Tagged with "christopher"
Celebrating the life and career of Christopher Wallace Tags: christopher wallace biggie smalls word life production new quality entertainment feature blog

Born as Christopher Wallace on May 21, 1972, in Brooklyn, New York, Biggie Smalls, also known as Notorious B.I.G., became a drug dealer at a young age. He started experimenting with music as a teenager and, not long after, befriended Sean "Puffy" Combs. His 1994 debut album, Ready to Die, was a smash hit, and his long-running feud with fellow rapper, Tupac Shakur, helped to shape his career. Biggie was killed in Los Angeles on March 9, 1997. 

Early Years

American hip-hop star Biggie Smalls was born as Christopher George Latore Wallace on May 21, 1972 in Brooklyn, New York, in the neighborhood of Bedford-Stuyvesant. Biggie, or "The Notorious B.I.G," as he'd later become known, experienced a rough childhood—at an early age, he was surrounded by drug addicts and dealers. As a result, by his early teens, Biggie had joined the life that was all around him. "Hustlers were my heroes," he once said. "Everything happened on the strip I grew up in. It didn't matter where you went, it was all in your face."

At the age of 17, Biggie was arrested for selling crack, and spent nine months in a North Carolina prison before making bail. As he navigated his young, uncertain life, Biggie started making music. He hooked on with a crew called the "Old Gold Brothers," and began experimenting on his own.

Commercial Success

Around his neighborhood, Biggie Smalls, as he called himself then, began building a reputation as a musician. After a tape of his landed in the hands of Mister Cee, a well-known DJ, Smalls was featured in the hip-hop publication, The Source.

The article was enough to catch the attention of Sean "Puffy" Combs, a young producer at Uptown Entertainment, a New York-based label specializing in hip-hop and rhythm and blues. When Combs split off from Uptown to start his own label, Bad Boy Entertainment, he brought Smalls with him.

Immediately, The Notorious B.I.G., as he now called himself, got to work, appearing on a 1993 remix of Mary J. Blige's single, "Real Love," and followed it up with a second Blige remix, "What's the 411?" His debut as a solo artist came with the single, "Party and Bullpoo," on the soundtrack to the film, Who's the Man? (1993).

In 1994, The Notorious B.I.G. released his debut album, Ready to Die, which told the story of his life, from drug dealer to rapper. Backed with hits like "Juicy" and "Big Poppa," the record went platinum and the young hip-hop artist became a full-fledged star. That same year, The Source named the rapper "Best New Artist," "Best Live Performer" and "Lyricist of the Year."

As his star power increased, Biggie did his best to share his prestige. He backed the work of several rappers that he'd originally performed with while starting out in Brooklyn, and took to the studio in support of other artists on Sean "Puffy" Combs's label. He also teamed up with such stars as Michael Jackson and R. Kelly. By the close of 1995, Biggie was one of music's best-selling and most sought after performers.

Troubled Times

However, success and wealth hardly brought peace to Biggie's life. In the immediate aftermath of Ready to Die's popularity, the rapper found himself in constant fear. In 1994, he told The New York Times that he was disliked for having more money, which came with his fame. The large rapper—at 6 feet and three inches, and tipping the scales at nearly 400 pounds—said that he jumped whenever the door to his apartment building opened, fearing that someone might want to hurt him.

Biggie's fear led to anxiety, which led to spurts of aggression. In May 1995, he allegedly beat up a man after they got into a dispute over a canceled performance. Later, he took a baseball bat to a group of autograph seekers. His most famous battles, however, occurred with others in the hip-hop industry, most notably with Tupac Shakur, Marion "Suge" Knight and Death Row Records. The rivalry turned into an East Coast-West Coast feud (with Combs and Biggie representing the East), and the tension escalated in 1994, when Shakur and a member of the Wu-Tang Clan were shot and robbed. The two men survived and Shakur came out blazing, accusing Biggie and Combs of orchestrating the attack. Both vehemently denied the accusation.

Shakur added fuel to the flames with a pointed slam on the East Coast rap world in the single, "Hit 'Em Up," in which he claimed to have slept with Biggie's wife, Faith Evans. In September 1996, East Coast-West Coast battle heated up even further, when Shakur was murdered in a drive-by shooting in Las Vegas. Rumors of Biggie's involvement immediately began to make the rounds, and when the rapper was one of the few hip-hop artists not to make an appearance at an anti-violence summit that was held in Harlem a few weeks later, the finger-pointing intensified.

