Time for some more retro-futurist eye candy in lieu of intellectual content, because, well, I don’t want to leave it too long between posts here and I can’t at this particular moment in time think of anything intelligent to write. (I’m reserving all that for writing Apollo Quartet 4; that’s my excuse and I’m sticking to it.) Anyway, pictures…
So I started writing Adrift on the Sea of Rains sometime in 2010, and then the film Apollo 18 was released in September 2011 – although I didn’t publish my book until April 2012. And then I wrote The Eye With Which The Universe Beholds Itself about a mission to Mars, and published that in January 2013… by which point Andy Weir’s self-published novel The Martian was doing so well, it was bought by a publisher for six figures who then published it in January 2014, and now it’s being made into a movie by Ridley Scott. I decided to write about the Mercury 13 for Then Will The Great Ocean Wash Deep Above, and so does Kelly Sue DeConnick in Captain Marvel, which was collected as In Pursuit of Flight in late 2013. And BBC Radio 4 broadcasts a documentary on the Mercury 13 in November 2014. And for the final book of the Apollo Quartet, I’m focusing on the wives of the Apollo astronauts, and among the books I’ve used for research is Lily Koppel’s The Astronaut Wives Club… which has been adapted for television by ABC and will be broadcast in spring 2015…
So it’s not just me writing about these things, but on the other hand it’s not like I’m getting any benefit from their appearances in popular culture. Clearly my marketing department is not doing its job properly…
More films seen recently, and it’s the usual mix. As if all that many of the films I’ve been watching this year could be described as “usual”…
Fast Times At Ridgemont High*, Amy Heckerling (1982, USA). Time has not been kind to this film. Pretty much everything in it has since been used in later high school films, so it now looks like a string of tired old clichés. Which is not to say much of it wasn’t clichéd to begin with. I’m not a fan of high school movies to start with, chiefly because I never went to an American high school – so such films mean pretty much nothing to me. I’ve no idea why this film was on the 1001 Movies You Must See Before You Die list. It was perhaps mildly amusing in 1982, but in 2014 it’ll make for an evening’s entertainment only if you’re easily please and if you’ve consumed several beers.
Au Hasard Balthazar*, Robert Bresson (1966, France). The title refers to a donkey, owned by the young daughter of a farmer. As she grows up, so the donkey changes hands, and undergoes a series of indignities and cruelties – it may be a beast of burden, but it’s not treated at all well. The farmer’s daughter also suffers abuse at the hands of the various people, although emotional rather than physical. In fact, the two lives broadly mirror one another, although the similarities seem to bounce between too obscure to be easily spotted, or glaringly signposted. But a good film, and worth seeing.
We Are The Best!, Lukas Moodysson (2013, Sweden). I’ve been a fan of Moodysson’s films since seeing Lilya 4-Ever several years ago, so anything new by him goes straight on the wish list. I did consider going to see this at the cinema earlier this year – it was on around the same time as Under The Skin – but in the event decided to hang on for the DVD. Which is what I did. The film is based on the graphic novel Aldrig Godnatt by Moodysson’s wife, Coco Moodysson. It’s about two early-teen punks in 1982 Stockholm – in the graphic novel, one is called Coco, so its plainly based on the author’s own childhood; but in the film, the character has been named Bobo. The two girls decide to form a band, and recruit a shy Christian girl as guitarist. They then link up with a boy punk band, which causes a few problems as two of the girls fancy the same boy. There’s a beautifully-handled scene in which one of the mothers lectures the girls on tolerance for Christianity, which is not something I ever thought I’d say about a film. We Are The Best! is effortlessly good, and the central trio play their parts superbly.
Journey To Italy*, Roberto Rossellini (1953, Italy). George Sanders and Ingrid Bergman are in Italy to sell a property they’ve inherited near Naples. Things happen. Sanders flirts with another woman, Bergman is jealous. Bergman goes off and does her own thing, Sanders assumes she has a man friend and is jealous. Then, just before the end, they reconcile. By all accounts the production was pretty chaotic, and it shows. Not the most captivating Italian realist film I’ve seen.
American Hustle, David O Russell (2013, USA). I’d seen the trailers for this back when it was out in the cinemas, and it looked like it might be enjoyable. Of course, you should never trust a trailer, it’s a marketing tool, and a good one can make a shit film appear to be worth shelling out £10+ to see it. And while I rented this on DVD, so it didn’t cost me anywhere near a tenner, it was still a waste of money as I didn’t like it very much at all. The characters were all horrible, the production design was garish – yes, it was set in the 1970s, but so was Life on Mars, which was a little bit of a spoof, and even that didn’t manage such horrible production design – but worst of all, American Hustle was boring. And while Robert De Niro was supposed to be speaking Arabic, it didn’t sound anything like it. But then he allegedly learnt the language while visiting his casinos in the Middle East – I think Abu Dhabi was mentioned – which is rubbish, as gambling is haram and no Islamic state would licence casinos. (At Nad -Al-Shiba racetrack, they used to offer a prize, usually a car or a racehorse, to anyone who guessed the winners of the night’s races correctly; it wasn’t gambling because it didn’t cost money to guess.)
