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Best of the year 2012

It’s that time of year again when I go back through my spreadsheets of books read, films seen and albums bought, and try to decide which are the best five of each. And yes, I do keep spreadsheets of them. I even have one where I record the bands I’ve seen perform live. And no, it’s not weird. It is organised.

Back in June, I did a half-year round-up – see here. Some of the books, films, albums I picked then have made it through to the end of the year, some haven’t. This time, for a change, I’m going to actually order my choices, from best to, er, least-best.

BOOKS
girl_reading1 Girl Reading, Katie Ward (2011)
This is probably the most impressive debut novel I’ve read for a long time. It could almost have been written to appeal directly to me. I like books that do something interesting with structure; it does something interesting with structure. I like books whose prose is immediate and detailed; its prose is immediate (present tense) and detailed. I like books that are broad in subject; it covers a number of different historical periods. And it all makes sense in the end. I’ll certainly be keeping an eye open for further books by Ward. I read this book in the second half of the year, so it didn’t make my half-year best. I wrote more about Girl Reading here.

23122 2312, Kim Stanley Robinson (2012)
This year, I’ve actually read eleven genre novels first published during the twelve months, which I think may be a personal record. Having said that, it’s been a good year for genre fiction for me, as a number of my favourite authors have had books out. Sadly not all of them impressed (The Hydrogen Sonata, I’m looking at you). 2312 was everything I expected it to be and nothing like I’d imagined it would be. The plot is almost incidental, which is just as well as the resolution is feeble at best. But the journey there is definitely worth it. It is a novel, I think, that will linger for many years. Again, I read 2312 during the latter half of the year, so it didn’t make my half-year list. I wrote more about it here.

universe-cvr-lr-1003 The Universe of Things, Gwyneth Jones (2011)
Some collections aim for inclusiveness, some collections try for excellence. I’m not sure why Aqueduct Press chose the stories in this collection – it’s by no means all of Jones’ short fiction – but as a representative selection, The Universe of Things does an excellent job. I reviewed it for Daughters of Prometheus here, and I opened my review with the line: “Gwyneth Jones does not write many short stories – forty-one in thirty-seven years – but when she does, by God they’re worth reading.” This book did make my half-year list. Now I just have to read PS Publishing’s larger Jones collection, Grazing the Long Acre

intrusion-ken-macleod4 Intrusion, Ken MacLeod (2012)
The endings of Ken’s last few novels I have not found particularly convincing. It’s that final swerve from near-future high-tech thriller into heartland sf. Though the groundwork is usually carefully done, it too often feels like a leap too far. But not in Intrusion. The world-building here is cleverly done – I love the pastiche of Labour, with its “free and social market” – the thriller plot works like clockwork, and the final step sideways into pure genre slots straight in like the last piece in a jigsaw puzzle. Intrusion is another book I read in the second half of 2012, so it didn’t make my half-year list. I reviewed Intrusion for SFF Chronicles here.

sheltering5 The Sheltering Sky, Paul Bowles (1949)
Curiously, I’d always liked the film adaptation by Bernardo Bertolucci, which inspired me to read the novel, but after finishing the book, I tried rewatching the film and found myself hating it. Mostly it was because the Lyalls, who are creepy and villainous in the novel, had been turned into comic caricatures. A lot had also been left out – though that’s not unusual, given the nature of the medium. The Arabic in the novel used French orthography, which meant I had to translate it twice to work out what it meant. And it looks like four out of the five books in this list I read after June, so the Jones collection is the only one from my half-year list that made it through to the end of the year one.

There are, however, a ton of honourable mentions – it’s turned out to be quite a good year, book-wise. They are: The Bender, Paul Scott (1963), which read like a sophisticated 1960s comedy starring Dirk Bogarde; The Door, Magda Szabó (1987), the best of my world fiction reading challenge (which I really must catch up on and finish); Betrayals, Charles Palliser (1994), a very clever novel built up from several stories, including a fun spoof of Taggart and a brilliant piss-take of Jeffrey Archer; How to Suppress Women’s Writing, Joanna Russ (1983), which should be required reading for all writers and critics; Hear Us O Lord from Heaven Thy Dwelling Place, Malcolm Lowry (1961), which introduced me to the genius that is Lowry; Ison of the Isles, Carolyn Ives Gilman (2012), successfully brings to a close the best fantasy of recent years; Omega, Christopher Evans (2008), a long overdue novel from a favourite writer, and a clever and pleasingly rigorous alternate history / dimension slip work; and Blue Remembered Earth, Alastair Reynolds (2012), the start of a near-future trilogy, which is very good indeed but also stands out because it’s not regressive or dystopian.

FILMS
red_psalm1 Red Psalm, Miklós Jancsó (1972)
It’s about the Peasant Uprising in nineteenth-century Hungary, and consists of hippy-ish actors wandering around an declaiming to the camera. Occasionally, they sing folk songs. Then some soldiers arrive and some of the peasants get shot. But they’re not really dead, or injured. Then the landowners turn up and start espousing the virtues of capitalism. But the peasants shout them down. A priest tries to explain the “natural order of things”, but the peasants aren’t having it. Then more soldiers arrive and round up all the peasants. The ending is very clever indeed. It’s a hard film to really describe well, but it’s fascinating and weird and beautifully shot. I wrote about it here.

red_desert2 Red Desert, Michelangelo Antonioni (1964)
This was Antonioni’s first film shot in colour and it looks absolutely beautiful. In terms of story, it is much like his earlier masterpieces, L’Avventura, La Notte and L’Eclisse, and, like them, stars Monica Vitti. But also a (weirdly) dubbed Richard Harris. It’s a surprisingly bleak film – although perhaps not “surprisingly”, given that earlier trilogy – but it’s hard not to marvel at the painterly photography and mise-en-scène – who else would have the fruit on a barrow painted in shades of grey in order to fit in with the colouring of the surroundings? I wrote about it here. And I really must write more on my blog about the films I watch.

circle3 The Circle, Jafar Panahi (2000)
This is one of those films where one story hands off to another one and so on, and in which there is no real story arc, just a journey through episodes from the lives of the characters. Each of which is a woman living in Tehran, and all of whom have just recently been released from prison. They were not, however, imprisoned for doing things that would be criminal in other nations. As the title indicates, the stories come full circle, and the film’s message is far from happy or pleasing, but there is still room for hope. This film won several awards, though the Iranian authorities were apparently very unhappy with it.

persiancats4 No One Knows About Persian Cats, Bahman Ghobadi (2009)
It’s not about cats, it’s about two musicians in Tehran who have been invited to perform at a music festival in London. But first they need to find some more musicians for their band, and they also need the necessary paperwork to leave Iran. But western-style music, which is what they play, is illegal in Iran, and there’s no way they’ll be able to get the visas they need legally. So they visit all the musicians they know, hoping some of them will be willing to go to London with them, and they also pay a well-known underground figure for the papers they require to travel. It’s an affirming film, but also a deeply depressing one.

Dredd5 Dredd, Pete Travis (2012)
I was badgered into going to see this at the cinema by Tim Maugham on Twitter. I hadn’t really thought it would appeal to me. Even the fact it was touted as being more faithful to the 2000 AD character didn’t mean I’d like it. Although I grew up reading 2000 AD, Judge Dredd was far from my favourite character, and I’ve not bothered buying any of the omnibus trade paperbacks that are now available. But I went… and was surprised to find it was a bloody good film. It’s sort of like a weird munging together of an art house film and a Dirty Harry film, and strangely the combination works really well. It’s violent and horrible and grim and panders to all the worst qualities in people, but it all makes sense and fits together, and despite its simple plot is cleverly done. I plan to buy the DVD when it is available.

Iranian cinema did well this year for me. Not only did The Circle and No One Knows About Persian Cats make it into my top five, but two more Iranian films get honourable mentions: A Separation, Asghar Fahadi (2011), and The Wind Will Carry Us, Abbas Kiarostami (1999). Kiarostami I rate as one of the most interesting directors currently making films. Other honourable mentions go to: John Carter, Andrew Stanton (2012), which was undeservedly declared a flop, and is a much cleverer and more sophisticated piece of film-making than its intended audience deserved; Monkey Business, Howard Hawks (1952), is perhaps the screwball comedy par excellence; On the Silver Globe, Andrzej Żuławski (1988), is bonkers and unfinished, and yet works really well; there is a type of film I particularly like, but it wasn’t until I saw Sergei Parajanov’s The Colour of Pomegranates that I discovered it was called “poetic cinema”, and his Shadows Of Forgotten Ancestors (1965) is more of the same – weird and beautiful and compelling; and finally, François Ozon’s films are always worth watching and Potiche (2010) is one of his best, a gentle comedy with Catherine Deneuve and Gérard Depardieu in fine form.

ALBUMS
mourningweight1 The Weight Of Oceans, In Mourning (2012)
I saw a review of this album somewhere which made it seem as though I might like it. So I ordered a copy from Finland – which is where the band and the label are from. And I’ve been playing it almost constantly since. It’s Finnish death/doom metal mixed with progressive metal, which makes it the best of both worlds – heavy and intricate, with melodic proggy bits. The Finns, of course, know how to do death/doom better than anyone, but it’s been a surprise in recent years to discover they can do really interesting prog metal just as well – not just In Mourning, but also Barren Earth (see my honourable mentions below).

aquilus2 Griseus, Aquilus (2011)
A friend introduced me to this one. It’s an Australian one-man band, and the music is a weirdly compelling mix of black metal and… orchestral symphonic music. It sounds like the worst kind of mash-up, but it works amazing well. In the wrong hands, I suspect it could prove very bad indeed. Happily, Waldorf (AKA Horace Rosenqvist) knows what he’s doing, and the transitions between the two modes are both seamless and completely in keeping with the atmosphere the album generates. The album is available from Aquilus’s page on bandcamp, so you can give it a listen.

dwellings3 Dwellings, Cormorant (2011)
The same friend also introduced me to this band, who self-released Dwellings. It’s extreme metal, but extreme metal that borrows from a variety of sub-genres. I’ve seen one review which describes them as a mix of Ulver, Opeth, Slough Feg and Mithras, which really is an unholy mix (and two of those bands I count among my favourites). Most of the reviews I’ve seen find it difficult to describe the album, but they’re unanimous in their liking for it. And it’s true, it is very hard to describe – there’s plenty of heavy riffing, some folky interludes, some proggy bits, and it all sort of melds together into a complex whole which is much greater than the sum of its parts. This album is also available from the band’s page on bandcamp, and you can listen to it there. (You’ve probably noticed by now that I’m terrible at writing about music. I can’t dance about architecture either.)

