- Published on
Good morning and Happy Monday, gentle readers!
How was your weekend? I hope all went well and was to your liking. I realize that many of you out there on the Information Superhighway do live for the weekend, so I can only share in the desire that you were amply entertained during the downtime, leaving you refreshed for a new week of ... work. (Sorry, I had to mention it.) Me? Oh, the wifey treated me to a screening of Oppenheimer (2023), and -- yeah -- it's pretty much the standard biopic that old and new Hollywood tends to worship. My two cents was that the first 30-minutes or so were so clunky I think that there's probably a better edit out there somewhere; and -- as you've probably heard -- it's quite long. Also, it felt like it was two distinct films not so seamlessly blended into one, but who am I to nitpick? Good performances, but I didn't quite understand the motivations of some of the supporting characters. To each his own. Also -- on Sunday night -- she treated me to a live theatre performance of Rain: The Beatles Tribute Show. That was quite fun. I was never a Beatles fan -- didn't hate them, just wasn't all that drawn to them -- but that group certainly produced an incredible library of classics.
And now you're pretty much up to date!
Nothing much else to report as of today. I'm swamped under a few projects from around the house as well as some items forwarded to me from distributors. I'll work diligently to get things caught up -- spent the better part of Sunday afternoon fixing the layout and adding to August 7th -- so you might see some new content later this afternoon. It just depends on how much I can get to.
But ... without further delay ... feast your eyes on this ...
How was your weekend? I hope all went well and was to your liking. I realize that many of you out there on the Information Superhighway do live for the weekend, so I can only share in the desire that you were amply entertained during the downtime, leaving you refreshed for a new week of ... work. (Sorry, I had to mention it.) Me? Oh, the wifey treated me to a screening of Oppenheimer (2023), and -- yeah -- it's pretty much the standard biopic that old and new Hollywood tends to worship. My two cents was that the first 30-minutes or so were so clunky I think that there's probably a better edit out there somewhere; and -- as you've probably heard -- it's quite long. Also, it felt like it was two distinct films not so seamlessly blended into one, but who am I to nitpick? Good performances, but I didn't quite understand the motivations of some of the supporting characters. To each his own. Also -- on Sunday night -- she treated me to a live theatre performance of Rain: The Beatles Tribute Show. That was quite fun. I was never a Beatles fan -- didn't hate them, just wasn't all that drawn to them -- but that group certainly produced an incredible library of classics.
And now you're pretty much up to date!
Nothing much else to report as of today. I'm swamped under a few projects from around the house as well as some items forwarded to me from distributors. I'll work diligently to get things caught up -- spent the better part of Sunday afternoon fixing the layout and adding to August 7th -- so you might see some new content later this afternoon. It just depends on how much I can get to.
But ... without further delay ... feast your eyes on this ...
It's still blazing hot out here in Arizona (in case you folks haven't seen it on the news), so wish me well if I'm out and about today.
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
It's funny the association some of us have with classic films.
For example, William Friedkin's The Exorcist was a flick that played theatrically at a time wherein I wouldn't have made the age limit to see it on the silver screen; so it wasn't until the advent of a home video release that I and my teenage buddies could watch it. Naturally, it was a bit taboo still for the era -- we were old enough to 'know better' but it was a feature parents still encouraged us to avoid -- so we couldn't help ourselves. We picked it up at the corner video mart, took it home, and watched it on a Saturday afternoon, I believe it was.
I say this a lot -- which is one reason so many fans of Horror struggle with my reviews and such -- but it just didn't scare me. Oh, it was viscerally interesting here and there, but I don't think the teenage youth in me at the time saw it as all that possible, and that's why I was probably as unmoved as I was.
Anyway, I recently had the opportunity to rewatch it, and -- as a (cough cough) somewhat mature adult -- I enjoyed it far more than I did back in the day. Friedkin's pacing was quite good, and he definitely got some good performances out of the screen talent. It's easy to understand why the film has endured across the decades ... but, no, it still just didn't scare me. Impressed me? Oh, sure. Scared me? Nah. Still a bit too tame.
There's no denying the director's artistic clout. He brought a very stylized approach to things he captured in front of the camera, and I'd argue that his "Nightcrawlers" episode of the mid-1980's incarnation of The Twilight Zone is still one of the finer frights ever captured for the small screen. (It's available on video, that I know if, and I give it a thumbs up.) Essentially, it takes the basic narrative structure of First Blood (1982) and gives it a decidedly Rod Serling twist; suffice it to say, I'm surprised this one actually got to air on broadcast television without there being a ruckus. Who knows? Maybe there was, and I was still too young and uninvolved to notice.
Alas, none of us lasts forever, and word reached the SciFiHistory.Net news desk just this morning of the director's passing. Without a doubt, his record is astonishing -- clearly, he was one of the more decorated storytellers of his era -- and I encourage folks to check it out over on IMDB.com. You'll no doubt be impressed by his pedigree.
Thoughts, prayers, and well wishes are extended to the family, friends, and fans of William Friedkin. May he forever rest in peace.
-- EZ
For example, William Friedkin's The Exorcist was a flick that played theatrically at a time wherein I wouldn't have made the age limit to see it on the silver screen; so it wasn't until the advent of a home video release that I and my teenage buddies could watch it. Naturally, it was a bit taboo still for the era -- we were old enough to 'know better' but it was a feature parents still encouraged us to avoid -- so we couldn't help ourselves. We picked it up at the corner video mart, took it home, and watched it on a Saturday afternoon, I believe it was.
I say this a lot -- which is one reason so many fans of Horror struggle with my reviews and such -- but it just didn't scare me. Oh, it was viscerally interesting here and there, but I don't think the teenage youth in me at the time saw it as all that possible, and that's why I was probably as unmoved as I was.
Anyway, I recently had the opportunity to rewatch it, and -- as a (cough cough) somewhat mature adult -- I enjoyed it far more than I did back in the day. Friedkin's pacing was quite good, and he definitely got some good performances out of the screen talent. It's easy to understand why the film has endured across the decades ... but, no, it still just didn't scare me. Impressed me? Oh, sure. Scared me? Nah. Still a bit too tame.
There's no denying the director's artistic clout. He brought a very stylized approach to things he captured in front of the camera, and I'd argue that his "Nightcrawlers" episode of the mid-1980's incarnation of The Twilight Zone is still one of the finer frights ever captured for the small screen. (It's available on video, that I know if, and I give it a thumbs up.) Essentially, it takes the basic narrative structure of First Blood (1982) and gives it a decidedly Rod Serling twist; suffice it to say, I'm surprised this one actually got to air on broadcast television without there being a ruckus. Who knows? Maybe there was, and I was still too young and uninvolved to notice.
Alas, none of us lasts forever, and word reached the SciFiHistory.Net news desk just this morning of the director's passing. Without a doubt, his record is astonishing -- clearly, he was one of the more decorated storytellers of his era -- and I encourage folks to check it out over on IMDB.com. You'll no doubt be impressed by his pedigree.
