- Published on
Happy Friday, Happy September, and good morning, faithful readers ... and, oh my! It looks like somebody's had his Wheaties this good day! An astonishing 85 different genre trivia citations! Did you ever think such a thing was possible? Why, I oughta get a raise!
At a glance to my records, folks, it does look like September could be a pretty big month on the whole trivia-spinning business. Generally speaking (here in the States, anyway), September is when TV seasons start to begin, so that means the TV sections grow a bit thicker in the middle over the course of the next few months. I suspect that you'll see some of these daily citations start to tick up a bit here and there. It won't be universal, no, but it should trend here and there. Keep your eyes peeled.
But as for today?
Well, I can't let this post go by with a proper birthday shout to the lovely Brooke Lewis Bellas. The actress has been part and parcel of some fabulous B-Movies and more, not only doing the good stuff of acting but also getting into the business of writing and producing. She's also been one of SciFiHistory.Net's biggest supporters in the Twittersphere (now called XSphere? Ugh!), so it goes without saying that we here think she's the bees' knees. Nothing but bold wishes and big tidings headed her way on this, her special day.
Also, I couldn't let the day go by without a proper birthday acknowledgement to one of the true originals of Science Fiction and Fantasy: on this day all the way back in 1875 author Edgar Rice Burroughs entered out plane of existence. Over the course of his professional career, Burroughs would go on to craft such contributions to the world of literature as Tarzan of the Apes, John Carter of Mars, Carson of Venus, the Pellucidar series, the Caspak novels, and even a bit more. His was an incredible imagination that fueled more pulp adventures than one might thought imaginable, and his legacy continues to inspire readers and filmmakers all across the world.
It goes without saying that -- with 85 citations and rising -- there's a great deal to celebrate today. As usual, I encourage each of you to head on over to the Daily Citations Page and take a healthy gander but buckle up ... this is a day for the history books!
At a glance to my records, folks, it does look like September could be a pretty big month on the whole trivia-spinning business. Generally speaking (here in the States, anyway), September is when TV seasons start to begin, so that means the TV sections grow a bit thicker in the middle over the course of the next few months. I suspect that you'll see some of these daily citations start to tick up a bit here and there. It won't be universal, no, but it should trend here and there. Keep your eyes peeled.
But as for today?
Well, I can't let this post go by with a proper birthday shout to the lovely Brooke Lewis Bellas. The actress has been part and parcel of some fabulous B-Movies and more, not only doing the good stuff of acting but also getting into the business of writing and producing. She's also been one of SciFiHistory.Net's biggest supporters in the Twittersphere (now called XSphere? Ugh!), so it goes without saying that we here think she's the bees' knees. Nothing but bold wishes and big tidings headed her way on this, her special day.
Also, I couldn't let the day go by without a proper birthday acknowledgement to one of the true originals of Science Fiction and Fantasy: on this day all the way back in 1875 author Edgar Rice Burroughs entered out plane of existence. Over the course of his professional career, Burroughs would go on to craft such contributions to the world of literature as Tarzan of the Apes, John Carter of Mars, Carson of Venus, the Pellucidar series, the Caspak novels, and even a bit more. His was an incredible imagination that fueled more pulp adventures than one might thought imaginable, and his legacy continues to inspire readers and filmmakers all across the world.
It goes without saying that -- with 85 citations and rising -- there's a great deal to celebrate today. As usual, I encourage each of you to head on over to the Daily Citations Page and take a healthy gander but buckle up ... this is a day for the history books!
As always, thanks for reading ... thanks for sharing ... and live long and prosper!
-- EZ
- Published on
Good morning and Happy Thursday, readers!
Can you smell that? Can you? That's Friday, and it's right around the corner, folks. It'll be here before you know it. Buckle down. Get the job done. The weekend will be here in no time.
Well, well, well ...
Erm ... yes, I've seen Ahsoka's third episode, and (cough cough) I'll have something to say about that debacle later today. On some levels, it's honestly like they're really not even trying any more, folks. It doesn't appear that anyone at Walt Disney and/or Lucasfilm and/or Dave Filoni's immediate family is all that interested in winning fans back to the intellectual property. I don't think it's as awful a show as some online (those YouTubers are really good as dissecting this stuff, far more than I am), but I'll heartily agree that it has its own issues. I'm not certain that at this point these shortcomings can be overcome. It's like starting out to build a house on an already broken foundation; nothing one does after putting the frame up, starting the walls, and whatnot is going to fundamentally fix what was sub-standard at the beginning. I can appreciate the effort ... but, sigh, it isn't looking good. Maybe they're keeping the real surprises -- the true good stuff -- for later.
Other than that, I do have another review I'm going to try to pen this afternoon: I watched The Last Man On Earth on cable the other day (I had DVR'd it), and I have some things I'd like to say about that. It's actually INCREDIBLY good. I was gobsmacked with how much I enjoyed it. I know I'd seen it years ago, but I didn't remember much of it. Now that I'm older -- and unquestionably wiser -- it resonated more. That's a good thing.
Also, let me give some last minute props to 2018's Black Circle? I review it yesterday (here), and I was reasonably smitten by it. It's an atmosphere piece told in a very unconventional way, and I think that's probably what kept more folks from either trying it and/or liking it. I get totally jazzed by low-budget thrillers that actually find interesting ways to cultivate their mystical auras witihout spending a lot of money; and -- on that level -- I totally dug its vibe. Totally. I will add that -- as I said in my review -- it's a tad overlong -- the last reel definitely overstays its welcome -- but otherwise it tickled my fancy quite nicely.
Alright, alright, I hear you. Pipe it down. Here's what you really came here for:
Can you smell that? Can you? That's Friday, and it's right around the corner, folks. It'll be here before you know it. Buckle down. Get the job done. The weekend will be here in no time.
Well, well, well ...
Erm ... yes, I've seen Ahsoka's third episode, and (cough cough) I'll have something to say about that debacle later today. On some levels, it's honestly like they're really not even trying any more, folks. It doesn't appear that anyone at Walt Disney and/or Lucasfilm and/or Dave Filoni's immediate family is all that interested in winning fans back to the intellectual property. I don't think it's as awful a show as some online (those YouTubers are really good as dissecting this stuff, far more than I am), but I'll heartily agree that it has its own issues. I'm not certain that at this point these shortcomings can be overcome. It's like starting out to build a house on an already broken foundation; nothing one does after putting the frame up, starting the walls, and whatnot is going to fundamentally fix what was sub-standard at the beginning. I can appreciate the effort ... but, sigh, it isn't looking good. Maybe they're keeping the real surprises -- the true good stuff -- for later.
Other than that, I do have another review I'm going to try to pen this afternoon: I watched The Last Man On Earth on cable the other day (I had DVR'd it), and I have some things I'd like to say about that. It's actually INCREDIBLY good. I was gobsmacked with how much I enjoyed it. I know I'd seen it years ago, but I didn't remember much of it. Now that I'm older -- and unquestionably wiser -- it resonated more. That's a good thing.
Also, let me give some last minute props to 2018's Black Circle? I review it yesterday (here), and I was reasonably smitten by it. It's an atmosphere piece told in a very unconventional way, and I think that's probably what kept more folks from either trying it and/or liking it. I get totally jazzed by low-budget thrillers that actually find interesting ways to cultivate their mystical auras witihout spending a lot of money; and -- on that level -- I totally dug its vibe. Totally. I will add that -- as I said in my review -- it's a tad overlong -- the last reel definitely overstays its welcome -- but otherwise it tickled my fancy quite nicely.
Alright, alright, I hear you. Pipe it down. Here's what you really came here for:
As always, thanks for reading ... thanks for sharing ... and live long and prosper!
-- EZ
- Published on
Folks, you don’t have to agree with this statement, but trust me when I say that the older you get the more you see it as truth: “Every story is, ultimately, a combination of good and bad ideas.”
While some argue that there are no perfect films, pictures like Citizen Kane (1941), Casablanca (1942), Star Wars (1977), Unforgiven (1992), and Galaxy Quest (1999) don’t exactly exist in a vacuum. (Feel free to insert your own nominations for ‘perfect films’ at your leisure.) In case you missed my point, I’ll tell you that perfect films do indeed exist, and they continue to resonate with audiences well after their first theatrical screenings in theaters. How we tally up the bits and pieces to determine just what perfection looks like might change over time, but the foundation likely remains the same. Perfect features are out there; you just must be willing to look for them.
But even a classic might include a bad idea or two. Just because a film remains perfect doesn’t even remotely imply that it has no blemishes, so perhaps it’s safer to suggest that we tweak our expectations both as we grow and as a film ages. It’s this combination, however, that stays forever on our minds.
Now … that said, I’ll admit that I’m really struggling to enjoy the good and the bad of the latest Disney+ Star Wars series, Ahsoka.
(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 episode’s IMDB.com page citation:
“Hera tangles with New Republic politics while Ahsoka and Sabine Wren voyage to a distant planet.”
Ok. Here goes, folks.
