Word: boorman
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Dates: during 1980-1989
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...innocence; the evidence is on the screen. Two top contenders for this week's Oscar nominations focus on English boys growing up during World War II. In Steven Spielberg's Empire of the Sun, a lad gets shanghaied into maturity at the cost of his old principles; in John Boorman's Hope and Glory, a boy finds German fire bombs virtually on his front porch. Neither child would fit comfortably into a Hollywood idyll, past or present, where kids are expected to have reality-resistant minds and hang out forever at the soda fountain of youth...
NINETEEN--EIGHTY seven is not the international year of the child, but moviemakers obviously aren't aware of this. This year has marked the release of a slew of films that focus on pre-teens, such as My Life as A Dog, Russkies and Big Shots. Now John Boorman, director of The Emerald Forest, gets into the act with his own tale of growing up, the semi-autobiographical film Hope and Glory...
Throughout Hope and Glory Boorman proves unable to balance the serious nature of the events he depicts and the humorous episodes he describes. The serious often descends into the sentimental and the humorous into the cute. One moment, the family's house is burned to the ground, forcing them to move in with mother's grandparents. But no sooner are they there then Grandpa's comic zaniness changes the mood, as he interrupts breakfast on the veranda to shoot at a rat in his vegetable garden. The scene is absurd enough to make a Scrooge laugh, but it hangs loosely...
...times, Hope and Glory tries to be an artsy film, but Boorman should have skipped the ridiculously Freudian dream sequences as well as the numerous subplots which end up being trite. Nor does Boorman's use of newsreel clips and radio speeches give any flavor of the era, partly because the director generally shows us what we've seen before in other movies...