I can see what you mean about the setting drawing away from some of the story of the film, but it didn’t take away any of the enjoyment for me. I think the detail of the environment and the way it doesn’t pull any punches helps to bring some realism to the film.
We have actually discussed this matter in my film studies class and when looking back at some of Danny Boyle’s other films, the settings have usually being quite dark and realistic, such as in 28 days. (I am aware 28 days is a horror and therefore should be darker but there is realism in that film you don’t get with other horrors, especially deserted London.)
I haven’t seen Slumdog yet, but I did read Mark Harris’ “All Rags, No Riches” piece in this week’s EW. He’s talking about how Slumdog goes for the fantasy angle and is therefore more popular in these supposedly harsh times, while one of his favorite films, Wendy and Lucy, is overlooked this year and won’t get much recognition because it focuses so much on reality. Hmm.
I can see what you mean about the setting drawing away from some of the story of the film, but it didn’t take away any of the enjoyment for me. I think the detail of the environment and the way it doesn’t pull any punches helps to bring some realism to the film.
We have actually discussed this matter in my film studies class and when looking back at some of Danny Boyle’s other films, the settings have usually being quite dark and realistic, such as in 28 days. (I am aware 28 days is a horror and therefore should be darker but there is realism in that film you don’t get with other horrors, especially deserted London.)
I haven’t seen Slumdog yet, but I did read Mark Harris’ “All Rags, No Riches” piece in this week’s EW. He’s talking about how Slumdog goes for the fantasy angle and is therefore more popular in these supposedly harsh times, while one of his favorite films, Wendy and Lucy, is overlooked this year and won’t get much recognition because it focuses so much on reality. Hmm.