I’m no huge Dave Filoni fan, but like many who’ve followed his work I do believe he’s earned the opportunity to take Star Wars into the future … so long as his is not the only creative voice. I’ve said several times before that both his Star Wars: The Clone Wars and Star Wars Rebels ended up being better shows as they aged: both suffered from a bit of clunkiness right out of the gate, and it took Filoni and his behind-the-scenes crew some time to get each of them into their own respective rhythms. I do think that Star Wars: The Bad Batch – while being a bit smaller in scope than either of his previous works – started off quite good and then dipped a bit here and there along the way, but it still managed to craft some interesting stories around fringe elements of the wider Star Wars Universe in a way that audience appreciated.
So I’ve followed Ahsoka – as a character – not so much as she’s been interesting to me but because she just keep seems to popping up here and there. Her run in The Clone Wars was vastly more interesting than her ‘maturation’ in Rebels, and here’s precisely why: in Wars, she was – like Anakin in his early years – an outsider trying to fit in. In Rebels, Ahsoka had this Jedi-style wisdom that just, frankly, came out of nowhere. To my knowledge, we were never brought up to speed on just how she turned into this masterful wizard; instead, we were just to accept it and go about our business.
If you follow the “logic” of her character’s arc (to that point), then here’s what we know: she left the Jedi Order because she never found her place there after a bit of what we’ll call a professional scandal she was unjustly blamed for. But know – all these years later – she’s suddenly behaving like a Jedi Master despite having never completed her training. While such demonstrated wisdom isn’t, say, only endemic to Jedi in the galaxy far, far away, I find it a bit ironic and offputting that – while putting down the Order at nearly every opportunity – she’s still acting like a Jedi Master.
In fact, she goes to great lengths in “Part 3: Time To Fly” to both use Jedi tactics and denounce Jedi tactics while attempting to break through to Sabine Wren in what we’re presumed to be (cough cough) Jedi training. Viewers see Ahsoka using the ‘blast shield’ helmet technique – the very same one Obi-Wan Kenobi used on a young Luke Skywalker in the Original Trilogy – and then the two engage in their own sparring match which one can (again) only presume is something Jedi padawans would’ve employed. Only moments later, Ahsoka then remarks to the droid Huyang something to the effect of it not being important for Wren to be a Jedi so much as it is she “be herself.”
While some argue that there are no perfect films, pictures like Citizen Kane (1941), Casablanca (1942), Star Wars (1977), Unforgiven (1992), and Galaxy Quest (1999) don’t exactly exist in a vacuum. (Feel free to insert your own nominations for ‘perfect films’ at your leisure.) In case you missed my point, I’ll tell you that perfect films do indeed exist, and they continue to resonate with audiences well after their first theatrical screenings in theaters. How we tally up the bits and pieces to determine just what perfection looks like might change over time, but the foundation likely remains the same. Perfect features are out there; you just must be willing to look for them.
But even a classic might include a bad idea or two. Just because a film remains perfect doesn’t even remotely imply that it has no blemishes, so perhaps it’s safer to suggest that we tweak our expectations both as we grow and as a film ages. It’s this combination, however, that stays forever on our minds.
Now … that said, I’ll admit that I’m really struggling to enjoy the good and the bad of the latest Disney+ Star Wars series, Ahsoka.
(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 episode’s IMDB.com page citation:
“Hera tangles with New Republic politics while Ahsoka and Sabine Wren voyage to a distant planet.”
Ok. Here goes, folks.
I’m no huge Dave Filoni fan, but like many who’ve followed his work I do believe he’s earned the opportunity to take Star Wars into the future … so long as his is not the only creative voice. I’ve said several times before that both his Star Wars: The Clone Wars and Star Wars Rebels ended up being better shows as they aged: both suffered from a bit of clunkiness right out of the gate, and it took Filoni and his behind-the-scenes crew some time to get each of them into their own respective rhythms. I do think that Star Wars: The Bad Batch – while being a bit smaller in scope than either of his previous works – started off quite good and then dipped a bit here and there along the way, but it still managed to craft some interesting stories around fringe elements of the wider Star Wars Universe in a way that audience appreciated.
So I’ve followed Ahsoka – as a character – not so much as she’s been interesting to me but because she just keep seems to popping up here and there. Her run in The Clone Wars was vastly more interesting than her ‘maturation’ in Rebels, and here’s precisely why: in Wars, she was – like Anakin in his early years – an outsider trying to fit in. In Rebels, Ahsoka had this Jedi-style wisdom that just, frankly, came out of nowhere. To my knowledge, we were never brought up to speed on just how she turned into this masterful wizard; instead, we were just to accept it and go about our business.
If you follow the “logic” of her character’s arc (to that point), then here’s what we know: she left the Jedi Order because she never found her place there after a bit of what we’ll call a professional scandal she was unjustly blamed for. But know – all these years later – she’s suddenly behaving like a Jedi Master despite having never completed her training. While such demonstrated wisdom isn’t, say, only endemic to Jedi in the galaxy far, far away, I find it a bit ironic and offputting that – while putting down the Order at nearly every opportunity – she’s still acting like a Jedi Master.
In fact, she goes to great lengths in “Part 3: Time To Fly” to both use Jedi tactics and denounce Jedi tactics while attempting to break through to Sabine Wren in what we’re presumed to be (cough cough) Jedi training. Viewers see Ahsoka using the ‘blast shield’ helmet technique – the very same one Obi-Wan Kenobi used on a young Luke Skywalker in the Original Trilogy – and then the two engage in their own sparring match which one can (again) only presume is something Jedi padawans would’ve employed. Only moments later, Ahsoka then remarks to the droid Huyang something to the effect of it not being important for Wren to be a Jedi so much as it is she “be herself.”
Erm … what?
Look: either you want her to be a Jedi, or you don’t. As Yoda said, “Do or do not. There is not try.” Still, all we’re seeing of this unlikely ‘odd couple’ is a helluva lot of trying and very, very, very little doing. While Wren is kinda/sorta weakly confirmed to not be Force-sensitive, then why are the writers insisting on taking her through training that most likely was designed for those who are Force-sensitive? Wouldn’t there be a completely different regimen, one specifically tailored to aid the pupil in growing a greater sensitivity? Seems to me like that would be a good idea, but that might get in the way of so many callbacks to events of earlier Star Wars films.
Naturally, it’s comforting to see Filoni using the nostalgia factor to further his legacy in this universe, but it seems that he’s starting to do it by bastardizing what came before. To a degree, I suspect this is because he – like Lucasfilm head Kathleen Kennedy – are determined to drag the franchise and its fans kicking and screaming into the future; doing this at the expense of destroying moments that made the juggernaut into what it is, however, is not a respectable way of going about it. You’re risking alienating fandom only further than you have at this point (no, I’m not gonna begin dissecting the strengths and weaknesses of The Mandalorian, The Book Of Boba Fett, Andor, and Obi-Wan Kenobi because I try to respect space considerations of my readers), but I don’t think Star Wars can survive another blatant and obvious attempt to desecrate canon.
As long as I’m up on my high horse, though, let me also sound off on one point that clearly underscores that Filoni definitely got his start in cartoons.
Without going into a greater summary, our heroes (Ahsoka, Huyang, and Sabine) do find themselves stranded in a spacecraft without power at one point with the enemies closing in and guns blazing. For some fantastic reason, Ahsoka decides she’s going to suit up and venture outside the ship to (cough cough) engage the fighters directly … with nothing but her twin lightsabers!
Erm … what?
In what will likely go down as one of the most ludicrous moments in perhaps television history, our lead Jedi/NotJedi somehow manages to force her attackers to shoot at her instead of shooting at the ship they’ve been tasked to destroy. If their intent is to kill her – which we presume all of that blasting was for in the first place – then why not simply vaporize the ship? As she’s standing on its outer hull, she’d most likely succumb to such a tactic, and they’d be rid of her. In case you missed it, the ship’s is – literally – dead in space. It’s a sitting duck. The shields are down. The engines are disabled. It’s – LITERALLY – waiting to be destroyed. It’s practically calling out to be blown to atoms. And, yet, this doesn’t happen because of a very, very, very bad idea. Let’s agree it was also a bit ‘cartoonish,’ which is why I said it’s clear that Dave got his start in that arena.
See what I mean? Stories are, fundamentally, nothing more than a collection of good ideas and bad ideas.
At this point, it seems that Ahsoka is more bad than good.
In the interests of fairness, I’m pleased to disclose that I’m beholden to no one to provide a review of Star Wars: Ahsoka streaming series as I’m presently a subscriber to Disney+ … which might be changing in the future as their programming has really gotten a bit stale.
-- EZ
Look: either you want her to be a Jedi, or you don’t. As Yoda said, “Do or do not. There is not try.” Still, all we’re seeing of this unlikely ‘odd couple’ is a helluva lot of trying and very, very, very little doing. While Wren is kinda/sorta weakly confirmed to not be Force-sensitive, then why are the writers insisting on taking her through training that most likely was designed for those who are Force-sensitive? Wouldn’t there be a completely different regimen, one specifically tailored to aid the pupil in growing a greater sensitivity? Seems to me like that would be a good idea, but that might get in the way of so many callbacks to events of earlier Star Wars films.
