Retro Movie: Ray Milland in Corman's "X"

Diana Van der Vlis & Ray Milland

Filmmaker Roger Corman made a name for himself as a producer and director with a host of successful low budget genre films in the 1950s and 60s, and also helped start the careers of Martin Scorsese, Francis Ford Coppola and many others, by giving them work on his movies. His series of influential Edgar Allen Poe adaptations (most of which starred Vincent Price) are now regarded as classics. Another interesting Corman project from this period is the 1963 tale, X: The Man With The X-Ray Eyes, simply titled “X” onscreen. The movie tells the story of Dr. James Xavier, who is experimenting with moving beyond the limits of vision in humans. Xavier develops a serum that will expand what we can see. After briefly testing it on animals, Xavier decides to uses the eye drop serum on himself, and his visual capacity does increase. At first, he can see through clothing and solid objects. He is startled by, and elated with, the results.

But that’s not enough for the scientist, and as he continues to use the serum, Xavier begins to see much more than he bargained for: it’s a textbook example of the old science-fiction theme, “there are some things man was not meant to know.” Xavier’s research partners drop his funding, and even though his increased visual capacity helps save a young girl’s life at the hospital where he works, no one supports him. He ends up working at a carnival sideshow as a mentalist, and later as a faith healer. Xavier continues to see deeper into the world than any man ever has; will he see beyond this dimension, or even this universe, and will it drive him insane?

The movie is well cast; Milland (who had worked with Corman previously on the Poe film, The Premature Burial) is excellent in the title role. He perfectly conveys the elation, and later dread, that Xavier feels as he sees shapes, colors and things that he eventually can’t (or won't) comprehend. Diana Van der Vlis, Harold J. Stone and John Hoyt are all effective in supporting roles, and Don Rickles (yes, that Don Rickles) is quite good as a carnival barker who wants to cash in on Xavier’s visionary powers. Corman regulars Dick Miller and Jonathan Haze have cameos as customers at the carnival sideshow. The effects are well done for the period, and eerily convey the odd & mind-bending things that Dr. Xavier sees, which are beyond the veil of normal human perception.

X is a solid bet for fans of the sci-fi & horror genre; it definitely transcends its B-movie origins to tell a unique story. There are some nice touches from director Corman (who was several films into his excellent work on the Poe cycle at this point) and it strives to deliver a bit more than the typical genre films of the period. Many reviewers & writers (including Stephen King in Danse Macabre, his landmark study of the horror genre) have noted the almost Lovecraftian themes that pop up late in the movie. It’s a well-crafted chiller, however you interpret it. The film often airs on Turner Classic Movies and other cable channels, and is also available in a nifty Blu-ray edition from Kino Lorber, which includes commentaries from Corman and writer-director Joe Dante, among other extras. Here’s a link to the trailer: https://www.youtube.com/watch?v=4clwgHEOYMo. By the way, it's interesting to note that Dr. Xavier coincidentally shares his last name with the telekinetic Dr. Charles Xavier, the leader of Marvel Comics mutant heroes, the X-Men, who also debuted in 1963.

Jim West Faces a "Night of the Puppeteer"

The Wild Wild West was one of the most entertaining television shows of the mid to late 60s. Creator and producer Michael Garrison conceived the series as a sort of “James Bond in the Old West” which cleverly combined elements of the hugely popular spy genre with the traditional Western. The show followed the adventures of Secret Service agents James West (Robert Conrad) and Artemus Gordon (Ross Martin), who battled all kinds of outlandish and colorful villains in the 1800s. West was the two-fisted man of action, and Gordon was a master of disguise, as well as the provider of unique gadgets the duo used to escape the deathtraps devised by evil criminal masterminds such as their frequent foe, Dr. Miguelito Loveless, masterfully played by Michael Dunn. Like the Batman series, the show featured a variety of famous guest stars portraying the villains, including Boris Karloff, Ida Lupino, Burgess Meredith, Ricardo Montalban, and Agnes Moorehead.

