I actually came to David Mamet’s House of Games a bit sideways. Nowadays, of course, it would catch my eye because of Mamet’s name and my love for his unique style of writing dialogue. However I actually saw House of Games long before I was aware if Mamet as a screenwriter and director. No, it was another name that first drew me to this movie. One of the actors.
Now, I can already hear many of you out there saying “Ricky Who?”, and that’s completely understandable, because Ricky Jay is not exactly a name that, as they say, puts butts in seats – at least not for the majority of people. For people who enjoy illusionists and especially card manipulation, on the other hand, Ricky Jay’s name is one to – pardon the pun – conjure with.
Ricky Jay was born with magic in his blood, being the grandson of illusionist Max Katz, and made his first television performance at the age of four. In what had to be an absolutely intriguing evening, Ricky Jay once performed between rock queen Tina Turner and Timothy Leary who was there that night to lecture about LSD.
What makes Jay so intriguing, though, is not so much his skill at card manipulation, which is prodigious, but his interest in, and exploration of, the history of magic. He has written a number of books on the subject and also produced a number of specials featuring not only illusions that he created but also those of the masters of the past.
Anyway, it was the presence of Ricky Jay in the cast list that initially brought me to House of Games.
Then I discovered Mamet
Now don’t get me wrong I’m not one off those who think David Mamet can do no wrong (State and Main, I’m looking at you), but when he is on, Mamet has a control of dialogue that is rarely equaled.
It does, however, take someone who is in sync with Mamet’s style to deliver that dialogue properly. There is definitely a stiltedness to it that can be off-putting and can sound incredibly forced and fake without the proper attitude behind it.
Fortunately for House of Games, which is in many ways an updated version of The Sting, where no one can be trusted and nothing and no-one is ever quite what they seem, Mamet’s dialogue s a perfect fit, and in stars Lindsay Crouse an Joe Mantegna he has found the perfect actors to bring that dialogue to life.
There is a certain flatness, a remove to the delivery that can be a bit off-putting, but at the same times adds to the sense of distrust the pervades the movie and makes ever person, every action, and every statement seem suspect. Plus, the plot takes a number of twists that keeps the viewers on their toes and uncomfortable, which is just how the con artists that are at the center of the film want things.
Some of the most popular posts here recently seem to have been those dealing with Old Time Radio, so I thought maybe it was time to bring back a regular weekly feature on old radio shows. Back when I first started this blog, a regular feature was Old Time Radio Thursday, so I figured that as a good way to restart the exploration of old radio I’d re-present the introduction that I wrote back in 2013 to give you a taste of what’s to come.
Old Time Radio Thursdays – #001: An Introduction
No real long-winded introduction today. For those who are unfamiliar with the concept, Old Time Radio is the phrase generally used to refer to the time when radio was (mostly) live, and was full of a variety of different shows, as opposed to simply being a means for record labels to use robots to promote the top records of the day.
These shows encompassed many different genres, including drama, adventure, comedy, science fiction, westerns, soap operas, sports… basically it was the television of its day. Before, that is, television (network television at least) became overrun mostly by unreality tv and CSI clones.
So why am I writing about old radio shows on what is ostensibly a blog about movies? Well, two reasons really. First of all, I have an affinity to these shows that dates back to my childhood when my father collected these shows on cassette tapes that he would either purchase or trade with other collectors, and secondly, many of these shows had definite connections to Hollywood. Many of them would simply adapt popular movies for radio audiences, others would feature or even star Hollywood performers.
Anyway, I said I was going to try not to be too long-winded with this introduction, so for now I’m going to stop there, and let the shows begin speaking for themselves. For this first installment, I’m simply going to give you a variety of different shows to help those unfamiliar with the whole concept get a taste of what I’m talking about. Then, in weeks to come, I’ll feature a specific show and talk more about it and its Hollywood connections, and hopefully. over time, some of you will come to enjoy these shows as much as I do.
Plus, who knows, we might even find some connections between these shows and current movies, too. (As a matter of fact, I know we will.)
