strange_complex: (Vampira)
I'm off to the cinema with [livejournal.com profile] ms_siobhan tomorrow, so that's a good incentive to finish off this film review catch-up project first so that I have a clean slate for tomorrow's new entry. The first three of these should always have been reviewed together in the same post anyway, as they were part of a series of Universal Monster Movies which the National Media Museum mounted on Monday nights during October and November.

27. Dracula (1931), dir. Tod Browning
I've reviewed this in excessive detail before, while for us this particular screening came fairly hot on the heels of our own viewing of the parallel Spanish version. But this was my first experience of it on the big screen, and it certainly deserves the detail and grandeur which that ensures - especially for the scenes set in Transylvania, in the darkened garden of Seward's asylum where Dracula lurks, and in his lair in Carfax Abbey. Everything is just beautiful, from the Art Deco bat which supplies the background for the opening credits to the gentle toll of the church bells at the end as Mina and Jon(athan) walk up the curving staircase out of Dracula's crypt. I will never quite be able to come to terms with the opossums running around in Dracula's castle, the piece of paper stuck to Lucy's bedside lamp which was obviously meant to improve the lighting for shots from one angle but was left very obviously in place for shots from the other, or the utter cardboard-cutoutness of Jon(athan) Harker, though.

28. Frankenstein (1931), dir. James Whale
This was the next in Universal's series, and in the National Media Museum's screening schedule. I've seen it before, but a long time ago and never on the big screen. Two main things to say. One, Boris as the creature is amazing. There is a real sensitivity in his performance, successfully conveying a living being with an agency and agenda of its own. His make-up is incredible as well. Forget all the clunky rip-offs and parodies of it you've seen. The original is actually exceptionally detailed and carefully-designed, with the hands and arms to me looking especially convincing as those of a reanimated corpse. Two, the way the human characters treat the creature is downright distressing, and indeed I found the whole moral compass of the film shockingly off-kilter. The biggest problem for me was that the in-story explanation offered for why the creature turns bad is that when Fritz (Frankenstein's assistant) goes to steal a brain for it, he comes back with what is literally labelled on the jar an 'abnormal brain', and which we have heard a medical scientist explaining accounts for the 'brutal and criminal life' which its owner had lived. I know this sort of thinking was rife in the early 20th century, and used to justify a lot of shitty oppression too, but it makes me so angry that I would struggle to overlook it in any circumstances, while in this particular film it anyway utterly destroys the potential moral nuances of the story it is trying to tell. Labelling the creature as an irredeemable criminal before it has even been brought to life quashes all chance of exploring the impact of Frankenstein's thoughtless act on his own creation, and also pre-excuses the appalling behaviour of the humans towards it once it has come to life. In fact, it means there's no real point portraying that behaviour anyway, as the motif of the brain means the creature was always going to 'go bad', however it was treated. So there are half-hearted nods towards exploring the creature's perspective, identifiable in Boris Karloff's performance and the scenes in which the creature is ill-treated, but in the end they have no moral weight because of the pre-destination symbolised by the brain. Meanwhile, the much louder message is the depressingly-simplistic one - "Look, you shouldn't try to play God because your creations will inevitably just be bad and go bad!" At the end, the poor creature dies screaming in agony in a burning mill (again played very affectingly by Boris), and we then just switch straight to the human characters unproblematically celebrating it all with a wedding party. Horrifying, but not in the way intended.

29. The Mummy (1932), dir. Karl Freund
The following week we had The Mummy, which I found much more satisfying. This time, its moral dimension is pretty sound, with some interesting commentary on the ethics of colonial archaeology in particular, and indeed a good understanding of how archaeology works in general (e.g. why simple bits of pottery are often much more important than golden treasures). Just one small complaint on the antiquities front - a priestess of Isis really cannot be described as a Vestal Virgin. 'Vestal' doesn't just mean generically sacred or holy - it means specifically consecrated to Vesta (the clue is in the name). This film boasts an unusually (for the time) autonomous female main character, Helen Grosvenor, who is the daughter of the governor of Sudan but has chosen to live quite independently from her parents in Cairo, expresses disdain for the various men who attempt to court or control her, and indeed ends up destroying the mummy at the end of the film in spite of the fact that she is his reincarnated lover. I've often complained about that particular trope (e.g. here re Blacula 1972), since it consistently strips women of their agency, but here far from it - instead, she actively decides that she doesn't want to be with Imhotep, and uses the resources which are her equivalent to his own magical powers (her connection to Isis, whose priestess she once was) to defeat him. All of this, of course, is pretty easily explained by the fact that story's original author was a woman. Visually, the film keeps up and indeed excels the standards of sets, make-up and costumes from the previous two films, including the wise / clever decision to show Boris in his full mummy make-up only on his first appearance, and after that have him looking more or less like a normal human being, but with a serious skin condition. He gets to speak properly in this film too, using the dialogue to infuse his character with a malevolent charm that I know well from Christopher Lee's roles. His performance is also ably supported by an adorable fluffy white cat - I wonder if he was the first film villain to have one? Finally, I was fascinated to note that in a flash-back sequence where Imhotep shows Helen scenes of their past together in a pool, the images are shot like a silent movie: less crisp than the surrounding footage, no use of close-ups, and the overlay of classic silent-movie style music (in contrast with almost no soundtrack music in main film). Like the white cat, I can't help but feel this must be a cinematic first, as the medium of film was still so new at this time that there can't have been many earlier opportunities to deliberately use the conventions of out-dated film technology to signify 'the past'. Very clever, and very creative.

