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The lurcher birthright of Chimes at Midnight is devotedly to credit, postulated the intensely personal reading of English history and literature that emerges from an incongruous Spanish/Swiss co-production of a flavour of Falstaff culled from five Shakespearean texts and Holinshed’s Chronicles. Infused with a politically sharp nostalgia for Merrie England, this elegiac tragi-comedy comes over as uncompromisingly modern pageant, from its playful ruptures of standard cloud grammar to its characterisation of Falstaff as ideal at the crossroads of depiction, a spiritual and thematic precursor of Peckinpah’s Cable Hogue. Welles waddles via the foreground with an eye on his own problems of contempt, while behind the camera he conjures a Stygian masterpiece, shot through with slapstick and sorrow. Magnetic.

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Tierra: The Exterminator, Angel

, featured in Issue No. 8 of

Senses of Cinema

.

Vacas, 1991

[Cows]

At
the trenches of Biscay in 1875 during the Surrogate Carlist War, an
army sergeant named Carmelo Mendiluze (Kandido Uranga) learns from
a inexperienced errand boy named Ilegorri (Ortzi Balda) that a neighbor
named Manuel Iriguibel (Carmelo Gómez) from his inhabitant village
has joined their exhausted battalion. Eager for news of his child's
birth, Carmelo befriends the inexperienced soldier whose reputation
as an trained

aizcolari

(competition log cutter) cannot conceal
his apprehension and fear of armed war. Manuel's paralyzing timidity
results in deplorable consequences that is exacerbated by a following
ignominious act by Manuel in an attempt to be transported away from
the front lines and avoid military onus. Thirty years later, in
the municipality of Guipuzcoa, a lingering animosity has continued between
the Mendiluze and Iriguibel families. Miguel's grown son Ignacio
(Carmelo Gómez) and the Carmelo's son Juan (Kandido Uranga)
have maintained set traditions by honing their skills as

aizcolari

.
Despite the strained relations between the neighbors, the destinies
of the two families seem fatefully interconnected, as a close childhood
friendship develops between Juan's younger brother, Peru (Miguel
Ángel García) and Ignacio's sister, Cristina (Ana
Sánchez). Similarly, Juan's sister, Catalina (Ana Torrent),
cannot hidden her romantic arouse for Ignacio as she furtively
watches him practice cutting logs in the woods – an attraction that
proves to be communal through Ignacio's playful attempts to fly in the ointment
her already piqued attention. In an bid to capitalize from the
rivalry between the two families, Ilegorri (Karra Elejalde), now
a grown fellow, arranges a waged rivalry between the two men and
soon, Ignacio's trade as an

aizcolari

contender is launched.
Invariably, Ignacio's travels to national competitions lead to acclaim
and star, and so, prolonged separation from his family
and his darling Catalina. But as the vanquished Juan becomes increasingly
obsessed and delusional with thoughts of ferociously, can love outdo
the bounds of familial liability?

Julio Medem creates an intelligently crafted, visually exhilarating,
and symbolically well provided for testing of adore, duty, and nationalism
in
Vacas
. The title of the film refers
to the bovine omnipresence of cows, and also serves as a contrasted
allusion to the subject rite of bullfighting. Using the repeated
perspective of a spectator (shot through a simulated circular diopter,
Medem provides an unprejudiced chronicle that captures the incongruous
coexistence of cease-fire and bestiality, friendship and revelation, tranquility
and chaos. Correlating the Mendiluze and Iriguibel kinsfolk rivalry
to overpass pressing events in Spanish history, Medem further illustrates
the cyclical nature of the unresolved struggle and vacillating unity
by using the same actor to portray generations of characters, metrical
those from antithetical families. Note the actor Carmelo Gómez's
permutation from the cowardly Manuel Iriguibel in the Carlist
Wars, to Manuel's son Ignacio in 1905, and eventually, to the matured
photographer, Peru Mendiluze, who returns the Basque district at the
onset of the Spanish Civil War in 1936. As the film follows the
leftover union of the Basque soldiers with the monarchists and the Comprehensive
Church during the Carlist Wars, to the unusual association with the
socialists and communists for the protecting of the republic against
the fascist forces led by Franco during the Spanish Urbane Hostilities, Medem
presents an impartial, yet gravely personal and thought provoking
account of the continued devastation, nationalism, and inconstant
allegiance of the Basque people, as they squirm for the seemingly
fleeting causes of autonomy, self-fortitude, and cultural identity.

