Cancelled Too Soon #3: Dracula (2013-2014)

A little known fact about me is that I have this thing for stories about Dracula. Ever since I read Bram Stoker’s novel in high school, I’ve found myself drawn to the various interpretations of the character. So when I heard that NBC was launching a series with a unique twist on the Dracula story…I was intrigued.

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Dracula (2013) Intro

Dracula takes all the known characters of the novel and rearranges them somewhat. Rather than hunting down Dracula’s trapped body to destroy him, Abraham Van Helsing (Thomas Kretschmann) sets the vampire free….to gain his help. See, the doctor was betrayed by the Order of the Dragon, the same Order that turned Dracula (Jonathan Rhys Meyers) into a vampire in the first place (and killed his beloved wife Ilona). Both have a mutual desire to get revenge on the Order, and so they enter into a pact of mutual cooperation. Until the Order is destroyed, the pair will work together. A side condition stipulates that Van Helsing will also investigate ways to allow Dracula to move about more freely in sunlight (something a vampire normally cannot do).

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Dracula and Van Helsing then spend a significant amount of time in America, where Dracula reinvents himself as an American entrepreneuer named Alexander Grayson. Having built a large fortune creating strange and wonderful inventions, “Grayson” now comes to London, promoting his latest invention: “wireless electricity”, an invention which, if accepted, would render the use of coal and oil obsolete for lighting and bankrupt most of the members of the Order.

Also in London is the beautiful Mina Murray (Jessica DeGouw) (who bears an exact resemblance to Ilona, it should be noted), her fiance Jonathan Harker (Oliver Jackson-Cohen), a sometime writer and lawyer, and Mina’s best friend Lucy (Katie McGrath) (who, in this version of the story, has genuine romantic feelings for Mina and doesn’t know how to express them or understand them). Renfield (Nonso Anozie), in this version, is Grayson’s loyal servant, the latter having saved his life in the United States.

Dracula - Season 1

I loved this show from beginning to end. The backdrop of Victorian England was beautifully arranged, and the complex love triangle between Grayson, Mina and Jonathan was executed perfectly. I even enjoyed the plot arc that followed Lucy trying to understand how she felt about Mina (spoiler: it ends very badly for Lucy).

And yet, despite the brilliant casting, the complex story and a quickly grown cult following…the show was cancelled after a single season. To say I was angry would be an understatement. I don’t try new television shows very often for a reason, because when I invest, I go all the way. As for why the show was cancelled…if I remember correctly it had something to do with high production costs, and also that the ratings weren’t high enough to justify continuing the series, blah blah, which is all ridiculous because, once again, NBC chose to place this show in the Friday night slot (aka the “kill slot” where shows go to die).  I don’t know why NBC insists on sabotaging themselves like this, but it is super frustrating.

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Thankfully, the sole season of Dracula has since been made available on DVD (I picked up a copy the first chance I could get.) There are only ten episodes, but it remains some of the best television I have seen in recent years.

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The Lightsaber Duel at Cloud City: A Nightmare in Three Stages

The lightsaber duel between Luke Skywalker and Darth Vader in The Empire Strikes Back is often referred to as the greatest saber duel of the saga, and for good reason. The staging is perfect, the tension is spot on (and it happens to feature the biggest cinematic twist of all time).

I already wrote about the duel somewhat here but now I’d like to go into a bit more detail.

As I see it, the duel is divided into three stages, with a different setting and feel for each.

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Stage One is set in the carbon freezing chamber on Cloud City (where Han Solo was recently frozen into carbonite) and is also where Vader plans to do the same thing to Luke. At the beginning of the duel, Vader believes that Luke will be a pushover, so he’s not really expending a lot of energy. Quite the opposite, he lets Luke initiate the duel (Luke activates his saber first AND he makes the first attack), Vader only parries the blows in response. In fact, Vader isn’t even holding his saber with both hands, whereas Luke is clearly expending a lot of energy early on (and getting nowhere).

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There is a bit of taunting (on Vader’s part) but not too much, as he wants this duel to end quickly. It doesn’t take much to get Luke down the stairs and right in front of the pit as Vader activates the machine with the Force. And then Vader gets cocky: forcing Luke down into the pit, he boasts “all too easy” and flips the switch. But Luke (thanks to his training) is able to leap out a split second before the freezing process begins, much to Vader’s surprise (he says he’s “impressed” but I really think surprised is the better word). Clearly, this duel is not going to be a quick pushover, so once Luke kicks Vader off the edge of the platform (and I somewhat believe Vader let that happen), the Dark Lord disappears to regroup for Stage Two.

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Stage Two takes place in an abandoned hallway deep inside Cloud City. And even before it begins, Luke has a choice to make: at this point, Vader has vanished to who knows where and Luke doesn’t HAVE to follow him (I know I wouldn’t, I mean really, venturing into a dark hallway in search of a ticked off Dark Lord with a lightsaber? NOPE!), but of course he does.

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There’s a literal transition point as Luke comes to a brightly lit service corridor that takes him to the location of stage 2: the abandoned hallway with a large octagonal window looking out into the air shaft of Cloud City. And once Luke reaches that point…the breathing begins (a moment that always sends a shiver down my spine). Luke re-ignites his saber (Vader’s is already activated), but instead of launching back into the duel, Vader decides a “lesson” is in order (this is discussed more in the radio drama version of ESB and as far as I know is canon): sure, Luke is (at best) a competent duelist, a skill surely inherited from his father, but what experience does he have against a veteran Force user who can duel AND manipulate objects in the Force at the same time? Of course Luke doesn’t have any such experience which is why he gets the crap knocked out of him by various flying debris. At this point, Vader is still somewhat toying with Luke, but things are definitely more serious (I’m still not sure if Vader intended to have Luke go flying out the window, cause after that moment Vader comes over to look like “did I kill him?”)

