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The Stars My Destination |
Alfred Bester |
The basis of Alfred Bester’s The Stars My Destination is jaunting, a form of teleportation. It’s not a technology that has been developed though; it is the human mind that has found the ability to move people hundreds of miles (pg 11):
Any man was capable of jaunting provided he developed two faculties, visualization and concentration. He had to visualize completely and precisely, the spot to which he desired to teleport himself; and he had to concentrate the latent energy of his mind into a single thrust to get him there. Above all, he had to have faith … The slightest doubt would block the mind-thrust necessary for teleportation.
The limitations with which every man is born necessarily limited the ability to jaunte. Some could visualize magnificently and set the co-ordinates of their destination with precision, but lacked the power to get there. Others had the power but could not, so to speak, see where they were jaunting. And space set a final limitation, for no man had ever jaunted further than a thousand miles. He could work his way in jaunting jumps over land and water from Nome to Mexico, but no jump could exceed a thousand miles.
This, you can imagine, disrupts society. Bester, at length, expounds (pg 13):
But within three generations the entire solar system was on the jaunte. The transition was more spectacular than the change-over from horse and buggy to gasoline age five centuries before. On three planets and eight satellites, social, legal, and economic structures crashed while the new customs and laws demanded by universal jaunting mushroomed in their place.
There were land riots as the jaunting poor deserted slums to squat in plains and forests, raiding the livestock and wildlife. There was a revolution in home and office building: labyrinths and masking devices had to be introduced to prevent unlawful entry by jaunting. There were crashes and panics and strikes and famines as pre-jaunte industries failed.
Plagues and pandemics raged as jaunting vagrants carried disease and vermin into defenseless countries. Malaria, elephantiasis, and the breakbone fever came north to Greenland; rabies returned to England after an absence of three hundred years. The Japanese beetle, the citrus scale, the chestnut blight, and the elm borer spread to every corner of the world, and from one forgotten pesthole in Borneo, leprosy, long imagined extinct, reappeared.
Crime waves swept the planets and satellites as their underworlds took to jaunting with the night around the clock, and there were brutalities as the police fought them without quarter. There came a hideous return to the worst prudery of Victorianism as society fought the sexual and moral dangers of jaunting with protocol and taboo. A cruel vicious war broke out between the Inner Planets - Venus, Terra, and Mars - and the Outer Satellites … a war brought on by the economic and political pressures of teleportation.
Until the Jaunte Age dawned, the three Inner Planets (and the Moon)had lived in delicate economic balance with the seven inhabited Outer Satellites: Io, Europa, Ganymede, and Callisto of Jupiter; Rhea and Titan of Saturn; and Lassell of Neptune. The United Outer Satellites supplied raw materials for the Inner Planets’ manufactories, and a market for their finished goods. Within a decade this balance was destroyed by jaunting.
The Outer Satellites, raw young worlds in the making, had bought 70 per cent of the I.P. transportation production. Jaunting ended that. They had bought 90 per cent of the I.P. communications production. Jaunting ended that too. In consequence I.P. purchase of O.S. raw materials fell off.
With trade exchange destroyed it was inevitable that the economic war would degenerate into a shooting war. Inner Planets’ cartels refused to ship manufacturing equipment to the Outer Satellites, attempting to protect themselves against competition. The O.S. confiscated the plants already in operation on their worlds, broke patent agreements, ignored royalty obligations … and the war was on.
It was an age of freaks, monsters, and grotesques. All the world was misshapen in marvelous and malevolent ways. The Classicists and Romantics who hated it were unaware of the potential greatness of the twenty-fifth century. They were blind to a cold fact of evolution … that progress stems from the clashing merger of antagonistic extremes, out of the marriage of pinnacle freak. Classicists and Romantics alike were unaware that the Solar System was trembling on the verge of a human explosion that would transform man and make him the master of the universe.
I appreciated how persistent Bester is in explaining how disruptive jaunting is. For instance, take this paragraph on its effect on labor (pg 37):
Laborers in heavy work clothes, still spattered with snow, were on their way south to their homes after a shift in the north woods. Fifty white clad dairy clerks were headed west toward St. Louis. They followed the morning from the Eastern Time Zone to the Pacific Zone. And from eastern Greenland, where it was already noon, a horde of white-collar office workers was pouring into New York for their lunch hour.
The reader could easily throw this paragraph away if he or she was just following the story. Bester is committed to the concept though. He even applies it to a class of people who are routinely ignored in literature and society in general. As he explains, "Jack-jaunting" gives opportunity to the underclass (pg 129):
The jaunting age had crystallized the hoboes, tramps, and vagabonds of the world into a new class. They followed the night from east to west, always in darkness, always in search of loot, the leavings of disaster, carrion. If earthquake shattered a warehouse, they were jacking it the following night. If fire opened a house or explosion split the defenses of a shop, they jaunted in and scavenged. They called themselves Jack-jaunters. They were jackals.
As Bester explained at length earlier, jaunting renders many technologies obsolete. Using that technology - essentially being wasteful - is a sign of wealth (pg 42):
Devoted to the principle of conspicuous waste, on which all society is based, Presteign of Presteign had fitted his Victorian mansion in Central Park with elevators, house phones, dumb-waiters and all the other labor-saving devices which jaunting had made obsolete. The servants in that giant gingerbread castle walked dutifully from room to room, opening and closing doors, and climbing stairs.
Presteign of Presteign arose, dressed with the aid of his valet and barber, descended to the morning room with the aid of an elevator, and breakfasted, assisted by a butler, footman, and waitresses. He left the morning room and entered his study. In an age when communication systems were virtually extinct - when it was far easier to jaunte directly a man’s office for a discussion than to telephone or telegraph - Presteign still maintained an antique telephone switchboard with an operator in his study.
I love his description of the rich and powerful arriving at a party. They are almost like hipsters in their love of retro (pg 162):
The sightseers buzzed and exclaimed as the famous and near-famous of clan and sept arrived by car, by coach, by litter, by every form of luxurious transportation. Presteign of Presteign himself stood before the door, iron gray, handsome, smiling his basilisk smile, and welcomed society to his open house. Hardly had a celebrity stepped through the door and disappeared behind the screen when another, even more famous, came clattering up in a vehicle more fabulous.
The Colas arrived in a band wagon. The Esso family (six sons, three daughters) was magnificent in a glass-topped Greyhound bus. But Greyhound arrived (in an Edison electric runabout) hard on their heels and there was much laughter and chaffing at the door. But when Edison of Westinghouse dismounted from his Esso-fueled gasoline buggy, completing the circle, the laughter on the steps turned into a roar.
Bester links jaunting to interplanetary war, economic upheaval, and societal regression, and still takes the time to note that AAA and the DMV have evolved into jaunting classification bureaus.
Bester throws a lot of sci-fi concepts at the reader. There’s jaunting, planetary colonization, corporate power and disloyalty, and solar war. But there’s also Foyle’s lethal body enhancements, a staple of science fiction. It is partially revealed that less dangerous body modifications are, if not common, known by society and attained by some people. Robin Wednesbury is a (one-way) telepath. Sigurd is a very powerful child telepath on Mars. The Skoptsy cult willingly remove all sensory nerves. Saul Dagenham uses “Nightmare theater” to torture Foyle. Some of the concepts seemed gratuitous. Some of them felt too convenient. Then again the story takes place in the twenty-fifth century. Bester deserves credit for not just transferring the 1950s to the 2450s.
The one concept omitted above is the driver of Foyle’s opposition. PyrE is the reason Foyle is being chased (pg 216):
“PyrE is a pyrophoric alloy. A pyrophore is a metal which emits sparks when scraped or struck. PyrE emits energy, which is why E, the energy symbol, was added to the prefix Pyr. PyrE is a solid solution of transplutonian isotopes, releasing thermonuclear energy on the order of stellar Phoenix action. Its discoverer was of the opinion that he had produced the equivalent of the primordial protomatter which exploded the Universe. “
“My God!” Jisbella exclaimed.
Dagenham silenced her with a gesture and bent over Presteign. “How is it brought to critical mass, Presteign? How is the energy release?”
“As the original energy was generated in the beginning of time,” Presteign droned. “Through Will and Idea.”
“I’m convinced he’s a Cellar Christian,” Dagenham muttered to Y’ang-Yeovil. He raised his voice. “Will you explain, Presteign?”
“Through Will and Idea,” Presteign repeated. “PyrE can only be exploded by psychokinesis. Its energy can only be released by thought. It must be willed to explode and the thought directed at it. That is the only way.”
“There’s no key? No formula?”
“No. Only Will and Idea are necessary.” The glazed eyes closed.
“God in heaven!” Dagenham mopped his brow. “Will this give the Outer Satellites pause, Yeovil?”
“It’ll give us all pause.”
“It’s the road to hell,” Jisbella said.
Through most of this book I found myself asking “What is happening?” and, more curiously, “Why is it happening?” We open with Gully Foyle, who has been floating in a storage locker in the wreckage of the Nomad for six months. Our protagonist is described as
A man of physical strength and intellectual potential stunted by lack of ambition. Energizes at minimum. The stereotype Common Man. Some unexpected shock might possibly awaken him, but Psych cannot find the key. Not recommended for promotion. Has reached a dead end.
When the Vorga comes upon his distress signal and declines to pick him up, Foyle’s ambition, in a word, energizes. What follows is a mad quest for revenge against the people responsible for leaving Foyle to die in deep space. This “dead end” jury-rigs the Nomad’s propulsion system to send him somewhere, anywhere. He’s picked up by a forgotten cult living on an asteroid. The wife assigned to him is not enough to keep him from escaping, despite six months in a storage locker. He leaves her, nearly destroying the asteroid, but takes a horrible facial tattoo. His single-mindedness is noteworthy.
Foyle learns to jaunte at a rehabilitation hospital in New York City under the tutelage of Robin Wednesbury. He quickly launches an attack, but he isn’t sophisticated enough. For one, he targets the actual ship instead of the crew or the owners. He’s captured, but kept alive because Nomad was carrying valuable cargo. Things get weirder. He’s sent to a subterranean prison in France, but escapes - or rather, is allowed to escape - with the help of a fellow prisoner, Jisbella. Gully finds the asteroid, the Nomad, and its loot. For Foyle to continue at this point seems mad. He’s just found millions of credits worth of platinum. The best revenge, they say, is living well. He should buy himself a life of luxury as repayment.
Instead Foyle resurfaces as Geoffrey Fourmyle, the owner of an outlandish circus. The money he obtained on the Nomad paid for a body modification that allows him to turn ultra-fast and ultra-lethal. It also buys him into high society where he looks for the people responsible for his abandonment. Each time he tracks down another link in the chain, the link is mysteriously killed. More confusingly, each time a major event happens in his quest, he sees - not hallucinates - a burning image of himself. All the while, the businessman Presteign and his hired gun Dagenham, the lawyer Sheffield, and the intelligence agent Y'ang-Yeovil continue to search for him.
