Category: Films
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All the Things in the World
Do you ever look around and think how amazing everything is? How it all got there? And I’m not talking about the grandeur of nature, the glory of the universe, and all that. I’m talking about all the human-made stuff.
I have often found myself in the middle of a city, or looking out of a train window at a bridge or power station, and thought, “Wow: people built this. Just ordinary people, like me, actually made all this.”
Look at ancient buildings and you realise that they used to do it without the help of modern machinery, too.
And then think about the infrastructure that’s carrying these words from where I’m typing them to where you’re reading them. Hundreds of miles of fibre and copper cables across the country. Thousands of miles of undersea cables. Satellites, and the rockets to launch them.
We’re pretty amazing sometimes, us humans.
Like I say, I’ve often thought about this kind of thing. But today, while not at work because I’m a bit under the weather 1 I had a slightly different version of it.
I had a sudden, overwhelming sense of how much cultural work we have created. Specifically stories and TV and films. Though in fact it was comics that really triggered it.
As I say, I’m not at my best, so I wanted something simple. I ended up reading a bunch of comics on Marvel Unlimited. And no matter how many I could read in a day, I could only make the tiniest of scratches in the surface.
And in TV, Netflix seem to have a new original series or two coming out every week.
It’s not all great, of course. But just think of all those people, writing away, acting, filming. Making things.
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I have a vague memory of someone in a film or TV programme mis-saying that as “beneath the weather,” but I can’t think who, or where. I kind of want it to be Josie in Twin Peaks, but I’m not sure. ↩︎
Awakening
You'll have noticed, I'm sure, that after my brief comments on the three Star Wars prequels late last year, I didn't come back and say what I thought of the sequel. Which was, after all, the main reason I watched the prequels in the first place.
That was lax of me, but in honour of the DVD of The Force Awakens having arrived, here we go now. I won’t go into much detail, though: many pixels, and hours of podcasts, have been generated discussing this movie, and the internet doesn’t need mine at this late stage. But I’ll just quote what I wrote privately after seeing it the first time:
Star Wars: The Force Awakens: I loved every moment, every frame from the scroll onwards. No, before that: from the logo appearing on screen.Hell, I think “A long time ago, in a galaxy far, far away…” comes first.
Anyway, this is a flawless movie. OK, exaggeration: but it is a wonderful, masterful piece of work.
The other thing I thought was, “Move over Empire: there’s a new best Star Wars film."
Revenge of the Prequels
Well, this is more like it. It's far from perfect, but Revenge of the Sith is far and away the best of the three prequels.
And that is largely because it has a story that mostly makes sense, and isn’t too confusing. Sure, there are still plot holes, and flaws in the motivation; but overall it holds together pretty well.
Still not as well as any of the original trilogy, of course.
The biggest point that doesn’t work for me is that we don’t see why Anakin has any connection with Palpatine. He goes over to the latter far too easily. I don’t so much mean his falling to the Dark Side; that was on the cards at least since he murdered the Sandpeople in Clones. I mean the fact that Palpatine was suddenly asking him to spy on the Jedi Council, while the Council were equally-suddenly talking about his closeness to Palpatine. We had seen none of this.
I’ve been reading a lot about all this lately, and I gather that much is made clearer in the ancillary material: novels, comics, the Clone Wars series that was made around the same time. But even if that is so, it means the movies fail. A movie has to be able to stand on its own. You can’t expect the viewer to have read around the subject or watched spinoff series. You can just barely rely on them having seen the immediately-prior films.
Compare and contrast the Marvel Cinematic Universe, for example. You can watch The Avengers without having seen any of the prior films. Or enjoy Agents of SHIELD without having seen Captain America: The Winter Soldier, for example. If you have seen the related material then it enhances the whole. But any element can stand without the others.
The love story between Anakin and Padmé remains unconvincing, and Padmé’s death… well, I had gained the impression that she had died in childbirth, which seemed implausible in such a technologically-advanced society. In fact she died of a broken heart, or just gave up the ghost, or something. Which would be more plausible (if still not very) had she not just given birth. It seems more likely that a new mother would tend to fight for life to protect her babies. She died because the plot needed her to, in the end. If, as a creator, you have to do that kind of thing, you should at least find a more convincing way to do it.
Anyway, now I’ve seen all of the Star Wars movies, and I’m ready for The Force Awakens. Which is good, because I’ll be seeing it in about 30 hours.