Thoughts, prayers, and well wishes are extended to the family, friends, and fans of William Friedkin. May he forever rest in peace.
-- EZ
- Published on
As I've often observed, a good deal of the actors and actresses who get a bit of extra attention in this space of SciFiHistory.Net aren't exactly SciFi and Fantasy icons.
What happens more often than not is that we get to know them in small roles, the kind of background and/or supporting appearances that add just a bit of flavor and/or nuance to an episode of a favorite show or a big-tent franchise. I realize that -- on occasion -- some readers of the site kinda/sorta take issue with that, but because I've made it my responsibility to highlight the big and the small who traffic in these realms along the way I do feel it fitting to give even the most fleeting experiences the proper recognition its owed. After all: for all intents and purposes, we only get one ride through this life, so if they touched us in some fashion along the way, then they deserve an affectionate nod.
Certainly, Mark Margolis was no genre regular.
But -- for those of you who followed both AMC's Breaking Bad and Better Call Saul -- this guy knew a good deal about portraying a sinister menace at the heart of a criminal overlord. His work as 'Hector Salamanca' was great and grand enough to five different nominations (from various organizations), and -- if such programming is welcome in your little corner of the universe -- I'd encourage you to check out both shows. They're masterfully written and performed, and they're incredibly entertaining to top that off.
But -- for the record -- he did make a few other stops in Science Fiction, Fantasy, and Horror that are deserving on mention.
Alas, none of us get out alive (as they say), and word reached SciFiHistory.Net's news desk just this morning that the prolific talent has finally left us after a short illness. Thankfully, there's a solid library of work out there for us to relive some of these moments -- big and small -- and, once more, I can't give the man enough props for his gifts on full display in the Breaking Bad universe. It's truly, truly inspired.
Thoughts, prayers, and wishes are extended to the family, friends, and fans of Mr. Margolis. May he forever rest in peace.
-- EZ
What happens more often than not is that we get to know them in small roles, the kind of background and/or supporting appearances that add just a bit of flavor and/or nuance to an episode of a favorite show or a big-tent franchise. I realize that -- on occasion -- some readers of the site kinda/sorta take issue with that, but because I've made it my responsibility to highlight the big and the small who traffic in these realms along the way I do feel it fitting to give even the most fleeting experiences the proper recognition its owed. After all: for all intents and purposes, we only get one ride through this life, so if they touched us in some fashion along the way, then they deserve an affectionate nod.
Certainly, Mark Margolis was no genre regular.
But -- for those of you who followed both AMC's Breaking Bad and Better Call Saul -- this guy knew a good deal about portraying a sinister menace at the heart of a criminal overlord. His work as 'Hector Salamanca' was great and grand enough to five different nominations (from various organizations), and -- if such programming is welcome in your little corner of the universe -- I'd encourage you to check out both shows. They're masterfully written and performed, and they're incredibly entertaining to top that off.
But -- for the record -- he did make a few other stops in Science Fiction, Fantasy, and Horror that are deserving on mention.
- In 1980's Dressed To Kill -- one of director Brian De Palma's most highly regarded Horror/Thriller -- the actor enjoyed a small role. That same year, he also did some background work in a little feature called Christmas Evil.
- In 1989, he paid a visit to the popular world of NBC's Quantum Leap.
- In 1990, Margolis found himself in the Final Frontier with a guest spot within an episode of Star Trek: The Next Generation (pictured above). That same year, he appeared in one of the vignettes that made up the Tales From The Darkside movie.
- In 1991, he enjoyed work of some note aboard director Stuart Gordon's adaptation of Edgar Allan Poe's The Pit And The Pendulum for Empire Pictures.
- In 1999, the actor stepped onto the silver screen with a role in End Of Days, a Horror feature of somewhat Biblical proportions headlined by Arnold 'Screw Your Freedom' Schwarzenegger. That same year, he enjoyed a guest spot to the TV world of Now And Again.
- Bugs! What did it have to be bugs? In 2002, Margolis found himself being chased by some nasty little critters with his work aboard Infested for City Block Productions.
- 2003 saw the man entering the Marvel Movie Universe -- well, before it truly was the Marvel Movie Universe -- with a small part in Daredevil.
- In 2006, he brought to life the character of 'Father Avila' for Darren Aronofsky's The Fountain.
- In 2011, the actor enjoyed another small role of screen flavoring aboard Immortals.
- Between the years of 2011 and 2012, Margolis earned a three-episode run aboard the SciFi-lite TV procedural Person Of Interest. At the same time, he was also scaring homegrown audiences silly with a three-episode run as part of American Horror Story.
- In 2015, the DC TV Universe cast the actor with a guest spot aboard the short-lived but popular Constantine serial. That same year, he also paid a visit to Syfy's adaptation of 12 Monkeys. And proving he was a glutton for punishment -- meaning he was an impressive workaholic -- he went even further into the DC TV Universe by appearing in a pair of episodes of Gotham.
- And one of his last small screen outings? Margolis enjoyed a one-time guest spot to TNT's Snowpiercer adaptation.
Alas, none of us get out alive (as they say), and word reached SciFiHistory.Net's news desk just this morning that the prolific talent has finally left us after a short illness. Thankfully, there's a solid library of work out there for us to relive some of these moments -- big and small -- and, once more, I can't give the man enough props for his gifts on full display in the Breaking Bad universe. It's truly, truly inspired.
Thoughts, prayers, and wishes are extended to the family, friends, and fans of Mr. Margolis. May he forever rest in peace.
-- EZ
- Published on
While I've mentioned many, many, many times in this space that I grew up largely being a DC Comics guy (almost exclusively), I did venture to read a few titles that came out every now and then from the Marvel line-up ... and one of those books was the occasional Fantastic Four.
Like so many who grew up in the 1970's, I was drawn to a fair amount of comicdom's weirdness. There was practically room for any superhero with any line-up of powers, and what I saw as some downright looney sensibilities within FF did strike a positive chord in that little guy I was. Who wouldn't want a friend like The Thing to come clobberin' in at each and every opportunity to save the day? And Johnny Storm? Flame-on! Am I right?
Alas, I think that were you to ask me even back then if I ever thought a little 'something something' like FF would work on the big screen without it being damn near full animation? I would've told you -- rather proudly and defiantly -- "no stinking way." Its panels were loaded with just too much going on, so much so that I would've guessed viewers could suffer a sensory overload in the midst of the frenetic chaos. In fact, I've often said the same for DC Comics' Green Lantern books -- that it's just too goofy a central concept to work efficiently in any other format beyond animation -- and, to date, I've pretty much been proven correct. (FYI: if you can get your hands on a copy of the Green Lantern Animated series that can out not all that long back, you'll do well. It's a fabulous incarnation that deserves to be both discovered and praised.)
But Hollywood? Well, they don't listen to folks like me, and -- to my knowledge -- there have been three attempts to cinematize the intellectual property. (I know, I know, I know: most folks don't see the 1990's version as an even honest attempt, but it is what it is.)
