How the Grinch Stole Christmas / Как Гринч украл рождество
Режиссер: Ron Howard
Год выпуска: 2000
Актеры: Jim Carrey (as Grinch), Taylor Momsen (as Cindy Lou Who), Jeffrey Tambor (as Mayor Augustus Maywho), Christine Baranski (as Martha May Whovier), Bill Irwin (I) (as Lou Lou Who), Molly Shannon (as Betty Lou Who), Clint Howard (as Whobris), Josh Ryan Evans (as 8-Year Old Grinch), Jeremy Howard (as Drew Lou Who), Mindy Sterling (as Clarnella), Lacey Kohl (as Christina Whoterberry), Rachel Winfree (as Rose), Rance Howard (as Elderly Timekeeper), Frankie Ray (I) (as Who), T.J. Thyne (as Stu Lou Who)
Описание: Супер-блокбастер от знаменитого режиссера Рона Хауарда ("Выкуп", "Обратная тяга") с участием всенародного любимца Джима Кэрри.
Жил-был в городе Ктограде человечек, и звали его - Гринч. Был он весь зеленый и волосатый, никто его не любил. Обиделся Гринч на ктовичей и ушел жить на одинокую, обдуваемую всеми ветрами, гору. Сидел там в своей пещере и злился на весь свет. Больше всего Гринч ненавидел Рождество. В то время, как все население Ктограда веселилось от души, барометр, и без того всегда плохого настроения Гринча, показывал нечто ужасное. Каждое Рождество становилось для зеленого отшельника страшной пыткой. И вот однажды злобный житель горы решил покончить с этим праздником раз и навсегда. Пока беззаботные ктовичи сладко спали в предпраздничную ночь, вероломный Гринч решил украсть у горожан их Рождество...
Эта картина стала одним из самых кассовых фильмов за всю историю американского кино. Голливудский кудесник Рик Бэйкер получил за свою блестящую работу на этой картине очередной "Оскар" за "Лучший грим".
Рецензии: The Grinch (2000)
Rating: 7 out of 10; What the rating means in my system: "Genre fans should enjoy it as well as a lot of people with a more passing interest in the genre. Flaws are starting to show. Serious film fans (someone who watches at least 2 films per week but doesn't have special feelings for the genre) should give these more consideration before spending their money. Casual film-fans (one film or less per week) should generally stay away from 7's or anything lower."
A bit disappointing overall, although rewarding in many of its details, director Ron Howard's The Grinch is an uneven film that unfortunately shoots itself in the foot as often as it works.
The source of the material is no mystery--the inimitable Dr. Seuss' 1957 children's book, How the Grinch Stole Christmas, and the 1966 animated short. Jim Carrey plays the Grinch in Howard's live action version, which thanks to scriptwriters Jeffrey (Who Framed Roger Rabbit, Wild Wild West) Price and Peter S. (ditto) Seaman tries to fill out the story enough to make a feature-length film out of the material.
For those not in the know, The Grinch takes place in the Seuss-land of Whoville--a tiny world that can fit inside a snowflake. Most of the Who's are shiny, happy people who live for Christmas. However, high up on a mountain above Whoville lives a different sort of creature, one who lives to antagonize and cause problems, the Grinch. The Grinch can't stand the Who's attitudes, and he finally becomes so fed up one year that he hatches a plan to stop Christmas.
Among the many things that Howard's film does right is the production design. One of the primary attractions to Seuss' work, and the one that continues to capture adult audiences as well as children, is his surrealness. Not only did Seuss push envelopes in terms of subject matter and the extent to which he was willing to explore odd neologisms and combinations of words to achieve the right atmosphere in his works, he did the same in his drawing style. That's what the recent Broadway adaptation of Seuss' universe, Seussical, missed by a light year, and that's largely why that show failed overall (at least the Boston preview of the show that I attended).
Michael (Apollo 13, Mighty Joe Young, Ed TV) Corenblith's work nicely captures the texture and flow of everything from Mount Crumpet to the Whoville homes to the bizarre musical instruments that they play. Seuss' work has a deceptive simplicity that can't be met by minimalism. Rather, it requires peculiar curving lines, nested forms and a more sparse Rube Goldberg sensibility.
The accuracy of visual style was equally captured by the special effects team (notice, for instance, the swirls in the clouds when we see The Grinch's head framed by the sky as he stands atop Mount Crumpet) and the makeup department, who achieved the perfect look for Jim Carrey that both made him look exactly like Seuss' depiction of the Grinch and allowed him to embellish his character with his natural prowess for exaggerated facial expressions.
Unfortunately, especially if you're a Seuss fan and are really rooting for the film to be the quintessential adaptation of his work, there are problems immediately apparent as well. The first of them was Anthony Hopkins' narration, which delivers the text of the book in that dispassionate, dissociative pallor which he's a master of' but it's much better suited for Hannibal Lecter, and Hopkins is more marble-mouthed here. Since it's only narration, and The Grinch isn't merely a `slide-show' adaptation of Seuss like many of the `shorts' have been (such as the version of Yertle the Turtle narrated by John Lithgow), the muddy narration isn't a fatal blow, but it's still a bit aggravating.
Worse is the pacing, a problem I don't recall with any of Howard's other films (and he's worked with The Grinch's editors on a number of his past movies). As good as Carrey is, a number of his scenes are somewhat deflated by reaction or other shots that linger just a bit too long, almost as if Howard had inserted freeze-frames arbitrarily.
Other than Carrey, many of the performances fall a bit flat, as well. It seems sometimes that The Grinch was meant to be primarily funny, but not much of it made me laugh. Other parts seem as if they were meant to be touching, but that wasn't conveyed well either. There is also a definite lack of suspense in most parts. Much of the film is simply bland, but filled with eye candy and Carrey doing his best to make it all work. As a nod to the animated short, there are two songs that Howard reprises. The main one, `You're a Mean One, Mr. Grinch,' doesn't work nearly as well here.
Dr. Seuss' books all have a distinctive quality--although they're teaching kids to read and have morals to some extent, they're never preachy and the characters have motivations that are less human in nature than they're ways to create humor by exaggerating reality almost to a point of nonsense. There's almost a cruel undertone to even the `nice' Seuss characters' they're at least sarcastic and intent on showing other characters' foibles by logically extending the consequences of their beliefs, actions and claims. If faced with a choice between teaching kids the true meaning of Christmas or working in a use for the name, `Motta-fa-Potta-fa-Pell,' Seuss would choose the latter. He cared more about promoting imagination and fantasy than relaying ethical notions. He was far more a children's version of Salvador Dali, or Monty Python even, than a demented Mister Rogers. That's something that the bulk of his artistic interpreters, including Howard, have missed.
The Grinch is worth seeing for the look of the film, some action sequences and for Carrey and his dog's performances. Beyond that, sad as it is to say, it has little to merit a recommendation