The whole time I kept asking myself, “for this?” Is this really all about revenge? His hunters’ motives are just as perplexing. They are keeping him alive because of the cargo Nomad was carrying. “PyrE” is a supposedly dangerous compound, but no one can explain what it does. Without explanation, I was left wondering if this story was worth a novel, let alone a novel listed on top sci-fi lists.
When the revelations come, they hit hard. They are worth the earlier confusion. It’s worth not reading if you don’t want spoilers. PyrE is insanely dangerous. Foyle finds out he knows how to space-jaunte and hops across the galaxy. The burning man is Foyle jaunting through time. Foyle’s senses get crossed so that he sees sound and hears light. It is simply an amazing few pages as Bester describes what is happening to Foyle.
And after all of this, another revelation. Foyle has a change of heart. He regrets his vengeful attacks. Given the lengths he went and the people he rolled over to get revenge, this makes sense. He realizes the damage he’s done with his crazed quest. It was a quest for control. He then takes a mental leap in applying this lesson to his opponents. He sees that same lust for control in people like Presteign, his daughter Olivia, Sheffield, and Dagenham. Men like Gully Foyle - “the stereotype Common Man” - were the will of men like Geoffrey Fourmyle. He doesn’t want any more common men. (pg 225)
“No. I believe in them. I was one of them before I turned tiger. They can all turn uncommon if they’re kicked awake like I was.”
And:
“Stop treating them like children and they’ll stop behaving like children.Explain the loaded gun to them. Bring it all out into the open.” Foyle laughed savagely. “I’ve ended the last star-chamber conference in the world. I’ve blown the last secret wide open. No more secrets from now on. … No more telling the children what’s best for them to know. … Let ‘em all grow up. It’s about time.”
“Christ, he is insane.”
“Am I? I’ve handed life and death back to the people who do the living and dying. The common man’s been whipped and led long enough by driven men like us. … Compulsive men … Tiger men who can’t help lashing the world before them. We’re all tigers, the three of us, but who the hell are we to make decisions for the world just because we’re compulsive? Let the world make its own choice between life and death. Why should we be saddled with the responsibility?”
So he releases knowledge of PyrE and space-jaunting to the public. It will force the common man into being uncommon. In effect, Foyle is forcing another step in human evolution. It will now be a necessity to be what Foyle is. The Dagenhams and Yeovils of the world will not be able to control it all (whether they used to do it for greed, patriotism, or paternalism). “Then let them learn or die. We’re all in this together. Let’s live together or die together.”
It’s a surprising turn.
Some other quotes I liked:
On fear (pg 61):
Every child in the world imagines that its phantasy world is unique to itself. Psychiatry knows that the joys and terrors of private phantasies are a common heritage shared by all mankind. Fears, guilts, terrors, and shames could be interchanged, from one man to the next, and none would notice the difference. The therapy department at Combined Hospital had recorded thousands of emotional tapes and boiled them down to one all-inclusive all-terrifying performance in Nightmare Theater.
Religion is outlawed (pg 145):
“Cellar Christians!” Foyle exclaimed. He and Robin peered through the window. Thirty worshippers of assorted faiths were celebrating the New Year with a combined and highly illegal service. The twenty-fifth century had not yet abolished God, but it had abolished organized religion.
Something from the inside (pg 188):
Dagenham smiled. “Yes, no matter how we defend ourselves against the outside we’re always licked by something from the inside. There’s no defense against betrayal, and we all betrayal ourselves.”
Revenge (pg 194):
Revenge is for dreams ... never for reality.
And I just like his description of the land looking like corduroy (pg 228):
In Texas, where Prof. John Mantley had had the same baffling experience with PyrE, most of the residues had gone down the shaft of an exhausted oil well which was also used to accommodate radioactive wastes. A deep water table had absorbed much of the matter and spread it slowly over an area of some ten square miles. Ten square miles of Texas flats shook themselves into corduroy. A vast untapped deposit of natural gas at last found a vent and came shrieking up to the surface where sparks from flying stones ignited it into a roaring torch, two hundred feet high.
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258 pages |
| 0-679-76780-0 |
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This product was released around 1956
by Vintage
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I consumed this around March 2012 |
| More:
The Stars My Destination |
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Posted by: Jeff Egnaczyk at: 3/24/2013 10:47:57 PM |
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Another Bullshit Night in Suck City |
Nick Flynn |
I was turned off from memoirs after reading Augusten Burroughs’ Running with Scissors. I wasn’t sure why the life-story of an alcoholic writer with a messed up family was worth my time. It felt like a long string of glorified bad decisions. Nick Flynn’s memoir, Another Bullshit Night in Suck City, fell into the same category, but it had a catchy title so I gave it a shot anyway.
The book chronicles two timelines that eventually merge - Nick’s life, from birth to now, and his father Jonathan’s life from, marrying Nick’s mother to the present. Nick relays his father’s stories with scepticism. His father, we are lead to believe, is a phony. He cashes phony checks and he writes phony novels. He exaggerates his illnesses and his importance in the world.
As an adult, working at the Pine Street Inn homeless shelter in Boston, Nick crosses paths with his father. Jonathan is on the edge of homelessness, with some mental illness dogging him as he ages. Eventually he ends up on the street, always potentially right around the corner from his son.
They are in the same city, but Nick does not take him in. While his seldom mentioned brother has disavowed his father, it’s clear that Nick holds guilt for his own inaction. He is torn between wanting to help his biological father and wanting to ignore the father who was never a father. As the story progresses, it becomes evident that the contact the son has with the father is not all coincidental. Flynn could have left Boston. He could have found a new job. He didn’t have to help out a man he had little connection to. By the end of the story he openly wonders why he’s sticking around, making excuses to see his father.
It’s curiosity that keeps him around. But it’s not as simple as someone wanting to know who his father is. Nick wants to find out if who his father - as described in numerous letters the latter has written to him - is really who his father is. Are all the letters about the novel Jonathan is writing truthful? Are the stories of his past to be believed? The reader shares Nick’s scepticism because his father comes off as a liar, or maybe a braggart, or a charlatan. The funny thing is, some of it ends up being true in the end. Some of his backstory checks out. He was writing a novel but, given how his life plays out in his later years, mental illness might have derailed any chance of completing it. And so maybe his troubles with the law weren’t all his fault. Maybe, despite consistently failing to produce, he really meant to write that novel.
Nick still seems a little weary of his father. But Jonathan is at least inside at the time of publication. Honestly, I had assumed the story would end at the man’s death. But he’s still alive. Ultimately, what set this apart from Running With Scissors is that I felt Nick Flynn’s quest had some value to it. He was reckless and he was a drunk, but his story seemed to have a deeper purpose. His words and actions and motives seemed sincere. And maybe most importantly he examined himself in the process. He may not have known it when it was happening but by the time he was writing his memoir he saw the similarities in the mistakes both men had made in life. |
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355 pages |
| 978-0-393-32940-7 |
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This product was released around September 2004
by Norton
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I consumed this around February 2013 |
| More:
Another Bullshit Night in Suck City |
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Posted by: Jeff Egnaczyk at: 2/20/2013 9:07:01 PM |
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The Day of the Triffids |
John Wyndham |
If you thought The Walking Dead stole from 28 Days Later or vice versa, you haven’t heard the story of Bill Masen. Masen was temporarily blinded by a “triffid”, a recently discovered carnivorous plant that disables its prey with poison lashes. As he laid in the hospital the world watched an amazing meteor shower. The next day all of the watchers woke up permanently blinded by the green light emitted from the meteors. Some, like Masen, fortunately avoided the meteor shower and retained their sight.
As humans attempt to survive without their sense of sight, the triffids slowly take control of the world. With sight humans easily controlled and exploited the triffids. Without sight the scales are evened. The triffids are blind, but they’re naturally blind and so better adapted to live without sight. They are still not as intelligent as humans, but their ability to move and poison their prey allows them to slowly control most of Masen’s England over the novel’s 6 year time span. The triffids are like zombies in some respects. They are described as “indefatigable”, which is the zombie’s most important characteristic if you go by Max Brooks’ The Zombie Survival Guide. But they also have the ability to learn. Even before the apocalypse they were known to hide near areas that humans frequented in order to attack them. Masen observes what looks like inter-triffid communication during his time working with them. Post-apocalypse, the survivors see the triffids learn how to avoid attacks. Their ability to learn human patterns combined with humanity losing its most important sense makes the situation even more precarious than the zombie apocalypse.
Bill is advantaged by his sight, but also coveted by those who lack it. He mentions that he is “hiding from them even while I moved among them.” (pg 49) and worries that helping any number of the blind would put him in a “leader-cum-prisoner-role” (pg 56). It’s interesting that after society breaks down, those with advantages are even more conspicuous and sought after.
The Day of the Triffids is unique in the field of post-apocalyptic novels (that I’ve read) in that it tackles the question of loneliness. While searching from the group he was split from, Masen notes the crush of isolation on the human psyche:
Until then I had always thought of loneliness as something negative - the absence of company, and, of course, something temporary … That day I had learned that it was much more. It was something which could press and oppress, could distort the ordinary and play tricks with the mind. Something which lurked inimically all around, stretching the nerves and twanging them with alarms, never letting one forget that there was no one to help, no one to care. It showed one as an atom adrift in vastness, and it waited all the time its chance to frighten and frighten horribly - that was what loneliness was really trying to do; and that was what one must never let it do...
To deprive a gregarious creature of companionship is to maim it, to outrage its nature. The prisoner and the cenobite are aware that the herd exists beyond their exile; they are an aspect of it. But when the herd no longer exists, there is, for the herd creature, no longer entity. He is part of no whole, a freak without a place. If he cannot hold onto his reason, then he is lost indeed: most utterly and most fearfully lost, so that he becomes no more than the twitch in the limb of a corpse.
The idea of loneliness is always there, but rarely articulated, in post-apocalypse stories. On a subconscious level I submit that it is something that is somewhat desirable to the reader. It’s like the times you were a kid and envisioned all the fun you would have if you were locked in the mall for a night. The world is yours to explore. The pre-existing conditions that were placed on your life at birth are gone. Masen admits as much to himself over a drink (pg 46):
Perhaps it had needed that blow to drive it home. Now I came face to face with the fact that my existence simply had no focus any longer. My way of life, my plans, ambitions, every expectation I had had, they were all wiped out at a stroke, along with the conditions that had formed them. I suppose that had I had any relatives or close attachments to mourn I should have felt suicidally derelict at that moment. But what had seemed at times a rather empty existence turned out now to be lucky. My mother and father were dead,m y one attempt to marry had miscarried some years before, and there was no particular person dependent on me. And, curiously, what I found that I did feel - with a consciousness that it was against what I ought to be feeling - was release …
It wasn’t just the brandy, for it persisted. I think it may have come from the sense of facing something quite fresh and new to me. All the old problems, the stale ones, both personal and general, had been solved by one mighty slash. Heaven alone knew as yet what others might arise - and it looked as though there would be plenty of them - but they would be new. I was emerging as my own master, and no longer a cog. It might well be a world full of horrors and dangers that I should have to face, but I could take my own steps to deal with it - I would no longer be shoved hither and thither by forces and interests that I neither understood nor cared about.