Naturally, it’s comforting to see Filoni using the nostalgia factor to further his legacy in this universe, but it seems that he’s starting to do it by bastardizing what came before. To a degree, I suspect this is because he – like Lucasfilm head Kathleen Kennedy – are determined to drag the franchise and its fans kicking and screaming into the future; doing this at the expense of destroying moments that made the juggernaut into what it is, however, is not a respectable way of going about it. You’re risking alienating fandom only further than you have at this point (no, I’m not gonna begin dissecting the strengths and weaknesses of The Mandalorian, The Book Of Boba Fett, Andor, and Obi-Wan Kenobi because I try to respect space considerations of my readers), but I don’t think Star Wars can survive another blatant and obvious attempt to desecrate canon.
As long as I’m up on my high horse, though, let me also sound off on one point that clearly underscores that Filoni definitely got his start in cartoons.
Without going into a greater summary, our heroes (Ahsoka, Huyang, and Sabine) do find themselves stranded in a spacecraft without power at one point with the enemies closing in and guns blazing. For some fantastic reason, Ahsoka decides she’s going to suit up and venture outside the ship to (cough cough) engage the fighters directly … with nothing but her twin lightsabers!
Erm … what?
In what will likely go down as one of the most ludicrous moments in perhaps television history, our lead Jedi/NotJedi somehow manages to force her attackers to shoot at her instead of shooting at the ship they’ve been tasked to destroy. If their intent is to kill her – which we presume all of that blasting was for in the first place – then why not simply vaporize the ship? As she’s standing on its outer hull, she’d most likely succumb to such a tactic, and they’d be rid of her. In case you missed it, the ship’s is – literally – dead in space. It’s a sitting duck. The shields are down. The engines are disabled. It’s – LITERALLY – waiting to be destroyed. It’s practically calling out to be blown to atoms. And, yet, this doesn’t happen because of a very, very, very bad idea. Let’s agree it was also a bit ‘cartoonish,’ which is why I said it’s clear that Dave got his start in that arena.
See what I mean? Stories are, fundamentally, nothing more than a collection of good ideas and bad ideas.
At this point, it seems that Ahsoka is more bad than good.
In the interests of fairness, I’m pleased to disclose that I’m beholden to no one to provide a review of Star Wars: Ahsoka streaming series as I’m presently a subscriber to Disney+ … which might be changing in the future as their programming has really gotten a bit stale.
-- EZ
- Published on
Back in the days of reckless youth, a friend of mine in college recommended to me the novel “I Am Legend” by Richard Matheson.
In fact, he owned a hardback copy in his collection that he loaned to me so that I could read it one summer whilst over break. Not a huge fan of Horror literature, I put it off almost until the time I was getting ready to go back to school, and – once I got started – I did breeze through it reasonably quickly. While I was familiar to a small degree with Matheson’s work, I hadn’t ventured into much of his territory; but I did find the story eminently readable. As is fairly customary with most readers, I found things to like and dislike in the work, but I recall admiring how the author brought such a personal account of life during an Apocalypse to focus. So if you’re looking for recommendations? I suggest you pick it up and give it a try.
Because I’ve read so much about film over the years, I Am Legend is a tome that keeps coming up again and again. It served as chief inspiration to so many visual storytellers, and its central thread of a lone man taking a last stand against the new emerging civilization of vampires has fueled such screen incarnations as 1971’s The Omega Man (with Charlton Heston) and 2007’s I Am Legend (with Will Smith). But back there in the late 1950’s only a few years after his novel was published, Matheson himself worked on a screenplay that was originally intended for director Fritz Lang under contract with Hammer Films. Eventually, Hammer passed on the project, and it ended up being secured by Associated Producers (API) and director Ubaldo Ragona and Sidney Salkow. Though the writer inevitably asked to have a pseudonym of ‘Logan Swanson’ added to the credits in lieu of his own, The Last Man On Earth premiered in 1964 with none other than genre legend Vincent Price in the lead.
Is it any good?
Oh, yes. It most definitely it worth a viewing.
(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:
“When a disease turns all of humanity into the living dead, the last man on earth becomes a reluctant vampire hunter.”
Sometimes, the best projects are the ones that find a central idea and stick to it.
Such is the case with 1964’s The Last Man On Earth, the very first and maybe the most interesting and faithful adaptation of Matheson’s 1954 novel. In it, Robert Neville goes about the business of trying to determine just how a world-ending pandemic resulted in turning our dead into undead vampires; and – in the process – the survivor-turned-scientist finds himself hunted by the rank and file of the new civilization emerging from the chaos of our fallen world. Eventually, he is caught and incarcerated but not before coming to grips with the reality that – as vampires were once nothing more than a myth among the superstitious – he has now assumed that title as the last man left alive on Earth. He has become, literally, a legend; and he suffers a grim fate as the consequence.
In fact, he owned a hardback copy in his collection that he loaned to me so that I could read it one summer whilst over break. Not a huge fan of Horror literature, I put it off almost until the time I was getting ready to go back to school, and – once I got started – I did breeze through it reasonably quickly. While I was familiar to a small degree with Matheson’s work, I hadn’t ventured into much of his territory; but I did find the story eminently readable. As is fairly customary with most readers, I found things to like and dislike in the work, but I recall admiring how the author brought such a personal account of life during an Apocalypse to focus. So if you’re looking for recommendations? I suggest you pick it up and give it a try.
Because I’ve read so much about film over the years, I Am Legend is a tome that keeps coming up again and again. It served as chief inspiration to so many visual storytellers, and its central thread of a lone man taking a last stand against the new emerging civilization of vampires has fueled such screen incarnations as 1971’s The Omega Man (with Charlton Heston) and 2007’s I Am Legend (with Will Smith). But back there in the late 1950’s only a few years after his novel was published, Matheson himself worked on a screenplay that was originally intended for director Fritz Lang under contract with Hammer Films. Eventually, Hammer passed on the project, and it ended up being secured by Associated Producers (API) and director Ubaldo Ragona and Sidney Salkow. Though the writer inevitably asked to have a pseudonym of ‘Logan Swanson’ added to the credits in lieu of his own, The Last Man On Earth premiered in 1964 with none other than genre legend Vincent Price in the lead.
Is it any good?
Oh, yes. It most definitely it worth a viewing.
(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:
“When a disease turns all of humanity into the living dead, the last man on earth becomes a reluctant vampire hunter.”
Sometimes, the best projects are the ones that find a central idea and stick to it.
Such is the case with 1964’s The Last Man On Earth, the very first and maybe the most interesting and faithful adaptation of Matheson’s 1954 novel. In it, Robert Neville goes about the business of trying to determine just how a world-ending pandemic resulted in turning our dead into undead vampires; and – in the process – the survivor-turned-scientist finds himself hunted by the rank and file of the new civilization emerging from the chaos of our fallen world. Eventually, he is caught and incarcerated but not before coming to grips with the reality that – as vampires were once nothing more than a myth among the superstitious – he has now assumed that title as the last man left alive on Earth. He has become, literally, a legend; and he suffers a grim fate as the consequence.
From what I recall, the vampires featured in Matheson’s book were much closer to fully realized humans. For the film, the script credited to William F. Leicester, Furio M. Monetti, and director Ragona creates a class structure for the undead: ‘Roger Neville’ is changed to ‘Robert Morgan,’ and Morgan (as played by Vincent Price) goes about the self-appointed task of cleaning up the city streets by staking these weakened, almost zombie creatures and pitching them into a forever burning fire pit on the outskirts of town. It’s best to think of these monsters as ‘working-class’ blue-collar stiffs as compared to the upper-class white-collar vampires who ultimately capture Morgan in the final reel and dispense their own brand of vigilante justice. So in that regard, The Last Man tried to add a layer of complexity to the re-emergence of civilization, but there’s never even a mention or clarification how all of these vampires feed with the complete loss of humanity. (FYI: that kind of thing is what drove 2009’s stylistic vampire yarn – Daybreakers – to respectable B-Movie heights, and I encourage readers to check that one out at their leisure as well.)
For all intents and purposes, however, Morgan’s day-to-day struggle feels aesthetically more like one man pushing back against the hordes of walking automatons not unlike those populating George A. Romero’s groundbreaking Night Of The Living Dead (1968). It’s perhaps the first thing one notices when watching The Last Man, and thus the vampire threat never quite appears even remotely authentic. There is a moment wherein Morgan finds a surviving woman – Ruth (Franca Bettoia) – and he asks her whether or not she’s been bitten; but the film lacks any real substantive discussion and/or explanation for why and how these vampires continue living without a viable source of food. Therein lies the flick’s greatest weakness: as a Horror/Thriller, it ignores the core mythology, and this most likely accounts for biggest critical failings.
Setting aside that narrative misfire (and, truthfully, it is a big one), I have to admit to being smitten with the production.
There’s a simplicity to the whole affair that works convincingly and keeps it on point from start-to-finish. Given the fact that dialogue is reasonably limited (the film includes some flashbacks to tout Morgan’s own origin story as well as his small exchanges with Ruth later in the flick), a great deal of the mood setting is done with voiceovers by Price. Whereas a good deal of his cinematic performances required him to be a bit of a larger-than-life character, he manages to exude a depressingly somber tone throughout so very much of The Last Man. Playing a character who’s obviously stricken with depression is a risky affair, but a talent like Price never quite descends to the campiness often required of some dated melodramas. While there’s a bit of flamboyance to his bouts of melancholy, he nonetheless shows both a stoic constitution and great acting range with the little surprises here and there, so much so that his character somehow retains a hopefulness despite so much evidence to the contrary.
