David Bowie is one of England's finest song writer and musician. For over five decades he has produced challenging, cerebral material, often reinventing his music and image. Bowie is widely regarded as an innovator, particularly during the 1970s. He has been cited as an influence by many musicians. Throughout his career he has sold an estimated 136 million albums and ranks among the ten best selling acts in UK pop history.
Here is one of his most seminal tracks for your delight and edification. In 1990, Bowie announced that the set list for his "Sound + Vision Tour" would be decided by his fans, via telephone voting. Music magazine NME made a concerted effort to rig the voting so Bowie would have to perform "The Laughing Gnome" (with the slogan "Just Say Gnome"), but the voting system was subsequently scrapped.
“The Taking of Pelham One Two Three”, is possibly one of the best thrillers of the 70’s. Not only does it have a well crafted screenplay and a cast of quality character actors, it also boasts a superb score by composer David Shire. This embellishes the film becoming an additional character and has long been a popular soundtrack among collectors and fans.
Shire uses serial techniques and a funky multicultural rhythm section for the main theme. It is brass heavy with a very 70’s style electric piano (often the instrument of choice of that other great composer of the time, Lalo Schifrin). It is intended to evoke the bustle and diversity of New York City, with it pounding rhythm. Shire received two Grammy nominations for his work on the film.
I have uploaded both the opening and closing themes from the film for your enjoyment. I’d be curious to know if this opening riff has ever been sampled for any other recording.
In July someone posted a trailer for "Tropic Thunder" in the Film Group Blog. I wrote in the comments section that I'd pay not to see this film. Well on mature reflection, I decided that I should not arbitrarily rule out watching anything, especially as I write a review Blog. Mainstream American comedies are big box office and have a substantial fan base. So I dutifully sat down today and watched "Tropic Thunder" with an open and objective mind.
Now this film has had enough press coverage (not all of it good) so I do not have to summarise the plot. For a comedy film this has a very substantial budget ($90,000,000), but obviously a lot of this has gone on the visual effects and possibly Tom Cruise's salary (Where you aware he appears in it?). The film has some very interesting writing credits including Ethan Cohen, which naturally raises expectations. The high concept plot, although unoriginal, has potential and certainly is populated with at first glance, interesting caricatures. Before the film actually starts, we are treated to some well observed bogus film trailers, for the fictitious actors we are about to see in the feature presentation.
15 minutes later, any aspirations to make a cutting satire on Hollywood action films, genre stardom, and an attempt to "bite the hand that feeds it" are squandered and we are left with just another bland, obvious, unsophisticated, crass, insufficiently funny American studio comedy. What's more there's another 75 minutes to go. I was not surprised by this though. Frankly, the main problem with this film is it's stars.
Ben Stiller is in my opinion not talented enough to carry a film. The same could be said about Jack Black. We have however seen glimpses of his versatility (I particularly liked his performance in "King Kong" and "School Of Rock"). But Stiller is simply a one trick pony. A comedian or comic actor (and they are not the same thing) requires insight, subtlety and timing among there diverse skills. There is scant evidence of this in his performance. What we therefore left with is a movie that squanders what talent it does have. Robert Downey's crazed method actor once established doesn't go anywhere. Nick Nolte, given a plum role as a disturbed handicap veteran, is given nothing to do. The once talent Steve Coogan, simple treads water, pandering to the most obvious stereotypes about the British.
So what do we get? Explosions and gross out comedy violence. More explosions. A bald Tom Cruise swearing and shaking his booty. Some jokes about actors substance addictions and some misfired jokes about race politics and the mentally handicapped, that should have been bitingly satirical, but are so heavy handed that there point is lost. That in fact is the main failing of the film. The execution is poor and the material does not live up to it's potential. The stars, especially Stiller and simply not talented enough (apart from Downey Jr.)and certainly do not understand what constitutes satire. If you lower your expectations then "Tropic Thunder" may suffice. But for me the old cliché of "see the trailer and you've seen the film" has proven true.
Walter Hill is in my opinion a much underrated director, whose back catalogue is often overlooked. After several years as a writer, Hill moved into directing. His second major film, “The Driver” is a neo-noir, minimalist thriller, with characters named by their profession (The Detective, The Driver etc.) and a plot that extols Hills favourite theme of a man being defined by his actions.
