Land Of The Lost S1 E4: Downstream

"Tasted a whole lot like lobster."

-Mr. Collie on eating Sleestaks-

 

"This is a closed universe."

-Rick Marshall-

 

"I kind of feel bad for when you guys were kids."

-The Boy Wonder mocking my viewing enjoyment of The Land Of The Lost-

 

Leave it to our children to dismantle our rose-tinted glasses.





One of the most alluring aspects of Land Of The Lost to me, still, today, is its immersive world-building and science fiction universe. What Land Of The Lost achieved in creating its impressive pocket universe reality in the 1970s on a shoestring budget slated for Saturday morning children's fare is still nothing short of amazing.

When you consider the world creation of Stargate or The X-Files, and that generous application of British Columbia, one has to tip his or her cap to a series that genuinely transported its viewers to a very special, seemingly creepy and hostile place and planet.



Even more astounding is viewing Land Of The Lost with those mature adult eyes and finding it still holds up so incredibly well as an entertainment.

A recent viewing of The Herculoids and The New Adventures Of Huckleberry Finn proved not so kind. Those aforementioned series still look amazing, but the content doesn't hold up as well in the endurance test department. Quite the opposite stands steady for Land Of The Lost today.

Land Of The Lost really begins to pile on the mythology of its pocket universe by throwing viewers the best curve ball since the existence of the Sleestaks, while injecting the creepy creatures into the latest exercise for good measure.



Where are we? What is this place?

Walker Edmiston guests on the show as a civil war survivor, a confederate soldier. The little known Edmiston has made quite a career of character acting.

Edmiston, lo and behold was the voice of Sigmund The Sea Monster in Sigmund And The Sea Monsters (1973-1978). He delivered voice work for H.R. Pufnstuf (1969) and gosh darn Ernie The Keebler Elf.

He appeared in everything from Buck Rogers In The 25th Century to The Dukes Of Hazzard.



The actor even handled the voice of Balok in the Star Trek: The Original Series, Season One, Episode 10, The Corbomite Maneuver. And while Edmiston plays a significant role here in building on the Land Of The Lost universe it would not be his last and only experience. Edmiston would return as Enik The Altrusian, costumed as the intellectual root of the Sleestak race, in Land Of The Lost, Season One, Episode 6, The Stranger.



Land Of The Lost, Season One, Episode 4, Downstream wastes no time in establishing its clever intentions to build continuity and establish a set of operating characters and rules within its "closed" pocket universe. Just as Chaka and his band of primitives would make numerous appearances and return in future episodes, the Sleestaks arrive once again here (you could never get enough of the Sleestaks) along with Dopey who returns from his Episode 3, Dopey.

Dopey catches Marshall, Wil and Holly floating off downstream on their raft.

When the trio meet former Confederate fighter Mr. Collie and his faithful cannon it's another fascinating interaction.



The man has miraculously kept the Sleestaks at bay, but he has also discovered along with our heroic family the value of the various colorful crystals when struck together can create blinding light or explosions. This is the land of the lost and the mysterious and the unknown as our family learns to survive.

And what kid doesn't remember the family with Mr. Collie jumping into the water to escape the approaching Sleestaks as wooden arrows are hurled at them. It was truly frightening though those arrows never did have the kind of forceful impact of a true arrow. This was a kids show. It makes sense now.



What always impressed about the series was the genuine sense of an alternate universe on very small sets and blue screens. A truly incredible, vast environment was imagined and created.

Some real effort is paid here, following the establishment of important characters and a sense of place in previous episodes, to build a sense of mythology and offer, in its short timeframes, further information that lends Land Of The Lost a striking credibility and a more substantive tone than most for what became a Saturday morning favorite.



One of the most charming aspects of Land Of The Lost was the sincerity that was poured into the characters by the respective cast members. This coupled with wonderfully thoughtful, mythology-laced stories made for a thrilling adventure series. And it was indeed the spirit of this mysterious journey into an unknown pocket universe that seem to play so effortlessly. Each episode drew the viewer into its mysteries and rewarded with engaging adventures always leaving us wanting so much more. It began with the dinosaurs as kids but the creative minds behind the series, including actual science fiction writers like Larry Niven, made it so much more.