25640_woods_of_ypres_woods_iv_the_green_album4 Woods 4: The Green Album, Woods of Ypres (2009)
Woods of Ypres was a band new to me in 2012. I first heard their final album, Woods 5: Grey Skies & Electric Light, but at Bloodstock I picked up a copy of the preceding album and I think, on balance, I like the earlier one better. The music is a bit like Type O Negative meets black metal, with oboes. Sort of. The opening track ‘Shards of Love’ is, unusually for black metal, about a relationship, and it starts off not like metal at all and then abruptly becomes very metal indeed. An excellent album, with some strong riffs and some nicely quiet reflective moments. (It’s pure coincidence that I chose it as No 4 in my list, incidentally.)

obliterate5 Obliterate EP, Siphon the Mammon (2012)
I have no idea how I stumbled across this Swedish progressive death metal band. It was probably the name that caught my attention. And it is a silly name. But never mind. Anyway, I downloaded the EP from their bandcamp page… and discovered it was bloody good. It’s technical and accomplished, with some excellent riffs and song structures. I particularly like ‘The Construct of Plagues’, which features an excellent bass-line, but the final track ‘End of Time’ is also nicely progressive. And… this is the third album in my top five which is available from the band’s bandcamp page, which surely must say something about the music industry and the relevance of labels… or my taste in music…

This year’s honourable mentions go to: (Psychoparalysis), for a trio of EPs I bought direct from the band, and which are good strong Finnish progressive death metal; Anathema’s latest, Weather Systems, which I liked much more than the three or four albums which preceded, and they were bloody good live too; Hypnos 69′s Legacy, which I finally got around to buying and was, pleasingly, more of the same (this is good, of course); Barren Earth’s The Devil’s Resolve, which is definitely heavier than their debut album, but still very proggy and weird; A Forest of Stars, which is steampunk meets black metal, and it works surprisingly well (check out this video here); Nostalgia by Gwynbleidd, who, despite the name, are Poles resident in New York, and sound a little like a cross between Opeth and Northern Oak; Headspace, I Am Anonymous, another Damian Wilson prog rock project, but I think I prefer it on balance to Threshold’s new album; and Alcest, another band new to me in 2012, who play shoegazer black metal, which, unfortunately, works much better on an album than it does live.

IN CONCLUSION
And there you have – that was the year that was. On balance, I think it’s been a good year in terms of the literature, cinema and music I have consumed. There’s been some quality stuff, and some very interesting stuff too. Which is not to say there hasn’t been some crap as well, but it seemed less numerous this year. This may be because I chose to ignore what the genre, and popular culture, value and focus more on the sort of stuff that appeals directly to me – I’ve cut down on the number of Hollywood blockbusters I watch, I no longer read as much heartland genre fiction. There’s always a pressure to stay “current”, but the more I watch genre and comment on it, the more I see that it does not value the same things I do. It’s not just “exhaustion”, as identified by Paul Kincaid in his excellent review of two Year’s Best anthologies here, but from my perspective also a parting of the ways in terms of objectives, methods and effects. I want stuff – books, stories, etc – that is fresh and relevant, that does interesting things and says something interesting. I don’t want the usual crap that just blithely and unquestioningly recycles tropes and worldviews, stories about drug dealers on Mars in some USian libertarian near-future, space opera novels in which an analogue of the US gets to replay its military adventures and this time get the result it feels it deserved…

I mentioned in a post last week that I don’t read as much genre short fiction as I feel I should. After all, my views outlined above are taken from the little I’ve read on awards shortlists and in year’s best anthologies. Just because that’s what the genre values doesn’t mean the sort of stuff I value doesn’t exist. I just need to find it. So by including a short fiction best of list in 2013, I’ll be motivated to track down those good stories, to seek out those authors who are writing interesting stories.

All of this, of course, will I hope help with my own writing. I had both a very good year, and a not so good year, in that respect in 2012. Rocket Science, an anthology I edited, and quite obviously the best hard sf anthology of the year, was published in April. As was the first book of my Apollo Quartet, Adrift on the Sea of Rains. The Guardian described Rocket Science as “superb”, which was very pleasing. And Adrift on the Sea of Rains has had a number of very positive reviews see here. Unfortunately, as a result of those two publications, I haven’t been very productive. I spent most of the year after the Eastercon working on the second book of the Apollo Quartet, The Eye With Which The Universe Beholds Itself. Those few who have read it say it’s as good as Adrift on the Sea of Rains, which is a relief. Everyone else will get to find out in January, when it’s published. But I really should have worked on some short fiction as well. I’m not the quickest of writers – I marvel at those people who can bang out a short story in a week – but each story you have published, irrespective of quality, widens your audience a little more, adds a little more weight to your name. And that’s what it’s all about. No matter how good people say Adrift on the Sea of Rains is, I’ve only sold just over 200 copies – add in review copies… and that means perhaps between 250 and 300 people have read it. Some semi-literate self-published fantasy novels available on Kindle sell more copies than that in a week…

But that’s all by the by. This post is about 2012, not 2013. Sadly, I didn’t manage to reread much Durrell to celebrate his centenary. I’ve had The Alexandria Quartet by the side of the bed for about nine months, and I dip into it every now and again, but then I have to put it to one side as I have to read a book for Interzone or SF Mistressworks… Speaking of which, I had to drop to a single review a week on SF Mistressworks, but I still plan to keep it going. During 2012, I read 41 books by women writers, compared to 63 by male writers, which is about 40% of my reading (this doesn’t include graphic novels, non-fiction or anthologies). I also reviewed a handful of books for Daughters of Prometheus, although I haven’t posted one there for several months. (I’ve no plans to drop either responsibility in 2013.) Just over a third of my reading was science fiction, and a quarter was mainstream – so sf is still my genre of choice. Numbers-wise, I’ve not managed as many books as last year – only 146 by the middle of December, whereas last year I’d managed 165 by the end of the year. But I think I’ve read some more substantial books this year, and I did “discover” some excellent writers, such as Malcolm Lowry, Katie Ward and Paul Bowles. It’s a shame I never managed to complete my world fiction reading challenge. I still have half of the books on the TBR, so I will work my way through them, though I may not blog about it.

But, for now, it’s Christmas – bah humbug – in a week. And then the start of 2013 follows a week after that. Here’s hoping that next year is better for everyone, that the good outweighs the bad, and that every surprise is a pleasant one.


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Readings & watchings #9 2011

Despite making a compulsion of reading every day, the TBR pile looks no smaller – and, in fact, might well have grown. If I was smart I’d institute a policy of only buying a new book if I’ve read one from the TBR. Sadly, I’m not. Maybe I should get a Kindle or something – at least then the books wouldn’t take up as much space. Mind you, it would make my book haul posts look a bit silly…

Anyway, here are the books I have read in the past month or so; here are the films I’ve watched in the past month or so. Some were good, some were bad, some were meh. And so it goes. Apologies for the length of this post; I really should do these more frequently.

Books
Hardball, Sara Paretsky (2009). I’ve been a fan of Paretsky’s novels since first reading one back in the early 1990s. Perhaps their chief appeal is that Paretsky wears her politics on her sleeve, and VI Warshawski’s investigations always end up uncovering something interesting about Chicago’s political landscape and history – and often as commentary on the US as a whole. Hardball, a slight return to form after the disappointing Fire Sale, is no different in that respect. Warshawski is asked to track down a young black man who disappeared during Martin Luther King’s visit, and the subsequent riot, in 1968… and discovers some unwelcome facts about the city’s police department of the time. Of which her late father was a member. There are a lot of angry men in Hardball – in fact, it often seems like the entire male cast are angry at Warshawski, and not always for good reason.

Shadow Man, Melissa Scott (1995), was September’s book for my reading challenge and I wrote about it here.

Valerian 1: The City of Shifting Waters (1970) and Valerian 2: The Empire of a Thousand Planets, Jean-Claude Mézières & Pierre Christin (1971), are the first two English translations by Cinebook of a well-known sf bande dessinée series. Valerian is a spatio-temporal agent and, with his sidekick Laureline, gets involved in various adventures throughout the universe and history. In The City of Shifting Waters, he’s sent back to 1980s New York, which is flooded after a global environmental disaster, to prevent an evil villain from a nefarious plot to prevent the creation of the agency for which Valerian works. In The Empire of a Thousand Planets, Valerian and Laureline are sent as diplomats to a thousand-world planetary system (!), but discover that some strange group controls all the planets and seems determined to wage war on Earth. These books are not entirely serious – there’s a gentle humour running throughout them, though it’s not very subtle. Laureline, the sidekick, for example, is the clever one, who always gets Valerian out of his scrapes. There’s some inelegant info-dumping, and some of the story and art of The Empire of a Thousand Planets looks suspiciously like a direct inspiration for Star Wars (as an afterword points out tongue-in-cheek). Fun, though.

