Comparing 2 Independent Movies

In listing the similarities between Lee David Zlotoff's The Spitfire Grill and Carroll Ballard's Fly Away Home, the films sound as if they followed similar smooth paths to the screen. Both films were adequately funded, though Spitfire was technically an independent film. Both were filmed on location: the precise Ontario location for most of Fly Away and nearby Vermont for the Maine settings of Spitfire. The films were also plot-driven and quite low-tech in approach. But when the differences are considered it is clear that the approaches the directors took, as well as their commitment to the stories that were being filmed, differed considerably.

Spitfire was a personal project written by director Zlotoff who was concerned about making a significant mark in feature films. Fly Away Home was based on an autobiographical account which, though it had been purchased by the studio, was subject to the original author's approval of script and choice of director. Ballard, a veteran director, had to be persuaded by the story itself to consider the possibilities it held and take on the job. The stories also placed different limitations on the productions. Zlotoff's script was a carefully constructed piece that relied on its balance of gradual revelations and on strong acting. The Fly Away script was allowed to take a great deal of latitude with the facts of the subject's story and changes could still be made if they were needed. The principal difficulties inherent in realizing

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s mother has been gone so long that the thirteen-year-old barely remembers the place. It is a rare instance of a set-up that looks forced and excessively pretty. Outside, however, without the distractions of too much humanity, the director and cinematographer accomplish a great deal in wordless scenes that mirror the human's attempts to fly their small aircraft and the learning process of the geese. All the montages that depict the growth of the geese, the teaching attempts, and other processes seem like obvious devices but are handled with an eye to creating beautiful compositions that can also carry the story forward. The editing in all the exterior sequences is graceful and unobtrusive. Lengthy shots follow each other and the insertion of bits of business, such as the failed communications when the geese first take to the air, seem to intrude on the true action of the movie. Though the actors do their best, the rather crude dialogue lacks the grace of the wordless scenes. Amy's reaction to the father's girlfriend, the girlfriend's remark about knowing she cannot replace Amy's mother, or the U.S. commander's remarks about geese putting the base on alert condescend to the audience as the rest of the picture does not. Th

Category: Film - C