Attack of the Clowns, or: Send in the Clones
Some time in 2002, as I suppose it must have been, I was driving through Hackney with my then-small son in the car, when he said, "Dad, I saw a clown."
OK, I thought, someone probably dressed up for a kids' party. It was a Saturday, as I recall. “Oh, yeah, where?” I glanced around, but couldn’t see any white faces or red noses.
“On a bus shelter.”
“A clown? On a bus shelter?”
“Yes. A clown. You know, from Star Wars.”
I guess I must have been able to give some explanation of what “clone” means, to a five-year-old. But it wasn’t till last weekend that we finally saw the relevant movie.
And as before… it wasn’t as bad as I’ve been led to believe. Keeping your expectations low always helps.
It wasn’t great, it’s true. In particular I wasn’t convinced by Anakin and Padmé falling in love. Anakin, yes, but Padmé, really, no.
I had a hard time working out what the sides were in the big battle. The clones end up fighting on the side of the Republic? I didn’t expect that.
And this bothers me: if you are an assemblage of planets joined together in common cause by treaty, and some of those planets decide they want to leave – going to war over it should be the furthest thing from your mind. It would be like if a country wanted to leave the EU, and the rest of the EU formed a vast army to force them to stay in it. That’s not the action of a peaceful democratic entity.
It’s also insane. Even if you win and make the would-be-leavers stay, you’ve now got a load of people – whole worlds – who are actively hostile to the grouping they are within. That can’t be healthy.
Now, if a subset leaves peacefully, and then war developed later on, that would be more believeable. After all, we acknowledge the EU’s effect of helping to keep Europe peaceful these past seventy years. It’s one of the reasons I am strongly against the idea of Britain leaving.
But most importantly of all: you can’t say “federation starships” and mean the bad guys. I know they were talking about the Trade Federation, but “federation starship” means something in SF, and to hear it used here was really jarring. Did Lucas have beef with Roddenberry, or something?
Yoda fighting was fun. He’s so tiny.
And I’ve booked a work outing to see Episode VII on the 17th of December, the day it opens.
The Phantom Menace
Just who (or what) is the menacing phantom?
Following on from my On things never seen post, yesterday was Father's Day, and we watched The Phantom Menace.
It is not as bad – not nearly as bad – as nearly everyone makes out.
It starts badly, oddly enough. Not just the dull scroll about the Trade Federation, but then you have the Japanese-sounding guys in charge of the blockade and invasion, who are voiced by people who seemingly can't act. Their dialogue is frankly embarrassing.
But much of it is fine. Sure, there are holes in the logic, places where it doesn't exactly make sense; but what film doesn't have instances like that?
Even – and I realise I'm committing a kind of geek sacrilege as I write this – even Jar-Jar Binks isn't that annoying. Could the plot have worked without him, or with him not being a comedic figure? Of course. But having him as he is, does no harm.
But hey: I liked Wesley Crusher, too.
And that's about as much as I'm going to say about it for now.
On things never seen
There's a programme on Radio 4 from time to time (and it has made the transition to TV) called I've Never Seen Star Wars. In it Marcus Brigstocke gets a guest to try things that they have never tired before. Conversation ensues, and it can be amusing.
Anyway, the title clearly derives from how unlikely it is that anyone (of a certain generation or three, at least) will not have seen it.
In case you’re worrying, I saw the original – back when it was just called Star Wars, without the Episode IV: A New Hope subtitle – in the cinema (probably second run, not first, but still). And the second and third, of course.
But then there was the prequel trilogy. To be honest, when The Phantom Menace came out, I don’t think I was all that interested. I had known from early on that Lucas had planned the original as part of the middle trilogy of three. But by the time the prequels started, it had been so long that it just didn’t seem very important, you know?
And more importantly, in 1999 when it came out, I had a small child. We weren’t going to many films that weren’t aimed at like two-year olds. And after that, there was always something more interesting, more pressing to see…
I mislead you slightly, here. I did, in fact, see The Phantom Menace, after a fashion: on a shonky old VHS, with a three-year old sweetly chattering on the sofa next to me throughout. It hardly counts. And I definitely haven’t seen the others.
