- Published on
Good morning and welcome to Tuesday, gentle readers! Here's hoping that your week is off to a great start!
Wowza, folks, I've done a quick glance at the day -- at least, the day so far as it matters to SciFiHistory.Net -- and it's definitely heavy with birthday citations. What an incredible assortment of talent in front of and behind-the-scenes awaits you on your journey of discovery through the daily citations. There are some heavy hitters in there as well, I might add, so be prepared to give it a very thorough once-over, as they say, and I think you'll be happily surprised with the rundown. There are also a few movie launches in there, too, but not as many as I'd like to see. I do have a handful awaiting posting from the archives, but I'm kinda/sorta short on time this morning as I have some volunteer work to get to this afternoon, and the clock is winding down a bit.
Yesterday, I did have a full slate of movie watching. I finished up the new release of the camp classic Barbarella (1968) and posted a review (link here). Over the years, it's been suggested to me by a great many that it's a flick that I should heartily love, but I've honestly always found it more than a bit flat in the story department. While I'm not as familiar with the source material as I should be (copies are available on Amazon.com at a horrific price), I've seen enough to know that the film and the original comic strip aren't quite in sync so far as characters and sensibilities go. Suffice it to say, I can see why it's always been considered a camp film, and I can understand why it's occasionally praised for some of its production details. However ... as a good story? Meh. Hardly.
But ... to each his own, as they say ...
I also screened two others that I'm only just starting to pen reviews for, so keep your eyes peeled. They'll likely be up tomorrow or Thursday, as time permits.
Here's the real reason that you're here ...
Wowza, folks, I've done a quick glance at the day -- at least, the day so far as it matters to SciFiHistory.Net -- and it's definitely heavy with birthday citations. What an incredible assortment of talent in front of and behind-the-scenes awaits you on your journey of discovery through the daily citations. There are some heavy hitters in there as well, I might add, so be prepared to give it a very thorough once-over, as they say, and I think you'll be happily surprised with the rundown. There are also a few movie launches in there, too, but not as many as I'd like to see. I do have a handful awaiting posting from the archives, but I'm kinda/sorta short on time this morning as I have some volunteer work to get to this afternoon, and the clock is winding down a bit.
Yesterday, I did have a full slate of movie watching. I finished up the new release of the camp classic Barbarella (1968) and posted a review (link here). Over the years, it's been suggested to me by a great many that it's a flick that I should heartily love, but I've honestly always found it more than a bit flat in the story department. While I'm not as familiar with the source material as I should be (copies are available on Amazon.com at a horrific price), I've seen enough to know that the film and the original comic strip aren't quite in sync so far as characters and sensibilities go. Suffice it to say, I can see why it's always been considered a camp film, and I can understand why it's occasionally praised for some of its production details. However ... as a good story? Meh. Hardly.
But ... to each his own, as they say ...
I also screened two others that I'm only just starting to pen reviews for, so keep your eyes peeled. They'll likely be up tomorrow or Thursday, as time permits.
Here's the real reason that you're here ...
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
- Published on
Though I’ve been assured that times have changed, the way Science Fiction and Fantasy fans used to interact early in their friendships would be to kinda/sorta quiz one another on their extensive film tastes.
“You’ve seen The Day The Earth Stood Still? Well, what did you think of it? Okay. How about 2001: A Space Odyssey? You worship the ground Kubrick walks on for that, right? Okay. What are your thoughts on the original Planet Of The Apes with Charlton Heston? And how about The War Of The Worlds or any other films that came from George Pal? You know who George Pal is, and you can name his films by heart, right? Which of the original Star Wars films do you prefer? It had better be the first one … or we can’t be friends!”
While there might be some exaggeration here and there, my general point is that like-minded folks prefer establishing just how like-minded they truly are, as friendships can be predicated on such nuance. Back in my youth – yes, folks, I’m definitely talking about the days before home video – it was obviously a bit more difficult to establish a playing field as all of us were subject to the rotation of big screen releases and small screen broadcasts; if you missed a flick the first time around, then you never really knew when or even if you’d get a chance to see it. Thankfully, that’s changed, and each of us has a veritable catalogue at our fingertips.
But a project as cultish and elusive as 1968’s Barbarella?
Well, not long after I graduated college, I made the acquaintance of an extraordinarily rabid SciFi junkie, and – yes – he was vastly more schooled in film titles than I was. (On the other hand, I’d seen far more classic dramas and comedies than he had, and such is life.) Still – with all that he had seen either whole or in part – one project that he absolutely worshipped was Barbarella, and – for the life of me – I couldn’t say why exactly. To consider the film a great representation of Science Fiction – much less one of the genre’s (cough cough) crowning achievements – was just beyond me then as it is today. I’ve given up even trying to understand any audience’s affection for the film as I think it only speaks to fringe elements of society for all the wrong reasons … most of which have nothing to do with good filmmaking and great storytelling to begin with.
Yes, yes, and yes. I’m happy to explain.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“In the 41st century, an astronaut partakes in sexy misadventures while seeking to stop an evil scientist who threatens to bring evil back into the galaxy.”
“You’ve seen The Day The Earth Stood Still? Well, what did you think of it? Okay. How about 2001: A Space Odyssey? You worship the ground Kubrick walks on for that, right? Okay. What are your thoughts on the original Planet Of The Apes with Charlton Heston? And how about The War Of The Worlds or any other films that came from George Pal? You know who George Pal is, and you can name his films by heart, right? Which of the original Star Wars films do you prefer? It had better be the first one … or we can’t be friends!”
While there might be some exaggeration here and there, my general point is that like-minded folks prefer establishing just how like-minded they truly are, as friendships can be predicated on such nuance. Back in my youth – yes, folks, I’m definitely talking about the days before home video – it was obviously a bit more difficult to establish a playing field as all of us were subject to the rotation of big screen releases and small screen broadcasts; if you missed a flick the first time around, then you never really knew when or even if you’d get a chance to see it. Thankfully, that’s changed, and each of us has a veritable catalogue at our fingertips.
But a project as cultish and elusive as 1968’s Barbarella?
Well, not long after I graduated college, I made the acquaintance of an extraordinarily rabid SciFi junkie, and – yes – he was vastly more schooled in film titles than I was. (On the other hand, I’d seen far more classic dramas and comedies than he had, and such is life.) Still – with all that he had seen either whole or in part – one project that he absolutely worshipped was Barbarella, and – for the life of me – I couldn’t say why exactly. To consider the film a great representation of Science Fiction – much less one of the genre’s (cough cough) crowning achievements – was just beyond me then as it is today. I’ve given up even trying to understand any audience’s affection for the film as I think it only speaks to fringe elements of society for all the wrong reasons … most of which have nothing to do with good filmmaking and great storytelling to begin with.
Yes, yes, and yes. I’m happy to explain.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“In the 41st century, an astronaut partakes in sexy misadventures while seeking to stop an evil scientist who threatens to bring evil back into the galaxy.”
Most who know me know full well that when it comes to politics I do tend to lean a bit more to the right than I do the left; and they’ll often suggest that Barbarella is a production I don’t swoon over because of actress Jane Fonda’s association with it. For those who don’t know it, Fonda is somewhat famously anti-American – my words, not yours – and she represents a wide swath of celebrities and free-love zealots from the bygone days of the 1960’s and early 1970’s. Granted, a great deal of this reputation is tied entirely to a few protest from the woman’s siding with the North Vietnamese during the “Vietnam Conflict” (or whatever we’re calling it these days); and though I can’t recite all of the specifics I can say I understand the circumstances well enough to understand why those who oppose her have taken that stance. But given the fact that I was in grade school at the time, I don’t put a whole lot of stake in things I didn’t witness, so that has little to do with my stance on this film.
Simply put, Barbarella is a bit of a narrative mess.
While it has a reasonably simple story – basically Barbarella is a government operative (or sorts) who gets sent to “rescue” a scientist who has turned bad – there’s so much else stuffed into nothing more than ‘silliness on parade’ that I’m not intrigued by the world-building.
For starters, the script – which is credited to an astonishing nine participants including director and Fonda’s husband Roger Vadim – postulates that the world of the 41st century is nothing more than peace and love. In some ways, Gene Roddenberry’s Star Trek was built on this same foundation to a degree, and it was then psychoanalyzed weekly by Captain James T. Kirk and his crew as they’d go about righting the wrongs of the galaxy. Unlike Trek, however, which gives its crew a chief mission of exploration, Barbarella apparently serves a government whose operatives simply exist to roll around in four-minute sequences of disrobing in zero gravity. To my knowledge, this agent of peace has no central purpose until one comes into being (think of it all as a script contrivance). If the universe has peace, then why would it need agents to enforce said peace?
If we set that aside for the moment, then I’m still left with the central question of just who is this Barbarella and what is her purpose in life? Vadim’s adaptation of the Jean-Claude Forest creation never quite explains anything in any small or great detail, instead encouraging the audience to accept the world, its people, and its planets at face value; and – dare I say? – Science Fiction fans have always longed for a bit more. Yes, I know full well that all of this evolves from a comic strip with a light-hearted and titillating backbone, and that’s precisely why I bring it up: films and their scripts are movies, and they require a bit more substance than apparently any of these nine writers were willing to provide.
As a consequence, Barbarella – the film, not the character – is pretty much at the mercy of its writers; and I think a bit more was needed in that department. Nothing develops organically – audience meets girl, girl crashes on planet, girl meets people of increasingly bizarre cultures, girl can’t stop having sex, etc. – and very little transpires without the objectives of giving Barbarella – the character, not the film – the chance for either a costume change or a sexual escapade, either in that order or vice versa. For all of its presumed forward thinking, Barbarella – not the film again, not the character – shows us a tomorrow where sex has become a way of life as well as a form of currency, one usually chosen over actual legitimate currency that can be used to buy things … things like food, clothing, and shelter. Apparently, none of that is needed in the future, and never forget that in Hollywood (of all places) sex sells.
Sigh.
Simply put, Barbarella is a bit of a narrative mess.
While it has a reasonably simple story – basically Barbarella is a government operative (or sorts) who gets sent to “rescue” a scientist who has turned bad – there’s so much else stuffed into nothing more than ‘silliness on parade’ that I’m not intrigued by the world-building.
