Musings of a Sci-Fi Fanatic

A Case Against CGI III

2012-02-18T08:43:00.001-05:00

... and speaking of unidentified flying objects, alien abduction and classic UFO stories, we have ourselves yet another case against CGI.

FAB FRIDAY Photo 2: Tracy Reed

2012-02-17T22:23:00.007-05:00

Tracy Reed [1942-present] is the official FAB FRIDAY Photo.

Reed landed her most notable film role in director Stanley Kubrick's Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb [1964] [see image]. To fans of UFO she is remembered as the sexy Jane Carson, the latest entry in the little black book of one Colonel Paul Foster, played by Michael Billington, in Episode 7, The Dalotek Affair [1971].

UFO Ep7: The Dalotek Affair

2012-02-17T13:00:00.001-05:00

It's FAB FRIDAY people!

A proper analysis of all things wonderful in the world of Gerry and Sylvia Anderson has been long overdue.

Watching that credit sequence again, and the montage of images, it is amusing to see how very much UFO feels like a cross between Thunderbirds and Space:1999. I'm stating the obvious I know. It stands to reason since UFO falls chronologically between the two productions, but the fantastical, colorful elements of UFO combined with live actors definitively walks the line and captures a unique feel of its own. An image of the Skydiver launching from the ocean to the sky recalls the launching of the similarly designed Thunderbird 4 ironically launching from the surface to the sea. The Moonbase is clearly a precursor to bigger and better things to come with Space:1999's Moonbase Alpha. In fact, the camerawork and the modelling on the series, while very good, certainly lacks the precision of detail and ultra professionalism found in the modelling and production perfections of those efforts established on the muted, cinematic Space:1999. Space:1999 was really that good. UFO is good, but Space:1999 benefited from a bigger budgeted production, scale and a darker tone. Still, UFO does skirt the purple wigs for some darker toned moments throughout the series shining a light on those aspects of the single season series that would be mined to greater effect for Space:1999.

This is UFO, Episode 7, The Dalotek Affair. The latest UFO excursion tries its hand at some new ideas or visual techniques. In the opening, there are some freeze frames that cut from color to black and white still images. The entry also opens with a substantive news styled interview with a man, Dr. Robert Stranges, President of the National Investigation Committee on U.F.O.'s, who defines the unidentified object as "any object whose behavior violates every known law of aerodynamics." Stranges also cites real political figures in his speech in Gerald Ford, Robert Kennedy and Douglas McArthur and paraphrases McArthur who warns of a "war between planets." This certainly gives UFO a certain weight, or gravity, elevating well above the accessible children's fare of Thunderbirds.

The episode also approaches The Dalotek Affair in flashback as Colonel Paul Foster and Colonel Alec Freeman recall the event.

As I mentioned, there are a series of still, black and white freeze-frames intended to denote something of importance to the audience that should be remembered. How did I feel about this approach?

On the one hand it does speak to a less sophisticated era in television that clearly intended to notify its audience of information that it could easily discover on its own. These were simpler, safer times and in some ways the concept feels a bit condescending to suggest the audience might not be smart enough to put the pieces of the puzzle together at episode's end.

This place could give Hooters a run. On the other hand, I must admit, by contrast today, I actually enjoyed these moments from a stylistic aesthetic. It works and works rather well without giving anything away. It's a fairly clever touch that offers UFO a little more depth as a series. Still, the information is noted and suddenly the audience is asked to file away the data. It might have been interesting to experience The Dalotek Affair without the visual cue. How would our minds have processed the information without the hints. Of course, we'll never know because we can't give our discovery back. If the cuts were made, information provided in the series would have had us intrigued enough to back up and revisit the opening. It's just an interesting scenario that speaks to the power of editing and film and how information is assembled and revealed to generate a specific emotional response. Knowledge is certainly power and with today's programming the less we know the more curious we seem to be.

Three UFOs are approaching on Moonbase. The single-missile configured Interceptors are launched. I know I've commented before, and this will be my last remark about them, but those Interceptors are simply the goofiest looking ships. I expect a little more from the folks behind Thunderbirds and Space:1999 I'm afraid. The Interceptor quite honestly looks a bit like the poor man's version of Battlestar Galactica's Viper. The legs never fold into the craft and they are equipped with one missile. This is the future? How did we make it this far? It needs a little more firepower along the lines of the Viper or the X-Wing if we expect to survive. Though it is worth noting the craft cockpit is awfully similar to both of those aforementioned classics vehicle designs and, of course, Mike Trim's Interceptor pre-dates those by at least seven years. Still, he's worth the tribute. Trim has designed superior work for Thunderbirds and other Anderson productions as well as the SHADO Mobile and the Skydiver, while not Thunderbird 4, is still impressive. I'm just a little hard on the Interceptor as my first line of defense.

Returning to the story, the UFOs inexplicably exit the Moonbase airspace. Why?

This particular scene was noteworthy starring Ed Bishop as the always no-nonsense Commander Ed Straker. His professional approach to leadership is the antithesis of today's warmer, kinder and gentler leaders. I'm not suggesting Straker doesn't possess those qualities, but when he's all business he's all in and he hasn't exhibited a genuinely soft side to date. This guy is the real deal as leaders go and he lets Foster have it with his assessment. He doesn't sugarcoat. He'd be a tough boss. Kudos to Foster who takes both barrels admirably and respects Straker's position never feeling threatened but answering honestly and respectfully.

With much of the action occurring on Moonbase, Lt. Joan Harrington and Lt. Nina Barry, played delightfully by the beautiful Antonia Ellis and Dolores Mantez, respectively, receive some much deserved air time in The Dalotek Affair. They were important to the babe aesthetic of UFO outside of the gorgeous principals of Wanda Ventham as Colonel Virginia Lake and Gabrielle Drake as Lt. Gay Ellis as Gabrielle Drake [notably absent since Episode 3, Flight Path, but returning in Episode 8, A Question Of Priorities].

Harrington believes they are tracking a meteorite. Foster and Straker communicate noting the object appears to be nearing the moon-based Dalotek installation. Straker urges they be warned and if anyone from the company must return to Moonbase they should implement the "amnesia procedure." UFO never shies away from delicious top secret government code and keep things popping for the ardent conspiracy theorist. It's all very Men In Black.

The Dalotek moon substations is radioed, but personnel are on a surface expedition when bombs strike the surface near the Dalotek location. Dalotek is a corporate-owned installation with private initiatives. Straker is less than thrilled by their presence near Moonbase. Obviously we glean a number of things. First, the moon is travelled to frequently by S.H.A.D.O. and also corporate-sponsored initiatives. Second, the stealth S.H.A.D.O. organization is clearly still keeping up false appearances even on the moon. Thus, if required, the "amnesia procedure" must be applied to retain the covert operation.

Once again illustrating Straker's prickly handling of all manner of people, he is videoconferenced by the president of Dalotek, Blake, whom he assures he did all he could to object to the Dalotek presence on the moon. Straker doesn't play politics well. He tells it like it is and refuses to mince words. It is both an admirable quality as well as a detriment. Though he does assure he will assist Dalotek in the event of an emergency. His no bullshit agenda won't be mistaken for warmth. Straker is clearly at odds or loggerheads with politicians and corporations who interfere with his mission directive - war with the aliens and protecting the personnel of Moonbase as well as Moonbase itself.

Three civilians man the Dalotek station and demonstrate there is indeed an antagonistic relationship between the military and industry missions of the future UFOverse. It makes you wonder does Straker approve of a cozy little thing called the military industrial complex? Each side here appears to generally operate with some degree of disdain or disrespect for the other. The corporate folks, stationed for ten days, have their agenda and Straker has his.

Suddenly, Straker loses his video link to Foster and the image is scrambled. Foster suspects interference by Dalotek and pays a visit to the group who are busy smoking. Yes, there was no shortage of smokers on UFO. Kids were certainly exposed to a significantly different standard culturally with shows like UFO and The Courtship Of Eddie's Father. I know I was exposed [to use a UFO title] to a good degree of second-hand smoke myself. It's one vice I don't miss seeing in abundance. Anyway, watching the classics does take you by surprise today as far as what was normally considered acceptable. Norms have indeed changed on many fronts.

What's not surprising is the latest appearance of a hot female in a science fiction serial. The uber-hot female guest babe for The Dalotek Affair is Jane Carson, played by Tracy Reed [Dr. Strangelove Or: How I Learned To Stop Worrying And Love The Bomb]. She is very much in keeping with the beautiful women that populated science fiction television in the 1960s and 1970s [sounds like a post]. Star Trek: The Original Series and Battlestar Galactica are to examples whereby there was no shortage of gorgeous women. Good work Gerry! Glen! Gene! Thank you G-men.

Foster takes a Moon Mobile [though Moon Hopper seems more appropriate] over to the cozy little Dalotek station to analyze the frequency settings. Foster discovers there's another landscape worth investigating there in the form of Ms. Carson. The inclusion of Michael Billington and the hot babe of the week certainly gives UFO a very nice James Bond subtext. There's a touch of innuendo as the suggestion is made that Carson is "very experienced," which leaves Foster with the only logical reply, "I can only imagine." Ah, a little harmless flirtation in full moon isolation. There's no question Foster wants to head into full 007 territory with Ms. Carson and get her out of that tin foil space outfit. You can't blame him. Can you picture Roger Moore handling this one? Carson would have been the perfect Kirk conquest for Star Trek: The Original Series too.

Foster establishes a direct land line between Moonbase and the Dalotek station. How convenient. Nothing like keeping it professional. I should think Harrington has a few thoughts on this one.

In space, no one can hear you... make a date unless you're colleague is Harrington.

A lunar module arrives and Moonbase loses the module with another "radio blackout." Both men are killed in their attempted landing. This wasn't for the kiddies and there were no A-Team comic book-styled crashes. These men were dead and pictures of their loved ones and family were discovered among the wreckage. This was the 1970 and the UFO version of the Red Shirt would not be coming home.

Foster and two other S.H.A.D.O. agents head to Dalotek to terminate the operation and shut down all circuits. Foster makes a command decision much to the chagrin of Dalotek corporate.

Later, the triad of Dalotek civilians takes to the moon's surface for some last minute efforts. An alien device is discovered half-buried in the lunar dirt. Photos are taken, but the Dalotek people believe it belongs to the military. They are later informed by Foster it does not.

A UFO is incoming and three Interceptors are launched. Communications blackout occurs again between Earth and Moonbase. Foster is certain both installations are in danger.

On Earth, Straker gives Blake the bad news. Straker orders Lt. Keith Ford, who once interviewed Dr. Stranges, to replay the archived session. Straker thinks there's something important in it that must have been missed – a word or a phrase. Straker puts it all together and determines meteorites that have impacted the Moon, Crater 236, may be an issue. That's quite a leap and I'm not exactly sure how Straker arrives or deduces his theory. Straker's train of thought is difficult to follow, but he has singlehandledly deduced the aliens have planted a device concealed within the meteorite impacts. Straker is just that good.

On the Moon, Foster has made yet another command decision to execute a detonation of Crater 236. He warns the nearby Dalotek station to brace for impact decompression. The situation was grave enough that S.H.A.D.O. had to act with no time to spare for evacuation.

The device is destroyed and the Dalotek station decompresses. While the civilians there struggle to survive, all communications are restored. The incoming UFO is also terminated. Three Interceptor chances and the third missile takes it. Like I said, not the most effective or flexible weapon in the arsenal of the future. The Interceptor needs a serious upgrade quickly. If number four was required Moonbase would be toast. I do wonder why the aliens didn't just arrive with a fleet of UFOs and simply wipe out the base.

So much for his girlfriend in Episode 5, Survival. Queue Carly Simon's Nobody Does It Better. Foster has a chance to unwind with Carson for a smoke [of course], a kiss and a little bit of the sexy weird including a psychedelic make-out, and perhaps another smoke to follow. Later, amnesia injections are applied and all is forgotten including their little foray into inner space.

Back on Earth, the episode ends where it began with Foster joining Freeman at a restaurant recounting the Dalotek affair and Foster introducing himself to a now unknowing Carson at the restaurant for what appears to her their first meeting. It looks like Foster should be able to take care of business later all over again. Yes, information is a powerful thing and with a preliminary lay of the land think of the upper hand Foster has over Carson. This secret agent thing does have its advantages.

While The Dalotek Affair may not be entirely successful, it does establish some nice ideas and twists for a vintage era program. UFO suffers mostly from pacing, because the performances are strong, the costumes are superb, colors are vibrant and its appeal to nostalgia is both good and bad. Where Gerry Anderson's The Protectors feels entirely too short and choppy, UFO goes just a bit too long for its own good. A little editing would have worked wonders, but the series has far greater benefits as a result of the time it was allotted.

Unfortunately, today's short attention spans are almost detrimental when it comes to the space-suit padded story plotting and charms of a classic like UFO. Still, for some of us, it remains a pleasure to see a visually comprehensive episode of science fiction without a single computer effect. Now that's an affair to remember. The Dalotek Affair: C+. Writer: Ruric Powell. Director: Alan Perry.

Valentine Pie

2012-02-14T23:59:00.005-05:00

I am so all about pie. Banana Cream. Apple. Blueberry. Coconut Cream... Chicken Pot Pie. I love Chicken pot, chicken pot, chicken pot pie!

A belated Valentine to all because sometimes you have to love yourself and pie is always a beautiful thing.

FAB FRIDAY Photo 1: Space:1999 The Eagle

2012-02-10T11:30:00.002-05:00

In the absence of anything substantive each FAB FRIDAY, I thought it might be nice henceforth to fill the void of space with something FAB-related from the wonderful world of Gerry and Sylvia Anderson. A delightful image of all things Fanderson is better than no FAB FRIDAY at all. Images might include anything from actors, actresses, episode images, promotional materials, fan art or design work from any number of talented artists out there on the sphere. Thus, without further adieu, I present the official FAB FRIDAY Photo spot to keep the seat warm for future FAB FRIDAY entries. Fear not, episode analysis is still forthcoming.

Blood: The Last Vampire Promo

2012-02-09T17:05:00.003-05:00

Promotional art for Blood: The Last Vampire. Sweet, sweet, sweet, can you taste it?

Blood: The Last Vampire

2012-02-09T12:00:00.003-05:00

Are you feeling drained by the endless bloodletting that is the Twilight series, Underworld, True Blood? If you enjoy vampires I suspect not. Still, the unrelenting list of vampire projects could leave you in need of a transfusion. I've got another to add to your list and ironically it really won't be the last.

Blood: The Last Vampire [2000] is essentially an anime tease, a short little bloodsucker at 48 minutes, that was essentially expanded for a live action film of the same name in 2009 for 90 minutes.

Following the impressive Jin Roh: The Wolf Brigade [1999], animation studio Production I.G. swooped in with the visually nasty Blood: The Last Vampire.

The animation studio sharpened its teeth with the sharp production quality of this film short almost as a sales tool. The title is fitting too as the blood indeed splatters the screen often in the company’s latest showcase. It was an experiment in cellular and digital animation at the turn of the century further expanding the possibilities within anime.

Self-professed anime fan Andy Wachowski’s [The Matrix, V For Vendetta] offered a colorful expression of appreciation. “It was beautiful - It was as if the art of Francis Bacon had come to life.” It's no surprise, after all The Matrix riffed substantially on Ghost In The Shell [1995] substantially and the brothers would later take on their live action revision of Speed Racer [2008] based on the original animated series Speed Racer/ Mach Go Go Go [1967-1968].

For Blood: The Last Vampire Production I.G. created a haunting film noir quality to this dark, visceral, vampire story. There is great detail in the hand drawn animation despite being dropped into a story lacking details and clearly well under way. The animation and atmosphere would cultivate a cult following winning legions of fans who would clamor for a proper follow-up. They would have to wait five years. Production I.G. would provide fans plenty on the mythology of the original short through the fifty episode series Blood + [2005-2006].

The story of Blood: The Last Vampire takes place on Yokota Air Base in Japan. On edge, the United States military is on the brink of war with Vietnam. A more frightening, immediate threat lurks within the fortified compound – demon-like vampires called Chiroptera! A crackerjack team of covert agents is summoned to dispatch the creatures which have infiltrated the base in human form. Anyone marked by them or who has seen their true form will be killed. Some sequences have a terrifying quality reminiscent of the best in horror cinema. The main character is Saya and we know little about her save for the face “she’s the only remaining original.” Apart from the occasionally cryptic information, character development is sorely lacking. We ascertain that Saya has been alive since, at least, 1892. We know she is bi-lingual moving fluently between English and Japanese. She also possesses an aversion to the holy cross [standard operating procedure in a film with bite], but yet she professes, “I can’t kill humans.” Did I mention her soft, curvaceous lips? To say the least Saya is a bit of an enigma. What motivates her? We don't know. She is an unflinching mystery and she is sent in to exterminate the heathen monsters with her lethal precision and the aid of a razor-sharp sword she carries with her to complete her mission. Not unlike Arucard of Hellsing, Saya is a stonecold marxman, a vicious assassin. As one character exclaims, “don’t ever piss her off again!"

Hypnotic animation aside, it's a little empty and you're sure to be asking questions. It's a hollow shell of a story, which is why it stands as a kind of promotional vehicle for Production I.G.. Why does Saya fight these creatures? Why is she the last of her kind? We want to know more about the pouty, gothic, sex-kitten that is Saya, petite in her traditional Japanese school uniform. She is the key to a greater story to be discovered years later in Blood +.

Still, the animation is precisely why you will love Blood: The Last Vampire. The combination of 3D digital compositing [backgrounds & lighting] and traditional cellular animation [thick, black outlines] is a delicious feast for the ey... er... fangs. Digital and hand drawn animation work nicely in harmony here.

Anime Classics Zettai!, written by Julie Davis and Brian Camp, formerly of Animerica, described Blood: The Last Vampire nicely as "Japan's first fully digital animated feature film. Blood's animation style is a combination of cel-style character drawings and nearly photo-realistic backgrounds. Computer-generated filters are used to create realistic lighting effects on the detailed backgrounds." Blood: The Last Vampire is "a short original video that showcased the impressive computer graphics capability of its studio, Production I.G., Blood came at a watershed time in the anime industry, when digital production was finally beginning to replace hand-painted cel animation on a large scale.” Honestly, digital animation, in and of itself, is rarely enough for me and unfortunately that was the future and the future is now.

On the scoring front, Yoshihiro Ike offers a stirring instrumental mix that genuinely enhances the ominous mood of these wonderful images.

