"Alien: Romulus" Explores Familiar Territory

Not many cinematic franchises have taken the kind of wild stylistic swings throughout their existence as the Alien series. Starting with 1979's eponymous original, the films have shifted gears from visceral horror to action-oriented sci-fi and on to cyberpunk, and explored concepts like cloning and genetic experimentation, tossing in a bit of philosophical and religious discourse along the way. Acclaimed directors such as Ridley Scott, James Cameron, David Fincher and Jean-Pierre Jeunet have put their stamp on the series, some more successfully than others. Throughout all of its iterations, those menacing (and very agile) xenomorphs have loomed large in the center of the Alien universe. Alien: Romulus, the latest entry in the saga, takes a deep dive into the body horror and weird science angles of the franchise. The movie also features quite a few homages and callbacks to previous films in the series.

Directed and co-written by Fede Alvarez, Alien: Romulus tells the story of a young woman named Rain, who's stuck in a dead-end job on a mining colony. When the Weyland-Yutani Corporation (remember them?) unfairly extends her work contract, she gets involved with a group of co-workers who have hatched a plan to salvage cryogenic pods from a derelict ship in orbit around their planet. The idea is to use the pods to put themselves in cryo-sleep, and travel to a planet where they have a chance at a better life. Rain brings along her adopted brother Andy, who’s an android the group will need to interface with the ship's computer systems. There are just a couple of obstacles standing (or slithering) in their way.  The ship, whose orbit is decaying, turns out to be a space station, and it’s infested with some deadly (and very familiar) creatures. There's also an artificial crew-member aboard the station who clearly doesn't have the group's best interests in mind.

Alvarez proved with his Evil Dead remake and the offbeat thriller Don't Breathe that he knows how to build suspense and amp up the onscreen tension. He and co-writer Rodo Sayaguez have created a story that leans heavily into the body horror aspects of the series, and they do introduce a couple of cool ideas into the mythology. Alien: Romulus features several exciting set pieces, but there's a sense of deja vu to the movie, as some of these sequences echo things we’ve seen in earlier entries in the series. There’s also a CGI recreation of a character from the original film that some viewers may find distracting. On the plus side, the movie is undeniably well-crafted, and the cinematography, production design and the special effects (many of which were achieved in old school practical fashion) are quite impressive.

Cailee Spenny as Rain and David Jonsson as Andy are quite good, but the rest of the cast doesn’t get to make much of an impression in their roles before they’re killed by the aliens. Alien: Romulus is exciting and well-produced, and in addition to the visual callbacks to other films, the score by Benjamin Wallfisch does an excellent job of quoting some of the musical motifs from previous composers such as Jerry Goldsmith and James Horner. The movie, which takes place between the first and second films in the series, is worth checking out, though it doesn’t quite propel the saga as far forward into new territory as it could have. The next chapter of the Alien story will be Alien: Earth, a TV show from Noah Hawley, the guiding light of the Fargo TV series. Here’s the trailer for Alien: Romulus: https://www.youtube.com/watch?v=OzY2r2JXsDM.

Rule Britannia Blogathon: Moore is "Haunted"

Roger Moore is The Man Who Haunted Himself

 

Have you ever wondered what it would be like to be plagued by your doppelganger, a mysterious double that not only intrudes upon your life, but tries to take it over? That's the premise of The Man Who Haunted Himself, an offbeat thriller starring Roger Moore, which was originally released in 1970 by EMI Films.  Moore plays Harold Pelham, a London-based executive who has an accident while heading home from work. The circumstances of the accident are somewhat strange, as Pelham's personality seems to change during the drive. He starts speeding, ultimately running his car off the road. While Pelham's being treated for his injuries at the hospital, a monitor briefly shows two heartbeats side by side, before the readings return to normal.

Following his release from the hospital and return to work, Pelham is approached by friends and colleagues who claim to have seen him in places he hasn't been, and had conversations and interactions with him which he doesn't remember. Tensions are running high in both his professional and personal lives, as his company is involved in discussions regarding a high-profile merger, and his relationship with his wife has become strained and distant. Meanwhile, an attractive woman Pelham barely knows claims he's been having an affair with her. Is he going mad, or is someone impersonating him?

