“But what have I got if I haven’t got those awards? I’ve got nothing. I got the building and the staff that’s in it, you know, and an unmade picture.” – Richard Williams
It says something about the ultimate fate of Richard Williams’ long-gestated project The Thief and the Cobbler that I only heard about it a month or so before watching this documentary, which follows its inception, prolonged pre-production and final, disastrous animation phase.
Persistence of Vision tells the story of Williams starting his London-based animation studio in the 1960s, becoming a prolific, award-winning commercials animator, before boldly attempting a long-form feature animated film. Kevin Schreck’s documentary takes the stance that The Thief and the Cobbler is a lost masterpiece, a work of genius that the public can now only see glimpses of in either the studio-completed release, or the rough workprint that Williams produced before production was taken over by a completion bond company.
I feel that pre-empting what the viewer would take from this story was jumping the gun a little, as coming to it relatively cold and only knowing the basics of what happened before my viewing, I found my reaction to it a little different.
But, although the documentary is selling Williams’ film as a lost artwork, it balances things out by detailing his out-of-control perfectionism, naïve vision and surprisingly poor planning skills. Assertions of a Dickensian-style workplace are perhaps objective, as other artists who worked on the project don’t seem as traumatised and bitter as others, however the message is clear: Williams saw his talented crew as a mere means to an end, squandering their contributions and ultimately taking personal and professional credit for their work.
Hey, that sounds familiar, doesn’t it? Remember that George Lucas guy? No, me neither. Anyway…
The agonising thing you realise while watching the Williams-directed The Thief and the Cobbler footage is how dated his visual style looks. It’s too intricate and detailed for the eye to cope with and fully appreciate when animated, and seems mired in flower power-era flourishes that now appear grotesque. When PoV shows you clips of Disney’s Aladdin, which allegedly ripped-off The Thief and the Cobbler, it feels like a breath of fresh air – its designs are simpler and more elegant, while the backgrounds uncluttered and striking. Williams’ vision was not only thirty years in the making but thirty years behind the times – an amazing revelation considering his groundbreaking work on Who Framed Roger Rabbit.
Much like with the similarly themed documentary Jodorowsky’s Dune, we are treated to a fascinating and often inspiring “what if?” story but, when you stop to think about it for a second, you realise that maybe we dodged a bullet by not being given Williams’ final product. The man failed to lock down a script to work from, storyboard his film properly or employ a counterbalancing producer to reign him in and tell him when to stop. Apparently, he refused to be interviewed for PoV, and I think I understand why. This was all his fault, and he probably knows it.
If anything, this is a lesson in the importance of not listening so much to someone’s fast talk and confidence, which Williams seemed to have far more of than he did a clear, defined vision. In fact, by the end, one of the animators tells us that, at best, The Thief and the Cobbler probably would have been received by the public as a novel experimental piece, rather than a family-friendly blockbuster. Williams might have been better off taking a step back and acting as the film’s producer, rather than being its creative force. His energetic hyperbole is just what a costly production needs.
Persistence of Vision is a valuable and worthwhile documentary, but prepare yourself to feel more frustrated at its obsessive protagonist than sympathetic. And also slightly confused, sadly at how horrid The Thief and the Cobbler actually looks, despite what you’re constantly being told.
But, as the title suggests, this isn’t a film about whether a man’s vision is misguided or not – it’s about its persistence.
You can buy Persistence of Vision on DVD here: http://kevinschreck.com/#persistence-of-vision-on-dvd
Saturday, 12 December 2015
Monday, 30 November 2015
Fan Fiction: Return of the Jedi v2 – A Film Re-imagined
NOTE: This is a basic story outline or treatment with an incredibly sparse use of dialogue. I’ve tried to use as many characters and sequences that appear in the original 1983 Return of the Jedi film as possible, just placed elsewhere and under different circumstances. There are three planets that are visited in the text but are not named properly (instead being referred to simply as “Planet One” “Planet Two” and Planet Three” respectively) as I thought taking it upon myself to name things would be more confusing than not, plus I didn’t want to use Expanded Universe or prequel terminology. Last but not least, please keep in mind that this has been done only for fun and as a “what if” exercise, so be nice.
Right.
A long time ago in a galaxy far, far away…
THE ADVENTURES OF LUKE SKYWALKER
RETURN OF THE JEDI
As taken from THE JOURNAL OF WHILLS
SCENE 01
The Super Star Destroyer Executor arrives in orbit around the Emperor’s homeworld Had Abaddon and a shuttle descends into a vast fortress. Within the fortress walls the shuttle continues to descend down into the cavernous bowels of the planet where the Emperor’s sumptuous lair lies safely amidst rivers of lava.
Darth Vader exits the shuttle with his second in command Admiral Piett and they meet the Emperor, who is now weak and feeble; surrounded by medical staff and aids, including the venal Grand Moff Jerjerrod.
Vader bids them all to leave – including Piett – and he and the Emperor are left alone.
Vader explains to the Emperor that his hold over the galaxy has been drastically weakened by the destruction of the Death Star, a fact he seems unaware of due to his aids shielding him from the truth after the space station’s obliteration by the rebels.
The Emperor accuses Vader of failing to acquire Luke Skywalker, a potentially powerful ally, and goes so far as to accuse Vader of plotting against him.
Vader makes a subtle hand gesture and the room fills with Piett and a garrison of stormtroopers. Vader murders the old, decrepit man with his cold, black, robot hands. The witnesses are stunned into silence.
Vader commands Jerjerrod to act as an interim leader while the Empire is dismantled.
On their way back to the shuttle. Vader instructs Piett to sack the palace and throw the Emperor’s aids into the rivers of lava. When asked “And what then?” Vader replies that it is to be made public that the Emperor is dead and his Empire at its knees so that the rebels attempt to converge on Had Abaddon to take control. “And what then, my lord?” Piett asks again, Vader replies “They will not make it this far.”
SCENE 02
The rebels receive word that the Emperor is dead and make plans to move on Had Abaddon, but Princess Leia is unsure, offering the alternative theory that maybe it is a trap. Admiral Ackbar and Mon Mothma dismiss her fears.
Threepio conveys spy data that reveals the Emperor’s fortress on Had Abaddon is now under siege from rebel-friendly forces, however a strong Imperial fleet is still in orbit around the planet and remain in charge on the ground.
Admiral Ackbar lays out their plan to travel from system to system gaining extra support and manpower before their final march on the Imperial fortress.
SCENE 03
On Tatooine we find Lando Calrissian and Chewbacca poised ready to intercept Han Solo’s frozen body in Jabba’s possession.
Suddenly the palace is attacked by Imperial forces and there is much chaos and destruction. Lando and Chewie fight for their lives.
Darth Vader appears and uses The Force to wrap a chain around Jabba’s great neck and choke him to death. He has everyone else – including Lando and Chewie – taken as prisoners. Boba Fett appears from the shadows and attempts to attack Vader but he is struck down and killed by Vader’s lightsaber.
Vader stands before the frozen body of Han Solo, contemplating his next move.
SCENE 04
Luke arrives back at the rebel fleet with Artoo and tells Leis that he found Jabba’s palace destroyed. The rendezvous with Lando and Chewie never took place as they were nowhere to be found. Han’s body was also not found and Luke presumed it to be buried under the rubble of Jabba’s palace.
Threepio and Artoo bicker about Artoo not finding Han Solo.
Leia accuses Luke of not trying hard enough to find them and they briefly argue, but soon they temper their emotions and embrace.
Leia tells Luke that the fleet is going to head for Had Abaddon now that the Emperor is apparently dead. Luke offers her the opportunity to go with him to search elsewhere for their friends. She refuses, citing her commitment to the rebellion. Luke agrees to go along… for now.
In private, Luke attempts to call out to Obi-Wan Kenobi or Yoda, but all is silent. He is visibly weary and ashamed of leaving his training so early and looks to his robot hand as a reminder.
SCENE 05
The rebels arrive at PLANET ONE where many POWs are kept on a prison sail barge. The rebels, including Luke and Leia, storm the barge and free the prisoners, who agree to join them in their march on Had Abaddon.
Amongst the prisoners they find Lando and Chewie, who tell Luke and Leia of Darth Vader attacking Jabba’s palace. When asked what became of Han Solo, Lando and Chewie admit they do not know.
Leia is distraught and begins to believe that all hope is lost for finding her beloved.
SCENE 06
On the Executor, it is revealed that Vader has now thawed out Han Solo and is keeping him in a trance-like state. Vader reprograms Han using a combination of hypnosis and The Force, giving him instructions to return to the rebel fleet and assassinate the high command, including Leia, Ackbar and Mothma.
