Universal Classic Monster Movies – An OCF Classic Movie Review – Part 6 – The Invisible Man

Re-posted from October 2017

The Invisible Man, to be pedantically precise, is not a monster movie but a science fiction story.  H.G. Wells’ tale of a scientist who develops a technique to render the human body (his own) invisible is not really monstrous in a physical sense but because the technique drives the inventor insane we are back in the neighborhood of the Mad Scientist.  And since Dr. Frankenstein is then brought to mind we can shoehorn this science fiction story into the genre.  Claude Rains (the Wolfman’s father from an earlier chapter of this review) is the Invisible Man.  Or rather Claude Rains voice is the star of the movie, since until the very last scene we can’t see his face.  But it’s a very good voice.  And since often we can’t exactly tell what he’s doing he spends a fair amount of time telegraphing his actions to help us guess what his actions are that the other characters are pantomiming around.  And he’s an active fellow.  He kills a few people with his bare (invisible) hands.  He bludgeons some others and he goes in for some mass murder via railway sabotage.  He ends up a rather unsavory fellow.  But somehow there remains a somewhat sympathetic core to the character.  Based on the people who still try to help him he must have been a good man before his descent into madness.  Therefore, we can look at him as a victim of his own scientific curiosity.

All that aside, it’s a fun movie.  The scientific intelligence, megalomania and irritable persona of the Invisible Man is juxtaposed against the plodding mediocrity, skeptical common sense and parochial outlook of the English villagers and local constables who are dumbfounded and unbelieving as to the true cause of the strange goings on.  Whenever they declare the inexplicable events a hoax the Invisible Man steps in and gives them a painful (and sometimes fatal) object lesson in his reality.

In the thick of these goings on is my favorite supporting character Una O’Connor as the Innkeeper’s wife.  She is a wonderfully shrewish landlady whose suspicious and unkind treatment of the Invisible Man throws him off the deep end.  She possesses the most remarkable shrieking scream ever recorded on film.  She is a national treasure of sorts.  And as a tie-in she plays Dr. Frankenstein’s housekeeper in “The Bride of Frankenstein,” another movie where she chews up the scenery and shrieks a blue streak.

Of course, by the end of the movie and after murdering so many innocent people, the Invisible Man has lost almost all of the audience’s sympathy so that it seems just that he should pay the price for his crimes.  But he is allowed the touching death scene where he regains his humanity and seemingly his sanity.

So, to reiterate, this is not a monster movie but there is a Mad Scientist and several of our old friends from earlier Universal Monster Movies do show up.  It’s basically a tour de force for Claude Rains (or rather his voice). I give it my seal of approval.  Good stuff.

Universal Classic Monster Movies – An OCF Classic Movie Review – Part 5 – The Mummy

Re-posted from October 2017

So far in this review, I have gone over the “Big Three” of the Classic Monster class.  Dracula, Frankenstein and the Wolfman coexisted in a European setting even showing up in each other’ movies.  Very cozy.  Maybe almost too much of a good thing.  I mean after you have the Daughter of Dracula and the Bride and the Son of Frankenstein what’s left, the Wolfman’s Gardener’s Chiropractor?  It would almost be a relief to escape from foggy, chilly Central Europe and head for a warmer and dryer climate.

Egypt?

The Mummy presents an intersection of interesting subjects.  At the time, it was made (1932) less than 10 years had elapsed since the real-life discovery of Tutankhamen’s tomb and the golden artifacts it contained.  This discovery along with the supposed “Tutankhamen’s Curse” upon all those who desecrated his tomb re-invigorated the public’s interest in Egyptology.  Add to that the fascination with a strange and exotic world such as the Middle East would have presented to Westerners of a century ago.  And finally mix this together with a mythical love story to produce a strange fantasy to lure the public with.  And the movie was very popular, even in Britain, where the colonial setting was probably of interest.