Production I.G.'s concept is a solid one, but the story is never fully realized. The shallow character development is notable in contrast to the studio’s sequel, Ghost In The Shell: Stand Alone Complex [2002-2003] or Ghost In The Shell: 2nd GIG [2004-2005]. Dialogue is minimal with some characters speaking no more than a few lines. There’s even a nameless main character. Flesh and blood characters are absent. While the concept is a good one, it’s more like a film short and promotional material for what Production I. G. had to offer in anime. Blood: The Last Vampire was considered to be one of the first full-length feature films using digital. The studio knew it was part of a much greater plan.

Writer/director Mamoru Oshii [Ghost In The Shell, Ghost In The Shell 2: Innocence, Patlabor, Patlabor 2] also had his hand in planning and developing the story though it’s significantly underdeveloped even by his sometimes ambiguous standards. Oshii is not, without question, a writer in the vein of the traditional linear story arc often deferring to philosophical considerations. He is indeed an artist who prefers to leave interpretation and analysis to the viewing audience, but the information the viewer requires on the screen visually is often much greater. Oshii would pen the novel Blood The Last Vampire: Night Of The Beasts [2000]. This was the first and only book penned by Oshii in a trilogy.

Despite the underdeveloped heroine Saya and Blood: The Last Vampire's shortcomings, Production I.G. would revitalize the story and remedy its shortcomings with the complete Blood + saga. There is certainly enough mystery and visual stimulation to leave you blissfully ignorant and blood-thirsty for more. Think of the flawed Blood: The Last Vampire as a big episodic teaser and primer to the highly anticipated sequel. Blood: The Last Vampire doesn't completely suck, blood that is, and may leave you hungering for a full course anime meal. Production I.G. remedies the appetizer with Blood + followed by Blood-C [2011] and another film [2012]. Sink your teeth into that and suck it!

Blood: The Last Vampire: A- [animation]/ C- [story].

Studio Footnote: Production I.G.: Patlabor 2, Ghost In The Shell, Ghost In The Shell 2: Innocence, Ghost In The Shell: Stand Alone Complex, Ghost In The Shell: 2nd GIG, Ghost In The Shell: Solid State Society, Blood: The Last Vampire, Blood +, Blood-C, The End Of Evangelion, FLCL, The Sky Crawlers, and Eden Of The East are studio highlights.

The Beaver Promo

2012-02-07T08:30:00.001-05:00

Jodie Foster demonstrates something rare in Hollywood for actor Mel Gibson – loyalty.

The Beaver

2012-02-06T16:00:00.003-05:00

The Beaver had to be a creative risk! That Beaver – what an actor!

It's something of a small miracle that actress/ director Jodie Foster's The Beaver [2011] found an audience at all. I mean using a publicly persecuted Mel Gibson, his own worst enemy, as a man with mental illness who talks to a puppet, a beaver discovered in a dumpster no less, proved Foster's Beaver had some real balls. Sorry, I couldn't resist.

Anyway, to say that it is an odd, unexpected film may be an understatement. I mean, gee Wally, this is a long way from the family friendly fare of Leave It To Beaver [1957-1963]. A sitcom it is not. An Animal Planet documentary might come to mind too. One might even expect an inside look at the small mammal on the big screen a la an IMAX theatre production in surround sound. Truth be told there actually was such a documentary film, Beavers, but the date of release escapes me. Did you know the little mammal is second only to humans in influencing, impacting or transforming the environment around them? Yes, it's a fascinating creature, but enough trivia for now. The Beaver is quite simply the most unusual little film and when I had heard the pitch for it long before its arrival, my immediate reaction was, 'Well, now, how the hell is that going to work? That's just too damn weird.'

[Spoiler] It's ironic then, that in Foster's film the puppet beaver assists in transforming a lifeless man, Walter Black. The beaver, a puppet with surprising character thanks to Gibson, aids in pulling Black back from the brink of suicide to something equating a thinking, feeling, emotional being again. [End of Spoiler].

After watching the equally transformative series Breaking Bad and the devastating life of Walter White [played with stunning believability by Bryan Cranston] and his own familial troubles I'm beginning to wonder about the Walters despite really liking that name and recognizing the exceptions of such sound family foundations like the one for Wally Cleaver. Funny enough, things in this world are clearly not black and white for these men anymore.

In its short 90 minutes, Mel Gibson gets lost inside the mind of Walter Black, a character suffering from mental illness that projects a part of his missing personality upon a beaver hand puppet complete with a foreign accent. The character, not surprisingly, effortlessly taps into the very real and manic troubles of actor Mel Gibson. That's not to suggest Mel suffers from mental illness, but he's certainly exhibited moments of clear mental instability earning him the nick name Mad Mel.

I'm certainly not here to defend Mel Gibson. The man is a fighter and doesn't need my help. Its not for me to judge the man, however inappropriate some of his behavior has been over the last many years, but as an actor Mel Gibson, for me, never hits a false note. He is an absorbing on screen presence that continues to blow me away. From Mad Max [1979] and The Year Of Living Dangerously [1982] on through to his own films Braveheart [1995] and Apocalypto [2006] and everything in between, he always brings something to the screen to make each picture special and something of an event. The Beaver follows hot off the heels of director Martin Campbell's explosive Edge Of Darkness [2010] highlighting another charged Gibson tour in front of the camera.

Oddly, The Beaver seems perfectly timed in the life of Mel Gibson. So many critics quickly discard artists based on their public behavior a la Russell Crowe. You name them, Hollywood stars and directors are hardly the poster children of good behavior. Roman Polanski may be one of the few to remain adored by his peers to this day. For example, I'm not here to advocate for the personal lives of gay musicians, but when you record great music you need to sing some praise. I'll take the latest Erasure CD/ download any day thank you very much. What these artists do with their lives outside of the studio or off camera is of little relevance to my meager existence. It's the instinctive appeal of their art to me.

I eased into The Beaver [there I go again], after months of anticipation for it, with some degree of caution. My initial reaction to the first thirty minutes was disappointment. It felt strange. It felt unusual. It was like nothing I've seen on film of late. But something began to settle in about Gibson's performance as he became one with that hand puppet for The Beaver. It gave new meaning to "talk to the hand." Let's face it, Mel Gibson is all about risks and that part is not surprising, but he never phones in the work. He grabs the psychology of the character and makes it work. What began as odd and just a little startling began to feel–normal. Walter began to come to life through the beaver. Slowly, you began to sense and feel for a man with real problems, pain and the family that suffered through his depression with him. The Beaver isn't perfect and may not have developed the subject of Walter's illness far enough or taken the character as deep as it could have, but it does generate enough of an understanding that we can identify with Walter and those around him. Certainly many cannot identify with Gibson, but if you've experienced personal pain of your own you may find The Beaver affecting and even life-affirming to a degree. For a film tackling some clearly weighty subject matter Foster directs with a relatively steady hand weaving Walter in and out of the lives that are affected by him and his alter ego, the beaver.

Clearly many had the same reaction, but it barely earned a tomato. Many cited the acting and direction. Some called it the best of Gibson's career. One called it "not a good movie, but a brave one." Other comments regarding the performance: "nakedly honest portrayal," "a daft premise and a damaged movie star," "a talking rodent and a fallen star," or an "on-screen train wreck," but generally opinions were split somewhere between brilliant and inauthentic.

Others called it "balanced," "heartbreakingly good," "risky," "amusing," "melancholy," "measured," weirdly funny," "compassionate," "heartfelt," "a strong psychological study," "moving and always disturbing." You get the idea.

People were entirely torn. Where many were sold on Foster's handling of the subject matter others found it "unconvincing," "manufactured," Jules Brenner declared "put the puppet back into the dumpster." Some of the criticisms seemed entirely personal, a reflection of a given writer's disdain toward the actor and less about the film's merits. They would allow their personal prejudices to influence their assessments.

This clearly isn't sci-fi, but I wanted to offer some brief reflections on the film. If you've visited Musings Of A Sci-Fi Fanatic you may be aware of my affinity for Gibson as an actor. I am still humbled by the man's work, personal distractions aside. He is a truly mesmerizing, immersive performer and his work as Walter Black grows stronger with you upon reflection. You need to see it for yourself, more than the bulk of films the suggestion is made for.

For a film with its relatively dark subject, The Beaver ends on a fairly hopeful note all events considered. Walter Black emerges with a modicum of hope and a good degree of forgiveness and acceptance by those around him. You can't help but hope for the same kind of redemption for Mel Gibson, the actor, and perhaps for our own shortcomings in this brief life. We may feel alone sometimes, but we don't have to be. Maybe that was the point of this film for Gibson personally. He embodies Walter and inhabits his world. Through Walter Gibson capably taps into a reservoir of some real pain. I can't help but hope things turn out well for Gibson too. Like the beaver, we are all social animals after all. Did you know they live in colonies? The Beaver: B [for Beaver]

Frankie Goes To Hollywood: Welcome To The Pleasuredome

2012-02-02T10:30:00.007-05:00

"Shooting stars never stop, even when they reach the top!" -Welcome To The Pleasuredome, Frankie Goes To Hollywood-

Once upon a time in a space far, far away, because boy things got really weird and wild, there lived a makeshift band dubbed Frankie Goes To Hollywood [Frankie]. As bands go, this one was almost science fiction.

Unleashed on an unsuspecting world was a recording so epic, so massive, so seismic – a publicity tsunami washed ashore in the United States and the existence of Frankie was undeniable. Despite Frankie's heavy British flamboyance the act was still irresistible and, for a time, resistance was futile. Yes, Frankie was all the rage with the arrival of the aptly titled mammoth seller of pure, unadulterated, shameless, unapologetic pop pleasure, Welcome To The Pleasuredome [1984].

Today, I still listen to this indulgent gem of a recording that seemed to tap into the zeitgeist of the mid-80s. To dub Frankie a one-hit wonder on the basis of Relax is entirely unfair as they were clearly a one-album wonder. If there was ever an act that dominated the global music scene in 1984 it had to be Frankie. Nowhere had sadomasochism [S&M] mixed with pleasure pop and fashion more seamlessly than through the quintet of Frankie's Holly Johnson [vocals], Paul Rutherford [vocals, keyboards, dancing], Peter Gill [drums], Mark O'Toole [bass] and Brian Nash [guitar].

Of course, in many respects, the true mastermind behind the outfit was then producer extraordinaire Trevor Horn. Horn churned out sterling production after production effortlessly for years particularly during the 1980s. Frankie was his greatest studio experiment and the act seemed to capture the look and sound of a decade of excess through excessively good fun in well-executed and cleverly crafted pop. Horn's credentials are worth mentioning too. He was a supreme master of sound and mixing. Horn's trademark is perhaps best known through his personal stamp on The Buggles' Adventures In Modern Recording [1981] especially Video Killed The Radio Star [best remembered as the first MTV music video], ABC's magnificent The Lexicon Of Love [1982], Yes' 90125 [1983] [a recording of pure resurrection by commercial standards for the progressive rock band], The Art Of Noise's Who's Afraid Of (The Art Of Noise) [1984], Pet Shop Boys' Introspective [1988], Simple Minds' Street Fighting Years [1989] and Seal' Seal [1991]. He continues to leave an imprint today, but like any special thing of strange magic that connects to its moment in time Horn's special touch was never more intoxicating than his work throughout 1980s and Welcome To The Pleasuredome said it all. Horn was THE man to tap for production. He was the go-to producer who worked compelling pop structures that ranked on the A-list of producers next to the likes of Ian Stanley, Nile Rodgers, Rupert Hine and Alex Sadkin to name just a few. With Horn's name attached to a project you were immediately intrigued and desperately sought to delight in the wonder of his latest.

With this assessment it would stand to reason that Frankie's disappearance following the ambitious Welcome To The Pleasuredome was largely the result of Horn's departure and a band with little if any talent at all. That's certainly how the critics envisaged things or at least painted them. Horn's influence certainly cannot be understated, because it was Horn who molded that raw talent into shape. Thus British publications immediately savaged Frankie with the arrival of the dismal Liverpool [1986], a grim rock record by comparison. They had good reason to be unkind. Suddenly – gone was all of the fun, the pop hooks, the sheer boundless, unbridled energy of the outfit's magnum opus replaced with a whimpering, raunchy, undisciplined, under produced rock record of disastrous proportions that sorely lacked innovation and technical craft. FRANKIE SAY, LET'S FORGET THAT ONE.

Stepping back two years prior to the stroke of genius that was Welcome To The Pleasuredome, the team of Frankie with producer Trevor Horn, cultivated one of the biggest, cheesiest, but tastiest pop morsels ever to grace the inner ear canal. I remember kids in my high school classes walking around with FRANKIE SAY WAR! HIDE YOURSELF and FRANKIE SAY RELAX! t-shirts. For weeks on end it was Frankie mania the world over. There was even a stint at my school.

So, let's face it, when you're on top of the pleasuredome, jet-setting and kicking the world's ass with an endless stream of Frankie product, you know what's coming next. Frankie wasn't the first and wouldn't be the last to fall hard. No, they weren't The Beatles, but for a period the hysteria connected at that level of intensity for this amalgamation of gay and straight men. Oddly, Frankie hailed from the home of the Fab four's Liverpool too [along with Dr. Who's Elisabeth Sladen]. In some ways, time had indeed changed the complexion of Liverpudlian output.

Johnson and Rutherford brought a flamboyant and racy face to their pop act. In fact, Johnson, when interviewed, was just downright bizarre for the sake of being bizarre. The man rarely made any sense at all. His right hand man, the under appreciated Rutherford, was a mustached, silky, soul-filled crooner. Not since Freddie I Want To Break Free Mercury had a singer sporting a mustache been so popular in pop music. These were gay men that could sing, put on a performance and sport a mustache with the best of them. The wild range of Holly's unconventional, booming voice was the the true face of the band making the cover of many magazines including The Face. Nevertheless, Rutherford added the spice. He was indeed the smooth foil tag to Johnson's fury. Perhaps unfairly the remaining three, Gill, Nash and O'Toole, were often considered puppets for the production machinery that was studio Horn.

The eccentric Holly Johnson. Where did it all go wrong? Frankie is simply one of those great wonders of the music world. Like those "shooting stars" Johnson would sing about on Welcome To The Pleasuredome, Frankie briefly burned strong and bright into the dark night before dismantling forever. Recapturing that chemistry is a rare thing for any act and it was never to be for Frankie. You might recall an effort by VH-1 for Bands Reunited to reassemble Frankie, but even then it was a no go. The obstinate Johnson beat to his own drum, had moved on and refused to play along for a brief performance. While many fans would have enjoyed that spontaneous potentially brilliant explosion that was Frankie and seeing the band lay it down for five minutes on VH-1, it simply wasn't to be. There's no denying that Frankie was ultimately the creation of production. It wouldn't have been the same without Horn and maybe Holly Johnson's refusal to play nice was somehow an affirmation of the band's past glory.

Like so many of the recordings we've looked at here on the 80s Music scene, Welcome To The Pleasuredome is a work of pure genre art and still remains untainted by the hands of time. Evidence of its staying power arrived in the form of the two-disc 25th Anniversary edition of the recording that was issued in the UK in 2010. It's rare to see a concept album of this magnitude today.

Analyzing it today, I'm still blown away by the epic thirteen minute odyssey that is the title track, a personal favorite for my money. The opening seconds is like a stroll through the jungle is a bit like a walk through the local zoo before engaging in a persistent, tight and magnificent groove. As you might imagine, Welcome To The Pleasuredome never plays it safe. There's nothing typical about its weave through funky rhythms complemented by ad-libbed verse in the hands of Rutherford's fabulous foil. It is a powerful pop tribute to the long and winding epics of the progressive rock era, yet positively bold and ambitious in its own pop construction. It's positively major. It remains a stunner.

Relax, arguably one of the biggest pop songs of the 1980s, even if it only barely scratched the top ten in America. Relax is an over-the-top salute to sex. It bursts, it spews and it absolutely explodes with a kind orgasmic energy. One instantly recalls Rutherford and Johnson parading through the laser beam light show in the music video. That, of course, replaced the Brian DePalma [Body Double] production that replaced the banned S&M parlor number complete with leather bondage and drag queens, a clip befitting the track. Still, time and distance has been kind to these songs. I defy anyone to scoff at these selections as anything less than some of the most brilliantly crafted pop numbers ever made. This is bad ass pop music, a culmination of talent and studio experimentation that makes Britney Spears sound positively robotic.

Two Tribes tapped into the zeitgeist of a globe dominated by American/ Soviet Cold War politics. Ronald Reagan pressed the Soviet Union to the economic brink inevitably bringing about its eventual dissolution in 1991. That standoff is dramatically captured through a video brawl between Reagan and then Soviet leader Konstantin Chernenko. Chernenko would die in 1985. It represented the ongoing political struggle between two nations and two ideologies with Holly Johnson as the circus ringmaster. It also symbolized the stranglehold those political winds had on nations across the globe. The geopolitical front changed dramatically thereafter.

The remainder of the album is topped with the gorgeous ballad The Power Of Love, which was accompanied by the controversial nativity-themed religious video. The track further emphasized the band's complete immersion into taboo subjects of politics and religion, heaven and hell, sex and love. The act artfully engineers such risks into a complete canvas of originals and reinventions. Remakes of Ferry, War, Born To Run and San Jose are delightful treats exhibiting Frankie's absolute balls to audaciously cover everything from Gerry Marsden to Bruce Springsteen to the Burt Bacharach-penned Dionne Warwick number. Frankie had the audacity to break all the rules.

The remainder of Welcome To The Pleasuredome is notable for a selection of far more impressive and compelling originals from Wish (The Lads Were Here) and Krisco Kisses to the Rutherford-infused sensuality of Black Night White Light and his portion of The Only Star In Heaven.

Yes, Welcome To The Pleasuredome may have been tinkered and toyed with endlessly to achieve perfection, but achieve it Horn and company did. To prove that point, and this is entirely subjective, I have heard every remix under the sun for these classic, original productions and there has yet to be one that has improved upon these originals. I'm sorry, but better mixes don't exist.

The anniversary release delivers a never-before-released lost track. The catchy little oddity is called Watusi Love Juicy. And, of course, all of the weird audio and narration bits are still in place. The only major omission, for me, was Happy Hi from the US edition of the recording, which can be found on the remastered Frankie Say Greatest [2009] compilation. It's essentially a Johnson solo, but it's not to be missed.

If ever there were desert island discs to be mentioned Welcome To The Pleasuredome would assuredly secure a place among them. Frankie's music has since been endlessly recycled, repackaged and regurgitated to the point of embarrassment. All of those efforts include selections from Liverpool. Trust me, most of those products are skip worthy affairs. The only recording worth a shag for the shelf is the remastered Welcome To The Pleasuredome complete in all its snazzy gatefold glory replete with original artwork, photos and other S&M tweaked goodies [nipple pinches, etc.] that the band foisted upon the world back in their hey day. Of course, if you're into that sort of thing then double prizes for you.

