'Color Out of Space': Nicolas Cage collides with HP Lovecraft and the result is an unclassified outbreak of alien fantasy

Color Out Of Space2

Nothing, absolutely nothing of what surrounds this film is conventional. We know Nicolas Cage very well: you will be more than aware of his interpretive gaps, but it is also that his career in recent times is taking some paths out of all reasonableness, already aware that thanks to the internet he has become a cult figure/walking meme. There they are the superb ' Mandy ', the next ' The Unbearable Weight of Massive Talent ', where he will play himself, or ' Willy's Wonderland ', facing an army of murderous animatronics.
Then, of course, we have HP Lovecraft, whose well-deserved reputation as an unadaptable author due to the imprecision of his descriptions of the cosmic horrors of his stories has given rise to very diverse films. Most of them unfaithful to the letter and more or less respectful to the spirit, but with results as diverse as 'Re-Animator', 'Re-Sonator', or 'Dagon'. In any case, his maladjustment has always resulted in visual nonsense and festivals of the literal that range from the heinous to the memorable.
Finally, we have at least known of all, but no less remarkable director of the invention, Richard Stanley. He caught the attention of fans around the world with the stupendous post-apocalyptic B series' Hardware ' and got into the wolf's mouth with what looked like it was going to be his international take-off, the remake of' The Island of Dr. Moreau '. But that shoot was a real nutty and almost made him lose his mind, as recounted in the documentary 'Lost Soul: Richard Stanley's cursed journey to the island of Dr. Moreau'. Twenty-three years after his last film (which is said soon), he returns to theaters with the most indomitable actor in Hollywood and adapting the quintessential misfit.


'Color Out of Space': Nicolas Cage collides with HP Lovecraft and the result is an unclassifiable outbreak of alien fantasy

And, to the surprise of the most cynical, the result is one of the surprises of the year. It works as a vehicle for the eccentricities of Cage, but also as a memorable pike author of the return of a director who had things to say, as well as a manifesto that future Lovecraft adapters should attend, and that could be summarized with a " to cover Lovecraft you just have to bring the shipment of your ideas. "
And all with the approval of the fourth angle of this colossal fantasy geometry: SpectreVision, Elijah Wood's producer, a sow version of the distinguished and much more prestigious A24 (' The Witch ', ' Hereditary '). In his portfolio of co-produced or discovered films there are wonders and prodigies from the recent B series such as' Mandy 'herself,' A girl comes home alone at night ',' Open Windows', 'The Greasy Strangler' and 'Daniel is not real'.
Colors that did not exist until nowThe grace of the story 'The fallen color of space' is that the "color" that Lovecraft describes is an intangible alien that drives livestock and humans that approach it crazy. The monster is a stain in the sky, and to make matters worse, of an indescribable tonality and texture. To get around this problem, Stanley opts to dye the entire film a few fuchsias and a few purples that may fit our color spectrum, but intuitively make it clear that they are not "earthy" colors.
The reason is that these colors are not only ravings of an alien nature, but also the color of our memories. It's the color of movies like Stuart Gordon's ' Re-Sonator ', one of the best Lovecraft adaptations of the eighties (although the original story was aired before the credits), and with which Stanley engages in a very special dialogue: he imitates the structure of his script, his ideas about how intangible monsters get corporeality in our world, and the slimy, physical style of his hideous mutations. It's also the color of the extraordinary '80s remake of another slimy invasion sci-fi classic:' The Blob '


Color Out Of Space – Waxwork Records

That dialogue is also established with the original story, which the film respects as much as possible: here we meet a family, the Gardners, who move to a farm in New England where they carry out unusual activities in the world. modern, like the alpaca herd (source of the most irrational and unclassifiable humor in the film). One day, a meteor falls in his yard, and a strange and unreal color invades the property, mutating some of the creatures on the farm.
Undoubtedly, the extraordinary effects of the Spanish studio User T38 are responsible for the lysergic, certainly extraterrestrial visions that the film offers. With very good judgment, as this video explains, Stanley asked the studio to take care of the entire creative process of the effects, from the initial designs to the digital execution and the brutal color correction, which tints each frame, on all in its final stretch, in an atmosphere of oppressive purple. This gives the film an unprecedented coherence, which, far from being composed of a series of horror vignettes, functions as a unitary proposal.

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