The shaky psychological narrative revolves around Helena's entrance into puberty and her rebellion against her mother at an unfortunate moment. This post-Freudian dreamscape is hazy, indistinct, sepia-tinted, overcrowded and flat. Its terrors, like its colors, are more ambiguous. Frank Baum and Lewis Carroll, the dreamscape through which Helena wanders resembles neither Oz nor Wonderland. If "MirrorMask" copiously borrows from L. Along the way, Helena, who resembles an adolescent Helena Bonham Carter, keeps encountering various incarnations of herself, glimpsed through windows and in mirrors. Like Dorothy in "The Wizard of Oz," Helena in her dream encounters transformed versions of people from her real life.ĭuring her journey, she is accompanied by a strange, masked companion and juggler, Valentine (Jason Barry), as they search for a mirrormask, an object that holds the key to Helena's adolescent identity and can restore the balance of power between the Dark Lands and the City of Light, whose queen (like Helena's mother) lies ailing. Helena is a disgruntled teenage rebel in her parents' circus, a small traveling band of players who are stranded without Joanne, who runs the operation with her husband, Morris (Rob Brydon).
Because there is often more on the screen than the eye can take in, the originality of its visual imagination is compromised.ĭirected by the acclaimed graphic artists and longtime collaborators Dave McKean and Neil Gaiman, "MirrorMask" hurtles its 15-year-old British protagonist, Helena Campbell (Stephanie Leonidas), through a murky phantasmagoria during an extended dream the night after her mother, Joanne (Gina McKee), collapses and is rushed to the hospital. Astonishing and frustrating, the fusion of live action and computer animation created by the Jim Henson Company in "MirrorMask" is an example of too much lavished on too little.
0 kommentar(er)