For starters, the script – which is credited to an astonishing nine participants including director and Fonda’s husband Roger Vadim – postulates that the world of the 41st century is nothing more than peace and love. In some ways, Gene Roddenberry’s Star Trek was built on this same foundation to a degree, and it was then psychoanalyzed weekly by Captain James T. Kirk and his crew as they’d go about righting the wrongs of the galaxy. Unlike Trek, however, which gives its crew a chief mission of exploration, Barbarella apparently serves a government whose operatives simply exist to roll around in four-minute sequences of disrobing in zero gravity. To my knowledge, this agent of peace has no central purpose until one comes into being (think of it all as a script contrivance). If the universe has peace, then why would it need agents to enforce said peace?
If we set that aside for the moment, then I’m still left with the central question of just who is this Barbarella and what is her purpose in life? Vadim’s adaptation of the Jean-Claude Forest creation never quite explains anything in any small or great detail, instead encouraging the audience to accept the world, its people, and its planets at face value; and – dare I say? – Science Fiction fans have always longed for a bit more. Yes, I know full well that all of this evolves from a comic strip with a light-hearted and titillating backbone, and that’s precisely why I bring it up: films and their scripts are movies, and they require a bit more substance than apparently any of these nine writers were willing to provide.
As a consequence, Barbarella – the film, not the character – is pretty much at the mercy of its writers; and I think a bit more was needed in that department. Nothing develops organically – audience meets girl, girl crashes on planet, girl meets people of increasingly bizarre cultures, girl can’t stop having sex, etc. – and very little transpires without the objectives of giving Barbarella – the character, not the film – the chance for either a costume change or a sexual escapade, either in that order or vice versa. For all of its presumed forward thinking, Barbarella – not the film again, not the character – shows us a tomorrow where sex has become a way of life as well as a form of currency, one usually chosen over actual legitimate currency that can be used to buy things … things like food, clothing, and shelter. Apparently, none of that is needed in the future, and never forget that in Hollywood (of all places) sex sells.
Sigh.
At the risk of sounding like a prude, that premise isn’t strong enough to be the central definition of the main character. (Well, unless this is porn, which it doesn’t even come close to.) Because the Fonda character just stays at the mercy of everything happening around her – she never takes the role as an authentic mover and shaker – she never quite emerges as a hero/heroine in any definition of the word. While she does complete her mission (to an extent), she doesn’t even play a part in the film’s finale as other players essentially bring all that boils to a head, leaving the scantily clad Oscar-winning actress along for the ride … and, yes, the pun was intended. She takes plenty of them, after all, so let’s call it what it is!
So far as that’s concerned, Fonda is a comely talent. She fills the part out of a somewhat sexually innocent and morally misguided do-gooder just fine and probably about as well as anyone else could do with what slim pickings the script provides. The fact that this is little more than bloated cosplay apparently never kept her from pursuing the part – I’ve read that her acceptance did require some convincing from Vadim – and I can’t help but wonder what the actress thinks of the film decades later. She puts her goods up on display sparingly here, and it would seem that she bought into the whole ‘tongue-in-cheek’ camp quality from conception to delivery. So good for her in doing something that probably couldn’t get made in today’s hyper-conscious marketplace.
Also, I’d be remiss if I failed to mention that Barbarella has some impressive practical work in terms of set, costume, and prop designs. Clearly the artisans had a certain look they collectively set out to achieve, and I can’t help but wonder how much of this could’ve been inspired by the original comic strip. (I’ve seen panels of it online here and there.) I’ve read some commentary from film scholars who’ve suggested that Barbarella and 1980’s Flash Gordon – both were produced by Dino De Laurentiis – stylistically exist in the same universe; and solely from the look of things I couldn’t quite argue with that comparison. However, I’d still insist that Flash was given a hero’s journey to go upon in his bid to save his homeworld and stop Ming the Merciless, and the fact that he’s an active leader and not merely existing at the whim of those around him (and the screenwriters) will always put him head-and-shoulders above Barbarella … even though they might have similar hairstyles.
Films are always the sum of their parts, and Fonda’s parts nonetheless – tempting that they might be – were never great enough to elevate Barbarella to anything more than the cinematic exploitation of the male fantasy. If you find wholesome bimbos erotic, then this film achieves its camp classic title just fine. Me? Well, I prefer characters – men and women – of greater substance, and on that barometer there’s just not much to celebrate in here. The film’s obvious practical brilliance will always get a solid thumbs up from me – I do love so much of its look and feel – but the hollow core leaves me feeling like I missed the ultimate reason to take this ride … even though Jane gave it her girly best.
Barbarella (1968) was produced by Marianne Productions and Dino de Laurentiis Cinematografica. DVD distribution (for this particular release) is being coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I found the sights and sounds to this 4K Ultra HD release to be exceptional at all times; the film quite probably looks and sounds better than it ever has, and that’s wonderful, to be sure. If you’re looking for special features? Well, folks, this is Arrow Films that we’re talking about, and – so far as I’m concerned – they’ve damn near cornered the market on producing some of the finest physical media out there. Just take a gander at what you’ve in store (copied and pasted from their press release):
So far as that’s concerned, Fonda is a comely talent. She fills the part out of a somewhat sexually innocent and morally misguided do-gooder just fine and probably about as well as anyone else could do with what slim pickings the script provides. The fact that this is little more than bloated cosplay apparently never kept her from pursuing the part – I’ve read that her acceptance did require some convincing from Vadim – and I can’t help but wonder what the actress thinks of the film decades later. She puts her goods up on display sparingly here, and it would seem that she bought into the whole ‘tongue-in-cheek’ camp quality from conception to delivery. So good for her in doing something that probably couldn’t get made in today’s hyper-conscious marketplace.
Also, I’d be remiss if I failed to mention that Barbarella has some impressive practical work in terms of set, costume, and prop designs. Clearly the artisans had a certain look they collectively set out to achieve, and I can’t help but wonder how much of this could’ve been inspired by the original comic strip. (I’ve seen panels of it online here and there.) I’ve read some commentary from film scholars who’ve suggested that Barbarella and 1980’s Flash Gordon – both were produced by Dino De Laurentiis – stylistically exist in the same universe; and solely from the look of things I couldn’t quite argue with that comparison. However, I’d still insist that Flash was given a hero’s journey to go upon in his bid to save his homeworld and stop Ming the Merciless, and the fact that he’s an active leader and not merely existing at the whim of those around him (and the screenwriters) will always put him head-and-shoulders above Barbarella … even though they might have similar hairstyles.
Films are always the sum of their parts, and Fonda’s parts nonetheless – tempting that they might be – were never great enough to elevate Barbarella to anything more than the cinematic exploitation of the male fantasy. If you find wholesome bimbos erotic, then this film achieves its camp classic title just fine. Me? Well, I prefer characters – men and women – of greater substance, and on that barometer there’s just not much to celebrate in here. The film’s obvious practical brilliance will always get a solid thumbs up from me – I do love so much of its look and feel – but the hollow core leaves me feeling like I missed the ultimate reason to take this ride … even though Jane gave it her girly best.
Barbarella (1968) was produced by Marianne Productions and Dino de Laurentiis Cinematografica. DVD distribution (for this particular release) is being coordinated by the fine folks at Arrow Films. As for the technical specifications? While I’m no trained video expert, I found the sights and sounds to this 4K Ultra HD release to be exceptional at all times; the film quite probably looks and sounds better than it ever has, and that’s wonderful, to be sure. If you’re looking for special features? Well, folks, this is Arrow Films that we’re talking about, and – so far as I’m concerned – they’ve damn near cornered the market on producing some of the finest physical media out there. Just take a gander at what you’ve in store (copied and pasted from their press release):
DISC ONE - 4K BLU-RAY
Just so’s you know, as a professional reviewer I’m only provided a media copy of the discs, so I can’t speak to the efficacy of the printed materials as I’m given no access to those extras. But this collection with featurettes and interviews and commentaries is wonderful, and this release should please fans who clamor for such attention.
Alas … only mildly recommended, and – even then – only for purists.
Make no mistake. Barbarella (1968) is not a good movie. It barely has a story, its central character never quite fulfills the tenets of a hero/heroine, and its pacing needed some serious tightening in order to keep viewers from possibly falling asleep. Oh, I’ll concede that it has some relevance for having been made at a certain time and a certain place; but beyond a few artistic elements it has nothing but guilty pleasures to offer any serious aficionado of either Science Fiction, Fantasy, or just plain film in general. Seen entirely as an oddity, it’s perfectly ok for a one-time viewing – get in and get the experience out of the way – and I suppose there’s nothing wrong with recommending it solely on that level.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary 4K Ultra HD Blu-ray of Barbarella (1968) for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- NEW 4K RESTORATION OF THE FILM BY ARROW FILMS
- DOLBY VISION/HDR PRESENTATION OF THE FILM
- NEW DOLBY ATMOS AUDIO TRACK, plus original lossless English audio and lossless French mono (featuring the voice of Jane Fonda)
- Optional English subtitles for the deaf and hard of hearing
- Audio commentary by film critic Tim Lucas
- Alternative opening and closing credits (in 4K with Dolby Vision)
- Isolated score
- Another Girl, Another Planet, an appreciation of Barbarella by film critic Glenn Kenny
- Paul Joyce's behind the scenes featurette, Barbarella Forever!
- Love, a two-hour in-depth discussion between film and cultural historians Tim Lucas & Steve Bissette on the impact and legacy of Barbarella
- Dress to Kill, a 30-minute interview with film fashion scholar Elizabeth Castaldo Lundén on Jacques Fonteray's world-changing costume designs
- Framing for Claude, an interview with camera operator Roberto Girometti
- Tognazzi on Tognazzi, actor/director Ricky Tognazzi discusses the life and work of his father and Barbarella star Ugo Tognazzi
- An Angel's Body Double, actor Fabio Testi discusses his early career as a stuntman and body double for John Phillip Law on Barbarella
- Dino and Barbarella, a video essay by Eugenio Ercolani on producer Dino De Laurentiis
- Trailer
- US TV and radio spots
- Image gallery
- Reversible sleeve featuring original and newly commissioned artwork by Tula Lotay
- Double-sided fold-out poster featuring original and newly commissioned artwork by Tula Lotay
- Six double-sided collector's postcards
- Illustrated collector's booklet featuring new writing on the film by Anne Billson, Paul Gravett, Véronique Bergen and Elizabeth Castaldo Lundén, and select archival material
Just so’s you know, as a professional reviewer I’m only provided a media copy of the discs, so I can’t speak to the efficacy of the printed materials as I’m given no access to those extras. But this collection with featurettes and interviews and commentaries is wonderful, and this release should please fans who clamor for such attention.