For now, though, just sit back, relax, maybe close your eyes, and let the magic of radio transport you back to an earlier time…
(By the way, just a quick note… you’ll notice varying quality on some of these recordings. While many of them are taken from transcription records that would be sent to various stations for playing at the appropriate time, others were simply recorded from the actual broadcasts by listeners who had set up (most likely) reel-to-reel tape machines to capture the broadcasts, and it is from those amateur recordings that the only known copies of those shows still exist. Hopefully, however, these quality variences won’t take away too much from your enjoyment of the shows themselves.)
This last one is actually from a later period, and is a show that I actually grew up listening to. Locally it was broadcast at 9pm on our CBS affiliate, so I got to lie in bed and listen to it each weeknight before nodding off to sleep. One of the interesting things about going back and listening to these today is that many of them, this one included, also include the original commercials and news broadcasts that would round out the hour of programming, and since this one, for instance, was first broadcast in 1974, the news often included coverage of the developing scandal which would become known as Watergate. Just keep listening through the commercials at the end, and you can hear how radio was reporting the latest news coming from the Nixon White House as more facts were coming to light.
(Oh, and yes, there are some definite movie connections in this story also, as you’ll see. Or should I say, as you’ll hear?)
Well, I hope that’s given you at least a taste of what’s to come as we explore the connections between Old Time Radio and the cinema, and be sure to check back next week as we focus in more closely on one of these great shows. And if you have any particular memories of radio shows, or any favorites, or if any of these caught your attention and you want to hear more, please let me know in the comments below. I’d love to hear from you.
And here we are, back again with another look at one of the world’s best movies as designated by the Sight and Sound Top 250 Movies of All Time list. This time around, it’s #013 on the list, Jean Luc Godard’s Breathless. And as always I’ll note that for those just joining us, you can find a full introduction to what the Sight and Sound Top 250 list is, and a look at the complete list of the movies on it, along with links to the ones I’ve already written about here. And, if you want to be sure not to miss any of these posts, just head on over to the Facebook page and give it a “like”or follow me on Twitter (both of those links are also in the sidebar) where I post anytime one of these – or anything else on the blog, along with just random other links and thoughts that may not make it into full posts – goes up. Trust me, if you’re not following one or the other (or both), you’re not getting the full Durmoose Movies experience.
That’s the first word that comes to mind when viewing Jean-Luc Godard’s Breathless.
In Breathless, Godard has pared down the nature of narrative film, making it, (as was his intent) almost documentary in nature.
Coming from a background in film criticism, a large part of Godard’s purpose was not just to make films, but use those films to comment on the nature of film and to transform it. In order to do this, he not only stepped outside of the studio, filming on the streets without permission and often surreptitiously, but also filming largely without a script, deciding on the day what scenes he wanted to film (largely filming in order) and giving the lines to the actors ust before shooting.
However, Godard’s innovative shooting style also extended to the editing room, where he decided to cut not only between scenes, but inside them, taking out anything he felt extraneous or boring. This led to what have been called “jump cuts”where the background may change dramatically while conversations may be taking place. These jump cuts also occur during action scenes, often with the camera only focusing on individual objects or quick actions, all of which serves to make the movie move much more quickly an adding an extra layer of intensity.
The film opens with a dedication to film noir house Monogram Pictures, an the reason for that seems to be two-fol. First, the movie is obviously Goard’s riff on the noir genre, including many direct references to classics of the style such as The Maltese Falcon, which is paraphrased in a statement by our protagonist Michel who states that he always falls in love with the wrong woman. For that matter Michel’s American girlfriend Patricia is, despite her outwardly light demeanor, an almost prototypical femme fatale, eventually holding all the cards and becoming the final arbiter of MIchel’s fate.
The dedication to Monogram carries a further significance also. Here’s an excerpt from a 1964 interview:
Godard, why did you really dedicate Breathless to “Monogram Pictures”?
I did it to prove that you can do pictures that are both interesting and cheap. In America a cheap picture is not considered interesting, and I said “Why not?” because actually there are many American directors who do B and C pictures who are very interesting. Vivre Sa Vie I dedicated to B pictures, because in my opinion it is a B picture.
You’re being dead serious now?