And I know everyone says, “Don’t bother, don’t waste your time, they’re terrible;” but they can only say that because they’ve seen them. And now – now there’s a new one coming down the line. Episode VII, The Force Awakens is due out in December, and I’ll certainly want to see it. Of course, it will follow on from Return of the Jedi, and it probably won’t matter if you haven’t seen episodes I-III; but it just wouldn’t feel right to not see them.
So I intend to watch the prequel trilogy. I was going to start today – the fourth of May be with you, and all that – but events got in the way. Still, over the next few weeks I’ll watch all three, and report back here.
Wish me luck.
2001: The aliens that almost were
An interesting piece on Kubrick, Clarke and collaborators trying to design the aliens for 2001: A Space Odyssey.
Via Daring Fireball.
A Line, a Loop, a Tangle of Timey-Wimeyness
This week, though, I’ve been to the presentation of the Clarke Award, which is held in association with the festival, and at its main venue; and last night, the whole family went to the BFI (or the NFT, I can’t quite work out what its official name is these days) to see a film.
Which was Dimensions, a low-budget British film about time travel – or maybe dimension-hopping – which doesn’t even have a distributor yet.
Which is a great shame, because despite some flaws it is a very enjoyable piece. We were still talking about it at lunchtime today.
It’s also something of a costume drama, being set in the 1920s and 30s. The Sci-Fi-London page about it likens it to Merchant-Ivory.
It did show its low-budget nature in one or two places, but nothing that destroys the overall effect. The couple who made it (Ant Neely wrote and composed the original music, and Sloane U’Ren directed and did much else) had to sell their house to fund it, so almost anything can be forgiven.
I won’t say too much more about it here, but if you ever get a chance to see it, you should take it.
There was a Q&A with writer, director, lead actor & editor after the screening, which was very interesting. I was geared up to ask a question, which would have gone something like this: “When you make a time-travel story, especially in Britain, you’re walking among some long shadows, especially Wells and Doctor Who; to what extent would you acknowledge those as influences?” I had my hand up to speak, when the interviewer asked a question touching on exactly those points. So I didn’t ask. Pity. I would also have mentioned the fact that they have a mysterious wise man know only as “the Professor”.
Anyway, lots of fun: highly recommended.
Aliens Among Us
I never bothered to watch Alien Resurrection because I didn’t like Alien3 (or Cubed, as I always see it). So now, browsing the new, freshly-in-beta SF Encyclopaedia I find it was written by Joss Whedon (who doesn’t yet have an entry in said volume, but no doubt will have eventually).
Why did nobody tell me this?
It seems a particularly timely piece of information as we’ve been introducing the kids to Buffy recently (in part to get us all over the lack of Doctor Who), and also to Firefly. We are deep in the Whedonverse.
Youssou N'Dour, Philip Glass, The Kronos Quartet, and Bela Lugosi
Most, but not all of them at one event.
Jamaica and Senegal Make Music
A couple of weeks ago we went to the Barbican to see Youssou N’Dour. In support were an acoustic reggae band called Inna da Yard. They were fabulous fun, and reminded me that I’ve been missing out on reggae since John Peel died.
Youssou and his band were amazing. They had more percussionists on stage than most bands have members (five, counting the drummer), which amused me.
The total number of musicians on stage was about sixteen. Plus they had a couple of amazing dancers.
And the professionals weren’t the only ones dancing on the stage. Several times members of the audience got up and joined in. Yes, a veritable stage invasion in the Barbican. The security people looked vaguely worried; I didn’t know the Barbican even had security.
I won’t try to dance about architecture and describe the music, but let’s just say it was the rockingest gig I’ve been to at that venue.
The Glass Eye
A few days later it was off to the Hackney Empire, where we saw the original 1931 Dracula, with a live soundtrack. Which was composed by Philip Glass, and performed by him, Michael Riesman, and The Kronos Quartet. That’s a pretty stellar lineup from the modern classical world.
I had at first thought that the film was silent, but it isn’t (I think I was confusing it with Nosferatu). Apparently it didn’t originally have a musical soundtrack, though.
While it’s clear that the film is the origin (or an origin) of many horror film clichés, and the story is of course very familiar, I don’t think I had ever seen it before – though I thought I had.
I thoroughly enjoyed the whole thing, though the film volume could have done with being louder, as the music drowned out the dialogue at times. And on a related note, I’m not convinced that the music was always only there to serve the film, as a true soundtrack should be.
But all in all a fascinating night.