In Defense Of Scott Pilgrim's Detractors

After a most recent rewatch of what has over the last year and a half become one of my favorite mainstream films of the last several years, it finally came to my attention that there are other reasons why even those who finally got around to catching Edgar Wright's adaptation, and disliked it, or just felt outright ready to dismiss it. Stylistics & Michael Cera overexposure aside, there are some elements embedded in the film's approach that can easily be seen as ripe for ridicule, or dismissal. And while some of it may lay flat in the lap of the original source material created by Bryan Lee O'Malley, there is a bit of reality play that at times comes at the expense of what some audiences expect out of their central characters. Especially when the film almost defiantly asks the audience to laugh along with an anti-protagonist who's greatest triumph come when it barely steps onto the front porch. Mix this with a virtually cold, unsympathetic (to many) object of affections, and it is hard to identify with many of these characters on an amiability level...But many might still know many of them.

As mentioned in my review back upon it's release in August 2011, one of my minor gripes about the film was how this rendition of events gave the character of Ramona Flowers not only a more tattered, damaged demeanor, but little in the way of character agency, particularly near the finale when she reveals her reasons for returning to her last "evil" ex in the form of Gideon Graves. The addition of a computer chip implanted at the base of her neck, rendering her incapable of escaping the douchey record producer continues to come off as a sleight toward what was once a more bright, assertive, and understandable character. BUT - When taken in the context of the film, which is nearly completely taking place within Scott's ADDled mind/skewed imagination, it serves to support his view of Ramona, which goes all the way around to inform what some viewers are and are not willing to follow in a film of this size. Where the original comics spent more time wavering in and out of Pilgrim's head, revealing the reality of a world moving on without him, the film is much more comfortable within the silly, exaggerated confines of an aloof imagination.

It is this helplessly myopic worldview that at times comes at odds with the expectations of many. And even I, as a viewer couldn't help but notice it. But what always balances it out with me is in how Wright and co-writer, Michael Bacall granted the Knives Chau character enough of an arc to see through her erstwhile ex-boyfriend's irresponsible actions, going from a child to a self-respecting young lady. She becomes everything Ramona and Scott can't seem to get right. The near-stealthy manner in which the "middle-character" becomes the real protagonist is something of a kick in the pants to many to the point that some often don't even see it. It is missing these elements, and perhaps even disliking who are supposed to be the central characters that can fuel much of the divide between fans and detractors of the film. But what I do love about the film aside from it's eye-popping presentation, energy and musical editing, is the fact that it DOES make it clear that this is very much a parody of every mumblecore film ever made where the characters are blinded by whatever short-sighted selfishness the film demands of them. It dares those of us surrounded by subcultures to seek out the real behind the attitude, and is a reminder of what could be lost when we buy so much into the collective images of any pop-culture era.

Cooler Than Box Office (Celebrating Scott Pilgrim @ Giant Robot!)

In a long awaited, long in the action trek taken on a sunny Saturday afternoon, our trip to Sawtelle's ever great Giant Robot (Store Location 2) is something that was both surreal, and heartening to see unfold. The occasion (unless you haven't been reading these pages lately) was in order for fans to stop by, line up, and welcome GR's special guest, Mr. Bryan Lee O'Malley. Fresh from the Scott Pilgrim barrage that has for better or worse scoured the web over the last several weeks in the two-fold celebration of the release of Pilgrim's penultimate volume, as well as Edgar Wright's groundbreaking live action adaptation, the man wa gracious enough to stop by for a book signing, as well as a little surprise at the finale.

Thing was, despite his scheduled signing window of 5 - 7pm, as of 4:30pm, the line looked like this...

Yeah, and with that sun overhead, there was definitely a micro Comic-Con vibe when well over a hundred fans are willing to be out there for as long as they were in order to just say hi, and share appreciation for O' Malley's loveable Torontonians, and their wacky world.

