The Little Mermaid

The Little Mermaid

1989

Director: Ron Clements and John Musker

Writer: Hans Christian Anderson, John Musker, Ron Clements, Howard Ashman, Gerritt Graham, Sam Graham, Chris Hubbell

83 Minutes

This film was the the first of the next generation of Disney movies and it originated from a dark story. In the original The Little Mermaid, wrote by legendary author Hans Christian Anderson, ended with the little mermaid killing herself, while her soul dissolved into air.

But, Disney couldn’t make this film.

Thus, they ended with a magical, delightful ending and the story goes boy meets girl, boy loses girl, and boy gets girl in the end (with legs) and they live happily ever after.

Yet, this film dives into a theme most teenagers struggle with: wanting to leave home.

In the scene above, our hero Ariel (voice Jodi Benson), has collected a vast about of gadgets, gidgets, toys, flatware, and basic junk from the outside world – a world she longs to belong too. And as she sings, “Part of Your World,” to her best friend, Flownder, her mentor Sebastian (Samuel E. Wright) rolls his eyes.

Sebastian loves his life under the sea.

Ariel’s wish is be human, something different than the mermaid life. And once she sees, rescues, and falls in love with Eric (Christopher Dnaiel Barnes), the Prince, she has to find a way to be with her true love.

But, this notion that young teenagers wish to leave home, discovering new places and enjoying life beyond the confines, is beyond comprehension for most that are content and placate.

Why would you want to leave?

Ariel wants adventure, excitement, and passion in her life. And though the outside world gives her that, plus an angry Seawitch, she not only appreciates her life underwater, but gains what she wants for the outside world.

Legs.

The Little Mermaid was the first of Disney films to include animation with adult themes. Companies such a Pixar have complimented this stroke of genius with every film they have created. Because in the end, they want everyone in the theater - parents, teenagers, and children alike - to enjoy the film on screen.

We all could take a lesson from Ariel – that the outside world, though can be frightful, is an exciting places worth adventuring.

To Disney and it’s brilliant films.

Seven

Seven

1995

Director: David Fincher

Writer: Andrew Kevin Walker

127 Minutes

This is an exciting moment for John Doe (Kevin Spacey). He has done this homework, filled the gaps, and completed his masterpiece.


For this moment, it’s his game. He's made his choices. And these “choices” will lead to one of the great film endings in cinema’s history.

“What’s in the box…”

But in the scene above, John explains himself – for the first time – the Detective Mills (Brad Pitt) and Detective Somerset (Morgan Freeman) about his motivations behind his horrendous crimes.

But John is patient, intelligent, and confident. He believes he was chosen. He has an answer for everything.

“Wait a minute, I thought all you did was kill innocent people,” Mills instigates.

And finally John loses his temper and explains his reasons:

“Innocent? Is that supposed to be funny? An obese man... a disgusting man who could barely stand up; a man who if you saw him on the street, you'd point him out to your friends so that they could join you in mocking him; a man, who if you saw him while you were eating, you wouldn't be able to finish your meal. After him, I picked the lawyer and I know you both must have been secretly thanking me for that one. This is a man who dedicated his life to making money by lying with every breath that he could muster to keeping murderers and rapists on the streets! A woman... so ugly on the inside she couldn't bear to go on living if she couldn't be beautiful on the outside. A drug dealer, a drug dealing pederast, actually! And let's not forget the disease-spreading whore! Only in a world this shitty could you even try to say these were innocent people and keep a straight face. But that's the point.”

This speech is the entire movie. This speech, even though crazy, makes sense.

And when Detective Mills fires back with petty insults, Somerset knows better. Somerset knows this criminal is not simply a psychotic killer, but an ingenious mastermind.

John Doe says to Mills by saying the only reason he's been taken into custody is because he wanted to be.

It’s true. He turned himself in.

And Doe follows up by saying the only reason Detective Mills is alive is because he spared him. And to remember that. And to remember the life John Doe allowed him to have.

It’s true. Joe could have killed him, but didn’t.

These words grab Mills in a way that makes him lose a handle on the situation, furiously. And not that anyone would have a handle of this situation. It’s too gruesome and fearless to comprehend, except by a madman.

That’s what makes this scene great is a madman explaining his actions and making it understandable, even to a optimistic audience. And though the audience could never kill, rape, or torture, the audience can nod at he notion of sinners walking the streets without any repercussions. They couldn't kill, but they can respect killing the psychotic, pathetic, and useless people on the streets.

It crosses everyone’s mind. Has it crossed yours?

And if it doesn’t, then you're committing the greatest sin of all: ignorance.

In the end, this is not a film you walk out of saying, ‘It was good,” It’s a film you walk out of, saying nothing, get to the car, and driving away you ask, “what the hell just happened…”

It took seven deadly sins to make a masterpiece. And only a madman like Fincher could put it together.

Bravo.

Ferris Bueller's Day Off

Ferris Bueller’s Day Off

1986

Director: John Hughes

Writer: John Hughes

103 Minutes

When Ferris Bueller’s Day Off day landed in theaters, it wasn’t a hit. Most critics gave poor reviews and even the late Gene Siskel said, “That the film doesn't live up to our anticipation of a rolicking good time is only part of its disappointment.”

But, we all related to it.

The character of Ferris Bueller (Matthew Broderick) is someone we wanted to know, someone we wanted to be. He was cool with a beautiful girlfriend and was genuine to his best friend, Mr. Cameron Frye (Alan Ruck). Ferris said and did things we wanted to say and do. He sang “Twist and Shout” for an entire parade crowd, ate at expensive French restaurants, and caught a foul balls at Wrigley Field.

"Ferris, you’re my hero."

But, the film isn’t about Ferris Bueller. Sure, he is lovable and creative and started us on this journey away from school and into the city of Chicago, but the film is not about him. He doesn’t change. And we, as an audience, need change.

The film is about Cameron.

Cameron is a self-loathing, depressed individual who lives under the thumb of his oppressive father. And he will need Ferris Bueller to change him. And so, the first act of Cameron's defiance is stealing his father’s 1961 Ferrari GT250. And the second is ruining the 1961 Ferrari GT250.

In the scene above, Cameron, Ferris, and Sloane (Mia Sara) have returned from the city and are trying to remove the mileage from Mr. Frye’s Ferrari. When they realize the mileage isn’t coming off, Cameron expresses his angry for his father by kicking the car. Finally when it’s settled, Cameron leans on the car, which releases the lift making the car shoot out the back window, through the trees, and crashes down the hill.

Oh, shit.

Cameron knows it’s serious. And even though Ferris offers to take the heat, Cameron tells him no. He explains that him and his father will have a little chat. And that’s exactly what he needs.

Success.

That’s how Cameron’s story ends. And through him making a phony phone call to Mr. Edward Rooney, catatonically falling into a stranger's pool, and emotionally connecting with Georges Seurat’s painting ‘A Sunday Afternoon on the Island of La Grande Jatte,” he is changed forever.

We could all use a friend like Ferris Bueller. Except for Ferris's sister, Jeanie (Jennifer Grey). Her only friend is a random boy in the police station.

And that boy is Charlie Sheen, still winning.