Writer: Larry Niven.
Director: Dennis Steinmetz.

Land Of The Lost: Kathy Coleman Interview

I wish I could take credit for this Land Of The Lost entry, but alas, it is not of my making. Nevertheless, I ran across this article by Gary Trust at Billboard.com. It was thirty-eight years ago today Land Of The Lost arrived and this interview with Kathy Coleman is a delight. I thought fans of Land Of The Lost would enjoy it as well. I think Coleman captures the essence of why Land Of The Lost [2009], the movie, failed so miserably with fans. Enjoy. Here's that article:

Marshall, Will and Holly, On a routine expedition, Met the greaaa-test earthquake ever known. High above the rapids, it struck their tiny raft (aaah!) And plunged them down a thousand feet below ... to the Laaa-nd of the Lost!"

Thirty-eight years ago today - on Saturday morning, Sept. 7, 1974 - "Land of the Lost" premiered on NBC. Since, its melodic theme song has never left pop culture consciousness.

A production of the magical imaginations of brothers Sid and Marty Krofft, the action-adventure series introduced children of all ages to the Marshall family - father Rick (Spencer Milligan), son Will (Wesley Eure) and daughter Holly (Kathy Coleman). Oh, plus dinosaurs; tall, scaly, lizard-like creatures known as "Sleestak"; chimpanzee-like beings named "Pakuni," and, other whimsical wonders. All had been transported to a mesmerizing, yet confusing, world where the laws of time, space and physics bent.

Because of the chemistry of the cast, however, the show always felt like more than a by-the-numbers sci-fi series. To watch it was to feel as if we, too, were in the Land of the Lost with the Marshalls, fearfully accompanying them on their daunting adventures and celebrating with them at the end of each 30 minutes when they conquered formidable foes.

And, we couldn't - and still can't - get that theme song (written by Linda Laurie) out of our heads. Thankfully.

On the anniversary of the airing of the first "Land of the Lost" episode (the show ran on NBC through 1976; ABC updated it with a fairly faithful version in 1991, before a 2009 big-screen adaptation too loosely played with the show's beloved family-friendly focus), Chart Beat caught up with Coleman.

Here's what we found.

First, since this is Billboard, we have to talk about the great "Land of the Lost" theme song. How much a part of the show's lore do you think the song is? Do people ever sing it to you when meeting you?

The song is a big part of the show's memory. People sing it to me constantly. Even "Family Guy" sang it in one of its episodes. In the song, it says "Marshall, Will and Holly," so the never-ending question from fans is, "Is your father Marshall Marshall?"

How did you get cast as Holly Marshall in "Land of the Lost"?

After seven call-back interviews and meeting with producers, the director and the network, I landed the job. I believe it was the chemistry between Spencer Milligan, Wesley Eure, (Paku "Cha-Ka") Phillip Paley and I that sealed the deal. After all, I was Holly. I owned it!

As a child actor, it must have been so much fun to work on a set with realistic-looking dinosaurs, caves and furry, costumed "Pakuni." What was the experience like?

I don't think I could have asked for a more adventurous atmosphere. There were two huge soundstages, one exterior, one interior, that were filled with lots of cool places for Phillip Paley and me to mischievously get ourselves into. The prop master was our partner-in-crime. Phillip and I were best friends and enjoyed our childhood playground together. As far as show-biz kids go, we had an action-packed job.

The show had some pretty advanced special effects for the mid-'70s. The wizards at Krofft Entertainment knew what they were doing, didn't they?

Absolutely! They knew how to get into the minds of children and take them on an adventure. A fan of mine recently approached me and she told me that her days from childhood to present have been riddled with pain. But, for that half-hour on Saturday morning, she was pain-free. I guess the Kroffts can feel pretty good about that. I know I do.

