Theatrics slapstick and cheer are cinematic qualities you rarely find outside the realm of animation. Disney perfected it with their pantheon of cartoon classics mixing music humor spectacle and light-hearted drama that swept up children while still capturing the imaginations and hearts of their parents. But these days even reinterpretations of fairy tales get the gritty make-over leaving little room for silliness and unfiltered glee. Emerging through that dark cloud is Mirror Mirror a film that achieves every bit of imagination crafted by its two-dimensional predecessors and then some. Under the eye of master visualist Tarsem Singh (The Fall Immortals) Mirror Mirror's heightened realism imbues it with the power to pull off anything — and the movie never skimps on the anything.
Like its animated counterparts Mirror Mirror stays faithful to its source material but twists it just enough to feel unique. When Snow White (Lily Collins) was a little girl her father the King ventured into a nearby dark forest to do battle with an evil creature and was never seen or heard from again. The kingdom was inherited by The Queen (Julia Roberts) Snow's evil stepmother and the fair-skinned beauty lived locked up in the castle until her 18th birthday. Grown up and tired of her wicked parental substitute White sneaks out of the castle to the village for the first time. There she witnesses the economic horrors The Queen has imposed upon the people of her land all to fuel her expensive beautification. Along the way Snow also meets Prince Alcott (Armie Hammer) who is suffering from his own money troubles — mainly being robbed by a band of stilt-wearing dwarves. When the Queen catches wind of the secret excursion she casts Snow out of the castle to be murdered by her assistant Brighton (Nathan Lane).
Fairy tales take flack for rejecting the idea of women being capable but even with its flighty presentation and dedication to the old school Disney method Mirror Mirror empowers its Snow White in a genuine way thanks to Collins' snappy charming performance. After being set free by Brighton Snow crosses paths with the thieving dwarves and quickly takes a role on their pilfering team (which she helps turn in to a Robin Hooding business). Tarsem wisely mines a spectrum of personalities out of the seven dwarves instead of simply playing them for one note comedy. Sure there's plenty of slapstick and pun humor (purposefully and wonderfully corny) but each member of the septet stands out as a warm compassionate companion to Snow even in the fantasy world.
Mirror Mirror is richly designed and executed in true Tarsem-fashion with breathtaking costumes (everything from ball gowns to the dwarf expando-stilts to ridiculous pirate ship hats with working canons) whimsical sets and a pitch-perfect score by Disney-mainstay Alan Menken. The world is a storybook and even its monsters look like illustrations rather than photo-real creations. But what makes it all click is the actors. Collins holds her own against the legendary Julia Roberts who relishes in the fun she's having playing someone despicable. She delivers every word with playful bite and her rapport with Lane is off-the-wall fun. Armie Hammer riffs on his own Prince Charming physique as Alcott. The only real misgiving of the film is the undercooked relationship between him and Snow. We know they'll get together but the journey's half the fun and Mirror Mirror serves that portion undercooked.
Children will swoon for Mirror Mirror but there's plenty here for adults — dialogue peppered with sharp wisecracks and a visual style ripped from an elegant tapestry. The movie wears its heart on its sleeve and rarely do we get a picture where both the heart and the sleeve feel truly magical.
The Academy of Motion Picture Arts and Sciences handed out 21 awards tonight for scientific and technical achievements.
Actress Charlize Theron hosted the black tie gala at the Regent Beverly Wilshire hotel.
Scientific and Technical Awards are presented by the academy for ``devices, methods, formulas, discoveries or inventions of special and outstanding value to the arts and sciences of motion pictures.''
Seven Scientific and Engineering Awards were presented in the form of plaques, and 14 Technical Achievement Awards were given out as certificates. Its board of directors chose the winners based on recommendations from the
Scientific and Technical Awards Committee.
Achievements receiving the scientific and technical awards needn't have been invented during the current year, said Awards Administration Director Richard Miller. They are considered ``only if they have proved their exceptional merit through successful use,'' he said.
An Oscar statuette was presented to Edmund M. Di Giulio, who the academy calls one of the film industry's ``foremost engineering minds.'' De Giulio was the Gordon E. Sawyer Award recipient. The award, established
in 1981, is ``presented to an individual in the motion picture industry whose technological contributions have brought credit to the industry.''