The title character (Ryan O’Neal) a professional getaway driver, plays a game of cat and mouse with The Detective (Bruce Dern), who is determined to bring him down. “I’m gonna catch the cowboy that’s never been caught,” he tells The Driver. The Detective becomes so obsessed with his foe, that he sets up a bank job in order to trap The Driver. Yet the Detective's plan does not run smoothly and The Driver learns that he being set up. Does he walk away or does he take the bait and face the inevitable consequences?
“The Driver” is a very spartan film with a clear message about the code of the west. O’Neal has only 350 words of dialogue. His character’s is intriguing but enigmatic. Despite the large fees he commands for his skill, he lives a frugal life in cheap motels. Clearly he is in it for non materialistic reasons. The Detective’s obsession drives him to break the very law he’s sworn to defend in the traditional of Greek tragedy. Hill’s original cut of the film was over two hours, but he decided to pare the plot development and motivational back story to the bone, with a final running time of 91 minutes.
This is very much a product of its decade. The production design and cinematography are excellent. The stunt driving is superbly staged and edited. The scene where The Driver surgically dissects an orange Mercedes is amazing. Sadly this sort of experimental film making just does not get made anymore. You cannot adequately compare a philosophical gem like this, with the vacuous, commercial, product placing dross that is “The Fast And The Furious” or “Gone In 60 Seconds”. I recommend this film to anyone who likes tough thrillers from the 70’s or has an interest in allegorical films.
Oh, how unusual, another big budget remake. At least that’s the way it seems at the moment. I must admit that I did not have particularly high hopes for Paul W S Anderson's remake of the 1975 Roger Corman cult classic. His work varies widely and I still have not come to terms with “Alien Vs. Predator”. Jason Statham is also a name that divides the public, with solid material such as “The Transporter” and unfathomable tosh like “Revolver”. But “Death Race” is in fact quite a surprise and does not follow the path that so many remakes do.
“Death Race” is not an exact retread of the original movie. It bears more similarities to Arnold Schwarzenegger's “The Running Man” but avoids any attempt at social commentary. The plot is very matter of fact and established very quickly. In the near future, the US has suffered a complete economic collapse. Unemployment and poverty stalk the land, like two giant stalking things. Ex-professional driver Jensen Ames (Jason Statham) is framed for his wives murder and ends up in the big house. Evil Warden Hennessey (Joan Allen) who makes a profit from the prison system by staging a brutal set of fatal demolition derby’s, blackmails Jensen into driving under the guise of punters “Frankenstein”. The deal is that he’ll earn his freedom if he co-operates. He is aided in his endeavors by institutionalized mechanic “Coach” (Ian mc Shane) and his navigator Case (Natalie Martinez).
"Death Race" is actually an honest action movie, avoiding the usual pitfalls of being too OTT or having delusions of grandeur. The script is tight and serviceable, not straying from the accepted formula. There are no major surprises but it is not predictable to the point of tedium. The visual feel and production design are very good, and the stunt driving and FXs work are excellent. There are several affectionate homage’s to well known road/action movies. The violence is strong but not gloating or gratuitous. For a genre piece, the actors and performances are above average. Nice to see the great Joan Allen talk dirty. “Okay cocksucker. Fuck with me and we’ll see who shit’s on the sidewalk!” The soundtrack is also very appropriate to the subject matter, with a good selection of songs and metal riffs.
Director Anderson has certainly hit the spot with this superior action film. It is well constructed, with excellent driving scenes and a good cast. It is by far the best film he’s made since “Soldier”. It’s a shot in the arm to a genre that has seen too many self indulgent Vin Diesel or Will Smith vehicles. Don’t get me wrong, this film is still niche market. Fans of costume dramas and ethnic character studies will still struggle to define the films philosophical subtext. I’m sure it will bother the tabloids (will someone please think of the children!) and the moral watchdogs. But for those wanting 90 minutes or so of old school action and mayhem, with a squared jawed hero and a large breasted female, then you won’t go far wrong with “Death Race”.
