Respond to these rapid questions in our Slumberland quiz and we will tell you which Slumberland character you are. Play it now.
Little Nemo in Slumberland was a comic strip unlike any other when it first appeared in the New York Herald in 1905. Its unique design, which included panels that would grow and shrink to help readers get a true sense of proportion, bold use of color, and surreal storylines made it stand out from the competition. Because of these daring aspects, Winsor McCay, the comic strip’s creator, was hailed by historian R.C. Harvey as “the first original genius of the comic strip medium” and was acknowledged as an inspiration by writers and directors including R. Crumb, Art Spiegelman, and Federico Fellini. In fact, McCay’s first film, “Winsor McCay, the Famous Cartoonist of the N.Y. Herald and His Moving Comics,” was a live-action/animation hybrid that showed him creating 4,000 drawings of Nemo, a young boy whose adventures in the world of dreams were the subject of the strip, which were then brought to life in a four-minute animated segment. McCay would go on to prove to be a leader in the early days of animated film as well Although his use of ethnic stereotyping, particularly in the instance of one of Nemo’s friends, African Impie, is distressing to observe today, even if it was standard practice back when it was developed, the movie is kind of adorable (and can be accessed online).
This wouldn’t end up being the only attempt to bring Little Nemo’s adventures to the big screen. The pricey “Dream One” version from Europe in 1984, which John Boorman co-produced and starred actors like Harvey Keitel, Nipsey Russell, Carole Bouquet, and Michel Blanc in, was generally seen as a failure. Little Nemo: Adventures in Slumberland, a Japanese-American animated co-production that was released a few years later, was also a disappointment, albeit having at least sporadic moments of appeal. Frankly, the Terry Gilliam classic “Time Bandits” is the one movie that has, to date, come the closest to nailing McCay’s blend of stunningly hallucinogenic vision and ambitious storytelling. This is because McCay was willing to deal with darker subjects inside his wacky plots.
Francis Lawrence’s “Slumberland” is a fresh cinematic interpretation of McCay’s work, and while few will truly like it, your reasons for disliking it will probably differ depending on how well you know the source material. The movie is a profound betrayal of McCay’s work if you are familiar with him and his place in comics history since it transforms a breathtakingly original creation into a type of completely forgettable sludge. Instead, those who have never heard of Nemo or McCay will view it as just another unmemorable fantasy epic that spends tens of millions of dollars but manages to produce zero memorable images.
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This time, Nemo (Marlow Barkley) is a nine-year-old girl who resides in a remote lighthouse with her father (Kyle Chandler). Her father regularly entertains Nemo before bed with elaborate bedtime tales about fantastical treasures, savage creatures, and his devoted companion, a rogue by the name of Flip. Nemo is forced to live with her distant brother Philip (Chris O’Dowd), a city slob who sells doorknobs for a job and has no idea how to relate with any child, much less a grieving one, when her father passes away at sea.
Slumberland Quiz
In order to cope with her loss and perhaps receive another chance to see her father, Nemo is left turning to the realm of her dreams. She encounters the real Flip (Jason Momoa) there, a smugly inept robber searching for her father’s map that will enable him to travel around Slumberland while hopping from one person’s dream to another. When Nemo discovers the map, she uses it to coerce Flip into assisting her in finding her father. The two are ceaselessly chased by Agent Green (Weruche Opia), a representative of the bureaucracy that oversees the dream world, who is keen to crack down on people like Flip. They occasionally return to the real world, but Uncle Philip is so boring that he swears he never dreams. In addition, a huge, murky nightmare that wants to completely envelop Nemo is pursuing the two.
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The production of “Slumberland” evidently cost a lot of money, but there is a distinct lack of inventiveness throughout. Francis Lawrence has established himself as a competent craftsman in movies like “Constantine” and the final three installments of the “Hunger Games” series, but he lacks the kind of wild imagination required for something like this. He creates an elaborate visual tableau (including a recreation of one of McCay’s most famous images, a giant walking bed) that never connects or sticks in the mind. (If the “Framed” game ever uses “Slumberland” as one of its themes, woe to those who play it.)
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At least initially, the screenplay by David Guion and Michael Handelman attempts to examine how a youngster could utilize dreams to cope with unfathomable sadness. But that notion is rapidly abandoned in favor of a string of never-ending chases, explosions, and scenes that appear to have been lifted from other well-liked fantasy movies from the previous few decades. Despite Barkley’s passable performance as Nemo, especially in some of her more challenging exchanges with O’Dowd, the normally dependable Momoa is a major letdown. However, his obnoxiously flailing performance ends up more like “Mortdecai” than “Pirates of the Caribbean” did for Johnny Depp.
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The biggest issue with “Slumberland” is ultimately its complete innocuity. Little kids could find it entertaining as a temporary diversion because it is bright, noisy, and full of activity, but it won’t encourage them to check out McCay’s original work. It’s unfortunate because despite the aforementioned racial stereotyping, those comics exhibit the kind of rich, intricate vision that encourages people to pursue careers as artists. The majority of spectators are unlikely to remember anything from “Slumberland” the day after seeing it, in contrast.
present on Netflix.
For more personality quizzes check this: Homestuck Classpect Test.
