OK, honestly I don't remember the episode in any great detail, but a swaggering smuggler, a crooked lawyer, and the local Chinese mafia engage in a futile attempt to smuggle gold under McGarrett's chiseled nose. They tip him off by killing someone. I remember being a kid and hearing that Five-O was the most violent show on television for the nth year in a row, but it wasn't long before even a doddering Lansbury couldn't justify a show without a body or two.
This is my first Five-O post, so I just want to say a big mahalo to the cast. Not for their performance, but for their names. Jack Lord!? And I though King of Pop Michael Jackson was pretentious. I guess he wanted to trim down John Joseph Patrick Ryan, which is what his mom called him. Meanwhile, James MacArthur takes on "Danny," which the Lord commandeth, lo that Dano's Irishness might divert attention from his own. Ever the self-hating boy bent on passing for a Scot, Lord also insisted that local actor Kam Fong be cast as Officer Kelly, a besotten buffoon and butt of jokes. The eventual compromise starred Fong as Chin Ho Kelly, one of the best Irish Cop Names I've ever heard. Then there's Kono, a made-up Hawaiian name played by the actual Zulu (a made up name for a Hawaiian).
And that's just the regulars. This episode has a villain named Johnny Fargo, which just rolls off the tongue and would be fine on its own, but the actor's name is Kaz Garas, which is even awesomer. I am sitting here now repeating each name again and again, with '40s gangster flair. For some reason, Johnny's scheme involves spending 250 grand on a tuna boat so he can catch aku, go pick up gold bars from under a buoy, stuff them in the fish, offload the fish at a dock a quarter mile away, and drive them somewhere to gut the gold out of 'em. Seems more complicated than just walking off a fishing boat with a duffle bag, since there's no customs inspection, but I guess then that nice Chinese girl wouldn't have accidentally bought one of those fish and gotten herself killed to kick off the episode.
But man, things get crazy when you're dealing with gold. I mean, the stuff was worth 35 bucks an ounce, which was the legally mandated price back then for gold and marijuana (now gold is going for about $1625, and marijuana for I have no idea how much). So Fargo needs upwards of four tons of gold to make any money after the boat, crew, buying off the cannery workers, and so on.
Johnny has not only a leaky scheme, but a weakness for the ladies, and so McGarrett, after first angrily yelling "Uh-uh, no dames!" allows Andrea, played by Marj Dusay (yeah, another incredible name, ending in a j and a y must've made her autographs look very fancy) to go undercover as a sophisticated, high-class criminal, and of course Johnny gets a load of those gams and falls right into her trap. As you may already have guessed, Dusay was born Marjorie Ellen Pavonka Mahoney, of the Kansas Mahoneys. Jack Lord thought she was a looker, and after a private interview in his suite agreed to let her hide her Irishness.
The names are great, and there are various things to love about the series, but what makes this episode really stand out is that it contains what may be the finest example of tire-squealing in the Golden Age of Tire Squealing. Even though she's been taken hostage by Johnny, Andrea has a beacon that guides Five-O (they are psychic, and can discern from the dash-mounted red light exactly where she's headed) on a chase that winds up and then down a high-rise parking structure. I think it goes on for a minute and a half or so. Squeal after squeal after squeal, non-stop excitement.
I'm guessing they had some time to fill. Besides, TV then and ever after has understood that parking garages make great locations: controlled access, brutalist architectural lines, squealy surfaces, and no civilians accidentally walking a scene or weather changes messing with continuity. Five-O sure loved a good garage chase, but would dub in squealing tires everywhere, even on loose gravel or cane roads. McGarrett works directly for the Governor, and goes nowhere slowly, pal.
The show tore on for another 12 years, and no doubt there will be more posts. But for now, I must salute squealing tires, the crypto-Irish diaspora, and $35/ounce gold.
Wednesday, September 28, 2011
Omigod Man: Omega Man
Aside from the online POTA (Planet of the Apes) crowd, almost nobody looks to me for film criticism. Maybe because I know so little, and don't know any of the names to drop or references to make. Also, I like to review movies way after they come out; I'm averaging nearly 4 decades after release, for I am The Procrastacritic.
In 1970 (+/-3), Heston embarked on a trio (plus the POTA sequel, if you wanna count that, which I don't) of sci-fi flicks, each set in an earthly future rendered dark and dystopian by human folly: the Hestopian Trilogy. Planet of the Apes kicked it off, and Soylent Green finished it. In my usual shiftless way I arrive last at the middle: Omega Man, a post-apocalyptic costume drama. Like the others in this triptych of hubristic humanity gone awry, OM returns to certain aspects of the species Homo hestonii: his journey from adventurous gay man to abusive heterosexual, pathological criminalism, and race relations.
We begin with the decked out in sweaty suave, epaulettes rippling in the breeze as he speeds though an abandoned city in a big red caddy (Hunter Thompson appropriated the caddy and sense of doom for Fear and Loathing in Las Vegas). The stylish safari look was judged just right for the character, Robert Neville, indulging in his twin passions of looting and shooting, and was so popular with audiences that studio execs green-lighted the epaulettes' re-appearance in Soylent Green.
He is alone, Colonel Neville, the reward and curse for having saved himself from a man-made plague while all around him perished (not having had the Hestonian wisdom to be germ warfare scientists themselves). Now, he must spend days hunting down and killing zombies. At night, he plays chess with a bust of Julius Caesar, and furthers the costume aspect of the movie by saying "I dress for dinner on Sundays," sporting a green velour jacket and ruffled blouses.
But let us not dwell on sartoriality, let us get to the point of the movie, which is…I'm not sure. So why not just make fun of the oddities? Three years after everyone died and presumably failed to produce more food, and Neville's got a fresh fruit platter and a string of bratwurst; there's always ice in the silver bucket. Car and flashlight batteries remain fresh forever in this miraculous world, different than the 1978 I lived through, where we had crappy batteries that lasted six months. Finally, in a world full of stores, Heston's natural looting mania seems to be focused mainly on clothes, expressing his every mood (to whom?) with a new outfit for every occasion.