If it’s less than $100,000, it’s a B picture. The trouble is that in Hollywood the B budget is all they consider; it can be a B or Z budget, but even with a Z budget you can attempt to make an A quality picture. If you talk to a Hollywood producer-if you make a B picture then you are a B director. You are only an A director if you make films with A budgets. … I think this idea is wrong. But if you go to see bankers or producers in America they still think in Hollywood’s way.
So both in setting up the movie the way he did and carrying his thoughts on the nature of film all the way through the editing, Godard attempted to change the very nature of film, and with Breathless he succeeded
Since Sunday tends to be a day of quiet and reflection for many people, it seems an appropriate day to celebrate silent movies. But in keeping with the “day of rest” theme, I’m just going to post this without any commentary and just sit back and let you enjoy.
Hey, it’s Saturday, and that means the return of the Saturday Double Feature!
Okay, let’s start with a quick recap of the “rules”, shall we? The basic idea here is to take a movie that is out in theaters now, and pair it up with another movie from the 1980s or before. Sometimes the connection will be obvious, and sometimes it’ll be a little less so, but that’s part of the fun.
It’s a bit hard to tell from the trailer just what kind of movie Game Night is going to be. For one thing it’s hard to nail down the tone of the movie. There are points where it looks like it could be a slasher variation, others where it resembles an old dark house style thriller, and still others where it looks more like a horror comedy.
So in considering all of this when looking for a double feature to pair with it, I decided to go with a comedic take on the old dark house flick, 1976’s Murder By Death. The movie features parodies of famous movie detectives brought together by a man (a rare film performance by Truman Capote) who claims to be the world’s greatest detective, and to prove it he challenges them to solve a murder which will take place at midnight.
So what do you think? What would you choose for a double feature with Game Night? Leave your thoughts in the comments, along with ideas of any other upcoming movies you’d like to see “double featured”. Consider it, if you will, your chance to challenge me to come up with an interesting pair.
This past week, DC Comics held a meeting with the American Library Association at which they announced two new imprints within the company – DC Ink and DC Zoom, both of which will be aimed at younger readers than their current main line of comics.
One of the interesting announcements to come out of the meeting was of a new graphic novel which will be written by Gene Luen Yang, the author of American Born Chinese, which was the first graphic novel to be nominated for a National Book Award and the first to win the American Library Association’s Michael L. Printz award. The new graphic novel he is writing for C s to be entitled Superman Smashes the Klan.
The graphic novel is not going to be set, however, in the present day. Instead it will be set in 1946, and will relate directly to the Adventures of Superman radio show, and especially to the serial within the show known as “The Clan of the Fiery Cross”.
According to DC, Superman Smashes the Klan will tell the story of an American Chinese girl who moves to Metropolis to find herself and her family’s ethnicity targeted by the Ku Klux Klan. Through her experience with Superman and the radio serial, she learns to overcome some of the trials and understand what it means to be American.
I’ve written a couple of times before about the “Clan of the Fiery Cross” serial and how it was a prime example of a radio serial taking on what could have been a controversial topic, even if it was within a superhero setting. So, even though it’s not Thursday, I thought I’d go ahead and give you an extra throwback article to give you some info on the serial, and even an opportunity to listen to it if you’d like.
So, here you go, from June 14, 2015:
When Superman Fought The KKK – The Adventures Of Superman (1946)
Considering the current furor over the Confederate battle flag, African-American church burnings occurring across the south, a possible resurgence of Klan groups and other ongoing problems across America, I was reminded of this series of shows and thought perhaps it might be apropos to take a quick look. Yes, I’ve actually written about this series-within-a-series before, but it’s been long enough ago that I figured you all wouldn’t mind an expanded revisit.
Long time readers will know that I have a special love for Old Time Radio shows. As a matter of fact, I used to run a regular weekly feature here that focused on these shows. During that run I wrote a couple of posts that focused on or featured episodes of the Adventures of Superman radio show which ran roughly and in various formats from 1940 to 1952.
In 1946, the show was running in the afternoon as daily 15 minute broadcasts, and was sponsored by Kellogg’s cereal, specifically Kellogg’s Pep. Of course, running so many episodes, the show was continuously looking for new antagonists to pit its titular hero against. It was during this period that the producers were approached by journalist and human rights activist Stetson Kennedy to help expose the activities of the Ku Klux Klan.