I did, however, have high hopes for the 2015 version (only to have them dashed pretty quickly), mostly because the 20th Century Fox flick had such a winning cast. Though I'm no fan of Miles Teller and I think he was far too young to even convincingly approach the character of Reed Richards, I still thought his casting was interesting because he was a reasonably hot property at that time. Michael B. Jordan has the obvious physique to fill out the spandex of just about any Superhero that requires a bit of brawn with the brains. And ... Kate Mara? Good Lord, I've been smitten with the lady as long as she's been in the business, and I hoped that the attempt would give her a good reason to suit up alongside her peers.
How did it do?
Like so many who grew up in the 1970's, I was drawn to a fair amount of comicdom's weirdness. There was practically room for any superhero with any line-up of powers, and what I saw as some downright looney sensibilities within FF did strike a positive chord in that little guy I was. Who wouldn't want a friend like The Thing to come clobberin' in at each and every opportunity to save the day? And Johnny Storm? Flame-on! Am I right?
Alas, I think that were you to ask me even back then if I ever thought a little 'something something' like FF would work on the big screen without it being damn near full animation? I would've told you -- rather proudly and defiantly -- "no stinking way." Its panels were loaded with just too much going on, so much so that I would've guessed viewers could suffer a sensory overload in the midst of the frenetic chaos. In fact, I've often said the same for DC Comics' Green Lantern books -- that it's just too goofy a central concept to work efficiently in any other format beyond animation -- and, to date, I've pretty much been proven correct. (FYI: if you can get your hands on a copy of the Green Lantern Animated series that can out not all that long back, you'll do well. It's a fabulous incarnation that deserves to be both discovered and praised.)
But Hollywood? Well, they don't listen to folks like me, and -- to my knowledge -- there have been three attempts to cinematize the intellectual property. (I know, I know, I know: most folks don't see the 1990's version as an even honest attempt, but it is what it is.)
I did, however, have high hopes for the 2015 version (only to have them dashed pretty quickly), mostly because the 20th Century Fox flick had such a winning cast. Though I'm no fan of Miles Teller and I think he was far too young to even convincingly approach the character of Reed Richards, I still thought his casting was interesting because he was a reasonably hot property at that time. Michael B. Jordan has the obvious physique to fill out the spandex of just about any Superhero that requires a bit of brawn with the brains. And ... Kate Mara? Good Lord, I've been smitten with the lady as long as she's been in the business, and I hoped that the attempt would give her a good reason to suit up alongside her peers.
How did it do?
Oh, good grief ... it was awful ... and that's saying something because it was awful on many levels.
Centrally, it never quite mastered the tone of the book. There was no sense of family and/or camaraderie (at least, none that I saw); and the actors appeared almost painfully walking through scene after scene that lacked the cohesiveness one monumental origin truly needed. I followed a bit of the controversies that took place behind-the-scenes (director Josh Trank allegedly rather famously feuded with damn near everyone involved, in some cases reportedly coming to blows), and the troubled production pretty much crashed and burned (flame on!) at the box office. In fact -- if I remember correctly -- I think Josh Trank even lost his Star Wars contract when the shenanigans he put everyone through came out. Given the state of Star Wars at present, that result could be good or bad; but civilization didn't quite dodge the bullet that was 2015's Fantastic Four, and cinema suffered as a consequence.
In fact, the 2016 Razzies sent the flick home with its coveted 'Worst Picture' trophy along with two other big wins.
Ouch.
That's gonna leave a mark.
As always, thanks for reading ... and live long and prosper!
-- EZ
Centrally, it never quite mastered the tone of the book. There was no sense of family and/or camaraderie (at least, none that I saw); and the actors appeared almost painfully walking through scene after scene that lacked the cohesiveness one monumental origin truly needed. I followed a bit of the controversies that took place behind-the-scenes (director Josh Trank allegedly rather famously feuded with damn near everyone involved, in some cases reportedly coming to blows), and the troubled production pretty much crashed and burned (flame on!) at the box office. In fact -- if I remember correctly -- I think Josh Trank even lost his Star Wars contract when the shenanigans he put everyone through came out. Given the state of Star Wars at present, that result could be good or bad; but civilization didn't quite dodge the bullet that was 2015's Fantastic Four, and cinema suffered as a consequence.
In fact, the 2016 Razzies sent the flick home with its coveted 'Worst Picture' trophy along with two other big wins.
Ouch.
That's gonna leave a mark.
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
Good afternoon, gentle readers!
And may I be one of the first to say "Happy Weekend!"
Yeah, yeah, and yeah. I know that, technically, the weekend doesn't start until midnight tonight, but you catch my drift.
Believe it or not, when I started out yesterday tinkering on today's page of fantastic Science Fiction, Fantasy, and Horror trivia, I only had a scant 51 different tidbits up there. But I dug into my tickler files, and I found that I had actually prepared a few dozens inserts for last year that I just never got to. (Sigh. It's a jungle in here, too.) So I spent the better part of yesterday evening and this morning puttering away, so much so that I completely forgot to put out the Daily Grindhouse announcement via Twitter. I hope that didn't force some of you to keep from reading -- this stuff is always up and running whenever you want to take a gander, you know -- but I'm sending this release out now to catch any of the stragglers who might yet have made it over here. If you're reading this now? Well, then you made it! Nice work!
Not a lot of truly fascinating information up today, if I'm being as frank as I can be. There's still some good stuff in there, but you know me: I'm always looking for some really big and juicy nugget with which to kinda/sorta showcase each individual date. August 4th is a fairly traditional one, so I guess I'll have to keep digging for something special next year. God knows -- if I have time -- then I'll find something.
As for what's on tap in the Z-House this weekend?
Well, the local cheapie theater has been exploring its 'Summer Of Star Wars' line-up, and 2018's Solo: A Star Wars Story is still playing. That's first and foremost in my mind as of right now ... but they also just added Star Wars: The Phantom Menace - Episode I. Even though neither of these are what most would say is a 'big ticket event,' I'm still inclined to catch these on the silver screen at damn near each and every opportunity. If I can squeeze in Solo this week, then I think I can hold off on Menace until next weekend, when the wifey has some personal business to attend to and I can just gel in the theater. We'll see.
In any event, here's what you really came here for ...
And may I be one of the first to say "Happy Weekend!"
Yeah, yeah, and yeah. I know that, technically, the weekend doesn't start until midnight tonight, but you catch my drift.
Believe it or not, when I started out yesterday tinkering on today's page of fantastic Science Fiction, Fantasy, and Horror trivia, I only had a scant 51 different tidbits up there. But I dug into my tickler files, and I found that I had actually prepared a few dozens inserts for last year that I just never got to. (Sigh. It's a jungle in here, too.) So I spent the better part of yesterday evening and this morning puttering away, so much so that I completely forgot to put out the Daily Grindhouse announcement via Twitter. I hope that didn't force some of you to keep from reading -- this stuff is always up and running whenever you want to take a gander, you know -- but I'm sending this release out now to catch any of the stragglers who might yet have made it over here. If you're reading this now? Well, then you made it! Nice work!
