Three years ago, when Ang Lee stood in front of an audience at the New York Film Festival to introduce the world-premiere showing of “Billy Lynn’s Long Halftime Walk,” the first words o…
, as a veteran assassin, acting opposite a glum young digital clone of himself. The project has been kicking around Hollywood for 20 years, but in his Variety review Peter Debruge rightly observed that “judging by the finished product, it was the script that never lived up to the promise of its premise…an awful lot of effort has gone into making an awfully lazy action movie.” With a production budget of $138 million, “Gemini Man”over the weekend.
Going on about his obsession, Lee speaks in the hallowed tones of a true believer. He says things like , “Digital doesn’t want to be film, it wants to be something else. I think we need to get past that and discover what it is,” and , “Once you get used to it, it’s not high frame rate. What you used to know becomes kind of a low frame rate. The eyes change. It’s really hard for you. For years I was gradually changing.
This may be a necessary syndrome of cinema, but it’s also a virus that can consume the humanism of good filmmakers. I think we first saw this with George Lucas, whose first two “Stars Wars” films, made in 1977 and 1980, are far and away the best two . The blinding nature of Lucas’s fixation on technology first probably reared its head in the race through the redwood trees in “Return of the Jedi,” a sequence that wanted far too much to be an eye-popping stand-alone video game.
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