I've since read Holly Johnson's book, Bone In My Flute [1994], where he frankly [to use a word] recounts his HIV diagnosis in 1991 and it's a solid page-turner. Johnson, post-Frankie, went on to release what amounts to four solo recordings and Blast [1989] stands alone as just that, the best of the bunch. It's easily the most memorable and fun with loads of catchy melodies and hooks including Americanos, Love Train and Heaven's Here. American Producer Stephen Hague [New Order, Pet Shop Boys, OMD, Erasure] had a hand in the project and on two of the best aforementioned selections.

Paul Rutherford sans the mustache. Now Paul Rutherford always received the least attention of the two gay leads and his vocals, along with his dance moves, were more complementary than full-on lead in his Frankie support role, which I always found a shame. Rutherford's silky, soulful voice was a gift in its own right and had a significant impact on the proceedings on the Frankie debut. Rutherford released a truly odd collection of songs called The Cowboy Years [2010] under the pseudonym Rutherford/ Butt Cowboy. Now if that isn't a truly proud gay man I don't know what is. You have to love and respect the colorful Frankie boy. Unfortunately The Cowboy Years lacks all of the heart, soul and shining brilliance of his one and only true solo outing, Oh World [1989].

Yes, Rutherford's house-inspired groove project, Oh World, is a must own recording. The production, fueled with great melodies, even received production input from Martin Fry and Mark White [ABC], and is criminally underrated. It's the acid house counterpart to ABC's own Up [1989]. Oh World surpasses the best of Johnson's solo work and was reissued in 2011 as a two disc remaster. Seek it out with the Frankie original while you can. You can't go wrong with classics like the title track, Get Real, the string heavy beauty The Gospel Truth, Seduction and a cover of Chic's I Want Your Love. So if you're out there Paul, reconsider a proper Oh World sequel. Fans the world over are waiting for it.

With Frankie Goes To Hollywood at the top of the world, you knew the backlash was inevitable. You may recall a scene from director Alan Parker's The Commitments [1991] that sums up the end pretty well. Jimmy Rabbitte assembles a soul band and the musicians have a few choice words about Frankie Goes To Hollywood.

Hearing things like that was like a knife to the heart for the fans of '80s music. I love The Committments too. I love rock and I love soul and I love pop too. Isn't there room for all?

If so, be assured, the tour de force that is the magnificenty constructed Welcome To The Pleasuredome is perfect for exercise, cruising, dancing, political debate and sex. There's a reason that for a time it was the play vehicle for one of the planet's most unexpected, unlikely pop arrivals. In 1984, the world was indeed the oyster of the decadent and unstoppable Frankie Goes To Hollywood.

"We are living in a land where sex and horror are the new gods." That line from Welcome To The Pleasuredome may have seemed bloated and over the top, but one has to wonder if Frankie, like the band, didn't have a relevant point. The production is loaded with a kind of poetic excess, but a pleasure it is. [If you think I'm merely selling it, just take the title track which literally lifts verse from the stanza of Kubla Khan [1816] by Samuel Taylor Coleridge and reorganizes it in grand Frankie fashion]. To be blunt, like an orgasm, these guys made things exciting, exhilarating, fast, furious and put you in their grip even if but for a few minutes within the respective music timeline. It's no wonder the whole thing disintegrated in a heap.

Frankie Goes To Hollywood Discography: Welcome To The Pleasuredome [1984; remastered 2 CD 2010] */ Bang! [1985]/ Liverpool [1986]/ Bang! The Greatest Hits Of Frankie Goes To Hollywood [1985]/ Reload! Frankie: The Whole 12 Inches [1994]/ Maximum Joy [2000]/ The Club Mixes 2000 [2000]/ Twelve Inches [2001]/ Rage Hard: The Sonic Collection [2001]/ Frankie Say Greatest [2009]. * The Sci-Fi Fanatic Say Greatest!

Holly Johnson Discography: Blast [1989] */ Hollelujah [1990]/ Dreams That Money Can't Buy [1991]/ Soulstream [1999].

Paul Rutherford Discography: Oh World [1989; reissued 2011] */ That Moon Ep [w/ Pressure Zone] [1989; reissued in 2010]/ The Cowboy Years [2010] [Paul Rutherford & The Butt Cowboys].

Spock: Vampire-Slayer

2012-01-31T15:25:00.001-05:00

"More badass than any sparkling vampires since 1966."

That's a great line. Furthermore, the red shirts simply cannot cut a break. Spock, cooler than vampires and red shirt-slayer.

Honestly, how I really wish Spock was a Twilight-killer.

Star Trek TOS S1 Ep9: Dagger Of The Mind

2012-01-30T13:25:00.003-05:00

Star Trek: The Original Series returns in all its glorious and vibrant splendor. The remasters continue to be something to truly behold. A documentary on the Season One Blu-Ray set discusses returning Star Trek TOS to its intended glory.

It was no small order and the folks involved from the re-scoring of the music to the clean-up on prints and modifications of contrast really can't be thanked enough. Purists might be a little chaffed by the effort in spots, but without it Star Trek would never have looked this astounding. The breathtaking science fiction series is made all the more beautiful by the upgrade. It is one of the science fiction series that was truly deserving of the technical overhaul. It looks out of this world. There really is no series, for me, that has captured science fiction ideas, adventure and character the way the writers, directors and actors pulled it off here. The series was far ahead of its time and remains a marvel to watch. Thanks to the high definition restoration this series received it could run head to head with anything on television today. It really is like seeing it new for the first time.

Following the unsettling adventure of Miri, pre-dating an atmosphere reminiscent of the ghostly world of Charlton Heston's The Omega Man [1971], we return with Star Trek: The Original Series, Season One, Episode 9, Dagger Of The Mind. Captain's Log Stardate 2715.1.

The U.S.S. Enterprise is delivering Infra-Sensory Drugs to the Tantalus penal colony and the attention of Dr. Tristan Adams.

Captain James T. Kirk enters the transporter room and finds the red shirts are unable to beam down supplies to the penal colony. The problem is obvious to Kirk. The security shield around the colony must be lowered.

Kirk kindly suggests his men brush up on "penal colony procedures." As Kirk exits, one box of Classified Material arrives. Inside is a man – an escaped prisoner.

Kirk and the crew of the Enterprise simply depart the penal colony airspace following delivery of the supplies. Kirk admits he would have enjoyed meeting Adams.

Kirk and Dr. Leonard Bones McCoy discuss the concept of the penal colony as something of a "resort" by the standards of the contemporary Trek universe. Bones begs to differ, but Kirk tells Bones he's "behind the times." The content of Musings Of A Sci-Fi Fanatic might describe me in a similar manner. Well into the Season One now, there is a natural rapport developing between the key cast members that adds to the pleasure factor of each episode even when the entry isn't entirely successful.

The Tantalus penal colony transmits to Kirk that a violent inmate is missing from their facility. The ear pieces that allow communications for both Uhura and Spock are notably large and despite the advancements in sizing down technology there's something infinitely cool and stylish about Star Trek tech. While unlikely such devices would be that large in scale today, you have to submit the look of Star Trek TOS really never disappoints and somehow manages to look as advanced today as it did in the 1960s. Space suits, phasers, communicators. Yes, nothing seems to age to the point of criticism when it comes to Star Trek technology. Consider the films and television series that have come and gone that feature gadgetry that seems positively dated and utterly laughable. It's a credit to the imagination of the creators and the designers that they laid the groundwork for timeless tech.

A red shirt arrives on the bridge for additional security. Only keeping his back turned to any who might enter is not a sound policy, but then, of course, this is a red shirt. So, as expected, the red shirt goes down in a heap as the prisoner, Simon Van Gelder, arrives demanding asylum with Kirk at phaser point. He pleads for Kirk's assurance that he be protected. Kirk replies, "No promises."

The sneak attack of the always reliable Vulcan neck pinch and Spock quickly takes control of the situation. Kirk reroutes back to Tantalus.

In sick bay, Bones is performing a physical. Van Gelder attempts to speak his own name to Kirk, but something neurally prohibits him from speaking it without undergoing great internal pain and duress. Gelder was a director of the colony and worked with Adams. Gelder refuses to go back, but his tirade is eventually sedated by Bones.

One of the many successes of Star Trek TOS was its casting. Whether over the top or not in its dramatic underpinnings, the long list of guest contributors really do their part to sell the story no matter how improbable the idea. Van Gelder is played with mad relish by Morgan Woodward and the concept of suppressed or concealed memory is certainly not outside the scope of possibility.

When Kirk returns to the bridge Spock informs him the man in sick bay is indeed Dr. Simon Van Gelder, an associate of Adams, assigned to the colony six months ago. Curious?

Kirk contacts Tantalus whereby Adams insists the Doctor was performing neural experiments on himself prior to attempting them on the prison population. Bones enters and whispers to "Jim." "That doesn't quite ring true." You know things are going well with cast chemistry when Bones refers to the Captain as Jim. Bones dubs the penal colonies – "cages." Bones can't put his finger on it, but after examining the patient he simply does not believe Adams.

Kirk reminds Bones that Adams revolutionized prisons over the course of twenty years and wonders why he would lie. Spock steps into the debate, an always logical choice for the voice of reason between the classic sci-fi triumvirate. The Superego, the ID and the Ego. "I suggest you ask Dr. Adams if he wants Van Gelder returned."

Adams is clearly a polished manipulator and suggests to Kirk that Van Gelder receive the best medical attention should there be a location closer than Tantalus. Bones is basing his assessment on a hunch and years in the medical profession.

It's worth mentioning that this particular sequence, although meager, between Kirk, Spock and Bones is one of the true highlights of the installment. It's a symbolic moment regarding the evolution of their relationship as it develops throughout the series.

This extended passage from author David Gerrold's The World Of Star Trek really speaks to the moment and the many exchanges that occur between the holy sci-fi trinity of colleagues and friends throughout the series. "Understand the contrast here: Spock prefers logic over emotions. McCoy prefers emotions over logic. But each is in a position where they must stifle part of who they are in order to fulfill their duties aboard the ship."

He adds, "Perhaps each of these characters recognizes the dilemma that the other is in, and more than anything else, this could be the reason for the unspoken affinity between them." Without question there is a mutual respect and affection for one another even after heated debates and battling at loggerheads over a given crisis or subject. Together, the trio often hammers out the best possible solution. The tension and the spark is what results in the best option weighed by the Captain.

Gerrold continues, "They are united also by a deep-seated regard for the Captain." This is evidenced as Bones backs down from his emotion in the aforementioned scene. Bones' relationship with the Captain "is one of deep affection and warmth-an old, tried friendship." Also in evidence is Spock's "strong feelings of loyalty and respect for Kirk. The Vulcan betrays himself in this respect time and time again."

The Freudian analogy has certainly been discussed ad nauseum throughout the history of Star Trek. I don't pretend that's a new thought, but it remains forever fascinating to me. Gerrold adds to this thinking. "McCoy and Spock are symbolic opposites." He points out, as evidenced in the bridge scene, "Kirk's job is to be a decider." Spock and Bones are his "chief advisors." "As such, they will represent the two aspects of every decision he will have to make - especially the difficult ones that will affect other people's lives."

Gerrold's conclusive thoughts in this train of thinking are sound. "Spock represents Rationality, McCoy represents Compassion.... They symbolize Kirk's internal dilemmas." Gerrold is spot on. Spock and Bones "dramatize" and articulate these internal struggles for Kirk and the crew. The World Of Star Trek is an insightful book and worth seeking out in any viable second hand bin you might find.

But, yes, respect and loyalty are indeed at the core and central to the established relationship of Kirk, Spock and Bones throughout the series. Politically and socially, the series and these incredible characters continue to have much to influence. Their impact is profound as they continue to remind us and inform our culture of these important attributes.

Kirk and Dr. Helen Noel prepare to beam down to Tantalus. When Kirk sees Noel he pauses. There is a history. There is the suggestion she is but one of his many sexual conquests. She is a red, hot smoking babe with a body built like a Cadillac. Funny thing is Kirk never placed the faced with the name when Bones first mentions her. This was clearly nothing more than a fleeting physical exchange following a chance meeting at the science lab Christmas party. I give you Dr. Helen Noel.

I must say that women have been liberated substantially since these good, old days and it's a crying shame too [from a purely selfish perspective]. The producers and creators knew how to cast these women and pick their outfits better than any casting department on the planet. By God, if Dr. Noel isn't proof that there is a God then I just don't know.

Arrival on the planet and a speedy elevator to the colony below ground sees Kirk and Noel fall quickly into one another's arms. Gosh, William Shatner had THE job of a lifetime.

Kirk discovers communications to the Enterprise will be limited if the security shield remains active. Noel, Kirk and Adams share a drink. Kirk is introduced to one of Adams' assistants, Lethe [played oddly by Susanne Wasson], who describes herself formerly as "malignant" and "hateful." There is something almost automated about her behavior. Her emotions are suppressed in much the same way her bad past memories have been erased. Something more has also been altered in the brain pattern rendering the woman cold and somewhat unresponsive. It's a bit like a mental ward given heavy doses of medication to suppress emotion a la One Flew Over The Cuckoo's Nest [1975].

It's worth noting that Lethe is a perfectly appropriate name for the woman as she represents the overarching theme of the entry as penned by one very smart S. Bar-David.

Through the use of the name Lethe, the writer weaves in the concept of Greek mythology as noted in a recent Cult Faces post at John Kenneth Muir's Reflections On Film/TV. Lethe, one of the five rivers of Hades, the river of forgetfulness, not only suggests the decent into Tantalus as akin to a descent into hell, but also speaks to a mental descent into madness. Lethe is literally defined as concealment or forgetfulness. This is a central, operating theme on Tantalus for all who submit to the journey into Adams' world.

Director Kurt Wimmer took a similar idea and ran with it for the film Equilibrium [2002] and the concept was handled beautifully in Babylon 5, Season Three, Episode 4, Passing Through Gethsemane [1995] guest starring Brad Dourif and, believe it or not, directed by one Adam Nimoy.
On the Enterprise, in sick bay, Dr. Van Gelder mentions a neural neutralizer that piques the interest of both Spock and Bones. Meanwhile on Tantalus, Adams takes Noel and Kirk to the neural neutralizer room that neutralizes brain waves. As he exits he asks the operator about the machine. The near lifeless, stoic-faced operator is clearly the recipient of its effects exhibiting little emotion. Adams refers to Kirk as the "ancient skeptic." Noel is captivated by Adams' work and makes every effort to excuse any interest by a suspicious Kirk to learn more. She even tells Kirk such efforts have been experimental for some time and that Adams has "not created a chamber of horrors here." Her assessment is clearly unscientific and based solely on her affection for Adams and a reputation that precedes him.

Adams explains Van Gelder was harmed in the neural neutralizer room while self-administering his own experiment.

Later, Spock reports to Kirk that he may be in danger. Adams leaves the room just prior to Kirk's communique to offer Kirk the continued illusion of trust. Noel scoffs Spock's suggestion they might be in harm's way. Kirk and Noel will spend the night and investigate [each other] further.

Spock probes Van Gelder's tortured mind using the Vulcan mind-meld. This is the first official implementation of the Vulcan technique. The Vulcan mind-meld is a terrific storytelling device that requires very little visual overhead, technical production or budget. Van Gelder submits calmly to Spock's methods. He explains how Adams can reshape the mind with his device. Spock's mind-meld is always so intimate, almost sensual as a rush of emotion floods through his own mind through the link.

In The World of Star Trek, Gerrold describes the event as a Vulcan technique that required "physical contact" or to be a "short distance away." The greater the distance "the less clear and distinct the impressions received."

Kirk visits Noel requesting her technical expertise on the inmates' behavior. Instead of behaving like a science professional, she suggests Kirk has visited her room for extracurricular activities. Noel is certainly a looker, but she also has a bit of the black widow in her.

It is late and Kirk submits to a neural probe with only Dr. Noel as his monitor and filter for safety. He can only hope her expertise behind the knobs is as impressive as her expertise between the sheets. Of course, my assessment is pure speculation.

With Noel's aid, Kirk commences testing under the neutralizer. Noel suggests he is hungry and when the device powers down he's famished. Kirk is concerned regarding the effectiveness of Adams' device Adams.

Kirk and Noel test further but the unit is sabotaged by Adams while Noel is restrained.

Adams penetrates Kirk's mind suggesting he would sacrifice his career for Noel out of love. Adams turns up the intensity like a dagger to the mind.

Returned to his room Kirk has been reduced to a love slave. But Kirk inexplicably [because he's Kirk] pulls it together and suggests Helen take the air duct so they can turn off the security field. Kirk is taken for another mind "treatment" by Adams' henchmen. Somehow Kirk manages to avoid a vegetative state.

On the Enterprise, Spock is more than alarmed thanks to the information obtained by the Vulcan mind-meld coupled with the fact he has not heard from the Captain.

Fortunately, Noel turns off the master voltage long enough to shut down power so that Kirk can leap into action with a quick karate chop to Adams' neck. Power is restored, but damage to the electric grid allows Spock to beam down.

When Helen finds Kirk she is greeted by some significant make face time. Spock stands amused.

Adams is now dead, a victim of his own devices. Unattended he is destroyed, while Van Gelder returns.

Bones muses with Spock and Kirk. "It's hard to believe that a man could die of loneliness."

After such a remarkably strong start to Star Trek: The Original Series, the show hits its first speed bump with Dagger Of The Mind. The entry is less the dagger and more like a soft butter knife. However, we do get the wonderful character triumvirate discussed with razor-sharp precision by Gerrold earlier. Nevertheless, the sum of those compelling moments makes cannot compensate for a less than convincing tale. We do get an extremely worthy female guest and some Vulcan mind-meld, but a good mind-meld, a smoking set of legs with an ass that won't quit aside it's simply not quite enough to raise the bar on S. Bar-David's script. In good conscience and with sound mind this may be my least favorite of the first season to date particularly hot off the heels of Miri also directed by Vincent McEveety. But again, it's Star Trek: TOS and there's plenty of science fiction that has come and gone that would be envious all things being relevant.

Dagger Of The Mind: C. Writer: S. Bar-David. Director: Vincent McEveety.

Dead Crewman: 0./ Dead Crewman To Date: 10./ Babe Alert: 1./ Babe Alert To Date: 10.

Babe Alert: Marianna Hill [1941-present]. [Dr. Helen Noel]. Hill was born Mariana Schwarzkopf and is a cousin to General Norman Schwarzkopf, Supreme Commander of the Allied Forces in the 1991 Gulf War under President George Herbert Bush. She appeared in the Elvis Presley film Paradise, Hawaiian Style [1966], the same year the sex kitten appeared in Dagger Of The Mind. Hill also filmed with Clint Eastwood in High Plains Drifter [1973] and The Godfather II [1974]. She is also notable for the wonderful TV series My Three Sons, Hogan's Heroes, Batman and Love American Style.