The story goes like this.  A British archeological dig in Egypt uncovers an unspoiled burial site that contains a mummy that was not embalmed but rather buried alive.  Markings on the tomb warn any grave robbers that the occupant is a cursed individual and anyone who reads the  Scroll of Thoth will perish and unleash an undead horror on the world.  So of course, they read the scroll.  This activates the long dead mummy of Imhotep, the priest who was punished for trying to use the Scroll of Thoth to revivify his lover  Anck-es-en-Amon, the princess whose untimely death brought about this whole tragedy.  After driving one of the expedition mad and sending him to an early grave, Imhotep (played by our old friend Boris Karloff) escapes with the scroll and disappears.  Ten years later Helen Grosvenor, the daughter of one of the surviving expedition members, is discovered by Imhotep to be the reincarnated spirit of Anck-es-en-Amon.  By this time Imhotep has assumed the identity of a modern-day Egyptian named Ardath Bey.  He plans to ritually slay Helen, mummify her and use the Scroll of Thoth to revivify her and make her his bride.  Pretty creepy.

Helen’s friends and family attempting to foil this plot are laughably ineffective.  At the end it takes Helen’s returned memory as Anck-es-en-Amon to appeal to Isis (whose votary she was) to put a stop to the ritual murder.  Imhotep is blasted by divine intervention and everyone (who is still alive at this point) lives happily ever after.

One interesting addition to the cast is our old friend Edward Van Sloan as Dr. Muller.  In this movie his effectiveness is somewhere between the high competency of Van Helsing in Dracula and the incredible incompetence of Dr. Waldman in Frankenstein.  Let’s give him a B- in the Mummy for at least putting up a fight.

I’ve always enjoyed the Mummy.  But I limit myself to one viewing every ten years.  Let’s face it.  A Mummy, even one with a scroll that bestows the power of life and death isn’t that scary.  For all it’s flaws the 1990s reboot with Brendan Fraser has a lot more chills in it with man eating scarab beetles and a Mummy that revivifies himself by stealing organs from the living.  But the 1930s version is solid entertainment well worth seeing, at least once.

In Praise of Brevity

Warning:  What follows is profound.  Extinguish all smiles and assume an air of philosophical introspection.  It will probably help to slightly furrow your brow.

Polonius said that “brevity is the soul of wit.”  And since Polonius was a windbag I feel that I am in good company praising it.  Maybe it’s because of Amazon and the payouts on Kindle reads.  But for whatever the reason we live in the age of the mega-novel.  More than that, we live in the age of the endless book series.  Sometimes that’s a not a terrible thing.  I’ve been enjoying the Galaxy’s Edge series.  They’re a lot of fun.  But hand in hand with this emphasis on long novels, short stories have sort of disappeared.  I freely admit that statement is an exaggeration.  I’m currently reading a collection of short stories taking place in Larry Correia’s Monster Hunter universe.  There are short stories to be found.  But I can only imagine the meager income an author would earn if he limited his efforts to short stories.  I mean, what does Amazon pay an author if someone reads a ten-page short story?  Five cents?  You could see how that would limit grocery purchases.  So, I do not fault the authors who need to eat for gearing their output to the five hundred-page novel.  And the same goes for the series.  Characters that have proven popular are the obvious candidate for more success for an author.

But I want to throw my weight behind short stories.  A good short story is like a good poem.  It is concentrated creativity.  Without a doubt, Dickens or Tolstoy can create an epic creation of many hundreds of pages with a huge cast of characters that are lovingly depicted in amazing detail.  Reading this work is a feast of literary pleasures.  Without a doubt.  But if a master craftsman writes a short story barely two dozen pages long it can be a revelation.  Like some kind of minimalist sketch, he can use a few brush strokes to bring life to a story or a character.  And the effect can actually be more vivid than the grand epic.  Carefully done, the few words can resonate with the soul where the hundreds of thousands merely numb.

