Wall•E

Months ago, I was thinking about Eve's name in Wall•E.  Previously, perhaps even from the first time I saw the movie, I'd realized that although the acronym EVE stands for "Extraterrestrial Vegetation Evaluator," there's also a connection to Eve in the Bible.  I had a limited understanding of this, however, just that in the same way that Eve in the Bible is present soon after Creation, Eve in Wall•E appears after the Earth's environment is once again able to sustain life.  Although it's still merely an association, there's a bit more to it than that since in Hebrew, the name Eve (חַוָּה) is related to חַי, a word meaning alive or living.

Probably just coincidentally, there's a further similarity between the Biblical Eve and the robot Eve in that each fulfills a specific lack of her mate.  Genesis 2 details Eve's creation:

The LORD God said, "It is not good that the man should be alone; I will make him a helper fit for him."  Now out of the ground the LORD God had formed every beast of the field and every bird of the heavens and brought them to the man to see what he would call them.  And whatever the man called every living creature, that was its name.  The man gave names to all livestock and to the birds of the heavens and to every beast of the field.  But for Adam there was not found a helper fit for him.  So the LORD God caused a deep sleep to fall upon the man, and while he slept took one of his ribs and closed up its place with flesh.  And the rib that the LORD God had taken from the man he made into a woman and brought her to the man.  Then the man said, "This at last is bone of my bones and flesh of my flesh; she shall be called Woman, because she was taken out of Man."

This same sort of situation is also in Wall•E.  Because all of his fellow robots have fallen into disrepair, Wall•E is basically alone.  Like Adam with the beasts of the fields and birds of the heavens, he has some degree of companionship with his pet cockroach, but his continual viewing of the hand-holding scene from Hello, Dolly! illustrates that he's yearning for something more personal.  Eve provides him with this more intimate relationship, and their holding hands evinces a parity that's similar to Eve's being "bone of [Adam's] bones and flesh of [Adam's] flesh."

The Terminal

I re-watched The Terminal again last week (it's become something of a tradition for me to watch it in mid-January), and I realized that the title has a sort of dual application.  Since the movie takes place almost entirely in an airport, the word terminal is intended primarily as the noun, but to some degree, the adjective terminal (in the sense "relating to the end") also applies since the end of the war in Krakozhia is what Viktor Navorski must wait for before he can enter the United States.

Years ago, I realized that the movie's tagline ("Life is waiting") also contains an ambiguity.  The phrase "is waiting" could be either a copulative verb and a gerund functioning as a predicate nominative (so that the whole clause could be rendered as "life = waiting") or a present progressive verb (emphasizing the durative nature more than the simple form "waits" does).

Star Wars: Rebels - S3E16 - "Legacy of Mandalore"

A couple weeks ago, I re-watched the Star Wars: Rebels episode "Legacy of Mandalore" (S3E16) and noticed some significance in a few design elements.  The episode starts with Sabine returning to her family home on Krownest where she doesn't receive a warm welcome.  Her ship is shot down, and her mother's first words upon seeing her are, "So, it's true, then.  Put her in a cell; she'll be held for trial."

The environment of Krownest is predominately black and white:

Consequently, Sabine's brightly colored hair and armor really stand out:

This contrast mirrors the characters' relationship.  Sabine doesn't fit in with the palette of Krownest in the same way that she's not fully accepted by her family.

It Happened on Fifth Avenue

A couple months ago, I was thinking about It Happened on Fifth Avenue and had a small realization about it.  Earlier this week, I watched it again (for the third time) to refresh my memory.

The movie starts with Aloysius T. McKeever secretly going to live in the New York mansion of Michael J. O'Connor ("the second richest man in the world") while O'Connor spends the winter in Virginia.  Meanwhile, Jim Bullock is thrown out of his apartment building, which O'Connor has just purchased and plans to tear down.  McKeever meets Bullock in the park and offers him a place to stay.  The two are soon joined by O'Connor's daughter Trudy, who has just run away from finishing school.  She keeps her true identity a secret from them (feigning that she broke in to borrow a fur coat in order to make a good impression and get a job), and she soon falls in love with Bullock.  After O'Connor tracks her down in New York, she explains the situation, and because she wants her father to meet Bullock but without revealing that he's the wealthy businessman whom Bullock dislikes, she disguises him as a homeless man whom the three then invite to stay in the O'Connor mansion.  For this ruse, Michael J. O'Connor becomes simply Mike.

The purpose of shortening his name is just to conceal who he really is, but this shortening also matches the temporary loss of wealth and status that O'Connor experiences while he's posing as a homeless guest and acting as something of a servant to the others.  It's as if he's become merely a fraction of himself.

Star Wars - Episode V: The Empire Strikes Back

About a month ago, I had a small realization about one of C-3PO's comments in The Empire Strikes Back.  The Rebels become concerned when Luke Skywalker fails to return from placing sensors on Hoth, and in order to re-assure R2-D2, C-3PO says, "Of course, we'll see Master Luke again, and he'll be quite alright; you'll see!"  Then, to himself, he remarks, "Stupid little short circuit.  He'll be quite alright."  The second half of C-3PO's repeated copulative sentence exhibits assonance ("quite alright"), and this provides a sense of thoroughness or completeness, which matches the meaning in a way.