Shame*, Steve McQueen (2011, UK). I picked this up in a charity shop, which is where it’s going now that I’ve watched it. Michael Fassbender plays a self-centred, er, executive of some sort, in New York who is addicted to sex – he downloads porn at work, he sneaks off to the bogs for a wank, he frequents prostitutes… Then his sister comes to stay with him, and she has a history of suicide attempts. Although beautifully shot, the characters were so unlikeable, the pace so glacial, and the story so uninteresting that I’m mystified by the high regard in which the film is held.
The Cabin In The Woods*, Drew Goddard (2011, USA). I might not think every film on the 1001 Movies To See Before You Die list belongs there, but for some of them it’s possible to make a case. But not this one. It’s a piss-take horror full of the usual allegedly witty Whedon banter, with some silly explanatory story driving the plot. This is a film better-suited to a midnight showing on some cable channel, to be watched after copious beers and a doner kebab.
Hiroshima Mon Amour*, Alain Resnais (1959, France). Resnais is one of those directors whose films I want to like, but every time I watch one I can’t bring myself to do so. He does interesting things, he pushes the boundaries of cinematic narrative. This one is a case in point – the central relationship between the two unnamed characters is handled beautifully, but the documentary footage of Hiroshima is disturbing and I’m far too squeamish to enjoy watching it . It’s too visceral to be likeable as a movie – I might have found it easier to appreciate as a book – but then, that was probably the whole point. Though I didn’t enjoy it, I can understand why Hiroshima Mon Amour is on the 1001 Movies To See Before You Die list.
Far From Heaven, Todd Haynes (2002, USA). This was a rewatch, as I’ve had the DVD for a couple of years. I originally bought it because it is, of course, famously inspired by Sirk’s All That Heaven Allows – in fact, the film sort of follows the basic plot of Sirk’s film, and its cinematography is clearly inspired by it. Like other Haynes films I’ve seen, I love some things about it and dislike others. Haynes’ 1950s small-town America is beautifully coloured and shot, but I’m not really convinced by Julianne Moore in the lead role. And while her relationship with her gardener works really well, I’m not sure about her husband’s homosexuality – it feels like Haynes has thrown in two scandals for the price of one.
The Monuments Men, George Clooney (2014, USA). It’s WWII and Clooney recruits a bunch of art experts to hunt through Europe during the latter weeks of the war to hunt for art stolen by the Nazis. Each of them has a piece they obsess over, and would even die for – it certainly leads them to take risks, and results in at least one death. We all know the Nazis were very naughty boys, but stealing art is pretty low down on the list of their crimes. And, to be honest, I think we might have been better off if much of it had never been recovered. Great art should be there for the world to see, not changing hands for ridiculous amounts of money and then hidden away in private collections. That’s just turning paintings into substitute penises, which pretty much misses the whole point of Art. Films like this don’t help.
Violent Saturday, Richard Fleischer (1955, USA). I didn’t have high expectations for this film, it looked like it might be a minor piece of 1950s noir, something to do with a riot in a small town on the titular day of the week. But when it opened with a car driving down into a working copper mine, and then an explosion to bring down a section of cliff-face, it was obvious this was not going to be your average noir. In fact, Violent Saturday is 1950s melodrama meets thriller, with a trio of bank robbers planning a heist on the day in question, while about them various dramas in the lives of the townsfolk take place, including but not limited to: the wastrel son of the mine owner failing to hold his marriage together, the mine’s manager trying to keep his son’s respect despite not fighting in the war, a bank clerk trying to work up courage to ask out the mine’s nurse… And all shot in beautiful widescreen Technicolor. Loved it.
The Cloud Capped Star (Meghe Dhaka Tara)*, Ritwik Ghatak (1960, India). This was a bit grim. A young woman, a refugee from East Pakistan, lives with her family in a camp outside Kolkata. Her brother is a wastrel and wants to be a singer – he sings frequently throughout the film, and he’s good. Her fiancé is forever borrowing money off her so he can complete his studies. She is having trouble completing her own studies, with so many demands on her time and finances. And then things start to get worse. Filmed in a very stark black and white, intensely realist, and with an interesting and effective use of close-in mise-en-scène and much wider vistas, particularly across the Hooghly River, this is an excellent film, although perhaps a little long. Definitely a film that deserves repeated watches. And I might have a go at something else by Ghatak.
1001 Movies You Must See Before You Die count: 528
So Shaun Duke says Interstellar is one of the best sf films of this century and I’m like no way and he’s like way and so he challenges me to produce my own list of top ten sf films of the last fourteen years… And it’s actually quite difficult as I can think of two dozen off the top of my head that are better than Interstellar, but I have to whittle it down to only ten. Which I did. And here they are…
1 Cargo, Ivan Engler & Ralph Etter (2009) I’m surprised this film isn’t better known. Perhaps it makes a little too free and easy with some well-known tropes, but this Schweitzer Deutsch production puts them to excellent use, and still manages to ring some changes.
