Verschossen in den grünen Oger mit Müslizusätzen hatte sich die Soraly damals, weit, weit weg im Jahr 2001. Knuffig rund drehte er mit dem bockspringendem Esel seine Runden, Backmännchen folgend und verknallte sich schnurstracks in die liebliche Prinzessin, ja eigentlich gar nicht sein Stil. Bis dann flugs heraussprang was die denn wirklich war, pah, ein Oger selbstverständlich auch. Verständlicherweise entzürnt gab sich die werte königliche Familie nicht die Ehre das neue Sumpfleben zu unterstützen. Gescheitert! Bald an der Zeit begibt sich Shrek nun in die jungfräulichen Fänge des Amis Emanuell Levy. Nicht? Für einen Moment darf die Soraly hoffen und betten der Kerl hat recht, mag sie sich so ungern nochmals kurz vorm erhängen sehen. Hoffend und bangend auf die armen karibischen Piraten zwar, steht der Stern des Hollywood-Highlights im bombastischen Sommer „Shrek dem Dritten“ entgegen. Donkey:

Forget „Spidey,” Sony’s behemoth franchise: „Shrek the Third” is shorter by an hour than „Spider-Man 3,” and is twice as entertaining, witty, and playful. Scene by scene, minute by minute, „Shrek 3“ is just as sophisticated, campy and self-reflexive as the first segment, which launched the commercial franchise for DreamWorks back in 2001.

Opinions may differ, but I think „Shrek 3“ may be better than „Shrek 2“ in writing and execution, not to mention the number of characters, which is extremely large for animated comedy feature.

The story of „Shrek 3” is the natural progression of Shrek’s life as an adult. Shrek and Fiona fell in love and got married in the first film, then in the second movie, they met the parents and got to know the in-laws. And now the next step for them is to establish their own clan—despite Shrek’s protests that he would be a bad papa, that baby ogres eat a lot, cry a lot, stink a lot, puke a lot…

The characters get more developed, and the stories more complex, reflecting the zeitgeist – and American pop culture – up to the moment. Hence, in „Shrek 3“ there are expected and unexpected identity crises and changes, new figures that are androgynous and transgender, reflexivity about movies and events that have taken place last year. Despite variations and changes, the central, all-American message remains constant: The need to learn to believe in yourself and like yourself, the need to rely on yourself, not listen to what other people think – or say – about you.

As Shrek’s story grows larger, so too does the family of actors who bring the characters to life. The humor is wonderful, and there are nuanced subtleties in the characters that make it so much fun to watch. AS a multi-sensory, multi-media experience, „Shrek 3“ benefits immensely from the stellar-cast that reprises their roles while bridging the story line from the first film to „Shrek 2” and now „Shrek 3.“

Eddie Murphy is just as loveable and irritating as Donkey as he was in the former segments. Rupert Everett reprises his campy role as the self-absorbed Prince Charming. Antonio Banderas’s Puss In Boots continues to be smooth and gallant and sneaky. Julie Andrews is still regal as Queen Lillian, but she’s given new facets.

Chris Miller makes a skillful feature directing debut, based on his extensive experience at DreamWorks Animation (since 1998), as a story artist on the studio’s first animated comedy, „Antz,” a story artist on „Shrek,” and head of story on „Shrek 2.” Co-Director Raman Hui has worked at PDI/DreamWorks for 15 years, guiding the animation team from commercials and shorts to feature films, serving as supervising animator on „Shrek, and „Shrek 2.”

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