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Fortunately, Luke doesn’t go falling to his death, but instead manages to make his way to a platform station of some kind even lower down the air shaft, the setting for Stage Three (and the end of the duel) But he barely has a chance to look around before Vader shows up, and this time the Sith Lord isn’t messing around. His strikes come fast and hard, and Luke is quickly chased backwards out to the near edge of the platform. Vader (holding Luke at saberpoint) declares his opponent beaten, it’s time to give up. Unfortunately, Vader also taunts Luke by saying “Don’t let yourself be destroyed as Obi-Wan did” reminding Luke about how Vader killed Obi-Wan in front of him. This visibly angers Luke and he stages a miraculous (and brief) comeback, which ends when he manages to score a partial blow on Vader’s shoulder.

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That this not-even-half-trained-would-be-Jedi managed to score a blow on him enrages Vader and pushes him over the edge. He pushes Luke back again and in a short series of moves deprives Luke of his lightsaber…and his right hand!! (For years I dreaded this moment, because it always seemed to come out of nowhere, and I hated Luke’s scream of pain).

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Now the fight is really finished, but Vader isn’t done yet. Now that Luke is cornered (literally), he makes his “pitch” for Luke to join the Dark Side. Of course Luke refuses, pointing out that he (Vader) killed his father. This prompts the biggest cinematic twist of all time:

“No” (Vader says) “*I* am your father.”

On the one hand, it makes no sense because Episode IV clearly establishes Vader and Luke’s father as two separate people. And yet….why would Vader lie? Luke knows there’s no reason for Vader to lie, hence his (understandably) upset reaction.

With the duel over, it appears Luke has no place to go except with Vader, but Luke figures he still has one way out: he’s at the edge of the main air shaft of Cloud City, and he’s not sure what’ll happen down there, but it has to be better than going with Vader…so he lets himself fall! There’s more, but that’s a separate scene.

Fun notes:

I remarked in my earlier post that Vader was played by master fencer Bob Anderson for this entire duel (David Prowse kept breaking the saber blades), hence  the reason this duel is shot from so many unusual angles (looking down at Vader, looking up at Vader, a lot of close-up shots) because Anderson was nowhere near the height and size of Prowse.

Only Mark Hamill, George Lucas, and one other writer knew the truth about the big twist. Everyone else was given a fake page of script where the “twist” was given as “You don’t know the truth, Obi-Wan killed your father.” (I mean that WOULD have been a pretty epic twist in and of itself)

The hallway seen in stage 2 is the same hallway Rey sees early in her Force vision in Episode VII. I really hope they explain at some point how Maz got the lightsaber, because last time it was seen, it was tumbling into the atmosphere of Bespin.

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What Disney taught me about life: Things I learned from the Movies

This post is part of the Things I Learned from the Movies Blogathon hosted by Silver Screenings and Speakeasy.

So, I have a confession to make. Originally I was going to write about what Disney films taught me about humor, but as I got started, I realized I couldn’t think of any good examples. So, I decided to make the subject a little broader, and talk about several life lessons I learned from Disney films (my apologies for the last minute change).

  1. Sometimes when you love a person, you have to let them go. This happens in Pocahontas (1995) when Pocahontas and John Smith know they love each other, but John has to go back to England to be treated for his injuries. Pocahontas could go with him, but she needs to stay with her people, and so they say goodbye, even though it breaks both their hearts.
  2. Imagination is a very powerful tool. I learned this from The Sword in the Stone (1963). Most of Merlin’s lessons are based on the Wart’s ability to “imagine” that he is a fish, or a bird or a squirrel before the magic can actually work. And as the Wart’s imagination is opened up further, he grows further and further as a young man.
  3. You don’t always fall in love at first sight. I know most Disney films portray the opposite, but that’s exactly my point. Until very recently, Disney portrayed true love as being something that could occur in a single meeting. Or, to be more generous, something that could occur over a relatively short period of time. While that’s better, I really think that real love takes closer to a year to happen. The good news is that Disney is slowly moving away from “true love at first sight”.

and the most important thing I learned from Disney films?

4. Sometimes the “bad guy” wins. The big example for this comes from The Lion King, when Scar succeeds with his plan to kill Mufasa. While we all want to believe that the hero always wins and the villain always loses, in real life it’s usually the other way around. And, while it took me years to understand, I think it’s good that Disney includes this concept in some of their stories. It hurts, but it’s a lesson that needs to be shared.

And that’s a small sample of the things I learned from Disney movies. I hope you enjoyed checking it out! Thanks to Silver Screenings and Speakeasy for hosting this great blogathon!

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Cancelled Too Soon #1: Constantine (2014-2015)

Based on DC’s super-popular Hellblazer comics, the show follows John Constantine (Matt Ryan), his best friend Chaz and a mysterious woman with psychic powers named Zed, as they work to stop the “Rising Darkness” from destroying the world. Constantine has some supernatural help in the form of an angel named Manny (more on him later), and a sometimes ally/sometimes nemesis in the form of Papa Midnite, a Voodoo witch doctor who communes with the Hell-bound spirit of his dead sister for information. Along the way, Constantine must also deal with the consequences of some reckless behavior from years before, behavior that ultimately caused a young girl’s soul to be dragged to Hell (something Constantine has never forgiven himself for).