No, it wasn’t altogether the brandy, for even now, years afterward, I can still feel something of it - though possibly the brandy did oversimplify things a little just then.
Then there was, too, the little question of what to do next: how and where to start on this new life. But I did not let that worry me a lot for the present. I drank up and went out of the hotel to see what this strange world had to offer.
Secretly we want this challenge. That, I think, is why post-apocalyptic novels hold so much appeal. If we were in that situation, we would thrive instead of middling through the civilized world. What motivation we lack in real life would be forced upon us at the end of the world. This “world that [seems] so safe and certain” (pg 93) has dulled our sense of adventure, and only the greatest of shocks will awaken it. In short, we’re bored here.
But I suspect most of us would beg to come running back to our safe lives very quickly after the apocalypse. Most of us don’t know - but would find out quite soon - how much of our daily lives we take for granted. In an advanced society we simply don’t know how much of the basics of life are brought to us. The market economy that had a part in making the West so wealthy is predicated on specialization. We have accountants, actors, bureaucrats, clerks, and sales people whose white collar jobs aren’t necessary in this new world. But even the manual laborers are specialized. Does the construction worker know how to grow food? Can the coal miner fire a gun? Maybe the owner of a small farm is self-sufficient, but as the farm grows the farmer will need more specialized help to manage the scale of his operation. Masen compares the two realities he has known (pg 46):
It is not easy to think oneself back to the outlook of those days. We have to be more self-reliant now. But then there was so much routine, things were so interlinked. Each one of us so steadily did his little part in the right place that it was easy to mistake habit and custom for the natural law - and all the more disturbing, therefore, when the routine was in any way upset.
When almost half a lifetime has been spent in one conception of order, reorientation is no five-minute business. Looking back at the shape of things then, the amount we did not know and did not care to know about our daily lives is not only astonishing but somehow a bit shocking. I knew practically nothing, for instance, of such ordinary things as how my food reached me, where the fresh water came from, how the clothes I wore were woven and made, how the drainage of cities kept them healthy. Our life had become a complexity of specialists, all attending to their own jobs with more or less efficiency and expecting others to do the same. That made it incredible to me, therefore, that complete disorganization could have overtaken the hospital. Somebody somewhere, I was sure, must have it in hand - unfortunately it was a somebody who had forgotten all about Room 48.
Civilization has built up a baseline of services that simply won’t exist and infrastructure that will crumble in this new world. It is more so today, but even in Wyndham’s 1950 London it was certainly true. Fellow sighted survivor, Coker, fears that beyond the physical, humanity will lose the ability to think. As it reverts to having to toil for everything, it will no longer have leisure time to philosophize or develop new technology. As the triffids isolate different survivor groups behind hastily constructed fences on farms across the countryside or within ad hoc city walls, the national identity of Great Britain will break down, leading to a more tribalistic society, with the ideals of democracy and equality falling by the wayside.
People will have a hard time giving up what they lost. Holding onto the past though, is dangerous. False hope stops people from planning for the future in their new, tougher reality. It reminds me of The Road where “the man” has trouble forgetting his wife and the life he used to have. Eventually he had to let it go, pushing his wedding ring off a bridge to symbolically move on. In order to protect his son he had to forget his old way of life. Masen is able to move on quicker than most, but he still has some reservations. Seeing Josella in a dress, watching London decay, and driving past fields as they fall into disarray brings about short bouts of wistful longing. In general though, he’s able to acclimate to the end of the world (pg 201):
“Don’t you still feel sometimes that if you were to close your eyes for a bit you might open them again to find it all as it was, Bill? … I do.”
“Not often now,” I told her. “But I’ve had to see so much more of it than you have. All the same, sometimes - “
An apocalyptic world is awful. It’s even worse when compared to what the world used to be. It will take determination to survive. Dreaming of the past is exactly the type of activity that will sap a person’s will power (pg 95):
“Self-pity and a sense of high tragedy are going to build nothing at all. So we had better throw them out at once, for it is builders that we must become.”
People didn’t prepare because “it couldn’t happen here”, and when it did it was shocking (pg 93):
“You know, one of the most shocking things about it is to realize how easily we have lost a world that seemed so safe and certain.”
The shock is so great that many don’t believe the entirety of the situation. Throughout the novel there are characters convinced that the Americans are coming to save them. But it’s clear to the sober minded that this comet blinded the entire planet. There will be no deus ex machina in this story. Slowly the horror will fade and this will become the new normal. Masen realizes that life will continue, and that the strong can have a place in it if they wished (pg 135):
I began to feel the lightening of spirit that Coker was already showing. The sight of the open country gave one hope of a sort. It was true that the young green crops would never be harvested when they had ripened, nor the fruit from the trees gathered; that the countryside might never again look as trim and neat as it did that day, but for all that it would go on, after its own fashion. It was not, like the towns, sterile, stopped forever. It was a place one could work and tend, and still find a future. It made my existence of the previous week see like that of a rat living on crumbs and ferreting in garbage heaps. As I look out over the fields I felt my spirits expanding.
One of the harder things to realize is that some of the morality of the civilized world would not work in the new world. In World War Z Max Brooks writes of the “Redeker Plan” employed by South Africa. The plan sacrifices large portions of the population for a better probability of saving a smaller portion. Bill and Josella come across Michael Beadley’s group while an angry mob of the blind (lead by Coker) try to storm the gates of the university the group has settled in. They watch as Beadley politely but firmly turns them away. Discussing the morality of the strategy, they wonder what good Coker could even do (pg 84)
“If we face it squarely, there’s a simple choice,” I said. “Either we can set out to save what can be saved from the wreck - and that has to include ourselves - or we can devote ourselves to stretching the lives of these people a little longer. That is the most objective view I can take.
“But I can see, too, that the more obviously humane course is also, probably, the road to suicide. Should we spend our time in prolonging misery when we believe that there is no chance of saving the people in the end? Would that be the best use to make of ourselves?”
Bill and Josella - and even Coker - learn first hand that trying to save everyone results in ruin. Coker raids Beadley’s group for sighted people and attaches each one he captures to a group of blind people. Masen - exploited for his sight just as he feared - is able to set his group up in a house and help them find supplies. When faced with threats like triffids, a hostile group, or disease the blind are literally an anchor that stops him from defending them and himself.
Decent intentions seem to be the most dangerous things around just now.
A member of Beadley’s group, Dr. Dr E H Vorless, gives a long speech exemplifying the moral choices the survivors of the apocalypse have to make (pg 98):
“My friends,” he said, “I think I may claim to be the oldest among you. In nearly seventy years I have learned, and had to unlearn, many things - though not nearly so many as I could have wished. But if, in the course of a long study of man’s institutions, one thing has struck me more than their stubbornness, it is their variety.
“Well, indeed do the French say autres temps, autres moeurs. We must all see, if we pause to think, that one kind of community’s virtue may well be another kind of community’s crime; that what is frowned upon here may be considered laudable elsewhere; that customs condemned in one century are condoned in another. And we must also see that in each community and each period there is a widespread belief in the moral rightness of its own customs.
“Now, clearly, since many of these beliefs conflict, they cannot all be ‘right’ in an absolute sense. The most judgement one can pass on them - if one has to pass judgments at all - is to say that they have at some period been ‘right’ for those communities that hold them. It may be that they still are, but it frequently is found that they are not, and that the communities who continue to follow them blindly without heed to changed circumstances do so to their own disadvantage - perhaps to their ultimate destruction.”
The audience did not perceive where this introduction might be leading. It fidgeted. Most of it was accustomed, when it encountered this kind of thing, to turn the radio off at once. Now it felt trapped. The speaker decided to make himself clearer.
“Thus,” he continued, “you would not expect to find the same manners, customs, and forms in a penurious Indian village living on the edge of starvation as you would in, say, Mayfair. Similarly, the people in a warm country, where life is easy, are going to differ quite a deal from the people of an overcrowded, hard-working country as to the nature of the principle virtues. In other words, different environments set different standards.
“I point this out to you because the world we knew is gone - finished.
“The conditions which framed and taught us our standards have gone with it. Our needs are now different, and our aims must be different. If you want an example, I would point out to you that we have all spent the day induldging with perfectly easy consciences in what two days ago would have been housebreaking and theft. With the old pattern broken, we have now to find out what mode of life is best suited to the new. We have not simply to start building again; we have to start thinking again - which is much more difficult, and far more distasteful.
“Man remains physically adaptable to a remarkable degree. But it is the custom of each community to form the minds of its young in a mold, introducing a binding agent of prejudice. The result is a remarkably tough substance capable of withstanding successfully even the pressure of many innate tendencies and instincts. In this way it has been possible to produce a man who against all his basic sense of self preservation will voluntarily risk death for an ideal - but also in this way is produced the dolt who is sure of everything and knows what is ‘right’.
“In the time now ahead of us a great many of these prejudices we have been given will have to go, or be radically altered. We can accept and retain only one primary prejudice, and that is that the race is worth preserving. To that consideration all else will, for a time at least, be subordinate. We must look at all we do, with this question in mind: ‘Is this going to help our race survive - or will it hinder us?’ If it will help, we must do it, whether or not it conflicts with the ideas in which we were brought up. If not, we must avoid it, even though the omission may clash with our previous notions of duty and even of justice.
“It will not be easy; old prejudices die hard. The simple rely on a bolstering mass of maxim and precept; so do the timid; so do the mentally lazy - and so do all of us, more than we imagine. Now that the organization has gone, our ready reckoners for conduct within it no longer give the right answers. We must have the moral courage to think and to plan for ourselves.”
Some other notes and quotes:
Bill does not believe that the comet was solely to blame for blinding the world. He believes some weapon was triggered by the meteor shower. It is surprising that he is the only character that blames humanity for the fall. I would have expected the group lead by Miss Durant that broke off from Beadley’s group to be the ones that would have carried this post-apocalyptic trope. They were a more religious lot and so were horrified by Beadley’s polygamous society. Instead, only Masen seems to think this was anything more than an accident. I’m not sure if Wyndham meant for that to be a major theme, but Masen’s anti-militarization screed comes off as a conspiracy theory instead - and somewhat out of place for one of the more level-headed characters in the book.
Coker redeems himself after his ill-thought raid on Beadley’s group. In his past life, we learn, he was a master of rhetoric. I like his explanation of his methods (pg 134):
There’s a whole lot of people don’t seem to understand that you have to talk to a man in his own language before he’ll take you seriously. If you talk tough and quote Shelley they think you’re cute, like a performing monkey or something, but they don’t pay any attention to what you say. You have to talk the kind of lingo they’re accustomed to taking seriously. And it works the other way too. Half the political intelligentsia who talk to a working audience don’t get the value of their stuff across - not so much because they’re over their audience’s heads, as because half the chaps are listening to the voice and not to the words, so they knock a big discount off what they do hear because it’s all a bit fancy, and not like ordinary, normal talk. So I reckoned the thing to do was to make myself bilingual, and use the right one in the right place - and occasionally the wrong one in the wrong place, unexpectedly. Surprising how that jolts ‘em.