Then there's The Family, a multiracial zombie-ish coven (disaster strikes a few years after the big race riots, so of course the first thing the survivors to is get together in harmony, right?). Well, almost harmony, because the black guy in The Family is dishonest and violent. So much for progess: the innovation of the movie is to have black people in white-face make-up. The strangest thing is that after three years of intensive searching, Neville has not found them, even though the first kid he meets knows exactly where they are.
He(ston) wants to root out their nest, kill them all before they kill him. Were they really trying to kill him before he took to shooting them on sight? I'm not so sure, but as usual when encountering the Other in Hestopia, the only solution is to shoot, for god's sake, SHOOT! Oh, and drive like a fucking maniac (because when you are the last man on earth, every car is a rental). Costume-wise: he usually chooses something militaryey looking for ops like this, like when time was of the essence and he managed to slip into a form-fitting blue rayon flight suit.
Eventually, Neville trips across a group of survivor children (awww), protected by an aspiring germ warfare doctor (no, no stretching the limits of plausibility there), who he should have taught how to make the anti-zombification serum. But instead, he goes to the only other healthy adult, so that he can have The Kiss That Changed The World (sorta,...OK, not really).
For she is African American. Yeah. And Chuck Heston is as white a Moses as you'll ever see. Of course, this shocking romance occurred years after Poitier and Hepburn had made the move on the big screen; even Shatner and Uhuru had blazed the trail on TV while Heston was avoiding women altogether on POTA. So Omega Man kisses a black woman, subject to certain rules: there must be a false start, the kiss itself must not be lit well enough to see, and she must die before there is an issue with, uh, shall we say, issue. The costume for this scene is an pirate shirt with understated puffy sleeves.
If I don't understand what this movie is about, it's not for lack of trying by the authors and director, who beat me about the head and neck with symbolism. They foreshadow and then at the end indulge in crucifixion, savior Neville arms asplay, passing a vial of his own blood to the future that they might be saved zombification by the Pharisees or Pagans, or whoever those anti germ warfare freaks are.
In 1970 (+/-3), Heston embarked on a trio (plus the POTA sequel, if you wanna count that, which I don't) of sci-fi flicks, each set in an earthly future rendered dark and dystopian by human folly: the Hestopian Trilogy. Planet of the Apes kicked it off, and Soylent Green finished it. In my usual shiftless way I arrive last at the middle: Omega Man, a post-apocalyptic costume drama. Like the others in this triptych of hubristic humanity gone awry, OM returns to certain aspects of the species Homo hestonii: his journey from adventurous gay man to abusive heterosexual, pathological criminalism, and race relations.
We begin with the decked out in sweaty suave, epaulettes rippling in the breeze as he speeds though an abandoned city in a big red caddy (Hunter Thompson appropriated the caddy and sense of doom for Fear and Loathing in Las Vegas). The stylish safari look was judged just right for the character, Robert Neville, indulging in his twin passions of looting and shooting, and was so popular with audiences that studio execs green-lighted the epaulettes' re-appearance in Soylent Green.
He is alone, Colonel Neville, the reward and curse for having saved himself from a man-made plague while all around him perished (not having had the Hestonian wisdom to be germ warfare scientists themselves). Now, he must spend days hunting down and killing zombies. At night, he plays chess with a bust of Julius Caesar, and furthers the costume aspect of the movie by saying "I dress for dinner on Sundays," sporting a green velour jacket and ruffled blouses.
But let us not dwell on sartoriality, let us get to the point of the movie, which is…I'm not sure. So why not just make fun of the oddities? Three years after everyone died and presumably failed to produce more food, and Neville's got a fresh fruit platter and a string of bratwurst; there's always ice in the silver bucket. Car and flashlight batteries remain fresh forever in this miraculous world, different than the 1978 I lived through, where we had crappy batteries that lasted six months. Finally, in a world full of stores, Heston's natural looting mania seems to be focused mainly on clothes, expressing his every mood (to whom?) with a new outfit for every occasion.
Then there's The Family, a multiracial zombie-ish coven (disaster strikes a few years after the big race riots, so of course the first thing the survivors to is get together in harmony, right?). Well, almost harmony, because the black guy in The Family is dishonest and violent. So much for progess: the innovation of the movie is to have black people in white-face make-up. The strangest thing is that after three years of intensive searching, Neville has not found them, even though the first kid he meets knows exactly where they are.
He(ston) wants to root out their nest, kill them all before they kill him. Were they really trying to kill him before he took to shooting them on sight? I'm not so sure, but as usual when encountering the Other in Hestopia, the only solution is to shoot, for god's sake, SHOOT! Oh, and drive like a fucking maniac (because when you are the last man on earth, every car is a rental). Costume-wise: he usually chooses something militaryey looking for ops like this, like when time was of the essence and he managed to slip into a form-fitting blue rayon flight suit.
Eventually, Neville trips across a group of survivor children (awww), protected by an aspiring germ warfare doctor (no, no stretching the limits of plausibility there), who he should have taught how to make the anti-zombification serum. But instead, he goes to the only other healthy adult, so that he can have The Kiss That Changed The World (sorta,...OK, not really).
For she is African American. Yeah. And Chuck Heston is as white a Moses as you'll ever see. Of course, this shocking romance occurred years after Poitier and Hepburn had made the move on the big screen; even Shatner and Uhuru had blazed the trail on TV while Heston was avoiding women altogether on POTA. So Omega Man kisses a black woman, subject to certain rules: there must be a false start, the kiss itself must not be lit well enough to see, and she must die before there is an issue with, uh, shall we say, issue. The costume for this scene is an pirate shirt with understated puffy sleeves.