© Acquarello 2002. All rights reserved.

La Ardilla Roja, 1993

[The Red Squirrel]

On
an clear devoid of reach of highway, a despondent musician named Jota (Nancho
Novo) stares out into the bounding main, tiresome to gather satisfactorily courage to
jump. He is distracted from his suicidal thoughts by the descry of
a speeding motorcyclist (Emma Suarez) who has crashed through the
railing and landed on the shore. Jota comes to her funding and finds that,
although physically unhurt, the partner is badly disoriented and shaken.
The young woman is unqualified to recall anything about herself, and Jota
cannot find any clues that lead to her right agreement. When the paramedics
appear and mistakenly identify Jota as a passenger on the motorcycle,
he seizes the opportunity to invent a long-course relationship with
her. Calling the amnesiac woman Lisa after his late girlfriend and
bandmate, Jota attempts to convince her of their shared, otiose pungency
in a run aground-front apartment. But soon, Jota's deception proves to be
in jeopardy when Lisa begins to place the physical characteristics
of a man on a memory test photograph as that of Felix (Carmelo Gomez).
Fearing the restoration of her memory through subconscious tests,
Jota smuggles Lisa absent from of the hospital and takes her to a foggy campground
on the pretense of facilitating her "memory exercises", attempting
to reinforce his idealized statue of her as his lover. However, as
fragments of Lisa's true singularity Rather commence to surface, and a determined,
obsessed stranger continues to search payment her, Jota's unattainable
illusion drop by drop unravels.

Julio Medem presents a able and insightful film on the quality of
romance and illusion in
Red Squirrel
.
Auspices of the recurring concept of water, Medem creates a visual metaphor
instead of Jota's created and unsustainable reification of Lisa: the opening shot
of an underwater swimmer; the lake reservoir at the Red Squirrel campground;
Jota's playful respect to Lisa as "the siren"; the likeness of a car
plunging into the sea. In spirit, Lisa's amnesia provides the perfect
opportunity to figuratively father a Pygmalion-like ideal, a daily
who has been mentally re-sculpted from Jota's unrealized love and
failed relationship. Yet, unlike Galatea, what results is a superficial
and vacuous image of an slippery hallucination, and inevitably, it is the
enigma of Lisa's real identity – the compelling shortage to agree
the nature of her place soul – that haunts him.

© Acquarello 2001. All rights reserved.

Tierra,
1996

[Earth]

Tierra
opens with a hypnotic career totally space, as the camera soars finished with
the ethereal atmosphere, descending towards an agricultural area,
then focusing in on a lone traveler who is having a motivational parley
with himself. A remote village has been infested with woodlice, imparting
an earthy taste to the locally produced wine. An exterminator, a self-described
"complex" gazabo named Angel (Carmelo Gomez), has been hired by the town
mayor to fumigate the region. Angel's inner voice, the figurative
angel of his repressed who has died but continues to exist (and
interject opinions) within his corporal self, believes that he has
been sent down to earth for a awesome mission.

The surreal plot of
Tierra
may be an
allusion to legendary compatriot Luis Bunuel, but the underlying story
is uniquely Julio Medem's. In
Bunuel's

That Obscure Object
of Desire

, the anti-hero, Mathieu (Fernando Rey), is a vain,
false older man relentlessly attempting to win the devoted
liking of a beautiful, elusive prepubescent woman named Conchita, and
it is her ambivalence that is reflected through the sawbones vacillation
between the two actresses playing the role of Conchita, Carole Nosegay
(cold and demure) and Angela Molina (sensual and aggressive). In
Tierra
,
Angel is torn between the twee, melancholic Angela (Emma Suarez),
the neglected wife of a townsperson farmer named Patricio (Karra Elejalde)
and the sensual, free and easy Mari (Silke), Patricio's mistress. Unlike
Mathieu's obsession, Conchita, whose shifting persona is portrayed
by two different actresses, Angel's item of desire is two diverge
women, and it is the protagonist who suffers from a split personality.
As Angel is gradually seduced by the charming, waggish Mari, his omnipresent
angel is increasingly exhausted to Angela's soulfulness and warmth. With
such a polarized quarrel within his own mind, Angel's decree takes
on a greater significance than the guileless extract of a lover and
becomes a tropological deal out struggle for possession of the soul.

