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Posts Tagged ‘Science Fiction Films’

What’s Up With The Star Wars Firing?

Monday, June 26th, 2017

Directors don’t have the same autonomy they used to – here’s a case in point.

As Kim Masters writes in The Hollywood Reporter, in part, “matters had already reached a boiling point in mid-June when Phil Lord and Chris Miller, co-directors of the still-untitled young Han Solo movie, were in the cockpit of the Millennium Falcon but didn’t start shooting until 1 p.m. That day the two used only three different setups — that is, three variations on camera placement — as opposed to the 12 to 15 that Lucasfilm president Kathleen Kennedy had expected, according to sources with knowledge of the situation.

Not only was the going slow, but the few angles that had been shot did not provide a wealth of options to use in editing the movie. This was hardly the first time Kennedy was unhappy with how the film was progressing. And as he looked at dailies from his home in Los Angeles, Lawrence Kasdan — screenwriter, executive producer and keeper of the Stars Wars flame — also was said to be displeased.

Meanwhile, Lord and Miller, the exceptionally successful team behind The Lego Movie and 21 Jump Street, were chafing, too, according to a source close to them. There were ‘deep fundamental philosophical differences’ in filmmaking styles, this person says, and the directors felt they were being given ‘zero creative freedom.’ They also felt they were being asked to operate under ‘extreme scheduling constraints’ and ‘were never given enough days for each scene from the very beginning.’

Shortly after the shoot in the Millennium Falcon, on June 20, the world learned that Kennedy — with the backing of Disney studio chief Alan Horn — had taken the extraordinary step of firing Lord and Miller. Obviously, Kennedy knew this would set off a storm of publicity that no one wants or needs in any movie — especially one in the Star Wars universe, where every move is closely watched by a gigantic audience with a sense of ownership . . .”

The problem here is simply one of auteurship – who’s really running the show in this case? It’s just another Star Wars film, so it’s off my radar, but it’s clear that the Lucasfilm people wanted tighter creative control over improvisational sequences, and more coverage – footage shot from various different angles to play around with in the cutting room – when it’s well known that directors who shoot fewer takes, and fewer angles, are often doing this so the film can only be cut together one way, avoiding later interference in the cutting room.

But frankly, this seems to me to be a tempest in a teapot. It’s a Star Wars franchise movie, so what do you expect? It’s much too valuable a property to allow for too much experimentation, and the replacement director, Ron Howard, will no doubt bring it on time and on budget – as much as he can, given the amount of material he probably has to reshoot – and deliver a perfectly salable product.

There was nothing on the line here in the first place. This is just a commercial enterprise. Directors on franchise films are simply hired guns who are brought in to “wrangle” the project into shape, and they shouldn’t expect any creative freedom. This isn’t as if someone is trying to take Persona away from Ingmar Bergman, and give it to another director to finish. It’s a Hollywood popcorn movie, due out sometime in 2018 – and may the force be with it.

This is just business as usual – nothing to see here; move along, move along.

12 To The Moon – A Very Strange Film, Indeed!

Sunday, March 23rd, 2014

12 to the Moon is a very odd film; get the DVD, and see for yourself.

Since I’m in a David Bradley mood, I might as well post on his extremely peculiar science fiction film, 12 to the Moon (1959), just to let you know it’s out there. Most sources date the production as 1960, but in fact “according to an October 1959 Hollywood Reporter news item, Columbia purchased the independent production in August 1959, intending to rush it into release to capitalize on the topicality of a space launch,” and the film itself bears a 1959 copyright date, though it was released in June, 1960.

As Nathaniel Thompson notes on the Turner Classic Movies website, “while mankind continued to see competition in space exploration between American and the Soviet Union for years to come, this film instead proposes an inaugural lunar expedition aboard the Lunar Eagle comprised of an international team of a dozen astronauts from the United States, Poland, Israel, Sweden, Germany, the Soviet Union, Japan, France, Brazil, Britain, Turkey, and Nigeria.

Needless to say, their harmonious intentions run into a few speed bumps along the way as basic human territorial behavior comes into play (though not surprisingly, the American played by TV actor Ken Clark remains the most composed of the bunch). Caverns filled with air pockets, mysterious ice walls, and startling alien messages are just a few of the surprises in store, while the crew’s additional animal passengers (pairs of cats, monkeys and canines) also come into play before the end after they’ve already dodged other menaces including a meteor shower.

Extremely strange and unpredictable, 12 to the Moon has the usual budget-deprived look of many second-tier science fiction films of the period, along with the expected avalanche of dubious science and plot holes larger than the moon’s craters. One big surprise for movie buffs arrives in the opening scene with the entire setup for the plot delivered to the audience by Hollywood’s first bona fide movie star, Francis X. Bushman, here playing “Secretary General of the International Space Order” (the kind of role normally given to an actor like Basil Rathbone).

Shot in just over a week for a reported $150,000, 12 to the Moon was released by Columbia in June of 1960 on a double bill with Ishirô Honda’s Battle in Outer Space. The lack of a reasonable budget or star power doomed many science fiction films to obscurity after their initial runs, though this film managed to stay alive thanks to frequent television screenings.