Josella notes that people will have to work together more in order to survive. I thought this part of the book conflicted with what she and Bill agreed was the best method of survival - namely, the idea that the welfare of many would have to be ignored for the few to survive (pg 104).
“All this” - she waved her hand around - “it’s done something to me. It’s like suddenly seeing everything differently. And one of the things I think I see is that those of us who get through are going to be much nearer to one another, more dependent on one another, more like - well, more like a tribe than we ever were before.”
But it does make some sense if you move past the initial culling of the population. People could afford to be more selfish and individualistic when there was a higher margin for survival. Now the surviving groups will have to work together for even a basic existence.
Josella notes that the totality of the cataclysm actually saved the survivors from a level of suffering. If there had been more people left with sight there might be more and more brutal intertribal fighting (pg 158).
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228 pages |
| 978-0-8129-6712-8 |
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This product was released around 1951
by A Modern Library
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I consumed this around December 2012 |
| More:
The Day of the Triffids |
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Posted by: Jeff Egnaczyk at: 1/2/2013 12:42:25 PM |
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Louie - Season 2 |
Louie C.K. |
Louie CK tops his odd but good first season with a more than solid comedic performance in season two. The show is even more hilarious this season. \Louie’s stand-up starts and ends the show, and is interspersed between scenes. Other big name comedians like Chris Rock, Godfrey, and Dane Cook make appearances as well. An individual episode is often comprised of scenes that are completely unrelated, but this season had more episodes that stayed on one topic. Louie’s romantic ineptitude is well-trod, with dates, casual sex, swinging, friendship turned romance, and even masturbation all going wrong at some point. He is still a parent trying to understand his two girls while doing what’s best for them. More so now he is a comic on the cusp of stardom. He might be miserable, but he’s good at turning that into laughter.
Several episodes set this season apart. Louie encounters death twice in humorous ways, but when it comes in the form of a friend ready to die it’s more than just a set up for a joke. There’s a lovely two-part episode fictionalizing Louie’s USO tour in which a duckling saves the day. The best episode of the season is when Dane Cook guest stars (I know, right). In an absolutely gutsy scene Louie goes to Cook for a totally undeserved favor from the man who took heat for allegedly stealing three of his jokes. Dane Cook lets him have it and Louie, who controls his show, takes it. He fights back, but ultimately Cook comes away the better man. |
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30 minutes |
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This product was released around June 2011
by FX
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I consumed this around June 2011 |
| More:
Louie - Season 2 |
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Posted by: Jeff Egnaczyk at: 9/2/2012 9:52:40 AM |
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Gamera vs. Zigra |
Noriaki Yuasa |
There’s a reason the Gamera movies were a favorite of Mystery Science Theater 3000. They are really bad. Gamera vs. Zigra doesn’t deviate from this classification. It’s almost impossible to watch this movie without trying out your riffing abilities like Joel and the bots.
The movie is not your typical kaiju film as it is truly a childrens movie. Every scene seems to be just another excuse for two little kids, Helen (Gloria Zoellner) and Kenichi (Yasushi Sakagami), to get into trouble - whether it be hitching a ride with their fathers (played by Kôji Fujiyama and Isamu Saeki, respectively) or thwarting the Zigran invader or its henchman (a human controlled by the Zigran leader, played by Eiko Yanami). As a film for little Japanese (the version I watched was dubbed poorly in English) children maybe this is good enough. Flying turtles fighting evil shark monsters probably creates enough loud noise, flashing lights, and action to keep a child mesmorized for an hour.
The movie bills the fight as Gamera vs. Zigra, but Zigra is the race of beings that have come to Earth to live. They have destroyed their water world and now wish to supplant humanity on Earth, using them as food in the process. The Zigrans attack with one spaceship containing a Zigran and a human controlled by some Zigran powers. At some point the Zigran spaceship … turns into a Zigra? This Zigra is the one that fights Gamera, besting him a few times before the big flying turtle carries it how of the water and slams it into the ground. I think at this point Gamera picks up a rock and bangs it on Zigra, playing the Gamera theme song. This really confused me because I think that means Gamera was messing with the audience, or at least director Noriaki Yuasa doesn’t take himself too seriously. It’s not really clear how Gamera has become the defender of Earth, or why he needs to be called instead of just showing up when aliens use massive earthquakes to destroy Japanese cities, or how little kids can call him by just saying his name, or how it is that a Seaworld animal trainer is able to figure out how to break the Zigra mind control powers. This is the very definition of a B-movie. |
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87 minutes |
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This product was released around July 1971
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I consumed this around August 2012 |
| More:
Gamera vs. Zigra |
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Posted by: Jeff Egnaczyk at: 8/29/2012 8:15:16 PM |
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Payback |
Brian Helgeland |
Mel Gibson is Porter, the bad guy you root for in this revenge-themed action film. He plays the thug well, never moving quickly, always hunched and scowling, with a low gruff voice we hear often in somewhat overused voice-overs. Payback has a solid cast of interesting bad guys for Porter to battle for the measly $70,000 his partner, Val Resnick (Gregg Henry), and ex-wife, Lynn (Deborah Unger), stole from him. The Outfit is a crime syndicate headed by Bronson (Kris Kristofferson), with Fairfax (James Coburn) and Carter (William Devane) as directors closer to the action. There are competent henchmen like Carter’s right hand man (John Glover). There are bumbling weasels like Stegman (David Paymer) and a drug pusher played by Freddy Rodriguez (Rico from Six Feet Under). And there’s the plenty of muscle (Kwame Amoaku plays a big guy whom Porter always seems to get the drop on). Throw in some crooked cops (played by Bill Duke and Jack Conley) and an Asian gang (with a violent prostitute played by Lucy Liu) and Porter has his work cut out for him.
The violence is constant. Just about everyone gets it in the end, even the likeable bad guys. Porter takes his licks from the dirty cops and the Asian gang, and the Outfit but shows a remarkable tolerance for pain. The violence is so prevalent and extreme as to be almost comical. Porter, with the help of the escort Rosie (Maria Bello), eventually gets his money. I found a lot of his attacks to be unbelievable and the circumstances around his escape to be too convenient. |
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100 minutes |
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This product was released around February 1999
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I consumed this around 2000, July 2012 |
| More:
Payback |
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Posted by: Jeff Egnaczyk at: 8/28/2012 9:07:52 PM |
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BASEketball |
David Zucker |
BASEketball is another in a long line of satires from David Zucker. This I’d put in the middle, nowhere near as great as the Airplane or Naked Gun series, but not as terrible as the Scary Movie films and An American Carol. The team that brought you South Park, Trey Parker (as Joe Cooper) and Matt Stone (as Doug Remer) , star in this satire of professional sports. Cooper and Remer invent BASEketball - a cross between basketball and baseball - in their driveway and slowly build it into a national phenomenon with the help of billionaire Ted Denslow (Ernest Borgnine). Their goal is to keep the game “pure”, stopping the rampant greed they believe has ruined sports. BASEketball isn’t so naive. One of the first things Cooper and Denslow agree to is that it would be better if players were more like athletes of yesterday who were treated like “indentured servants”. Denslow’s death opens the door for the evil Baxter Cain (Robert Vaughn) to make a move on the league. He aims to introduce free agency, corporate sponsorship, TV deals, and the ability of teams to move all over the country - everything Cooper is against. In order to keep it Cooper must win the Denslow Cup.
There’s a lot of slapstick physical humor like any Zucker film. Characters run into each other accidentally, get into fights, and slam into inanimate objects all the time. Foul language abounds as well. Cooper and Remer’s Milwaukee Beers teammate Squeak Scolari (Dian Bachar) is the object of much of that humor in the form of intentional and accidental mental and physical abuse at the hands of everyone else.
In BASEketball there is the concept of a psych-out, where the defense is able to say or do almost anything to distract the shooter. This ranges from jokes about mothers and wives to the use of props. A successful psych-out usually results in the shooter falling to the ground as he shoots.
Cooper and Remer are the protagonists, but they’re pretty dumb, succeeding only through hard work and the inherent goodness that comes with being an idiot slacker loser. My favorite scene is when Cain tries to explain to Remer how Shaquille O’Neal became rich. Both Coop and Remer are convinced it was in college. BASEketball also blatantly trolls for laughs with female sexuality from Jenny McCarthy, Victoria Silvstedt, Yasmine Bleeth, and very suggestively dressed cheerleaders. A sports satire, the film also has cameos from Bob Costas, Al Michaels, Reggie Jackson, Dan Patrick, Kenny Mayne, Jim Lampley, Tim McCarver, Dale Earnhardt, Kareem Abdul-Jabbar, and Pat O’Brien. Robert Stack also appears as the host of Unsolved Mysteries. Almost all of the cameos are played completely deadpan as they react to the lunacy of the BASEketball profession.
Reel Big Fish make several appearances as the house band for the Milwaukee Beers. |
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103 minutes |
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This product was released around July 1998
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I consumed this around 1990s, August 2012 |
| More:
BASEketball |
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Posted by: Jeff Egnaczyk at: 8/26/2012 9:42:56 PM |
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In the Heat of the Night |
Norman Jewison |
Watching In the Heat of the Night is like watching a clash of forces. It’s not a movie. It’s Virgil Tibbs (Sidney Poitier) versus Bill Gillespie (Rod Steiger). Tibbs is a crack homicide detective from Philadelphia (the one up north) who happens to be passing through Sparta, Mississippi on the exact day a rich businessman is murdered. Gillespie is the no-nonsense police chief who suddenly finds himself in over his head. You can tell by the way the chief gives order to his subordinates (Warren Oates as the goofy but competent Sergeant Sam Wood, Peter Whitney as the wisecracking George Courtney, Arthur Malet as the mortician, Eldon Quick as the photographer) that he commands respect, even fear. It’s clear that the people of Sparta know he’s willing to crack some heads so they generally snap to when his whip cracks.
It’s not so clear that the white collar elements of the town share the same fear that the blue collar ones do. The mayor (William Schallert) and some other local officials (Larry D. Mann as Watkins, for one) get on him pretty quickly about the murder and make intimations that he could be replaced if he can’t get the job done. Henderson the banker (Kermit Murdock) agrees to Gillespie’s demands for records but does it a deliberate fashion, seemingly unaware or unimpressed by the chief’s blustery manner. Gillespie even cowers somewhat when he stops by to question cotton farmer Eric Endicott (Larry Grant), the town’s largest employer. Most importantly, the widow Leslie Colbert (Lee Grant) is thoroughly disgusted by what counts for justice in the deep south.
