I hate to admit
this, but I love movie trailers. I love
them so much that I turn into Woody Allen in Annie Hall if I’m even a minute late
arriving at the theater to see a movie – I simply won’t go in to see it. The most basic function of a movie trailer is
to excite viewers about an upcoming motion picture so much that they pay
money to see it, even if their better instincts (and Rotten Tomatoes)
inform them otherwise. But to me, the best
movie trailers are so much more than that.
They offer a brief, fleeting glimpse into the essence of a movie, which sounds a lot easier than it actually
is. This is because essence is something
that goes beyond a simple snapshot of a film’s plot and genre and major actors;
it is an intangible quality that most closely resembles a person’s soul. And how do you tell a group of strangers
about your soul? The same group of
strangers, no less, who have paid money to bear witness to another movie’s
soul?
To demonstrate a film’s essence in
three minutes or less, while not spoiling any major features of plot and
dialogue and while also avoiding gratuitous sex, language, and violence, all
while maintaining the major M.O. of advertising to consumers and receiving
virtually no public accolades for the craftsmanship involved, is an arduous
task to say the least. This is why I am
of the firm belief that many of the best trailers regularly exceed the quality
of the films they advertise. I don’t
think anyone who saw the trailer for Interstellar would disagree.
Below is a list of my favorite ten
trailers. Most of these were made for
films released in the last couple of decades, which is no accident – seeing
these trailers in the darkness and majesty of a movie theater (many of which
without any prior knowledge of the movie they advertised) provided for awesome,
unforgettable experiences. And
eventually seeing the movies sometimes lived up to that experience, and
sometimes did not. That’s OK. Of course, it’s difficult to come up with
strict criteria for what makes these trailers so great. Without a doubt, all of them gave me great
excitement and anticipation to go back to the theater and spend money. But I think capturing a movie’s essence is
what makes a trailer truly exceptional.
The following top ten trailers were so outstanding that, in my mind,
they transcended their status as what scholar Jonathan Gray postulates as paratexts, but became great
short films in their own right.
Honorable
Mention
Manon of the Spring (1986)
Magnolia (1999)
Kill Bill (2003)
INLAND EMPIRE (2006)
Watchmen (2009)
10. In
The Line of Fire (1993)
In
some ways, this trailer is the most conventional and old-fashioned entry on
this list: A corny and woefully outdated “voice-of-god” narrator and the
all-American hero, Clint Eastwood, pulling out his handgun and letting the
audience know that any chance of the bad guy winning “is not going to
happen.” But visually, this trailer is
bold and unforgettable – so much so that it spawned controversy from morally
uptight audiences who first saw it in spring of 1993. Using the hands of a clock as a circular
target for a firearm is creative enough; spinning the 6 from “November 22,
1963” upside down to create “1993” is straight-up ingenious. Meanwhile, the best part of the actual movie
is kept firmly intact but without even showing us a face: John Malkovich’s
menacing, maniacal would-be assassin Mitch Leary, one of the great movie
villains of the last 25 years. But who
needs Malkovich’s face when you have dialogue like this: “I see you,
Frank. I see you standing over the grave
of another dead president.” Subtlety,
this preview may lack, but it makes up for it in the area of gripping
psychological dread and excitement. I
love the comment under the YouTube clip by hungwilliam, who observes: “i
remember seeing this trailer in san jose and the theater went apeshit.” I couldn’t have put it better myself.
9. The
Girl With the Dragon Tattoo (2011)
David
Fincher must know some talented people in advertising because his films always
boast strong trailers (see The Curious Case of Benjamin Button and #5 on this list). I
was one of the initial skeptics of Fincher’s plans to remake what had already
been an adequate and well-distributed Swedish film, but seeing this trailer
made me an immediate convert. The music
entirely creates the atmosphere, and unlike some of Fincher’s other trailers, and
the song used here (Karen O’s cover of Led Zeppelin’s “Immigrant Song”) is
included in the actual film. The trailer
uses nonstop rapid-fire imagery to tell us that the movie involves Daniel
Craig, an unsolved murder of some kind, and cold weather. That’s about it; the precise details are left
conspicuously vague, which only boosts our desire to understand how all these
disparate pieces are connected (I’m not sure Fincher’s movie answers that for
us either, but that’s another story).
The only recurring series of shots comes from the front windshield of (presumably)
a car moving along a snowy dirt driveway toward an ominous mansion. Then, in absurdly oversized capital letters
coinciding with the song’s abrasive downbeat: “THE FEEL-BAD MOVIE OF
CHRISTMAS.” Perfect. The trailer has no beef with telling audiences
that most of them will probably not want to see this movie, but for those few
souls with the audacity to go back and see it – well, the trailer did warn you.