Not a lot of truly fascinating information up today, if I'm being as frank as I can be. There's still some good stuff in there, but you know me: I'm always looking for some really big and juicy nugget with which to kinda/sorta showcase each individual date. August 4th is a fairly traditional one, so I guess I'll have to keep digging for something special next year. God knows -- if I have time -- then I'll find something.
As for what's on tap in the Z-House this weekend?
Well, the local cheapie theater has been exploring its 'Summer Of Star Wars' line-up, and 2018's Solo: A Star Wars Story is still playing. That's first and foremost in my mind as of right now ... but they also just added Star Wars: The Phantom Menace - Episode I. Even though neither of these are what most would say is a 'big ticket event,' I'm still inclined to catch these on the silver screen at damn near each and every opportunity. If I can squeeze in Solo this week, then I think I can hold off on Menace until next weekend, when the wifey has some personal business to attend to and I can just gel in the theater. We'll see.
In any event, here's what you really came here for ...
I will try to get up a post or two on the Main Page over the weekend -- it's my personal goal to get up a minimum of one post a day, you know, even if it's just trivial stuff -- but no guarantees. Weekends are obviously the hardest times to do blogging because I have so much around the house that needs catching up on otherwise. Still, I love sharing the good, the bad, and the ugly ... so I'll make the attempt.
As always, THANK YOU for reading ... and live long and prosper!
-- EZ
- Published on
I know, I know, I know ...
I know what you're thinking: "Why, oh why, has it been so long that you've done no SciFi ShoutOuts?!"
Yes, folks, I'll admit that I've allowed this nifty little side feature to take a bit of a hiatus. And your thoughts as to whether or not I've stopped trying to help each and every one of you stay on the cutting edge of sources for fandom available out there on the Information Superhighway couldn't be more misplaced. Actually -- as I've mentioned many, many, many times in posts on the MainPage -- I've been very busy with both creating new content each day as well as strengtening and updating my interior pages -- the daily citations -- so some of the fun little extras have fallen by the wayside just a bit. When time permits, then I'll naturally pick up those duties as well; I just have to squeeze some time in the day to attend to personal matters like my own health, that of the wifey, and our extended cat family. I have mentioned one of the kitties ain't in the best of shape these days; and her condition does require a bit of extra time to attend each day. I wouldn't wish this on anyone.
In any event ...
I did want to give the proper SciFi ShoutOut to the kind folks over at Hyperspace Heroes Podcast this morning. I've listened to a few of their casts this week, and they do a very admirable job of commenting on the state of affairs across fandom. While the bulk of their narrative focus remains firmly ensconsed in covering topics big and small within that fated galaxy far, far away (i.e. Star Wars), the dialogue does make its way through a good deal of ancillary and auxilliary franchises, many of which are near and dear to each of us.
And -- believe it or not -- I'm set to appear as a guest on one of their shows just this week ... so it's only natural for me to do what's proper and give them and their space a little attention. It's not only the right thing to do, but it's what all of us should do at each and every opportunity: promote one another -- promote our wares and our voices -- so that we're doing our part to keep fandom not only strong but the single greatest collected outlet for those of us who operate in the fringes beyond the mainstream. Lift up your peers, fellow readers, and 'like' and 'share' these goods whenever you can. It only takes a millisecond to share links, and that's something I've always tried to commit some time to each and every day on the social platforms. I strongly encourage you to do the same.
Links for those interested are below. Readers of SciFiHistory.Net are strongly encouraged to check them out.
-- EZ
I know what you're thinking: "Why, oh why, has it been so long that you've done no SciFi ShoutOuts?!"
Yes, folks, I'll admit that I've allowed this nifty little side feature to take a bit of a hiatus. And your thoughts as to whether or not I've stopped trying to help each and every one of you stay on the cutting edge of sources for fandom available out there on the Information Superhighway couldn't be more misplaced. Actually -- as I've mentioned many, many, many times in posts on the MainPage -- I've been very busy with both creating new content each day as well as strengtening and updating my interior pages -- the daily citations -- so some of the fun little extras have fallen by the wayside just a bit. When time permits, then I'll naturally pick up those duties as well; I just have to squeeze some time in the day to attend to personal matters like my own health, that of the wifey, and our extended cat family. I have mentioned one of the kitties ain't in the best of shape these days; and her condition does require a bit of extra time to attend each day. I wouldn't wish this on anyone.
In any event ...
I did want to give the proper SciFi ShoutOut to the kind folks over at Hyperspace Heroes Podcast this morning. I've listened to a few of their casts this week, and they do a very admirable job of commenting on the state of affairs across fandom. While the bulk of their narrative focus remains firmly ensconsed in covering topics big and small within that fated galaxy far, far away (i.e. Star Wars), the dialogue does make its way through a good deal of ancillary and auxilliary franchises, many of which are near and dear to each of us.
And -- believe it or not -- I'm set to appear as a guest on one of their shows just this week ... so it's only natural for me to do what's proper and give them and their space a little attention. It's not only the right thing to do, but it's what all of us should do at each and every opportunity: promote one another -- promote our wares and our voices -- so that we're doing our part to keep fandom not only strong but the single greatest collected outlet for those of us who operate in the fringes beyond the mainstream. Lift up your peers, fellow readers, and 'like' and 'share' these goods whenever you can. It only takes a millisecond to share links, and that's something I've always tried to commit some time to each and every day on the social platforms. I strongly encourage you to do the same.
Links for those interested are below. Readers of SciFiHistory.Net are strongly encouraged to check them out.
-- EZ
- Published on
Hey there, smilers! We made it to Thursday in one piece! Woohoo!
Yes, folks, that's right. It's Thursday -- or as it's called here at the ZimZim household 'Friday's Eve' -- and I'm thrilled to pass along the announcement for today's collection. The August 3rd Daily Citation Page has a wondrous and magical 66 different citations awaiting your undivided attention ... and whilst researching this morning I discovered a solid handful more that I might try to add over the course of the day. Keep your eyes on that space as there are some new movie additions that somehow completely slipped through the cracks. I couldn't say how. I just work here.
Not an awful lot to report other than that this morning. A bit tuckered out, so I actually got up, did a bit of prep work on the blog, then had to take myself a power nap. Had that surgical thing over a week ago -- nothing big or grand but had to be done -- so it's understandable that this old dog needed a bit more sleep before he pulled himself out of bed at 4 AM-ish. I should've rolled back over, but I didn't. So I paid that price. Ugh.
