Saturday, May 30, 2020

Taking the TARDIS from Water to Lava

Last week, I posted the first part of my own Doctor Who fan fiction. So to-day I bring you the second, here you go:

DOCTOR WHO

"The New Model Tomb"

by Setsuled

Part II

A woman with torn and matted blonde hair pointed her pistol at the Doctor and demanded, “Well, where is it?! Ten thousand toktols now or you're dead!”

“Ten thousand toktols?” the Doctor blinked in surprise. “I haven't got ten thousand toktols. I don't even have one toktol. Have you any toktols, Rob?”

“Eh, what?” The air was chilly, like an early autumn evening in Plymouth, but he was sweating. His hand was on his sword but he didn't dare draw it. “Toktols—is that currency, then? I have a shilling and threepence.”

The woman with the gun snorted.

“This is probably all part of a slumber party for the E-Yuns,” bellowed a tall man with a large belly. “This may not be serious for you but when we Wuntas ask to be paid for services we expect to be paid.”

“Well, I'm afraid I don't usually carry money,” said the Doctor. “What services do you mean?”

A thin, red-headed young man of about twenty four or twenty five was looking at them with a more appraising eye than the others. “You know, I don't think this is the E-Yun you made the deal with, Brenda.”

“Yes, thank you,” said the Doctor. “We are simply travellers.”

“Travellers?!” Brenda scoffed, clearly unpersuaded, “Here?!”

“Want a tour of broken pipes and leaky roofs?” asked a thin, dark haired man coming down the metal stairwell of a nearby building.

“This place does look like it's seen better days,” said the Doctor, looking about. A third of the buildings on the narrow street looked as though they'd been in a terrible fire years ago and were never repaired. They were all tall buildings, each at least seven storeys and Rob marvelled that they could be so thin and sheer and not topple over. He wondered what could leave the gigantic black marks, visible beneath what must have been months or years of accumulated dust.

“Look,” the Doctor continued, “I haven't got any toktols but I am a doctor. Perhaps there's something I can do for you and in exchange perhaps you can tell me a bit about this place?”

“Doctor, eh?” said the tall man.

“Diana and the four girls from Henchal's could do with a doctor,” the red-headed man remarked in a low, cautious tone to the tall man.

“You think so, Billy?” said the tall man, peevishly amused. “And what would you know about doctors?” He turned to the Doctor. “You know what we did to the last doctor we saw down here?”

Rob half-expected some witty rejoinder from his new friend but he looked at her now to see a grave expression on her face. She said nothing, keeping her hands in the pockets of her velvet coat.

“My name's Rob Fenner,” he said suddenly. “I'm a seaman, I grew up in Plymouth, England, if that means anything to you. I haven't known the Doctor a long time but if she says she wants to help, I can testify, her word is good.”

“England?!” said the thin man. “They really are having a slumber party.”

“There's no harm in letting me at least look at this Diana and the four girls, is there?” the Doctor said, ignoring this last exchange.

“I have a better idea,” said Billy, the redhead. “What kind of ransom do you think these two would fetch, Tom?”

Suddenly, a great, swirling wind arose about them. Dust whirled about—Rob covered his face with his arm and through the sudden haze he could just make out the Doctor burying her face in her coat. White light like sunbeams appeared as glowing shafts in the dust. The Doctor grabbed Rob's sleeve and pulled him back to the edge of the road as a dark shape, the size of a sloop, descended and came to rest on the street with a hiss.

“Keep your hands in the air,” a woman's voice boomed from the object, impossibly loud. “I'm looking for Brenda Vitti.”

The people on the street all took cover or moved to the side of the street. The big man with the gut, Tom, looked at the thing with calm disgust. Brenda fidgeted in the doorway of a building behind him. No-one said anything. No-one raised their hands.

There was another hiss from the thing and a curved hatch opened up on one side. A plump, brown skinned young woman stepped out. She was pretty and about Rob's own age. She wore a simple one piece garment with numerous external pockets, each with a little flap. Over this was a peculiar suit of armour, more like a skeleton of armour than proper armour, a grid mesh involved with disjointed black webbing.

“I'm not here to hurt anyone,” she said, hers being the voice of the machine but now it was of a normal human volume. “I'm only here to speak with Brenda Vitti and I'm prepared to pay.”

“That's more like it,” said Brenda, stepping forward. Tom grunted out a derisively little laugh but didn't do anything to stop her.

The woman from the machine had a tense smile on her face and she looked around the buildings furtively. She really didn't look like she wanted to be there but she strode forward briskly, unfalteringly. So quick was her movement that Brenda recoiled a little.

“Don't be afraid,” said the woman. “I'm Detective Inspector Sara Marwat, we spoke yesterday on the comm link. May we go somewhere to speak alone?”

Rob had never seen anyone so easily master their own evident fear. The look in the inspector's eyes, which were a little moist with tears, was on the verge of panic but her gestures and her tone suggested only confidence and purpose.

“I got nothing to say these folk ain't fit to hear,” said Brenda. “And where are my toktols finally? What's the idea of sending your little scouts ahead empty handed?”

“Scouts?” said the inspector.

“Hello, I'm the Doctor,” said Rob's new friend pleasantly. “My companion here is Rob Fenner. Your name is Sara, I gather?”

Inspector Marwat looked at the Doctor and Rob in surprise but spoke to Brenda as though they weren't even there. With her eyes on the Doctor and Rob, she reached into a pocket on her left hip and produced several pink and white coins. “Here. Now what can you tell me about the night of February Fifth and Leland Shaw?”

Brenda smirked, putting the coins in a grubby purse hanging at her side. “He was at the party, all right. And Bobby Nelson and Eddie Yamaguchi were there, too, just like you said. Eddie tried that new beer from Harpsol and got sick in front of everyone. Leland and Bobby were playing darts.” She shrugged. “Pleasure doing business with you.”

“What was Eddie wearing?” the inspector persisted.

Brenda looked curiously at the woman. “I don't know. Shirt and trousers I guess. Don't remember the colour. The colour of puke by the end of the night I guess.”

The inspector considered this a moment then finally nodded. “Thank you for your cooperation, Miss Vitti. You may go.”

Brenda mockingly bowed before sauntering off. The others remained, watching the inspector.

“Well done!” said the Doctor, coming forward. “A keen nose has the local law enforcement, I see. It might interest you--”

“Who are you?” the inspector interrupted.

“As I said, I'm the Doctor and this is my companion, Rob. We're new here, travellers. I was wondering--”

“Travellers from where? Where was your point of entry on Mallos?”