Though many of his claims of infiltrating the KKK have since fallen into dispute, at the time, Kennedy was known for his biting expose’s of that organization and of the Jim Crow laws of the south. Kennedy’s idea was that with him providing information that he had gleaned by investigating the organization, including details of their secret rituals and codewords, the show could use this information to help demystify the organization and make it less appealing through ridicule, an idea which the producers were quick to embrace.
Thus, in June of 1946, The Adventures of Superman began a sixteen part serial (the show at that time basically consisted of various arcs which would run for roughly two to four weeks and then would move on to a different story) which became known as “The Clan of the Fiery Cross”. Here’s a description of the beginning of the series from a review on the Superman Homepage, written by James Lantz:
Clark Kent and Jimmy Olsen are taking a cab on a sunny afternoon in Metropolis. Clark is covering a story for the Daily Planet, and Jimmy is going to baseball practice for the Unity House team in which he manages. Two boys, Tommy Lee and Chuck Riggs, are fighting when Jimmy arrives. Chuck has been acting like a sore loser since Tommy, who just moved into the neighborhood, replaced him as number one pitcher on the squad. During practice, Chuck crowds the home plate and gets hit in the head by a ball thrown by Tommy. Chuck believes Tommy did it on purpose, and Jimmy is forced to remove the former from the team because of his attitude toward Tommy.
Chuck has just returned home to find his Uncle Matt waiting for him. The boy tells him of the incident with Tommy. Knowing Tommy’s father Doctor Wan Lee, an Asian American, was promoted to the Metropolis Health Department as a bacteriologist, Matt gets an idea. He makes his nephew believe that Tommy beaned him on purpose and invites the boy to a secret meeting of what he calls “true Americans.” Matt Riggs has every intention of making Tommy Lee and Jimmy Olsen pay for humiliating Chuck.
Matt is now donning a white robe with a blue scorpion design and hood. He then takes Chuck to a secluded place where a wooden cross burns. Other similarly dressed men are in the area. Uncle Mack reveals that he’s the leader of The Clan of the Fiery Cross. Chuck is coached into saying that Tommy Lee was trying to kill him in order to keep his position on the Unity House baseball team. Chuck says that this will help Lee’s people take over America. The first phase of the Grand Scorpion Uncle Matt’s plan is now in place. Now, The Clan of the Fiery Cross can cleanse the country of those that are not “True Americans.”
Obviously, once Clark learns of the Clan’s activities from Jimmy, it’s not long before he (and thereby Superman, too) is actively investigating the goings on of the group. What happens after that? Well, I’ll just let you listen and find out for yourselves. Here’s a YouTube playlist that should let you listen to all sixteen parts of the serial one after the other.
So how was this series-within-the-series received? Well, according to Wikipedia, “Reportedly, Klan leaders denounced the show and called for a boycott of Kellogg’s products. However, the story arc earned spectacular ratings and the food company stood by its support of the show.” Also, reports are that it did, to some extent, have the desired effect, and according to a story in a then-current issue of The New Republic, the trivialization of the Klan’s rituals and codewords was perceived to have had a negative impact on Klan recruiting and membership.
So what do you think? How much should characters like Superman be taking on real-world problems like the KKK? Do you think they have the potential to help the situation. or do they instead trivialize them? Of course, in a way the question is somewhat moot since there really are no shows like the Adventures of Superman on the airwaves today, even considering the rising number of comic-book based shows and movies, but still I think the topic is worthy of consideration and would love to see some debate of it either in the comments below or on the DMM Facebook page, so let me know what you think.
Between this blog and my previous one, Professor Damian’s Public Domain Treasure Chest, I’ve been writing about movies for quite a while now. Because of that, there are a lot of posts that have simply gotten lost to the mists of time. So, I figured I’d use the idea of “Throwback Thursday” to spotlight some of those older posts, re-presenting them pretty much exactly as they first appeared except for updating links where necessary or possible, and doing just a bit of re-formatting to help them fit better into the style of this blog. Hope you enjoy these looks back.