I love short stories.  Let me clarify.  I love really well written short stories.  Edgar Allen Poe, James Joyce, Jack London, Kipling.  And in science fiction, Sturgeon, Ellison, Dick, Aldiss.  These authors have produced short stories that stand out as original and memorable.  They leave an impression on the mind that can be indelible.  And of course, not every short story they did is in that category.  But that’s okay.  It’s the exception that proves the rule.  After all it was Sturgeon’s Law that says that “90% of everything is crud.”

 

I’ll list a few of my favorite short stories.  If you feel like playing leave a few of yours in the comments.

To Build a Fire by Jack London

Counterparts by James Joyce

The Dead by James Joyce

And Now the News by Theodore Sturgeon

Universal Classic Monster Movies – An OCF Classic Movie Review – Part 4 – Wolfman

Re-posted from October 2017

 

Nowadays urban fantasy has gotten all highfalutin with a bunch  of flavors of wolf creatures.  There are werewolves and lycanthropes and loup garous and lycans and blutbaden and all other sub-categories of wolf metamorphosing humans.  Back in the day there were just werewolves.  And the most famous case was Larry Talbot.

Larry was a British ex-pat living in America.  He left home after a disagreement with his father.  His father was a titled Lord living on the family estate.  But when Larry’s older brother died it was time for the prodigal son to return and take up his family responsibility as the heir apparent.  As luck would have it, Larry’s arrival home coincided with the arrival of a troop of gypsies outside of the local village.  And it was at the gypsy camp that Larry would begin his personal exploration of nocturnal non-domestic canine/human feeding habits.  Larry is attacked by a werewolf who during the day is Bela the gypsy fortune teller (interestingly played by Bela Lugosi).  Bela wounds Larry but is himself killed by Larry using a silver headed walking stick.  The head of the stick is, of course, shaped like a wolf’s head.  Larry is carried back to his home where he survives his wound which heals in the shape of a pentagram (the sign of the werewolf!).  The killing of Bela becomes part of a police investigation and Larry is suspected but being a nobleman, he is not pestered by arrest or even having to appear before a magistrate.  The police inspector is forced to come visit him at the manor and all deference to his status maintained.  Meanwhile Larry is starting to feel funny and the next night he turns into a werewolf and goes on a killing spree.  After this he is desperate to believe that he is only suffering from nightmares and delusions but the evidence starts mounting up against him.  At one point during one of his nocturnal hunts, he is caught in a leg trap.  And here he is saved by Bela’s mother.  The old gypsy lady feels responsible for Larry’s plight and recites a spell over him that turns him back into a man and allows him to escape the trap.  Finally, Larry reaches the end point of his despair when he knows that his next victim is the woman he loves.  Luckily (sort of) his father manages to kill Larry with the same silver wolf headed walking stick that Larry used earlier for the same purpose.  So, the story ends on this somber scene of father looking down at the son he has just killed.  The gypsy woman recites her spell again and we’re supposed to realize that this was the merciful release and the best-case ending for poor Larry Talbot.

In terms of range of acting ability and style the Wolfman is probably the most varied of the Universal Classic Monster Movies.  On the one hand we have Claude Rains playing Lord Talbot, Larry’s father.  Rains is an excellent actor and also a very polished individual who easily can play a nobleman in a movie.  He was also rather short and slight of build.  Then there’s Lon Chaney Jr. as Larry.  Chaney was an indifferent actor and a very large and tall man with a booming rough voice.  He was more at home in a broad comedy such as the pictures he did at Universal with the comic duo Abbot and Costello.  In fact, he reprised his role as the Wolfman in the monster spoof, “Abbot and Costello Meet Frankenstein.”  It might be assumed that he would be out of his depth trying to portray a nobleman’s son but he plays the part as a self-made man who grew up in America and reflects the manners and outlook of his adoptive land.  He employs a working-class diction and style of speech and comes off as a personable individual with maybe a slightly hot temper.  The relation between father and son seems to be cordial, warm and in the spirit of a mutual rapprochement after a youthful revolt against parental authority.  Before the disaster occurs to Larry, the atmosphere is of a joyful family reunion.  So, these two actors almost exact opposites in appearance, acting style and talent level manage to do a convincing job of portraying themselves as family.