Lloyd Bochner

One of the more memorable episodes of the show’s first season (filmed in black & white) is “The Night of the Puppeteer,” which opens with Jim West visiting a Supreme Court Justice. Jim warns the man that two of his colleagues have been murdered, and they are concerned for his safety. During a puppet show being performed for the judge’s grandson, one of the puppets tries to shoot the judge! Fortunately, West foils the attempt. Jim later examines the puppets, and finds a clue, which leads him to a bar called Triton’s Locker. While there, he gets into a fight with the patrons, and ends up in an elevator, which speeds him to an underground lair. There he meets Zachariah Skull, the mastermind behind the killings. It seems Skull has a bone (pun intended) to pick with the judges, and society in general. He intends to put Jim on trial for his life....though the final verdict has already been decided.

Skull is also a brilliant inventor, and has surrounded himself with life-size, steam-powered puppets that do his bidding, including a ballerina who dances with West. There are some nicely played scenes between Robert Conrad and character actor Lloyd Bochner, who imbues Skull with a subtly menacing quality. The sequences in Skull’s underground home are strikingly lit, and well staged by Irving J. Moore, who directed many episodes during the course of the series.  There’s a nice twist at the episode’s climax which recalls a classic horror film I won’t mention here, in order to avoid spoilers. Along with other eerie episodes of the series, like “The Night of the Druid’s Blood” and “The Night of the Man-Eating House” this entry veers into territory which might seem more at home on The Twilight Zone or Thriller, with some very effective results. The one drawback to the episode (written by frequent contributor Henry Sharp) is that the wonderful Ross Martin isn’t given much to do as Artemus Gordon.

The tone of The Wild Wild West shifted somewhat from darker episodes in the first year of its run to more outlandish adventures in subsequent seasons (and sometimes back again to more traditional, action-oriented Western tales) due to some behind the scenes shuffling of producers. But the series was always enjoyable, thanks to the chemistry between the two appealing leads, as well as the colorful villains, the lovely damsels in distress, and those amazing gadgets. And let’s not forget that wonderful train the duo used as their base of operations! The show ran for four seasons, and remains a fan favorite, thanks to syndicated reruns and DVD releases of the entire series. There were also two “reunion” telefilms produced, The Wild Wild West Revisited in 1979, and More Wild Wild West in 1980. Both featured Robert Conrad and Ross Martin reprising their roles. The Wild Wild West is a fanciful and delightful series combining elements of Westerns, sci-fi, fantasy, and action-adventure. It's well worth checking out.

What is the Secret of "The Changeling?"

George C. Scott & Trish Van Devere

If you love ghost stories, you most certainly have several favorite films from the genre. Some fans gravitate to older films like The Uninvited, The Haunting, or The Innocents. Others favor modern tales like The Others or The Devil’s Backbone. But there’s one creepy thriller from 1980 that stands with the best of them. It’s the eerie haunted house tale, The Changeling, starring George C. Scott, and directed by Peter Medak. Scott plays a New York based composer named John Russell, who, after losing his wife and daughter in a car accident, relocates to Seattle. He moves into a Victorian era mansion, which has been vacant for some time. To say that the place has “issues” might be understating the case a little. John regularly hears loud banging noises in the house, and one night he sees the specter of a drowned boy in a bathtub.

He begins investigating the history of the house with the help of Claire, a member of the local historical society, who had rented him the house. Claire is played by Scott’s real life wife, Trish Van Devere. John discovers a hidden room in the attic, which contains a child’s wheelchair. John later holds a séance at the house (one of the film’s most effective sequences) and while listening to a recording of the event, can hear the voice of a young man named Joseph. As John and Claire dig deeper, they learn Joseph was a very sick child, who was not expected to live very long. His father murders him and replaces him with a similar looking child adopted from an orphanage. Why? That’s only the beginning of a twisted tale of murder, money and madness that will come to involve a Unites States Senator with a dark secret. Of course, if you know your mythology, you might just guess that secret before it is revealed later in the film...no spoilers here.

While the bulk of The Changeling takes place in Seattle, it was mostly lensed in Vancouver and Victoria. The film is expertly crafted and well paced. The story is loosely based on some real life events that took place in Colorado. Writer Russell Hunter experienced some paranormal phenomena while staying at a hotel there, and ended up researching the hotel’s history. The screenplay by William Gray and Diana Maddox is loosely based on his experiences and the results of his research. The film was nominated for multiple Genie Awards in Canada and won several, including Best Film, Best Foreign Actor for Scott, Best Foreign Actress for Van Devere, as well as for John Coquillon’s wonderful cinematography. The first rate cast also includes movie veteran Melvyn Douglas, and familiar faces John Colicos and Jean Marsh in supporting roles.

