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.beta-btn__arrow{cursor:pointer;transform:rotate(45deg)}.beta-btn:hover .beta-btn__arrow--expanded{transform:rotate(-35deg)}.beta-btn__copy{color:#444;display:block;font-size:12px;letter-spacing:0;line-height:17px;margin:16px auto;max-width:50%}.beta-btn__arrow{border:solid #fff;border-width:0 2px 2px 0;display:inline-block;padding:3px;position:relative;top:-1px;transform:rotate(-45deg);transition:.4s}.beta-btn__arrow--expanded{transform:rotate(45deg)} .location-header{font-size:14px;letter-spacing:2.92px;line-height:19px;text-transform:uppercase} .temperature-switcher{background:rgba(0,0,0,0);border:0;cursor:pointer;font-size:14px;font-style:italic;font-weight:300;white-space:nowrap}.temperature-switcher:active{color:currentColor}.temperature-switcher__active{font-weight:bold}.temperature-switcher span{margin:0 .2ex} .day{--w-day-font-size: 14px;--w-day-temp-font-size: 20px;--w-day-temp-font-size-big: 32px;--w-day-temp-font-weight: 600;--w-day-name-font-weight: 500;align-items:center;color:#959595;display:flex;flex-direction:column;font-size:var(--w-day-font-size)}.day--desktop{--w-day-temp-font-size: 24px;--w-day-temp-font-weight: normal;--w-day-name-font-weight: 600}.day:first-of-type{color:#4b4b4b}.day__name{font-weight:var(--w-day-name-font-weight);line-height:1;margin-bottom:.75em;text-transform:uppercase}.day__symbol-header{display:block;height:80px;margin:7px 0 5px;width:98px}.day__symbol{display:block;height:40px;margin:7px 0 5px;width:50px}.day--desktop .day__symbol{height:60px;margin-top:15px;width:70px}.day__temp{font-size:var(--w-day-temp-font-size);font-weight:var(--w-day-temp-font-weight);line-height:1.2;margin-top:.75em;text-transform:lowercase}.day__temp--header{color:#4b4b4b;font-size:32px;font-weight:bold}.day--mobile:first-of-type{display:flex;flex-flow:row wrap;justify-content:center;margin-bottom:3em}.day--mobile:first-of-type .day__symbol{height:60px;margin-right:10px;overflow:visible;width:80px}.day--mobile:first-of-type .day__temp{font-size:var(--w-day-temp-font-size-big);font-weight:bold;margin-top:0}.day--mobile:first-of-type .day__location{font-size:120%;font-weight:500;margin:1em 0}.day--mobile:first-of-type .day__name{color:#959595}.day--mobile:first-of-type .day__location,.day--mobile:first-of-type .day__name{text-align:center;width:100%} .weather{--w-height: 50px;--w-wrapper-margin: 24px;--w-days-flexbasis: 33%;margin-bottom:2rem}.weather--desktop{--w-height: 80px;--w-wrapper-margin: 50px;--w-days-flexbasis: initial;margin-bottom:1rem}.weather:not(.weather--desktop) .weather__days{flex-flow:row wrap}.weather:not(.weather--desktop) .day:first-of-type{flex-basis:100%;width:auto}.weather__separator{border-right:1px solid #dcdcdc;display:block;height:var(--w-height)}.weather__days{align-items:center;display:flex;flex-basis:var(--w-days-flexbasis);justify-content:space-evenly;margin-top:2.5rem}.weather__days--desktop{margin-top:4rem}.weather__header{align-items:center;display:flex;flex-flow:column;justify-content:center;margin-bottom:var(--w-wrapper-margin)}.weather__header button{margin-top:1.5rem}.weather__header--desktop{position:relative}.weather__header--desktop button{margin:0;position:absolute;right:0} .destination-header{width:100%}.destination-header__container{align-items:center;display:flex;justify-content:center;min-height:380px;overflow:hidden;padding:0 16px;position:relative}.destination-header__image{height:100%;overflow:hidden;position:absolute;width:100%}.destination-header__image img{bottom:-100%;display:block;height:100%;left:-100%;margin:auto;min-height:100%;min-width:100%;object-fit:cover;position:absolute;right:-100%;top:-100%;width:100%}.destination-header__text{color:#fff;font-size:28px;letter-spacing:-0.95px;line-height:37.4px;max-width:488px;padding:0 20px;position:relative;text-align:center;text-transform:uppercase;width:100%}.destination-header__text a{color:#fff;font-weight:300;text-decoration:none}.destination-header__text--desktop{font-size:36px}.destination-header__text-container{border-bottom:solid 1px #fff;display:inline-block;line-height:1.3;padding-bottom:17px}.destination-header__text-container--desktop{padding-bottom:.75ex}.destination-header__link-page,.destination-header__advert{color:#fff;font-size:12px;letter-spacing:.5px;margin-top:20px;position:relative;text-align:center}.destination-header__link-page span,.destination-header__advert span{display:block;width:100%}.destination-header__link-page--desktop,.destination-header__advert--desktop{margin-top:40px}.destination-header__link-page{left:14px;margin:0;position:absolute;text-transform:uppercase;top:20px}.destination-header__link-page--desktop{left:25px;top:36px}.destination-header__background{background-image:radial-gradient(50% 49%, rgba(5, 36, 53, 0.37) 50%, rgba(0, 0, 0, 0) 83%);height:100%;pointer-events:none;position:absolute;top:0;width:100%}.destination-header a{color:#fff;text-decoration:none} .image-card{position:relative}.image-card img{object-fit:cover;width:100%}.image-card__heading-container{color:#fff;left:50%;position:absolute;text-align:center;top:80px;transform:translate(-50%, -50%)}.image-card__heading-container button{background-color:rgba(0,0,0,.8);border:0;color:#fff;cursor:pointer;display:inline-block;font-size:.875rem;letter-spacing:.183rem;outline:none;padding:15px 32px;text-align:center;text-decoration:none}.image-card__heading-container h1{font-size:.9rem;font-weight:bold;letter-spacing:3.6px;margin-top:0}.image-card__heading-container h2{font-size:2.1rem;font-weight:lighter;letter-spacing:-0.25px;line-height:42px;margin-top:0}.image-card__heading-container-landscape{align-items:center;display:flex;justify-content:space-between;left:50%;position:absolute;text-align:center;top:50%;transform:translate(-50%, -50%);width:90%}.image-card__heading-container-landscape__mobile{align-items:center;flex-direction:column}.image-card__heading-container-landscape h1{color:#fff;font-size:2.25rem;font-weight:lighter;letter-spacing:.95px;margin-top:0}.image-card__heading-container-landscape button{background-color:rgba(0,0,0,.8);border:0;color:#fff;cursor:pointer;display:inline-block;font-size:.875rem;height:60px;letter-spacing:.183rem;outline:none;padding:15px 32px;text-align:center;text-decoration:none;width:260px} .filter{display:inline-block;max-width:160px;position:relative}.filter__button{background-color:#000;border:0;color:#fff;font-size:16px;padding:16px;width:160px}.filter__content{background-color:#000;display:none;position:absolute;width:160px;z-index:1}.filter:focus .filter__content,.filter:hover .filter__content{display:block}.filter__content--open{display:block}.filter__content button{background-color:#000;border:0;color:#fff;cursor:pointer;display:block;font-style:italic;padding:12px 16px;text-decoration:none;width:100%}.filter__content button:hover{background-color:#494848} .callout-box-card{background-color:#eaeaea;color:#4a4a4a;margin-left:auto;margin-right:auto;text-align:left}.callout-box-card img{height:100%;width:100%}.callout-box-card__container{padding:.2rem 1.5rem}.callout-box-card__container h3{font-size:12px;font-weight:bold;letter-spacing:3px;line-height:16px;margin:1rem 0;text-transform:uppercase}.callout-box-card__container h4{font-size:28px;font-weight:lighter;letter-spacing:-0.21px;line-height:35px}.callout-box-card__container .body{font-size:16px;font-weight:lighter;letter-spacing:-0.12px;line-height:31px}.callout-box-card__container .body a{color:#4a4a4a;font-weight:bold;text-decoration:none}.mapboxgl-map{font:12px/20px Helvetica Neue,Arial,Helvetica,sans-serif;overflow:hidden;position:relative;-webkit-tap-highlight-color:rgba(0,0,0,0)}.mapboxgl-canvas{position:absolute;left:0;top:0}.mapboxgl-map:-webkit-full-screen{width:100%;height:100%}.mapboxgl-canary{background-color:salmon}.mapboxgl-canvas-container.mapboxgl-interactive,.mapboxgl-ctrl-group button.mapboxgl-ctrl-compass{cursor:-webkit-grab;cursor:-moz-grab;cursor:grab;-moz-user-select:none;-webkit-user-select:none;-ms-user-select:none;user-select:none}.mapboxgl-canvas-container.mapboxgl-interactive.mapboxgl-track-pointer{cursor:pointer}.mapboxgl-canvas-container.mapboxgl-interactive:active,.mapboxgl-ctrl-group button.mapboxgl-ctrl-compass:active{cursor:-webkit-grabbing;cursor:-moz-grabbing;cursor:grabbing}.mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate,.mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate .mapboxgl-canvas{touch-action:pan-x pan-y}.mapboxgl-canvas-container.mapboxgl-touch-drag-pan,.mapboxgl-canvas-container.mapboxgl-touch-drag-pan .mapboxgl-canvas{touch-action:pinch-zoom}.mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate.mapboxgl-touch-drag-pan,.mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate.mapboxgl-touch-drag-pan .mapboxgl-canvas{touch-action:none}.mapboxgl-ctrl-bottom-left,.mapboxgl-ctrl-bottom-right,.mapboxgl-ctrl-top-left,.mapboxgl-ctrl-top-right{position:absolute;pointer-events:none;z-index:2}.mapboxgl-ctrl-top-left{top:0;left:0}.mapboxgl-ctrl-top-right{top:0;right:0}.mapboxgl-ctrl-bottom-left{bottom:0;left:0}.mapboxgl-ctrl-bottom-right{right:0;bottom:0}.mapboxgl-ctrl{clear:both;pointer-events:auto;transform:translate(0)}.mapboxgl-ctrl-top-left .mapboxgl-ctrl{margin:10px 0 0 10px;float:left}.mapboxgl-ctrl-top-right .mapboxgl-ctrl{margin:10px 10px 0 0;float:right}.mapboxgl-ctrl-bottom-left .mapboxgl-ctrl{margin:0 0 10px 10px;float:left}.mapboxgl-ctrl-bottom-right .mapboxgl-ctrl{margin:0 10px 10px 0;float:right}.mapboxgl-ctrl-group{border-radius:4px;background:#fff}.mapboxgl-ctrl-group:not(:empty){-moz-box-shadow:0 0 2px rgba(0,0,0,.1);-webkit-box-shadow:0 0 2px rgba(0,0,0,.1);box-shadow:0 0 0 2px rgba(0,0,0,.1)}@media(-ms-high-contrast: active){.mapboxgl-ctrl-group:not(:empty){box-shadow:0 0 0 2px ButtonText}}.mapboxgl-ctrl-group button{width:29px;height:29px;display:block;padding:0;outline:none;border:0;box-sizing:border-box;background-color:rgba(0,0,0,0);cursor:pointer}.mapboxgl-ctrl-group button+button{border-top:1px solid #ddd}.mapboxgl-ctrl button .mapboxgl-ctrl-icon{display:block;width:100%;height:100%;background-repeat:no-repeat;background-position:50%}@media(-ms-high-contrast: active){.mapboxgl-ctrl-icon{background-color:rgba(0,0,0,0)}.mapboxgl-ctrl-group button+button{border-top:1px solid ButtonText}}.mapboxgl-ctrl button::-moz-focus-inner{border:0;padding:0}.mapboxgl-ctrl-group button:focus{box-shadow:0 0 2px 2px #0096ff}.mapboxgl-ctrl button:disabled{cursor:not-allowed}.mapboxgl-ctrl button:disabled .mapboxgl-ctrl-icon{opacity:.25}.mapboxgl-ctrl button:not(:disabled):hover{background-color:rgba(0,0,0,.05)}.mapboxgl-ctrl-group button:focus:focus-visible{box-shadow:0 0 2px 2px #0096ff}.mapboxgl-ctrl-group button:focus:not(:focus-visible){box-shadow:none}.mapboxgl-ctrl-group button:focus:first-child{border-radius:4px 4px 0 0}.mapboxgl-ctrl-group button:focus:last-child{border-radius:0 0 4px 4px}.mapboxgl-ctrl-group button:focus:only-child{border-radius:inherit}.mapboxgl-ctrl button.mapboxgl-ctrl-zoom-out .mapboxgl-ctrl-icon{background-image:url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M10 13c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h9c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-9z'/%3E%3C/svg%3E")}.mapboxgl-ctrl button.mapboxgl-ctrl-zoom-in .mapboxgl-ctrl-icon{background-image:url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M14.5 8.5c-.75 0-1.5.75-1.5 1.5v3h-3c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h3v3c0 .75.75 1.5 1.5 1.5S16 19.75 16 19v-3h3c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-3v-3c0-.75-.75-1.5-1.5-1.5z'/%3E%3C/svg%3E")}@media(-ms-high-contrast: active){.mapboxgl-ctrl button.mapboxgl-ctrl-zoom-out .mapboxgl-ctrl-icon{background-image:url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M10 13c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h9c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-9z'/%3E%3C/svg%3E")}.mapboxgl-ctrl button.mapboxgl-ctrl-zoom-in .mapboxgl-ctrl-icon{background-image:url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M14.5 8.5c-.75 0-1.5.75-1.5 1.5v3h-3c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h3v3c0 .75.75 1.5 1.5 1.5S16 19.75 16 19v-3h3c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-3v-3c0-.75-.75-1.5-1.5-1.5z'/%3E%3C/svg%3E")}}@media(-ms-high-contrast: black-on-white){.mapboxgl-ctrl button.mapboxgl-ctrl-zoom-out .mapboxgl-ctrl-icon{background-image:url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M10 13c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h9c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-9z'/%3E%3C/svg%3E")}.mapboxgl-ctrl button.mapboxgl-ctrl-zoom-in .mapboxgl-ctrl-icon{background-image:url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath 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id="headline-culturearticle20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made"><div class="article-headline " role="heading" aria-level="1"><div class="article-headline__collection"><div class="article-labels b-reith-sans-font b-font-weight-300"><a class="article-labels__text b-reith-sans-font" target="" rel="" id="" href="/web/20230617111054/https://www.bbc.com/culture/columns/film">Film</a></div></div><h1 class="article-headline__text b-reith-sans-font b-font-weight-300" tabindex="-1">Why the Spider-Verse films are the greatest comic book movies ever made</h1><div class="article-share-tools"><a href="https://web.archive.org/web/20230617111054/mailto:/?subject=Shared from BBC:Why%20the%20Spider-Verse%20films%20are%20the%20greatest%20comic%20book%20movies%20ever%20made&body=https%3A%2F%2Fwww.bbc.com%2Fculture%2Farticle%2F20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made%3Focid%3Dww.social.link.email" class="email-icon 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class="screen-reader-only">Share on Linkedin</span><div id="LinkedInIcon"></div></a></div></div><div class="copyright__text b-reith-sans-font">(Image credit: Sony Pictures)</div><div class="hero-image"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/1600x900/p0fsl4fj.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/1600x900/p0fsl4fj.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/1280x720/p0fsl4fj.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/1280x720/p0fsl4fj.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/976x549/p0fsl4fj.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/976x549/p0fsl4fj.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/624x351/p0fsl4fj.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/624x351/p0fsl4fj.jpg" type="image/jpeg"/><img loading="lazy" draggable="false" title="(Credit: Sony Pictures)" src="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/976x549/p0fsl4fj.jpg" alt="(Credit: Sony Pictures)" id=""/></picture></div></div><div class="article__container"><div class="article__main"><div class="article__subcontainer"><article class="article__body"><div class="article__author-unit"><div class="author-unit"><div class="author-unit__container author-unit__container--desktop"><a class="author-unit__text b-font-family-serif" target="" rel="" id="">By Kambole Campbell</a><span class="b-font-family-serif b-font-weight-300">7th June 2023</span></div><div class="author-unit__line"><div class="styled-line styled-line--dark-grey styled-line--large"></div></div></div></div><div class="article__body-content"><div class="article__intro b-font-family-serif">With sequel Spider-Man: Across the Spider-Verse currently wowing audiences, Kambole Campbell reflects on a superhero series that, with its magnificent visuals, truly honours its source material.</div><div><div class="body-text-card b-reith-sans-font"><div class="drop-capped b-reith-sans-font drop-capped--culture">T</div><div class="body-text-card__text body-text-card__text--culture body-text-card__text--drop-capped body-text-card__text--flush-text"><div><p class="BodyA">The new film Spider-Man: Across the Spider-Verse emerges in a rather different cinematic landscape than the one its predecessor, Spider-Man: Into the Spider-Verse, did five years ago. For the uninitiated, the animated Spider-Man series imagines that its central web-slinging hero, Miles Morales, exists within a vibrant "multiverse" of worlds where different incarnations of Spider-Man rule the roost. While the multiverse was novel back in 2018, it's a concept that has subsequently become a little played out within comic book films, in particular the movies of the Marvel Cinematic Universe. But they learned the wrong lesson from Spider-Man: Into the Spider-Verse – seeking out the multiverse's opportunities for a free-for-all of franchise possibilities, with different characters and different incarnations of characters able to be paired together at will, while passing over Into the Spider-Verse's real draw, which was its embrace of the visual idiosyncrasies of superhero comic books and using those in service of a fresh visual language. In Spider-Verse, a “multiverse” means, above all, a chance to break some rules rather than conform to formula.</p> <p class="BodyA"><strong>More like this:</strong><br/> – <a href="https://web.archive.org/web/20230617111054/https://www.bbc.com/culture/article/20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june">11 of the best films to watch in June<br/></a>– <a href="https://web.archive.org/web/20230617111054/https://www.bbc.com/culture/article/20230330-superhero-films-is-this-the-end-of-the-road">Is the superhero film dead?</a><br/> – <a href="https://web.archive.org/web/20230617111054/https://www.bbc.com/culture/article/20220505-why-sam-raimis-spider-man-shows-whats-wrong-with-marvel">Why Sam Raimi's Spider-Man was one of a kind<br/></a><br/> The first film stood out for the way in which directors Peter Ramsay, Rodney Rothman and Bob Persichetti got their team to paint Miles' world, a fresh style borne from an incorporation of traditional animation techniques and comic book art into new technologies. Its often nostalgic evocation of these elements made Miles Morales, a relatively new character in the Marvel comic books, feel like he has always been around, every part as iconic as Peter Parker.</p></div></div></div></div><div class="article-body__image-text article-body__image-text--landscape"><div id="culture/article/20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made-p0fsl47v"><div><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/1600x900/p0fsl47v.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/1600x900/p0fsl47v.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/1280x720/p0fsl47v.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/1280x720/p0fsl47v.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/976x549/p0fsl47v.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/976x549/p0fsl47v.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/624x351/p0fsl47v.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/624x351/p0fsl47v.jpg" type="image/jpeg"/><img loading="lazy" draggable="false" title="The new Spider-Verse is even more visually stunning than the first film, paying homage to a dazzling range of comic book artist styles (Credit: Sony Pictures)" src="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/976x549/p0fsl47v.jpg" alt="The new Spider-Verse is even more visually stunning than the first film, paying homage to a dazzling range of comic book artist styles (Credit: Sony Pictures)" id=""/></picture><div class="inline-image__description b-reith-sans-font inline-image__description--desktop"><div class="text-summary"><p class="text-summary__text text-summary__text--grey text-summary__text--left">The new Spider-Verse is even more visually stunning than the first film, paying homage to a dazzling range of comic book artist styles (Credit: Sony Pictures)</p></div></div></div></div></div><div><div class="body-text-card b-reith-sans-font"><div class="body-text-card__text body-text-card__text--culture body-text-card__text--flush-text"><div><p class="BodyA">Where other superhero movies might take a story, and maybe a famous composition or two, from the graphic source material, the teams of filmmakers and artists on both Spider-Verse films work in concert to bring the dynamism of comic books to life. The first Spider-Verse film drew acclaim for its combination of the language of animation and film with that of comic books. One such example can be seen in the use of onscreen written sound effects, like the classic Spider-Man sound "thwip!". Or its "burst cards" – 2D drawings that flash up amid the action for emphasis. Such moments feel briefly suspended in time, like you’re observing a panel of art come to life and blown up on the big screen.</p> <p class="BodyA">It’s rare to see comic book movies actually use the textures and tactile qualities of print; many noted its use of halftone, Ben-Day dots and "Kirby Krackle" (clusters of dots first used by revered comic book artist Jack Kirby to imply cosmic energy). In a number of interviews, Justin K Thompson – Into the Spider-Verse production designer, now Across the Spider-Verse co-director – highlighted the animation's embrace of the imperfections of print. Take the way in which the film's chromatic aberration <a href="https://web.archive.org/web/20230617111054/https://www.vulture.com/2019/01/how-spider-man-into-the-spider-verse-changed-animation.html">recalls the accidental colour separation and mismatches that would emerge from the four-colour printing process</a>.