Perhaps best known for his part in the engineering and development of the Steadicam, Di Giulio has been active on various Academy subcommittees. He chaired the Academy's Scientific and Technical Awards Committee for five
An Award of Commendation went to Rune Ericson, who was honored for ``his groundbreaking efforts on and dedication to the development of the Kodak Super 16mm film format for motion pictures.'' According to the academy, the Swedish director of photography has worked for more than 30 years to improve the Super 16mm, which has been used for more than 500 feature films shot throughout the world since the 1970s.
The system gives the camera extreme mobility, allowing cuts in production costs and shooting time without corrupting the quality of the image, according to AMPAS. The 16mm film format has also played a significant part in furthering the mainstream success of low-budget films. By extending the width of the 16mm frame, more of the frame height can be used, which allows low-budget films to be produced in a technically compatible version for widescreen theatrical release.
Here are the Scientific and Engineering Award recipients:
John Eargle, Don Keele and Mark Engebretson for the concept, design and engineering of the modern constant-directivity, direct radiator style motion picture loudspeaker systems;
Iain Neil won for the concept and optical design and Al Saiki for the mechanical design of the Panavision Primo Macro Zoom Lens, a compact, wide-angle, macro focus lens;
Peter Kuran for the invention, and Sean Coughlin, Joseph A. Olivier and William Conner for the engineering and development, of the RCI-Color Film Restoration Process, which restores color to faded color negatives;
Franz Kraus, Johannes Steurer and Wolfgang Riedel for the design and development of the ARRILASER Film Recorder, which demonstrates a high level of engineering resulting in a compact, user-friendly, low-maintenance device while at the same time maintaining outstanding speed, exposure ratings and image quality;
Makoto Tsukada, Shoji Kaneko and the Technical Staff of Imagica Corp., and Daijiro Fujie of Nikon Corp., for the Imagica 65/35 Multi-Format Optical Printer, a liquid-gate optical printer that offers ease of set-up and change-
over to various formats from 35mm to 65mm;
Steve Gerlach, Gregory Farrell and Christian Lurin for the design, engineering and implementation of the Kodak Panchromatic Sound Recording Film, which allows all four soundtrack systems to be exposed on a single negative
with relative ease, facilitating more economic distribution of motion pictures; and
Paul Constantine and Peter M. Constantine for the design and development of the CELCO Digital Film Recorder products.
Here are the Technical Achievement Awards winners:
Pete Romano for the design and development of the Remote AquaCam, an underwater camera housing system for use in motion pictures;
Jordan Klein for his pioneering efforts in the development and application of underwater camera housings for motion pictures;
Lance Williams for his pioneering influence in the field of computer-generated animation and effects for motion pictures;
Bernard Werner and William Gelow for the engineering and design of filtered line arrays and screen spreading compensation as applied to motion picture loudspeaker systems;
Tomlinson Holman for the research and systems integration resulting in the improvement of motion picture loudspeaker systems;
Geoff Jackson and Roger Woodburn for their DMS 120S Camera Motor;
Thomas Major Barron for the overall concept and design; Charles Smith for the structural engineering; and Gordon Seitz for the mechanical engineering of the Bulldog Motion Control Camera Crane;
John Anderson, Jim Hourihan, Cary Phillips and Sebastian Marino for the development of the ILM Creature Dynamics System;
Dr. Steve Sullivan and Eric Schafer for the development of the ILM Motion and Structure Recovery System;
Carl Ludwig and John Constantine Jr. for their contributions to CELCO Digital Film Recorder products;
Bill Spitzak, Paul Van Camp, Jonathan Egstad and Price Pethel for their pioneering effort on the NUKE-2D Compositing Software;
Dr. Uwe Sassenberg and Rolf Schneider for the development of ``3D Equalizer,'' an advanced and robust camera and object match-moving system;
Garland Stern for the concept and implementation of the Cel Paint Software System; and
Mic Rodgers and Matt Sweeney for the concept, design and realization of the ``Mic Rig,'' a self-contained, low bed picture car carrier and camera platform.