The other important portrayal is the old gypsy woman played by Maria Ouspenskaya.  Since her son Bela was a werewolf she understands Larry’s plight and realizes what his fate will be.  And being a gypsy of course she has witch-like powers (and a really cool accent).  When Larry needs to escape from his wolf form she could recite the following spell to revert him to human form.

“The way you walked was thorny, though no fault of your own, but as the rain enters the soil, the river enters the sea, so tears run to a predestined end. Now you will have peace for eternity.”

She is the coolest aspect of the movie and provides the atmosphere (along with the fog machine that must have been working overtime for this film) that allows you to think 20th Century England could be infested with werewolves and gypsies.

And finally, the other notable aspect of the movie is the tradition spawned of werewolves transforming during the full moon.  Or did it?  Actually, in this first Larry Talbot outing the full moon isn’t explicitly mentioned:

Even a man who is pure in heart

and says his prayers by night

may become a wolf when the wolfs bane blooms

and the autumn moon is bright.

Later they change the final line to “and the moon is full and bright.”  So here we can see that autumn and wolfs bane is part of the equation.  Maybe this restricts it to the Hunter’s or Harvest Moon.

So, do I like the Wolfman?  Only parts.  I like the beginning and I like the end.  But the middle where Larry is fretting over whether he is going crazy isn’t all that good.  So, I recommend seeing it at least once but it’s not my favorite for sure.

Universal Classic Monster Movies – An OCF Classic Movie Review – Part 3 – Frankenstein

Re-posted from October 2017

If Dracula is the King of Monsters, monster royalty as it were, then Frankenstein is the People’s Monster, the Monster of the Proletariat.  Everything about him is working class.  He is outsized and strong to make him an able worker.  His clothing is a workman’s suit.  He is dull, brutish, inarticulate and ugly.  He recognizes beauty and strives after it but is rejected by the beautiful people and chased away.  He is the ultimate step-son.

Mary Shelley wrote Frankenstein’s creation as the ultimate act of human hubris, to pretend to be God.  And the Monster punishes Dr. Frankenstein for putting him through Hell.

Okay, so that’s the meta-story, now let’s talk about the movie.

Universal released Frankenstein in 1931.  The cast is mostly contract character actors who appeared in most of the B-movies at Universal.  Even Dr. Frankenstein was played by a minor star Colin Clive.  And of course, the real star, the Monster is an anonymous question mark (?) in the opening credits.  Boris Karloff made his name with this movie.  And as opposed to Bela Lugosi’s eternal submergence into the part of Dracula, Karloff prospered as the go to monster player at Universal.

The story follows Dr. Frankenstein, first as he creates the Monster and later as the Monster attempts to destroy him.  During this we meet the doctor’s fiancée and his aged father “The Baron.”  And, of course, there is his lab assistant and part time grave robber Fritz.  The hunch-backed sadist (played by Dwight Frye, the same actor who was Renfield in Dracula by the way) is the archetype for every Igor act-alike henchman in every monster movie that ever followed.  And there are all those other memorable characters, the Burgomaster, little Maria the girl drowned in the pond, Maria’s father and of course Doctor Waldman played by Edward Van Sloan.  If you read the previous post in this series you may remember Van Sloan as the brilliant Dr. Van Helsing the scientist and vampire hunter.  In this movie unfortunately, he’s not quite as successful at monster eradication.  In perhaps the most inept example of obsessive compulsive behavior ever filmed, we witness Dr. Waldman bungle the job of monster euthanasia.  In the preceding scene the Monster, tired of being tormented by Fritz, hangs the hunch-back with a length of chain.  Drs. Waldman and Frankenstein immediately suss out the necessity of subduing the Monster before he carries forward this new policy of interpersonal simplification on them.  Working together they barely manage to tranquilize the Monster with a hypodermic before he could finish throttling Dr. Frankenstein with his bare hands.

