My time has come. Another Frolic Afield over at the Cultural Gutter. A Halting Fire takes a look at the first season of Halt and Catch Fire, a show with subject matter — the micro-computing revolution of the early 1980s — near and dear to my heart. It’s also about the unwillingness of so many modern television shows to commit to an emotion other than a sort of listless misery.
On August 4, 1914, Germany declared war on and subsequently invaded Belgium, a declared neutral in the escalating conflict between France, Russia, and the allied countries of German and Austria-Hungary. Europe at the time had been spoiling for a war, and the Byzantine tangle of pacts, treaties, and agreements ensured that it was only a question of when, not if, the entire continent would find an excuse to kit up and march off to battle. That excuse came in June of 1914, when Archduke Franz Ferdinand was assassinated by Serbian radicals. And so the dominoes fell. Austria-Hungary declared war on Serbia. Serbia was allied with Russia, who had no choice but to declare war on Austria-Hungary. Germany was allied with the Austro-Hungarian Empire and so declared war on Russia. France, which had treaties with Russia, thought about staying neutral in the matter, but that became a moot point when Germany declared war on them, launching an offensive that bulldozed its way through Belgium en route to France and brought the United Kingdom into the war as a result of a pact Britain had with Belgium.
Time for another Frolic Afield over at The Cultural Gutter, where I am writing Einstein and the Bearded Lady, about the Czech science fiction comedy I Killed Einstein, Gentlemen (Zabil jsem Einsteina, panove) from 1970. The film asks the question, “What would men of the future be willing to risk to make sure women don’t have too much body hair?” Silliness ensues.
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His names are legion. His name is Legion. But maybe you know him as Scratch, or Ol’ Gooseberry. The Devil himself, if you will. He’s one of the most compelling literary figures of all time, despite, I imagine, the original intentions of the writers of the Old Testament. Poet John Milton turned the Devil into a brash anti-hero in Paradise Lost, and for many intellectuals who see religious fundamentalism as stifling to the pursuit of knowledge, he’s remained in his cool cat corner with lots of stories being written about him. Something about Lucifer lends to storytelling. It’s his unpredictability, perhaps. You never know if you’re getting the wretched evil Devil or the suave rebellious one. Or the witty one or the comedy one. With Jesus, you pretty much know what you’re going to get: Jesus. It’s not that there’s anything wrong with Jesus — Christian or not, you can admire some crazy dude from Nazareth who took on both the Romans and the religious establishment, told people not to submit to a corrupt priesthood, and then said you shouldn’t always be bashing each others’ heads in. But where do you go from there? That’s why the only people who ever tried to write the further adventures of Christ were the Mormons.
The phrase “in the wake of James Bond’s success” is probably the single most over-used phrase in any examination of the flood of spy films that flowed freely onto screens worldwide in the wake of James Bond’s success. Unfortunately, facts are facts and while the Bond films certainly were not the first espionage thrillers to grace the silver screen, they remain to this day the most popular and influential. While many of the films that followed Dr. No and From Russia with Love were very different from those two seminal Bond movies, there’s little doubt that Bond opened the doors, paved the way, and made producers a lot more interested in green-lighting spy movies. Nowhere was this truer than in Europe, where spy mania swept the continent and resulted in hundreds of espionage and caper films taking full advantage of the wealth of gorgeous European locations and equally gorgeous European screen sirens.
Frolicking afield once again, for my monthly article over at The Cultural Gutter. “You Can’t Make a Masterpiece Without Madness” takes a look at the documentary Jodorowsky’s Dune, the tale of how director Alejandro Jodorowsky’s ambitious adaptation of Frank Herbert’s Dune never got made, and how that story of “failure” is oddly inspiring and uplifting.
They Were 11 is an interesting take on sci-fi anime from the eighties, and definitely a marked departure from the space operas overflowing from the previous decades and the wham-bam sci-fi actioners that defined the eighties. There is really only one action scene in the entire movie, and that’s a pie fight. Yet despite the dearth of robots on roller skates shooting cannons at each other, They Were 11 is an engaging, tense, and engrossing piece of science fiction that makes you feel like it’s action-packed even though it isn’t. The basic premise was derived from an old Japanese story about a group of children at a playground who suddenly realize that there is one more child there than there should be. There’s a good chance the extra kid, whichever one he may be, is some sort of monster.
There are those among us who, in a moment of moral weakness, find themselves unwilling or unable to turn away from a grisly situation. As to the psychological motivations behind this tendency, they are legion and vary from person to person. Perhaps it is a desire to affirm that someone is worse off than you, that even though your rent is overdue and your daughter is hopped up on the goofballs, at least you’re not a corpse being yanked out of some twisted, smoldering wreckage along the interstate. Perhaps, instead, it is little more than a reflex reaction symptomatic of the seemingly insatiable human hunger for spectacle, however grim it may be. And finally, it may be that some of us look out of guilt — that we are torn between not making a gawking spectacle of suffering and ignoring suffering. Whatever the case may be, the urge is there, commonplace, and hardly solely the purview of the misanthropic. It manifests itself in a variety of forms, everything from slowing down to stare at a traffic accident to greedily devouring the sensationalist news about the sordid downfall of a celebrity. Or, in my own peculiar case, it manifests itself in a complete inability to not watch Howling II: Your Sister is a Werewolf every single time I run across it on television.
The two Michaels. Way cooler and more obscure than making obvious, played out jokes about the two Coreys. Michael Beck and Michael Pare — these two guys were both pegged at the beginning of their respective careers as the next big thing. Both sported a brooding, introspective air of mystery and toughness much like James Dean. Both were good looking, but not too good looking. And they were both pretty good actors when they inhabited a certain type of character. Beck swaggered into national consciousness in 1978, clad in a leather vest and bopping his way through one gang after another as he tried to lead his Warriors back to their home turf at Coney Island. A few years later, in 1984, Michael Pare burst onto the scene in similar fashion as the mysterious 50s rocker Eddie, who may or may not have faked his own death to escape the harsh lights of fame.
My introduction to New York’s underground film scene came in the form of the “cinema of transgression,” as movement figurehead (eh, more or less) Nick Zedd dubbed it. Specifically, it came in the form of Richard Kern, whose crude, short films and videos were widely circulated on VHS in the late 1980s and early 1990s. It was the work of Kern and Zedd that almost entirely formed my opinion of the movement, because that was basically all you could get. Film Threat magazine had taken an interest in Kern and released a number of his films on VHS. And so when it came to New York’s underground cinema, I knew what he and Zedd had done, which was sloppy, nihilistic, destructive, ridiculous, angry, and absurd. It wasn’t until I moved to New York some years later that I discovered the depth of my ignorance, that Kern, Zedd, and the Cinema of Transgression were the second wave of the New York film underground, that they had grown from a whole group of films and filmmakers who have preceded them in the late 1970s.