The trick to any good End Times tale is to never overstay one’s welcome, and The Last Man – at under 90 minutes – operates on a storytelling efficiency, never quite overthinking its premise or any of the details that might’ve given the picture cause to bloat. No moments get more time than they’re needed to function in this relative space, and the fact that there’s so little action never dulls the forward momentum of a guy just trying to survive. If anything, I’ll applaud the flick for staying true to its premise, resisting any temptation to divert down some rabbit hole for quick emotional effect, and sticking the landing. That doesn’t happen all that often – especially in genre entries – and it deserves a bit of positive acclaim when we see it, hoping that others follow in such footsteps.
Lastly, I have read that the film wasn’t considered successful on its original release, and – on one level – I can see why. Given Price’s marquee reputation, I imagine audiences went in expecting something a bit different than this thoughtful portrait of civility at the end of civilization. It both is and isn’t a Horror film, and I suspect that, too, resulted in more than a bit of confusion. (The true terror here is a bit more cerebral than most watchers expect theatrically, so again I understand the collective disappointment.) Also, there’s very little conventional about it … but it’s reassuring to read that it’s also gone on to become a bit of a Cult Classic with the right folks who find it … and I can see precisely why on that front as well.
The Last Man On Earth (1964) was produced by Associated Producers (API) and Produzioni La Regina. The film is available in public domain since the 1980’s, so there are many DVD versions available for purchase across the wide, wide Information Superhighway.
Highly recommended.
-- EZ
For all intents and purposes, however, Morgan’s day-to-day struggle feels aesthetically more like one man pushing back against the hordes of walking automatons not unlike those populating George A. Romero’s groundbreaking Night Of The Living Dead (1968). It’s perhaps the first thing one notices when watching The Last Man, and thus the vampire threat never quite appears even remotely authentic. There is a moment wherein Morgan finds a surviving woman – Ruth (Franca Bettoia) – and he asks her whether or not she’s been bitten; but the film lacks any real substantive discussion and/or explanation for why and how these vampires continue living without a viable source of food. Therein lies the flick’s greatest weakness: as a Horror/Thriller, it ignores the core mythology, and this most likely accounts for biggest critical failings.
Setting aside that narrative misfire (and, truthfully, it is a big one), I have to admit to being smitten with the production.
There’s a simplicity to the whole affair that works convincingly and keeps it on point from start-to-finish. Given the fact that dialogue is reasonably limited (the film includes some flashbacks to tout Morgan’s own origin story as well as his small exchanges with Ruth later in the flick), a great deal of the mood setting is done with voiceovers by Price. Whereas a good deal of his cinematic performances required him to be a bit of a larger-than-life character, he manages to exude a depressingly somber tone throughout so very much of The Last Man. Playing a character who’s obviously stricken with depression is a risky affair, but a talent like Price never quite descends to the campiness often required of some dated melodramas. While there’s a bit of flamboyance to his bouts of melancholy, he nonetheless shows both a stoic constitution and great acting range with the little surprises here and there, so much so that his character somehow retains a hopefulness despite so much evidence to the contrary.
The trick to any good End Times tale is to never overstay one’s welcome, and The Last Man – at under 90 minutes – operates on a storytelling efficiency, never quite overthinking its premise or any of the details that might’ve given the picture cause to bloat. No moments get more time than they’re needed to function in this relative space, and the fact that there’s so little action never dulls the forward momentum of a guy just trying to survive. If anything, I’ll applaud the flick for staying true to its premise, resisting any temptation to divert down some rabbit hole for quick emotional effect, and sticking the landing. That doesn’t happen all that often – especially in genre entries – and it deserves a bit of positive acclaim when we see it, hoping that others follow in such footsteps.
Lastly, I have read that the film wasn’t considered successful on its original release, and – on one level – I can see why. Given Price’s marquee reputation, I imagine audiences went in expecting something a bit different than this thoughtful portrait of civility at the end of civilization. It both is and isn’t a Horror film, and I suspect that, too, resulted in more than a bit of confusion. (The true terror here is a bit more cerebral than most watchers expect theatrically, so again I understand the collective disappointment.) Also, there’s very little conventional about it … but it’s reassuring to read that it’s also gone on to become a bit of a Cult Classic with the right folks who find it … and I can see precisely why on that front as well.
The Last Man On Earth (1964) was produced by Associated Producers (API) and Produzioni La Regina. The film is available in public domain since the 1980’s, so there are many DVD versions available for purchase across the wide, wide Information Superhighway.
Highly recommended.
-- EZ
- Published on
Over the years, I think that some who write about film have kinda/sorta lost sight of the true attributes defining the Giallo film.
Some of this is owed to … well … let’s call it laziness. It’s easier for some to simply lump an entire sub-genre of pictures under a single heading than it is to create what might be yet one more sub-genre requiring definition. Still, accepting that all it takes to literally be considered a Giallo flick is to be (A) stylish, (B) violent, and (C) made in Italy might be too broad a construct for purists to accept; and this has caused few to argue that there should be some critical differences between a ‘Giallo-Horror’ versus the more conventional ‘Giallo-Thriller.’ (i.e. If it has monsters, ghosts, or zombies, let’s call it ‘Giallo-Horror’ versus just the plain Jane heading of ‘Giallo.’) Well, so far as I’m concerned, a Giallo is a Giallo; while I’m perfectly ok with discussing the merits and deficiencies of each production on their own, I understand and accept that this might make my opinion less informed than others. I’m sorry, but I’ve not taken in enough of the genre to see or evaluate it with any greater delineation or specificity. Such – as they say – is life.
Stemming from the mind of writer/director Dario Argento, 1982’s Tenebrae does flirt with a bit more than the standard conventions of the traditional Giallo-Thriller, loosely dabbling in Horror only in so much as any other slasher picture might attempt. By doing so, Argento definitely heightens the tension here, delivering a film many have stated is one of his very best. His camera occasionally bobs, weaves, and caresses what it captures; and – in an almost voyeuristic fashion – he allows a great deal of the action and intrigue to unfold about as organically as possible. As he’s often compared aesthetically to the works of Alfred Hitchcock, Brian De Palma, John Carpenter, and David Cronenberg, one thing is certain: his is a cinematic voice worth discovering and re-discovering, and Tenebrae might look, feel, and sound as close to his Western contemporaries or counterparts than anything else he’s done.
(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:
“An American writer in Rome is stalked and harassed by a serial killer who is murdering everyone associated with his work on his latest book.”
Some of this is owed to … well … let’s call it laziness. It’s easier for some to simply lump an entire sub-genre of pictures under a single heading than it is to create what might be yet one more sub-genre requiring definition. Still, accepting that all it takes to literally be considered a Giallo flick is to be (A) stylish, (B) violent, and (C) made in Italy might be too broad a construct for purists to accept; and this has caused few to argue that there should be some critical differences between a ‘Giallo-Horror’ versus the more conventional ‘Giallo-Thriller.’ (i.e. If it has monsters, ghosts, or zombies, let’s call it ‘Giallo-Horror’ versus just the plain Jane heading of ‘Giallo.’) Well, so far as I’m concerned, a Giallo is a Giallo; while I’m perfectly ok with discussing the merits and deficiencies of each production on their own, I understand and accept that this might make my opinion less informed than others. I’m sorry, but I’ve not taken in enough of the genre to see or evaluate it with any greater delineation or specificity. Such – as they say – is life.
Stemming from the mind of writer/director Dario Argento, 1982’s Tenebrae does flirt with a bit more than the standard conventions of the traditional Giallo-Thriller, loosely dabbling in Horror only in so much as any other slasher picture might attempt. By doing so, Argento definitely heightens the tension here, delivering a film many have stated is one of his very best. His camera occasionally bobs, weaves, and caresses what it captures; and – in an almost voyeuristic fashion – he allows a great deal of the action and intrigue to unfold about as organically as possible. As he’s often compared aesthetically to the works of Alfred Hitchcock, Brian De Palma, John Carpenter, and David Cronenberg, one thing is certain: his is a cinematic voice worth discovering and re-discovering, and Tenebrae might look, feel, and sound as close to his Western contemporaries or counterparts than anything else he’s done.
(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:
“An American writer in Rome is stalked and harassed by a serial killer who is murdering everyone associated with his work on his latest book.”
There are a good number of features that use art – paintings, poetry, plays, pictures, and/or prose – as a central focus of the main story, and you can add Argento’s Tenebrae to that growing list. In the film, Peter Neal (played by Anthony Franciosa) is a successful mystery author whose latest work – “Tenebrae” – has made him a global sensation. While literary critics have confronted the storyteller with a measure of controversy involving the book’s themes of perversion and injustice, a psychopath out there in the shadows has taken the idea of using its various fictional murders as inspiration for committing his own crimes in reality. Not only is he leaving pages torn from the bestseller as evidence of his affection for the work but also he’s begun leaving anonymous letters to Neal himself, an action that draws the attention of the Italian authorities. Deciding that perhaps he’s perhaps better suited to solve the string of bloody crimes than are the detectives, Neal conscripts his closest allies in an attempt to uncover the killer’s identity before he finally strikes too close to home.
