Black Gate

When the two first episodes of Marvel TV’s new WandaVision dropped six weeks ago, I blogged about my reaction to something that was at tonal right angles to everything else I’d seen from the MCU. I just finished watching the penultimate episode and now I think that the show is actually not even in the same ballpark as anything else produced by Kevin Feige.

It feels like the MCU and Vertigo Comics snuck off to have a weird love child. This series owes a lot more thematically and tonally to Tom King’s 12-issue Vision series (my blog thoughts here) than any of the regular Avengers comics. I’m going to go into why I would put this show in the same category as Westworld, but I might have to spoil one or two things. If that’s within your spoil tolerance, come onboard. If not, don’t hit the read more yet. I’ll wait.

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In 1991, Peter Jackson was a wee New Zealand lad of thirty-three who was embarking on what would become a very lucrative film career. He was still seven years away from becoming a near household name with the release of Lord or the Rings: The Fellowship of the Ring, and was on the hunt for film project that would get him recognized.

Having grown up in country with roughly the same population as the state of Alabama, he was well aware of the nation’s most infamous murder. Earlier that year fellow New Zealander Fran Walsh, with whom Jackson had worked on Meet the Freebles, suggested they tackle the tale in the form of a movie drama. The Parker-Hulme murder took place in Christchurch, New Zealand, on 22 June 1954, when Honorah Parker was killed by her teenage daughter, Pauline Parker, and Pauline’s close friend, Juliet Hulme. Parker was 16 at the time, while Hulme was 15. On that June afternoon, Honorah took Pauline and Juliet for tea and then for a walk in Victoria Park. In a wooded area about 400ft from the tea shop, Pauline and Juliet bludgeoned Pauline’s mother to death with half of a brick enclosed in an old stocking.

The murder itself was shocking enough, but as Jackson began his research into the circumstances surrounding it, what emerged read like Hollywood fiction. It was a tale of fantasy, forbidden sexuality and obsessive love which ended in violence and death, all involving two teenaged girls. Over the next year, Jackson dug deep into the story of Pauline and Juliet. In addition to reading Pauline’s diary, Jackson undertook a nationwide search for anyone who had known the girls and interviewed them to get a closer look at their lives.

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Last of the Vikings (1961)

The blockbuster success of 1958’s The Vikings spawned a number of would-be successors that tried to make up for lower budgets by amping up the action. The ever-lurid Italian cinema took the lead with two adventures directed or co-directed by Mario Bava, Last of the Vikings and Erik the Conqueror, but the UK was right behind with their own over-the-top Viking saga, The Long Ships. You can call these guilty pleasures if you like, but that doesn’t stop them from being thoroughly enjoyable. Form shield wall, Vikings, and prepare for attack!

Last of the Vikings

Rating: ***
Origin: Italy/France, 1961
Director: Giacomo Gentilomo
Source: Mill Creek DVD

This is a solid Viking adventure film, a cut above most Italian action movies of its day. It stars Cameron Mitchell and George Ardisson as the male Viking leads in parts similar to their roles later in the year in the even better Erik the Conqueror. The film opens with a sea battle, after which Harald (Mitchell) and his brother Guntar (Ardisson) return to Norway after ten years of sea roving, only to find that all the free Viking chieftains have been crushed under the heel of Bad King Sveno (Edmund Purdom, Sword of Freedom) — who, to add insult to injury, has adopted the effete ways of civilized Europe. Harald vows vengeance, because that’s what Vikings do, and begins gathering the surviving warriors under his banner.

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I picked five random SF movies from the 1950’s across the quality spectrum to review this time around but while doing my due diligence research discovered that actually three of them had been directed by Bert I.. Gordon, so, not exactly random. But it’s too late to changer the line up.

Kronos: 1957 (8)

Interesting alien invasion flick, with some rather original concepts for the time. The aliens are energy creatures, though they do the thing many aliens do in these movies: take over human bodies via mind control. Sometimes the enslaved human manages to warn others, but, of course, no one actually listens until it’s almost too late.

This time around, the aliens want our electricity and atomic energy, so they send down this whopping big robot (although no one ever calls it a robot) from their flying saucer (though everyone, including the scientists who discover it, call it an asteroid for some reason) who then gobbles all the energy it can. The always dependable Jeff Morrow plays the astronomer who also has mad skills in nuclear physics or some damn thing, because he comes up with the plan to stop Kronos, despite all the best efforts of his hot girlfriend to get him to think about her for a change.

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Silvana Mangano and Kirk Douglas in Ulysses (1954)

Ryan Harvey has written extensively here about the peplum movie or Italian sword-and-sandal craze of 1959-65, a phenomenon that had an immediate origin in three films: Ulysses, which showed that there was a postwar Italian market for adventure films from the era of myth; Hercules, which proved you could make such a movie popular on both sides of the Atlantic; and Hercules Unchained, which demonstrated there was a formula for repeated success. These were well-crafted movies that aimed much higher than most of their successors and provided solid, and occasionally even thoughtful entertainment. If you’re unfamiliar with them I’m pleased to introduce you, and if they’re old friends you can join me in appreciation.