Of course, had I remembered that GR2 was to be that exposed to the rays, I would definitely have brought on the SPF since I'm an ultraviolet lightweight.(Oh, well. I guess I brought the backpack for a reason)

The wait began the moment we arrived, and upon moving with the serpentine line, the enormity of this event, coupled with the sheer love of Scott Pilgrim began to take heartening dimensions as the up to six layers of line that eventually formed behind us. All this, in the sun (even with several younger fans with their parents at their sides) was a great alternate version of what many would consider the atypical fan crowd, as the diversity was more than gobsmacking, adding layers to the comic's impressive crossover appeal.(despite what the box office horserace would rather imply)

It was about 7pm when we finally had the opportunity to make it into the store. With a line remaining as far out(if not further than it had been when we started) giving credence to the thought that in these days of budgetary constraints, and increasing corporate control, the indie comic world seems to have its champion with a flaming sword, and a fistful of pixelated dreams...

The events of the day:

                                     (O'Malley with Buddy & Infant Island Co-Host, Jenny!)

                                       

Ramona Still Sings (Feelings on the Scott Pilgrim series)

When the time came for me to share some thoughts regarding the finishing of Bryan Lee O'Malley's Scott Pilgrim book series, it appears to me that it would be redundant to scale the main plotline, detailing the epic-as-life adventures of Toronto-based garage outfit, Sex Bob-omb's erstwhile bassist, and roundabout loser, Scott Pilgrim and his awakening to more than a Precious Little Life. It's a tale that is universal, told in a way best embracing the awkwardness of a gobsmacked generation awash in mutated, 16-bit blasts of post-irony & tonal distortion. O'Malley's world is not unlike a world not too removed from one I grew up in, surrounded by geeks, freaks, punk-rock posers, cigarettes, and attitude. And while Scott's life has been thrown into a sanctuary-smashing upheaval after falling for the enigmatic beauty that is Ramona Flowers, it is no mean stretch to say that his once comfortable lifestyle of slacking, gaming & freeloading will have to change dramaticaly if he is even willing to live up to this. (And even if it were possible, could it be that Ms. Flowers herself takes interest in aloof-minded Pilgrim merely because he offers a no strings, no hassle respite from the phantoms of a checkered past?)

I'd sooner not delve into how much O'Malley's underdog tale has had a background player role in many of my travels over the years, or that it reminds me of friends past & present. Or that even if many of the characters in his world do not completely connect with my own, yet it somehow retains a certain relatability via the people in Scott's life. From the ever responsible free-spirit that is roomie, Wallace Wells, to Sex Bob-omb's quiet leader, Stephen Stills. From that painful memory of Envy Adams, to the lingering forgotten of drummer Kim Pine, the world surrounding Mr. Pilgrim is an alarm clock ready to ring with the force of a million nuclear tests. Perhaps its better that we don't share that there was in fact a time when likely I felt as he once did. Content, and undermotivated. Trapped in a world of his own making, and unsure of how those around him truly feel, only to be made aware through some natural force as daunting as love. Nah. Not worth it at all.

But I can share that despite certain misgivings I once had about the comics over the years, there are many satisfying elements that hit home with tones honest, and at times sublime. One of the first things that bugged me early on was its latent self-conscious tone, reminding the readers that the author isn't taking this as seriously as perhaps some might prefer. From occasionally referencing past volumes, to marking how far into the volume we are, it can be a put off for many who like their verisimillitude levels high. And there are times when O'Malley lets the story cheat around the fact that the written word isn't as strong a suit for him as is visual panache, which is at times a frustrating trade. Yet somehow, inventiveness becomes a valuable weapon as the books unfold, leaving readers to drink in the wildness of Ramona's ability to subspace travel (sometimes through the dreams of others as short-cuts), and to embrace the overall metaphor of the entire work. Perhaps it is all to be seen as a wacky dream, played out in the slumber of a generation longing to wake up and take on The World. At even at the series' weakest points, the tales hit where they count most,.. when called to action. In a manner that is not unlike the actions of Mr. Pilgrim himself.

But even more prescient for this writer, is the life surrounding the title character.