Alas … only mildly recommended, and – even then – only for purists.
Make no mistake. Barbarella (1968) is not a good movie. It barely has a story, its central character never quite fulfills the tenets of a hero/heroine, and its pacing needed some serious tightening in order to keep viewers from possibly falling asleep. Oh, I’ll concede that it has some relevance for having been made at a certain time and a certain place; but beyond a few artistic elements it has nothing but guilty pleasures to offer any serious aficionado of either Science Fiction, Fantasy, or just plain film in general. Seen entirely as an oddity, it’s perfectly ok for a one-time viewing – get in and get the experience out of the way – and I suppose there’s nothing wrong with recommending it solely on that level.
In the interests of fairness, I’m pleased to disclose that the fine folks at Arrow Films provided me with a complimentary 4K Ultra HD Blu-ray of Barbarella (1968) for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
You know, it's funny to reach a certain age and to look back on the obvious influences of one's youth.
In all honesty, folks, each of us probably watched more than a fair amount of nonsense, especially if we're from a certain generation. Children's programming -- at least, of the education variety -- was really only coming into existence when I was a young'un; but -- filling the spot kinda/sorta as a placeholder -- was a great mountain of colorful small morality-play-style storytelling. An awful lot of it was fanciful, and it tried to teach small lessons -- usually the type not so much associated with facts and figures as they were good behaviors -- and it's safe to say that it required a fair amount of imagination to make some of these worlds real ... or, at least, as real as they needed to be. Kids have no trouble filling in those blanks, and this was the stuff of televised magic that was so much of Marty Krofft's resume.
Yes, programs like H.R. Pufnstuf, Land Of The Lost, Sigmund And The Sea Monsters, The Lost Saucer, and Wonderbug get lampooned every now and then by some of the contemporary giants of comedy who obviously tuned in; but that's okay. Krofft and so much of what he purveyed to his young followers wasn't always so much about story as it was about an intoxicating measure of wackiness -- some of which was obviously demonstrated visually by these bigger-than-life characters -- and just as Taylor Swift is real to modern audiences so were Witchiepoo, Cling, Clang, Big Daddy, and Cha-Ka. And -- more importantly -- they never tried to sell us anything ... much like Taylor does. Our relationship with them wasn't predicated on consumerism; they just wanted us to watch.
How influential were his works?
Well, that's probably always going to be a question best answered by those who grew up on the stuff, but kudos to the Academy Of Science Fiction, Fantasy, And Horror Films for presenting the storyteller with a 2003 Life Career Award in recognition of the man's legacy in children's programming. That honor may've come and gone with little fanfare much less major attention from the mainstream press outlets, but for those of us who do follow such developments it was an acknowledgement that simpler entertainment for simpler times did indeed warrant a bit of extra attention. That's why I've always been glad to feature the entries of brothers Sid and Marty Krofft on SciFiHistory.Net: as much as they made me into the man I've come today, their various entities deserve to be rediscovered -- even at the risk of some minor embarassment -- by generations that followed mine.
Alas, none of us lasts forever, and word reached the Internet yesterday of the man's passing.
Our warmest wishes and prayers are extended to the family, friends, and fans of Marty Krofft.
May he forever rest in peace.
-- EZ
In all honesty, folks, each of us probably watched more than a fair amount of nonsense, especially if we're from a certain generation. Children's programming -- at least, of the education variety -- was really only coming into existence when I was a young'un; but -- filling the spot kinda/sorta as a placeholder -- was a great mountain of colorful small morality-play-style storytelling. An awful lot of it was fanciful, and it tried to teach small lessons -- usually the type not so much associated with facts and figures as they were good behaviors -- and it's safe to say that it required a fair amount of imagination to make some of these worlds real ... or, at least, as real as they needed to be. Kids have no trouble filling in those blanks, and this was the stuff of televised magic that was so much of Marty Krofft's resume.
Yes, programs like H.R. Pufnstuf, Land Of The Lost, Sigmund And The Sea Monsters, The Lost Saucer, and Wonderbug get lampooned every now and then by some of the contemporary giants of comedy who obviously tuned in; but that's okay. Krofft and so much of what he purveyed to his young followers wasn't always so much about story as it was about an intoxicating measure of wackiness -- some of which was obviously demonstrated visually by these bigger-than-life characters -- and just as Taylor Swift is real to modern audiences so were Witchiepoo, Cling, Clang, Big Daddy, and Cha-Ka. And -- more importantly -- they never tried to sell us anything ... much like Taylor does. Our relationship with them wasn't predicated on consumerism; they just wanted us to watch.
How influential were his works?
Well, that's probably always going to be a question best answered by those who grew up on the stuff, but kudos to the Academy Of Science Fiction, Fantasy, And Horror Films for presenting the storyteller with a 2003 Life Career Award in recognition of the man's legacy in children's programming. That honor may've come and gone with little fanfare much less major attention from the mainstream press outlets, but for those of us who do follow such developments it was an acknowledgement that simpler entertainment for simpler times did indeed warrant a bit of extra attention. That's why I've always been glad to feature the entries of brothers Sid and Marty Krofft on SciFiHistory.Net: as much as they made me into the man I've come today, their various entities deserve to be rediscovered -- even at the risk of some minor embarassment -- by generations that followed mine.
Alas, none of us lasts forever, and word reached the Internet yesterday of the man's passing.
Our warmest wishes and prayers are extended to the family, friends, and fans of Marty Krofft.
May he forever rest in peace.
-- EZ
- Published on
Well, well, well ... good morning, gentle readers, and welcome to the start of a brand-new week!
And ... how was your Thanksgiving? Yes, yes, and yes: I certainly realize that not all of SciFiHistory.Net's readers abide well within the confines of the United States -- meaning that not everyone celebrates the famed Turkey Day -- but it's only polite of me to ask. Mine? Awww, thanks for asking. It was ... filling! Haha! Yes, I ate a wonderful meal prepared by the wifey, and a good time was had by all. Such is always the case when eating. Enjoy every sandwich. Truer words were never spoken. So we ate, and we watched a bit of television, here and there. We managed to make our way out to a few stores -- even went out and about a bit on the dreaded Black Friday -- but, honestly, there weren't any major crowds anywhere we visited. I don't doubt that the hordes and hordes of nefarious shoppers were hunting down every last bargain; they just didn't frequent the corners we did. And I'm alright with that.
Believe it or not, I've already been asked my official opinion of the Doctor Who 60th Anniversary episode, "The Star Beast." Well, my official opinion is that ... I just wasn't interested. Who knows? I may get around to watching it on Disney+, but reviews pretty much assured me that I probably wouldn't have much to say about it. The Jodie Whittaker Years pretty much tanked any major fan interest I had with the franchise -- no, I'm not faulting the actress, I just thought that the writing was atrocious -- and I'm not sure that I'll go back. I understand the love for Russell T. Davies, but now's a different time and a different place, and when political agendas take the forefront over characters and circumstances then I do tend to check out. Good stories don't need social justice, and -- at my advanced age -- I'm really no fan of being preached at. What can I say? It is what it is.
Rest assured: if I do decide to watch it, then I'll pen a review. I'm just saying -- especially for those who've asked -- don't hold your breath.
Otherwise, that's my November holiday in a nutshell. Now it's on to my upcoming birthday and the rest of the Silly Season, so it'll be busy 'round these parts. I promise you that I'll try to get up some reviews along with any other announcements and/or commentary on major developments -- yes, I keep getting asked about Star Wars, but I don't know if I've any other take on the state of Lucasfilm that I've already said -- and it ain't easy to muster the strength to debate a property's destruction at the hands of so many people. I will add to that that I strongly disagree with those who say putting a franchise in hibernation is a good strategy: all that inevitable does is ratchet up interest, and it doesn't even address the lagging quality (the real problem) of the stories. Typically when these things return there's been no real change in management -- especially when you're dealing with corporate suits calling the shots -- so I'm unconvinced shutting down a program for five to ten years would do anything in this modern era. I guess truth might tell.
Perhaps -- for now -- it's best that I leave it at that, and I just turn my interest to where it normally goes in these daily promotion posts. After all, there's plenty to be thankful about, and that's usually what I champion on a regular basis in this space. When so much ill and crooked is going on out there, wouldn't you rather go to a spot where there's an astonishing 64 celebrations awaiting your discovery? I know I would, and -- in that respect -- here you are ...
And ... how was your Thanksgiving? Yes, yes, and yes: I certainly realize that not all of SciFiHistory.Net's readers abide well within the confines of the United States -- meaning that not everyone celebrates the famed Turkey Day -- but it's only polite of me to ask. Mine? Awww, thanks for asking. It was ... filling! Haha! Yes, I ate a wonderful meal prepared by the wifey, and a good time was had by all. Such is always the case when eating. Enjoy every sandwich. Truer words were never spoken. So we ate, and we watched a bit of television, here and there. We managed to make our way out to a few stores -- even went out and about a bit on the dreaded Black Friday -- but, honestly, there weren't any major crowds anywhere we visited. I don't doubt that the hordes and hordes of nefarious shoppers were hunting down every last bargain; they just didn't frequent the corners we did. And I'm alright with that.
Believe it or not, I've already been asked my official opinion of the Doctor Who 60th Anniversary episode, "The Star Beast." Well, my official opinion is that ... I just wasn't interested. Who knows? I may get around to watching it on Disney+, but reviews pretty much assured me that I probably wouldn't have much to say about it. The Jodie Whittaker Years pretty much tanked any major fan interest I had with the franchise -- no, I'm not faulting the actress, I just thought that the writing was atrocious -- and I'm not sure that I'll go back. I understand the love for Russell T. Davies, but now's a different time and a different place, and when political agendas take the forefront over characters and circumstances then I do tend to check out. Good stories don't need social justice, and -- at my advanced age -- I'm really no fan of being preached at. What can I say? It is what it is.
Rest assured: if I do decide to watch it, then I'll pen a review. I'm just saying -- especially for those who've asked -- don't hold your breath.
