Kubrick’s Monolith: The Art and Mystery of 2001: A Space Odyssey by Joe R. Frinzi: A Review

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I am pleased to be able to offer a review of this extraordinary book by film scholar Mr. Joe R. Frinzi.

Joe R. Frinzi’s work, Kubrick’s Monolith: The Art and Mystery of 2001: A Space Odyssey, is an excellent book of film criticism, and it should establish Mr. Frinzi as a top level scholar on Stanley Kubrick and his seminal film 2001: A Space Odyssey. In this masterful treatment, Mr. Frinzi details the creation of the film and the social and cinematic importance of this work by the auteur, Stanley Kubrick. It is deeply researched, demonstrates a masterful understanding of cinema, and confirms Mr. Frinzi as a top film scholar.

If you are interested in film, if you love science-fiction, and if you appreciate Stanley Kubrick, then this is a book you must have.

Mr. Frinzi’s work is on the level of a Ph.D. thesis.

I recommend this book to all lovers of cinema, and I give it 5 stars!

Mr. Frinzi’s book is available here: Amazon

and here: McFarland

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Favorite Holiday Movies: Part Three: The Man Who Invented Christmas

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The_Man_Who_Invented_Christmas

(https://en.wikipedia.org)

I have several Christmas movies that carry great meaning to me and that I have loved over many years. I have written about them before in this blog, and I will continue to do so. Now, however, I want to make a new entry into my list of favorite Christmas movies.

The Man Who Invented Christmas is an extraordinary film that was released two years ago. It is a wonderful movie  that explores the creative process of Charles Dickens as he wrote the classic novel, A Christmas Carol. The director is Bharat Nalluri, and this work is marvelous! We get a direct entrance into Dickens’ mind as he struggles with his writing. His characters appear and talk to him, which is an excellent touch.

The film is based on the book by Les Standiford, and the stars are Dan Stevens, Christopher Plummer, and Jonathan Pryce. The entire cast, without exception, give extraordinary performances. Christopher Plummer as Scrooge is especially brilliant. Dan Stevens should be recognized as one of the finest actors today.

This film delivers the message of Dickens’ masterpiece, that humanity should be the business of everyone, that money should not be the focus of our lives, and that we should all try to help each other. It will capture your heart and soul, and it is a film I recommend completely! On a system of 5 stars, I give it five!

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Please, do yourself a favor, and watch this movie!

Favorite Holiday Movies: Part Two

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https://en.wikipedia.org

There are so many aspects of this holiday season that are wonderful to me: getting together with loved ones, friends and family alike (although this year on a very limited basis); the spirit of giving that I hope continues to grow; celebrations; the holiday music; and the memories of happy times.  Among the favorite memories I have are a few specific Christmas movies.

The movie I will talk about today is Scrooge with Albert Finney as the star; he does a magnificent job in his performance as the miserly and misanthropic loan-shark. This musical version of A Christmas Carol is one of the finest filmic adaptations of the classic Christmas Eve ghost story and morality tale.  This film follows  the story closely with Scrooge being visited by the ghosts of Christmas Past, of Christmas Present, and of Christmas Future. Among the movies best songs are Scrooge singing “I Hate People” which clearly shows his despicable and greedy nature,  “Thank You Very Much” in which a tap dance is done on Scrooge’s coffin in the future, and “I Like Life” in which the ghost of Christmas Present teaches Scrooge about experiencing life as well as having empathy for others.

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https://christmascarolindoha.wikispaces.com

This movie does an excellent job of showing Dickens’ critique of a greed based society and one that did little or nothing to help alleviate the enormous difficulties of the poor.  When first confronted by the ghost of his dead partner Marley, Scrooge tells him that he was always a good man of business.  Marley’s ghost responds, “Mankind should be our business.”  This is a sentiment that stands today.  We should be putting the good of humanity above the pursuit of greed.

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https://commons.wikimedia.org

 

I was a teenager when this movie was first released in 1970, and I loved seeing it with two of my closest friends.  We were captivated by the music and the story, and it remains as powerful to me as when I first saw it. If you have never had the opportunity to see this particular film, I give it my highest recommendation.

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I also remind all of us, in paraphrasing the Master Charles Dickens, that we must always remember to make the good of others our business.

Favorite Holiday Movies: Part One!

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This season is one of my favorite times of year, and I love doing this series on Christmas movies. Throughout the month of December, I will post on several of my favorite Christmas films.

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White Christmas, the 1954 film about two former soldiers who turn song and dance men and who help their former commander as he attempts to run a floundering ski resort, has special meaning to me. It stars Bing Crosby, Danny Kaye, and Rosemary Clooney and was directed by Michael Curtiz. It features the songs of Irving Berlin.  As a major piece of American film history, that would be enough to be of interest to me, but it has a much more profound connection.

