Bon Voyage, Charlie Brown (and Don't Come Back!) (1980)

Charlie Brown is your typical everyday kid. He has trouble with the girls, his baseball team has a very consistent loosing streak, he cowers in fear of a kite-eating-tree, and his dog has a strange obsession of flying his red 'Sopwith Camel' dog house. Well, maybe he isn't your average kid, but the blockhead and his friends have been entertaining children and adults alike since 1950. Needless to say, the comic series has spawned much commercial interest, including four feature length films.

The last of the four films, Bon Voyage, Charlie Brown (and Don't Come Back!) (1980), throws good ol' Chuck into yet another sticky situation that will require his intelligence, wit, and friends to get out of (we're doomed). This time, Charlie Brown (Arrin Skelley) and his classmates Linus van Pelt (Daniel Anderson), Peppermint Patty (Laura Planting), and Marcie (Casey Carlson) manage to become foreign exchange students to the town of Le Heron in France. Another surprise awaits Chuck at home: his very first letter. Except it's in French. Know-it-all Marcie translates the letter for Chuck, revealing that he has been invited to the Château Mal Voisin, or the Château of the Bad Neighbor [dramatic cord].

After a round of tennis at Wimbledon, the gang leaves England and arrives at France. Peppermint Patty and Marcie are dropped off (they're staying with a different host, because they go to a different school), and Chuck, Linus, Snoopy and Woodstock arrive at the Château of the Bad Neighbor [dramatic cord]. With no one to great them but locked doors, bad weather, and rumors of the ill tempered Baron (not to be confused with Snoopy's archenemy, the Bloody Red Baron), the gang is forced to camp outside. Mystery continues though, and it seems as if no one is safe. Who sent the letter, and why are they locked out of the Château? Who mysteriously gives them food and blankets under the cover of night? Why does the Baron hate foreigners? How come Charlie Brown is such a blockhead? Most importantly, why can't I have a normal dog like everybody else? Although the film was created to teach young children about countries overseas, Bon Voyage manages to brilliantly combine the educational lesson with the original story, resulting in a simple, yet great, family film.

The majority of the film, although a family film, is symbolic. For example, the town name Le Heron is the most obvious case, representing a heron (and as Marcie says, "That's a bird, a big bird Chuck"). However, as stated earlier, the film is intended to teach children about England and France, so all town names (including Le Heron) are real places. The heron usually is an omen for good luck and prosperity, something that the town could definitely use, but can also be warning of fire. Indeed, this foreboding does come true at the end of the film, and Charlie Brown must use his instincts to save Linus and the resident of the Château. Another aspect of the symbolism revolves around the Baron. The Baron has a very negative inclination towards everyone, especially foreigners. As this is a mystery, the dark atmosphere is kept up with the almost constant rain that pours over the Château. The Baron's negative feeling towards everyone seems to have materialized in the form of the bad weather, as proven towards the end of the film, with the elimination of the bad feeling and weather. Unfortunately, the heron's warning of fire is ignored, and the Château is tragically set on fire. Fire is symbolic of a cleansing, such as the mental cleansing of the Baron's attitude. Once the fire is over, the Baron apologizes for his behavior as a bad neighbor, and decides to turn over a new leaf.

Although the Baron is never really shown, along with most adults, the Peanut tradition is broken for the first time, and possibly only time, as an English speaking (and French speaking) adult is shown speaking. When Charles Schulz created Peanuts, he wanted to show it through the world of a child. Therefore, adults are never shown, and when speaking say the trademark "Wah wah wah". The new introduction of adults into the world of Peanuts could be a cultural view of adults across the sea. Adults here could be viewed as uncaring in their children's lives, while the 'foreign' counterparts are shown because they care. The Baron, someone who obviously doesn't take an active role in his daughter's life, is never shown. However, the caring grandparents who always allow a second cookie are shown in memories, such as photographs. (Charlie Brown's grandfather is shown, and we finally learn that his baldness is genetic)

When the inevitable fire occurs, both Charlie Brown and the Baron have similar reactions. They (quite literally) run around in circles, screaming for help. Charlie Brown, however, shows initiative and runs around in circles looking for help. In fact, all of the children show initiative, and the only reason the Château survives is because of the children. If it wasn't because of Charlie Brown's quick thinking (and running), the Château, and Linus would be forever gone.

The climax of the film, the Château ablaze, is one of the most beautifully put together scenes I have ever seen. The artwork, music, and lines are all magnificent and haunting, simple yet complex, and create an awe inspiring feeling to anyone who views it. This is very appropriate, for fire should create the same feeling, especially when the fire threatens someone's life. The most poignant part is when the Château is viewed from the house of Peppermint Patty and Marcie. Although seen from a distance, the flames are easily visible, and the thought of someone encased in that torturous situation is as intense as the heat.

The symbolism continues even as the film ends, while the credits role. The three countries featured in the film, America, England, and France, coincidentally share the same colors on the flag (red, white, and blue). While the credits role, the three colors mix and combine, showing a friendship and unity between the three countries. This is the main theme of the film after all, as shown by the Baron's 'friendly' attitude throughout the film.

When viewing the film, you should of course remember this is a family film intended to teach children about France and England. Many lines are repeated over and over again for the benefit of the small children minds watching it. Also, long drawn out scenes are common, as it is supposed to show the architecture of France, or even the technology of England. However, ignoring this if you choose (I learned many new things from the film), the film is very simple and beautiful, exciting blockheads of every age. The characters, places, and symbolism will stay with you for a while after the film, such as the Peanuts gang has done since 1950, including the adventures and lessons that everyone had at the Château of the Bad Neighbor [dramatic cord].