“Mallos, ah! Of course.” The Doctor smiled and ran a hand through her hair as she looked about again at the buildings and at the twilight sky dotted with dark grey clouds.

“We came in that box yonder,” Rob said, pointing at the TARDIS. The inspector turned to look at the blue box and stared at it quietly. She still looked a little frightened and instinctively he wanted to reassure her. “The Doctor's right, I think, you're doing good work. A constable or magistrate of some kind, are you?”

At this the Doctor looked at Rob sharply, curiously, before turning to the inspector again. “You see, inspector, I understand there are five injured people nearby in need of medical assistance. Perhaps you can help me persuade these people to allow me to examine them?”

“Why?” asked the inspector.

“Er, like I said, I'm a doctor and I believe I might be of some help.” The Doctor licked her lips, waiting for the inspector to respond. “Maybe there's nothing I can do . . . but I won't know that until I see them, will I?”

“You're wasting your breath!” said Tom, laughing. “The good E-Yun Detective Inspector could care less for Diana and the girls!”

Detective Inspector Marwat regarded the Doctor with a look of abject terror. She looked ready to completely break down. The Doctor seemed at this point to finally notice it.

“Now, now, it's quite all right,” said the Doctor. “Er. Everything will be fine. You're doing a very good job and you'll be home, nice and safe, before you know it, I'm sure. I'm sure I can persuade Tom here to show me to his friends.”

“Yeah, all right, I suppose so,” Tom said grudgingly. “You don't seem like an E-Yun, anyhow.”

“It was very nice meeting you,” said the Doctor, starting to follow Tom. But Inspector Marwat also started to follow.

“I will accompany you,” she said, only a slight tremor in her voice as she stepped forward, pressing something on her wrist. Behind her, the hatch closed on her strange craft.

“That's the spirit!” said the Doctor. “Stay close to me and Rob and you'll be all right. Rob's a good stout lad, he'll see you come to no harm.”

Rob flushed red but added, “Yes, m'lady. Quite.” He offered his arm, wishing his sleeve wasn't so dirty. She looked at his elbow a moment, puzzled, and didn't take it. They all started together down the broken lane, Tom in the lead followed by the Doctor. Rob, walking beside the inspector, followed last.

“So . . .” he began, searching for a frame of reference. He'd never tried talking to one of the native girls at any of the ports in the West Indies. The last time he got anywhere with a woman was when he started talking to an English servant maid about living through the siege of Gloucester. “So . . . you're searching—doing a . . .” Words failed him. “What brings you here?”

She shot him a fearful look and then continued looking straight ahead but answered, “I'm investigating the poisoning of several Aeon citizens.”

“Aeon—oh, E-Yuns,” he realised lamely.

“Yes, that's what the Wanters call us,” she said softly, in almost a whisper. The Doctor had fallen back a bit, clearly having been listening to them the whole time.

“Wanters?” asked Rob. “Why do you call them that? What do they want?”

“How do you not know any of this?” she asked Rob.

“Rob is terribly out of touch,” the Doctor said apologetically. “Really, Rob, do pay attention.”

Rob laughed ruefully, “Right. I've been at sea too long, you might say.”

“The Wanters . . . want,” the inspector said helplessly. “That's how they live. Everything they do is because the want something. They want toktols or food or sex.”

“I see. Don't we all want some things now and then, though?” asked Rob.

The inspector blushed and dropped back, clearly wanting to disengage. Rob looked helplessly at the Doctor.

“By now, my boy, 'want' has come exclusively to mean desire, to covet,” the Doctor explained in a low voice.

“Oh,” said Rob, glancing back. “Is she a Puritan?”

“I very much doubt it . . .” she trailed off as she caught sight of something and smiled. “Hmm! Look at that.”

He followed her gaze and saw that the ubiquitous buildings had thinned out enough to allow a glimpse of grey hillside. On the hillside against the darkening sky was what looked like a Roman aqueduct except the top of it was glowing bright orange.

“'Zounds!” said Rob. “What on Earth is that?”

“Not on Earth, Rob,” she leaned in closer to him, her big eyes drawing him in. “We've come to the planet Mallos. And that, my boy, is part of a sophisticated system for harnessing geothermal power.”

“Geo—what?” he watched her breathlessly.

Her voice dipped dramatically, “Volcanoes. They use the power of volcanos to create automated light and heat—and many other wonders.”

“Incredible,” was all he could say, overcome fully now by the strangeness of how far he'd come. “And he people here--'tis all very like The Man in the Moon.”

“Read that, did you? You are full of surprises. We've come much further than the moon, though, and this world is much bigger. Tell me, Rob,” said the Doctor, now looking down at her feet, still clad in heeled slippers with ivory silk bows, as she picked her away over jagged, blackened plaster and masonry. “When you said the inspector had done a good job, what did you mean?”

“Well, like you said,” Rob glanced at the Doctor. “She's a canny inquisitor.”

“Yes, but why, exactly?”

“Well, she asked about some fellows named . . . Eddie and Leland . . . but what she really wanted to know was whether Brenda was in that party, I think. If Brenda had tried to act like she remembered what that fellow Eddie was wearing, or tried avoiding the question, the inspector would have concluded Brenda was lying,”

“Ah ha, yes! That's right,” the Doctor grinned, looking ahead. “Brenda was a suspect. And now, she knows Brenda has an alibi for February Fifth.”

“Ah . . .” said Rob slowly, glancing back at the taciturn inspector. “And so she's come with us now . . .”

“Because we likely look like prime suspects ourselves,” finished the Doctor.

TO BE CONTINUED

Friday, May 29, 2020

The Longed for Convenience of Tyranny

Some would say the hardest part about catching lawbreakers are all those damned laws. Take the makers of 1938's Gang Bullets which opens with this extraordinary crawl:

Anyone who doesn't understand the point of due process might get a kick out of this movie. It's ideologically the opposite of the one I wrote about yesterday, though I didn't plan it that way. Yesterday's movie, City of Silent Men, about ex-cons trying to fight against the prejudice of the town, is the philosophically superior but artistically inferior film. Gang Bullets, directed by Lambert Hillyer, is ridiculous and slightly scary but, like many things that are ridiculous and slightly scary, it's a lot of fun.

District Attorney Dexter Wayne (Charles Trowbridge) is constantly frustrated in his attempts to put away "Big Bill" Anderson (Morgan Wallace) for good. Big Bill knows it, too, and laughs off every panicked plea from his henchmen regarding this or that scheme. After all, Big Bill knows he has his lawyer to weasel him out of any jam.