Writer footnote: S. Bar-David [1924-2004] was the pen name for Shimon Wincelberg. Wincelberg is best known for penning The Reluctant Stowaway, the pilot for Lost In Space. He established the relatively substantive tone that was the first season of Lost In Space. He scripted or co-wrote the first five episodes including The Derelict, Island In The Sky, There Were Giants In The Earth and The Hungry Sea as well as Invaders From The Fifth Dimension. Along with Dagger Of The Mind, Wincelberg penned Season One, Episode 16, The Galileo Seven, one of my childhood favorites from Star Trek: TOS.

Lady Penelope Creighton-Ward

2012-01-27T20:35:00.019-05:00

I heard you were all feeling a little stiff today. I thought I'd get your attention to stand erect, but a woody is better than being wooden.

Yes friends, it's FAB FRIDAY! It's time for all things glorious from the world of Gerry and Sylvia Anderson.

What better way to honor this illustrious and truly sacrosanct day than a triple threat visit to the world of Thunderbirds and the fabulous ladies extracted from the world of Anderson. Who better to entertain us on this sacred day than Sylvia Anderson herself, the voice of Lady Penelope Creighton-Ward [2039-present]?

Sylvia Anderson [1937-present] is best known as half of the Anderson creative team along with her former husband Gerry Anderson. They were married from 1962-1975 whereby Sylvia exited the partnership prior to Year Two of Space:1999.

If Lady Penelope were real she would be Sophia Myles or Sylvia Anderson. Her original autobiography, Yes M'Lady [1996] was later reissued with updated material as My FAB Years [2007] including her work on the Thunderbirds [2004] film directed by none other than Jonathan Frakes, Star Trek: The Next Generation's Number One himself.

The never shapely Lady Penelope [always thin as a wooden rail] would be portrayed on film by the strikingly curvy, ever bodacious, absolutely fabulous, herself, Sophia Myles [1980-present]. Funny enough, both Anderson and Myles were born in London. Myles would make a number of cool genre film appearances including Underworld [2002], popular Doctor Who episode The Girl In The Fireplace [2006] featuring Tenth Doctor David Tennant, and Outlander [2008] starring Jim Caviezel.

As far as the character we honor here today, Lady Penelope was born with the proverbial silver spoon. It's true. I know it's not politically correct in today's climate to embrace the wealthy, but despite riches once upon a time we still loved her.

Like Sylvia [who assisted in fashion design work for both UFO and Space:1999], Penelope was indeed a member of the British high society and a fashion icon on the surface, but underneath the designer clothes was a fierce British agent, a true warrior with nerves of balsam that would make even James Bond blush.

Based at the stately Creighton-Ward mansion, complete with underground river route, Penelope is often backed by her driver Aloysius 'Nosey' Parker, her servant and partner-in-crime. Parker is essentially to Penelope what Kato was to the Green Hornet, or what Robin was to Batman or better yet his butler, her own personal Alfred Pennyworth. Yes, the importance of Penelope's Parker cannot be discounted. Parker served time in prison and is one of the world's greatest safe crackers. That's right, if you can't beat them join them. Parker is a sparkling example of true redemption. It's yet another good reason to love Lady Penelope.

Lady Penelope is easily identified by her iconic six wheeling Rolls-Royce, the bright pink FAB 1. The 007-styled vehicle comes complete with machine guns, bullet-proof glass and water skis. She also owns a yacht dubbed FAB 2, a prize-winning racing horse named FAB 3 and an oceangoing sea cruiser called the Seabird.

Anyway, that's Lady Penelope, a chip off the old International Rescue block [of palm tree wood - that is]. This follows a long list of Anderson ladies including Gabrielle Drake, Wanda Ventham, Barbara Bain and Catherine Schell. Like those ladies, Lady Penelope [a.k.a. Sylvia Anderson] was a true babe out of the woods and made from it too.

A Case Against CGI II

2012-01-26T21:07:00.000-05:00

... and speaking of Robot. First it was the original Cylon and now this poor fellow. Times are tough all over.

Dick Tufeld [Voice Of Robot] [1926-2012]

2012-01-24T11:00:00.012-05:00

The voice of Lost In Space's Robot, Dick Tufeld.

Three years to the month after the passing of Bob May [the man inside Robot] and days apart, the robust, unforgettable and authoritative voice of Robot has passed away. Dick Tufeld established one of the most iconic voices in science fiction history with that instantly recognizable voice of The Robinson family Robot.

Tufeld brought to life many classic lines including "DANGER WILL ROBINSON! DANGER!" and offered the perfect foil for Will Robinson and Dr. Zachary Smith over the course of three wild seasons of Irwin Allen's Lost In Space [1965-1968]. Billy Mumy remembered him as a "cool guy." Angela Cartwright recalls him to be a "true gentleman" who would be missed.

Tufeld was an actor/ narrator and announcer, but will be forever remembered for his beloved role as Robot. Robot was a character brought to life by a two component act. Bob May wore the suit and Tufeld provided Robot his memorable voice. Apart from the Robot character Tufeld also narrated for the series.

Additionally, he narrated for Irwin Allen's The Time Tunnel [1966-1967] and Voyage To The Bottom Of The Sea [1964-1968]. Tufeld also contributed to the classic Fantastic Four [1978] cartoon. He also reprised his role for the film Lost In Space [1998]. He was 85.

It was a pleasure to enjoy Tufeld's voice in my youth. It gave me great pleasure to watch Lost In Space through syndication. Like the classic series, Tufeld's voice is timeless and will always be fondly remembered by fans and non-fans alike. Dick Tufeld may be gone, but his voice will never be silenced.

Wizard's Top 50 Comic Book Movies [2003]

2012-01-21T20:47:00.007-05:00

A weekend spent rummaging through the old comic book boxes turned up an old Wizard magazine [1991-2011] and a stroll down films of superheroes past.

Honestly, there's nothing more fun than a cup of coffee on a Saturday morning alone in your basement with box loads of comics surrounding you. Actually, that all sounds like pure geek and it probably is. I was neck deep in The Avengers, Fantastic Four, The Uncanny X-Men, Guardians Of The Galaxy, The Omega Men, West Coast Avengers, The Incredible Hulk, The New Mutants, Justice League Europe, Metal Men, The New Teen Titans, Namor and on and on. I was drowning in classic comic books. It's great to look back at any of these old titles. These titles were one of a kind at one time.

This in turn led me to my local comic shop, which I rarely frequent, because I don't collect any of the new books and simply don't have the time. I spoke with one of the proprietors and he was a terrific fellow geek like myself. I said, "Remember when we used to collect these books, there was only one X-Men title and it was fantastic!" He replied, "Yeah, now they have 50 books. It's crazy. I mean take Deadpool [pointing to the shelf]. There's three titles for a so-so character at best." Clearly it's a money grab out there. Of course things changed many years ago. I remember things beginning to change dramatically in the very early 1990s. As he mentioned, "Today, it's more about the artwork. Story is very secondary. It's hit or miss." I think that's generally true. Our conversation dovetailed into comic books on film and we both winced at how often these films simply "dumb it down" and veer away from the source information discarding the book material that made characters work in the first place. We now have Ultimate storylines. There were very strong opinions shared on the state of the industry, but he was very rational about the topic and quite frankly it was hard to disagree. Green Lantern, Hulk, X-Men - creators have certainly taken their liberties, but sometimes too much so.

Nevertheless, my visit led me to the purchase of The Avengers The Yesterday Quest. It's vintage era John Byrne with an Avengers assembled team I quite enjoyed back in the day. Unfortunately, many of the characters in that story won't be appearing in next summer's film. That film will certainly be more faithful to the original set of Avengers characters.

The fellow to the left played Daredevil in The Trial Of The Incredible Hulk [1989]. Can you believe it? Anyway as I dug my way through the books passing X-Factor and Excalibur, I found an old issue of Wizard. It featured the 50 Top Comic Book Movies Of All Time. I thought I'd post them as it might generate some discussion. The article is from August 2003. It's amazing how things have changed in nearly ten years and how many more proper superhero films have been created since. The look of this Top 50 including the Top 10 alone would appear markedly different. I know personally Batman Begins and The Dark Knight would be in my top two spots. Enjoy the list friends.

50. Batman & Robin [1997]./ 49. Steel [1997]./ 48. Red Sonja [1985]./ 47. Virus [1999]./ 46. Fantastic Four [1994]./ 45. Superman IV: The Quest For Peace [1987]./ 44. Conan The Destroyer [1984]./ 43. Captain America [1991]./ 42. Tank Girl [1995]./ 41. Supergirl [1984]./ 40. The Crow 2: City Of Angels [1996]./ 39. Teenage Mutant Ninja Turtles II: The Secret Of The Ooze [1991]./ 38. The Crow 3: Salvation [2000]./ 37. Superman III [1983]./ 36. Batman Forever [1995]./ 35. Barb Wire [1996]./ 34. Judge Dredd [1995]./ 33. Return Of Swamp Thing [1989]./ 32. Bulletproof Monk [2003]./ 31. Men In Black II [2002]./ 30. Spawn [1997]./ 29. The Punisher [1989]./ 28. Howard The Duck [1986]./ 27. Teenage Mutant Ninja Turtles III [1993]./ 26. Mystery Men [1999]./ 25. Batman Returns [1992]./ 24. Swamp Thing [1982]./ 23. Batman [1966]./ 22. Daredevil [2002]./ 21. Timecop [1994]./ 20. Conan The Barbarian [1982]./ 19. The Mask [1994]./ 18. Blade II [2002]./ 17. From Hell [2001]./ 16. American Splendor [2003]./ 15. The Crow [1994]./ 14. Teenage Mutant Ninja Turtles [1990]./ 13. Batman: Mask Of The Phantasm [1993]./ 12. Men In Black [1997]./ 11. Akira [1989]./ 10. Blade [1998]./ 9. Batman [1989]./ 8. The Rocketeer [1991]./ 7. Ghost World [2001]./ 6. X-Men [2000]./ 5. Road To Perdition [2002]./ 4. Superman [1978]./ 3. Superman II [1981]./ 2. Spider-Man [2002]./ 1. X2: X-Men United [2003].

Pamela Anderson. 'Nuff Said! Whew! That's quite a list and requires a little commentary here. I've seen a good many of these films and some of the selections catch you by surprise here. Keep in mind, this is a comic book list not a superhero list. I have to literally stop myself to separate the two.

If you're going to put anime in the mix you can certainly include Nausicaa Of The Valley Of The Wind. It's seeds were established in a Hayao Miyazaki comic book and would personally notch higher here than Akira for me. Even His And Her Circumstances by Gainax was a splendid animation series based on a manga comic. So including one comic-based anime feels a little random.

We all know the Batman series began with Tim Burton. Today, Burton would be pushed further down the list and wouldn't crack the Top 10. Michael Keaton's Batman was good too, but the Burton Batman came just a little too early in his career. If given the reins today, his Batman would be stronger. Remember Red Sonja? She cracks the Top 50 here. That's crazy! Still, those Conan pictures tend to hold up. Speaking of crazy, there are film here that really fall well off my radar like Steel, Virus, Tank Girl and Barb Wire. How does Barb Wire beat Supergirl? Okay, it is Pamela Anderson, but Helen Slater is nothing to sneeze at. Barb Wire was absolutely panned too. How soon we forget. Conan The Destroyer is easily a better film.

I enjoyed The Crow, but wonder if it isn't quite the superior film I once thought it to be. Shortly thereafter came director Alex Proyas arrived with the superior film Dark City.

Dolph or Thomas Jane? This may be the only list to feature the earliest incarnations of the Fantastic Four and Captain America as well as the first The Punisher starring Dolph Lundgren. I'm not sure any of these films remain on the list, but that first Punisher film was far superior to the third one, Punisher: War Zone, which was atrocious.

I still have yet to see Howard The Duck. We've got the much maligned Howard The Duck and Swamp Thing making the list as well as a Jean-Claude Van Damme picture. I never really think of the goofy Hollywood pictures like The Mask, Mystery Men, Bulletproof Monk or Men In Black, but, again, this is a list for comic book films.

Road To Perdition and American Splendor are just terrific films based on comic book sources. I really have to stop thinking about men in tights [boy, that just doesn't sound good] or capes when it comes to comic books. I'm a victim of my youth and I wouldn't have it any other way. We didn't have a world filled with dark and gritty graphic novels. We had superheroes in tights. Well, that's not entirely true. There were certainly other companies that delivered some terrific science fiction or monster-based stories.

Spawn was a good film with a limited budget, but the Todd McFarlane hero never really spawned a love affair for me. Admittedly, it was a little after my comic hey day.

The always impressive Ron Perlman. The first two Blade films were solid and to be honest the Guillermo Del Toro directed Blade II is the superior film and should probably be in the Top 10 here.

Teenage Mutant NinjaTurtles. Ugh! I could never do it really.

In the top 10, director Joe Johnston of Captain America [2011] acclaim makes the list and deservedly so with The Rocketeer. Ghost World is one of those pictures that simply wouldn't have registered, but again I'm thinking capes and tights.

The X-Men films were solid. Though, to be honest, they move so far away from the source material and continuity that it makes it difficult for me to have deep affection for them or embrace them entirely. They are fine pictures and at least they tell a story with good narrative structures. Along with X-Men and Spider-Man, Daredevil quietly continued a strong wave of superhero films at the turn of the century.

Ultimately, I think the list gets it right on the Top 4 considering the potential selections in 2003.

Additionally, Wizard truly rips some of the made for television heroes. Those titles include: Captain America [1979], Captain America II: Death Too Soon [1979], Dr. Strange [1978], Generation X [1996], a shelved pilot for Justice League [1997], The Incredible Hulk Returns [1988], Trial Of The Incredible Hulk [1989], Death Of The Incredible Hulk [1990], Nick Fury [1998] and Vampirella [1996]. Wizard can slight the Bill Bixby-directed Hulk films all they want, but no one can call into question Bixby's passion for the series and commitment to the character that was David Banner on television.

The Wizard list is fair and sticks to its running theme of comic book films circa 2003. Its got me thinking about my own selections. So much has come and gone since the list was published in the now defunct magazine. Batman Begins. The Dark Knight. Watchmen. Elektra. Hellboy. Green Lantern. More X-Men. New Fantastic Four films. Thor. More Punisher films. Hulk films. Where is Dick Tracy on this list? Any others come to mind? What would your Top 20 be?

Next Issue!: The Sci-Fi Fanatic Top 20 Comic Book Films [featuring Capes and Tights].

Superhero Humor

2012-01-20T15:00:00.001-05:00

So bad it's hysterical. Still, that bike is a dandy.

The Fourth Kind

2012-01-13T07:35:00.002-05:00

"How could they remember what they are being forced to forget?" -Dr. Abigail Tyler [The Fourth Kind]-

That question is perfectly appropriate thematically for a film that's less about content and more about questioning credibility and what one chooses to believe. Even better, how could they believe what they are being forced to believe?

Director Olatunde Osunsanmi certainly taps into the zeitgeist of popular American film when it comes to the UFO encounter through implementation of a title that immediately recollects Close Encounters Of The Third Kind [1977] by director Steven Spielberg whether intentional or not. It's strictly through the title of his film, The Fourth Kind [2009], that Osunsanmi achieves his desired effect. Though I suspect the director's intent is by design as The Fourth Kind is a purely manufactured fabrication.

Close Encounters Of The Third Kind is pure Hollywood spectacle and dramatization. The Fourth Kind is a dramatization too, but taps into techniques made popular by The Blair Witch Project [1999]. Shaky camera, home video and other low budget production techniques are employed to give a sense of realism to the film's events. It works in creating that effective mood to a degree, but The Fourth Kind isn't the unmitigated success it might have hoped to be.

For the most part The Fourth Kind works on pure atmosphere and style within the employ of a small budget and generates a palpable sense of dread without ever delivering any real event or physical alien presence. In fact, the most unsettling image is that of a white owl, as John Kenneth Muir correctly identifies in his alternate take on the film as a kind of alien "avatar." It spooks and immediately recalls the extra-terrestrial grey men with those great big eyes. Was it actually an owl? But as an entertainment it doesn't fully engage us or satisfy us with the kinds of characters we loved in such films as Fire In The Sky [1993] or Communion [1989]- characters we cared about.

Still, again, those pictures had more in common with the narrative structures of films like Close Encounters Of The Third Kind despite Fire In The Sky's claim of being a reality-based story sourced from an account of abductee Travis Walton. The Fourth Kind plays with our sense of reality and credulity by mixing Hollywood actors against split screens of footage highlighting less notable actors doubling as authentic people who have actually witnessed said abduction events or experienced real encounters.

Taking a step back, so what is the fourth kind really? Of course, the fourth kind denotes not just contact but actual alien abduction - the differentiation is worth noting. The fourth kind is always a sticky wicket as actual proof of such an event is rarely glimpsed or evidenced.

We can take our understanding further through the scientific identification or classification of close encounters in ufology as founded by astronomer and UFO researcher J. Allen Hynek. His hierarchy of classification was first noted in The UFO Experience: A Scientific Inquiry [1972]. The scale generally works as follows and has been modified accordingly through the years with variations on the theme through input by various ufologists, whose numbers are vast. In simple terms, the first kind of close encounter refers to a UFO sighting. The second kind refers to not only the sighting of a UFO, but the observation of its physical affect [crop circles, heat signature, etc.]. The third kind is notes the physical appearance of animate beings or entities. Again, the fourth kind is an extension of the Hynek scale and revolves around the physical abduction of humans. Interestingly enough, could Osunsanmi's film title have been referring to the hypnotic visual abduction of viewers? Might The Fourth Kind? have been a better label? For those interested, The fifth kind refers to joint communication. The sixth kind of close encounter involves the injury or death of the contacted. The seventh kind of encounter is sexual in nature. It is the sexual encounter and mating between a human and extraterrestrial and involves a hybrid birth dubbed the Star Child. Yes, this science fiction gets deep.

The intentionally creepy look of an alleged doctor. In The Fourth Kind the director is interested, as evidenced by a blurred opening image of actress Milla Jovovich and her claim that events captured for the film are disturbing. Blurring the lines between what is real and what is either a fictional or non-fictional dramatization is the primary directive. But asking us to believe these events through the use of a Hollywood actress as a spokesperson is the first mistake. Employing actors as a trusted source of fact is a poor technique in the film maker's charade.

Implementing archival footage, historical audio interviews, unintelligible Sumerian language bites and split screens of the alleged "real" Dr. Abigail Tyler and the actress playing her is a sound method of distraction. It's the art of the illusion at its best. Osunsanmi's story even takes place in the very real town of Nome, Alaska.