Secret Window (2004)

WARNING!

The following film review

contains: spoilers, puns,

and may contain nuts

This amazing film, directed by my favorite playwright David Koepp, is based upon the novella "Secret Window, Secret Garden" by Stephen King. This explains almost everything in a nutshell, as it is too difficult to review this film without giving away spoilers. A spoiler, for anyone who doesn't know, is a piece of information that gives away an important part of the plot (thereby spoiling the film for the viewer). If you haven't seen this film and want to be surprised, do not continue reading! If you haven't seen the film and don't want to be surprised, shame on you! However, it is up to you if you want to continue reading . . .

Secret Window (2004) is the story of Mort Rainey (Johnny Depp), an author who is presently going through a very nasty divorce. To complicate things, a man named John Shooter (John Turturro) comes to Mort's house and accuses him of plagiarizing his story, "Secret Window, Secret Garden" (sound familiar?). The worst part, according to Shooter, is that Mort butchered the ending of the story. When Mort completely denies this, and kicks Shooter off his property, Shooter comes back to butcher more then a story. . .

The now completely terrified Mort Rainey has fled to the sheriff, finding no help from him. Similar responses come from other people, and the little help he does receive "mysteriously" find screwdrivers flung into their heads. Eventually, Mort finds himself trapped, and confronts Shooter with an offer. If Mort can prove that the story is not plagiarized, by showing him the magazine it was published in (a few years before Shooter wrote the story), the Shooter must back off. However, Shooter seems to know every move that Mort makes, and tries to stop the magazine from ever coming . . .

Secret Window is an amazing thriller that will excite even the dullest viewer. Although it isn't necessarily a horror movie, it is certainly will screw around with your mind (Ha! Get it? Screw, like the screwdrivers in the head!). The reason? (Here's the spoiler, nut, and pun all rolled into one package) Mort Rainey is John Shooter. In order to save himself from the nasty effects of the divorce, Mort's conscience developed an alter-ego to battle his anger on his ex-wife (Shooter = Shoot her). Since Mort can't fulfill his desire to kill his ex-wife (and her new husband), Shooter does it for him. (Wow, it's my entire Psychology class in one film!) Not only is Shooter created, but Mort creates a good alter-ego that will advise Mort (every now and then) and tries to talk sense into him when frustrated (see the end of the film, it's amazing).

Of course, David Koepp decides not to revel this fact until the end of the film, but he does give minor hints here and there. Mort's alter-ego talks to Mort every now and then, giving him advice on what not to do. This, although not much of a hint, gives the audience the feeling that something is not right. Most importantly, David Koepp starts the film off by having the camera pan through a mirror. Yes, through a mirror. This symbolizes the fact that the story is now being told through the point of view of Mort. We see Shooter threatening Mort, because he seriously believes Shooter is threatening him. Once the audience figures out that Shooter and Mort are one and the same, the camera once again pans through the mirror, showing Mort donning the roll of Shooter.

The mirror motif continues in the film, most noticeably during one scene in which Mort becomes paranoid that Shooter is in his house (which also describes the entire film). Hearing some rustling in the bathroom, he picks up a baseball bat and charges into the bathroom, swinging at what he believes to be Shooter. Alas, it is not Shooter, but just a mirror reflection of himself. David Koepp was afraid that this scene would give away too much, as it seemed to make the final twist obvious. Mort does hit Shooter in the bathroom, for he goes and hits himself (the mirror).

The ending of the film is also highly symbolic, and was actually suggested by Johnny Depp. Mort, after 'fixing' the problem of his wife, is shown with a nice hair cut, clean shaven, and even braces. Mort literally decides to straighten his life out after Shooter shows up. This can be said for both his appearance and his personality. Although the entire town now seems to avoid him, (they all suspect him for the murders, but no one can prove it) Mort seems to be having a better life then before (which was how Shooter's version of Secret Window originally ended).

David Koepp really makes this film with the small, minute details that are placed within the overwhelming plot made by Steven King. For example, when "Shooter" starts screwing with Mort's life (once again, there's that screwdriver pun) he plunges a screwdriver through Chico, Mort's dog. While this is definitely shocking and depressing to all people (except the crazy ones like . . . Mort Rainey himself), it is even more sad if you look at the small details. Chico is blind. This is an incredibly small detail (I myself did not notice it until I watched the special features on the DVD), but can be seen through the swaying movements of Chico.

The most amazing thing about the film, however, is the way that it is filmed. David Koepp has done an excellent job in choosing the placement of characters, camera, and props to create a thrilling response from the audience. The best example is when Mort discovers a car in the middle of the woods. You, as a viewer, obviously know what's in it, but David Koepp refuses to show it to you directly. Johnny Depp's character blocks the view of the car, causing the audience to shift in their seat in order to peer around him (something that is impossible, but I admit to doing myself). The best, of course, is the discovery of the murder weapon. His own screwdriver. In order to remove suspicion, he removes the screwdriver itself from the head of a freshly dead corpse. We would know what this would look like, and inevitably be unafraid from it. David Koepp realizes this, so the scene is shot from the point of view of the screwdriver; Mort covers it with a paper towel (fingerprints), and all that is heard is "squish".

Secret Window is an amazing film. The wonderful way that director David Koepp displays Mort's duplicity will surprise the average viewer, and the way that it is filmed will even scare the pants off Dracula. An excellent film to watch when you have nothing better to do, or a film to watch when you have something better to do, Secret Window shows you how fragile a relationship can be, especially if you plunge a screwdriver through it.