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December 2005   
F E A T U R E S

Interview: The Binds That Tie
Dr Don Edgar has demolished the Prime Minister's credentials as a family man.

Unions: Worth Cycling For
Pedal power joined the Your Rights At Work campaign on a 350km journey to take a message to Canberra’s politicians, wrties Phil Doyle.

Industrial: The Elephant in the Corner
Jim Marr takes a look at what the government has secreted away in the WorkChoices package, revealing what is really at stake - and what can be done about it.

Legal: A Law Unto Themselves
In this extract from the Evatt Foundation's 'State of the States' Jeff Shaw & Monika Ciolek look at the constitutional issues rasied by WorkChoices.

Politics: Ethically Lonely
At a forum in the Australian Stock Exchange sponsored by big end of town solicitors, you would expect at least one person to be in favour of John Howard’s industrial relations laws, wrties Rachael Osman-Chin.

History: Women, Unions, Banners and Parades
Trade union banners reveal more about union history than their male designers and makers intended, writes Neale Towart.

Women: Relaxed and Comfortable?
Suzanne Hammond from WEL argues there are many hidden nasties in WorkChoices for working women.

International: The Last Social Democrat
A trade union leader's victory marks beginning of class politics in Israel, wrties Eric Lee

Review: The Corpse Bride
Come to a world where decay, loss and broken dreams are everywhere - and it's not the Federal Senate.

Culture: Tony Moore Holds His Own
In his new book, Tony Moore argues that today's generation of political leaders has much to learn from Bazza McKenzie.

C O L U M N S

The Soapbox
Whitefellas - You Just Can’t Trust ‘Em.
Racial stereotyping is a bad business. That said, Graham Ring has discovered a segment of society that drinks too much, behaves unreliably and can’t seem to adapt to change. Sadly, the conclusion is inescapable…

The Locker Room
Fore!
Phil Doyle slices one into the car park.

Parliament
The Westie Wing
Ian West makes a midnight dash to Workers Online, slides his State political report under the door, then heads back to the Macquarie Street Chamber of Horrors…

E D I T O R I A L

A Free Vote
This week’s charade of the Senate amending the Howard Government’s workplace laws raises fundamental questions about the sort of democracy Australia has become.

N E W S

 Read His Lips: WorkChoices Too Much

 Joyce A Christmas Goose

 Workers Leave Boss in Tool Shed

 Costello Chokes On Asbestos Compo

 Telstra Hangs Up on Former Staff

 Bank Check on Bras

 Bill of Work Rights on Agenda

 Funny Film - Scary Message

 Sign Of the Times

 Unions Chip In for Lauren

 Company Raids Own Ship

 Activist's What's On!

L E T T E R S
 Million Mum March
 Pension Pinching
 John Bares All
 Radicalising Yoof
 Tom A World Away
WHAT YOU CAN DO
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Review

The Corpse Bride

By James Gallaway

Come to a world where decay, loss and broken dreams are everywhere - and it's not the Federal Senate.

***

This is a love story set in hell, where murder is just the beginning of happily ever after and joy has no place in the world of the living.

The story is set in black and white Victorian England. Victor Van Dort, a timid soul played by Johnny Depp, is on his way to his wedding. His bride Victoria, played by Emily Watson, is from a family of penniless aristocrats, the Everglots, who Victor's social climbing, novo riche parents want to join.

Victor, nervous about the wedding and unable to remember his lines, goes to the forest out of town to practice. Reciting his vows he puts the ring on a twig poking from the ground, which is actually the boney finger of the corpse bride who enthusiastically accepts her newfound matrimony.

Cast into hell, Victor struggles to regain his position in the land of the living and marry his betrothed Victoria. Even so, hell is not is not such a bad place compared with the world above, situated as it is in a bar where Bonejangles (Danny Elfman) sings swinging songs with a skeleton jazz band.

At the films core is a message of inversion. The world of hell with its vices and colour is a better place to be than the drab, black and white world of arranged marriages and petty fascination with money, a message with obvious appeal.

This is an enormously well crafted animated feature that leaves the likes of Shrek for dead. It has the same stop motion effects that director Tim Burton used in The Nightmare before Christmas, but this time he has added an element of computer animated design to give his puppets a subtlety of expression that animation has never before realized.

But the genius is such that you will be lost in the story of how hell isn't such a bad place to be.


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