30. Fear In The Night (1972), dir. Jimmy Sangster
Watched with [livejournal.com profile] ms_siobhan round at her place. It's a Hammer production with Peter Cushing, Ralph Bates and Joan Collins in it, but not one of their horror films - rather, a thriller. That said, it does play heavily on the possibility that there might be something supernatural going on for a long time, which of course Hammer's reputation put them in an excellent position to do. The story is set in the time when it was made, which meant lots of very enjoyable Seventies clothes, cars and street scenes, and revolves around a young woman who is experiencing repeated and very unsettling nocturnal physical attacks. The male characters around her dismiss her experiences as symptomatic of an over-wrought imagination, and for quite a long time it looked like the grain of the story might be leaning in that direction too. I began to get fractious, and [livejournal.com profile] ms_siobhan had to convince me to stick it out. But then the real truth began to emerge, her experiences were entirely vindicated, and indeed the film proved to be very sympathetic towards those affected by mental health issues - not only the heroine but Peter Cushing's character as well. So a very satisfying watch after all, and I'll definitely want to see it again some time now that I know the 'twist'.

31. Night of the Demon (1957), dir. Jacques Tourneur
Seen with [livejournal.com profile] minnesattva, magister and Andrew Hickey at the National Media Museum as part of a series of ghostly stories screened in the run-up to Christmas. I've seen it on the big screen before, and reviewed the experience. Indeed, I see that I spent a lot of that review discussing how it sits alongside Hammer's horror films, and I had similar responses this time. The importance of the deceased Professor Harrington's diary account in helping the characters figure out what Karswell is up to reminded me a great deal of how Jonathan Harker's diary functions in Hammer's Dracula (and in neither case comes from the source text), while the way Karswell turns on and mocks his own mother also reminded me of the relationship between the Baron Meinster and his mother in Brides of Dracula. Since both of those films were made after this (though only just in the case of Dracula), the direction of influence would go from here to Hammer, but that's entirely typical of how they worked - soaking up contemporary stories and conventions and building them into their own productions. Meanwhile, Andrew noted that by making John Holden a sceptical outsider literally flying into an island full of superstitious believers in the supernatural, the story also had quite a Wicker Mannish feel. It is, of course, all quite a long way from M.R. James' original, but I am reconciled to that, especially on a second viewing. In and of itself it is a great movie which deserves to be regularly rescreened.

32. Rogue One (2016), dir. Gareth Edwards
And my last film of 2016, which I saw with Mr. and Mrs. [twitter.com profile] ZeitgeistZero. It was in fact my first experience of seeing a film on an IMAX screen, as well as being a 3D screening, so it was all pretty impressive and mind-blowing both visually and aurally. The story was great, and I've enjoyed all the fantastically detailed articles about its world which have appeared since, like this one about data storage standards and this one about archaeology. Three cheers for stories which inspire that kind of fan-work! It's true that it could have had more women in it, and let's keep demanding the best on that front, but it was certainly epically better for women than any of episodes I-VI, as well as being impressive on ethnicity and disability, so let's also cheer the direction of travel. Much discussion has also been prompted by its use of CGI to recreate characters from the original trilogy, but I'm afraid I found this only technically impressive. Peter Cushing's recreated face was pretty good, but of course CGI cannot capture the unique humanness of a real person's performance - indeed, even a very convincing impression will only ever be a pastiche, missing the unpredictability of the original person. Most strikingly, the voice wasn't his at all, and since that was always such a central part of what Peter Cushing had to offer, its absence was bound to disappoint. Leia I found less problematic, partly because her face was only on-screen for a few seconds, and partly because they had been able to use an old clip of Carrie Fisher's voice from the time - but of course it was also rather heart-breaking to see her at all so soon after Carrie's sad death. Meanwhile, Darth Vader of course did not need CGI to return to our screens, and it was fabulous fun to see him in full-on evil action again. That said though, part of the power and fascination of Darth Vader in the original films is discovering slowly and with increasing horror just what he is willing and capable of doing. (Even if you have seen the films before, the reactions of the characters within the story lead you through the process of discovering this all over again.) Here, he pretty much launched straight into evil machinations and force-choking, leaving no room for the suspenseful frisson of gradual discovery from the earlier films. Still, I guess that reflects the reality of a modern audience's expectations - you simply can't keep redoing the suspense if they're just going to be sitting their with their pop-corn going "Yeah, we know he's evil - cut to the chase!" It's just a pity Darth's character-development won't ever really work now if the films are viewed in story order - but then I guess that was already ruined fifteen years ago by the whole prequel sequence giving away his relationship to Luke.