Director Peter Medak does an excellent job creating an otherworldy mileu in the film, which doesn’t go for obvious scares. The Changeling doesn’t cop out on its supernatural elements, and has several very unsettling and creepy moments, some of which recall other chillers like Mario Bava’s Kill! Baby! Kill! The movie has a dedicated core of fans, and was a TV staple during the 80s, which is where I first saw it, and was intrigued by its compelling and offbeat story. In a genre cluttered with badly made and over plotted films, The Changeling is a terrific thriller, and a real gem. Watch out for that wheelchair! Here’s a link to the trailer: https://www.youtube.com/watch?v=xTzgXVosQOU.

This post is part of the O Canada Blogathon, hosted by my fellow bloggers at Speakeasy and Silver Screenings. I’d like to thank them for including me in the festivities! You can find out more by clicking the following link: https://silverscreenings.org/2018/02/07/the-ocanada-blogathon-starts-friday/.

Suzi Quatro: 5 Great Songs

This week, please check out another article I did for Culture Sonar, an excellent arts and entertainment website. This one is about rocker Suzi Quatro, a pioneering female rocker who was an inspiration for Joan Jett and many others; click on the link below to access the piece. You can also find my other work for the site by going to the main page (http://www.culturesonar.com) and using the search function. Thanks for reading, both here at Eclectic Avenue and over at Culture Sonar.

http://www.culturesonar.com/suzi-quatro/

Del Toro's "Shape of Water" is Magnificent

Director Guillermo Del Toro has thrilled us with his visionary style and taken us to some incredible places in such acclaimed movies as The Devil’s Backbone and Pan’s Labryinth, as well as the underrated Crimson Peak. Now he takes his artistry to a new level with his latest release, The Shape of Water. It’s a masterfully realized fantasy and a touching love story, featuring excellent performances by a top-notch cast. The film takes place in Baltimore in the early 1960s, during the height of the Cold War. The story centers on Elisa Esposito, who works as a custodian at a government facility. Elisa is mute, and communicates using sign language. She lives above a movie theatre and has two loyal friends: her neighbor Giles (with whom she shares meals and watches classic movies on TV) and her co-worker Zelda.

One day, an aquatic creature, which was captured in South America, is brought to the facility. The personnel there are studying the “monster” in order to gain an advantage over the Russians in the space race. One staff member, Colonel Strickland, abuses the creature on a daily basis, and sees it only as a means to an end.  Elisa is intrigued by this “monster,” and feels a strong kinship with it. Elisa tries to communicate with the creature, and befriend it. She starts bringing it meals, playing music for it, and teaching it sign language. The two form a close bond, and Elise decides to help the creature escape. That decision will change both of their lives (and the lives of Elisa’s friends) forever.

The cast is excellent. Sally Hawkins is a standout as Elise. She communicates all of Elise’s emotions; loneliness, passion, pain and ultimately joy, using mostly her eyes and her hands. It’s a luminous performance. She’s matched by an excellent supporting cast, including the incredible Richard Jenkins as Giles, and the wonderful Octavia Spencer as Zelda. Michael Shannon expertly enacts the villainous Colonel Strickland. Michael Stuhlbarg does a nice turn as a compassionate scientist who helps our heroes free the creature. Doug Jones, who’s the man inside the monster suit, does a superlative job portraying the creature. He’s done a great job playing monsters in other Del Toro projects (like Hellboy) but in this film he does some magnificent work. He imbues the character with such dignity and humanity that you can’t help but feel empathy for him.

The film also features a subtle message about tolerance and the acceptance of people’s (and other species) differences: Giles is a closeted gay man, and Zelda is an African-American woman. They’re two of the most positive and fully realized characters in the film. Del Toro doesn’t hit us over the head with a “message,” but you can’t help thinking about the time period in which these characters are living (the 1960s) and the things they had to endure from people like the violent and abusive Strickland, who essentially sees everyone else as being beneath him. It’s also a nice touch that the Giles character is an illustrator (like Del Toro) allowing us to see some of the story through his eyes. Giles also opens and closes the film with some marvelous narration, that truly sets the tone for this lovely, powerful and enchanting film.