For people of a certain age (you know who you are) the 1964 TV series "The Adventures Of Robinson Crusoe" and the sublime music by Robert Mellin & Gian-Piero Reverberi is an integral part of our childhood. I cannot think of another such iconic soundtrack. Classically based but with touches of 60's lounge music, it is both evocative and delicate with a air of continental class. I am not sufficiently knowledgeable to be able to adequately critique the music. All I can say is that it still moves me and I listen to it frequently. I have uploaded several of my favourite tracks from the soundtrack album, which is available from "Silva Screen". These are the original recordings of the music cues. Enjoy.
Michael Davis “Shoot’Em Up” follows "Mr. Smith" (Clive Owen), a drifter with a possible special forces background and a liking for carrots who wants nothing more than to be left alone. However, he finds himself embroiled in a complex political conspiracy once he aids a pregnant woman who is being chased by a hitman. After the woman is killed, he takes the baby and goes on the run with a lactating prostitute Monica Bellucci). Meanwhile, they are stalked by the intelligent and ruthless Hertz (Paul Giamatti), an ex FBI forensic psychologist and his never ending army of foot soldiers. A myriad of elaborate gunfights ensue and Smith slowly pieces together the reasons behind their pursuit. A United States Senator who strongly supports gun control has been breeding babies for their bone marrow to treat his cancer. A prominent gun baron has contracted Hertz to kill the babies, thus ending the senator’s political ambitions. Mayhem ensues.
It is alleged by director, Michael Davis that “Shoot’Em Up” is a satirical look at American gun culture and the way it has become an integral part of the social fabric of the country. It also lampoons the contemporary action movie focusing on its style, ethics and “raison d’etre”. Except that it fails in these endeavours. Joe Public has failed to discern any hidden depths and has therefore just been confronted with an action film more preposterous than “Crank” and more frenetic than any Hong Kong production. The step from a willing sense of disbelief, to abject incredulity comes within the first 10 minutes of the film, when a bad guy is dispatched by a carrot!
If you want action with a satirical subtext, then it is better represented by the work of Paul Verhoeven. "Robocop" and "Starship Troopers" being prime examples. The intellectual pretensions of "Shoot'Em Up" definitely got lost during its making. There are a few good aspects to the proceedings. It is enjoyable spotting the homages to such classics as "Hard Boiled" and "Django". Some of the dialogue is so excruciating it becomes quite droll. But by and large this film is a mess. Neither Owen or the talented Giamatti can save it. The message being lost, leaves nothing more than a film destined to be wilfully misconstrued by the tabloids. Therefore avoid "Shoot'Em Up" if you are easily offended or intolerant of the cinematic equivalent of the "concept album".
Where "The Dark Knight" strives to to more than the sum of its parts, "Iron Man" is quite happy to be a live action comic strip. It is formulaic, clichéd, and a classic example of a modern summer block buster. But these are not bad points. On the contrary, these aspect actually produce an enjoyable film, if you are willing to suspend your sense of disbelief. Director Jon Favreau treats the material in entirely the right way, making a stylish, fast paced, flight of fancy that should not be scrutinised to closely.
Firstly, this film works due to the lead performance by Robert Downey Jr. It crossed my mind on several occasions how much he drew on his own personal experiences to portray the brash, arrogant, self indulgent Tony Stark. The "Howard Hughes" angle along with the current cult of celebrity culture, work very well. Jeff Bridges has less to do as the central villain, other than tick a few of the pre-requisite "bad guy" boxes. But ultimately, this is a film where production design and special effects play the largest part. ILM as usual excels itself, but the real star is the physical iron man suit designed and created by Stan Winston Studios (his last project, before his untimely death).
Now anyone over a certain age will draw parallels between "Iron Man" and the "Robocop" franchise. I actually thought the final 30 minutes were a direct rip off of "Robocop 2", but obviously without the excess of violence. The action scenes although bloodless are quite brutal, with Stark punching sundry disposable bad guys, into brick walls and other immovable objects. The sequences involving Stark's chest based power supply may bother some younger viewers.
The soundtrack by Ramin Djawadi is very guitar focused (in a Rock idiom) which works well with the material. There is also good selection of songs included in the score by bands such as AC/DC, Nirvana, Suicidal Tendencies, Filter and Black Sabbath. It should also be noted that Paramount studios have used a lot of product placement in the film, as they did last year with "Transformers". There are unsubtle plugs for Audi, Burger King, LG and 7-Eleven. But all things considered, this is really how a lot of comic adaptations should be made. It reflects the source material well and has no interest to be anything more than what it is.