Ulysses

Rating: ****
Origin: Italy, 1954
Director: Mario Camerini
Source: Lionsgate DVD

Kirk Douglas made his reputation in Hollywood in the late Forties as a leading man in a series of intense, dramatic roles. By 1954 he was ready for a change of pace: action hero! He signed on with Disney for 20,000 Leagues Under the Sea and with Dino De Laurentiis in Italy for the epic Ulysses, based, of course, on Homer’s The Odyssey. This was a big-budget production, with lavish sets, exteriors shot on Mediterranean islands, and a lovely full-scale Greek galley. Plus, of course, a cyclops.

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Le Capitan (1960)

As you might expect from the country that gave us Cyrano and d’Artagnan, the French film industry has always been enthusiastic about making swashbucklers. A lot of them have no available English-language versions, alas, but here are three of the best that do. I think you’ll agree they all have a certain je ne sais quoi.

The Captain (or Le Capitan)

Rating: ****
Origin: France/Italy, 1960
Director: André Hunebelle
Source: Pathé DVD

This French film may be the best swashbuckler you’ve never seen. It’s set in France a dozen years before the events of The Three Musketeers, when King Louis XIII was only 15 years old and still ruled by his mother, Marie de Médicis, and her lover, the Italian adventurer Concino Concini, whom Marie has elevated to the rank of prime minister. Concini’s hired thugs are killing nobles who oppose him and looting their estates, and the movie opens with a mêlée in which Concini’s assassins, led by their boss, Rinaldo, are raiding a count’s château. The count’s friend, the Chevalier de Capestang (Jean Marais), gallops up and leaps into the fray, turning the tide, but not before Rinaldo knifes the count in the back. As the thugs retreat Capestang is wounded by another thrown knife and is about to slain by the last assassin when the killer is shot down by a mysterious lady (Elsa Martinelli) in a male cavalier outfit.

The mystery woman nurses Capestang back to health but then disappears. Was she just a vision of delirium? Once healed, Capestang agrees to represent the grievances of the local nobles and travel to Paris to appeal to Concini — and maybe even the young king. Concini (Arnoldo Foà) tries to co-opt the capable Capestang, but he haughtily refuses, and Concini, in Italian, dubs him “Il Capitano” after the stock commedia dell’arte character of the strutting braggart. Capestang accepts the moniker as a badge of honor.

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The Black Hole (Disney, 1979)

Stephen Spielberg may have said that “the arc of the cinematic universe is long, but it bends towards quality,” but that’s a crock. (Actually, he didn’t say that. No one did. But I need to establish something here, so cut me some slack, will you?) Much as we may wish otherwise, cinema history, like the other, capital H kind, isn’t linear or progressive – it’s cyclical. This means that there will be times when things are trending up and times when they’re heading down, periods of boom and periods of bust, seasons when excellence commands the stage and epochs when utter crap towers so high over everything that it blots out the sun. Perhaps no film genre demonstrates this inevitable ebb and flow better than science fiction.

Never was this more evident than during the late 70’s and early 80’s, a low end of the bell curve era if there ever was one. For every Star Wars or Alien, there was a Metalstorm or a Spacehunter. Actually, given the iron logic of Sturgeon’s Law (“Ninety percent of everything is crap”), for every Empire Strikes Back there were nine (!) Laserblasts. In fact, you could argue that this arid stretch invalidates the law altogether – by proving Sturgeon wildly optimistic. Ninety percent? Anyone who spent time in the mall multiplexes during those years could be excused for thinking that the offal percentage was closer to ninety-nine than ninety.

(By the way, if you think I’m being unduly hard on these films, we can easily talk about some of the era’s other cultural products. How about music? Where shall we start – Martha Davis and the Motels? A Flock of Seagulls? Loverboy? Yeah… that’s what I thought. Back to crappy sci-fi movies it is.)

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The Mark of Zorro (1940)

November 27, 1920, a century ago plus a few weeks, saw the release of Douglas Fairbanks, Sr.’s The Mark of Zorro, and the beginning of the swashbuckler film as we know it. There was a lot more Zorro to follow, some of it very good indeed, so this week we’re looking at the early post-silent career of the Masked Man in Black.

The Mark of Zorro

Rating: ***** (Essential)
Origin: USA, 1940
Director: Rouben Mamoulian
Source: Fox Studio Classics DVD

Tyrone Power’s family had been on the stage for generations, and he considered himself a serious actor. He finally broke into the movies in the mid-1930s and became a popular leading man for 20th Century Fox in parts both serious and not-so-serious. Meanwhile Warner Bros. was making a pile from Errol Flynn’s swashbucklers; though Fox didn’t have Flynn, they did have Power, and Darryl F. Zanuck decided Power was going to be Fox’s sword-slinging hero. To launch him in that new role they chose to remake The Mark of Zorro, the film that had launched Douglas Fairbanks, Sr.’s swashbuckling career. It wasn’t the kind of part Power really wanted to play, but he dutifully agreed, and the result was a classic that typecast him, rightly or wrongly, for the rest of his career.

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