Otherwise, that's my November holiday in a nutshell. Now it's on to my upcoming birthday and the rest of the Silly Season, so it'll be busy 'round these parts. I promise you that I'll try to get up some reviews along with any other announcements and/or commentary on major developments -- yes, I keep getting asked about Star Wars, but I don't know if I've any other take on the state of Lucasfilm that I've already said -- and it ain't easy to muster the strength to debate a property's destruction at the hands of so many people. I will add to that that I strongly disagree with those who say putting a franchise in hibernation is a good strategy: all that inevitable does is ratchet up interest, and it doesn't even address the lagging quality (the real problem) of the stories. Typically when these things return there's been no real change in management -- especially when you're dealing with corporate suits calling the shots -- so I'm unconvinced shutting down a program for five to ten years would do anything in this modern era. I guess truth might tell.
Perhaps -- for now -- it's best that I leave it at that, and I just turn my interest to where it normally goes in these daily promotion posts. After all, there's plenty to be thankful about, and that's usually what I champion on a regular basis in this space. When so much ill and crooked is going on out there, wouldn't you rather go to a spot where there's an astonishing 64 celebrations awaiting your discovery? I know I would, and -- in that respect -- here you are ...
As always, thanks for reading ... thanks even more for sharing ... thanks even even even more for being a fan ... and live long and prosper!
-- EZ
- Published on
Folks, really ... hear me out on this one.
Yes, yes, and yes: I heard the news yesterday about -- cough cough -- Dave Filoni's promotion to something called 'Chief Creative Officer' or something thereabouts, and -- in all honesty -- my initial reaction was, "Erm ... hasn't he been in this position for some time?" Truly, I thought I'd heard or read a statement to this effect previously, and -- yes -- I do read a lot of short articles here and there so I could be mistaken. My point, however, remains the same: he's without question had his hand in the pot stirring everything up for a few years now. I don't think any all-new title is going to make any difference.
Still, I've always cautioned readers and otherwise to "take a breath." You know? For me, it stretches back to the days in the 1980's and 1990's when a trailer or coming attraction would hit the silver screen, causing folks to proclaim, "Oh. My. God. This is going to be the BEST THING EVER!" How many times did we then go see the completed film and have to suffer through an incredible amount of embarrassing disappointment over telling all of our friends and family to drop everything they were doing and go to see this film despite our having seen it and learned it was total crap? I don't know about you, but that happened so many times to me in the 1970's and early 1980's that I realized I was never going to champion a trailer ever ever ever again.
True story, that is.
So that's why -- about a decade or two back -- I started actively trying to be a voice of reason online, likewise cautioning folks to not make too much out of any announcement. Sure, that's great news for Dave ... but it is good news for fandom? Some will understandably take the opportunity to engage in a whirlwind of sniping (snipping?) and/or clapping back, saying that this "promotion" proves without question that the ill-received Ahsoka series was secretly some kind of massive success for Walt Disney, Lucasfilm, and Star Wars ... when every measureable metric proves that could not be the case. Its ratings were an unmitigated disaster, folks, and no title change and/or pay bump can change that fact. In a sane world, Ahsoka would be an anchor around dear Dave's ankles: no, that's not worth cheering over in any sense but rather a statement of reasoned analysis.
Like many, I've got no major problems with Star Wars: The Clone Wars. I wasn't thrilled with Star Wars Rebels, but it had its moments. And I'm on record as saying that I think Star Wars: The Bad Batch is, actually, quite a welcome diversion; yes, I understand those who suggest it's little more than a last gasp at the Clone Wars era, and that could be true. But I've still enjoyed it, and I'll be sad to see it end once it does in this upcoming final season. So a good deal of what Filoni has done hasn't spoiled anyone's childhood -- though I've heard others state otherwise -- and we'll just have to agree to disagree on that high ground.
But ... does Star Wars matter any longer?
Readers, each of us has to make up our own mind on that question.
That's what life is. That's what art is. Each of us gets to decide just how much meaning and/or impact we're going to take from any work, and that's the way it will always be. In that regard, Star Wars really hasn't mattered for me since the Prequel Trilogy -- a few moments within The Clone Wars and maybe even a couple within early outings of The Mandalorian notwithstanding. Like perhaps even George Lucas himself intimated when asked about the sale of the I.P. to the Walt Disney Company, it's become "product" and not "modern-day mythmaking."
And, yes, it shows.
And, yes, that blows.
At the end of the day, it is what it is ... and if you had asked me ten years ago if I'd ever have that epiphany regarding Star Wars -- perhaps the single greatest inspiration in my life writing about film and media -- I would've countered that it was improbable if not impossible. Having been there since the beginning and having lived through those years of drought when there was, literally, no new Star Wars on the horizon, I always wanted more. Now that I've seen what a corporation thinks Star Wars is and what its fans deserve, I'm not so sure I'll ever want it as much ever again.
The Force was with us, but -- like the stupid title of the JJ Abrams reboot suggests -- methinks it's gone to sleep and might stay there ... for a long, long time ...
-- EZ
Yes, yes, and yes: I heard the news yesterday about -- cough cough -- Dave Filoni's promotion to something called 'Chief Creative Officer' or something thereabouts, and -- in all honesty -- my initial reaction was, "Erm ... hasn't he been in this position for some time?" Truly, I thought I'd heard or read a statement to this effect previously, and -- yes -- I do read a lot of short articles here and there so I could be mistaken. My point, however, remains the same: he's without question had his hand in the pot stirring everything up for a few years now. I don't think any all-new title is going to make any difference.
Still, I've always cautioned readers and otherwise to "take a breath." You know? For me, it stretches back to the days in the 1980's and 1990's when a trailer or coming attraction would hit the silver screen, causing folks to proclaim, "Oh. My. God. This is going to be the BEST THING EVER!" How many times did we then go see the completed film and have to suffer through an incredible amount of embarrassing disappointment over telling all of our friends and family to drop everything they were doing and go to see this film despite our having seen it and learned it was total crap? I don't know about you, but that happened so many times to me in the 1970's and early 1980's that I realized I was never going to champion a trailer ever ever ever again.
True story, that is.
So that's why -- about a decade or two back -- I started actively trying to be a voice of reason online, likewise cautioning folks to not make too much out of any announcement. Sure, that's great news for Dave ... but it is good news for fandom? Some will understandably take the opportunity to engage in a whirlwind of sniping (snipping?) and/or clapping back, saying that this "promotion" proves without question that the ill-received Ahsoka series was secretly some kind of massive success for Walt Disney, Lucasfilm, and Star Wars ... when every measureable metric proves that could not be the case. Its ratings were an unmitigated disaster, folks, and no title change and/or pay bump can change that fact. In a sane world, Ahsoka would be an anchor around dear Dave's ankles: no, that's not worth cheering over in any sense but rather a statement of reasoned analysis.
Like many, I've got no major problems with Star Wars: The Clone Wars. I wasn't thrilled with Star Wars Rebels, but it had its moments. And I'm on record as saying that I think Star Wars: The Bad Batch is, actually, quite a welcome diversion; yes, I understand those who suggest it's little more than a last gasp at the Clone Wars era, and that could be true. But I've still enjoyed it, and I'll be sad to see it end once it does in this upcoming final season. So a good deal of what Filoni has done hasn't spoiled anyone's childhood -- though I've heard others state otherwise -- and we'll just have to agree to disagree on that high ground.
But ... does Star Wars matter any longer?
Readers, each of us has to make up our own mind on that question.
That's what life is. That's what art is. Each of us gets to decide just how much meaning and/or impact we're going to take from any work, and that's the way it will always be. In that regard, Star Wars really hasn't mattered for me since the Prequel Trilogy -- a few moments within The Clone Wars and maybe even a couple within early outings of The Mandalorian notwithstanding. Like perhaps even George Lucas himself intimated when asked about the sale of the I.P. to the Walt Disney Company, it's become "product" and not "modern-day mythmaking."
And, yes, it shows.
And, yes, that blows.
At the end of the day, it is what it is ... and if you had asked me ten years ago if I'd ever have that epiphany regarding Star Wars -- perhaps the single greatest inspiration in my life writing about film and media -- I would've countered that it was improbable if not impossible. Having been there since the beginning and having lived through those years of drought when there was, literally, no new Star Wars on the horizon, I always wanted more. Now that I've seen what a corporation thinks Star Wars is and what its fans deserve, I'm not so sure I'll ever want it as much ever again.
The Force was with us, but -- like the stupid title of the JJ Abrams reboot suggests -- methinks it's gone to sleep and might stay there ... for a long, long time ...
-- EZ
- Published on
Do any of you ever just look at yourself in the mirror and say, "Jeepers, I hope I never grow up!"
No, no, and no: that isn't any kind of admission about any fear of growing older. No, I'm talking about finding humor in everyday things, much like I think I've always done since Bill & Ted's Excellent Adventure introduced me to joking about the number 69 every damn time I see it. That's what I mean. There's a level of juvenile appreciation to some humor, and I don't want to grow up if I can't take this juvenile attitude with me. That's all I'm saying.
Otherwise ... good morning, gentle readers! Welcome to Tuesday, November 21st. Are your turkeys in the oven yet? Have you even purchased them yet? Is that turkey baking aroma starting to make your mouth water? Well, of course, it's a bit early, but just the thought of it has me salivating, I can tell you that very much. Yes, we're going to enjoy ours at home; and, yes, it'll likely be reasonably quiet. Nothing wrong with that. I generally try to give the little lady a hand in the kitchen, and we come up with some fabulous eating. Can't wait.
Otherwise, I have slim pickings for you today, my friends. Nothing all that much to report. I spent the better part of yesterday's free time working on some site issues, and I haven't had the chance to watch and review anything yet this week. I do have some items definitely on tap -- I received an email confirmation from a distributor just this morning regarding a small handful of genre titles headed my way -- so there's a time and a place for new content. You'll have some stuff very soon. And I did finish streaming Bodies on Netflix, and I've been tinkering with a short review of that. Once it's up, you know where it'll be.
But I have som errands to run this morning -- getting ready to take off in a few minutes, in fact -- and I do have my volunteer gig this afternoon, so, alas, I likely won't have time to get anything else up today. If I do, then I'll tweet it out for good measure. But ... in all likelihood? Probably not gonna happen. Just too much going on today.
So ... without further delay ...