If I don't understand what this movie is about, it's not for lack of trying by the authors and director, who beat me about the head and neck with symbolism. They foreshadow and then at the end indulge in crucifixion, savior Neville arms asplay, passing a vial of his own blood to the future that they might be saved zombification by the Pharisees or Pagans, or whoever those anti germ warfare freaks are.
Soylent Greenbacks: Soylent Green Part 2
Somehow in the last post, which you should be reading first, I got off track. Watching the movie, knowing the secret ahead of time, the characters' anguish and shock seemed overdone. But then, I've forgotten what life was like before Reagan (our most Hestonian president, I'd say, with that veneer of smiling good nature and great hair over a dickish soul and addled mind), and worse yet Mr. New World Order. As Saul says, we had a world once,...schmuck.
But even in those kinder, gentler days before the Bush Dynasty ascended, people should have understood that in a movie where the premise is that the world is way overpopulated and food is hard to come by, there's gonna be some cannibalism. It's happened with boats and plains and wagon trains full of hungry people, and for that matter probably happens in New York city from time to time anyway.
Maybe I'm jaded by years of living under unbridled and bloodthirsty capitalism, but it also makes sense that a large corporation would pounce on the obvious profit potential in this movie world. A steady supply of willing flesh, a vast pool of consumers hungry for protein, yearning for a new product. As businessmen are so fond of saying, it's a no-brainer.
Soylent Green saw this future coming. Like all tales of the future, it is doomed to looking stupid on some levels: the lame-ass video game would have fallen prey to this in less than a decade, there are no Latinos, and the guns are pitiful little toys. On the other hand, we're well on the way to being a plutocracy, run by a few ruthless people who live in a level of wealth unimaginable to the unwashed masses. Officials who use their position to enrich themselves and appropriate other people's stuff? Yep. Corporations using public resources to enhance profitability (where do you think the Riot Patrol scoopers dump their haul?) and shaping public policy to their liking? Yep. High-powered politicians drawn from the ranks of the wealthy? Yep. Public sector workers not paid a decent wage? Yep. Corruption, dehumanization, women treated as furniture? Yep, yep, and yep.
I heard about a scientific study recently in which burgers from 6 corporate chains were tested, and it was found that they contained between 2 and 15% meat. Slightly more if you count guts and parasites, but basically a Soylent Gray disk. I haven't eaten that crap in years, but in large urban centers, it accounts for a large portion of the menu for those who cannot afford to have luxuries like fresh vegetables. I don't think it has yet become profitable to include human meat, but don't expect Archer Daniels Midland to tell you when that happens. They and the other food-stuff mega corporations may well have nicely bound feasibility studies already on the shelves, just like in the movie.
Which brings to mind a flaw. I can understand the guy from state security hiring a patsy to murder a conspirator who might not be reliable, but to think that they'd leave the investigation to a detective who is not also part of the operation boggles the mind. The bodyguard did not sweep out the books and any other incriminating evidence or kill the priest moments after he heard confession form the Man Who Knew Too Much. Amateurs. Bush I or Cheney would have disappeared the killer, bodyguard, priest and furniture immediately, would have put their own guy on the case; nobody, least of all some rabble rouser, would have ever known about the murder or the greater crime of mass cannibalism.
If word ever did get out, they'd put the media to work explaining that Soylent Green is as American as apple pie (or at least mock apple pie made with pancreas instead of those horrible ritz crackers). They'd have paraded out McCain, who would explain that he took up cannibalism out of necessity in Hanoi, but kept up with it for the pure gustatory pleasure. There would be a new ad campaign on the theme "Soylent Green is People," showing the smiling faces of the diverse Soylent workforce, appropriating and deflating the critique. Anti-cannibals would be branded as socialists and homos, marginalized, and if that didn't work, scooped up by the riot patrol and delivered to the Gitmo Processing Plant.
The voluntary suicide center would be different, too. None of this druidic robe stuff, a final film dwelling on nature. There'd be a big cross. You'd be strapped to the gurney so that you could not escape when you figured out they were lying about giving you the full 20 minutes of nice movie. Fawning Dick Van Patten manning the gates, allowing himself to be pushed around by a half-fed local cop? Hell no: a Blackwater crew, tossing the bullet-riddled bodies of interlocutors into the hopper.
The process, the conveyors and trucks and machines that transport and transform bodies into Soylent Green, appears a little silly now. Bodies given the dignity of a clean white sheet through the whole process? Maybe in the first week of operation, but soon enough some manager would get himself a promotion by figuring out that eliminating the sheets would increase the profit margin, another would move up after devising a streamlined process for gold tooth extraction. Likewise, once the suicider has signed on the dotted line, amenities are unnecessary and a waste. No self-respecting corporation in 2011, much less 2022, would want to justify the expense to shareholders anxious about meeting quarterly projections.
In 1963, Heston marched with Dr. King and advocated for civil rights. In 1973, he seemed outraged by what the Soylent Corp was doing. In 1983, he'd changed his tune, and by '93 was excoriating the pinkos who would dare badmouth the poor maligned white male. As Heston went, so too did the leadership of our country. Less and less concerned with any right but the right to bear arms, more and more demented. Unwilling to let anything stand in the way of the march toward complete corporate domination of the economy and society. Growing Mosaic in his devotion to the one true god (with his three faces: father, son, and holy cash flow), and disgusted by the humanists.
Soylent Greenbacks are made of people.
But even in those kinder, gentler days before the Bush Dynasty ascended, people should have understood that in a movie where the premise is that the world is way overpopulated and food is hard to come by, there's gonna be some cannibalism. It's happened with boats and plains and wagon trains full of hungry people, and for that matter probably happens in New York city from time to time anyway.