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My parents were both of “the greatest generation,” which is a description with which I agree. They were born and raised during the depression and were part of the multitudes of America who fought and supported World War II. My father was a Marine, and my mother worked in the Signal Corps.  This group of Americans had a toughness that was forged in the fire of great tumult, both national and international. They understood that the connection to country meant service and a willingness to sacrifice for the greater good.

US_Army_Signal_Corps_Frontpiece

(https://en.wikipedia.org/wiki/Signal_Corps_%28United_States_Army%29)

My mother loved this movie, and it was a tradition in our family to watch it when it aired on television, which was, if I remember correctly, every Christmas Eve. If not that night, then it was always on a nearby night. Of course, as a child who was born a while after World War II, it was all ancient history to me then, but for my mother and father, it spoke directly to their lives and to their hopes and dreams.

Both of my parents have been gone for quite a while now, over 20 years–they were married for 48 years and died within 2 years of each other. As I have become older, I have learned to appreciate what my parents did for us, which, I have to admit, when I was young and stupid, I did not. To paraphrase Mark Twain, –it is amazing how smart my parents got as I got older. And I appreciate and try to continue some of the family traditions, including watching White Christmas, but now with my beloved wife. And now my granddaughter is old enough to begin to appreciate and enjoy these films. I still feel the connection to my Mom and Pop when I watch this movie.  This movie speaks to the connection of people, of hope, of joy, of happiness, and of the power of music.

And I wish we would have a white Christmas, and I hope it will happen this year.

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(https://pixabay.com)

Favorite Horror Films: Part Eleven: The Horror of Dracula

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I am returning to my series of examinations of horror movies through various decades.  After the great horror  cycle of movies from Universal Studios in the 1930s and 1940s culminating in the Abbott and Costello spoofs, serious horror movies vanished for a period. They were replaced by the spate of giant critter movies spawned by the fears of nuclear fallout post World War Two and the ominous threat of nuclear Armageddon of the Cold War.

Dracula1958poster

(https://en.wikipedia.org)

In 1958, Hammer Studios, a British film company initiated a new cycle of horror films with the release of Horror of Dracula (the American title) or Dracula (the British title).  This film not only allowed this film studio to emerge as a major force in horror films, but also it spawned a new cycle in horror that would span nearly two decades. The film starred Sir Christopher Lee as Dracula, Peter Cushing as Dr. Van Helsing, and Michael Gough as  Arthur Holmwood and was directed by Terence Fisher.

Christopher_Lee_at_the_Berlin_International_Film_Festival_2013

(https://en.wikipedia.org)

This film dramatically changed the course of horror films.  Prior to Horror Of Dracula, most horror movies, especially  the classic Universal films were shot in black and white; this film was in vivid color. Also changed noticeably from the 1931 Dracula with Bela Lugosi was the pacing and the level of over sexuality and violence. This movie moved at a very rapid pace with condensed action and compression of characters from the book.  A very lively film score added to the tension and feeling of almost constant movement.

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(https://fr.wikipedia.org)

Christopher Lee brought an imposing physicality to the role and played the count with a noble British accent. He showed great strength and mobility in his performance. And this film introduced  the vampire with fangs and blood.  When he emerges in full fury after the vampire girl has attacked Jonathan Harker, he is a demonic image.  This was a representation of the vampire that was entirely new and very powerful.

In Britain, this movie received an X rating because of its, what was for the time, overt sexuality and violence. The women sometimes wore low cut gowns, and Dracula’s attacks carried a not too subtle sexuality, although by today’s standards, this shocking sensuality certainly would be tame or almost quaint.

Horror Of Dracula was a success both financially and critically. Hammer studios would make numerous sequels to this film and would also base the release of other movies, principally on Dr. Frankenstein, on their good fortune. If you enjoy horror films and have not seen this particular movie, I recommend it.

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Favorite Horror Films: Part Ten: The Curse Of Frankenstein

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(https://en.wikipedia.org)

Terence Fisher directed The Curse of Frankenstein for Hammer Studios in England, and Christopher Lee, Peter Cushing and Hazel Court starred. This 1957 movie was the first in the Hammer Studio’s emergence as a major producer of horror films and it was the beginning of a new horror movie cycle. The result was an innovative, fast paced, and  vividly colored film. Hammer Studios completely changed the approach to horror movies of the Universal Studios that had dominated the horror movie cycle from 1931-1945. Color, explicit violence, and sexuality were introduced as central filmic components.

The Curse of Frankenstein was, like so many other movies, loosely based on the great work of Gothic English Literature by Mary Shelley: Frankenstein: Or The Modern Prometheus (1818). Yes, that is the accurate subtitle, although it is usually omitted in most printings of the book.