</p> <p class="BodyA">Through its gargantuan team of artists and animators (numbering more than 1000), Across the Spider-Verse doubles down on the first film's exhilarating sensory overload, experimenting visually as well as narratively with what a Spider-Man story could be on screen. Every formal element of the previous film is even more prominent, as with the way some characters are animated "on twos" – at 12 frames per second of screen time – rather than "on ones" – at 24 frames per second, which is the standard for 3D animation. The resulting minuscule delay between frames creates an effect that feels like the movements of a flipping page.</p> <p>But with the introduction of the character of Spider-Punk/Hobie Brown in the new film, voiced by Daniel Kaluuya, the animators do something even more dazzling. Here, different elements of the same character, who already looks like a zine cutout, all move at different speeds. Instead of just moving on ones or on twos, <a href="https://web.archive.org/web/20230617111054/https://twitter.com/cgratzlaff/status/1665548014600036362?s=20">his body also moves "on threes" and his guitar "on fours</a>" – true to his anarchic character, instead of evoking flipping pages, he’s like a bunch of pages being thrown at you. </p></div></div></div></div><div class="article-body__pull-quote"><blockquote class="inline-quote b-font-family-serif b-font-weight-300 inline-quote--culture"><h2 class="simple-header b-reith-sans-font b-font-family-serif b-font-weight-300 simple-header--serif-light-italic simple-p-tag--medium simple-p-tag--quote">The Spider-Verse films are both true to the spirit of the medium of comics, and testament to the expressive potential of animation</h2></blockquote></div><div><div class="body-text-card b-reith-sans-font"><div class="body-text-card__text body-text-card__text--culture body-text-card__text--flush-text"><div><p>Across the Spider-Verse also expands its palette to reflect the vastness of comic book artistry, using its kaleidoscopic journey into different universes in the multiverse to go further beyond the textures of the first, adding new and specific homages to different artists’ methods. The first we see is Gwen Stacy/Spider-Woman’s universe, recalling the expressive brushwork of Robbi Rodriguez’s cover art on the 2015 Spider-Gwen comic to breathtaking effect.</p> <p class="BodyA">It's one way in which Powers, Dos Santos and Thompson pushed to incorporate the identity of even more artists into the film. To take other examples, the directors cited Spider-Man 2099 co-creator Rick Leonard’s inking techniques during visual development for the Spider-Man 2099 screen incarnation (voiced by Oscar Isaac), and the film's take on Ben Reilly, aka Scarlet Spider, channels artist Tom Lyle's original character designs while lovingly poking fun at the brooding of 1990s comics. If the first Spider-Verse was about channelling a love of the medium's traditional textures into its craft, Across the Spider-Verse looks across decades at how it has evolved. And through its narrative, it thinks about the need to continue changing, questioning ruthless conformity to superhero canon and years of tropes.</p> <p class="Default">Meanwhile Across the Spider-Verse's main villain The Spot is a perfect expression of the films' embrace of the imperfections of the artist’s hand. Both him and Spider-Man 2099 maintain their underlying geometric sketch lines, hanging off them like an unfinished drawing, but Spot has the added insult that, with his white appearance covered in dark splotches, he looks like a page that someone spilled ink on. That sense of misshapenness is built into the character, who is driven by outrage at becoming a cruel cosmic joke, an accidental byproduct of someone else's adventure. As he and Miles bounce between the radically varied universes of the sequel film, it becomes clear that Across the Spider-Verse's visual non-conformity is thematic, an expression of Miles’s resistance to fitting within a narrative box that his schoolteachers and fellow Spider-People try to place around him.</p></div></div></div></div><div class="article-body__image-text article-body__image-text--landscape"><div id="culture/article/20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made-p0fsl4qm"><div><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/1600x900/p0fsl4qm.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/1600x900/p0fsl4qm.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/1280x720/p0fsl4qm.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/1280x720/p0fsl4qm.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/976x549/p0fsl4qm.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/976x549/p0fsl4qm.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/624x351/p0fsl4qm.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/624x351/p0fsl4qm.jpg" type="image/jpeg"/><img loading="lazy" draggable="false" title="Across the Spider-Verse villain The Spot is one of the many memorable-looking new characters, made to look like a page that someone has spilled ink on (Credit: Sony Pictures)" src="https://web.archive.org/web/20230617111054im_/https://ychef.files.bbci.co.uk/976x549/p0fsl4qm.jpg" alt="Across the Spider-Verse villain The Spot is one of the many memorable-looking new characters, made to look like a page that someone has spilled ink on (Credit: Sony Pictures)" id=""/></picture><div class="inline-image__description b-reith-sans-font inline-image__description--desktop"><div class="text-summary"><p class="text-summary__text text-summary__text--grey text-summary__text--left">Across the Spider-Verse villain The Spot is one of the many memorable-looking new characters, made to look like a page that someone has spilled ink on (Credit: Sony Pictures)</p></div></div></div></div></div><div><div class="body-text-card b-reith-sans-font"><div class="body-text-card__text body-text-card__text--culture body-text-card__text--flush-text"><div><p class="BodyA">So often, contemporary superhero movies are content to lift storylines from comic books, with little of their spirit – but the Spider-Verse films really do honour the latter. This is of course not the only way to adapt comic books well. But as of right now, they feel like films that are both truest to the spirit of the medium of comics, and testament to the expressive potential of animation. That's because Spider-Verse’s visuals aren't just a complement to the story – they are part of the story. Indeed, they seem to have lit a fire under the right people in Hollywood, heralding a boom in varied, stylised approaches to animation in recent big releases like The Mitchells Versus the Machines, Puss in Boots: The Last Wish and the upcoming Teenage Mutant Ninja Turtles: Mutant Mayhem (a few of which have some crew overlap with the Spider-Verse films).</p> <p class="BodyA">The two movies – which will be joined by a third and final Spider-Verse film, set to be released next March – are also a reminder that writers are but half of what makes a comic book. Remember the colourists, the pencillers and inkers, the letterers and cover artists – they have as much authority over the depiction of these characters as the writers do. While so many films solely treat comic books as containers for intellectual property, the Spider-Verse films have once again broken from formula, embracing the true potential of what a comic book movie could be.</p> <p class="Body"><em>Spider-Man: Across the Spider-Verse is out in cinemas internationally now.</em></p> <p><em>Love film and TV? 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Films)","templateUrl":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20230617111054\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp0fqdx6p.jpg","title":"Agra.jpg","creationDateTime":"0001-01-01T00:00:00Z","entity":"image","guid":"","id":"p0fqdx6p","modifiedDateTime":"0001-01-01T00:00:00Z","project":"","slug":"","url":"https:\u002F\u002Fweb.archive.org\u002Fweb\u002F20230617111054\u002Fhttps:\u002F\u002Fychef.files.bbci.co.uk\u002F$recipe\u002Fp0fqdx6p.jpg","cacheLastUpdated":1687000254852}},"articles":{"culture\u002Farticle\u002F20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made","_id":"647fba87122e041e2642b3ba","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fkambole-campbell"],"bodyIntro":"With sequel Spider-Man: Across the Spider-Verse currently wowing audiences, Kambole Campbell reflects on a superhero series that, with its magnificent visuals, truly honours its source material.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"BodyA\"\u003EThe new film Spider-Man: Across the Spider-Verse emerges in a rather different cinematic landscape than the one its predecessor, Spider-Man: Into the Spider-Verse, did five years ago. For the uninitiated, the animated Spider-Man series imagines that its central web-slinging hero, Miles Morales, exists within a vibrant \"multiverse\" of worlds where different incarnations of Spider-Man rule the roost. While the multiverse was novel back in 2018, it's a concept that has subsequently become a little played out within comic book films, in particular the movies of the Marvel Cinematic Universe. But they learned the wrong lesson from Spider-Man: Into the Spider-Verse – seeking out the multiverse's opportunities for a free-for-all of franchise possibilities, with different characters and different incarnations of characters able to be paired together at will, while passing over Into the Spider-Verse's real draw, which was its embrace of the visual idiosyncrasies of superhero comic books and using those in service of a fresh visual language. In Spider-Verse, a “multiverse” means, above all, a chance to break some rules rather than conform to formula.\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003Cbr \u002F\u003E – \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june\"\u003E11 of the best films to watch in June\u003Cbr \u002F\u003E\u003C\u002Fa\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230330-superhero-films-is-this-the-end-of-the-road\"\u003EIs the superhero film dead?\u003C\u002Fa\u003E\u003Cbr \u002F\u003E – \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20220505-why-sam-raimis-spider-man-shows-whats-wrong-with-marvel\"\u003EWhy Sam Raimi's Spider-Man was one of a kind\u003Cbr \u002F\u003E\u003C\u002Fa\u003E\u003Cbr \u002F\u003E The first film stood out for the way in which directors Peter Ramsay, Rodney Rothman and Bob Persichetti got their team to paint Miles' world, a fresh style borne from an incorporation of traditional animation techniques and comic book art into new technologies. Its often nostalgic evocation of these elements made Miles Morales, a relatively new character in the Marvel comic books, feel like he has always been around, every part as iconic as Peter Parker.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0fsl47v"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"BodyA\"\u003EWhere other superhero movies might take a story, and maybe a famous composition or two, from the graphic source material, the teams of filmmakers and artists on both Spider-Verse films work in concert to bring the dynamism of comic books to life. The first Spider-Verse film drew acclaim for its combination of the language of animation and film with that of comic books. One such example can be seen in the use of onscreen written sound effects, like the classic Spider-Man sound \"thwip!\". Or its \"burst cards\" – 2D drawings that flash up amid the action for emphasis. Such moments feel briefly suspended in time, like you’re observing a panel of art come to life and blown up on the big screen.\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003EIt’s rare to see comic book movies actually use the textures and tactile qualities of print; many noted its use of halftone, Ben-Day dots and \"Kirby Krackle\" (clusters of dots first used by revered comic book artist Jack Kirby to imply cosmic energy). In a number of interviews, Justin K Thompson – Into the Spider-Verse production designer, now Across the Spider-Verse co-director – highlighted the animation's embrace of the imperfections of print. Take the way in which the film's chromatic aberration \u003Ca href=\"https:\u002F\u002Fwww.vulture.com\u002F2019\u002F01\u002Fhow-spider-man-into-the-spider-verse-changed-animation.html\"\u003Erecalls the accidental colour separation and mismatches that would emerge from the four-colour printing process\u003C\u002Fa\u003E.\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003EThrough its gargantuan team of artists and animators (numbering more than 1000), Across the Spider-Verse doubles down on the first film's exhilarating sensory overload, experimenting visually as well as narratively with what a Spider-Man story could be on screen. Every formal element of the previous film is even more prominent, as with the way some characters are animated \"on twos\" – at 12 frames per second of screen time – rather than \"on ones\" – at 24 frames per second, which is the standard for 3D animation. The resulting minuscule delay between frames creates an effect that feels like the movements of a flipping page.\u003C\u002Fp\u003E\n\u003Cp\u003EBut with the introduction of the character of Spider-Punk\u002FHobie Brown in the new film, voiced by Daniel Kaluuya, the animators do something even more dazzling. Here, different elements of the same character, who already looks like a zine cutout, all move at different speeds. Instead of just moving on ones or on twos, \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fcgratzlaff\u002Fstatus\u002F1665548014600036362?s=20\"\u003Ehis body also moves \"on threes\" and his guitar \"on fours\u003C\u002Fa\u003E\" – true to his anarchic character, instead of evoking flipping pages, he’s like a bunch of pages being thrown at you. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The Spider-Verse films are both true to the spirit of the medium of comics, and testament to the expressive potential of animation","id":"culture\u002Farticle\u002F20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAcross the Spider-Verse also expands its palette to reflect the vastness of comic book artistry, using its kaleidoscopic journey into different universes in the multiverse to go further beyond the textures of the first, adding new and specific homages to different artists’ methods. The first we see is Gwen Stacy\u002FSpider-Woman’s universe, recalling the expressive brushwork of Robbi Rodriguez’s cover art on the 2015 Spider-Gwen comic to breathtaking effect.\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003EIt's one way in which Powers, Dos Santos and Thompson pushed to incorporate the identity of even more artists into the film. To take other examples, the directors cited Spider-Man 2099 co-creator Rick Leonard’s inking techniques during visual development for the Spider-Man 2099 screen incarnation (voiced by Oscar Isaac), and the film's take on Ben Reilly, aka Scarlet Spider, channels artist Tom Lyle's original character designs while lovingly poking fun at the brooding of 1990s comics. If the first Spider-Verse was about channelling a love of the medium's traditional textures into its craft, Across the Spider-Verse looks across decades at how it has evolved. And through its narrative, it thinks about the need to continue changing, questioning ruthless conformity to superhero canon and years of tropes.\u003C\u002Fp\u003E\n\u003Cp class=\"Default\"\u003EMeanwhile Across the Spider-Verse's main villain The Spot is a perfect expression of the films' embrace of the imperfections of the artist’s hand. Both him and Spider-Man 2099 maintain their underlying geometric sketch lines, hanging off them like an unfinished drawing, but Spot has the added insult that, with his white appearance covered in dark splotches, he looks like a page that someone spilled ink on. That sense of misshapenness is built into the character, who is driven by outrage at becoming a cruel cosmic joke, an accidental byproduct of someone else's adventure. As he and Miles bounce between the radically varied universes of the sequel film, it becomes clear that Across the Spider-Verse's visual non-conformity is thematic, an expression of Miles’s resistance to fitting within a narrative box that his schoolteachers and fellow Spider-People try to place around him.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0fsl4qm"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"BodyA\"\u003ESo often, contemporary superhero movies are content to lift storylines from comic books, with little of their spirit – but the Spider-Verse films really do honour the latter. This is of course not the only way to adapt comic books well. But as of right now, they feel like films that are both truest to the spirit of the medium of comics, and testament to the expressive potential of animation. That's because Spider-Verse’s visuals aren't just a complement to the story – they are part of the story. Indeed, they seem to have lit a fire under the right people in Hollywood, heralding a boom in varied, stylised approaches to animation in recent big releases like The Mitchells Versus the Machines, Puss in Boots: The Last Wish and the upcoming Teenage Mutant Ninja Turtles: Mutant Mayhem (a few of which have some crew overlap with the Spider-Verse films).\u003C\u002Fp\u003E\n\u003Cp class=\"BodyA\"\u003EThe two movies – which will be joined by a third and final Spider-Verse film, set to be released next March – are also a reminder that writers are but half of what makes a comic book. Remember the colourists, the pencillers and inkers, the letterers and cover artists – they have as much authority over the depiction of these characters as the writers do. While so many films solely treat comic books as containers for intellectual property, the Spider-Verse films have once again broken from formula, embracing the true potential of what a comic book movie could be.\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E\u003Cem\u003ESpider-Man: Across the Spider-Verse is out in cinemas internationally now.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made-6"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2023-06-07T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Why the Spider-Verse films are the greatest comic book movies ever made","headlineShort":"The best comic book movies ever made","image":["p0fsl4fj"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"6399dacc122e047625087534"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":null,"summaryLong":"With sequel Spider-Man: Across the Spider-Verse currently wowing audiences, Kambole Campbell reflects on a superhero series that, with its visuals, truly honours its source material.","summaryShort":"How the Spider-Verse films truly capture the spirit of comic books","tag":null,"textToSpeech":false,"creationDateTime":"2023-06-06T23:00:06.15285Z","entity":"article","guid":"87051cef-18f7-4df2-bbb9-5891f8bdfc79","id":"culture\u002Farticle\u002F20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made","modifiedDateTime":"2023-06-06T23:00:06.15285Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made","cacheLastUpdated":1687000254850},"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban","_id":"648b9832122e041b0b650f42","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fmark-allison"],"bodyIntro":"Powell and Pressburger's classic satire about the British military turns 80 this month. Mark Allison reflects on the controversy around its production, which even incited the prime minister.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBy early 1942, World War Two was in its third year and things still seemed to be going badly for the UK. In North Africa, British troops were on the retreat from the German Afrika Korps, while in Southeast Asia the vital colonies of Hong Kong, Malaya and Singapore had fallen to the Japanese with humiliating speed. Not since the French capitulation in mid-1940 had things seemed so dark.