The "Sleestak" still look scary. Were they in person? (And, former NBA bad boy Bill Laimbeer played one, right?)

Yes, Bill Laimbeer was a Sleestak. As far as the Sleestaks being scary on-set, the major portion of their costumes was made from a wet-suit material, and, just like you see with surfers on the beach, the actors, many of whom were basketball players, wore theirs pulled down in the front. The costumes were incredibly hot under the lights. But, most of the day, I just looked at their smiling faces. They were funny guys!

How close was the cast, including Milligan, Eure, Pailey and Ron Harper (who replaced Milligan, who left over contractual issues, arriving as "Uncle Jack" in the show's third season)?

The original cast was very much like a close-knit family. The third season was not only confusing to the fans but also confusing to us, especially me. I missed my "real" dad.

What favorite professional or personal adventures have you had since "Land of the Lost"?

Can I have two? One, when I was sailing and came upon 75 blue whales out by the Channel Islands. Two, my three years living on a pristine beach in Mexico.

The 2009 "Land of the Lost" movie took a sillier take on the story, whereas the wholesome original TV series had true heart, causing viewers to care about the Marshall family. Do you think the show's endearing family-value-based angle - a universal one of a family struggling to survive in a challenging environment - has made it endure for almost 40 years?

I've been asked this question numerous times. I struggled with an answer for a long time. The bottom line is, the movie wasn't "Land of the Lost." I don't speak with a British accent and my kisses to my father were on the cheek, not on the lips. As far as the family issue is concerned, that cast was not a family; they were acquaintances. But, isn't it cool that our show had such an enduring longevity? I'm happy for that.

What would 2012 Kathy Coleman tell 1974 Holly Marshall? (I suppose you might let her know if the Marshall family ever made it back home ...)

That's a good question. I would tell her to enjoy every second of the journey. I would tell her to never second-guess what God has in store for her. Just keep dreaming.

You must have been a first crush for countless boys in the '70s. Any interesting encounters with (perhaps flustered) guys who admit to it now?

You know it. I wish you could see the smile and hear the giggles that are coming from me at this moment.

Land Of The Lost S1 Ep3: Dopey

"I think Dopey may be the best actor of the bunch." -The Boy Wonder mocking my viewing enjoyment of Land Of The Lost-

This isn't your granddad's Dopey. This is essentially your Dad's Dopey. Yes, this one has aged a bit too, but it's as beloved as Walt Disney's Snow White And The Seven Dwarfs [1937] to some. This is your Dad's Land Of The Lost [nearly fifty years later], Season One, Episode 3, Dopey.

I wonder if a grown man should even be writing about an episode called Dopey. I mean, this isn't exactly Star Trek: The Original Series, but Land Of The Lost has its nostalgic value and its merits as Saturday morning fare goes. Land Of The Lost is a bit of a fun diversion and if I have a little bit of a go at it from time to time with a touch of cheeky humor please forgive me. It doesn't mean that I don't value it as a formative series in my life. It's also a cracking smart universe that was fully formulated by a clever creative group. For whatever reason, to this day, Dopey remains one of the most memorable entries for me in the series. Maybe it just captured my child-like imagination's pure sense of escapism.

My youngest was sick at the time of this viewing. What better way to lay back while your ailing than to watch a little Land Of The Lost I thought. Think again in a world of Disney Channel and Nick. It was a toss up between this and Brady Bunch, which she adores. It's a classic and she never tires of Marsha, Marsha, Marsha crying "Oh my nose!," but we opted to change things up a bit. So my girl rolled her eyes a few times, but was soon hanging on every character's word. If only the series received some attention in the digital remastering department. It would benefit immensely from some kind of treatment, even if just getting the coloring right, but that is unlikely. Aren't Will and Holly terrific I ask? "Great," she says with a degree of sarcasm and a roll of the eyes. Obviously my daughter connects with the more reality-based family stories of The Brady Bunch. As a child of this generation, family-fantasy fare with vintage blue screen is distracting enough they simply can't look past it. It's funny, but I'm probably more forgiving and tolerant of these more traditional effects than I am today's CGI. The latest Korean monster film, Sector 7 [2012], is replete with dodgy CGI monster effects and they aren't nearly as good as those implemented in the unexpectedly well-crafted The Host [2007].