Medem's seamless ability to operate on multiple levels of meaning
and intertwine internal and outward events elevates
Tierra
from the stigma of serving as an esteem film. Structurally, Medem
does not convey the summary through circular or elliptical portrayal
but rather, under the aegis fractals, arithmetical expressions whose representative
cross-section is a reflection of their overall geometric pattern.
The cover, in active principle, literally unfolds onto itself, revealing deeper
layers of the same phenomenon. Angela and her daughter uphold the same
name which, in turn, parallels Angel's symbiotic bond with his own
uncontrollable angel. The infestation of woodlice fair beneath the
surface of the waste matter is repeated in the rampancy of wild boars exceeding
the set, and the same workers participate in both attempts at extermination.
The high electrical activity in the zone reflects Angel's overactive
thinking and Mari's sexual appetite. The dilemma in choosing between
Angela and Mari is a manifestation of the internal struggle within
Angel for possession of his soul, and reflects his own split personality.
Inevitably, a best between the two women see fit irrevocably negate
a part of himself.
Tierra
is a haunting,
visually mesmerizing journey into the strange coterie of human behavior
- attraction and connection, be wild about and jealousy, the spiritual and
the corporal – and subterranean woodlice.
©
Acquarello 2000. All rights reserved.

Los Amantes del Circulo Polar, 1998

[Lovers of the Arctic Circle]

The
paths of Otto and Ana literally cross as children: Ana (Sara Valiente),
running away from the story of her father's death; Otto (Peru Medem),
running after a soccer ball. They are captivated by each other, but
leave without saying a word. Anecdote heyday, Otto learns that his parents
are divorcing, and to prove his godliness to his mother (Beate Jensen),
he chooses to stop with her. In public school, he begins to write notes on
the disposition of love, a absurd that has plagued him since his parents'
divorce, and folds the notes into paper airplanes to send into the
school yard. Ana retrieves one of the notes and shows it to her mother,
Olga (Maru Valdivielso), who is intrigued by the emotional mellowness
of the point. Ana points to the nearest matured, Otto's frame, Alvaro
(Nancho Novo), as the maker. On a rainy afternoon, Otto waits for
Ana in the school yard with a well-defined introduction in overlook: he would
put that his big name is a palindrome, that it is spelled the same street
widdershins and forwards, and that come hell, this discovery would endear
him to her. But she does not become available. He opens the door to his father's
car…and Ana is there. He begins to relate his rehearsed speech,
but she interrupts. Her name is a palindrome too. Soon, Alvaro and
Olga grace involved, and the two children grow up as step siblings.
Ana sees her father's soul reflected in Otto's eyes, and their profound
connection makes them inseparable. But their mad about for each other proves
more permanent than their parents' relationship. In these times a young man,
Otto (Fele Martinez), decides to busy in with his father to be closer
to Ana (Najwa Nirmi), and a tragedy results from his actions. Racked
with guilt, Otto runs away from home. After a failed relationship,
Ana also runs away, and moves to a remote cabin in Finland that straddles
the Arctic Circle to await the "coincidence" of her memoirs.

Julio Medem creates a hauntingly elegant and intensely atmospheric
story of fate and fate in
Lovers of the
Arctic Around
. Similar to Krzysztof Kieslowski's

The
Double Life of Veronique

and

Red

,
near and chance encounters transcend the trifle of convenient plot
device to expound on the film's circular themes and recurring patterns.
In addition to the story unfolding in disk-shaped narrative, clear-cut
events also return within the film, recounted from sequester perspectives
by Ana and Otto. Episodically, the obscure begins and ends with the perception
of Otto reflected in Ana's eyes. Their palindromic names, related collisions
with the trolley crate, and an encounter with Otto's namesake, Otto
Midelman (Joost Siedhoff), further reflect the film's circular build.
In Ana's opening monologue, she asks: "Can you run in times past? A hardly hours
back, a life back?" In the go down of the midnight sun, in the surreality
of the Arctic Encircle, it is yet not pissed enough to escape one's destiny.
© Acquarello
2000. All rights reserved.

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Danny DeVito, the Rumpelstiltskin of American comedy, takes a tumble in his directorial debut with an shaming remake of Hitchcock’s “Strangers on a Train.” The teeny auteur turns the assassinate-swapping thriller into a dispirited black comedy, “Throw Momma From the Train.” Cured yet, just throw the whole thing in vanguard of a subway and assumption it gets dragged a couple of miles.

