The Scoop: Herc is up to his usual shenanigans in yet another Italian muscle epic, the third entry in the "Hercules" series that Joseph E. Levine brought to America. Unfortunately, Steve Reeves isn't around, so Hercules is played by Reg Park, who mostly sleepwalks through the role. Seriously, several important plot points rely on Hercules being asleep. And when he's awake, he mostly just throws things and looks confused.
The title is somewhat misleading, since there's only one captive woman and she doesn't figure too much into the plot. Instead, the story concerns Hercules trying to overthrow an evil queen (played by Fay Spain) who is ruling the hidden island of Atlantis. All the Atlanteans worship the god Uranus, leading to plenty of unintentional crude humor in the dialogue.
This one is actually somewhat fun, if you don't think about it too much.
Best Line: "Uranus has abandoned us!"
Side Note: This was the first of Park's five films. He did two more as Hercules, and one each as Maciste and Ursus, a couple of Italian Hercules-knock off characters.
The busy minions at Desuko World HQ are taking a well-deserved summer vacation, so in the meantime, enjoy these favorite posts from the past. [Originally published March 31, 2009]
The Scoop: When Alan Moore and Dave Gibbons' "Watchmen" was released in 1985, it became a landmark in the emerging genre of graphic novels and has cast a long shadow. Not only did it enlarge the storytelling possibilities in the comics field, but its effects have also been felt in the larger popular culture, particularly the way films and television shows have handled superhero themes. It was also very much a product of its times, delving deep into the Cold War anxieties of the mid-1980s.
All of which make any sort of film version of "Watchmen" especially problematic. As written by David Hayter ("X-Men") and newcomer Alex Tse and directed by Zack Snyder ("300"), the film is full of thunder and excitement, but runs up against a few walls.
The story takes place in a darker, alternate version of 1985 America in which costumed adventurers and vigilantes are common place and, after their halcyon days in the 1940s, have become increasingly distrusted by the public for enforcing the oppresive policies of the U.S. government, led by Richard Nixon in his fifth term as president. Against the backdrop of escalating nuclear tensions between the U.S. and Soviet Union, the hero-turned-military-mercenary The Comedian is murdered. As the sociopathic vigilante Rohrshach tries to solve the crime, he and his former compatriots (including Nite Owl, Silk Spectre, Dr. Manhattan and Ozymandias) uncover corruption and a global power grab.
The novel's genius lies in its multi-layered storytelling, which is rich in symbolism, literary allusions and a wonderfully fleshed-out cast of supporting characters. The history of this alternate world is also richly detailed, providing a running commentary on the main story and rewarding careful attention. All these elements combine to debunk the idealized superhero mythos, turning a cynical eye to the corruption possible when so much power is concentrated in the hands of flawed human beings. It is a world that is less about Superman and more about Travis Bickle.
Accordingly, a faithful film adaptation is a pretty tall order. The Cold War paranoia has lost much of its edge in the nearly quarter century since its release, as had the shock of the novel's innovations. The filmmakers do their best to honor the source material, but come up with a mixed bag.
For the sake of brevity and to not alienate those who haven't read the novel, the filmmakers sweep aside much of the complex backstory for the film. While this serves to keep the focus on the current generation of heroes, it also diminishes the psychological realism of the piece. Consequently, a lot of the characters' actions exist in a vaccuum, and much of Moore's original message is lost. Almost all of the cast of minor characters is lost, too, making the proceedings seem so much thinner and one-dimensional.
And then there's the violence. While the novel and the film are each especially violent, they wind up being two different creatures. Snyder and his writers toned down many of the more brutal passages of the book in favor of Snyder's patented garish fight choreography. Limbs shatter and blood gushes in gruesome slow motion. It's hypnotic and balletic, but ultimately just eye candy. The amoral brutality that Moore used to illuminate his hard-edged characters is replaced by empty and gratuitous exercises in CGI wizardry.
But it's not all bad. The novel's greatest weakness -- its convoluted, inorganic ending -- is given a minor revamp here to better effect. It's still not wholly satisfying, but it is definitely a step in the right direction. There is also terrific cinematography by Larry Fong (a veteran of "300" and "Lost") that vividly brings to life some of the best parts of Gibbons' original artwork.
The acting, too, is solid. With the exception of a wooden turn by Malin Ackerman as the second Silk Spectre, this is a talented ensemble. Billy Crudup (as Dr. Manhattan) and Jackie Earle Haley (as Rohrshach) are particularly great.
In total, "Watchmen" is not completely successful, but it's not a failure, either. Just be sure to read the book first, to fully appreciate the story's rich possibilities.
