Death to the Tinman: How the Tinman Became a Metal-Man Without a Heart
Death to the Tinman premiered at the 2007 Sundance Film Festival, where it received an Honorable Mention for Best Short Film. In addition, Death to the Tinman won the Best Short Film Award at the 2007 Savannah Film Festival; the film has also played at the South by Southwest Film Festival and the New York Film Festival, among others. The film’s Director is Ray Tintori, a 26-year-old filmmaker from Brooklyn (NY), who also directs music videos for various music groups, such as MGMT. Tintori is a member of the Court 13 film collective, which is an acclaimed ensemble group of collaborative filmmakers and performers. The Court 13 collective is renowned for its multi-award winning short film Glory at Sea, a film that was set in Post-Katrina New Orleans. Glory at Sea’s mythic narrative surged from the depths of an epic senseless human tragedy to a doggedly determined communal passion to achieve a transmuting sense of resurrection and deliverance from Katrina’s catastrophic devastation. Glory at Sea valiantly confronted a monumental tragedy that vividly displayed the fact of our human mortality, as well as the inevitable loss of our dreams for the future. The film boldly turned away from the Post-Katrina survivors’ overwhelming of feelings of vulnerability, following the group of survivors as they instead came to courageously respond with a communal bond to a renewed and feverish commitment to love and hope.
Similarly, the mythical Death to the Tinman presents a visual narrative that swells from the unfathomable depths of human tragedy, to an achievement of the renewed capacity for a sense of love and hope. Describing Death to the Tinman, Tintori said, “I wasn’t terribly interested in trying to recreate Oz from the 1930s movies; I just sort of wanted to deal with this world of evangelical mysticism.” Death to the Tinman is an adaptation of the original story of the Tin Man from the Wizard of Oz series, in which Tintori’s version of the Tin Man is transformed from a human lumberjack to a metal man without a heart. Tintori transported the story’s basic foundation for the original Tin Man story to a surreal, rural 1940s South, replacing Oz magic with evangelical mysticism; pastors, congregations and The Rapture take the place of flying monkeys and witches melting upon contact with water.
Assuredly, rigorous formalism is existent, albeit uncommon among professional American filmmakers today; in addition, films that display an audacious, frenzied love of the medium are equally infrequent. To see all of these factors displayed side-by-side in the same work is profoundly rare, and Death to the Tinman just happens to be one of those epic film creations. Watching Ray Tintori’s Death to the Tinman for the first time, one can feel somewhat shocked by the experience of realizing that what you’re watching is a remarkable breakthrough short film. Tintori’s modern transformation of the original story about how the Tinman came to be the Tinman was created in a way that conveys an underlying emotional tone that progresses from the chaotic, to the quirky, to the profoundly poignant.
If you haven’t seen any of Ray Tintori’s works yet, I would highly recommend that you take twelve-minutes to watch Death to the Tinman. It’s truly a small investment to make in return for a rare, sizable emotional profit.
Death to the Tinman: How the Tinman Became a Metal-Man With No Heart
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