So returning to our archive era, boy's adventure tale, Will and Holly pick some massive, basketball-sized strawberries for dessert. They fill a cart. Now, it dawns on me, their harvest is excessive. With no means of real refrigeration, they have enough berries to last a month and the sheer mass of their collection would surely rot. Disregard pure logic, this is supposed to be fun.

The brother and sister act happen upon a small brontosaurus and name him Dopey. It wails and cries chasing Holly for its berry meal. Upon consumption of each berry it resumes crying, but won't stop crying. Stuck between two trees dumb old Dopey is drawing far too much attention to them and alas the incessant wailing summons the local, less-than-accomodating native- Grumpy, the T-Rex.

Breaking free of the trees, Dopey is on the run from Grumpy [could there be a Seven Dwarves allusion here?]. Will and Holy are pretty certain Dopey won't make it thanks to the basic fundamentals of Darwinism. But with a tired Grumpy finally giving up, Dopey shows up once again behind their cart pull. Eating all of the berries, the cart lightens to their surprise. The miraculous arrival of Dopey is another unexpected treat.

Anyway dodgy effects aside, Dopey has a slight eating problem. Holly harnesses Dopey and promotes him to the role of engine of their cart, a prehistoric version of the horse and buggy.

"Good grief, did you watch this when you were little? Oh God, look she's red." That's the coloring and the poor non-mastering of the DVD release I tell my daughter.

"Honestly, it's terrible. It's all fake even Holly acts fake. And look at Dopey's rubber mouth."

This fun-filled day of Land Of The Lost idea doesn't appear to be going quite according to plan.
Here comes Grumpy and Holly runs back to the cave and tells Dopey to hide. I explain to my daughter how I hung on every step the Marshalls took to make it safely back to that cave. I mean, I was always holding my breath. So Grumpy gets the classic, old Rick Marshall, Will and Holly-stick-in-the-mouth treatment and sends Grumpy packing, once again, for the time being. Dopey comes out of hiding. The trio of adventurers reunite with Dopey against some terrific green screen even if my daughter argues vehemently against it. "They're like photoshopped in" she rails! My daughter loves the acting too. I explain that she needs to believe.




And here's that classic lesson of tough love intuitively understood by Holly and then executed by the young girl despite the fact it is quite an emotional investment by such a young girl. Yes, the Marshalls are learning a whole lot of new things in this new place.




"It's not good." I sing every word of the closing theme in sync. I asked her for her final thoughts. "It was very fake including huge fake strawberries. It was funny and the actors must be embarrassed." Ah, the kids today, exposed to so much, they are just way too smart and jaded for their own good. Land Of The Lost will no doubt remain for the very young and those who long for the ocassional, nostalgic trip down memory lane.

As for my daughter, Land Of The Lost has been ejected from the DVD player and quickly replaced to the physical realities of Greg, Peter, Bobby, Marhsa, Jan and Cindy. Still, as wonderful as these family-based, reality-based series were back in the day and remain today from The Brady Bunch to The Courtship Of Eddie's Father, both of which my daughter loves, you have to hand it to the folks behind a series like Land Of The Lost. With a limited budget it took huge risks with effects and, of course, any effects based-show of this vintage and it's certainly a roll of the dice on how they hold up today. Land Of The Lost can't compare or compete with the likes of Star Trek: The Original Series, but where it succeeds is through its sincerity and its simple, effective, short storylines about a family's relationship within and their response under duress against the framework of well-manufactured fantasy world. If you remain open to the fantasy of its pocket universe-styled mythology, and look passed the effects, as you would the Tom Baker years of Doctor Who, fans of science fiction will appreciate this fascinating lost world.

