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I drew a lot of attention a few weeks ago, when the news was echoed by the opening of the sala 4DX that Kinepolis has opened in their theaters of Madrid, that in the brief space that it attached to such an event in the drafting of the Antenna 3, would have place to mention **’Matinee’ as a clear antecedent of what raises this multi-sensorial experience proposed by the belgian company.
And caught my attention for two reasons. First, by the proximity of the twenty-fifth anniversary that today marks the release of the tape of Joe Dante. But even more by the fact that anyone remember a film that went unnoticed at the box office of that 1993, raising a meager nine and a half million of dollars were placed in the position 114 of a classification dominated by the more than three hundred that he amassed Spielberg with dinosaurs.
‘Matinee’ stay relegated to such a modest background does not mean this declaration of love, from Dante to the seventh art remains in the memory of many who saw it at the time as a film tremendously sympathetic able to transcend the mere character of entertainment to become perhaps the most iconic example in celluloid of the fili of his filmmaker, at the time that lets you see your character struggle over the film above the television, something that becomes a vehicle for highly topical to their two and a half decades of age.
Nostalgia for the sixties
Located in the days of the cuban missile crisis reached its peak, the climate of tension that made the world containing the breath against the possibility of a third world war is the backdrop on which Dante situates its characters. With Cayo West, in the Florida peninsula —a few miles of Cuba, as a scenario in which the action unfolds, is the wistful glances toward the decade of the sixties the first quality to highlight from ‘Matinee’.
Starring in mostly by adolescents, and with adults is almost always caricatured —in much the same way as he had done previously in ‘Gremlins’ (id, 1984)—, ‘Matinee’ is characterized in that to look at the past with take the hand of all the archetypes associated to the decade in which it develops, getting so much production design as the splendid score of Jerry Goldsmith move with precision to those first years of the sixties on which still weighed greatly to the influence of the previous decade.
Under that idea, since the opening of the footage is a statement of principles about what we can expect from the film, featuring Dante the character of a magnificent, John Goodman, a film producer of films of series B, in ways very similar to as a Alfred Hitchcok appeared at the beginning of the episodes of the legendary ‘Alfred Hitchcock presents’ (‘Alfred Hitchcock Presents’, 1955-1962).
Part unquestionable that message of vindication of the seventh art on tv that is underlined so tongue-in-cheek and nothing subtle with the poster that appears on the marquee of the cinema that it is clear the protagonist of much of the action, the wink of the immediate association of Lawrence Woolsey —Goodman— with Hitchock serves to Dante to enter a second line of nostalgia, with a lot more intensity that you devote to the sixties, it is the one that ends up rising at the highest value to the rescue of ‘Matinee’.
‘Matinee’: a love letter to the seventh art
Anyone who has ever passed through “Trailers from Hell” —and if ye have not, ye know not what ye lose it— there will be able to every one put in array, not because of the “geek” that can get to be Joe Dante, but of the unbridled passion that the filmmaker has for the film of science fiction of the fifties, either from the draft and I had the budget that I had.
Is both the love that the person responsible for ‘The chip ‘prodigious’ (‘Innerspace’, 1987) professed for all that the fifty came to exploit the genre, which one would think up to what point the filmmaker is not raised ‘Matinee’ to give yourself the pleasure of being able to roll all the hilarious sequences that make up the footage of ‘Mant’, the tape that Woolsey debuts in the cinema of key West amending the room with all sorts of contraptions to get to drag the public out of the influence of the idiot box.
by making use of the typical elements of argument upon which rested much of the B-cinema of the past seven decades, Dante mixes the effects of the radiation were clear protagonist of titles like ‘The incredible man shrinking’ (‘The Incredible Shrinking Man’, 1953) with the mix between insect and human that served as a point of support to either of the two versions of ‘The fly’ (‘The Fly’, 1958-1986), garnishing the whole with the classic attack of bug giant of the tapes of the time for compose a cheerful and carefree melting pot with which to evoke other times.
neither better Nor worse, that time past to the one here looks at Dante, and in the placing with regard to a few characters very well maintained, interpreted with great charisma —it is needless to say that they are here, how, not, favourite actors of the director as a Robert Picardo or Dick Miller— speaks to us from his twenty-five years ago, in a time in which the offers of VOD do not stop eating ground to the screening rooms cinema, the unquestionable magic dwells in them. is A magic that seems doomed to disappear as such, and whose absence would leave a gap impossible to fill out.
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The news 25 years of ‘Matinee’, the summit of the overflowing passion of Joe Dante for the movie was originally published in Espinof by Sergio Benitez .
January 29, 2018
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