Piett asks Vader if Han will betray them once he is back with the rebels. Vader assures him that Han will have no knowledge of his reprogramming or any memory of having been on the Executor.
SCENE 07
On PLANET TWO the rebels recruit the native, oppressed populace into helping them attack an Imperial communications installation on the planet that operates as an early attack warning system for Had Abaddon.
Here they send false signals to the Imperial fortress informing them that all is well.
SCENE 08
Piett informs Vader that they are getting conflicting reports of events on PLANET TWO. He also tells Vader that Han Solo has been delivered to the required location.
Vader is satisfied with both pieces of information.
SCENE 09
While celebrating their victory on PLANET TWO the rebels find Han Solo, seemingly by chance, in a bar as he is talking to the locals. He claims that he escaped from Jabba single-handedly, took revenge on Boba Fett and is now using Slave 1 to search for the whereabouts of the Millennium Falcon, which he believes has been sold for scrap.
Leia confides to Luke that she is hurt that Han does not remember their romantic relationship prior to his being put into carbon freeze. Luke shares with her that Han’s story does not hold water and finds it hard to believe that he would prioritise revenge over returning to his friends and loved ones.
They both agree to keep an eye on him.
SCENE 10
In seclusion Darth Vader makes psychic contact with Han Solo to learn properly of the fall of PLANET TWO and the rebels’ plans. During the link Han asks Vader what course of action he is to take next. Vader tells him to just remain undetected for now.
SCENE 11
On PLANET THREE the rebels arrive to arrest the fleeing top ranking Imperial officials who are making their getaways via a massive spaceport.
There is a speederbike chase involving Luke, Leia and wanted officials.
The captured officials tell of the mass execution of the Emperor’s entourage on Had Abaddon and that Vader will not be found there.
Leia asserts her belief to the rebel high command that it maybe a trap. They begin to believe her and choose to approach their final target with caution.
Han, Chewie and Lando find the Millennium Falcon at the spaceport and steal it back in a light-hearted sequence intended to show Han integrating back in well with the rebels and his friends.
SCENE 12
Darth Vader receives a message from Jerjerrod that the fortress on Had Abaddon is still under his control but he is receiving requests by the rebels to surrender. Vader tells him to maintain silence and the integrity of the fortress.
Vader also tells Jerjerrod to expect a mysterious shipment very soon, which he is to handle with extreme caution and proceed with the instructions that arrive with it.
Vader discusses the situation with Admiral Piett, who seems annoyed that Vader refuses to disclose his plans with him. He tells Vader that discontent is spreading amongst his men. Vader reassures him that everything is proceeding as he has foreseen it and that Piett is to execute traitors or anyone spreading malcontent.
Piett leaves, frustrated.
In another psychic link, Vader instructs Han Solo to illuminate his targets.
SCENE 13
On the rebel fleet Lando and Chewie relax at an onboard bar. They are getting drunk and telling stories. Han, still unaware of Vader’s hold over him, joins the two and they discuss the past, present and future. Lando asks Han whether Leia is “available” to be romanced since Han has not shown any interest in her since returning. Han says he no longer has any interest in Leia romantically.
Chewie becomes suspicious.
Han asks where both Luke and Leia are and Lando tells him they are in conference with the rebel high command planning the invasion. Han leaves the bar, to the bemusement of both Lando and Chewie.
SCENE 14
With their guard down Luke, Leia, Ackbar and Mothma are attacked by Han. A fight ensues. Lando and Chewie, having sensed something is wrong with Han, appear and join in the battle. Leia is badly injured in the chaos – but not directly by Han. Eventually Chewie overpowers Han and then Luke uses The Force to break Darth Vader’s programming of him.
During Luke’s searching of Han’s mind he and Vader have a brief exchange. Vader taunts Luke about being his son. Luke calls him a liar and a manipulator. before banishing him from Han’s mind for good.
Han, completely back to how he was before being frozen, has the romantic reunion with Leia that she has been waiting for.
When asked what he remembers about his conversations with Vader, Han honestly admits to not remembering anything.
SCENE 15
As Vader’s psychic link with Han is broken, he awakens to find himself surrounded by Admiral Piett and a host of stormtroopers.
Piett announces his intention to mutiny and surrender to the approaching rebel fleet now that the Emperor is dead and the Empire crumbling.
Vader, outnumbered even with his evil powers, simply says “As you wish, Admiral” and is taken into custody.
SCENE 16
The rebels receive word from the Executor of the Empire’s willingness to surrender, citing a military coupe by Admiral Piett. Piett informs them that Darth Vader is in his custody and that Jerjerrod on Had Abaddon is under orders to meet them to discuss peace terms.
Leia, Ackbar and Mon Mothma agree to go down to the planet as a peace envoy, with Luke there as their bodyguard and Threepio as an interpreter if needed.
Mothma is concerned that Leia is not well enough after the battle with Han Solo, but the plucky young princess asserts her determination to join them.
SCENE 17
A rebel unit, headed by Lando Calrissian, arrive on the Executor. Admiral Piett releases Darth Vader into their custody and agrees to comply fully with the rebels’ wishes, assuring them that they will find no resistance amongst the Imperial crew.
SCENE 18
Luke, Leia, Ackbar, Mothma and Threepio leave the rebel fleet in a shuttle and head down to the fortress on Had Abaddon.
SCENE 19
Now in custody on the rebel ship, Darth Vader is mocked and taunted by Han Solo and Chewie, who play cards and joke in front of their silent captor.
There is an open communications channel allowing Han and Chewie (and us) to hear what is going on over at the Executor and, most importantly, down on Had Abaddon.
SCENE 20
Lando Calrissian is informed by rebel tech staff that Vader had sent down a large, dangerous shipment to Had Abaddon before the fleet’s surrender and that the rebel high command might want to be vigilant on their arrival.
Lando relays this information to Luke over the radio.
SCENE 21
Down on Had Abaddon Luke, Leia, Ackbar, Mothma and Threepio are escorted through the Imperial fortress and down into the bowels of the planet where the meeting will take place.
The halls and corridors down here are vast and seemingly endless. It must have taken years for it to be carved or blasted out.
Everyone is on guard.
Luke receives a message on his radio transmitter from Lando and acknowledges it.
Suddenly there are screams from another room. Imperial staff turn a corner and run past our heroes towards the exit in terror as… a RANCOR monster appears and charges towards Luke, Leia, Ackbar, Mothma and Threepio. Luke tells his comrades to flee except for Threepio who he uses as a diversion as he battles the rancor single-handedly.
A fight between the budding jedi and enormous beast ensues.
SCENE 22
Han is distracted by the commotion down on the planet, which gives Darth Vader his opportunity to break his shackles, subdue his captors and head for a shuttle to escape.
Han and Chewie go in hot pursuit.
SCENE 23
Luke kills the rancor and order is restored.
SCENE 24
Han and Chewie chase Darth Vader using the Millennium Falcon. Both ships fly down to the fortress on Had Abaddon and into its immense, labyrinthine substructure.
Vader and his shuttle are destroyed as he converges on our heroes as they stand over the rancor’s body – a feat achieved through a combination of Han and Chewie’s piloting and Luke’s use of The Force.
SCENE 25
Our heroes part ways.
Leia is to stay on Had Abaddon to help supervise the dismantling of the Empire; Lando is to go back to Bespin and reclaim his mining business; Luke is to go back to Dagobah to complete his jedi training as promised; and Han and Chewie are to return to their old life, albeit as honest traders.
There is a romantic parting between Han and Leia, however Han says they will meet again once Leia’s important work on Had Abaddon is complete.
Luke Skywalker flies off into the stars with Artoo in search of new adventures.
THE END
UP NEXT: A COMMENTARY ON THE TEXT
Right.
A long time ago in a galaxy far, far away…
THE ADVENTURES OF LUKE SKYWALKER
RETURN OF THE JEDI
As taken from THE JOURNAL OF WHILLS
SCENE 01
The Super Star Destroyer Executor arrives in orbit around the Emperor’s homeworld Had Abaddon and a shuttle descends into a vast fortress. Within the fortress walls the shuttle continues to descend down into the cavernous bowels of the planet where the Emperor’s sumptuous lair lies safely amidst rivers of lava.
Darth Vader exits the shuttle with his second in command Admiral Piett and they meet the Emperor, who is now weak and feeble; surrounded by medical staff and aids, including the venal Grand Moff Jerjerrod.
Vader bids them all to leave – including Piett – and he and the Emperor are left alone.
