Dark Shadows, review

This time Tim Burton plays in defense (which would be the least of the problems, is not the only one doing it) and the history of the homonymous TV series aired in the late '60s overlaps well known that part of your imagination reference made to spiers, trees leafless branches bleak, pale and emo hairstyles. In this sense, Dark Shadows is a recognizable Burton film (not as Planet of the Apes or Alice), capable of having flashes of visual imagination and find a lighthearted comedy.


The vampire Johnny Depp swings with good ideas between the director's typical dark, emo tones and hands stretched out and unghiute of Max Schreck (with a seal "by day" worthy outsider par excellence of the modern spectacle, Michael Jackson), while the combination with the colorful world of 1971 is sometimes a contrast, some enrichment.

The problem is that if anything in this imaginary Dark Shadows is just not the way it should underlie or ideas that should convey. Those images trigger memories of Burton's best but there are only images, suggest nothing.

What made it great are his best films were not blacks, leather clothing, gothic castles, or fog in dreary forests, because what all this imaginary represented, namely the fight against the dictatorship of a thought and a way of life approved pastel and cut the lawn, crushing individuality and marginalizes diversity as a value instead of cultivating it. There were hands in the shape of scissors to make romantic Edward but the fact that its diversity him away from the world he inhabits, who asks him to comply penalty hunt him down with torches and blame it for anything preventing him to love and be loved .

What conquered the Gothic burtoniano was his being a way as any other (but nice) to transport dynamics in the eternal romantic and contemporary sensibility, at the same time, able to speak with touching naivete of desires, aspirations and pains of those whofeels different and worse, without understanding that it is the same as being the worst.



In Dark Shadows nothing is everything. And 'the story of a powerful collides with another powerful, a lost soul who has everything (sex and love) but must make a choice. Set against the idea of ​​a search for normality by the vampire and the suffering of two lovers who belong to different worlds does not help much if the film then focuses on something else.

Tim Burton was able to shoot a big blockbuster and side with the disfigured Joker and then make a follow-up and side with the Penguin hunchback who lives in the sewers, because history condemns them to bad but the world that created them is the samethat disgusted them apart as they appear, and so really are not very different from that other costume that gives its name with the comic book series.

But here ends with a twist that brings the story to the problems of Twilight, and not that there's nothing wrong with the plot of Twilight (which is a restatement of how other romantic themes that sink in millennia of literature), it's just that the film there is pastel curtains conforming to the dissolution of social conflicts in the name of caring for each other, while his was the one who said that nothing is fine showing all the romance that is not to give up their uniqueness and suffer the scorn and the 'isolation of the uniqueness does not know who that is.