Murder and Speculation

Shakur's death amplified Biggie's fears about his own life, and his concern was tragically validated on March 9, 1997. Biggie, who had just come out of the Soul Train Music Awards, was sitting in an SUV when another vehicle pulled up to his car, opened fire and killed him. Biggie was only 24 years old at the time.

For many fans, the murder was viewed as retaliation for Shakur's murder. Biggie's death shook the music world, prompting fears that the hip-hop world might erupt into a full-fledged war, ending numerous other lives. That didn't happen, fortunately, but Biggie's friends, family and fans never received any answers regarding his death. Despite years of speculation regarding the identity of the gunman, Biggie's case was never solved. Biggie's family has been outspoken about its disappointment with the handling of the case, going as far as accusing the Los Angeles Police Department of employing rogue officers who were involved in the murder.

In 2002, filmmaker Nick Broomfield released the documentary Biggie and Tupac, which featured a round of interviews with people associated with both men. More recently, in May 2012, former L.A. police detective Greg Kading, who had worked on Biggie's case, told VH1 that he had incriminating evidence against Wardell "Poochie" Fouse, a gang member belonging to the Mob Piru Bloods.

Kading, who had quit the LAPD after he was pulled from the case, asserts that the murder will never be solved.

Legacy

Biggie's death came just as the rapper was about to put out his second album, Life After Death. In the wake of Biggie's killing, the record was a giant hit, selling nearly 700,000 copies in its first week. Two years later, Born Again, an album of unreleased material from Biggie, was released. A third album of extra material, Duets: The Final Chapter, was released in 2005.

Today, Biggie is still one of the music industry's most admired hip-hop artists. Several musicians have paid tribute to Biggie by mentioning him in their songs, and his musical style has been emulated by countless up-and-coming artists. Undoubtedly, Biggie's talent as a writer and rapper will continue to be acknowledged for decades to come.

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Back to the Future-Classic TV Tags: back future michael j fox christopher lloyd word life production new quality entertainment

Back to the Future is a 1985 American science fiction comedy film. It was directed by Robert Zemeckis, written by Zemeckis and Bob Gale, produced by Steven Spielberg, and stars Michael J. Fox, Christopher Lloyd, Lea Thompson, Crispin Glover and Thomas F. Wilson. Fox plays Marty McFly, a teenager who is accidentally sent back in time to 1955. He meets his future parents in high school and accidentally attracts his mother's romantic interest. Marty must repair the damage to history by causing his parents-to-be to fall in love, and with the help of scientist Dr. Emmett "Doc" Brown (Lloyd); he must find a way to return to 1985.

Zemeckis and Gale wrote the script after Gale mused upon whether he would have befriended his father if they attended school together. Various film studios rejected the script until the financial success of Zemeckis' Romancing the Stone. Zemeckis approached Spielberg and the project was planned to be financed and released through Universal Pictures. The first choice for the role of Marty McFly was Michael J. Fox. He was busy filming his TV series Family Ties and the show's producers would not allow him to star in the film. Consequently, Eric Stoltz was cast in the role. During filming, Stoltz and the filmmakers decided that he was miscast, and Fox was approached for the part. Now with more flexibility in his schedule and the blessing of his show's producers, Fox managed to work out a timetable in which he could give enough time and commitment to both.

Back to the Future was released on July 3, 1985 and became the most successful film of the year, grossing more than $383 million worldwide and receiving critical acclaim. It won the Hugo Award for Best Dramatic Presentation and the Saturn Award for Best Science Fiction Film, as well as an Academy Award, and Golden Globe nominations among others. Ronald Reagan even quoted the film in his 1986 State of the Union Address. In 2007, the Library of Congress selected it for preservation in the National Film Registry, and in June 2008 the American Film Institute's special AFI's 10 Top 10 designated the film as the 10th-best film in the science fiction genre. The film marked the beginning of a franchise, with sequels Back to the Future Parts II and III released in 1989 and 1990, as well as an animated series, theme park ride and several video games.