And so here’s the problem. Sparta isn’t a town that sees a lot of murders, and it probably sees even fewer ones that aren’t open and shut cases. Colbert’s husband was set to open a factory in town. His wife won’t stand for pulling the first man they can find off the street (Scott Wilson in an interesting role as the poor white trash suspect Harvey Oberst) and pinning the murder on him. This brand of justice is now off limits for a crime which the police department has little experience dealing with. Gillespie may be a brute, but he’s not an idiot. He knows he can’t handle it and he knows this northern black man is the only thing that can save his job. He cracks heads as a rule because that’s what gets the job done. Now that that won’t get the job done he has to convince Virgil to stay.
I love the way he reads Virgil and plays off Virgil’s hatreds and prejudices. Yes, Sparta is sickeningly racist. In his short time in Mississippi Tibbs is falsely arrested, condescended to, threatened, disrespected, and attacked. But Virgil is not immune to racial hatred. Given what happens to him in town the audience can’t blame him. He plays it cool in the face of it all, but Gillespie sees inside him. He knows Virgil is confident in his abilities and he knows the detective would love to show up a bunch of good old boys. His argument is a mix of beg and badger, always playing off prejudices that the chief knows existed long before Virgil’s unfortunate late night arrest.
Virgil stays. He’s pegged Endicott - the rich old man who owns, er, employs hundreds of cotton picking black men - for the murder. He confronts Endicott and the old man slaps him across the face. Virgil isn’t one for taking that - or, apparently, one to understand the danger of his actions in the deep south - so he slaps the plantation owner right back. And now he’s going to nail that old racist for murder. But he catches himself. Virgil didn’t become a good homicide detective by letting his emotions get to him.
In walks Delores Purdy (Quentin Dean) - or rather, in is dragged Delores Purdy by her brother Lloyd (James Patterson) - with a story about having Sam Woods’ baby. Gillespie arrests Sam for the rape (she’s a minor) and then pegs him for the murder (he robbed him for abortion money) to boot. This doesn’t add up, and with some help from the still incarcerated Harvey Oberst, Virgil figures out Delores is lying and the real father of her baby (Anthony James as Ralph Henshaw the jittery diner counterman) killed Colbert for abortion money. Tibbs gets his proof just in time, finding Ralph and Delores outside of Mama Caleba’s (Beah Richards) just as a mob, led by Lloyd, arrives to kill him. He stops Lloyd by telling him to look in Ralph’s pocket for money for an abortion. The crime is solved.
Tibbs and Gillespie gain a mutual respect throughout the ordeal. It was not forged without turmoil though. When people are forced to work together the things that don’t matter - like the color of a man’s skin - cease to be relevant. I wouldn’t say that they both needed each other. Gillespie clearly needed Virgil, while Virgil had no business staying in Sparta. But Virgil stayed anyway. In the process of looking for a killer and maybe saving a town, let’s not say these two men (brilliantly portrayed by Poitier and Steiger) become friends, but they become better people. Each sees the other as more than the color of his skin. Both are police. As Virgil gets on the train he was so suddenly pulled away from a week before, there is no doubt respect and, I dare say, caring between the two. It’s hard to say there would be any lasting effect from such a short stay, even if it included a night of drinks and the sharing of a few personal details. At the very least though, they have seen past their own prejudices. This has to mean they care more about each other individually now that they see each other as individuals rather than part of an evil monolithic race.
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109 minutes |
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This product was released around October 1967
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I consumed this around July 2012 |
| More:
In the Heat of the Night |
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Posted by: Jeff Egnaczyk at: 8/26/2012 8:23:01 PM |
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Assassination Vacation |
Sarah Vowell |
Sarah Vowell’s book is not just about the dry facts of the deaths of Abraham Lincoln, James Garfield and William McKinley. It’s about the current events at the time of their deaths, and how these events are similar to today’s political climate. Vowell wonders how close she or any other critic of the then current Bush administration are to violence. As Timothy Douglass, director of the musical “Assassins”, puts it (pg 6):
Proportionate to my own mounting frustrations at feeling increasingly excluded from the best interests of the current administration’s control in these extraordinary ties helps me toward a visceral understanding of the motivation of one who would perpetrate a violent act upon the leader of the free world. My capacity for this depth of empathy also gives me pause, for I have no idea how far away I am from the “invisible line” that separates me from a similar or identical purpose.
While a slain leader gets a statue, the assassin is just as important to the murder. Lincoln - or for the purposes of this book, Vowell’s personal Jesus - was known as the emancipator of the slaves and the leader of the Union. For that he was hated by the South and its sympathizers, like John Wilkes Booth (pg 17).
Then again, in the late 1860s, at least half the country loathed Abraham Lincoln for filling up too many soldiers’ coffins. Which is why Daniel Chester French isn’t the only reason that marble likeness sits there on the Mall. John Wilkes Booth deserves some of the credit - a notion that would make the assassin want to throw up. After all, if no one had hated Lincoln, there would be no Lincoln Memorial to love.
Garfield was seen as a moderate Republican (Vowell pegs him as a good leader and decent man) and a compromise presidential nomination that would unite the Republican Party. Charles Guiteau hated him for not being sufficiently hostile to the Democrats like the pro-Ulysses S. Grant “Stalwarts” (pg 170).
So Garfield is the victim of Guiteau, but he’s also the victim of his own party rhetoric of
exaggerating a Democratic victory into a matter of life and death.
William McKinley was seen as part of the capitalist class, which to Leon Czolgosz meant he was oppressing the workers of the world. Vowell does little to dissuade the reader of McKinley’s lousiness.
How close to violence is an anti-war protestor today compared to a confederate spy of 1865, a disaffected Republican in 1881, or an anarchist in 1901? The gap between a confederate and a unionist warranted the bloodiest war in American history in the minds of both the north and south. Assassination does not seem so extreme after that. Fifteen years later the war was over but the differences remained. Violence then was perpetrated between factions of the same side, one being not sufficiently supportive of the union in the eyes of the other. Twenty years after that it was the class war that sparked violence. From today’s perspective, Guiteau’s killing of Garfield seems a most apt comparison, with both sides of the Iraq War debate being on the same side of the fight against Islamic extremism, but disagreeing on the veracity of the means needed to win. As far as Booth and Czolgosz are concerned, their reasons are from different worlds.
Vowell also gives the reader a look into the assassins’ past and tries to gauge who they saw themselves as. Booth was a famous stage actor in his time. Guiteau used to be part of the Oneida Community, a sort of free love cult. Czolgosz was an anarchist in love with Emma Goldman. Booth saw himself, incredulously, akin to John Brown, and was shocked when the nation didn’t agree with his comparison to the abolitionist. Guiteau thought he was helping the Republican Party and Chester A. Arthur. Czolgocz was trying to prove his anarchist bonafides.
For a history lesson about presidential assassinations, Assassination Vacation is aptly named. What makes the book an entertaining read rather than a list of interesting facts is the context in which Sarah Vowell tells it. She gives equal time to the journey to the knowledge itself. Each new fact is accompanied by the story of the trip to the landmark that holds it. She treks from grand museums to quaint historical houses to lowly plaques to simple unmarked coordinates on a map. Her travels, though extensive, are limited in range, the nation having not had to to spread out as much at the time of these three assassinations. Washington DC, Philadelphia, and New York City are hot spots, as to a lesser extent are Maryland, Ohio, Illinois, Buffalo, and the Adirondacks.
Vowell takes anyone who doesn’t know better, whether it be her adorable nephew, a good friend, or an acquaintance with a car. Some people enjoy their trip, many more show signs of boredom, cynicism, or annoyance. But they all seem to at least humor their friend and her odd assassination obsession.
In all these places we find another layer to her story. This is a book about historical preservation. In towns across the country there are bits of history, small claims to fame. A president may have been assassinated there (District of Columbia, Buffalo) or eventually died there (New Jersey) or was interned there (Illinois, Ohio, ) or has a statue there (District of Columbia, California) or has a body part there (Mutter Museum in Philadelphia). Or maybe the assassin resided there (Oneida) or escaped there (Maryland) or the Vice President learned of his new prominence there (Adirondacks) or something completely random is there.
In each one of these places there seems to be a person who knows every detail of this minor event in American history. More importantly, there is a person who cares deeply about the history as an American, and, as a local resident, is proud of their town’s place in history (pg 183).
The unforeseen pleasant surprise about traveling around the country researching historical ugliness is that I seem to luck into a lot of present-day kindness, making the acquaintance of an embarrassment of knowledgeable nice people … who are generous with their time, happy to share what they’ve learned.
Some quotes of interest:
On the importance of physical artifacts in the understanding of history:
Jack Hitt in Off the Road (pg 9)
Relics were treasured as something close to the divine. Often when a great monk died and there was a sense that he might be canonized, the corpse was carefully guarded in a tomb - often twenty-four hours a day. Visitors could come to the tomb. Most of the funeral vaults of potential saints had a small door, like you might have in your suburban house for cats. Visitors could poke their heads in the little door and breathe in the holy dust. Most people thought that such dust had curative powers since it was associated with a near-saint whose corporeal matter had been directly blessed by God. So, getting near a relic, touching it, being near it was considered extremely beneficial and treasured.
pg 11
One thing the Spanish king’s Catholicism and my rickety patriotism have in common, besides the high body count, is that both faiths can get a little ethereal and abstract. Jesus and Lincoln. Moses and Jefferson can seem so long gone, so unbelievable, so dead. It’s reassuring to be able to go look at something real, something you can put your hands on (though you might want to wash them afterward).
From Loren Eiseley (pg 98):
What, I ask, is the difference between a relic and a specimen?
“It depends on the specimen,” she says. “We do have some pieces of famous people, but the other specimens are simply important because they are demonstrating a particular pathology or anatomy that we want to show. So it varies. But the importance of the relic, the importance of the little sacred icon, is a sense of connection to the past. To look on a tooth, look at George Washington’s teeth, to look at instrumetns that were actually handled by Joseph Lister, there’s power in there.
“I still have some of my mother’s clothes, you know, for no other reason than I can’t bear to part with them. Because it’s her favorite sweater, stuff like that. Because of the fact that it was an immediate contact with somebody it just brings up memories. It’s also interesting. If you want to know that Joesph Lister used this particular instrument and we have a set, that provides you more information about his practice of medicine, et. But often it’s simply the almost sentimental association of the fact that this is a piece of a great man. It’s the same thing as a piece of the true cross.”
On sanctifying the dead:
pg 249
A controversial politician widely blamed for the casualties and hardships of war, Lincoln was suddenly and forever upgraded to the persecuted savior who died so that country might live.
pg 118
The problem with the fog of history, with the way the taboo against speaking ill of the dead tends to edit memorials down to saying nothing much more than the deceased subject’s name, is that all the specifics get washed away, leaving behind some universal nobody.
From Henry Adams
The cynical impudence with which the reformers have tried to manufacture an ideal statesman out of the late shady politician beats anything in novel-writing.