Vader explains to the Emperor that his hold over the galaxy has been drastically weakened by the destruction of the Death Star, a fact he seems unaware of due to his aids shielding him from the truth after the space station’s obliteration by the rebels.
The Emperor accuses Vader of failing to acquire Luke Skywalker, a potentially powerful ally, and goes so far as to accuse Vader of plotting against him.
Vader makes a subtle hand gesture and the room fills with Piett and a garrison of stormtroopers. Vader murders the old, decrepit man with his cold, black, robot hands. The witnesses are stunned into silence.
Vader commands Jerjerrod to act as an interim leader while the Empire is dismantled.
On their way back to the shuttle. Vader instructs Piett to sack the palace and throw the Emperor’s aids into the rivers of lava. When asked “And what then?” Vader replies that it is to be made public that the Emperor is dead and his Empire at its knees so that the rebels attempt to converge on Had Abaddon to take control. “And what then, my lord?” Piett asks again, Vader replies “They will not make it this far.”
SCENE 02
The rebels receive word that the Emperor is dead and make plans to move on Had Abaddon, but Princess Leia is unsure, offering the alternative theory that maybe it is a trap. Admiral Ackbar and Mon Mothma dismiss her fears.
Threepio conveys spy data that reveals the Emperor’s fortress on Had Abaddon is now under siege from rebel-friendly forces, however a strong Imperial fleet is still in orbit around the planet and remain in charge on the ground.
Admiral Ackbar lays out their plan to travel from system to system gaining extra support and manpower before their final march on the Imperial fortress.
SCENE 03
On Tatooine we find Lando Calrissian and Chewbacca poised ready to intercept Han Solo’s frozen body in Jabba’s possession.
Suddenly the palace is attacked by Imperial forces and there is much chaos and destruction. Lando and Chewie fight for their lives.
Darth Vader appears and uses The Force to wrap a chain around Jabba’s great neck and choke him to death. He has everyone else – including Lando and Chewie – taken as prisoners. Boba Fett appears from the shadows and attempts to attack Vader but he is struck down and killed by Vader’s lightsaber.
Vader stands before the frozen body of Han Solo, contemplating his next move.
SCENE 04
Luke arrives back at the rebel fleet with Artoo and tells Leis that he found Jabba’s palace destroyed. The rendezvous with Lando and Chewie never took place as they were nowhere to be found. Han’s body was also not found and Luke presumed it to be buried under the rubble of Jabba’s palace.
Threepio and Artoo bicker about Artoo not finding Han Solo.
Leia accuses Luke of not trying hard enough to find them and they briefly argue, but soon they temper their emotions and embrace.
Leia tells Luke that the fleet is going to head for Had Abaddon now that the Emperor is apparently dead. Luke offers her the opportunity to go with him to search elsewhere for their friends. She refuses, citing her commitment to the rebellion. Luke agrees to go along… for now.
In private, Luke attempts to call out to Obi-Wan Kenobi or Yoda, but all is silent. He is visibly weary and ashamed of leaving his training so early and looks to his robot hand as a reminder.
SCENE 05
The rebels arrive at PLANET ONE where many POWs are kept on a prison sail barge. The rebels, including Luke and Leia, storm the barge and free the prisoners, who agree to join them in their march on Had Abaddon.
Amongst the prisoners they find Lando and Chewie, who tell Luke and Leia of Darth Vader attacking Jabba’s palace. When asked what became of Han Solo, Lando and Chewie admit they do not know.
Leia is distraught and begins to believe that all hope is lost for finding her beloved.
SCENE 06
On the Executor, it is revealed that Vader has now thawed out Han Solo and is keeping him in a trance-like state. Vader reprograms Han using a combination of hypnosis and The Force, giving him instructions to return to the rebel fleet and assassinate the high command, including Leia, Ackbar and Mothma.
Piett asks Vader if Han will betray them once he is back with the rebels. Vader assures him that Han will have no knowledge of his reprogramming or any memory of having been on the Executor.
SCENE 07
On PLANET TWO the rebels recruit the native, oppressed populace into helping them attack an Imperial communications installation on the planet that operates as an early attack warning system for Had Abaddon.
Here they send false signals to the Imperial fortress informing them that all is well.
SCENE 08
Piett informs Vader that they are getting conflicting reports of events on PLANET TWO. He also tells Vader that Han Solo has been delivered to the required location.
Vader is satisfied with both pieces of information.
SCENE 09
While celebrating their victory on PLANET TWO the rebels find Han Solo, seemingly by chance, in a bar as he is talking to the locals. He claims that he escaped from Jabba single-handedly, took revenge on Boba Fett and is now using Slave 1 to search for the whereabouts of the Millennium Falcon, which he believes has been sold for scrap.
Leia confides to Luke that she is hurt that Han does not remember their romantic relationship prior to his being put into carbon freeze. Luke shares with her that Han’s story does not hold water and finds it hard to believe that he would prioritise revenge over returning to his friends and loved ones.
They both agree to keep an eye on him.
SCENE 10
In seclusion Darth Vader makes psychic contact with Han Solo to learn properly of the fall of PLANET TWO and the rebels’ plans. During the link Han asks Vader what course of action he is to take next. Vader tells him to just remain undetected for now.
SCENE 11
On PLANET THREE the rebels arrive to arrest the fleeing top ranking Imperial officials who are making their getaways via a massive spaceport.
There is a speederbike chase involving Luke, Leia and wanted officials.
The captured officials tell of the mass execution of the Emperor’s entourage on Had Abaddon and that Vader will not be found there.
Leia asserts her belief to the rebel high command that it maybe a trap. They begin to believe her and choose to approach their final target with caution.
Han, Chewie and Lando find the Millennium Falcon at the spaceport and steal it back in a light-hearted sequence intended to show Han integrating back in well with the rebels and his friends.
SCENE 12
Darth Vader receives a message from Jerjerrod that the fortress on Had Abaddon is still under his control but he is receiving requests by the rebels to surrender. Vader tells him to maintain silence and the integrity of the fortress.
Vader also tells Jerjerrod to expect a mysterious shipment very soon, which he is to handle with extreme caution and proceed with the instructions that arrive with it.
Vader discusses the situation with Admiral Piett, who seems annoyed that Vader refuses to disclose his plans with him. He tells Vader that discontent is spreading amongst his men. Vader reassures him that everything is proceeding as he has foreseen it and that Piett is to execute traitors or anyone spreading malcontent.
Piett leaves, frustrated.
In another psychic link, Vader instructs Han Solo to illuminate his targets.
SCENE 13
On the rebel fleet Lando and Chewie relax at an onboard bar. They are getting drunk and telling stories. Han, still unaware of Vader’s hold over him, joins the two and they discuss the past, present and future. Lando asks Han whether Leia is “available” to be romanced since Han has not shown any interest in her since returning. Han says he no longer has any interest in Leia romantically.
Chewie becomes suspicious.
Han asks where both Luke and Leia are and Lando tells him they are in conference with the rebel high command planning the invasion. Han leaves the bar, to the bemusement of both Lando and Chewie.
SCENE 14
With their guard down Luke, Leia, Ackbar and Mothma are attacked by Han. A fight ensues. Lando and Chewie, having sensed something is wrong with Han, appear and join in the battle. Leia is badly injured in the chaos – but not directly by Han. Eventually Chewie overpowers Han and then Luke uses The Force to break Darth Vader’s programming of him.
During Luke’s searching of Han’s mind he and Vader have a brief exchange. Vader taunts Luke about being his son. Luke calls him a liar and a manipulator. before banishing him from Han’s mind for good.
Han, completely back to how he was before being frozen, has the romantic reunion with Leia that she has been waiting for.
When asked what he remembers about his conversations with Vader, Han honestly admits to not remembering anything.
SCENE 15
As Vader’s psychic link with Han is broken, he awakens to find himself surrounded by Admiral Piett and a host of stormtroopers.
Piett announces his intention to mutiny and surrender to the approaching rebel fleet now that the Emperor is dead and the Empire crumbling.
Vader, outnumbered even with his evil powers, simply says “As you wish, Admiral” and is taken into custody.
SCENE 16
The rebels receive word from the Executor of the Empire’s willingness to surrender, citing a military coupe by Admiral Piett. Piett informs them that Darth Vader is in his custody and that Jerjerrod on Had Abaddon is under orders to meet them to discuss peace terms.
Leia, Ackbar and Mon Mothma agree to go down to the planet as a peace envoy, with Luke there as their bodyguard and Threepio as an interpreter if needed.
Mothma is concerned that Leia is not well enough after the battle with Han Solo, but the plucky young princess asserts her determination to join them.
