Gothic Fantasy by Edwin Page

Author:Edwin Page [Edwin Page]
Format: epub
ISBN: 9780714521800
Publisher: Marion Boyars (Perseus)
Published: 2011-03-06T16:00:00+00:00

Ultimate Quote

‘One of the things I liked about Ed, and I could relate to, was being passionate about what you do to the point of it becoming like a weird drug’ – Tim Burton13

This realism relating to the human condition actually links into Burton’s fairytale sensibilities due to the fact that it touches on what it is to be human. It also creates a juxtaposition with the fact that Ed Wood is about making movies, about fiction and unreality. This juxtaposition of realism and unreality serves to heighten the humanness of Wood’s character, his flawed nature and alienation.

His character shares a further bond with many of those appearing in other Burton films. This is the duality clearly evident in his habit of cross-dressing. Sometimes he is dressed as a man, sometimes as a woman. We also see duality in the character of Edward Bloom in Big Fish, his younger self seen both active and living the adventure of life while his older self is dying and restricted to his bed. Moreover there is the duality of the factual Bloom and the fictional, something also evident in Ed Wood. The events portrayed are based on fact, but the creations of Wood are fictional.

In this film the use of humour is particularly Burtonesque, and particularly dark, in that we laugh at Wood’s usually unfailing optimism and the following lack of success. At one point the humour also references the film itself, a colour blind character stating that he likes the grey dress when asked if he likes the red or green one. This is a typically post-modern example of self-referencing, with the script poking fun at the fact the film is shot in black and white.

In fact, this movie is possibly the most postmodern of all Burton’s films – though Mars Attacks! admittedly comes close – as it is about Hollywood and the movie-making process, even if only on an extremely low budget level, and this is self-reflexive.

The film also displays a minor example of circularity because it begins and ends with Criswell, the mentalist, in his coffin. This circularity is another postmodern aspect of the movie, but also reflects the use of Criswell at the beginning and end of Plan 9 From Outer Space, even to the extent of using some of the same opening lines. It is also the case that Criswell used a coffin from which to address the public on one of the programs he appeared in.

Not only is there a selected cast and crew listing for this film at the end of the chapter, but in tribute to Wood there is also a list of his credits. These help to underline the fact that Burton’s work concentrates solely on Wood’s early career and ends on a rather optimistic note despite the director’s eventual drunken demise in obscurity (though this optimism is in line with Wood’s character).

What we have in Ed Wood is a movie which portrays this main character with the kind of charm befitting Burton’s sensibilities, a charm which is reminiscent of Burton’s depiction of Edward Scissorhands.

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