Best Line: "Never compromise. Not even in the face of Armageddon."
Side Note: Having been in development for decades, "Watchmen" has had numerous actors, writers and directors attached to the project at various times. Among the directors considered were Terry Gilliam, Darren Aronofsky, Paul Greenglass and Michael Bay. Among the candidates to play Rohrshach were Robin Williams, Simon Pegg, Daniel Craig and Doug Hutchinson.
Companion Viewing: "V For Vendetta" (2005) and "The Incredibles" (2004).
All the swashbuckling, campy fun and beautiful native girls on display here make this a perfect time-waster. (In fact, Kenneth Anger once called this is all-time favorite film, which should give you an idea of what you're in for.) Noir master Robert Siodmak stepped outside of his comfort zone to direct this with gusto from a completely inept script by Gene Lewis and Richard Brooks. It's so wrong it's right.
Best Bit: The cobra dance. Oh yes. You must stick around to watch Maria do her cobra dance.
Side Note: Famed Shakespearean stage actor Fritz Leiber, near the end of this life, has a small unbilled part.
The Scoop: Sixteen years after the fact, the team behind the landmark "King Kong" -- producer Merian C. Cooper, director Ernest B. Schoedsack, special effects guru Willis O'Brien and actor Robert Armstrong -- return to their old stomping grounds to give the story a fresh, more kid-friendly twist with "Mighty Joe Young."
Blowhard producer Max O'Hara (Armstrong, essentially reprising his "King Kong" role) travels to Africa looking for wild animals to include in his latest vaudeville production. (Never mind the fact that vaudeville was all but dead by the late 1940s. Don't question Hollywood storytelling!) He and his guide Gregg (Ben Johnson) luck out by finding a 12-foot gorilla who was raised by a young woman named Jill (Terry Moore). Jill and her ape, now dubbed Mr. Joseph Young, are persuaded to travel back to America and go into show business. The show is a success for a while, until unruly audience members taunt Joe and push him too far. He goes on a rampage, then goes on the lam as Jill, Gregg and O'Hara try to keep him one step ahead of the cops and get him back to Africa.
Besides the same basic plot, "Mighty Joe Young" also shares the same thematic concerns as "King Kong" -- namely, the exploitation of Third World cultures and the tragedy of humankind's encroachment on nature. But the script by Ruth Rose gives these themes a lighter, more fun twist, complete with the happy ending that Kong deserved but never got. The biggest drawback is a final act that drags on a bit too long.
But the real treat here is the charming stop motion animation that brings Joe to life. While the character was designed by O'Brien, who got top billing, the majority of the actual animation work was done by his apprentice, the legendary Ray Harryhausen, who got his big break here. While the style isn't as smooth and expressive as most of Harryhausen's later work, it is still terrific, bringing a tender and almost humanistic side to Joe. And because Joe is smaller in stature in Kong, that means a lot more interaction with the human characters, which is pulled off skillfully thanks to the special effects team.
The end result is a wonderful companion piece to "King Kong" that is engaging and enjoyable. Forget the 1998 remake and stick with this one.
Best Bit: The first nightclub sequence, which is highlighted by a bravura tracking shot through a set that is quite literally larger than life. The set was too big to be built as it was envisioned, so the tracking shot is actually an optical composite of several smaller sets.
Side Note: Terry Moore had a long and varied career after this film. She was nominated for a Best Supporting Actress Oscar in 1953 for "Come Back, Little Sheba," then made the jump to television with guest roles in everything from "Rawhide" and "My Three Sons" to "Knight Rider" and "Murder, She Wrote." She even played a villain in the original "Batman" series, and was one of the executive producers of "America's Funniest Home Videos." In the 1970s claimed that she had had a long--term secret marriage to reclusive billionaire Howard Hughes.
Companion Viewing: "King Kong" (1933) and "Son of Kong" (1933).
The Scoop: This short film by the legendary Willis O'Brien (best known for creating the original King Kong) and his partner Herbert Dawley is one of the earliest examples of stop-motion animation on film.
The plot is simple -- two young boys ask their Uncle Jack to tell them a story, and he weaves a yarn about meeting the ghost of an old hermit on a mountain trip, who gives him magical binoculars which let Jack see into the prehistoric past. The prehistoric scenes, featuring O'Brien's stop-motion dinosaurs and birds, will probably seem crude by today's standards (not to mention the standards of O'Brien's later works), but still exude a certain charm. The seeds of O'Brien's later, more famous, work can already be seen. And if you watch it with a certain sense of humor, the rest of the plot becomes bizarrely entertaining.
