The bfg how old is sophie turner

Criticism from the FILMSTARTS editorial team
By Christoph Petersen
In the girls' dormitory of the children's home from "BFG - Big Friendly Giant" there is an E.T. Easter Egg hidden, but that's not the only reason why Steven Spielberg's adaptation of the Roald Dahl model seems to come full circle: there are not only obvious parallels in the plot (a child befriends a strange being), the book "The BFG" (in Germany: "Sophiechen und der Riese") is 1982 in the same year as "ET - The Extra-Terrestrial ”and the scripts for both films are from Melissa Mathison, who died in 2015. So it just felt right that the three-time Oscar winner was announced as director for “BFG” - especially now in 2016, when Roald Dahl would have turned 100 in September. And Spielberg does not disappoint the immense expectations given these conditions: his fairytale children's adventure “BFG” is a visual masterpiece, spiced with staged pieces, a number of creative ideas, breathtaking CGI effects, really creepy giants and damn funny punk gags.

The orphan Sophie (Ruby Barnhill) suffers from insomnia and is therefore the only one in her children's home who knows that the witching hour does not start at 1 or even at 12, but at 3 in the morning. When, on one of her nocturnal forays, she observes a figure more than seven meters high putting up a fallen garbage can on the street, Sophie is carried away by this directly into the realm of the giants. There, the kidnapped woman quickly discovers that the Big Friendly Giant luckily lives up to his name, and he even takes her with him on a dream hunt. In fact, Sophie has to worry about all the other giants who sleep outside under the sward - they are not only much bigger than the BFG, but also like to eat people for their lives. But Sophie and the BFG have a plan - and it starts in Buckingham Palace, more precisely on the windowsill of the Queen of England (Penelope Wilton) ...


The motion capture giants, the CGI effects, generally the camera work by Janusz Kaminski (Oscars for “Schindler's List” and “Saving Private Ryan”) - “BFG” is visually simply breathtaking. But even more impressive than the pure technical brilliance is the seemingly inexhaustible creativity with which Spielberg stages his gigantic adventure: It starts with the first appearance of the BFG, when the giant sneaks unnoticed through nightly London with the help of all sorts of clever shadow games - there Suddenly whole side streets disappear or on the other side of the avenue there is suddenly another tree. Speaking of shadows: In one of the most touching scenes in the film, Sophie and the BFG blow a dream through the window of a little boy - and while the sleeping boy in the foreground begins to smile, we see a shadow play on the wall of the room, like the US President's astonished father calls and tells him that he absolutely and urgently needs to speak to his son, because only he can save the situation now.

In 2013 we were quite satisfied with what Bryan Singer visually got out of the gigantic world in his "Jack And The Giants", but Spielberg once again plays - at least in terms of staging finesse - in his very own league: Like him within individual tracking shots Switching back and forth between the dimensions of the people and the giants is nothing less than very, very great cinematic art. This is a deliberately conspicuous effect, for example when Sophie's glasses are shown in close-up while BFG, standing small in the background, picks them up - and suddenly his gigantic fingers protrude into the picture from above. Even more often, however, these shifts in perspective are also very subtly and naturally woven into the flow of the film. At the latest during the dream hunt and the following dream brewing, some Spielberg despisers will scream out loud "Kitsch !!!" again - but here, too, the ingenuity is amazing: If the dream needs a little more "army", then you just give something out of the green bottle, from which mini soldier dreams slide with parachutes into the dream mixer.

Sometimes the central friendship and thus the actual core of the outsider fairy tale threatens to take a back seat to the visual intoxication - but ultimately this is prevented by the sheer presence of the two outstanding leading actors: The twelve-year-old Ruby Barnhill is definitely looking forward to a great career as a child star - apart from the classic Hollywood notions of "sweet", she acts with bold self-confidence and great emotional intelligence. If Spielberg had filmed “BFG” 15 years ago as originally planned, Robin Williams (with whom the director had already shot “Hook” at the time) should have played the title role. But as much as we appreciate the comedian, who died in 2014, with Mark Rylance the film has not only become a completely different one, but also very probably a better one: The newly crowned Oscar winner (for Spielberg's "Bridge Of Spies") gives the BFG his usual subtle Performance (luckily the technology is so advanced that one no longer necessarily has to do unrestrained overacting with motion capturing) a deep tragedy and powerful seriousness. Nevertheless, he is always hilarious in the explosive pup scenes and with his interpretation of Dahl’s fantasy language Gobblefunk (fingers crossed for the German version!).

Conclusion: A primarily visually groundbreaking movie fairy tale.

We saw “BFG - Big Friendly Giant” at the 69th Cannes Film Festival, where the film was shown out of competition.
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