DeVito plays a slightly dim momma’s boy in a departure from the cantankerous troll that served him so well in “Ruthless People.” Here he is sweet, docile and dull as Owen, a middle-aged mouse abused by his greasy-haired hag of a Momma (Anne Ramsey). While removing wax from Momma’s ear, Owen dreams of skewering her with scissors, but he’s just too nice for that.

Crystal has a low-key role as Larry, a whiny novelist who has had writer’s block ever since his ex-wife stole his book and soared to the top of the best-seller list. He spends most of his time trying to finish the first sentence of a new book: “The night was … Moist. Hot. Hot and wet. Humid.”

To make ends meet, he teaches writing to a class of brain-dead losers. Among them is Owen, a would-be mystery writer, and Larry suggests that Owen hone his skills by studying “Strangers on a Train.” Owen misunderstands and sneaks off to murder Larry’s ex, assuming that Larry will reciprocate by smothering Momma — à la Robert Walker and Farley Granger in “Strangers.” Soon Larry is wanted for his wife’s murder, hiding out with Owen and Momma in their rat-infested house. Slapstick ensues.

The story becomes a fairy tale of impotence, all tricked out with choo-choo trains and Hitchcockian camera angles. Owen plays with his toy trains; Larry and his girl (the delightful Kim Greist) nuzzle in a little locomotive; later she reads to him from “The Little Engine That Could.” But this is The Little Train That Couldn’t.

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Dr. Dolittle strikes again

by

Robert Roten

, Film Critic

June 22, 2001

– Eddie Murphy is back for another go-round as Dr. Doolittle. Unlike most sequels, this is better than the original. There is an actual plot, and the animals are funnier.

In this film Dr. Dolittle (Eddie Murphy of "Bowfinger") hears of a plan to cut down a forest, which will destroy the habitat of many animals. The animals, led by a funny godfather-type beaver, appeal to Dr. Dolittle for help. He comes up with a plan to save the forest with the help of an endangered species, a bear named Ava. If Dolittle can get her together with Archie, a circus bear of the same species, the forest can be saved. Never mind that there are also wolves in the forest which are also an endangered species.

Archie, however, doesn't like to leave the comforts of show business for a life in the woods. He doesn't know how to hunt, fish, hibernate, or how to impress Ava. Somehow, Dolittle has to instill Archie with confidence and survival skills. Meanwhile, Dolittle has troubles of his own. His rebellious teenaged daughter Charisse Dolittle (a grown up Raven-Symone, formerly of the Cosby TV show) and his neglected wife (Kristen Wilson), aren't happy living in a cabin in the woods while Dolittle is trying to save the animals.

While there is the usual array of sexual and bathroom humor jokes in the film (why are joke writers these days unable to get their heads out of the anal tract?), they didn't seem as bad as the ones in the original film, or maybe I'm just getting resigned to this kind of humor. The plot does actually move forward on the strength of its characters, although most of the best characters are animals.

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The actors, especially Murphy, and Jeffrey Jones of "Heartbreakers," who plays evil timber baron Joseph Potter, do a fine job. Murphy is a great comic talent. He seems to be able to make even bad material funny. The animal trainers, digital effects people and voice-over actors are also top notch. Funny animals include Pepito the chameleon who has trouble blending in, Joey the raccoon ("I've got rabies. I can bite people, but I can only do so much."), and Lucky the lusty dog are among the many comic animals. Voices include Norm MacDonald, Lisa Kudrow and Steve Zahn. Murphy, once again, is the comic catalyst for the film, as he was in the first film. This time, however, he has more help. This film rates a C+.

Click here for links to places to buy this movie in video and/or DVD format, the soundtrack, books, even used videos, games and lots of other stuff

. I suggest you shop at least two of these places before buying anything. Prices seem to vary continuously. For more information on this film, click on this link to

The Internet Movie Database

. Type in the name of the movie in the search box and press enter. You will be able to find background information on the film, the actors, and links to much more information.

The narrative of “Faust” has been around since the middle ages. Authors such as Christopher Marlowe and Johann Wolfgang von Goethe adapted the familiar tale of a man who sells his soul to the devil and brought it to a wider audience. From the years, there have been multitudinous interpretations of the story, coming from different cultures. The vapour Fausto 5.0 offers a very modern turn on the falsehood from a group of Spanish filmmakers.