SCENE 17
A rebel unit, headed by Lando Calrissian, arrive on the Executor. Admiral Piett releases Darth Vader into their custody and agrees to comply fully with the rebels’ wishes, assuring them that they will find no resistance amongst the Imperial crew.
SCENE 18
Luke, Leia, Ackbar, Mothma and Threepio leave the rebel fleet in a shuttle and head down to the fortress on Had Abaddon.
SCENE 19
Now in custody on the rebel ship, Darth Vader is mocked and taunted by Han Solo and Chewie, who play cards and joke in front of their silent captor.
There is an open communications channel allowing Han and Chewie (and us) to hear what is going on over at the Executor and, most importantly, down on Had Abaddon.
SCENE 20
Lando Calrissian is informed by rebel tech staff that Vader had sent down a large, dangerous shipment to Had Abaddon before the fleet’s surrender and that the rebel high command might want to be vigilant on their arrival.
Lando relays this information to Luke over the radio.
SCENE 21
Down on Had Abaddon Luke, Leia, Ackbar, Mothma and Threepio are escorted through the Imperial fortress and down into the bowels of the planet where the meeting will take place.
The halls and corridors down here are vast and seemingly endless. It must have taken years for it to be carved or blasted out.
Everyone is on guard.
Luke receives a message on his radio transmitter from Lando and acknowledges it.
Suddenly there are screams from another room. Imperial staff turn a corner and run past our heroes towards the exit in terror as… a RANCOR monster appears and charges towards Luke, Leia, Ackbar, Mothma and Threepio. Luke tells his comrades to flee except for Threepio who he uses as a diversion as he battles the rancor single-handedly.
A fight between the budding jedi and enormous beast ensues.
SCENE 22
Han is distracted by the commotion down on the planet, which gives Darth Vader his opportunity to break his shackles, subdue his captors and head for a shuttle to escape.
Han and Chewie go in hot pursuit.
SCENE 23
Luke kills the rancor and order is restored.
SCENE 24
Han and Chewie chase Darth Vader using the Millennium Falcon. Both ships fly down to the fortress on Had Abaddon and into its immense, labyrinthine substructure.
Vader and his shuttle are destroyed as he converges on our heroes as they stand over the rancor’s body – a feat achieved through a combination of Han and Chewie’s piloting and Luke’s use of The Force.
SCENE 25
Our heroes part ways.
Leia is to stay on Had Abaddon to help supervise the dismantling of the Empire; Lando is to go back to Bespin and reclaim his mining business; Luke is to go back to Dagobah to complete his jedi training as promised; and Han and Chewie are to return to their old life, albeit as honest traders.
There is a romantic parting between Han and Leia, however Han says they will meet again once Leia’s important work on Had Abaddon is complete.
Luke Skywalker flies off into the stars with Artoo in search of new adventures.
THE END
UP NEXT: A COMMENTARY ON THE TEXT
Monday, 23 November 2015
Fan Fiction: Return of the Jedi v2 - An Introduction
I love Return of the Jedi. Although 1977's Star Wars is that "perfect film" that everyone loves and The Empire Strikes Back is the little-sequel-that-could and the series' artistic and dramatic apex, RotJ is "my Star Wars film". By this I mean it was the one I was conscious of as it came out when I was growing up. I was 3 years old. My older brother was bought the toys related to that film, not SW or TESB. When I watch RotJ I feel at home. I remember my childhood. I get warm, fuzzy, ewok shaped feelings.
Unfortunately, from a critical point of view, it is greatly flawed. It does have the best set pieces by far - the swashbuckling sail barge fight, the nailbiting speederbike chase, the breathtaking flight into the Death Star's superstructure - but many fans will agree that some key areas of the film signalled bad things to come.
While the special effects and music are top-notch, the film somehow looks cheap. Not in terms of sets and costumes, which are fine, but in the grainy film stock used and flat, lifeless patina that's a huge step down from TESB's beautiful, layered lighting setups.
Elsewhere the actors look, for some reason, so much older, tired and bored. The dialogue is stilted and lacking the sharp wit and edgy banter of the previous two films, and even though our team of heroes are back together and fighting side by side the chemistry has gone. Luke, Leia, Han, Chewie, Threepio and Artoo all go on an adventure together - and we feel nothing. Most importantly, though, the story is a cobbled together, committee driven let down. In the first two films our friends had to get from point A to point B via a couple of stops. Simple. And the clock was ticking or the chase was on. In RotJ, while the clock starts ticking after 45 minutes, there's no real journey. Han is freed from Jabba and then our friends muck around in a forest for an hour with teddy bears.
I understand why RotJ is the way it is, though, and - if I'm right - it's a great shame.
Up until the explosion of the internet TESB was considered "the bad one". Professional critics rated it less than SW and RotJ. This was going on up until the mid-90s when the geeks started taking over the film review business and rebelled against the crusty old naysayers. TESB began to be and is now generally considered the original trilogy's high point. But for a while there it wasn't, and I believe Lucas viewed Irvin Kirshner's film as a failure, which is why RotJ is so "safe". It's back to basics. Han wears his 1977 SW costume, we have ewoks to mimic the "cute" jawas, Darth Vader is back as a mere henchman and there's even another Death Star.
Safe.
But bizarrely, by the end of the film I feel satisfied. I feel happy. I've watched the end of the Star Wars trilogy and I don't want it any other way. Genuinely. It's fine. While the story lacks drive, it still manages to hit a few of the right emotional and excitement buttons. Luckily for us the big, important buttons. But those flaws mentioned above are gaping ones that, if mended, could have made this final instalment a piece of art along with TESB.
So even though, deep down, I don't want RotJ changed, if I were to be Quantum Leaped back into George Lucas' body circa roughly 1981 just after TESB was released and was in charge of making the third film all over again, what would I do differently?
Well, in the form of a basic outline/treatment, maybe something like this...
TO BE CONTINUED...
Unfortunately, from a critical point of view, it is greatly flawed. It does have the best set pieces by far - the swashbuckling sail barge fight, the nailbiting speederbike chase, the breathtaking flight into the Death Star's superstructure - but many fans will agree that some key areas of the film signalled bad things to come.
While the special effects and music are top-notch, the film somehow looks cheap. Not in terms of sets and costumes, which are fine, but in the grainy film stock used and flat, lifeless patina that's a huge step down from TESB's beautiful, layered lighting setups.
Elsewhere the actors look, for some reason, so much older, tired and bored. The dialogue is stilted and lacking the sharp wit and edgy banter of the previous two films, and even though our team of heroes are back together and fighting side by side the chemistry has gone. Luke, Leia, Han, Chewie, Threepio and Artoo all go on an adventure together - and we feel nothing. Most importantly, though, the story is a cobbled together, committee driven let down. In the first two films our friends had to get from point A to point B via a couple of stops. Simple. And the clock was ticking or the chase was on. In RotJ, while the clock starts ticking after 45 minutes, there's no real journey. Han is freed from Jabba and then our friends muck around in a forest for an hour with teddy bears.
I understand why RotJ is the way it is, though, and - if I'm right - it's a great shame.
Up until the explosion of the internet TESB was considered "the bad one". Professional critics rated it less than SW and RotJ. This was going on up until the mid-90s when the geeks started taking over the film review business and rebelled against the crusty old naysayers. TESB began to be and is now generally considered the original trilogy's high point. But for a while there it wasn't, and I believe Lucas viewed Irvin Kirshner's film as a failure, which is why RotJ is so "safe". It's back to basics. Han wears his 1977 SW costume, we have ewoks to mimic the "cute" jawas, Darth Vader is back as a mere henchman and there's even another Death Star.
Safe.
But bizarrely, by the end of the film I feel satisfied. I feel happy. I've watched the end of the Star Wars trilogy and I don't want it any other way. Genuinely. It's fine. While the story lacks drive, it still manages to hit a few of the right emotional and excitement buttons. Luckily for us the big, important buttons. But those flaws mentioned above are gaping ones that, if mended, could have made this final instalment a piece of art along with TESB.
So even though, deep down, I don't want RotJ changed, if I were to be Quantum Leaped back into George Lucas' body circa roughly 1981 just after TESB was released and was in charge of making the third film all over again, what would I do differently?
Well, in the form of a basic outline/treatment, maybe something like this...
TO BE CONTINUED...
Thursday, 19 November 2015
Podcast: The Whittling Post Digest - Episode 20
THIS EPISODE: JEEVES & WOOSTER, CODEPENDENT LESBIAN SPACE ALIEN SEEKS SAME, ELECTRIC BOOGALOO DOCUMENTARY, PHONE BOOTH, THE LAST LAUGH, THE DEVIL RIDES OUT, SHADOW OF MORDOR, JINGO, DEATHWORLD and MORE!