Other random quotes I enjoyed:
pg 4
But when I’m around strangers, I turn into a conversational Mount St. Helens. I’m dormant, dormant, quiet, quiet, old-guy loners build log cabins on the slops of my silence and then, boom, it’s 1980. Once I erupt, they’ll be wiping my verbal ashes off their windshields as far away as North Dakota.
pg 7
I am only slightly less astonished by the egotism of the assassins, the inflated self-esteem it requires to kill a president, that I am astonished by the men who run for president. These are people who have the gall to believe they can fix us-us and our deficit, our fossil fuels, our racism, poverty, our potholes and public schools. The egomania required to be president or a presidential assassin makes the two types brothers of sorts. Presidents and presidential assassins are like Las Vegas and Salt Lake City that way. Even though one city is all about sin and the other is all about salvation, they are identical, one-dimensional company towns built up out of the desert by the sheer will of true believers. The assassins and the presidents invite the same basic question: Just who do you think you are?
pg 99
The neighborhood of Gramercy Park, where Edwin used to live, was built to look like London, which is to say that its considerable beauty is skin deep while its heart beats with the ugliness of monarchy.
Frederick Douglass
In that happy hour we forgot all delay, and forgot all tardiness.
I think it was that fast and that cheap to run a single railroad spur from the main line out to a little community here, out to be a little factory there, and that following the canal is what made this area so interesting and which allowed ideas as well as people carrying ideas to spread so quickly that you get terms like ‘Burned-over District.’
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258 pages |
| 978-0-7432-6004-6 |
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This product was released around 2005
by Simon & Schuster
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I consumed this around July 2012 |
| More:
Assassination Vacation |
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Posted by: Jeff Egnaczyk at: 8/13/2012 9:29:57 PM |
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Teenage Mutant Ninja Turtles |
Steve Barron |
Teenage Mutant Ninja Turtles is the perfect movie for pre-teen boys. It’s full of martial arts, but the violence is almost slapstick, and never bloody - reminiscent of spastic 12 year olds before they get told to calm down. The fighting is high energy, with lots of noise - again, like a 12 year old. There are lots of exaggerated spinning kicks, cliche “hi-ya!” sounds, and humorous blows to the head that don’t result in death. The turtles - Donatello and Michelangelo especially - love to eat pizza, like any American boy. They also have a crush on muckraking reporter April O’Neil (Judith Hoag), but like a 12 year old’s crush, it’s decidedly non-sexual.
The movie is also able to speak to kids on a mental level. The turtles are a team, which should give any group of friends characters to imagine themselves as. They are also loners, living in the sewers with their master, the talking human-sized bipedal rat Splinter. Boys should be able to relate to this as they are asserting their individualism at that age (or maybe they always are). Each turtle offers something different. Raphael is the troubled loner needing to control his anger in order to reach his potential. Leonardo is the young responsible one trying to figure how to be a leader. Donatello and Michelangelo are both fun loving jokesters, which is a little unfortunate because Donatello is usually portrayed as the intelligent one. That’s lost in the movie, but the two work well together as a little clique within the group.
Elias Koteas stars as Casey Jones, James Saito is the villain Shredder, and a young Sam Rockwell is randomly in the movie as one of the boys Shredder and his assistant (Toshishiro Obata as Tatsu, who - side note - utters my favorite line of the whole movie - “Go. Play” - when a kid accidentally bumps into him and nearly wets himself) use as soldiers in their “Foot” army (you’re just foot soldiers, kids, they don’t really care about you). The movie is live action. The movement of the costumed characters are passable other than Splinter and some flashback scenes. |
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93 minutes |
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This product was released around March 1990
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I consumed this around 1990s, June 2012 |
| More:
Teenage Mutant Ninja Turtles |
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Posted by: Jeff Egnaczyk at: 8/6/2012 8:06:35 PM |
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Mystery Science Theater 3000: The Movie |
Jim Mallon |
Dr. Forrester (Trace Beaulieu) thinks he finally has the “film” that will cract Mike (Mike Nelson) and the Bots - This Island Earth. Humanoid aliens recruit Earth scientists in a last attempt to save their dying planet. When the attempts fail the alien leadership kills off the scientists. Execter (Jeff Morrow), the alien in charge of the experiment, saves Cal (Rex Reason) and Ruth (Faith Domergue) and brings them back to Metaluna against orders. It’s too late though as his planet is about to be destroyed.
I always thought MST3K did its best work in space, so I think they picked well for the movie. In classic B-movie fashion the differentiating factor between the aliens and humans is one exaggerated physical attribute - a large forehead in this case. It is a constant source of riffing. The aliens themselves are mercilessly pummelled, as is the inability of the scientists to identify them as aliens. Cal and Ruth are two more classic targets for Mike and the Bots. Cal is a tall, dark, and handsome, deep-voiced 50s-style hero, so of course he’s portrayed as a dolt. Ruth is, well, a woman, so she’s portrayed as helpless. Even Cal’s assistant, Joe (Robert Nichols), gets picked on for his small stature and platonic love of and dog-like loyalty to Cal. The spaceship and the alien planet receive jabs as well. The crew even makes some Star Trek references.
Another easy MST3K target are monsters, and the aliens on Metaluna have an insect-like one that Mike and the Bots take a liking to.It’s never the monster’s fault that it’s in the movie, so they always get sympathetic riffs.
Segments include Crow (Trace Beaulieu) chopping a hole in the hull; Mike, to the dismay of Gypsy (Jim Mallon), trying to pilot the Satellite of Love and destroying the Hubble Telescope in the process; Mike and the Bots using Tom Servo’s (Kevin Murphy) interocitor to contact a Metalunan (John Brady as the showering Benkitnorf); and Dr. Forrester getting angry at This Island Earth’s to break Mike and the Bots. The segments even get updated movie cinematography. |
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73 minutes |
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This product was released around April 1996
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I consumed this around 1990s, August 2012 |
| More:
Mystery Science Theater 3000: The Movie |
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Posted by: Jeff Egnaczyk at: 8/6/2012 7:52:00 PM |
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Boardwalk Empire |
Terence Winter |
Boardwalk Empire is a solid, not great, show you will keeping coming back to watch. Steve Buscemi is great as the exacting kingmaker of Atlantic City (and sometimes New Jersey). Buscemi is a such a peculiar actor in manner and look that I often felt it was he that ran the boardwalk in the 1920s, not the real 'Nucky' Thompson. Yes, Boardwalk Empire is historical fiction. Characters like Nucky’s brother sheriff 'Eli' Thompson (Shea Whigham) and black gangters "Chalky" White (Michael Kenneth Williams, whom every will probably still see as Omar from The Wire). There are a lot of infamous criminals that are directly referenced as well, like Arnold Rothstein (Michael Stuhlbarg), Al Capone (Stephen Graham), Lucky Luciano (Vincent Piazza), Meyer Lansky (Anatol Yusef). After looking it up I found a dozen more that were real people. Then there are other infamous criminals that we call politicians like New Jersey Senator Walter Edge (Geoff Pierson) and Presidential candidate Warren Harding (Malachy Cleary), and many other local officials in the Atlantic City sphere of influence. The first season has prohibition - those who enforced it and those who violated it - and women’s suffrage, race relations and politics, change and corruption. For someone who likes American history it is a fun show.
It’s also a gangster show, which I feel I’ve seen many times. Nucky Thompson takes his bribes, controls the blacks, gets his women (Kelly Macdonald as Margaret Schroeder and Paz de la Huerta as Lucy Danziger), and runs the politics of Atlantic City. But is he ready for a real challenge? He controls the police and the politicians, but can he be a real gangster? Early on his protege "Jimmy" Darmody (Michael Pitt, who looks a bit like Leonardo Dicaprio), just back from the war, doesn’t think so. When Jimmy acts the part of a gangster, Nucky casts him out. Jimmy lands in Chicago with Johnny Torrio (Greg Antonacci) where he plies his trade with violent low-level gangster Al Capone. Every time you hear a name like that casually dropped you get a little excited. When Elit gets shot by an Italian gang testing Nucky’s medal, Nucky calls Jimmy back. He uses Jimmy to muscle them back to New York City. Nucky is not as weak as his thin frame lets on. At the same time he loses road funds in a political battle with northern New Jersey interests. As punishment to Senator Wedge for siding against him, he scuttles Wedge’s Vice Presidential aspirations at the Republican convention in Chicago and throws the weight of the New Jersey delegation behind Warren Harding. Nucky may look outgunned, but he is a politician who has fought to get and keep his power with a politician’s best tool, cunning.
It is fitting then that this cunning may do him in. Jimmy, Eli, and the Commodore (Dabney Coleman as Jimmy biological father who impregnated his mother Gillian (Gretchen Mol) when she was 13) see how Nucky’s deals only seem beneficial, but always benefit Nucky more, leaving the other party less than satisfied. He is using them for his gain and they want what the power and money they think they deserved all along. As the season concludes it is clear that those closest to Nucky are going to challenge him in season two. |
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60 minutes |
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This product was released around September 2010
by HBO
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I consumed this around July 2012 |
| More:
Boardwalk Empire |
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Posted by: Jeff Egnaczyk at: 8/6/2012 7:47:42 PM |
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Mr. Baseball |
Fred Schepisi |
Mr. Baseball reminds me of Michael Keaton's 1986 Gung Ho about a Japanese company that acquires an American automobile plant. It is a movie about culture clash.The Japanese are the more formal and professional workers. They come from a society that is more deferent to authority and tradition. There is honor in hard work and success. To the Americans the job is time spent waiting for the weekend. If they have to be at work they're not going to take it too seriously. They've been on top so long they've forgotten what it took to get there. And those years on top won't buy them anymore time today.
Jack Elliot (Tom Selleck) used to be an MVP, but his production has fallen and a new power (played by Frank Thomas) has risen. His last chance lies in Japan. Unwilling to adapt to the stricter management and traditional style of play, he falters. He insists on living the life of a star American athlete on and off the field, to the dismay of fellow American and veteran Japanese leaguer Max Dubois (Dennis Haysbert).
What these movies come down to is that two characters need each other to survive. That's what it takes for two opposed cultures to just get over it and cooperate. Nagoya Chunichi Dragons manager Uchiyama (Ken Takakura) understood this before the movie started. He requested Jack from management as a last ditch effort to beat the Dragons’ rival, the Yomiuri Giants. Now he can't control the once great player. Jack embarrasses him in front of management and undermines his authority with the team. Which would be fine for Jack if he could hit. The coaching staff constantly reminds him of the hole in his swing that is preventing him from hitting a Japanese breaking ball. Jack doesn't care about Japanese tradition or beating the Giants, but he does care about making it back to the states for one last crack at the show.
It is not until a poorly contrived off the field meeting between the two that things begin to change. Turns out that Jack's girlfriend, Hiroko (Aya Takanashi) is Uchiyama's daughter. Funny that didn't come up before. Uchiyama explains their mutual interest in Jack's success. As a result Jack shapes up. He apologizes in front of the team, dials back his arrogance, and begins working out with Uchiyama in order to fix his swing and increase his mobility and conditioning. It can't all be about the long ball, America’s obsession. Jack has to be more agile (sound familiar?) to succeed in this league.
