most sequels are a copy/paste of the original idea. obviously, if part 1 worked so well, it makes sense to use the same formulas for part 2 right?
BOH-RING!! *YAWN* *SNOOZE*
thank all carnies that the creators of the original devil's carnival aren't dull. alleluia shares the same dark, quirky tone as part 1 but definitely carries its own brand of absurdity.
a majority of the movie is set in a heaven swathed in 1930s glamour -- replete with impeccable dress, impeccable manners, and impeccable style. overshadowing all is god (i mean paul sorvino), a dictator who forces every denizen of heaven to operate as cogs within a highly regimented business. like the carnival of hell, there are rules, lots of rules, and one must abide by the rules at all times.
alleluia is a true musical -- story is established through song and, because it's the devil's carnival, the songbook runs the gamut between jazzy notes, Asian instruments, stage show tunes, and heavy minor chords. the crazy mix more than anchors the fantasy and brings to life each bizarre personality (yes, that IS David hasslehoff as the designer). the cast is fantastic. not all of them are singers but they nonetheless flavor each song with unique interpretations.
we see mainly through the eyes of june (emilie autumn) and her journey becomes the origin story of the painted doll. in essence, it's the familiar battle between the little guy against the big bully. and here's the thing...movies are first and foremost meant to be entertainment. but the best art transcends mere entertainment and leaves the audience with thoughts to chew on. alleluia does not miss the opportunity to pose questions that universally affect everyone...when do rules harm more than help? why do we punish curiosity? is obedience blind or is love blind?
maybe i'm projecting and imagining those extra levels of meaning. but that, i think, is what make alleluia more than just pretty visuals and music. it has successfully stuck its claws in my brain and making my gray matter work overtime. that is a most welcome intrusion.
BOH-RING!! *YAWN* *SNOOZE*
thank all carnies that the creators of the original devil's carnival aren't dull. alleluia shares the same dark, quirky tone as part 1 but definitely carries its own brand of absurdity.
a majority of the movie is set in a heaven swathed in 1930s glamour -- replete with impeccable dress, impeccable manners, and impeccable style. overshadowing all is god (i mean paul sorvino), a dictator who forces every denizen of heaven to operate as cogs within a highly regimented business. like the carnival of hell, there are rules, lots of rules, and one must abide by the rules at all times.
alleluia is a true musical -- story is established through song and, because it's the devil's carnival, the songbook runs the gamut between jazzy notes, Asian instruments, stage show tunes, and heavy minor chords. the crazy mix more than anchors the fantasy and brings to life each bizarre personality (yes, that IS David hasslehoff as the designer). the cast is fantastic. not all of them are singers but they nonetheless flavor each song with unique interpretations.
we see mainly through the eyes of june (emilie autumn) and her journey becomes the origin story of the painted doll. in essence, it's the familiar battle between the little guy against the big bully. and here's the thing...movies are first and foremost meant to be entertainment. but the best art transcends mere entertainment and leaves the audience with thoughts to chew on. alleluia does not miss the opportunity to pose questions that universally affect everyone...when do rules harm more than help? why do we punish curiosity? is obedience blind or is love blind?
maybe i'm projecting and imagining those extra levels of meaning. but that, i think, is what make alleluia more than just pretty visuals and music. it has successfully stuck its claws in my brain and making my gray matter work overtime. that is a most welcome intrusion.