On Green Dolphin Street, Sebastian Faulks (2001), I’m fairly sure I tried reading when I was living in Abu Dhabi, but gave up a couple of chapters in because nothing seemed to be happening. This time, I ploughed on and… nothing happened. The van Lindens are a diplomatic couple in 1959 USA. Charlie is an analyst at the British Embassy, and was something of a wunderkind. But his star is now waning, mostly as a result of his drinking. When Frank Renzo, an acquaintance from Charlie’s visit to Vietname years before, re-introduces himself at a party, it results in an affair between Renzo and Mary van Linden. This comes to a head when Charlie has a breakdown during a trip to Moscow, and Mary has to go and fetch him. I was expecting a final section like that in Charlotte Gray – another Faulks novel which ambles along at a geriatric pace – but there isn’t one in On Green Dolphin Street. Charlie has a breakdown, Mary rescues him. That’s it. There’s some nice writing, but it’s not really enough to keep you reading. Disappointing. I’ve got four more novels by Faulks on the TBR. I hope they’re better than this one…

The Adventures of Blake & Mortimer 11: The Gondwana Shrine, Yves Sente & André Juillard (2011), is another addition to Edgar P Jacob’s series, and follows on directly from the two The Sarcophagi of the Sixth Continent volumes. It’s drawn in Hergé’s ligne claire style, but is very talky with great speech balloons filling up many panels. The plot is completely bonkers, as Blake & Mortimer stumble across evidence of a secret base in Africa of a civilisation which existed on Gondwana millions of years before the first humans left the Rift Valley. Sometimes, you get the impression Yves Sente is a bit too clever for his own good…

Ascent, Jed Mercurio & Wesley Robins (2011), is a graphic novel adaptation of Mercurio’s excellent novel of the same title. The hardware is well drawn, but the rest looks a bit rubbish and amateur. Disappointing.

The Kings of Eternity, Eric Brown (2011), has been receiving lots of positive notices, though I think it’s unlikely to bounce Brown’s career to the next level. It’s very good, but it’s far too considered a novel to have broad genre appeal. It’s also not space opera. A reclusive writer living on a Greek island in 1999 falls in love with the painter who has moved in next to him, but only reluctantly opens himself to her. Four friends in 1935 meet at the country home of one of them, and in the woods nearby witness the opening of a portal from another world and rescue the creature which comes through it. The link between the two narratives is not difficult to guess, but that doesn’t spoil any enjoyment this novel might have. The narrative set on the Greek island has a somewhat Fowlesian feel to it, though it’s perhaps more sentimental than anything Fowles ever wrote. The other narrative is very Wellsian, though it uses Wellsian-type tropes with the sophistication of a twenty-first century sf writer. Is this Brown’s best novel? Hard to say. I still like Kéthani a lot, though The Kings of Eternity is certainly a very good novel. Perhaps my reading of it was spoiled slightly as a result of reading the novella on which it was based, ‘The Blue Portal’, some years ago.

Silicon Embrace, John Shirley (1996), however, is not a good novel. I like Shirley’s fiction, but he can be very slapdash. And Silicon Embrace is one of the slapdash ones. It’s a post-apocalyptic US crossed with UFO mythology, featuring a Damnation Alley-style journey across California and Nevada, with a secret underground base staffed by a military in league with the Greys. Then the story heads for New York, and turns into something slightly different. This book was poorly edited, with far too many ellipses left in the dialogue, and a number of silly mistakes, like mention of “Neil Stephenson” (sic). Disappointing.

It Was the War of the Trenches, Jacques Tardi (1993), is a bande dessinée treatment of WWI from the point of view of the soldiers. Tardi has picked out some of the worst and most horrific stories, and given them a graphic novel treatment. Such as the one about the Sicilian soldier who could not speak French and so didn’t go over the top when ordered, and was subsequently tried and shot as a deserter. Or the officer who ordered machine-guns to open fire on his own men because they were being mowed down by the Germans and were trying to get back to their trenches. The more you learn about the First World War, the more you realise the wrong people were killed. Anyone who reads this and continues to glorify war and the military is clearly an idiot.

Maul, Tricia Sullivan (2003), was October’s book for my reading challenge and I’m still working on a blog post about it.

The Joy of Technology, Roy Gray (2011), is a chapbook published by Pendragon Press. The author is a friend of mine. The technology in question is that used in sex clubs in Germany in order to better titillate customers. The customers, in this case, are a coach-load of football fans from the UK, visiting Germany as their team is playing away. A father introduces his son to the joys of travelling onto the Continent to see a footy match, and also to the delights to be had before and after the match. Gray pulls no punches, and if his story dehumanises its characters I suspect that was its intent. It does trail off a bit towards the end, and perhaps would have been improved by a punchier finale.

Synthajoy, DG Compton (1968). A blinding novel by a much-underappreciated writer. I wrote about it here.

Dead Girls: Act 1 – The Last of England, Richard Calder & Leonardo M Giron (2011), is a graphic novel of part of Calder’s novel of the same title. I’ve read that novel – in fact, I’ve read the trilogy – and it’s very good. The graphic novel is also very good. The style of art suits the material perfectly. The story is actually the flashback from the novel, which actually makes the world of the book easier to understand. I’m looking forward to seeing the next installment.

The Unit, Ninni Holmqvist (2006), has lots of praise on the covers of my paperback copy of this book, and I’m not entirely sure why. In a near-future, or alternate present, Sweden, anyone over the age of fifty without children, or who has not made a significant contribution to culture or industry, is deemed “dispensable”. They are taken to luxurious centres – such as the “unit” of the title – where they have free housing, food and healthcare, and are encouraged to use the copious leisure facilities. While there, they must volunteer for medical experiments and, over a period of years, donate whenever necessary their organs. Dorrit is one such woman. Something of a loner, inside the unit she finds friendship, and then love. At which point, of course, she no longer wants to be dispensable. The concept of the unit is, I admit, quite neat, though it doesn’t hold up to scrutiny. From the description, it would cost far more to run than it returns in the form of drug testing or donated organs. The rules on who is dispensable are also open to abuse, especially for those who are childless but have contributed in some highly-recognised fashion. Also, the fact that survival is predicated on having children will also push women back into their traditional roles, undoing decades of feminism. None of this seems to have occurred to Holmqvist. She makes Dorrit a bit mannish, but has her enjoy being passive and feminine as if it were something to aspire to. I also thought the writing was very clumsy in places, though that may be more the translator’s fault than the author’s. I suspect this is one of those books where people can see little beyond the central conceit – like Oscar Wilde’s The Picture of Dorian Gray, for example, which has a brilliant central idea but is appallingly written. And yet those same people will sneer at science fiction because so many of its fans look only at its ideas and ignore all else in a text.

Warlord of Mars Vol 1, Arvid Nelson, Stephen Sadowski & Lui Antonio (2011). I have a love-hate relationship with John Carter. Or rather, with the books in which he features. Barsoom is a great invented land, but the prose is often quite painful to read – not only is the style horribly dated, but Edgar Rice Burroughs was a hack. But there’s something in John Carter and Barsoom which fires the imagination… even if every incarnation of it to date has yet to match expectation. This miniseries is an attempt at a more faithful comic adaptation of the first book of the series, A Princess of Mars. However, like all such it stands or falls on the quality of its art… and here it’s not too bad. Okay, so Dejah Thoris is improbably bosomed and near naked – though, to be fair, in ERB’s novel all the character are naked all the time. And the Tharks do bear a suspicious resemblance to the Tharks in Marvel’s 1978 John Carter, Warlord of Mars comic. Overall, this is quite a good adaptation, though it does make the source material appear more shallow than it actually is. Meanwhile, I’ll have to wait until Pixar’s film adaptation is released in March 2012…

The Uncensored Man, Arthur Sellings (1964), I read as part of my British sf Masterworks investigation, and I wrote about it here.

Warlord of Mars, Dejah Thoris Vol 1: Colossus of Mars, Arvid Nelson & Carlos Rafael (2011), is much better than the adaptation of A Princess of Mars by the same writer mentioned above. The artwork is lovely, though Dejah Thoris is still implausibly pneumatic. And mostly naked. But Dejah Thoris is certainly the heroine and drives the plot from start to finish. The story is set hundreds of years before John Carter appears on Mars, when Greater and Lesser Helium were at war and both owed allegiance to another city-state. The jeddak of that state finds an ancient colossus and goes on a rampage, but Dejah Thoris manages to ally the two Heliums and leads a force to defeat him. I’ll be keeping an eye open for the next book in the series.

The Testament of Jessie Lamb, Jane Rogers (2011), was, I believe, longlisted for the Booker, but since the plot summary made it clear it was sf-written-by-a-mainstream-author I picked up a copy just before Waterstone’s abolished their 3-for-2 promotion. And it’s certainly sf, in the same way The Handmaid’s Tale or The Children of Men are. Or even Nineteen Eighty-four. At some point in the near-future, a virus is released which infects everyone. But when women become pregnant, it turns into full-blown Creuzfeld-Jakob Syndrome and is always fatal. In other words, women can’t have children anymore – or they die. And it’s a particularly horrible death, as their brain dissolves in their skulls over a period of weeks and sometimes days. Jessie Lamb is 16-year-old whose father works at a clinic attempting to find a cure to Maternal Death Syndrome. While around them the world slowly falls apart. The first section of the novel, in which Jessie tries to come to terms with the world, and in which the role of women in society slowly erodes, is very good indeed. But about halfway through Jessie volunteers to become as “Sleeping Beauty” – she joins a programme which will keep the mothers in comas so the babies can be born safely, though, of course, the mothers will not survive. At which point, the novel turns into YA story and is all about Jessie trying to convince her parents that her choice is the right one. Yet the trigger for that choice doesn’t seem especially obvious. The Testament of Jessie Lamb is a pretty good book, but it’s also half of what could have been an excellent one.

The Garments of Caean, Barrington Bayley (1978). Bayley’s fiction was always slightly odd, and this one’s no exception. It’s 1970s hackwork, but it starts from a point, with a conceit, that no self-respecting sf hack would ever have tried. But Bayley makes it work. Sort of. In the Tzist Arm of the galaxy there are two major cultures, the Ziode cluster and Caean. The Ziodeans are just like contemporary Anglophone Westerners, but with spaceships and few other sf trappings of the day. The Caeanites, however, are entirely different. They have developed tailoring to such a degree – they call it the Art of Attire – that clothes do indeed maketh the man. So when a black marketeer liberates a cargo of Caeanic clothing from a crashed spaceship, it threatens the already minimal relations between the two groups. The prose veers from serviceable to the odd piece of fairly good writing. About two-thirds of the way through, the plot takes a turn that makes a nonsense of the book’s set-up up until that point. And there’s a casual mention of rape which is really quite offensive in this day and age. Not one of Bayley’s best. There were much better books written by British sf authors during the 1970s. Don’t bother with this one.