Suffice it to say, this is an idea that audiences have seen before … but they haven’t seen it when Argento put his particular spin on the concept (and, rest assured, there is a late-breaking spin, indeed!). This isn’t to suggest that Tenebrae is perfect in any measure, but it might be as near-perfect a Giallo as has ever been attempted. Giallos do use art in its various forms as a backdrop; Neal’s ‘Tenebrae’ never quite gets the exposure I wanted – the novel within the film is never given a fair summation, and the script only uses bits and pieces of its story to loosely parallel the cinematized reality. It’s a shame that we were never afforded more of it, as I would imagine that the linkage may’ve proved genius in this director’s hands. But the world of publishing and those who populate it appears to be made up of its respective eccentrics, thus keeping the plot moving along with a reasonable number of suspects.
Sadly, Neal’s investigative efforts never amount to much of anything in the completed film. In fact, it’s those who join him in this curious quest – Gianni (Christian Borromeo) and Anne (Daria Nicolodi) – that actually get closer to the truth of the whole affair; and it’s only a last-minute contortion of Argento’s script that ultimately gives Anne the opportunity to truly ‘play the sleuth.’ I won’t spoil it, but – suffice it to say – there’s a twist that feels a bit too artificial for my tastes but it still serves to say something about the risks of the world that storytellers inhabit.
What works without measure in Tenebrae is Argento’s use of visuals to tell this story the way he has. Much like De Palma used the camera to almost be human eyes with which an audience gets to experience a film, Argento goes to incredible lengths to pan and zoom and move-in and pull-out in ways that weave a tapestry. Though I could be wrong, it always felt to me as if the camera were somehow in motion; while not every action was swift or grand – many of them are very minor – the end result is that the viewer might feel he or she were there, up close and personal, watching this thing unfold as if next to the players, perhaps even intruding upon these characters’ privacy in a way that might feel a bit ‘naughty.’
There’s also some trickery that the director employs that I thought wasn’t as successful as it could’ve been. In fact, it may have been more distracting than it supported the plot. Argento breaks up the main action by what appears to be either dream sequences or flashbacks to other acts of crime involving an amorous young woman in signature red high heels. Initially, I thought that these might be scenes illustrating Neal’s novel, and they were meant to demonstrate parallels between the pages and the author’s life. Well … my deduction ended up being as right as it was wrong; they’re relevant but only so much as in they kinda/sorta conceal what Argento ultimately divulges about a life lived and the effects past trauma may have on the present. Leaving them a bit too ambiguous saddles the viewers with trying to solve a Rubik’s Cube with the colorful tabs torn off; it only makes sense one way, and they likely had little chance to deduce the guilty party before the final fade to black.
Suffice it to say, this is an idea that audiences have seen before … but they haven’t seen it when Argento put his particular spin on the concept (and, rest assured, there is a late-breaking spin, indeed!). This isn’t to suggest that Tenebrae is perfect in any measure, but it might be as near-perfect a Giallo as has ever been attempted. Giallos do use art in its various forms as a backdrop; Neal’s ‘Tenebrae’ never quite gets the exposure I wanted – the novel within the film is never given a fair summation, and the script only uses bits and pieces of its story to loosely parallel the cinematized reality. It’s a shame that we were never afforded more of it, as I would imagine that the linkage may’ve proved genius in this director’s hands. But the world of publishing and those who populate it appears to be made up of its respective eccentrics, thus keeping the plot moving along with a reasonable number of suspects.
Sadly, Neal’s investigative efforts never amount to much of anything in the completed film. In fact, it’s those who join him in this curious quest – Gianni (Christian Borromeo) and Anne (Daria Nicolodi) – that actually get closer to the truth of the whole affair; and it’s only a last-minute contortion of Argento’s script that ultimately gives Anne the opportunity to truly ‘play the sleuth.’ I won’t spoil it, but – suffice it to say – there’s a twist that feels a bit too artificial for my tastes but it still serves to say something about the risks of the world that storytellers inhabit.
What works without measure in Tenebrae is Argento’s use of visuals to tell this story the way he has. Much like De Palma used the camera to almost be human eyes with which an audience gets to experience a film, Argento goes to incredible lengths to pan and zoom and move-in and pull-out in ways that weave a tapestry. Though I could be wrong, it always felt to me as if the camera were somehow in motion; while not every action was swift or grand – many of them are very minor – the end result is that the viewer might feel he or she were there, up close and personal, watching this thing unfold as if next to the players, perhaps even intruding upon these characters’ privacy in a way that might feel a bit ‘naughty.’
There’s also some trickery that the director employs that I thought wasn’t as successful as it could’ve been. In fact, it may have been more distracting than it supported the plot. Argento breaks up the main action by what appears to be either dream sequences or flashbacks to other acts of crime involving an amorous young woman in signature red high heels. Initially, I thought that these might be scenes illustrating Neal’s novel, and they were meant to demonstrate parallels between the pages and the author’s life. Well … my deduction ended up being as right as it was wrong; they’re relevant but only so much as in they kinda/sorta conceal what Argento ultimately divulges about a life lived and the effects past trauma may have on the present. Leaving them a bit too ambiguous saddles the viewers with trying to solve a Rubik’s Cube with the colorful tabs torn off; it only makes sense one way, and they likely had little chance to deduce the guilty party before the final fade to black.
As for the performers?
Franciosa does a pretty solid job as the author-turned-detective. He certainly looks the part of the leading man, so there’s a degree of comfort any time he’s on the screen that serves the picture well. Genre veteran John Saxon does a nice turn as Neal’s publisher / publicist in Italy; the actor had an effortlessness about stepping into these secondary characters, so much so that it’s a shame we didn’t get to see a bit more of him here. The fetching Mirella D’Angelo steals a few scenes as lesbian journalist who’s willing to set aside her friendship with Neal in order to push her agenda in the press. And Ania Pieroni plays a hotel maid who gets caught up not only in the action but also spends her last evening on the worst but most eventful walk home imaginable.
Tenebrae (1982) was produced by Sigma Cinematografica. DVD distribution (for this particular release) is being coordinated by the fine folks at Synapse Films. As for the technical specifications? Though I’m no trained video expert, I thought that the sights-and-sounds looks nothing short of spectacular from start-to-finish, and it has been billed as an all-new 4K restoration from the original camera negative.
Lastly, if you’re looking for special features? This is an INSANE collection, one that will likely be the standard bearer for this film for quite some time. On top of some ‘limited edition’ artwork and collector’s booklet (I’ve not been provided copies of these so I can’t speak to their efficacy), the disc boasts three audio commentaries; a feature-length documentary; archival interviews; previously produced featurettes; alternate opening and closing sequences; a newly re-edited US version (with multiple audio tracks); the theatrical trailer; image galleries; and more. Clearly, this is an incredible investment for fans of Gaillo, Argento, and anything even remotely related to this production. You couldn’t ask for more.
Highly recommended.
Though I struggle with appreciating the full scope of Giallo thrillers (some feel just right while others are a bit half-cocked), I’d still suggest that Argento’s Tenebrae is probably one of the best I’ve ever seen if not one of the better ones ever made. (Again, keep in mind I’ve likely only seen a fraction of what’s available, but I’m still entitled to evaluate their merits as I go.) In fact, I’ve read that many consider it one of the high points of the director’s library. The plot dips and weaves at times –there’s a rather obvious change of true villainy come the big finish that some might find a bit contrived, along with too much reliance on gore here and there – but the feature oozes a dark, murderous atmosphere all revolving around a nifty whodunnit that never resorts to cheap thrills though could’ve used a bit of restraint in key sequences.
In the interests of fairness, I’m pleased to disclose that the fine folks at Synapse Films provided me with a complimentary 4K Ultra HD Blu-ray of Tenebrae 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
Franciosa does a pretty solid job as the author-turned-detective. He certainly looks the part of the leading man, so there’s a degree of comfort any time he’s on the screen that serves the picture well. Genre veteran John Saxon does a nice turn as Neal’s publisher / publicist in Italy; the actor had an effortlessness about stepping into these secondary characters, so much so that it’s a shame we didn’t get to see a bit more of him here. The fetching Mirella D’Angelo steals a few scenes as lesbian journalist who’s willing to set aside her friendship with Neal in order to push her agenda in the press. And Ania Pieroni plays a hotel maid who gets caught up not only in the action but also spends her last evening on the worst but most eventful walk home imaginable.
Tenebrae (1982) was produced by Sigma Cinematografica. DVD distribution (for this particular release) is being coordinated by the fine folks at Synapse Films. As for the technical specifications? Though I’m no trained video expert, I thought that the sights-and-sounds looks nothing short of spectacular from start-to-finish, and it has been billed as an all-new 4K restoration from the original camera negative.