Now that all the hype has died down, I thought I'd add my opinion on Christopher Nolan's "The Dark Knight". After the financial and more importantly critical success of "Batman Begins", it was always going to be hard to equal and surpass it. The tragic death of Heath ledger, and his now iconic performance, has added a further dimension to the spin surrounding this film. It is also interesting how "The Dark Knight" has run a tabloid gauntlet, due to its violent and downbeat tone and the "12A" rating it was awarded by the BBFC, in the UK.
Well to start with, "The Dark Knight" maintains the look and feel of the first film, and avoids the Gothic vision of Gotham city that Tim Burton created. There is a distinct lack of stylisation from this genre offering. Although the violence is not excessively explicit, the is a tangible air of menace and unpleasantness. The nature of violence and the theme of the thin veneer of civilisation are explored in depth. For a genre piece, this film is quite cerebral. Crime and punishment and other weighty issues are discussed and the director refuses to paint a traditional picture of right and wrong, black and white.
The action set pieces are well handled but not to over the top. The fight choreography is good but not too incredible. But as this is an "A" list franchise, Warner Bros. were always going to make whatever resources were required available. So the production is well conceived and executed. It is the screenplay that drives this film and there are some very good aspects to it. But, it has already been noted that there are possibly one dilemma too many and that the focus on the Joker, is at the expense of Batman's character development.
Heath Ledger's performance is exceptional. This cannot be denied. His mannerisms, the delivery of his lines and his make-up which is very subtle, make this a radically different personification of Batman's nemesis, from that of Jack Nicholson. I enjoyed the way he had multiple explanations for how he acquired his facial disfigurement. I also found the way he would swallow and smack his lips whilst delivering his lines very plausible, due to his facial injuries. The films screenplay sensibly avoided an excess of explanation and back story relating to the Joker, maintaining his enigma.
Gary Oldmans performance deserves attention as Commissioner Gordon. The soundtrack by Hans Zimmer and James Newton Howard avoids the pitfall of melodrama and underscores the film very well. But at two and a half hours this film is a little indulgent and there could well have been a tighter cut made. I get the impression that the initial assembly print may have been even longer. Morgan Freeman and Michael Caine seem to have a disproportionate amount of material throughout the running time, being less involved as the film progresses.
Finally, this sort of movie attracts what I call "the occasional film viewer". The hype and the broad appeal of the franchise means that a wider audience will end up seeing "The Dark Knight" in the cinema. Now, by my personal standards this is not a gratuitously violent film. It has a very downbeat and sombre tone and the main protagonists commit acts of violence. It is not graphically displayed but more implied. The general atmosphere is intense and there is a little more realism in this comic adaptation than in "Iron Man" for example. But as usual, a section of the community has not adequately researched the film or read the BBFC guidance and have thus been offended or shocked. This is simply a parental failure and not a classification one.
"The Dark Knight" despite some shortcomings is still streets ahead of the competition. There is a literary level and depth not often seen in these sort of films. It therefore is worth viewing by genre fans and the casual viewer of quality cinema. Just remember that because a film has a specific rating does not necessarily mean it is the exclusively aimed at that demographic.
I have included some screen captures from this film which depict violent scenes and nudity. There are also plot spoilers. Please be aware of this before reading and scrolling down the page. XoD.
The early 1980s saw a boom in the sword and sorcery/fantasy genre. Studios have always attempted to jump on any bandwagon and the growing popularity of “Dungeons and Dragons” role playing games showed a gap in the market. Whatever the reason, the early '80s spawn a variety of films from this genre. “Conan the Barbarian” remains the benchmark, but there were several other movies of note. “The Beastmaster”, “Excalibur”, “Dragonslayer”, “Legend”, and “Krull” to name but a few. As always there were some poor entries but we will not catalogue them here.
Now budget played a key part in this genre and the movies followed a tried and tested method: take a perfunctorily script, some TV actors, include a large amount blood and sword play, a few topless women and see if you could get away with it. “The Sword and the Sorcerer” exemplifies this formula having all the aforementioned attributes in spades. The results are an engaging, tongue in cheek, violent, lurid, wannabe epic, that dared to start a franchise.
