OK, now this is more like it. After muddling through a series of unsatisfying short stories — some of which were frustrating because they contained the unrealized kernel of a great story, others because they had next to nothing to do with James Bond — Ian Fleming returns to familiar territory with one of my favorite books in the entire series. Thunderball combines the breakneck action of Doctor No with the breezy travelogue spirit of Diamonds are Forever as Fleming proves once again that he is at the time of his game whenever he’s writing a Bond story set in the Caribbean. Thunderball also marks a major development in the series in that it features the debut of the shadowy international criminal organization SPECTRE and its mysterious mastermind, Ernst Stavro Blofeld.
Honey Britches has so many things going wrong for it that you can’t help but look at it as a work of fine art. I mean, this is the sort of movie you watch and think to yourself, “Gee, with some formal training and more money, this director could be as good as Hershel Gordon Lewis.” The film opens with “credits painted on a wooden fence,” which I soon found to be the most popular opening credits style for ultra low-budget hicksploitation films, usually accompanied by banjo music or random sounds of pig squealing — sometimes both. It is during these credits that you realize the theory about the director one day being as accomplished as HG Lewis are just fantasies, because up comes the name Fred Olen Ray. Well, up comes his name in certain versions. In other versions, his name does not appear, and we’ll explain why in a spell.
Goldfinger was a decent enough adventure for James Bond, but it also smacked of “going through the motions” and relying on remixing ingredients from previous novels: the card cheat angle from Moonraker, the SMERSH funding angle from Live and Let Die, and a couple other things here and there. The next book in the series is a break from the full-length novels. For Your Eyes Only is a collection of short stories of wildly varying tone and quality that possess ample ability to entertain yet do almost nothing to advance the world of James Bond. In fact, he’s hardly even in a couple of the stories. Nothing here fits into the larger Bond continuity as established by the novels (this disposability would not hold true for the second collection of short stories), and nothing stands out as spectacular. Still, if you are a Fleming completist you’re going to read this collection anyway, so let’s dig into it shall we?
You know, some people would sit down with pen in hand and engage in multiple viewings of a great and respected movie, taking meticulous notes pertaining to various aspects of said film that would promote intellectual dialog amongst high-minded luminaries in the field of film criticism and analysis. I, on the other hand, did much the same thing with Space Thunder Kids, and by “high-minded” I mean low-brow, and by “meticulous notes” I mean drunken ranting, and by “pen” I mean bourbon. Trust me, a bottle of bourbon is all that’s going to get you through the brain-frying glory of Space Thunder Kids, a film so utterly confounding, so dazzlingly inept in every single way imaginable, that it achieves an undeniable aura of the sublime that glows so brightly it threatens to blot out the rest of existence. And if you are worried that perhaps drinking an entire bottle of bourbon during a single movie could be detrimental to your health or to your comprehension of what you are watching, I say to you, “Have no fear, for Space Thunder Kids defies comprehension, and by the end of it you will be mopping up your own brain, which will have melted and oozed out the corner of your eyes as you vomit up your own intestines Lucio Fulci style.” The bourbon only makes it hurt less.
Now if that isn’t a good review, I don’t know what is.
Goldfinger is the James Bond film that set the standard for most of the Bond films that followed, to say nothing of the hundreds of cheap (and often enjoyable) knock-offs that came out during the 1960s. Although Doctor No and From Russia with Love were both big successes, it was Goldfinger that seemed to resonate most with copycat filmmakers around the world. Goldfinger the novel comes late enough in the series that it isn’t the historically important work that the movie was, except perhaps for being the source material for the movie that had to be made before people like me would ever be allowed to enjoy Kommissar X films or Lightning Bolt. And once again, we find out that the movie follows the book very closely, with the only major changes being an increased role in the movie for iconic Bond girl Pussy Galore (who, in the book, is overtly referred to as a lesbian, where as her sexual orientation is just barely hinted at in the movie) and a different death for main villain Auric Goldfinger and equally iconic henchman Odd Job.