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I’d never read Hellblazer before watching this show, and I was initially going to ignore it, but I decided to try it out. Almost instantly, I was hooked! I discovered later (after speed-reading a few digital comics) that Matt Ryan absolutely NAILED Constantine’s character. He’s the type of actor you dream about; the kind who can embody a role so completely you have no trouble believing he IS that person.

From the beginning though, there were hints that the show was going to be in trouble. First of all, look up at the poster, see what day and time it was set to premiere? Yeah, Fridays at 10pm isn’t exactly the best slot to give a new TV show (they don’t call Friday nights the “kill slot” for nothing). Second, because the pilot wasn’t exactly well-received, NBC refused to give the show a full season of 26 episodes, instead leaving them with only 13 (that’s NEVER a good sign for the future of any show). And third (as I remember it), they kept screwing around with the show’s schedule, one week the new episodes would air, then it would skip a week, and so on. And there would be almost no notice given of these changes. It’s almost like they wanted this show to fail….

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Despite these issues, the show quickly gathered a cult following, as the story grew better with every episode. It became clear that SOMEONE had to be manipulating the Rising Darkness, and Constantine needed to figure out who it was so he could stop it. And then the last episode came…remember I mentioned Manny the angel? From day one he’d represented himself as one of the “good” angels, one who served in Heaven (and apparently also served as an Angel of Death, as he was present when one of Constantine’s friends was dying and also personally escorted a soul to the afterlife in a really cool sequence) and (at times begrudgingly) helped Constantine solve a particular mystery. Well, in the last episode, at the very end, Manny reveals to another character that HE has been manipulating the Rising Darkness this entire time, and Constantine doesn’t know it. It was a tormenting cliffhanger because there was no guarantee the show was going to continue, and ultimately, it didn’t. Despite a very vocal petition from the fans and pleas for ANY other network to pick up the show, Constantine was cancelled and remained so, meaning we would never find out Manny’s motives or whether or not Constantine was ultimately successful in stopping him.

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The cancellation of Constantine led to me abandoning NBC for good (I’d already been burned once with Dracula); no matter how good the show sounds, if it’s on NBC, I won’t tune in. If there’s one thing I can’t do, it’s emotionally invest in a show only to have it ripped away after only one season or less.

If you’d like to see the show, I have great news: the Warner Archive is (finally!!!) producing Constantine: The Complete Series as an On-Demand Title, meaning you order it and they’ll make one and send it to you, you can find it on wbshop.com, I know I’m going to get a copy as soon as possible. And as far as I know, the CW is still streaming the full series on their online streaming app. Be warned though, once you start, you will get hooked!

Thankfully, this is not the last we will see of Matt Ryan as John Constantine: he already did a guest spot in season 4 of Arrow and he will be reprising the character in the upcoming animated film Justice League Dark (adapting another comic series that features Constantine).

Did you watch Constantine while it was on the air? If you did, did you like it? Wish there was more of it? Let me know in the comments below, and have a great day!

See also:

Cancelled Too Soon #3: Dracula (2013-2014)

Cancelled Too Soon #11: Kindred: The Embraced (1996)

Cancelled Too Soon #12: The Magnificent Seven (1998-2000)

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Pocahontas “The Virginia Company” (1995)

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In 1995, Disney released Pocahontas, their 33rd animated feature film, and the first Disney film to be based on a real historical person (that being Pocahontas, though the details have been heavily romanticized). To my surprise, I learned that this film received mixed reviews and is in fact considered the “beginning of the end” of the Disney Renaissance. I certainly didn’t get that impression when I saw the film in theaters, but I was only in the first grade at the time, and wasn’t exactly in a position to judge film quality.

Pocahontas “The Virginia Company” (1995)

Whether you like or dislike the film, there’s no denying Pocahontas has another great Disney score, with the songs once again being composed by Alan Menken. And the first song we hear is “The Virginia Company”, a short chorus that introduces the English settlers: Thomas (Christian Bale), the barely adult kid leaving home to make his fortune; Lon (Joe Baker) and Ben (Billy Connolly), two seasoned sailors who are well acquainted with the hero of the film, Captain John Smith (Mel Gibson), a man who’s traveled everywhere and doesn’t think this “New World” will be any different from the others he’s seen.

And last, but not least, there’s Governor Ratcliffe (David Ogden Stiers), his manservant Wiggins (also David Ogden Stiers) and his pompous pooch Percy. Ratcliffe is the nominal leader of the expedition and will be Governor of the new colony (but really, he’s just in it to get really rich so he can come back to England and worm his way into the aristocracy).

In “The Virginia Company”, the settlers sing about how this New World is a paradise full of gold and silver, and they’ll all become really rich:

In sixteen hundred seven
We sailed the open sea
For glory, God and gold
And the Virginia Company

For the New World is like heaven
And we’ll all be rich and free
Or so we have been told
By the Virginia Company

So we have been told
By the Virginia Company
For glory, God and gold
And the Virginia Company

On the beaches of Virginny
There’s diamonds like debris
There’s silver rivers flow
And gold you pick right off a tree

With a nugget for my Winnie
And another one for me
And all the rest’ll go
To the Virginia Company
It’s glory, God and gold
And the Virginia Company

They have this view because of the enormous riches the Spanish found when they plundered the New World and discovered the treasures of the Aztecs, the Inca and so on. Still, it is a stirring song to hear, and a good introduction to the story.