Maybe I'm jaded by years of living under unbridled and bloodthirsty capitalism, but it also makes sense that a large corporation would pounce on the obvious profit potential in this movie world. A steady supply of willing flesh, a vast pool of consumers hungry for protein, yearning for a new product. As businessmen are so fond of saying, it's a no-brainer.
Soylent Green saw this future coming. Like all tales of the future, it is doomed to looking stupid on some levels: the lame-ass video game would have fallen prey to this in less than a decade, there are no Latinos, and the guns are pitiful little toys. On the other hand, we're well on the way to being a plutocracy, run by a few ruthless people who live in a level of wealth unimaginable to the unwashed masses. Officials who use their position to enrich themselves and appropriate other people's stuff? Yep. Corporations using public resources to enhance profitability (where do you think the Riot Patrol scoopers dump their haul?) and shaping public policy to their liking? Yep. High-powered politicians drawn from the ranks of the wealthy? Yep. Public sector workers not paid a decent wage? Yep. Corruption, dehumanization, women treated as furniture? Yep, yep, and yep.
I heard about a scientific study recently in which burgers from 6 corporate chains were tested, and it was found that they contained between 2 and 15% meat. Slightly more if you count guts and parasites, but basically a Soylent Gray disk. I haven't eaten that crap in years, but in large urban centers, it accounts for a large portion of the menu for those who cannot afford to have luxuries like fresh vegetables. I don't think it has yet become profitable to include human meat, but don't expect Archer Daniels Midland to tell you when that happens. They and the other food-stuff mega corporations may well have nicely bound feasibility studies already on the shelves, just like in the movie.
Which brings to mind a flaw. I can understand the guy from state security hiring a patsy to murder a conspirator who might not be reliable, but to think that they'd leave the investigation to a detective who is not also part of the operation boggles the mind. The bodyguard did not sweep out the books and any other incriminating evidence or kill the priest moments after he heard confession form the Man Who Knew Too Much. Amateurs. Bush I or Cheney would have disappeared the killer, bodyguard, priest and furniture immediately, would have put their own guy on the case; nobody, least of all some rabble rouser, would have ever known about the murder or the greater crime of mass cannibalism.
If word ever did get out, they'd put the media to work explaining that Soylent Green is as American as apple pie (or at least mock apple pie made with pancreas instead of those horrible ritz crackers). They'd have paraded out McCain, who would explain that he took up cannibalism out of necessity in Hanoi, but kept up with it for the pure gustatory pleasure. There would be a new ad campaign on the theme "Soylent Green is People," showing the smiling faces of the diverse Soylent workforce, appropriating and deflating the critique. Anti-cannibals would be branded as socialists and homos, marginalized, and if that didn't work, scooped up by the riot patrol and delivered to the Gitmo Processing Plant.
The voluntary suicide center would be different, too. None of this druidic robe stuff, a final film dwelling on nature. There'd be a big cross. You'd be strapped to the gurney so that you could not escape when you figured out they were lying about giving you the full 20 minutes of nice movie. Fawning Dick Van Patten manning the gates, allowing himself to be pushed around by a half-fed local cop? Hell no: a Blackwater crew, tossing the bullet-riddled bodies of interlocutors into the hopper.
The process, the conveyors and trucks and machines that transport and transform bodies into Soylent Green, appears a little silly now. Bodies given the dignity of a clean white sheet through the whole process? Maybe in the first week of operation, but soon enough some manager would get himself a promotion by figuring out that eliminating the sheets would increase the profit margin, another would move up after devising a streamlined process for gold tooth extraction. Likewise, once the suicider has signed on the dotted line, amenities are unnecessary and a waste. No self-respecting corporation in 2011, much less 2022, would want to justify the expense to shareholders anxious about meeting quarterly projections.
In 1963, Heston marched with Dr. King and advocated for civil rights. In 1973, he seemed outraged by what the Soylent Corp was doing. In 1983, he'd changed his tune, and by '93 was excoriating the pinkos who would dare badmouth the poor maligned white male. As Heston went, so too did the leadership of our country. Less and less concerned with any right but the right to bear arms, more and more demented. Unwilling to let anything stand in the way of the march toward complete corporate domination of the economy and society. Growing Mosaic in his devotion to the one true god (with his three faces: father, son, and holy cash flow), and disgusted by the humanists.
Soylent Greenbacks are made of people.
Shallow Time Travel: Soylent Green
Soylent Green is made of people!
Yeah. Planet of the Apes was not the end of my journey down the Hestonian road to the future. This time, to a closer one, a more plausible outcome to late 20th Century excess, introduced with the coy and squatty multiframe montage taking us from Manifest Destiny to Hestopia, penultidecadally before Koyaanisqatsi. Viewers are not asked to believe in evolution, just that overpopulation and pollution lead to some problems.
This time, our hero is not a space-ship commander, but a New York City dick, which you can read as 'detective' if you want, but the guy is a thief, a kicker of stairwell dwellers, who lets his friend kill himself and doesn't mind getting stains on the furniture. That last charge sounds lame, until you know that "furniture" in the far off year 2022 refers to the chick that comes (or at least pretends to) with apartments rented to bachelors. One piece took a swing at him, but didn't deserve the savage beating she got in return. Because in Soylent Green, the 'she was to be our Eve' sentimentality and desire for breeding of POTA is a thing of the unimaginable future. There are 40 million people in New York City alone, too crowded for love, even though the furniture might dream of it from time to time.
In the midst of this overpopulated mess--shot in yellow Hazescope (TM)--is some sort of college where Heston and his room-mate live in a dorm room. Books, mini fridge, squalor. Chuck's character is lucky, just like I was, to have roomed with Saul (I know, credits say 'Sol,' but it sounds like 'Saul,' and it adds another dimension), a Jewish guy (see?) whose intelligence and humor helps Heston's Detective Thorn make it through. Like the time he says something really beautiful, pauses for effect, and says "Schmuck."