But I did want to again give props to the reading audience: somehow -- miraculously -- my daily hits yesterday damn near doubled! Woof! I can't even begin to tell you how happy that makes me. I know that there are a lot of you who like and share a good deal of my Twitter posts, and I just can't thank you enough. Again -- for those who ask -- no, I don't profit in any way off the work I do at SciFiHistory.Net -- this is just a mere hobby for this somewhat retired old soul ... but it's grand to do and know that folks are finding the site still after almost ten years of its existence. Fandom is a great thing, and I'm thrilled to occupy whatever small corner of it civilization allows. (Mind you: I'd be thrilled to get paid a stipend to do this daily, but -- as they say -- it is what it is. Honestly, I'd be happy enough just making enough to pay the fees to keep the site up and running, but that's an argument for another day.)
In any event, that's not why you're here, right? You want the link? Well, you can't handle the link! But I'm gonna give it to you any way ...
Yes, folks, that's right. It's Thursday -- or as it's called here at the ZimZim household 'Friday's Eve' -- and I'm thrilled to pass along the announcement for today's collection. The August 3rd Daily Citation Page has a wondrous and magical 66 different citations awaiting your undivided attention ... and whilst researching this morning I discovered a solid handful more that I might try to add over the course of the day. Keep your eyes on that space as there are some new movie additions that somehow completely slipped through the cracks. I couldn't say how. I just work here.
Not an awful lot to report other than that this morning. A bit tuckered out, so I actually got up, did a bit of prep work on the blog, then had to take myself a power nap. Had that surgical thing over a week ago -- nothing big or grand but had to be done -- so it's understandable that this old dog needed a bit more sleep before he pulled himself out of bed at 4 AM-ish. I should've rolled back over, but I didn't. So I paid that price. Ugh.
But I did want to again give props to the reading audience: somehow -- miraculously -- my daily hits yesterday damn near doubled! Woof! I can't even begin to tell you how happy that makes me. I know that there are a lot of you who like and share a good deal of my Twitter posts, and I just can't thank you enough. Again -- for those who ask -- no, I don't profit in any way off the work I do at SciFiHistory.Net -- this is just a mere hobby for this somewhat retired old soul ... but it's grand to do and know that folks are finding the site still after almost ten years of its existence. Fandom is a great thing, and I'm thrilled to occupy whatever small corner of it civilization allows. (Mind you: I'd be thrilled to get paid a stipend to do this daily, but -- as they say -- it is what it is. Honestly, I'd be happy enough just making enough to pay the fees to keep the site up and running, but that's an argument for another day.)
In any event, that's not why you're here, right? You want the link? Well, you can't handle the link! But I'm gonna give it to you any way ...
I think one of the biggest and boldest things from on this day in Science Fiction History was that August 3rd, 1951 was the premiere date for the Golden Age of Television's early SciFi anthology, Tales Of Tomorrow. Thematically, this one is reasonably similar to, say, Rod Serling's The Twilight Zone and/or The Outer Limits; but it predates those two by a few years. In fact, I have some online reportage that suggests Tales served up the inspiration for the networks to invest in those other two properties; while I can't say for absolutely certainty that such a statement is accurate, I also believe it's safe to assume that the success of one typically leads in no small way to other attempts ... so Tales may very well have paved the road for Serling's success on the Boob Tube.
I've only seen a handful of episodes of the program. Last I checked, there were many up there for free streaming on the YouTube.com and beyond, so fans are encouraged to do a bit of reading, find an episode or two whose summaries interest them, and give it a try. Yes, they're obviously dated. Yes, they're obviously a bit 'old-fashioned' when it comes to their storytelling sensibilities. But the demonstrate the foundation of what made TV the phenomenon it was back in its heyday, and that's always worth a second look.
As always, thanks for reading ... and live long and prosper!
-- EZ
- Published on
Well, well, well ... welcome to the hump, ladies and gentlemen! We've made it to the week's midpoint, and I think we're all looking damn spectacular despite a bit of wear and tear, don't you think?
Indeed, if you take a gander over at August 2nd's page, you'll find that there's a fascinating number of citations, all big and small. There are a handful of indie SciFi flicks packaged in the Movies section -- one usually doesn't get all that many smaller flicks on the same date -- so that's a little 'something something' to check out. There's also a French-language Science Fiction series in the TV section; I've lumped them all together under a single citation, but I may break those out into individual items in the future. It works for now, and it's quite interesting. I did a quick bit of research on IMDB.com about the show Ad Vitam this morning, and it actually looks to have premiered in 2018 (in its native land), so there's something I'll also have to correct at some point in the days ahead, but -- for now -- it'll stay right where it is.
Apologies for not getting up any new content for yesterday. (I do try, minimally, to get at least a single article and/or column up each day.) Some of you know that I also -- in the spare time -- work with some stray cats, and I've got one who is not doing all that well and, yes, it has me quite bummed. She showed up in our backyard a number of years back and has hung around; a few weeks back, she developed a problem with her back legs. I think the vet initially thought it was the onset of something like 'feline arthritis,' but I suspect it's progressing into a situation more serious. She's going back to the vet for another lookover in a few days, so I'll know more then. But it's so very sad working with animals when they either get old and/or infirm because there's just so little one can do with them.
Otherwise, I do have a few flicks I'm meaning to pen a review over, so I will most definitely try to get to one if not both of them today. I also have a house project that needs a bit of attention, and I'd like to get to that before the Arizona sun gets blazing hot.
In any event, here's the reason you're really here ...
Indeed, if you take a gander over at August 2nd's page, you'll find that there's a fascinating number of citations, all big and small. There are a handful of indie SciFi flicks packaged in the Movies section -- one usually doesn't get all that many smaller flicks on the same date -- so that's a little 'something something' to check out. There's also a French-language Science Fiction series in the TV section; I've lumped them all together under a single citation, but I may break those out into individual items in the future. It works for now, and it's quite interesting. I did a quick bit of research on IMDB.com about the show Ad Vitam this morning, and it actually looks to have premiered in 2018 (in its native land), so there's something I'll also have to correct at some point in the days ahead, but -- for now -- it'll stay right where it is.
Apologies for not getting up any new content for yesterday. (I do try, minimally, to get at least a single article and/or column up each day.) Some of you know that I also -- in the spare time -- work with some stray cats, and I've got one who is not doing all that well and, yes, it has me quite bummed. She showed up in our backyard a number of years back and has hung around; a few weeks back, she developed a problem with her back legs. I think the vet initially thought it was the onset of something like 'feline arthritis,' but I suspect it's progressing into a situation more serious. She's going back to the vet for another lookover in a few days, so I'll know more then. But it's so very sad working with animals when they either get old and/or infirm because there's just so little one can do with them.
Otherwise, I do have a few flicks I'm meaning to pen a review over, so I will most definitely try to get to one if not both of them today. I also have a house project that needs a bit of attention, and I'd like to get to that before the Arizona sun gets blazing hot.
In any event, here's the reason you're really here ...
Also -- for what it's worth -- my hits are up quite a bit over the last few days, so I think some of you have either newly discovered this space or the regulars have been liking and/or sharing the posts and/or materials around the World Wide Web, so that's spectacular. It's always great to see an influx of new readers even if they stop by for just the casual information. It tickles my heart to make a new reader, so thanks are extended to any and all of you who share SciFiHistory.Net with friends and family. It means so very much to me.