Dr. Frankenstein, now convinced that his creature is too dangerous to live wants to put him down himself but his father and his fiancée arrive in time to interrupt the program.  Dr. Waldman convinces him to leave and assures him that the deed will be performed without delay.  So far so good, capable older scientist and biologist will dispatch the Monster with a good swift stroke to the carotid or the aorta or whatever, right?  Wrong.  We are about to witness film history.

The next scene opens on Dr. Waldman in operating room garb standing over the Monster lying on an operating table, seemingly unconscious.  Dr. Waldman fiddles with some scalpels, checks the Monster’s vitals and turns aside to make an entry in his journal!  I can’t recall the exact words but the paraphrase is something like, “sedation is becoming less and less effective, I must quickly euthanize him before he regains consciousness.”  Of course, as soon as he finishes this diary entry and turns back to the job at hand, the Monster awakes and breaks the good doctor’s neck.  What the hell!  I mean, come on!  Forget medical school, how did this guy get through middle school without a body guard?  Instead of putting him in charge of monster execution he should have been assigned to spittoon polishing back at the baronial estate of Papa Frankenstein.  What a loser.

Well, the story proceeds with the monster going on a killing spree that inexplicably leads him to Dr. Frankenstein’s location.  The Monster arrives just in time to disrupt the wedding and harass but for some unknown reason not kill the doctor’s fiancée.  Roused by this threat to his planned for wedded bliss, Dr. Frankenstein joins the village mob and follows the Monster’s trail back to the obligatory windmill.  Here the tables turn and the Monster kicks his creator’s butt and tosses him off the top of the windmill.  One of the windmill’s vanes breaks his fall and he is transported back to the manor.  The incensed mob sets fire to the mill and the last we see of the Monster he is trapped under a falling beam and surrounded by flame.

Miraculously the doctor makes a complete recovery and in the last scene the household staff are drinking a toast with the Baron to “a Son of the House of Frankenstein.”  Looking at sequels as children, this toast seems to have been amply fulfilled.

So, what’s my conclusion?  It’s incredible fun.  With so many semi-comical characters it’s hard not to take the movie for what it’s meant to be a wild fantasy.  And in that guise, it succeeds.  It even somehow cobbles together a happy ending which completely ignores the actual ending of the book.  The fact that the main characters are obviously British but are supposed to be a German noble family is inexplicable.  The fact that there are no legal or personal repercussions from the Doctor’s creation murdering so many friends and neighbors is equally unexplained.  But taken as a fairy tale it works.  Silly, yes.  Enjoyable, sure.  See it if you haven’t already.

Galaxy’s Edge (Volume 8) – Message for the Dead – A Science Fiction Book Review

Spoiler Alert!  I discuss some plot details.  If you don’t want to know, then long story, short, it’s another great addition to the Galaxy’s Edge series.  It’s full of daring heroics, brilliant battle scenes and fascinating characters trying to survive the downfall of the Galactic Republic.

Up until “Message for the Dead,” Jason Anspach and Nick Cole had made their series, Galaxy’s Edge about the conflict between the factions fighting for control of the Galactic Republic.  The Legion has attempted to maneuver in the military, moral and political space between the corrupt civilian government of the Republic (The House of Reason) and the active military enemies of the Republic represented by the zhee, the Mid Core Rebellion (MCR) and the Black Fleet Forces of Goth Sullus (now known as the Empire).  But by the conclusion of the previous volume (Turning Point) the Legion had used their constitutional authority to denounce the House of Reason, to force an investigation of their corruption and to call for new elections.  This looked like a step forward to resolving the crisis and allowing the Legion to concentrate on the external military threat.  Hah!