No, no, and no: that isn't any kind of admission about any fear of growing older. No, I'm talking about finding humor in everyday things, much like I think I've always done since Bill & Ted's Excellent Adventure introduced me to joking about the number 69 every damn time I see it. That's what I mean. There's a level of juvenile appreciation to some humor, and I don't want to grow up if I can't take this juvenile attitude with me. That's all I'm saying.
Otherwise ... good morning, gentle readers! Welcome to Tuesday, November 21st. Are your turkeys in the oven yet? Have you even purchased them yet? Is that turkey baking aroma starting to make your mouth water? Well, of course, it's a bit early, but just the thought of it has me salivating, I can tell you that very much. Yes, we're going to enjoy ours at home; and, yes, it'll likely be reasonably quiet. Nothing wrong with that. I generally try to give the little lady a hand in the kitchen, and we come up with some fabulous eating. Can't wait.
Otherwise, I have slim pickings for you today, my friends. Nothing all that much to report. I spent the better part of yesterday's free time working on some site issues, and I haven't had the chance to watch and review anything yet this week. I do have some items definitely on tap -- I received an email confirmation from a distributor just this morning regarding a small handful of genre titles headed my way -- so there's a time and a place for new content. You'll have some stuff very soon. And I did finish streaming Bodies on Netflix, and I've been tinkering with a short review of that. Once it's up, you know where it'll be.
But I have som errands to run this morning -- getting ready to take off in a few minutes, in fact -- and I do have my volunteer gig this afternoon, so, alas, I likely won't have time to get anything else up today. If I do, then I'll tweet it out for good measure. But ... in all likelihood? Probably not gonna happen. Just too much going on today.
So ... without further delay ...
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
- Published on
Good morning, gentle readers, and welcome to the start of an all-new week (yet again). Here's hoping that the weekend suitably refreshed you so that you have all of the energy you need to break out and do something special this week! After all, it is Thanksgiving Week! So let's give thanks!
And ... in the spirit of Thanksgiving ... might I ask what everyone is thankful for this year?
Honestly -- and I don't mean to bitch and moan -- it's been an awful, awful year. Lots of challenges hit the household this year, and there really hasn't a good deal of positivity. Had some health issues that needed to be addressed ... had some dental issues that are still ongoing ... and you wouldn't believe what's been going on behind the scenes as of late (can't say, but it's equally frustrating) ... so it is difficult to muster up any sense of gratitude right now. Still, it's the right and proper thing to do, and I'll persevere as best as anyone should to find something positive to be thankful for this time of year.
So ... at the very least ... why not be thankful for these 68 genre citations?
There's a lot to look at today -- and I have a helluva lot in the reserves, too, if I can get around to posting some minor updates -- so I encourage each of you to take a healthy gander at it. Genre fans can always find something to celebrate on each day, I think, and if a quick perusal leaves you with something smallish to be thankful for, then let that be what compels you to pick up and keep marching ever onward in your appreciation for this grand game called life.
It is what it is, after all.
Here's what you're looking for ...
And ... in the spirit of Thanksgiving ... might I ask what everyone is thankful for this year?
Honestly -- and I don't mean to bitch and moan -- it's been an awful, awful year. Lots of challenges hit the household this year, and there really hasn't a good deal of positivity. Had some health issues that needed to be addressed ... had some dental issues that are still ongoing ... and you wouldn't believe what's been going on behind the scenes as of late (can't say, but it's equally frustrating) ... so it is difficult to muster up any sense of gratitude right now. Still, it's the right and proper thing to do, and I'll persevere as best as anyone should to find something positive to be thankful for this time of year.
So ... at the very least ... why not be thankful for these 68 genre citations?
There's a lot to look at today -- and I have a helluva lot in the reserves, too, if I can get around to posting some minor updates -- so I encourage each of you to take a healthy gander at it. Genre fans can always find something to celebrate on each day, I think, and if a quick perusal leaves you with something smallish to be thankful for, then let that be what compels you to pick up and keep marching ever onward in your appreciation for this grand game called life.
It is what it is, after all.
Here's what you're looking for ...
As always, thanks for reading ... thanks for sharing ... thanks for being a fan ... and live long and prosper!
-- EZ
- Published on
Awwww! Bless your hearts, readers! You're going to drag me kicking and screaming into this burgeoning controversy!
I say that because -- as I often say -- I usually don't expend much (if any) thought on rights wherein I've no dog in the fight ... and I've long, long, long, long, long said that I'm no Marvel fan. (No, I'm not a hater, either.) For those who've missed my background, I largely grew up reading the wide, wide world of the DC Universe, and I really only occasionally crossed over into Marvel territory, so I just don't have much investment there. Yeah, I'd pick up the random book here and there -- not usually the big event-type stuff but stories that looked interesting -- but I rarely (if ever) went back. It was a one-on-one-off experience with me mostly, so I just little attachment and/or engagement with Marvel's stable of properties.
That said, I've dropped plenty of hints before that I do find a good handful of their flicks very fun; since I've never been all that moved by their various heroes and heroines, I just haven't followed the films closely enough to speak with any degree of intelligence on them. Also, I do tend to prefer stand-alone experiences; while I'm all for building a vast tapestry upon which any number of players can join in at any time, I'm just no big fan of having to see the last four or five films or shows in order for me to be up on what's happening: that kind of investment will always bite you in the butt if you're not paying attention, and it ends up just leaving casual followers lost in translation. So ... again ... while I'm not a fan, the Marvel Saga isn't something I loathe, either. It's just one more avenue to be entertained, so I avoid grandstanding and/or making speeches about something I really know little about.
And, still, I get asked to sound off on the films from fans. (No, no, no: I'm not angry. I rarely get angry -- especially with readers -- but I just want everyone to know I don't consider myself an expert on All Things Marvel ... so please keep that in mind if I drag anything you like in the mud, albeit briefly.)
For all intents and purposes, I think it's safe to conclude that Marvel has jumped aboard the whole 'representation' bandwagon. Such politicking rears its head from time-to-time -- even, back in the day, George Lucas is on record of creating Lando Calrissian because he'd heard one too many times that there were no black mainstays in the Outer Rim -- and ... well, what can I say? It happens! That doesn't necessarily make it right or wrong, mind you: it just is what it is. Who am I to cast judgment on what story a creator wants to tell? I'm essentially just like all of you -- I'm a viewer, I'm a consumer, I'm a fan (or not) -- but when it appears that something has been added and/or changed solely in response to some political outcry ... yeah, I'm offended as much as anyone. (Again, keeping in mind that Marvel doesn't mean all that much to me, this offense is trivial.)
I say that because -- as I often say -- I usually don't expend much (if any) thought on rights wherein I've no dog in the fight ... and I've long, long, long, long, long said that I'm no Marvel fan. (No, I'm not a hater, either.) For those who've missed my background, I largely grew up reading the wide, wide world of the DC Universe, and I really only occasionally crossed over into Marvel territory, so I just don't have much investment there. Yeah, I'd pick up the random book here and there -- not usually the big event-type stuff but stories that looked interesting -- but I rarely (if ever) went back. It was a one-on-one-off experience with me mostly, so I just little attachment and/or engagement with Marvel's stable of properties.
That said, I've dropped plenty of hints before that I do find a good handful of their flicks very fun; since I've never been all that moved by their various heroes and heroines, I just haven't followed the films closely enough to speak with any degree of intelligence on them. Also, I do tend to prefer stand-alone experiences; while I'm all for building a vast tapestry upon which any number of players can join in at any time, I'm just no big fan of having to see the last four or five films or shows in order for me to be up on what's happening: that kind of investment will always bite you in the butt if you're not paying attention, and it ends up just leaving casual followers lost in translation. So ... again ... while I'm not a fan, the Marvel Saga isn't something I loathe, either. It's just one more avenue to be entertained, so I avoid grandstanding and/or making speeches about something I really know little about.
And, still, I get asked to sound off on the films from fans. (No, no, no: I'm not angry. I rarely get angry -- especially with readers -- but I just want everyone to know I don't consider myself an expert on All Things Marvel ... so please keep that in mind if I drag anything you like in the mud, albeit briefly.)
For all intents and purposes, I think it's safe to conclude that Marvel has jumped aboard the whole 'representation' bandwagon. Such politicking rears its head from time-to-time -- even, back in the day, George Lucas is on record of creating Lando Calrissian because he'd heard one too many times that there were no black mainstays in the Outer Rim -- and ... well, what can I say? It happens! That doesn't necessarily make it right or wrong, mind you: it just is what it is. Who am I to cast judgment on what story a creator wants to tell? I'm essentially just like all of you -- I'm a viewer, I'm a consumer, I'm a fan (or not) -- but when it appears that something has been added and/or changed solely in response to some political outcry ... yeah, I'm offended as much as anyone. (Again, keeping in mind that Marvel doesn't mean all that much to me, this offense is trivial.)
Functionally, what I'm trying to encapsulate is that because I'm a bit older and a bit more grizzled I just don't involve myself in things I feel are little to none of my business.
What that means, however, may not be what you think it means.
As an example, let me put it this way: if Marvel wants to destroy their entire line-up with race and/or gender swaps, why should I lose any sleep over it?
I know, I know, I know. How dare you? Don't you consider yourself a genre historian? How can this not disgust and/or enrage you? Well, it's because I'm old, so get off my lawn. Folks, ask you parents or grandparents: we've all seen this sh#t before. This is nothing new. Some opportunists come along, and instead of creating their own Intellectual Property it's much easy to take a shot at success by coopting something that someone else has already established. Ilk of this sort have absolutely no problem picking up heroes you've long worshipped and reshaped them into crusaders for whatever lunacy is the current political economy. You say you want to stop Global Warming? Bingo! We'll recharge Thor to make him combat carbon emissions. You say you want to limit the consumption of beef? Voila! We'll empower Hawkeye in the never-ending campaign to turn every last man, woman, and child into vegans. You say there aren't enough crosswalks? Bam! Daredevil's new mission-on-the-street is the civic engineering, and he won't rest until every corner across America has a stoplight!
No, it needn't make any sense because making sense isn't what's on the friggin' agenda, folks. It's all about pushing culture in a direction in traditionally hasn't bent, and people like this has been engaging in action like this since the dawn of man. It's just, sadly, how some of us are wired. Rather than seek out and explore success with legitimate independence, they'll pilfer every conceivable hero in order to profit intellectually from the truly hard work done by authentic trailblazers ... all the while patting themselves on the backs for their own "creativity." As I said: they're opportunists, and that's what opportunists do.
And -- definitively -- I encourage all of you not to lose any sleep over this.
What that means, however, may not be what you think it means.
As an example, let me put it this way: if Marvel wants to destroy their entire line-up with race and/or gender swaps, why should I lose any sleep over it?
I know, I know, I know. How dare you? Don't you consider yourself a genre historian? How can this not disgust and/or enrage you? Well, it's because I'm old, so get off my lawn. Folks, ask you parents or grandparents: we've all seen this sh#t before. This is nothing new. Some opportunists come along, and instead of creating their own Intellectual Property it's much easy to take a shot at success by coopting something that someone else has already established. Ilk of this sort have absolutely no problem picking up heroes you've long worshipped and reshaped them into crusaders for whatever lunacy is the current political economy. You say you want to stop Global Warming? Bingo! We'll recharge Thor to make him combat carbon emissions. You say you want to limit the consumption of beef? Voila! We'll empower Hawkeye in the never-ending campaign to turn every last man, woman, and child into vegans. You say there aren't enough crosswalks? Bam! Daredevil's new mission-on-the-street is the civic engineering, and he won't rest until every corner across America has a stoplight!
No, it needn't make any sense because making sense isn't what's on the friggin' agenda, folks. It's all about pushing culture in a direction in traditionally hasn't bent, and people like this has been engaging in action like this since the dawn of man. It's just, sadly, how some of us are wired. Rather than seek out and explore success with legitimate independence, they'll pilfer every conceivable hero in order to profit intellectually from the truly hard work done by authentic trailblazers ... all the while patting themselves on the backs for their own "creativity." As I said: they're opportunists, and that's what opportunists do.
And -- definitively -- I encourage all of you not to lose any sleep over this.
Frankly, I started out the whole 'The Marvels' kerfuffle with not wanting to see the film to begin with, nor do I have any intention at this point going forward. If that means that the creative powers that be who think they've somehow been empowered with calling me a racist, a bigot, a chauvanist, or any other label these 'no label' crowd wanna throw at their convenience, so be it. I don't give a damn. Judge me all you like. In fact, if it's their contention that The Marvels isn't making bank because the racists, the bigots, and the sexists aren't showing up to watch their movie, then why is it they're not equally concerned that the previous box office success of the Marvel Movie Universe is, in the same argument, owed to accepting the reality that those showing up WERE the racists, the bigots, and the sexists? You're okay taking their money when the heroes were men, right? But now that they're women, you're just expecting them to show up anyway?
How exactly does that moral code work?
As I've often said when any feature doesn't gross the big bucks right out of the gate, it's worth exercising a bit of patience to see whether or not said feature might develop legs. (This one certainly had plenty of vulva, after all.) Sometimes, a flick's opening is light but over a few weeks it actually turns into a modest money winner; and -- despite the early trend looking otherwise -- the same could happen for The Marvels. In fact, one could argue that all of the controvery both the Mouse House and its hoard evil minions might be trying to accomplish is to ratchet up interest by making folks want to see this out of spite even. "What? This one's performing as the worst in the Marvel's history? Then ... we gotta go see it!" Maybe some new adverts might even take that approach if for no other reason than they're already out (allegedly) a half-billion dollars on production and marketing costs ... so what's a few more million really hurt?
Should the failure of a female-centric superhero film be christened as the end of all that is good and fair and righteous in the universe?
Well ... correct me if I'm wrong, but when right-minded folks -- the type who are generally pushing for a bit more wholesome entertainment -- are decrying the level of violence in motion pictures, aren't they told to just shut up? Aren't their concerns about a general loss of morality on the screen tempered with that tired old phrase: "Relax, it's only a movie!" Why don't the concerns from the left side of the aisle warrant such casual flippancy in response? Why should anyone be expected to explain just why he didn't want to burn his hard-earned cash by talking the family out to the cineplex to be preached to for $100 a visit? Huh? Why is it that their concerns deserve more time, effort, and exposure than do someone else's? What? Because they're the Harvey Weinstein class, and their grievances need to be aired?
Sorry for the language, gentle readers, but f#ck that.
How exactly does that moral code work?
As I've often said when any feature doesn't gross the big bucks right out of the gate, it's worth exercising a bit of patience to see whether or not said feature might develop legs. (This one certainly had plenty of vulva, after all.) Sometimes, a flick's opening is light but over a few weeks it actually turns into a modest money winner; and -- despite the early trend looking otherwise -- the same could happen for The Marvels. In fact, one could argue that all of the controvery both the Mouse House and its hoard evil minions might be trying to accomplish is to ratchet up interest by making folks want to see this out of spite even. "What? This one's performing as the worst in the Marvel's history? Then ... we gotta go see it!" Maybe some new adverts might even take that approach if for no other reason than they're already out (allegedly) a half-billion dollars on production and marketing costs ... so what's a few more million really hurt?
Should the failure of a female-centric superhero film be christened as the end of all that is good and fair and righteous in the universe?
Well ... correct me if I'm wrong, but when right-minded folks -- the type who are generally pushing for a bit more wholesome entertainment -- are decrying the level of violence in motion pictures, aren't they told to just shut up? Aren't their concerns about a general loss of morality on the screen tempered with that tired old phrase: "Relax, it's only a movie!" Why don't the concerns from the left side of the aisle warrant such casual flippancy in response? Why should anyone be expected to explain just why he didn't want to burn his hard-earned cash by talking the family out to the cineplex to be preached to for $100 a visit? Huh? Why is it that their concerns deserve more time, effort, and exposure than do someone else's? What? Because they're the Harvey Weinstein class, and their grievances need to be aired?
Sorry for the language, gentle readers, but f#ck that.
Please, correct me if I'm wrong here, but wasn't it the Mouse House -- the ultimate owner behind the whole Marvel enterprise -- that acquired and sat on 2023's break-out blockbuster Sound Of Freedom? Wasn't it that film that tried to pull back the Hollywood veneer that's sadly been plastered all over the whole child sex trafficking ring -- the one that the elites will tell you doesn't exist or isn't really that much of a problem (well, until Cindy McCain wanted credit for stopping it in its tracks in a Phoenix airport, which was a lie) -- and the film was rewarded with nothing but incredible box office performance? Screw what the critics said about the film -- shills are bought and paid for every damn day on the Internet -- but the regular folks embraced the story, its characters, and its message ... and, yet, I'm supposed to take inventory of my morality because a film about three ladies in spandex didn't do well enough?
These are the folks actually destroying our culture, folks. These are the folks who want you to feel guilty about driving a gas-powered vehicle, about eating a decent burger, and even over passing wind because you're destroying the planet. Don't listen to what they say. Don't even give an ear to what they preach. Don't give them the time of day. Don't spend a dime on their activist cinema if you don't want to, and use your money for that which both moves and motivates you.
These ladies aren't to blame for breaking the glass ceiling of failure, but, yeah, it's likely something that'll attach to their resumes for some time. If you think Hollywood isn't going to take care of them regardless of the box office take, then I've a few bridges I'd like to sell you. They'll do just fine ... though I'm guessing that The Marvels II might have some hill to climb before getting its green light.
And I'm perfectly okay with that.
-- EZ
These are the folks actually destroying our culture, folks. These are the folks who want you to feel guilty about driving a gas-powered vehicle, about eating a decent burger, and even over passing wind because you're destroying the planet. Don't listen to what they say. Don't even give an ear to what they preach. Don't give them the time of day. Don't spend a dime on their activist cinema if you don't want to, and use your money for that which both moves and motivates you.
These ladies aren't to blame for breaking the glass ceiling of failure, but, yeah, it's likely something that'll attach to their resumes for some time. If you think Hollywood isn't going to take care of them regardless of the box office take, then I've a few bridges I'd like to sell you. They'll do just fine ... though I'm guessing that The Marvels II might have some hill to climb before getting its green light.
And I'm perfectly okay with that.
-- EZ
- Published on
It’s been suggested that the decade of the 1990’s truly crystallized what modern audiences defined as the ‘slacker comedy.’
For those unfamiliar with the format, let me offer a bit of illumination. Slacker films are those typically headlined by characters generally opposed to the traditional world of work, be it the soul-crushing 9-to-5 construct or anything, frankly, anything resembling a normal job. It’s not as if these folks are lazy; rather, (in my opinion) it’s that they kinda/sorta detest what’s grown to be considered a normal, functional existence, and their narrative rebellion against the establishment is what mostly defines these characters. While it might be considered a bit ‘highbrow’ by some standards, 1998’s The Big Lebowski (from the Coen Brothers) is arguably one of the best examples – especially from the 1990’s – but a great many variations on such a theme and format also fit within the Comedy sub-genre.
Though I could be wrong on this point, I think it’s fairly rare to run across a slacker film in the world of Science Fiction, Fantasy, and Horror; and that’s part of why I think I so much fell in love with 2023’s As We Know It. Blending ‘slackness’ alongside zombie humor with more than a smidge of romance (Zom/Rom/Com), As We Know It was written (in part) and directed by Josh Monkarsh. Its cast includes Taylor Blackwell, Mike Castle, Oliver Cooper, Pam Grier, Danny Mondello, and Chris Parnell (in the biggest roles); and its breezy California laid back setting pits its players against a growing zombie plague that’s brought on – by all things – a bad batch of soy milk.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“In the late 90’s, James Bishop is dealing with a complicated breakup with the help of his best friend, while trying to finish his book before the impending zombie apocalypse.”
For those unfamiliar with the format, let me offer a bit of illumination. Slacker films are those typically headlined by characters generally opposed to the traditional world of work, be it the soul-crushing 9-to-5 construct or anything, frankly, anything resembling a normal job. It’s not as if these folks are lazy; rather, (in my opinion) it’s that they kinda/sorta detest what’s grown to be considered a normal, functional existence, and their narrative rebellion against the establishment is what mostly defines these characters. While it might be considered a bit ‘highbrow’ by some standards, 1998’s The Big Lebowski (from the Coen Brothers) is arguably one of the best examples – especially from the 1990’s – but a great many variations on such a theme and format also fit within the Comedy sub-genre.