As always, thanks for reading ... and live long and prosper!
-- 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 show’s IMDB.com page citation:
“Tensions between Maggie and Negan come to a head; Ginny’s search continues; questions arise around Armstrong’s path forward.”
Folks, I waited more than a week to actually sit down and compose my thoughts on Dead City’s “Doma Smo,” and I did that specifically to allow some thoughts to simmer and percolate, hoping to attain greater meaning or, minimally, a bit more substance. Alas, I’ve kinda/sorta reached the point wherein I’m not entirely sure I’ll return to this incarnation when it returns to original broadcast run next season, mostly because I’ve found so much of it to be a jumbled, fractured affair, one that seemingly has no ‘throughline’ other than to continually pit its two central characters still at odds well into what remains of the Apocalypse.
Now, there’s nothing wrong with characters in conflict. I’ve said many, many, many times that the true nature of human drama is conflict. Despite what some of you suggest, it ain’t peace. Peace makes for very little nuance around which to build a story; it’s simply a state of being a society might achieve if and when all players come together and achieve a lasting understanding. But drama? That needs clashes. That requires disagreements. Its heart beats to the drum of war and quarrels whether that rhythm comes from individuals or groups … but Dead City is a prospect that up to this point – quite frankly – has little pulse.
As I’ve suggested in my reviews of previous installments, this show has committed an incredible number of exchanges to a relationship we’ve already experienced. While newcomers to the universe may’ve benefitted to some degree over so much re-discovery of just who Maggie and Negan are and how they got to this point, I can’t help but wonder if everyone else – those of us who’ve been on this ride for longer than we care to admit – are asking, “Have you nothing else?” Why, it even seems that the program’s soulless walkers aren’t all that interesting any longer!
And speaking of the Undead? When did they get so easy to kill? At least The Walking Dead – and the inferior Tales Of The Walking Dead – tinkered with the ideas of evolving the franchise’s central talent to make them scary after all these years, but Dead City has Maggie, Negan, and others merely smashing them against the wall in order to dispatch them with relative ease. It wasn’t all that long ago when an unfortunate cast member would find himself in a scuffle with a half-dozen of these things, and audiences knew this poor unfortunate soul’s time was short. Now? Heck, just give the guy a helmet, and he’ll find a way out in no time! That’s disappointing. Removing the property’s chief appeal might seem like a necessary and/or organic development – what with the show’s advanced age – but I miss those hungry walkers of old, I do.
From the show’s IMDB.com page citation:
“Tensions between Maggie and Negan come to a head; Ginny’s search continues; questions arise around Armstrong’s path forward.”
Folks, I waited more than a week to actually sit down and compose my thoughts on Dead City’s “Doma Smo,” and I did that specifically to allow some thoughts to simmer and percolate, hoping to attain greater meaning or, minimally, a bit more substance. Alas, I’ve kinda/sorta reached the point wherein I’m not entirely sure I’ll return to this incarnation when it returns to original broadcast run next season, mostly because I’ve found so much of it to be a jumbled, fractured affair, one that seemingly has no ‘throughline’ other than to continually pit its two central characters still at odds well into what remains of the Apocalypse.
Now, there’s nothing wrong with characters in conflict. I’ve said many, many, many times that the true nature of human drama is conflict. Despite what some of you suggest, it ain’t peace. Peace makes for very little nuance around which to build a story; it’s simply a state of being a society might achieve if and when all players come together and achieve a lasting understanding. But drama? That needs clashes. That requires disagreements. Its heart beats to the drum of war and quarrels whether that rhythm comes from individuals or groups … but Dead City is a prospect that up to this point – quite frankly – has little pulse.
As I’ve suggested in my reviews of previous installments, this show has committed an incredible number of exchanges to a relationship we’ve already experienced. While newcomers to the universe may’ve benefitted to some degree over so much re-discovery of just who Maggie and Negan are and how they got to this point, I can’t help but wonder if everyone else – those of us who’ve been on this ride for longer than we care to admit – are asking, “Have you nothing else?” Why, it even seems that the program’s soulless walkers aren’t all that interesting any longer!
And speaking of the Undead? When did they get so easy to kill? At least The Walking Dead – and the inferior Tales Of The Walking Dead – tinkered with the ideas of evolving the franchise’s central talent to make them scary after all these years, but Dead City has Maggie, Negan, and others merely smashing them against the wall in order to dispatch them with relative ease. It wasn’t all that long ago when an unfortunate cast member would find himself in a scuffle with a half-dozen of these things, and audiences knew this poor unfortunate soul’s time was short. Now? Heck, just give the guy a helmet, and he’ll find a way out in no time! That’s disappointing. Removing the property’s chief appeal might seem like a necessary and/or organic development – what with the show’s advanced age – but I miss those hungry walkers of old, I do.
Honestly, I did hold out hope that “Doma Smo” might raise the bar a bit on a rather lackluster first season by promising audiences something more for the next.
Maggie got her son back – all well and good – in rather easy fashion, proving that perhaps she’s not so much the leader she’s destined to be as she is a really bad accomplice who’ll stop at nothing for selfish reasons. Mind you: Hershel ain’t no prize – it would seem that he practically loathes dear old mother – but I guess family is still important even in the face of mankind’s demise. In contrast, Negan was outplayed by Maggie – in rather brutally easy fashion, I might add – and pretty much resigned himself to whatever fate had in store for him. As for ‘The Croat?’ The big villain that the show had promised all season long? Well, it would seem that he stepped aside for someone else to fill those shoes – there was an even bigger villain lying in wait … some lady who likes fine things and speaking in dramatic nuance … so – cough cough – oh, yeah, I’m really looking forward to listening to her speeches next season! (not) In fact, I’m at a loss to even begin to understand how this chick got to be in charge in the first place; and that’s a huge, huge, huge miss for those of us who watch dramas closely.
Arguably, there’s an easiness to Dead City that I don’t think serves the program all that well. Yes, it’s great to have Negan and Maggie back in action after the kinda/sorta lackluster affair that was The Walking Dead’s series’ finale. Yes, it’s kinda/sorta thrilling to know that our social struggles with the dead themselves isn’t quite done. Still, Dead City has removed far too many threats to have the kind of spiritual tension – the dead versus the living – that fuels a good many zombie enterprises. These dead are more of a narrative inconvenience. Add to that that it seems like getting in and getting out of New York City proper was damn near so easy peasy that I couldn’t figure out why there was so much fuss placed on it in the early episodes. Hell, even Ginny – a kid – had no trouble, so why raise such a ruckus, peeps?
Now comes the real question, though: is there any reason to come back next season?