Frankenstein_1818_edition_title_page

(https://en.wikipedia.org)

This movie was highly successful, both financially and critically.  And like Horror of Dracula would, as Hammer Studios expanded their treatments of classic Gothic novels, it spawned a long series of sequels. A major difference between the direction of the following films was the focus: the monster Dracula was the recurring character in the vampire movies, while Dr. Frankenstein, and not his creature was the repeating protagonist/antagonist of the Frankenstein movies. This is also an  important distinction between the Hammer and the earlier Universal movies in which the Creature was the primary recurring character.

The Creature was also a mindless killing machine in this film, and none of the Creature’s humanity was kept from the novel, which is the film’s major flaw. It is, nevertheless, an important film from this era, and if you enjoy or are interested in horror films, then I recommend it.

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Favorite Horror Films: Part Nine: The Wolfman

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The-wolfman

(https://en.wikipedia.org)

“Even a man who is pure at heart
and says his prayers by night
may become a wolf when the wolfbane blooms
and the autumn moon is bright.” (The Wolfman)

This is the well-known saying that is at the heart of the 1941 Universal Studios film The Wolfman. This film completes the quartet of monsters that are at the heart of the Universal horror franchise: the Frankenstein Monster, Dracula, The Mummy, and the Wolfman. While there were certainly other creatures and monsters in the films in this time period, these are the four most prominent.

While we see science run out of control and ancient evils in the other films, in The Wolfman, we view a story of tragedy that is focused on an ordinary man, Larry Talbot, who is swept up in unfortunate events beyond his control. Because he is bitten by a werewolf while trying to save a girl and lives, Larry Talbot is fated to become such a beast himself.

The director and producer was George Waggner, and the writer was Kurt Siodmak. Most of our contemporary views about werewolf behavior do not come from ancient traditions or medieval European beliefs but from the mythology that Siodmak created for this movie. Siodmak created the idea that the time of the full moon is when a werewolf takes it form and that to become one, a person must be bitten by a werewolf and survive.

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More importantly, he included elements of tragedy, of a man fated to murder and to be destroyed, despite his desire to be a good person. The incantation the gypsy woman Maleva intones over Larry Talbot after his death illustrates this theme:

“The way you walked was thorny through no fault of your own, but as the rain enters the soil, the river enters the sea, so tears run to a predestined end. Now you will have peace for eternity.” (The Wolfman)

Siodmak also addressed contemporary issues, specifically the idea of a star marking the next victim of a werewolf, much like a star marking the Jewish people of Europe by the Nazis. Siodmak was a German Jew who had been successful as a writer but had to flee Germany with the take over by the Nazis. While the reference is not direct, it is still a clear metaphor for the horrors of the Nazis. The film demonstrates that evil is both natural and human created.

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In addition to excellent writing, the cast was also of the very best. Along side the star Lon Chaney Jr. were Claude Rains, Ralph Bellamy, Bela Lugosi, Maria Ouspenskaya, and Evelyn Ankers. Jack Pierce, as in the other main Universal horror films, created the unforgettable makeup that is the foundation for all other filmic and literary werewolves.

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(https://pixabay.com)

It was a film that was excellent in every level of production, and it maintains its excellence today.

If you have never seen this film, I recommend it highly!

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An interview about Gallows Hill can be found here.

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The book trailer:

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Favorite Horror Films: Part Eight: The Mummy

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(en.wikipedia.org)

In 1932, Universal studios followed up on its enormous success with Dracula and Frankenstein with the release of The Mummy. Riding the crest of his popularity at the box office, Boris Karloff starred, Karl Freund directed, and Carl Leammle Jr. produced the film. The movie was another financial success for the studio and further solidified its power and standing in the cinematic and entertainment world.

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(https://en.wikipedia.org)

The plot of the film featured a curse on an Egyptian tomb and the resurrection of Im-Ho-Tep who had been buried alive as a mummy in ancient Egypt.  The film capitalized on the public awareness and excitement about the discovery of the tomb of King Tut and the supposed curse on that burial ground. We see Karloff in the full mummy makeup and costume for only a short period in the film, then he appears as the mysterious character Ardeth Bey who is searching for the reincarnation of his lost love.

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(commons.wikimedia.org)

The film is atmospheric and an excellent story, but it is distinctly different from the barrage of sequels that were very loosely based on this particular movie. In those films, a monster, often not very bright, and always in full mummy costume and makeup, would trample around and cause terror and destruction until it is stopped.  This film focuses on the characters and the story more than overt horror. Additionally, along with The Bride of Frankenstein, this film is arguably one of the finest examples of creative cinematography of all horror films. The influence of German Expressionism, with its strong use of heavy dark and lights and clearly defined shadows is evident and important in The Mummy.

