На тему Лабиринта

суббота, 15 апреля 2006

00:07

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Привет всем!

Разыскивая информацию по новому продукту Jim Henson Productions - замечательному фильму MirrorMask, я наткнулась на незамеченный ранее сайт, посвященный Лабиринту http://oddpla.net/realm/.

На сайте, принадлежащем довольно старой поклоннице Лаба, обнаружилось несколько небезынтересных эссе. Особенно мне понравились мысли относительно первоначального варианта сценария и новеллизации Лабиринта (очень уж соотнеслось все это с моими взглядами, особенно в части новеллизации).

Самоцитата на тему:

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Цитата из Elizabeth A. Allen, хозяйки упомянутого сайта (англ.):

читать дальшеLabyrinth fanatics (who — me?!) may think that the movie provides the first and last word on the character of Jareth. But Jareth pops up in the rough draft of the sсriрt. Jareth also exists [well, duh] in the novelization of the movie by A.C.H. Smith . Movie Jareth far surpasses these chumps, though. He’s a well-rounded character: melancholy, petulant, imperious, romantic [in a warped sort of way], slightly tragic. In the rough draft and the novelization, Jareth is petty, unattractive, stripped of those complex and ambiguous aspects of his character that we see in the film.

Let’s start trashing the other Jareths by examining a scene from the early draft. Inside the bubble ballroom (scene 56), the old version of Jareth acts smarmy. Not only does he “[whirl Sarah] around dizzyingly, so dizzyingly that she swoons [my emphasis] in his arms,” but he also feeds her lines about being “in a dream bubble…where all your dreams can come true.” He’s acting like a parody of a seductive villain here. Barf.

I could understand the old Jareth’s lasciviousness if he were in love with Sarah. But we have no love in the rough draft…or even the question of love to make things interesting. The two crucial moments where he could express his affection — his ballroom and stair maze songs — show only deviousness. Rough-draft Jareth’s ballroom song “tells SARAH he will give her everything she wants, even the things she doesn’t know she wants. [It’s a] song that says forget it all, all the restrictions, all the powerlessness.” In the draft, Jareth emphasizes how he wants to delude and entrap Sarah. Second, in the stair maze (scene 84), “his song is taunting SARAH.” He doesn’t love her; he loves to play with her. Jareth in the rough draft is nothing but a manipulator. Boring.

As for Jareth in the novelization, he hasn’t made much progress from Jareth in the rough draft. He reverts to cliches as he sweeps Sarah off her feet in the dancing scene (p. 141), seizes her and “insistently [seeks] her lips with his” (p. 142). Yuck, more lasciviousness.

Jareth in the novelization is not only one- dimensionally slimy, but also one- dimensionally evil. He says explicitly, “…You will find what you want only as long as you stay in your dream. Once you abandon it, you are at the mercy of other people’s dreams. They will make of you what they want you to be. Forget them, Sarah. Trust to your dream” (p. 142). Jareth in the novelization bluntly equates himself with Sarah’s dreams; he wants her to remain forever in an illusion where she will be at his mercy. The prospect of love never comes up in the literary Jareth’s mind. As in the early sсriрt, he’s out to spread oblivion. He’s a standard villain. Yawn.

Movie Jareth fascinates me because he has ambiguous motives. Rough-draft Jareth and novelization Jareth are pathetically transparent. Thank your lucky balls for the Jareth we have on screen! After all, if the rough-draft Jareth or the novelization Jareth had made their way into the film, I would have been bored silly, and, in a great loss to history , Jareth’s Realm would never have appeared online. http://oddpla.net/realm/?p=4

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