AMC renewed the program, and I guess that’s an indication that the ratings were strong enough to warrant continuing this ride. Minimally, Maggie got her thankless kid back, and there were obvious hints that she kinda/sorta lost her soul in the process. But did she? I could argue that she got revenge, sure, but on a spiritual level even the Bible condones ‘an eye for an eye,’ so I’m not all that dissuaded. And Negan? Erm … unless I missed something entirely, he doesn’t exactly seem to have found himself in any jeopardy whatsoever. This new lady villain seems perfectly smitten to have him around – they were even tossing back a few cold ones when we last saw them – so … ? How is this a bad development for him exactly?
The behind-the-scenes talent – i.e. the writers – are going to have to work a helluva lot harder next season to keep this viewer around. Dead City is aptly named … as it’s at least 50% dead and 50% city. Not sure that’s what AMC wanted, but that’s what they got.
In the interests of fairness, I’m thrilled to disclose that – like so many of you – I’ve simply recorded and watched The Walking Dead: Dead City’s “Stories We Tell Ourselves” (S01E05) as it aired on AMC, so I’m beholden to no one to provide a review other than myself.
-- EZ
Maggie got her son back – all well and good – in rather easy fashion, proving that perhaps she’s not so much the leader she’s destined to be as she is a really bad accomplice who’ll stop at nothing for selfish reasons. Mind you: Hershel ain’t no prize – it would seem that he practically loathes dear old mother – but I guess family is still important even in the face of mankind’s demise. In contrast, Negan was outplayed by Maggie – in rather brutally easy fashion, I might add – and pretty much resigned himself to whatever fate had in store for him. As for ‘The Croat?’ The big villain that the show had promised all season long? Well, it would seem that he stepped aside for someone else to fill those shoes – there was an even bigger villain lying in wait … some lady who likes fine things and speaking in dramatic nuance … so – cough cough – oh, yeah, I’m really looking forward to listening to her speeches next season! (not) In fact, I’m at a loss to even begin to understand how this chick got to be in charge in the first place; and that’s a huge, huge, huge miss for those of us who watch dramas closely.
Arguably, there’s an easiness to Dead City that I don’t think serves the program all that well. Yes, it’s great to have Negan and Maggie back in action after the kinda/sorta lackluster affair that was The Walking Dead’s series’ finale. Yes, it’s kinda/sorta thrilling to know that our social struggles with the dead themselves isn’t quite done. Still, Dead City has removed far too many threats to have the kind of spiritual tension – the dead versus the living – that fuels a good many zombie enterprises. These dead are more of a narrative inconvenience. Add to that that it seems like getting in and getting out of New York City proper was damn near so easy peasy that I couldn’t figure out why there was so much fuss placed on it in the early episodes. Hell, even Ginny – a kid – had no trouble, so why raise such a ruckus, peeps?
Now comes the real question, though: is there any reason to come back next season?
AMC renewed the program, and I guess that’s an indication that the ratings were strong enough to warrant continuing this ride. Minimally, Maggie got her thankless kid back, and there were obvious hints that she kinda/sorta lost her soul in the process. But did she? I could argue that she got revenge, sure, but on a spiritual level even the Bible condones ‘an eye for an eye,’ so I’m not all that dissuaded. And Negan? Erm … unless I missed something entirely, he doesn’t exactly seem to have found himself in any jeopardy whatsoever. This new lady villain seems perfectly smitten to have him around – they were even tossing back a few cold ones when we last saw them – so … ? How is this a bad development for him exactly?
The behind-the-scenes talent – i.e. the writers – are going to have to work a helluva lot harder next season to keep this viewer around. Dead City is aptly named … as it’s at least 50% dead and 50% city. Not sure that’s what AMC wanted, but that’s what they got.
In the interests of fairness, I’m thrilled to disclose that – like so many of you – I’ve simply recorded and watched The Walking Dead: Dead City’s “Stories We Tell Ourselves” (S01E05) as it aired on AMC, so I’m beholden to no one to provide a review other than myself.
-- EZ
- Published on
Under SciFiHistory.Net’s ‘Monsters Of A Sort’ category heading, I take a look at features that kinda/sorta dabble into sensibilities very close to (if not downright demonstrative of) Film Noir and/or the unconventional screen mystery. Despite maintaining a heavy (and near constant) diet of genre projects, I’m not always satiated by just SciFi, Fantasy, and Horror; so I do like – from time-to-time – to add a little substance from these other realms. It helps to widen my perspective. It helps to cleanse the palate. It keeps me fresh … and a ‘fresh me’ is good for all of you, my faithful readers.
Today’s distraction? A straight-up crime thriller titled Dial 1119.
According to IMDB.com, this 1950-produced picture was the first directed by Gerald Mayer, the nephew to MGM studio head Louis B. Mayer. I’ve also read that the story was largely crafted to tap into the social concerns of the era: as random acts of violence had started to occur seemingly regularly across the United States, folks grew increasingly concerned with crime and those who would perpetrate such dark deeds. In that respect, the film does rather deftly make use of a single location throughout a good portion of its second half; and it’s staged in a way that ably demonstrates the claustrophobic affects of victims huddled together waiting for a savior (or a saving act) to emerge.
As per my usual format, the film’s synopsis appears below. My two cents on its construction follow.
(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 escaped psychiatric patient causes havoc.”
Oh, good grief!
I’ve been known to take issue with the synopses provided by the good folks at IMDB.com on occasion. It isn’t that the one provided for Dial 1119 is inaccurate in any regard; rather, it’s far too brief for my tastes, and I think folks would agree. If you read that on the back of a DVD or VHS box and that was all you were provided, would that interest you further? That’s about as bland as you can get, so forgive me while I expound a bit further.
The escaped mental patient is Gunther Wyckoff (played by Marshall Thompson), and he’s arrived in Terminal City with hopes that he can extract what he feels is vengeance on Dr. John Faron (Sam Levene), the psychiatrist whose testimony ultimately kept him from the electric chair. As penance for his sins, Wyckoff wants to die but not at his own hand. If he must, he’ll take matters into his own hands, take the patrons of a corner bar hostage, and demand that the police deliver Faron to him … or else.
Today’s distraction? A straight-up crime thriller titled Dial 1119.
According to IMDB.com, this 1950-produced picture was the first directed by Gerald Mayer, the nephew to MGM studio head Louis B. Mayer. I’ve also read that the story was largely crafted to tap into the social concerns of the era: as random acts of violence had started to occur seemingly regularly across the United States, folks grew increasingly concerned with crime and those who would perpetrate such dark deeds. In that respect, the film does rather deftly make use of a single location throughout a good portion of its second half; and it’s staged in a way that ably demonstrates the claustrophobic affects of victims huddled together waiting for a savior (or a saving act) to emerge.
As per my usual format, the film’s synopsis appears below. My two cents on its construction follow.
(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 escaped psychiatric patient causes havoc.”
Oh, good grief!