Lastly, if you’re looking for special features? This is an INSANE collection, one that will likely be the standard bearer for this film for quite some time. On top of some ‘limited edition’ artwork and collector’s booklet (I’ve not been provided copies of these so I can’t speak to their efficacy), the disc boasts three audio commentaries; a feature-length documentary; archival interviews; previously produced featurettes; alternate opening and closing sequences; a newly re-edited US version (with multiple audio tracks); the theatrical trailer; image galleries; and more. Clearly, this is an incredible investment for fans of Gaillo, Argento, and anything even remotely related to this production. You couldn’t ask for more.
Highly recommended.
Though I struggle with appreciating the full scope of Giallo thrillers (some feel just right while others are a bit half-cocked), I’d still suggest that Argento’s Tenebrae is probably one of the best I’ve ever seen if not one of the better ones ever made. (Again, keep in mind I’ve likely only seen a fraction of what’s available, but I’m still entitled to evaluate their merits as I go.) In fact, I’ve read that many consider it one of the high points of the director’s library. The plot dips and weaves at times –there’s a rather obvious change of true villainy come the big finish that some might find a bit contrived, along with too much reliance on gore here and there – but the feature oozes a dark, murderous atmosphere all revolving around a nifty whodunnit that never resorts to cheap thrills though could’ve used a bit of restraint in key sequences.
In the interests of fairness, I’m pleased to disclose that the fine folks at Synapse Films provided me with a complimentary 4K Ultra HD Blu-ray of Tenebrae 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
Well, well, well ... Happy HumpDay, faithful readers! How's the midweek treating you?
Ahhhh ...
Apologies for not getting this post up earlier today. I know, I know, I know ... just what kind of a genre host do I think I am? I hear you. Alas, I had a fellow at the house earlier today regarding a bug inspection, so that kept me distracted for a good part of the morning. You'll be happy to know, however, that the good ol' house got a clean bill of health! That's exactly what we need to make this Wednesday one for the record books, eh?
Still ... yes. I do strive to have each and every Daily Citation Page on SciFiHistory.Net standing tall with one hundred different trivia blurbs, and I'm well short on today's catalog. I do have quite a few in my Tickler Files for the day, and -- as time permits -- I'll definitely get a few more of them up there. But as I've always cautioned, this work takes time, and I'll keep plugging away with hope that I'll be vastly closer to the 100 mark this time next year.
I did get asked if I'd seen Ahsoka's third episode yet. Alas, folks, I haven't. The wife was out last night doing some charitable-style work, so I instead took in a few movies on the DVD player. I put up one review earlier today -- Dario Argento's Tenebrae -- and I have two more that I'm presently puttering away on. So ... no, I haven't had the chance. We'll likely watch it tonight, so I might have something to say about it tomorrow or Friday. But as for now? Nada.
But does August 30th have any significance in the annals of SciFi and Fantasy?
Well, thanks for asking ... because all the way back in 1960 on this day in history a little something something going by the name of Mill Of The Stone Women premiered on the silver screen in Italy. Have you seen it? Yowza. It's a creepy old-style thriller, the kind of thing that was likely always playing late night on television during the distant years of my yesterday. I did get the chance in 2021 to see an all-new release of it -- compliments of the folks at Arrow Films -- and it's quite good. As can happen with older flicks, it's certainly not going to be to everyone's taste; but Mill was type of flick that was very, very, very good at creating atmosphere that supported its scares and not vice versa. If you understand what that statement means, then it might be worth your time to seek it out and explore. Go boldly, my friends ... go boldly.
Anyway ... here's the real reason you're here ...
Ahhhh ...
Apologies for not getting this post up earlier today. I know, I know, I know ... just what kind of a genre host do I think I am? I hear you. Alas, I had a fellow at the house earlier today regarding a bug inspection, so that kept me distracted for a good part of the morning. You'll be happy to know, however, that the good ol' house got a clean bill of health! That's exactly what we need to make this Wednesday one for the record books, eh?
Still ... yes. I do strive to have each and every Daily Citation Page on SciFiHistory.Net standing tall with one hundred different trivia blurbs, and I'm well short on today's catalog. I do have quite a few in my Tickler Files for the day, and -- as time permits -- I'll definitely get a few more of them up there. But as I've always cautioned, this work takes time, and I'll keep plugging away with hope that I'll be vastly closer to the 100 mark this time next year.
I did get asked if I'd seen Ahsoka's third episode yet. Alas, folks, I haven't. The wife was out last night doing some charitable-style work, so I instead took in a few movies on the DVD player. I put up one review earlier today -- Dario Argento's Tenebrae -- and I have two more that I'm presently puttering away on. So ... no, I haven't had the chance. We'll likely watch it tonight, so I might have something to say about it tomorrow or Friday. But as for now? Nada.
But does August 30th have any significance in the annals of SciFi and Fantasy?
Well, thanks for asking ... because all the way back in 1960 on this day in history a little something something going by the name of Mill Of The Stone Women premiered on the silver screen in Italy. Have you seen it? Yowza. It's a creepy old-style thriller, the kind of thing that was likely always playing late night on television during the distant years of my yesterday. I did get the chance in 2021 to see an all-new release of it -- compliments of the folks at Arrow Films -- and it's quite good. As can happen with older flicks, it's certainly not going to be to everyone's taste; but Mill was type of flick that was very, very, very good at creating atmosphere that supported its scares and not vice versa. If you understand what that statement means, then it might be worth your time to seek it out and explore. Go boldly, my friends ... go boldly.
Anyway ... here's the real reason you're here ...
As always, thanks for reading ... thanks even more for sharing ... and live long and prosper!
-- EZ
- Published on
I have always been a fan of High Strangeness.
Have you heard the term?
High Strangeness is a buzzy expression applied to folks in the fields of the paranormal and/or the supernatural and/or cryptid research and/or phantom chasing and/or UFOlogy and/or Bigfoot and/or the Mothman and/or any other weird and/or bizarre phenomena. It’s a phrase that allows a person to suggest that they’re fans of any number of otherworldly experiences without having to nail it down to a single arena or two or three. In fact, there are some who even apply ‘High Strangeness’ to studied but unproven areas of authentic science, and the use of said label is really only to suggest that such fans consider themselves intellectually ‘inclusive’ as opposed to too discriminating. God bless whoever coined the phrase, as I think it’s damn near pitch perfect for those of us who truly believe the truth is out there. I consider myself amongst this storied clan of thinkers.
As a consequence, I’m especially tickled when a good motion picture comes around the bend that I get to talk about, and today’s big ticket item – Black Circle (2018) – is an award-nominated flick springing from the fertile mind of Adrian Garcia Bogliano. The storyteller’s profile on IMDB.com suggests that such territory – fateful that realm bordering Fantasy and Reality, between what is and what could be, where anything is possible – appeals to him, and I have to say that I enjoyed this foray probably more than most. (IMDB.com shows it presently maintains 4.7 out of 10.0 rating, and I think that’s a touch low.) Still, it’s one that’ll be a bit difficult to discuss below without spoiling his chosen framework. Normally, I don’t venture into them, but methinks I have to today as that’s the only way I can demonstrate how his set-up ultimately tarnishes the pay-off, putting the audience smack dab in the middle of not knowing what to make of an otherwise worthwhile effort.
So … consider yourself amply warned.
(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:
“The live of two sisters change dramatically, since they were hypnotized by a mystical vinyl record from the 1970s.”
Last chance, readers: if you don’t wish to be spoiled, then turn away now.
Have you heard the term?
High Strangeness is a buzzy expression applied to folks in the fields of the paranormal and/or the supernatural and/or cryptid research and/or phantom chasing and/or UFOlogy and/or Bigfoot and/or the Mothman and/or any other weird and/or bizarre phenomena. It’s a phrase that allows a person to suggest that they’re fans of any number of otherworldly experiences without having to nail it down to a single arena or two or three. In fact, there are some who even apply ‘High Strangeness’ to studied but unproven areas of authentic science, and the use of said label is really only to suggest that such fans consider themselves intellectually ‘inclusive’ as opposed to too discriminating. God bless whoever coined the phrase, as I think it’s damn near pitch perfect for those of us who truly believe the truth is out there. I consider myself amongst this storied clan of thinkers.
As a consequence, I’m especially tickled when a good motion picture comes around the bend that I get to talk about, and today’s big ticket item – Black Circle (2018) – is an award-nominated flick springing from the fertile mind of Adrian Garcia Bogliano. The storyteller’s profile on IMDB.com suggests that such territory – fateful that realm bordering Fantasy and Reality, between what is and what could be, where anything is possible – appeals to him, and I have to say that I enjoyed this foray probably more than most. (IMDB.com shows it presently maintains 4.7 out of 10.0 rating, and I think that’s a touch low.) Still, it’s one that’ll be a bit difficult to discuss below without spoiling his chosen framework. Normally, I don’t venture into them, but methinks I have to today as that’s the only way I can demonstrate how his set-up ultimately tarnishes the pay-off, putting the audience smack dab in the middle of not knowing what to make of an otherwise worthwhile effort.
So … consider yourself amply warned.
(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:
“The live of two sisters change dramatically, since they were hypnotized by a mystical vinyl record from the 1970s.”
Last chance, readers: if you don’t wish to be spoiled, then turn away now.