Jack Pierce created the makeup and continued to establish himself as the finest and most important makeup artist in all of Hollywood. His dual creation of the mummy in costume and full monster makeup and of Ardeth Bey is powerful and visually compelling.

If you have never seen this movie, you should put it on your viewing list.

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(pixabay.com)

Favorite Horror Movies: Part Seven: The Invisible Man

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(en.wikipedia.org)

One of the more interesting and unusual horror films of the 1930s is The Invisible Man, directed by James Whale and produced by Carl Laemelle Jr. for Universal Studios (1933). This film is based on H.G. Wells’ novel of the same name, and it is a reasonably close adaptation of the book. Some changes were made to the story line, notably the addition of a love interest and moving the time from the Victorian Era to the 1930s.

Wells_The_Invisible_Man

(en.wikipedia.org)

The film was unusual in the caliber and sophistication of the special effects, which still hold up to contemporary scrutiny.  It is important to remember that these filmmakers were not using computer generated images to create their effects; rather, they were forced to create from ingenuity, creating new techniques in cinematic art.  The end result shows visual images that are still powerful and compelling.

The story is well told and excellently acted. Claude Rains  stars as Dr. Griffin, the Invisible Man, and he does a superb job in his performance. He creates a convincing character of the scientist, who much like Victor Frankenstein, exhibits hubris in his research.  He succeeds in finding the way to invisibility but goes insane as a result and becomes homicidal. The film ends with his character being chased down and killed, and before perishing, he admits he should not have explored forbidden areas of science.  Again, this reinforces the theme earlier seen in Frankenstein.

Another interesting theme that is hinted at in this movie is the danger of drug abuse, as also show in Dr. Jekyll and Mr. Hyde. Dr. Griffin uses a drug identified as “monocane” in his formula, and the consequences are his becoming dangerously insane. While he does not use the drug as an addict might, he still ruins his life through its usage.

The film did well at the box office and is considered by many critics, including me, to be one of the best horror films of the 1930s.

Whale_on_the_set_of_Invisible_Man

(https://en.m.wikipedia.org)

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Favorite Horror Movies: Part Six: Dr. Jekyll and Mr. Hyde

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(https://en.wikipedia.org)

Based on Robert Louis Stevenson’s novel Strange Case of Dr. Jekyll and Mr. Hyde from 1886 , which gave the world the epitome of the double, one of the central characteristics of the Gothic genre, this 1932 film is one of the best horror films of that decade or any other time. Robert Mamoulian directed and Adolph Zukor produced the film for Paramount.  Fredric March played Jekyll and Hyde and won the 1932 Oscar® for Best Actor. The film was expensive, coming in at approximately one half million dollars to make, and it was also a financial as well as critical success, making about one and one quarter million dollars–a huge amount of money in those days.

Jekyll_and_Hyde_Title

(https://en.wikipedia.org)

The film is an excellent adaptation of the novella, something I rarely say about any film.  I love films almost as much as I do books, but almost any adaptation of a film is inferior to the book. The novel has the ability to speak directly to the reader, and the reader’s mind creates images that go much further and deeper than the particular aspect of a director’s vision, at least usually.  Stevenson’s novella is oddly short and would have benefited from begin developed in much more depth.  I can speak to that in another post in the future.  This film develops much of what is only hinted at in the Victorian era novella and is one of the few examples of when a film is superior to the book on which it is based.

The book hints at being a metaphor for drug addiction and the concurrent behavior of addicts, when their worst selves emerge. This film, in a manner that is overt for the early 1930s, visually makes these suggestions.  When Jekyll transforms for the first time, Mamoulian uses Jekyll’s POV (point of view) and shows us the images whirling through his mind.  Rather than eliminating his negative and evil impulses, he manages to bring them out to the front, and Mr. Hyde indulges his desires.

The book and the film also speak to the issue of the misuse of science and the unguarded pursuit of knowledge. This hubris, always punished by the gods in Greek Drama, was seen earlier in Frankenstein, and it is an issue that will continue to haunt us not only in contemporary films such as Jurassic Park but also in the very real world of scientific research.  Atomic weapons immediately come to mind as an example of how science can produce terrible as well as wonderful ends.  This film, in Gothic fashion, speaks to the problems of scientific hubris, uncontrolled by ethics.

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(https://en.wikipedia.org)

Fredric March was one of the great leading men of the time. He had a long and extraordinary career, including winning the Best Actor Oscar® two times.  Arguably, his performance in Dr. Jekyll and Mr. Hyde was his best work of his career.

If you have never had the opportunity to watch this film, I recommend it highly.

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