Theirs is a tenderer relationship than me and my roommate, richer perhaps from having sprung from all they'd gone through back when Heston was Moses and Edward G. Robinson was that asshole Egyptian enforcer (General Suleiman, maybe?) bent on killing him. The general saw earlier than his colleagues did where the chips would fall, and besides, don't some boys have a thing about plaguing the one they love? The script does not tell us how they fell in together, just that Saul is the book-guy, with memories of the old world, and Thorn is the tough guy. Teacher, jaw-jutting antihero student. The only furniture around a random few rickety chairs and a dinette table, no complications.
Thorn investigates murders and kicks ass among hungry people who won't disperse. Everywhere he goes, he is a dick. Kills people he should have questioned, leaves every domicile with loot. But the thing is, he brings Saul treats when he can snag some, listens to the old man's stories, offers to pedal the generator bike that shines a 40-watt bulb on their dim existence. When Saul chooses a voluntary death, Thorn rushes to share the last moment, to repeatedly express their love. It is as tender and genuine as Heston gets.
Some website says Edward knew he was gonna die--and followed through (unlike Thorn with his pedal offer) just 12 days after filming the scene--and kept it secret until telling Chuck just before his death scene to amp up the emotion. Others say that's a bunch of crap, that Heston offed Robinson and concocted the cancer story to amp up the box office. Either way, there's nothing the furniture likes better than a poignant death.
On the other hand, they don't so much like the cannibalism. Neither do the characters in this flick. You'd think they'd be a little less surprised, not banished to Catatonia like the priest or executed for 'unreliability' like the victim, Simonson, in all his Joseph Cottony blandness, a scene that plays out as an over-wrought exchange between a monkey with a crowbar and a tired old thespian unaware that the audience left long ago.
Yeah, a shocking murder...1973 style. No visible carnage, just some really fake blood. To set it up, to make us understand that it is a major conspiracy, the killer meets with his handler, a state security heavy who supplies him with one of those fancy two-piece crowbars. Yeah, lock and load crowbar, man. Only the big boys have them. (Later, they make a point of Thorn deducing that the crowbar proved the killer was a pawn, a nobody being used by guys with guns. Sweet sweet guns....but back to the story.) So he has to use the bar to bash footholds in the concrete wall surrounding this rich guy's house so he can gain entry and bash holes in his head. Which cranial violations did not appear in 1973 mainstream film (I say with no data to back me up).
Somehow, all the clanging does not alert security. No matter, since this crime is just one guy and there is Soylent happening right under everyone's pollution-impaired nose. Thorn figures it out, though, not with fortuitous information and implausible plot lines, no, but with beatings and his smart roommate's help.
First, though, he must brachiate his way down stairwells full of huddled masses nearly as dumb as POTA humans. Then swagger into the building where the rich guy lived, where he must pass the super, who is an honest to god lawn jockey. Red jacket, weird hair and all. Turns out the guy is also an incredible dick, who doesn't even wait for the furniture to hit him before he beats them. Thorn lets him know who is boss, but doesn't kill him.
Another Dick in the movie is of the Van Patten variety. Dead and gone in 2022, but when this movie was made (MLMXXIII), he still had the glory years of Eight is Enough before him. Younger, but still bald and dull, his mattress-salesman future reverberating backwards, Mr. Obvious Tool played the role of usher to the chamber where the depressed and old could kill themselves in return for a 20 minute, clumsily edited sequence of nature shots that would not have passed muster in 1982, much less 2022.
I'd've blown the budget making the Styx-crossing movie mind-boggling, but back in '73 they went with a thing they called a 'cathode ray tube game,' an oversized Leggs container with a field of Asteroids featuring limited Pong action. Yes. Such a primitive video game that even I can describe it. The furniture had to stoop over to play the damn thing, desperately pretending to be thrilled, just to let us know that these are rich people without a care in the world.
Rich people. It seems like they keep coming up. This post is already getting long, and it's nearing midnight. If I forget to continue this later (I'm thinking "Soylent Greebacks" would be a good title, then remind me.
Yeah. Planet of the Apes was not the end of my journey down the Hestonian road to the future. This time, to a closer one, a more plausible outcome to late 20th Century excess, introduced with the coy and squatty multiframe montage taking us from Manifest Destiny to Hestopia, penultidecadally before Koyaanisqatsi. Viewers are not asked to believe in evolution, just that overpopulation and pollution lead to some problems.
This time, our hero is not a space-ship commander, but a New York City dick, which you can read as 'detective' if you want, but the guy is a thief, a kicker of stairwell dwellers, who lets his friend kill himself and doesn't mind getting stains on the furniture. That last charge sounds lame, until you know that "furniture" in the far off year 2022 refers to the chick that comes (or at least pretends to) with apartments rented to bachelors. One piece took a swing at him, but didn't deserve the savage beating she got in return. Because in Soylent Green, the 'she was to be our Eve' sentimentality and desire for breeding of POTA is a thing of the unimaginable future. There are 40 million people in New York City alone, too crowded for love, even though the furniture might dream of it from time to time.
In the midst of this overpopulated mess--shot in yellow Hazescope (TM)--is some sort of college where Heston and his room-mate live in a dorm room. Books, mini fridge, squalor. Chuck's character is lucky, just like I was, to have roomed with Saul (I know, credits say 'Sol,' but it sounds like 'Saul,' and it adds another dimension), a Jewish guy (see?) whose intelligence and humor helps Heston's Detective Thorn make it through. Like the time he says something really beautiful, pauses for effect, and says "Schmuck."