Marty McFly lives with his unambitious family in Hill Valley, California. His father, George, is bullied by his supervisor, Biff Tannen, while his mother, Lorraine, is an out-of-shape drinker. Marty's underachieving older siblings, Dave and Linda, also live in the household. At dinner, Lorraine recalls how she and George first fell in love when her father accidentally hit George with his car.

Marty meets his friend, scientist Dr. Emmett "Doc" Brown, late at night in the parking lot of a deserted shopping mall, where Doc reveals a time machine made from a modified DeLorean DMC-12. The vehicle's time displacement is powered by plutonium, which supplies 1.21 gigawatts of power to a device Doc calls the "flux capacitor." Doc explains that the car travels to a pre-set date upon reaching 88 miles per hour; as an example, he enters the date November 5, 1955, the date he came up with the concept of the flux capacitor. Before Doc can make his first trip, Libyan terrorists, from whom he stole the plutonium, arrive in a van and shoot him. Marty attempts to escape using the DeLorean and inadvertently activates the time machine. He is transported back to 1955 and finds himself without the plutonium needed for the return trip.

While exploring the 1955 Hill Valley, Marty meets the teenage George, who is being bullied by Biff and is secretly writing science fiction stories, afraid of judgement, and bullying. As George is about to be hit by Lorraine's father's car, Marty pushes him out of the way and is knocked out by the impact. Consequently, Lorraine becomes infatuated with Marty instead of George. Marty goes to find Doc, telling him he is from the future and is seeking help for returning to 1985. Doc explains that the only available power source capable of generating 1.21 gigawatts of energy is a bolt of lightning. Marty shows Doc a flyer he received in 1985, which states that lightning will strike the courthouse clock tower the following Saturday at 10:04 pm. Doc makes plans to harness the lightning strike to power the DeLorean's flux capacitor. When they examine a fading photograph of Marty with his siblings, they determine that Marty has prevented his parents from meeting, jeopardizing his family's existence.

Marty makes several attempts to set George up with Lorraine. When Lorraine makes a date with Marty for the upcoming school dance, Marty plans to have George attend the dance as well and "rescue" Lorraine from Marty's inappropriate advances in a car. The plan goes awry when a drunken Biff unexpectedly shows up, pulls Marty from the car, and attempts to force himself on Lorraine. George arrives to rescue her from Marty but instead finds Biff. Standing up to him for the first time, George knocks Biff out. A smitten Lorraine follows George to the dance floor, where they kiss for the first time, ensuring Marty's existence.

Marty arrives at the clock tower, where Doc is making final preparations. Doc discovers a letter Marty had written to warn him of his impending 1985 murder and tears it up, fearing it will lead to altering the future. Marty successfully returns to 1985 and, although he arrives ten minutes earlier than his original departure to warn Doc, he does not get to the mall in time to prevent him from being shot. Doc, still alive thanks to a bulletproof vest, reveals that he had repaired the letter and read it.

Doc drops Marty off at his house and travels 30 years into the future. Marty awakens the next morning to find his family changed; Lorraine is physically fit, a self-confident George is a successful science fiction author, Dave is a white-collar worker, and Linda no longer has trouble finding boyfriends. George and Lorraine now have a closer relationship, while Biff has become an auto detailer who is on good terms with the McFly family. As Marty reunites with his girlfriend Jennifer Parker, Doc arrives insisting they accompany him to the future to sort out a problem with their future children. Marty and Jennifer enter the DeLorean with Doc and depart for the future.

Writing

Writer and producer Bob Gale conceived the idea after he visited his parents in St. Louis, Missouri after the release of Used Cars. Searching their basement, Gale found his father's high school yearbook and discovered he was president of his graduating class. Gale thought about the president of his own graduating class, who was someone he had nothing to do with. Gale wondered whether he would have been friends with his father if they went to high school together. When he returned to California, he told Robert Zemeckis his new concept. Zemeckis subsequently thought of a mother claiming she never kissed a boy at school, when in reality she was highly promiscuous. The two took the project to Columbia Pictures, and made a development deal for a script in September 1980.

