Somewhere, in every movie by Tim Burtonthere is Tim Burton. Sometimes it is the protagonist himself, at others it is necessary to fathom the characters to find it, still others it is hidden so well that it is almost impossible to see it, but there is always someone who is an outsider from everything and who does not belong, even visually, to the world who lives, to his community and to the people around him. And he often has his hair shot too. And the more a film has a clear Tim Burton inside of it more (usually) is a good movie. As if Burton can’t find that same expressive force when something doesn’t concern him very closely, when he can’t turn a story into one that concerns him.
On the occasion of the imminent arrival of the series of Wednesday (READ THE REVIEW) on Netflix, of which the filmmaker directed four out of eight episodes, we have therefore ranked the best films of Tim Burton depending on how much Tim Burton contain, how obvious it is and how well (or badly) it speaks of the world he created.
The great storyteller
In the most Burtonian of films that are not immediately Burtonian there is a passion for the story of Tim Burton who this time, despite not resembling him, is the protagonist in disguise. The typical characters of him are masked but that passion for creating the great story, fantastic, in strong colors, very stylized is all of him. Indeed, it is precisely this great ability to Big Fish to tell something is its main weapon.
Hidden in a roulette full of weapons
The ultimate sci-fi fantasy of Tim Burton is that the aliens of the 50s arrive, the ridiculous, grotesque ones and, in hindsight, not too different from the Minions of Illumination. They unleash comical paradoxes and almost seem to be parodying a science fiction film were it not for the character of Richie, a pacifist and introvert in a family with guns, attached to his grandmother, sentimental and very distant from the male role models of his social group. In a huge cast of bad characters (all American stars) he is the only outsider, Tim Burton who feels like he doesn’t belong in Hollywood in his most star-studded film.
Gothic, marginalized and in connection with the beyond
The world of the dead is much more alive than the world of humans, much more “human”, fun and vital. It is the bottomline of an entire career that is set in this film between the dead and the living. Not sure Beetlejuice Tim Burton nor is it the deceased spouses who evoke it but it is if anything Winona Ryderthat is Lydia, a dark and outsider girl who has a strange connection and elective affinity with that world of the dead.
The saddest hero ever seen
The feat of this first great cinecomic is that of having transformed a character of sublime stature into one of the many human beings on the margins of the filmography of Tim Burtongiving him a strange lonely melancholy that we don’t usually associate with heroes but fits so well Batman. The Batman certainly loneliest and saddest of all. Tim Burton.
The downside of the outsiders
In the second movie Burton it’s not just the protagonist, this time it’s also the Penguin, as if that were his negative, the vicious version of someone who is hunted and ostracized (as is Catwoman, another villain that comes from a person who has never truly integrated into society). Bruce Wayne is the masked freak who has chosen compassion for others, the Penguin and Catwoman are the freaks of the night who have instead chosen another path. The others Burton.
The most absurd directorial alter ego anyone has ever cast
Too easy. A film about the most sloppy filmmaker ever, or at least the one who passes for the most sloppy filmmaker ever, is actually an ode to the way of creating Burton. There are her myths, his stories, everything she wanted to do and wanted to be, Ed Wood like an exalted outcast, with eyes full of enthusiasm and no form of taste who then, however, when I meet Orson Welles in a restaurant he discovers he has the same problems as him.
Vincent & Frankenweenie
Creator and creature
They are two shorts that he shot before making his feature film debut in which the myth of Frankenstein re-enters in different ways. Vincent he is basically a boy who dreams of the gothic and often looks like a parody of Baron Frankenstein with his experiments, he has hair of Tim Burton, her look and all her obsessions. It’s exactly him. But the interesting thing is that then in Frankenweeniestory of a child whose dog dies and who revives him just like Frankenstein (and like Frankenstein the dog will be persecuted by the community), Tim Burton he is clearly the protagonist dog, the different one who fears being persecuted.
The Corpse Bride
Married to the world of the dead. Long last
The ultimate dream of Tim Burtonmarry the afterlife and move to a world that everyone considers terrible but that he gives Beetlejuice so far he portrays as vital, the only one in which he feels comfortable, the only one who seems to share his values, the only one in which he himself is not bullied, ostracized, berated and pilloried. The bride then is voiced by Tim Burton’s real mate, ie Helena Bonham Carter.
Being filmmakers in Hollywood
Dumbo is an artist who creates something for an audience that appreciates him, at least until a bigger circus comes along and buys his services and modifies his show so much, widening his audience so much with more mundane ideas, that eventually The end has none of what made it special in the beginning, it’s just mass entertainment without any heart. Do you remember the dialectic between a certain director and a certain world of cinema?
Edward scissor hands
There is everything. There is the look (that is, the hair and the pallor), there is the fetish actor who has always been his alter ego, there is Vincent Price that creates it, there is the colorful and respectable community that actually sucks and first embraces the different then wants to milk it, understand what it can be useful for and finally rejects it and there is also the gothic manor, the only world in which the different is at ease. Never Tim Burton was so at the center of one of his filmswith that gimmick from cinema history that are scissorhands, capable of creating wonderful things but also of frightening everyone, which prevent him from embracing and living the love life he would like forcing him to the most romantic of all, the platonic one.
Below you can find our interview with Tim Burton, edited by Andrea Bedeschi, made in Lucca:
Find all the information on Wednesday in our tab.