The film starts with an expository narration where we learn that the evil Titus Cromwell (Richard Lynch) is waging war with the good King Richard (Christopher Cary) for control of the kingdom of Eh-Dan. Cromwell, having been previously repelled by King Richard, uses a witch to raise the ancient sorcerer Xusia of Delos (Richard Moll) from the dead. Cromwell bargains with Xusia's who then unleashes his sorcery on the armies of Eh-Dan. King Richards’s eldest son dies bringing news of the impending defeat and it is decided to evacuate the remaining members of the royal household. Cromwell, now victorious, takes the opportunity to murder Russia while he is weak from his witchcraft.
The King's youngest son, Talon is entrusted with his father's tri-bladed sword and leaves to meet with his mother and sisters. He only just escapes and flees after seeing his father put to the sword. Matters get worse as he arrive at the river to leave with his family, being ambushed by Cromwell's men. His remaining kin are killed and he sustains a serious hand injury. Vowing revenge he disappears, leaving the kingdom that is rightfully his in the hands of his enemy.
Years later, rumours arise on the borders of Eh-Dan of a mighty warrior and mercenary with a sword is for hire. It is also revealed that sorcerer Xusia is not dead after all and has been slowly regenerating over the years and plotting his revenge against the treacherous Titus Cromwell. Meanwhile there is a growing underground movement to depose Cromwell led Prince Mikah (Simon MacCorkindale) and his sister, Princess Alana (Kathleen Beller). being nephew and niece to dead King Richard. Among their secret network of supporters is Count Machelli (George Maharis), Cromwell's War Chancellor, who feeds them news from inside the palace. It is not long before all these individuals come together in violent conflict. Who will prevail and win the throne of Eh-Dan?
As you can see the script for “The Sword and the Sorcerer” is quite ambitious. Most genre films would not attempt to create a complex story, with plots and counter-schemes, duplicity and intrigue. The execution of these ideas is rudimentary but this was director Albert Pyun’s directorial debut. There are also some attempts to create interesting characters. Talon (Lee Horsley) in particular is supposed to be a charming, irreverent rogue with a ready sense of humour in the Errol Flynn vein. Simon MacCorkindale gives probably the best performance of the movie as Prince Mikah, the anguished, dutiful, heir to the throne. Richard Lynch gives a typical performance as Cromwell, bringing that uneasy quality he naturally seems to have. Even Kathleen Beller plays Princess Alana, in a suitably feisty manner. Don’t get me wrong, this is not Shakespeare, but there is a sense of fun and the material is suitably camp schlocky without being disrespectful to its origins.
Special attention should be given to David Whitakers score. The music is very grand and adventurous, with generous usage of brass, the first track, "The Sword and The Sorcerer Overture", being a good example, where we hear the heroic fanfare like main theme for the first time (See track below). But it's when the music gets more light-hearted that it gets really interesting and enjoyable, for example in "The Bordello", where the main theme gets an upbeat and almost humerous rendition. This is a soundtrack that offers a wide variety of styles and moods, and for a modest genre film, is a positive benefit.
The low budget gets away with a lot, and the set pieces are well choreographed. Veteran stuntman Jack Tyree died during the making of the film, when a high fall went wrong. Part of that stunt can still be seen. Fight scenes are full of sword-swinging action and are at times almost believable. The editing is also competent and again improves the overall film. The production design is good, with creative sets, and stylish lighting. There’s a nice homage to Michael Curtiz in one fight scene, were a brazier is knocked over and the fights proceed in slow motion silhouette. The prosthetic work is well handled by now established names like Greg Cannom and mark Shostrom. Xusia tomb and full body make up are good examples of the standard of work. There is also a nice head bisection and skin shedding scene. I would also draw your attention to the implausible death on one character who meets his end via a foot peddle driven grind stone. See if you can spot the flaw in the plan.
I won't hide the fact that this is another of my personal favourite films. You may even have noticed I took my pseudonym, Xusia of Delos from it. “The Sword and the Sorcerer” is what is; a low budget genre movie, with liberal quantities of sex, violence and humour. It performed surprising well at the box office that year and was in fact the highest grossing independent film. Yet proposed sequel (which was advertised in the end credits) never emerged due to the directors other commitments. However, it was revealed on “aintitcool.com” last year that Pyun is currently working on a follow up story. Perhaps we’ll finally get to see Talon’s next adventure “Tales Of The Ancient Empire” sooner than we think.