Zemeckis and Gale set the story in 1955 because, they claimed, mathematically, a 17-year-old traveling to meet his parents at the same age meant traveling to that decade. The era also marked the rise of teenagers as an important cultural element, the birth of rock n' roll, and suburb expansion, which would flavor the story. Originally the time machine was a refrigerator and its user needed to use the power of an atomic explosion at the Nevada Test Site to return home. Zemeckis was "concerned that kids would accidentally lock themselves in refrigerators", and found that it would be more convenient if the time machine were mobile. The DeLorean was chosen because its design made the gag about the family of farmers mistaking it for a flying saucer believable. In addition the original climax was deemed too expensive by the executives of Universal and was simplified. Spielberg later used the omitted refrigerator and Nevada nuclear site elements in his film Indiana Jones and the Kingdom of the Crystal Skull.[8] The writers found it difficult to create a believable friendship between Marty and Brown before they created the giant guitar amplifier, and only resolved his Oedipal relationship with his mother when they wrote the line "It's like I'm kissing my brother." Biff Tannen was named after Universal executive Ned Tanen, who behaved aggressively toward Zemeckis and Gale during a script meeting for I Wanna Hold Your Hand.

The first draft of Back to the Future was finished in February 1981. Columbia Pictures put the film in turnaround. "They thought it was a really nice, cute, warm film, but not sexual enough," Gale said. "They suggested that we take it to Disney, but we decided to see if any other of the major studios wanted a piece of us." Every major film studio rejected the script for the next four years, while Back to the Future went through two more drafts. During the early 1980s, popular teen comedies (such as Fast Times at Ridgemont High and Porky's) were risqué and adult-aimed, so the script was commonly rejected for being too light. Gale and Zemeckis finally decided to pitch Back to the Future to Disney. "They told us that a mother falling in love with her son was not appropriate for a family film under the Disney banner," Gale said.

The two were tempted to ally themselves with Steven Spielberg, who produced Used Cars and I Wanna Hold Your Hand, which both flopped. Spielberg was initially absent from the project because Zemeckis felt if he produced another flop under him, he would never be able to make another film. Gale said "we were afraid that we would get the reputation that we were two guys who could only get a job because we were pals with Steven Spielberg." One producer was interested, but changed his mind when he learned Spielberg was not involved. Zemeckis chose to direct Romancing the Stone instead, which was a box office success. Now a high-profile director, Zemeckis approached Spielberg with the concept, and the project was set up at Universal Pictures.

Executive Sidney Sheinberg made some suggestions to the script, changing Marty's mother's name from Meg to Lorraine (the name of his wife, actress Lorraine Gary), to change Brown's name from Professor Brown to Doc Brown and replace his pet chimpanzee with a dog. Sheinberg also wanted the title changed to Spaceman from Pluto, convinced no successful film ever had "future" in the title. He suggested Marty introduce himself as "Darth Vader from the planet Pluto" while dressed as an alien forcing his dad to ask out his mom (rather than "the planet Vulcan"), and that the farmer's son's comic book be titled Spaceman from Pluto rather than Space Zombies from Pluto. Appalled by the new title that Sheinberg wanted to impose, Zemeckis asked Spielberg for help. Spielberg subsequently dictated a memo back to Sheinberg, wherein Spielberg convinced him they thought his title was just a joke, thus embarrassing him into dropping the idea.

Casting

A photo of the first time travel test with Eric Stoltz as Marty McFly

Michael J. Fox was the first choice to play Marty McFly, but he was committed to the show Family Ties. Family Ties producer Gary David Goldberg felt that Fox was essential to the show's success. With co-star Meredith Baxter on maternity leave, he refused to allow Fox time off to work on a film. Back to the Future was originally scheduled for a May 1985 release and it was late 1984 when it was learned that Fox would be unable to star in the film. Zemeckis' next two choices were C. Thomas Howell and Eric Stoltz. Ralph Macchio was also approached for the role of Marty McFly but turned it down. Eric Stoltz impressed the producers enough with his earlier portrayal of Roy L. Dennis in Mask – which had yet to be released – that they selected him to play Marty McFly.  Because of the difficult casting process, the start date was pushed back twice.

Four weeks into filming, Zemeckis determined Stoltz had been miscast. Although he and Spielberg realized reshooting the film would add $3 million to the $14 million budget, they decided to recast. Spielberg explained Zemeckis felt Stoltz was too humorless and gave a "terrifically dramatic performance". Gale further explained they felt Stoltz was simply acting out the role, whereas Fox himself had a personality like Marty McFly. He felt Stoltz was uncomfortable riding a skateboard, whereas Fox was not. Stoltz confessed to director Peter Bogdanovich during a phone call, two weeks into the shoot, that he was unsure of Zemeckis and Gale's direction, and concurred that he was wrong for the role.

