365 Films
Entry #16
Home Alone 2: Lost in
New York (1992)
Directed by Chris
Columbus
I need to tread very delicately over this next entry because
I have come very close to losing a lot of friendships over my opinions on this
film and the one that preceded it.
On second thought, forget it, I fucking hate Home Alone and Home Alone 2. Admittedly I said that just to see if I
still had your attention, so I wouldn’t say that statement signifies the
entirety of complicated emotions that these films inspire. That is the reason why I am including
this film (and I guess, by association the first one) on my 365 list; I wish to
point out what happens when a film doesn’t grow up with you. Don’t get me wrong; I loved Home Alone
just as much as the next kid in 1990.
The child-hood fantasy of getting the house all to yourself, coupled
with the kid-power-friendly annihilation of two nefarious burglars (all with
home-made booby traps no less) was completely irresistible to me. Next up was Home Alone 2 and the
filmmakers pulled off quite a clever ruse in delivering the exact same movie
dressed up like the city of New York.
They even have the resourceful Kevin McAllister find an apartment in the
middle of renovation just to spring more booby-traps on the (apparently) amnesiac,
(definitely) moronic criminals.
Then I spent another ten to fifteen years watching and re-watching the
movies on video and something clicked along the way. The “Old Man Marley” subplot always bugged me in Home
Alone. I never understood why it
was necessary. Is it to prove that
you shouldn’t judge people, no matter how scary they look, or what rumors
you’ve heard about them? That’s all well and good, except for the fact that it
rings totally false when you consider the movie spends the last thirty minutes
pummeling two hapless, small-time burglars into a near death stupor. Shouldn’t Kevin have instead welcomed
Harry and Marv into his house with open arms and seek conference with them on
why they have chosen a life of crime? The same thing happens in Home Alone 2
when Kevin meets the Bird Lady of central park. Only this time it’s somehow even more offensive. A good portion of the narrative is
dedicated to Kevin learning about her life, about the pain she experienced
because of certain choices she made.
The filmmakers are asking us (again) to look past the surface and see
the true nature of people. Why
then, at the rousing finale of the film, does Kevin merely wave to her from his
penthouse at the plaza hotel? Shouldn’t the Christmas spirit have compelled him
to, I don’t know, fucking invite her upstairs instead of banishing her to the
bitter cold of Central Park? This
is a long-winded way of saying that these movies are complete and utter horseshit. They want to pluck our heart-strings by
a mother and son reuniting while laughing uproariously at two men getting shot,
stabbed, set on fire, crushed from above, and left for dead by a sadistic ten-year-old. Then again, the movie made 800 billion
dollars so what the hell do I know.
And to be perfectly honest, I watch the fucking thing every time it’s on
TV at Christmas. Don’t listen to
me. Gremlins 2 still kicks its ass as far as childhood memories of New York
on film go. We all have those,
right?
1 comment:
The "old man Marley" subplot was used to illustrate for Kevin another person who got into a fight with his family, regretted it, and then reconciled.
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