The project started life as a feature, but after the usual "creative differences" Dawley cut down the film to 18 minutes and removed O'Brien's name. O'Brien would get the last laugh, though, by taking many of the concepts and models from "The Ghost of Slumber Mountain" and using them for 1925's "The Lost World," his breakthrough film that launched his long, legendary career.
Best Line: "I tried to convince Joe to take off his clothes and pose as a faun."
Side Note: Besides writing and producing the film together, O'Brien and Dawley also costar in it -- O'Brien as "Mad Dick" the hermit, and Dawley as Uncle Jack.
The Scoop: With all his bone-headed bravado, Steve Reeves makes a much better Hercules than Kevin Sorbo, Arnold Schwarzenegger, Reg Park, or any of the other actors who also became associated with the role. And this production, the former Mr. Universe's first outing in the character and imported to this country by Joseph E. Levine, is responsible for starting the cycle of Italian muscle epics that dominated the drive-ins in the late 1950s and early 1960s.
Ostensibly an adaptation of Herc's familiar story, this is actually a conglomeration of various Greek myths, thrown together Cuisinart-style for our enjoyment. Just don't look to this for any kind of accuracy. Sure, we get to see him perform some of his famous labors, but he mixes it up with the Amazons, hogs all the credit for Jason's recovery of the Golden Fleece, and even gets to do his best Samson impression.
This film is also a milestone in many ways. In his marketing of the movie in the U.S., Levine pioneered the concept of "saturation booking," in which a film is released on as many screens as possible on its opening weekend in an effort to maximize its up-front gross. This is standard practice among Hollywood blockbusters even to this day. Its success also single-handedly created the "sword and sandal" genre that would dominate the Italian film industry for the next decade.
"Hercules" is fun, albeit in a mindless, lazy Sunday afternoon sort of way. The undemanding story is pulled off with energy and bravado (something that certainly can't be said for the legions of imitators this film spawned) and Reeves seems perfectly comfortable in some of the most ridiculous circumstances. The cinematography in particular is impressive, but that should come as no surprise because it was handled by Italy's maestro of the art, Mario Bava.
Best Line: "The time goes slowly here at sea. I think I'll start a calendar -- one notch for each day."
Side Note: The tagline for the original U.S. release described Hercules as "Half god! Half pagan!"
The Scoop: Michael Hoffman's version of Shakespeare's classic romantic fantasy gives the material the lush, sexy treatment it deserves. Hoffman has transplanted the action to the late 19th century in the Italian countryside, and the beautiful landscape sets just the right tone. An gorgeous looking all-star cast (led by Kevin Kline, Michelle Pfeiffer, Calista Flockhart and Christian Bale) takes its crack at the Bard, and doesn't embarrass itself too badly, despite a few difficult performances.
(Difficult performances seem to be par for the course with filmed Shakespeare in the past couple decades, but Hoffman does a good job here of minimizing their impact.)
Still, the art direction is memorable and Hoffman shows more skin and sex than is typical, giving the material a much more modern feel, while still maintaining the spirit of the original text. Definitely a winner, and a film that should be accessible even to those who don't ordinarily "get" Shakespeare.
Best Bit: "The course of true love never did run smooth."
Side Note: As the Mechanicals are waiting to perform for the Duke, we see other groups rehearsing their own plays -- which include "Oedipus Rex" and "Othello."
Companion Viewing: "A Midsummer Night's Dream" (1935).
The Scoop: Until the release of Jim Carrey's version of "The Grinch" in 2000, this held the distinction of being the only live action Dr. Seuss film ever made. And it's easy to see why -- what is charming in animation comes across as just plain creepy when live people do it. The 500 kids with little hands sticking out of their beanie caps, the old men with interlocking beards, the miniature atomic bomb -- it's just all too reminiscent of a bad nightmare... or a freaky drug trip. Watch it stoned, and it's an experience you'll never forget.
The story, by the way, involves a young boy who is disgruntled with his piano lessons and escapes into a fantasy world in which his piano teacher is an evil dictator bent on world domination. Theodor Geisel -- Dr. Seuss himself -- was heavily involved with scripting and production design, so lots of Seussian touches have made it to the screen here. But it's just a bizarre, surreal viewing experience, both for the visuals and the dialogue.
Best Line: "The work for the happy finger method must go on!"
Side Note: Hans Conried, who plays the evil piano teacher Dr. Terwilliker, is better known as the voice of Snidely Whiplash from the "Rocky and Bullwinkle" cartoons.
Companion Viewing: "Santa Claus Conquers the Martians" (1964) and any other nightmarish children's entertainment.
The Scoop:
