I’m wouldn’t call myself a Tim Burton fan. He’s made four films that I enjoy – all of which star Johnny Depp – and many more that I didn’t like at all, and three of the ones I liked have music that drives me completely nuts and takes me out of the experience. You have no idea how much I wish that somebody, anybody, would’ve told Danny Elfman to stick with Oingo Boingo and stay out of movie theaters. My favorite Burton film? Ed Wood, by a mile. Elfman didn’t score it.
So with the caveat that the music is so intrusive that it absolutely spoils several scenes for me, Edward Scissorhands is a charming and occasionally lovely fantasy in a pastel suburb. All of the adults are in some completely different world divorced from reality – I love how at least three of them “know a doctor” who might can help Edward but never seem to phone him – while the teenagers seem to have wandered from our world onto a film set they can’t escape.
I don’t say this next bit to dismiss the script or acting at all, because it’s wonderful, but this film is triumphant with me because of its absolutely impeccable design. It was made in a real place, albeit one whose residents agreed to have all of their homes painted one of four pastel colors, and shot in a real location – Lakeland’s Southgate Shopping Center still looks exactly like that, Publix and all – but it’s unreal nevertheless, populated impeccably by pristeenly-painted, nondescript, and horribly ugly Dusters and similar heaps from the 1970s. The homes, completely free from clutter, are all made out of ticky tacky, and they all look just the same, inside and out, with empty spaces that are so large that they swallow the actors. This is a film where a cul-de-sac ends with the entrance to an abandoned, decrepit, “haunted” castle-mansion on a mountain, and it’s the homes below it that are the scary places.
Johnny Depp was then the teen heartthrob who people watched on TV’s 21 Jump Street while ignoring the plots, and Winona Ryder was omnipresent at the time (no, I don’t like Beetlejuice), and this weird and delightful film surrounded them with a perfect supporting cast. It’s such a neat, strange trick: the fantasy world of this neighborhood and its local TV show is so big that the main characters feel small inside it. They’re trapped by suburbia; Dianne Wiest, Alan Arkin, and Kathy Bates just naturally dominate their fantasy world while the audience’s eyes try to focus on Depp and Ryder.
About the only time that Depp starts to dominate the picture is during the scene that my son and I loved the most. While carving up some topiary, Edward notices a small dog badly in need of grooming. I don’t think Tim Burton’s ever done better. Most directors don’t. Every shot, every reaction, the place where it’s staged, the timing, the reveal, everything is just howl-inducing, and it builds effortlessly to the next shot of the neighborhood full of housewives with puppies in line for their own grooming.
As I occasionally do, I kept the reveal of the character’s look a complete surprise to our son, and deflected his question – “he has scissors for hands?” – by telling him a great big lie. “You mustn’t trust the names people give their neighbors. It’s about a young man who’s extremely good with trimming shrubbery.” And as I occasionally do in this blog, yet again, I bemoaned the kid’s inability to recognize actors. Earlier this week, before I put it in storage for his future, we dusted off War Gods of the Deep / City Under the Sea for another viewing, and the dratted kid still didn’t recognize Vincent Price, who has a small role as Edward’s inventor. This was Price’s last appearance in a major film, and even though it’s a small part, he’s completely terrific.
It’s a very good film. I don’t revisit it as often as I should. I’ll show the kid another Burton/Depp movie, Sleepy Hollow, around next Halloween.
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