Meanwhile, an anonymous writer calling himself "Junius" openly mocks Wayne in the local paper to the sorrow of his daughter, Patricia (Anne Nagel), and the chagrin of her fiance, John (Robert Kent), Wayne's assistant. But Wayne is a craftier fellow than anyone gives him credit for. Before this story's over he'll catch Big Bill with a little help from a dictaphone and a grenade.

Hillyer and his screenwriter, John T. Neville, have great instincts for this kind of storytelling, creating excitement with editing and making even ancillary characters stand out in the episodic narrative. Whether it's the gambler Wayne pressures into ratting on his boss or a little boy who's just excited to get a look at a nearby dead body. I love filmmakers who don't sentimentalise children.

Gang Bullets is available on Amazon Prime.

Thursday, May 28, 2020

Those Seductive Ex-Cons

You do the crime, you do the time, and then you're supposed to carve out a normal life. It's not always so simple, though, as we see in 1942's City of Silent Men. No nuanced psychological tale or film noir, this is basically a homefront wartime propaganda film reminding citizens that just because a guy once robbed a bank doesn't mean he can't be part of the effort to feed forces overseas fighting the Nazis.

Two drifters, Gil (Frank Albertson) and Frank (Barton Hepburn), order some food from a diner they can't pay for. The ornery owner (Dick Curtis) has them arrested but before the judge can sentence them the mayor (William Gould) intervenes. Not only does he take the drifters into his own custody, he gives them a canning factory.

This mayor knows ex-cons like Gil and Frank have a hard time finding work and they can't join the armed forces without letters of recommendation. So many ex-cons are forced back into a life of crime perpetuating a vicious cycle. One of the problems they face is prejudice, something illustrated quickly when the whole town turns out against them, first at a town hall meeting, then as a mob.

The performances are okay but not terribly great. The movie does get a bit interesting when a love triangle is introduced--as much as the town hates him, Gil effortlessly charms both the diner waitress, Jane (Jan Wiley), and the mayor's daughter, Helen (June Lang).

In addition to angering everyone, especially Jane's father and Helen's brother, it ends with Jane plunging into despair when she assumes Gil prefers Helen. At first, Gil doesn't seem especially interested in either one but oddly he kind of just seems to default to Helen when Jane throws in the towel. That's a lesson for the ladies, too--you could be your own worst enemy. Don't assume that ex-con who works at the canning factory is out of your reach.

City of Silent Men is available on Amazon Prime.

Twitter Sonnet #1358

The plastic cup cannot surpass the glass.
No matter made the stone from iceless punch.
It gathered rocks in crumbled metal mass.
The things a giant chews in lieu of lunch.
A thoughtful pipe requites a wish or two.
In rings of smoke the houses slowly build.
Between the yellow leaves were trunks of blue.
So green the forest fate was soundly sealed.
Reflective nets suggest a slower dream.
As crawling time emerged, the curtain fell.
Replacement suns reside inside the beam.
Important sounds await inside the bell.
The heavy banners made the stone a ball.
Processions trod the soaking paper hall.

Wednesday, May 27, 2020

The Unblemished Record of the Unblemished Princess

Some heroes fight for victory, others get by on their good looks. Into the latter category belongs the protagonist of 1937's Snow White and the Seven Dwarfs, a largely faithful adaptation of the Grimm fairy tale from the early 19th century, which was in turn inspired by oral tradition or possibly, according to some sources, one or two real young ladies. Beautifully animated by Walt Disney, it's an instructive film for children both in ways general and specific, from the importance of submitting to the universal natural order to the necessity of washing your hands before supper.

One of Adolf Hitler's favourite movies, I was reminded in my recent viewing of another of Hitler's favourite films, Fritz Lang's great adaptations of the Nibelungenlied from the '20s (neither Disney nor Lang were fans of Hitler, it should be noted). Like the eleventh or twelve century epic poem on which it's based, Nibelungenlied focuses on the Germanic/Norse hero Siegfried or Sigurd. Siegfried is the son of a king, exiled to the woods from a young age, and raised by a smith (a dwarf in some versions). The rapport he has with the natural world helps him to survive and thrive, especially after he learns how to talk to birds. This power he acquires after slaying and drinking the blood of a dragon. Eventually, his death comes due partly to the jealousy of women in his life.

The differences between Siegfried's and Snow White's stories break down neatly on lines of conventional expectations for their respective genders. Snow White's story is similar except she hits the same points by remaining passive or running away that Siegfried hits by exploring or conquering. She runs from the huntsman, she allows herself to be directed by the woodland creatures to the cottage of the dwarfs. She accepts the apple from the Queen without much hesitation--she's even more submissive in the original tale, accepting multiple hazardous gifts from the Queen before the final apple.

The Queen, obsessed with being the most beautiful woman in the world, takes the strikingly odd step of making herself hideous in the Disney film, something she doesn't do in the original Grimm story where she's described as merely disguising herself. In the film, she relishes the sight of her hands withering while a crow, here a representative of the natural world unlike the similar one in Sleeping Beauty, looks on in terror. While the Queen compulsively checks to see if there's an antidote to the poison she applies to the apple, she never checks to see if the spell she's used to change her form is reversible. Not that it matters when she plunges to her death and is devoured by vultures--more birds representing the natural world.

The Queen is motivated to acquire things she has no right to by natural law--a mother or step mother shouldn't be more beautiful, and therefore more attractive to suitors, than her daughter. By remaining submissive to the flow of life, Snow White prevails even when the Queen effectively kills her. Death is natural so real death is obviously something the Queen can't manage to inflict. So Snow White wins a Prince Charming, their relationship never as complex as the one between Snow White and the dwarf Grumpy.

Grumpy, whose nose looks like a potato, is a bit of a tsundere. He says he doesn't like or trust women but he still slyly wants a kiss on the forehead from Snow White, just like the other dwarfs. When Snow White is praying, she singles out Grumpy, asking that God make him like her. Here's fertile ground for slash fiction.

By enforcing domestic normalcy in the home, by cleaning the furniture and forcing the dwarfs to wash their hands, Snow White shows herself to be integrated with the natural order, as do the dwarfs who dutifully march off to work every day. Of course, a relationship between Snow White and Grumpy would face many obstacles not to be found between the Prince and the Princess. Problems related to age and social class would have to be considered. The film's moral lesson of conformity would, to be fair, probably be conducive to health and familial harmony. On the other hand, why shouldn't the Queen have the beauty that doesn't even seem to be that important to her step-daughter? I suppose Snow White shouldn't have to worry about whether she can attract a viable mate. If she couldn't convey the impression of creating a healthy and happy home, she may well make her husband miserable and sick.