 

He meets with Dr. Harris, a psychiatrist who believes that the mysterious double is Pelham himself, and he's trying to break out of his dull and conventional lifestyle. After spending a few days at the psychiatrist's clinic, Pelham discovers that his double has been living his life while he's been away. The "other" Pelham has worked behind the scenes to finalize the merger at his company, and has also been spending time with his wife, re-energizing their relationship. He confronts his "double" at his home, culminating in a car chase down the same road where the story began; which version of Pelham will ultimately survive?

 

The Man Who Haunted Himself is an eerie, unsettling thriller which features an outstanding performance by Roger Moore as Pelham. He effectively conveys the character's increasing sense of distress and paranoia. Moore spoke in interviews throughout the years about the fact that Pelham was one of his favorite roles, since he got to stretch his acting muscles a bit, playing the two different sides of the character. There's also a fine supporting cast, full of familiar faces, featuring the wonderful Freddie Jones in a memorable turn as Dr. Harris, as well as strong work from Hildegarde Neil, Thorley Walters, Anton Rodgers and Olga Georges-Picot.

 

The film is based on "The Strange Case of Mr. Pelham," by British writer Anthony Armstrong. The story had previously been filmed by BBC Television in 1948 and 1955, and was adapted in the US for Alfred Hitchcock Presents as "The Case of Mr. Pelham," starring Tom Ewell, an episode which was helmed by Hitchcock. Production of The Man Who Haunted Himself was spearheaded by producer-director Bryan Forbes, who was head of EMI Films at the time. The movie was directed by Basil Dearden, who was also behind the camera for Sapphire, Khartoum and The Assassination Bureau. Dearden co-wrote the screenplay with Michael Relph and an uncredited Forbes. Sadly, Dearden was killed in a car accident in 1971, which occurred on the same road prominently featured in the movie.

 

While the film wasn't a huge success on its original release, it has picked up something of a cult following over the years, and has been released on both DVD and Blu-ray. I first saw it in my younger years when it aired as a Sunday afternoon movie in the New York area on Channel 9. I was captivated by its eccentric tone, the unusual visual style, courtesy of director Dearden and cinematographer Tony Spratling, and the excellent performances by Moore and Freddie Jones. If you only know Moore from his turns as The Saint or James Bond, or his roles in series like Maverick and The Persuaders, I urge you to check out The Man Who Haunted Himself. Here's a trailer for the Blu-ray release of the film from Imprint Films: https://www.youtube.com/watch?v=1rCgP8hPXZI. This post is part of the Rule Britannia Blogathon, hosted by Terence over at A Shroud of Thoughts: I'm very happy to be part of the fun! For more info, and to check out the other posts: follow this link: https://mercurie.blogspot.com/2024/09/the-11th-annual-rule-britannia-blogathon.html.

These "Embers" Glow For A Worthy Cause

It's no surprise that musicians are often some of the first ones to step up and offer their assistance in the wake of tragedies which affect people's lives. One of the most recent examples of this is Artists for Maui – Embers of Aloha: A Maui Wildfire Benefit Project, an album which was spearheaded by Lisa Mychols and Eddie Finley. The devastating wildfires that raged in Maui last year caused significant property damage, destroying homes and businesses, leaving many residents homeless. Longtime radio host and local resident Michael McCartney, whose own home was damaged by the fires, started a GoFundMe effort to aid island residents affected by these horrible events, and he kept people informed with updates about the fires and their aftermath.

McCartney's efforts inspired Mychols and Finley to create Artists for Maui– Embers of Aloha: A Maui Wildfire Benefit Project, a 43-song digital compilation which is now available for digital download on Bandcamp. The album features a terrific roster of artists whose names will be very familiar to power pop fans, including Eytan Mirsky, Kyle Vincent, Seth Swirsky and David Myhr. The songs and sounds on the album span the spectrum of pop, rock and power pop, including all out rockers such as Danny Wilkerson's "Bye Bye" to Johnathan Pushkar's lovely acoustic tune "Isabella," and Cliff Hillis' tongue in cheek paean to "Evel Knievel."

 

The wonderful artwork and graphics for the album were designed by the talented Nadja Dee, who also aided Mychols and Finley in gathering the artists who generously donated their music to the project. The trio also worked with several record labels, including JEM Records, JAM Records, and Big Stir Records, in order to make the album a reality. Artists for Maui – Embers of Aloha: A Maui Wildfire Benefit Project is truly a gift for power pop fans, and all proceeds from the sales of this fantastic record will go directly to aid victims of the Maui wildfires. Follow this link to check out the songs and order a digital download of the album: https://thetimemachine2.bandcamp.com/album/embers-of-aloha-a-maui-wildfire-benefit-project, and here's a link to a video about the project: https://www.youtube.com/watch?v=2CwW83wlDEI.