Films
The Big Heat, Fritz Lang (1953), is one of Lang’s noir films from his Hollywood period. Glenn Ford plays the white knight, an honest cop, who tries to bring down the mob boss who runs the city. While the film is generally considered a classic of the genre, it does suffer heavily from simplistic morality, the righteousness of its hero, and the characterisation of women as either duplicitous or victims (Lang’s While the City Sleeps has a woman beat the shit out of a serial killer who attacks her). The Big Heat is especially brutal in this last regard, when mobster lieutenant Lee Marvin throws boiling hot coffee into the face of his girlfriend because she was seen talking to Ford. And she’s not the only victim of Ford’s relentlessness. He continues to harrass the mobster – ignoring due process, evidence, etc. – despite being told not to by his lieutenant, and as a result is suspended. But still he carries on. And he gets his man in the end, no matter who suffers or perishes in the process. Of the Lang noir films I’ve seen, The Big Heat is the least interesting – it’s too formulaic, has little or no ambiguity, and, let’s face it, Marvin’s brutality is no reason to celebrate a film.

Winter’s Bone, Debra Granik (2010), I vaguely recall hearing good things about, though I think I kept on getting it confused with Hanna. I’ve no idea why – the only thing the two films have in common are a teenage girl as protagonist. Anyway, I put it on the rental list, several weeks later it dropped through the letter box, I picked it up and looked at it and thought “meh”. One weekend night I stuck it in the DVD-player… and it proved to be one of the best films I’ve seen so far this year. A teenage girl is visited by the local sheriff, who tells her that her father, whom she has not seen for weeks, is due in court soon. He has put up his house as surety for his bail and if he doesn’t appear, then the girl, her young brother, and their mentally ill mother will be put out on the street when the bail bonds company seizes the property. So she goes looking for her errant pa. The film is set in the Ozarks, among poor families who live on subsistence farming and cooking methamphetamine. It’s an insular society, ruled by the threat of violence, in which women live in fear and even kin asking questions is unwelcome – and punished by threats and then violence. Jennifer Lawrence is excellent as the girl. Winter’s Bone is a scary film, set among very scary people. I now want to read the novel by Daniel Woodrell on which it’s based. In fact, I’d like to read all of his books. This is not always a good move: for example, Hitchcock’s Marnie is greatly superior to Winston Graham’s, and the film of Roddy Doyle’s The Commitments is much better than the book. But I’d still like to read them.

Black Heaven, Gilles Marchand (2010), I reviewed for The Zone and it was meh. See here.

The Wedding Song (Le chant des mariées), Karin Albou (2008), is one of those films that occasionally appears on my rental list but I forget why I put it there. Perhaps it was because it’s set in Tunisia, and I’ve seen many excellent North African films. The Wedding Song is set during WWII after the invasion of Tunisia by the Nazis. Two teenage girls, one an Arab Muslim, the other Jewish, are friends, but the Germans’ demands on the population soon push them apart. Not helping this are the Arab girl’s fiancé, who goes to work for the Germans identifying the local Jews, or the Jewish girl’s mother who marries her off to a wealthy doctor much older than her. This is not a pacey film, it’s far more about developing the characters in order to better understand their responses to the Nazi depradations. I’ve seen the film presented as a lesbian film, which it isn’t. The two girls are childhood friends, though that doesn’t prevent one from betraying the other – and later saving her. The Wedding Song is as much about the Nazi invasion’s effect on Tunisia as it is about the effect on the two girls. An excellent film.

Summer Storm, Douglas Sirk (1944). I’ve always thought that Sirk was to the melodrama what Hitchcock was to the thriller. But while Hitchcock never made a film that wasn’t entertaining, Sirk’s oeuvre is not so consistent. It’s not just later-period fluff like 1957′s Battle Hymn, but even earlier works such as this adaptation of Chekov’s novella, ‘The Shooting Party’. It just seems… weird. It’s melodramatic, and very much a mid-1940s melodrama. But everyone is dressed in nineteenth-century Russian costumes, and they all have Russian names. It makes for a weird disconnect between story and presentation. George Sanders plays a provincial judge ensnared by a scheming peasant beauty (Linda Darnell). First she marries the local aristocrat’s estate manager – and the aristocrat throws a party and invites all his effete peers as a joke – but Darnell’s sights are set higher. There’s probably a good script hiding in Summer Storm, but I kept on getting thrown by the fake scenery and American jocularity.

Thor, Kenneth Branagh (2011). Of all the heroes in Marvel’s stable, you have to wonder why they chose Thor for a movie adaptation. He’s one of the least interesting. He’s a Norse god with a big hammer, and in his secret identity he works as a doctor. The Thor from Norse mythology had much more interesting adventures. Of course, Thor is one of the Avengers, and The Avengers is next year’s Marvel tentpole release (the preview trailer actually looks quite boring). In order to introduce Thor, Branagh ripped off the plot of Superman II, but flipped it so that the good guy is exiled to Earth rather than the baddies. Thor’s brother Loki schemes for Odin’s throne, and big dumb Thor falls for his dastardly tricks, and a sa result is exiled to Earth. Where he happens to land in the lap of scientist Natalie Portman. For much of the film, Thor’s superpower appears to be stupidity, though he quickly learns to be a nice person, which not only gets him back to Asgard and allows him to defeat evil Loki, but also returns him to the loving bosom of his father. Because, of course, Thor is a father-son film. Admittedly, the film looks good – especially the bits set in Asgard, though it seems to have ditched the whole Norse mythology thing and implies that Asgard is an alien world / alternate dimension sort of place that just happens to be populated by humanoid Viking-types. I can’t see much point in trying to rationalise superheroes – it can’t be done. They are nonsense, their powers are magic. And the comics industry has never understood what rigour is, anyway.

Tron Legacy, Joseph Kosinski (2010). Perhaps the desire to update Tron, given the current state of special effects, is understandable. I mean, the original Tron had some good ideas, and an interesting look, but it wasn’t very good. Unfortunately, it was still a damn sight better than Tron Legacy. Yes, the special effects are much improved. But the story is rubbish. And it makes no sense. Jeff Bridges’ son accidentally gets himself digitised and ends up in the virtual world where his father has been trapped for the past umpteen years. In order to escape, they both need to defeat the evil copy of Bridges he created to run the virtual world. This is all supposed to have something to do with microprocessor architecture and programming, but I work in IT and it made no sense to me. anyway, Bridges, as creator, has special powers. But he only uses them in the last ten minutes of the film to save his son. He could have used them at any time. And the only way he can save him is to commit total genocide. Despite the fact he has been fighting his evil copy because said copy committed genocide on some virtual life that spontaneously appeared in the virtual world. Who writes this crap? Oh, and did I mention it’s a father-son film? Well, obviously.

Almighty Thor, Christopher Ray (2011), is the Asylum’s take on Thor. Except it’s completely different. Sort of. Odin and his two sons live in generic semi-mediaeval fantasyland (one of the greener parts of California, by the look of it, with a poor CGI rendering of a castle). Baldir is Odin’s heir, a powerful warrior. Thor, however, is a weakling and not very bright. He doesn’t know how to fight with a sword, either. Then Loki – Richard Grieco, looking like he’s spent the last decade shooting up – invades Asgard, and kills both Odin and Baldir. It’s up to Thor to save the day. Except he’s useless. Happily, Valkyrie Jarnsaxa appears and agrees to train him up. This involves hiding out in present-day Los Angeles – well, those back-streets where filming permits are evidently quite cheap. If the sections set in Asgard looked cheap, the ones set in LA resemble something from public access television. The Asylum are rightly known for making shit films, and the only astonishing things about them are the levels of shitness those film actually reach. Yes, some films are so bad they’re good, but that’s one trick the Asylum has yet to master.

Bonjour Tristesse, Otto Preminger (1958). When I think of Preminger I think of classy noir films from the 1940s, but Bonjour Tristesse, adapted from the novel by Françoise Sagan, is a 1950s melodrama. It opens in black and white, with Jean Seberg describing her ennui in voice-over as she flits from one Parisian night-club to the next, from one wealthy young playboy to the next… The action then shifts to the previous summer, on the French Riviera, and in colour. Seberg is holidaying there with her father, shallow playboy David Niven. Staying with them is a bouncy Swedish blonde playmate… but then Deborah Kerr, an old flame, unexpectedly accepts an invitation to visit. and she manages to tame the playboy father. This unfortunately puts the kaibosh on Seberg’s plans for a life of profligate leisure, so she hatches a cunning ploy. Which has a somewhat unfortunate consequence. It’s all very high-society and irresponsible wealth, and you can’t feel much sympathy for the characters. But it’s an excellently-made film, and both Niven and Kerr are very good in it. Seberg I found too gamine and empty-headed to really convince, and as a result the film for me never quite managed the charm of Hitchcock’s To Catch A Thief or the cool sophistication of Antonioni’s L’Avventura.

Princess of Mars, Mark Atkins (2009), I stumbled across one night on Movies 24, but only managed to catch part of it. So I made a note of its next showing, and sat down to watch it from start to finish. It is, of course, an Asylum film, and while it’s currently titled Princess of Mars to cash in on Pixar’s release of John Carter of Mars next March, it was originally titled Avatar of Mars after James Cameron’s blue-peopled epic. In fact, Princess of Mars follows ERB’s novel quite closely – though, like every adaptation ever made, it ditches the nudity. Carter himself is updated to a Special Forces soldier in Afghanistan, and the mechanism which sends him to Barsoom is a military experiment performed on him since he’s at death’s door. But once on the Red Planet, he runs into the Tharks, joins them, captures Dejah Thoris, falls in love with her, and goes on to save the planet and unite the Red and Green Men. Mars itself resembles an Arizona desert, most of the special effects are cheap and nasty, as are the make-up and prosthetics, and Traci Lords as Dejah Thoris is astonishingly bad. But for an Asylum film, this one is actually almost watchable.

