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Although the long shadow of Producer Steven Spielberg hangs over Joe Dante's 1984 comedy Gremlins almost as much as it did over Tobe Hooper's Poltergeist (1982), Dante doesn't allow it to overwhelm his own quirky style too much. Glimpses of Robbie the Robot and The Time Machine (which promptly disappears) at an inventors' convention reveal his passion for old-movie references (which culminated with Matinee, 1993). Aided and abetted by Spielberg's guidance and a script by Chris Columbus (who would go on to direct and produce the Home Alone franchise) and a music score by Jerry Goldsmith, Dante had all the help he needed to make the biggest hit of his career.
Much of the humour derives from Dante's playful handling of the setting in Smallsville, USA, whose inhabitants are as much the target of his satire as they are of the Gremlins' unwanted solicitations. The xenophobic neighbour who warns prophetically of "gremlins" in foreign cars and machinery provides a subtext for the attack on homely American values, as does showing Invasion of the Body Snatchers on TV while the wicked Gremlins hatch. The sight of the little tykes cavorting in a bar, getting drunk and even dancing in pink leggings looks suspiciously like a satirical dig at the whole 1980's culture of selfishness: with their destructive impulses and overindulgences the Gremlins are the ultimate egotistical yuppies. As with many Spielberg projects, the bland hero saves the day for nostalgic, old-fashioned values, but there are plenty of laughs along the way--for example in the now-classic scene when the hero's mother fights off Gremlins in the kitchen by stuffing them in the blender and microwave. Dante's 1990 sequel is even more satirically pointed, and he effectively remade the original with Small Soldiers (1998), replacing Gremlins with toys. --Mark Walker --This text refers to an out of print or unavailable edition of this title.
|Length: 3:49 Mins|
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