Regarding fantasy films, Richard Brody once wrote,įantasy, even when it’s rooted in practical details and doesn’t involve any metaphysical impossibilities, is the hardest genre to pull off, for the simple reason that life is interesting. All of this makes the film an overwhelmingly liberating experience, akin to watching Tom Cruise use the police computer in Minority Report (2002), but on a much larger scale.
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And then you have the transitions: montages consisting of screen wipes using on-screen elements, timeline-jumping so seamlessly integrated that the only hint you have is the change of color, and-a method so intuitive you wonder why nobody thought of it-intercutting dialogue among three drivers during a race by zooming in and out depending on the position in the race of the person speaking.
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In a non-trivial sense, the images are the film: the full on color explosions of the palette, the flagrantly artificial backgrounds, the overstylized costumes and makeup. They bring their innovative image-creation techniques to the project (think of bullet time, or how they filmed the chase sequence in Jupiter Ascending (2015)), and then crank it up to 11. With Speed Racer, the Wachowskis, pioneers of digital cinema and innovative cinematic forms, are presented a nearly blank canvas that, given the campiness of its source material, almost begs them to get wacky. But what if a film were to celebrate its (oxymoronic) simulacral nature? What if, instead of trying to pass as realistic, a film embraced its artificiality? Well, then we might get Speed Racer (2008). Non-documentary cinema (and even some forms of documentary) has lost its indexicality to the real, in form and therefore in substance, something that most cinephiles lament-witness the loathing of TV motion smoothing.
In The Language of New Media, Lev Manovich wrote (p302), “ Digital cinema is a particular case of animation that uses live-action footage as one of its many elements.” While the first film this brings to mind may be The Matrix (1999), the Keanu Reeves-narrated documentary Side by Side (2012) explains how every film is now a digital film, and shows how every single element is fundamentally manipulable.
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