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003Cbr \u002F\u003E – \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211214-a-matter-of-life-and-death-the-most-life-affirming-film\"\u003EFrom propaganda film to life-affirming classic\u003C\u002Fa\u003E\u003Cbr \u002F\u003E – \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20220623-full-metal-jacket-and-kubrick-the-ultimate-anti-war-films\"\u003EThe ultimate anti-war films\u003C\u002Fa\u003E \u003Cbr \u002F\u003E – \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20201117-the-enduring-allure-of-erotic-masterpiece-black-narcissus\"\u003EThe enduring allure of Black Narcissus\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAt a crucial House of Commons debate on the \"War Situation\" in February 1942, Labour MP FW Pethick-Lawrence made a speech railing against what he called \"Blimpery\" in the British war effort. He was referring to Colonel Blimp, a creation of cartoonist David Low published in the Evening Standard throughout the 1930s and 40s. Blimp was a pompous, upper-class army officer with portly features and a walrus moustache, intended as a satire of the UK's aristocratic military-imperial establishment. Low's cartoons captured the public mood following the series of British military disasters which opened WW2, and Blimp became a shorthand for all that was wrong with the British Empire's incompetent and out-of-touch elite.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0fvbc9m"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIt was in this context that British-Hungarian film-making duo Michael Powell and Emeric Pressburger – known jointly by the name of their production company, \"the Archers\" – conspired to make a Technicolor epic based on the character. Their two previous pictures, 49th Parallel (1941) and One of Our Aircraft is Missing (1942), had been explicitly pro-British propaganda efforts, but The Life and Death of Colonel Blimp would take a more critical stance. In an interview for the 1971 booklet Michael Powell in collaboration with Emeric Pressburger, Powell told K Gough Yates that he wanted to expose Blimp as \"a symbol of British procrastination and British regard for tradition and all the things which we know are losing the war\".\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Churchill sometimes got a bee in his bonnet about things he didn't fully understand – Richard Toye","id":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe Archers' script recasts Colonel Blimp as Major-General Clive Wynne-Candy, introducing him in then-present-day 1943 as the familiarly rotund and moustachioed caricature from Low's drawings. An extended flashback then moves 40 years into the past, finding Candy as a youthful subaltern on leave from the Boer War, Victoria Cross gleaming on his chest. Tracing this soldier's life over the subsequent four decades, three wars, and two doomed romances, Powell and Pressburger explore how Candy's reactionary worldview is shaped and calcified by his experiences as an unquestioning servant of the British military. As Powell wrote in a letter to the actor Wendy Hiller, reproduced in Ian Christie's edited edition of the film's screenplay, \"Blimps are made, not born. Let us show that their aversion to any form of change springs from the very qualities that made them invaluable in action; that their lives, so full of activity, are equally full of frustration…\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe establishment upset\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAuthorities at the Ministry of Information and the War Office were dismayed by the project and refused any official support. According to SP Mackenzie's book British War Films 1939-45, Secretary of State for War PJ Grigg wrote to Powell in June 1934, \"I am getting rather tired of the theory that we can best enhance our reputation in the eyes of our own people or the rest of the world by drawing attention to the faults which the critics attribute to us, especially when, as in the present case, the criticism no longer has any substance.\" A summary of the script found its way to Prime Minister Winston Churchill, who wrote to Minister of Information Brenden Bracken, \"Pray propose to me the measures necessary to stop this foolish production before it gets any further.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\"Churchill sometimes got a bee in his bonnet about things he didn't fully understand,\" Richard Toye, Professor of History at the University of Exeter and author of Winston Churchill: A Life in the News, tells BBC Culture. \"He quite often had harsh, repressive instincts when it came to the media, but he didn't always follow them through, and other people stood in his way to try to make him see sense.\"\u003C\u002Fp\u003E\n\u003Cp\u003EIndeed, Bracken was uncomfortable with Churchill's request, and responded that he had \"no power to supress the film\", warning that \"in order to stop it the government would need to assume powers of a very far-reaching kind\".\u003C\u002Fp\u003E\n\u003Cp\u003E\"Bracken's line was that British propaganda was geared towards the differences between democracy and dictatorship, and that to suppress the film would have been the sort of thing the Nazis did,\" James Chapman, Professor of Film Studies at the University of Leicester and author of The British at War: Cinema, State and Propaganda, tells BBC Culture. \"A democracy, even in wartime, has to be strong enough to allow the expression of dissenting voices.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0fvbby0"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EDespite Churchill's fears, Powell and Pressburger's film paints the blimpish Candy as a broadly sympathetic figure. Played with charm and charisma by Roger Livesey, Candy is an essentially good-natured man who endures a life of heartbreak, loss, and conflict. His naïve values of \"clean fighting, honest soldiering\", on which all men of his class and generation were cultivated, and his desire to always see the best in people (even his enemies), are presented as admirable but ultimately hubristic qualities.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban-6"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"It's a beautiful portrait of the UK at a time when it was deciding how to resist total war without becoming monstrous itself – AL Kennedy","id":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ECandy's jingoism blinds him to the violence and hypocrisy inherent in the empire to which he has pledged himself, while his optimistic outlook cannot comprehend the enormity of the emerging Nazi evil he must face. He disbelieves reports of British atrocities in South Africa, and maintains his conviction that \"right is might\" even amid the senseless slaughter of World War One. When faced with the Third Reich's brutally effective \u003Cem\u003Eblitzkrieg\u003C\u002Fem\u003E, he protests that he'd rather lose the war than resort to such \"foul fighting\".\u003C\u002Fp\u003E\n\u003Cp\u003EFollowing the military catastrophes of 1940, Candy is forcibly retired into the Home Guard and superseded by a generation of energetic young officers from more humble origins. The brutal necessities of a war against fascism have consigned Blimpery to the past, and a newly meritocratic order is emerging in its place. The film appears to welcome this democratising social revolution, but not without a degree of melancholy towards the passing of the idealised old order – \"he's such a dear old man,\" protests Candy's driver. It's a moving conclusion which leaves an ambivalent impression of Britain in the early 20th Century; at once nostalgic for a more chivalrous past, while clear-eyed about its fundamental corruption.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe vision of outsiders\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\"I think Colonel Blimp benefits from the vision of two different kinds of 'outsiders', with a distance that gave them a clear view of Britain and what it was,\" writer and performer AL Kennedy tells BBC Culture. \"The portrait of America found in classic Hollywood was really an immigrant creation, but that kind of insight was arguably a little less common in the UK. Powell had an English public-school education, but his macabre artistic tendencies and anti-establishment views placed him outside the mores of his class, time and country.\u003C\u002Fp\u003E\n\u003Cp\u003E\"Pressburger had fled from the Nazis across Europe, learning languages and working on films as he went. Powell's darkness and Pressburger's European perspective, the realism and humour of both, combine perfectly. It's a beautiful portrait of the UK at a time when it was deciding how to resist total war without becoming monstrous itself.\"\u003C\u002Fp\u003E\n\u003Cp\u003EIf defeating the Nazis required the building of a more equitable UK, then gender roles were also subject to change. Deborah Kerr plays three women in the film, each being an object of Candy's infatuation at a different stage of his life. She first appears as Edith Hunter, an intelligent Edwardian governess constrained by the limited opportunities available to her. By the film's final act, Kerr plays Angela \"Johnny\" Cannon, a woman taking time from her modelling career to serve as a driver in the ATS. The contrast between Kerr's characters and their increasing agency over time seems to trace an ascendent femininity in the first half of the 20th Century, drawn in opposition to Candy's declining military-imperial patriarchy.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0fvbcty"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThis decline is thrown into yet sharper relief by Candy’s friendship with Prussian officer Theo Kretschmar-Schuldorff (Anton Walbrook). Theo enters the film as a stoic and duty-bound symbol of German militarism – Candy's Teutonic mirror image – but he is softened and disillusioned by his experiences. Through the ordeal of Germany's defeat in WW1 and the subsequent rise of the Nazis, he gradually transforms into the moral heart of the film. His speech to a British immigration official on \"the truth\" of his experience as a refugee from Nazism is heart-breaking, and probably the film's most bitingly relevant episode in today's political climate.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban-10"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Blimp is the only wartime British film with a German character in such a prominent role, and who offers a critique of British conduct – James Chapman","id":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWalbrook was both gay and Jewish, and, like Pressburger, a refugee from Hitler. They knew all too well what was at stake – as Theo warns Candy, \"This is not a gentleman's war. This time you're fighting for your very existence against the most devilish idea ever created by a human brain – Nazism. And if you lose, there won't be a return match next year...\" For a German to serve as Powell and Pressburger's voice of reason was a bold move considering their anti-German milieu.\u003C\u002Fp\u003E\n\u003Cp\u003E\"Blimp isn't the only wartime British film to feature a German character, but is the only one with a German in such a prominent role, and who offers a critique of the British conduct of the war,\" says Chapman. \"It's unique in terms of British wartime filmmaking. If you look at other war-themed films, especially in the mid-war period, they're essentially about national unity and consensus. Blimp is the only example I can think of that questions that consensus.”\u003C\u002Fp\u003E\n\u003Cp\u003EThis contentious political commentary \u003Cem\u003Eis\u003C\u002Fem\u003E arguably softened by the screenplay's overwhelming warmth and wit, alongside the gently surreal atmosphere conjured by Georges Perinal's sumptuous and inventive cinematography. In any case, by the time of the film's release in June 1943, any danger it might have posed to British morale had largely passed. The war had turned in the UK's favour, and official opposition to the film only seemed to increase public interest; it became the second-highest grossing British picture of the year. \"Churchill could be magnanimous,\" says Toye. \"According to The Daily Telegraph, 11 June 1943, he did attend the Colonel Blimp premiere, and appeared to be in excellent humour.\"\u003C\u002Fp\u003E\n\u003Cp\u003EEighty years on from this premiere, The Life and Death of Colonel Blimp remains one of the most daring, joyous and beautiful films ever produced in the UK. A visually rich and morally ambiguous parable of our recent history, it is a paean to decency in an indecent age and a timelessly potent satire of class and nationalism.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003EBBC Culture Film and TV Club\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fcloud.email.bbc.com\u002FSignUp10_08\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban-12"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2023-06-16T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The Life and Death of Colonel Blimp: The war film that Churchill tried to ban","headlineShort":"The film that Churchill tried to ban","image":["p0fvbcmf"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"6399dacc122e047625087534"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":null,"summaryLong":"Powell and Pressburger's classic military satire turns 80 this month. Mark Allison reflects on the controversy around its production, which even incited the prime minister.","summaryShort":"Why wartime classic The Life and Death of Colonel Blimp upset the prime minister","tag":["tag\u002Ffilm-history","tag\u002Ffeatures"],"textToSpeech":false,"creationDateTime":"2023-06-15T23:00:49.316561Z","entity":"article","guid":"4eab682b-8d95-40da-bcea-f9809c2a3750","id":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban","modifiedDateTime":"2023-06-16T09:01:45.658025Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20230615-the-life-and-death-of-colonel-blimp-the-war-film-that-churchill-tried-to-ban","cacheLastUpdated":1687000254848},"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land","_id":"64865932122e041e2642b403","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fgregory-wakeman"],"bodyIntro":"Released 30 years ago, Jurassic Park is both an action blockbuster and a terrifying horror, writes Gregory Wakeman. He finds out how Steven Spielberg made scary movies accessible for younger children.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOn 11 June 1993, Hollywood changed forever. Jurassic Park was unleashed into US cinemas, and its impact on the movie industry sill reverberates to this day – from the studios competing to buy the rights to Michael Crichton's 1990 novel about a theme park full of genetically recreated dinosaurs, to the marketing and mass-release strategy that helped make it the highest grossing film ever at the time. Not to forget its innovative use of visual effects.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003Cbr \u002F\u003E \u003C\u002Fstrong\u003E- \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230605-local-hero-why-the-iconic-scottish-environmental-film-was-decades-ahead-of-its-time\"\u003EThe 1983 film decades ahead of its time\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately\"\u003EThe 1998 film that predicted the future\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230525-david-lynch-interview-how-the-mulholland-drive-director-worked-with-composer-angelo-badalamenti\"\u003EDavid Lynch on 'the beauty in the dark'\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EFirst and foremost, though, Jurassic Park is an incredible feat of blockbuster filmmaking. Which is hardly a surprise since it was made by Steven Spielberg, the man who helped to pioneer the genre with the likes of Jaws, Raiders of the Lost Ark, and \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20220609-et-at-40-why-the-spielberg-classic-feels-so-unusual-today\"\u003EET the Extra-Terrestrial\u003C\u002Fa\u003E. \"Jurassic Park is quintessential Spielberg,\" says Susan Goldman Rubin, the author behind Steven Spielberg: Crazy for Movies. \"This is the movie he would have liked to have seen when he was a boy.\"\u003C\u002Fp\u003E\n\u003Cp\u003EWhich makes it all the more surprising that, as well as being a rip-roaring blend of science-fiction, action and adventure, Jurassic Park is basically a horror film, too. For many viewers of a certain age, Jurassic Park was the most terrifying and traumatic movie experience of their childhood.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft9c6v"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EStraight from the get-go, Jurassic Park's opening scene depicts a seemingly contained raptor smartly moving her cage to kill one of her transporters. The audience then gets to see a T-Rex eating a \"bloodsucking lawyer\" off a toilet whole, while the raptors feed on a cow, trick the experienced hunter Robert Muldoon before munching on him face first, and also come increasingly close to mauling two children at various points. There's also Mr Arnold (Samuel L Jackson)'s severed arm. \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ESowing fear\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\"Jurassic Park definitely has horror elements to it. Students always tell me they saw it as a kid and it scared them witless,\" says James Kendrick, a professor of film and digital media at Baylor University and author of Darkness in the Bliss-Out: A Reconsideration of the Films of Steven Spielberg. This has been a trait throughout Spielberg's career, he insists. \u003C\u002Fp\u003E\n\u003Cp\u003E\"In the summer of 1984, it was the release of Indiana Jones and the Temple of Doom and Gremlins, which he directed and produced respectively, that pushed to the creation of the PG-13 rating. He also garnered controversy with Jaws. That was released with a special addendum to the rating, because audiences thought it would be too intense for younger children. He's always made scary movies that are accessible to younger children.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft99ns"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThis is one of the reasons why Spielberg was initially approached to adapt Jurassic Park. Even he noticed the similarities between Crichton's novel and his 1975 classic Jaws. Both are about creatures causing chaos for humans and man's arrogance when it comes to dealing with them and nature, while the films' set-pieces initially build in a slow and increasingly tense manner before violence and death unfolds.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land-4"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"It's like he's teasing you in the same way he did with Jaws, where he showed you the fin – James Kendrick","id":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAt first these connections made Spielberg think that he shouldn't direct the 1993 blockbuster. \"Spielberg had a bit of a misgiving about directing Jurassic Park. He referred to it as Jaws on land,\" recalls Joseph McBride, who wrote Steven Spielberg: A Biography. Ultimately, he decided to tackle Jurassic Park because it presented him with a \"different set of physical realities to play with\", says McBride. \"That's part of the secret of the movie. It works on a physical and visceral level.\"\u003C\u002Fp\u003E\n\u003Cp\u003EThe parallels between Jaws and Jurassic Park are most apparent in their opening scenes. \"In both he just gives you hints of the shark and the velociraptors,\" says Kendrick. \"You hear them, see a flash of their eyes, the crate moving. It's like he's teasing you in the same way he did with Jaws, where he showed you the fin. He's showing people getting attacked, not what's attacking them.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EHitchcockian suspense\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWhen it comes to Jurassic Park's most famous sequence, Spielberg spends as much time ratcheting up the tension as he does on the T-Rex trying to pry Tim (Joseph Mazzello) and Lex Murphy (Arian Richards) out of their jeep so she can eat them. Not only do we see that the electricity has been turned off on the fence keeping her out, but the goat disappears, and, most iconically of all, the water vibrates as the T-Rex gets closer to escaping the paddock.\u003C\u002Fp\u003E\n\u003Cp\u003E\"He's building up the fear almost like Alfred Hitchcock,\" notes Rubin. \"The anticipation is sometimes worse than the real thing. That's what Spielberg does so brilliantly. He watched Hitchcock work when he was an intern at Universal. He absorbed so much like a sponge.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft9b6t"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBut it wasn't just his own work as a director on Jaws, it was Hitchcock's films like The Birds and North by Northwest, and Spielberg's long fascination with science-fiction and monster movies that influenced Jurassic Park. Rubin believes that the film was another attempt by Spielberg to \"overcome his own fears by scaring others\".\u003C\u002Fp\u003E\n\u003Cp\u003EDuring the process of writing Steven Spielberg: Crazy For Movies, Rubin became close friends with Spielberg's mother, Leah, who opened up to her about Steven as a youngster. \"He was so frightened of everything as a child,\" Rubin explains. \"He was afraid of water, the wind, dark clouds. He'd have nightmares every night. To overcome those fears, he would tell his sisters ghost stories to frighten them.