A roundup of my recent cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
Friday, 30 October 2015
Podcast: The Whittling Post Digest - Episode 19
THIS EPISODE: THE ROARING TWENTIES, ERROL FLYNN MOVIES, EXPLORERS, MAD MAX FURY ROAD, THE SECRET HISTORY OF STAR WARS and MORE!
A roundup of my recent cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
Tuesday, 13 October 2015
Podcast: The Whittling Post Digest - Episode 18
THIS EPISODE: EERIE INDIANA, SUPER, RUMBLE FISH, HOTLINE MIAMI and MORE!
A roundup of my recent cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
Friday, 2 October 2015
Podcast: The Whittling Post Digest - Episode 17
THIS EPISODE: FRANKENSTEIN, BRIDE OF FRANKENSTEIN, BARBARELLA, ONCE UPON A TIME IN MEXICO, AN AMERICAN WEREWOLF IN LONDON, BOY MEETS GIRL, SHOVEL KNIGHT, DUCKTALES REMASTERED, THE WEIGHT OF CHAINS and MORE!
A roundup of my recent cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
Wednesday, 2 September 2015
Podcast: The Whittling Post Digest - Episode 16
THIS WEEK: THE DOUBLE, GORKY PARK, BIRDMAN, BATMAN THE ANIMATED SERIES, ARRESTED DEVELOPMENT, THE GUNSLINGER, AMERICAN PSYCHO and MORE!
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
Saturday, 8 August 2015
Podcast: The Whittling Post Digest - Episode 15
THIS WEEK: STONEWALL TRAILER, SUPERCAR, JOE 90, UNIVERSAL SOLDIER, UNIVERSAL SOLDIER THE RETURN and MORE!
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
Friday, 31 July 2015
Podcast: The Whittling Post Digest - Episode 14
THIS WEEK: MARATHON MAN, FIREBALL XL5, THUNDERBIRDS ARE GO & 6, JODOROWSKY'S DUNE, STARSHIP TROOPERS, FLASH GORDON, FLASHBACK REMASTERED, SOUL MUSIC and MORE!
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
Sunday, 19 July 2015
Podcast: The Whittling Post Digest - Episode 13
THIS WEEK: ASH VS EVIL DEAD, DARKMAN, TEAM AMERICA WORLD POLICE, MAN OF STEEL, FORTRESS, QUEER AS FOLK, TROUBLE IN PARADISE, LAST OF OUR KIND, FEET OF CLAY and MORE!
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
Friday, 10 July 2015
Podcast: The Whittling Post Digest - Episode 12
THIS WEEK: NO WAY OUT, THIRTEEN DAYS, THE LADY FROM SHANGHAI, THE TIMES OF HARVEY MILK, WE WERE HERE, PARIS IS BURNING, DRUNK DOUGIE T-SHIRTS, WOLF BROTHER and MORE!
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
Friday, 26 June 2015
Podcast: The Whittling Post Digest - Episode 11
THIS WEEK: THE BOYS IN THE BAND, LAWRENCE OF ARABIA, JFK, BEFORE STONEWALL, THE CELLULOID CLOSET, GAY SEX IN THE 70s, LA ROUX, THE FALLOUT FEED, JURASSIC PARK AUDIOBOOK and MORE!
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
Thursday, 18 June 2015
Podcast: The Whittling Post Digest - Episode 10
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
THIS WEEK: GAME OF THRONES, PINOCCHIO, ASSASSIN'S CREED IV BLACK FLAG, FALLOUT 4, CARPE JUGULUM, SEVEN PRINCES, ASTRONOMYCAST and MORE!
Sunday, 14 June 2015
Podcast: The Whittling Post Digest - Episode 09
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
THIS WEEK: MILIUS, LOST IN LA MANCHA, BOBBY FISCHER AGAINST THE WORLD, MASTER OF CINEMA: JOHN CARPENTER, LOVECRAFT: FEAR OF THE UNKNOWN, PACIFIC RIM and MORE!
Thursday, 28 May 2015
Podcast: The Whittling Post Digest - Episode 08
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
THIS WEEK: JOHN CARPENTER FILMS, BIG EYES, THE SECRET OF NIMH, SNOW WHITE, BIRTHDAY SHENANIGANS, RECLAIMED ART AUCTION and MORE!
Tuesday, 19 May 2015
Podcast: The Whittling Post Digest - Episode 07
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
THIS WEEK: TRESPASS, BRAM STOKER'S DRACULA, LOST THEMES, EARTHWORM JIM HD, GUACAMELEE, RTS GAMES, LEVIATHAN WAKES, WARHAMMER, IDAHOT and MORE!
Friday, 8 May 2015
Podcast: The Whittling Post Digest - Episode 06
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
THIS WEEK: THE WARRIORS, HEAVY METAL, THEY LIVE, THE LEGEND OF CONAN, THE FORCE UNLEASHED II, RINGWORLD, THE FOUNDATION TRILOGY, 2015 GENERAL ELECTIONS and MORE!
Wednesday, 29 April 2015
Podcast: The Whittling Post Digest - Episode 05
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
THIS WEEK: HEART OF GLASS, THE MUPPETS, AFRO SAMURAI, TWIN PEAKS, THE CONSOLE PORT, 2001, THE GODMAKERS, HIGH HAZEL, CHESTERFIELD PRIDE, DONCASTER COMIC-CON and MORE!
Thursday, 23 April 2015
Podcast: The Whittling Post Digest - Episode 04
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
THIS WEEK: STAR WARS, THE BFG, GONE GIRL, MUPPETS MOST WANTED, SIN CITY A DAME TO KILL FOR, ST VINCENT, GOOD OMENS and MORE!
Friday, 10 April 2015
Podcast: The Whittling Post Digest - Episode 03
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
THIS WEEK: THE WAY HE LOOKS, THE BALLAD OF CABLE HOGUE, EVENT HORIZON, BATMAN: GOTHAM KNIGHT, 357 LOVER, BIG FINISH, ARTHUR MILLER'S PLAYING FOR TIME and MORE!
Thursday, 2 April 2015
Podcast: The Whittling Post Digest - Episode 02
A weekly roundup of my cultural experiences in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
THIS WEEK: FROM DUSK TILL DAWK 1 & 2, THE WILD BUNCH, LIVE VIDEO GAME STREAMING, GUIDED BY VOICES, BATMAN: THE KILLING JOKE, MASKERADE and MORE!
Thursday, 26 March 2015
Podcast: The Whittling Post Digest - Episode 01
A weekly cultural roundup in podcast form! The average adventures of a geek with too much time on his hands. Not to be confused with better, more professional cultural review podcasts, of which there are plenty.
THIS WEEK: GODZILLA, THIS ISLAND EARTH, MAX PAYNE 3, DISCWORLD, THE BOY IN THE DRESS, SAVE DEVONSHIRE STREET and MORE!
Thursday, 5 March 2015
Hammer: Dracula (1958) - film review
I guess I'm doing this season of Hammer horror films in
descending order of critical acclaim or popularity. As I said in my last post,
I've not approached this very scientifically but, well, I think scientifically
enough that I believe I've picked the right films to look at.
So, first up is 1958's Dracula, which inAmerica
My first impression of this film was very good, but that ended kind of quickly. The title sequence is great and the music by James Bernard scored gloriously over it sets the chilling tone well. I almost got goose bumps while the camera tracked around what I think is a stone gargoyle or angel. But as the film starts we're left with the fairly lifeless John Van Eyssen as Jonathan Harker to guide us into the piece. I've only read about a third of the original book, but as I remember Jonathan's meant to be quite wide-eyed and meek, but Van Eyssen plays him colder, harder, which reflects an important change to his character, but any familiarity with the book will render the viewer a little confused. In fact he's actually slightly creepier than Dracula himself, I'd say.
Changes to the book are a big part of this film, as many were made to condense the goings on for budgetary reasons. That's fine, really, and they do it in smart ways and never change anything for the worse. Once you realise that its only going to casually follow the events of the book then your mind opens up to new ideas.
The film struck me as similar to the Roger Corman adaptations of Poe's work I watched recently. It all looks nice and is finely acted but there's little in the way of showy filmmaking. The flashier bits are wisely saved for the grand moments of horror, which stand out very well. I wasn't expecting stakes to be plunged into women's hearts quite so explicitly, which was kinda cool in a gross-out sort of way.