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See also:

Pocahontas “Steady as the Beating Drum” (1995)

Pocahontas “Just Around the Riverbend” (1995)

Pocahontas “Listen With Your Heart” (1995)

Pocahontas “Mine, Mine, Mine!” (1995)

Pocahontas “Savages, Part I” (1995)

Pocahontas “Savages, Part II” (1995)

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The Lion King “King of Pride Rock” Pt. 2 (1994)

With Scar finally out of the way for good (thanks to a hungry pack of hyenas), Pride Rock is finally saved. Rainfall douses the flames and an exhausted Simba appears out of the smoke to be acclaimed as king by his lionesses and friends (as well as being reunited with Nala). But Rafiki points out that there is one more duty to perform: he needs to properly claim his rightful place at the ledge of Pride Rock, where all can see and hear him.

 

As the long climb begins, a great fanfare strikes up. This is the moment Simba fulfills his long-delayed destiny. For one moment, he even appears as Mufasa himself (causing a double take from Zazu). Reaching the top (as the bones and debris are washed away by the rain) Simba watches the emerging stars and hears Mufasa’s last word to him “Remember…” and he ROARS!!!

The Lion King “Ending scene” (1994)

I love this part, though I have a little piece of trivia to share: that’s not a lion’s roar. Those are actually tiger roars you are hearing (but it still sounds so cool!!!)

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Time lapse to a restored Pride Rock in all its verdant glory and the animals of the Pride Lands have all returned. Simba, Nala, Timon and Pumbaa stand at the ledge as Zazu circles above. And then Rafiki appears, revealing the reason for the celebration: Simba and Nala have their own baby (Kiara, with her own love story in The Lion King II) and its time for her to be presented to the Pride Lands as the Circle of Life goes on 🙂

And that’s the end of The Lion King 🙂 I hope you enjoyed looking at this great film. Let me know your thoughts in the comments below.

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For more Lion King, see also:

The Lion King “The Circle of Life” (1994)

The Lion King “I Just Can’t Wait to be King” (1994)

The Lion King “Be Prepared” (1994)

The Lion King “To Die For” (1994)

The Lion King “Hakuna Matata” (1994)

The Lion King “Can You Feel the Love Tonight” (1994)

The Lion King “Beneath the Stars” (1994)

The Lion King “King of Pride Rock” Pt. 1 (1994)

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Dual Roles Blogathon: Jean Marais in Beauty and the Beast (1946)

This post is part of the Dual Roles Blogathon hosted by Christine Wehner and Silver Screenings

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I finally got to see Jean Cocteau’s masterpiece this summer and I fell head over heels in love with the production. Long before Disney’s Beauty and the Beast took the world by storm, Cocteau created a film based very closely on the original fairy tale, using ingenious practical effects to bring the story to life. Jean Marais starred as the Beast who eventually wins Belle’s heart, but that’s not all. He also portrays the human Prince….AND Avenant, the villain who also loves Belle and wants her for himself!

If you watch this film without seeing the credits, it would be easy to miss that Marais plays a TRIPLE role in the film. As the Beast, he is hidden under a gorgeously complex makeup that completely transforms him from head to toe. The human Prince doesn’t appear until the last ten minutes of the film, and Avenant is just so…different from the other characters he plays.

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Let’s start with the Beast: It is revealed by the end that the Beast was a prince whose parents did not believe in spirits. As punishment, the spirits transformed their son into a Beast, and the castle was laid under a heavy enchantment. The Beast was then given several magical items (a magic mirror that could show you what you wished, a glove that could take you where you wished to go and the ability to create precious gifts at will.) The only way for the curse to be lifted is for the Beast to earn the willing love of a woman. But all the time the Beast is fighting the instinct to turn into a wild animal, and this is impeding his ability to fall in love with Belle (and also receive her love). Marais’ performance as the tormented beast is a sight to behold: he (as the Beast) truly wants to love Belle, but at the same time he doesn’t believe he deserves that love (because of his beastly nature).

As I said before, the makeup for the Beast is simply amazing! (It puts all CGI motion capture to shame). He is covered in fur so well that it looks completely natural!

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Eat your heart out Gaston, Avenant did it all long before you came around!

In his role as Avenant, Marais transforms into something else entirely (and not in a good way). He starts off innocently enough as a childhood friend of Belle’s who only wants to help since the family has fallen on hard times. He offers at the beginning to marry Belle, knowing this would help the family’s position (and it’s implied he’s offered before) but Belle politely refuses, as she wants to help her father. Avenant is angry about this gentle rejection (for the moment), and contents himself with helping the family however he can. Things become complicated after Belle disappears to be with the Beast and Avenant “helps” Belle’s brother Ludovic with his debts by introducing him to a moneylender, a deal that eventually leaves the family in near total poverty. Avenant feels no blame for the role he played in putting the family in this situation, showing a hint that he is not as good-natured as he appears to be.

Things get much worse when Belle returns for a visit, richly appareled in robes fit for a princess (complete with a crown!). Though Belle denies it (and simply isn’t aware of it yet), everyone else can see that the young woman is head over heels in love with the Beast, and Avenant becomes overwhelmingly jealous, to the point that he is nearly seething with rage. When Belle’s jealous sisters plot to keep Belle at home longer than her promise so the Beast will become angry and kill her, Avenant willingly goes along with the plan, initially hiding Beast’s horse Magnifique and then stealing the horse (along with Ludovic) so that they can ride back to Beast’s castle to steal the Beast’s treasure (and kill the Beast as well).

