Movie : Chronicle, or: How to revive the found footage genre
Link : Chronicle, or: How to revive the found footage genre
Chronicle, or: How to revive the found footage genre
Chronicle (2012)
Directed by Josh Trank
Directed by Josh Trank
***SPOILERS***
Chronicle is a found footage film, just like Cloverfield, Area 51, Paranormal Activity, Paranormal Activity 2, Paranormal Activity 3…well, you get the idea. And with each passing found footage trailer, my eyes roll further back into my head. Honestly, Paranormal Activity 2 has been the most effective use of the genre, employing elements beyond a bird’s eye view camera and drawing the audience into the horror (you know, that crazy basement scene you shat yourself over). Cloverfield had a great idea and further displayed the boundaries of the genre had been stretched, but, much like those Paranormal Activity films, the characters were scarcely drawn and incredibly unrelatable, thus making the action less engaging. But with Chronicle, we have our first breakthrough. Unlike Cloverfieldor Paranormal Activity, this coming-of-age tale is focused on building its characters instead of an idea or a mythology. The mythology surrounds the characters, but it’s a product. Instead of an outside force dictating the action, Andrew (Dane DeHaan) directs the force, thus the movie progresses as Andrew progresses—a welcome anomaly for the genre…which should have never been an anomaly in the first place.
Is it so hard to build characters instead of mythologies? Chronicle actually takes no time to discuss its supernatural outside force, allowing it to blossom alongside our characters instead of burden. This concurrently works as a strength for the camerawork. Andrew was already carrying his camera around before the mysterious life-changing event took place. He originally employs it to record his father’s violent behavior. Thus, the reasoning behind his antics are justified and multiply the resonance of a floating camera controlled by Andrew. Originally the power was out of Andrew’s hands. His camera was a barrier he created to guard him from the cruel world. But as the bullying and home abuse continued, we saw how little effect the camera had physically. As Andrew’s powers grow, so does the purpose of his camera. At first it stays still. Then, he learns to make it float. Soon, it’s circling around his bedroom and soaring into the clouds. As the sound and picture become fuzzy as Andrew becomes enraged, we witness the most powerful use of a camera for the genre thus far. Instead of feeling like outsiders watching a collection of strewn together home videos, we feel a part of the action.
While the effective use of the camera shows Chronicle has a better grasp on the genre’s future than any previous found footage film, the narrative displays the genre still has room to grow. The outline is perfect: Andrew is abused; he then gains his powers; the powers are lightly tested, but eventually grow to scary heights; his will is tested as his temporary high school popularity disappears and he’s continually abused; he reaches a breaking point when his mother dies, thus invoking the final outrage. But while all the story elements are in place, the execution is lacking. I’m not one to claim that Andrew’s reaction is overstated. Sure, people are bullied and abused everyday and don’t react by killing innocent bystanders and robbing convenience stores, but who are we to judge Andrew? Perhaps his newfound powers enhance his dire mental state and cause him to become unnaturally more depressed? Regardless of it all, Andrew can overreact all he wants…as long as the film is willing to justify it.
The found footage genre has leeway other genre’s don’t: it doesn’t have to justify character’s actions with important background information because it doesn’t necessarily fit into the genre’s style. But there are plenty of opportunities to build on characters subtlety, which the film does admirably at times. But the film’s impatience to build Andrew’s dire state displays Chronicle’s inept grasp on character development, which is crucial in justifying Andrew’s actions. The overall pacing of the film is quick and engaging. The abrupt transitions catapult the story forward in succinct segments, pulling the viewer in repeatedly and never allowing for a dull moment. But while they display Andrew’s randomly drastic changes in personality, it also shows that Chronicle is more focused in relating Andrew’s changes than building his character brick by brick. In a sense, the overuse of the abrupt transitions almost becomes a gimmick—a great idea that’s burdened by a misguided interpretation.
Andrew’s personal life is unflinchingly displayed. The school bully punches him in the face repeatedly, which is shockingly just as hard to watch as Andrew pulling the bully’s teeth out. His father runs into the room and knocks him upside the head. Andrew sits at his mother’s deathbed as she progressively becomes worse. But these shots are few and far between, and they’re transitions are met with the same briskness as any other scene, which isn't as nearly as effective as transitioning to Steve's (Michael B. Jordan) funeral. Only two quick shots are used to justify Andrew’s robbery of the convenience store, and neither builds on Andrew and his mother's relationship, only displaying that Andrew feels sorry for his mother. The father’s abuse is justified with momentary glimpses of his violent behavior, but the relationship is never explored. The film’s sole attempt at peeking into this relationship is Steve’s blatant and unprompted inquisition about Andrew’s father. As abrupt as the transitions used throughout the film, a similar observation is made by Matt (Alex Russell), noting that Andrew uses the camera as a “barrier” to protect him from society. Instead of pondering the question, Andrew immediately agrees, “Maybe I am.” Such brazen statements are displays of the film’s eagerness to build its main character, which take away from the natural progression of his psyche, and concurrently his powers. Although the progression is hasty, it’s still not as distracting and destructive as screenwriter Max Landis forcibly inserting his voice into the story.
Chronicle also introduces a special addition to the genre: the second camera. Casey (Ashley Hinshaw) is introduced into the story, and her camera immediately receives the first person view Andrew’s camera had previously held. Much like the floating cameras pulled from the bystanders during Andrew’s final outrage, incorporating outside characters into the story displays Chronicle’s astounding grasp on the genre’s limitations. Frustratingly, her introduction displays that opening new doors also creates more responsibilities. She and Matt’s former friendship justifies her presence, but their relationship receives a surface treatment. In fact, Casey seems to be Matt’s only chance for character development, since Andrew’s camera is solely used to build Andrew’s character. There are very few shots of Matt and Casey together, and (with the exclusion of Matt visiting her home) every scene of the couple is a product of Andrew: they interact in the club because of Andrew’s camera; they talk during Andrew’s act at the talent show; they rush off to stop Andrew from hurting anyone in the final action sequence. If the film were content in solely building Andrew’s character, these wouldn’t be problems. But Chronicle hints at the relationship. It spaces out the pair’s progression as Casey becomes more convinced of Matt’s new personality. These small glimpses into Matt’s life suggest his character will be built, but his most important scenes involve him calming down Andrew, thus making him a parasite instead of his own being.
It almost seems unfair: by introducing several new elements into the found footage genre and stretching the boundaries, Chronicle burdened itself with new responsibilities that were previously unnecessary for less effective films. The saving grace becomes the final action sequence, employing engaging camera angles form Casey's point of view that are reminiscent of the spectacular airplane scene. As the camera hurdles downward at breakneck speeds along with our characters, we aren't distracted or confused, but become part of the action at hand. It's too bad the rest of the film didn't receive the same intricate attention the final scene received. Rolling in at a brisk 75 minutes, it would seem the film’s own avidity to advance the story inhibited its already effective use of the genre’s unique strengths. So while Chronicle is a very good, if not great film, perhaps it’s better to view it as an important film. Chronicle may be the best found footage film yet, but there’s tons and tons of room for improvement. By introducing so many new elements, we can only hope that it will lead to a truly significant film that launches the genre to new heights. Someday when that special film is made, we can look back and say, “Thank God for Chronicle.”
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