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Burton has fashioned a celebration not of bad movies but of what it takes to get an uncompromised vision on the screen. Disney's Touchstone Pictures finally put its faith in Burton. is Burtons most personal and provocative movie to date.

Outrageously disjointed and just as outrageously entertaining, the picture stands as a successful outsider's tribute to a failed kindred spirit.

Lugosi sat in a chair chanting Woodian gibberish ("Bevare.

Take care") that the great ham managed to alchemize into something genuinely eerie.

If Wood didn't exist, Burton might have conjured him up. Burton sidesteps that period to concentrate on Wood's age of innocence – the 1950s – a time when he churned out movies in a few days and watched them vanish from theaters even faster. Y., had come to California after being decorated as a Marine in World War II. Wood was determined to make it in the rebel style of his idol, Orson Welles. Tom Duffield's production design, Colleen Atwood's costumes and Stefan Czapasky's cinematography show why Wood is the touchstone for tacky.

Although he decorated himself by wearing a bra and panties under his battle fatigues, the twice-married Wood was a transvestite, not a homosexual. His directing technique was more a misreading of Will Rogers: Wood never shot a take he didn't like, even if an actor walked into a wall or uttered such immortal lines as "This afternoon we had a long telephone conversation earlier in the day." Wood showed real compassion for his characters – hardly the mark of a hack – but no discernible talent. The usually recessive Depp breaks form to express Wood's wide-eyed optimism. Screenwriters Scott Alexander and Larry Karaszewski also know their schlock; they created the movies. It's not satisfied by any insights into Wood's romantic life.

Even when Lugosi is raving about his arch rival Boris Karloff ("He doesn't deserve to smell my shit") or lost in a drug haze, Landau gives him a beleaguered dignity.

There is a remarkable scene when Wood, in a rare attack of nerves, storms off the set of a film he's directing only to return later fully becalmed. A lesser director would play the scene as a sniggering sex joke. The laughter that comes from seeing Wood in a dress is secondary to the understanding that comes from seeing how the clothes bring Wood a serenity he can't find otherwise. He is a dazzling visionary, gifted at illuminating the pain and surprising sweetness in people who hide behind masks. is more inspired than insipid, but anyone seeking a thorough documentation of Wood's life will find Burton's dark flight of fancy a cinematic nightmare before Christmas.Wood is an easy target that this sympathetic and endearing movie bravely resists.Burton's freewheeling take on Wood's life is comic without being cruel, satiric without being superior and moving without being maudlin. Despite a below-average budget of million (still 100 times greater than all of Wood's budgets combined), few studios wanted to touch a risky drag epic, especially since Burton insisted on shooting it in Woodian (read cheeseball) black and white.pierce rudi protrudi interview joseph grimaldi joey clown your Mount Merapi remix christina logische aussagen negieren marmelade ingwer birnen cantina caldaro prezzi shrine of saint joseph 2000 cny in eur omaira armero oakland raiders Piton de la Fournaise 1960 ultiboard pcb kuggom kartta mediacje szkolne chico xavier books in english kda halo 5 calculation dreams breaking into someone's house orzo pasta recipes with shrimp katutubong kasuotan ng ifugao best gifts for a 9 month old girl cauchemar bebe 2 ans demi clementi imslp op.36 zenaida asiatica alimentacion depreciate rental property bruno zanchetta bassano del grappa weather forecast dc javascript foreach array of objects seizi stone vermelha monster house tv show dog house 2xu 2 piece tri suit dado architecture u.s.

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