Category Archives: World War II

Red Tails: On Dubstep, False Advertising, and My Hatred of Kids

We here at The Reel Deal enjoy making fun of George Lucas a lot. Mainly, we target him for the fact that hokey Naboo sequence for “Attack of the Clones” and the fact that he will be rereleasing “The Phantom Menace” in 3D later this year.

The latest release under the Lucas name is “Red Tails” or as I will call it here, “DubTales” for the absurd soundtrack that has been accompanying its commercials. During Lucas’s interview on “The Daily Show” on Monday night, I saw a side of him that took me off guard: he was forthright rather than pompous. This looked a lot more like the guy who made “American Graffiti” and “A New Hope.”

“DubTales” is yet another movie about the Tuskegee Airmen, the brave African American fighter pilots who, against all odds, took to the sky and fought for America during World War II. Lucas has been working on this movie since 1988, and various people, including himself and Samuel L. Jackson, have been slated to direct. Anthony Hemingway is slated to direct a final script written by John Ridley. Anthony is unfortunately not related to Ernest, but Ridley is credited with the story for “Three Kings,” one of the best war movies ever made. Perhaps he can bring something original to a story that has been told so many times on film.

George Lucas and Steven Spielberg raping Indiana Jones (courtesy of South Park). 

The story behind the making of “DubTales” is an interesting story itself. According to Lucas, studios were hesitant to finance a story like this. Studios today largely concentrate on foreign box office, as that is where the real money is. It is no longer just about making movies that will appeal to Middle America, but what will appeal to the rest of the world. Instead of doing careful research, the easiest thing to do in order to break cultural barriers is to make movies that have less emphasis on story, and more emphasis on explosions. This explains the existence of the “Transformers” series.

So apparently, an inspirational story about African Americans won’t sell well overseas. I have never conducted a focus group, and don’t know if any were actually conducted to reach this conclusion, but the most perplexing part about this is that even George Lucas can have trouble getting a movie made.

Lucas was not trying to make “DubTales” for a foreign audience. Rather, he is targeting it toward teenage boys, whom he would like to learn more about this momentous story. That explains the Dubstep soundtrack in the trailer. I appreciate his efforts, but adding music like this to a movie about World War II seems wrong. It feels less like finding the right audience and more like pandering. And how could I resist making fun of blatant pandering? Teenage boys should be encouraged to see movies about history, but they should not be the one deciding the way in which they are made.

This picture has no purpose here, I just think it’s funny.

It is very possible that this ad was just an attempt to grab an audience and not a reflection on the actual film. I have been starting to trust ad campaigns for movies less and less by the day, thanks in part to how the trailers for “War Horse,” “Hugo,” and “Young Adult” represented their respective movies so inaccurately. Trailers are not the selling of the actual product, that is what buying tickets is for. Trailers are meant as a tool for hype, but given that no one seems to know how to represent a movie accurately nowadays, studios should look into heavier use of word of mouth.

I believe George Lucas cares more about the movies he makes than he lets on, and I will consider seeing “Red Tails,” but never “DubTales.”

Watch the Interview Here:

The Daily Show With Jon Stewart Mon – Thurs 11p / 10c
George Lucas
www.thedailyshow.com
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Movie Review: The King’s Speech

It must be hard to make a speech to an entire nation, but I imagine it’s even more difficult to have to do it with a speech impediment. “The King’s Speech” manages to bring history’s most insecure king’s struggle to life, one oblique angle at a time.


“The King’s Speech” does the extraordinary by making British royalty both sympathetic and not at all boring. I guess people are just more interesting when they’re facing total ruin from an evil foreign power.

For those who need to brush up on their history (like me), “The King’s Speech” is a biography on King George VI (Colin Firth). It begins in the days when he was still Duke of York, to his rise to the throne in the wake of World War II.


George’s path to power is blocked by his speech impediment, a problem which prevents him from speaking in public. So, his wife (Helena Bonham Carter) hires speech doctor Lionel Lougue (Geoffrey Rush) to help him get rid of his confining stutter. Throughout the years, Louge becomes both a doctor and a life coach to George.

That man playing the king is someone who has hopefully become a household name by now, because his acting ability is too good to ignore. Firth turns a character that might’ve been cold and unsympathetic into someone who is both warm and funny, a man who under his problems is radiating with personality and life.

Firth is also one of the most emotional actors working today, and Hollywood’s best crier. I still remember that first scene in “A Single Man” when he breaks down into silent rage. Nobody knew anything about this character, but still, we wanted to cry with him.


As an actor, Firth does best when given as little to say as possible. Even in a film about the importance of rhetoric, Firth’s silence is a dominating factor.

Not only is “The King’s Speech” wonderfully acted, it’s also wonderfully told. What could have been dated and stale historical nonfiction feels so alive and modern; the characters of the past feel as tangible and relatable as characters in the present would. The fantastic screenplay, written by David Seidler, brings fascinating historical depth and great moments of comic relief when needed.

The man who deserves the biggest praise for the success of “The King’s Speech” is director Tom Hopper. The rookie British director directs like an old pro. It is both claustrophobic and emotionally shot. The best example of the superb directing would be that first scene. Everything from the way the camera is slightly tilted to how the frame is slightly blurred represent a nervous tension leading up to the opening speech. You could look at that, or the subtle imagery, like the way the microphone is placed in front of George’s mouth to look almost like a muzzle, or a cage. The best directed films are the ones you have to look at with the keenest eye, and find the greatest little details.

“The King’s Speech” is even better than the Oscar-begging period piece it appears to be. It will be raking in the Oscar nominations this year because it deserves it, and that is a rare find nowadays.