Avenant’s plan MIGHT have succeeded (the Beast is already half-dead of grief at this point) except he and Ludovic are unaware of the Beast’s warning to Belle that the treasury (dubbed Diana’s Pavilion) must ONLY be entered by the front door using the key, going in any other way has deadly consequences. This is because the treasure room is guarded by a living statue of Diana that fires a magic arrow on any intruder. In this case, the target is Avenant who, before the horrified eyes of Ludovic, turns into an exact duplicate of the Beast before toppling to the floor of the treasure chamber, presumably to his death, since he is not seen again.

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BEAUTY AND THE BEAST, (aka ‘Belle et la bête, La’), Jean Marais, Josette Day, 1946

And then there is the brief appearance of the Prince. So different is this character that it wasn’t until I went back and checked the credits that I realized Marais was playing three roles! In fact, the dialogue teases the fact that the two roles are played by the same person when Belle admits that the Prince resembles someone from the village she might have loved once. But where Avenant was full of jealous rage, the Prince is gentle and patient, the perfect match for Belle.

Jean Marais is such a versatile actor in this classic film, it takes great talent to be able to play two roles in a film, let alone three! If you haven’t seen Cocteau’s Beauty and the Beast, I highly recommend it 🙂 Thanks to Christine Wehner and Silver Screenings for hosting this great blogathon!!

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The Lion King “Under the Stars” (1994)

The time has almost come to bring The Lion King to a close. After today I’ll share the final scene of the film and that will be the end. I hope you’ve enjoyed this look at one of the most popular films of the Disney Renaissance.

“Under the Stars” is one of my favorite instrumental themes from the film. This is the part of the story where Simba is convinced he needs to return to Pride Rock to confront Scar. A now-grown Nala (who snuck away from the desolate Pride Lands in search of help) has already tried to convince Simba to return, but the guilt-ridden Simba (who still believes Mufasa’s death is his fault) refuses, and won’t tell her why either. He storms off in anger and finally vents his frustrations to the night sky (where Mufasa once told him the great kings of the past watch over them)

You said you’d always be there for me! But you’re not…that’s because of me. It’s my fault…it’s MY fault!”

And just in the nick of time, Rafiki shows up! Simba doesn’t remember him of course, but he was the mandrill who presented Simba to the kingdom as the future king. Rafiki is singing a crazy song to himself, it goes like this:

“Asante sana, squash banana, wewe nugu mimi hapana”

And when Simba demands to know what the heck all that means, Rafiki explains that it means (in part at least) “You are a baboon, and I’m not!” When Simba tells Rafiki he must be confused, the mandrill reminds Simba that he (Simba) doesn’t even know who HE is, but he (Rafiki) does, he’s “Mufasa’s boy!”

The Lion King: Simba meets Rafiki/Mufasa’s Ghost (1994)

Of course hearing his father’s name brings Simba running after Rafiki for more information, especially when Rafiki insists that Mufasa is still alive and that he can show his father to him, but only if he follows him deep into the jungle. Simba does follow, and I love the music that comes while he’s creeping and running after Rafiki. It’s a very primal song, full of African drum beats and chanting. Sometimes when I just listen to the soundtrack, I imagine a tribal dance going on (as I’m almost positive that’s what this piece was modeled after).

After chasing Rafiki for quite a while, Simba is led to a distant lake where, Rafiki tells him, he will see his father. But when a nervous Simba peers over the edge, he is disappointed.

“That’s not my father…it’s only my reflection.”

“But you see…” Rafiki tells him “He lives in YOU.”

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And suddenly the reflection changes to that of Mufasa and out of nowhere there’s a ghostly voice coming from the sky (five year old me was freaking out right about now). I absolutely love this animation: Mufasa starts as a ghostly silhouette coming out of the clouds, and as the scene continues, Mufasa’s body takes shape, until at last, we see Mufasa completely as he appeared in life:

“Simba…” (Mufasa says) “You have forgotten me..you have forgotten who you are and so you have forgotten me. Look inside yourself Simba. You are MORE than what you have become. You must take your place in the Circle of Life. Remember who you are, you are my son, and the one true king!”

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And just as quickly as he comes, Mufasa is gone again. Rafiki (who presumably watched the whole thing) comes back to see if Simba has finally learned his lesson. Simba does understand now, but he’s still a bit scared about his past….time for one more lesson then.

Without warning, Rafiki bashes Simba over the head with his staff. And the following exchange has become almost a mantra for me in getting over the bad things that have happened to me in my life:

“OUCH! Geez, what was that for?

“It doesn’t matter, it’s in the past!’

“Yeah, but it still hurts.”

Oh yes, the past can hurt. But the way I see it, you can either run from it, or, learn from it (tries to hit Simba again but Simba ducks), AHA!! You see! So what are you going to do?”

“First…I’m going to take your stick!! (pause) “I’m going back!!!”

Yes, while Simba is sad that he only got to see his father again for a brief moment, he knows now what he must do: head back to Pride Rock and confront Scar once and for all!