\"\u003C\u002Fp\u003E\n\u003Cp\u003EWith Jurassic Park, Spielberg continued his tradition of using fear to both frighten and impact children. \"Scholars have said that children respond to frightening stories the most. If they're done well, they're welcomed by children and it helps to make them more resilient,\" says McBride. This also explains why Spielberg movies regularly have children as their main characters, or at the very least have sequences from their point of view.\u003C\u002Fp\u003E\n\u003Cp\u003E\"Putting kids in danger immediately amplifies and raises the stakes of a movie,\" says Kenilworth. \"Because in the back of your mind you're always thinking, 'He's not going to kill a child… is he?\" The problem with this is that Spielberg had no issue killing 12-year-old boy Alex Kinter in Jaws. Kenilworth believes this influenced audiences when watching Jurassic Park, as they subconsciously remembered that and then thought, \"Maybe these kids aren't as safe we like to think they are.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"He has the entertainer side and the serious side. He would always make a darker film and then a lighter film. It helped to keep him balanced – Joseph McBride","id":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESpielberg's ability to seamlessly weave between dark and light material is best summed up by the fact that, at the same time as he was working on the visual effects for Jurassic Park by night, he was directing Schindler's List in the day. The World War Two drama about businessman Oskar Schindler's efforts to save Jews from the Nazis was released six months after Jurassic Park, and went on to win seven Academy Awards, including best picture and best director for Spielberg.\u003C\u002Fp\u003E\n\u003Cp\u003E\"He's had conflicting impulses throughout his career. He has the entertainer side and the serious side. He would always make a darker film and then a lighter film. It helped to keep him balanced. He has such great versatility,\" says McBride. This wasn't without a personal cost, though. Spielberg was so emotionally drained by working on these two movies at the same time that there was a four-year gap until his next film after Schindler's List. This so happened to be the sequel to Jurassic Park, 1997's The Lost World: Jurassic Park.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft9bk6"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EEven that film is linked to Jaws. After the monster success of Jaws, Spielberg was offered the chance to make a sequel, which he was actually tempted to do. The studio weren't interested in his suggestions for the next instalment, though, so Spielberg declined. \"He let other people do the sequels,\" says McBride. \"But then he felt bad because they were lousy. He felt protective of Jurassic Park, so he decided to make The Lost World.\"\u003C\u002Fp\u003E\n\u003Cp\u003EThe Lost World failed to even match the box office of its predecessor, while it was also widely admonished by critics. The four subsequent additions to the franchise haven't fared much better. Such is the genius of Jurassic Park, these below-par follow-ups haven't damaged its legacy. Now it is regarded as the film that kick-started Hollywood's reliance on visual effects.\u003C\u002Fp\u003E\n\u003Cp\u003EWhich makes it all the more surprising then that there are only 63 computer-generated effects in Jurassic Park, and it contains just six minutes of CGI dinosaurs. Instead, Spielberg used life-sized animatronic dinosaurs built by Stan Winston and his team, as well as his filmmaking acumen, to spellbind and captivate viewers.\u003C\u002Fp\u003E\n\u003Cp\u003E\"Jurassic Park is an incredible example of showing audiences exactly the right amount when you need to see it for maximum effectiveness,\" remarks Kenilworth. \"Another director might not have been able to get away with showing so few dinosaurs. But Spielberg's track record meant that they trusted him.\"\u003C\u002Fp\u003E\n\u003Cp\u003EUnfortunately, when it comes to the use of visual effects, Spielberg's approach of less-is-more hasn't been followed by modern blockbusters. \"A lot of modern action sequences are just mayhem,\" says McBride. \"Like Scorsese said a few years ago, the super-fast cutting disorients the viewer. It's an assault on our consciousness to have images just smashing into each other from all different kinds of angles and not knowing where you are. With Spielberg, you always know where you are. He believes in characters and story. He knows that's what matters and what is important.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fcloud.email.bbc.com\u002FSignUp10_08\"\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land-12"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2023-06-12T08:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"How Steven Spielberg felt that Jurassic Park was 'Jaws on land'","headlineShort":"The film that 'scared kids witless'","image":["p0ft9cv0"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"6399dacc122e047625087534"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Ffilm-history"],"summaryLong":"Released 30 years ago, Jurassic Park was both an action blockbuster and a terrifying horror, writes Gregory Wakeman. He finds out how Steven Spielberg made 'Jaws on land'.","summaryShort":"The 30-year-old film was both an action blockbuster – and a terrifying horror","tag":["tag\u002Ffilm-history"],"textToSpeech":false,"creationDateTime":"2023-06-11T23:30:40.747625Z","entity":"article","guid":"290c3b31-2a27-401a-bbf1-174b172d98e5","id":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land","modifiedDateTime":"2023-06-12T09:59:23.173913Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20230609-how-steven-spielberg-felt-that-jurassic-park-was-jaws-on-land","cacheLastUpdated":1687000254849},"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films","_id":"6482648d122e041b1477a3f5","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fcaryn-james"],"bodyIntro":"As film festivals and exhibitions celebrate the city, Caryn James picks the movies that capture the essence and energy of New York.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWe'll never know how many people have been drawn to New York because of its image on screen (Holly Golightly has a lot to answer for) and how many have been frightened away (lookin' at you, Taxi Driver). But from the earliest days of cinema, the city has appeared on screen in all its variations, from its great art and glittering lights to packed subways and littered streets. Two ambitious film series here capture that range. The Manhattan theatre Film Forum has this spring been running \u003Ca href=\"https:\u002F\u002Ffilmforum.org\u002Fseries\u002Fthe-city-new-and-imagined\"\u003EThe City: Real and Imagined\u003C\u002Fa\u003E, whose title alone suggests the true-to-life, the mythic, and the sometimes blurred line between dreams and reality. Bruce Goldstein, the cinema's Repertory Program Director, tells BBC Culture that for a film to be truly \"New York\", it needs more than a setting. \"The city really has to play a part in the story and the way people live,\" he says.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately\"\u003EThe 1998 film that predicted the future\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230525-is-agra-the-most-shocking-indian-film-ever-made\"\u003EIndia's new wave of shocking films\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230531-spider-man-across-the-spider-verse-is-disappointing\"\u003ENew Spider-Verse is 'a disappointment'\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThat series is running in conjunction with The Museum of the City of New York's centennial celebrations. Its exhibition \u003Ca href=\"https:\u002F\u002Fwww.mcny.org\u002Fexhibition\u002Fnew-york-100\"\u003EThis is New York: 100 Years of the City in Art and Pop Culture\u003C\u002Fa\u003E includes \u003Ca href=\"https:\u002F\u002Fwww.mcny.org\u002Fmoonlightandmovies\"\u003Ea year-long film series\u003C\u002Fa\u003E arranged decade by decade, starting with the 1924 silent film Manhandled. Gloria Swanson, 26 years before Sunset Boulevard, plays a shopgirl who dreams of bigger things, a plot that has never gone away. The series' curator, Jessica Green, tells BBC Culture, that she sought out \"those moments caught on film when subcultures were born that went on to dominate the planet. New York makes it, the world takes it\". She cites two documentaries about drag – the little known The Queen (1968) and the classic Paris Is Burning (1990) – as films about a subculture that has since gone mainstream with shows like \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20191002-is-rupauls-drag-race-a-good-thing-for-drag\"\u003ERuPaul's Drag Race\u003C\u002Fa\u003E.\u003C\u002Fp\u003E\n\u003Cp\u003EAmong these endless possibilities, here are 11 of the most definitive, iconic New York films, depicting the city in all its ethnic diversity and class differences, its grimy moments and glamorous star turns.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft10lr"],"imageAlignment":"centre","imageAltText":"The Sweet Smell of Success","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E1. The Sweet Smell of Success (1957)\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EIf one film cries out New York, it's this classic, with Tony Curtis as the wily, ethically challenged publicist Sidney Falco and Burt Lancaster as the unscrupulous, powerful gossip columnist JJ Hunsecker. Set against what are literally the bright lights of Broadway and Times Square – gloriously shot by the great cinematographer James Wong Howe – Hunsecker lives in a sumptuous apartment, holds court at a nightclub, and makes and breaks careers. With a jazz soundtrack, The Sweet Smell of Success has it all: fame, ambition, backbiting – the very qualities that make the city so alive. Hunsecker's attempts at wielding political power give the story a timely resonance, and the chiselled dialogue includes the classic line from Hunsecker to Falco: \"I'd hate to take a bite out of you. You're a cookie full of arsenic\".\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft1054"],"imageAlignment":"centre","imageAltText":"Do The Right Thing","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E2. Do the Right Thing (1989)\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ESpike Lee may be the quintessential New York director. His brilliant depiction of an ordinary Brooklyn neighbourhood on a blistering summer day remains a galvanising immersion into everyday New York with all its problems. Sadly, it is even more relevant as it depicts the racial tension that erupts between the black residents – including Giancarlo Esposito as Buggin Out and Lee as Mookie the pizza delivery guy – and Danny Aiello as Sal, the Italian-American pizzeria owner. The scene in which police choke Radio Raheem (Bill Nunn) to death is terrible to watch because it seems so real. Jessica Green, curator of the New York museum's series, calls it \"the definitive New York film because it's contesting with transforming neighbourhoods and questions of class and race\".  \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft10fz"],"imageAlignment":"centre","imageAltText":"The Naked City","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E3. The Naked City (1948)\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EJules Dassin's crime noir, which follows two detectives trying to solve a young woman's murder, starts with an overhead shot of the city, and never loses it connection to the pavement those detectives pound and the neighbourhoods they traipse around, right through to a spectacular chase scene on the Williamsburg Bridge, connecting Manhattan and Brooklyn. The hokey voiceover is hilarious today, ending with the line, \"There are eight million stories in the naked city. This has been one of them,\" but the film is a delight to watch. Goldstein, Film Forum's curator, has made a fascinating short, \u003Ca href=\"https:\u002F\u002Fwww.criterionchannel.com\u002Fvideos\u002Funcovering-the-naked-city\"\u003EUncovering the Naked City\u003C\u002Fa\u003E, following Dassin's authentic locations, and points to the texture of the film as its essential New York quality. \"If you take those vignettes [of the setting] out, all you have left is a pot boiler,\" he tells BBC Culture. \"You put them in, and it becomes this beautiful love letter to the city.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft10w6"],"imageAlignment":"centre","imageAltText":"Breakfast at Tiffany's","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E4. Breakfast at Tiffany's (1961)\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe image of Audrey Hepburn in pearls, sunglasses and Givenchy, sipping coffee outside the window of Tiffany's after a long night out, is as iconic as the Statue of Liberty. But while the statue stands for freedom, Hepburn's Holly Golightly is New York glamour itself. The dark side of her life as a woman to whom men give $50, supposedly to tip the ladies' room attendant but really for more, is glossed over of course, as the film makes her life of parties, champagne and fabulous clothes seem carefree and tantalising. Mickey Rooney's role as Holly's neighbour Mr Yunioshi now lands as an unforgivable ethnic stereotype, a blight on the movie. But Hepburn's performance as the backwoods Lula Mae, who came to New York and reinvented herself as Holly, is enduring. There may be no film that has attracted more people to New York, shown here as a glittering city of transformation and possibilities.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft109j"],"imageAlignment":"centre","imageAltText":"25th Hour","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E5. 25th Hour (2002)\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThis may be one of Spike Lee's least personal films, based on a 2000 novel by David Benioff (later co-creator of the television adaptation of \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Ftags\u002Fgame-of-thrones\"\u003EGame of Thrones\u003C\u002Fa\u003E) but Lee  transformed the story into one of the most eloquent yet subtle evocations of New York in the aftermath of 9\u002F11 ever put on screen. The story follows Edward Norton as Monty, a convicted drug dealer on his last day before reporting to prison, but his regrets and fears play out in the shadow of a mournful post-9\u002F11 moment that Lee establishes throughout. From the haunting blue lights of the Twin Towers memorial tribute rising in the sky to a Wanted poster of Osama Bin Laden, the background touches are uncommented on but part of the city's fabric, along with the simmering ethnic tension that is a constant in New York's history. Monty's and the city's sense of loss become inseparable. One of Lee's most underrated films, 25th Hour is evidence that he really is the best of New York directors.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft1074"],"imageAlignment":"centre","imageAltText":"It Should Happen to You","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E6. It Should Happen to You (1954)\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EMovies are filled with young women who come to New York to make their names, but none as effervescent or funny as Judy Holliday in this classic. Decades before the concept of \"famous for being famous\", Holliday played Gladys Glover, a model who wanted people to know her name, and rented a billboard in the heart of the city to do just that. Without explanation, it just said Gladys Glover, a sight that tickled her, confused the pubic and annoyed her romantic interest, whose on-screen credits read \"Introducing Jack Lemmon\". Goldstein says that when the film was shot, \"They actually had a billboard in Columbus Circle that said 'Gladys Glover'. And people wondered, 'what the hell is Gladys Glover?'\" The film offers a sly, sophisticated take on the hunger for fame, even if it ends with Gladys's unsettling – and today unlikely – choice to go back to being an ordinary person.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft106f"],"imageAlignment":"centre","imageAltText":"Taxi Driver","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E7. Taxi Driver (1976)\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ESure, Travis Bickle \u003Cem\u003Ecould\u003C\u002Fem\u003E have driven a cab in some other city, but it wouldn't have been the same. Robert De Niro is seared into our memories as Bickle standing in front of his mirror saying \"You lookin' at me?\" But don't forget the atmospheric city he drives through in Martin Scorsese's dark vision of New York in the crime-filled 1970s. The night streets are full of bright lights piercing ominous shadows, a place where Jodie Foster plays a child prostitute whom Bickle decides to save, and Cybill Shepherd is the wholesome campaign worker he takes on a date to a sleazy 42nd Street porn cinema. Scorsese's direction and Paul Schrader's screenplay create the precise gritty landscape where Bickle's past in the Vietnam war and his disturbed present, haunted by PTSD, can flourish and grow, until his disgust with the city turns into violence.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-14"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft1jtx"],"imageAlignment":"centre","imageAltText":"Hester Street","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E8. Hester Street (1975)\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe late 19th-Century neighbourhood of Jewish immigrants on New York's Lower East Side might stand in for all immigrants coming to the city over the centuries. Carol Kane was nominated for an Oscar as Gitl, a traditional young mother who arrives in the US from Eastern Europe with her young son to join her husband, only to find that he has changed his name from Yankel to Jake, and is having an affair with a more modern woman. Through Kane's eloquent portrayal, director Joan Micklin Silver's sepia-tinged period piece, much of it in Yiddish, raises a question that goes to the heart of immigration, then and now: \"how can you retain your identity yet fit into this new world?\" And in its own quiet way, it is a feminist work, as Gitl comes to determine her own future, a trope that plays into the bedrock idea of New York as a city of possibilities.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-16"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft1jnf"],"imageAlignment":"centre","imageAltText":"Moonstruck","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-17"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E9. Moonstruck (1987)\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWhen Cher, in her Oscar-winning role as the widowed Loretta Castorini, tells Nicolas Cage, hopelessly in love with her as Ronny Cammareri, to \"Snap out of it!\" it is just one of those iconic moments in a romantic comedy that is as funny and charming as ever. The film takes full advantage of its authentic New York locations, including Loretta's Brooklyn neighbourhood, with the hair salon that transforms her from ordinary to glamorous, and the corner restaurant where she and her close-knit family are regulars. A date with Ronny takes her to Manhattan and Lincoln Center, where they meet at the fountain outside and where, inside at the Metropolitan Opera, she discovers the wonders of the building's grandeur and of La bohème. Moonstruck embraces the city's small corners, family feeling, unexpected romance and its internationally famous sites close to home.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-18"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft1jl1"],"imageAlignment":"centre","imageAltText":"El Super","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-19"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E10. El Super (1979) \u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThere are dozens of under-the-radar gems about New York. This small and frankly hard-to-find indie about a Cuban immigrant family adjusting to a new life is among the best, a drama with a light touch, vivid characters and the feel of detailed reality. Roberto (Raimundo Hidalgo-Gato) is the superintendent of a large building, whose working class residents' lives are similar to his. He, his wife and their Americanised daughter left Castro's Cuba a decade before, a fact that shapes their desire for freedom as well as their inability to go back. But their story is also timeless as it reflects the ups and downs of living in a different, unsettling world. Exhausted and tired of the snowy streets, Roberto calls New York \"the land of work and cold\". He says, \"This city is killing me, little by little,\" a potent reminder that even when New York is a dream, it is not always easy.