For me, many of the events that are re-dramatized from the archival footage are just a little, too clean and too perfect. The slight of hand felt revealed at points in the picture. While other times, particularly in the final minutes of the film, they are surprisingly unnerving.

In one scene, one of Tyler's previously hypnotized patients actually murders his own family one evening. The sequence is reenacted to the letter from the allegedly captured, authentic coverage. It may be one of the film's most thrilling moments and yet the techniques were ultimately distracting and seemingly implausible to me. In other words, it felt contrived.

Referring back to the video montage of the white owl, Muir and I agree the sequence fails to generate any real thrills. Muir does not believe the film fails, but simply the scene. As he notes accurately, "There's no sense of learning, no graduation of suspense, no escalation of terror." I felt this throughout The Fourth Kind in parts particularly an understanding of events. I didn't necessarily need to see aliens, but additional information might have made for a more suspenseful picture.

There are scenes where police surveillance through more archival footage would indicate the video cameras are interrupted by ufological interference and influence or perhaps a paranormal affect. There's never any proof apart from scrambled video. Once again, what do you believe? Dr. Tyler's daughter is allegedly abducted and and her son is removed from her care, but when Tyler attempts to explain events the on-site police officer is nowhere to be found to corroborate her story. This is a problem. Where's the testimonial on her behalf even if Dr. Tyler isn't real?

The actual Tyler abduction sequence is fairly intense. It doesn't hold a candle to F ire I n The Sky [1993], but it's effective within the context of this film awash in blurry blue and white tints if a tad over edited. The comparison is probably unfair too comparing apples to oranges in terms of technique. The creators of both films are shooting for entirely different styles, but both beg similar questions. What are we willing to believe? Both films present these themes in their own contexts.

The film's final moments see Tyler awake in bed with a broken neck resulting from the abduction. She is informed her husband Will was the victim of suicide. The police official questions Tyler on her daughter Ashley's whereabouts. The bottom line is we don't know.

By the film's end we learn Ashley has never been found and Dr. Tyler has relocated to the East Coast estranged from her son. She is bedridden and her health continues to deteriorate as a result of the ambiguous nature of her experience.

We're to believe the FBI has allegedly visited Nome over 2000 times since the fourth encounter cementing the falsification of the The Fourth Kind.

As a result of the lie, critics were unkind. Those critical of the film had some truly tough words for the production giving it a 17% splat over at Rotten Tomatoes. "No, no, no, no," declared Michael Phillips [At The Movies]. A.O. Scott [At The Movies] dubbed the movie "dull" and "clumsy." Amy Biancolli [The San Francisco Chronicle] saw the film as melodramatic with "narrative segments... too glossy and over-stylized." Some critics found the archival footage a little too transparent. Cynthia Fuchs of Pop Matters asked, "Where's Fox Mulder when you need him?" But wouldn't the question be more appropriately, where is Agent Dana Scully? Other descriptors include: "arrogant," "ignorant," "silly" and "laughable" [and that was by a critic who liked the film]. Milla Jovovich can't escape the knives either. Ken Hanke wrote, "The first line in The Fourth Kind has Milla Jovovich calling herself an 'actress,' so we know right away the film is lying." Ouch. Mark Palermo reduced it to an entry for "Unsolved Mysteries." Andre Wright noted, "If this was made in the '70s, it'd be narrated by Leonard Nimoy and chock-full of yetis and the Devil's Triangle." Writer John Kenneth Muir places the film in a similar, but better articulated historical perspective. Laura Clifford declared, "I'd love to be at a screening of "The Fourth Kind" in Nome, where it's sure to be greeted as a comedy." Mark Dujsik wrote, "A lot of nothing happens in The Fourth Kind." Some saw the influence of Orson Welles, but that the director had more "chutzpah" than skill. Jeff Vice dubbed it, somewhat unsurprisingly, "Close Encounters Of The Worst Kind."

Joshua Starnes [Comingsoon.net] fell somewhere in my camp noting a series of interesting ideas, but not a complete picture when he said "the whole doesn't really seem equal to the sum of its parts." Could everyone be so wrong? There's certainly a theme here and the problems with The Fourth Kind are varied, but the general opinion is universal. I certainly see what works, but as a complete picture it does not.

There were some who felt it was "a sophisticated hoax" or "out-Blair Witch'd The Blair Witch Project." I might agree with that last one. One called it a "valiant original." Another said it was scary enough but, "just don't Google the flick before you see it." That may be the response from your average moviegoer too. Bob Bloom enjoyed the film and indicated "you spend more time debating with yourself whether what you are watching is truth or fiction." This almost works against the film as a distraction. Honestly, the director actually succeeds with his mixed film attempt overall, but the artificially clever film isn't enough to deliver the thrill of the paranormal for its full 90 minutes. The list goes on.

Ultimately The Fourth Kind feels almost schizophrenic in its effort. Instead of engaging us and riveting us in a tale about the people of Nome, Alaska, Osunsanmi, an understudy of director Joe Carnahan [The Grey], delivers a film founded more in style and technique than an actually compelling paranormal story. It's a great looking film shot on location in Bulgaria and British Columbia. The Hollywood portion is glossy and The Blair Witch Project approach appears sufficiently believable.

By comparison, the director works some simple magic on a shoestring budget of ten million, while Close Encounters Of The Third Kind made a sizable impression with its twenty million in the day. Despite a critical hammering The Fourth Kind earned 47 million marking it a mild success. Believe that!? As Muir points out in his piece, The Fourth Kind is not a failure. In fact, artistically, it's a decent attempt and merely a partial success.

Unfortunately, The Fourth Kind is more like a lost opportunity had a stronger tale been told. It's a bit like Communion-lite. It's like paranormal mood music at a novelty shop.

The film lacks in credibility with Milla and Osunsanmi as representatives or voices and purveyors of the story's alleged truths. There is little weight given to character. The daughter is missing, but who cares? Some events are merely presented to the audience without the much required tension. Yes, the attempt at Sumerian voices is scary and a nice touch, but The Fourth Kind is all style over substance. It never becomes a film about the event, but rather what we, as Milla suggests at the opening of the film, decide to believe. Were residents visited by aliens? Was it demonic possession? Or were the town people suffering from some other psychosis? How about none of the above, because none of it is real. While The Fourth Kind was an initially intriguing exercise it just failed to deliver beyond the promise of the always intriguing genre premise [for me].

On the other hand, The One To Be Pitied watched the film and offered an alternate take of her own. She called The Fourth Kind "crazy bananas" scary and was stunned to discover it was merely PG-13. She objected to the rating given the intensity of its real content. She's not wrong. I can assure with a great degree of certainty my kids would have categorically no interest in seeing the film without suffering from nightmarish seizures under their bed covers or a thorough scarring for life, but it doesn't take much for some. The One To Be Pitied felt the mix of archive footage and reenactment was indeed disturbing in ways reminiscent of William Friedkin's The Exorcist [1973]. These things are indeed subjective as you can see.

This reaction from The One To Be Pitied gave way to an intense investigation of the subject matter and the alleged archival footage of Dr. Abigail Tyler. The One To Be Pitied quickly revealed The Blair Witch Project-like truth behind the mockumentary. The staged archival fakery is aided by a stamp of authenticity from the real Chapman University, a genuine liberal arts school. The artifice of the film is compounded by actress Charlotte Milchard as the real Abigail Tyler who is terrifyingly mediocre as a doctor on the edge. Yes, the false film will work for some. The One To Be Pitied was disappointed it was not of The Factual Kind.

I always sort of shrugged after seeing The Blair Witch Project and felt it never really went anywhere. The One To Be Pitied enjoyed that one too. I won't discount its influence on film, but pictures like these can certainly be influential without being entirely stimulating.

So The One To Be Pitied and myself experienced two entirely different reactions. She found it troubling even if it was a scam. I found it to be far less engaging than a film like Fire In The Sky. The Fourth Kind just felt a little confused. Its mundane approach just never really caught fire, so to speak.

Admittedly, the film, despite its apparent flaws, became mildly unsettling at times, but like a smart little fish, I nibbled without fully grabbing that hook I suppose.

Look, if The Fourth Kind, clearly The Blair Witch Project of alien abductions, was true I can assure you Nome, Alaska would be off limits though it's unlikely I'll ever visit. When I think about it I'm not certain if the artifice behind The Fourth Kind was clever or as crazy as the real Dr. Abigail Tyler, but I know one thing, good or bad, it will force a reaction. More importantly, I am however looking forward to the next installment of Resident Evil starring the real Milla Jovovich. She'll probably look amazing too.

The Fourth Kind: C-

Additional commentary: Again, John Kenneth Muir offers an alternate perspective on the pseudo-documentary/ mock documentary or mockumentary that is The Fourth Kind over at John Kenneth Muir's Reflections on Film/TV citing the film as a good attempt at "out-and-out horror."

He begins and, as always, weaves a terrific historical perspective through his use of film and television to give The Fourth Kind a legitimate context.

Muir does note the opening on camera address by Jovovich as she breaks the "fourth wall" as appropriately "cheesy," an establishing moment for the film that is a truly novice and ill-advised move. This attempt to draw us into the film actually had the reverse affect on me. I immediately began to question the motivations of the film.

Muir makes note of Tyler's arrival to isolated Nome, Alaska by plane over the treeline. Muir accurately refers to the very real town of Nome, Alaska, as "the perfect "test tube" environment for alien abduction and experimentation." The set up is a good one.

Muir enjoyed the use of the Sumerian and cuneiform angles taken by the filmmaker and I agree. It immediately taps into "the rules of that genre" and the idea of aliens from outer space. I always enjoyed those undercurrents with regard to Stargate and even Battlestar Galactica, classic or re-imagined. This is a well-established rule within science fiction television. It may have been the most effective portion of the film.

The make-up is effective. I never imagined I would see a film where Milla looked like crap so there's that. In the final analysis Muir makes two points. I agree with one of the two.

He accurately points out from his always well-founded perspective in horror and science fiction that The Fourth Kind is essentially taken out of context by critics. "Critics may not be familiar with the style and history of the UFO pseudo-documentaries of the 1970s, and thus don't understand the genre the film is deliberately and delicately aping. They have no idea that this is an updating of a historical movie form. Therefore, they have no way to put The Fourth Kind into any kind of meaningful context for their readers." I would easily count myself among those lacking a historical perspective on the UFO documentary or mockumentary films, but my learning curve persists.

He also points out critics disliked the idea of being "tricked" or "outsmarted," which may have played into the backlash of the film for some critics to be sure, but not all.

But I would submit that, while The Fourth Kind was technically savvy, it was not effective in "entertainment value" as I had hoped as Muir received it. This of course is entirely subjective and as I mentioned The One To Be Pitied enjoyed the mental challenges of the film. I found myself generally unmoved and disconnected over the anemic proceedings. I certainly enjoyed The Fourth Kind's cerebral, effects-omitted attempt within the genre, but never fully accepted the characters or story.

Muir see The Fourth Kind as a "supremely effective" horror film and it does have its moments. It's pretty clear author Muir knows his horror, but as a film it left me a little detached and unconcerned with its principals. I simply wasn't drawn into their world. I didn't care about them. And if it is effective as a horror film to some it may be why I didn't enjoy it from the perspective of someone looking for science fiction. Elements of alien possession were tantamount to demonic possession.

And while it's not entirely fair to compare, as Muir points out, The Fourth Kind doesn't give us proof of alien abduction. Of course, there rarely is that, but with Fire In The Sky, as a picture, following the alleged alien abduction, I cared about the fates of Travis Walton and Mike Rogers. For some reason, I wasn't seduced by the style of the film. I didn't really care about Dr. Abigail Tyler or her missing child. I wasn't invested in them. It didn't feel real to me. They didn't feel real to me. It stands to reason since the entire event and film wasn't authentic.

"What you believe is yours to decide," offers Milla. It would seem most either didn't believe it or simply didn't enjoy the film. You can tip your cap to the risks taken with the film, but buying into the approach as entertainment is another kind of story.

The Fourth Kind Promo

2012-01-12T10:40:00.002-05:00

Poster art for the The Fourth Kind.

The rare image offers a nifty take on J. Allen Hynek's scaling or close encounter classification system in ufology.

Dual!

2012-01-11T09:00:00.003-05:00

Trouble indeed for Dual!.

This one is strictly for the fans of anime. There's not a lot of crossover appeal along the lines of Ghost In The Shell, Neon Genesis Evangelion [Evangelion] or Patlabor. Inspired to devour all robot anime following my look at Evangelion I was led to this production. Having a working knowledge of Evangelion will give you perspective on this entry. One would be left to conclude, 'You my friend are no Evangelion' despite efforts to borrow from it.

The creative team/ studio [AIC] behind Dual! Parallel Trouble Adventure [Dual!] [1999] serves up a half-hearted robot anime that just doesn’t pack the mechanized punch of a cerebral classic like Evangelion. It’s undeniably missing the inventive teeth needed to rise above the lot of average robot anime.

Conceptually it has the trappings to be special, but winds up a half-baked, Evangelion-lite entertainment minus most of the thought-provoking infusion from a mind like Hideaki Anno and the thinktank that is Gainax. There is little reservation about the intention here. Creator Masaki Kajishima [Tenchi Muyo!] and AIC sought to capitalize on the success of the Studio Gainax mega-hit, though Kajishima has assured Dual! is an extension of Tenchi Muyo!. There are a lot of imperatives going on here. It delivers many of the key ingredients: three robots, teen pilots, a lead male protagonist, urban combat and so on. Though I suppose that serves as a bare bones description for many of the mecha-driven exercises in anime.

Dual!, like many projects, lacks bite. It lacks originality. It lacks ingenuity. There is rarely an original hydraulic piston in its over sized mecha suit to be found. The idea of a dual universe is a good one, but hardly a new concept. The mirror universe or alternate universe concept is as tried and true a plot device as man stranded on a desert island, but it lacks the much required imagination needed to make it fresh and original. There is cel by cel envy for a whole host of productions that have preceded it. Dual! is just too damn generic and anemic for its own good. It’s hard to get jazzed about this anime when frame for frame, character for character, there's a sense of déjà vu.

It sorely lacks the richness of story and character necessary for an anime series to succeed and have the lasting impact of an Evangelion.

Personally, for me, Evangelion is like the Holy Grail of anime and the teen/ robot concept. There are some that have come closer. Studio Bones' Rahxephon comes to mind as a case in point with its original handling of robot protector against invading creatures. There is a finesse and aplomb to the story backed by a heap load of animation talent from Bones.

Kazuki Yotsuka versus Evangelion's Shinji Ikari. The images speak volumes about the character. Dual! begins with an object of alien origin. It is recovered at an excavation dig and from that moment forward a schism occurs in the space-time continuum and dual universes persist moving forward with alternate and very different realities. One existence looks much like Earth, while the other looks very much like [cough] Evangelion. Grand, new technologies have been cultivated as a result of this mysterious artifact. The key protagonist, Kazuki Yotsuka [Dual!'s very own awkward Shinji Ikari of Evangelion], is the sole unique entity. He alone somehow exists without a living, breathing copy on the other side.

In time, he begins having disturbing visions of giant mecha battling in the streets outside his classroom windows. No one else can see. He alone is graced with a clairvoyant-like gift capable of witnessing a parallel dimension. Meanwhile, Professor Ken Sanada believes an alternate universe exists. His mission is to prove that theory true. Sanada’s beautiful daughter, Mitsuki [Dual!'s version of Asuka Langley Sohryu of Evangelion], ultimately brings her father and Kazuki together. Professor Sanada introduces Kazuki to the equipment he has built. It can teleport an individual to this dual Earth universe.

As you might expect, Katzuki ends up in the parallel, troubled misadventure. It is there he meets the alternate cast of characters from his own world. They all behave quite differently with personalities opposite their other Earth selves.

Instead of being the crazy Earth loon, Sanada is actually respected and supported by the UN who has funded the creation of an Earth Defense Command [EDC]. Does that sound like NERV?. The organization’s sole assignment is to stop the evil Rara. The series is sprinkled with a kind of silly humor and Rara is a lot more ridiculous and wacky than he is evil. In fact, his wife appears to wear the pants in the family. Mitsuki has also made her way to this new universe where she meets her rather unpleasant counterpart. She and Katzuki, it is determined, are quite adept of becoming pilots for the EDC. There's that young, gifted pilot plot device. Katzuki pilots Zinv, by far and away the coolest and best crafted and designed robot unit of the bunch, but certainly no Eva-01. The two partners also meet D [Dual!'s version of Rei Ayanami of Evangelion with a defect... er, make that more defects], a cool, emotionless female bioroid, from yet another lost time and race, with a strange gaping hole in her face where her eyeball should be. The hole is obstructed from view by an overlap of bright radioactive green hair. Brace yourself! The characters even live together. Where’s Evangelion's Pen Pen when you need him? Well, at least names were changed to protect the innocent victims from which this series was plagiarized.

One small relief is this is a mere twelve episodes rather than a provocative twenty-six like Evangelion. Dual! certainly steers clear of the confounding conclusions of the classic Evangelion. Those looking for some light mecha entertainment could do worse even if it borders on the familiar.

So does anything work for Dual!? The English dub provided is good. The animation is serviceable, but not extraordinary. Still, Production I.G. and Gonzo Digimation have no worries. Despite the vivid colors, the digital animation lacks warmth and gives the whole production a sanitary, cookie-cutter feel and sterile look.

The undeniably sleek and original design of Evangelion's Eva-01. Some of the robot skirmishes and cockpit scenarios are solid. Gunparade March is a stronger example of a work that built upon existing tropes and expectations with an interesting look. Zinv is the best-designed mechanized giant here. Overall, the designs are not particularly impressive. Again, Evangelion is at the pinnacle of memorable, distinct mech and character designs thanks to Ikuto Yamashita and Yoshiyuki Sadamoto respectively. These men have offered true vision and talent.

This image is a stark reminder of the battle between Eva-01 and the third Angel in the first two episodes of Evangelion. The final creations here look as if someone fell asleep at the sketching desk during the design stage. The fierce Eva Units have nothing to fear. Even when everything is working, the lack of artful, skilled animators combined with the weak execution of a weak script just cannot deliver the goods.

Having said all of this, Dual! offers light, fair entertainment to the anime aficionado. While I am a detractor of the series, some otaku enthusiasts have found the light mood and less serious tone in Dual!, quite agreeable, approachable, acceptable, and even refreshing. The series has even garnered a sizable fan base. Where Evangelion has the potential to damage the more mature, adult mind, Dual! is more accessible for those seeking less complex fare. More mature otaku sensibilities should look elsewhere.

When it comes to television, animation or film, I'm all about character and Dual! never substantially develops its characters. I hate to fall back on Evangelion, but Dual! forces the comparisons. Evangelion is chock full of touching, unexpected, deep character moments that gradually builds upon old information or foreshadow new information. It is a complicated weave of character building. Dual! simply doesn't offer that.