Uchiyama agrees to loosen up as part of the detente. He jokes around, speaks candidly with Jack, and fires up the troops American-style. By the end he is arguing with umpires (i.e. not deferring to authority) and calling for Jack to swing away in important situations. Of course, Jack disobeys his friend one last time to lay down a bunt that wins the game against the Giants. The act is almost identical to Jake Taylor’s (Tom Berenger) game winning bunt in David S. Ward’s Major League. And just like that movie there is a celebration on the field and a meeting of former enemies turned friends. Unfortunately for Mr. Baseball, David S. Ward did a much better job at piecing his movie together than Fred Schepisi. Baseball game scenes are always fun for a baseball fan, but these scenes, meant to show the progress of a player like Elliot or Dubois or the manager Uchiyama, were quick and impersonal. They just seemed to come one right after another and weren’t merged well with the non-baseball scenes.
Jack makes it back to the states, but not as a player. No amount of wisdom was going to stave off the effects of aging. But the lessons he learned keep him in the game as a coach. |
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108 minutes |
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This product was released around October 1992
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I consumed this around June 2012 |
| More:
Mr. Baseball |
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Posted by: Jeff Egnaczyk at: 7/2/2012 1:15:15 PM |
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Alien |
Ridley Scott |
If you've seen previews, the eponymous "alien" could simply mean the fourth definition given by dictionary.com:
4. a creature from outer space; extraterrestrial.
A series of events slowly shifts the meaning to one of the word's other definitions:
7. unlike one's own; strange; not belonging to one: alien speech.
The mining ship Nostromo interupts its voyage home to investigate a distress call from a ship on a small planet. Captain Dallas (Tom Skerritt), Executive Offer
Kane (John Hurt), and Lambert (Veronica Cartwright) enter the ship and find the remains of some alien being, a hole in its side forebodingly opening out. Kane finds a
floor full of what look to be eggs. As he looks closer a crab-like creature emerges and attaches itself to his face. Dallas and Lambert bring him back to the ship and
Science Officer Ash (Ian Holm) breaks quarantine by letting them in, ostensibly because he fears for Kane's life. If Ash and Dallas had followed protocol as suggested
by Ripley (Sigourney Weaver) the crew might not have to deal with the transformation of "alien" to another of its definitions:
8. adverse; hostile; opposed (usually followed by to or from )
Ash tries to detach the newly born animal from Kane's face by cutting one of its legs. Even as the highly corrosive acid that spills out as a result is cutting through
several of the ship's decks, the crew isn't sure what type of danger it is facing. When the creature suddenly dies and Kane emerges from his coma, it looks like the
danger this foreign creature from this distant planet poses is minimal. The crew is relieved and Kane is stuffing his stomach full of food for the first time since he
came out of stasis. Then, in one of the greatest short sequences in movie history, Kane goes into convulsions before another more sinister looking creature explodes
out of his abdomen.
As the creature skitters away there's still an outside chance the animal is just trying to survive. But that chance drops with each one of the crew the now fully grown
monster stalks and kills. The first to go is the engineer Brett (Harry Dean Stanton) as he looks for Jones, the crew's cat. Then Dallas, the captain, goes into the air
ducts to burn it out, only to get caught from behind in the claustrophobic tunnels. Ripley takes over, with Parker (a younger Yaphet Kotto, one of my favorites) and
Lambert in a panic. Ash, it turns out, is surprisingly calm given that the crew now knows this creature is not just trying to run and hide. It is actively seeking out
kills. The crew, without sophisticated weapons is vulnerable, scared, and without many options. Ash, it turns out, is an android sent by the company to make sure the
specimen returns to Earth for study. Ripley never trusted him. After he tries to kill her, Parker and Lambert beat him to pieces. As he lies broken on the ground he
gives the remaining crew an apt characterization of their enemy:
Ripley: Ash, can you hear me? Ash?
Ash: [speaking in an electronic, distorted voice] Yes, I can hear you.
Ripley: What was your special order?
Ash: You read it. I thought it was clear.
Ripley: What was it?
Ash: Bring back life form. Priority One. All other priorities rescinded.
Parker: The damn company. What about our lives, you son of a bitch?
Ash: I repeat, all other priorities are rescinded.
Ripley: How do we kill it Ash? There's gotta be a way of killing it. How? How do we do it?
Ash: You can't.
Parker: That's bullshit.
Ash: You still don't understand what you're dealing with, do you? Perfect organism. Its structural perfection is matched only by its hostility.
Lambert: You admire it.
Ash: I admire its purity. A survivor... unclouded by conscience, remorse, or delusions of morality.
Parker: Look, I am... I've heard enough of this, and I'm asking you to pull the plug.
Ash: [Ripley goes to disconnect Ash, who interrupts] Last word.
Ripley: What?
Ash: I can't lie to you about your chances, but... you have my sympathies.
Ash describes it as I don't: a survivor. In his own words he describes it as hostile, a word that I think indicates a higher level of sophistication than is needed for
just survival. Sometimes the subtlety of a word's definition is lost over time. When I think of hostile though, the first definition I found - "Unfriendly;
antagonistic" - is what I think of. An animal is not unfriendly towards its prey or its predator. It attacks because it's hungry and retreats because it doesn't want
to be eaten. In the alien's actions I don't see an animal backed into a corner, instinctually fighting for its life. It's definitely attacking, but with something
more than instinct. I see a monster sneaking up and then taking its time to dispatch prey that it knows does not have the defenses to stop it. More so, I think it's important that the monster is bipedal. Walking upright means that when we get to look at it in its full horror it has a human-like attribute. This makes it seem more advanced. If it were four-legged monster I don't think I would be reading into the monster's motives as much.
But maybe the alien's evolutionary philosophy is that the best defense is a good offense. Certainly the crew was trying to kill it. There is a fine line between what
is needed for survival and what is superfluous. So what if it takes the offensive. Should we begrudge it if it enjoys killing those that wish to do it harm? The United
States fought a war of survival against Soviet Russia. That communism and capitalism are not natural parts of nature does not make it less so. That each side had a hate for the other that extended past instinct did not make it less so either. |
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117 minutes |
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This product was released around May 1979
|
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I consumed this around June 2012 |
| More:
Alien |
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Posted by: Jeff Egnaczyk at: 7/1/2012 9:18:36 PM |
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Idiocracy |
Mike Judge |
This was my second viewing of Idiocracy. The first time I thought the movie was a great concept poorly executed. That was five years ago. In the time since I've been, with much laughter, recounting scenes from Mike Judge's film to friends, and they've been doing the same. Did I get the execution wrong? I had to rewatch.
Idiocracy is indeed better the second time. The problem on first viewing is that the jokes are, in fact, low brow. But Idiocracy is overloaded with sex, violence, and masculinity because it has to be. That, Judge is saying, is where we're headed. So there are bound to be some shots to the groin (literally). But there is subtlety in Idiocracy as well. President Camacho (Terry Crews) starts a speech with the dejected form of "shit" (kind of like Clay Davis in The Wire would, but deeper and less drawn out). But he read the supposed slang term from the teleprompter. Frito (Dax Sheppard) scolds Joe Bauers (Luke Wilson) when he thinks the film's hero wants to go into a Starbucks, because Starbucks now offers sex as well as coffee. Every time Joe asks for water, without fail another character will ask him "like from the toilet?", because a sports drink company has taken over all drink sales, including water fountains and crop irrigation. The only use for water now is to flush toilets.
Wilson is well cast along with the increasingly appreciated Maya Rudolph (as Rita). Wilson seems to naturally exude low intelligence in whatever role he plays, while Rudolph works for it in this role as a hooker. These two are perfect test cases for a present day cryogenics experiment. Nobody cares about them, and they're not too valuable, nor are they smart. When the military officer in charge of the experiment (Michael McCafferty) begins a prostitution ring of his own (illustrated by a hilarious slide show), the experiment is shut down. Joe and Rita wake up 500 years in the future as the smartest people in the world, by a safe but not excessive margin. A more competent soldier would have been overkill. Joe is just dumb enough to relate to the idiocracy. |
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84 minutes |
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This product was released around January 2007
|
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I consumed this around April 2012 |
| More:
Idiocracy |
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Posted by: Jeff Egnaczyk at: 6/4/2012 11:33:12 PM |
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Age of Consent |
Michael Powell |
Having lost his artistic way, painter Bradley Morahan (James Mason) goes to a sparsely populated island off the coast of Australia in an attempt to get it back. There he regains his inspiration with the help of a teenage girl, Cora (Helen Mirren), who is scrounging and stealing for enough money to leave the island and her drunk mother (Neva Carr-Glyn). Though she isn't the whore her mother thinks she is, Cora wants to be viewed as sexual, not just art, by Bradley.
Early on the movie is calming. I liked the scenes on the island. The beach and the water and the cabin felt serene. The dog is running around. Bradley is eating seafood and fruit and drinking. Everyone's shirtless and happy. This is just what Bradley needed to get back on track.
Bradley's buddy, Nat Kelly (Jack MacGowran), ruins this vibe. He's the bumbling comedic relief. But comic relief is not what Bradley wants, and it's not what the movie needed. The movie wouldn't have been great without it. There's not much to the plot anyway. But with the unwanted character, the film becomes disjointed. |
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103 minutes |
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This product was released around May 1969
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I consumed this around March 2012 |
| More:
Age of Consent |
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Posted by: Jeff Egnaczyk at: 6/4/2012 11:06:03 PM |
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The League - Season 3 |
Jeff Schaffer, Jackie Marcus Schaffer |
Paranoia engulfs the league as chicanery is taken to the next level. Unable to stomach giving reigning champion Rodney Ruxin (Nick Kroll) the top pick, Andre (Paul Scheer), Jenny (Katie Aselton), Kevin (Stephen Rannazzisi), Pete (Mark Duplass), and Taco (Jonathan Lajoie) fix the draft. The season is played under a cloud of suspicion. Taco, Kevin, Jenny, and Andre make the playoffs while Pete throws a game so as to beat Ruxin in the Sacko Bowl. Taco, maybe saved by his own cluelessness, has had enough with the backstabbing and declares the season null and void.
Another funny season for The League. Recurring characters Sofia (Nadine Velazquez), Shiva (Janina Gavankar), Ellie (Alina Foley), and Rafi (Jason Mantzoukas) make appearances. While the show continues to have a recurring plot line, there’s not much distinction from episode to episode or season to season. |
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30 minutes |
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This product was released around October 2011
by FX
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I consumed this around October 2011 |
| More:
The League - Season 3 |
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Posted by: Jeff Egnaczyk at: 6/4/2012 10:22:04 PM |
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The Walking Dead - Season 2 |
Frank Darabont |
One thing I find annoying is when shows or movies waste good characters. Season two of The Walking Dead is guilty of this. The show’s voice of reason, Dale (Jeffrey DeMunn), is marginalized in season two and killed off in a frustrating manner. It’s as if Rick (Andrew Lincoln) took over Dale’s role as both feuded with the increasingly unstable Shane (Jon Bernthal). Jeffrey DeMunn is a fine actor as well, so losing him hurts no matter the trajectory of his character.