In Message for the Dead FUBAR is the order of the hour and all hell breaks loose.  The main battle scene in the space around the Republic’s capitol planet Utopion is a swirling cauldron of death for all the fighting forces, Republic Navy, Legion, Black Forces and the MCR.  But none of them are prepared for the arrival of the Cybar.  They are the biggest wild card in the battle and their allegiance is misunderstood by most of the combatants.

And in this book, we finally learn the depths of X’s duplicity.  He’s been using the Legion, the House of Reason and the Black Fleet as chess pieces in his own merciless campaign to reshape the Galaxy’s government through violent crisis.  We finally get to hear his specific plan and his self-justification from his own lips.

And in the foreground of the story is the Legion’s best soldiers, Victory Squad.  In various situations, they and their friends fight to save civilization from the predators and the tyrants.  But by the end of the story they are fighting just to stay alive.  At the beginning of the book Captain Keel recruits friends and even enemies to help him rescue his shipmates from the Cybar mother ship.  By the end of the book Keel is called on to repay the favor by rescuing Major Chun and all that is left of Victory Squad from the midst of a planetary extermination operation being perpetrated by the Cybar.

Well, now that Anspach and Cole have destroyed everything in sight I guess they’ll have to write about ten more books to try and put humpty-dumpty back together again.  These boys are really getting it done.  I read these books as fast as I get my hands on them.  They balance the story between the military action, science fiction elements and the human interest in the characters.  The sheer number of characters they create is impressive but the detail is there and that helps keep the reader’s interest from flagging.

Interestingly, the story is now introducing an aspect that seems to be an echo of older mythology.  It’s too early to tell but I think there is an almost Tolkienian plot element being introduced.  Of course, this is a guess on my part.  What has occurred is so far only a suggestion of a plot direction.  We’ll see.

Hail Galaxy’s Edge.  Long may you torture your legionnaires and my bank account.

Universal Classic Monster Movies – An OCF Classic Movie Review – Part 2 – Dracula

Re-posted from October 2017

 

Dracula is the King of Monsters.  He is obviously royalty.  He has all the trappings.  His castle, his formal evening attire, even his diction and good manners.  He is called Count Dracula in the Universal film but his legend descends from a real prince.  Vlad III (the Impaler) was ruler of Wallachia in present day Romania.  He was called Dracul (Dragon) for his defense of Christians against the Turks but his cruelty against just about anyone he came in contact with was legendary.  The legend of the vampire (nosferatu) is central European in origin and goes back very far into the imagination of primitive people huddling in the dimly lit hovels and fearing the long winter nights for all the real and imagined terrors that lurked right at their doorsteps.

Bram Stoker took this legacy and created a gothic novel that followed the conventions of his time and populated it with upper class British characters right down to the damsel in distress and the square jawed leading man ready to save her from a fate literally worse than death.  It cried out for a stage adaption and of course it got it.  And then some.  Several productions were launched and in 1927 a company opened the play in the United States.  And interestingly enough three of the lead male parts reprised their roles in the Universal film, Bela Lugosi as Dracula, Edward van Sloan as Dr. Van Helsing and Herbert Bunston as Dr. Seward.

Let’s now look at the film.  What are its chief characteristics?  It’s an early talkie.  The sound is not perfect.  Whether an artifact of the age of the prints used or of the original production there is considerable background noise.  The sets for the most part are the studio versions of city streets and upper class drawing rooms.  The sets used for the village and castle in Transylvania are unconvincing but highly evocative.  My one pet peeve with Castle Dracula is that while showing all the creatures crawling around in the cellar we are given a good look at some armadillos.  These are New World creatures and what they would be doing in central Europe is very hard to imagine.  The set for Carfax Abbey is equally entertaining and in fact is probably built on the set for Castle Dracula used earlier.