The Shape of Water is part fairy tale, part love story and part monster movie. Del Toro (who has always felt a kinship with the monsters in stories like this) has stated that he was partly inspired to write the film based on his experience seeing Creature From The Black Lagoon as a child. He wondered why the monster didn’t get the girl. The movie plays to all of Del Toro’s strengths as a filmmaker. He and his technical crew have created a truly original look for the film. Of course, the fact that Elisa lives above a movie theatre allows Del Toro to compare the fantasy of the world of movies with the fantastical events taking place within his story. The Shape of Water is a lovely, emotional and powerful film. If you are partial to love stories, lyrical fantasies, and/or are a fan of Del Toro’s work, this is a must see. It’s hands down one of the best films of 2017. The movie features some astonishing, beautiful and brilliantly realized images that will stay with you long after the movie is over. Here’s a link to the film’s trailer: https://www.youtube.com/watch?v=XFYWazblaUA.

Is "Jedi" A New Direction for the Saga?

When Star Wars: The Force Awakens opened in 2015, audiences warmly embraced the film as a return to form after the disappointing “prequel trilogy” which began with 1999’s Star Wars: The Phantom Menace. Director J. J. Abrams managed to provide fans with a jumping off point for a thrilling new adventure set in the universe created by George Lucas, while also giving them some new characters and storylines. Now the second film in the post Star Wars: Return of the Jedi timeline, Star Wars: The Last Jedi, has been released, and while it’s been phenomenally successful at the box office, it’s also spawned some sharply divided opinions among fans and critics. Many have compared the film to Star Wars: The Empire Strikes Back (generally considered the best film in the series) while others have pointed out it’s an enjoyable, but flawed, entry in the ongoing saga.

The story picks up shortly after the end of the previous film, with the remaining rebels (led by General Leia) fighting bravely against the evil First Order. Meanwhile, Rey (Daisy Ridley) the heroine of The Force Awakens, has traveled to a distant world to find Luke Skywalker, who disappeared after trying (and failing) to train a new group of Jedi. One of those trainees, Kylo Ren, the son of Leia and Han Solo, has turned to the Dark Side, and become a leader in the First Order. He’s hunting down the rest of the rebels, and plans to obliterate them once and for all. Rey wants Luke to return to the fight, and help the rebels defeat the villains, and restore peace to the galaxy. By the way, I’m going to try to stay as spoiler free as I can for the rest of this piece.

We also catch up with several of the other characters from The Force Awakens, including former stormtrooper Finn, who’s now a part of the rebellion, and fighter pilot Poe Dameron, who clashes with Leia regarding strategy during their battles with the First Order.  Of course, the multiple storylines all converge toward the climax of the film, featuring the requisite space battle between the heroes and the villains, with the fate of our heroes (and the future of the Rebellion) at stake. The film is visually striking and features some nice performances, including Carrie Fisher as General Leia (in her final role) and Mark Hamill as an older, embittered Luke Skywalker.

The thing that has many fans buzzing is that the plot seems to ignore some major story elements established by Abrams in the first film, and the Star Wars saga as a whole.  The movie definitely subverts audience expectations more than once, and goes in some directions you don’t expect. There are some exciting sequences, as well as some nice nods to earlier films in the series. However, one subplot involving a visit to a casino slows down the middle of the film, and there’s one moment involving a major character that may give you pause. Ultimately, your own reaction to the film may vary, but the movie is well directed by Rian Johnson (Looper, Brick) who also wrote the screenplay. Johnson does take some risks with the the film, rather than playing it safe. The biggest question is: will Johnson’s take on the story be followed through when J.J. Abrams returns to co-write and direct the third chapter of this trilogy, Star Wars: Episode IX, slated for release in 2019. Only time will tell. Star Wars: The Last Jedi is currently in theaters. Here’s a link to the film's trailer: https://www.youtube.com/watch?v=Q0CbN8sfihY.

Two Series Seek Out "Star Trek's" Legacy

This week, please take a look at one of my recent pieces for Culture Sonar, the awesome arts and entertainment website where I also regularly share my thoughts on music and movies. This article is about two current science-fiction TV series that owe a great debt to the original Star Trek and its spinoffs; click on the link below the photo to access the article. You can also find my other work for the site by going to the main page (http://www.culturesonar.com) and using the search function. Thanks for reading, both here at Eclectic Avenue and over at Culture Sonar. 

The Orville, Discovery and the Spirit of Roddenberry

http://www.culturesonar.com/the-orville-star-trek-discovery/

Wishing my wonderful, loyal readers all the best for 2018!