Fox's schedule was opened up in January 1985 when Meredith Baxter returned to Family Ties following her pregnancy. The Back to the Future crew met with Goldberg again, who made a deal that Fox's main priority would be Family Ties, and if a scheduling conflict arose, "we win". Fox loved the script and was impressed by Zemeckis and Gale's sensitivity in releasing Stoltz, because they nevertheless "spoke very highly of him".Per Welinder and Bob Schmelzer assisted on the skateboarding scenes. Fox found his portrayal of Marty McFly to be very personal. "All I did in high school was skateboard, chase girls and play in bands. I even dreamed of becoming a rock star."

Christopher Lloyd was cast as Doc Brown after the first choice, John Lithgow, became unavailable. Dudley Moore and Jeff Goldblum were also considered for the role. Having worked with Lloyd on The Adventures of Buckaroo Banzai (1984), producer Neil Canton suggested him for the part. Lloyd originally turned down the role, but changed his mind after reading the script and at the persistence of his wife. He improvised some of his scenes, taking inspiration from Albert Einstein and conductor Leopold Stokowski. Brown pronounces gigawatts as "jigawatts", which was the way a physicist said the word when he met with Zemeckis and Gale as they researched the script, rather than with an initial hard "g", although both pronunciations are acceptable. Doc Brown's notable hunch came about because at 6'1" Lloyd was considerably taller than Fox at 5'5", and they needed to look closer in height.

Crispin Glover played George McFly. Zemeckis said Glover improvised much of George's nerdy mannerisms, such as his shaky hands. The director joked he was "endlessly throwing a net over Crispin because he was completely off about fifty percent of the time in his interpretation of the character". Due to a contract disagreement, Glover was replaced by Jeffrey Weissman in Part II and Part III.

Lea Thompson was cast as Lorraine McFly because she had acted opposite Stoltz in The Wild Life; the producers noticed her as they had watched the film while casting Stoltz. Her prosthetic makeup for scenes at the beginning of the film, set in 1985, took three-and-a-half hours to apply.

Thomas F. Wilson was cast as Biff Tannen because the producers felt that the original choice, J. J. Cohen, wasn't physically imposing enough to bully Stoltz. Cohen was recast as Skinhead, one of Biff's cohorts. Had Fox been cast from the beginning, Cohen probably would have won the part because he was sufficiently taller than Fox. Tim Robbins was also in the running for the role of Biff Tannen.

Melora Hardin was originally cast in the role of Marty's girlfriend Jennifer, but was let go after Eric Stoltz was dismissed, with the explanation that the actress was now too tall to be playing against Michael J. Fox. Hardin was dismissed before she had a chance to shoot a single scene and was replaced with Claudia Wells. Actress Jill Schoelen had also been considered to play Marty's girlfriend.

Production

Courthouse Square as it appeared in Back to the Future on Universal Studios backlot.

Following Stoltz's departure, Fox's schedule during weekdays consisted of filming Family Ties during the day, and Back to the Future from 6:30 pm to 2:30 am. He averaged five hours of sleep each night. During Fridays, he shot from 10 pm to 6 or 7 am, and then moved on to film exterior scenes throughout the weekend, as only then was he available during daytime hours. Fox found it exhausting, but "it was my dream to be in the film and television business, although I didn't know I'd be in them simultaneously. It was just this weird ride and I got on." Zemeckis concurred, dubbing Back to the Future "the film that would not wrap". He recalled that because they shot night after night, he was always "half asleep" and the "fattest, most out-of-shape and sick I ever was".