2 Avalon, Mamoru Oshii (2001) A Japanese film made in Poland with a Polish cast. It looks amazing, and the VR game plot with its layers of realities seriously messes with your head.
3 Primer, Shane Carruth (2004) Probably the best time travel film ever made. And it’s impossible to work out the plot.
4 Under The Skin, Jonathan Glazer (2013) An improvement on the book. Shot guerilla-style in Glasgow, with Scarlett Johansson as an enigmatic alien.
5 John Carter, Andrew Stanton (2012) Commercially a flop, but there’s much to like in this tentpole blockbuster – it looks gorgeous, the script is far smarter than the material had any right to expect, and the cast all play good turns.
6 Sky Captain and the World Of Tomorrow, Kerry Conran (2004) A CGI-fest which makes perhaps too much of a feast of its source material – while the pulp production design looks wonderful, the pulp narrative didn’t sit well with modern audiences.
7 Dredd, Pete Travis (2012) Who knew an art house version of the Mega City One lawmaker would work so well?
9 Timecrimes, Nacho Vigalondo (2007) More time paradoxes than you can shake a reasonably large Moebius loop at.
10 Sound of My Voice, Zal Batmanglij (2011) A clever study of the cult mentality, with Brit Marling as a “prophet” from the future.
Honourable mentions: Apollo 18 (2011), amazingly accurate rendition of an Apollo mission, with monsters; Gravity (2013), not quite as accurate, no monsters either; Possible Worlds (2000), odd and under-stated many worlds thriller; Natural City (2003), frenetic Korean cyberpunk actioner; Time Of The Wolf (2003), Haneke does post-apocalypse.
You won’t find any of Susan Ertz’s books in print these days – in fact, a quick search on Amazon returns only secondhand copies, the most recent of which was published in 1985. She was actively writing between 1923 and 1976, which is an impressively long career, and one of her books was adapted for the cinema, In The Cool of the Day, in 1960, starring Peter Finch and Jane Fonda. She also wrote a science fiction novel in 1935, Woman Alive, but I’m not aware of it being claimed by the genre. I’ve yet to find a full bibliography online – the one on Ertz’s entry on Wikipedia lists twenty-two books but doesn’t include the one I read, Devices & Desires, which was published in 1972.
To be honest, on the strength of Devices & Desires, I doubt I’ll be exploring Ertz’s oeuvre any further. While I had a positive experience with my first Storm Jameson (see here), I can’t say the same for my first Susan Ertz. It’s not that Devices & Desires is a bad book, or a badly-written book. But it’s set in the early 1970s – there’s even a mention of the Apollo 11 lunar landing – and feels like it’s set in the 1930s. It makes for a disconnect that completely spoils the reading experience.
The Gorlans – Professor, his mother, young nanny Stephanie, and three young boys – are travelling from the US to the UK for a well-earned holiday. They are travelling by ship – did people still do that in 1970? And they will be staying in a rented country house near Oxford. Also aboard the same liner is John Van Bolen, the young son of an American millionaire whose estranged British wife owns the house the Gorlands have rented. John is accompanied by Robinson, Van Bolen’s African-American chauffeur. The two groups become aware of each other during the voyage, and once ensconced in their holiday home the Gorlands continue to seem more of the Van Bolens. John’s mother, Rachel, is in a relationship with French expat architect Marcel, but the two cannot marry because Rachel’s husband won’t give her a divorce. Also, young John doesn’t like Marcel and refuses to be the son of divorced parents. Stephanie has fallen in love with Professor Gorland, but he doesn’t return the sentiment – in fact, he’s attracted to Rachel. And Robinson has fallen in love with Oriana, the West Indian maid of the local vicar and his wife.
Then, as usually seems the case in such stories, tragedy strikes. John and the oldest Gorlan boy plot a swimming race across the lake. Since they’ve been told not to do this, they drug Robinson, who is minding them. But the youngest Gorlan boy escapes his grandmother’s care, wanders down to the lake and falls in. And nearly drowns. But Robinson, knowing that John will be blamed for the near-death as it was John who drugged Robinson, commits suicide in order to take the blame himself.
Devices & Desires really is horribly old-fashioned. Robinson reads like a stereotypical African-American from the first half of the twentieth century. The American characters come across as somewhat less-wealthy Rockefellers, and the English characters are all terribly upper class. They talk about “fetching the car”, everyone has servants, and one character even has a small flat filled with expensive paintings in a chic area of London. You could move the entire story forward in time fifty years and the only thing that would need changing is the reference to men landing on the Moon.
Devices & Desires‘s prose is by no means bad. On the contrary, it’s a good deal better than you’ll find in most twenty-first century commercial fiction. And it’s clearly the product of an established writer with a decades-long career. But it also seems to be the product of a writer who is decades out of touch. And that, for me, completely ruined my enjoyment of the book.