This is not a review, as this classic album has been scrutinised, dissected and examined plenty of times. I simply want to draw attention to three particular tracks that I especially enjoy. Despite being 42 years old "Sounds Of Silence" is still of interest, both lyrically and musically. This second album established "Simon & Garfunkel" artistically with the title track and led to their involvement on the "Graduate" soundtrack. The album contained a variety of material of a folk/rock nature.
"A Most Peculiar Man"
Thus is a poignant and all to realistic depiction of social isolation and the consequences. Possibly even more pertinent today .
"We've Got A Groovy Thing Goin'"
Despite some outdated slang and colloquialism, this is a catchy tune and a light contrast to the former track.
"I Am A Rock"
This yet another superbly written song, with credible lyrics. There is an air of both remorse and bitterness about it and I certainly think the theme of an emotional retreat into seclusion, after a personal hurt, is something many of us can relate to.
Here are the details of the musical line up on "Sounds Of Silence".
Paul Simon: lead vocals, guitar
Art Garfunkel: lead vocals
Glen Campbell: Guitar
Hal Blaine: Drums
I have included some screen captures and plot details that may spoil the film for those who have not seen it before. Please be aware of this before reading and scrolling down the page. XoD.
In a gothic castle in the Pacific northwest of America called “Center 18”, the US military attempt to establish whether a group of apparently deranged servicemen and one astronaut, Billy Cutshaw (Scott Wilson), are faking their insanity. When experimental psychiatrist Hudson Kane (Stacey Keach) arrives to take charge, he is subtly persuaded by Cutshaw and fellow inmate Lt. Reno (who is adapting the works of Shakespeare for dogs) to indulge the men's delusions and engage in extravagant play therapy.
As “Center 18” descends into insanity, it becomes clear to Sargent Groper (Neville Brand) of the hospital staff, that the new psychiatrist may be more deranged than the patients. Cutshaw challenges Kane to prove the existence of God by showing him one single act of genuine self-sacrifice. Kane accepts the challenge but his mental state is rapidly deteriating. He reveals to medic Dr Fell (Ed Flanders) that he is haunted by murderous dreams belonging to his brother, the infamous marine 'Killer' Kane. Who or what is psychiatrist Hudson Kane? Will Cutshaw and the other patients be cured?
It is very difficult to know where to begin with “The Ninth Configuration” as it defies description to a degree. Its Golden Globe-winning script was a reworking of director William Peter Blatty's 1966 novel “Twinkle, Twinkle, Killer Kane”. The screenplay expands an insightfully quirky theological indulgence into a powerful melodrama. It forms the second part of a 'trilogy of faith' which began with “The Exorcist” and concluded with “Legion” (filmed as “The Exorcist III”).
This extraordinary theological thriller combines scathing satire with sanguine spirituality in one of the most genuinely bizarre offerings of modern US cinema. There are parallels to Hitchcock's “Spellbound” (1945) in terms of narrative, but its tone is closer to Samuel Fuller's “Shock Corridor” (1963) or David Lynch's “Twin Peaks Fire Walk With Me”.
“The Ninth Configuration” combines philosophy, extraordinary visuals, staggering pretentiousness, gallows humour and a clinically accurate bar fight. There are visions of a lunar crucifixion to the claustrophobic realism of a bar-room brawl, therapeutic Nazi role and Moses Gunn dressed as Superman, Blatty directs like a man who has discarded the cinematic conventions handbook and challenges the limits of mainstream film making. The result is a work of such abstraction; audiences often take a “Marmite” approach in their emotional response to it.
It is a film packed with oddly erudite one liners ("You remind me of Vincent Van Gogh. Either that or a lark in a wheatfield,".) and armed with such insane and quotable dialogue, the cast are allowed to explore their characters to the full. Stacy Keach playing catatonically straight to Scott Wilson's Marx Brothers madcap persona. Ed Flanders' remains deadpan, while George DiCenzo and Robert Loggia chew the scenery. Jason Miller and Joe Spinell indulge in Abbott and Costello style banter as they stage Shakespeare in increasingly bizarre ways.