Ricky, François Ozon (2009). There’s something about Ozon’s films I find appealing – though, it’s not true of all of them. Angel is garish and amusing, Water Drops On Burning Rocks has that astonishing dance scene in it, Under The Sand is beautifully played… but Le Refuge is a bit dull, as is Swimming Pool, and 8 Women I find a little too OTT. Certainly he’s a director whose films I seek out, however. And happily, Ricky is one of the good ones. A working-class French woman falls in love with a spaniard who works at the same factory. He moves in with her, the woman’s young daughter is upset at having her world altered but gradually comes to accept him… then the woman becomes pregnant. The family dynamic immediately changes. That is until the baby – rickey – is born and when several months old develops bruises on his shoulder blades. The woman accuses the father of hurting Ricky. Hurt and disgusted, he leaves her. The bruises grow worse… and sprout into a pair of wings. Ricky can fly. Mother and father are reconciled. At first they try to keep Ricky’s ability a secret, but he escapes during a trip to the local supermarket, so they reluctantly call in the media. Perhaps Ricky with his angel’s wings feels a little too much like over-egging the new-family-new-baby cake – it’s perhaps a cliché that families always see their new babies as “little angels”. And there’s the daughter to consider too – she goes through the typical cycle of jealousy to acceptance to pride.

X-Men: First Class, Matthew Vaughn (2011), has been much praised as an intelligent addition to the (typically dumb) corpus of superhero films. Which is to forget that the first two men X-Men films directed by Bryan Singer were actually pretty smart movies. In X-Men: First Class – which is, of course, a cunning pun – the action is set in the 1960s and shows the X-Men helping the CIA prevent a conspiracy by evil mutants to use the blockade of Cuba to trigger nuclear Armageddon. Along the way, we get to discover how the above-the-title mutants discovered their powers, and the use they put them to before deciding the patriotic thing to do was work for a bunch of interfering types like the CIA. While X-Men: First Class is a pretty smart film for a superhero film, and it marches along at an energetic pace, look too closely and things start to look less shiny. It’s not just Kevin Bacon’s really bad German accent – which he thankfully drops when he reappears as Sebastian Shaw… or the over-preponderance of semi-naked women throughout the film… or that Banshee, an Irishman in the comic, has been recast as American in the film… or that Angel is now female, though he was male in the comic and earlier films… or that the Soviet villain uses a Bell 47 helicopter to visit his dacha (which looks more like a stately home left to wrack and ruin, anyway)… or why the villains always win in their fights against the good guys until the last reel of the film… or that the X-Men supersonic jet, which has always been modelled on a Lockheed SR-71, apparently has no room in its interior for jet fuel… or that Magneto introduces himself to Nazi refugees in South America by offering to buy them a Bitburger, but no one says “bitte, ein Bit”… But perhaps I’m asking too much of what is essentially pure entertainment. Except, if it’s “pure entertainment”, why try to position it as an intelligent film which comments on real life geopolitical events? Why not just admit it’s men – and women – in tights with logic-defying superpowers trying to remould the planet to fit in with US preconceptions of what Earth should be?

Green Lantern, Martin Campbell (2011). You’d think a story about a man with a magic ring that allows him to defeat evil, and who wears magic tights, wouldn’t be science fiction. But Green Lantern has aliens in it, and lots of lovely shots of galaxies and other celestial objects, and apparently the Green Lantern Corps are the guardians of galactic civilisation. If there’s a genre this film belongs to it’s the genre of tosh. I am a science fiction fan, but even I couldn’t swallow the central premise of Green Lantern. Still, it is a Marvel film. It’s also a Hollywood film, so it’s all about a son and the father he could never live up to. Because all Hollywood films are father-son films. I suspect some powerful studio executive has done way too much therapy. Anyway, Green Lantern was entertaining in a “nice visuals” sort of way, providing you turn off your higher cognitive functions. The story didn’t make much sense, and was filled with pointless scenes. For example, the commander of the Green Lantern Corps beats the crap out of Green Lantern and then tells him he’s rubbish. Well, of course he is. He only put the ring on twenty minutes ago, and no one’s trained him how to use it. And then the super-powerful villain that no one can beat only be defeated by that self-same rookie who has, um, oh hours of experience in the job. Then you have lines such as “The bigger you are, the faster you burn.” Er, no. But why expect accurate physics in a film about a man with a magic ring?

51, Jason Connery (2011), I reviewed for The Zone, and it was shit. See here.

Dr Who: The Ribos Operation, The Pirate Planet, The Stones of Blood, The Androids of Tara, The Power of Kroll and The Armageddon Factor (1978 – 1979), are the six stories which make up the Key to Time sequence, which introduced fellow Time Lord Romana as the Doctor’s companion. The final story also revealed the Doctor’s real name, which is apparently Theta Sigma, so I’m not surprised he insists on being called the Doctor. (According to the mythology, this is a “known alias”, though why someone would use an alias at an academy is never explained. It also transpires that ΘΣ was used in the New Testament as an abbreviation for God, so it’s most likely a case of a scriptwriter having a small joke…). The Key to Time is some sort of magic thingummy which, er, safeguards time or the universe or something. The White Guardian tasks the Doctor with gathering the six pieces, which have been hidden throughout time and space, and giving him the completed Key. Because then it would be safer than being hidden in six pieces throughout time and space. Apparently.

The Ribos Operation is a straightforward sting story. A pair of interstellar conmen try to sell a planet – without the knowledge of its semi-mediaeval natives – to a deposed noble by planting a sample of a valuable mineral and pretending not to understand its worth. The Doctor puts a stop to their con, but also prevents the nasty noble from furthering his own nasty plan.

The Pirate Planet is Douglas Adams’ first Dr Who script, and so is held in high regard. I can’t see why myself. The story has a neat idea but it doesn’t stand up to scrutiny. The titular world is hollow and hyperjumps to enclose other planets. Which it then strips of their resources. These worlds are generally inhabited, except… if the pirate planet was only after the natural resources of a world, then populated ones would probably already be mined out. Uninhabited ones would be a much better prospect. Unless it’s the fruits of their societies – technology, artworks, jewellery, etc – the pirates are after… The Pirate Planet is also infamous for a fight between K-9 and a robot parrot. Which is exactly as silly as it sounds. Incidentally, the hidden segment in this story proves to be latest planetary victim of the pirates. So even if they hadn’t committed genocide, the Doctor would have done so when he transformed the planet into a segment of the Key to Time.

The Stones of Blood feels a little like a return to a slightly older Dr Who story. It’s set on Earth around the time of filming (ie, late 1970s). Two women are researching a local stone circle, but there’s funny stuff going on at the manor, which is now owned by the oily leader of a druidic sect. It’s all to do with some alien that looks like a standing stone – well, which is meant to look like a standing stone, but actually looks a bit crap – an immortal alien, and a spaceship hidden in hyperspace somewhere over the stone circle. It’s one of the better stories.

As is The Androids of Tara, in which Dr Who rips off The Prisoner of Zenda, only with androids impersonating various members of the rival factions for the throne of Tara. It was filmed in and around Leeds Castle, and certainly looks good. It’s Dr Who at its frothiest.

The Power of Kroll, on the other hand, is Dr Who at its wettest. It’s set in a swamp – well, an estuary. With green-skinned humans, who worship a semi-mythical giant squid; and a really crap model of an oil rig, which is supposedly a facility for converting methane into “protein”. Their drilling has woken the giant squid, Kroll, which is actually a couple of miles across. Terror ensues. There’s a lot of really offensive racism against the green-skinned people in this, and while it’s plainly intended to make a point, the writers seem to forget what that point is halfway through.

The final episode, The Armageddon Factor, is perhaps the worst of the six. The story reminded me of one from the classic Star Trek series. Or maybe it was from Star Trek: The Next Generation. Anyway, there are two planets engaged in nuclear war, and it’s all going very badly. The Marshal of one talks to a mirror and refuses to accept the possibility of negotiation. But then the Doctor arrives, and it turns out there’s no one left alive on the other planet and their military machine is all being run by a computer. And there’s this toad-like evil villain called the Shadow who has manufactured the entire situation because he wants the Key to Time. At one point, the Doctor ends up running around some caves in a secret planet, miniaturised. But I think my eyes had started to glaze by that point.

I never saw the Key to Time stories when they were first broadcast (1978 – 1979), though I was in the UK at the time. At boarding-school. So there was no rosy tint watching these, though I admit to being a very small fan of Dr Who, inasmuch as it was an on-and-off part of my childhood. While the six stories in the sequence are not especially good – some of Tom Baker’s other adventures are much, much better – they are interesting because of the presence of Romana (played by Mary Tamm). For the first couple of stories, she actually runs things. Yes, she’s portrayed as a somewhat clichéd bossy, interfering female, but at least she’s not just running around and screaming. Sadly, as the sequence progresses she becomes less of an equal, and more like a typical companion. But perhaps she went on to better things. There’s only one way to find out…


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Readings & watchings 2011 #8

It’s been just under a month since the last one of these, and that one proved to be a somewhat humungous post. So I thought I’d try for a more bite-sized installment this month. Sort of. Anyway, you know the drill: the books wot I have read, the films wot I have watched. Comments thereon.

Books
SS-GB, Len Deighton (1978), is perhaps the classic “Hitler won” alternate history, although it’s by no means the first. A Scotland Yard detective, now working under the aegis of the SS in an occupied Britain, is dragged into several intersecting plots when he investigates the murder of an unknown man in a small flat in London. It’s all tied in with the British resistance’s plan to smuggle the imprisoned King George VI out of the country, the fierce – and often violent – rivalry between the SS and the Wehrmacht, and the Wehrmacht’s secret atom bomb being built by British scientists. Archer, the detective, is a bit of a cipher, and, in fact, much of the cast are blanks. That Deighton has done his research is obvious from the first page, and he paints a convincing portrait of a UK under the Nazis. The writing, sadly, is pretty poor. I’ve read Deighton’s Harry Palmer novels, and his Game, Set and Match and Faith, Hope and Charity trilogies, and I don’t remember his writing being this inept and clumsy. Still, I’m glad I read it, and it can go back to the charity shop now. Incidentally, I wonder if choosing a photo of Hitler in such a camp pose for the cover was a wise decision: his depredations are not something we should make light of, or forget.

