August 10, 2006

NO STONE UNTURNED:

The Presence of God in World Trade Center (Dr. Marc T. Newman, August 9, 2006, AgapePress)

When Steven Spielberg remade War of the Worlds, my biggest complaint was that, amid all of this mayhem, the audience never once sees Ray Ferrier, the frantic father, pray. Unlike the 1953 original, in which everyone across the country was huddled in churches petitioning God for deliverance from the Martian spacecrafts, by 2005, I guess, no one had an inclination to call out to the Almighty as heat rays were vaporizing everything in sight. I just didn't buy it. But where family-friendly Spielberg, who made The Prince of Egypt, could not find a place for God in his remake, in steps Oliver Stone -- an equally accomplished, if often subversive, filmmaker -- and surprises everyone. His God-infused World Trade Center is the most spiritually honest film of the year. Stone uncovers every Christian aspect of this true story and gives it full voice. The results linger long after the lights come up.

New direction for Stone (KEVIN CANFIELD, August 6, 2006, THE JOURNAL NEWS)
Assassination conspiracies, serial killers and brutal wars — this is the stuff of Oliver Stone films. But "World Trade Center," his latest, is different.

For one thing, says Stone, it's a family movie.

"Ideally a grandmother and her grandchild could see it together," Stone said in an interview.

Surprising as it is, this testimonial from the most controversial filmmaker of his generation is nonetheless true.

"World Trade Center" is a poignant and hopeful movie set against the awful events of Sept. 11. It is a story about heroism and family and faith, one that makes no bones about its desire to connect with the audience on an emotional level.

"It's my Capra film," said Stone, alluding to Frank Capra, the famed director of uplifting favorites like "It's a Wonderful Life" and "Mr. Smith Goes to Washington."

MORE:
After the Fall: Oliver Stone at Ground Zero (PAUL CULLUM, August 9, 2006, LA Weekly)

It may surprise a lot of people that you’re not using a lot of shock cuts, moving around inside the frame — what you’ve termed your “cubist” style.

Well, where can you move in a hole? A hole is limited. Finding the right point of view in the hole is crucial.


Posted by Orrin Judd at August 10, 2006 11:46 PM
Comments

Shows you how much of a turkey "Alexander" really was, even in the eyes of Oliver's normal Hollywood supporters. He's on not-so double secret probation right now, and is saying all the right things after making a film designed to appeal to mainstream audiences, but the Capra and granny comments strikes me as lines from someone who is gritting his teeth and going through the promotional tour mindful that he can't say some of the things (especially on a day like today) that are really on his mind.

Posted by: John at August 11, 2006 12:19 AM

And hence why it's not such a bad system to have artists dependent on patrons for their keep.

Posted by: Pontius at August 11, 2006 1:05 AM

The Boston Phoenix's take: "Oliver Stone: from the Hollywood crackpot of JFK to the Republican sellout of World Trade Center".
The print edition's cover has the headline: "THE FEEL-GOOD MOVIE OF THE SUMMER! Oliver Stone plays into the GOP's hands with World Trade Center". Inside, it describes the movie as a GOP commercial.

Posted by: Bob Hawkins at August 11, 2006 10:14 AM
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