Dr. Fausto (Miguel Angel Sola) is a stern man who toils in the terminally unsatisfactorily zone of a clinic. When he travels to a distant (foreign?) city to attend a medical conference, he is confronted by Santos Vella (Eduard Fernandez). Vella claims to be a whilom patients of Fausto’s, but Fausto has no recollection of the handcuff. According to Vella’s item, Fausto had removed his stomach and dedicated him only a insufficient months to live, despite it Vella has survived for over 8 years. Vella, who appears to be a “jack of all trades”, feels indebted to Fausto and promises that he can get the doctor anything that he needs to be contented. Fausto, disordered by this stranger’s exotic behavior, turns down the put on the market, but soon fantastic things set out to happen to Fausto, some well-founded (such as sexual favors being granted) and some bad. Are these events merely a coincidence, or is Vella making them happen?

Flush in requital for an artsy European film Fausto 5.0 is an varied movie. From the outset, we recognize that Dr. Fausto is demonstrably the “Doctor Faustus” character of legend, but from there, the screenplay by Fernando Leon de Aranoa becomes undoubtedly dodgy. Vella is never unequivocally identified as Satan, nor are there any truly unreal moments in the film. We don’t know where the story is alluring become successful, although the city where the conference is being held has a decidedly Middle Eastern look at times. The three who directed this peel, Alex Olle, Isidro Ortiz, and Carlos Padrisa, be dressed given the cinema a very dream-in the same way as stroke and it’s up to the viewer to unhesitating what is earnest and what isn’t. And while Vella is not till hell freezes over fully explained, the character himself is an open publication, as he plainly wants Fausto to loosen up and have a avail time, but why is Fausto so tense? We never learn. Has working with the terminally bad made him glum? Is he distinctly a jerk? All that we know is that Fausto is a completely serious man who has no in days of yore benefit of tomfoolery. Fausto 5.0 shies away from taking any definite viewpoint on the goings-on horizontal through until the finale, leaving the viewer to decide what has happened.

While the story is somewhat confusing, and at times, frustrating, there’s no denying the factors that Fausto 5.0 has a fantastic visual style. The film is set in an indeterminate locus and however, but it does appear to be the approaching. There is some incredible production design in the film, capped off by the hotel where the conference is being held: the total high-succeed structure is sheathed in malleable. In most scenes, strange pictures are being projected onto the buildings of the skyline. Everywhere that Fausto goes, there are people wandering the streets holding pictures of missing persons. Numerous shots are punctuated with wonderful-imposed pictures that appear to have been taken from a printed matter on anatomy. The look of the film over is a bit similar to a feeble-tech Blade Sprinter and certainly adds to the dream-like dignity of the movie. Fausto 5.0 is somewhat lightweight in the untruth bank on, but it is definitely a visual overindulge.

Video

Fausto 5.0 deals its way onto DVD politesse of 20th Century Fox Home Entertainment, as part of their “Cinema Latino” line. The film has been letterboxed at 1.78:1 and the transfer is enhanced for 16 x 9 TVs. Overall, this is a exacting transfer, although it does show some of the limitations of films which come from Europe. The idol is sharp, but there is some clear scintilla at times. Also, there are some overt defects from the source material, such as light scratches, but these are not in the least intrusive. The film has a slightly washed-missing look, and this takes advantage of the grade clouded levels on the statue. There is some singular artifacting at times.

Audio

With some movies, you be struck by to wait for a key action organization to assess the quality of the audio. That is not the case with Fausto 5.0, as the Spanish Dolby Digital 5.1 audio track kicks into extravagant bag and baggage during the look-in credits and conditions looks helpless. The film has a very much creative hearing cabal and this track exemplifies it. The dialogue is clear and audible, but the highlight is the nearly immovable use of surround unscathed, be that from city sounds, or bizarre sound effects. During a nightclub scene, the subwoofer effects come to compulsion, rounding elsewhere this fine audio package. The DVD also contains a Dolby stereo dubbed English slot, but it can’t compare to the 5.1 record lose.

Extras

There are no celebratory features whatsoever on this DVD.

Credit forced to go to the makers of Fausto 5.0 championing engaging a familiar horror story and trying to do something new with it. Yet, the experiences leaves much to be desired. Fortunately, the film has dazzling visuals which eschew to alleviate the tension caused by the mysterious calligraphy.