8. Little
Children (2006)
I
probably watched this trailer a good 50 times in 2006. The first 10-20 times were because I was so
excited about the project (Todd Field’s follow-up to In the Bedroom and an adaptation of a terrific novel by Tom
Perrotta), but the more I watched it, the more I realized how brilliantly
crafted the trailer really was. It is
sprinkled with ingenious graphic match cuts (such as 0:23 and 0:49) as well
fantastic images from the film which admittedly gives away much of the story’s
thrust, but still manages to maintain eroticism and sensuality. Then there’s the motif of the oncoming
locomotive arriving head-on at a crossing section – an image which the trailer wisely
never feels the need to show, but still captures as a perfect metaphor for the
emotional head-on collisions depicted in Little
Children. Even better is the fact that
the trailer completely ignores all the Jackie Earle Haley scenes, which I
thought were by far the worst thing about the film. At any given moment, there are tens of
hundreds of films being released about adulterous affairs or cheating or some
component of sexual passion. Little Children’s trailer could have
been a banal retread of those same stories told in a wholly conventional
fashion, but by emphasizing the characters’ vulnerabilities and desperations
within the trap of suburbia, the trailer feels remarkably fresh and powerful.
7. Schindler’s
List (1993)
This
is obviously a stunning trailer to watch today, but I’ve always wondered about
its reception among movie audiences in (the internet-less) 1993. Did the first audiences of this trailer think
this was for a documentary about the Holocaust?
Did they believe this was a movie from the 1940s that was getting
rereleased for some reason? How could
they watch this trailer and proceed to enjoy watching dinosaurs chasing Jeff
Goldblum for two hours? The trailer
tells us at the end that Schindler’s List
is a film by Steven Spielberg; even for those at the time who knew of
Spielberg’s involvement with the project, seeing this trailer must have taken
them aback. Watching it today, it still
leaves you speechless due to the unfettered and grim realism of the Holocaust
it vividly depicts. Screw the morally
righteous critics of In the Line of Fire’s
trailer; this is the 1993 movie preview that would have left me emotionally
traumatized. Another fascinating and
more subtle aspect of this trailer is how Liam Neeson’s portrayal Oskar
Schindler is depicted: The trailer doesn’t tell us outright who he is or even
what the title list refers to – only that “the list is life.” This makes the trailer succeed in showing
audiences two sides of the Holocaust which have never been explored before in
film – the visceral reality of Schindler’s
List’s visual style, as well as the significant story it tells.
6. Breaking
Bad – The Final Episodes (2013)
OK,
OK, I had to cheat a little here.
Technically, Breaking Bad is
not a film and technically this trailer was not shown in movie theaters but
instead during reruns of the show’s first four-and-a-half seasons airing on AMC
during the summer of 2013. But if you
were a fan of the show at the time, you could not contain your total and
complete giddiness after seeing this trailer.
Like many of the entries on this list, the concept of the trailer is
simple: Walter White’s voice reciting an ominous poem alongside revolving
images of Albuquerque that the show’s fans may recognize from earlier
seasons. In trailers like this,
simplicity is an asset since it is unnecessary to rehash all of the undue details
of what has transpired to bring the story to this point (redundancy and
reductionism which fans would understandably rebel against). And spoiling the upcoming episodes is obviously
out of the question. What’s great about
this trailer is how the poem’s recitation implies that Walter White, like King
Ozymandias, has all the land under his thumb and controls everything and
everybody – particularly since every image we see in some ways connects closely
with his ascent to the top. And yet, we
see no characters from the show and the only physical manifestation of Walter
White is his hat -- the same hat he put on to transform himself into
Heisenberg. This leaves the viewer with
incredible hunger to see what happens next.
We know that Walter White is gone, the authorities believe that
Heisenberg is untraceable, and all that is left a “colossal wreck, boundless
and bare.”
5. The
Social Network (2010)
4. The Shining (1980)
By
far, the most terrifying trailer ever made, anywhere or any time. Even replaying it in my head as I write about it freaks me out. According to IMDb, the
MPAA did not allow blood to be depicted in trailers, so in order to get around
this, Stanley Kubrick somehow convinced the ratings board that this trailer didn’t
show blood gushing out of the elevators, but actually rusty water. Right.
I suppose we can thank the ratings board for their stupidity and
gullibility or else this iconic trailer might have never seen the light of
day. First and foremost, the trailer does
a tremendous job of building up suspense right away, as the bizarre synth
soundtrack grows louder and more grating to hear and we know that something has to happen to those elevator
doors at some point, right? The
composition of the shot is rigidly symmetrical and balanced, which only adds to
abhorrent horror of streams of blood dismantling the equal proportions inside
the frame. The blood then blurs over the
camera lens, generating the effect of the viewer drowning in it. It’s just so . . . wrong. It doesn’t make any rational sense how blood
could pour out of an elevator shaft like that and actually flood the entire
surface of a building’s lobby. But that
is precisely what The Shining does so
well – create surreal distortions that profoundly disturb our rational
sensibilities. Worse yet: The trailer
gives us no indication as to the exact insidious ways all that blood was
collected, stored, and eventually overrun. Its spoof was pretty blood-curdling too.