So I went to see Christopher Nolan’s Interstellar, which some have been saying is the best sf film ever made. But, of course, they always say that about a new film, probably because they’re just shills for the Hollywood marketing machine. But if you wait a bit – or a week, as I did – then a few more honest voices begin to appear… And they gave mixed reviews. Thing is, just because Hollywood decides to have a go at near-future sf, just as they had a go at a space movie last year, there’s no need to scream about how good it is… Having said that, I’ve now seen the trailer for the Wachowskis’ Jupiter Ascending twice and it looks proper awful.
But Interstellar. It is supposed to be a rigorous and accurate vision of interstellar space travel – handwavy vastly superior aliens who create the wormhole notwithstanding. Matthew McConaughey plays NASA test pilot turned farmer Coop, since a global famine has resulted in anything remotely scientific being shut down. As one person puts it, “We’re a caretaker generation, we don’t need engineers, we need farmers”. Except the farming on display is some sort of pastiche of early twentieth century farming, with a small wooden house in the middle of a sea of maize. There are no equipment sheds, no garages, no silos, no storage. Just a house. And even though various events in the film take place at different times of the year, the maize is always just about ready to be harvested – in fact, it is being harvested by robot combine harvesters on a number of different occasions. Makes you wonder why there’s a famine if they can grow maize so quickly 365 days a year…
A “ghost” in the bedroom of Coop’s ten-year-old daughter, Murphy, causes books to fly off the shelf, but Murph works out there is a pattern to it. It proves to be binary, a set of coordinates. Murph, incidentally, was named for Murphy’s Law, “What can happen, will happen”. Except that’s wrong – Murphy’s Law, as popularised by John Paul Stapp, is “anything that can go wrong, will go wrong”. This is not the only little “joke” in Interstellar. At a parent-teacher meeting, Coop is told the Apollo missions were faked in order to bankrupt the USSR, which they did successfully. No mention of the arms race. Or the fact the Apollo missions ended twenty years before the USSR economy crashed. Or that by the second decade of the twenty-first century, the Russian space programme was the only one flying human-rated spacecraft.
Anyway, the coordinates lead Coop and Murph to a secret NASA facility, where kindly professor Brand, Michael Caine, helpfully explains the whole plot. I should note that it’s taken an hour to get to this point – Interstellar is a film in which very little happens for the first third. Thirty years earlier, NASA discovered a wormhole near Saturn, which leads to twelve habitable worlds in another galaxy. Ten years ago, they sent a crew of twelve to explore three of those worlds. Now they want to send a supply mission. And Coop just happens to have test-piloted the spacecraft they’re readying for the mission. So even though he has literally just walked in out of the fields, he’s the best man for the job. Murph doesn’t want him to go, because she thinks he won’t come back. Coop, of course, hates farming and immediately signs up. Also on the mission is Brand’s daughter, played by Anne Hathaway, and two spear carriers, Wes Bentley and David Gyasi. Oh, and a pair of AI robots that look like tourist information kiosks.
The spacecraft launches, rendezvouses with the Endurance, NASA’s last remaining interplanetary spacecraft, which has been parked in orbit. The crew go into hibernation for the two-year trip to Saturn – in a room which is apparently tiled like a bathroom, something I’d have thought too expensive weight-wise for a spacecraft. The shuttle craft too was unfeasibly large – not to mention a strange and not very aerodynamic shape. At Saturn, the crew wake up, the Endurance enters the wormhole (cue demonstration of how a wormhole works with a folded piece of paper; sigh). On the other side, they discover a planetary system orbiting a supermassive black hole, with three habitable worlds. The previous mission sent teams to all three of these planets. One world orbits inside the event horizon of the black hole, so that time dilation means seven years will pass for every hour spent on its surface. Which is just… WTF. Any such planet would have long been swallowed by the black hole, and radiation would fry everything on it anyway. The planet proves to be completely covered in about half a metre of water, and the previous mission did not survive an encounter with a giant wave – and, in fact, Coop’s mission only just makes it out alive. But they do stay far too long on the planet, and when they return to the Endurance, twenty-three years have passed. The chief effect of this, of course, has been to estrange Coop even more from his daughter… who is now Brand Sr’s protegé and helping him to complete the equations which will marry the theory of relativity with quantum mechanics and somehow or other lift a giant concrete spacestation built on the ground into orbit.
Since water planet was a bust, and it took so long for them to learn this, the Endurance only has enough fuel remaining to visit one of the other two worlds. Brand Jr admits she is in love with the leader of one of the missions – leading to a cringe-worthy monologue in which she declares “love is the only thing which transcends time and space”. But Coop over-rules her and they head for the other world instead. Where they find Dr Mann, Matt Damon. On a world of frozen clouds. Which is just as silly as it sounds – although it does look quite impressive…
Damon admits that Brand Sr solved his equations years before and there is no solution possible without “quantum data” from inside a black hole. So the supply mission is actually a blind – the real plan is to seed the most suitable of the three worlds with the frozen gametes carried aboard Endurance. But ice-cloud world isn’t really fit for colonisation. Cue fisticuffs between Coop and Mann. Coop loses, and is in danger of asphyxiating in the ammonia-heavy atmosphere. Fortunately, he finds the doodad from his helmet that Mann removed which allows him to radio Brand Jr for help. Why he has a little thing on his helmet for long-range comms makes no sense. Brand Jr jumps into the lander and flies to his rescue. Despite Coop and Mann only spending about ten minutes walking away from the base, it takes the lander over five minutes to fly to where Coop is. Mann meanwhile steals the shuttle and heads for the Endurance.
