I remember reading that Johnny Depp received inspiration for his role as The Mad Hatter, in Tim Burton’s interpretation of “Alice in Wonderland,” from the band Sunset Rubdown. I have found, upon purchasing my 3D imax ticket and sitting through the movie, the similarities between the movie itself and the band appear to be more prevalent then my initial expectations. The way Spencer Krug structures his songs becomes strikingly relative to the overall general feeling and atmosphere of the movie. The spasmodically flailing tempo of the songs, and the mythological and folklorish themes of his lyrics, fit perfectly amongst the curiously engaging insanity of the latest Burton creation.
Random Spirit Lover could, and should have been the soundtrack to the movie. Although, one song of Krug’s sticks out most prominently, for me, as a perfect generalization of the movie. “Ill Believe In Anything,” seems to be the climactic cry of Alice as she fights for control over the dueling realities of her consciousness and the imaginary realities of her unconscious. The struggle is born deep within her two personalities: the expected personality that everyone around her tries to force upon her; and the true, original personality that expresses itself whimsically and imaginatively. Alice consistently follows the belief that achieving the impossible is not only possible, but it is the only path that a person should take. When Krug sincerely and convincingly shouts, “And I’ll believe in anything, and you’ll believe in anything,” it forces me to hold the impossible closer to my understanding, not unlike Alice, or childhood in general. That being said, the movie provided me a reminiscence trip with a great band, but it almost failed to deliver in the caliber of what I have always known Tim Burton for.
I have been a fan of Burton’s work every since I became obsessed with “The Nightmare Before Christmas.” I was only a child when I first observed the creepily entertaining masterpiece, but I fell in love with the atmosphere that protruded out of the screen and floated liltingly into my mind, imprinting the visions deep within a conscious representation of the perfect Halloween. Burton’s influence continued to hold sway over my imagination with the release of “Sleepy Hollow.” That, to me, was the quintessential Burton environment. Also, “Edward Scissorhands,” “Ed Wood,” and “Corpse Bride,” were all beloved classics of mine. I fondly remember the first times I was graced by each one’s brilliance.
“Alice in Wonderland,” was not so much of a failure as it was a disappointment of my expectations. Yeah, the 3D imax was awesome; yeah, the graphical environment and the characters that inhabit them are completely demented and strange, but the movie lacks the atmospheric contentment with death and it’s complicated entanglement with the living, that which Burton achieved time and again with his previous releases. I do recommend that you see it, preferably in 3D. It is quite the spectacle as far as visually appealing movies go, my only complaint is that Burton’s own vision and influence seems to be somewhat absent, sacrificed for some unknown reason.