Theirs is a tenderer relationship than me and my roommate, richer perhaps from having sprung from all they'd gone through back when Heston was Moses and Edward G. Robinson was that asshole Egyptian enforcer (General Suleiman, maybe?) bent on killing him. The general saw earlier than his colleagues did where the chips would fall, and besides, don't some boys have a thing about plaguing the one they love? The script does not tell us how they fell in together, just that Saul is the book-guy, with memories of the old world, and Thorn is the tough guy. Teacher, jaw-jutting antihero student. The only furniture around a random few rickety chairs and a dinette table, no complications.
Thorn investigates murders and kicks ass among hungry people who won't disperse. Everywhere he goes, he is a dick. Kills people he should have questioned, leaves every domicile with loot. But the thing is, he brings Saul treats when he can snag some, listens to the old man's stories, offers to pedal the generator bike that shines a 40-watt bulb on their dim existence. When Saul chooses a voluntary death, Thorn rushes to share the last moment, to repeatedly express their love. It is as tender and genuine as Heston gets.
Some website says Edward knew he was gonna die--and followed through (unlike Thorn with his pedal offer) just 12 days after filming the scene--and kept it secret until telling Chuck just before his death scene to amp up the emotion. Others say that's a bunch of crap, that Heston offed Robinson and concocted the cancer story to amp up the box office. Either way, there's nothing the furniture likes better than a poignant death.
On the other hand, they don't so much like the cannibalism. Neither do the characters in this flick. You'd think they'd be a little less surprised, not banished to Catatonia like the priest or executed for 'unreliability' like the victim, Simonson, in all his Joseph Cottony blandness, a scene that plays out as an over-wrought exchange between a monkey with a crowbar and a tired old thespian unaware that the audience left long ago.
Yeah, a shocking murder...1973 style. No visible carnage, just some really fake blood. To set it up, to make us understand that it is a major conspiracy, the killer meets with his handler, a state security heavy who supplies him with one of those fancy two-piece crowbars. Yeah, lock and load crowbar, man. Only the big boys have them. (Later, they make a point of Thorn deducing that the crowbar proved the killer was a pawn, a nobody being used by guys with guns. Sweet sweet guns....but back to the story.) So he has to use the bar to bash footholds in the concrete wall surrounding this rich guy's house so he can gain entry and bash holes in his head. Which cranial violations did not appear in 1973 mainstream film (I say with no data to back me up).
Somehow, all the clanging does not alert security. No matter, since this crime is just one guy and there is Soylent happening right under everyone's pollution-impaired nose. Thorn figures it out, though, not with fortuitous information and implausible plot lines, no, but with beatings and his smart roommate's help.
First, though, he must brachiate his way down stairwells full of huddled masses nearly as dumb as POTA humans. Then swagger into the building where the rich guy lived, where he must pass the super, who is an honest to god lawn jockey. Red jacket, weird hair and all. Turns out the guy is also an incredible dick, who doesn't even wait for the furniture to hit him before he beats them. Thorn lets him know who is boss, but doesn't kill him.
Another Dick in the movie is of the Van Patten variety. Dead and gone in 2022, but when this movie was made (MLMXXIII), he still had the glory years of Eight is Enough before him. Younger, but still bald and dull, his mattress-salesman future reverberating backwards, Mr. Obvious Tool played the role of usher to the chamber where the depressed and old could kill themselves in return for a 20 minute, clumsily edited sequence of nature shots that would not have passed muster in 1982, much less 2022.
I'd've blown the budget making the Styx-crossing movie mind-boggling, but back in '73 they went with a thing they called a 'cathode ray tube game,' an oversized Leggs container with a field of Asteroids featuring limited Pong action. Yes. Such a primitive video game that even I can describe it. The furniture had to stoop over to play the damn thing, desperately pretending to be thrilled, just to let us know that these are rich people without a care in the world.
Rich people. It seems like they keep coming up. This post is already getting long, and it's nearing midnight. If I forget to continue this later (I'm thinking "Soylent Greebacks" would be a good title, then remind me.
Shallow Space Travel: Planet of the Apes
The other day I subjected my older child to Planet of the Apes, the original (1967 or 68, depending on your source), the Hestonian dystopia (Hestopia?), the ... uh, movie. Yeah. I'm film illiterate.
The point is that the kid needs some education regarding the crazy culture I grew up in, totally alien to this 21st century progeny. I mean, when I was a kid people were racist and new technological frontiers kept expanding and the US was mired in a war that dragged on nearly as far as this IED-laced road to Nowhere, Afghanistan we're on now and uh...
Yeah, completely different.
Sarcasm is not taught in schools, except by often ill-disciplined student prodegies and wannabes. So I have to home school, but I'm not really turned on at the prospect of the religious curricula, which I consider to be merely snide, sarcasm turned weak and mean, like an aged chihuahua from a bad home. Besides, who wants to pay their prices?
Kindof with Mystery Science Theater in mind, I pulled up a couple comfy chairs and started the flick. Heston in a suaved-out swagger on the bridge of a Spaceship, a cynical antihero who doesn't let some pinhead back at Command tell him he cannot smoke a cigar in a pure Oxygen environment. Then he shoots up and the movie begins.
But before that, think back to when I was talking about having the teach Sarcasm 201 (she placed out of Intro without batting an eye, just those slack lids and the teeniest of eyebrow lifts). One great technique is the Training Film, liberally basted with audience comments. There were some Archaeology Training Films that shaped who I am. Platoon (imparting the proper sense of doom, leavened with the fun of stalking through the jungle and giving hand signals), Indiana Jones (learning to say "That belongs in a Museum!" with conviction, and at other times a series upon which sarcasm is to be heaped), Predator (cannot remember why, probably because of swampy jungles and the dude's cool dreadlocks), and so on.
To Planet of the Apes, featuring Cornelius, an archaeologist-hero who clearly knows his methodology better than Indy and has respect for human remains. Not only that, but he's a staunch evolutionist and is romantically involved with Dr. Zira; together, they defend science from the ruling cadre of light-skinned religious bigots. They seek Truth, and my beef is not with them.