But Coop remotely locks the Endurance, and Mann tries a manual docking but cocks it up – destroying himself and part of the Endurance. Which spins away. So Coop pilots the lander manually into a docking with the Endurance by rotating the lander to match. I’m not sure why he and Brand Jr were shown spinning with their heads pulled to the sides when it had already been established that their seats pivot so their heads would in fact have been toward the centre of rotation. Unfortunately, they’re now too close to the supermassive black hole, and the Endurance on its own can’t pull free. It needs the engines on the lander and the remaining shuttle too. But because plot reasons those spacecraft have to be piloted manually. One is taken by the surviving robot and the other by Coop. Both manfully sacrifice themselves so Brand Jr can head for her lover and take him the frozen gametes to found a new human race. However, the robot is going to try and get the “quantum data” from inside the black hole and transmit it out, so who knows? Maybe Murph will be able to solve Brand Sr’s equations after all…
I’m not entirely sure what to make of Interstellar. The world-building is terrible, despite its claim of scientific accuracy science is sacrificed to drama numerous times, as is plausibility, and its central message about love is the sort of puerile twaddle that Hollywood all too often mistakes for metaphysics. There are some neat ideas, and on several occasions the plot took turns I wasn’t expecting. Although the spacecraft look weird, the film-makers have made a serious attempt at presenting technology that looks plausible and fit for purpose.
But the pacing of the film is awful – that first third is apparently an entirely separate movie that Nolan bolted onto the front of his… and it shows. Some of the concepts are simplified to the extent they come across as handwavy nonsense. And the ending is a complete let down. Part of the problem is, I think, that the movie bounces from the personal to the bigger picture without any kind of logic or pattern. I suspect it’s an attempt to humanise the big concepts, but it doesn’t work. It just shows how badly shored-up they are by the world of the story. In parts, Interstellar also feels like too much was crammed in, so much that it no longer knows where its focus lies. Clearly it’s meant to be Murph’s story, as we see her entire life through the eyes of her father, Coop. But Coop spends the most time on-screen, as if he were the star of an adventure film. The two stories don’t quite fit – you can certainly have a short linear narrative looping in and out of an episodic story spread over decades, it’s an interesting narrative structure; but for it work you need something to anchor the crossover points. Interstellar tries for this – but the ones that make emotional sense are too few and so Murph’s narrative ends up having to fill in too much story in between breaks from Coop’s adventures. It makes for a third act that is badly unbalanced… which is one reason why the ending has so little impact.
I like that Nolan made an attempt at a serious near-future sf film. And visually, Interstellar is quite impressive. But it’s certainly not the greatest sf film ever made – nowhere close to it, in fact. I’m reluctant to even classify it as a “superior” sf film, as scoring highly on visuals is hardly difficult these days. It has some interesting ideas, but it handles them badly, throws in a helping of philosophical twaddle, and badly mangles what could have been a clever narrative structure. Disappointing.
Here’s more of those silvery round things with the moving pictures cunningly encoded on them. To date, I’ve watched 520 of the 1001 Movies You Must See Before You Die, although many of them I’d seen before I came across the list and decided to make an effort to complete it. (Again, asterisked ones are on the list.)
Amour*, Michael Haneke (2012, France) I bought this the moment it was released since I think Haneke is one of the most interesting directors currently making films, but I never actually got around to watching it until recently. I’m not sure why. I think it was perhaps because I’d bounced out of Funny Games the first time I tried to watch it and was afraid I’d do the same with this. I needn’t have worried. A retired couple in Paris, the wife suffers a stroke, and then surgery for a blocked artery goes wrong and leaves her semi-paralysed and confined to a wheelchair, the husband finds it increasingly harder to cope. Haneke doesn’t do cheerful films, but this is a completely cheerless one. Good, but not his best.
Tsotsi*, Gavin Hood (2005, South Africa). The title character is a young hoodlum in Soweto who steals a woman’s car, only to discover her baby in the back. He strips the car but keeps the baby, but soon realises he doesn’t know how to look after it. So he terrorises a young woman he sees at a public water pump into helping him. Meanwhile, the police are hunting for the car thief, and Tsoti’s friends have taken up with the local gangster. No one is really likeable in this film, they’re mostly thugs; but Hood manages to make the title character sympathetic. There’s an especially telling scene where he attacks a disabled ex-miner, but then realises that preying on the weak and helpless is no way to live. Worth seeing.