When talking about archetypes, they can be applied pretty flexibly to various real life social and cultural circumstances to which a weirder, more complex tale can't. Still, it's fun to fantasise about Snow White running off with Grumpy.

Snow White and the Seven Dwarfs is available on Disney+.

Tuesday, May 26, 2020

Staying In Scarran Space

It's a quarantine lockdown on Farscape on a Scarran space station in a plot that finally makes something more of Noranti than a walking gag.

Season Four, Episode Nineteen: We're So Screwed, Part 1: Fetal Attraction

We have a chance to meet more Kalish, Sikozu's (Raelee Hill) people who are subjugated by the Scarrans and running the border station on which the episode takes place.

When it turns out the ship carrying Aeryn (Claudia Black) is about to leave in thirty minutes, Noranti (Melissa Jaffer) hastily concocts a strategy that involves provoking a relapse of a highly contagious disease Rygel (Jonathan Hardy) had at some point in the past, when he was Dominar. This buys some time as the station administrator is forced to call a lockdown, detaining the Scarran ship. Since Kalish and Sebaceans aren't immune to the disease, Noranti has to work quickly to cure Rygel.

Melissa Jaffer is a good actress--she'd been on the show previously as a dying Luxan in season two and she would go on to have a small role in Mad Max: Fury Road--so it's good to see Noranti being more than the omniscient, mysterious healer or the old lady who likes to gross out the young people. You can see her frantic as she tries to hold onto her identity as the mystic with all the answers, fronting a confidence as she digs through herbs and potions. Inevitably she has to face the fact that her solution for saving Aeryn results in the deaths of uninvolved Kalish and Sebaceans.

It also gives Rygel an all too rare moment to reflect on his time as a Dominar in a way that shows him as more than caricature. As a ruler, he too, had to make decisions which would inevitably cause people to die with never any certainty that an alternative wouldn't be better. But Rygel concludes by saying, "Welcome to Moya" and, indeed, one of the nice things about Farscape is that it doesn't shy away from putting its characters in difficult positions.

Physical as well as philosophical. Poor Aeryn endures more in season four than in the other three seasons put together. I suppose she hasn't quite caught up to all of the involuntary surgery and mind rape Crichton (Ben Browder) has been subjected to, though. Not the kind of competition you want to win.

. . .

Farscape is available now on Amazon Prime.

This entry is part of a series I'm writing on Farscape for the show's 20th anniversary. My previous reviews can be found here (episodes are in the order intended by the show's creators rather than the broadcast order):

Season One:

Episode 1: Pilot
Episode 2: I, E.T.
Episode 3: Exodus from Genesis
Episode 4: Throne for a Loss
Episode 5: Back and Back and Back to the Future
Episode 6: Thank God It's Friday Again
Episode 7: PK Tech Girl
Episode 8: That Old Black Magic
Episode 9: DNA Mad Scientist
Episode 10: They've Got a Secret
Episode 11: Till the Blood Runs Clear
Episode 12: Rhapsody in Blue
Episode 13: The Flax
Episode 14: Jeremiah Crichton
Episode 15: Durka Returns
Episode 16: A Human Reaction
Episode 17: Through the Looking Glass
Episode 18: A Bug's Life
Episode 19: Nerve
Episode 20: The Hidden Memory
Episode 21: Bone to be Wild
Episode 22: Family Ties

Season Two:

Episode 1: Mind the Baby
Episode 2: Vitas Mortis
Episode 3: Taking the Stone
Episode 4: Crackers Don't Matter
Episode 5: Picture If You Will
Episode 6: The Way We Weren't
Episode 7: Home on the Remains
Episode 8: Dream a Little Dream
Episode 9: Out of Their Minds
Episode 10: My Three Crichtons
Episode 11: Look at the Princess, Part I: A Kiss is But a Kiss
Episode 12: Look at the Princess, Part II: I Do, I Think
Episode 13: Look at the Princess, Part III: The Maltese Crichton
Episode 14: Beware of Dog
Episode 15: Won't Get Fooled Again
Episode 16: The Locket
Episode 17: The Ugly Truth
Episode 18: A Clockwork Nebari
Episode 19: Liars, Guns, and Money, Part I: A Not So Simple Plan
Episode 20: Liars, Guns, and Money, Part II: With Friends Like These . . .
Episode 21: Liars, Guns, and Money, Part III: Plan B
Episode 22: Die Me, Dichotomy

Season Three:

Episode 1: Season of Death
Episode 2: Suns and Lovers
Episode 3: Self-Inflicted Wounds, Part I: Would'a, Could'a, Should'a
Episode 4: Self-Inflicted Wounds, Part II: Wait for the Wheel
Episode 5: . . . Different Destinations
Episode 6: Eat Me
Episode 7: Thanks for Sharing
Episode 8: Green Eyed Monster
Episode 9: Losing Time
Episode 10: Relativity
Episode 11: Incubator
Episode 12: Meltdown
Episode 13: Scratch 'n Sniff
Episode 14: Infinite Possibilities, Part I: Daedalus Demands
Episode 15: Infinite Possibilities, Part II: Icarus Abides
Episode 16: Revenging Angel
Episode 17: The Choice
Episode 18: Fractures
Episode 19: I-Yensch, You-Yensch
Episode 20: Into the Lion's Den, Part I: Lambs to the Slaughter
Episode 21: Into the Lion's Den, Part II: Wolf in Sheep's Clothing
Episode 22: A Dog with Two Bones

Season Four

Episode 1: Crichton Kicks
Episode 2: What was Lost, Part I: Sacrifice
Episode 3: What was Lost, Part II: Resurrection
Episode 4: Lava's a Many Splendoured Thing
Episode 5: Promises
Episode 6: Natural Election
Episode 7: John Quixote
Episode 8: I Shrink Therefore I Am
Episode 9: A Prefect Murder
Episode 10: Coup by Clam
Episode 11: Unrealised Reality
Episode 12: Kansas
Episode 13: Terra Firma
Episode 14: Twice Shy
Episode 15: Mental as Anything
Episode 16: Bringing Home the Beacon
Episode 17: A Constellation of Doubt
Episode 18: Prayer

Monday, May 25, 2020

Just How Much Good is a Gun?

Even for the most adept femmes fatale, it can be dangerous to break the heart of an expert marksman. But Mary Beth Hughes does it anyway in 1945's The Great Flamarion, a good low budget noir from Anthony Mann, a director more associated with Westerns.