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For more of The Lion King, see also:

The Lion King “The Circle of Life” (1994)

The Lion King “I Just Can’t Wait to be King” (1994)

The Lion King “Be Prepared” (1994)

The Lion King “To Die For” (1994)

The Lion King “Hakuna Matata” (1994)

The Lion King “Can You Feel the Love Tonight” (1994)

The Lion King “King of Pride Rock” Part 1 (1994)

The Lion King “King of Pride Rock” Pt. 2 (1994)

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Keep Watching the Skies Blogathon: The Day the Earth Stood Still (1951)

*This post is part of the Keep Watching the Skies Blogathon hosted by The Cinematic Frontier

When I think of “classic” science fiction cinema, I inevitably think of two films: Forbidden Planet (1956) and The Day the Earth Stood Still (1951), though regarding the latter, it took me a long time to remember what the film was called. It kept turning out that every time the film was on Turner Classic Movies, I would end up catching it in the middle. So for a while it would be “that movie with Gort in it.” Of course now I know that The Day the Earth Stood Still is so MUCH more than that.

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Released in 1951, The Day the Earth Stood Still is set during a time when the Cold War against the Soviet Union (and a fear of Communism in general) is gaining momentum. The score for this film was composed and conducted by the legendary Bernard Herrmann and featured extensive use of the theremin in the opening title. In fact, the score for this film is what inspired Danny Elfman to be interested in film composing.

The Day the Earth Stood Still – Main Title (1951)

A strange flying saucer enters Earth’s atmosphere and lands in Washington D.C., where it is quickly surrounded by the Army.

The Day the Earth Stood Still- Klaatu Arrives (1951)

An alien, Klaatu (Michael Rennie), appears and announces he comes in peace. Unfortunately, when he reveals a strange device, one of the soldiers panics and shoots Klaatu in the shoulder, prompting the large robot Gort to emerge from the spacecraft. Surveying the situation, Gort begins to vaporize the weapons with a beam from his “eyes” when Klaatu commands him to stop.

The Day the Earth Stood Still – Gort (1951)

Klaatu is taken to the hospital, but it turns out he is more than capable of healing himself (leaving the poor doctor ready to retire after learning his patient is actually 78 and only in what he considers middle age for his species). Mr. Harley, the secretary to the President arrives, and asks Klaatu why he has come. The mission is simple: Klaatu has an urgent message that must be shared with ALL the governments of the world at the same time. Mr. Harley protests that this will be impossible, and when the authorities prove less than helpful, Klaatu decides to escape and spend some time among the populace, to see if he can learn why the human race is so suspicious.

kozl-figure-7

Assuming the identity of “Mr. Carpenter”, Klaatu takes a room in a boarding house where he meets and befriends Helen Benson (Patricia Neal), a widow, who lives with her young son Bobby. The next day, Klaatu lets Bobby show him around the city, where he is visibly disturbed to learn that so many people have been killed due to war. He is also impressed by the Lincoln Memorial (“Those are great words…”) Knowing that his message must still be shared, Klaatu asks Bobby who the smartest man in the world is. Bobby figures that it must be Professor Barnhardt, who happens to live in the city. Finding the professor out, Klaatu leaves a “calling card” by adding in a vital part of an equation (that an ordinary person would not know), knowing that he’ll be contacted as soon as the professor sees it.

Sure enough, the professor and Klaatu end up meeting and the alien shares a small part of his message: If the governments of the world do not listen to him, Earth is at risk of annihilation. This statement terrifies the professor:

“Such power exists?” he asks breathlessly

“I assure you” Klaatu answers “Such power exists.”

Professor Barnhardt promises to assemble as many world scientists at the spaceship as he can, but in the meantime, he thinks it would help if Klaatu were to give a “minor demonstration” of what might happen, but asks also that no one be killed as a result of this “demonstration.” Amused by the challenge, Klaatu sneaks back to the spaceship to prepare for the event, but doesn’t realize Bobby is following him and sees him communicating with Gort.

The Day the Earth Stood Still- Power Loss (1951)

The “demonstration” turns out to be a total loss of power all over the world (be it motive, electrical, etc.) for precisely thirty minutes (excluding planes in the air or the power necessary to run hospitals). To create a musical sense of the chaos that was happening, Herrmann created a series of tonal clusters (a large series of notes grouped very closely together) and held them out for long periods of time, to create that feeling of static helplessness that almost everyone feels during this period (except for Professor Barnhardt, he revels in the chaos, knowing its source).

Just as the power outage begins, Helen confronts Klaatu about what Bobby told her and while they are trapped in a hospital together, Klaatu confesses everything and asks for her help. Helen promises to do what she can, but there’s a wrinkle, Helen’s boyfriend Tom already believes that “Mr. Carpenter” is the alien and is doing his best to turn Klaatu in to the authorites, believing that this will make him a “big hero.” A disgusted Helen breaks up with him, and the authorities begin to close in on Klaatu’s location.

The Day the Earth Stood Still- Klaatu Barada Nikto (1951)

En route to the gathering of scientists, Klaatu tells Helen that should ANYTHING happen to him, she must go to Gort and tell him “Klaatu barada nikto.” This is because there is “no limit” to what Gort could do, “he could incinerate the Earth.” Before they can reach the spaceship, the Army cuts the pair off. Klaatu runs for it, but is gunned down in the street, prompting Helen to run for the spaceship. And back at that same spaceship, Gort has begun to awaken, sensing Klaatu’s death. When two Army sentries approach, Gort promptly vaporizes THEM (not just their weapons like before). Helen approaches, but is terrified by the huge robot. However, she manages to get the words out just before Gort can vaporize her and Gort responds by taking her to the ship before leaving to retrieve Klaatu’s body.