Stachka*, Sergei Eisenstein (1925, Russia). AKA Strike. This is Eisenstein’s first full-length film, made the same year, but before, Battleship Potemkin. It’s pure propaganda, but I was surprised to see how many modern film techniques, such as jump cuts and montages, that Eisenstein uses. The film depicts a strike in a factory in pre-revolutionary Russia, and its suppression by the capitalist owners and tsarist authorities. It’s pretty brutal in places and, sadly, less than a century later, its premise is not one we can consign to the dustbin of history.
Taza, Son Of Cochise, Douglas Sirk (1954, USA). Sirk made a handful of brilliant films, but he also made a lot of crap ones. This is one of the latter although, to be fair, it was slightly better than I expected – and it is subversive for a western as it’s told entirely from the Native American side and it shows them trying to seek peace with the US. Well, not all of them. The title character, played by Rock Hudson, certainly is, he’s trying to stick to the treaty his father signed, and he even becomes the first officer of the “Indian police”. But one of the other members of the tribe is not so willing to bend over backwards – the Americans have forced the tribe to move onto a reservation, for example – and kicks off a rebellion. The film’s heart may be in the right place, but it’s hard to ignore that so many of the cast are whites playing Native Americans.
The Zero Theorem, Terry Gilliam (2013, UK). It’s been a while since Gilliam made a film that blew me away – in fact the last few have been pretty lacklustre, and I think his most interesting piece in the last two decades has been a documentary on his failed attempt to make a film about Don Quixote. The Zero Theorem has been called a return to form, a phrase which always make me suspicious. I’ve seen mostly positive reviews of the film, which, unfairly, had led me to expect something as good as his earlier masterpieces. It’s not. The metaphor used for the “entity crunching” doesn’t make much sense and Bainsley feels like the sort of character only a dirty old man would think is necessary. But David Thewlis plays his part well, and Matt Damon’s wardrobe is quite amusing.
The Discreet Charm of Bourgeoisie*, Luis Buñuel (1972, France). This is one of the those films that slowly sucks you into its somewhat off-kilter world. It starts unremarkably enough: two couples turn up to another couple’s house for a planned dinner party, only to discover they’ve got the wrong day and the husband is away that night. So they take the wife to a nearby auberge with a good reputation, but it’s closed. They persuade the maître d to let them – only to learn the proprietor died that day, which is why the restaurant is closed. The film then follows the three couples as they arrange other dinner parties, including one with a contingent of military officers, a party that turns into a play on a stage… and it all becomes increasingly surreal as the film progresses. I had not expected to like this film as much as I did.
Lady For A Day, Frank Capra (1933, USA). Capra later remade this in 1961 as Pocketful Of Miracles, with Bette Davis and Glenn Ford – that was, in fact, Capra’s last feature film. An old woman who sells apples on the street to make ends meet has a daughter she gave away when young and who is now living in Spain. And who now wants her aristocratic Spanish fiancé to meet her mother who, she believes, is well-to-do and lives in a posh hotel. Fortunately, a local gangster considers the old woman is his good luck charm and is happy to help out. So they turn the old woman into the “lady” her daughter believes her to be, rent a big penthouse and organise a big bash… but it doesn’t go quite according to plan. Fortunately, everything works out… The very definition of a feel-good film.
Ponyo, Hiyao Miyazaki (2008, Japan). I find many of the Studio Ghibli films unbearably twee and this one is little different. The title character is a magical fish, who falls in love with a young boy who captures her and so returns to land as a young girl. So it’s basically The Little Mermaid. But Ponyo’s father is not happy, not just with her betrayal but with the humans’ pollution of the ocean. Happily Ponyo’s mother, the Goddess of Mercy, saves the day.
Sansho Dayu*, Kenji Mizoguchi (1954, Japan). Feudal Japan, and a manorial estate managed by the titular character has a slave labour force, among which are the children of a disgraced governor. Once the children reach adulthood, they manage to escape – at least the man does, the woman gives herself up to distract their pursuers. The young man goes looking for his mother, who was sold into slavery elsewhere. En route, he runs into his old mentor, who gives him a letter to prove his identity as he wants to appeal to the Chief Advisor. After proving his bona fides, the young man is made governor of the province containing the manor which Sansho manages. The young man tells Sansho he is outlawing slavery, Sansho retaliates, but the young governor’s soldiers prevail. Slow, but affecting.
Brüno, Larry Charles (2009, USA). If I thought Sacha Baron Cohen playing Borat in redneck country, USA, was stupidly dangerous, then playing Brüno, a camp and very dim fashionista, in Jerusalem is, well, I’m surprised he got out alive. And I certainly hope the interview with the terrorist group leader was faked. Other parts clearly weren’t – especially those where he interviews celebrities after moving to LA. Much like the earlier film, there were some moments of comic genius – the velcro suit was classic; some of the cinema verité parts were scary; and other bits weren’t so good. Although I did think it held together better overall than Borat.