Here’s a fun one from back in February of 2014.
Throwing A Wet Blanket On A Blazing Saddle – It’s The Pilot For The Unsold Black Bart TV Series (1975)
Why? Really, just… why?
Why try to spin a TV show out of a hit comedy film like Blazing Saddleswhen you can’t use any of the elements that made to film so original and funny?
And why am I sharing it with you now?
I’ll admit, most of the time I would file this kind of thing under the heading of either “Yeah, this exists” and go ahead and maybe post a link to it on the Durnmoose Movie Facebook page (see the kind of fun you’re missing if you haven’t gone there and “liked” the page? Why don’t you take a minute to do that now? Trust me, Black Bart and I will still be here when you get back. Unfortunately.) or I’d not even bother doing that and just let it go with a shrug and put it in my own personal “Okay, I watched that so you don’t have to” file. (Yeah, honestly, there’s a lot of this kind of thing that I sort through and throw away without ever even bothering to mention having watched it. See what a nice guy I am?)
But no, I think this time I’m actually going to post the whole dang thing.
Because I know that there are going to be some of you out there who are going to find this wildly entertaining.
Because I know that some of you are actually going to be shocked by the fact that a major network sitcom could actually use the “N-word” (GASP! How dare they!) back in 1975. (Of course, there may actually be some validity to that shock when we can’t even use the word on television today even in a discussion of using it.)
But you want to know the real reason I’m posting it and encouraging you to go ahead and watch it?
Because sometimes, as “they” say, misery simply loves company.
As a “franchise” Cloverfield certainly has an odd history. The first movie, simply titled Cloverfield, was a found-footage take on the kaiju/giant monster/Godzilla genre. To be honest, although there have been found footage movies that I’ve enjoyed, I wasn’t a fan.
Then came the sneak attack of the largely unheralded until its release “sequel” 10 Cloverfield Lane. I out the word “sequel” in quotes because it’s not until the very end of the movie that it is revealed that the events depicted are occurring somewhat simultaneously with those of the first film.
Now we have the straight to Netflix release of the third movie in the franchise, The Cloverfield Paradox, a movie that even before its release had an interesting history. Much like 10 Cloverfield Lane which began its life as The Cellar, a spec script written with no ties to Cloverfield before being snatched up by J.J. Abrams’ Bad Robot production company and being slightly rewritten to bring it in line with the universe already created, Paradox started as another unrelated script entitled The God Particle again bought, rewritten, and produced by Abrams’ company. The resulting film was initially planned to be released by Paramonunt, but suffered a number of delays and push backs, and was eventually snapped up by Netflix to be released direct-to-streaming instead of theatrically.
Then, in a surprise move, Netflix released a trailer for the movie during the Super Bowl and announced that the film would be available for streaming immediately after the game.
Unfortunately it turns out the film itself is almost as convoluted and ridiculous as the history behind it.
The basic plot is actually pretty simple: as a solution to an energy crisis on Earth, an international space station has been built with what is basically a CERN-style particle accelerator on it. However, all of the kinks have not been worked out, and during one of the first test runs, it malfunctions and the crew find themselves shunted into an alternate reality where things are similar, but different enough that the crew is under pressure not only to find there way back, but to survive from threats both inside and outside the station.
Now, this is a perfectly good and quite interesting setup for a science fiction film. Unfortunately, too little is done with the possibilities, and the film mostly devolves into a fairly standard survival movie set on the space station, Plus the movie veers way too far into the “fiction” end of science-fiction. Perhaps the rules of science and physics are different in the new universe also?
That’s not to say that The Cloverfield Paradox is a complete failure. Far from it. The acting in the movie is quite good, and there are some entertaining bits, especially involving a crew member losing an arm and what happens afterward. Nonetheless, in the end this is another film that is burdened so much by script problems that there is ultimately no redeeming it, no matter how much the actors and film makers try.
Oh, and as for its connection to the “Cloverfield Universe”? Yeah, that’s even more tenuous and literally last minute than that in 10 Cloverfield Lane, and if you’re looking for some background or insight into what is going on in the original then forget it.