Erich von Stroheim plays Flamarion, a stoic trick shooter who we see performing onstage alongside husband and wife assistants played by Mary Beth Hughes and Dan Duryea. They play out a little scene where Flamarion pretends to be the husband who comes home to find his wife with her lover. He then precedes to shoot wine glasses, light bulbs, and pieces of Hughes' clothing, including parts of her garters.

Von Stroheim was a great film director as well as an actor and I feel like I've read somewhere analysis of the movie that discusses at length the symbolism of a director literally shooting at his starlet vis-a-vis male gaze or some such. Flamarion does turn out to be a bit repressed and afraid of women--we learn later he had his heart broken by someone named Alma but as far as we're told he's never actually committed acts of violence against women. He just wants to be alone.

That won't do for Connie (Hughes) who wants her husband, Al (Duryea), dead. Al is a drunk so it's not hard to come up with a feasible reason why Flamarion might "accidentally" shoot him during the act. The marksman's tendency to spend all his free time in his room, alone with his gun (make of that what you will), unsurprisingly does nothing to prepare him against Connie's charms. One kiss and he's smitten.

Connie, meanwhile, has her sights set on Eddie (Stephen Barclay). And who knows who else. Hughes is no Barbara Stanwyck or Jane Greer as far as performance goes--you might remember her from the Mystery Science Theatre 3000 classic I Accuse My Parents--but she is ravishing. Von Stroheim is not the best actor but his rigidity works very well to convey Flamarion's repression. Dan Duryea, of course, is always great.

The Great Flamarion is available on Amazon Prime and probably a lot of other places since it's public domain.

And Happy Birthday to-day to the creator of Dancy Flammarion (relation unknown), Caitlin R. Kiernan.

Twitter Sonnet #1358

The wooden saucer holds a spoon of drink.
A tankard thought surpassed supplies of gin.
For all the wine in mind could never sink.
And all the cans could never crack the bin.
Embedded thoughts create a normal voice.
It's time to walk to ev'ry job at once.
Imbued in ev'ry brain's a wavy choice.
It's time to start the weekly freezer hunts.
Confection ferries bring the heavy goods.
The path of candy changed from mint to cream.
Remembrance makes the yearly mental woods.
A settled loop incites the churning dream.
The counted worlds were suns and stars abroad.
A burning land belies the name of sod.

Sunday, May 24, 2020

That Old Alien Again

I'd been thinking lately about UFO stories and wondering if their time passed for good at the end of the '90s. Then I remembered I still hadn't seen 2016's Arrival, a generally well liked UFO film. Its director, Denis Villeneuve, went on to direct Blade Runner 2049, which I loved, so I watched Arrival a couple nights ago. I didn't like it half as much as Blade Runner 2049 but I thought it was pretty good. Its visuals are handsome though somewhat conventional and Amy Adams is a great lead.

Arrival takes the flying saucer concept and turns it on its head, or on its side, I guess. Mostly the film's design for its aliens doesn't feel substantially distinct from the usual echoes of H.R. Giger though it's a bit more minimalist than usual. This emphasises one of the ways in which Giger-esque designs manage to look so alien--human ships and technology are always crammed with details. Rivets, blocks and tackle, manufacturer logos. Something lacking such a visual motley tends not to look human. It would be interesting to see an alien design that attempts to create a comparable level of detail with associations of complex cultural and technological meaning. Sounds like a lot of work, though.

The main focus of the film is on communication between the aliens and a linguist, Louise (Adams), and how, when she and the aliens finally communicate successfully, it involves a surprisingly personal experience for her related to family trauma. The obvious comparison is to the Jodie Foster film Contact though Arrival goes a little further with it.

For anyone with experience learning a foreign language, Louise's first step of showing the aliens the word "human" written in English seems an odd choice. Why not "yes" and "no"? Why not start with pictures or even simply "hello"? But the use of a Memento style twist at the end of the film works as a nice way of talking about the disorientation involved in a so fundamentally alien form of communication where the strangeness of it may be in its peculiar familiarity.

The supporting cast is pretty good, including Forest Whitaker and Michael Stuhlbarg. Jeremy Renner as Adams' love interest is kind of a dud but mostly the film thankfully focuses on Adams.

Saturday, May 23, 2020

The Doctor at Sea (Not Dirk Bogarde)

Who wants some Doctor Who fan fiction? I think I'm not alone in mostly disliking the past couple seasons, though I've noted positive qualities here and there. It's easy to be a critic from the sidelines so I thought I'd try the other side of the equation and demonstrate some of the things I'd have liked to have seen on the show in the process. I'll post this as a four part serial over the next few weeks.

DOCTOR WHO

"The New Model Tomb"

Part 1

By Setsuled

"Ready about!"

Rob Fenner jumped to his feet. He was the first. The men of the afternoon watch looked sleepily at the captain, some of them sitting on the deck, as Rob had been. "You heard the captain!" said the bosun, Harry Clay, stomping down the ladder from the quarterdeck. "Ready about! To the masts! Mr. Fenner!"

Rob, the bosun's mate, nodded and hastily strode along the starboard side of the old man-o'-war, watching the men forming groups, taking lines by the masts. Fifteen year old Tommy Parker looked dazed beside the foremast, men twenty years his senior looking to him for guidance but taking no shame in a few additional seconds rest before hauling. "Look alive!" called Rob, his voice cracking. He was himself only eighteen, his ruddy face gaunt from slim rations, his blonde hair brown and overgrown, in a ponytail over his back. He wore a dark grey and blue check shirt, the pattern almost indistinguishable for the grime, and tattered, pale grey slops. The other men looked no better, some of them worse, after days at sea with no end in sight. But now it seemed something had happened and Rob scarcely had time to wonder what.

"Rise tacks and sheets!" called the captain and sunburned, ragged men reluctantly began hauling away on leechlines and buntlines so that the sails aloft began to take wind properly. Moving east with the trade wind. Walking aft on the larboard side, Rob took a moment and peered out over the rail.

There was a ship.

Not a league eastward as he guessed, a little brown shape against the empty blue sky. He could see it was a barque, not a big one but at least a fourth rate. He couldn't see any guns and her sails were stowed in their gear. She wasn't trying to get away.

"Are they with the Prince, then, Mr. Clay?" Asked Rob, coming back to the bosun's side.

"Damned if I know." Clay was in his forties, his face cracked with a thousand wrinkles, his grey eyes keen. "'spect we'll see." Rob knew better than to ask more.

Silently the strange ship awaited their approach. Minutes passed slowly as they drew near. A single warning shot was the only fire ordered by the captain and the mysterious ship obliged by making absolutely no change in slowly drifting with the feeble current.