Some of the more familiar cast members for eagle-eyed movie buffs include Japanese-American actress Michi Kobi (best known for the Jeffrey Hunter/David Janssen war film, Hell to Eternity, 1960), Norwegian TV actress Anna-Lisa, and Robert Montgomery, Jr. (College Confidential, 1960), son of Hollywood actor Robert Montgomery and brother of Bewitched‘s Elizabeth Montgomery, and Tom Conway, a regular in numerous Val Lewton horror classics such as Cat People (1942) and The Seventh Victim (1943). The Lewton connection continues to this film’s screenwriter, DeWitt Bodeen, who wrote both of the two latter films as well as 1962’s Billy Budd.

However, the most surprising member of 12 to the Moon’s personnel is undoubtedly its cinematographer, John Alton, an innovative Hungarian-born iconoclast who earned an Academy Award in 1952 for An American in Paris (1951). His demanding personality resulted in a patchwork career alternating between big studio films (Father of the Bride [1950], The Teahouse of the August Moon [1956], Elmer Gantry [1960]) and small programmers, though his work on the latter still produced remarkable results such as I, the Jury (1953), The Amazing Mr. X (1948) and The Big Combo (1955) — proving that for some artists, no project is too big or too small.”

Yes, it’s a very odd film; the French scientist, for example, who gets far too many closeups for no apparent reason for most of the film, suddenly reveals that he has secret pro-Soviet leanings, and urges the Russian member of the team to use the rocket ship they all inhabit to take over the earth with the use of some sort of atomic device; while the aliens who populate the moon take an unlikely interest in two cats brought along on the expedition, and demand that they be left for research purposes – why, we have no idea.

As if that isn’t enough, the German scientist on board has a Nazi father who murdered another crew member’s father during the era of the Third Reich, and yet the two manage to become boon companions; two other crew members become romantically involved, and are then trapped in a solid block of ice almost as a sort of punishment; another scientist is sucked under in the moon’s “quicksand” and also perishes. All of this happens in a flat, sort of matter of fact way; no one gets too excited, and the remaining members of the group are left to soldier on.

The moon aliens – who are never seen, incidentally – communicate with the group using a series of indecipherable hieroglyphics, which are nevertheless easily read by the Japanese member of the crew, and alternately issue threats and messages of peace, but not before the aliens succeed in freezing the entire earth and all its inhabitants with some sort of mysterious ray, which is in turn counteracted by the scientists by improvising an atomic bomb, and launching it from the ship into an active volcano, thereby generating enough heat to warm up the planet, during which two more members of the crew forfeit their lives. Whew!

Sound strange? It is, and despite the many obvious shortcuts used in the production, and the curious lack of motivation or even some semblance of logic in the film, it lingers in my memory, at least, as an warped but sincere attempt to create an international sense of purpose, in which all the nations of the earth combine to claim the moon jointly, rather than scrambling to be first. Don’t get me wrong; this isn’t a good film, but it’s a decidedly odd one, which never does what you expect it to, and goes careening off in any direction it feels like, with no regard for audience expectations. The film is readily available in an excellent transfer from Warner Archive, and at a running time of a mere 75 minutes, is certainly worth a look.

All in all, a very odd film indeed.

No Name on The Bullet

Saturday, January 5th, 2013

Here’s to director Jack Arnold, who deserves a second look.

I was watching Jack Arnold’s Tarantula last night on TCM, and was struck once again by Arnold’s economy in his shot structure, the simplicity and style with which he sets up his shots, the smooth and precise editing patterns, and the way in which he takes his material seriously, no matter how outlandish the basic premise. With such films as The Incredible Shrinking Man, The Space Children, and Creature From The Black Lagoon to his credit, it’s easy to forget that Arnold also directed one of the most interesting Westerns of the 1950s, No Name on the Bullet, starring World War II veteran Audie Murphy as hired killer John Gant who arrives in a small town, intent on killing someone for pay — but whom? Everyone in the town seems to have some secret in their past, some enemy who wants them out of the way, but Gant refuses to tip his hand, resulting in a complete meltdown of the fabric as the community, since everyone thinks Gant is after them alone. Arnold is a really underrated American director, and his work deserves a great deal more scrutiny; here, then, is just a tip of the hat to the man who defined 1950s science fiction, but was also capable of a great deal more, if only he hadn’t become so identified with one genre alone.

Jack Arnold, an American original.

About the Author

Headshot of Wheeler Winston Dixon Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions.

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Wheeler Winston Dixon has been quoted by Fast Company, The New Yorker, The New York Times, the BBC, CNN, The Christian Science Monitor, US News and World Report, The Boston Globe, Entertainment Weekly, The Los Angeles Times, NPR, The PBS Newshour, USA Today and other national media outlets on digital cinema, film and related topics - see the UNL newsroom at http://news.unl.edu/news-releases/1/ for more details.

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