Back to the Future Part III

I recently re-watched the Back to the Future trilogy, and for the first time, I noticed a small element that may contribute to the change in Marty McFly's character near the end of Part III.

In Back to the Future Part II, Marty's intense reaction to being called chicken is introduced.  His mother Lorraine explains, "Your father's biggest problem, Marlene, is that he loses all self-control when someone calls him chicken," and this happens twice in the movie, once with Griff ("Nobody calls me chicken") and once with Needles ("Nobody calls me chicken, Needles, nobody!").

This trait also appears in Part III, just with the term slightly altered in order to fit the new time period.  Now, Marty's response to Buford "Mad Dog" Tannen's taunts is "Nobody calls me yellow."  The two agree to settle their differences in a duel on Monday, although Marty thinks that he and Doc Brown will have already gone back to the future by then.

Marty's ancestor Seamus tries to dissuade him from fighting Tannen:  "You could have just walked away, and nobody would have thought the less of you for it.  All it would have been was words, hot air from a buffoon.  Instead, you let him rile you, rile you into playing his game, his way, by his rules."  Seamus's wife Maggie comments that Marty (whom they know as "Clint Eastwood") reminds her of Seamus's brother Martin, and Seamus explains that "Martin used to let men provoke him into fighting.  He was concerned that people would think him a coward if he refused; that's how he got a Bowie knife shoved through his belly in a saloon in Virginia City."

Later, Doc Brown gives Marty advice in a similar vein:  "Marty, you can't go losing your judgement every time someone calls you a name.  That's exactly what causes you to get into that accident in the future."

When the time for the confrontation comes, Marty is too busy trying to revive Doc (out cold from drinking a single shot of whiskey) to deal with Tannen, and when he looks at the photograph of Doc's tombstone that he brought back from 1955, he sees that it now has his own name (or rather his alias "Clint Eastwood") and tries to forfeit.  Tannen renews his insults ("I think you ain't nothin' but a gutless yellow turd, and I'm givin' you to the count of ten to come out here and prove I'm wrong"), but this time Marty keeps his head and says to the crowd in the saloon, "I don't care what Tannen says, and I don't care what anybody else says, either."  He maintains this mindset when he returns to 1985, and he doesn't race his new truck against Needles, thereby avoiding a crash with a Rolls-Royce.

The change in Marty's character seems to result from a combination of these factors (the knowledge of a dead relative with the same name and impulsive tendency, Doc's hint at a future accident, the tight time schedule available to Marty and Doc to meet the train they need to push the Delorean down the track so they can go back to the future, and the photograph of the tombstone that seems to foretell his death), but there may be an additional, more subtle cause.

Shortly after Marty first encounters Tannen, he's able to identify him because he overhears the bartender call him "Mr. Tannen."  He remembers him from a video playing in Biff's museum in Part II and says, "You're 'Mad Dog' Tannen."  To this, Tannen replies, "'Mad Dog.'  I hate that name.  I hate it, ya hear?  Nobody calls me 'Mad Dog'!" and then proceeds to shoot up the floor in front of Marty.  Tannen's response to being called "Mad Dog" ("Nobody calls me 'Mad Dog'" followed by a violent outburst) is basically the same as Marty's response to being called chicken ("Nobody calls me chicken" followed by a lack of good judgement).  Marty may recognize that he shares this trait with someone he dislikes and consequently re-evaluate and change himself.

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It also occurred to me that McFly is an appropriate name in light of the movies' theme of family relationships, particularly between father and son, because the "Mc-" prefix comes from the Gaelic word mac, which means son.

E.T.

I recently ran across a reference to E.T.* and started wondering about some of the characters' names.  I rewatched the movie earlier this week in order to refamiliarize myself with it.

The movie is about an alien who accidentally gets left behind on earth and subsequently forms a close relationship with a boy named Elliott.  Elliott gives the alien the name E.T. (for "extra terrestrial").

Throughout the movie, there are many instances where their close relationship is illustrated.  Shortly after they meet, E.T. mimics Elliott's movements as they get to know each other.  In one scene (even called "A Psychic Link" on the chapter menu on the DVD), while Elliott is at school, he seems to experience what E.T. is doing at home.  Later, when Elliott's brother Michael comments that E.T. "doesn't look too good anymore," Elliott brushes this off with, "Don't say that; we're fine!" and Michael replies, "What's all this 'we' stuff?  You say, 'We' all the time now."  When government officials discover E.T. and invade the family's house, asking probing questions, Michael tries to explain that "Elliott feels his feelings," and one scientist comments, "EEG analysis shows complete coherence and synchronization of brain wave activity between both subjects."

I realized that, in a small way, their names point to this sort of symbiosis, too:  both start and end with the same letters.

I also noticed a couple small references.  First, the DVD cover, which is apparently one of the original posters for the movie, bears some resemblance to a detail in The Creation of Adam, part of Michelangelo's painting on the ceiling of the Sistine Chapel.

Second, when E.T. sees a kid dressed up as Yoda for Halloween, there's a brief quotation in the soundtrack of Yoda's theme from The Empire Strikes Back.  Both soundtracks were composed by John Williams.

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*In I'm Told I Had a Good Time: The Micky Dolenz Archives, Volume One (page 429), Dolenz comments that Allen Daviau, who was the cameraman for the production company that he started in 1975, was later the cinematographer for E.T.  In the movie's credits, he's listed as "Director of Photography."