Obayashi uses green-screen technology and cheap (but effective) computer graphics to dramatize folksy anecdotes about filmmakers like John Ford and Yasujiro Ozu, which he sandwiches between brutal and/or sentimental episodes about local war crimes and counter-cultural resistance. In “Labyrinth of Cinema,” Obayashi (along with co-writers Kazuya Konaka and Tadashi Naito) tries to sum up what he’s learned and tried to convey through filmmaking in a volatile auto-critique of movies as both seductive propaganda and palliative empathy machines. The movie’s Hiroshima setting gives away its personal nature since Onomichi, Hiroshima is director/co-writer/co-editor Obayashi’s hometown and also the main location for some of his movies, including the 1983 bubblegum-psych fantasy “The Girl Who Leapt Through Time.” Obayashi is best known to American cinephiles as the director of the 1977 day-glo nightmare “House,” a fizzy horror-fantasy that only became an international cause célèbre in 2009 after it screened at the New York Asian Film Festival and a few other noteworthy events. You can tell that his death weighed on him just by watching “Labyrinth of Cinema,” his last movie, a three-hour living will, and a dazzling curtain call. By the way: Obayashi died of lung cancer a year and a half ago.
#Cast of labyrinth 2 movie#
And the exact second anyone else is cast in that role, whoever they may be, they’ll be fighting an uphill battle to try and prove themselves a worthy successor.The plot is simple enough to be irrelevant: three bright young things- teeth-picking film historian Hosuke ( Takahito Hosoyamada), enthusiastic film buff Mario ( Takuro Atsuki), and aspiring gangster Shigeru ( Yoshihiko Hosoda)-chase after chaste 13-year-old Noriko ( Rei Yoshida) after she tumbles into the Setouchi Kinema’s movie screen, and becomes part of Obayashi’s unstable meta-narrative. The only question is who could possibly fill David Bowie’s skin-tight leggings? Some people have floated current Queen frontman Adam Lambert as a potential replacement, but as good as Lambert is – he’s still not Bowie. If they’re not going to recreate Bowie digitally, the next option would be to have another actor tackle the role of Jareth. That decision would be a really big ask, however, and not only would it be reliant on the cooperation of Bowie’s estate, but using realistic CG for a major film role still has not yet been done in cinema history, and even Cushing’s appearance in Rogue One was still not quite as seamless a performance as a live actor would have been.īesides the technology, you’d also need a singer capable of mimicking Bowie’s dulcet tones to lend their voice to the project. One of the current rumours circulating the internet is that they may actually be intending to bring Bowie back after all, by making use of the same technology that allowed Lucasfilm to digitally resurrect the late Peter Cushing as Grand Moff Tarkin in Rogue One: A Star Wars Story and also provide a brief young Luke and Leia scene in The Rise of Skywalker.
Undoubtedly, Derrickson and Levin already have a plan up their sleeves, but until we hear more about how they’ll handle his absence, why don’t we look at the options? In May this year, TriStar pictures announced the long stagnating plans for a sequel to the original 1986 Jim Henson classic Labyrinth would be surging ahead under the new direction of Doctor Strange director Scott Derrickson, using a script penned by Maggie Levin, a self-described screenwriter with “rock’n’roll roots”.ĭie-hard fans of the original, however, have one really big question that simply cannot be ignored: how in the name of the Goblin King can they possibly make a sequel without the late, great David Bowie playing Jareth? That’s right, Supa-Fans, the cinematic darling of every ‘80s kid’s childhood is finally getting a sequel!
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