The low budget stands out most of all in the exterior representation of Dracula's "castle", which here just looks like a nice English country manor... and probably was.
Christopher Lee must have been a little bored on set because he has sod all to say after the opening scenes and remains very much an off-screen threat like the alien in, erm, Alien. His appearances are brief but when they are they're very crucial. So really this is Peter Cushing's show, which is reflected in the order the cast are credited in.
The female cast members are great, including Melissa Stribling, Carol Marsh and Valerie Gaunt. Marsh in fact has a particularly disturbing scene where she tries to lure a child to her possible doom that mirrors the Moors murders a little. I found that quite upsetting.
The cinematography by Jack Asher seemed subdued to me. At the start I wasn't even sure it was in colour. When blood splatters on Dracula's coffin just after the title sequence (which, now that I think about it, was in red) I thought it was going to stay in black and white and only have colour for the gore. But no, it's all colour. I think that's my eyesight getting worse as I had the same problem with Corman's The Haunted Palace. Shame. Maybe that's why I've been buying up so many films recently - I want to see them all before it's too late and my film viewing days are over.
From watching the retrospective documentary on the bonus disc the general opinion seems to be that while this is the most confident and probably the flagship Hammer film, it isn't necessarily the best. Which bodes well for me as I have a fair few to get through.
I enjoyed Dracula but I can't say it was a revelation of an experience. Maybe the more obscure and "bad" ones will be more up my street.
We shall see.
So, first up is 1958's Dracula, which in
My first impression of this film was very good, but that ended kind of quickly. The title sequence is great and the music by James Bernard scored gloriously over it sets the chilling tone well. I almost got goose bumps while the camera tracked around what I think is a stone gargoyle or angel. But as the film starts we're left with the fairly lifeless John Van Eyssen as Jonathan Harker to guide us into the piece. I've only read about a third of the original book, but as I remember Jonathan's meant to be quite wide-eyed and meek, but Van Eyssen plays him colder, harder, which reflects an important change to his character, but any familiarity with the book will render the viewer a little confused. In fact he's actually slightly creepier than Dracula himself, I'd say.
Changes to the book are a big part of this film, as many were made to condense the goings on for budgetary reasons. That's fine, really, and they do it in smart ways and never change anything for the worse. Once you realise that its only going to casually follow the events of the book then your mind opens up to new ideas.
The film struck me as similar to the Roger Corman adaptations of Poe's work I watched recently. It all looks nice and is finely acted but there's little in the way of showy filmmaking. The flashier bits are wisely saved for the grand moments of horror, which stand out very well. I wasn't expecting stakes to be plunged into women's hearts quite so explicitly, which was kinda cool in a gross-out sort of way.
The low budget stands out most of all in the exterior representation of Dracula's "castle", which here just looks like a nice English country manor... and probably was.
Christopher Lee must have been a little bored on set because he has sod all to say after the opening scenes and remains very much an off-screen threat like the alien in, erm, Alien. His appearances are brief but when they are they're very crucial. So really this is Peter Cushing's show, which is reflected in the order the cast are credited in.
The female cast members are great, including Melissa Stribling, Carol Marsh and Valerie Gaunt. Marsh in fact has a particularly disturbing scene where she tries to lure a child to her possible doom that mirrors the Moors murders a little. I found that quite upsetting.
The cinematography by Jack Asher seemed subdued to me. At the start I wasn't even sure it was in colour. When blood splatters on Dracula's coffin just after the title sequence (which, now that I think about it, was in red) I thought it was going to stay in black and white and only have colour for the gore. But no, it's all colour. I think that's my eyesight getting worse as I had the same problem with Corman's The Haunted Palace. Shame. Maybe that's why I've been buying up so many films recently - I want to see them all before it's too late and my film viewing days are over.
From watching the retrospective documentary on the bonus disc the general opinion seems to be that while this is the most confident and probably the flagship Hammer film, it isn't necessarily the best. Which bodes well for me as I have a fair few to get through.
I enjoyed Dracula but I can't say it was a revelation of an experience. Maybe the more obscure and "bad" ones will be more up my street.
We shall see.
Tuesday, 24 February 2015
Confessions of a Hammer Horror Noob
After my marathon of Roger Corman's eight Edgar Allan Poe
horror films last week I started to think about the unfamiliar classic b-movie
horror genre in general and whether it might be good for me to, well, "go
swimming" as it were in a pool of celluloid blood. Or something.
Even though I've watched my fair share of horror films I think it's safe to say that I'm a horror newbie with a lot more to learn, but with the horror genre being such a popular one at the moment there's clearly buckets and buckets of gory screen outings to trawl through of varying quality. Too many, you might say. Or say with absolute certainty.
So where do I start? How do I decide which to try and which to steer clear of? And what's the best overall purchase to make in order to compile the best collection possible?
What instantly came to mind was Hammer - a name that to me means drab, dated 70s British rural chillers, but I think that's because I've just not seen the right ones over the years, and after a little looking around I found there might be more in it than merely dodgy hairstyles, dour cinematography and cheap locations.
So I managed to dig up around ten or so websites/blogs that list their favourite/what they think are the best Hammer horror films. I've made no note of the sites and, to be honest, I've probably made the odd mistake here and there (ain't I a pro?!), but basically here are the fifteen films that cropped up the most (in descending order of the number of mentions):
x10
Dracula AKA Horror of Dracula (1958)
The Curse of Frankenstein
x8
Curse of the Werewolf
x7
The Devil Rides Out
x6
Dr. Jekyll & Sister Hyde
The Hound of the Baskervilles
The Brides of Dracula
x5
The Plague of the Zombies
The Mummy
x4
Twins of Evil
Quatermass and the Pit
The Revenge of Frankenstein
Dracula, Prince of Darkness
The Vampire Lovers
Vampire Circus
So there you are. I think it's now time to go shopping and start building up my collection. No marathon this time, methinks, as I might end up with too many for that sort of thing, but a season certainly!
Are there any personal recommendations that you can make? Let me know!
Even though I've watched my fair share of horror films I think it's safe to say that I'm a horror newbie with a lot more to learn, but with the horror genre being such a popular one at the moment there's clearly buckets and buckets of gory screen outings to trawl through of varying quality. Too many, you might say. Or say with absolute certainty.
So where do I start? How do I decide which to try and which to steer clear of? And what's the best overall purchase to make in order to compile the best collection possible?
What instantly came to mind was Hammer - a name that to me means drab, dated 70s British rural chillers, but I think that's because I've just not seen the right ones over the years, and after a little looking around I found there might be more in it than merely dodgy hairstyles, dour cinematography and cheap locations.
So I managed to dig up around ten or so websites/blogs that list their favourite/what they think are the best Hammer horror films. I've made no note of the sites and, to be honest, I've probably made the odd mistake here and there (ain't I a pro?!), but basically here are the fifteen films that cropped up the most (in descending order of the number of mentions):
x10
Dracula AKA Horror of Dracula (1958)
The Curse of Frankenstein
x8
Curse of the Werewolf
x7
The Devil Rides Out
x6
Dr. Jekyll & Sister Hyde
The Hound of the Baskervilles
The Brides of Dracula
x5
The Plague of the Zombies
The Mummy
x4
Twins of Evil
Quatermass and the Pit
The Revenge of Frankenstein
Dracula, Prince of Darkness
The Vampire Lovers
Vampire Circus
So there you are. I think it's now time to go shopping and start building up my collection. No marathon this time, methinks, as I might end up with too many for that sort of thing, but a season certainly!
Are there any personal recommendations that you can make? Let me know!
Friday, 20 February 2015
Thoughts on a Movie Marathon: Roger Corman's Poe Cycle
Well I had about 5 hours sleep after finishing the marathon an hour earlier than expected, but still felt a bit rough after that. I ended up burning out a couple of hours later and fell asleep on the sofa watching sitcoms, but that usually happens even on a good day so, well, there you go.
So was the marathon worth it? Yes, they were all interesting films in their own right and each very different, which was a surprise in itself. I started getting really tired and fed up halfway through Tales of Terror but had a second wind during The Raven after an internal struggle over whether to give up for the night. I must admit that during that stage I seriously asked myself: "Why are you staying up all night doing this? Why didn't you just watch them all during the day? You have plenty of free time, you fool!", which was a fair point, but I reminded myself of the four reasons I laid out in my Prelude To A Movie Marathon post which still stand as decent arguments. Plus, well, I guess it added a bit more pressure to the event - there didn't seem to be much danger in just sitting on my arse during the day like I always do.
