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Titanic 3D: A Chance to Relive ‘97
Titanic was momentous and its effect on pop culture was probably bigger than its effect on cinema. There hasn’t been a film since Titanic that has managed to create such a fuss; attracting everybody and their grandmother to the cinema, and dominating everybody’s conversations regardless of age or ethnicity. Even the Harry Potter series, arguably the biggest films of this millennium, have a fan base that maxes out at a certain age. Besides, the Titanic onslaught was also aural; Celine Dion’s theme song was inescapable and remained that way for a few years after. It’s actually a wonder that something so fantastically irritating was so popular, but luckily it seems we’re being spared the musical assault this time around.
In hindsight, Titanic is pretty cheesy. Actually scratch pretty, it’s super cheesy. The dialogue is basically clunker after clunker; one of them in particular: “A woman’s heart is a deep ocean of secrets,” sounds like something out of a bad dating manual. The younger Rose contends with her share of duds where Kate Winslet seems very ill at ease while she delivers them. In fact, she only loosens up somewhat when she starts to fall in love with Jack; it’s the romance that enchanted viewers the first time around that has kept the film culturally relevant and generated it so much goodwill. It’s the epitome of a love story. You have two very attractive leads acting out a forbidden love story between a girl stifled by upper class norms, and a free spirited artist from the wrong side of the tracks. Toss in her stubborn, arrogant fiancé, who she’s being pressured into marrying to save her family from financial ruin, and you have just the right elements of a great forbidden love. The Titanic going down is just window dressing and the only reason we care about the accident is because of its effect on Jack and Rose’s relationship. As a viewer, you spend the length of the film rooting for them to end up together; the iceberg is just one more obstacle keeping them apart. And yes, the part where Rose lets Jack go at the end is still as tear inducing as ever.
It’s interesting to see Leonardo DiCaprio at his teen heartthrob peak. It’s easy to forget now but back in the ‘90s DiCaprio was inescapable; he was to the ‘90s what Zac Efron and Taylor Lautner are to this decade.
The 3D effect adds considerable depth to the picture but like most reissues, the real draw here is seeing the film in the cinema; the 3D doesn’t add enough to warrant another viewing if you’re just lukewarm about the film, or if you’ve already seen it a trillion times on TV. The true experience here is reliving 1997 all over again; in other words, feeling nostalgia. Whether it’s for the days when ‘blockbuster’ wasn’t just a code name for a superhero flick; for when film events weren’t a dime a dozen and managed to capture the general public’s attention for extended periods of time; or for when one film would come along and give everybody something in common to be excited about.
First, it’s important to establish that we cannot place the blame in its entirety on Ramez Galal for his sadistic show. A big part of the blame should fall on us, the viewers, who eagerly wait for pranks and spike the show’s ratings, even reaching the point where café owners will blast these shows on large TVs to attract customers. It’s time to admit that there’s a sadist in all of us.
The premise of the show is a guest will come in to film an episode about the World Cup on a zodiac boat out at sea. The boat malfunctions, one of the presenters dives in to see what’s wrong, and the events quickly escalate to the boat sinking with the guest and a fake shark attack.
In the episode with Rania Mahmoud Yassin and Mohamed Riad, it’s interesting to point out that the boat didn’t sink entirely, and Rania kept a firm clutch on her sunglasses in a situation where any normal person would’ve let go of his/her belongings in exchange for safety. We ignored these points at first, but after several mentions on TV and by other viewers, we couldn’t help but wonder.
The show comes with a lot of legal issues this year, of which, a case that Athar El Hakim filed against Galal, banning her episode from airing, under the pretence that the prank extremely frightened her. The truth behind that is in question, after a video of her discussing her pay for the episode was leaked. Other legal issues concerning the show include damage to marine life from planting metal poles to support the hidden cameras.
Because nothing is black and white, it’s important to admit Galal’s sense of humour and experience, especially when it’s imitated by an artist like Mohamed Fouad in his show “Fo’sh Fil Mo’askar”, a stale and completely void of humour prank show.
We have to admit, we were impressed by the shark boat Galal uses to rescue the guests. He is a smart actor who was able to establish himself within Ramadan TV and create shows that people wait for year to year.
Adapted from John Green’s 2012 bestselling novel of the same name, The Fault in our Stars - a formulaic but engagingly honest story of star-crossed lovers brought together by a mutual pain - will sadden, enrich and perhaps even comfort, many of those who come across its path.
The story is centred on the sixteen year-old Hazel Grace Lancaster (Woodley); a girl who has been battling with terminal thyroid cancer since the age of thirteen. After being one of the few to respond to an experimental drug treatment, her condition is now stable, though the side effects have weakened her lungs and she is now constantly attached to a portable oxygen tank.
Hazel has pretty much accepted the fact that her days are numbered but her parents, Frannie (Dern) and Michael (Trammell), are increasingly concerned for her emotional well-being and urge her to join a cancer support group for young cancer patients like herself; not wanting to stress her parents any further, Hazel soon agrees to go.
It’s there that she first meets Augustus Waters (Elgort); an optimistic osteosarcoma survivor who lost part of his leg due to the illness. He is now living cancer-free and only comes to the meetings to support his best-bud, Isaac (Wolff). Instantly intrigued by each other, Hazel and Augustus strike up a flirty friendship but Hazel - someone who views herself as a grenade and is set on protecting those around her from the blast when that day eventually comes - is reluctant to let Augustus in. But as their relationship slowly begins to inch towards romance, she soon sees that she really doesn’t have much say in the matter.
Woodley is absolutely enigmatic as the story’s cancer-stricken heroine and ends up infusing a great amount of likeability and authenticity into the role of a young girl asked to face her destiny much too soon, while Elgort shines as the witty and the incredibly charming young man who refuses to let the cruelty of life dampen his spirits.
The Fault in Our Stars is only the second feature-film for director Josh Boone – see 2012’s Stuck in Love - however, he executes the tricky adaptation like a veteran. Scripted by Scott Neustadter and Michael H. Webert, the gravity of the material is handled wonderfully and there is a heavy dose of sincerity, humour and most important of all, heart, injected into the story’s sombre themes.
On the downside, its teenage-romance premise does get a little too cutesy in parts and the subplot, which involves a trip to Amsterdam, feels a little underdeveloped. Nevertheless, it’s the easy chemistry between its protagonists and its earnest approach makes The Fault in Our Stars a success and an ultimate real tear-jerker that won’t leave a dry eye in the house.