It is often stated that the best way to start off a continuing saga, is to do so by placing your lead character in the lowest place imaginable at the start in order to allow the viewer/reader to grow. If this is to be so, then Scott Pilgrim is amongst the laziest,most vacuous forces ever known to hero-dom. Much more than Shawn Of Edgar Wright's Shawn of The Dead, or even any of Kevin Smith's schlubby leads, we are looking at a young man-baby who could possibly have had everything one could ever hope for, and yet sees no means of himself within all of it. A child of media overload, and content on crumbs, overdue video rentals, a shared bed, & perhaps marathon rounds within the Mushroom Kingdom, he is much like a bundle of idle pixels, waiting for the princess to come to him with every solution. Something that gives all of the comic's anime-video game imagery in-gags an unexpected punch. To see the trouble his floaty way of life has helped create is made most vividly so via the ladies in Scott's past.

There is no shortage of growing pains that have either transferred almost psychically to his peers, or to these muses in his world that it threatens to poison more than their middling garage band. Whether it be through past names like Lisa Miller, or through his relationship with the underaged Knives Chau, it is crystal clear that if his course remains constant, Pilgrim's problems could only (as Liz once said) exacerbate. Whether he is willing to Get It Together or not, life is coming at him with the force of a speeding train in the form of baggage. Serious baggage. (The element that is perhaps my favorite of all of this.) In the form of seven so-called "Evil exes". Seven souls from Ramona's past, hellbent on reminding Pilgrim of his maturity station, and his inability to hold on to what he doesn't understand. First sight may be bursting with hearts & flowers, but facing against the thought that one wasn't there first is perhaps a silly concern in retrospect. But when one is young, it can crush with a violent force. Which is why Pilgrim is in the thick of it, and must overcome each soul, mastering himself in the process.

And the drama rebounds as the women around him begin to find their respective callings with, or without him in ways both befitting of this type of work, as well as achingly true. Ramona's battles, while not as visually expounded upon as Scott's, have a weight befitting the kind of girl one would hurt others for. The irony isn't lost when it's clear that perhaps she is no different than Scott, disconnected, implacable, and unwilling to dive without a parachute. The Infinite Sadness is all too near, and while it might be true that old loves are what they are, they aren't things easily forgotten, or equally cast aside. This is as much Ramona's fight as it is Scott's, and the wasteland they leave behind is surprisingly tragic at moments.

Nevermind that the series, after six years of reading & waiting, Scott Pilgrim has become a much larger entity than many of us had anticipated. Nevermind that by the time he takes on The Universe, O'Malley has fashioned his own clever little take on hero tropes, even experiencing his own internal Empire Strikes Back. Forget that by his Finest Hour, Pilgrim still isn't sure of his abilities as a hero, a friend, or a lover. And embrace that this madness came courtesy of a fan. Someone with an enthusiasm for similar material, art & music. A reminder that one of us truly hit it off with one of the more generation kindred filmmakers of this generation, and did so by the seat of his pants I'm sure. The victory of Scott Pilgrim is that he never has to wear a mask, or a suit to fight for the future. And that he, and in this way we, can win it epically one stumble at a time.

Scott Pilgrim & The Endless Possibility

There are few things as exhilarating as having a complete set.

And having a roommate who has just taken the plunge, and has responded as well as she has is a definite highlight of a more laid back summer season than usual. To know that O'Malley's long-awaited finale is in the house, a week-plus before Edgar Wright's adaptation is unleashed beyond the Comic-Con crowd. (Which has largely been positive over Twitter. And Drew McWeeny's early review is quite glowing.)

 At the moment, I'm essentially waiting for the roomie to catch up before re-reading, so at the moment, I'm am working off of years of recollection. The comic's impact, for all of its scrappy glory functions as a beautiful reminder of a particular time frame in my own life, and of likely so many others. And as such, the piece works as that bridge between the gears of idle and active. This entire concept is a universal part of Edgar Wright's filmography.(Shaun Of The Dead in my eyes, remains a classic simply because of its own deeper concern with detaching from the womb in a realm packed with overgrown children) Upon hearing of his decision to take on Pilgrim, it was hand  and glove. Few other visualists can nail the hilarity and pain of growing up with such vigor. And even as a larger audience unfamiliar with the snark-biting alterna-hipster world of the comic, the vernacular of Wright and company should help it transcend mere cult status.

As much as I had feared for its box-office chances previously, in a place where INCEPTION can become a runaway success, almost anything seems possible.