With respect to the actors, they are exaggeratedly and understandably stagey.  After all, most of them were stage actors.  They exaggerate their words and gestures to such an extent that sometimes it appears to a modern audience as parody.  This is probably the result of both the stage and silent film legacy of most of the cast.  Probably the most entertaining performance is given by the Cockney Orderly who watches over the madman Renfield.  He is an exaggerated lower-class everyman who adds comic relief and a really terrible accent to the film.

And finally the special effects.  At one point, Renfield looks out the window of the stage coach he is travelling in to Castle Dracula and sees a bat flying above the horses.  It is hard to minimize how laughably pathetic it looks to anyone used to the magic that CGI can perform today.  I think the strings are actually visible, but maybe it was just my scornful imagination.  There is at least one more bat flyby in the film and it doesn’t improve over the first.  ‘Nuff said.

Okay, now I’ve run down everything about the film.  It sounds like a hot steaming mess.

 

Well, it is and it isn’t.  All that I’ve said is true.  But it still remains an entertaining experience.  It is a time capsule of what our great grandparents looked on as theater.  The British basis of what was considered civilized and urbane is on display.  And you can see the tension between reason and science on the one hand and the instinctual and irrational forces at work in the universe.  And it’s interesting to note how young women are the weak point in the rational structure being undermined by the powers of darkness.  Really the story isn’t that different from our own morality tales about the dissolution of the world of light into the abyss.  It’s only different in that it has a happy ending.  Today the forces of darkness would win and we would cheer them because of how cool they dress.  And the characters get to mouth some very entertaining lines.  In one exchange between the main protagonists Dracula declares in his best Transylvanian English, “You are wise for one who has not lived even one lifetime, Van Helsing.”  For me that’s worth the price of admittance right there.

Universal Classic Monster Movies – An OCF Classic Movie Review – Part 1

Re-Posted from October 2017

 

A friend of mine at work is a movie fan.  But being a Gen X aged guy he hasn’t been exposed to the full gamut of classic Hollywood films from the ‘30s and ‘40s.  Recently he’s begun a systematic review of these films.  For instance, he just finished up an exhaustive viewing of all Alfred Hitchcock’s films in chronological order.  He even watched the early silent films Hitchcock made.  Now that is dedication.  On the whole he seemed impressed by Hitchcock’s body of work.  While he recognized weaker efforts he also felt that Hitchcock was an extremely competent craftsman who produced quality work.  And he noted that Hitchcock innovated over the course of his career and broke new ground in several ways.  He did chide him for birthing the slasher films with Psycho.  But all in all he was a great director.

This month he started on a smaller project.  He’s watching the Universal Classic Monster films.  He just finished up on Dracula, Frankenstein and the Bride of Frankenstein.  When I spoke to him he was surprised and disappointed at what he judged a lack of quality.  I told him I predicted he’d really be shocked once he’d watched the Wolfman.  He is soldiering on but I could see he was let down.

After my comment, my friend questioned whether I disliked the Universal series.  I told him I have a fondness for them but have no illusions about the artistry they represent.  My exact words were, “Peter, they were made to scare children and simple people.  They were wildly successful at doing this.  And if you watch them in the right frame of mind they still can entertain.”  I’m not sure if I convinced him but it got me thinking about what those movies could say to an audience today.

First off, let’s see how they do with today’s kids.  I have a 13-year-old grandson who has been fed a steady dose of these films from about the time he was five.  Now, they may have become tame fare for him now but he still likes watching them.  He probably recognizes the relation to such modern fixtures as the Count on Sesame Street and Hotel Transylvania.  And basically kids are still kids and monsters are great fun for kids.  So, one audience still exists for these movies.

For those of us who grew up watching these movies their charm although thinned by use still survives.  They’re like old relations who diminish in importance as we grow up but still are fondly regarded and maintain an association in our minds with the happiness of childhood (if your childhood was happy).  This audience is shrinking but is still a large population.

And finally, there are those who are fans of all things fantastic.  If you are a SF&F fan then how can you not, at least, have a curiosity about the origin of all those First Blood and Underworld stories?  Sure, the 1930’s models were vastly less cool, what with their crosses and holy water, but even if just from an historical perspective, they should be viewed and discussed.