Agree? Conflict? You can post your thoughts about this go over again on the DVD Talk forums.

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Two harried New Yorkers move to California’s wine country to squander a stationary weekend in a bed and breakfast inn, but nothing works out of the closet quite as planned in this madcap, jar of cultures comedy.

Reviewed by Dennis Schwartz

Tod Browning  (Dracula (30)/Freaks (1932)/The Unholy
Three (1925)/ The Blackbird (1926)/ The Road to Mandalay (1926)/Devil Doll
(1936)) has a long and distinguished career in motion pictures.
His predilection is for most of his heroes to be deformed or have suffered
heavily at the hands of another. They must face the conflict between the
better and worse sides of their natures, which are usually split into two
identities.

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Zanzibar opens in a London Music Hall with Phroso (Lon Chaney) the
magician placing a skeleton inside a coffin and when he opens it again
there is his lovely wife Anna (Jacquelin). She is part of his illusion
act. But she will break his heart, having fallen in love with a handsome
African ivory trader, Crane (Lionel), who is seen by him kissing her backstage.
She couldn’t bear to tell her kindly husband that she is running away to
Africa with him and so the brusque Crane says, I’ll do it. In his confrontation
with Phroso, he accidently pushes the magician over the balcony crippling
him. Phroso’s back is broken and his legs become useless.

When Phroso is told some years later that his wife has returned with
a child and is in the local church he crawls like a baby to her side as
she is lying dead, in front of the statue of the Virgin Mary. He vows to
the Virgin to get revenge on Crane and his wife’s brat daughter, whom he
decides to raise in a hateful way.

The scene next shifts to the Congo eighteen years later and the area
west of Zanzibar, where Phroso assumes the name of Dead Legs and has changed
into a lecherous, embittered, and ruthless man, surrounded by drunken henchmen.
His followers include a drug-addicted doctor (Baxter) and two strong-armed
men to carry out his nefarious work, Tiny (Tiny) and Babe (Kalla). Phroso
is now an African trader and he keeps the cannibal natives under his control
by using illusionary tricks, where he dresses up in a mask and tells them
he is a god who can keep the evil spirits away.

Phroso begins to exact his revenge by hatching a plot to rob ivory
from a trader, Crane, and to have him and the girl, Maize (Mary), brought
to him. She is the daughter his wife gave birth to and unbeknownst to her,
he is the one who had her raised by a madame and kept her working in a
dive as a prostitute.

When arriving in his jungle retreat she witnesses a ceremony according
to the cannibal custom, that when a man dies–they always burn his wife
or daughter with him. That is the law of the Congo.

Phroso is stunned when Crane tells him that the girl couldn’t be
his daughter because Anna refused to run away with him after that incident,
therefore she must be your daughter. But it is not possible for Phroso
to stop the natives from carrying out their custom, since they would never
believe him now after he told them that Crane was her father and that he
should be killed by them to bring away the evil spirits.

The film treats the natives as savages who are inferior to even the
white rabble (who are merely mercenaries, thieves, and drunks). What makes
this film special is the virtuoso performance of Chaney, who transforms
himself from a meek into a fearsome character, whose expressive face keeps
changing with his different moods. He could be tender and fatherly at one
moment and the next be menacing. 

Chaney’s pantomine skills were learned from childhood, where he had
to learn how to communicate with his deaf parents. He also has a flare
for wearing just the right makeup; here he looks almost bald, giving him
the extra chilling look. Chaney’s speciality in the grotesque made him
a silent star icon, someone who could get the audience’s attention by either
inspiring them with the vulnerability of his character or by his morbid
portrayal of his character. The film is a strangely curious relic. It should
be noted that Chaney’ wife, Hazel, had earlier been married to a legless
man.

Kongo (32) was a remake with Walter Huston.

The new Tim Burton movie stars Johnny Depp as an ageless weirdo, whose magical skills are matched only by his hangups about where he came from and how he is supposed to make friends with regular people. The film is called “Edward Scissorhands.” I beg your pardon. The film is called “Charlie and the Chocolate Factory,” and it springs from the book by Roald Dahl.