It’s one thing to draw contrasts and comparisons between an anime series like Samurai 7 and Akira Kurosawa’s Seven Samurai. There’s a reason for the discussion. Samurai 7 offers an intentional reinterpretation. It’s a re-imagining of a classic. A debate is inevitable. Homage, tribute or shameless copy? These things are fair game. Should we be having the discussion on Dual! and Evangelion? Probably not. Dual! is nothing more than a pale imitation of much better productions on the market. It is an unabashed clone of far superior works. They say imitation is the greatest form of flattery and in some cases that is absolutely true. George Lucas paid considerable tribute to Kurosawa’s Seven Samurai using its influence for Star Wars, but did so within the framework of a space opera and fresh new ideas. As box office history would prove, that's flattery!. Dual! Parallel Trouble Adventure turns out to be a lifeless copy for the mind.

I don't want to discount the hard work the creators put into these projects, because they do. Further, I'm a firm believer in supporting these productions and paying proper royalties to the artists involved. And if you enjoy robot anime, Dual! may not rank among the classics, but you could do worse. There's enough visual evidence here to glean what you'll find in that cockpit. Dual! is simply not an Earth-shattering event on originality. Perhaps in another universe it could have been a stronger adventure thus the quest to digest and pursue quality anime continues.

Dual!: C-

Studio: AIC [Anime International Co., Inc.]/ Director: Katsuhito Akiyama/ Producer: Kazuaki Morijiri/ Animator: Atsushi Okuda/ Character Designs: Atsushi Okuda/ Mechanical Designs: Kenji Teraoka/ Character Designs: Masaki Kajishima/ Script: Yousuke Kuroda/ Hideki Shirane.

The Side Effects Of Anime

2012-01-10T21:40:00.004-05:00

The impact may be profound.

The Incredible Hulk S1 Ep3: Final Round

2012-01-05T21:35:00.008-05:00

"Don't make me angry... You wouldn't like me when I'm angry." -Bill Bixby as David Banner with that classic, eternally memorable line from the Pilot that would underscore the theme of each week's opening-

One of the most impressive aspects of Kenneth Johnson's adaptation of the popular, ever-lovin' green-eyed thing that is The Hulk was just how distinctive his vision was for the reality-based character in The Incredible Hulk. The ascendancy of his television version of The Hulk was largely due to Johnson's attention to the human condition and the affect of variables on that condition within the real world. Most critics simply cannot separate the comic book from television. Instead of looking at the two vehicles as two entirely separate assessments on the character, critics have often discounted or derided the television series as something of an insignificant blip in the history of the hero. Others are more fair giving the series its due and noting its tremendous five season impact in the world of the live action superhero.

Put simply, The Incredible Hulk genuinely builds a television mythology around its hero grounded in a drifter's journey that is wholly unique from the world established in the comic book. While it seemed only logical to take such a tact away from the outlandish nature of a comic book that would never be feasible technically for TV, such an approach is no less significant. The show still proved an incredibly difficult undertaking for Kenneth Johnson from a psychological vantage point. The fact Johnson could establish a man and a creature in a fashion so convincing in this manner was no small feat and indeed a remarkable achievement. Certainly, Bill Bixby and Lou Ferrigno took those ideas to the next level.

Again, as everyone knows, The Incredible Hulk, the comic, was the creation of Jack Kirby and Stan Lee. Kirby took the inspiration from the classics, particularly the story of Dr. Jekyll and Mr. Hyde, and it coupled with a dose of Frankenstein. Part of my re-education on the subject came by way of Starlog Magazine #312 for purposes of specifics and a delightful article called The Historic Hulk by Will Murray. Marvel's The Incredible Hulk Encyclopedia [2003] is another terrific resource for all things Hulk including a segment on the classic Johnson TV series.

When it came to coloring the great creature, Lee knew he had to avoid orange thanks to ownership by the Fantastic Four's ever-lovin' blue-eyed Thing. At first came the grey Hulk in its origins, revisited many years later to greater effect by Peter David and Todd McFarlane. Lee relented to the colorization of the Hulk as green, the creature we would come to know and love well.

Speaking to origins and alternate universes, like the one created for television by Johnson, the Hulk wasn't the product of a radioactive experiment as expressed in the television series or even the Ang Lee film, but rather the result of a nuclear test blast. The explosion of a Gamma bomb impacted the heroic Bruce Banner when he made efforts to save Rick Jones from the test zone. And of course, Johnson differentiated his Banner from the comic books, by dubbing Bill Bixby as David Bruce Banner instead of simply Bruce Banner. So change in any of the diverse, myriad Hulk forms was and is inevitable.

There have certainly been some significant and wonderful period runs within the Hulk 'verse. Herbe Trimpe [1968-1975] is renowned for his work on the book, though it was before my time. Later, as I mentioned, Peter David [1987-1998] had a huge run, while Bruce Jones [2002-2005] took the character to new, dark places. Both placed remarkable stamps on the mythology of the comic character. Of course my strongest recollection of the character came with the pencil magic of one Sal Buscema [1975-1985], brother of John, who really left an indelible image in my mind of the Hulk I loved from the comic books. Often I immediately recall Sal's work, which is why it was so disappointing to see his work derided in Starlog Magazine #312.

Writer Will Murray, who wrote a great piece overall in The Historic Hulk, wrote "The book slipped into a long period of coasting." His remark is more a denunciation of the writing than Sal's artwork, but somehow Sal overcame these shortcomings with his magnificent and brave portraits of ol' green skin. Murray wrote the character spiralled in quality. "The Hulk stagnated, battling a crazy conga line of bigger and badder monsters." Well, Murray isn't completely wrong, but as a child I adored Sal's interpretation not to mention that conga line of monsters. If anything Hulk was all about the next round of monster beat-downs. I was good with that. In fact, there was rarely a month that went by for a long period that I didn't run up to the local drug store for the latest issue of The Incredible Hulk. There was a revolving door of cool appearances too from The Man-Thing to the U-Foes. Classics like Sal were all about presenting the great tradition of comic books in the "Mighty Marvel Manner!" as they used to say. I'm not quite sure they still say that. It lacks a certain gritty and grim requirement for today's superheroes.

Anyway, after happening upon that terrific, but sobering, article in Starlog Magazine, it was refreshing to see Arnold T. Blumberg wax poetic on Sal in his coverage of the many phases of the Hulk's evolution in the Official Overstreet Comic Book Price Guide. Blumberg declared Sal's work as the "definitive incarnation" for many. Though, Blumberg, too, notes the soft storytelling of Sal's tenure, he does credit Sal with overcoming those weaknesses through sheer artistic will. In fact, as wonderful as David and Jones' work is, and I discovered it much later, Buscema created images that have remained with me through the years. His Hulk gives me warm reminders of a simpler time, a less angst-filled period in comic books and he definitely captures the nostalgia factor with his wonderful artistry and craftsmanship of the character. Sal even took the character into a long run of another favorite series of the period in The Defenders. Ironically, Johnson's TV hero taps into the psychological aspect of the hero that was never fully mined in those early age comics.

Following that amazing run by Buscema, John Byrne took the reins for a short stint, but left rather abruptly and his handle on the character never generated more than a few strong issues notably of course the wedding of Bruce Banner.

Further, I would be remiss if I didn't mention an affection for Todd McFarlane's steady and beautiful work on the character during those Peter David years. Dale Keown's efforts, too, are notable.

Did you know Harlan Ellison wrote a story for the Hulk comic book called The Brute That Shouted Love At The Heart Of The Atom [The Incredible Hulk #140], based on his own collection The Beast That Shouted Love At The Heart Of The World [1969] featuring one story, the classic A Boy And His Dog? It's a crazy world.

As a child I loved the comic book, but I also loved the show and for good reason the two never really felt completely connected. The show, while reality-based, was a lot like an alternate universe. Today, I've lost touch with the comic book, despite a handful of wonderful classic books that I still retain, but like the comic book the show still entertains me and remains a distinctive creation with a visionary lead by Bill Bixby as Dr. David Banner. Bixby absolutely delivers a psychological component in his flesh and blood creation that immerses us into a character that wasn't always on the mind of the comic book or the inevitable films in the same detail.

Clearly, the comic books, thankfully, were able to take fantastic liberties, and did so far more successfully than Ang Lee's The Hulk [2003], which attempts a movie version of the comic book more than a successfully engaging plotline.

The fact was those involved with the TV show knew there was no way to compete with the unlimited imaginations of a comic book and Johnson knew he needed to sell it to a mature audience looking for more than endless, raging Hulk action. There had to be psychological weight and complexity to the character to sustain the series' evolution so that viewers could relate. Johnson told Sean Egan in SFX #206 in April 2011, "I just wanted to do something that would belie the comic book origins and take us into the real world as much as one can possibly do." Johnson crushed it with The Incredible Hulk. What Johnson tapped into from the pages of the comic book for the realities of television was the outcast underpinnings of the comic book character as well as the deeper pathos of the Banner character. The comic book got it right many times over the course of its ongoing run, but Johnson's TV series got it right too, and in television terms smashed through a wall of limited expectations. Five seasons, after all, is like an eternity in television.

So nearly four months after the appearance of the two Hulk pilot films, The Incredible Hulk and Death In The Family, Kenneth Johnson returned behind the writing chores for the series official debut with The Incredible Hulk, Season One, Episode 3, Final Round. Johnson would not return again until Episode 9, the oft-maligned Never Give A Trucker An Even Break.

Of course, with the third entry of The Incredible Hulk the series finally settles on its opening theme each week as narrated by the late, great Ted Cassidy.

The opening minutes of the episode sees star Bill Bixby as David Banner fronting as David Benson attacked by two thugs, but instead of transitioning into a startling metamorphoses he is saved by Henry "Rocky" Welsh who just happens to be a professional boxer.

According to Starlog Magazine #312 and an article by Mark Phillips, Hulk-out, "There were two Hulk transformations per episode." We'll see if the math adds up going forward and note the reasons for the Hulk transformation. Truthfully, for this fan of Johnson's psychological drama, two is more than sufficient. Bring on the frailty and subtext of the human condition. Enter one Bill Bixby for the job.

Welsh invites Benson to stay at his home for a few days. The offer of accommodations by strangers to Banner is a recurring theme. Strangers simply cannot resist the honest and kind face of Bill Bixby and often welcome Banner in their home. Can you imagine that happening today?

Welsh lands Banner work at the boxing gym he frequents. Welsh really hopes to be a "winner" someday. The Olympic's owner has a delivery to be made that Rocky always handles. Banner catches wind of it and challenges the owner. The owner overhears Banner and tells him to mind his own.

Of course, Banner is a good man and simply can't sit things out. His principles are strong and thus he is the lonely journeyman as a result.

Banner meets Rocky's girldfriend, Mary, and they talk quietly. Fast friends he's giving her a farewell kiss by episode's end. That Banner is a smooth operator. Banner suspects the owner might be "shady." He tells Banner to get back to work.

En route home Rocky and Banner are jumped for a back alley scrub. Of course you know what that means. Here comes the Hulk! Fortunately, as a result of the scuffle, Rocky drops his package. It turns out to be heroin. Rocky is an unknowing drug runner. He's known about the ring as a "sweet" guy, but not a boxer, but he does serve the owner a purpose.

Rocky is a good person, but not the brightest bulb on the planet as Rocky assures the boss he won't go to the authorities. After all, Rocky likes the gym and he's got big dreams. The boss plays into Rocky's desires and promises him a big match later that night confirming he's prepared to keep Rocky quiet.

In the gym, Banner stops Rocky and asks him if he actually saw what he was transporting, but Rocky just doesn't want to acknowledge the reality of the situation. The Incredible Hulk's Final Round is about choices. It's about the choices we must make and the realities we must face.

As much as Banner, played with just the right touch by Bixby, knows Rocky needs to act, there's something inside Banner that understands Rocky's desire to achieve a dream. Banner sees that light and that spark in his eyes and simply cannot take that away from him, because Banner knows what it means to dream. Whether it was the dream to have the strength to save someone he loved or to one day cure himself of that which haunts him, Banner is sympathetic to Rocky's heart.

Reporter Jack McGee makes an appearance because whenever the Hulk appears McGee is never far behind.

Rocky's girlfriend can't understand why the gym owner would allow Rocky to fight a killer like opponent Bill Cole. Rocky is quite simply not rocky. Banner suspects a set up by the owner to knock out and knock off Rocky.

The owner actually plans to drug Rocky and force induce a heart attack. Banner overhears the plan and breaks into the owner's office. He's discovered and Banner is knocked unconscious. No chance for anger there.

Banner is placed inside a metal cage, gagged and hoisted high above the boxing ring. Somehow it doesn't seem like the smartest plan.

One of the lackeys drugs Rocky's water bottle. The boxing match begins between Cole and Rocky. The Hulk's version of Rocky Balboa is also an underdog and his chances look grim. With Rocky's blood pressure rising as he enters round 2, Banner struggles to break free and is enraged by his inability to intervene and save Rocky. Enter the Hulk!

The Hulk closes down the show. The creature once again saves the day by preventing Rocky's death.

"It can't always be like in the movies. Not everybody can be a Rocky." It's back to the lonely road for Banner. And as one reflects back on Banner's short stay, you begin to realize his impact and that of the Hulk's generally positive influence on those he encounters. Banner is making a difference in people's lives one town at a time.

Final Round may be The Incredible Hulk meets Rocky, but Rocky it's not. By today's standards the story is relatively simple, straightforward and does plug into formula to a degree. Still, like artist Sal Buscema in those classic comic books, Bill Bixby's performance elevates the material with his every opportunity and for those moments alone, Final Round is a decent return to the ring for a series kickoff, but a knock out, it's definitely not.

Final Round: C+. Writer: Kenneth Johnson. Director: Kenneth Gilbert.

Hulk Transformation Reason #1: Back alley beat down by thugs. Bastards!

Hulk Transformation Reason #2: Gagged, bound and unable to break free. Bastards!

I'm Your Father

2012-01-04T16:00:00.000-05:00

Actually, it's "I am your father," because using the contraction for "I am" simply doesn't have the same impact. If Darth Vader ever said "I'm your father" to Luke in The Empire Strikes Back, I suspect the moment might not have been as profound. When James Earl Jones speaks and draws out those words it's potent. I imagine a good deal of thought went into that singular moment. Actor David Prowse had no idea what the dialogue would be for that definitive moment until much later.

Still, that image is pretty clever.

The Courtship Of Eddie's Father S1 Ep1: Mrs. Livingston, I Presume

2012-01-03T18:21:00.001-05:00

School. Friends. Finding A Mom. Young Eddie Corbett has a full plate.

As I touched upon with the entry of The Courtship Of Eddie's Father Theme Song, The Courtship Of Eddie's Father [1969-1972] was a series that came along unexpectedly in syndication in the 1970s. It was a seminal moment as the defining series had a profound impact on my youth.

The Courtship Of Eddie's Father starred a wealth of talent not least of which began with the always incredible Bill Bixby, a young natural named Brandon Cruz, the sweet foreign touch of the Corbett family's Japanese caregiver, the sage Miyoshi Umeki and a host of other recurring characters. The casting of the series made for an almost effortless feel of warmth and affection from a series that never seemed like it had actors playing parts. The Courtship Of Eddie's Father felt like an extended family in my mind. Who knew Bill Bixby would have such an influence on my formative years through this series and The Incredible Hulk.

Don't get me wrong, Bixby and these life-shaping series never taught me anything my mother, father or grandmother wasn't teaching me throughout the 1970s, but like those films that altered our view of the world like Star Wars, these series helped some of us define who we are. Not unlike the traditional values of the period this is easily reflected in the show's title. How often do you see the word courtship utilized today?

The Courtship Of Eddie's Father did reinforce all of those things that I knew innately to be true, or that were nurtured in me by my own family. The television show was underlining all of those ethical and moral lessons that I was discovering through my own family or on my own like Eddie, played by Cruz. Most of all, The Courtship Of Eddie's Father through this warm, welcoming, lived-in cast of individuals simply reinforced those values that meant something to me. It was examining the issues and dilemmas I faced and reflected upon those events. I wasn't alone after all. It underscored kindness, understanding, love and through Bill Bixby, as Tom Corbett, not always having all the answers, though perhaps it seemed like he did. It was the not knowing that always reassured my own small mind about the bigger unknowns. "I'm trying. I'm really trying," single dad Tom would look to the sky above, whether talking to God or his lost love, Eddie's mother Helen.

The series' focus would center on Eddie's ongoing pursuit to navigate his father, Tom, into a courtship with another woman, any woman, who might just make a great new mom and make his father happy, because Eddie clearly wants both throughout the series, despite his innocence. Eddie has a big heart and is anything but selfish.

Mrs. Livingston, played by Miyoshi Umeki, is a delight and would be the final component that would really make the core of this very special series. As a Japanese woman, still learning English, she brings to the Corbett home a traditional center, a foundation of warmth and trust and wisdom that helps ground Tom and Eddie as a family bringing additional focus to what is important. The traditional Japanese culture infused into the character is juxtaposed to the non-traditional set of circumstances facing Tom and Eddie. Together, they form the nucleus of the nuclear family. She brings clarity and focus to the family. That maternal component is powerful and for children it is a particularly important component of nurture in most cases. Mrs. Livingston's role serves as that guiding instrument to Eddie allowing him to experience the essence of a nuclear or traditional family that he would be without with the absence of one parent or another.

The Courtship Of Eddie's Father aired for an outstanding three seasons and 73 episodes. It was the television adaptation of a film of the same name from 1963, and before that a book by Mark Toby, but as always Bixby made this medium something special to watch in each short, but stunning 30 minute installment. He even received an Emmy nod for his phenomenal work here in 1971 for Best Lead Actor Comedy.

So many programs that attempt the half hour timeline simply never get it right. Unlike many of today's sitcoms and many that have come and gone along the way, there was a sweetness and a gentility to The Courtship Of Eddie's Father that is often missing. Many of today's programs openly promote disrespect. It's cute you know at least that's how it's sold. There was a poignancy each week that was genuine and without becoming overly syrupy, the series delivered a powerful message to millions of single-parent homes. Okay, it got syrupy sometimes. Many of us, including myself, became the recipients of divorced America and many of us had to make sense of a whole new reality with a whole new set of new conventions in that single parent world. We all found our way in the ways that worked best for us. While Eddie was not the recipient of divorced parents, he was facing many of the same realities and questions that result from that separation.

