The first volume of The Exegesis of Philip K. Dick has finally been published. (Note: That Amazon link has it at half cover price, something I (and most probably other booksellers) can’t hope to match.) Paul Di Filippo offers a review: “It’s like the greatest Spalding Gray staged monologue ever conceived.”
Also of interest to the devoted Dickhead: The Philip K. Dick estate is suing the people who made The Adjustment Bureau, saying they’re owed additional money for the film rights. Media Rights Capital, in turn, is saying that the copyright was never properly renewed. Previous coverage of the dubious status of SF works that might (or might not) be out of copyright can be found here.
Finally, there’s another book of PKD interest coming out, not about Dick himself, but about his missing android head.
Howard Waldrop and I reviewed Hugo over at Locus Online, which we liked an awful lot.
The film involves (slight spoiler) the work of French film pioneer Georges Méliès, who produced, directed, wrote, and starred in over 500 silent short films, many of which no longer exists. But several of the ones that do are up on YouTube, and I thought I would gather them here. Méliès, a former stage magician, was the first to create a number of optical effects.
His most famous film, A Trip to the Moon, with the classic image of the shell embedded in the man-in-the-moon’s eye.
Interestingly, this was not his first film featuring the moon, as shown by The Astronomer’s Dream:
Another interplanetary voyage, this time by train, to the sun (in hand-tinted color, no less):
20,000 Leagues Under the Sea:
The Haunted Castle:
Mélies himself is front and center as each of The Four Troublesome Heads:
Did you know that the first first filmed version of Frankenstein was not the James Whale movie, but a 1910 Edison studios film?
Though full of the hokey melodramatic tropes of early silent cinema, it actually follows the basic plot of the Mary Shelly novel more closely than the Whale movie, at least up until the happy (and vaguely slipstreamy) ending. The creation of the monster scene uses not one, but two special effects: running the film backwards and at high speed. I’m sure it blew people’s minds in 1910.
With Halloween almost upon us, and ten days before the annual Fark scary story thread, I thought it would be a good time to put up some posts for the season, no matter how vaguely related. First up is “Hittin’ The Trail For Hallelujah Land,” one of the earliest Merrie Melodies (AKA Looney Tunes) ever made, and the first of the infamous “Censored Eleven” cartoons, which, due to racial insensitivity and general political incorrectness, have never been released by Warner Brothers on DVD.
“Hittin’ The Trail For Hallelujah Land” is now in the public domain. What makes it seasonal is that there’s a graveyard and skeleton dance sequence in it.
To be sure, the Death Star is primarily a weapon of intimidation rather than something to be used all willy-nilly. Even the Evil Empire didn’t want to demolish more than a handful of planets. So the fact that the Death Star only ever fired one shot may not be that big of a deal. However, the fact that the stations kept getting blown up is a big deal indeed. It’s hard to be intimidating if you’re a smoking cloud of debris.
One might wonder how such an ostensibly powerful weapon could have such a consistently poor track record and such a gaping weakness. Despite the opinion of certain critics, these shortcomings are not a cheap plot device by a lazy writer. In fact, the Death Star’s combination o inadequacy and vulnerability may be the second-most realistic aspect of the entire saga.
From a design perspective, a system as enormously complex as a Death Star is more than any program manager or senior architect can handle, no matter how high their midi-chlorian count is. There is bound to be an overlooked exhaust vent or two that leads directly to the reactor core. That is just the sort of vulnerability an asymmetric opponent can exploit….
The truth is, Death Stars are about as practical as a metal bikini. Sure, they look cool, but they aren’t very sensible. Specifically, Death Stars can’t possibly be built on time or on bud-get, require pathological leadership styles and, as we’ve noted,keep getting blown up. Also, nobody can build enough of them to make a real difference in the field.
Heritage Auction is auctioning off tons of items from the estate of John Wayne. Being the canny man he was, he saved just about everything from his movie career: scripts, outfits, awards, you name it. There’s a treasure-trove of Hollywood memorabilia going under the hammer, including letters from Ronald Reagan, Katherine Hepburn, Steve McQueen, Frank Sinatra, and about a hundred other luminaries.
I did take a look at the books being sold from his library, but all of them have opening bids substantially above market minus the Wayne connection. However, I did want to point out his owning copies of The Hobbit and The Lord of the Rings. Not firsts, of course (Wayne seemed to be an avid reader, but not a book collector), but that beautiful second edition Houghton-Mifflin LOTR set done to bring the books back into copyright after the unauthorized (but borderline legal) Ace books edition. This is the edition my father read to me from as a child, and it’s the edition I own.
Heritage sends out a Heritage Magazine for the Intelligent Collector as a freebie to people who bid in their auctions, and they had a fascinating interview with his son Ethan Wayne about growing up living with his father, and about how random people would come around. One time John Wayne saw some guys coming up his dock, grabbed a gun and said “Who are and what do you want?” “Golly, Mr. Wayne, we’re Marines. We just heard that you lived here.” “Well then come on up and have a drink.” And they sat around drinking until 1 o’clock in the morning.
Sounds like he was a swell guy.
Edited to Add: John Wayne’s Tolkien collection sold for a hefty $2,868.
I forgot exactly what I was looking for, but I came across this interview UK talk show host Michael Parkinson did with Peter Sellers in 1974. Sellers was, of course, one of the great comic actors, but according to this backstory, Sellers did very few interviews, and was very hard to interview in his own personality, as opposed to the many characters and impressions he did.
Anyway, the interview is a bit choppy in YouTube format (there’s a lot of overlap between the first two videos), but is full of fascinating Sellers impressions and bits, some Pink Panther outtakes, as well as a pinch of pathos about his failed marriages toward the end.
Once again Japan brings us a classic piece of the “What the Fuck?” cinema at which they excel. Noboru Iguchi, the director of The Machine Girl, which was your typical “girl picked on and humiliated, girl gets machine gun grafted onto her arm, girl racks up serious body count” film, is back with a film that makes that one look like an exercise in good taste and restraint.
After an insane beginning of RoboGeisha-on-RoboGisha combat, we jump back to a flashback that, it turns out, will take up the entire rest of the movie. Two sisters, one older, pretty, and working as a geisha, the other younger-and-even-prettier-but-we’re-going-to-pretend-she’s-homely-for-the-sake-of-the-plot who gets bossed around, exhibit the usual sibling rivalry. Then they get kidnapped by your generic evil corporation and are forced to train as geisha assassins. Oh, as you just might possibly be able to surmise from the title, they sport all sorts of deadly robotic devices implanted in their body.
The biggest difference between this and Machine Girl is that that film was (with a few allowances) a reasonably realistic, conventional film until it went all machine gunny in the third act, while RoboGeisha is pure WTF from start to finish. Just in case you were worried that RoboGeisha would be a deep, introspective examination of sibling rivalry in modern Japan, the shurukens flying out of the female penis goblin guard’s asses and the circular saw blade popping out of another robogeisha’s mouth should convince you of the film’s pure over-the-top, mutant cinema goodness. Swords pop out of deeply unlikely places (as in the quote in the title), breasts sport guns, shattered buildings bleed digital blood (albeit more convincing than the digital blood than found in Ugandan action films) and a cyborg geisha tank takes on a giant robot. Add off-balance dubbing, the hilariously maudlin sister story, and a ridiculously small cast (the same guy gets killed at least four or five times), and you have a strong candidate to show at your next party.
Here’s the trailer, which pretty much puts all the virtues of the film (such as they are) on display:
And it beats the hell out of Wild Zero or Kibakichi.