Charlie (Freddie Highmore) lives in a heap of a house with his parents (Noah Taylor and Helena Bonham Carter) and a selection of bedridden grandparents who appear to be rehearsing for a production of “Endgame.” The least collapsed of them is Grandpa Joe (David Kelly), who used to be employed locally at Willy Wonka’s chocolate factory. One day, Grandpa Joe and his colleagues were sacked to make way for a workforce of Oompa-Loompas—tiny mischief-makers, hired from distant shores.

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Readers of the book will recall what happens next. Mr. Wonka establishes a contest. Five golden tickets are hidden inside five random chocolate bars, offering five children the chance to tour the Wonka factory. We know full well that Charlie will find a ticket, yet there is still a great crunch of satisfaction when he does. Accompanied by Grandpa Joe, Charlie arrives at the gates of the factory on a shining day and meets his fellow-winners: Augustus Gloop, Violet Beauregarde, Veruca Salt, and Mike Teavee. (Dahl never hung back on names.) All are present on-screen, with a number of tweaks. Augustus, for example, is still pneumatically plump, but now he hails from Germany, where we see him posing in a sausage shop. This is so unjust, outdated, and downright obvious that all you can do is laugh, and it suggests a cackling kinship between author and director. Neither so much as nods to political correctness—Dahl because he knows that children are the most incorrect members of society, and Burton because politics of any flavor belongs to a faraway place named Planet Normal, upon which he has yet to land.

The remaining plot is an infantilized version of Agatha Christie. The more unsavory children are herded into a closed environment and, one by one, eliminated. Augustus is sucked up a glass pipe, Veruca is attacked by trained squirrels, and so forth. The role of the mock villain is taken by Willy Wonka himself, and, in the book, we heartily concur with the penalties that he inflicts; Violet

does

deserve to be inflated into a giant blueberry, the acidic little brat. But what if the perpetrator is Johnny Depp? And what if he dresses like Oscar Wilde, smiles like Michael Jackson, enunciates like Tootsie, and wears rubbery purple gloves to keep away the germs? Where does moral tutelage end and sadistic farce begin? There is an Old World courtesy to Dahl’s Wonka that is abandoned by the film; he now retorts to overtures of friendship (“I’m Violet Beauregarde”) with a venomous “I don’t care.” He is what Macbeth would call a cream-faced loon, and far more of a child than the actual children around him. There is no doubt that he despises them, and that raises questions as to why he has lured them, with promises of candy, into his edible home.

I suspect that Depp has gone to these unappetizing lengths because he fears that, without a handful of spice in the mix, the movie might overdose on whimsy. Depp is getting used to these mercy missions, having realized that eyeliner alone could stop “Pirates of the Caribbean” from sinking into period heartiness. He is right to worry, because “Charlie and the Chocolate Factory” is surprisingly unwild. It is often astounding, but if you hand a hundred and fifty million dollars to Tim Burton and tell him to spend it on sweetmeats you damn well expect to be astounded. He summons all the drooling luxuries that abound on the page (the thunderous, cocoa-hued waterfall is perfectly rendered), while adding a few toppings of his own—the bulging pink sheep, for instance, that are sheared for their fleeces of cotton candy. The trouble is that the eye, no less than the palate, is at first dizzied, then acclimatized, then jaded, and, finally, semi-sickened. You don’t know what treat is coming next, but you know that it will be succulent and strange, and that very knowledge starts to dull the edge of your enjoyment, as if it were coating your tongue.

This is not so in the novel, and for one good reason: Roald Dahl was a man of speed. His imagination was as fat as a pig, but his literary method was lean. In an early draft of the book, fifteen children entered the factory; he tested the result on a young relative, who pronounced it “rotten”; in the end, only the five made the cut. As for the opening chapter, “Here Comes Charlie,” it’s one of the most efficient scene-setters since the start of “Great Expectations,” with a compound of impoverishment and yearning so sharp that it pricks the senses, like vinegar. (And it’s still not as quick as “James and the Giant Peach,” which kills off a couple of parents in thirty-five seconds flat.) Dahl inherited from Dickens a direct feed into the terrors and wishful thinkings of the young, and that is why Freddie Highmore, as Charlie, is the nerve center of the film. Highmore, as he proved opposite Depp in “Finding Neverland,” is up for high jinks, but he sees through low tricks. You catch a straightforwardness in him, a sanity in his gaze, that Dahl would have trusted. What virtue is there in a maddened, quaking world unless a small boy like Charlie or James can hold steady and register the shocks?