starring Tom Hanks
costarring the most pimp tuxedo ever
Shimmy Shimmy Go Go Pop
shimmy shimmy ra
shimmy shimmy go go pop
shimmy shimmy ra
I met a girl said a trisket
she said a trisket a biscuit
ice cream soda pop vanilla on the top
whoo shalita walking down the street
ten times a week
I met it I said it I stole my momma's credit
I'm cool I'm hot, I sock you in the stomach three more times.
my best friend/neighbor and I used to sing that to each other, back when we were kids, which we learned from watching Big. I've seen this movie many a time, growing up, but I've not really ever watched it since I was grown up. So much to appreciate in this film that opens up a whole new level of enjoyment.
For instance, the last time I remember watching the beginning of the film, I didn't even notice that there was a girl involved that Josh was kinda sorta interested in. I just remember the injustice of him not being allowed on the ride because he was not old/tall enough. that whole angle of the girl being part of the frustration/humiliation at not being big enough passed this particular boy by completely. :-p From my perspective, Josh just happened to be standing next to a girl in the line. heh.
I clearly remember the creepy Zoltar machine, both the first time and the last time. and I remember he got an awesome apartment filled with a five foot tall blow up punching bag tyrannosaurus rex (which was my favorite thing that Josh had, and which my brother and I eventually got, he the trex, I a stegosaurus).
And I remember that Josh and the grown up girl got together and went on a date and kissed, and I remember she tried to turn off the lights on him, and he did the very smart thing of turning the lights back on. For whatever reason I remember this scene as being a back and forth of turning the lights on and off several times (she off, him on) but this is an inaccurate memory. I still remember how I thought it was very smart of him, if she was taking off her clothes, of course the lights need to be on so he can see. why would you want the lights off with everything remaining a mystery? It's good that they don't ignore this issue completely.
That said, the film relies a lot on the awkwardness of Josh's childish behavior while everyone else sort of takes it in stride, allowing him to buffoon his way cluelessly from scene to scene. What makes it magical is Tom Hanks' pitch perfect performance of a kid. He really has no adult mannerisms in the film, everything he does is spot on twelve year old. posture, attitude, walk, delivery, interacting with his environment. The comedy is more situational (silent, akin to Keaton or Lloyd) growing organically from the audiences understanding of the absurdity and impossibility of the situation. It's quite impressive to watch, and then, as in life, sex changes everything, and the boy who's put in the position of an adult becomes an adult himself, he grows up. And perhaps the most poignant part of the film is that he wants to go back to that pre-lapsarian childhood, and it's actually an option for him. that's what's magic about the film, is that it works for kids who want to be grown up, and it works for grown ups who want to be kids. It speaks to both audiences and in a way tells a completely different story to both. Two films in one.
remarkably the film seems to have been pretty influential in terms of office culture. The free form creativity you see Josh have is definitely seen throughout many offices today, most famously in places like Pixar.
It's a wonderful and sad film.
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