For me, in syndication, The Courtship Of Eddie's Father was one of those answers. It was one of those cultural moments that just happened to come along and time things right. It was both an education, without knowing it, and an irresistible, lovely piece of entertainment. It spoke to me in ways I didn't fully comprehend at the time, but still resonate with me today. Shows like this one and Family Affair [1966-1971] found me and helped guide me at a time when the television became an instrument of information. Thankfully, for me, it was The Courtship Of Eddie's Father and Family Affair. Obviously, I was one of the lucky ones.

Today we begin a look back at these Bixby classics to be coupled with The Incredible Hulk series as the spirit moves me. Call it a bonus for Bixby fans. And to be honest, there isn't much out there on The Courtship Of Eddie's Father and if I can do my small part in correcting that oversight than so be it. Images and clips of this terrific little series that could are sorely limited. Let's change that.

The Courtship Of Eddie's Father, Season One, Episode 1, Mrs. Livingston, I Presume, sees viewers introduced to magazine editor and widower Tom Corbett, his son Eddie and their daycare provider Mrs. Livingston. It's fitting the first entry should spotlight the third most important character in the series. The trio is quickly ushered into our homes and welcomed with open arms thanks to a genuine affection they exhibit toward one another in this premiere and each succeeding episode.

What of Eddie's mother? It's suggested briefly in the opening that Eddie's mother died, but no details are given.

Each episode opened with a sweet exchange between Eddie and his father asking the important questions that come to the mind of a child, those things that a father and son must reflect upon at those opportune moments. "Dad, do you think you'll ever get married again?" The opening moments truly reflect Eddie's desire for his father to be happy along with well wishes for himself. The first opening can be seen here.

One of the most charming aspects of Eddie is his unquenchable desire to manipulate women or his father in the hopes of securing him a new wife and himself a new mother.

Taking a look back at this series has only opened my eyes once again to how well produced it was for its time. The writing, use of music and editing is strong from the very beginning.

Creator James Komack, who plays recurring playboy character and photographer Norman Tinker, manages to slide or transition between comedy and drama on a dime. Walking that line is a very difficult proposition. His work, those involved and the actors chosen make the magic happen.

In fact, Komack, the guiding hand to The Courtship Of Eddie's Father actually directed Star Trek: The Original Series, Season Two, Episode, 17, A Piece Of The Action. What a tangled television web we weave. To make the television connections even more interesting, even ST:TOS' Herbert Solow [Man From Atlantis] oversaw production of the Bill Bixby series here.

I was also pleased to see the very retro fashion approach to the women that would often come in and out of Tom Corbett's life. Like Star Trek: The Original Series from the period, The Courtship Of Eddie's Father never shies away from vibrant color or a short skirt. That's one component I didn't recall, but seeing it again has me pleased it has aged very well.

On the music front, rare do we see a theme song for a series set such a defining tone for a program, but Best Friend by singer/ songwriter Harry Nilsson did just that. That song manages to capture the essence of the series father-son bond in just two short minutes and would thematically link the tone of the series throughout its run.

Eddie and "Mr. Eddie's Father" visit the exhibit for Forbidden Planet. In thirty short minutes, there are many wonderful moments. The basic premise here is that Tom rushes home to keep a date with his son whom he nearly needs to postpone with due to the pressures of work. Mrs. Livingston can't stay and ultimately Tom must relent to taking his son out, because it's the right thing to do.

The two actually visit an exhibit. Appropriately, and in keeping with our science fiction themed blog, Tom and Eddie visit an MGM studio tour featuring Forbidden Planet.

It's during this visit that Eddie lures a girl named Dolly back to their home even inviting her to sleep over placing his father in a very delicate situation.

Mrs. Livingston arrives in the morning to a waking Dolly creating appearances that are not exactly what they seem. Young Eddie attempts to explain how the lady ended up at their home and suggests his father is teaching him how to pick up women on his behalf. Mrs. Livingston is appalled as only Mrs. Livingston can be.

It's moments like these where either Eddie's father is imparting wisdom to his son or his son, like all young kids, teaches his father a thing or two. The kid is indubitably precocious.

The tender series really touches a whole host of issues that were prevalent in the day. Part of me can't help but notice the more things change the more they stay the same to use an expression. And truth be told, things have changed a good deal as well. I couldn't resist unwrapping the arrival of The Courtship Of Eddie's Father on DVD-recordable from Warner Bros.. It called to me. This is like an unexpected Christmas gift, because the thought of The Courtship Of Eddie's Father EVER arriving on DVD seemed like something of a pipe dream. Additionally, the gift of technology allows us to show classics like this series to kids. Contemporary programming standards and lax at best, and it's often altogether devoid of anything appropriate, save for the lack of mini-skirts. It's funny, but language, violent slapstick is far more acceptable today, while women as objects seems to have taken a backseat. Certainly instances crop up that were politically acceptable decades earlier. You'll know them when you hear them. They cause an immediate reaction when you do.

Nevertheless, my healthy obsession for all things Bill Bixby did not disappoint and you would be wise to give this family show a chance given the fact we have the option. My nostalgic affection for it aside, my own kids immediately took to it. It certainly won't have the psychological impact for them that it did me with the security of two parents at their side, but it's a welcome diversion from everything else thrown out them from the Disney channel and Nickelodeon.

Listen I make no apologies if I'm overly partial to the sentimental or if I appear stunted in my nostalgic viewing experience. To that I say, to each his own. And based on the the current crop of television on evidence today, there's nothing to suggest The Courtship Of Eddie's Father is inferior to any degree based simply on age. In fact, much of it is far superior as sitcom material goes. Yes, you can do far worse in 2011.

Mrs. Livingston, I Presume: B+. Writer: James Komack & Richard M. Powell. Director: Alan Rafkin.

Characters: Bill Bixby [Tom Corbett]/ Brandon Cruz [Eddie Corbett]/ Miyoshi Umeki [Mrs. Livingston]/ James Komack [Norman Tinker]/ Kristina Holland [Tina Rickles].

Actress footnote: Miyoshi Umeki [1929-2007]. Mrs. Livingston. Miyoshi Umeki's role was significant opposite Bill Bixby and Brandon Cruz known for her sweet reference to Tom Corbett as "Mr. Eddie's Father." She was a very important component to the chemistry of The Courtship Of Eddie's Father with her soft, sweet, traditional Japanese woman awakening to American culture each episode. Umeki had a remarkable life as an artist. Born in Japan, Umeki became an American immigrant after World War II. She enjoyed a steady career as a singer in the 1950s recording many singles for RCA Japan [1950-1954]. She also released several recordings for Mercury [1955-1959] in the states. As an actress she was the first Asian American to actually win an Academy Award for Best Supporting Actress in Sayonara [1957], starring Marlon Brando. In 1958 she was nominated for a Tony Award and a Golden Globe in the film adaptation of the musical she was nominated for, the Flower Drum Song. Remarkably, for all her talent, she only appeared in four films [1961-1963] following her Academy Award. Later, following her role as Mrs. Livingston on The Courtship Of Eddie's Father [1969-1972], for which she was nominated for a Golden Globe, she retired from acting. Sadly, like Bixby years earlier, Umeki passed away from cancer-related complications.

2011: A Blogging Odyssey [Retrospective]

2011-12-31T21:50:00.001-05:00

Well, it's another year over. Can you believe it? What can you say about 2011? Life is good, but time and the odyssey can feel like a blur. Time certainly flies when you're having fun. Of course, the truth is, it flies by when you're not having fun too, but we like to think of the positives here.

I've taken a few days to myself this week. I've been catching up on Dexter and Breaking Bad. The One To Be Pitied is none too pleased I'm spending less time building closets and more time having fun. Who really deserves the pity here? I've even started a third watercolor painting. We'll see how it goes.

So I thought I'd look back at my plans for 2011 reflecting off my 2010: The Year We Make... A Retrospective Post. I thought it might be fun to look back on the highlights from 2011 and see where I let you down, led you down that rosy path only to see my plans go sadly awry.

Undeniably my biggest failure was taking time to investigate Neon Genesis Evangelion. Trust me. I wanted to cover that series here in the worst way and still plan to do so. My efforts to thoroughly analyze the series developed into a much larger project. Of course, it also led me to my attempts at painting. There's something pure and creative about the experience like writing. It can be at once frustrating and relaxing.

Additionally, I had purchased Wonder Woman. As much as I had such fond memories of it as a child I simply couldn't bring myself to cover it here. Perhaps I'll give it another go down the road, but I definitely wasn't feeling it for Linda Carter in 2011. Gosh, can you imagine that?

Finally, I just never found the time to return to Space:1999 despite my great affection for it. I just never got back to it. I'll make every effort to remedy that in 2012.

Otherwise, I did succeed in a number of areas I had hoped to explore. Let's look back at 2011 to see how the year shaped up here at Musings Of A Sci-Fi Fanatic.

The Kiss [Love, Science Fiction Style] Part I. Things kicked off in the new year with a kiss science fiction style. Who doesn't love red hot alien errr... kissing? The Kiss [Love, Science Fiction Style] Part I leaves the door open for a sequel. We'll see. Pucker up just in case.

The Notenki Memoirs & Yasuhiro Takeda. The Notenki Memoirs & Yasuhiro Takeda took me into places I never quite expected. It's like an insider's journey into science fiction geekdom. It's a tremendously sincere book that led me to reconsider Neon Genesis Evangelion for a later date. There was much more research required for that epic story than I anticipated and I simply couldn't short change it.

Ergo Proxy. I did however deliver on two entries for the anime series Ergo Proxy. It's a solid endeavor and I urge you to give the neo-noirish sci-fi thriller a look. There will hopefully be more to come on that one. It may not be Neon Genesis Evangelion, but it's solid go nevertheless.

The Sci-Fi Fanatic BIG 50+: Greatest TV Influences. The Sci-Fi Fanatic BIG 50+: Greatest TV Influences was a labor of love in assembly. We did do a number of top 10 lists over the year, but this particular BIG 50 was an unexpected hit and remains a popular staple visit here at the site. I suspect this is one of those entries a lot of folks can relate to from our generation. Anyway, it was good fun to coordinate.

My Neighbor Totoro. As family films go they really don't get more perfect in animation than director Hayao Miyazaki's classic My Neighbor Totoro. Every stoke of paint, every animated cel and every spoken word of dialogue is a like a living, breathing thing of beauty. This is quite simply one of the best family pictures I've ever seen.

Land Of The Lost. Speaking of great TV influences and family fun, we even refreshed our memories by stopping into the Land Of The Lost. Let's just say it has a lot more heart and sincerity than the picture developed for cinemas.

Lost In Space. Speaking of lost, we continued our ongoing exploration of deep space a la the Robinson family and the developing villain that was Dr. Zachary Smith in our Season One look at Lost In Space.

Battle Of The Planets. On the animation front again, my exploration of Neon Genesis Evangelion led me back to my roots when it came to childhood cartoons with a revisit of Battle Of The Planets. I've always got time for the beautiful animation of the Americanized version of Tatsunoko's Gatchaman from Japan. This was art brought to life. The mech designs were out of this world and in some cases, as it was on Battle Of The Planets, they were literally from out of this world.

Voices Of A Distant Star. My never ending discovery of the anime genre always leads me to something special and Voices Of A Distant Star is a sweet, simple love story for those looking for something short and sweet. Director Makoto Shinkai has unfairly been billed the next Hayao Miyazaki or next big thing. He may not be quite ready to hold that title, but he's headed in the right direction and he has a unique storytelling and animating palette all his own.

Lance Henriksen: Profile And Measures Of The Millennium Man. One of the big blogging events of 2011 had to be found at John Kenneth Muir's Reflections On Film/TV hosted by John and author Joseph Maddrey regarding the performing arts of one Lance Henriksen. It was an eye-opener. It led me on a trek of sorts into the mind of Frank Black and Millennium for a contribution titled Lance Henriksen: Profile And Measures Of The Millennium Man as well as Images Of Millennium [Season One].

Star Trek: The Original Series. Of course I did come through with more of the beloved Star Trek: The Original Series and with that flawless cast and it's infinitely re-watchable tales. More insanely hot women certainly never hurts. Good grief those women were hot! Of course, less entertaining, but just as interesting was our occasional look at Star Trek: The Next Generation Season One.

Farscape. I also fulfilled the promise of more Farscape with our continued look at Season One. My intention is to analyze that first season in its entirety and then jump around a bit going forward as Season Two has been disappointing with the exception of a handful of episodes.

UFO. Although we never got back to the Space:1999 run we did continue our FAB FRIDAY journey through the wonderful first and only season of its Gerry Anderson predecessor, UFO, starring a whole host of hunky leads and sex kittens. Oh, and, lest we forget, a good bit of storytelling too. We even squeaked in one episode of Thunderbirds.

The Six Million Dollar Man. The new year, now the old year, also saw us introduce some of the classics from the 1970s in the form of The Six Million Dollar Man. Lee Majors was a major role model and this series was truly one of a kind. Like those wonderful corresponding toys, they just don't make them like this anymore.

The Incredible Hulk. Speaking of role models, Bill Bixby was another one who really captured a value system not unlike my own both in his performance as Tom Corbett on The Courtship Of Eddie's Father and in one of the finest superhero adaptations in television history with The Incredible Hulk by Kenneth Johnson. Both series lasted three and five seasons respectively and remain unforgettable and terrific viewing despite the more restrictive television boundaries of the day.

Fire In The Sky & Signs. Fire In The Sky and Signs have to be two of my favorite films from the science fiction genre checked out in 2010. I even took some time later to go back and add some additional production information for those interested on Fire In The Sky. Of course, we even highlighted some of the most frightening stills from the alien abduction sequence of that film too.

Soldier. I did also deliver on my promise to cover the Paul W. S. Anderson film Soldier. It was a generally solid piece of science fiction and probably one of Anderson's more thoughtful works if that makes sense.

Cujo. Looking back at the release of Stephen King's Cujo to Blu-Ray was a hoot and easily holds up today. It's definitely a film that deserves recognition as one of the better King adaptations. And speaking of frighteners, we took in the Halloween treat that was Lance Henriksen in the wicked Pumpkinhead.

I intended to bring you some Stargate Atlantis this year as well as The X-Files and that never quite materialized, though I never planned on it at the beginning of the year. So, though I did not get those series completed I did decide to look at some films from the alumni of those productions. House Of D directed by David Duchovny was a delight, while A Dog's Breakfast starring David Hewlett was an amusingly unexpected treat. Sadly, Joe Flanigan's Ferocious Planet is worth the pass. We'll see if we can't get back to Stargate Atlantis for 2012.

Stargate SG-1. We [me, myself and I] did however get to look at the milestone moment that was Stargate SG-1 Children Of The Gods offering an in-depth look at both the original version and the final cut version of that series introduction.

We also had a chance to finish off a laborious look at a Doctor Who classic in Genesis Of The Daleks. More importantly, the year saw us bid goodbye to a host of personalities including the lovely Doctor Who companion and star of The Sarah Jane Adventures, Elisabeth Sladen. She was a rare television personality with an unusually brilliant career trajectory.

Personally, looking back is a nice way to say farewell to how I spent some of my time over the year, recharge, re-evaluate and consider where I'm going with this endless thing called a blog.

The blog - It's a bit like a hamster wheel. I get in it and I run, but where am I going? I know it goes round and if I get on it it's going to be like, "Look kids! Big Ben, Parliament."

I definitely have some plans to continue work on one project I've been going at for a period in 2010. I need to get back to that and see if I can bring it to fruition. That's one of my New Year's resolutions. I'm really quite hopeful. As a result, my writing here may be spotty. I hope not and I will make every effort to balance both, but with limited time something has to give. I stumbled upon my horoscope while watching the neighbor's dog and getting their newspaper at the end of the driveway. It said to me, and not that these things are incredibly profound, "Working effectively toward a long-term goal means sometimes forgoing opportunities for pleasure and fun." Yeah. True.

So what concoctions are in store for 2012? Well, I definitely plan to bring you more of what visitors appreciate here at Musings Of A Sci-Fi Fanatic - I think vibrant, colorful, thoughtful entries! Anime including Hayao Miyazaki's Nausicaa Of The Valley Of The Wind and potentially Neon Genesis Evangelion, The Fourth Kind, Communion, Prometheus, Star Trek: The Original Series, Battlestar Galactica [the Glen A. Larson original], Doctor Who, Farscape, more FAB FRIDAY surprises including UFO and hopefully Space:1999, The Incredible Hulk, a look at Season One of The X-Files, Stargate Atlantis and Stargate SG-1 with more world according to Jack O'Neill moments.

So, yes, I may not write quite as much, but I won't stop trying to have that "pleasure and fun" writing right here. Let's face it, it may be like the hamster in that hamster wheel. I may not know where I'm going and it may be nowhere, but I like running inside that wheel too. The pleasure is undeniable. Here's looking at 2012. All the best.

Happy New Year

2011-12-30T19:09:00.001-05:00

... 2009. 2010. 2011. 2012. Feeling beaten, battered or bewildered after 2011? It certainly wasn't the easiest year. Rei knows a thing or two about having it tough. It seems like every year Rei takes a beating in Neon Genesis Evangelion as the pilot of an Evangelion, yet she's always putting everyone before herself.

May 2012 be your year.

The Six Million Dollar Man: The Solid Gold Kidnapping [3rd Pilot]

2011-12-27T21:58:00.002-05:00

This was originally titled The Billion Dollar Snatch. A great title with a unique connotation in certain niche markets, but not for our hero The Six Million Dollar Man.

Pre-dating the ski scene from Roger Moore's 007 in The Spy Who Loved Me [1977].The final of three pilot films for The Six Million Dollar Man arrived in November 1973 just shy of a series debut in January 1974.

As luck would have it executive producer Glen A. Larson stuck around for his second pilot film following Wine, Women And War. The Solid Gold Kidnapping would also be Larson's last for the series. Larson's 007 approach to the character is in full evidence with an opening action sequence, explosions and Steve Austin romancing a blond lover. Although this time their clothes are on. Lee Majors sexual encounter with Britt Ekland in Wine, Women And War undercover and under the covers would be his first and last for the series.

Nevertheless, Larson relished sponsoring the fashioning of an American version of James Bond in Lee Majors. He had made steps toward moving the tone of the series from the more dour Pilot [a.k.a. The Moon And The Desert] into secret agent territory with Wine, Women And War. The Solid Gold Kidnapping while capitalizing on that concept the third pilot also exhibits the fruits of a rapid growth in chemistry between principals Lee Majors and Richard Anderson. The two make the most of their time together and allow a little levity to slip into their roles. The third pilot film seems somewhere between the first executive-produced Larson outing and the series official debut, Population Zero. It's apparent a softening is occurring to the relatively hardcore approach taken with the Steve Austin character initially in that first pilot.

