So as the April 14th 2012 rapidly approaches, we mark
the eve of the centurial of Titanic’s ill-fated voyage with the re-release of
Titanic, in 3D. 15 years since the film’s original release, it is back and with
a publicity campaign that makes the Olympics look like a children’s birthday
party!
There is little point in reviewing this film on its original merits,
and to do so would be tiresome. Most of us have seen the original 2D film,
whether it was on the big screen or at home on your laptop, so to discuss at
length, the films incredible visual effects and acting merits would be outdated
and pointless.
Before I leap into the controversy around 3D-ing this film, and
indeed the benefit of 3D to the narrative, there is one particular foundational
element of the film which still managed to blow me away – the score! With the
exception of the feature track, Celine Dion’s “My heart will go on”, which after
15 years still shows little sign of “evaporating into the midst”. Damn those unimaginative
couples who lack creativity when choosing their “first dance” song at their
weddings! And damn those unimaginative widows who lack creativity when burying
a loved one! However, dispersing that single negative attribute, the remainder
of the soundtrack still mesmerised me - after all this time. I never studied
musical scores in cinema or music itself, but I am sure there is an appropriate
word for that type of film score. One which manages to pull the most
disinterested viewer into the centre of the action. Scores the likes of Star
Wars, Schindler’s List, Indiana Jones and, dare I say it, even Pirates of the Caribbean!
I will just call it epic film scoring or EFS for short?
However, regardless of the films EFS, it has seemingly become the
victim of time and looks a little out dated. Now don’t mistake what I am saying
here, for the era this film was leaps and bounds ahead of what a lot of other
films were doing but in comparison to today’s 3D epics the effects where
clearly not as good. Films no longer require the imagination and creativity they
did in the 1970’s when there was little in the way of computer graphics. Now we
have, at our disposal, visual effects software that would allow a 12 year old
boy to fool the world and create the “first ever footage of the loch ness
monster”, while sat at his desk eating a fish finger sandwich. 3D is, although
a little gimmicky, the next step in cinema aesthetics, and so to use it on a
film with dated visuals seems odd. There was one particular occurrence, in
which a stray wire was 3D-ed and left protruding from the screen, which
although frustrating, made me think “wow” this is just as annoying as scouring
through my broom cupboard at home - as I waved my hands in front of my face,
trying to remove it from my peripheral.
However, there were aspects of the film which benefited from the 3D
graphics, such as Titanic’s flounder, the evil iceberg and, as Liz Davis
eagerly pointed out, “Kate Winslet’s breasts in 3D – winner!” Though, these are
all aspects of this film that benefit from viewing in a cinema, 3D or 2D.
I went to see this film for the pure nostalgia. To remember how I
felt when I was 10, sat in the Cineworld in Shrewsbury with my mum and sister, in
total awe of the film’s grandeur and its visually moving portrayal of the
tragic events that unfolded that night in 1912. A film that ultimately started
my obscure love affair with the Titanic and its occupants.
Please note, it is still 3 ¼ hours long, so cheaping out on cinema
seating would be ill-advised.
