
After John Carter (Taylor Kitsch) has been transported to Mars, he's taken in by the tribe of green martians with many arms and one of them, Sola (Samantha Morton), gives him a drink which permits him to understand their language, saying, "You can understand the language of Barsoom if you listen" but here's the trick: she's not saying that to John Carter, she's saying that to us and we have to be willing to "drink the drink" and listen to what's being said and, if we listen, we will hear (Barsoom is what Mars is called in the film).
Indiana Jones and the Last Crusade of 1989 when Indy has to spell the name of God by jumping on stones with letters written on them; starting out spelling "Yaweh," Indy realizes he has to spell "Jehovah" instead. Yet the film itself (hopefully you guessed where I was going) is like John's tomb, we are the key, and like Edgar trying to find the right combination, we have to find the right combination to enter in and find the most important pieces of the puzzle.
If it has something to say, why not just come out and say it plainly so everyone can understand it? As in the Iranian film A Separation, the message of the film could (as in the past) have gotten the film makers arrested because of the criticisms of the government the film contains (for my analysis please see A Separation: Sacrificing the Future); I am not saying John Carter contains anything critical of the American Government, . . . that is, I'm not saying it yet, but the purpose of a story, the purpose of art, is to present us with a persuasive argument about how things could be otherwise, how things became the way they became, and what we need to do.
John Carter is a movie filled with references to other films.
Cowboys and Aliens, released last year, certainly shares quite a bit of aesthetic quality and storyline; Avatar, Star Wars, the remake of Clash of the Titans, Sherlock Holmes: A Game of Shadows, the Wizard of Oz and probably several others, but what is important is, again, John Carter wants us to be thinking of those films. (We can also site Thor because, like the god of thunder, John Carter is separated from his home and true love by millions of space miles). How can I prove that? The princess' name is Deja, as in deja vu, the sense that you have all ready been someplace before or experienced something. But the film ties itself to current films just now being released, especially those reminding us of the Civil War (Cowboys and Aliens, Abraham Lincoln Vampire Hunter, Lincoln) the Victorian period (Sherlock Holmes A Game of Shadows, A Dangerous Method) and there are the plethora of "end of the world" films (Mars is a "dying planet" and war is tearing it apart, A Friend For the End for the World, Melancholia, The Avengers, Contagion, etc.).
The bar/store where John goes to secure supplies but is denied them. He lays down a gold piece with curious inscriptions, from the spider cave which has a ceiling of gold. |
How bizarre is that? Who else jumps besides "Jack be nimble, Jack be quick?" but I believe the jumping has a twofold consequence. First, the scientific explanation: because the gravitational pull on earth is stronger than on Mars, John Carter's usual ability to walk translates as the strength to jump due to lesser gravity (which also explains his greater strength). Symbolically, however, jumping can be likened to his social status: on earth, he jumped tremendously high from the lower social/economic class of not having enough credit to buy beans, to being one of the richest men in the world. (His ability to "jump" economically also reminds us, as Americans, the reason why many of our ancestors came to this country: upward mobility. They were "chained" to their class in the motherland from which they came, and wanted a chance to "move up" in the world).
Another interesting aspect of John Carter is, he seems to always be chained. The chain, of course, usually stands for sin, as in Immortals, but John Carter seems more "chained to the past," like Jennet Humphrey in The Woman In Black, "hanging on" to her grudge against her sister. |
When he unwillingly returns to earth from Mars, John Carter "jumps" from place to place searching for the medallion, going from one end of the world all the way to the other, hoping to discover a place where another portal exists that he can get back to Mars. Not succeeding, he then creates a situation that will lure in a medallion by staging his death.
Opening shot, New York City on a rainy day. |
A dry martian landscape. |
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