Lyon Estates set used in the film

The house used as the McFly residence in the Back to the Future trilogy

The Hill Valley town square scenes were shot at Courthouse Square, located in the Universal Studios back lot (34.141417°N 118.349771°W). Bob Gale explained it would have been impossible to shoot on location "because no city is going to let a film crew remodel their town to look like it's in the 1950s." The filmmakers "decided to shoot all the 50s stuff first, and make the town look real beautiful and wonderful. Then we would just totally trash it down and make it all bleak and ugly for the 1980s scenes." The interiors for Doc Brown's house were shot at the Robert R. Blacker House, while exteriors took place at Gamble House.The exterior shots of the Twin Pines Mall, and later the Lone Pine Mall (from 1985) were shot at the Puente Hills Mall in City of Industry, California. The exterior shots and some interior scenes at Hill Valley High School were filmed at Whittier High School in Whittier, California, while the band tryouts and the "Enchantment Under the Sea" dance were filmed in the gymnasium at Hollywood United Methodist Church. The scenes outside of the Baines' house in the 50s were shot at Bushnell Avenue, South Pasadena, California.

Filming wrapped after 100 days on April 20, 1985, and the film was delayed from May to August. But after a highly positive test screening ("I'd never seen a preview like that," said Frank Marshall, "the audience went up to the ceiling"), Sheinberg chose to move the release date to July 3. To make sure the film met this new date, two editors, Arthur Schmidt and Harry Keramidas, were assigned to the picture, while many sound editors worked 24-hour shifts on the film. Eight minutes were cut, including Marty watching his mom cheat during an exam, George getting stuck in a telephone booth before rescuing Lorraine, as well as much of Marty pretending to be Darth Vader. Zemeckis almost cut out the "Johnny B. Goode" sequence as he felt it did not advance the story, but the preview audience loved it, so it was kept. Industrial Light & Magic created the film's 32 effects shots, which did not satisfy Zemeckis and Gale until a week before the film's completion date.

Music

Alan Silvestri collaborated with Zemeckis on Romancing the Stone, but Spielberg disliked that film's score. Zemeckis advised Silvestri to make his compositions grand and epic, despite the film's small scale, to impress Spielberg. Silvestri began recording the score two weeks before the first preview. He also suggested Huey Lewis and the News create the theme song. Their first attempt was rejected by Universal, before they recorded "The Power of Love". The studio loved the final song, but were disappointed it did not feature the film's title, so they had to send memos to radio stations to always mention its association with Back to the Future. In the end, the track "Back in Time" was featured in the film, playing during the scene when Marty wakes up after his return to 1985 and also during the end credits.

Although it appears that Michael J. Fox is actually playing a guitar, music supervisor Bones Howe hired Hollywood guitar coach and musician Paul Hanson to teach Fox to simulate playing all the parts so it would look realistic, including playing behind his head. Fox lip-synched "Johnny B. Goode" to vocals by Mark Campbell (of Jack Mack and the Heart Attack fame), with the guitar solo played by Tim May.[33]

The original 1985 soundtrack album only included two tracks culled from Silvestri's compositions for the film, both Huey Lewis tracks, the songs played in the film by the fictional band Marvin Berry and The Starlighters (and Marty McFly), one of the vintage 1950s songs in the movie, and two pop songs that are only very briefly heard in the background of the film. On November 24, 2009, an authorized, limited-edition two-CD set of the entire score was released by Intrada Records.

Release

Back to the Future opened on July 3, 1985, on 1,200 screens in North America. Zemeckis was concerned the film would flop because Fox had to film a Family Ties special in London and was unable to promote the film. Gale was also dissatisfied with Universal Pictures' tagline "Are you telling me my mother's got the hots for me?" Yet Back to the Future spent 11 weeks at number one. Gale recalled "Our second weekend was higher than our first weekend, which is indicative of great word of mouth. National Lampoon's European Vacation came out in August and it kicked us out of number one for one week and then we were back to number one." The film went on to gross $210.61 million in North America and $173.2 million in foreign countries, accumulating a worldwide total of $383.87 million. Back to the Future had the fourth-highest opening weekend of 1985 and was the top grossing film of the year. This film received a 25th anniversary theatrical re-release in the U.K. and the U.S. in October 2010 to coincide with the Universal Studios Home Video 25th Anniversary DVD and Blu-ray Disc releases of the trilogy. For its re-issue, Back to the Future was restored and re-mastered.

When the film was released on VHS, Universal added a "To be continued..." graphic at the end to increase awareness of production on Part II. This caption is omitted on the film's DVD release of 2002 and on subsequent Blu-ray and DVD releases.

