An eighties phenomenon with a funky rhythm
We live in complicated terrain for comedy, mainly because this It can’t just be a comedy anymore., at least if it wants to be a theatrical release. Or even not that, because in streaming we also see cases where these types of films have to be inflated with a lot of action so that they do not seem totally inconsequential to the viewer.
It is not that mixtures are only a thing of the present, since we have totally memorable cases where comedy intersects with things like science fiction or horror with great success. But the priority was clearer that currently, something that has been palpable in how the ‘Ghostbusters’ franchise has evolved with respect to the original.
A business that is not of this world
Now 40 years have passed since the release of this iconic film comedy, supernatural horror and science fiction with Bill Murray, Dan Aykroyd, Harold Ramis, Ernie Hudson and Sigourney Weaver. Under the orders of an effective official of the genre like Ivan Reitman, they come up with solid entertainment that today can be seen streaming through Movistar+.
In it, doctors and experts in parapsychology from New York University expand their knowledge of the specters beyond the plane of the living, ghosts that are devastating the city. When they lose their jobs, They form a company to hunt ghosts and cleanse New York of ectoplasm.
It is most curious that the most recent sequels of this film have chosen to emphasize a fantastic facet full of functionalities and common places, when it has not been what has made ‘Ghostbusters’ special. Between its succession of gags, somewhat random subplots and its moments of great special effects, what really holds the film together is something as trivial as a comedy about people who start a business.
‘Ghostbusters’: bustin’ makes me feel good
The main conflict seems to be with a large entity that possesses both Weaver and another golden secondary like Rick Moranis, but that only responds to the paranormal fascination that nourishes the script by Aykroyd and company. Reitman’s direction places emphasis on bureaucratic conflicts, on trying to turn the paranormal into a sustainable economic source, and a little on try to become celebrities (something that receives more emphasis in its direct sequel).
Due to its lack of solid structure, gags happening that are not necessarily based on a plot, we will find comic scenes that work better than others. There it depends on the inspiration of the cast, more than on Reitman who shows at least a solid hand in special effects with a puppet texture rather than a digital one. An appreciable craftsmanship that maintains effective after several decades.
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