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-20"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0ft1jrs"],"imageAlignment":"centre","imageAltText":"My Man Godfrey","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-21"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E11. My Man Godfrey (1936)\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ENothing could be less authentic than this madcap Depression-era comedy, in which an indulged Fifth Avenue heiress named Irene Bullock, played by Carole Lombard at her most antic, falls for Godfrey, played by William Powell at his most urbane. She discovers him in a homeless encampment while looking for a \"forgotten man\" during a scavenger hunt, hires him as the family butler, and the film drops us into the reckless, thoughtless, comically disorganised lives of the empty-headed rich. The film's touch of social commentary about the underclass is diminished when it turns out Godfrey is highly educated and also from a wealthy family, but the Bullocks in their grand apartment, dressing for dinner, capture the cosmopolitan, aspirational image of New York that the movies did so much to foster. In reality, the Bullocks' fictional address would have put them on the steps of the Metropolitan Museum of Art, where \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Ftags\u002Fmet-gala\"\u003Ethe costume institute's annual gala\u003C\u002Fa\u003E proves that the frothy rich are still a captivating part of the city's story.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EThe City: Real and Imagined continues at Film Forum to 15 June. \u003Cbr \u002F\u003E\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EThis is New York: 100 Years of the City in Art and Pop Culture continues at the Museum of the City of New York to 21 July. Its film series New York on Film: Decade by Decade, begins with Manhandled on 15 June.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of \u003Cbr \u002F\u003E\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films-22"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2023-06-09T00:30:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"From Taxi Driver to 25th Hour: 11 of the best New York films","headlineShort":"11 of the best New York films","image":["p0ft1p6b"],"imageAlignment":"centre","imageAltText":"Taxi Driver","isSyndicated":false,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"6399dacc122e047625087534"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Ffilm-history"],"summaryLong":"As film festivals and exhibitions celebrate the city, Caryn James picks the movies that capture the essence and energy of New York.","summaryShort":"From Breakfast at Tiffany's to 25th Hour – the city is defined by its cinema","tag":null,"textToSpeech":false,"creationDateTime":"2023-06-08T23:30:03.807239Z","entity":"article","guid":"27868f31-19ef-4d8f-837b-302e761956bf","id":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films","modifiedDateTime":"2023-06-12T08:13:36.987326Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20230608-from-taxi-driver-to-25th-hour-11-of-the-best-new-york-films","cacheLastUpdated":1687000254849},"culture\u002Farticle\u002F20230608-john-waters-on-hairspray-at-35-i-gave-it-a-happy-ending-and-in-real-life-that-didnt-happen":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20230608-john-waters-on-hairspray-at-35-i-gave-it-a-happy-ending-and-in-real-life-that-didnt-happen","_id":"6481db85122e041ea60263c0","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fchristina-newland"],"bodyIntro":"As the iconic film is re-released in UK cinemas, John Waters tells Christina Newland how Hairspray broke taboos – and changed his career.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBaltimore, 1962. A chubby teen girl, Tracy Turnblad (Ricki Lake), is desperate to make it on to her favourite local music programme, The Corny Collins Show, where hip teenagers take part in the latest dance crazes - the Mashed Potato, the Twist, and more - to the live accompaniment of artists such as Frankie Avalon and the like. When she gets a guest spot on the show and becomes a teen icon overnight, she starts a fight to bring racial integration to the show. \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230606-why-the-spider-verse-films-are-the-greatest-comic-book-movies-ever-made\"\u003EThe greatest comic book movies ever made\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june\"\u003E11 of the best films to watch in June\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230525-david-lynch-interview-how-the-mulholland-drive-director-worked-with-composer-angelo-badalamenti\"\u003EDavid Lynch on 'the beauty in the dark'\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThirty-five years after the release of John Waters' Hairspray, it's fair to say that it's probably one of his most recognisable and lucrative films. On 9 June, Park Circus re-releases the 1988 film in UK cinemas, and its feel-good rep notwithstanding, it is deeply entwined with Waters' own upbringing (also in 1960s Baltimore.) In a long career spanning some of the most reviled and controversial of B-movies, wherein crossdressing, eating excrement, and putting infants in fridges was par for the course, Hairspray has long felt like Waters' most personal film. Given the glittering mainstream treatment of Hairspray in its hit stage musical and in its 2007 remake, which Waters produced, it may seem like an outlier in the career of the so-called \"Pope of Trash\", but look closely and you see the subversion is clearly still there. BBC Culture had a chat with the eminent John Waters on the eve of the re-release of his modern classic.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EChristina Newland:\u003C\u002Fstrong\u003E Do you see Hairspray as any sort of, maybe not a turning point, but a kind of point in your career where there was a shift in terms of budget and audience?\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EJohn Waters:\u003C\u002Fstrong\u003E Absolutely. I say there are three major turning points in my career. The first was when \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200623-pink-flamingos-the-most-outrageous-film-ever-made\"\u003EPink Flamingos\u003C\u002Fa\u003E finally played in New York after playing everywhere else in the country. Then it was Hairspray. And the final one was when my book became a New York Times bestseller.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ECN:\u003C\u002Fstrong\u003E There's no part of you that is ever annoyed by how mainstream it became?\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EJW:\u003C\u002Fstrong\u003E No! I love it. Divine is a man but Tracy Turnblad doesn't think her mother is a man. It's a secret between Divine and the audience, and it's become totally accepted. And even racists love Hairspray, because they're stupid and don't realise I'm making fun of them.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ECN:\u003C\u002Fstrong\u003E It’s been well documented that the Corny Collins Show is based on a Baltimore show called the Buddy Deane Show, a local version of American Bandstand. But in real life, they didn't racially integrate. Is there a value in revising history on film for you? \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EJW:\u003C\u002Fstrong\u003E Yes, I gave it a happy ending, and in real life that didn't happen.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20230608-john-waters-on-hairspray-at-35-i-gave-it-a-happy-ending-and-in-real-life-that-didnt-happen-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0fszj45"],"imageAlignment":"centre","imageAltText":"John Waters","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230608-john-waters-on-hairspray-at-35-i-gave-it-a-happy-ending-and-in-real-life-that-didnt-happen-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ECN:\u003C\u002Fstrong\u003E You were really ahead of your time with the conversation around body positivity, with many of your films, Hairspray included. With Hairspray you've got Divine and Ricki Lake in these really positive roles, and it's important that their size is a point of focus.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EJW:\u003C\u002Fstrong\u003E When we first put out a casting call for an ample girl, hardly anyone turned up but Ricki Lake. Then with the remake, they were lining up around the block! But Tracy was representative of anyone who felt like an outsider, who was outside of the culture for being fat or gay or not white. \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ECN:\u003C\u002Fstrong\u003E And you've always used beauty culture as a symbol for that. It's even in the title of the film.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EJW:\u003C\u002Fstrong\u003E Hair was such a social signifier in Baltimore. You got it done and slept with your head hanging off the side of the bed. That's why Tracy changes it so many times in Hairspray, each style conveyed something different based on your class status or your subculture. A lot of [people] back then even went to the hairdresser and had mother-daughter hairdos. \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ECN:\u003C\u002Fstrong\u003E There's a kind of demented nostalgia to Hairspray and also Cry-Baby [Waters' 1990 film], in my view, not nostalgia in the sort of culturally conservative \"weren't things great\" way, but certainly a heightened, subversive, yes, but still affection for the looks and styles of that era, the music. Do you think that that period will always have a cultural hold on artists?\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EJW:\u003C\u002Fstrong\u003E I think so, but I've been listening to that music for so long. I'm over 70, and I was young when it was around. You're 30, you have a long time of listening to it before you get sick of it. It's important to not remain in nostalgia. I listen to new music and go to the cinema all the time. I do my Artforum best films of the year. I like music I haven't heard before - often outlaw country and some rap. I don't have my youth guides with me so I won't be able to remember the names. But I still buy CDs.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230608-john-waters-on-hairspray-at-35-i-gave-it-a-happy-ending-and-in-real-life-that-didnt-happen-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0fszglt"],"imageAlignment":"centre","imageAltText":"John Waters","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230608-john-waters-on-hairspray-at-35-i-gave-it-a-happy-ending-and-in-real-life-that-didnt-happen-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003ECN:\u003C\u002Fstrong\u003E Speaking of modern cinema, I've always loved that you were in \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20201019-how-jackass-became-a-pioneer-of-modern-comedy\"\u003EJackass\u003C\u002Fa\u003E. I was sad you weren't in the last one, Jackass Forever.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EJW:\u003C\u002Fstrong\u003E Oh, I love Jackass. I remember seeing the first or maybe second one in a movie theatre and it was just full of blue-collar dads and their teenage daughters laughing together at someone putting a toy car up their ass. It was like Pink Flamingos all over again! And Johnny Knoxville is a really nice guy.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ECN:\u003C\u002Fstrong\u003E We lost the great Kenneth Anger the other day. What was your feeling about his work? Was he an influence on you?\u003Cbr \u002F\u003E\u003Cbr \u002F\u003E \u003Cstrong\u003EJW:\u003C\u002Fstrong\u003E I love Kenneth Anger, and oh my god, Kenneth Anger and Tina Turner dying so close together? But yes, he was a huge influence on myself and on Scorsese, too, certainly in his use of pop music on screen like with Scorpio Rising. I think he was great, though he hated me for some reason.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ECN:\u003C\u002Fstrong\u003E It seemed like the world caught up to you for a time, in terms of what you had to say about respectability and taboos and queer culture and sex. But I wonder now if the times haven't changed again, where younger people are more easily offended?\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EJW:\u003C\u002Fstrong\u003E I think kids still have a sense of humour. And they’ve achieved a lot of things. I think transgender issues are the most important thing that they’ve changed. And BLM was such an important thing to come partly from their generation. But I do also think censorship does come from the left now.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ECN:\u003C\u002Fstrong\u003E You also remain very popular with younger film fans.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EJW:\u003C\u002Fstrong\u003E I just got back from a book tour in France and the amount of 20-year-olds that were there... it was so exciting. The greatest thing at 76 years old, is having a 20-year-old laugh at one of my films or at something in a book I've written.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003EBBC Culture Film and TV Club\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230608-john-waters-on-hairspray-at-35-i-gave-it-a-happy-ending-and-in-real-life-that-didnt-happen-4"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2023-06-08T14:30:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"John Waters on Hairspray at 35: 'I gave it a happy ending, and in real life that didn't happen'","headlineShort":"The 1988 film that broke taboos","image":["p0ft0tr6"],"imageAlignment":"centre","imageAltText":"Hairspray","isSyndicated":false,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"6399dacc122e047625087534"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Finterview"],"summaryLong":"As the iconic film is re-released in UK cinemas, John Waters tells Christina Newland how Hairspray broke taboos – and changed his career.","summaryShort":"'Pope of Trash' John Waters on Hairspray at 35","tag":["tag\u002Finterview"],"textToSpeech":false,"creationDateTime":"2023-06-08T13:45:24.70339Z","entity":"article","guid":"8e3290a1-1056-45bd-90bc-9fc42ac1baa2","id":"culture\u002Farticle\u002F20230608-john-waters-on-hairspray-at-35-i-gave-it-a-happy-ending-and-in-real-life-that-didnt-happen","modifiedDateTime":"2023-06-08T14:01:45.648838Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20230608-john-waters-on-hairspray-at-35-i-gave-it-a-happy-ending-and-in-real-life-that-didnt-happen","cacheLastUpdated":1687000254850},"culture\u002Farticle\u002F20230605-local-hero-why-the-iconic-scottish-environmental-film-was-decades-ahead-of-its-time":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20230605-local-hero-why-the-iconic-scottish-environmental-film-was-decades-ahead-of-its-time","_id":"647ee83c122e041b12797348","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fanthony-frajman"],"bodyIntro":"Forty years ago, Bill Forsyth's film warned us to consider the consequences of putting short-term gain ahead of the environment, writes Anthony Frajman.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EFew films have been as enduring as Local Hero. Released 40 years ago, the landmark Scottish film starring Hollywood legend Burt Lancaster put Scottish cinema on the map, launched the career of a then-unknown Peter Capaldi and showcased the nation's incredible landscapes to the world.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately\"\u003EThe 1998 film that predicted the future\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230525-david-lynch-interview-how-the-mulholland-drive-director-worked-with-composer-angelo-badalamenti\"\u003EDavid Lynch on 'the beauty in the dark'\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230426-fatal-attraction-bunny-boiler-dating-toxic-stereotype\"\u003EDating culture's most toxic stereotype\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EYet, the film was also remarkably prophetic. Decades before climate change was a widely discussed issue, Local Hero was one of the first contemporary films to draw attention to our impact on our environment.\u003C\u002Fp\u003E\n\u003Cp\u003ESet in the fictional village of Ferness, Local Hero follows US oil executive \"Mac\" MacIntyre (Peter Riegert), who is sent to Scotland by his eccentric billionaire boss Felix Happer (Burt Lancaster) to buy the entire town and its surrounding areas to build an oil refinery. As he spends more time with the locals, Mac slowly falls in love with his adopted surroundings, and begins to question his role, its ethics, and his entire worldview.\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EEerily relevant in our era, the climate satire shows almost no citizen standing up to the oil conglomerate. There is no environmental protection agency that steps in, no law against the oil company's intended destruction of the land.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20230605-local-hero-why-the-iconic-scottish-environmental-film-was-decades-ahead-of-its-time-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0fsdrc7"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230605-local-hero-why-the-iconic-scottish-environmental-film-was-decades-ahead-of-its-time-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe film began with Chariots of Fire and The Mission producer, David Puttnam, whose films have been nominated for 26 Oscars. Puttnam had read an article in The Observer about a Scottish man's battle against an oil giant, and was determined to make a film that addressed the unethical behaviour of oil firms and their toxic impact on natural landscapes.\u003C\u002Fp\u003E\n\u003Cp\u003EPuttnam, who had been an environmentalist since the 1970s, and was president of the Council of Protection of Rural England, saw the potential for a film that directly addressed environmental issues. \"I was really interested in the idea that a local accountant could sue a major, major international oil company and win on environmental grounds. I thought that was great. It was really a David and Goliath story,\" Puttnam tells BBC Culture.\u003C\u002Fp\u003E\n\u003Cp\u003EPuttnam had seen the debut feature of then largely unknown Scottish director Bill Forsyth, That Sinking Feeling, produced for £5,000, which he helped Forsyth sell to the BBC, and wanted to work with him. Sparked by the article he'd read, Puttnam brought the story to Forsyth, along with a proposal for a film set in Scotland dealing with ecological issues. \"We hired two journalists, one on the East Coast, one on the West Coast, to give us cuttings or any other stories they had about communities being affected by a major oil company or major conglomerate coming in. And we were able to collect quite a lot of bits and pieces, and Bill then built that collage into the screenplay,\" Puttnam remembers.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EA hard sell\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWhile Puttnam had produced the debut films of celebrated British directors Ridley Scott and Alan Parker, and had an eminent reputation as a producer, he struggled for years to get this unlikely Scottish film into production. \"I couldn't get much interest in it. I just found it very, very difficult getting traction,\" says Puttnam.\u003C\u002Fp\u003E\n\u003Cp\u003EAlthough he had only been able to secure half the budget for the film, that changed almost immediately when Puttnam won the Oscar for best picture for Chariots of Fire in 1982, on top of the best picture Bafta, bringing home Britain's first best picture Oscar since 1968, when Oliver! won.\u003C\u002Fp\u003E\n\u003Cp\u003E\"I won the Bafta for Chariots and extraordinarily, was presented the award by Burt Lancaster. I mean, how that happened, God. But he happened to be presenting the best picture award that year. I walked back to my table and a guy called James Lee stopped me. He said, 'If you're still looking for money for Local Hero, you've got it'. And we shook hands. I went back to the table with a Bafta and the other half of the money,\" Puttnam recalls.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230605-local-hero-why-the-iconic-scottish-environmental-film-was-decades-ahead-of-its-time-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0fsdr9p"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230605-local-hero-why-the-iconic-scottish-environmental-film-was-decades-ahead-of-its-time-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAs it happened, Puttnam and Forsyth had their eye on Lancaster to star in the film from get-go. \"The first thing that Bill had said to me when he delivered the screenplay was, 'I'd like Burt Lancaster to play Happer,\" says Puttnam. While securing Lancaster was crucial for the film's international appeal, this proved extremely difficult as the star's salary took up half of the film's budget. It took a year of negotiating to get him on board.\u003C\u002Fp\u003E\n\u003Cp\u003EDespite considering stars such as Michael Douglas and Henry Winkler for the role of Mac, Forsyth was set on casting Peter Riegert as the oilman who experiences an awakening and succumbs to the charms of the rugged Scottish landscapes. For the key part of Oldsen, the local guide who escorts Mac around Ferness, Forsyth chose Peter Capaldi, a then fresh-faced Scottish actor just out of art school.