Writer John Kenneth Muir actually captured quite eloquently my own feeling on the matter of effects within his review of Cloverfield at John Kenneth Muir's Reflections On Film/TV.

"I adore and respect the Godzilla films (and Kong films, and Gamera films...) of old, but I also realize two things about these predominantly Japanese films. One: I'm from a generation that demanded less "effects" realism in my entertainment. And two: the trend in cinema history is irrevocably away from artificiality/theatricality towards naturalism/realism. The inherent fakeness of the monster suits in old Godzilla or Gamera films never bothered me a lick. In fact...I loved the costumes. They represent an artistry all their own, even if they weren't "realistic" in the purest sense. Plus, I always felt those films offered powerful and artistic sub-text (about the atomic age, about pollution, etc.). So their historical and aesthetic value, in my book, remains undisputed. Not everyone, however, feels that way. Those who didn't grow up with these monster mashes will look at them and laugh. You know you are. You either "get" War of the Gargantuas, or you don't."

This same sentiment holds true for Land Of The Lost. You're either open to its inherently flawed effects or you aren't. The Japanese are open to the fantastical. Perhaps this is why I connect with their films and I can connect with Land Of The Lost. And like the subtext of those Japanese monster movies as noted in continuing coverage here, there's a good deal of subtext within the fantasy world of Land Of The Lost. You can laugh a little with it and still be open to the artistic forethought that went into this cult classic. And yet, despite the move to the realism of today's movie and television magic, computer technology still presents its share of problems.

Sadly, it was hereby discovered on my clever, lovely daughter's fateful day of tummy illness, that she considers her Dad's adoration for Land Of The Lost to be a little, well, dopey, and therein lies the divide between the generations and the relative affect of special effects new and old on a given viewer. As they say, beauty is in the eye of the beholder and that holds true for the classics. Dopey: B [at least I think so]. Writer: Margaret Armen. Director: Dennis Steinmetz.

Additional commentary: So after two solid openers written by David Gerrold, the scripting reins were handed to Margaret Armen. Dopey would be her only appearance. Meanwhile, director Dennis Steinmetz returns for his third of five in a row.

As I prepared this entry for posting on Musings Of A Sci-Fi Fanatic, a rewatch of Dopey took place to capture the requisite images and video clips. Of course, no longer was I graced with the company of the Girl Wonder, but rather subjected to the taunts of my beloved Boy Wonder. He gave his own mocking tone to the episode as it proceeded. Nevertheless, the next moring he says, "put on some Land Of The Lost!" He really wanted to see another episode. Now, sure, he wanted to laugh at it and have a bit of fun at its expense, but deep down he was drawn into its world. I told him, it was indeed the characters and the charm of these stories that was its greatest strength setting aside all of those cheesy green screen effects. He was not inclined to agree, but he was still interested and in watching Land Of The Lost, Season One, Episode 4, Downstream, it was easy to see that my son was caught up in the episode. The mocking nature had been supplanted by a quiet interest in the lives of these survivors.

It's also worth noting that upon watching the opening and closing themes of the series, my son was rather disturbed that I could sing each and every word of these very simple, but engaging songs. They are unforgettable and as I sang along to these wonderful selections it really struck me how truly magical those opening images were for the series that complemented the songs. I realized I did not represent some of those images accurately in my earlier coverage and took some for posterity here.

Finally, with Dopey, Land Of The Lost has established a strange, seemingly closed universe filled with vicious dinosaurs like Grumpy, primitive Pakuni, giant fruits and vegetables, mysterious pylons, three moons, terrifying Sleestaks and now a recurring delight named Dopey. With certain identifiers established, Land Of The Lost takes viewers deeper into its mythological world with the next two episodes Downstream and The Stranger, where we will delve more substantively into the complex, pocket universe mythology that lies behind the child-friendly facade. If I'm lucky I'll have the kids on board for those. As much as I joke about their remarks, they are terrific, good kids and I actually enjoy their mystery science theatre-approach to these Land Of The Lost adventures.