Ed Wood was a film director, screenwriter, actor and producer who aspired to see his creations on the big screen and make history; In a way he did, but perhaps not the way he expected, because after his death he was described as “the worst director of all time. “
His film Plan 9 of Outer Space was listed as the worst film in history and as the first film of the Z cinema, a subgenre of cinema B, of lower quality and of lower budget.
- However.
- Time gave Wood recognition of a “cult director” and filmmakers such as John Waters and Tim Burton cite him as one of his influences.
- Was Ed Wood that bad? The truth is that the quality of your films leaves a lot to be desired: inconsistency in the script.
- Continuity problems.
- Microphones in sight.
- Backstage.
- Cardboard decoration and a number of problems.
The rejection of the producers to Wood’s work resulted in a very limited budget that, coupled with the limited technological advances of the time, caused the poor quality of his films, it is true that he was not a perfectionist and cared little about mistakes or inconsistencies, had just shot a scene and believed that cinema went beyond perfection.
But despite his mistakes, there is something interesting about his films, a unique essence, let’s not forget that in society of the 1950s, certain themes could be considered provocative and, therefore, many of his films would not be taken seriously. It happened with Glen or Glenda, a film in which Wood intended to move around with a personal story about cross-dressing, though it provoked more laughter than agitation.
In 1994, Tim Burton embarked on the adventure of bringing the director’s story to the big screen. Burton has repeatedly cited influences from B cinema, particularly terror, which is reflected in his entire filmography.
Among his influences is Ed Wood. Burton saw Plan 9 of Outer Space as a child and remembers it fondly. Their films may be full of mistakes, but there’s one thing they lack: enthusiasm. And it’s precisely that enthusiasm that Burton gives us. in the biographical text.
Unlike Wood, Burton is totally coherent and offers us a perfectly narrated film, pleasing in all its aspects. Burton had an exceptional script and experienced actors: Johnny Depp and the magnificent Martin Landau. But it wasn’t all wonderful, because when Burton decided to shoot in black and white, problems arose with the production company, which decided to disassociate himself from the project.
Burton wanted to capture the essence of the time, the Lugosi and the B cinema of the 1950s, and for that it was essential that the story be told in black and white. The film premiered in 1994 and, although it did not receive good support at the box office, won two Oscars: Best Makeup and Best Supporting Actor. The two awards were linked to one of the film’s key figures: Béla Lugosi. The figure of the mythical actor comes to life thanks to an exceptional makeup (privileged in black and white) and the sublime performance of Landau.
Ed Wood is, for many, one of the best films in Burton’s filmography, it’s a work of personality, that nothing has to envy the other films of the director and manages to convey the essence of an era, the other side of Hollywood. , and recovers such important figures as Lugosi or Wood himself.
In addition to the tribute to Ed Wood, the film is a tribute to Cinema B itself; an ode to 1950s cinema to black-and-white cinema. In the credits we notice a certain nostalgia, a certain magic that the most current cinema seems to have forgotten.
The film begins with tombstones that read the names of the actors, in the purest Wood style. Images of tentacles and flying saucers appear; then dark music accompanies us to a dark and mysterious room. The camera enters the room where a coffin is released under a sinister window; abroad, the storm creates a dark scene.
The coffin opens and Jeffrey Jones, characterized as Criswell, appears to explain that what we’re going to see is Ed Wood’s true story. This introduction, so characteristic of Cinema B, is truly magnetic and ends with a brilliant camera movement. pass through the window, that is, immersing ourselves in the darkness of the storm. The final scene goes back to the beginning, but with a camera movement upside down, returning us to the room and closing the coffin; something just magical.
Another significant element is the Hollywood sign, present at different points in the film, seen above, but accompanied by thunder and darkness, which invites us to think that maybe the Mecca of cinema is not as wonderful as they have made us believe.
On the other hand, Burton leads us to a study of the poorest and most rudimentary, showing the other side of the industry, the cruelty of Hollywood. The whole film is a tribute, full of allusions and told in detail; a real gem with notes of humor and nostalgia.
Wood was known for his great love of film, for his passion, even if his talent was terribly questioned. Ed Wood felt like Orson Welles, was convinced he could do something big, something important, and relied on his skills to assume the roles of screenwriter, producer, director and actor at the same time.
Burton presents in his film a captivating character, innocent, with the illusion of a child. Wood, despite scathing criticism and adversity, never lost his smile, believed in himself, and continued to make low-budget films.
He befriends Béla Lugosi, the Hungarian actor who enjoys great popularity for his portrayal of Dracula. Burton saw in this friendship a reflection of what happened to Vincent Price, a very popular actor in horror films and to which Burton, like Wood and Lugosi, gave him what would be the last role of his career.
Ed Wood was characterized by his charisma, so despite the rejection by the industry, he managed to add the strength of his closest ones, who were even baptized to get funding from a religious group and Wood was able to film Plan 9 of Outer Space. His unusual optimism consolidated him as a character who aroused the public’s interest; Without going any further is the church of Ed Wood, an organization of spiritual growth inspired by the figure of the filmmaker.
At the end of his life, that characteristic optimism disappeared and Wood died of severe alcohol problems. Burton manages to capture the essence of the character and offers us a film full of optimism, hope, a nostalgic film that invites us to remember this particular director. , be optimistic at adversity and think that, perhaps, on other occasions, Wood’s fate may have been different.
“Everyone can be a bad director, but not everyone can be the worst. “Tim Burton.