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Update:
The Edward Scissorhands ballet by Matthew
Bourne will tour North America at the end
of 2006, after a popular run in the U.K.
The tour will start in San Francisco with
other cities to be confirmed.
Edward Scissorhands is Burton's masterpiece.
It's the story of an uncommonly gentle man
(Johnny Depp, in what may still be his finest
role) who finds fame, love, and then rejection
in the heart of suburbia. Like the best
fairytales, the story can be read many ways.
Scissorhands is Burton’s
most personal film, a moving portrait of
an artistic outsider who cannot touch what
he desires without destroying it. While
he may have made more technically adept
films since, none of his other work comes
close to the emotion of this deceptively
simple story.
Burton mixes classic fairytale themes to
create an original and touching character
in Edward. Taken from his gothic castle
to a colourful and romanticised suburban
neighbourhood he changes the lives of the
townsfolk forever. The first half of the
film is very funny, full of subtle physical
comedy and gentle satire on suburban life.
Edward brings his artistic skill to the
town and the people almost ignore his bizarre
appearance. Then he begins a longing romance
for Kim, the girl he lives with but who
seems to want nothing to do with him. He
eventually wins her love, but is exploited
by and then violently rejected by the townspeople.
The film is made with a skill far exceeding
Burton's previous works. The unforgettable
images and Elfman's haunting score make
this one of the all-time fantasy greats.
Every performance is perfect. Johnny Depp
brings a feeling of tortured emotion to
his almost silent character that lingers
long in the memory. I literally forgot who's
playing the part. Dianne Wiest and Alan
Arkin are, respectively, touchingly real
and hilariously blank as the parents who
adopt him. Winona Ryder brings warmth and
beauty (in a blonde wig) to her supporting
role as the object of Edward's affectations,
who comes to love him for his artistic vision.
Anthony Michael Hall is suitably menacing
as the jealous jock who eventually gets
his come-uppance, and Kathy Baker funny
as the sex-starved, Tom Jones-listening
housewife. Finally, Vincent Price, in his
last feature film role, brings extra resonance
as Edward's inventor.
"Before
he came down here, it never snowed. And
afterwards, it did. If he weren't
up there now, I don't think it would be
snowing. Sometimes you can still
catch me dancing in it."
Some criticisms of the film point out
the supposed plot holes - such as why
does he have scissors for hands and where
did he get the ice? They are missing the
point, as this fairytale bears no relation
to the real world, except in its themes.
You have to suspend your disbelief. That's
why the timeless setting could be anywhere
from the fifties to the present. Another
criticism is that the violent ending was
unnecessary, but without that the film
would literally have no point. Edward
is the most normal person in the movie
and it is the twisted townsfolk who are
the true monsters, resulting in his loss
of innocence.
Semi-autobiographical themes are worked
in by Burton and screenwriter Caroline
Thompson, but not overdone. Edward represents,
among other things: the unconditional
love of an animal; a childlike sense of
wonder; an adolescent's clumsiness and
someone who longs to touch others without
hurting them. The famously beautiful scene
where Edward makes an ice-sculpture as
Kim dances in the snow is the ultimate
representation of the artist communicating
his feelings through his work. This film
is almost perfect in its own way, even
with the unfortunately sad ending. Unlike
most Christmas films, though, this is
refreshingly free of schmaltz.
To sum up, I believe Burton will never
make anything approaching the depth and
emotion of this wonderful film again.
It's funny, sad and visually striking.
What more could anyone want from a movie?
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