3. Talk
to Her (2002)
When
first thinking about constructing this list, I speculated that many of the most
imaginative and powerful trailers would be foreign-language films. Since most trailers avoid using subtitles
(because Hollywood studios assume most audiences have an IQ of 20), the
trailers for international films would have to rely more on evocative visual
imagery and sounds. In theory this is
true, but unfortunately, the vast majority of trailers for foreign films I
found simply used a Don LaFontaine-like voiceover, along with corny and artificial
sound cues, to pander a vastly oversimplified version of the otherwise striking
film to stupid American audiences. The
one major example for which this was not the case was Talk to Her. This is a
trailer that strips away any rote adherence to standardized form, content, and
flow of modern-day movie trailers. There
are no character introductions, no voiceovers, and no linkages between the
bewilderingly disparate images depicted.
Watching this trailer, there is zero percent chance you could glean anything
meaningful regarding what the film is about.
In fact, the trailer is so esoteric that the effect is comical: How
could a single film coherently contain a female bullfighter, a dance troupe, comatose
bodies, blood transfusions, and most aberrant of all, a 1920s-style black-and-white
film about a 6-inch man talking to a full-grown woman lying in bed? It verges on farce. Obviously if you’ve seen the film, you know
the bizarre ways these images intersect, but if you’re watching the trailer “cold,”
you’re completely lost. But lost in the
best possible way a movie trailer can make you feel.
2. The
Tree of Life (2011)
For
anyone that still doubts the artistic validity and integrity of trailers, this
one (along with my choice for #1) should be exhibits 1a and 1b for the argument
that trailers can be beautiful and timeless works of art, just like the films
they represent. What’s additionally
impressive about the trailer for The Tree
of Life is that it stays true to the surreal and oft-discussed perplexity
of Terrence Malick’s mode of storytelling.
There’s some sense of linear cohesion here – we know who the characters
are and that the boy in the narration presumably grows up to be Sean Penn – but
the trailer doesn’t shy away from Malick’s dreamlike imagery and relentless camera
movements. The trailer makes us feel
like the newborn child shown at the opening in the way that shapes, objects,
and movements are transformed into beautiful and puzzling new things uncovered
for the first time. The narration
deemphasizes straightforward coherence and instead offers bewildering aphorisms
which somehow match the startling beauty of the images shown. There’s also the ethereal music which, as is
typical for Malick’s films, is classical and profound: Bedrich Smetana’s “The Moldau” plays for the trailer’s first half and
eventually morphs into a ravishing chorus from “Funeral March” by
Patrick Cassidy. Unlike most of the
trailers on this list, the trailer for The
Tree of Life does not refrain from boldly displaying the film’s most beautiful
and important moments, which enables it to be mercifully free of any impulse
for commerciality or artistic compromise.
It is such a good trailer that it makes you forget that it is
advertising anything.
1. Far
From Heaven (2002)
Back
in 2002, I saw this trailer at a screening of Moonlight Mile, a film I was excited to see and hoped to be moved
by. I did indeed exit the theater
emotionally stunned and devastated, but not by Moonlight Mile – instead by the trailer for Far From Heaven. When I saw
that movie a few weeks later, I was not disappointed in the least, but was nonetheless
a little surprised how different the trailer was from the actual film. Far
From Heaven attempts to recreate the sights, sounds, and feelings of a
Douglas Sirk film without any sort of parody or reflexivity – stylistically, it’s
identical to a movie which would have been made in 1957. I suspect the studio overseeing the trailer thought
it risky to follow suit by advertising the film in the excessively theatrical way
movies were advertised
in 1957; as a result, in one of the smarter moves made by Hollywood PR people,
the trailer for Far From Heaven was
made in a sleek, modern, subtle, and extremely elegant style. Expertly using the ravishing and mostly
forgotten John Barry theme from Indecent Proposal, the
trailer depicts suburban life in the 1950s which is shown as idyllic in many
ways, while repressed and deeply sad in others.
The melodious strings of the Barry score reinforce that Far From Heaven firmly belongs to the
well-worn genre of “woman’s picture,” but does not paint the film as outdated,
corny, or archaic. Instead, the vibrant
colors of the leaves on the trees and the walls and the costumes paint an
extremely vivid universe, but also a world where, as the titles inform us, the
colors may only be used to mask unhappiness.
The spoken lines from the film – the observations that sometimes it’s
the people outside our world that we confide in best, and that we mostly fail
in the kind of ideal love that tells us to abandon all our plans – ring
beautifully observant and quietly tell us everything we need to know about the
film. It’s also a short trailer, running
only a scant 69 seconds, but that abruptness leaves us with an indomitable
impression that the trailer has only hinted at the powerful emotional punches
that this film carries. Perhaps the
trailer for Far From Heaven is an
unconventional choice for best ever – it’s not really the kind of trailer that
makes audiences stand up in the theater and holler and cheer – but it communicates
Far From Heaven’s essence more
effectively and enticingly than any other trailer I’ve ever seen.
Suggestions? Disagreements? Upset that I left off trailers featuring
Nicolas Cage as Fu Manchu? Well rewind that and let me know below.