“Steady! Stay sharp!” barked the captain. Rob looked up at Captain Seward, the man's bulging flesh lobster red above his clean white collar, his round eyes bloodshot and fixed on the strange ship. Rob looked back at the ship and saw now he could descry a crew, a dozen men or so, all standing inert, watching the man o' war. Four officers on the quarterdeck stood similarly submissive as well as . . .

“A woman,” whispered an old Welsh seaman in a greedy tone, holding fast by a line for the fore topsail.

Beside a few famished gentlemen as ragged as Rob's own crewmates was not only a woman but, by appearances, a lady. A thin lady with pleasantly rosy cheeks but with a long nose and bulging, sunken eyes. Cunning eyebrows arched over drooping lids which, complemented by a smile on her thin mulberry coloured lips, suggested she was peculiarly at ease. She wore what looked like a man's burgundy velvet banyan coat but cut for her slender shape. It was layered over a charcoal corset fastened with ivory bows and her skirt was a dove grey, fashionably pinned up at the front to reveal a white petticoat. A silver pendant watch, its face visible due to a glass cover, lay on her breast and she wore a bright, greenish blue ribbon about her neck which fluttered in the breeze.

In short time, the ships were close abeam, hooks were thrown across and Rob and his crewmates clambered over gangplanks. “See that she's secure below decks, Mr. Stevens!” the bosun barked.

Rob, after Stevens, led three men down a hatch, calling ahead into the darkness, “Stand down—lay down your arms!” his heart pounding. But there was no-one there when his eyes adjusted. Empty, mouldering hammocks swung mutely in the gloom.

Rob joined a few more of his crewmates in the hold where sacks were opened to reveal an abundant cargo of sugar. “There's five hundred pounds here if there's a farthing!” exclaimed the weathered old quartermaster in a hushed tone. In one corner, Rob could just make out, in the slashes of light filtering between the boards of the hull, a tall, blue wooden box with what looked like window panes built into the upper parts of its sides.

“Now what might this be?” he asked, running his hand along the side. It had what he might have at first called a strange warmth about it but then he thought maybe it was more like a vibration.

“Some Princely nonsense, no doubt,” scoffed one of the Puritans in the crew. “Some impious curiosity cabinet.”

As Rob returned topside the sun blinded him a moment. “Am I to believe you're unaware that we're at war with the Dutch?!” he heard the Captain saying, the voice shrill between laboured breaths.

“And how was he to know?” said a woman's voice, deep and faintly melodious, like a stage actor. “The first Anglo-Dutch War only began a month ago. Hardly time for word to reach the West Indies.”

“The 'first' Anglo-Dutch War?” asked Rob but no-one else seemed to catch the odd term. His eyes adjusted to see Captain Seward confronting the five captive officers and the woman on the quarterdeck. If anyone had heard him speak they showed no sign. Captain Seward was carrying on unabated.

“This cargo of sugar would do much to fund the exiled court, wouldn't it?” Captain Seward wheezed, pacing before his captives.

“We aren't Royalists!” pleaded the captive captain, a tall, thin, bearded man who indeed, in his humble grey doublet, hardly looked the cavalier. “We trade with several plantations--”

“Sir, I really think--” began Seward's long suffering first mate before Seward interrupted him.

“And this—harlotry,” he sneered, taking the corner of the woman's coat between two meaty fingers. “Prince Rupert's taste in women is well known!” He backed away from the woman in disgust while she, a bemused smile on her face, said nothing. There was something unnerving and almost comical about her round eyes which seemed ready to pop out of her face. The last thing Rob could imagine this woman being was a harlot but, then, he really couldn't imagine what sort of woman she could be. “We've hunted your kind for months and now at last Providence has rewarded us!”

“Captain,” the woman cooed, “Really, I've not had the pleasure of making the acquaintance of His Royal Highness but I have met General Cromwell and I think we both know he'd advise against anything so rash as what you have in mind. Incidentally, are you feeling quite well?”

Seward huffed, apoplectic, and actually drew his sword. “Under my authority! The lot of ye—whoreson dogs and ye blistering wench—that is . . .” He wiped his brow with his sleeve, glancing around. Most of his own crew watched him in mute fascination, the fatigue of long weeks making their eyes dull. Nonetheless, Seward amended his tone. “That is, it is my duty to hereby inform you that you have been found guilty of treason against the Commonwealth and shall, for your crime, be shot dead.”

“Now, see here!” Rob, in his indignation, scarcely knew what he said. He'd hardly realised what he was doing when he crossed the distance to the quarterdeck and now he stood between the captain and the strange woman. “You can't do that—these may well be honest merchants!”

“Avast, Mr. Fenner!” cried the bosun, shocked but too stunned or tired to move from his perch on the Samson post.

“Aye, Fenner's right!” said another mariner. “If these be Royalists, then I be Charles himself!”

“The woman's a clear Jezebel!” said another, “This being what we're here for, ain't it? Let's shoot the lot and go home!”

“Aye, cut 'em down!” cried other men. Some called for hangings from the yard arm, a few more for pistols or even cannons. One or two took Rob's side.

“Listen!” he pleaded. “We can't--” he heard the sound of steel being drawn at this side. “My sword--?!” He wheeled around to see his rapier gripped in the woman's bony hand.

“You don't mind, do you?” she asked off-handedly and in less than a second she dashed toward Captain Seward, causing the sweaty man's own blade to fly from his grasp and clatter onto the deck.

“Well!” said the woman. “And I thought I was rusty.” She had little time to savour her victory before the first and second mates both drew their swords. Though both men were hesitant to do more beyond that and all over the ship there was a sudden stillness.

“Ah, may I venture to hope your better natures have prevailed?” the woman asked.

“Kill the woman!” shrieked Captain Seward, being disarmed having evidently untethered the last of his restraint. “Run her through! Cut her to ribbons, lads!” The two officers stared at him in astonishment but for all too many seamen this was an irresistible call—the captive officers were shoved aside and the woman found herself rapidly parrying five men at once, descending from the poop deck.

Rob turned the other way and saw sudden melee erupting on the main deck. Five or six men held ground by the main mast but sadly this was Rob's faction. A dozen were filing up the ladder, led by the bosun, Mr. Clay.

“Move aside, Mr. Fenner!” he cried.

“I can't do that, Mr. Clay!” said Rob. “Recollect yourselves, for pity's sake!” He drew his dagger but then he felt himself falling backward as a hand gripped his shirt, pulling him down. He was aware of a massive shape swinging down above him, catching the bosun square in the face and sending him and six others sprawling back on the deck.