Retro TV: Irwin Allen's Land of the Giants

Before he was the producer of disaster epics like The Poseidon Adventure, Irwin Allen was the pre-eminent purveyor of prime-time TV sci-fi in the mid to late 1960s, with several shows running throughout the latter half of the decade. Recently, I've been celebrating Allen's work here at Eclectic Avenue, and this week, I'm shining the spotlight on an episode of Land of the Giants. The series was Allen's fourth and final out of this world adventure series of the 1960s. Land of the Giants ran for two seasons, from 1968-70. The show featured the adventures of the crew and passengers of the Spindrift, a sub-orbital craft which passed through a strange spatial disturbance on its way to London. The space warp transports them to a world where they're mini-sized, and everything else is well....gigantic. The cast included Gary Conway, Don Matheson, Deanna Lund, Don Marshall, Stefan Arngrim, Kurt Kaznar and Heather Young.

 

Each week our heroes would try to evade capture by the giants, while trying to repair their damaged ship and return home. In the first season entry "On A Clear Night You Can See Earth," the captain of the Spindrift, Steve Burton, is captured by a scientist named Murtrah, who's trying to create a special set of glasses that will allow him to see our miniature heroes in the dark. In the series, the giants are aware of the existence of Earth and its superior technology, and rewards are posted for the capture of the "little people."  Murtrah is a particularly mean-spirited and sadistic individual, and he's also jealous of a fellow scientist who he believes is trying to steal his work. 

Steve plays on Murtrah's insecurities, while the rest of the Spindrift crew try to rescue him. "On A Clear Night You Can See Earth" is an action-packed and exciting episode. It's somewhat unique in the canon of Irwin Allen's series, which were generally family-oriented entertainment. The denouement features our heroes rigging an explosive device to kill Murtrah and destroy his lab. They take this drastic step in order to prevent him from completing the creation of his device, so that it can't be used to reveal the Earth crew's location to the giant authorities. Rarely on any of Allen's series, including Lost In Space, Voyage To The Bottom of the Sea, and The Time Tunnel, did the heroes kill someone in cold blood, even if that person or alien being was an outright villain.

Murtrah is played by Michael Ansara, who specialized in playing villains in a plethora of television series and films from the 1960s through the 1990s. He guest starred in all of Irwin Allen's series, and had a featured role in the 1961 big-screen version of Voyage to the Bottom of the Sea, a film in which he appeared with his then wife Barbara Eden. Ansara is also well known for his portrayal of the Klingon Kang on Star Trek: The Original Series and Deep Space Nine, as well as his role as "Killer" Kane on the 1980s series Buck Rogers in the 25th Century. 

 

"On A Clear Night You Can See Earth" was directed by Sobey Martin, who was frequently behind the camera for episodes of Allen's shows. The episode was written by Sheldon Stark and Anthony Wilson. The memorable theme music for Land of the Giants was composed by none other than John Williams of Star Wars and Superman fame, who also wrote the themes for Lost In Space and The Time Tunnel. Land of the Giants, like the rest of Allen's series and movies is entertaining, well-produced and a lot of fun. Here's a trailer for the Season One DVD release of the series: https://www.youtube.com/watch?v=_oint3j4HlA.

A Trio of Investigators Search for True "Evil"

Mike Colter in Evil

Does true supernatural evil exist in the world, and if it does, what form does it take? What can be done to combat it? These are some of the questions and themes explored in Evil, a thought-provoking, chilling and entertaining series from Robert and Michelle King, who also created The Good Wife. The series stars Mike Colter (aka Marvel's Luke Cage) as David Acosta, a man who's studying to be a priest. David is trying to reconcile his belief in God with some doubts he has about his faith based on his personal experiences. He's been assigned by the Vatican to investigate supernatural occurrences, such as possible cases of demonic possession, to determine if they are real, and can be verified.

Helping David in his task are Ben Shakir, portrayed by Aasif Mandvi, an avowed atheist who's the team's technical and scientific expert, and their newest member, Dr. Kristen Bouchard, a forensic psychologist who's testified as an expert witness at a number of high profile murder trials. David initially asks Kristen to help out with the case of Orson LeRoux, a man who's committed several brutal murders. His wife claims he's possessed by a demon, but the prosecution believes he's a serial killer.