Remember, up until the third film, the creators and writers had already introduced a bionic man to an unsuspecting audience who attempted suicide, exhibited deep signs of emotional instability, a remoteness to intimacy with the opposite sex, a willingness to wipe out the enemy at the drop of a hat, disdain for his superiors and a discomfort in his own skin. That's a heavy dose of angst for its time. Clearly the debut pilot was fairly unconventional fair in 1973. Could it sustain an audience at that level going forward? Many of the suits had their doubts and saw to it the concept began to evolve and move toward a lighter tone.

Larson himself had already made efforts to move The Six Million Dollar Man left of the Pilot and away from writer Martin Caidin's original plan for the character based on his book Cyborg. Larson's memories of Caidin are colorful according to author Herbie J. Pilato in The Bionic Book: The Six Million Dollar Man & The Bionic Woman Reconstructed. "Martin was an off-the-wall character,... sort of a CIA groupie." Larson continued, "He was a fascinating character." But Larson felt Caidin "didn't know television very well. ... authors will sometimes cling to those words. It happens." The Solid Gold Kidnapping would be Larson's final outing as he handed the reins over to executive producer Harve Bennett for the weekly 60 minute serial beginning with Population: Zero.

The third telefilm, The Solid Gold Kidnapping, opens with the same credits that can be found noted in Musings Of A Sci-Fi Fanatic's coverage of Wine, Women And War. The vintage era opening theme, Six Million Dollar Man, by vocalist Dusty Springfield would also be its last appearance.

Where Wine, Women And War featured Britt Ekland. The third film guests John Vernon from Animal House, as the Bondian villain, as well as Terry Carter who would later figure regularly on Glen A. Larson's Battlestar Galactica [1978-1979].

As mentioned, the wonderful Richard Anderson returns as Oscar Goldman [director of the OSI] and Larson had some glowing words on the actor regarding his importance to the world of The Six Million Dollar Man mythology. "I cast Richard Anderson because when you're doing what I call a bullshit premise, you need to surround it with as much honesty and reality as you can. Richard brought us that credibility. It was less likely that the series was going to end up as a cartoon." Ironically, as we discover with this third telefilm, the science fiction aspect does tend to dip off the reality scale to a degree, despite Larson's point. Later, Kenneth Johnson [The Incredible Hulk] would infuse the premise with his usual dose of reality and grace.

The action pacing is classic The Six Million Dollar Man with fist fights and Colonel Steve Austin in action minus the still missing slow motion, but the locale is James Bondian-like Switzerland. In that, the only thing missing from The Six Million Dollar Man is a Sean Connery accent. Seriously, how's this for Action Austin?

Mexico, London Heathrow Airport and you start to get the jet-setting nature of what is established beyond what was originally conceived for the character.

Essentially, Austin saves one ambassador from Mexico. A short time later, another is kidnapped. The ransom is, you guessed it, solid gold. To aid in finding the ambassador, Dr. Erica Bergner has been experimenting with brain cell transference to tap into a dead man's memories to gain insight into the captors. Science fiction or Glen A. Larson disapproved "bullshit"? Now, actually, the science fiction portion of it isn't entirely out of the realm of possibility, but how it's presented here is not sound in science to be sure.

Ultimately, The Solid Gold Kidnapping, apart from its silly title, offers the first evidence that the Austin character is endowed with the kind of humor that would become a staple for the character in the ongoing series. James Bond trappings aside, this particular adventure feels a little closer to the character we would come to know and love, but it's still off from the vintage series we recall so fondly complete with those slow motion bionics. The trademark slo-mo and classic theme arrive with the launch of the bionic serial.

The Solid Gold Kidnapping: C+. Writer: Larry Alexander/ Alan Caillou. Director: Russ Mayberry.

Merry Christmas 2

2011-12-25T11:59:00.006-05:00

I got to thinking as I watched Charles Schulz' animated Peanuts special A Charlie Brown Christmas and I looked into the sweet eyes of Charlie Brown and Snoopy that they were very much the American antithesis of those Japanese anime eyes. Gosh, they are so tiny. Still, Schulz created something special in his own right. That's all. Have a great Christmas!

Merry Christmas

2011-12-24T16:13:00.000-05:00

Merry Christmas to all and to all a good night.

Prometheus Trailer

2011-12-23T18:03:00.005-05:00

In space no one can hear you scream.

I rarely take time to express an opinion on film trailers. One of the last ones I actually took time to reflect briefly upon was James Cameron's Avatar. I wasn't anticipating much then based on the upcoming visual experience. Mind you, sitting in the theatre was a much different experience and the film generally delivered, but the latest from Ridley Scott, Prometheus [2012], promises so much more for this fan of true science fiction.

The return of director Ridley Scott for Prometheus has arrived in the form of a trailer and I must say I am over the moon in anticipation and the kind of giddy excitement I recalled experiencing when I saw the trailer for James Cameron's Aliens back in the day.

I cannot recall the last time a trailer thrilled me quite as much as the latest from Ridley Scott. If nothing else, Scott is always visually impressive generating taut suspense and atmospheric thriller after thriller, but as we know today he has always been so much more. I am an unabashed fan of the man's work and judging by the offering here I am going to love this film. It is pure science fiction drug to me.

Prometheus may or may not be the sequel people expected or had been waiting for, but in truth it looks like it reaches far beyond expectations. There's of course that sense of haunting eeriness that the tag line of Alien promised in 1979, that no one could hear you scream, and yet it looks to embrace the thrill of Aliens and horror of Event Horizon in a completely refreshing Scott Free package all its own.

Throw in sexy Charlize Theron, Guy Pearce and Michael Inglorious Bastards Fassbender and it has the cocktail ingredients for something truly special.

Seeing this trailer was a bit like Welcome to Ridley's World and a return to how quality science fiction should be done.

If the promise of Prometheus is anything like its trailer, for me personally, Prometheus will be hands down one of the best science fiction films made in years. It looks incredible and incredibly frightening. I, for one, cannot wait for June 2012.

Catherine Schell

2011-12-23T11:00:00.004-05:00

Heck yes, it's FAB FRIDAY!

What could be more fabulous than the European loveliness of one Catherine Schell.

You knew it was coming. After the tribute to Gabrielle Drake and Wanda Ventham from U F O and one for Barbara Bai n of Space:199 9 you knew an homage to the stunningly beautiful Catherine Schell [1944-present] couldn't be far behind. Schell may be the only woman who could possibly pull off sexy in sideburns as Maya from the wonderful world of Gerry Anderson's Space:1999.

Schell managed to be smart, sexy and wear a Moonbase Alpha uniform that still highlighted some of the most incredible legs in the known and unknown universe that simply would not quit. Outstanding!

Schell was born in Budapest, Hungary as Katherina Freiin Schell von Bauchlott. Schell has appeared in a number of productions including James Bond 007's On Her Majesty's Secret Service [1969] and Moon Zero Two [1969] the same year. Schell starred opposite Peter Sellers in The Return Of The Pink Panther [1975]. She became part of the Doctor Who universe [or Whoniverse] when she appeared in the Fourth Doctor entry, City Of Death [1979], opposite the incomparable Tom Baker.

Schell has appeared in a number of other projects and even opened a guest house in France for a short period years later.

Before becoming a regular for the second year of Space:1999, Schell guest starred in Year One's Guardian Of Piri [click here for greater detail]. One thing is certain, Schell will always reside in the hearts of Space:1999 fans and be remembered as the shape-shifting and extraordinarily beautiful Maya from Space:1999, Year Two.

Space:1999 Maligned

2011-12-23T08:10:00.002-05:00

This is precisely the kind of anti-Space:1999 sentiment that has affected its legacy through the years.

It's often much maligned. It's hostile reactions like this one that are almost reflexive and hostile by those quick to dismiss it.

The series has endured an unfair battle fighting detractors and mean-spirited quips.

How bad can a series be starring a double babe bill of Barbara Bain and Catherine Schell?

In fact, these two always make FRIDAY FAB!

Stargate SG-1 S1 Ep1: Children Of The Gods: Final Cut

2011-12-20T12:00:00.002-05:00

The now revamped and remastered Stargate SG-1's Children Of The Gods: Final Cut is sweetly dedicated by Brad Wright and company to the memory of Don S. Davis [1942-2008] [Twin Peaks, The X-Files].

Like any good, conscientious creator, co-creator, applying due diligence and dissatisfied with the result of a past product, Brad Wright happened upon Stargate SG-1, Children Of The Gods [1997] and understandably decided to revisit it. With the distance of years, explosion of technology and his own growth as an artist/creator behind him, Wright felt things could have been done just a little differently. Sound familiar? He looked over the imperfections of his Stargate SG-1 child. Can you imagine looking at your child as imperfect? Admittedly, the unsuitable measure of children aside, I completely understand the desire to revisit a former work. It makes perfect sense to me and I wouldn't be able to resist that temptation myself. Thus, that would put me squarely in the camp of artistic license. Keeping the originals available in the age of Blu-Ray storage is always an option and recommended.

As perfect as it might seem to some, as carved in stone as it might be to purists, like director George Lucas, Wright saw its flaws and with the gift of hindsight saw an opportunity. In the same manner the Star Wars Original Trilogy received a makeover, Wright opted to perform a minor overhaul on his own baby. Going back to his original Stargate SG-1 offspring that was Children Of The Gods, to rectify areas he saw as problematic, Wright created a slight variation on the original in Children Of The Gods: Final Cut [2009]. Of course some would argue the changes are grossly dramatic and they might have cause to argue the point.

The edit, a year in the making, began in 2008 to construct the alteration dubbed Final Cut. Well, of course as always, Gateworld offers a splendid and detailed account of the rendering and is worth a look. Musings Of A Sci-Fi Fanatic decided to add a compliment piece to the previous coverage of Stargate SG-1, Season One, Episode 1, Children Of The Gods, by offering a succinct run down of the modifications that were applied for better or worse.

The original, to some, is near perfect, but despite the deletion of seven minutes of footage and the addition of some new material, Children Of The Gods does benefit to a degree. There are positives and negatives to take away from the new cut. Here's a look at what's on offer.

1. The accompanying score by the original composer, David Arnold with Joel Goldsmith, has been completely supplanted by the wonderful arrangements of Goldsmith in keeping with the rest of the series. The Final Cut score is exclusively the work of Goldsmith.

2. New material is woven throughout the film. Matte paintings, visual effects, extended scenes and one new scene. Special Effect insertions include the Stargate puddle giving it an updated deeper blue. It's a fine visual touch. Also included is a shot of Apophis palace, a sunrise over Chulak and a stunning pyramid shot. These kinds of exterior visuals truly expanded the worlds of Star Trek: The Original Series for the editions featuring remastered visual effects and the same approach works wonders here for Stargate SG-1. In fact, the early seasons of the ten-year long Stargate SG-1 series would really benefit from some minor touch-ups like those applied to this pilot episode.

Apart from orders by Apophis to dial the gate out of Cheyenne Mountain, an added scene includes a fallen female Jaffa in the examining room next to a fallen male. Stargate SG-1, Season Seven, Episode 10, Birthright, featuring a very sexy Jolene Blalock is just one example of the female Jaffa warriors on display throughout the series. Wright redresses this omission.

An additional Goa'uld Death Glider was built into the final climactic scene, as well as a Tel'tak cargo vessel.

There's also a restored briefing room scene featuring O'Neill, Carter, Jackson and Hammond.

3. Moving on to edits, dialogue replacement is inserted via re-recorded material by none other than Christopher Judge, Michael Shanks and Amanda Tapping. Shanks and Tapping recut some dialogue, but Judge actually re-recorded his entire performance, which, keep in mind, is smaller in this introduction. Still, it sounds fresh and in keeping with the rhythms of the character we came to know and love. Note the following sequence and compare it to the same clip sequence included in my coverage of the original Children Of The Gods. The contrast is significant.

Still, the omission might send purists over the edge. Part of the affection of early episodes like this one is seeing a character find his voice, alter his/her inflections and perhaps for some grow less stilted. Revealing each actor's relative growth is part of the fun. Removing these things is tantamount to tampering with the childhood perfection of a favorite toy, like a Colorform set. You just don't do it. Personally I enjoyed what was accomplished, despite my love for the View Master, the rusty metal lunchbox and Stretch Arm Strong, but I understand why it might have its detractors. Was Richard Dean Anderson's first take perfect? Anderson actually appears on the commentary track with Brad Wright.

Speaking of Anderson, his cheeky sense of humor was removed from this cut regarding his initial meeting with General George Hammond. The quote of the meeting in Hammond's office can be seen at the top of my original coverage, but it has been cut from the Final Cut and I must admit, while it makes sense, I missed seeing it.

Additionally, edits of Apophis' atrocities are spliced into the Teal'c sequence when he decides to join O'Neill and company. This scene always felt a little light to me concerning motive. There was no real information to suggest Teal'c's desire to leave Apophis, but efforts are made here to correct that approach.

Season Five, Episode 2, Threshold delves into Teal'c's decision to abandon Apophis, but the Final Cut of Children Of The Gods offers visual evidence and additional dialogue early on to better explain the break from his Jaffa master.

Many have complained of the motivations of Bialar Crais to pursue John Crichton in Farscape with such vehement hatred following the accidental death of Bialar's brother by Crichton. Many have suggested that moment was not enough to motivate Crais in a credible fashion. The decision for Teal'c to join SG-1 always felt a bit convenient in the start. This modification to a significant moment in the SG-1 mythology is serviceable, but still not entirely convincing.

4. Deleted material includes the infamous nude scene featuring then Vaitiare Bandera as Sha're. Her lovely breasts no longer adorn the film and that's a shame. There not needed by any stretch, but this fan really wasn't troubled by their inclusion. Most kids that would take time to watch this might cringe at the sight of her nipples, but unlike the intensely provocative scenes in Stargate Universe, this was nothing more than a couple of "mouth-watering scoops of flesh," to quote Weird Science. Sha're wasn't pinned against the wall and having sex with Apophis. Who really has a problem with sleeping breasts? Most kids aren't watching Stargate SG-1 anyway.

The infamous Samantha Carter introduction to the men has also been removed. Do you remember the line? "Just because my reproductive organs are on the inside instead of on the outside doesn’t mean I can’t handle anything you can." Gone. This was always out of character when compared to how Carter would develop. It has been removed for good reason. It was always Wright's preference to have it cut, while Jonathan Glassner voted initially for its inclusion. Some would argue its removal is problematic as future episodes allude to the line.

A piece of dialogue from Charles Kawalsky suggesting he didn't know O'Neill had a child lends the impression they were not close, working in stark contrast to Stargate SG-1, Season Two, Episode 4, The Gamekeeper. The line also seems out of place when compared to the handling of the O'Neill/ Kawalsky relationship in Season One, Episode Two, The Enemy Within. The line has been cut.

Other scene removals include the Apophis harem scene and the cliffhanger moment displaying an implanted Kawalsky complete with glowing eyes. This final removal allows Children Of The Gods to function as a self-contained film and less a serial entry. Truthfully, it's not needed to appreciate The Enemy Within on its own.

All in all, it is a well-paced revisit with strong effects and tighter character dialogue. Children Of The Gods: Final Cut feels much more the mark of Brad Wright and his intended vision with less studio interference. It's clear Glassner and Wright were both significant players in those first three seasons until Glassner relinquished his role to Wright. Wright's stamp is slightly more pronounced now.

Ultimately, these recuts and transformations to original material create a whole host of arguments for and against. Debates rage endlessly on subtle changes that have profound impacts. Star Wars IV: A New Hope, in particular, is a glaring example, but in some small corner of the universe the conversation continues on Children Of The Gods. I've added my two cents because I love and respect the conversation.

In the end, Children Of The Gods: Final Cut falls more in line with the kind of lovingly rendered, detailed and restored version of Star Trek: The Original Series and less the over tinkering of the George Lucas franchise. How on Earth could Greedo shoot first?! This pilot film is given a solid, if not wholly necessary reassessment. As good as the film is, that's my final word on the debut of one of the great science fiction franchises. Children Of The Gods: Final Cut: B. Writer: Jonathan Glassner/ Brad Wright. Director: Mario Azzopardi.

Barbara Bain

2011-12-16T12:05:00.007-05:00

It's FAB FRIDAY!

It's time for all things glorious and out of this world from Gerry and Sylvia Anderson including the hand-picked beauties of the universe.

Our latest focus shines the laser pointer on the beautiful Barbara Bain [1931-present] of Space:1999. Space:1999 may not have reached UFO proportions when it came to its women, but its sound approach to science fiction ideas aside it still had its fair share of beautiful ladies.

It's almost unfair to stack up voluptuous Wanda Ventham and Gabrielle Drake, two of the finest science fiction females to grace television, against Zienia Merton and Barbara Bain of Space:1999, Year One. Even the adorable Merton can't save the day in that fight. Take UFO's ladies Ventham and Drake and put them head-to-head against Catherine Schell and Barbara Bain in Space:1999, Year Two and you may be onto something. That match up significantly ups the ante, but if I had to choose a series based solely on sex kitten status, UFO might edge out the competition. It's tough for anyone to beat form-fitting spandex tights and purple-pink wigs.

Nevertheless, Barbara Bain was the image of grace and sophisticated beauty. Bain was born Millicent Fogel. The attractive lady that was Bain, to thine young eyes during the airing of Space:1999, always struck me as an older woman even then. Today, her then physicality and how she carried herself, has won a much greater appreciation from me. In fact, as a young person the fine ladies of tomorrow never did catch my attention in that way. After all I was oblivious to the sex appeal of Catherine Schell. I was simply over the moon that she could transform into any animal or space creature she desired. Sex appeal was never an issue even if Barbara Bain reminded me of my mother in some odd way.

Of course, Bain is best known to science fiction aficionados as Dr. Helena Russell on Space:1999 [1975-1977] and as Cinnamon Carter on the television series Mission: Impossible [1966-1973]. She starred opposite her then husband Martin Landau on both series with whom she was married from 1957-1993. The two had two beautiful daughters. Her daughter Juliet Rose Landau appeared in Millennium, Forcing The End opposite Andreas Katsulas. It's stunning to see the striking offspring of those we adored adorn television screens for a whole new generation including our own children.

Juliet Rose Landau is beautiful. Bain has appeared in a number of series through the years, but will always be remembered as Dr. Russell. She may not be a vintage UFO sex kitten, but she indeed was and remains a certified FAB babe of the fine wine variety.

Looking once again at the one actress from the Anderson oeuvre that had a wildly varied and successful career with considerable longevity, this is a scene from the series Millennium, starring Lance Henriksen. The Season Three episode is called Matryoshka [1999] where she plays Lilly Unser opposite the always stunning work of one Terry O'Quinn [Lost] as Peter Watts.

Again, it's always a treat to see Bain perform as one of the most prolific actresses of all the beautiful women that ever graced the magic of those Gerry and Sylvia Anderson productions.