"Ray" and "Shark Tale" have a lot of differences. But in one crucial way they're as similar as can be: They tap into conventional patterns of Hollywood screen storytelling.
Every plot twist, character trait, and line of dialogue comes straight from the Screenwriting 101 playbook. So do their basic themes, from sibling problems to the power of celebrity.
If you and I ran a major Hollywood studio, we'd probably play it just as safe, sticking with modest variations of time-tested formulas.
But independent filmmaking has become an important force, allowing for human-scaled productions with no moguls or bosses calling the shots. A number of these debuted at the Toronto Film Festival earlier in the fall.
With occasional exceptions, such as "Fahrenheit 9/11" and "The Passion of the Christ," even the most profitable of these pictures fall far short of the grosses earned by full-fledged studio productions. As the trade paper Variety reports, the DreamWorks animation "Shark Tale" pulled in almost $182 million in its first three weeks. By contrast, the Utah-made teenpic "Napoleon Dynamite" earned around $40 million in more than 19 weeks.
Without those little pictures, though, there would be no real alternative to Hollywood fare. So it's encouraging as well as important that a growing number of mostly young mavericks are keeping the indie scene alive - not only making movies, but pushing and promoting them until they actually arrive in theaters.
Once there, the films may not flourish. "If anything," says Harvey Karten, director of the New York Film Critics Online association, "the moviegoing public seeks films of lesser challenge than ever before, with oddball pics like 'Primer' and 'Tarnation' shown only in a few sophisticated urban centers." This contrasts with earlier periods of cinema history, Dr. Karten adds. "German Expressionism of the 1920s embraced a bigger break from traditional fare."
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