OK, I am up to date on my film reviews! Now just gotta do the same for books... and Doctor Who... :-(

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strange_complex: (Cleo wink)
Borrowed recently from Lovefilm, and watched last night as a treat after a heavy day of Lib Dem Christmas card delivery.

We must have taped this off the telly some time in my early teens, as I clearly remember having a copy of it in the family house, really liking it and watching it quite regularly on boring Sunday afternoons. I hadn't seen it since I left home though (and heck knows what's happened to the taped copy), so I borrowed it to see whether it was as good as I remember. It was!

The story is based on Bram Stoker's novel, The Jewel of the Seven Stars, which I must confess I have never read. Wikipedia gives good plot summaries of both, though, so I won't bother repeating either, but will simply link for those who are interested:Judging from those, the essential elements of the stories are pretty similar, but The Awakening updates everything to the present day, and puts more emphasis on the personal and psychological troubles of the Egyptologist who unearths the mummy - his marital problems, his career obsessions, his weird relationship with the teenage daughter he has barely ever seen. And there is no doubt at all about what has happened to both Kara (the mummified princess) and Margaret (his daughter) at the end.

Wikipedia also tells me, in what is clearly a rather contested Reception section, that this film is apparently widely considered rather dull. Indeed, others seem to agree. It's a fascinating phenomenon, this one - you grow up with a film in the pre-internet age, form your own opinion of it, perhaps with input from one single review (my Horror Bible thinks it's great!), and only discover years later that you are utterly out of step with the majority consensus. But in this case I really cannot understand what the people who claim this film is boring are on about. From where I'm sitting, Charlton Heston does a great job as Corbeck, the lead Egyptologist, conveying very effectively the range from his buoyant exuberance when he first makes the find of a life-time to his increasingly-unhinged vulnerability as he begins to realise where it is leading him. And the plot builds just nicely from a straightforwardly-realistic depiction of an Egyptological dig at the beginning, through a series of strange and unsettling events which reflect the parallel development of Corbeck's unhealthy obsession with his find, and via a sequence of inventive and memorable deaths to a poignant ending in which he just has time to witness his own illusions shattering before meeting his own horrible fate. There is a strong sense of inevitability as the events march towards their terrible climax, and yet always tension too as we are given reasons to hope that the characters will manage to overcome the ancient evil and escape their fates.

Watching it now, what I really liked about it was its central concern with academic obsession, and the terribly damaging effect it can have on the person experiencing it and on those around them. I can definitely relate to that. In fact, in many ways Corbeck's character arc reminds me quite strongly of Stourley Kracklite's in Peter Greenaway's The Belly of an Architect, another film of which I am extremely fond. Both characters are obsessed with a little-known historical figure whom no-one else really cares about (Kara, Boulée), both have marital problems, both lose control of their big research projects, both put up undignified fights to get them back, both lose all sense of proportion in the process, both are aware of their own impending doom and helpless in the face of it, and both essentially end up causing their own deaths. It's just that in The Awakening, the drama and tension of this arc is manifested partly via supernatural happenings.

Obviously when I originally saw this as a teenager, I couldn't have related quite so profoundly to the academic-obsession theme, but I was of course already very geeky. I had definitely spent more than my due portion of hours shut away in my bedroom, reading about Egyptian mythology. So I think even then I would have found something that spoke to me in Corbeck's obsession with an ancient Egyptian princess, and his half-hope, half-fear that he might be able to bring her back to life. Certainly, I remember being very much taken by the climactic scene in which he carries out the resurrection ritual, at the end of which he breaks open the mummy's jaw so that she can 'breathe' again, only to first realise to his horror that the magic was all an illusion and all he has done is irreparably damage his precious find, and then realise to his even greater horror that the ritual has in fact worked, but not in the way he had imagined - Kara has indeed come back to life, but in the body of his daughter. This part, of course, is a classic 'be careful what you wish for' story - rather like The Monkey's Paw, for example.