The LeRoux case brings the team into conflict with Dr. Leland Townsend, a clever psychologist who seems to know more about the LeRoux case than he's telling. The sinister Townsend appears to possess otherworldly powers, and definitely has malicious intent. He undermines Kristen's professional standing, and sabotages her testimony. Meanwhile, the team tries to determine if LeRoux actually is possessed, or faking the symptoms as part of an insanity plea. It's just the first of many cases that the team will study together, many of them bringing them into conflict with the manipulative Dr. Townsend.

Evil has a bit of an X-Files vibe, combined with the horror content of films like The Exorcist and The Omen. David is the Mulder-esque believer of the group, while Ben and Kristen are the more skeptical, Scully style members of the trio. What's refreshing about the series is that while there's a lot of eerie content, and some truly terrifying scenes, there are no easy or concrete answers to the mysteries the group investigates. The conclusions about what really happened are often left up to the viewer. 

Mike Colter is terrific as the troubled David, and Katja Herbers is fantastic as Kristen, who's propelled into a world she doesn't understand, and haunted by forces that threaten her life, and the safety of her family. Aasif Mandvi is wonderful as Ben, imbuing the tech expert with a sly wit that belies the character's own doubts regarding the veracity of the team's odd experiences. Michael Emerson is superb as the diabolical Dr. Townsend, who just might be something more than just a wicked human being. The talented supporting cast includes Christine Lahti, Boris Ingster and Peter Scolari, as well as many other familiar faces.

The direction and cinematography for Evil are excellent, and the writing is superb. The series features some truly frightening moments, but also takes time to get into the hearts and minds of the characters, and offer some thoughtful examinations on the nature of faith, and the notions of good and evil. If you're looking for something a little different in your horror television diet, Evil is worth seeking out. In fact, Stephen King, the Master of Horror himself, recommended the series in a recent interview. Evil just completed its fourth and final season on Paramount +, where it's currently streaming. You can also find the first two seasons on Netflix. Here's a trailer for the first season of the series: https://www.youtube.com/watch?v=CpB5t1ku--4.

Spelling Blogathon: Satan's School For Girls

Pamela Franklin and Kate Jackson

If you were a television viewer from the mid 1960s and on through into the1970s, 1980s and 1990s, chances are you watched weekly series such as The Mod Squad, The Rookies, Starsky & Hutch and The Love Boat, or checked out made for TV movies like The Ballad of Andy Crocker, Murder on Flight 502 and The Boy In The Plastic Bubble. All of these projects (and many, many more) were produced by the one and only Aaron Spelling, who had a long, prolific, and much celebrated career in the entertainment business.

Spelling produced series and films that sprawled across many genres, including comedies, romance, action-adventure tales, thrillers, detective stories, and science-fiction and horror. One of his most fondly remembered telefilms is the 1973 terror tale Satan’s School For Girls, which first aired on ABC in 1973. When her sister Martha’s mysterious death is ruled a suicide, Elizabeth Sayers enrolls in the exclusive Salem Academy For Women, where Martha was a student. She’s determined to find out what really happened to her sibling. Elizabeth is befriended by several of the students, but as she settles into her surroundings, it becomes crystal clear there are a lot of odd things going on at this very private school. 

As Elizabeth’s investigation continues, eerie occurrences and further deaths occur. Who’s behind it all? Is it Mrs. Williams, the quirky and ineffectual headmistress? Perhaps it’s the acerbic Professor Delacroix, who verbally torments the students in his classes? Surely it can’t be the handsome Dr. Joseph Campbell, the well-liked teacher who regularly holds all the students in his class spellbound? Well, this is of course, the Salem Academy For Women, so it’s just possible that that some of the students and the staff know a lot more more than they’re telling. When Elizabeth discovers the frightening truth lurking behind the doors of the school, it all leads to a hellish finale.

Satan’s School For Girls features a superb cast, filled to the brim with faces that are quite familiar to fans of classic television and film. Horror veteran Pamela Franklin (The Legend of Hell House) is excellent as Elizabeth and Roy Thinnes (best known as David Vincent on The Invaders) is fantastic as Dr. Campbell. Lloyd Bochner (who was often cast as a villain on 1960s and 70s TV series) is delightfully over the top as the ill-fated Delacroix. The cast also includes Kate Jackson (The Rookies) and Cheryl Stopplemoor (aka Cheryl Ladd) who would later team up on Aaron Spelling’s hit series, Charlie’s Angels. 

