Reel Critics -- Julie Lowrance and June Fenner

Don’t waste time on this “Machine”

Is it truly the case that one’s destiny is predetermined or,

hypothetically speaking, could one invent a time machine, travel the

fourth dimension and change one’s destiny?

H.G. Wells thought so, as penned in his 1895 science-fiction classic

“The Time Machine.” George Pal thought so, as viewed in his 1960 film

adaptation of the novel. And now, Simon Wells, H.G. Wells’

great-grandson, hopes to convince you that time travel is not only

possible, but also worthy of 96 minutes of your time, not to mention the

$8 in your wallet.

In DreamWorks’ recent remake of “The Time Machine,” engineer and

mathematician Alexander Hartdegen (Guy Pearce) invents a time machine not

out of scientific discovery, but out of desperation over the death of his

fiancee. When his travels to the past are unable to prevent her from

dying, he travels to the future, determined to find out how he can change

destiny.

Quick pit stops along the way reveal a futuristic world where, in

2030, holograms serve as guides in New York’s public library and

colonization is occurring on the moon. Unfortunately by 2037, over

drilling of the moon has caused its disintegration and the subsequent

collapse and decay of civilization on Earth.

Traveling 800,000 years in the future, Hartdegen finds a world in

which evolution has lead to the human race’s dissemination into two

distinct species. The Eloi, a carefree, cliff-dwelling and beautiful,

albeit primitive, tribe serve as a food source for the cannibalistic,

subterranean, progressive apelike Morlocks.

Time does appear to heal all. Stubble-faced Hartdegen, after

exhibiting mad-scientist behavior throughout four years of bereavement,

within days of world-shattering travel disregards his raison d’etre and

garners affection for Mara (Samantha Mumba), an Eloi female. When Mara is

captured by the Morlocks, Hartdegen confronts their pasty, multi-cerebral

leader, deliciously played by Jeremy Irons.

Now I’m not naive to think that a remake, even if it has been more

than 40 years, would be cookie-cutter in its overall concept and

presentation. But I am hopeful that its ideology might remain the same.

In H.G Wells’ novel, as well as George Pal’s film adaptation, the

inquisitive time travelers realize through self-discovery the negative

impact of industrialization, the disastrous affect of nuclear war and the

resolutions to their expeditions.

Simon Wells’ time traveler is befuddled and insipid. Alas, it is a

pasty, never-seen-the-light-of-day, mind-control-freak who holds the

answers to Hartdegen’s quest. Unfortunately, this updated version of “The

Time Machine,” with its dazzling 21st Century special effects, lacks the

charm and soul of the original. Its high gloss effects simply catapult

you from one scene to another without any thought-provoking content.

Simon Wells’ version left me empty. Don’t waste time in line at the

theater. Instead, search for George Pal’s 1960s’s version of “The Time

Machine” in the far remote corner of your local mom-and-pop video store.

Dust off the cover and absorb it. Even though its special effects may

seem laughably archaic now, they were state-of-the-art for its time.

“The Time Machine” is rated PG-13 for intense sequences of action

violence.

* JULIE LOWRANCE, 40, is a Costa Mesa resident who works at a Newport

Beach overnight aircraft advertising agency.

‘Monsoon Wedding’ deserves many kudos

As the final credits of “Monsoon Wedding” appeared, the audience

applauded loudly. I’ve always thought that the applauding of a movie was

the highest possible tribute an audience could give. There is, after all,

no obligation to applaud. However, when you know you have seen something

truly special, the need to express your appreciation simple demands

action.

The Mira Nair film is, in many ways, a Punjabi version of “The Father

of the Bride.” Much of the film’s story focuses on the bride’s father,

wonderfully played by Lalit Verma, who tries desperately to maintain some

degree of control as costs escalate, tempers flare and any sign of

privacy disappears as a large crew of decorators, caterers and numerous

house guests swarm over his home and garden.

Adding to the drama of the situation, his beautiful daughter isn’t

sure she can go through with her marriage for reasons that have nothing

to do with the fact that she has just only met her future husband.

A delightful subplot involves a budding romance between the wedding

event coordinator, Dube, and a lovely young servant girl in the bride’s

home. Dube, played by Vijay Raaz, is brash and shy, bombastic and

tongue-tied, clownishly homely and endearingly appealing. It is

impossible to imagine the film without him.

And then there are the exuberant musical numbers, which burst into

life like water that can no longer be held behind the dam. Like the vivid

purple, red and orange colors of the opening and closing credits, every

sight and sound of this film celebrates the joyous excesses of life

present in a large family wedding.

“Monsoon Wedding” is in English, Punjabi and Hindi. The Punjabi and

Hindi lines are subtitled. I’ll admit there were times I wished the

English was subtitled too. However, when all was said and done in

whatever language, I had understood enough to know this is a truly

special film.

“Monsoon Wedding” is rated R for language, including some sex related

dialogue.* JUNE FENNER, a Costa Mesa resident, is vice president of a

work-force training company.