Showing posts with label Ron Howard. Show all posts
Showing posts with label Ron Howard. Show all posts

Friday, May 31, 2024

Jim Henson: Idea Man, The Life of the Genius Behind The Muppet Show

 By José Alberto Hermosillo


“Jim Henson: Idea Man,” from Academy Award-winning director Ron Howard, offers a fresh look at the life and work of the genius behind “The Muppet Show,” Jim Henson. The documentary is awe-inspiring, pure entertainment, and quite enjoyable.

Ron Haward. Photo: José Alberto Hermosillo ©2024 FestivalinLA
 

In “Jim Henson: Idea Man,” award-winning director Ron Howard (“A Beautiful Mind,” “How the Grinch Stole Christmas,” “Thirteen Lives”) presents a linear, structured narrative that focuses primarily on the work of the Muppets creator rather than his personal life. 


People who adored the show may consider it a treasure. However, this sentiment may not apply to hardcore fans, who argue that crucial information is missing, including Jim’s cause of death—a bacterial infection at age 53. Despite being a Disney+ movie, this documentary cannot be compared to Pixar’s “Coco,” a profound animated film that explores the other side: death. 


The main reason Ron Howard handled the material lightly in the documentary about Jim Henson was to keep it hopeful rather than sentimental. Howard felt he was offering real insight into the life of the creator of the puppets for “Sesame Street.” He saw the paradox between his material and Henson’s experimental films, which were very optimistic, human, and revealing.


After years of struggle, the young puppeteer, with a strong desire to work in television, made his first successful attempt in the summer of 1969 by introducing his Muppet characters who interacted with humans on “Sesame Street.” 


Time magazine featured Big Bird in 1970. Cover credit: Bill Pierce.

A year later, Time magazine featured Big Bird on the cover with the quote: “… It’s not only the best children’s TV show in history, but it is also one of the best parents’ shows as well.”

 

After the success of Sesame Street, Henson could not find producers to bring The Muppet Show to life in the United States. The production then took a more international approach when Sir Lew Grade, the owner of the British ATV Starion, produced two specials with him: “Julie on Sesame Street” and “Herb Alpert & the Tijuana Brass.”


Sir Grade was familiar with puppet television programs and offered Henson a deal to record “The Muppet Show” at the Elstree Studios in England. The deal also included an international broadcasting contract covering more than 100 countries to air the show.


Before departing for the U.K., Henson set aside his syndication and other union contracts with the Writers’ Guild and began production in London as soon as possible.


During the show’s taping, the producers booked major Hollywood stars, including Diana Ross, Henry Belafonte, and Tina Turner, to appear as special guests on “The Muppet Show.”


Aired on Sundays, “The Muppet Show” was a huge hit. During the last three months of 1976, it was viewed by 14 million people in Great Britain.

 

Before making the documentary, the Henson family was reluctant to have the creative patriarch’s image and private life go public for numerous reasons. While reviewing the archive, Ron Howard saw different options for approaching his newest adventure. He focused on the entire family behind the creator and, of course, on the unforgettable characters.

Howard unfolds a biographical story featuring fabulous archival clips, treasured interviews, glorious behind-the-scenes footage, and staggering, boundless graphic material that will keep us wondering more about the conception and embodiment of those dear, unforgettable characters and the creator himself. Disney Plus and a dozen other producers, including members of the Henson family and the estate’s heirs, produced the new documentary.


The music, produced by Hans Zimmer and composed by David Fleming (Blue Planet), is driven by playfulness and joy. Fleming adjusted to the time compression and moved through emotions about ambition, creativity, a higher spirit, and Henson’s joyful place. Fleming focused on the characters’ diversity and the universality of the inspiring creations.


“Jim Herson: Idea Man” Panel. Photo: José Alberto Hermosillo ©2024 FestivalinLA

In the documentary, the evolution of Henson’s story resonates with our memories of “The Muppet Show” and our childhood experiences, as we identified with Jim and his diverse characters.

 

The editor cleaned up the Henson family interviews using AI (Artificial Intelligence), giving the linear structure a distinctive flow. Those recordings were demanding and energizing for everyone, including the animation crew. According to a panel presented by Deadline at Vidiots in Eagle Rock, California, everyone who participated in Henson’s documentary wanted to make it right.


Jim Henson and his Muppet characters. 

The documentary was made to keep Jim’s voice active in a preserved form and to document the evolution of Mr. Henson from his participation in “Sesame Street” to “The Muppets Show” and subsequently to the feature films produced by the Jim Henson Company.


The interviews recalled experiences working with Academy Award winners Jennifer Connelly and Rita Moreno, which are essential for audiences to sympathize with the main character and his creations. Late in the game, the producers of “Idea Man” continued to find more material regarding Henson’s work.


Ron Howard continues to find subjects with stories that truly matter, and it is fascinating to discover, in this case, Jim’s early work. This documentary is about Henson’s journey and the challenges he faced as he risked everything he had to deliver one of the most transcendent shows in history for the entire family.


I applaud Howard’s team’s courage and tenacity in bringing to light the work and creations of the “Idea Man,” who, by creating one of the most influential TV shows, helped millions of children and parents learn, accept, and make this world a better place to live in.


Vidiots screening, Eagle Rock, California. Photo: José Alberto Hermosillo ©2024 FestivalinLA


Vidiots’ Jim Henson movies on DVD display. Photo: José Alberto Hermosillo ©2024 FestivalinLA

Brian Henson, producer & studio executive, son of The Muppets creator, Jim Henson.
Brian Henson, producer & studio executive, son of The Muppets creator Jim Henson & José Alberto Hermosillo, critic at www.festivalinLA.com
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Sunday, September 4, 2022

Thirteen Lives: Diversity Hollywood’s Bulkiest Affair Even in Thailand

By José Alberto Hermosillo 

“Thirteen Lives” is a compelling survival drama that keeps the tension from beginning to end - a triumph of the human spirit!