The League of Extraordinary Gentlemen: Century 1969, Alan Moore & Kevin O’Neill (2011), is the latest installment in Moore’s slow progress back up his own bumhole. Actually, this one is slightly better than the previous two. The League are now in England Swings territory, and an acolyte of Aleister Crowley, but with very real powers, is trying to bring about the creation of an Antichrist. This will take place during a free concert in Hyde Park. There’s some nice touches, and plenty of in-jokes, but I’m starting to wonder where this series is heading and whether it’s going to be worth it when it gets there.

The Extraordinary Adventures of Adèle Blanc-Sec 1, Jacques Tardi (2010), I picked up after enjoying Tardi’s The Arctic Marauder. It has apparently been made into a film by Jean-Pierre Jeunet, master of Gallic surgary whimsy, and starring Audrey Tatou. And yet there’s little that’s whimsical about the two stories in The Extraordinary Adventures of Adèle Blanc-Sec 1. In the first, a pterodactyl is terrorising Paris, and Adèle uses it as cover to help solve an entirely different crime. Which is sort of linked. The final scene, in which a villain turns up and explains the plot, only to be gazumped by another villain who explains another more-encompassing plot, who is then gazumped by another, is completely bonkers. The second story is more traditional: a demon is terrorising Paris, and Adèle tracks it down to a group of cultists associated with a local theatre. If it hadn’t been for that pesky Adele… Fun. And I’ve already ordered another one of Tardi’s graphic novels.

Daily Voices (Author’s Choice Monthly #3), Lisa Goldstein (1989). Back in the late 1980s, Kristine Kathryn Rusch and Dean Wesley Smith published twenty-nine collections, each contain no more than half a dozen short stories, by twenty-nine different genre authors. Each book was published in three editions: a trade paperback, a signed and numbered jacketed hardback, and a signed and lettered leather hardback. The stories were mostly reprints. This volume, the third in the series, contains five stories, all originally published in Asimov’s. One, ‘Tourists’, inspired a novel of the same title. These are literary stories, deceptively fantastical, and unsettling. ‘Tourists’ is a case in point: part Hav, part The City & The City (though contemporary with one and predating the other). Nothing especially jumped out at me in this collection, though they are stories it is easy to admire.

The Lifecycle of Software Objects, Ted Chiang (2010), won this year’s Hugo for Best Novella. Which is hardly a surprise. The only time Chiang doesn’t win is when he withdraws his work. And certainly he’s produced an enviably high-quality body of work over the years. Unfortunately, while The Lifecycle of Software Objects is as well-written as you’d expect from Chiang, it’s also a little dull and doesn’t go anywhere very interesting. A startup produces a new range of heuristic software lifeforms, “digients”, but the amount of work required by customers to parent them proves the company’s undoing. But a handful of people, emotionally attached to their digients as if they were real children, continue to nurture this new form of life. It’s a neat idea, but it does feel in places a little like Chiang wasn’t entirely sure where to take his idea. It’s like someone had invented the cat and had no idea what it was good for. Except the concept of a “better mousetrap” doesn’t appear to have occurred to Chiang. Disappointing, though only because Chiang sets his own bar so high.

Gravity Dreams, Stephen Baxter (2011), is another brick in the great wall that is Baxter’s Xeelee Sequence. In fact, Gravity Dreams brings the sequence full circle as it’s tied into Baxter’s first novel Raft (and the PS novella includes the short story on which Raft was based). Gravity Dreams is a very… expositionary type of story. A man in the unimaginably distant future experiences strange lucid dreams, which prove to be contact with a device in the universe of Raft (where the universal gravitic constant is considerably higher). The people of that universe, and the tech which the dreamer embodies, could prove of use in the ongoing war against the Xeelee. As a whole, the Xeelee Sequence is quite an achievement, certainly greater than the sum of its parts. Which, unfortunately, has the logical consequence that individual parts may not be as exciting, or as interesting, as the whole suggests. I enjoy reading hand-wavey magical cosmological-type hard sf, but not as much as I like reading nuts & bolts engineering-type hard sf.

Red Plenty, Francis Spufford (2010), appeared on the non-fiction short list for the BSFA Award this year, though it lost out to a series of blog posts on the Hugo novel shortlist by Paul Kincaid. I’ll admit I had somewhere picked up an entirely erroneous impression of Red Plenty. I knew that it was non-fiction told as if it were fiction – dramatisations, if you will, of the life of ordinary Russians during the years of the USSR. But I’d also got the impression from somewhere – perhaps by the use of the word “science fiction” to describe it some place – that it also extrapolated the great Soviet experiment into later decades, as if perestroika and glasnost had never happened. That isn’t the case. Red Plenty ends in 1968. Nor did it affect my enjoyment: I thought the book excellent. Red Plenty follows the lives of a handful of peoples – some real, some invented – through the first half-century of the USSR. There’s a very real sense of utopia in the book, and it is sad to see how it is slowly corrupted. The USSR was one of history’s two great attempts to create a utopian society and, like the other one, Islam, its ideals didn’t last much beyond the first generation. All too often people forget what the USSR was trying to achieve. That it failed doesn’t invalidate the experiment, or its objectives.

Debris, Jo Anderton (2011), I read for review for Interzone. “File under science fiction” it says on the back cover, but I’m not convinced…

Leap of Faith, Gordon Cooper (2000), I reviewed on my Space Books blog here.

Snakehead, Ann Halam (2007), is Gwyneth Jones’ last novel as Halam, although apparently a new one – a sequel to Dr Franklin’s Island – will be published next year in the US. Snakehead is a retelling of the Perseus and Andromeda story from Ancient Greece. But slightly different. In the myth, Perseus first meets Andromeda when he returns from slaying Medusa, but in Snakehead Andromeda has run away from home and is taken in by Perseus and his mother Danaë. Much of the novel concerns Perseus’ life, and Andromeda’s introduction to it, on the island of Seriphos. The killing of the Gorgon occupies only a chapter or two towards the end of the book. There is a lovely matter-of-factness about the way the story is presented, the way its strangenesses are streamlined into the narrative. Also good is Perseus’ meeting with his father, Zeus, which reads like pure science fiction. Halam’s novels have always been extremely strong – I’d argue her Inland trilogy is better than Le Guin’s Earthsea books – but may have suffered from their variety. YA book series sell by the boatload, but Halam’s novels have been (mostly) singletons. As an adult reader, that variety is part of their appeal – when else am I going to read a novel treatment of the Perseus myth, for example? – but it may have hampered their success.

The Old Funny Stuff (Author’s Choice Monthly 1), George Alec Effinger (1989), is a collection of short stories from the early 1980s. The collection takes its title from a complaint by a fan of Effinger, who preferred the writer’s comic tales to the ersatz cyberpunk of When Gravity Fails. I vaguely recall enjoying the latter, but I didn’t enjoy any of the stories in The Old Funny Stuff. One story is set in the editorial offices of a genre magazine and reads like it was written in the 1930s. Another story has a mugged couple “assisted” by a variety of fictional detectives and vigilantes… yet all those characters are from the 1940s and earlier, though the story does mention an ATM. ‘Mars Needs Beatniks’ at least successfully pastiches Beat prose, but is unfortunately quite dull. An eminently forgettable collection, but mercifully short.

A Quiet Flame, Philip Kerr (2008), is the fifth Bernie Gunther, featuring the Berlin-based private investigator from Nazi Germany. The One from the Other, the first post-war novel, ended with Gunther on a boat to South America in the company of an ex-Panzer captain and Adolph Eichmann. Though not a Nazi himself, a case of stolen identity had resulted in Europe being a bit too hot for Gunther and so now he’s pretending to be someone else. The trio arrive in Argentina, and Gunther is taken to meet Juan Perón. At which point he confesses his true identity. But that’s fine, because the head of the secret police remembers, and admired, him back when Gunther was a detective for the Berlin police force, and there just happens to have been a recent murder in Buenos Aires which resembles a pair of unsolved murders Gunther had investigated just before Hitler seized power and Gunther left the police. The inference, of course, is that the murderer is a Nazi war criminal who is hiding out in Argentine with all the other Nazis. A Quiet Flame follows Gunther’s investigation into this murder, which soon spirals into an entirely different case, but is eventually resolved, and Gunther’s time in Berlin in the 1930s when the Weimar Republic was booted out of power by the Nazis. An afterword makes it clear that the plot of the novel, while invented, is based on either true events, or plausibly extrapolated ones. It’s one of those books that both makes you angry such things were ever permitted to happen and scared that there are people who would not think twice about doing such things. I thought it so good I moved the next book in the series, If the Dead Rise Not, up the TBR pile.

The Coming of the Terrans, Leigh Brackett (1967), is a pretty clumsy fix-up. Half a dozen of Brackett’s Mars stories have had dates stuck on them, and then placed in order as if they were part of a coherent future history. But ignore all that, because the stories in this collection are excellent stuff. Brackett’s sf doesn’t seem to fit in anywhere – it uses the tropes of early sf but is written with the sophistication of much later genre fiction. So we have Mars, populated with ancient civilisations and dying races, but stories that are considerably more than just swashes being buckled, uppity natives being quelled, or righteous pioneers carving out homesteads. The upstart Earthlings who come to exploit the Martian races rarely end up on top. This is not the gung-ho adventurism of Edgar Rice Burroughs, but its antithesis.

Charlotte Gray, Sebastian Faulks (1998). I’m pretty sure I tried reading this shortly after it was published. I’d have borrowed it from the Daly Community Library in Abu Dhabi. I think I gave up on it because I found the pacing so glacial. Later, I saw the film. Now that I’ve read it I’m sorry I didn’t persevere all those years ago. Yes, it’s a slow book. The title character volunteers for a department of the Special Operations Executive because she speaks French like a native. She is parachuted into Vichy France to courier some radio crystals to a member of a British network, but stays on because her lover, a RAF pilot, is missing in action somewhere in the country. For much of Charlotte Gray, she does little except pine for her lover and help out the local resistance. But the final third of the book more than makes up for that. Before returning to the UK, she tries to track down two Jewish children taken by the Germans, and discovers something of the truth behind their fates.