Though I could be wrong on this point, I think it’s fairly rare to run across a slacker film in the world of Science Fiction, Fantasy, and Horror; and that’s part of why I think I so much fell in love with 2023’s As We Know It. Blending ‘slackness’ alongside zombie humor with more than a smidge of romance (Zom/Rom/Com), As We Know It was written (in part) and directed by Josh Monkarsh. Its cast includes Taylor Blackwell, Mike Castle, Oliver Cooper, Pam Grier, Danny Mondello, and Chris Parnell (in the biggest roles); and its breezy California laid back setting pits its players against a growing zombie plague that’s brought on – by all things – a bad batch of soy milk.
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the film’s IMDB.com page citation:
“In the late 90’s, James Bishop is dealing with a complicated breakup with the help of his best friend, while trying to finish his book before the impending zombie apocalypse.”
Succinctly, there’s a lot of love about a world struggling to define and accept what love is – while at the same time winding itself down to possible extinction – and that’s what makes As We Know It such a pleasant 84 minutes. The slacker comedy never quite takes itself or its small(ish) ensemble seriously enough to grow tiring at any point, even though some of the obviously chatty introspection does wear a bit thin in its second half. Still, it’s paced mostly perfectly, never invests too much with characters whose existences are predicated on a measure of selfishness (stopping well short of narcissism), and delivers laughs to divert from any developing seriousness in just the right fashion. Too much of a good thing might grate on the audience’s nerves, and too little might feel dismissive.
As for this one? Like Goldilocks said, “This one’s just right.”
Aspiring author and SciFi junkie James Bishop (played by Michael Castle) has run up a healthy bit of writer’s block in trying to craft the follow-up to his somewhat successful debut novel, “Trains In Space.” The problem is that whatever muse he had appears to have deserted him, and said muse took the shape of the ‘love of his life,’ Emily (a delightfully plucky Taylor Blackwell). Thankfully, James has his best bud – Bruce (Oliver Cooper) – to distract him from his somewhat crippling bout of depression. And, yet, perhaps what all of them truly needed was nothing more than a slowly burgeoning Zombie Apocalypse to at last bring them all together, face their demons, discover their separate truths, and maybe – maybe – even save the day.
Stranger things have happened, am I right?
Just as relationships are imperfect, As We Know It might not have enough humor to tickle everyone’s funny bone. I’ve often suggested that humor is the hardest sell in the whole entertainment business – what you find funny may not be what I find funny, and so on and so forth – but Monkarsh and his friends’ script is equally prescient and smart about the world and people created. It never suggests a rightness or a wrongness to any personal choices in all of this subdued chaos, leaving such assumptions to the viewing audience. Instead, the bulk of the action has these somewhat slackers just embracing life on the fly – even the unwinding of civilization around them – by choosing to, instead, sit back and enjoy yet one more home screening of Kevin Costner’s own disaster-in-the-making, Waterworld (1995).
Oh, the cruel irony! Embracing the Apocalypse while enjoying the ultimate professional apocalypse on film!
(As one of Waterworld’s last remaining and true fans, I’m thrilled for this tip of the hat. So sue me.)
The core beauty of an ensemble is that it becomes impossible to see any other talent inhabiting these roles, and hats off to all involved in this respect. Castle pitch perfectly assumes the mantle of the struggling author – that guy who may or may not have what it takes to find success if he can just figure out how to get out of bed in the morning – and he rather capably leads those around him to their collective doom. The screen (and the audience) love a pretty face, and Blackwell shines as the young maiden who – despite her best interests – can’t quite quit coming back to her former flame, mostly because she believed somewhere in her heart of hearts that it was about as good as it can get. Cooper – as probably the seminal slacker here – refuses to take ‘no’ for an answer – even when ‘no’ is, truly, the only answer – and his ‘never say die’ attitude satirically ends up nearly saving the day … but – in true slacker fashion – I think all of us suspected this one’s ending wouldn’t be happy across the board.
As for this one? Like Goldilocks said, “This one’s just right.”
Aspiring author and SciFi junkie James Bishop (played by Michael Castle) has run up a healthy bit of writer’s block in trying to craft the follow-up to his somewhat successful debut novel, “Trains In Space.” The problem is that whatever muse he had appears to have deserted him, and said muse took the shape of the ‘love of his life,’ Emily (a delightfully plucky Taylor Blackwell). Thankfully, James has his best bud – Bruce (Oliver Cooper) – to distract him from his somewhat crippling bout of depression. And, yet, perhaps what all of them truly needed was nothing more than a slowly burgeoning Zombie Apocalypse to at last bring them all together, face their demons, discover their separate truths, and maybe – maybe – even save the day.
Stranger things have happened, am I right?
Just as relationships are imperfect, As We Know It might not have enough humor to tickle everyone’s funny bone. I’ve often suggested that humor is the hardest sell in the whole entertainment business – what you find funny may not be what I find funny, and so on and so forth – but Monkarsh and his friends’ script is equally prescient and smart about the world and people created. It never suggests a rightness or a wrongness to any personal choices in all of this subdued chaos, leaving such assumptions to the viewing audience. Instead, the bulk of the action has these somewhat slackers just embracing life on the fly – even the unwinding of civilization around them – by choosing to, instead, sit back and enjoy yet one more home screening of Kevin Costner’s own disaster-in-the-making, Waterworld (1995).
Oh, the cruel irony! Embracing the Apocalypse while enjoying the ultimate professional apocalypse on film!
(As one of Waterworld’s last remaining and true fans, I’m thrilled for this tip of the hat. So sue me.)
The core beauty of an ensemble is that it becomes impossible to see any other talent inhabiting these roles, and hats off to all involved in this respect. Castle pitch perfectly assumes the mantle of the struggling author – that guy who may or may not have what it takes to find success if he can just figure out how to get out of bed in the morning – and he rather capably leads those around him to their collective doom. The screen (and the audience) love a pretty face, and Blackwell shines as the young maiden who – despite her best interests – can’t quite quit coming back to her former flame, mostly because she believed somewhere in her heart of hearts that it was about as good as it can get. Cooper – as probably the seminal slacker here – refuses to take ‘no’ for an answer – even when ‘no’ is, truly, the only answer – and his ‘never say die’ attitude satirically ends up nearly saving the day … but – in true slacker fashion – I think all of us suspected this one’s ending wouldn’t be happy across the board.
Now … don’t get me wrong. Love wins. That’s just what it does. After all, that’s what love does, right? It wins. It always wins. Whether we like it or not. Whether we earn it or not. Whether we want it or not. That’s what film, stories, and Taylor Swift has taught us. Love wins. Still, love’s problem – as even these folks would tell you – is it has sh#tty timing, but who among us doesn’t want to go into the Apocalypse joined (at least) in hands with like-minded souls?
Count me in.
The best slacker comedies have always been, ultimately, centered on friendship: what makes these types who they are isn’t so much as important as their insistence on meeting life’s obstacles together, and As We Know It is no different. Yet, global disaster has finally arrived, but no one seemingly lets it spoil their day; and – as the film shows – there’s always time to learn something about yourself along the way to oblivion. In fact, I like thinking that the final message to all of these antics and discovery is this simple lesson: sometimes, you gotta come out of your shell far enough to realize just how safe you were … back in your shell. After all, no one’s getting out alive – no matter how fit, how happy, how employed, how productive, or not – so why not stick to what makes you happiest?
Truer words were never written, and I’m glad As You Know It left me with that closing inspiration.
Ok.
Go about your day, people.
As We Know It (2023) was produced by Buffalo 8 Productions, Revisilagi Vfx Studio, and Traffic City Productions. According to a quick Google.com search, the film is presently available for viewing theatrically at select locations across the United States. As for the technical specifications? While I’m no trained video expert, I found the sights-and-sounds to this Horror/Comedy to be exceptional from start-to-finish. Lastly, if you’re looking for special features? As I view this one via online streaming, there were no special features to consider.
Highly recommended.
While I’m admittedly no fan of the slacker comedy format, I’ll still concede that I found As We Know It (2023) highly infectious. It properly hits many of the comic beats of like-minded fare (i.e. regular Joes both confronting and surviving the Apocalypse in their own special way), and it feels as if it could exist in the same universe as Zombieland (2009), Warm Bodies (2013), or Cooties (2014), albeit with vastly less blood and tension and with measurably more introspection. Its performers make the of the slightly-overlong run-time … but when the end of life as we know it is this inviting that’s an easy overstep to forgive. After all, don’t take those grudges to the grave, folks. That, too, could kill ya.
In the interests of fairness, I’m pleased to disclose that the fine folks at Buffalo 8 Productions provided me with complimentary streaming access to As We Know It (2023) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
Count me in.
The best slacker comedies have always been, ultimately, centered on friendship: what makes these types who they are isn’t so much as important as their insistence on meeting life’s obstacles together, and As We Know It is no different. Yet, global disaster has finally arrived, but no one seemingly lets it spoil their day; and – as the film shows – there’s always time to learn something about yourself along the way to oblivion. In fact, I like thinking that the final message to all of these antics and discovery is this simple lesson: sometimes, you gotta come out of your shell far enough to realize just how safe you were … back in your shell. After all, no one’s getting out alive – no matter how fit, how happy, how employed, how productive, or not – so why not stick to what makes you happiest?
Truer words were never written, and I’m glad As You Know It left me with that closing inspiration.
Ok.
Go about your day, people.
As We Know It (2023) was produced by Buffalo 8 Productions, Revisilagi Vfx Studio, and Traffic City Productions. According to a quick Google.com search, the film is presently available for viewing theatrically at select locations across the United States. As for the technical specifications? While I’m no trained video expert, I found the sights-and-sounds to this Horror/Comedy to be exceptional from start-to-finish. Lastly, if you’re looking for special features? As I view this one via online streaming, there were no special features to consider.
Highly recommended.
While I’m admittedly no fan of the slacker comedy format, I’ll still concede that I found As We Know It (2023) highly infectious. It properly hits many of the comic beats of like-minded fare (i.e. regular Joes both confronting and surviving the Apocalypse in their own special way), and it feels as if it could exist in the same universe as Zombieland (2009), Warm Bodies (2013), or Cooties (2014), albeit with vastly less blood and tension and with measurably more introspection. Its performers make the of the slightly-overlong run-time … but when the end of life as we know it is this inviting that’s an easy overstep to forgive. After all, don’t take those grudges to the grave, folks. That, too, could kill ya.
