The revision of Beetlejuice (1988), reprinted this week in theaters, it constitutes a surprise. The film keeps a joyous spirit, a spirit of disorder, not yet swallowed up in the ripolinage digital movies of the 2000s.
Geena Davis and Alec Baldwin, charming and juveniles spend from life to death early in the film and turned into ghosts, see their sweet home invaded by arrogant urbanites. They try to frighten them in vain adore these snobs that are attracting these kind spectra.
The film is about without taking seriously the crisis of belief and first degree that affects the classic genre film (the movie Ghost). To terrorize good for the newcomers and jaded skeptics (listen to the public 80 years), the sweet ghost will appeal to a reinforcement of weight: the extravagant Beetlejuice (Michael Keaton, manic).
Beetlejuice embodies the new Hollywood, dedicated to the bidding and spectacular special effects, last resort that still works the old story of a haunted house. We will complete the rediscovery of this early work by reading a short book: the publication in French filmmaker interviews with British journalist Mark Salisbury.
Film after film, the two men auscultent mechanisms burtonienne machinery. The only illustration by drawings Burton gives a sleek (although this will reject the photo film also creates a shortage, just the feeling that prevails on the imaging film).
The book also benefits from an affectionate introduction of the model and friend Johnny Depp, concluded with these words: “I’ve never seen anyone so obviously offside adapt as well. In his own way”.
Beetlejuice Published Filmmakers