\u003C\u002Fp\u003E\n\u003Cp\u003EAnother integral element of the film is the score by Scottish-born Dire Straits frontman Mark Knopfler, who Puttnam suggested to Forsyth. While it is regarded as a key component of the film, underscoring shots of the Scottish coastline and the Northern Lights, it almost never came about.\u003C\u002Fp\u003E\n\u003Cp\u003E\"I heard his (Dire Straits) album Making Movies. So, I wrote to him, I got a letter from his manager who said, 'Oh, that's really, really interesting'. I got Mark and Bill to meet, Bill didn't like Mark's music, so it was a very tense meeting. But Bill liked one track, Telegraph Road. So, I managed to have a meeting where the only track we talked about was Telegraph Road. And, in the end, they got to like each other and they got to work together,\" says Puttnam.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EAhead of its time\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EReleased to immediate acclaim, the film was a major success in the UK and in the US, going on to be honoured as one of the top 10 films of the year by the National Board of Review in New York and launching the career of future Doctor Who star and multi-Bafta winner Peter Capaldi. Forsyth – who'd garnered praise for his 1981 sleeper hit Gregory's Girl – won a Bafta for best direction. It was hailed as \"a small film to treasure, a loving, funny, understated portrait of a small Scottish town\" by leading US critic Roger Ebert for \u003Ca title=\"https:\u002F\u002Fwww.rogerebert.com\u002Freviews\u002Flocal-hero-1983\" href=\"https:\u002F\u002Fwww.rogerebert.com\u002Freviews\u002Flocal-hero-1983\" data-auth=\"NotApplicable\"\u003EThe Chicago Sun-Times\u003C\u002Fa\u003E, while Janet Maslin wrote in a \u003Ca title=\"https:\u002F\u002Fwww.nytimes.com\u002F1983\u002F02\u002F17\u002Fmovies\u002Ffilm-local-hero-houston-to-scotland-odyssey.html\" href=\"https:\u002F\u002Fwww.nytimes.com\u002F1983\u002F02\u002F17\u002Fmovies\u002Ffilm-local-hero-houston-to-scotland-odyssey.html\" data-auth=\"NotApplicable\"\u003Eglowing review\u003C\u002Fa\u003E in The New York Times, \"Mr Forsyth has put Scottish comedy on the map\".\u003C\u002Fp\u003E\n\u003Cp\u003EWhile Local Hero remains arguably the finest film to have come out of Scotland, perhaps its most enduring legacy lies in its prescient caution on the environment. Fully aware that going ahead with the oil plant will irrevocably damage their village, the locals of Ferness willingly agree to sell their land, rather than oppose the corporation – bar one holdout, a dogged old man.\u003C\u002Fp\u003E\n\u003Cp\u003EWell before it was echoed in the incident of \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Fuk-scotland-north-east-orkney-shetland-20553939\"\u003Ethe Scottish farmer who refused to sell his land to Trump\u003C\u002Fa\u003E when he built his golf course, Forsyth's film implored audiences to conserve the environment, to stand up and fight for it, and to contemplate how easily it can be destroyed.\u003C\u002Fp\u003E\n\u003Cp\u003EIn the willingness of the residents to sell their land, Forsyth urged viewers to consider the irreversible repercussions of environmental harm. Looking back on the seminal Scottish film 40 years later, Puttnam says he believes it was prescient and is his favourite of the films he has produced: \"It was certainly a good 20 years ahead of its time.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003EBBC Culture Film and TV Club\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E page or message us on \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003Ca href=\"https:\u002F\u002Fcloud.email.bbc.com\u002FSignUp10_08\"\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fa\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230605-local-hero-why-the-iconic-scottish-environmental-film-was-decades-ahead-of-its-time-4"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2023-06-06T08:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Local Hero: Why the iconic Scottish environmental film was decades ahead of its time","headlineShort":"The 1983 film decades ahead of its time","image":["p0fsdql5"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"6399dacc122e047625087534"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Ffilm-history"],"summaryLong":"Forty years ago, Bill Forsyth's film Local Hero warned us to consider the consequences of putting short-term gain ahead of the environment, writes Anthony Frajman.","summaryShort":"How Local Hero was so prescient","tag":["tag\u002Ffilm-history"],"textToSpeech":false,"creationDateTime":"2023-06-06T08:02:50.409562Z","entity":"article","guid":"4530f6d9-9939-4575-af77-1c455512e912","id":"culture\u002Farticle\u002F20230605-local-hero-why-the-iconic-scottish-environmental-film-was-decades-ahead-of-its-time","modifiedDateTime":"2023-06-06T11:35:00.264517Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20230605-local-hero-why-the-iconic-scottish-environmental-film-was-decades-ahead-of-its-time","cacheLastUpdated":1687000254850},"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june","_id":"64792a0d122e041ed131cb70","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fnicholas-barber"],"bodyIntro":"Including Elemental, The Flash, Indiana Jones and Spider-Man – Nicholas Barber lists this month's unmissable releases.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"infographic","image":["p0fry0m6"],"imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-0"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E1. The Boogeyman\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe Boogeyman is all about slimy creatures that burst out of bedroom cupboards to prey on children – but don't get it confused with Pixar's Monsters, Inc. It's adapted from a Stephen King short story, and directed by Rob Savage, whose Zoom seance chiller, Host, was \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20201130-the-zoom-horror-that-was-2020s-most-timely-hit\"\u003Eone of the best films of 2020\u003C\u002Fa\u003E. If that weren't recommendation enough, The Boogeyman is apparently so scary that it had to be re-edited because viewers at test screenings were screaming too much. \"The first time you see the creature, the audience screamed so loud, and then immediately started talking with their neighbours and chattering, that they completely missed the next lines,\" \u003Ca href=\"https:\u002F\u002Fwww.empireonline.com\u002Fmovies\u002Fnews\u002Frob-savage-add-moments-the-boogeyman-audiences-recover-exclusive\u002F\"\u003ESavage told Empire magazine\u003C\u002Fa\u003E. \"We had to recut it and build in 45 seconds of padding, just so they didn't miss any vital information.\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased globally from 1 June\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-1"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0frt15y"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-2"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E2. Transformers: Rise of the Beasts\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EFive years on from the last Transformers film, the alien robots are back to cause more property damage, although this episode in the Hasbro toy franchise is something of a reboot. The first five films were all directed by Michael Bay, whereas this one is directed by Steven Caple Jr, who made Creed II. He has brought in the Maximals, who disguise themselves as animals rather than cars and trucks, added some new human companions (Anthony Ramos and Dominique Fishback), and set the action in 1994, when Optimus Prime, the Autobots' leader, was still learning the ropes. \"The thing that is unique to this movie is, we actually have a Transformer that has a character arc, and that's Optimus,\" the film's producer, Lorenzo di Bonaventura, \u003Ca href=\"https:\u002F\u002Fcollider.com\u002Ftransformers-rise-of-the-beasts-michael-bay-movies-producer-comments\u002F\"\u003Etold Tamera Jones at Collider\u003C\u002Fa\u003E. \"We've watched it with audiences and we've heard them talk about it – they're like, 'It's definitely Optimus, but there's something a little different…' And by the end of the movie, Optimus has become the guy that you've recognised from the Bay movies.\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased globally from 7 June\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-3"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0frpjpn"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-4"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E3. Elemental\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EPixar's latest cartoon is set in Element City, a metropolis where everyone is made of one of the four classical elements: earth, water, air and fire. But what happens when a watery man (voiced by Mamoudou Athie) is attracted to a fiery woman (Leah Lewis)? Could things get steamy? The clever anthropomorphic concept is typical of the studio that made Inside Out, but the director of Elemental, Peter Sohn, says that his culture-clash romance is really about being the son of Korean immigrants in the Bronx, and then going on to marry a woman who wasn't Korean. \"I have so many memories of growing up in this shop,\" \u003Ca href=\"https:\u002F\u002Fwww.cinemablend.com\u002Fmovies\u002Fhow-pixars-elemental-will-be-inspired-by-director-peter-sohns-korean-immigrant-story\"\u003ESohn told Sarah El-Mahmoud at CinemaBlend,\u003C\u002Fa\u003E \"and all my dad's customers came from everywhere and... left their homes to come to a new land, and they all were mixing into beautiful little neighbourhoods with their cultures and the languages. And so from that came this.\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 6 June in the UK; released globally from 14 June\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-5"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0frp8sw"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-6"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E4. The Flash\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThere are two superhero blockbusters coming out this month in which the characters flit between alternate universes. Marvel's offering is Spider-Man: Across the Spider-Verse. DC's is The Flash, in which the speedy Barry Allen accidentally creates a reality in which the Earth has no superhumans. Can he defeat General Zod (Michael Shannon), the Kryptonian villain from Man of Steel, who is alive and well in this new reality? The Flash is controversial, because its star, Ezra Miller, \u003Ca href=\"https:\u002F\u002Fwww.vulture.com\u002Farticle\u002Fezra-miller-grooming-allegations-career-timeline.html\"\u003Ehad legal and mental health troubles last year\u003C\u002Fa\u003E. That could be why the publicity has focused on his co-star, Michael Keaton, who is playing Batman again, three decades after he wore the black mask in Tim Burton's films in 1989 and 1992. \"Frankly, in the back of my head, I always thought, 'I bet I could go back and nail that [character]',\" \u003Ca href=\"https:\u002F\u002Fwww.hollywoodreporter.com\u002Fmovies\u002Fmovie-features\u002Fmichael-keaton-on-reviving-batman-the-protege-worth-dopestick-1234998480\u002F\"\u003EKeaton told Rebecca Keegan at the Hollywood Reporter\u003C\u002Fa\u003E. \"And so I thought, 'Well, now that they're asking me, let me see if I can pull that off'... What's really interesting is how much more I got [Batman] when I went back and did him. I get this on a whole other level now.\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased globally from 14 June\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-7"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0frt1c3"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-8"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E5. Stan Lee\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EStan Lee left a deeper imprint on today's popular culture than almost any other single figure. As a writer and editor for Timely and then Marvel, he brought his own brand of energy, modernity, knowing humour and social relevance to the superhero genre, and he co-created dozens of characters who would redefine comics in the 1960s, before going on to dominate cinema in the 2010s: Spider-Man, Iron Man, Thor, the Hulk, The X-Men, Doctor Strange, Black Panther, Black Widow and many more. He also made cameo appearances in nearly every Marvel film until he died in 2018. To celebrate what would have been his 100th birthday, this documentary, directed by David Gelb, charts how Stanley Lieber, the son of Romanian Jewish immigrants in New York, went on to create a universe.\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 16 June on Disney+\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-9"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0frt23s"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-10"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E6. No Hard Feelings\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EA throwback to the days when raunchy Hollywood comedies regularly had cinema releases, No Hard Feelings stars Jennifer Lawrence as an Uber driver who is so broke that she loses her car, and could well lose her house. Her only hope is to answer a Craigslist ad from a couple who promise to give her a Buick if she will go out with their socially awkward 19-year-old son (Andrew Barth Feldman), and bring him out of his shell before he leaves for college. The strange thing about this premise is that it was inspired by a real ad which the producers sent to the director, Gene Stupnitsky. \"Gene read the Craigslist ad to me, and I died laughing,\" \u003Ca href=\"https:\u002F\u002Few.com\u002Fmovies\u002Fno-hard-feelings-preview-director-jennifer-lawrence\u002F\"\u003ELawrence told Lauren Huff at EW\u003C\u002Fa\u003E. \"I thought it was hilarious... And then a couple years later, he handed me the funniest script I've ever read in my life.\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased globally from 14 June\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-11"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0frpdzy"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-12"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E7.\u003C\u002Fstrong\u003E \u003Cstrong\u003ERuby Gillman, Teenage Kraken\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EIs it a coincidence that this DreamWorks cartoon, in which a beautiful, red-haired mermaid is a savage villain, is coming out so soon after \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230522-the-little-mermaid-review-a-spectacle-with-an-allure-and-vitality-of-its-own\"\u003EDisney's The Little Mermaid\u003C\u002Fa\u003E? Well, yes, it probably is. But the makers of Ruby Gillman, Teenage Kraken must have had Ariel in mind when they were designing their tale of a 16-year-old schoolgirl who joins her mother (Toni Collette) and grandmother (Jane Fonda) in a war against the evil mermaids. \"But at its core, it's a story of a teenage girl who is trying to find her place in the world,\" the film's co-director, Kelly Cooney, \u003Ca href=\"https:\u002F\u002Fnovastreamnetwork.com\u002Fmovies\u002Finterview-ruby-gillman-teenage-kraken-director-kirk-demicco-and-producer-kelly-cooney-on-their-new-dreamworks-animation-film\u002F\"\u003Etold Nick L'Barrow at Novastream\u003C\u002Fa\u003E. \"She has a secret that she has to keep and she's not fully able to be herself in front of her friends and classmates. Eventually, she makes a leap that awakens a part of her and she turns into a giant kraken!\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased globally from 28 June\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-13"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0fp7sjy"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-14"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E8. Indiana Jones and the Dial of Destiny\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EHarrison Ford may be two decades older than Sean Connery was when the latter played Indy's doddering dad in Indiana Jones and The Last Crusade, but the 80-year-old Ford has plopped on his brown fedora for \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230519-indiana-jones-and-the-dial-of-destiny-review-gloomy-and-depressing-final-act\"\u003Ea fifth and final archaeological escapade\u003C\u002Fa\u003E. This time he's accompanied by his god-daughter, Phoebe Waller-Bridge, as he races around the globe, desperate to find an ancient mathematical device before it falls into the hands of the villainous Mads Mikkelsen. \"Fans of the adventure series are given a film replete with Indy staples: action, humour, mystery and his old foe, the Nazis,\" \u003Ca href=\"https:\u002F\u002Fwww.scmp.com\u002Flifestyle\u002Fentertainment\u002Farticle\u002F3221029\u002Fcannes-2023-indiana-jones-and-dial-destiny-movie-review-harrison-ford-fights-nazis-one-last-time\"\u003Esays James Mottram in the South China Morning Post\u003C\u002Fa\u003E. \"Director James Mangold, stepping in for Steven Spielberg, brings the character's adventures to a satisfying close, while Ford revels in reprising the role for one last hurrah... With genuine emotion sewn into the story, it's not just John Williams' instantly recognisable score that hits the right notes.\u003C\u002Fp\u003E\n\u003Cp\u003EReleased globally from 28 June\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-15"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0frt2hj"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-16"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E9. War Pony\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ERiley Keough is best known for starring in Netflix's Daisy Jones and The Six – and for being Elvis Presley's granddaughter – but she has considerable behind-the-camera talent, too. Her debut film as a writer-director, War Pony is a tough but tender indie drama set on the Pine Ridge Reservation in South Dakota. Bill (Jojo Baptiese Whiting) gets a job as a chauffeur for a rich white poultry farmer, while 12-year-old Matho (Ladanian Crazy Thunder) takes up drug-dealing. Co-directed by Gina Gammell, and co-written by Franklin Sioux Bob and Bill Reddy, two Native American actors whom Keough met when they were extras on \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20160515-andrea-arnolds-american-honey-plays-at-cannes\"\u003EAmerican Honey\u003C\u002Fa\u003E, War Pony won the prize for best first feature in the Un Certain Regard category at last year's \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Ftags\u002Fcannes-film-festival\"\u003ECannes Film Festival\u003C\u002Fa\u003E. \"War Pony is unhurried, naturalistic and heartbreaking,\" \u003Ca href=\"https:\u002F\u002Fwww.thewrap.com\u002Fwar-pony-review-riley-keough-cannes\u002F\"\u003Esays Steve Pond at The Wrap\u003C\u002Fa\u003E, \"taking its rhythms from the lives of characters in a situation where the lack of options can lead to desperation or to resignation… [It has] the intimacy of a story told from the inside, not the outside.\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased on 9 June in the UK & Ireland\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-17"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0frfjx5"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-18"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E10. Spider-Man: Across the Spider-Verse\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EIn 2018, Spider-Man: Into the Spider-Verse brought together numerous different animation styles to form a mesmerising pop-art masterpiece. It also brought together numerous different Spider-People. The wall-crawlers from various alternate realities included a new Spider-Man, Miles Morales (Shameik Moore), a familiar one, Peter Parker (Jake Johnson), and a Spider-Woman, Gwen Stacy (Hailee Steinfeld). And that was just the beginning. \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230531-spider-man-across-the-spider-verse-is-disappointing\"\u003EThe sequel\u003C\u002Fa\u003E is due to span six parallel universes, and to feature 240 characters, many of them Spider-related: Oscar Isaac, for instance, provides the voice of the Spider-Man of the year 2099. \"Keep in mind, Miles, right out of the gate, saved the whole multiverse in the first film,\" \u003Ca href=\"https:\u002F\u002Fwww.indiewire.com\u002Ffeatures\u002Fgeneral\u002Fspider-man-across-spider-verse-spot-interview-1234735785\u002F\"\u003EKemp Powers, the co-director, told Rafael Motamayor at IndieWire\u003C\u002Fa\u003E. \"Now he's having to step back and manage life and family, and realise he was never the 'friendly neighbourhood Spider-Man,' he was 'the save-the-multiverse Spider-Man'.\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased globally from 1 June\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-19"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0frpgly"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-20"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cstrong\u003E11.