Being solidly in the second and third camps I feel entitled to give my opinion.  And that’s what I’ll do.  I’ll plow through the canon and give the pluses and minuses as honestly and objectively as I can.  It should be fun.  Stay tuned.

My Annual Halloween Celebration

Lichen on Monument
The Raven is a Wicked Bird

 

Halloween was always one of my favorite holidays as a kid and in my heart of hearts I haven’t really progressed far from that.  I guess I’m not a progressive.  So here is the advantage to being in business for more than a year.  The calendar allows you to recycle stuff you did last year.  I did movie reviews of the Universal Classic Monster Movies and a few other related films last year and I’ll recycle them around for the Halloween season.  And I’ll add some additional films to avoid the label of laziness.  I’ll also try to find some other Halloween content.  I guess Ray Bradbury’s “Something Wicked This Way Comes” is sort of the quintessential American story for this time of year.  But there are all kinds of other stuff out there from Poe to (yikes) Lovecraft to even that lefty doofus Stephen King.  So stay tuned and I’ll start cycling those in.

 

 

Galaxy’s Edge (Volume 7) – Turning Point – A Science Fiction Book Review

Legionnaire (Galaxy’s Edge) (Volume 1) by Jason Anspach & Nick Cole – A Science Fiction Book Review

(Above is the review of the first book of the series)

Followers of my reviews of Jason Anspach’s and Nick Cole’s Galaxy’s Edge series know I am an avid fan.  Each volume has expanded the scope and depth of the imaginary universe that Galaxy’s Edge inhabits.  But “Turning Point” represents a sea change in the story.  It literally represents the turning point of the war.  For whereas each volume has included heroic resistance by the Legion to the enemies of the Republic, the corrupt regime of the House of Reason has always had free rein to sabotage every effort to save the Galaxy from its many enemies.  But in this episode, the mask is off and the Legion is unleashed to fight war as war should be fought, on equal terms.  To fight a treacherous foe without quarter and pay back sadistic evil with a merciless reckoning.  How sweet it is.

The story revolves around the decision by the House of Reason to arm the barbaric zhee with cutting edge weaponry and ships.  These fictional zhee are modelled after Islamic jihadis and they have a propensity for suicide bombings and decapitations that immediately reminds the reader of the Al Qaeda maniacs hiding out in the slums of Baghdad waiting for a chance to ambush any unlucky American soldiers guarding the Green Zone or manning a Forward Operating Base (FOB).  The other bizarre touch is that the zhee have donkey heads.  Now maybe this is the authors’ idea of political humor but it is truly a weird image for me.

The House of Reason is playing some kind of three-dimensional chess where they use the Black Fleet or the zhee to weaken the Legion so that the House can maintain control of the Galaxy even if it risks one of these enemies threatening to destroy the Republic itself.

In several of the earlier volumes there have been memorable battles portrayed, especially in Attack of Shadows and Legionnaire.  But Turning Point brings it to a new level.  Several new characters are very memorable but it’s the action that stays with you.  The set up is dire and just to make sure things don’t get easier there is treachery at the highest levels.  And the zhee are so despicable it’s hard to not enjoy every single gore-flinging kill.  The struggles, reversals, heroic sacrifices and exhausted victories keep your attention right to the end of the book.

And finally, the end of the book is a catharsis that the readers have been waiting for since book one of the series.  I won’t spoil it by giving details but I will say that the writers have given the readers what they needed and deserved, revenge.

Anspach and Cole have justified my loyalty through the whole series and now I’ll continue on to (!) Book Eight?  Sure, why not?  How many modern science fiction series not only provide fantastic mil-sci-fi action but also make fun of Progressives, the Deep State, Democrats and Al Qaeda all at the same time?  Not many that I know of.  So, in the words of the Legion, KTF and Ooah!