Cinematographer Gerry Fisher prowls around the castle's corridors in suitably gothic fashion. Barry DeVorzon's provides an eerie score that manages to enhance the unfolding madness. Miraculously, director Blatty, despite the chaotic manner the story unfolds as it lurches from comedy to tragedy to psychosis, produces a film that examines the most fundamental questions of life. Is there a God? Is there a point? Why is there so much suffering in the world? His conclusion is poignant and thought provoking.
Famously cited by Leonard Maltin as a classic only in its director-approved 118-minute cut, “The Ninth Configuration” has been distributed over the last 28 years in numerous formats, most of which were constructed by Blatty himself. Refined from an assembly print of over three hours, the film was originally issued in the US in two distinct versions: a longer cut first released by Warner in early 1980, and an abridged version retitled “Twinkle, Twinkle, Killer Kane” from United film Distribution. In the UK Lorimar's 109-minute international version was theatrically released by ITC with an 'X' Certificate, with Guild video subsequently issuing a 108-minute cut for home video.
Unsatisfied with all versions, Blatty finally decided to definitively recut “The Ninth Configuration” for a New World rerelease in 1985, creating the 117-minute, 37-second cut which now stands as his approved runtime. This final cut includes much comic dialogue absent from other versions (Cutshaw and Reno discussing “Spellbound”, Reno and Spinell arguing about casting Hamlet) and adds a haunting pre-credits overture in which Barry DeVorzon's song 'San Antone' plays over a montage of images of the castle in the rain. Most importantly, this version augments a final act of suicide, mitigating the act of sin (in Catholic terms), making it an act of self-sacrifice. By removing a single shot of a knife falling from Kane's hand, and having Stacy Keach revoice Kane's parting words to Cutshaw, Blatty finally achieves a conclusion that reconciles his dramatic, religious paradox.
As you may have noticed I've written in more depth than usual about “The Ninth Configuration”. This is due to it being one of my personal favourite films. I would urge anyone who enjoys theological debate, or films that address the human condition to view this work. Be prepared to indulge the film maker and expect the unexpected. Also be aware that this is an adult film with adult themes. Therefore, the film is rated “15” in the UK and "R" in the US and is not for the casual viewer. For those who approach it in the right fashion it should prove a rewarding and experience and a definite talking point.
A final point. I mentioned the bar fight earlier. It is an incredibly authentic piece of fight choreography, using accurate techniques. Veteran stunt arranger Booby Bass has constructed a fast and unpleasant action scene. I've not seen such a well thought out and credible fight involving someone with a military background, since John Frankenheimer's "The Manchurian Candidate".
I won't bore your with a plot summary as there are plenty of reviews available that will provide you with those details. What I would like to do is look at the various aspects that make this sequel a cut above the competition currently on release. Director Guillermo Del Toro is alleged to have a policy of "one film for the public, one film for me". It would appear with the success of his last movie, the superb "Pan's Labyrinth" and this engaging sequel, that perhaps these rules have now changed. His work now seems to satisfy both himself and the audience, both commercially and artistically.
The character of Hellboy, created by Mike Mignola, is personified bt actor Ron Perlman, much in the same way that Christopher Reeves was the definitive Superman. He gives a excellent performance as the "Beast Of the Apocalypse" who through a chance of fate now fights on the side of humanity. Perlman not only physically looks the part (not bad for a 58 year old), but he portrays his character with a mixture of humour and pathos. Despite a demeanour that isolates him, Hellboy, like so many of us, requires love and a relationship. His chaotic romance with Liz Sherman (Selma Blair), a young pyrokinetic is both amusing and touching, as they encounter all the usual issue that arise from living together.
One of the best aspect of the first film was the Abe Sapien (Doug Jones). A cerebral and humane character, Abe falls in love in the sequel with Elven Princess Nuala and has considerably more screentime. Actor Doug Jones specialises in full body prosthetics performances and this time gets to voice his own dialogue (it was re-recorded in the first film by David Hyde Pierce). The central theme of monsters struggling to find their own humanity is one that is very common to the works of novelist Clive Barker. Doug Jones excels and there is a wonderful scene where the usually sophisticated amphibian humanoid, gets drunk with Hellboy and the pair sing along to Barry Manilow's "Can't Smile Without You"!
Ex "Bros" singer Luke Goss, plays Elven prince Nuada. Having worked with Guillermo del Toro before on "Blade 2", Goss copes with excesses of make-up and stunt work well. He trained extensively for this role and does a great deal of his own stunts and wire work. The role of his father King Balor, is played by Roy Dotrice, but the role was originally offered to Christopher Lee.
