#13: POSTER PARALLEL - THE MINIMIZED HERO

Radical Studios' Oblivion (2013)

"...a film so big, it doesn't really matter who's in it...sort of..."

That seems to be the ongoing suggested theme from the posters of a number of theatrical, sci-fi juggernauts pending a 2013 release.  Towering monuments of iconic, mid-century architecture crumbling in ruins...dirt and debris churned up from natural disaster and catastrophic warfare...while in the distance, the glimmer of a euphoric city skyline hints to the prospect of a satisfying resolution.  Meanwhile, in the minute foreground, our seemingly tiny (but present) hero(es) overlook the Brobdingnagian scene. 

One recent example of this theme is the preliminary poster for Radical Studio's Oblivion, the post-apocalyptic, post-alien invasion vehicle coming out in the new year (adapted from the graphic novel by Joseph Kosinski).  The poster shows that Oblivion is clearly a film that features cataclysmic destruction and degradation in the aftermath of an unfriendly alien visitors.  Our hero stands at the base of the waterfall, representing the prevailing existence of humanity in an era of irreversible chaos.  His figure is minimally scaled down, emphasizing the film's visual grandiosity.  Then, as your eyes wander over to the Alien-influenced text, it is revealed that our hero is portrayed by the most presidential of A-Listers, Tom Cruise.

Following through with my notorious fixation on the potency of A-List stars prominently featured in film posters (i.e. see post #4 on Bruce Willis), it's an striking turn having Cruise scaled down to a square inch of the poster's size, facing away from the fourth wall; this is a rare representation of Cruise, whose world renown profile has consistently carried promotional artwork for such as...well, have a look at the posters of any Tom Cruise film and you'll see my point. What's especially appealing about this style of promotion is the market's returned interest and faith in content, character and story, moving away from the habitual dependency on simply showing a blown out image of the film's most bankable star.  Instead, the poster significantly identifies with the film's story and titular symbolism, visually communicating an epochal end of humanity and the earth's looming demise into "oblivion". 

Here are a few more film posters that have currently personified this panoramically stylized theme (along with a few influential examples from past releases):

Paramount Pictures' "Star Trek Into Darkness" (2013)

Walt Disney Pictures' "Oz the Great and Powerful" (2013)

Paramount/Dreamwork's "Transformers" (2007)

Sony/Columbia's "Men in Black" (1997)

- MTK

#12: THE ADAPTATION ARCH - THERESE RAQUIN TO THIRST

Kang-ho Song, Ha-kyun Shin, Ok-bin Kim in Thirst

The key to adaptation is really rooted with simplicity.  You begin with the initial mold of a simple character and story, both with timeless consistency, and pair it with a disruptive conflict...everything after that is left to the evolving details, which gradually morph into varying genres and themes. 

Emile Zola's 1867 novel Therese Raquin (which was later adapted into a play in 1872) has consistently provided the perfect mold for a number of adaptations, each carrying their own distinct and memorable identity.

The story is carried from the perspective of the film's titular heroine, Therese, a young, lonely woman trapped in an arranged marriage to her weak, sickly cousin, as they are forced to live with her overbearingly manipulative aunt above the family's dress shop.  When a handsome stranger comes into her life, Therese is ignited with temptation and passion, soon realizing the reality of escape.  This then leads to a series of cataclysmic and tragic events, crippling secrets and murder. 

One of the most original and layered interpretations of Zola's thriller is Oldboy director Chan-Wook Park's 2009 film Thirst.  Now, it should be immediately stated that the connection between Thirst and Therese Raquin is not the primary, subliminal focus of the film.  First and foremost, Thirst is about vampires... not so much the trending vampire type: brooding, romantically dreary, desperately lonely and a thousand years old...but about recently deceased humans unexpectedly and undesirably blighted with this immortal fate, abandoned without guidance or limits to their unearthly powers.  

Before I start running off a clinical reiteration of the film's synopsis, eventually giving away too much, I'm going to stop here and revert back to the point of this post, which is purely to suggest two films bound through the cinematic adaptation of Zola's literary thriller: Marcel Carne's 1953 version of Therese Raquin (which was later titled The Adultress) and Park's Thirst.

Start off with Carne's version, which gives a classic yet modern modification of the original story (featuring Simone Signoret in the titular role), then follow with Park's Thirst, which pretty much consumes the plot of Raquin, stealthily enveloping it with its own charismatically gruesome twist. 
 

Ok-bin Kim and Kang-ho Song in Thirst

Ok-bin Kim and Kang-ho Song in Thirst

Marcel Carne's Therese Raquin or The Adultress (1953)

Simone Signoret and Raf Vallone in Therese Raquin or The Adultress (1953)

Proving the unfading intrigue of Zola's tragic romance and cautionary tale, a new film adaptation titled Therese is currently being filmed and is set for a release in the 2013, returning back to its original 19th century, Parisian era.  

Here is an image taken on set of Elizabeth Olsen (Marcy, Martha, May, Marlene) as Therese, along with supporting talent Jessica Lange.  The cast will also include Tom Felton (Harry Potter series) and Oscar Isaac (Drive, Sucker Punch). 

Elizabeth Olsen and Jessica Lange on the set of Therese

-MTK