Oryx and Crake, Margaret Atwood (2003), is not science fiction, of course it’s not. It’s speculative fiction. Yes, well. Atwood’s idiosyncratic categorisations aside, I think most people would classify Oryx and Crake as science fiction. I’m not entirely sure what to make of it. There’s some sharp prose in it; there are also some embarrassingly bad neologisms. Some time in the future, rogue genius Crake unleashes a plague on the world, killing off everyone except his friend Jimmy and the Crakers, a handful of genetically-engineered humans he has bred. Now calling himself Snowman, Jimmy acts as a beneficial god/shaman to the Crakers, while trying to survive in a world in which he no longer fits. His life is interspersed with flashbacks detailing his friendship with Crake, how we went to work for him, and how the world became as it is. Most of the satire is so blunt as to be ineffective. And the “trendy” names Atwood uses for all the corporations, like RejoovEsense, annoy mightily. I preferred The Blind Assassin.

Films
51, Jason Connery (2011), I watched for The Zone, but I’ve yet to finish my review.

Time to Leave, François Ozon (2005). I like Ozon’s films, but only when he’s being playful not when he’s being serious. Except, perhaps, for Under The Sand, which I did like. But, Time to Leave (AKA Le temps qui reste): a gay fashion photographer learns he has three months left to live. He keeps this secret, telling only his grandmother (played by French screen legend Jeanne Moreau). The protagonist is, frankly (no pun intended), selfish and unlikeable, and his eventual change of heart feels overly sentimental and clichéd. Not one of Ozon’s best.

Leviathan, George P Cosmatos (1989), is another film set in a mining installation at the bottom of the ocean. This one, however, does not rip off Outland. It rips off Alien, instead. A reasonably good cast for the time – Peter Weller, Richard Crenna, Amanda Pays, Ernie Hudson, Hector Elizondo, Daniel Stern – unwittingly release some old Soviet bio-experiment aboard their habitat, and it tries to turn everyone into some sort of Cronenberg-esque monster. But Weller and Pays manage to escape. Leviathan makes a decent fist of imagining its environment, but the plot is by-the-numbers from start to finish and the characters are not allowed to develop much beyond clichés.

Lifeforce, Tobe Hooper (1985). I remember going to see this at the cinema when it was released. I didn’t take it seriously then, and I couldn’t take it seriously this time. A space mission to Halley’s comet finds a giant spaceship in its coma. Aboard are a pair of naked humans: a beautiful young woman and a handsome young man, both in hibernation. The astronauts take both aboard their Shuttle and head back to Earth. On arrival, mission control can’t reach anyone aboard the spacecraft, so they send up a mission. The crew is dead, and the Shuttle has been gutted by fire. The only survivor is the naked young woman. so they take her back to Earth, to London. But she’s a space vampire – the film is based on Colin Wilson’s novel, The Space Vampires – and she brings about a plague of zombies to the UK. All those people who claimed 28 Days Later such an astonishing film because it showed zombies running rather than shuffling along should watch Lifeforce. Zombies run in it too. It’s about all the film does have in its favour, however.

The Taming of the Shrew, Jonathan Miller (1980). I’ve been enjoying these Shakespeare plays, but every now and again you have to wonder what was going through the Bard’s head when he wrote them. Like this one. Everyone wants to marry Bianca, but her father has decided that she will not entertain suitors until her older sister, Katherina, is wed. But Kate is a “shrew” – i.e., an independent woman, not afraid to voice her own opinion, and far from the demure mistress apparently valued in Padua. Along comes Petruchio (played by John Cleese), who decides to woo Kate, for reasons never satisfactorily explained – the challenge? her fortune? There are several instances of witty banter, though Kate is played disconcertingly as a shrill termagant which often seems at odds with her dialogue. So there I was thinking that the part was just misplayed and The Taming of the Shrew couldn’t be as sexist as it seemed. Only for the final wedding banquet scene to feature speeches by each of the male cast explaining what a good wife should be, and it’s the worst sort of sexist claptrap and I’m surprised Elizabeth I didn’t have their heads off for it. Not one of the Bard’s best.

Predators, Antal Nimród (2010), is yet another sf franchise getting the reboot. Which is a creative process I find hard to understand. The Predator and Alien franchises were munged together into a series of increasingly rubbish films, and that should have killed them stone dead. Instead, we got Predators, and Ridley Scott reported working on a prequel to Alien. To be honest, of the two, I always much preferred the latter, though none of the films were as good as the first. Predator, on the other hand, was just an uglier Rambo. And Predators is just I’m a Celebrity Get Me Out of Here with guns. A group of scumbags are parachuted into a jungle. They’ve no idea where they are, how they got there, or even why they are there. It doesn’t take long before they discover they’re being hunted by aliens, the Predators, for sport. But never mind, they’re Men, the horneriest critters in the universe, and of course they can beat someone who is both phyisically and technologically superior because they’re Men. It’s Neanderthal tosh like this that gives Hollywood a bad name– No, wait, Hollywood already has a bad name. It would be nice to see the occasional sf film of real intelligence from Hollywood, but I’m not holding my breath. It would also be nice to see sf films which didn’t celebrate violence, psychopaths or sociopaths, and which didn’t paint all aliens (that’s everybody outside the US, you understand) as fit targets for invasion, repression, dismemberment, or genocide. Avoid.

The Green Hornet, Michel Gondry (2011), I’d heard mixed reports on, but I rented it anyway. I’m not a big fan of the Seth Rogen / Judd Apatow style of humour, though I do like superhero films. Sadly, the humour outweighed the appeal of the superhero aspect, and I hated this. I hated Rogen’s character, I hated the stupid jokes, and I hated the concept, which was even more implausible than your average superhero movie. Rubbish film. Avoid.

Damnation Alley, Jack Smight (1977), I reviewed for The Zone. See here.

Underground, Emir Kusturica (1995), I wasn’t initially sure what to make if. It opens during World War II, with the Germans bombing, and then invading, Belgrade. A pair of local wideboys become heroes of the resistance, more by accident than by design. They’re out for themselves, but somehow or other that helps the resistance. And then one of them, Blacky, is injured, so the other, Marko hides him, and the rest of the resistance cell, in his cellar. But he never tells them when the war ends. As Marko rises in Tito’s government in post-war Yugoslavia, so those in the cellar continue to believe WWII is ongoing. They make weapons, which Marko sells. Eventually Blacky manages to escape, but he stumbles on the set of a film re-enacting the climactic raid in which he was injured. He kills the actor playing the part of the German officer, and runs way. Later, after Tito’s death, he is the leader of a militia in the former-Yugoslavia. Marko, meanwhile, disappeared when Tito fell, and is now an international arms dealer. Underground opens with the Germans bombing Belgrade Zoo, and initially seems like a somewhat clumsy comedy. But as movie progress, so does the comedy turner blacker… and blacker… and more surreal. And the end result is superb. Recommended.


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readings & watchings 2011 #4

Here we go again – we know a song about that – it’s time for more scrapings from the petri-dish of popular and unpopular culture, as studied under the microscope by Your Scientifically-Minded Correspondent.

Books
Satan Wants Me, Robert Irwin (1999). Irwin’s The Arabian Nightmare is one of the best fantasies of the 1980s, and his Night and Horses and the Desert (re-issued as The Penguin Anthology of Classical Arabic Literature) is a highly-entertaining and informative study of, well, classical Arabic literature. Satan Wants Me – god knows what people thought when they saw me reading this on the tram during my commute to work – is presented as the journal of a hippie sociology doctoral student in early 1970s London. He has recently joined an occult group spun off from Aleister Crowley’s Order of the Golden Dawn. He’s also taking a lot of drugs. And he has some very weird friends. There are some very funny laugh-out-loud bits in this novel – which probably got me even stranger looks on the tram – and it’s sharply-observed throughout. Then it goes completely batshit weird towards the end. While not the classic The Arabian Nightmare is, it certainly confirms my belief that Irwin is a writer very much worth reading.

Cinco de Mayo, Michael Martineck (2010), I reviewed for SFF Chronicles here. I’ve known Michael for a long time, though we’ve never actually met in person. We’re both members of an informal critting group, with a couple of other people – i.e., we email each other stories, novel extracts, etc., for comments. So I saw bits of Cinco de Mayo several years ago. But I’d never seen the finished product. I have now, and I enjoyed it very much. And thought it a happily diverse and intelligently put-together story. Definitely worth a read.

Twenty Thousand Leagues Under the Sea, Jules Verne (1870). This 1973 edition of Verne’s classic has my name and old school number written on the ffep, which means I’ve owned this book for just over thirty years. So I must have read it at some point. I know the story – everyone does – but is that from actually reading the book, or just from some form of cultural osmosis? This (re)read did demonstrate that there’s much about the story I’d forgotten / not known. It’s very dull, for one thing. There are endless pages listing ocean flora and fauna. Very little actually happens. Aronnax et al go hunting a mysterious sea monster which has been sinking ships. In an encounter with it, they are swept overboard and then rescued by the monster… which proves to be a submarine: Captain Nemo’s Nautilus. The Nautilus sails around the world, and they do things every now and again. Eventually, Aronnax and his two companions manage to escape, and witness the Nautilus being sucked into a giant maelstrom. That’s pretty much it. Some of the science is impressively detailed; in other places it is impressively wrong – the quoted ocean depths, for instance, are out by quite a margin, claiming the deepest part of the Pacific is something like 15,000 fathoms deep – that’s 90,000 feet! Challenger Deep is actually almost 36,000 feet deep – I know this because of this. Still, despite Twenty Thousand Leagues Under the Sea being a bit of a slog to read, I actually fancy trying a bit more Verne. Perhaps I’ve been unduly influenced by David Herter’s Evening’s Empire

Phase Space, Stephen Baxter (2002), is a collection of short stories, many of which are off-cuts from Baxter’s Manifold trilogy. I read those three books back in 1999, 2000 and 2001 – when they were published, in other words. But not Phase Space. I have a lot of time for Baxter’s fiction, both short and long; but this collection was a bit of a disappointment. There’s some good stuff in it – ‘War Birds’, for example, which won the BSFA Award for Best Short Story in 1998 (and unfortunately resembles something I’ve been working on myself; damn); ‘Tracks’, based on an interview Baxter conducted with Apollo 16 astronaut Charlie Duke; ‘Moon-Calf’, about a retired astronaut on holiday in south-west England; ‘Barrier’, which is the sort of sf I’d be happy to have in Rocket Science. Unfortunately, many of the other stories follow a similar pattern – the narrative is interspersed with italicised first-person infodumps – and so they tend to blur together. And one or two, well, I was surprised to see they’d originally been published by Asimov’s and Interzone… Phase Space is not Baxter’s strongest collection by any means, but there’s some good stuff in it.