This new Hollywood production, directed by Ron Howard, is a thrilling roller-coaster that faithfully reconstructs one of the most dramatic rescues in Thailand’s history. The mission was to save the lives of twelve young soccer players and their coach, who were impacted by their actions and the forces of nature that trapped them inside the caves. 

As we dive into the story, the junior soccer players enjoy their game under an overcast afternoon sky, a prelude to the events awaiting the youngsters. Once they finish the game, they want to go out and celebrate one of the kids’ birthdays—their destination: the Tham Luang caves in northern Thailand.

What seems like an innocent adventure for the soccer players soon becomes an unsettling tragedy for an entire community. Without warning, the Monsoon season thunders over the land with diluvian rains, trapping the children kilometers inside the caves.


Subsequently, Thailand’s National Guard was tasked with effecting a rescue. After several attempts, they could not dive any deeper into the caves to reach the children, as the divers’ lives would also be at risk. At this point, messages of desperation went out to the international community.

The news traveled quickly, reaching England, where two of the world’s best British divers, John Volanthen (Colin Farrell) and Rick Stanton (Viggo Mortensen), specialists in caves, were contacted. These men understood the risks, having previously participated in other rescue missions, yet felt a moral responsibility to help the kids. 

Ron Howard, the director of “Apollo 13,” pushed emotions to the limit, despite the intentional disassociation with the Thai children. The filmmaker showed only brief moments of the children’s lives, then focused on the divers.

The children’s absence raises tension in the film. Consequently, the film would have benefited from letting the audience know more about developments in the narrative—the children: who are they? What are their dreams, desires, and hopes? The audience likes to learn more about the parents, culture, education, and passion for soccer. The film paints an insufficient portrait of the local characters as the drama unfolds.

The public’s memory of the children trapped in the caves in Thailand remains fresh—the rescue happened in 2018. In this Amazon Prime Video production, the introduction moves away from the children too quickly, then focuses on the British divers, omitting key details. What about the rescue teams from other nations who played a critical part in the “collective” mission? Australia, Japan, Germany, and Switzerland.

Faith is a higher power in every country. In this particular case, international solidarity was evident. The Hollywood production focuses on the actions of the British rescuers and moves away from everyone else. 

On the same subject, the Netflix series “Thai Cave Rescue” chronicles the mission to save those kids. The vivid National Geographic documentary by Oscar-winning director Jimmy Chin and his wife, Elizabeth Chai, “The Rescue,” focuses on the logistics and the international team tirelessly working to save those precious lives. Both projects deeply researched the Tham Luang caves event, showing what “Thirteen Lives” failed to convey about the rescue teams from more than twenty countries.


The capital used in the rescue mission was colossal; the numbers don’t lie. The production of “Thirteen Lives” did not show the enormous amount of human and mechanical resources used to save those children’s lives: 100 divers, 900 police officers, 2,000 soldiers, ten police helicopters, seven ambulances, and more than 700 diving cylinders. Volunteers and technical specialists came from Australia, the USA, Denmark, Israel, Germany, the Philippines, Singapore, Spain, Sweden, and Ukraine.

The responsibility for filming underwater inside the caves fell to the experienced Thai cinematographer Sayombhu Mukdeeprom. He previously worked on Thailand’s Palme d’Or-winning mystical dark fable “Uncle Boonmee Who Can Recall His Past Lives” and on the luminous Italian production “Call Me by Your Name.” The camera setups in the underwater scenes, shot in a limited space, were complex, with fascinating results.

Hollywood history has plenty of “survivor movies,” though those films have become more popular since the 1970s. Popular projects that follow victims’ journeys and people’s struggle to survive include “Towering Inferno,” “Poseidon,” “Survive! /Supervivientes de Los Andes,” and even “Titanic.”

Other more recent survivor epics include “The Impossible,” directed by J.A. Bayona (“The Orphanage/El Orfanato,” “Jurassic World: Fallen Kingdom”), which is also set in Thailand during the 2004 Indian Tsunami. “The 33,” directed by Patricia Riggen (“Under the Same Moon”), is a movie led by Antonio Banderas and Juliette Binoche that chronicles the story of the copper miners trapped in Chile who survived thanks to an international effort.

As Ron Howard failed to show the local and international community working in the rescue by giving more screen time to the British divers, Clint Eastwood commits a similar cultural omission in “Richard Jewell.” The film diminishes and washes out the historical role of the international community during Atlanta’s 1996 Olympic Games and the terrorist attack to showcase a mere courtroom drama.

The tragedy of the Boston Marathon on “Patriots Day” disbands most participants and ignores the public, visitors, Bostonians, and even the real heroes who helped the wounded at the finish line. Ultimately, the film fails to show what happened on that fateful day because Hollywood’s Star System focuses on the lead, in this case, Mark Wahlberg, who matters more than the authentic recreation of the events.

Hollywood’s most persistent issue has always been ignoring the vast diversity of our communities. In contrast, the Norwegian film “Otoya: July 22” never loses its sense of community. Neither does the Mexican drama “Canoa, A Shameful Memory,” nor the unmerciful representation of the ethnic cleansing in Bosnia and Herzegovina in the Oscar-nominated production “Quo Vadis, Aida?” 

“Thirteen Lives” has a couple of overwhelming moments that melt our hearts, mostly when we finally see the divers reach the children. Still, the film’s artificial recreation of those moments entertains the masses, choosing not to show a piece of reality or to construct a historical document that can feel relevant to future generations. 

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