The Lost Weekend*, Billy Wilder (1945, USA). Ray Milland is such an alkie he hangs his bottles of whisky out of the window on a piece of string so his brother doesn’t find them. Or his girlfriend, Jane Wyman, for that matter. Milland claims to be a writer but he’s not written a word. When his brother leaves him alone in the flat for a weekend, he finds the money left to pay the housekeeper, and goes on a binge. I’m completely mystified as to why this is considered a classic, it was pure temperance propaganda, and so overwrought I’m surprised Milland’s liver didn’t spontaneously explode. I don’t think Lowry need have worried about this movie, his novel is hugely superior.
The Imposter, Bart Layton (2012, UK). In 1994, a thirteen-year-old boy disappeared from a Texas town. Three years later, a teenager in Spain claimed to be that boy, and the family flew him to the US and welcomed him into their home as their missing son – even though this teenager spoke with a French accent, was seven years older than the missing boy, and had brown eyes and dark hair instead of blue eyes and blond hair. It took a suspicious private investigator to realise something was wrong. The teenager turned out to be a con man, who had been impersonating other children for years. A very odd documentary, it’s quite astonishing the family were blind to the differences – although, as a few in the film suggest, they might have been keen to welcome the imposter to hide the fact they murdered the missing boy.
Gion Bayashi, Kenji Mizoguchi (1953, Japan). I hadn’t planned on watching this, as I hadn’t actually put it on my rental list. But it was part of a double set with Sansho Dayu, and I only discovered this when I received the disc and thought, hang on, I don’t remember this one… And, after all that, I enjoyed it more than I did Sansho Dayu. A teenage girl has left her uncle, who was supposed to look after her but instead tried abusing her, and instead up at an okiya and asks the geisha, a friend of her late mother, to take her on as an apprentice. The geisha initially refuses, but then agrees after getting a loan for the cost of tuition from her old tutor. But when the teenager, shortly after graduating from geisha school, fights off a client, it jeopardises an important business deal and she and the geisha are ostracised. Set just after WW2, the Japan depicted is on the cusp of change – the okiya and the geishas are traditional, but most of the men wear Western clothing and are involved in engineering. Really enjoyed this one.
Fail-Safe, Sidney Lumet (1964, USA). This film was adapted from the novel of the same title, which also inspired Kubrick’s Dr Strangelove, and was released in the same year as Kubrick’s film. An unidentified plane crosses the DEW line, fighters are sent to intercept – these are the days of SAGE, by the way – and squadrons of “Vindicator” bombers head off to their rendezvous points to await the order to attack the USSR with their nuclear bombs. The UFO proves to be an off-course airliner, but the stand-down message gets garbled when sent to one of the Vindicator squadrons. Which promptly heads for Soviet airspace at supersonic speeds to drop an atom bomb on Moscow. The US president is understandably upset at this, and the USSR premier is understandably sceptical that this is actually a horrible accident. WW3 must be averted. The film was all a bit intense, Walter Matthau’s hawkish political advisor character was annoying, the Vindicator bombers were actually B-58 Hustlers… which meant the interior shots of their cockpits was all wrong… And, well, I can understand why Dr Strangelove was more successful.
With all the dipping into books I’ve been doing for research for All That Outer Space Allows, I’ve not been reading as much as usual – although I have managed to fit in several reads for review for SF Mistressworks. And, er, several books which I’ve actually written about at greater length… which is something I’ve not done on here for a while either.
My Name is Red, Orhan Pamuk (1998). I originally picked up this book for a world fiction reading challenge a couple of years ago, but got bogged down about halfway in and gave up. I eventually decided to give it another go, and this time I managed to finish it. In Istanbul in the late sixteenth century, the Sultan asks a retired and highly-regarded miniaturist to manage the creation of a book to celebrate his reign. But this book will not be illustrated in the Persian style, as is considered proper and religiously correct, but in the European style (depictions of people and animals is haram in Islam; hence Islamic art’s focus on calligraphy and architecture). But one of the miniaturists secretly approached to provide illustrations, or part of the illustrations, disagrees with the project and murders one of the other miniaturists. The novel is structured as first-person narratives by all those involved, including the murdered victims, the daughter of the man managing the project, and a young man who has returned to Istanbul after years in the provinces to ask for the daughter’s hand… It’s not the fastest-paced of murder-mysteries, and Pamuk seems fond of presenting the same piece of information from several different viewpoints so they more or less contradict, or at least, confuse each other. But I did think My Name is Red was very good… although I wasn’t so taken I plan to seek out Pamuk’s other novels.
Mindjammer, Sarah Newton (2012). This novel set in the world of a sf role-playing game of the same name and is, I believe, chiefly intended to support the RPG rather than vice versa. Which no doubt explains some of its set-up, like ,for example, the fact that it follows the adventures of a group of four military specialists from varied backgrounds (ie, both above and below the law). They’ve been sent to a rediscovered human polity as a Security and Cultural Integrity Force team by the New Commonality of Humankind in order to ensure everything about the newly-discovered world, Solenius, is exactly as it seems. Except, of course, it’s not. The plot of the novel basically comprises the four SCI agents stumbling from one violent encounter to another, interspersed with fact-filled info-dumps, while a number of villains twirl moustaches and gloat evilly. Mindjammer is space opera turned up to eleven, which is both its appeal and its worst problem. Space opera needs those clunky wodges of exposition, it needs a relentless plot filled with violence, discovery and violent upsets, it needs to rely on clichés because there isn’t much room for anything else… And when you have a space opera based on what is clearly a rich and lovingly-designed role-playing game universe… One for fans of the subgenre as much as it is for fans of the RPG; but yes, one for fans, I think.