Normally, when I write a review I try to divorce it from too many self-referential internal affairs — largely because I’ve learned the hard way that such references age poorly and make little sense a year, two years, or whatever down the road. On occasion however, it’s probably worth exercising my right to be inconsistent, and this seems like one of those times when it might be somewhat appropriate to pad this thing out with a preamble, as this is the fist time Teleport City has published a video game review. It’s not because we had any particular aversion to such forms of entertainment — I just didn’t really play them, and no one had ever offered to write about one for us. I was never particularly good at video games, and it turns out I’m still not very good at them. When I was a kid, I’d waste some time on the Atari and later the Nintendo Entertainment System, but that never lasted terribly long. I was bad at most of the games, and anyway it was sunny outside. While I’m not one of those condescending “you should get out more often and stop playing video games in your mom’s basement” assholes, the fact remains that I had more fun stomping around in the woods, falling out of trees, and getting chased by wild dogs — possibly because I was more adept at each of those things than I ever was at Missile Command.
Because it is well documented elsewhere, I won’t go into the history of F.W. Woolworth, the Woolworth Building, or the stores to which the old man lent his name. For that, I urge you to check out the fantastic Woolworth Building episode of the Bowery Boys podcast. With that history thusly filed away, we can pick up our merry frolic through one of the city’s most iconic yet rarely seen first skyscraper. I say rarely seen because although you can marvel at the impressive exterior, the historic neo-Gothic lobby is off-limits to tourists, gawkers, amateur historians, and anyone who doesn’t work at a company housed in the building. It might be possible to get a glimpse if you wander in just after regular business hours and are really kind to the guard at the front desk, but barring that gamble on the mercy of strangers, you will just have to get a job at one of the many businesses that call the impressive building home. Oddly, my employer does have space in the Woolworth Building, but we have no access to the lobby. They don’t want our kind of rabble hanging around in there. But even if you do work in the building, there are still hidden niches and off-limit secrets to which you don’t get access.
Phenomena is often regarded as a turning point in the career of Italian thriller director Dario Argento. Unfortunately for him, the direction it is most often cited as turning is down. After Phenomena, the influential director had one more good film in him – the mean-spirited and sadistic Opera — and then it was all downhill from there. In many ways, Argento’s career seemed to reflect that of another highly creative, important director: Tsui Hark. Both men revolutionized film making in their respective countries and inspired (and continue to inspire) countless other writers and directors. Both men brought a highly stylized vision to the screen. And both men have spent the better portion of the last decade trying to live up to their own reputations.
“In the near future.” More times than not, it’s a euphemistic way for a science fiction film to say, “We were too broke to afford interesting sets.” Setting a film in “the near future” is a great way to get around a variety of stumbling blocks, not the least of which is a low budget. The near future allows you, as I said, to pretty much make up all sorts of new technology, situations, and laws while not having to fork over any money to build futuristic sets. It allows you to mold modern society to your whims without having to recreate it as something new. The alternate to this solution is to have a guy from the future travel back in time to the 20th century to save us or kill some other time traveling villain or some such nonsense. Once again, unless you are James Cameron, this allows you to throw some scifi stuff the way of the audience while not having to think too much about the look of the film.
Under normal circumstances, I consider turning to a discussion of the weather to be a sign that conversation has failed. There are exceptions of course, for extreme circumstances, but by and large if you are making small talk about the weather with someone then it’s bets to cut your losses and move on. Perhaps study up on a few more interesting topics for your next chance encounter. I also generally try to avoid putting a specific time stamp on the date on which something was written for Teleport City, as it rarely makes sense years or even weeks removed from that date. However, today in New York City it is almost twenty degrees. So to warm up, not only am I indulging in this brief time-stamped discussion of the weather, but I thought it was an appropriate day to prepare ourselves for breezy summer holidays. Now, whether you are driving along the Amalfi Coast in a Ferrari Daytona, hopping a jetliner to Monaco, or setting out to map a hitherto unexplored tributary of the Amazon River equipped with nothing but a machete, everyone knows the single most important thing to prepare before departure is your soundtrack. So we offer up to you some suggestions that blend both vintage and modern interpretations of music that will prepare you for whatever may occupy you during your warmer days.