“That should level the playing field a bit,” said the woman and now she was leading Rob down the larboard ladder onto the main deck. He glanced back and was just barely able to register the evidence of his eyes—her five assailants from the poop deck were all lying inert on the quarterdeck as was Captain Seward. In addition, the lateen yard had been cut loose, the massive spar being the dark shape Rob had seen, and it banged loudly against the mizzenmast.

“How the devil—ow!” His head smacked against the side of the hatch as she pulled him into the dark below.

“Very sorry!” she said. He looked down and her wide, round white eyes stood out in the dark, her pale face shiny with sweat, her mouth split in an improbably wide, good natured grin. “Come on!”

Hazily, he followed her down into the hold, not quite sure why he should. But so much had happened so quickly his capacity for decision making was well outpaced.

“It wasn't very considerate of me to leave you unarmed,” said the woman, offering him the pommel of his rapier. He took it, his numb fingers closing on the grip. “What's your name? I'm the Doctor, by the way.”

“Robert Fenner,” he said, finding himself back among sacks of sugar near the strange blue box. “My friends call me Rob. 'Doctor,' did you say?”

She was taking a little key out of her coat pocket and putting it into a lock on the blue box and he realised it had a door on one side. “Things should sort themselves out up there now,” she said, glancing up. “I do believe your captain had a stroke—eh, falling sickness. At any rate, I've seen what I came for. It was nice meeting you, Robert Fenner!” And into the box she went.

Robert automatically followed only later wondering what he expected to find in a small blue box. No thought like this entered his head now, though, as he found himself in the strangest place he'd ever seen in all his eighteen years. A chamber, it seemed, the size of a small chapel, brilliant white and bright as day despite the fact that he could see no windows. The walls bore a series of uniform round circles and in the centre of the chamber there was, as he thought, a sort of large silver and white capstan adorned with peculiar knobs and glowing gems. At the centre of this capstan was a glass pillar containing a red glowing vertical shaft.

The Doctor leaned on one arm against the capstan, the other on her hip. “Well, Mr. Fenner, is there something else you wanted?”

“What is this place?!” Everything seemed impossibly clean except a few incongruous items here and there, including a rack which held a few dusty scarves and hats. A raised platform—quarterdeck?--held a desk with scattered books and papers.

“This, Mr. Fenner, is my ship,” said the Doctor, her irritation seeming now a thin layer over an irrepressible pride in the topic of discussion. “She's called a TARDIS—Time and Relative Dimensions In Space. Instead of the sea, she travels all time and space.” She turned away from him to walk around the capstan as she spoke, then turned abruptly on her heel to face him, folding her arms and leaning her elbows on the capstan. “Would you like to go with me?”

“Go—go, m'Lady? Go where?” He asked, hardly able to see anything now beyond those peculiar eyes of hers under quizzically raised brows. He wasn't sure he understood a word of what she said yet he felt an inexplicable, growing excitement.

“Oh . . .” She looked demurely down at the knobs and gems, twisting and pushing one after another. “A million leagues from here, a million years from now. Or a thousand years ago and a hundred leagues from here.”

“You can do that?”

“Oh, yes,” she grinned. “We can do that. Where would you like to go?”

It seemed absurd. But everything in the past—what? Could it only have been twenty, thirty minutes?--had seemed absurd. “Well, Mistress--”

Doctor” she corrected him.

“Doctor Mistress--”

“Oof, you sound like K-9.” she chided, twisting and punching more knobs. Some made loud clacking noises and little squeals. “Just 'Doctor', if you please.”

“Not Mephistopheles, then?” he asked, suddenly bethinking himself.

She laughed. “A good question. No, and you're no Faustus. I'm really just a simple Time Lady. Well?”

Despite her words, Rob really had no way of knowing whether or not the power of Satan was at hand. The closest things he had for frame of reference—plays, sermons, pamphlets—all would have branded this the Devil's work. Yet he didn't think it was, somehow. Anyway, he could see no practical alternative--he doubted he could rejoin his comrades after such a flagrant display of insubordination. “Well,” he said at last “. . . There was another play I saw once. It was set in ancient Greece,” he said hesitatingly.

“Oh, that narrows it down,” she said dryly. “Hoping to meet a comely nymph?”

He reddened. “I should like to see ancient Greece. If that's really something you can do.”

“Ancient Greece! I know quite a few of your contemporaries who'd ask the same but most of them have been to university.”

“I've had some tutoring,” he said slowly, reluctant to divulge much about himself.

She immediately seemed to catch this. “You don't share much about yourself easily, do you?”

“I'm not one for needless prattle.” He looked uncomfortably at the white walls.

“Wise lad!” she said loudly. “It took some fortitude to stand up to your captain that way. When your mates hold forth on the perversions of Royalists or on their own little dramas, you tend to hold your peace, don't you?”

He said nothing.

“Ancient Greece it is!” She pulled a lever and there was a soft ringing in the air. The door behind him shut and there was a sound, like something muffled and heavy being dropped into a hole, followed by a sort of wail which repeated and grew louder as it did.

Now fear gripped him and he had the sickening feeling of having gotten himself in way over his head. The light pulsed throughout the room and the glass column in the centre of the capstan began to move up and down of its own accord.

“Don't panic,” she said, not looking at him but at the capstan, continually pressing and twisting the parts on its surface. She stepped back and pondered the column a moment. Then she raised a hand as though remembering something and started up a ladder to the raised platform. “You should eat something.” That was all she said on the subject having now become completely immersed in shuffling papers about and sliding this then that book off the shelf. She took off her velvet coat revealing fashionably slashed sleeves through which parts of her white shift ballooned out. She began rapidly writing something.

“You said you . . . you came to see something,” he said, slowly edging his way toward the wall, wondering if he'd be sick.

“Yes!” she said, warming to the topic swiftly. “Some notes I came across in 1954. From the notebook of the merchantman's surgeon. He'd sketched a reptile, a lizard, the like of which I'd not seen in ten light years of Earth. So I came back to see this creature for myself.”

“Did you find it?”

“Mmm, yes. Turns out the surgeon simply wasn't good at drawing iguanas.”

“Oh,” said Rob, wondering what an iguana was.

Just then, the wailing started again followed by that heavy drop sound. The column ceased to move and the ambient noise reverted to a faint hum. “Ah,” said the Doctor. “We've arrived.”