Sanctum, Xavier Dorison & Christophe Bec (2014). I picked up a copy of the first part of this a few years ago, but it’s only recently an omnibus edition of all three parts has appeared in English (I was tempted to buy it in French, but never got around to it). Sadly, after all that wait, I can’t really say it was worth it. Some things it does very well, but it also fails quite badly in other respects. The opening section, in which a US submarine stumbles across a wrecked Soviet sub in an underwater chasm off the coast of Syria is done well… Except it all takes place at 4,000 feet, and you can’t have people diving that deep – the pressure would crush them. And should you somehow manage to saturation dive at nearly 120 atmospheres, you’d be decompressing for weeks afterwards. The US submarine is also infeasibly large inside, and reminded me of the Russian mining submarine in the BBC’s execrable The Deep (which I wrote about here). Near the Soviet wreck, the divers find the entrance to an ancient temple. Which is where the story turns all Lovecraftian, as the temple proves to be a magical prison for a Sumerian demon, which the Americans inadvertently release. The art is uniformly good throughout – it was intended to be cinematic, and it works well in that respect – and the story does hang together, even if the pacing is a little slow. But the author should have done a little more research and not sacrificed plausibility for drama.
A Month Soon Goes, Storm Jameson (1962). The first read in my informal project to try a number of British women writers from the first half of the twentieth century. And I enjoyed it very much. A polished piece of work. I wrote about it here.
The Suicide Exhibition: The Never War, Justin Richards (2013). This was a freebie from Fantasycon, and I only picked it up after spotting the Nazi Black Sun and flying saucers on the cover. And this was despite recently reviewing Graeme Shimmin’s A Kill in the Morning, another occult Nazi alternate history, for Interzone and not being very impressed. A secret section of the British intelligence services called Station Z crops up in various places, intriguing a man and a woman who are plainly intended to be the series main protagonists. They are duly recruited and learn that Station Z is fighting against Reichsführer Himmler’s new secret occult weapon, ancient technology some of his Ahnenerbe officers have discovered in ancient barrows scattered across Europe. Unfortunately, also in said barrows are alien creatures which are, well, are completely ripped off from the hand-creatures in Alien, and some sort of alien parasite which keeps the ancient kings interred in the barrows still alive, sort of – and who promptly go on a violent rampage once released. Oh, and there are some flying saucers too, which may be linked to the ancient aliens. It’s all complete tosh, and appallingly researched. Incidentally, the title refers to an exhibition laid on in the British Museum for the duration of the war and which the Museum didn’t mind losing should the Germans bomb the crap out of the building. It’s also mentioned later as a metaphor for Station Z or something, but its presence in the story is so trivial it seems completely undeserving of providing the title. Avoid.
The Towers Of Silence, Paul Scott (1971). This is the third instalment of Scott’s Raj Quartet. I must admit to a little confusion when I started the book. I was pretty sure I’d not read it, but the story seemed very familiar. At least, it sort of did. And when the narrative referred to something I remembered clearly from an earlier book in the quartet, but here it all happened off-stage, I realised that Scott was covering ground previously described but this time from different characters’ viewpoints. So, for example, when Sarah Layton goes off to Calcutta and has her adventures there, The Towers Of Silence remains behind in Pankot and, in the person of Barbie Batchelor, we get to witness Mabel Layton’s death at first hand. Barbie, incidentally, is a superb creation, an ex-Mission teacher who has retired to Pankot and shares Rose Cottage with Mabel as her companion. She’s played in the television series by Peggy Ashcroft, who is the best thing in the programme, and captures Barbie perfectly; although the rest of the series is a little disappointing as it misses so much interiority out that most of the characters comes across as unrepentant racists. The books, however, are built on cleverly-nuanced character studies, so they’re vastly superior to the TV series.
A Pictorial History of Oceanographic Submersibles,, James B Sweeney (1970). I picked this up cheap on eBay, and it proved to be ex-library so I got a partial refund. I should have sent it back – while it covers the early history of submarines reasonably well, as soon as it reaches WW1 it’s almost as if the world shrinks to only the US and its concerns. The chapter on WW2 is especially bad – it reads as though only the USA and Japan operated submarines, with only brief mentions of German U-Boots (which are not U-Botes, as the book writes at one point) and British mini-submarines. It’s also deeply racist – the Japanese are referred to as “the little people from the land of the Rising Sun” and dropping an atomic bomb apparently caused Hiroshima to be “blasted into immortality”. The writing throughout is terrible, and while I’ve spotted no blatant inaccuracies there is plenty that is given such an American emphasis it mendaciously implies every single advance in the field was made by that country.