\u003C\u002Fstrong\u003E \u003Cstrong\u003EAsteroid City\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWes Anderson's latest postmodern comedy is set at a stargazers' convention in a US desert in the 1950s – and it has no shortage of stars to gaze at: the stellar cast features Scarlett Johansson, Tom Hanks, Margot Robbie, Tilda Swinton, Jeffrey Wright, Steve Carell, Edward Norton, and many more. Anyone resistant to Anderson's signature style might feel that the cast is not enough to keep them watching, but fans of his pastel colour schemes, symmetrical compositions, and deadpan dialogue will be over the moon. \"Asteroid City's eccentricity, its elegance, its gaiety, and its sheer profusion of detail within the tableau frame make it such a pleasure,\" \u003Ca href=\"https:\u002F\u002Fwww.theguardian.com\u002Ffilm\u002F2023\u002Fmay\u002F23\u002Fasteroid-city-review-wes-anderson-1950s-sci-fi-triumph\"\u003Esays Peter Bradshaw in The Guardian\u003C\u002Fa\u003E. \"So, too, does its dapper styling of classic American pop culture. With every new shot, your eyes dart around the screen, grabbing at all the painterly little jokes and embellishments, each getting a micro-laugh.\"\u003C\u002Fp\u003E\n\u003Cp\u003EReleased globally from 8 June\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fcloud.email.bbc.com\u002FSignUp10_08\"\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june-21"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2023-06-02T08:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"From Elemental to Indiana Jones: 11 of the best films to watch in June","headlineShort":"11 of the best films to watch in June","image":["p0frp8sw"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"6399dacc122e047625087534"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Fhollywood"],"summaryLong":"Including Elemental, The Flash, Indiana Jones and Spider-Man – Nicholas Barber lists this month's unmissable releases.","summaryShort":"From Elemental and The Flash to Indiana Jones and Spider-Man","tag":["tag\u002Fhollywood"],"textToSpeech":false,"creationDateTime":"2023-06-01T23:30:03.745241Z","entity":"article","guid":"73537829-6113-461a-9470-d397e18d4681","id":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june","modifiedDateTime":"2023-06-02T13:26:55.376787Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20230601-from-elemental-to-indiana-jones-11-of-the-best-films-to-watch-in-june","cacheLastUpdated":1687000254851},"culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately","_id":"6477d187122e041e600c8cfe","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Femily-maskell"],"bodyIntro":"The 1998 Jim Carrey film about a man whose entire life is filmed quickly came to embody a new age of reality television. And, 25 years on, it continues to resonate, writes Emily Maskell.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"Good morning, and in case I don't see ya… good afternoon, good evening, and good night!\" Truman Burbank (Jim Carrey) cheerfully calls out to his neighbour. It's as predictable as the sun rising and setting, a part of Truman's unchanging everyday routine. Little does he know his whole life is a lie that is being watched by millions. Released in 1998, the one-of-a-kind film Hollywood film – a satirical sci-fi psychological comedy-drama – about one man living in a fabricated reality concocted by TV producers made an impact on its release, but no one knew quite how prescient it would be. In subsequent years, it has come to embody a myriad of cultural anxieties – about omnipresent surveillance, mass voyeurism, and the reality TV craze that has swept the globe, with all the attendant existential quandaries of living for an audience.\u003Cbr \u002F\u003E \u003Cbr \u002F\u003E \u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230525-david-lynch-interview-how-the-mulholland-drive-director-worked-with-composer-angelo-badalamenti\"\u003EDavid Lynch on the 'beauty in the dark'\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211201-why-reality-tv-deserves-more-credit\"\u003EWhy reality TV deserves more credit\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210212-silent-running-the-sci-fi-that-predicted-modern-crises\"\u003EThe sci-fi that predicted modern crises\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWritten by Andrew Niccol and directed by Peter Weir, the film grossed over $125 million in the US and around $264 million worldwide and garnered three Academy Award nominations for best supporting actor, original screenplay and director – but those statistics in themselves do not represent the extent of its impact. The prophetic film intricately chronicles the daily life of the eponymous clean-cut insurance salesman, Truman, who is totally unaware that his existence is the subject of a globally televised and ethically precarious show, his family and friends are actors, and the world around him is a manufactured facade. Chosen to appear from birth, Truman's life is documented with 5000 cameras placed throughout his \"hometown\" of Seahaven Island that broadcast his life around the clock to a loyal 1.5 billion viewership.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0frgl3w"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThen one fateful day, the lies of his existence begin to crumble after a series of accidental disruptions – including a lighting rig falling from the \"sky\" and Truman spotting his \"dead\" father alive – lead to an epiphany. However while Truman bravely decides to flee his constructed \"reality\" and run away from such manipulation, as a society we seem to have collectively headed in the opposite direction. Certainly, the film's cautionary subtext went firmly unheeded, for media voyeurism has only become a more and more ingrained part of our lives.\u003C\u002Fp\u003E\n\u003Cp\u003EWeir tells BBC Culture that despite the film's remarkable and timely relevance, he had no expectation that The Truman Show would prove so on-the-money. \"I had no idea the tsunami of reality TV lay just below the horizon,\" he says. At the time of The Truman Show's production, reality television was in its infancy, with shows like The Real World leading the way, but it was Dutch format \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211201-why-reality-tv-deserves-more-credit\"\u003EBig Brother\u003C\u002Fa\u003E, in which ordinary people were made to share a house for a period of weeks, that would make the genre into a worldwide phenomenon.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The creator of Big Brother said something like: 'When I saw Truman I thought we better get a move on' – Peter Weir","id":"culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn fact, Weir says he recalls a comment by the creator of Big Brother \"[who was] in the planning stages [of the show] at the time of the film's release. He said something like: 'When I saw Truman I thought we better get a move on'. Big Brother came out a year or so later.\" But The Truman Show's sharp commentary on living under constant surveillance foreshadowed not only the reality TV age but the whole social media culture.\u003C\u002Fp\u003E\n\u003Cp\u003EWith the advent of Big Brother, The Truman Show seemed all too credible – but in the making of it, Weir says, the concept seemed a stretch to many involved: “The problem was we had to accept [The Truman Show] was watched by a worldwide audience for 30 years, 24 hours a day.\" Now, such programming seems far less absurd, thanks not only the endless parade of reality shows but online streams on all manner of social media platforms in which users document lengthy periods of their lives for viewers to endlessly gawk at.  \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EHow real is 'reality'?\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWeir also hit the nail on the head when it came to the conventions of \"unscripted\" television, before these could even be described as such. As with all good reality TV shows, the Truman Show's \"reality\" is really spun by producers dictating the happenings of Truman's contained world. Christof (Ed Harris), the megalomaniac creator of the Truman Show, has a despotic eye that oversees everything, his power illustrated with his demand to \"cue the sun!\" Encounters with passers-by and acquaintances are minutely rehearsed so Truman's interactions with the world seem organic. The collective desire to observe a mundane \"reality\" is outlined by Christof in the film's opening moments: \"We've become bored with watching actors give us phoney emotions… While the world he inhabits is in some respects counterfeit, there's nothing fake about Truman himself.\u003C\u002Fp\u003E\n\u003Cp\u003EThat ambiguity over what is \"real\" and what is counterfeit lies at the heart of today's slippery media culture, from The Kardashians to Instagram Lives. Just as audiences crave reality, that \"reality\" fed to them can be questionable in its authenticity, adulterated with producers' instructions, product placement, social media filters et al. Meanwhile those who participate in reality TV mostly exhibit some level of performativity due to their awareness that cameras are following them – which is where, of course, they differ from the innocent Truman. Regardless of participants' complicity or not, however, as with The Truman Show, these shows feed off the desire of audiences to vicariously inhabit other people's \"real\" lives.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0frgljz"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIndeed, The Truman Show's layered show-within-the-film narrative also comes to tackle the very existential, epistemological question of what we understand as \"real\". It recalls the allegory of Plato's cave, in which he describes a situation where people who have been chained up in a cave all their lives see shadows projected onto the opposite wall that become \"real\" for them – even though they are not accurate representations of the real world. The Truman Show can be interpreted as a modern reflection of this idea, as distilled by Christof when he proclaims: \"We accept the reality of the world with which we're presented. It's as simple as that.\" The same arguably could be said for 21st Century audiences in general; like Truman, we're presented with a reality that in many ways could be understood as orchestrated. Online identities and reality TV are a \"truth\" created through heavy editing just like Truman's life is heavily contrived. The world Christof has built is Truman's truth, Truman's cave, and we're all in echo chambers and caves of our own truth too.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately-6"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The film makes a strong case for this sense of the growing impossibility to separate entertainment and reality – Lilia Pavin-Franks","id":"culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe Truman Show also formulates how life can be lived for the entertainment of others. Now, we can all become Trumans thanks to widespread access to online platforms. The phenomenon of self-broadcasting has proliferated in our self-narrativising society; you can provide an unending soap opera stream of life to an audience online via Twitter, Instagram, Facebook, TikTok and many more. We can all, too, indulge in the much-derided \u003Ca href=\"https:\u002F\u002Fwww.standard.co.uk\u002Fescapist\u002Fmain-character-syndrome-what-is-it-b941324.html\"\u003EMain Character Syndrome\u003C\u002Fa\u003E – a social media shorthand for those who narcissistically imagine themselves as the protagonist in their own life story, with the people around them as supporting characters.\u003C\u002Fp\u003E\n\u003Cp\u003E\"I think [the film] makes a strong case for this sense of the growing impossibility to separate entertainment and reality,\" film programmer and writer Lilia Pavin-Franks tells BBC Culture. \"Perhaps audiences have an affinity for reality TV because it gives a sense of relatability, but at its very core, reality TV still remains entertainment first and foremost.\" Pavin-Franks highlights the complicated relationship between viewer and participants at the core of The Truman Show's story and reality TV generally. How does the former view the latter – as empathetic subjects, enjoyably manipulated objects or both? Whatever the nature of the bond, certainly it can be a strong one: according to a 2016 study by market research agency \u003Ca href=\"https:\u002F\u002Fonepoll.com\u002Fblog\u002F2016\u002F02\u002F01\u002Fthe-reality-tv-habit\u002F#:~:text=Nearly%204%20in%2010%20(39,range%20of%20reality%20TV%20options.\"\u003EOnePoll\u003C\u002Fa\u003E, \"almost 1 in 5 of those surveyed have revealed they have grown attached to a reality star or character, with 1 in 10 admitting to becoming obsessed with a reality show\". This extracts the idea of a participant being perceived as a consumer product: it appears in Weir's film in the way the audience buy into the character of Truman with Truman-themed merchandise. But there's also something enraptured about the way they watch him, from their sofas, in bars, and even in the bathtub, 24 hours a day – a profound collective experience.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe Truman Show Syndrome\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe Truman Show's continued cultural resonance can be seen very concretely in the emergence of \"Truman Show Syndrome\", a term coined in 2008 by psychiatrist Joel Gold and his academic brother Ian Gold to describe patients who believed they were being documented for the entertainment of others. Ian Gold, Associate Professor of Philosophy and Psychiatry at McGill University, tells BBC Culture that though the film \"captured a salient moment in the history of technology, and resonated with the experience of many people\", it was not the singular cause of the delusion. Instead, the impact of the film intersected with mounting surveillance within Western culture. \"Following 9\u002F11, the Patriot Act made surveillance a salient feature of American culture, and that was probably an important contributor to the general anxiety around loss of privacy,\" he adds.\u003C\u002Fp\u003E\n\u003Cp\u003EOne can then assume that the widespread access to mobiles and social media would only have elevated Truman-like anxieties further. That is certainly the belief of Dr Paolo Fusar-Poli, Professor and Chair of Preventive Psychiatry in the Department of Psychosis Studies at King's College London, and co-author of research on the Truman Show Syndrome phenomenon published in the 2008 British Journal of Psychiatry. Dr Fusar-Poli tells BBC Culture: \"Certainly, the profound recent digitisation and hyper-exposure of our lives on social media could trigger these [Truman-like] experiences.\" Professor Gold furthers that \"cultural realities are always intruding into psychotic experience,\" and therefore the transition to a highly digital life could heighten paranoia surrounding surveillance.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0frgl8b"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBoth Gold and Fusar-Poli speak to The Truman Show's relevance to modern identity but Weir also points to the fact that the film speaks to a more fundamental paranoia, irrespective of current cultural trends. When he met actors auditioning for the film, he reveals, several confided they identified with Truman because in their youth they'd felt like \"a fraud, [with] everyone around them acting\". \u003C\u002Fp\u003E\n\u003Cp\u003EThough the rise of reality TV and social media very obviously cemented the film's legacy as one for the ages, Weir still expresses his surprise at The Truman Show's \"enduring\" relevance: \"It seems to appeal to a young audience which is unusual for a film older than they are,\" he says. The Truman Show concludes with Truman finding a skywards escape through an empyrean doorway of darkness – the opposite of light at the end of the tunnel. Nevertheless, there's a semblance of hope in the open-ended conclusion – hope that Truman can go on to live his life without the uneasy presence of a ubiquitous audience. Truman's example is one that, some would suggest, our society as a whole would do well to finally take on board.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003EBBC Culture Film and TV Club\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately-10"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2023-06-01T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The Truman Show: Has a film ever predicted the future so accurately?","headlineShort":"The 1998 film that predicted the future","image":["p0frgjt9"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"6399dacc122e047625087534"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":null,"summaryLong":"The 1998 Jim Carrey film about a man whose entire life is filmed came to embody a new age of reality television. And, 25 years on, it continues to resonate, writes Emily Maskell.","summaryShort":"How Jim Carrey hit and reality TV parable The Truman Show came true","tag":["tag\u002Ffilm-history"],"textToSpeech":false,"creationDateTime":"2023-05-31T23:00:06.519168Z","entity":"article","guid":"238341b2-d129-459f-a205-91c3ea3b193c","id":"culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately","modifiedDateTime":"2023-06-01T09:08:28.283596Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20230531-the-truman-show-has-a-film-ever-predicted-the-future-so-accurately","cacheLastUpdated":1687000254851},"culture\u002Farticle\u002F20230531-spider-man-across-the-spider-verse-is-disappointing":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20230531-spider-man-across-the-spider-verse-is-disappointing","_id":"64774b95122e041e600c8ca6","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fnicholas-barber"],"bodyIntro":"The sequel to the brilliant Into the Spider-Verse 'feels frantically busy and wheel-spinningly slow at the same time', writes Nicholas Barber. But the 'cleverness and craftsmanship' are still staggering.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Body\"\u003EIt feels as if a new Spider-Man film has come out every year for the past two decades, but 2018's Spider-Man: Into the Spider-Verse somersaults over the rest of them. One of surprisingly few big-screen superhero animations, it was also the first to exploit the idea of alternate universes, and the only one to reproduce the variety of visual styles and techniques that you can see when you flip through a stack of comics. Some parts looked painted, some looked hand-drawn, some looked as if they had been printed on cheap paper, complete with the Ben-Day dots that Roy Lichtenstein put in his paintings. The film was a game-changer – a Pop-Art extravaganza that took the medium to astonishing new places. And yet, most impressively of all, the many innovations were bound up in the heartfelt story and loveable characters.\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E-     \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211215-film-review-five-stars-for-spider-man-no-way-home\"\u003EFive stars for Spider-Man: No Way Home\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E-     \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230521-killers-of-the-flower-moon-review-scorseses-handsome-western-is-too-slow\"\u003E'DiCaprio and De Nero are a thrill'\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E-     \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230522-the-little-mermaid-review-a-spectacle-with-an-allure-and-vitality-of-its-own\"\u003EA fairytale 'for the age of Marvel movies'\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe premise was that a teenager from Brooklyn, Miles Morales (voiced by Shameik Moore), became the Spider-Man of his own universe, only to discover that countless other universes had countless web-slinging, wall-climbing equivalents, including our old friend Peter Parker (Jake Johnson), Gwen Stacy (Hailee Steinfeld), a Looney Tunes-style pig called Spider-Ham (John Mulaney), and a brooding 1930s vigilante, Spider-Man Noir (Nicolas Cage), who existed in black and white. The sequel, Spider-Man: Across the Spider-Verse takes everything further. This time, Miles meets hundreds of Spider-People, such as a guitar-toting punk from London (Daniel Kaluuya) who always looks as if he is on a torn, photo-copied poster, and a preening Indian Spider-Man (Karan Soni) from a reality in which Manhattan and Mumbai are the same place. If that weren't enough, Miles learns that these Spider-Men-and-Women have their own hi-tech headquarters where they monitor \"anomalies\" around the multiverse under the leadership of the gruff Spider-Man of the year 2099, Miguel O'Hara (Oscar Isaac).