The atmospheric direction by David Lowell Rich, the enjoyably creepy script by Arthur Ross, and the top notch cast explain why Satan’s School For Girls is fondly remembered by many of us who saw it on its first run, or subsequent rebroadcasts during afternoon and late movie showcases later in the decade. Lowell Rich was also behind the camera for another classic small screen tale of of the supernatural, The Horror at 37,000 Feet, which featured William Shatner, Tammy Grimes and Salem Academy's favorite teacher, Roy Thinnes.

Satan’s School for Girls was remade (also as a TV movie) in 2000. This version of the story starred Shannon Doherty in the central role and featured Kate Jackson in the role of the headmistress, played by Jo Van Fleet in the 1973 version. The cast also includes Taraji P. Henson and Julie Benz. Executive produced by Spelling, the remake lacks some of the retro charm and old school fun of the original, but is still worth a look for fans of the macabre. You might might be a fan of his glitzy series like Dynasty and Melrose Place, but when Aaron Spelling set out to scare us, he did a really good job. Other spooky tales of Spelling-branded television terror include The House That Would Not Die, Crowhaven Farm and Home For The Holidays.

This post is part of the (Aaron) Spellingverse Blogathon, hosted by Gil over at his blog, Reelweegiemidget reviews. I’d like to thank him inviting me to participate! Follow this link for more info: https://weegiemidget.wordpress.com/blogathons/blogathons-2024/news-whos-doing-what-in-aaron-spellingverse-blogathon-2024/.

Join Dillard & Clark on a "Fantastic Expedition"

Country rock flourished in the late 1960s and on into the mid 1970s, thanks to the work of artists such as Bob Dylan, Emmylou Harris, Gram Parsons, Poco, The Nitty Gritty Dirt Band, Neil Young, Linda Ronstadt, The Eagles and even ex-Monkee Mike Nesmith, all of contributed to the success of the genre. One of the best albums to come out of this era is Dillard & Clark’s 1968 release The Fantastic Expedition of Dillard & Clark. The group was founded by Gene Clark, a former member of The Byrds (no strangers themselves to the country rock sound) and Doug Dillard, who had just left his family’s bluegrass outfit, The Dillards. They recorded the album with some talented collaborators, including guitarist Bernie Leadon, who later went on to join The Eagles, and bassist Chris Hillman, who had also been a member of The Byrds. Hillman and Leadon would help to form The Flying Burrito Brothers, another well regarded and highly influential country rock band.

The album is awash with the sounds of banjo, fiddle and organ, and includes some incredible songs, such as the opening track “Out On The Side,” and “Train Leaves Here This Morning,” which was later covered by The Eagles during Leadon's stint with that group. Other notable tunes include the haunting “She Darked The Sun,” and Clark's melancholy “Why Not Your Baby?” (later covered by Velvet Crush)
included as a bonus track on the CD edition. The inspired songwriting by Clark, Dillard and Leadon, their stellar playing and those achingly beautiful harmonies combine to make this album a high watermark for the genre. 

 

The group recorded just one more record together, 1969's Through The Morning, Through The Night. That sophomore release leans even more towards the country and bluegrass side of the road. It wasn’t as well-received as their debut, but there are still some great songs to be found, including the title track and outstanding covers of The Everly Brothers classic “So Sad” and The Beatles “Don’t Let Me Down.” On both of these albums, you can hear the lasting influences these incredible musicians would have on modern artists who have visited these wide-ranging soundscapes in their own careers.

Gene Clark died in 1991, and Doug Dillard passed away in 2012. But they left behind a musical legacy that still enchants listeners and fans to this day. I first discovered The Fantastic Expedition of Dillard & Clark in the 1990s when I was going through a major Byrds phase, and it has remained a favorite of mine. If you’re a fan of country-flavored rock, which has seen a resurgence in recent years with the success of groups like The Avett Brothers, Fleet Foxes, Mumford & Sons and The Nude Party, you owe it to yourself to check out this terrific record. It’s truly an aural journey worth taking. Both Dillard & Clark albums are available on a "two-fer" CD which can be found on Amazon and other online sites. Here are links to the songs “Why Not Your Baby?” http://www.youtube.com/watch?v=7JqEuUEHxCk and "She Darked The Sun" https://www.youtube.com/watch?v=_O9QENNNPwQ.