High Vacuum, Charles Eric Maine (1957). I’m currently working on a two-hander review of this and Jeff Sutton’s First on the Moon for my Space Books blog. I thought it might be an interesting exercise to contrast two novels about Moon landings written before the Apollo programme with the real world lunar landings. While I would have said there was plenty of drama in actually trying to get to the Moon, both Sutton and Maine clearly felt what was need for real drama was… a crash-landing.

Icehenge, Kim Stanley Robinson (1984). I have planned a “cage-fight” – which I will write up on this blog – between this book and Robert Heinlein’s The Moon is a Harsh Mistress (which I will have to read first; sigh). Because Icehenge is a much better candidate for the SF Masterwork series. Some of the world-building is a little quaint now – USA vs USSR – but I’ll be completely unsurprised if I find that Icehenge shits all over the Heinlein.

Winterlong, Elizabeth Hand (1990), was April’s book for my reading challenge and I wrote about it here.

The Silver Chair, CS Lewis (1953), is the fourth book of the Chronicles of Narnia by publication date, but the sixth book by internal chronology. Useless Eustace and new-found friend Jill Pole escape from bullies at “modern” school Experiment House (dear god, but Lewis shows his reactionary side with his description of the school), because Aslan wants them to find Prince Rilian of Narnia, who was abducted ten years before. Aslan gives Jill four clues, which she manages to screw up, but it all works out in the end. And everyone gets lashings of buttered scones and hot chocolate at the end, or something. These books are a bit like your old Daily Mail-reading grandad telling a bedtime story – the only bits missing are rants against immigration and falling house prices…

Orbital Vol 3: Nomads, Sylvain Runberg & Serge Pellé (2011), is the third book of a bande desinée series published in English by Cinebook. It’s heartland sf, but far more adult than you’d expect of a science fiction “comic.” Earth is a reluctant new member of a galactic federation, after a war with the alien Sandjarr. A pair of special agents, one human and one Sandjarr, must ensure the celebrations in Kuala Lumpur to mark the end of the war, to which a Sandjarr delegation has been invited, goes without a hitch. But a nomadic alien race has settled nearby, and something is killing all the fish and the fisherman are not happy about it… Good stuff.

Films
Barbarossa – Siege Lord, Renzo Martinelli (2009), I reviewed for VideoVista – see here.

The Ship That Died of Shame, Basil Deardon (1955), is an adaptation of a Nicholas Monsarrat short story of the same title. The crew of a wartime MGB are re-united when they find their old boat – stripped of her weapons, of course – for sale. So they buy her, make her seaworthy, and use her to run contraband across the Channel into post-war austerity Britain. But it all goes horribly wrong when they accept a job to smuggle a murderer to France. Good solid British film-making from the Fifties.

Tin Man (2007), is a mini-series “re-imagining” of The Wizard of Oz, in which Oz becomes the Outer Zone or “Oh Zee”. DG, not Dorothy Gale, finds herself embroiled in a plot by her evil sister to bring endless darkness to the OZ. DG hadn’t known she had a sister, or that the OZ even existed. But when the Midwest farmhouse where she lives with her parents is attacked by strange men in black uniforms, she escapes through a tornado – discovering as she does so that her parents are actually robots. Because she’s really a princess from the OZ. With the help of a heartless ex-law officer (i.e., a “tin man”), the queen’s old advisor who has had his brain removed, and a cowardly lion-like humanoid – oh, and her old tutor, who can transform into a small terrier – DG must find the Emerald of the Eclipse in order to defeat her sister. An interesting spin on a children’s classic which, to be honest, has never appealed to me; but it all felt a bit meh in places. Though it reminded me a lot of the Sci Fi Channel Flash Gordon telly series – which was cheap and a bit silly, but which I quite liked – it didn’t have that programme’s charm.

Rio Grande, John Ford (1950). I am not, I admit, a big fan of Westerns. In fact, the only one in my DVD collection is Howard Hawk’s Rio Bravo – which is actually an alternative name for the Rio Grande, the river forming part of the border between the US and Mexico. Rio Grande the film is the third in Ford’s cavalry trilogy, following on from Fort Apache and She Wore a Yellow Ribbon, neither of which I’ve seen. It’s John Wayne doing manly men stuff in the Wild West as injuns run rampant and hide out in Mexico where Wayne’s cavalry can’t follow them. Except he does, even though it might provoke a diplomatic incident. Then he learns that the injuns have captured a wagonload of white kids, which only makes the mission more righteous. The US Cavalry must have been the biggest bunch of war criminals in uniform until the formation of the SS, and their portrayal in films such as Rio Grande has only romanticised their crimes. It’s unlikely a John Wayne film would be “warts and all”, given that there’s always been a strong element of fantasy to the depiction of the Wild West in Hollywood cinema. Wayne’s character may be a racist, but he’s still the hero…

The Spy Who Came In From The Cold, Martin Ritt (1965), is a curiously flat adaptation of Le Carré’s novel of the same name. Richard Burton, who always sounds as though he’s declaiming rather than acting, plays the head of the Berlin office who comes under a cloud when a defection from East Berlin is bungled. He is demoted to a lowly position in London, eventually leaves the “Circus”, and turns to drink and a succession of low-paid jobs. At which point he is approached by East German agents, and reluctantly defects to them. But, of course, it’s all a cunning plot. They’re a bit bloody convoluted these Le Carré films. I have the novel on the TBR; I shall have to read it.

An Autumn Tale, Éric Rohmer (1998). That’s it, all four of Rohmer’s Contes des quatre saisons now watched. In this one, a forty-something woman attempts to matchmake for a winemaker friend of the same age. As does the winemaker’s son’s ex-girlfriend, who has just split up with her university professor lover and who she thinks is an ideal candidate. Unfortunately, most of the characters in An Autumn Tale aren’t especially likable. They prattle and pontificate too much. The ex-girlfriend is particularly annoying – she spouts off lots of arrogant drivel about love and people, but doesn’t actually display much insight. Some poor bloke who gets dragged in as a prospective suitor is horribly mistreated but still hangs in there, though he and the winemaker don’t appear all that well-suited to each other… I first came to Rohmer’s films after watching Triple Agent, and enjoyed its slow-burning drama very much. These Four Seasons films have been… mixed. A Summer’s Tale was easily the best one, with A Winter’s Tale a middling second. A Tale Of Springtime and An Autumn Tale both suffered from unlikable casts. All the same, I’ll be bunging Rohmer’s six Comédies et Proverbes films on the Lovefilm rental list.

Frau im Mond, Fritz Lang (1929), I will be reviewing in more depth on my Space Books blog. For the time-being, I’ll just say that it’s badly-paced, with far too much silliness up-front and not enough screen-time devoted to the mission to the Moon.

The Objective, Daniel Myrick (2008), is advertised as being by the director of The Blair Witch Project, which I’ve never actually seen. A Special Forces team of walking clichés, led by a tight-lipped CIA agent, infiltrate the mountains of Afghanistan where satellites have spotted something very strange indeed. If you like films in which US military stereotypes spout manly men bullshit, and then shoot at things, you might find The Objective interesting inasmuch as it’s not wholly a war film: the eponymous, er, objective, is – keep this to yourselves – not of this world. The film felt a bit amateur in places, and probably would have benefitted from a couple of beers inside the viewer.

I Come With The Rain, Anh Hung Tran (2008), I reviewed for VideoVista – see here.

Aliens From Outer Space, Bill Knell (2009), I reviewed for VideoVista – see here.

The Small Back Room, The Archers (1949). Those back room boys… Without them, we’d never have won the war, you know. Though they don’t actually appear to do much in this film. Sammy Rice is one such back room boy. He has an artificial foot, which pains him; and a dependency on pills and alcohol. He’s also in a strange relationship with his boss’s secretary. When a new type of booby-trapped explosive device, dropped by Jerry planes, starts killing children, Rice is brought in to puzzle out how it works. Meanwhile, he’s crawling further into a bottle, politics at the office is causing major problems, and his increasing bitterness is jeopardising his relationship with his girlfriend. Despite some clever photography, the tension and drama in The Small Back Room never quite works, but as a study of a man succumbing to despair during wartime – including a bizarre drunken dream sequence – the film is very effective. The Archers – Powell and Pressburger – were bloody clever filmmakers, and it certainly shows in this. In lesser hands, The Small Back Room could have been just another anodyne WWII home-front melodrama. We need directors like the Archers in the twenty-first century.

Le Refuge, François Ozon (2009), was surprisingly ordinary and a bit dull for an Ozon film. Could it really have been directed by the same person who made 8 Women, Angel or Water Drops On Burning Rocks? Two junkies score some smack, but one dies of an overdose. The other, the dead man’s girlfriend, only just survives. And then discovers that she’s pregnant. The dead junkie’s family, who are wealthy, don’t want her to keep the baby. But she chooses to have it, so runs away to a friend’s house on the coast. A few months later, the dead junkie’s gay brother comes to visit, and ends up staying a week or so. And, er, that’s about it. There are a number of scenes filmed on a beach, in which the woman’s pregnant belly is plainly visible. I was quite impressed by the prostheses and make-up used for this effect, only to learn in a featurette on the DVD that the actress, Isabelle Carré, really was pregnant during the making of the film. You have to wonder if she was cast because she was pregnant; or did Ozon completely rewrite the script on learning she was pregnant? Le Refuge is a likable drama, but Ozon has made much more interesting films.

Norwegian Ninja, Thomas Cappelan Malling (2010), I will be reviewing for VideoVista, but I decided to give it an early mention because it’s a pitch-perfect spoof of low-budget action/spy movies, and might well end up on my Best of the Year top five films.

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