Archive for Mary Shelley

Superhero Death Match

Posted in Comics, FILM, Mythology with tags , , , , , , , , , , , , , , , , on May 8, 2012 by dcairns

THE AVENGERS, or AVENGERS ASSEMBLE, or whatever it’s called, may signal the death knell of what I call “double voodoo,” the principle that you can’t have more than one aberrant, reality-defying concept per movie. Or not without ending up with an unacceptable fruit salad. Thus, HOUSE OF DRACULA combines lycanthropy and vampirism, which are both sort of supernatural blood diseases, which could work, but then throws in mad science electro-galvanism, which “makes the whole thing unbelievable,” as Bob Hope says to the bibbed vultures in SON OF PALEFACE.

But in AVENGERS we have aliens and mutants and cyborgs, which I guess are all SF concepts, and also Norse gods. That’s quite a stretch. The only overarching idea that can umbrella all those disparate elements is the superhero genre, which does exactly that in comic books. The Frankenstein Monster, a crime-fighting millionaire, the last son of an alien civilization, a vegetable nature god, and demon-conjuring magicians are all part of the DC Comics universe, and Marvel Comics have just as big a menagerie.

Until now, the movies have been cautious of this everything-plus-the-kitchen-sink approach. SUPERMAN featured only one superbeing. SUPERMAN II added three supervillains, but they all had the same origins and powers as Supes. The entire BATMAN saga got by with no superpowers at all, ever. Only X-MEN introduced the gimmick which makes most superhero comics amusing — the idea of an array of characters with different powers. They’re like chess pieces, each with their own strengths and limitations. When Magneto’s magnetism cancelled out Wolverine’s adamantium skeleton, I suddenly recognized what the earlier movies had been missing.

The X-MEN characters are all mutants, an implausible enough excuse for their multiple magic powers, but at least a consistent one. AVENGERS seems to throw the door open to a much crazier clashing of different fantasy concepts. Here are some suggestions.

SANTA CLAUS VS LOKI

Both are immortal nordic demi-gods, so you could say this was a grudge match waiting to happen. Loki commands an extraterrestrial army in AVENGERS, and Santa has experience fighting Martians. He also had his own movie, from the Salkinds, who produced the Chris Reeve SUPERMAN. But it was seeing Loki in his flying chariot that made me realize how perfectly suited they are as opponents. Tom Hiddleston versus David Huddleston.

FRANKENSTEIN MEETS BIG BOY

In the De Niro-Pacino rematch fans have been waiting for, the HEAT stars reprise their roles from MARY SHELLEY’S FRANKENSTEIN and DICK TRACY respectively. Kenneth (THOR) Branagh directs, and also cameos as Laurence Olivier (SKY CAPTAIN AND THE WORLD OF TOMORROW).

THE GIRL WHO KICKED OVER THE GREEN HORNET’S NEST

Lisbeth Salander is a superheroine, let’s face it. A bisexual, maths genius, computer hacking, bike riding, autistic, kick-boxing emo girl? Come on. Anyhow, after David Fincher’s highly watchable revenge-fantasy fairy-tale underperformed, and the comedy GREEN HORNET positively UNperformed, both series need a reboot. And Seth Rogen is surely just the kind of crass male Salander would enjoy butt-fucking and tattoo-graffitizing.

He might like it too.

TARZAN VS MECHAGODZILLA (hat-tip to Godard). HOWARD THE DUCK MEETS CONDORMAN. FANTOMAS CONTRE FU MANCHU. TEAM AMERICA: SLAVES OF THE PUPPET MASTER. METEOR MAN MEETS CANDYMAN. CONDORMAN MEETS CANDYMAN.

Roland Joffe exec produced SUPER MARIO BROTHERS. And made a film about the Manhattan Project. You’d think I’d be able to make something of that, wouldn’t you?

Obviously, the comments section is merely an open invitation to you guys to join in…

Intertitle(s) of the Week: a film in intertitles

Posted in FILM, literature with tags , , , , , , on April 5, 2009 by dcairns

One of the many agreeably odd things about the Edison Company’s 1910 FRANKENSTEIN, OR LIFE WITHOUT SOUL, is the way the story is told entirely in a series of intertitles, with the imagery merely fleshing out the textual description. Quite often the title cards contain “spoilers,” describing what we are about to see before we see it, which might seem to detract from any sense of dramatic tension. But this isn’t all that uncommon for the era, an age in which DW Griffith’s RESCUED FROM AN EAGLE’S NEST can give away the ending in the title itself. Of course, involvement in a story doesn’t absolutely require ignorance of what’s going to happen next, otherwise we’d be unlikely to watch narrative-centred movies a second time, and Hollywood’s generic approach to story would be a lot less popular than it is.

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This almost sounds like a cheeky ’80s frat comedy. Starring Anthony Michael Hall as Frankenstein, with Jeffrey Jones as Dean Pretorius. I figure John Landis to direct.

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Probably the finest elision in screen history. Although we see Frankenstein heading out the door in his beanie, bound for Ingolstadt University of Macabre Science, we see precisely nothing of his investigations into the mystery of life. Director J. Searle Dawley has decided that the mystery of life is uncinematic.

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The intertitles not only pre-empt the action here, but they provide plot motivation and moral uplift. It’s kind of a distortion of Mary Shelley’s message, but it’s in the same rough area: creating human life is bad, unless your name happens to be God. We then get the creation scene (a dummy burning, filmed backwards) and Charles Ogle the monster, wearing the makeup that he designed himself (flour, fright-wig: a good look). But you don’t need to see that, when you can have this:

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He knows it’s evil, see, because it’s ugly. A natural though not inevitable pitfall of silent cinema was to portray deformed characters as wicked. Chuck Jones pointed out that in Disney’s THREE LITTLE PIGS, the pigs could all look alike, because they sounded different, and this was a development made possible by sound. I think it was always possible, but less obviously so. In fact, a lot of modern cinema still stereotypes characters based on appearance, not always in a horrible way. Cinema has such a strong visual component that this kind of thing is always going to be tempting. The important thing is to be conscious of it.

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Good composition here, with a lot of action seen in the mirror. Mrs. Frankenstein enters the narrative and becomes a bone of contention between monster and creator. Tragedy is averted when Ogle is appalled by the sight of his reflection, and flees.

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This one is starting to sound like a saucy ’70s sex comedy. Robin Askwith is Frankenstein, the sex-mad scientist, Dave Prowse is his horny sex-monster, Madoline Smith is a busty wench. One can actually imagine Hammer attempting this, perhaps instead of HORROR OF FRANKENSTEIN, to boost their ailing franchise. And perhaps it would have worked better than the wretched H.O.F.

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A happy ending! Brought about by totally supernatural means, violating the principles of science fiction which Mary Shelley adhered to, even though the genre hadn’t officially been invented yet. Mary clearly thought that Frankenstein’s crime was too great to be forgiven, however penitent he became, and not only exterminates the Baron, but all those near and dear to him. Her gothic novel is practically a revenger’s tragedy. The movies have always been partial to rescuing the creator, but I think for a truly satisfactory ending he has to die: the point of the story is that he’s sinned by playing god, and typically innocent lives are lost because of his creation. This is a remarkably bloodless, victimless version of the tale, so I suppose we can say that Frankenstein hasn’t really hurt anyone. Except the monster.

These intertitles are obviously modern repaired versions, surrounded as they are by crackly decaying nitrate stock. Still, they’re reasonably handsome.

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