Best: Scandal
Worst: Trope
By Emily S. George
Contributing Writer
Best Celebrity Scandal of 2002:
Many people, especially those of us who attend Pomona College, have long loved to hate celebrities for hoarding their millions and living the high life in Hollywood while people go hungry and live in the streets. Hence, when now-31-year-old actress Winona Ryder was arrested last December 12 at the Beverly Hills Saks and charged for felony grand theft, vandalism, and burglary, the public expressed disbelief and disgust.
The fact that Ryder had purchased $3,000-worth of merchandize (a jacket and two blouses) that same day further emphasized the successful actress's ability to pay for this high-fashion clothing. And even if we as a society may forgive theft in cases of dire need, no one could argue dire need for designer hair bows and the like.
To complicate matters, Ryder also had two pills of a controlled substance in her possession without a prescription. A doctor later explained that he had given her the pills, so-though settlement talks were unsuccessful on the whole-the district attorney dropped the drug charge. But the image was irreversible: waifish, strung-out starlet, high on drugs and entitlement.
On November 6, after five and a half hours of deliberation, the jury found Ryder guilty of both felony grand theft and vandalism (apparently for damaging items when she removed their security tags) but acquitted her for burglary (because this charge required clear evidence that the defendant entered the store with the express intent of stealing). These offenses are punishable by up to three years of imprisonment.
Given Ryder's many acclaimed performances since 1986 in films ranging from Beetlejuice, Heathers, and Reality Bites to The Age of Innoncence and Little Women (for which she was nominated for Academy Awards as Best Supporting Actress and Best Actress, respectively), the media has relished the irony of the fact that Winona did not testify in court and "showed no emotion as the verdict was announced. (as reported on yahoo.com)"
The media and onlookers have also of course fed on the drama of a woman who is wealthy and in her 30's committing a felony normally perpetrated by either the poor or the young. Her actions have hence been readily condemnable as an expression of (a) stupidity, (b) an elite's above-the-law mentality, (c) a drug-addict's deviance, or-for extra spice-(d) publicity-hunger. The most cynical of course have selected (e) all of the above.
Worst Departure From A Film/Novel Series's Norms or Essence:
Over the Thanksgiving holiday, I saw two movies, Harry Potter and the Chamber of Secrets and the James Bond film Die Another Day, and was struck by the fact that they shared a common flaw and hence must share this "Worst" title.
While I have not read the Harry Potter books, I did have the sense that the series transmitted a sense of whimsy and magic as well as insights into our own, real world and its inhabitants. I expected that the corresponding films would share this essence; I was, of course, overestimating the ability of Hollywood to restrain itself. The film was not whimsical, insightful, endearing or quaint. It was a suspense thriller for kids that emphasized special effects and jump-in-your-seat moments rather than character development and audience involvement. Spiders and giant snakes overshadowed the human characters, who were ill-defined, stock character types about whom it was difficult to care. A children's film's spooky suspense moments and, even, all-out action moments do not sustain the interest of a more adult viewer (especially one who has just seen the Bond film); older audience members need to feel a kinship with the protagonist and his friends in order to feel inspired to follow the course of their lengthy adventure. These viewers would also appreciate more nuanced interpretations of the villains, who have been reduced by director Chris Columbus to the status of one-dimensional ego-maniacs and bad guys. More importantly, Columbus has also eliminated, as I understand, the whimsical and insightful details of J.K. Rowling's story. The result, then is a film with Hollywood visual zip but no real magic.
Meanwhile, Bond's magic has suffered for similar reasons, as 007 has come to rely on increasingly complex devices and cars to succeed in his high-risk, action-packed spying missions. The scene in which the series' present star, Pierce Brosnan, stumbles through the malaise of retired gadgets, drives home the point, reminding audiences just how much the toys of today differ from those of the "old school" Bond days. Now, instead of briefcases with retractable, hidden knives, the star relies on high-tech cars with the capability to appear nearly invisible. While I do not wish to argue the implausibility of such an invention, I do wish to point out how such miraculously helpful tools make the sexy Brit appear less capable on his own. More and more, he has become the master of the machines rather than the machine in himself. Employing the right gadget in the right moment still requires some skill, but today's viewer generally gets to see much less of 007's intellectual and physical prowess as a result of these obscenely useful devices. What's more, the James Bond of Die Another Day has lost some of his coolness with respect to the ladies. Although he maintains his characteristic ability to seduce and please, director Lee Tamahori has made the viewer feel like Bond is now a kiss-and-tell man: rather than implying a sexual act between Brosnan and costar Halle Berry ("Jinx"), the film explicitly shows the act-a significant departure from Bond precedent. Today's Bond, then, is sliding down the slope toward Joe Shmoe Action Hero Mac as he looses these aspects of coolness because Tamahori has chosen to appease the American public by offering up cooler toys and hotter sex.
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