Actor Thomas Kretschmann was the first choice as the voice of Johann Kraus, the disembodied psychic medium. On reflection, Guillermo Del Toro was not satisfied with the result, and subsequently brought in Seth MacFarlane (of "Family Guy" fame). There are some rather obvious, but amusing "German" jokes, but MacFarlane still manages to project a serious quality to the character. Seth MacFarlane based the voice of Johann Krauss on Jeremy Irons’ character Simon Gruber, from "Die Hard With a Vengeance".
After so many indifferent adaptations of comics and graphic novels, "Hellboy 2: The Golden Army" really stands out. It has excellent FX's and production design and director Del Toro have a very refreshing European visual sense style. But the films greatest strength is the fact that it never forgets that the characters are key to the success of the story. You are engaged by the exotic protagonists, who regardless of their antecedents are just like you and I, struggling with life and relationships. On the strength of this and Del Toro's back catalogue, I have high hopes for his upcoming adaptation of "The Hobbit".
In 1981, the BBC Radio 4 tackled "The Lord of the Rings", in a serial of twenty six 30-minute episodes. This production was not excessively abridged, although it does leave out a number of events. Still, it is faithful to the book as can be expected by this medium. The characterisations are excellent and music by Stephen Oliver is totally appropriate to the style and idiom of Tolkien. The cast and production are of the highest pedigree and this was at the times a major event for the BBC.
The 1981 trilogy was adapted for radio by Brian Sibley and Michael Bakewell. It was directed by Jane Morgan and Penny Leicester. The cast was made up of numerous fine British actors including Ian Holm as Frodo Baggins, John Le Mesurier as Bilbo Baggins, Sir Michael Horden as Gandalf, Robert Stephens as Aragorn and Peter Woodthorpe as Gollum.
Each of the original 26 episodes received two broadcasts per week - standard practice for many BBC radio serials even today. The 26-part series was subsequently edited into 13 hour-long episodes, restoring some dialogue originally cut for timing, re-arranging some scenes for dramatic impact and adding linking narration and music cues. The re-edited version was released on both cassette tape and CD sets which also included the soundtrack album. It is this version that I shall be reviewing.
In 2002, to cash in on the success of Jackson's movies, the BBC re-issued the series in three sets corresponding to the three original volumes (The Fellowship of the Ring, The Two Towers and The Return of the King). This version omitted the original episode divisions, and included a new opening and closing narration recorded by Ian Holm. The re-edited version also included some additional music cues. However, I feel that arranging the material in this way actually spoils the drama, as the series was originally constructed to run the separate narratives after the breaking of the fellowship, simultaneously, rather than consecutively.
Tolkien's work lends itself to radio very well, with Sibley and Bakewell’s adaptation staying true to the source text. Like Peter Jackson’s movies, some storylines have been cut, such as Tom Bombadil and the journey through the Old Forest and the Barrow Downs. However, the scouring of the Shire has been included, ending the tale correctly. The voice casting is inspired and the use of music and song sublime. Purists will enjoy the correct pronunciation of names and languages. The BBC Radiophonic workshop also provides some very good sound effects, imbuing the ring itself, or the Nazgul with their own audio characteristics. There are several scenes that actually have their source in Tolkien’s “Unfinished Tales”, but are included to expedite the plot. For example, the Nazgul challenge Saruman over the whereabouts of Gandalf and later learn from Grima Wormtongue the location of the Shire.
This superb adaptation is great for both Tolkien fans and those who have yet to read the trilogy. It is a solid example of BBC Radio drama at its best. Although I enjoyed Peter Jackson’s movies, I feel that this adaptation, despite being a different medium, is the better of the two. Peter Woodthorpe’s Gollum is a far more sinister portrayal than Andy Serkis’s bi-polar performance. Also, Jack May’s King Theoden is far more sympathetic that Bernard Hill’s. So sit back and lose yourself in this classic story and enjoy the lush vocal performances and conjure up your own depictions of the characters in your minds eye.
I shall be uploading the entire series in MP3 format over the next few days. Please bear with me as this will take a while due to the file size.
XoD.
13 x 1 Hour episodes originally broadcast on Saturdays at 3:00PM.