In a former professional life, I did a bit of training and/or peer coaching. I never thought I was all that great at it, but I think I had an accomplished ability to speak eloquently and make solid points, so audiences and peers listened. I think each of us has the desire to harness our inner potential, and that’s a good deal not only about what coaching is all about but also it serves the narrative undercurrent to Black Circle. Honestly, the film’s thrills and chills are secondary to the central idea of where our ‘better selves’ (snicker snicker) might come from and evolve, and it’s that construct that makes or breaks this cinematic experience.
Celeste (played by Felice Jankell) visits her sister Isa (Erica Midfjäll) at work only to be surprised by how successful her sibling has suddenly grown to be. Hoping to curb Celeste’s inability to get things done, Isa recommends that she take home an old vinyl album found in their late uncle’s effects, a self-help recording meant to unlock a person’s inner potential. In reality, the record taps into some fringe science by way of subliminal suggestion to create a doppelganger – another living and breathing version of the listener – who might grow powerful enough to subvert Celeste’s existence right out from under her.
While some might find the idea more than a bit wacky, it works well enough for Bogliano’s design here, and – though amply supported by snippets of visual research spooling out in brief vignettes between the main story – it never quite rises to believability. Horror films – by their very nature – do require audiences to suspend a bit of disbelief, and Circle is no different. But as a central idea – meaning that one could somehow transcend consciousness with the creation of a personal double – it’s arguable a good enough foundation to craft this world around. The jumping back-and-forth between his main story and the recovered science films never gets in the way of the story; both might be a bit overlong – the film’s pacing does require a good degree of patience – but the halves complement one another to make for a successful whole.
Where the magic act kinda/sorta fails for me is in Bogliano’s execution. Curiously, the storyteller chose to bookend his film by suggesting that it was, in fact, the audience who was hypnotized in the process. To clarify, he opens the film with footage that clearly implies the viewers are being tasked to mentally ‘go into’ a black circle; and he closes the same by showing an obvious exit from the same. I interpret this to imply that none of what I watched was a real story – that I was placed into a trance wherein all of these events were given to me and then taken from me in the finale – and I think that cheapened the overall experience. If nothing contained within was authentic, then why make the trip? Doesn’t this mean that everything was fake? Why would you pull the rug out from such a clever mind trip?
Granted, maybe I’m overthinking what the director intended here, but even Bogliano – on the commentary track – points out that he deliberately intended to draw watchers in with the circle and release them in the final shot. Without further explanation, I’m left to conclude that the film sandwiched in-between was then little more than a magic trick. Like any magic trick, the Fantasy is lost once you know either how it works or that you were mislead … and I’m feeling mislead entirely by his admission.
Celeste (played by Felice Jankell) visits her sister Isa (Erica Midfjäll) at work only to be surprised by how successful her sibling has suddenly grown to be. Hoping to curb Celeste’s inability to get things done, Isa recommends that she take home an old vinyl album found in their late uncle’s effects, a self-help recording meant to unlock a person’s inner potential. In reality, the record taps into some fringe science by way of subliminal suggestion to create a doppelganger – another living and breathing version of the listener – who might grow powerful enough to subvert Celeste’s existence right out from under her.
While some might find the idea more than a bit wacky, it works well enough for Bogliano’s design here, and – though amply supported by snippets of visual research spooling out in brief vignettes between the main story – it never quite rises to believability. Horror films – by their very nature – do require audiences to suspend a bit of disbelief, and Circle is no different. But as a central idea – meaning that one could somehow transcend consciousness with the creation of a personal double – it’s arguable a good enough foundation to craft this world around. The jumping back-and-forth between his main story and the recovered science films never gets in the way of the story; both might be a bit overlong – the film’s pacing does require a good degree of patience – but the halves complement one another to make for a successful whole.
Where the magic act kinda/sorta fails for me is in Bogliano’s execution. Curiously, the storyteller chose to bookend his film by suggesting that it was, in fact, the audience who was hypnotized in the process. To clarify, he opens the film with footage that clearly implies the viewers are being tasked to mentally ‘go into’ a black circle; and he closes the same by showing an obvious exit from the same. I interpret this to imply that none of what I watched was a real story – that I was placed into a trance wherein all of these events were given to me and then taken from me in the finale – and I think that cheapened the overall experience. If nothing contained within was authentic, then why make the trip? Doesn’t this mean that everything was fake? Why would you pull the rug out from such a clever mind trip?
Granted, maybe I’m overthinking what the director intended here, but even Bogliano – on the commentary track – points out that he deliberately intended to draw watchers in with the circle and release them in the final shot. Without further explanation, I’m left to conclude that the film sandwiched in-between was then little more than a magic trick. Like any magic trick, the Fantasy is lost once you know either how it works or that you were mislead … and I’m feeling mislead entirely by his admission.
Remember: it’s not nice to fool Mother Nature.
Audiences don’t too kindly to it, either.
If I dismiss this whole idea (and that isn’t hard to do), then Circle works very effectively, and it achieves a fabulously spooky dynamic entirely on a budget. (I’ve searched online, but I’m unable to find the cost of its production.) It dabbles with the kind of substance viewers easily embrace – you can’t have light without the dark, you can’t have good without the bad, etc. – and this tale of two sisters might even tug at your heartstrings in small ways. Think of Circle like an overlong episode of The Twilight Zone or The Outer Limits, and you’re not far off the beaten track.
I’d agree with anyone who suggested that it was a bit long – again, on the commentary, Bogliano details how he was pushed and pushed to trim his original run-time from 130-minutes down to this one’s 103 … and that’s still a bit long. Were this thing to clock in around 90-minutes, it might’ve had a greater chance to reach out, find a larger audience, and actually achieve a bit of notoriety. As it is, the pace (and the aforementioned construct) don’t serve the resulting picture as well as they should, and that’s the real shame here.
Black Circle was produced by Evilinski Productions, F, Klubb Super 8, Mondo Macabro, Penny Video, and a few other participants. (A full listing is available on IMDB.com for those who like that sort of minutiae.) DVD distribution (for this particular release) is being coordinated by the fine folks at Synapse Films. As for the technical specifications? While I’m no trained video expert, I thought that the sights-and-sounds of the Blu-ray release were quite good; there’s a bit of visual trickery here and there, and it’s all part-and-parcel of creating an older research and/or promotional film exploring this unique brand of hypnosis, so don’t be put off by that. Lastly, if you’re looking for special features, then the collection boasts a copy of the soundtrack (on compact disc), the director’s commentary, an interview with Bogliano and star Lindberg, a behind-the-scenes featurette, stills gallery, and the teaser trailer. It’s solid collection, so buckle up. (I have listened to the commentary, and it’s quite good. A bit dry here and there but still good.)
Recommended but …
It’s rare that I’m at a loss to have a good deal to say about a picture, but that’s the case with 2018’s Black Circle. Now … don’t get me wrong: I liked this one – honestly, I liked it a good deal – despite the fact that it’s a bit long, a bit confusing unnecessarily in a few spots, and a bit misdirected in the final estimation. It’s bookended with a visual technique that suggests what we just devoured may or may not have been legitimate – you’ll understand if you’re watching closely (or if you’ve read the spoilery details above) – and, if that’s the case, then I’m not fond of such trickery. But if I can take at face value what the film otherwise had to suggest about a possible avenue for fringe chicanery opening a portal into High Strangess? Oh, yes … I liked that delicious idea so very much …
In the interests of fairness, I’m pleased to disclose that the fine folks at Synapse Films provided me with a complimentary Blu-ray of Black Circle (2018) 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
Audiences don’t too kindly to it, either.
If I dismiss this whole idea (and that isn’t hard to do), then Circle works very effectively, and it achieves a fabulously spooky dynamic entirely on a budget. (I’ve searched online, but I’m unable to find the cost of its production.) It dabbles with the kind of substance viewers easily embrace – you can’t have light without the dark, you can’t have good without the bad, etc. – and this tale of two sisters might even tug at your heartstrings in small ways. Think of Circle like an overlong episode of The Twilight Zone or The Outer Limits, and you’re not far off the beaten track.
I’d agree with anyone who suggested that it was a bit long – again, on the commentary, Bogliano details how he was pushed and pushed to trim his original run-time from 130-minutes down to this one’s 103 … and that’s still a bit long. Were this thing to clock in around 90-minutes, it might’ve had a greater chance to reach out, find a larger audience, and actually achieve a bit of notoriety. As it is, the pace (and the aforementioned construct) don’t serve the resulting picture as well as they should, and that’s the real shame here.
Black Circle was produced by Evilinski Productions, F, Klubb Super 8, Mondo Macabro, Penny Video, and a few other participants. (A full listing is available on IMDB.com for those who like that sort of minutiae.) DVD distribution (for this particular release) is being coordinated by the fine folks at Synapse Films. As for the technical specifications? While I’m no trained video expert, I thought that the sights-and-sounds of the Blu-ray release were quite good; there’s a bit of visual trickery here and there, and it’s all part-and-parcel of creating an older research and/or promotional film exploring this unique brand of hypnosis, so don’t be put off by that. Lastly, if you’re looking for special features, then the collection boasts a copy of the soundtrack (on compact disc), the director’s commentary, an interview with Bogliano and star Lindberg, a behind-the-scenes featurette, stills gallery, and the teaser trailer. It’s solid collection, so buckle up. (I have listened to the commentary, and it’s quite good. A bit dry here and there but still good.)