So, yeah, my guess is that the studio probably took the right track in “dumping this movie to Netflix. My guess is also that is the film had remained a separate entity and had been given another script rewrite it might have turned out a fairly good if relatively standard sci-fi flick. However, that alternate universe doesn’t exist any more than the one in the film, and we have to deal with the product that we’ve been given, and unfortunately it’s definitely wanting. An that’s not like we’re left wanting more. It’s just wanting a better movie.
Once again we continue our journey through the Sight and Sound Top 250 Movies of All Time list, we come to #228, Pier Paolo Passolinis Salo, or The 120 Days of Sodom. And as always I’ll note that for those just joining us, you can find a full introduction to what the Sight and Sound Top 250 list is, and a look at the complete list of the movies on it, along with links to the ones I’ve already written about here. And, if you want to be sure not to miss any of these posts, just head on over to the Facebook page and give it a “like”or follow me on Twitter (both of those links are also in the sidebar) where I post anytime one of these – or anything else on the blog, along with just random other links and thoughts that may not make it into full posts – goes up. Trust me, if you’re not following one or the other (or both), you’re not getting the full Durmoose Movies experience.
“All’s good if it’s excessive.”
I’ll admit, there are certain films on this list that I’ve been avoiding for one reason or another. Some of them are overly familiar, and I’m not sure what new I might have to say about them, others just don’t seem (at least at first glance) like they’re the kind of film that would pique my interest. Then there are a few, such as today’s film, Salo, or The 120 Days of Sodom that I’ve been putting off because of their reputation.
Based at least in part on the writings of the Marquis de Sade, and tinged with Dante’s Inferno, the film definitely has a reputation as one of the most vile and disgusting movies ever to be released to mainstream theaters.. How then did it make a list of the best films of all time?
The basic premise of Salo can be easily summed up: a group of eighteen young adults – nine male and nine female – are kidnapped by four aristocrats who have their own small army to keep everyone in line and are brought to a palatial villa where they are forced to submit to the aristocrats’ every whim.
The problem comes with just what those whims are. The aristocrats are an extremely perverse lot – perhaps some of the worst villains ever put on film – and they indulge themselves in everything from physical torture, rape, sodomy, the eating of feces, golden showers, and yes, even murder. To make matters worse, they seem to experience a sexual pleasure from this perversity.
It would, of course, be easy to dismiss Salo as simply pornography, and this has been done, In its own native Italy, where the film was released just over a month after director Pier Paolo Pasolini’s death, it was pulled from theaters after three weeks and was formally banned. It has also been banned and censored in other countries, although, surprisingly, never in the U.S.
But there is something to the film which, despite its objectionable subject matter an its portrayal of abominations, raises it high above mere simplistic dismissal.
First, there is the fact that, despite the abhorrent nature of the material that is being portrayed, Salo is, in fact, a beautiful film. The setting, the aristocrats’ palatial estate, provides a gorgeous backdrop, and it seems that every room has been immaculately conceived to provide just the perfect setting and color scheme for what is taking place. And color is obviously very important to Pasolini as every hue is deep and rich and draws the eye even as one wishes to avert it from what is actually taking place.
Pasolini’s camerawork s also obviously that of a master, as he chooses just the right way to frame every scene in order to intimidate the thinking viewer but also to provide a sense of distance which allows the viewer to be more of an observer as opposed to an actual participant in the horrendous goings-on.
I was especially struck by this towards the end of the film when the most horrific physical tortures are taking place. As opposed to many modern day horror films which place the audience as close to the blood and gore as possible in order to give the audience a type of “you are there” experience – yes Hostel and the rest of your ilk, I’m looking at you – instead we view the scenario which is taking place in the villa’s courtyard from the perspective of on of the aristocrats who is viewing the events through an upstairs window using binoculars, thus providing us with a much needed sense of detachment which, while not completely relieving the horror of what is going on, nevertheless allows the viewer to maintain a bit of distance.