In the interests of fairness, I’m pleased to disclose that the fine folks at Buffalo 8 Productions provided me with complimentary streaming access to As We Know It (2023) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
- Published on
(NOTE: The following review will contain minor spoilers necessary solely for the discussion of plot and/or characters. If you’re the type of reader who prefers a review entirely spoiler-free, then I’d encourage you to skip down to the last few paragraphs for the final assessment. If, however, you’re accepting of a few modest hints at ‘things to come,’ then read on …)
From the (corrected) film’s IMDB.com page citation:
“A man is tormented by an ex-lover, Lorna, who possesses a strange power over women, including the man’s daughter.”
Here’s the thing, writer/director Jesús Franco: you don’t make it easy for fans to defend you.
I know, I know, I know: anyone who has followed film – especially foreign releases, and, yes, I do say this as an American – has likely heard of Franco and his – snicker snicker – body of work. Think what you will, but the auteur is probably best recognized as being one of Spain’s premier makers of reasonably low-budgeted exploitation fare, the kind of thing that used to be relegated to backroom video store shelves and/or obscure pay cable channels. Yes, there’s a fair amount of T’n’A – if you know what I mean – and, being no prude, I certainly have no issues with that. However … Franco can really try an audience’s patience regularly.
If one considers Lorna … The Exorcist (1974) as a somewhat typical product of the man’s talents and imagination (he is credited as both director and co-screenwriter), then the troubles begin right out of the gate: the flick opens with a – ahem – nine-minute sequence of lustful exploration between two comely lasses, only to end with a curious cut to all new characters and circumstances. In fairness, I believe the audience was led to conclude that this somewhat exhaustive opening sequence was the product of a fanciful dream experienced by an inmate to a kinda/sorta insane asylum … or is it? The uncertainty here is owed to the fact that this set-up – with the possible linkage to this ancillary character – has a very tenuous connection to Lorna’s premise itself, which frankly is far more interesting.
From the (corrected) film’s IMDB.com page citation:
“A man is tormented by an ex-lover, Lorna, who possesses a strange power over women, including the man’s daughter.”
Here’s the thing, writer/director Jesús Franco: you don’t make it easy for fans to defend you.
I know, I know, I know: anyone who has followed film – especially foreign releases, and, yes, I do say this as an American – has likely heard of Franco and his – snicker snicker – body of work. Think what you will, but the auteur is probably best recognized as being one of Spain’s premier makers of reasonably low-budgeted exploitation fare, the kind of thing that used to be relegated to backroom video store shelves and/or obscure pay cable channels. Yes, there’s a fair amount of T’n’A – if you know what I mean – and, being no prude, I certainly have no issues with that. However … Franco can really try an audience’s patience regularly.
If one considers Lorna … The Exorcist (1974) as a somewhat typical product of the man’s talents and imagination (he is credited as both director and co-screenwriter), then the troubles begin right out of the gate: the flick opens with a – ahem – nine-minute sequence of lustful exploration between two comely lasses, only to end with a curious cut to all new characters and circumstances. In fairness, I believe the audience was led to conclude that this somewhat exhaustive opening sequence was the product of a fanciful dream experienced by an inmate to a kinda/sorta insane asylum … or is it? The uncertainty here is owed to the fact that this set-up – with the possible linkage to this ancillary character – has a very tenuous connection to Lorna’s premise itself, which frankly is far more interesting.
Patrick Mariel (played by Guy Delorme) is leading the perfect life. Successful in life and in love, he’s married to the perfectly if not ravishingly beautiful Marianne (Jacqueline Laurent), and – together – they’ve raised their daughter Linda (Lina Romay) to the cusp of womanhood: on the verge of turning eighteen, the young woman has the world at her fingertips … but her fingertips – it would seem – have grown increasingly obsessed with (snicker snicker) exploring the peaks and valleys of her wonderfully shapely body.
As Fate would have it, Linda’s erotic obsession has a rather dark explanation: years ago, dear daddy made a pact with the Devil – or was it a witch? – when he was seduced by the lovely Lorna Green (Pamela Stanford), a businesswoman of her own making who commands a heavy price in exchange for providing her lover a favor. The terms were simple: after making love to Lorna, Patrick must rush home and make love to his own wife, thus transferring the magical seed into a fertile womb and impregnating her. This contract will produce untold wealth for the family, but – on Linda’s eighteenth birthday – she must assume the mantle of witchy prowess by taking Lorna’s place in the material world.
So Franco’s thematic explanation for Linda’s unnatural sexual hunger is tied to a kinda/sorta genetic awakening. Of course, non-magically-bred young women also experience their own cravings as a consequence of hormonal development, but this is territory already staked out for its exploitative appeal so just roll with it. (Roll with it? Snicker snicker again!) We’re treated to some inordinately long sequences of soft-core pornography in a few spots, and methinks that that’s all that really mattered to Franco is getting all of this and the kitchen sink up gloriously on the silver screen.
Lorna clocks in at an astonishing 99 minutes, and – for the amount of narrative substance it includes – that’s vastly, vastly, vastly too long. In all seriousness, there’s truly only about a thirty minute episode of any direct-to-cable sex series in here, and yet – in customary Franco fashion – it’s all padded out with long takes, languorous camera tilts and pans, and pretty passing scenery … with so very little of it being functionally necessary to enhance much less move the story. It’s artistic bloat – not of the good Martin Scorsese variety – and it truly only serves to sink the picture’s already leaden performances, occasionally even making me wonder if some of it wasn’t shot for another film but incorporated here in order to bolster the runtime.
As Fate would have it, Linda’s erotic obsession has a rather dark explanation: years ago, dear daddy made a pact with the Devil – or was it a witch? – when he was seduced by the lovely Lorna Green (Pamela Stanford), a businesswoman of her own making who commands a heavy price in exchange for providing her lover a favor. The terms were simple: after making love to Lorna, Patrick must rush home and make love to his own wife, thus transferring the magical seed into a fertile womb and impregnating her. This contract will produce untold wealth for the family, but – on Linda’s eighteenth birthday – she must assume the mantle of witchy prowess by taking Lorna’s place in the material world.
So Franco’s thematic explanation for Linda’s unnatural sexual hunger is tied to a kinda/sorta genetic awakening. Of course, non-magically-bred young women also experience their own cravings as a consequence of hormonal development, but this is territory already staked out for its exploitative appeal so just roll with it. (Roll with it? Snicker snicker again!) We’re treated to some inordinately long sequences of soft-core pornography in a few spots, and methinks that that’s all that really mattered to Franco is getting all of this and the kitchen sink up gloriously on the silver screen.
Lorna clocks in at an astonishing 99 minutes, and – for the amount of narrative substance it includes – that’s vastly, vastly, vastly too long. In all seriousness, there’s truly only about a thirty minute episode of any direct-to-cable sex series in here, and yet – in customary Franco fashion – it’s all padded out with long takes, languorous camera tilts and pans, and pretty passing scenery … with so very little of it being functionally necessary to enhance much less move the story. It’s artistic bloat – not of the good Martin Scorsese variety – and it truly only serves to sink the picture’s already leaden performances, occasionally even making me wonder if some of it wasn’t shot for another film but incorporated here in order to bolster the runtime.
Though I enjoyed Lorna’s central idea – that being a pact with a demon eventually extracting a heavy price on the mere mortals – there’s still too much padding in here (including the surprisingly unpadded ‘padded’ cell story that only loosely connects). Dialing back the excesses while still dishing out some beautiful bodies doing what beautiful bodies are prone to do in the quiet of the night could’ve made this one into something a bit more special. But as is? Ouch.
No wonder one lady got crabs. Literally. (You’ll understand the pun when you see it.)
Lorna … The Exorcist (1974) was produced by Comptoir Francais du Film Production (CFFP). DVD distribution (for this particular release) is being coordinated by the fine folks at Kino Lorber. As for the technical specifications? While I’m no trained video expert, I thought that the provided sights-and-sounds were very, very good: there’s one short sequence that had an obvious imperfection (vertical) line, but nothing in here took away or distracted from the story. Lastly, if you’re looking for special features? Kino Lorber has ponied up a good collection, including an audio commentary by novelist/critic Tim Lucas, some related interviews, and both English and French audio tracks. Well done.
Still … only Mildly Recommended.
When it comes to some filmmakers, I do find it hard to give them an enthusiastic thumbs up. Jesus Franco can be a bit of an acquired taste for some, so consider that a fair warning in considering Lorna … The Exorcist (1974). At its core, there’s a solid, understandable, and relatable idea – one might even say classical, in nature – and the script bobs and weaves around the premise, though ultimately leaving all parties in some dire predicament as a consequence. While I’ve read that this one has been long considered one of Franco’s best, that also means that those things he did which frustrated viewers are equally on display … so get set for taking ‘the good’ with ‘the bad’ on this endeavor.
In the interests of fairness, I’m pleased to disclose that the fine folks at Kino Lorber provided me with a complimentary Blu-ray copy of Lorna … The Exorcist (1974) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ
No wonder one lady got crabs. Literally. (You’ll understand the pun when you see it.)
Lorna … The Exorcist (1974) was produced by Comptoir Francais du Film Production (CFFP). DVD distribution (for this particular release) is being coordinated by the fine folks at Kino Lorber. As for the technical specifications? While I’m no trained video expert, I thought that the provided sights-and-sounds were very, very good: there’s one short sequence that had an obvious imperfection (vertical) line, but nothing in here took away or distracted from the story. Lastly, if you’re looking for special features? Kino Lorber has ponied up a good collection, including an audio commentary by novelist/critic Tim Lucas, some related interviews, and both English and French audio tracks. Well done.
Still … only Mildly Recommended.
When it comes to some filmmakers, I do find it hard to give them an enthusiastic thumbs up. Jesus Franco can be a bit of an acquired taste for some, so consider that a fair warning in considering Lorna … The Exorcist (1974). At its core, there’s a solid, understandable, and relatable idea – one might even say classical, in nature – and the script bobs and weaves around the premise, though ultimately leaving all parties in some dire predicament as a consequence. While I’ve read that this one has been long considered one of Franco’s best, that also means that those things he did which frustrated viewers are equally on display … so get set for taking ‘the good’ with ‘the bad’ on this endeavor.
In the interests of fairness, I’m pleased to disclose that the fine folks at Kino Lorber provided me with a complimentary Blu-ray copy of Lorna … The Exorcist (1974) by request for the expressed purpose of completing this review. Their contribution to me in no way, shape, or form influenced my opinion of it.
-- EZ