Daryl (Norman Reedus) is not so much a wasted character by the writers as he is wasted as a member of the group by Rick and Shane. As the two, along with Hershel (Scott Wilson), vie for control of the group’s direction, Daryl - seemingly the member most adept at surviving - is left to his own devices. This is partially his fault. He is a loner and doesn’t make much of an effort to to engage the group. His social skills are unpolished to say the least. There is also some underlying resentment of his “respectable” colleagues who have been brought up in good families, have families and jobs, and dress nicely.
Carol (Melissa Suzanne McBride) is quick to dissuade Daryl of the notion that he is any less worthy than the others. In this new world the heights someone has reached in pre-apocalyptic society are certainly meaningless. After Daryl’s extended commitment to finding Sophia (Madison Lintz) there is no way he could be considered less worthy - curt manners or not. Rick matches Daryl in the duration of his searching - with Shane all the while pointing out the obvious truth that Sophia would be assumed dead after two days before the zombie apocalypse - but no one matches his effort. In large part (though unsaid) he tirelessly tracks her through the forest because he was ignored and abandoned as a child. As we find out in the shocking mid-season finale, Shane was right. Sophia has been locked in Hershel’s bard the whole time. It was probably the now dead Otis (Pruitt Taylor Vince) who put her and dozens of other walkers in there as Hershel held out hope for a cure.
As Rick steps forward to put a bullet in the head of what used to be Sophia, the show loses another character, Carol. Having found strength during her ordeal, she is destroyed after the discovery of Sophia. A kinship seems to develop with Daryl, so it’s possible she’ll rise again with another lifelong survivor, but for the second half of the season she faded away.
Finally, Merle (Michael Rooker) returned, but only as a hallucination in Daryl’s mind as he struggled to get back to the farm after falling off his horse. I’m assuming that the fact that his amputated hand returned that this meant he was dead (though reports outside the show seem to suggest otherwise). If that’s the case it would be a big waste of Michael Rooker, a great villain character actor.
Another aspect of the story that was wasted was the great state of Georgia. One of the great things about post-apocalyptic stories is that everyone is uprooted - from their homes, their jobs, and their communities. There is no center to life anymore, nor is their stability. The farm brings that back. That’s what the group was looking for in the CDC and hopefully in Fort Benning. Now that they’ve found it they don’t have to explore their environment. They don’t have to explore, scrounge, or think on their feet to avoid the walkers.
The main storyline is the schism between Rick and Shane over the direction of the group. Rick still believes in some sort of order, while Shane believes it’s now kill or be killed. The latter’s descent is, even in the zombie apocalypse, one of the more scary aspects of this season. Once the rules have been invalidated and the element of fear has been introduced, this man of the law, this loyal friend, becomes unstable. Some of it is understandable. Beyond the obvious “world is ending” issues, Shane is being emotionally jerked around. He thought his best friend and superior at work was dead, thereby promoting him to leader and head of Rick’s family. He begins a relationship with Lori (Sarah Wayne Callies) whom he has clearly been in love with since before the zombie apocalypse. Now after all he’s done for Rick’s family - and he would do anything for Lori and Carl - his reward is to lose his new family. Shane is not blameless though. Dale tells him that this new world is where he belongs, and it is certainly true that Shane is, if not the most violent, the most erratic of the group. He’s the one who would best live on instinct. You can see this even more in his inability to handle a group dynamic. He can’t handle the dissent that comes with democracy or even a committee. He’s too impatient for process. Eventually his opposition to Rick ends the only way it can, with Shane making a play on Rick’s life, only to be outsmarted by his friend.
Shane’s binary vision - kill or be killed - makes him think of Rick as weak. But just because Rick indulges Carol in searching for Sophia and Hershel by herding walkers into the barn doesn’t make him weak. Sophia is important to the group. Losing her without a fight might be too much for morale. Hershel is their host, so it is prudent to play by his rules, unless the group is willing to take the farm by force. Only Shane seems willing to go that far. When it comes down to it though, Rick has shown more than enough ability to take action. He is the one who initially goes after Sophia. He wants to be the one to go get medical supplies for Karl’s surgery with Otis. He steps up and puts down the zombie Sophia. He kills the two men (Michael Raymond-James as Dave & Aaron Munoz as Tony) in the bar. He allows Shane to make a move on him to force a confrontation.
One more problem I have with the season - the show really - is the careless way the group acts. It annoys me to all hell how much noise they make. The show is inconsistent in how it handles noise. In season one a single gunshot brings dozens of walkers to Morgan (Lennie James) and Duane’s (Adrian Kali Turner) hideout. This season the group engages in target practice and it doesn’t bring walkers. It’s only the helicopter from season one that sets a walker hoard upon the farm. (They left us hanging in season one with that, so I appreciated it showing up again.) I want the group to develop some rules and best practices for survival. How is it that Carl disobeys his parents? How is it that the fear of this new world hasn’t scared him into listening and his parents into getting the point across? Rick starts to develop some rules with his suggestion that they don’t use guns when possible, but for the most part, despite being on a farm all season, they act like a band on the run.
The first half of the season drags, but part two rewards viewers for their patience. Part one is not without its highlights. There is the zombie hoard the group meets on the road, leading to the search for Sophia. Carl is accidentally shot, leading to Otis and Shane’s excursion for medical supplies. This leads to the shocking realization that Shane disabled Otis on purpose so the zombies would eat him and Shane could escape with the equipment (he would do anything for Carl). Lori reveals she is pregnant and who knows whose baby it is. Glenn (Steven Yeun) and Maggie (Lauren Cohan) have sex during a supply run. Shane and Andrea (Laurie Holden) do the same on a search for Sophia. In both case there are zombies to escape as well. Daryl tests his survival skills in the woods. And Shane lets the walkers out of the barn. Really, as long as you give me some zombie headshots you can sustain me for a few bland episodes.
Part two is what we signed up for. Hershel goes to the bar after his post-apocalyptic worldview is destroyed. There, he, Rick, and Glenn have to fight off a party of survivors. They rescue one of the men, Randall (Michael Zegen), which sets up a conflict about whether to kill or release him. When they do try to release him, Shane nearly gets caught by a group of zombies at a school before a daring “maybe things will be OK with the group after this” rescue by Rick.
The finale is what the zombie apocalypse is all about. No one is safe. People - Jimmy (James Allen McCune) and Patricia (Jane McNeill) - are going to die. Your world is going to be overrun like Hershel’s farm and burn to the ground like his barn. Here comes the hoard and you can’t stop them. Defend your home until you realize it’s hopeless. Then run for your life like Andrea does in the woods. With a bag of guns. No food. No water. No rest. Too slow - of mind or foot - and you are zombie lunch. Andrea’s face as she looks back in horror at the relentless hoard - that is the zombie apocalypse.
The finale also gives us three major pieces of information for the next season. Rick finally reveals what Jenner (Noah Emmerich) whispered in the season one finale. Everyone is infected. This was hinted at with the two dead biteless police officers at the school. It was heavily suggested after Daryl and Glenn find and kill Randall, and after Shane’s reanimated body is put down by Carl. The next two revelations are major foreshadowing for season three. As the survivors camp out Daryl, Carol, T-Dog (almost got to the end of the recap without mentioneing IronE Singleton’s character, yet he survived anyway), Rick, Carl, Lori, Glenn, Maggie, Amy (Emma Bell), and Hershel - once again a band on the run, the final scene pans up to show a prison, where I assume they’ll stay and meet new characters in season three. The last revelation is a mysterious black shrouded woman who saves Andrea by slicing the head off a zombie with some sort of sword. When Andrea looks up the woman has two amputated zombies in tow. Can’t wait till next year. |
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60 minutes |
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This product was released around October 2011
by AMC
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I consumed this around October 2011 |
| More:
The Walking Dead - Season 2 |
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Posted by: Jeff Egnaczyk at: 6/4/2012 9:45:31 PM |
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The League - Season 2 |
Jeff Schaffer, Jackie Marcus Schaffer |
The League did not turn out to be hit or miss like I suspected. The players are at all times inappropriate, backstabbing, paranoid, and somewhat pathetic. The writers pull it off.
Ruxin (Nick Kroll) kills it this year. Jenny (Katie Aselton) joins the league and she brings it. Rafi (Jason Mantzoukas), the brother of Sofia (Nadine Velazquez), joins the team in Vegas to bolster the gross humor element. Shiva (Janina Gavankar), the inspiration for the “Shiva Bowl”, makes an appearance. Andre (Paul Scheer) hits new lows. Pete (Mark Duplass) chugs along. Kevin (Stephen Rannazzisi) loses it. Taco (Jonathan Lajoie) is funny, but his singing and rapping bits have to go.
There’s unfortunately an awkward race relations episode. For some reason every comedy show with a majority white cast feels the need to do this. On the other hand there’s a reunion episode - a trope that is usually terrible on most shows - that is actually good. Season two hits on all cylinders. |
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30 minutes |
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This product was released around September 2010
by FX
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I consumed this around 2011 |
| More:
The League - Season 2 |
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Posted by: Jeff Egnaczyk at: 5/9/2012 9:56:33 PM |
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The League - Season 1 |
Jeff Schaffer, Jackie Marcus Schaffer |
As I see it The League has several pitfalls it must avoid to be a successful show. A six episode first season is tough to evaluate. The wives cannot be wet blankets. Jenny (Katie Aselton) looks like a solid contributor that will probably join the league, as she’s already setting Kevin’s (Stephen Rannazzisi) team. They quickly jettisoned Pete’s (Mark Duplass) wife (Leslie Bibb), an obvious wet blanket. Ruxin’s wife Sofia (Nadine Velazquez, of My Name Is Earl is fame) is going to stay, and will probably act as one for the length of the show. Ruxin (Nick Kroll) is an insidious liar and generally a bad person, but realizes he married way over his attractiveness.
Next, Andre (Paul Scheer) is an obvious target for ridicule, but he can’t just be a punching bag. Conversely, Pete needs to be the object of jokes. Right now the show seems to rotate who gets the upper hand each week. Pete is the most confident, but just got divorced. The gap-toothed, poorly dressed Andre wins the “Shiva Bowl”. Kevin is married with a kid (little Alina Foley), but gets to act childish with the group - plus, Jenny is cool. Taco (Jonathan Lajoie) is clueless but has some innate ability to get laid. Ruxin is insidious but usually gets played every couple of episodes.
Finally, the show can’t miss. There’s no sincerity so every minute of the show requires raunchy humor. Obviously the writers are going to miss sometimes, but missing on even 25% of their jokes means a full quarter of the show is bad. Right now the show is avoiding this and all of the other potential mistakes. |
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30 minutes |
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This product was released around October 2009
by FX
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I consumed this around 2011 |
| More:
The League - Season 1 |
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Posted by: Jeff Egnaczyk at: 5/9/2012 9:48:52 PM |
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