Further, there are also the political and social commentaries that are being made in the film. I haven’t mentioned it yet, but the setting of the film is Italy’s Republic of Salo (thus the film’s title) during the last days of the regime of Benito Mussolini. The aristocrats fashion themselves as Anarchists, and the entire film is structured to represent the abyss dividing those with power from those without. The young adults who are the subjects of the men’s tortures are given little background and little personality and are basically treated as interchangeable commodities existing solely for the use of these men.
To say that Salo is not an easy film is a huge understatement. Nor is it a film that I would recommend to everyone, nor one that I am ever likely to revisit. It is a challenge to sit through, and there are scenes which are definitely repulsive. Nonetheless, it is a film that goes far beyond its basic premise and will reward the open-minded viewer with an experience that film rarely equals.
I seem to have been on a bit of a Kurt Russell kick lately. Just recently I wrote about The Mean Season, which starred Russell as a reporter who has to track down and confront a serial killer, and now it’s 1994’s Stargate which also features Russell as Colonel Jack O’Neil.
I have to admit that Stargate has always been something of an enigma to me. The movie itself is okay, but not the kind of thing that I would have expected to spawn three different quite popular television series. Certainly there is much that can be extrapolated from the basic set-up of the film which could be used to expand the universe it takes place in, which is what the series do, but nonetheless, to me it still seems odd.
Of course, a big part of my question lies in the fact that I really only find the movie, as I stated above, “okay”. As a science fiction film it works as long as you don’t try to follow any of the logic and are willing to overlook the obvious plot holes, but where it really falls down is in the characters.
Okay, since I’ve already mentioned Kurt Russell, let’s take a quick look at his character. Our first introduction to him is as a man who is despondent and nearly suicidal after his son has accidentally killed himself with a gun, Nonetheless, he is considered fit enough to lead a military team on an expedition into the unknown. Also, once he’s back on the job, the only real effect his depression seems to have on him is an aversion to letting the younger members of the tribe found on the alien planet handle his guns. Sure, I suppose you could chalk his willingness to stay behind on the planet and make sure that the stargate is destroyed as a symptom, but in the film he simply presents it as “doing his duty”, so no, I;m not willing to attribute it there.
Then, of course, there is James Spader’s Daniel, who often seems not just clueless but willingly obtuse to everything going on around him. Of course, this points out another of the film’s huge flaws: the fact that no one in the movie ever bothers to ask what could be considered the important questions until it is convenient to provide a plot twist.
Then we come to the movie’s biggest flaw, at least as far as the characters are concerned, an that is with the film’s main antagonist, Ra, who is played by Jaye Davidson. At the time, Davidson was hot, having just come off of an Academy Award nomination for his role in The Crying Game.
The problem is that Davidson simply doesn’t work as the kind of intimidating presence that is needed to embody the conqueror of a people and the all-powerful Egyptian sun god. It was a daring casting choice, but in the end, as the film shows, without his otherworldly armor and space flyers and weapons, he really just has too much of a boyish look to pull off the role.
Then there is the plot itself. While the stargate, which turns out to be a portal to other worlds is definitely a concept that can lead to many adventures, the mechanics of it really make no sense at all. Also, the fact that the military has been working with this thing long enough to understand the mechanics of it and have set up a scientific base around it that is ready to actually open it at a moment’s notice as soon as they are able to figure out the last needed symbol, and even more that they have somehow intuited just exactly what the thing is in the first place, and yet they are dependent on the presumably cockamamie Spader to give them the clue to the last symbol and to explain to them just how the thing works is rather ridiculous.
Also, it seems odd that even though the civilization on the other side of the gate is apparently thousands of centuries old (after all, they were supposedly the ancestors of Earth’s ancient Egyptians, and have been under the rule of Ra for all those years, they have also seemingly been asleep for all those years as they have made absolutely no technological advances of their own, nor has Ra used any of his own technology to advance the civilization, instead apparently simply – I don’t know – napping in his flying pyramid space ship?
Okay, I could go on and on about all of the problems with the film, but there’s really no point, And, as I said at the first, it really isn’t a bad movie, just one that, like producer Dean Devlin and director Roland Emmerich’s most famous blockbuster Independence Day, is really best viewed by paying more attention to the popcorn you eat while watching it than to what is going on on the screen, because the more you actually think about the movie, the less sense it actually makes.