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Animated adventures
From Disney princessess to claymation, Exeposé Screen Writers share their favourite animated films
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MY LIFE AS A COURGETTE
OLLOWING the death of his alcoholic mother, Courgette learns to love and trust again with the help of a kind police officer and a foster home full of new friends. My Life as a Courgette is a beautiful and heart-breaking look at loss of childhood innocence and how children deal with grief, trauma, abuse, and other adult themes. In many ways, it’s a children’s film for the child selves that still live within us as adults. My Life as a Courgette somehow manages to break your heart and then Sellotape it back together again in only 66 minutes. This film accomplishes more in an hour than most films do in two. Cowritten by Céline Sciamma, it’s no surprise that the screenplay will make you sob. But, in the words of Courgette, “sometimes we cry when we’re happy.” Wholesome, heart-warming and precious, My Life as a Courgette is the perfect film if you’re in need of a good cry. Francesca Sylph, Screen Editor
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TANGLED
ANGLED is one of my favourite Disney animations. The film narrates the story of Rapunzel, a lost princess who is imprisoned by her over-bearing foster mother. Rapunzel is determined to leave the tower in which she is kept and seeks a life beyond her mother’s embrace. But alas, Rapunzel’s long blonde hair has healing qualities which enable eternal youth. Her vain and controlling mother is keen to hold onto her youth — and Rapunzel’s hair and special song known as “healing incantation” that facilitates it. Tangled is a tale as old as time; it’s about growing up, leaving the nest and venturing into the world. Along the way, Rapunzel faces many trials and tribulations which only contribute to her character building as she is forced to navigate the messy reality of life. For any of you graduating this year, Tangled is a wonderful reminder of the endless possibilities and challenges that lie beyond life as a student in Exeter. Lucy Aylmer, Deputy Editor Image: My Life as a Courgette, Blue Spirit Productions.
CINDERELLA
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have always liked most of the animated Disney movies, but my childhood favourite was Cinderella (1950). Although the first-recorded story featuring a Cinderella figure dates back to Ancient Greece in the sixth century BCE, one of the most favoured versions of the fairy-tale was written in French by Charles Perrault in 1697, named Cendrillon. The story of Cinderella, as told in Disney’s 1950 film, is of course well-known. Following the untimely demise of her father, Cinderella faces countless problems thrown at her by her cruel stepmother and stepsisters. But her life changes forever after dancing with a charming stranger at the ball. Eventually, Cinderella escapes the clutches of her evil stepfamily by marrying Prince Charming. This classic story still has audiences captivated; Andrew Lloyd Webber’s brand new Cinderella is currently playing at the Gillian Lynne Theatre. Cinderella is timeless and will always be my ultimate Disney Princess film. Bridie Adams, Editor
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ATLANTIS: THE LOST EMPIRE
F you’re looking for adventure, here is an archaeological cel-animation of the Atlantis myth. Written by Jules Verne and set in a Gothic Western it centralises spiritual and moral discussions over a fictive amalgam-culture, with lightening weapons and mesmerising glowing crystals. And Moliére, whatever his deal is. Mike Mignola’s comic-style and the linguistic imagination of Marc Okrand (who created Klingon) combine for several breath-taking sequences and a very believable world below. The troop of characters are well-voiced and engaging, with sympathetic stories and a camaraderie that make them easy to root for. Alongside consistently elegant visuals and a soaring soundtrack we see the 1914’s through cartographer and linguist Milo Thatch’s optimistic and trusting eyes. The serious discussion about the making and breaking of myth and history; combined with sea monsters, mass destruction and some very believable peril, makes for one hell of an adventure. Amber Hogan
Rom-com retellings
Francesca Sylph, Screen Editor, discusses the best rom-com adaptations of classic literary texts
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OOK-TO-FILM adaptation is a risky business; it’s hit and miss. Or, if we’re being honest, it’s mostly miss. Occasionally, you get films that are “better than the book” — I’m thinking of American Psycho, Fight Club, Jaws and Forrest Gump to name a few. However, more often than not, book fans are left disappointed. When reading a novel, each person will visualise the characters and the storyworld differently. So, when the picture onscreen doesn’t match up to the picture in your head, it can be a bit of a let-down — especially if, like me, the book holds such a special place in your heart.
I’M NOT SAYING WE SHOULD ADAPT EVERY CLASSIC NOVEL INTO A ROM-COM... BUT I’M ALSO NOT NOT SAYING THAT Now, I’m not a filmmaker nor a novelist; I’m merely a lover of rom-coms. But, there was a time in the late ‘90s and early 2000s when big studios were obsessed with adapting classic literary texts into modern-day rom-coms. They weren’t the greatest films ever made but, hey, they were fun! This relatively niche trend has sadly died down in the past couple of years,
and I’m starting a petition to bring it back. I’m not saying that we should adapt every classic novel into a high school rom-com… but I’m also not not saying that. Who doesn’t love a good rom-com? Boring people, I guess. And sexists. Before I share my top three rom-com retellings, here are some honourable mentions: Easy A, Cruel Intentions, and She’s the Man (which, believe it or not, is based on Shakespeare’s Twelfth Night). Amy Heckerling’s 1995 cult classic Clueless gives Jane Austen’s Emma a 20th century makeover. Clueless is by far the best Emma adaptation (sorry, Anya Taylor-Joy, I still love you) because it remains faithful to the book’s tone and Austen’s voice in a way that most other adaptations don’t. It’s no secret that everyone loves Austen because she is romantic, but people often forget that she is also funny. Emma isn’t really a romance; it’s a comedy about a privileged woman who meddles and matchmakes. Just like Emma and Harriet, Cher takes new kid Tai under her wing and attempts to fix her up with Elton, without realising that he is ac-
tually in love with Cher/Emma. Both heroines also end up falling for their older brother figures — gross, but young Paul Rudd is pretty cute so I’ll let it slide. By translating the world of Emma in 1990s Beverly Hills, complete with miniskirts, baggy jeans and Valley Girl slang, Clueless remains faithful to Emma’s humorous and satirical tone. Moving onto Austen’s most beloved book, there have been several adaptations of Pride and Prejudice (including one with zombies and way too many Hallmark holiday movies) but none of them hit quite like Bridget Jones’ Diary. An adaptation of an adaptation (Helen Fielding’s novel is essentially
Pride and Prejudice fanfiction), this film knows what its audience wants. And what it wants is Colin Firth. Getting an actual Mr. Darcy to play Mark Darcy was a stroke of genius. While I can’t claim that Bridget Jones is the best Pride and Prejudice adaptation (the hand flex in Joe Wright’s 2005 film really seals the deal), this film is unapologetically fun and perfect for a sleepover movie marathon. Saving the best for last, there is no way I could have written this article without praising the greatest rom-com retelling of all time: 10 Things I Hate About You. A modernisation of Shakespeare’s The Taming of the Shrew, 10 Things is a god tier ‘90s high school rom-com. Heartthrob Heath Ledger agrees to date the ‘undatable’ Kat (a lover of “feminist prose, angry girl music of the indie-rock persuasion” and everything I wanted to be when I grew up) so that a baby-faced Joseph Gordon-Levitt (so adorable) can date her younger sister. I don’t know about you but after being forced to watch one too many Kenneth Branagh Shakespeare adaptations in A Level English Literature, Taming of the Shrew, but with a sick soundtrack and serenading on the bleachers, was like a breath of fresh air. They just don’t make rom-coms like this anymore. Bring on the rom-com retellings renaissance, please! Image: Clueless, Paramount Pictures.