It's with Heston. Always with Heston. And maybe too it's just fun to make fun of decades-old effects and stuff like the sudden pointless zooms that punctuate the movie (I kept expecting it to cut to commercial). Oh, and of course the Ape technology. They can do brain surgery and make functional guns, but their means of capturing humans is the Crudely Woven Net, available in sizes large enough to be effective (the trip-wired net fences that I'm pretty sure they stole from Marlin Perkins), but usually deployed awkwardly between two horse-riding Gestape-o, invariably in a size too small to entangle a large biped.
The Planet of the Apes is geographically interesting, too. They land in a lake ringed by the telltale white stains of a drawdown, evidence that the lake is impounded behind a major hydroelectric dam, yet there are no power lines in the whole movie.
What there are are footprints, on the sands before them in several Forbidden Zone scenes. Because nobody has been there in 1200 years or so, they must be fossils, remnants of the last people stupid enough to abandon a lake full of water to strike out aimlessly through the desert in white patent leather boots with back packs full of useful things like test tubes containing pink sand. More sand. In a desert where you banished yourself. Sarcasm.
On the more local scale, there's the big boulder inexplicably rolling down a hill at them, after which they rest, beneath another precariously balanced boulder! Heston is the best captain ever. Yeah.
History lessons can be drawn from this flick as well. The casting is a window on the 1960's that era of upheaval and promise, change and retrenchment. I'm sure that including among the astronauts a woman and what were then called Negroes (one of the sequels has a character by that name, in case you have doubts) gave the writers a warm fuzzy feeling, but consider what their roles were. The woman has been brought because the uterus would die witrhout her. Cap'n Heston briefly mourns the passing with the creepy "She was to be our Eve," although the idea of repopulating with 3 guys and one girl instead of the other way around is a recipe for at least one murder. Then of course the female lead for the rest of the movie is the perfect woman in Hollywood terms: enamored with the hero, mute, and scantily clad sexy body topped by a great head of hair (legs and armpits shaved, though she acts amazed that Heston can shave).
The one black guy in the movie, although clearly the smartest of the survivors, is given every bit of work that happens. Need someone to climb up and flip an important switch inexplicably located at the other end of the sinking ship? He'll do it. Test the new planet's soil, or run ahead and find the path while everyone else jawbones about their egos? Call on the Negro. Somebody need to get killed to establish the apes' disregard for human life (only to later appear as a museum specimen, suggesting that they have some scientific curiosity)? Perfect job for a Negro in 1967. Or 1968.
And through it all, Hestonian machismo. The derision for his lesser crew. The violent attempts to grab paper from Dr. Zira instead of just pantomiming or gently reaching out. The insults hurled at his captors. The only break in his mindless macho posturing is his obvious homosexuality. That's pretty much the only explanation for why he would order his man-crew to strip naked and cavort in the water (check out the scene where they stand together looking at each others peni), then indulges in a diva-ish strip of his own under the gushing white waterfall. I have it on good authority that Chuck got so deep into this aspect of the role that he insisted the film be the first to show several naked men, but no naked women. Groundbreaking. And if you doubt my conclusions about his gender, consider this: even if the ape scientists only gave me a mate because they are horny voyeurs, I'd have started repopulating immediately, but Chuck barely touches her, even when he hears he's about to be gelded. Maybe he'd planned on ordering the Negro to start breeding the new human race, but in 1967 (or 1968) even science fiction frowned on interracial relationships. Ergo our current president's childhood diaspora.
So, having looped around to the present again, I should consider stopping, or surrender to another gyre over that ridiculous planet. Rich grounds for smartassery and sarcasm, but I think I'll just have to step away for now...
The point is that the kid needs some education regarding the crazy culture I grew up in, totally alien to this 21st century progeny. I mean, when I was a kid people were racist and new technological frontiers kept expanding and the US was mired in a war that dragged on nearly as far as this IED-laced road to Nowhere, Afghanistan we're on now and uh...
Yeah, completely different.
Sarcasm is not taught in schools, except by often ill-disciplined student prodegies and wannabes. So I have to home school, but I'm not really turned on at the prospect of the religious curricula, which I consider to be merely snide, sarcasm turned weak and mean, like an aged chihuahua from a bad home. Besides, who wants to pay their prices?
Kindof with Mystery Science Theater in mind, I pulled up a couple comfy chairs and started the flick. Heston in a suaved-out swagger on the bridge of a Spaceship, a cynical antihero who doesn't let some pinhead back at Command tell him he cannot smoke a cigar in a pure Oxygen environment. Then he shoots up and the movie begins.
But before that, think back to when I was talking about having the teach Sarcasm 201 (she placed out of Intro without batting an eye, just those slack lids and the teeniest of eyebrow lifts). One great technique is the Training Film, liberally basted with audience comments. There were some Archaeology Training Films that shaped who I am. Platoon (imparting the proper sense of doom, leavened with the fun of stalking through the jungle and giving hand signals), Indiana Jones (learning to say "That belongs in a Museum!" with conviction, and at other times a series upon which sarcasm is to be heaped), Predator (cannot remember why, probably because of swampy jungles and the dude's cool dreadlocks), and so on.
To Planet of the Apes, featuring Cornelius, an archaeologist-hero who clearly knows his methodology better than Indy and has respect for human remains. Not only that, but he's a staunch evolutionist and is romantically involved with Dr. Zira; together, they defend science from the ruling cadre of light-skinned religious bigots. They seek Truth, and my beef is not with them.
It's with Heston. Always with Heston. And maybe too it's just fun to make fun of decades-old effects and stuff like the sudden pointless zooms that punctuate the movie (I kept expecting it to cut to commercial). Oh, and of course the Ape technology. They can do brain surgery and make functional guns, but their means of capturing humans is the Crudely Woven Net, available in sizes large enough to be effective (the trip-wired net fences that I'm pretty sure they stole from Marlin Perkins), but usually deployed awkwardly between two horse-riding Gestape-o, invariably in a size too small to entangle a large biped.