Critical response

Back to the Future received universal acclaim. According to review aggregator Metacritic, which assigns a normalized rating out of 100, the film received an average score of 86/100, which indicates "universal acclaim", based on 12 reviews. As of October 2013, review aggregator Rotten Tomatoes reported that 96% of critics gave the film a positive review, based on 68 reviews, certifying it "Fresh", with an average rating of 8.6 out of 10 and the consensus: "Inventive, funny, and breathlessly constructed, Back to the Future is a rousing time-travel adventure with an unforgettable spirit."

Roger Ebert of the Chicago Sun-Times felt Back to the Future had similar themes to the films of Frank Capra, especially It's a Wonderful Life. Ebert commented "[Producer] Steven Spielberg is emulating the great authentic past of Classical Hollywood cinema, who specialized in matching the right director (Robert Zemeckis) with the right project." Janet Maslin of The New York Times believed the film had a balanced storyline: "It's a cinematic inventing of humor and whimsical tall tales for a long time to come." Christopher Null, who first saw the film as a teenager, called it "a quintessential 1980s flick that combines science fiction, action, comedy, and romance all into a perfect little package that kids and adults will both devour." Dave Kehr of Chicago Reader felt Gale and Zemeckis wrote a script that perfectly balanced science fiction, seriousness and humor. Variety applauded the performances, arguing Fox and Lloyd imbued Marty and Doc Brown's friendship with a quality reminiscent of King Arthur and Merlin. BBC News applauded the intricacies of the "outstandingly executed" script, remarking that "nobody says anything that doesn't become important to the plot later."[46] Back to the Future appeared on Gene Siskel's top ten film list of 1985.

Awards

 

At the 58th Academy Awards, Back to the Future won for Best Sound Editing while "The Power of Love" was nominated for Best Song and Bill Varney, B. Tennyson Sebastian II, Robert Thirlwell and William B. Kaplan were nominated for Best Sound Mixing. Zemeckis and Gale were nominated for Best Original Screenplay, but lost to the critically acclaimed thriller Witness. The film won the Hugo Award for Best Dramatic Presentation and the Saturn Award for Best Science Fiction Film. Michael J. Fox and the visual effects designers won categories at the Saturn Awards. Zemeckis, composer Alan Silvestri, the costume design and supporting actors Christopher Lloyd, Lea Thompson, Crispin Glover and Thomas F. Wilson were also nominated. The film was nominated for numerous BAFTAs at the 39th British Academy Film Awards, including Best Film, original screenplay, visual effects, production design and editing. At the 43rd Golden Globe Awards, Back to the Future was nominated for Best Motion Picture (Musical or Comedy), original song (for "The Power of Love"), Best Actor in a Motion Picture Musical or Comedy (Fox) and Best Screenplay for Zemeckis and Gale.

Legacy

The retrofitted DeLorean DMC-12

President Ronald Reagan, a fan of the film, referred to the movie in his 1986 State of the Union address when he said, "Never has there been a more exciting time to be alive, a time of rousing wonder and heroic achievement. As they said in the film Back to the Future, 'Where we're going, we don't need roads'." When he first saw the joke about his being President, he ordered the projectionist of the theater to stop the reel, roll it back, and run it again.

The movie ranked number 28 on Entertainment Weekly's list of the 50 Best High School Movies. In 2008, Back to the Future was voted the 23rd greatest film ever made by readers of Empire. It was also placed on a similar list by The New York Times, a list of 1000 movies. In January 2010, Total Film included the film on its list of The 100 Greatest Movies of All Time. On December 27, 2007, Back to the Future was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In 2006, the original screenplay for Back to the Future was selected by the Writers Guild of America as the 56th best screenplay of all time.

In June 2008, the American Film Institute revealed the AFI's 10 Top 10 – the best ten films in ten classic American film genres – after polling more than 1,500 people from the creative community. Back to the Future was acknowledged as the 10th best film in the science fiction genre.

Skateboarding

The scenes of the Marty McFly character skateboarding in the film occurred during the infancy of the skateboarding sub-culture and numerous skateboarders, as well as companies in the industry, pay tribute to the film for its influence in this regard. Examples can be seen in promotional material, in interviews in which professional skateboarders cite the film as an initiation into the action sport, and in the public's recognition of the film's influence.

Source: Wikipedia

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