Meanwhile, this is a surprisingly big-budget film for a British horror movie. Even the nay-sayers seem willing to concede that its sets and location footage, including extensive scenes set in actual Egypt, are superb, and the camera crew certainly get good value out of them. The early scenes on the dig are infused with a powerful sense of the close heat of the Egyptian desert - another aspect which had really stuck with me since I last saw this film as a teenager. There is some clever editing work going on as well, usually to suggest terrifying and supernatural things without actually showing them. For example, when Corbeck first finds Kara's tomb, the sounds of his hammer-blows as he opens the outer seal reverberate along the valley, where they are cross-cut with scenes of his wife back at the camp experiencing simultaneous spasms as she goes into a premature labour with their child. This is just enough to suggest, without actually stating, that there is a profound connection between the dead Egyptian princess and the new-born baby - just the right level to leave that suggestion on at this stage of the story, so that it can develop more fully and horrifyingly later on.

I will concede that the young lady who plays Corbeck's daughter, Stephanie Zimbalist, puts in a pretty unexciting performance - but even then, maybe that's only appropriate to the story, given that she is meant to be 18 years old and basically just a cipher waiting to be possessed by an evil Egyptian princess. It's probably a good thing the film ends just as that possession takes full hold, because I'm not sure Zimbalist could have carried full-on evil very convincingly. Other than that, though, I really can't see how or why this film deserves such mediocre ratings on the various review aggregator websites. That said, I note that many of the negative reviews (e.g. this one) draw their unfavourable comparisons specifically with Hammer's earlier take on the same Stoker novel, Blood From The Mummy's Tomb, and I won't dismiss that part of what they say. So it's onto the Lovefilm list with Hammer's effort, for future viewing and a comparison of my own.

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strange_complex: (Ulysses 31)
As I said earlier in the week, I’ve been busy (though happy!) lately, and so am horribly behind with Doctor Who reviews. I’m writing this up while on a train to London, where I will deliver a workshop on Space and Ancient History for school-teachers (which might as well be called Space, Time and Ancient History, since you can’t really talk about space without talking about time). An appropriate context for writing about a Doctor Who story with an Egyptian queen in it, I think. Obviously, I‘m writing this with the benefit not only of having read many other people's reviews of Dinosaurs, but also of seeing it with the hindsight of A Town Called Mercy. I've tried to acknowledge the effects of both of those where relevant. I also haven't yet seen The Power of Three, let along The Angels Take Manhattan, so I don't know where they will take us. As for my last review, I've grouped my thoughts under thematic headings.

Overall writing / plotting )

Time and history )

Guest characters )

Solomon and his death )

Awesome bits )

Past continuity )

Future implications )

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strange_complex: (Rory the Roman)
Well, that was pretty good fun on the whole, and more satisfying than I expected it to be. I'm not going to comment in any detail on the many plot resolutions )

Back in this story, I loved the cracky mash-up of all of time happening at once )

I liked alt-universe Amy )

Meanwhile, Rory gets to be awesome and warrior-ish again )

What I didn't like, though, was River's role in it all )

Oh, and finally, I guess the mirrors I've been busy spotting never did come to anything terribly substantial, except simply as a symbol for a parallel world (cf especially Alice Through the Looking-Glass). But there was just one more to round us off anyway, which the Doctor leaned up against for a while in Amy's utterly awesome and rather Once Upon a Time in the West-ish train carriage office. Jolly good.

Anyway, there we are. New Sarah Jane Adventures starting on Monday - though watching it will be a terribly, terribly sad experience now.

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strange_complex: (One walking)
I thought this story was better than the circumstances of its production might have suggested. It definitely varies in tone and quality, and wanders quite a long way away from the central plot at times, with the result that I began episode 12 no longer really caring what happened with the taranium core and the Time Destructor. But most of the individual moments in it are enjoyable, albeit often in very different ways. That said, some of the scenes between the Daleks and their allies on Kembel get rather tedious (although I don't doubt they would have been more engaging with the original moving pictures). And I was rather disappointed to find out that the plot-lines set up in Mission to the Unknown got much less of a pay-off than I'd assumed they would. The Doctor has already found out what the Daleks' plan is by the time he discovers and plays back Marc Cory's tape in episode three, so that it is rather pointless by that stage - and this felt like rather a betrayal of the earlier story.

Katarina, Bret Vyon and Sara Kingdom )

Mavic Chen and the Monk )

Fun and frolics in 'The Feast of Steven' )

Silent era Hollywood )

Pharaonic Egypt )

Minor points )

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