I’ve been known to take issue with the synopses provided by the good folks at IMDB.com on occasion. It isn’t that the one provided for Dial 1119 is inaccurate in any regard; rather, it’s far too brief for my tastes, and I think folks would agree. If you read that on the back of a DVD or VHS box and that was all you were provided, would that interest you further? That’s about as bland as you can get, so forgive me while I expound a bit further.
The escaped mental patient is Gunther Wyckoff (played by Marshall Thompson), and he’s arrived in Terminal City with hopes that he can extract what he feels is vengeance on Dr. John Faron (Sam Levene), the psychiatrist whose testimony ultimately kept him from the electric chair. As penance for his sins, Wyckoff wants to die but not at his own hand. If he must, he’ll take matters into his own hands, take the patrons of a corner bar hostage, and demand that the police deliver Faron to him … or else.
As you can see, there’s a bit more information that can be applied here; and – even in doing so – I suspect many may feel that they’ve seen a flick like this many times before. Indeed, 1936’s The Petrified Forest pitted customers to a lonely roadside diner against a team of bank robbers fleeing from the police. 1948’s Key Largo saw customers to a coastal retreat held in check both by a gangster and a hurricane passing through the area. Fast forward to 1998, and Samuel L. Jackson took on the role of a wrongly accused cop who takes employees of a federal office hostage in an attempt to uncover the truth and expose the true villains. And 2002’s John Q saw a distraught parent seize control of a hospital’s emergency ward in hopes to convince the world to help his ailing child in search of a heart transplant.
So, yes, this is an idea and a structure that’s been done many times before. Set in a small tavern, Dial 1119 keeps the cast reasonable small, filling out the place with what’s best described as a few regulars who just happen to be enjoying a few drinks when Wyckoff comes calling. Each of them is given a light background – Skip (Keefe Brasselle) is the young barkeep whose wife has just gone into labor; Freddy Virginia Field) is the resident flirt who just wants a man to buy her a drink; Earl (Leon Ames) is an academic who’ll stop at nothing to capture the attentions of the vastly-younger-than-him Helen (Andrea King), etc. – but they’re essentially here to play the role of the victim. Set against Wyckoff and the ticking clock on the wall, they spend their tense moments wondering if tonight is the night that they’ll become more than a passing crime statistic.
Functionally, I think it’s safe to suggest that Dial 1119 works reasonably well. Though its bar wasn’t set very high (pun intended), director Mayer moves each of the players through each of his or her small moments; sadly, there’s no big performance anywhere in here – Field brings a sense of moxie to what services for a 50’s era barfly, and she’s always great to look at – and that alone works against what could’ve been rising tension amongst the lot. Thompson does affable enough work as the man mentally struggling with issues to the point of becoming homicidal, but he, too, never quite achieves the kind of menace I think needed to elevate this one to greater heights. It’s a good enough 85-minute thriller – one with workable cinematography and even one of filmdom’s earliest suggestions of a flat panel screen used in restaurants to keep patrons captivated. (Nowadays, we find these everywhere, don’t we?)
If anything, I left the feature with a sense that a tauter script and maybe a bit more scene chewing by Thompson could’ve made this one something really special. It’s a great discovery – I’d never heard of it before stumbling upon it one evening on Turner Classic Movies – and, while I enjoyed it, it’s the example of a good older picture that just missed enough of its opportunities to keep it from total obscurity.
Dial 1119 (1950) was produced by Metro-Goldwyn-Mayer. The film was directed by Gerald Meyer from a script credited to John Monks Jr., Hugh King, and Don McGuire. As for the technical specifications? Though I’m no trained video expert, I found the sights-and-sounds to the feature to be quite good from start-to-finish. Lastly, if you’re looking for special features? Given the fact that I viewed this one via television broadcast, there were no special features to consider.
Highly recommended.
While it’s no barnburner in any respect, Dial 1119 still makes great use of a single-set format and the ‘race against time’ scenario to suggest that fans of classic features – especially film noir – might wanna give this one a whirl. Performances are good – imperfect in a few spots – and the dialogue is entertaining enough to lift it above a number of older features. And if you like hostage dramas? This one definitely explores familiar territory.
In the interests of fairness, I viewed Dial 1119 (1950) when it played in rotation on Turner Classic Movies. As such, I’m beholden to no one for a review … except myself, of course!
-- EZ
So, yes, this is an idea and a structure that’s been done many times before. Set in a small tavern, Dial 1119 keeps the cast reasonable small, filling out the place with what’s best described as a few regulars who just happen to be enjoying a few drinks when Wyckoff comes calling. Each of them is given a light background – Skip (Keefe Brasselle) is the young barkeep whose wife has just gone into labor; Freddy Virginia Field) is the resident flirt who just wants a man to buy her a drink; Earl (Leon Ames) is an academic who’ll stop at nothing to capture the attentions of the vastly-younger-than-him Helen (Andrea King), etc. – but they’re essentially here to play the role of the victim. Set against Wyckoff and the ticking clock on the wall, they spend their tense moments wondering if tonight is the night that they’ll become more than a passing crime statistic.
Functionally, I think it’s safe to suggest that Dial 1119 works reasonably well. Though its bar wasn’t set very high (pun intended), director Mayer moves each of the players through each of his or her small moments; sadly, there’s no big performance anywhere in here – Field brings a sense of moxie to what services for a 50’s era barfly, and she’s always great to look at – and that alone works against what could’ve been rising tension amongst the lot. Thompson does affable enough work as the man mentally struggling with issues to the point of becoming homicidal, but he, too, never quite achieves the kind of menace I think needed to elevate this one to greater heights. It’s a good enough 85-minute thriller – one with workable cinematography and even one of filmdom’s earliest suggestions of a flat panel screen used in restaurants to keep patrons captivated. (Nowadays, we find these everywhere, don’t we?)
If anything, I left the feature with a sense that a tauter script and maybe a bit more scene chewing by Thompson could’ve made this one something really special. It’s a great discovery – I’d never heard of it before stumbling upon it one evening on Turner Classic Movies – and, while I enjoyed it, it’s the example of a good older picture that just missed enough of its opportunities to keep it from total obscurity.
Dial 1119 (1950) was produced by Metro-Goldwyn-Mayer. The film was directed by Gerald Meyer from a script credited to John Monks Jr., Hugh King, and Don McGuire. As for the technical specifications? Though I’m no trained video expert, I found the sights-and-sounds to the feature to be quite good from start-to-finish. Lastly, if you’re looking for special features? Given the fact that I viewed this one via television broadcast, there were no special features to consider.
Highly recommended.
While it’s no barnburner in any respect, Dial 1119 still makes great use of a single-set format and the ‘race against time’ scenario to suggest that fans of classic features – especially film noir – might wanna give this one a whirl. Performances are good – imperfect in a few spots – and the dialogue is entertaining enough to lift it above a number of older features. And if you like hostage dramas? This one definitely explores familiar territory.
In the interests of fairness, I viewed Dial 1119 (1950) when it played in rotation on Turner Classic Movies. As such, I’m beholden to no one for a review … except myself, of course!
-- EZ