The Planet of the Apes is geographically interesting, too. They land in a lake ringed by the telltale white stains of a drawdown, evidence that the lake is impounded behind a major hydroelectric dam, yet there are no power lines in the whole movie.
What there are are footprints, on the sands before them in several Forbidden Zone scenes. Because nobody has been there in 1200 years or so, they must be fossils, remnants of the last people stupid enough to abandon a lake full of water to strike out aimlessly through the desert in white patent leather boots with back packs full of useful things like test tubes containing pink sand. More sand. In a desert where you banished yourself. Sarcasm.
On the more local scale, there's the big boulder inexplicably rolling down a hill at them, after which they rest, beneath another precariously balanced boulder! Heston is the best captain ever. Yeah.
History lessons can be drawn from this flick as well. The casting is a window on the 1960's that era of upheaval and promise, change and retrenchment. I'm sure that including among the astronauts a woman and what were then called Negroes (one of the sequels has a character by that name, in case you have doubts) gave the writers a warm fuzzy feeling, but consider what their roles were. The woman has been brought because the uterus would die witrhout her. Cap'n Heston briefly mourns the passing with the creepy "She was to be our Eve," although the idea of repopulating with 3 guys and one girl instead of the other way around is a recipe for at least one murder. Then of course the female lead for the rest of the movie is the perfect woman in Hollywood terms: enamored with the hero, mute, and scantily clad sexy body topped by a great head of hair (legs and armpits shaved, though she acts amazed that Heston can shave).
The one black guy in the movie, although clearly the smartest of the survivors, is given every bit of work that happens. Need someone to climb up and flip an important switch inexplicably located at the other end of the sinking ship? He'll do it. Test the new planet's soil, or run ahead and find the path while everyone else jawbones about their egos? Call on the Negro. Somebody need to get killed to establish the apes' disregard for human life (only to later appear as a museum specimen, suggesting that they have some scientific curiosity)? Perfect job for a Negro in 1967. Or 1968.
And through it all, Hestonian machismo. The derision for his lesser crew. The violent attempts to grab paper from Dr. Zira instead of just pantomiming or gently reaching out. The insults hurled at his captors. The only break in his mindless macho posturing is his obvious homosexuality. That's pretty much the only explanation for why he would order his man-crew to strip naked and cavort in the water (check out the scene where they stand together looking at each others peni), then indulges in a diva-ish strip of his own under the gushing white waterfall. I have it on good authority that Chuck got so deep into this aspect of the role that he insisted the film be the first to show several naked men, but no naked women. Groundbreaking. And if you doubt my conclusions about his gender, consider this: even if the ape scientists only gave me a mate because they are horny voyeurs, I'd have started repopulating immediately, but Chuck barely touches her, even when he hears he's about to be gelded. Maybe he'd planned on ordering the Negro to start breeding the new human race, but in 1967 (or 1968) even science fiction frowned on interracial relationships. Ergo our current president's childhood diaspora.
So, having looped around to the present again, I should consider stopping, or surrender to another gyre over that ridiculous planet. Rich grounds for smartassery and sarcasm, but I think I'll just have to step away for now...
Monday, September 26, 2011
Why?
Another guy blogging about movies? A few seconds ago, google listed 50,100,000 hits under "movie review blog," so it's not like there is a need.
Mostly, this exists because my regular blog, the pretentiously-titled Mojourner Truth, has grown unwieldy, the too numerous posts landing on every shiny subject of momentary fascination, like a young drunken crow. Nature, backroads, urban foraging, politics, little c culture, and now and then a movie. (As it happens, a review of the original Planet of the Apes is currently the most read posts ever over there.) So I'm spinning off some types of posts, like the movie reviews.
Procrastacriticism is of no help to someone headed to the theater, because the victims of these reviews are old. Neither are they erudite, informed by cinematic history, or even basic film literacy. Basically, the whole genre took form in my mind as I turned out post after post devoted to mockery of Charlton Heston. Then one on Rocky Balboa. And soon, here on this new venue, Steve McGarrett.
The joy of procrastacriticism is that there are no deadlines. The flicks are decades old, and the reviews are not keyed in to re-releases, sequels, anniversaries, or any of the other milestones concocted by the industry. I don't sell ad space, and have no ambition to make it in the entertainment industry, the art of film, or as one of the sycophantic, snarly, or downright bitter writers who hover around both endeavors.
I'm gonna re-post some of the old reviews here for a sample. At some point, I'll do some new ones. But don't hold your breath.
Mostly, this exists because my regular blog, the pretentiously-titled Mojourner Truth, has grown unwieldy, the too numerous posts landing on every shiny subject of momentary fascination, like a young drunken crow. Nature, backroads, urban foraging, politics, little c culture, and now and then a movie. (As it happens, a review of the original Planet of the Apes is currently the most read posts ever over there.) So I'm spinning off some types of posts, like the movie reviews.
Procrastacriticism is of no help to someone headed to the theater, because the victims of these reviews are old. Neither are they erudite, informed by cinematic history, or even basic film literacy. Basically, the whole genre took form in my mind as I turned out post after post devoted to mockery of Charlton Heston. Then one on Rocky Balboa. And soon, here on this new venue, Steve McGarrett.
The joy of procrastacriticism is that there are no deadlines. The flicks are decades old, and the reviews are not keyed in to re-releases, sequels, anniversaries, or any of the other milestones concocted by the industry. I don't sell ad space, and have no ambition to make it in the entertainment industry, the art of film, or as one of the sycophantic, snarly, or downright bitter writers who hover around both endeavors.
I'm gonna re-post some of the old reviews here for a sample. At some point, I'll do some new ones. But don't hold your breath.
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