Back in the spaceship, Helen watches awestruck as Gort begins manipulating a series of dials that begin to heal and revive Klaatu’s body! The alien ultimately returns to life, but it’s not permanent. Even they, as advanced as they are, do not possess “the power of life and death”, as that is reserved for the “Almighty Spirit.”

(On a side note, Michael Rennie absolutely HATED that reference to the Almighty Spirit (it was added by the studio at the last minute, as they felt they were making these aliens out to be gods) as he felt it didn’t fit everything we’d learned about Klaatu and his culture up to that point)

The Day the Earth Stood Still- Klaatu’s Speech (1951)

Meanwhile, the crowd of scientists has gathered outside, but the Army is urging them to leave, as they have no idea where Gort is. Just as Professor Barnhardt agrees that they should disperse for their own safety, the spaceship opens up one last time, revealing Helen, Klaatu and Gort. Helen leaves the ship, while Klaatu stands at the entrance to finally deliver his message:

I am leaving soon, and you will forgive me if I speak bluntly. The universe grows smaller every day, and the threat of aggression by any group, anywhere, can no longer be tolerated. There must be security for all, or no one is secure. Now, this does not mean giving up any freedom, except the freedom to act irresponsibly. Your ancestors knew this when they made laws to govern themselves and hired policemen to enforce them. We, of the other planets, have long accepted this principle. We have an organization for the mutual protection of all planets and for the complete elimination of aggression. The test of any such higher authority is, of course, the police force that supports it. For our policemen, we created a race of robots. Their function is to patrol the planets in spaceships like this one and preserve the peace. In matters of aggression, we have given them absolute power over us. This power cannot be revoked. At the first sign of violence, they act automatically against the aggressor. The penalty for provoking their action is too terrible to risk. The result is, we live in peace, without arms or armies, secure in the knowledge that we are free from aggression and war. Free to pursue more… profitable enterprises. Now, we do not pretend to have achieved perfection, but we do have a system, and it works. I came here to give you these facts. It is no concern of ours how you run your own planet, but if you threaten to extend your violence, this Earth of yours will be reduced to a burned-out cinder. Your choice is simple: join us and live in peace, or pursue your present course and face obliteration. We shall be waiting for your answer. The decision rests with you.

The film ends with Klaatu and Gort leaving in their spaceship, a giant question mark hanging over the fate of the human race: will we join this peaceful group of planets, or will we destroy ourselves?

Of course no answer is given, and that frustrated me for years, because I wanted to know how the story was going to end! Except there isn’t meant to be an ending, not like that anyways. The end of Klaatu’s speech was intended as a direct message to the world in 1951: if we don’t stop fighting each other, we’re going to destroy ourselves.

Though it is now over sixty years old, the film is considered a classic and its message is just as relevant today as it was when the film came out. If you haven’t seen this film before, I highly recommend it (and whatever you do, do NOT watch the remake with Keanu Reeves!!!)

Thanks to The Cinematic Frontier for running this great blogathon! -Becky

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The Underappreciated Music of STAR TREK III: THE SEARCH FOR SPOCK

Note: This is published on behalf of Carl Wonders, who doesn’t have a blog of his own but wanted to contribute to the blogathon 🙂

When thinking about a topic for The Music of Star Trek Blogathon hosted by Film Music Central, I eventually decided on a score that, much like the film itself, seems to have fallen in the proverbial crack between the excellent STAR TREK II: THE WRATH OF KHAN and the immensely entertaining STAR TREK IV: THE VOYAGE HOME (although the score to the latter film is certainly polarizing). But in addition to it being somewhat overlooked, this particular soundtrack holds a special place for me.

STAR TREK III introduced me to the world of film scoring.

No, really. Of course, I had been aware of movie theme songs for a long time (my childhood was marinated in all things STAR WARS), but in terms of underscore, this was the film that made me sit up and notice.

The moment comes about halfway through the movie. The Klingons have landed on the Genesis planet and are tracking an away team of Saavik, David Marcus, and a rejuvenated Spock. Suddenly, and without warning, the sun begins to set on the rapidly aging planet. As both Kruge and David watch, there is this emotional swelling of fluttering strings playing over the scene. It only lasts for about 30 seconds, but I had never consciously noticed a moment so brought to life by the underscore quite like that. Ever since then, I was hooked.

David Marcus
(amazingly, this cue, “Sunset on Genesis” was not included in the original release of the score).

The Score

Of course, this isn’t the only part worth mentioning in the soundtrack. Overall, I think ST:III gets overlooked by those who simply think of it as James Horner doing a rehash of his score to the previous movie. While many of the themes are no doubt similar, I think this is a very superficial and unfair critique. Its popularity was certainly not helped by the rather abysmal first CD release, which is missing a lot of quality music yet found room for an embarrassing disco version of the theme song. Ugh.

The score, like the film itself, is much more emotional and personal than it’s predecessor, and the orchestration suits that very well. In many ways, it’s a more mature score than ST:II, and is one that is more suited to sitting down and listening to rather than something to have on in the background. There is a subtlety here that isn’t really present in ST:II, especially in the lower registers, and if you’re not paying attention you might miss it.