So here are a few thoughts on each film as best that I can remember them:
THE FALL OF THE HOUSE OF USHER
This was a beautiful, still and poignant beginning. It felt like an emo's wet dream as the Usher family shuffle about in their big old house just wanting to be alone. The colours were vibrant and lush, but Corman's direction was basic point-and-shoot stuff which didn't fill be with confidence - but I was sort of expecting that. The story struck a chord with me as, like the Ushers, I've been purposefully isolating myself (mainly from my own family) since 2010 after a long bout of depression which inadvertently left a few people close to me a little upset. I see it as giving them all a break from me but, since I guess I'll be battling with depression for the rest of my life, maybe just communicating with them via the internet is for the best. But enough about me! I'd recommend this to anyone as a beautiful, sombre, period melodrama with a touch of horror at the end.
THE PIT AND THE PENDULUM
It surprised me that this took a leap back in time to be set in a completely different era. It's basically the dodgy ruff show, but that's okay. There are some great matte paintings by Albert Whitlock which made me yearn for a simpler time; in fact I've actually started to wonder whether, as people get desensitised and maybe even sick of CGI, the art of handcrafted special effects and illusion in film will make a return. I must admit that this was the first but perhaps only film where I was imagining the parody as it went along. Not as striking as Usher but very much a worthwhile watch.
THE PREMATURE BURIAL
This was fun and perhaps the cheapest looking of the lot. Not in a bad way, mind you, as I do love studios standing in for locations, but the facts of the case are there for anyone who doesn't. Ray Milland is an okay-ish stand in for Vincent Price but lacks the same magnetism. The story felt more like it should have been the length of a TV episode than a feature as there's not really enough in there to sustain it, but it is by no means substandard. Plus the ever elaborate ways that Milland comes up with to escape his possible early grave are quite amusing and over the top. Dynamite? Really?
TALES OF TERROR
THE RAVEN
Now I really wasn't expecting this to be a comedy, which took me by surprise, but once I got into the groove of it I ended up really enjoying myself. This one was the first that felt like, well, I guess a proper film. They're all proper films, of course, but this had more elaborate lighting and special effects, not to mention some powerhouse acting talent. It actually felt more like an early Mel Brooks film, perhaps more The Producers than Young Frankenstein, where the humour isn't joke orientated so much but more to be found in the sense of fun and in the performances. It's just a nice, ambling story about rivalling magicians. I guess you could say it's the best Discworld adaptation we've had so far, even though it was made over twenty years prior to. If nothing else it's worth watching for seeing Vincent Price, Boris Karloff and Peter Lorre sat around a table with a very young and handsome Jack Nicholson. I'll be watching this one again soon, for sure!
THE HAUNTED PALACE
So here's the "black sheep" of the family, as it were. Not in that it's bad, which it is not by any means, but just in that it's not actually an Edgar Allan Poe story but a H. P. Lovecraft one with a Poe title and poem stuck on to make some money. Poor ol' Lovecraft - his name's worth a few bucks, surely? Price manages to essentially play two parts in this film - the spirit of an evil deceased ancestor trying to possess the body of his genial descendant - very well. I kind of lost my way towards the end and there were some Edward D. Wood Jr quality lines in there, but the torch-wielding villager finale is fun and the eerie atmosphere right up there with all the others. Solid but not greatly engaging.
THE MASQUE OF THE RED DEATH
This is where the evening took a really unexpected turn. Filmed inEngland Britain
THE TOMB OF LIGEIA
And here is where I officially checked out for the evening/morning. Don't get me wrong, I watched it and saw everything happen, but I wasn't really listening and basically found myself getting comfy and ready for bed. Funny that, though, as I was curious to see this one the most from a filmmaking standpoint as it was rushed into production simply to utilise the remaining budget, sets and some of the same actors from Masque since they had finished that one ahead of schedule. It doesn't look rushed, mind you, and feels more akin to Usher in it's slow, thoughtful pace involving characters hiding from the world. Maybe that's why they call this series of films a "cycle" - we're basically back where we started. The filmmakers tried to make Vincent Price look about thirty years younger with wigs and make-up but he weirdly ends up looking like a cross between Peter Sellers and Alan Rickman, which is fine and actually kind of works in a strange, otherworldly way. You don't feel like you're watching Price, but you are, but you're sort of not. I guess the thing to say is he does well pretending not to be himself because him is not who they really wanted to cast but had to because of demands from the studio, which is very sporting of him. I might watch this one again just so I can concentrate a bit more as it actually looked quite interesting. The literal catfight at the end certainly warrants closer inspection
So in conclusion, what have I learned? Well, all the stories were interesting and quite inspiring from a writing perspective; considering all the films were period dramas they didn't feel cheap, in fact I suspect it was mostly the filmmaking that was restricted by budget; Vincent Price has a soft, humorous side, which I didn't realise, and he seems to let his guard down as the series progressed... maybe he and Corman's team ended up feeling like a close family after spending four years in each others' company; and Corman ain't no great visualist: all the best things to look at in these films aren't by his hand, as far as I can tell, but they're no less entertaining for it.
So I'd say none of these films are bad but some are lesser than others. There's real effort put into all of them, which is more than you can say for films costing hundreds of times more nowadays, and they're all very satisfying experiences. If you see one on television don't turn your nose up - give them a go. Which would I recommend buying? Hmmm, probably The Fall of the House of Usher, The Raven and The Masque of the Red Death.
Go forth and experience, you devils!
So was the marathon worth it? Yes, they were all interesting films in their own right and each very different, which was a surprise in itself. I started getting really tired and fed up halfway through Tales of Terror but had a second wind during The Raven after an internal struggle over whether to give up for the night. I must admit that during that stage I seriously asked myself: "Why are you staying up all night doing this? Why didn't you just watch them all during the day? You have plenty of free time, you fool!", which was a fair point, but I reminded myself of the four reasons I laid out in my Prelude To A Movie Marathon post which still stand as decent arguments. Plus, well, I guess it added a bit more pressure to the event - there didn't seem to be much danger in just sitting on my arse during the day like I always do.
So here are a few thoughts on each film as best that I can remember them:
THE FALL OF THE HOUSE OF USHER
This was a beautiful, still and poignant beginning. It felt like an emo's wet dream as the Usher family shuffle about in their big old house just wanting to be alone. The colours were vibrant and lush, but Corman's direction was basic point-and-shoot stuff which didn't fill be with confidence - but I was sort of expecting that. The story struck a chord with me as, like the Ushers, I've been purposefully isolating myself (mainly from my own family) since 2010 after a long bout of depression which inadvertently left a few people close to me a little upset. I see it as giving them all a break from me but, since I guess I'll be battling with depression for the rest of my life, maybe just communicating with them via the internet is for the best. But enough about me! I'd recommend this to anyone as a beautiful, sombre, period melodrama with a touch of horror at the end.
THE PIT AND THE PENDULUM
It surprised me that this took a leap back in time to be set in a completely different era. It's basically the dodgy ruff show, but that's okay. There are some great matte paintings by Albert Whitlock which made me yearn for a simpler time; in fact I've actually started to wonder whether, as people get desensitised and maybe even sick of CGI, the art of handcrafted special effects and illusion in film will make a return. I must admit that this was the first but perhaps only film where I was imagining the parody as it went along. Not as striking as Usher but very much a worthwhile watch.
THE PREMATURE BURIAL
This was fun and perhaps the cheapest looking of the lot. Not in a bad way, mind you, as I do love studios standing in for locations, but the facts of the case are there for anyone who doesn't. Ray Milland is an okay-ish stand in for Vincent Price but lacks the same magnetism. The story felt more like it should have been the length of a TV episode than a feature as there's not really enough in there to sustain it, but it is by no means substandard. Plus the ever elaborate ways that Milland comes up with to escape his possible early grave are quite amusing and over the top. Dynamite? Really?
TALES OF TERROR
And here's where the series trips up a little bit. I was wondering whether this might have been the inspiration for The Simpsons' Treehouse of Horror vignettes, but who knows. The first and third stories are familiar territory and just about forgettable, but the secondis more interesting in that it's sort of a failure. It's basically The Cask of Amontillado/The Telltale Heart done for laughs, with an ill looking but still great Peter Lorre hamming it up as a jealous alcoholic. There are some dated still-frame zooms which feel very 60s that draw you out of the experience, but apart from that and the fairly damp storytelling it's still an entertaining watch. In fact the last story - The Facts in the Case of M. Valdemar - has a touch of The Exorcist to it and is a little disturbing if you think about it too hard.
