Back To The Future Review

It could have been different. It could have all ended up being a disaster. In the year 1984, the director Robert Zemekis, who had been working on his second film, Back To The Future for over a month was not exactly a happy guy. He was paired with an actor in the lead role who did not cut it as an optimistic, confident teenage. He was more of an angry 40-year-old trying to comprehend the meaning of life in a godless world.

To add insult to injury, he'd seen a promising young actor who was perfect for the part. Michael J. Fox Michael J. Fox, who was then the main character of the TV the sitcom Family Ties was a shining example of youthful joie of life, and honestly for a film that had an enviable teen-based base it was just a tad more adorable. There was a need to do something. Eric Stoltz was out. Fox came in. They started over all over. If Back To The Future was the result of a fracturing shoot, what came out was worth the pain. A stunningly crafted piece of old-fashioned fantasies It not only signaled the arrival on film of the most acclaimed light-comedy actor of his time as well as being one of the few films from the wild and style-challenged 1980s that managed to transcend and withstand the most grotesque aspects of the time (skintight jeans that, as one unkind critic commented, "look like they've been sexually assaulted by a group of boy Scouts" aside) and is an exquisite small jewel.

In the sea of charming charms available and the perfect script written by Zemekis along with Bob Gale which not only manages its

time travel sagas with deft and exuberant wit, but also encapsulates the fun-loving plot twists with a touch of genuine drama (Doc's death in of the opening 10 minutes of the film throws the comedy into pleasant relief and gives us a nice dramatic break when we realize that, in the end, that this isn't the case).

Alan Silvestri's Williamsesque score, a myriad of unforgettable set pieces Marty's ingenuity of the skateboard when it rips off the top of an infant's box-cart the introduction of music from rock'n'roll, which transforms into an anachronistic Hendrix-style solo guitar ("Maybe you're not prepared to go through that," McFly admits, "but believe me when I say that your children are bound to be enthralled by this.") in addition to a few references to other sci-fi filmswhich was a first in the mid-80s as Tarantino was still working on the late-returns. When Marty is trying to convince his father to let his mom to leave, he appears like Darth Vader (a variation on the joke can be seen within Part III when he calls himself Clint Eastwood) and claims to be via the spaceship Vulcan.

There's also the well-crafted Oedipal song that was, if not handled by a skilled musician could have felt uncomfortable, if not infuriating. The real reason behind Back To The Future is the awe-inspiring talent of small (his favorite word is "Why do they have to say I'm short?") Michael J. Fox. In the spotlight recently due to illness Fox made himself known as the most adorable screen actor of the 80s.

Strangely, after the huge popularity of the BTTF Trilogy, it was normal to criticize the actor. Evidently, his ability to make light-hearted comedy did not fit in with the hip-cynicism that was prevalent in the 1990s. The idea of applying anything that resembles a rigorous critique on Back To The Future would be like applying an axe to the perfect risen souffle, however there are plenty of interesting interpretations for Zemekis film, especially because critics who have been hostile to the director's subsequent works, Forrest Gump and Contact and Forrest Gump, have observed an Capra-like conservatism. One could argue it is BTTF could be a manipulative reflection of the 1980s by looking through an air-brushed image of the 50s , which is more akin to George Lucas' American Graffiti than the chaos in the decade (the burning blacks and crosses hanging off trees are likely "just off the screen").

Zemekis is accused of the 1980s of destroying their American Post War dream; Marty's flimsy, anxious family, petty and bullied aren't what they were intended to go (next their table, it is a mystery whether Marty ever asked if the family was adopted) similarly to the snoozing 80s aren't legitimate descendants that came from those of the "innocent" fiftys. Of course, this is an esoteric speculation. However, if Back To The Future doesn't have big ideas in it It's still like its star — tiny but well-constructed.