\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20230531-spider-man-across-the-spider-verse-is-disappointing-0"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Maybe the slight disappointment was inevitable – how could any sequel be as groundbreaking as Into the Spider-Verse was?","id":"culture\u002Farticle\u002F20230531-spider-man-across-the-spider-verse-is-disappointing-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp class=\"Body\"\u003EAs before, the cleverness and craftsmanship are so staggering that they make the directors of every other animation seem as if they aren't trying. But perhaps Across the Spider-Verse has too much of a good thing. Co-written by its producers, Phil Lord and Christopher Miller (The Lego Movie), the film opens with a prologue revolving around Gwen's disagreements with her policeman father (Shea Whigham), and her battle with a Vulture (Jorma Taccone) who has flapped his way into her reality from an alternate 16th Century. This section goes on for too long. Then, over in Miles's universe, there is a sequence revolving around his disagreements with his policeman father (Brian Tyree Henry), and his battle with The Spot (Jason Schwartzman), an initially bumbling supervillain who learns how to open portals into other dimensions. This section goes on for too long, as well. Both the hyperactive fights and the po-faced speeches keep going well after you've got the point.  \u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EThat's not to say that Across the Spider-Verse dawdles: it crams every frame with dazzling new sights and jokes. But it feels frantically busy and wheel-spinningly slow at the same time. It's 50 minutes before Gwen reunites with Miles, and at least another half-hour before they get to the Spider-People HQ that features so prominently in the trailers. The Spot, despite being the principal villain, is absent for much of it. But the most flagrant example of the film's excesses is that, even though it's nearly two-and-a-half hours long, it only gets halfway through its story. It ends on a cliffhanger, and a caption announces that Miles will return in a further instalment, Spider-Man: Beyond the Spider-Verse. No wonder it feels more exhausting than exhilarating.\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003ESpider-geeks may not mind this self-indulgence: they are sure to spend hours rewatching and pausing it to catalogue all of the many allusions to six decades' worth of comics, cartoons, live-action films and video games. But non-geeks may be perplexed. While Into the Spider-Verse introduced some futuristic science-fiction conceits, it was firmly rooted in the life of a troubled Brooklyn teenager, whereas Across the Spider-Verse leans into the artificiality of its world: its central, postmodern concern is how the multiverse will be affected by the tangled web of various Spider-Man narratives. If you don't happen to be a universe-hopping comic-book superhero, it's hard to relate to any of it.\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003EMaybe the slight disappointment was inevitable. How could any sequel be as groundbreaking as Into the Spider-Verse was? Besides, in the four and a half years since that film came out in 2018, \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20220425-doctor-strange-and-the-historical-roots-of-the-multiverse\"\u003Ethe concept of super-powered action in alternate universes\u003C\u002Fa\u003E has been explored in Spider-Man: No Way Home, \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20220503-doctor-strange-in-the-multiverse-of-madness-review\"\u003EDoctor Strange in the Multiverse of Madness\u003C\u002Fa\u003E, Teen Titans Go! vs. Teen Titans, and the Oscar-winning \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230306-everything-everywhere-all-at-once-surprise-oscars-favourite\"\u003EEverything Everywhere All At Once\u003C\u002Fa\u003E, so what once seemed brain-bendingly original now seems over-familiar. But the main reason why Across the Spider-Verse doesn't live up to its predecessor is a simple one: it doesn't have Spider-Ham in it.\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E★★★☆☆\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ESpider-Man Across the Spider-Verse is on general release from 2 June\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003EBBC Culture Film and TV Club\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230531-spider-man-across-the-spider-verse-is-disappointing-2"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2023-05-31T12:55:21.323Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Spider-Man: Across the Spider-Verse is 'dazzling' but still a 'disappointment'","headlineShort":"New Spider-Verse is a 'disappointment'","image":["p0frfjx5"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"6399dacc122e047625087534"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":["p0frfjx5"],"relatedStories":null,"relatedTag":["tag\u002Ffilm-reviews"],"summaryLong":"The sequel to Into the Spider-Verse 'feels frantically busy and wheel-spinningly slow at the same time', writes Nicholas Barber. But the 'cleverness and craftsmanship' are staggering.","summaryShort":"Spider-Man: Across the Spider-Verse is dazzling and clever, but not relatable","tag":["tag\u002Ffilm-reviews"],"textToSpeech":false,"creationDateTime":"2023-05-31T13:28:36.685537Z","entity":"article","guid":"b48d4ffa-fa52-4d20-a365-5a1001c63432","id":"culture\u002Farticle\u002F20230531-spider-man-across-the-spider-verse-is-disappointing","modifiedDateTime":"2023-06-01T08:32:51.884174Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20230531-spider-man-across-the-spider-verse-is-disappointing","cacheLastUpdated":1687000254851},"culture\u002Farticle\u002F20230525-is-agra-the-most-shocking-indian-film-ever-made":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20230525-is-agra-the-most-shocking-indian-film-ever-made","_id":"64713a06122e041ea72a7f3d","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fkaleem-aftab"],"bodyIntro":"There is a clichéd image of Indian cinema as chaste and innocent – but there's always been a darker side to it too, as a transgressive new film at Cannes is affirming, writes Kaleem Aftab.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOne of the things Indian cinema is known for all around the world, as well as song-and-dance numbers, is its chasteness, as a result of popular Bollywood productions, which historically didn't even allow for kissing on screen, let alone sex scenes. Indeed, Bollywood directors over the last century have had to find ways to depict sexiness in understated, suggestive ways that get past the disapproving glare of the controlling censors – like a big number featuring a demure actress in a white sari running through a fountain, for example.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003E–      \u003C\u002Fstrong\u003E\u003Cstrong\u003E\u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230524-how-to-have-sex-and-the-cannes-films-showing-sexual-assault-is-still-endemic\"\u003EThe power of Cannes hit How to Have Sex\u003C\u002Fa\u003E\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E–      \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20230520-the-zone-of-interest-review-from-cannes-five-stars-for-jonathan-glazers-holocaust-masterpiece\"\u003ECannes review: The Zone of Interest is 'a masterpiece'\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003E–      \u003C\u002Fstrong\u003E\u003Cstrong\u003E\u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210824-the-new-wave-of-provocative-indian-tv\"\u003EThe new wave of provocative Indian TV\u003C\u002Fa\u003E\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EBut anyone who imagines that all Indian cinema is so innocent was in for a big surprise at this year's \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Ftags\u002Fcannes-film-festival\"\u003ECannes Film Festival\u003C\u002Fa\u003E. Director Kanu Behl's Agra, which played last Thursday in the Director's Fortnight sidebar section, is a shocking and forthright look at sexually repressed men in India that is replete with nudity and explicit sex scenes. It is also the latest addition to a lineage of transgressive, alternative Indian cinema that barely gets talked about. As Behl himself says: \"There are so many films made in India, and there is a split personality, almost like two different ideas of Indian cinema that are there. There is the much more popular Bollywood version of Indian cinema, which a lot more people know about, and there is also the parallel independent film world where a lot of interesting work has happened, not just now or in the past 5 or 10 years, but over decades.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20230525-is-agra-the-most-shocking-indian-film-ever-made-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0fqdxfj"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230525-is-agra-the-most-shocking-indian-film-ever-made-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAgra tells the story of a repressed call centre employee named Guru, who lives in a small house with his parents and married siblings. There is no space for him to have a partner or a sex life without everyone in his cramped household knowing and commenting, so he wants to have an extension built. Wildly frustrated, Guru spends his days addicted to dating apps and acts out a series of violent sexual fantasies, though Behl never makes clear whether these are real events, or figments of Guru's imagination. There is a touch of \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20160317-why-american-psycho-has-never-been-more-relevant\"\u003EAmerican Psycho's Patrick Bateman\u003C\u002Fa\u003E in how Guru's obsessions and delusions blur fact and fiction. It's a bold film where the first sex scene ends with a woman turning into a giant rodent, and we begin to realise that Guru is a fantasist. \u003Cbr \u002F\u003E \u003Cbr \u002F\u003E While this scene has an air of the absurd, Behl doesn't shy away from showing some of Guru's more angry and violent fantasies. It's shocking and, at times, unbearable to watch as the Indian director tries to take the spectator inside the dangerous mind of a very sick man fantasising about overpowering women and asserting his masculinity. \u003C\u002Fp\u003E\n\u003Cp\u003E\"The film looks at certain secret spaces in everybody's lives, which no one wants to talk about,\" says the 42-year-old director. \"There was this sexual repression that I had felt growing up as a boy in northern India, and not just me, I had seen so many people struggling with the delayed sexual maturity,\" Behl adds.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230525-is-agra-the-most-shocking-indian-film-ever-made-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"I decided that to make a film about a deeply vulnerable person who doesn't know how to deal with the opposite sex. I had to show how they behave in dastardly, unexpected ways – Kanu Behl","id":"culture\u002Farticle\u002F20230525-is-agra-the-most-shocking-indian-film-ever-made-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBehl's film examines the problem of sexual repression, and suggests that it is connected to \u003Ca href=\"https:\u002F\u002Fwww.theguardian.com\u002Fglobal-development\u002F2021\u002Fjun\u002F11\u002Fstudents-and-puts-indias-sexual-violence-under-spotlight-again\"\u003EIndia's especially high sexual violence rates\u003C\u002Fa\u003E. Although the film doesn't try to look at the broader picture of sexual violence in India, the subtext is that men's sexual immaturity is one of the \u003Ca href=\"https:\u002F\u002Fwww.theguardian.com\u002Fglobal-development\u002F2021\u002Fjun\u002F11\u002Fstudents-and-puts-indias-sexual-violence-under-spotlight-again\"\u003Edrivers making India \"one of the most dangerous places to be a woman\"\u003C\u002Fa\u003E, as a 2021 Guardian report suggested. In 2012, a brutal gang rape and murder of a student on a bus in Delhi ensured India's high sexual violence rates were brought to the world's attention. In the aftermath of the incident, the Indian parliament introduced stiffer penalties for sexual crimes, but it seems to have made little difference to the crime rates. Rape reports have risen, and many more are scared to come forward. In reflecting on this dark subject matter through the story of one disturbed man, Bhel has made a film that has broken many taboos, even if that wasn't the director's intention. \"I didn't set out to break any taboos, but the subject forced me to do so,\" he says.\u003C\u002Fp\u003E\n\u003Cp\u003EThe whole issue of sexual mores and sexual violence in India was a subject that was tricky for Behl to face. His first draft of the story didn't show explicit sexual scenes. While attending the Three Rivers residency for filmmakers, it was pointed out to him that he had to visualise the ugly and darker side of the story for the audience to comprehend the extent that his repression had warped his physical desires. \"The tutor read a draft and asked me why I was making the film, and I said because I want to deal with sexual repression and physical spaces in India. The tutor said, then why are you not doing it? If you really want to do it, you can't do it in a half-baked manner. That night I decided that to make a film about a deeply vulnerable person who doesn't know how to deal with the opposite sex. I had to show how they behave in dastardly, unexpected ways.\" \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe DNA of Indian cinema \u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EBehl follows in fine footsteps – for the darker side of Indian cinema has always existed, says Meenakshi Shedde, India and South Asia delegate for the Berlin Film Festival and a senior programme advisor to the \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Ftags\u002Ftoronto-film-festival\"\u003EToronto Film Festival\u003C\u002Fa\u003E, who is sitting on the Critic's Week jury at Cannes this year. \"We have always had a potent transgressive gene. It's not been dominant, but it's been in the DNA of Indian cinema from the very beginning. It's probably common in a lot of cultures where at the birth of cinema, it was only transgressive people making films. In India, it was the low caste, the marginalised, and the migrants making movies because it was considered sleazy to work in films.\"  \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230525-is-agra-the-most-shocking-indian-film-ever-made-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0fqdx8f"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20230525-is-agra-the-most-shocking-indian-film-ever-made-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe 1913 silent film Raja Harishchandra, often considered to be India's first feature-length movie, popularised cinema in India, but such was the low esteem the seventh art was held in at the time that director Dadasaheb Phalke had to get a male actor to play the female lead. Just being in the film industry was a transgressive act. \u003Cbr \u002F\u003E \u003Cbr \u002F\u003E \"And that [transgressive] streak has long continued, gathering momentum in the 1950s into the 1970s with the Parallel cinema moment. If you look at Satyajit Ray's films, for example, Pather Panchali was made in 1955, and a lot of his contemporaries and distinguished fellow artists, including Mrinal Sen and Ritwik Ghatak, did very transgressive, political cinema that questioned what was going on.\" \u003Cbr \u002F\u003E \u003Cbr \u002F\u003E Yet that independent strand of Indian cinema was long hard to find, especially outside India, where it was mainstream Bollywood films, with the traditional \"masala\" formula of romance, songs and happy endings, that were the ones that travelled. And by the 1990s, the alternative Indian movement had largely vanished due to the rising costs of filmmaking, with Bollywood gaining momentum and eating up all the space by tapping into the non-Indian resident market overseas. The economic realities led to a lack of desire from Indian exhibitors to release anything but the Hindi cinema mainstream. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230525-is-agra-the-most-shocking-indian-film-ever-made-6"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Agra so successfully manages to get us into Guru's psyche that the film becomes abhorrent, attacking our senses","id":"culture\u002Farticle\u002F20230525-is-agra-the-most-shocking-indian-film-ever-made-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHowever the rise of digital technology in the 21st Century, resulting in filmmaking becoming cheaper, has led to a revival of independent Indian cinema in recent years, with filmmakers such as Shonali Bose and Anurag Kashyap rising to prominence. As censorship has relaxed, the topics being tackled have broadened, with films looking at troubling political histories and social causes such as LGBTQ rights. These films have found audiences at festivals such as Berlin and Cannes. Kashyap's latest film, the neo-noir Kennedy, purporting to be based on real-life police corruption in India, is playing in the Midnight Section of the \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Ftags\u002Fcannes-film-festival\"\u003ECannes Film Festival\u003C\u002Fa\u003E, a section that celebrates cinema that pushes the boundaries. \u003Cbr \u002F\u003E \u003Cbr \u002F\u003E And as this strand of Indian cinema has begun finding more critical acclaim around the world, it has also had an impact on popular Bollywood cinema, with the studios having to adapt their films to the changing tastes of the audience, making them less chaste and tackling daring subject matters. \"This has led to the 'masala' guys of Bollywood dealing with more topical subjects in realistic ways,\" says Shedde, who also points out conversely that filmmakers from the independent scene have been \"embracing song-and-dance to be more accessible to a large audience.\"\u003C\u002Fp\u003E\n\u003Cp\u003EIt's certainly an exciting time for Indian cinema, with the promise of an era of rich, diverse and divisive films that are more in tune with Indian cinema's transgressive roots than the Bollywood output that took over. These films hold a mirror up to society and like the works of Gaspar Noé, Jack Smith and Kenneth Anger (who died this week), to name three filmmakers, they are by their nature incredibly divisive and at times extremely difficult to watch. Agra fits into this mould. Behl so successfully manages to get us into Guru's psyche that the film becomes abhorrent, attacking our senses and creating an unpleasant visceral reaction. Even as the plot widens to include money-lending, the distinction between fact and fiction is difficult to discern, which some will find powerfully unnerving, and others may find simply confusing. But the best thing about Behl's is work that it manages to tackle one of India's biggest and least talked-about issues without feeling like a lecture. May more and more Indian cinema be just as provocative and creatively bold.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003EBBC Culture Film and TV Club\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20230525-is-agra-the-most-shocking-indian-film-ever-made-8"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2023-05-27T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Is Agra the most shocking Indian film ever made?","headlineShort":"India's new wave of shocking films","image":["p0fqdx6p"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2022-02-27T22:52:24.455144Z","Project":"wwverticals","Slug":"option\u002Fpublish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"6399dacc122e047625087534"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":null,"summaryLong":"There is a clichéd image of Indian cinema as chaste and innocent – but there's always been a darker side to it too, as a new film at Cannes is affirming, writes Kaleem Aftab.","summaryShort":"The dark and explicit dramas that are breaking taboos","tag":null,"textToSpeech":false,"creationDateTime":"2023-05-26T23:00:05.20646Z","entity":"article","guid":"18d50d37-7b3d-4e07-a32c-ec3e93dce06d","id":"culture\u002Farticle\u002F20230525-is-agra-the-most-shocking-indian-film-ever-made","modifiedDateTime":"2023-05-28T15:59:36.028782Z","project":"wwverticals","slug":"culture\u002Farticle\u002F20230525-is-agra-the-most-shocking-indian-film-ever-made","cacheLastUpdated":1687000254852}},"tags":{"tag\u002Ffilm-history":{"urn":"urn:pubpipe:wwverticals:tag:tag\u002Ffilm-history","_id":"6399dabf122e0462114e80b2","assetImage":null,"description":"","linkUrl":"","name":"Film history","creationDateTime":"2019-05-06T13:54:29.03926Z","entity":"tag","guid":"d66f2d39-23a2-48ae-b5cd-7bdaaf000054","id":"tag\u002Ffilm-history","modifiedDateTime":"2022-02-27T23:19:41.452658Z","project":"wwverticals","slug":"tag\u002Ffilm-history","cacheLastUpdated":1687000254851},"tag\u002Ffeatures":{"urn":"urn:pubpipe:wwverticals:tag:tag\u002Ffeatures","_id":"64882b0c122e041ea45b3e01","assetImage":null,"description":"All the features from across the 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