Recommended but …
It’s rare that I’m at a loss to have a good deal to say about a picture, but that’s the case with 2018’s Black Circle. Now … don’t get me wrong: I liked this one – honestly, I liked it a good deal – despite the fact that it’s a bit long, a bit confusing unnecessarily in a few spots, and a bit misdirected in the final estimation. It’s bookended with a visual technique that suggests what we just devoured may or may not have been legitimate – you’ll understand if you’re watching closely (or if you’ve read the spoilery details above) – and, if that’s the case, then I’m not fond of such trickery. But if I can take at face value what the film otherwise had to suggest about a possible avenue for fringe chicanery opening a portal into High Strangess? Oh, yes … I liked that delicious idea so very much …
In the interests of fairness, I’m pleased to disclose that the fine folks at Synapse Films provided me with a complimentary Blu-ray of Black Circle (2018) 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
Jeepers crow, people ... jeepers crow ... jeepers crow ...
Believe it or not, I was halfway through writing the prose for today's date when -- after saving it NOT ONCE BUT TWICE then the old Weebly.com decided to flutz up and ... voila! It's all gone. Again. Effing website. Some days it just doesn't pay to get out of bed. Thankfully, it wasn't all that much stuff, but it's still incredibly frustrating when that happens.
So let's try this again ...
Good morning and Happy Tuesday, gentle readers!
Welcome to the near-middle / second-day to an all-new week of fun and frivolity. Here's hoping that you got this one off to a good start. No matter how bad things get always keep in mind that even the worst day might be a heckuva lot better than the alternative ... am I right?
Well now ... if you head on over to today's page and take a gander at things, you'll see an incredible mix of peoples, places, and things, all revolving around this date in history. With the people highlighted, I've even tacked on a few borderline citations -- maybe they're not perfect match-ups, but they definitely give die-hard enthusiasts of Science Fiction, Fantasy, Horror, and more -- a little something to think about what could've been. As for the movies? Well, there are some good ones in there as well -- some big, some small, some artsy ones, and maybe even a vanity project or two -- so I think the diversity is respectable.
Otherwise, I'm going to get out of your way and let you get to the nitty gritty. Here's what you're looking for ...
Believe it or not, I was halfway through writing the prose for today's date when -- after saving it NOT ONCE BUT TWICE then the old Weebly.com decided to flutz up and ... voila! It's all gone. Again. Effing website. Some days it just doesn't pay to get out of bed. Thankfully, it wasn't all that much stuff, but it's still incredibly frustrating when that happens.
So let's try this again ...
Good morning and Happy Tuesday, gentle readers!
Welcome to the near-middle / second-day to an all-new week of fun and frivolity. Here's hoping that you got this one off to a good start. No matter how bad things get always keep in mind that even the worst day might be a heckuva lot better than the alternative ... am I right?
Well now ... if you head on over to today's page and take a gander at things, you'll see an incredible mix of peoples, places, and things, all revolving around this date in history. With the people highlighted, I've even tacked on a few borderline citations -- maybe they're not perfect match-ups, but they definitely give die-hard enthusiasts of Science Fiction, Fantasy, Horror, and more -- a little something to think about what could've been. As for the movies? Well, there are some good ones in there as well -- some big, some small, some artsy ones, and maybe even a vanity project or two -- so I think the diversity is respectable.
Otherwise, I'm going to get out of your way and let you get to the nitty gritty. Here's what you're looking for ...
As always, thank you for reading -- you're a true friend, indeed -- and THANK YOU even more if you're sharing this stuff out on the social media so that I can grow the readership. And live long and prosper!
-- EZ
- Published on
The James Bond Cinematic Universe is so broad that -- every now and then -- it's nice to shine a bit of extra light on the people, places, and events that make up one of cinema's oldest and most successful franchises. I'll christen these smaller featurettes under the heading of BOND(age) for those paying attention.
Today's highlight: the late actor Charles Gray.
For those unaware, Gray's big time in the Bond spotlight was, arguably, his turn as the villainous 'Ernst Starvo Blofeld' in 1971's Diamonds Are Forever. (FYI: I'm not a huge fan of the film as I think this was one flick wherein it was clear that the wheels were starting to come off the franchise so far as the Connery Era was concerned.) While his screen time as one of Agent 007's biggest antagonists was grand, this was most certainly not Gray's only foray in this universe.
In fact, this wasn't even his first appearance.
Flash back to 1967: aboard You Only Live Twice, the actor appeared in the guise of Henderson in that Lewis Gilbert-directed spy thriller. While not a big role, it likely introduced the talented man to producers and perhaps secured his opportunity to return in a decidedly grander capacity.
But ... the two visits aside ... Gray wasn't quite done.
1977 would see the man return to the universe, albeit fans may not have recognized him. This is because he only returned in voice only: IMDB.com denotes that Gray provided the voiceover work for the guide to the pyramid that appears early in the flick.
Lastly, it's also interesting to note that -- per the Bond Wiki online -- Gray was one of the very few actors to play in this franchise with multiple appearances in entirely different roles.
How's that for her Majesty's secret service?
As always, thanks for reading ... and live long and prosper!
-- EZ
Today's highlight: the late actor Charles Gray.
For those unaware, Gray's big time in the Bond spotlight was, arguably, his turn as the villainous 'Ernst Starvo Blofeld' in 1971's Diamonds Are Forever. (FYI: I'm not a huge fan of the film as I think this was one flick wherein it was clear that the wheels were starting to come off the franchise so far as the Connery Era was concerned.) While his screen time as one of Agent 007's biggest antagonists was grand, this was most certainly not Gray's only foray in this universe.
In fact, this wasn't even his first appearance.
Flash back to 1967: aboard You Only Live Twice, the actor appeared in the guise of Henderson in that Lewis Gilbert-directed spy thriller. While not a big role, it likely introduced the talented man to producers and perhaps secured his opportunity to return in a decidedly grander capacity.
But ... the two visits aside ... Gray wasn't quite done.
1977 would see the man return to the universe, albeit fans may not have recognized him. This is because he only returned in voice only: IMDB.com denotes that Gray provided the voiceover work for the guide to the pyramid that appears early in the flick.
Lastly, it's also interesting to note that -- per the Bond Wiki online -- Gray was one of the very few actors to play in this franchise with multiple appearances in entirely different roles.
How's that for her Majesty's secret service?
As always, thanks for reading ... and live long and prosper!
-- EZ
Addendum
- On this day in 1942 (in Germany), actor John Gottfried was born. Bond fans might know him best as 'Colonel Ourumov,' one of the several adversaries Agent 007 faced in the Pierce Brosnan-headlined GoldenEye (1995). According to IMDB.com, Gottfried passed away in 2014.
- On this day in 1979, the good people of Kenya were treated to the theatrical debut of Moonraker. Directed by Lewis Gilbert, the script shows credited to the original Ian Fleming novel with contributions coming from Christopher Wood, Gerry Anderson, and Tony Barwick. The film starred Roger Moore as Agent 007 along with Lois Chiles, Michael Lonsdale, Richard Kiel, and Corrine Clery.
-- EZ
- Published on
Ouch. This hurts.
Readers, as I do try to caution each of you from this space when the time is appropriate, cherish the time you have with our onscreen talent. None of them lasts forever, and you never known when you're going to wake up one day only to find that we've lost another one.
Arleen Sorkin was born in 1955. A quick look at her IMDB.com resume might suggest that -- curious -- she didn't have all that many screen credits. In fact, one might conclude that a scant thirty-two different citations wasn't all that much ... but oh how wrong that would be for those of us who loved one of the greatest creations of Batman villainy to come down the pike in the last few decades? Sorkin voiced the cheesily nefarious Harley Quinn for the better part of the lady's animated life, and nothing in live action -- including the very good turn by Barbie superstar Margot Robbie -- really touches the same level of greatness. Sorkin was there in those early days, and with her sharp characterization definitely helped lift what could've been a maudlin sidekick to the Joker to the level of respect and admiration it deserved.
Our very warmest thoughts and prayers are extended today to the family, friends, and fans of Ms. Sorkin. May she forever rest in peace.
-- EZ
Readers, as I do try to caution each of you from this space when the time is appropriate, cherish the time you have with our onscreen talent. None of them lasts forever, and you never known when you're going to wake up one day only to find that we've lost another one.
Arleen Sorkin was born in 1955. A quick look at her IMDB.com resume might suggest that -- curious -- she didn't have all that many screen credits. In fact, one might conclude that a scant thirty-two different citations wasn't all that much ... but oh how wrong that would be for those of us who loved one of the greatest creations of Batman villainy to come down the pike in the last few decades? Sorkin voiced the cheesily nefarious Harley Quinn for the better part of the lady's animated life, and nothing in live action -- including the very good turn by Barbie superstar Margot Robbie -- really touches the same level of greatness. Sorkin was there in those early days, and with her sharp characterization definitely helped lift what could've been a maudlin sidekick to the Joker to the level of respect and admiration it deserved.
Our very warmest thoughts and prayers are extended today to the family, friends, and fans of Ms. Sorkin. May she forever rest in peace.
-- EZ