THE RAVEN
Now I really wasn't expecting this to be a comedy, which took me by surprise, but once I got into the groove of it I ended up really enjoying myself. This one was the first that felt like, well, I guess a proper film. They're all proper films, of course, but this had more elaborate lighting and special effects, not to mention some powerhouse acting talent. It actually felt more like an early Mel Brooks film, perhaps more The Producers than Young Frankenstein, where the humour isn't joke orientated so much but more to be found in the sense of fun and in the performances. It's just a nice, ambling story about rivalling magicians. I guess you could say it's the best Discworld adaptation we've had so far, even though it was made over twenty years prior to. If nothing else it's worth watching for seeing Vincent Price, Boris Karloff and Peter Lorre sat around a table with a very young and handsome Jack Nicholson. I'll be watching this one again soon, for sure!
THE HAUNTED PALACE
So here's the "black sheep" of the family, as it were. Not in that it's bad, which it is not by any means, but just in that it's not actually an Edgar Allan Poe story but a H. P. Lovecraft one with a Poe title and poem stuck on to make some money. Poor ol' Lovecraft - his name's worth a few bucks, surely? Price manages to essentially play two parts in this film - the spirit of an evil deceased ancestor trying to possess the body of his genial descendant - very well. I kind of lost my way towards the end and there were some Edward D. Wood Jr quality lines in there, but the torch-wielding villager finale is fun and the eerie atmosphere right up there with all the others. Solid but not greatly engaging.
THE MASQUE OF THE RED DEATH
This is where the evening took a really unexpected turn. Filmed in
THE TOMB OF LIGEIA
And here is where I officially checked out for the evening/morning. Don't get me wrong, I watched it and saw everything happen, but I wasn't really listening and basically found myself getting comfy and ready for bed. Funny that, though, as I was curious to see this one the most from a filmmaking standpoint as it was rushed into production simply to utilise the remaining budget, sets and some of the same actors from Masque since they had finished that one ahead of schedule. It doesn't look rushed, mind you, and feels more akin to Usher in it's slow, thoughtful pace involving characters hiding from the world. Maybe that's why they call this series of films a "cycle" - we're basically back where we started. The filmmakers tried to make Vincent Price look about thirty years younger with wigs and make-up but he weirdly ends up looking like a cross between Peter Sellers and Alan Rickman, which is fine and actually kind of works in a strange, otherworldly way. You don't feel like you're watching Price, but you are, but you're sort of not. I guess the thing to say is he does well pretending not to be himself because him is not who they really wanted to cast but had to because of demands from the studio, which is very sporting of him. I might watch this one again just so I can concentrate a bit more as it actually looked quite interesting. The literal catfight at the end certainly warrants closer inspection
So in conclusion, what have I learned? Well, all the stories were interesting and quite inspiring from a writing perspective; considering all the films were period dramas they didn't feel cheap, in fact I suspect it was mostly the filmmaking that was restricted by budget; Vincent Price has a soft, humorous side, which I didn't realise, and he seems to let his guard down as the series progressed... maybe he and Corman's team ended up feeling like a close family after spending four years in each others' company; and Corman ain't no great visualist: all the best things to look at in these films aren't by his hand, as far as I can tell, but they're no less entertaining for it.
So I'd say none of these films are bad but some are lesser than others. There's real effort put into all of them, which is more than you can say for films costing hundreds of times more nowadays, and they're all very satisfying experiences. If you see one on television don't turn your nose up - give them a go. Which would I recommend buying? Hmmm, probably The Fall of the House of Usher, The Raven and The Masque of the Red Death.
Go forth and experience, you devils!
Thursday, 19 February 2015
Prelude to a Movie Marathon: Roger Corman's Poe Cycle
So all I know about Roger Corman is that he's a legendary
b-movie film director/producer and had a cool cameo in Silence of the Lambs, which
is kind of why I'm doing this marathon: I feel a bit left out. I hear his name mentioned
regularly by film geeks and his peers about the influence he's had - not just through
his own work but in giving a leg up to some of the great filmmakers of our time
- and so now I want in on the gag.
So why have I gone for his series of Edgar Allan Poe adaptations? Well, because it surprised me that an alleged prolific creator of junk has actually accrued some artistic acclaim for more than just his ability to make stuff fast and cheap. The only film I've seen of his that he's actually directed is The Little Shop of Horrors, which was fun and cute, but I obviously need to experience more.
I'm never sure what to make of people known mainly for being producers and when I hear someone say "cool, this film is produced by..." I'm always a bit sceptical. Oh, so they sat behind a desk and threw money at it? I'm sure that left a crucial creative stamp on it! Basically I'm a follower of directors and cinematographers, so understanding Corman through his body of producer credits wouldn't really be my thing (unless someone can convince me otherwise).
Something else that makes this marathon more attractive to me is that I'm not actually a big fan of horror movies. I prefer ones that are known for their contribution to the art of cinema like The Shining, Don't Look Now and The Thing, so there's usually got to be more in it for me than just the scares and blood. So Corman's Poe Cycle will be (I'm assuming) a lesson in classic gothic horror b-movie cinema... without the frills and high art.
Or will it? Maybe I'll be even more surprised and gain a new found respect for something or someone. That's what I'm hoping to find out from this marathon.
Or maybe I'll just be sick of Vincent Price by the end.
Plus I get the feeling that, since I'm not really into the genre, if I don't watch these films all in one go as a marathon I'll most likely get three films in and not bother to watch the rest. I genuinely believe that I need to commit to a non-stop viewing experience.
So, I'm guesstimating that this is going to take roughly 12 hours: 8 films at about 90 minutes a film (give or take). I'll probably do the marathon at night for a) the right atmosphere b) so any bright daylight won't obscure my vision while watching a series of darkly lit horror films (I often watch films and play games at night for this reason) c) so I don't get any distractions like phone calls etc. and d) if I do a Twitter commentary people won't get so annoyed if it's in the dead of night.
I'll be busy at the weekend so I'll either be doing this tonight (Thursday 19 February) or next week some time. I doubt anyone would want to join in but if you do let me know.
The films will be:
The Fall of the House of Usher (1960)
The Pit and the Pendulum (1961)
The Premature Burial (1962)
Tales of Terror (1962)
The Raven (1963)
The Haunted Palace (1963)
The Masque of the Red Death (1964)
The Tomb of Ligeia (1964)
Right, let's do this!
So why have I gone for his series of Edgar Allan Poe adaptations? Well, because it surprised me that an alleged prolific creator of junk has actually accrued some artistic acclaim for more than just his ability to make stuff fast and cheap. The only film I've seen of his that he's actually directed is The Little Shop of Horrors, which was fun and cute, but I obviously need to experience more.
I'm never sure what to make of people known mainly for being producers and when I hear someone say "cool, this film is produced by..." I'm always a bit sceptical. Oh, so they sat behind a desk and threw money at it? I'm sure that left a crucial creative stamp on it! Basically I'm a follower of directors and cinematographers, so understanding Corman through his body of producer credits wouldn't really be my thing (unless someone can convince me otherwise).
Something else that makes this marathon more attractive to me is that I'm not actually a big fan of horror movies. I prefer ones that are known for their contribution to the art of cinema like The Shining, Don't Look Now and The Thing, so there's usually got to be more in it for me than just the scares and blood. So Corman's Poe Cycle will be (I'm assuming) a lesson in classic gothic horror b-movie cinema... without the frills and high art.
Or will it? Maybe I'll be even more surprised and gain a new found respect for something or someone. That's what I'm hoping to find out from this marathon.
Or maybe I'll just be sick of Vincent Price by the end.
Plus I get the feeling that, since I'm not really into the genre, if I don't watch these films all in one go as a marathon I'll most likely get three films in and not bother to watch the rest. I genuinely believe that I need to commit to a non-stop viewing experience.
So, I'm guesstimating that this is going to take roughly 12 hours: 8 films at about 90 minutes a film (give or take). I'll probably do the marathon at night for a) the right atmosphere b) so any bright daylight won't obscure my vision while watching a series of darkly lit horror films (I often watch films and play games at night for this reason) c) so I don't get any distractions like phone calls etc. and d) if I do a Twitter commentary people won't get so annoyed if it's in the dead of night.
I'll be busy at the weekend so I'll either be doing this tonight (Thursday 19 February) or next week some time. I doubt anyone would want to join in but if you do let me know.
The films will be:
The Fall of the House of Usher (1960)
The Pit and the Pendulum (1961)
The Premature Burial (1962)
Tales of Terror (1962)
The Raven (1963)
The Haunted Palace (1963)
The Masque of the Red Death (1964)
The Tomb of Ligeia (1964)
Right, let's do this!
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