Of course, the Kirk and Enterprise themes are both there from the previous film, and while I absolutely love the Jerry Goldsmith theme, these two from Horner might be my favorite character themes from the films (I’ve always thought of the Goldsmith theme representing Star Trek itself rather than any particular character). Horner also makes the best use of the original Alexander Courage fanfare of any of the composers, particularly in a moment that I will get to later, typically rotating the theme across multiple sections (primarily the horns and trumpets).

I could spend several thousand words walking through every track on the CD, but in the interest of space (and the attention of the readers), I’m going to focus on a few key, standout sections, in addition to the sunset scene I mentioned above.

Stealing the Enterprise

This sequence is easily the best in the film and the score, and with the possible exception of “The Enterprise” from STAR TREK: THE MOTION PICTURE, this may be my favorite cue in the entire series. If you want just the highlights of what Star Trek music is, this is James Horner’s Star Trek distilled into a fantastic 8:42. The entirety is a wonderful romp that perfectly fits the action on screen, as Admiral Kirk and his party, well, steal the Enterprise.

Some highlights:

There’s an interesting theme that Horner brings in with the horns right when the team beams over to the Enterprise. I could be wrong, but I don’t remember hearing it anytime before or after this scene. In addition, nowhere in the series is the Alexander Courage fanfare better used than in the moment right as the Enterprise is set to pull away from space dock. The music builds as Courage’s theme moves through the orchestra until the order for “one-quarter impulse power” is given, and the ship slowly starts to move.

“Gentlemen. May the wind be at our backs. Stations please.””Gentlemen. May the wind be at our backs. Stations please.”
The U.S.S. Excelsior, and particularly Captain Stiles, receives a piano/mallet percussion-based melody that I can only really call the “pompous-ass” motif. It makes an appearance pretty much any time the Excelsior crew is on screen, such as the moment when Stiles is interrupted while filing his nails (!!). I also refer to it as the “pompous-ass” motif because it underscores the scene with Mr. Adventure, right before Uhura locks him in the closet. It’s also worth noting that James Horner would later adapt this into a secondary theme for Timothy Dalton’s character, Neville Sinclair, in THE ROCKETEER.

“This isn’t reality. This is fantasy.””This isn’t reality. This is fantasy.”
The final 2:30 of the cue is a perfect example of building and releasing tension. The Enterprise is heading towards the giant space doors, but it’s unclear whether they are going to open. Then, at the last minute, Scotty works another miracle, and the Kirk theme is reprised in triumph as the Enterprise exits and turns towards space. For a moment, a lyrical rendition of the Enterprise theme plays once, but is interrupted by the approaching Excelsior. After some back-and-forth between Stiles and Kirk, the Enterprise warps away. As the shiny-new Excelsior begins to power up its fabled transwarp drive, Horner supplies some gloriously over-the-top “revving up” music until, just like in the movie…nothing happens.

“Kirk…if you do this, you’ll never sit in the captain’s chair again.””Kirk…if you do this, you’ll never sit in the captain’s chair again.”
Other Highlights

“Bird of Prey Decloaks” is another back-and-forth cue that plays the Kirk theme off of Horner’s Klingon theme. The latter theme is another polarizing bit among Trek music fans. I happen to think it’s fine; Goldsmith’s is so good it’s not really fair to compare them. My favorite moment is when it looks like Kirk has won the battle, and there is a tremendous trumpet counterpoint playing over Kirk’s theme. Then, the crew slowly realizes that they’ve overtaxed the jury-rigged Enterprise, and the tone takes a turn for the worse…

“I dinna expect to take us into combat, you know!””I dinna expect to take us into combat, you know!”
I also have to mention the next scene, where Kruge orders the death of one of the landing party (which ends up being David), and we see Kirk’s reaction to the news that the son that he just was reunited with is dead. In addition to being some of Shatner’s best acting in the series, it’s particularly striking that the entire sequence is (appropriately) unscored.

“Klingon bastard, you’ve killed my son…””Klingon bastard, you’ve killed my son…”
Another glaring omission from the original CD, “A Fighting Chance to Live” chronicles the final moments of the U.S.S. Enterprise. Slightly dissonant strings play over a mournful version of the Enterprise theme as Kirk, Scotty, and Chekov set the auto-destruct sequence and beam away just as the Klingon boarding party arrives. Interestingly, there is a percussion underscore for the actual destruction of the ship, which I never realized was there until I heard it on CD (and is perhaps the first and only appearance of the “thunder sheet” in Star Trek music).

“Destruct Sequence 1. Code: 1-1-A””Destruct Sequence 1. Code: 1-1-A”
“Genesis Destroyed” contains another favorite moment of mine, where Kirk , climbs to the top of cliff, having just defeated Kruge, and looks out over the doomed landscape of Genesis. While I go back and forth on the merits of the actual Genesis “theme” (it’s really a take on Holst’s Uranus: The Magician), it works well here. This is particularly true when contrasted with the Spock theme and then the classic early Horner trumpet flourishes as the bird of prey warps away from the exploding planet.

The Final Dawn on GenesisThe Final Dawn on Genesis
Finally, ”The Katra Ritual” is another evocative piece of music, starting quietly with rumbling percussion that slowly builds, adding strings, gong, and orchestra as the Fal-Tor-Pan is performed. This sequence, along with the sunset moment I mentioned at the beginning, were really what got me into film music to begin with; a journey that started more than 30 years ago…

“Sometimes the needs of the one, outweigh the needs of the many.””Sometimes the needs of the one, outweigh the needs of the many.”
…and the Adventure continues…