Vivien Leigh (1913-1967)
fuck dating girls who are “naturally pretty.” date girls who are supernaturally pretty. date a hot ass ghost. date a fucking alien
that could have been a supernatural gif but it’s a star trek gif instead i’m impressed
I think maybe the thing I deeply loved the most about Pacific Rim is that Del Toro expects his audience to figure things out on their own. There’s not a huge scene about how Raleigh is a changed man after Yancy dies, you pick up on it in the subtle fact that his face says he wants to beat Chuck over the head with a crowbar the minute he starts goading him, but he DOESN’T for a very long time. There’s no flashback to Mako and Stacker interacting, but you can SEE how much they mean to each other. Raleigh honestly doesn’t say a huge amount about how wonderful he thinks Mako is, but it’s written all over his face and read through his actions. Del Toro expects you to keep up and reach your own conclusions. He expects you to surmise that there’s something deeply wrong with Chuck and Herc’s relationship more than just Chuck being a jackhole (and there is). He allows you to just get the dropped hint that Stacker piloted a jaeger by himself for some reason with no explanation, not because he has time to go into detail about Stacker’s past, but to establish Stacker is a ridiculous badass and that Raleigh has some sort of deep force of will of his own to do the same thing. Del Toro lets you piece the snap shots together and gives you enough information to do that. So this one two hour movie feels like it has a world built to it that tv series can’t manage a lot of the time. And he picks actors who perfectly embody what they’re supposed to, not big names to bring in crowds.
If you’re not a Del Toro fan, you should be. He’s Tim Burton’s nightmare fairy tale brother without the dose of whimsy and more a dose of hallucinogens. He’s Hans Christian Anderson from the bad part of town.
Other lovely implied bits off the top of my head:
- They don’t need to hit you over the head with the Becket relationship and the dynamic between them — Raleigh, the explosive happy labrador swigging OJ straight from the bottle Yancy, older, tolerant, affectionate, a little more guarded, but under that sleepy exterior, pretty fucking into being a Jaeger pilot, too.
- The introduction of Stacker on-screen, when you see Tendo’s posture radically shift and the tone of the whole conversation between him and the Becket boys shifts — before, it’s the Becket boys cracking jokes about Tendo’s life live. After that, it’s all business. Marshal Stacker fucking Pentecost, guys.
- The relationship between Stacker and Mako, where the first bit of interaction you see between them is that long-off shot where Mako is standing in the rain with her umbrellas. There is almost a foot in difference in height between them, and Stacker comes out of the helicopter first. You see him duck his head down a little. Mako simultaneously tilts the umbrella up some more. They’re the boy from Tottenham who learned to speak Japanese and the orphan from a tiny island who remade herself into steel and strength, and they would’ve had so little in common if it hadn’t been for the kaiju. But there were kaiju, and there Stacker and Mako are, and it’s clear from the VERY FIRST SHOT IN WHICH THEY BOTH APPEAR.
- The relationship between Stacker and Herc. Sure, Stacker introduces Herc as an old friend from the Mark-1 glory days, but even before then, you know they’re friends from the little smile that Herc shoots Stacker, from the way Herc greets Mako and lets the dog run towards her, and it’s carried through in the way that Stacker and Herc wrangle K-science together, the way Stacker and Herc stand shoulder to shoulder in LOCCENT, the way Herc fiddles with his ring in nervousness before Mako’s first Drift with Raleigh.
- AND SPEAKING OF THE DOG: Chuck and Mako, Chuck and Mako, Chuck and Mako, and how the only words they directly say to each other in the movie are “You’re a disgrace” and “Stop. Now.” And yet you’ve got Chuck’s dog running to Mako when she calls him, and Chuck’s dad knowing enough to let the dog off the leash, and Chuck showing up to the Kwoon only after Mako steps in against Raleigh, and Chuck’s eyes tracking Mako when she leaves and her hunched-up, do-not-want, clear avoidance of him, and how, when Chuck can’t get a rise out of Mako by insulting her but she reacts when he goes after Raleigh, Chuck sorta smiles. And then directs his subsequent comments mostly to Raleigh. You can feel the deep, ugly past there, and when Raleigh Becket suddenly busts out with a leg-takedown of Chuck in the hallway that is straight out of the playbook we saw Mako with in the Kwoon? MAN. MAN. MAN.
In short, Pacific Rim is amazing. WHO TOLD GDT YOU COULD PUT THIS MUCH CHARACTERIZATION INTO A MOVIE ABOUT ROBOTS PUNCHING GODZILLA?