She pulled off the blue ribbon about her throat, “It's been quite some time since I wore a peplos. Well, I'm not in the mood. No-one's going to mind an anachronism in Athens, anyway.” She took a green velvet coat and white scarf off the rack and put them on before she pulled the same lever she pulled earlier. The door swung open but from where he stood Rob couldn't see outside yet. “Shall we?” said the Doctor.

Rob nodded and followed her out.

They really were somewhere else. They were outside and somehow he barely noticed the blue box he emerged from couldn't have been a tenth of the size of the strange white room. The wonder he felt at clear evidence of vast travel, though, gave way very quickly to some puzzling particulars.

It wasn't much like how he imagined Ancient Greece. It was dusk and strange, featureless buildings like stacked blocks towered over them on either side. The street was a smooth grey where it wasn't broken to rubble here and there. Colourful rubbish was also in great evidence.

“Hmmm.” The Doctor looked about. “Well . . . Not ancient by how you'd reckon it. Quite the opposite. I wonder if it's at least Greece.”

Suddenly, from the shadows, about twenty men and women, all of them filthy and in rags, crept out from behind the buildings and various bits of cover. Some had cudgels and others had what Rob took to be pistols.

“Doctor, we must flee,” said Rob, putting his hand on his sword. “This is a strange place but I know brigands when I see them.”

Before they could move an inch, though, a woman with torn and matted blonde hair pointed her pistol at the Doctor and demanded, “Well, where is it?! Ten thousand toktols now or you're dead!”

TO BE CONTINUED

Friday, May 22, 2020

Knots of Twists and Turns

When a wealthy candy mogal is kidnapped it's up to FBI agent Betty Mason to track him down and catch the kidnappers in 1938's Held for Ransom. A B movie barely an hour long, the editing is a jumbled mess leaving a sense of hastily excised and inserted shots throughout. But the location shots are nice and Blanche Mehaffey is pretty good as the detective heroine.

She has a sly moment at the beginning in a bar when she pretends to flirt with the candy mogal's son, Larry (Grant Withers). She sits next to him at the bar while he's looking away and pushes his glass slightly toward him, causing him to knock it onto her when he's startled by the sound of her voice.

The subtext here is not for the morally delicate.

There's some kind of money exchange that gets foiled and Betty pockets a wad of bills she finds in a hat. Then everyone goes somewhere with tall, terrific trees.

Showing a bit of leg, Betty gets a ride to the local general store where she meets a strange fat man in oddly dark shirt and vest (Robert McKenzie). Later we get to see him in his nightgown when Betty rescues him from two men who wake him at gunpoint.

More like a series of intriguing snapshots than a proper film, it's still fairly entertaining though the abruptness of the ending is so messy it almost makes the rest of the film look coherent.

Held for Ransom is available on Amazon Prime.

Twitter Sonnet #1357

Encrypted rain appeared as muddy sky.
In fleshy shades the buildings fall to sleep.
A skipping stone advised the pond to try.
Some certain frogs would dive to places deep.
Historic masks presaged the stony face.
Invasive air contained reversed advance.
With ev'ry bridge there grew a hidden place.
The page was grey if only briefly glanced.
A shaky film produced a pictured state.
A static urge congealed to perfect eggs.
A party checked the caf' a better rate.
A chorus line supplied the mental legs.
Pathetic strings would score some little gripes.
The piled brass amount to horns and pipes.

Thursday, May 21, 2020

The Perils of Cinemagoing

The battle between film and television has been waged for over half a century. Filmmakers aren't always above anti-TV messaging in their films--1956's Eyewitness not so subtly pits an imprudent husband who spent too much money on a television against a frugal wife who goes to the cinema instead, witnessing a murder and robbery in the process. A decent thriller with good comedic undertones, this is one of the few films of the era to have both a female director and screenwriter, Muriel Box and Janet Green, respectively.

Lucy (Muriel Pavlow) comes home one night to find a brand new 23 inch television in the living room. Her husband, Jay (Michael Craig), explains he got it on an instalment plan despite the two of them having agreed he they won't buy anything else. Lucy says it's her or the television and storms out.

An amusing juxtaposition follows of Jay trying to watch television alone only to find himself on a programme about bad marriages while we see Lucy in a movie theatre, miffed at the couples about her making out. So she leaves and witnesses two crooks assaulting the theatre manager and cracking the safe.

They chase her, she's hit by a bus, goes to the hospital in a coma, and the bulk of the film becomes about the two thieves trying to figure out how to sneak in and murder her. Wade (Donald Sinden) is a cold hearted killer while Barney (Nigel Stock) is a more pathetic character, a mostly deaf man who just wants enough money to get to New Zealand and never wanted to hurt anyone.

An inordinate amount of the film is set in shrubbery as the two thieves from this location watch and bicker, sometimes violently, until the cruel Wade finally busts Barney's hearing aid. Meanwhile, inside the hospital, there's a running gag/thread of suspense in which an elderly patient (Ada Reeve) continually insists to a strikingly beautiful nurse (Belinda Lee) that she sees men outside.

It's no Hitchcock film but it's a decent enough way to spend your evening. Eyewitness is available on Amazon Prime.

Aeryn's Resistance and Crichton's Reluctance

Farscape dips its toe into the realm of torture porn for a particularly cruel episode. Certainly it's one that affirms the severity of the threats facing the crew of Moya, even when those threats come from among their own ranks.

Season Four, Episode Eighteen: Prayer

We join Aeryn (Claudia Black), held captive by the Scarrans, and apparently talking to herself. She explains how the Sebaceans once had a deity, a sadistic or uncaring goddess, whom Aeryn, in her desperation, now resorts to praying to. One can hardly blame her when she's placed in what looks even more like a gynaecological exam chair than the one from the season two episode "The Ugly Truth".

Claudia Black is quoted by the Farscape wiki as saying it reminded her of something from Dead Ringers, David Cronenberg's movie about deranged twin gynaecologists played by Jeremy Irons. That movie also concerns pregnancy though it indulges in no scene as explicit as the one in "Prayer" where a Scarran heat ray visits a slow and painful death on a foetus.

This was censored in U.K. broadcasts. Speaking as someone who doesn't believe in the usefulness of trigger warnings and who enjoys Eli Roth movies I don't personally object to the content though I find it amusing that, according to the Wiki, David Kemper and production staff felt better about the scene because it's later revealed to be a sham. It was staged to coerce Aeryn into believing her fellow inmate is not a spy. This is surely a rarefied trick of the mind. Regardless of whether Morrock (Sacha Horler) was really pregnant or not within the confines of the story, the violent late term abortion is of course fake. It's a TV show and the foetus is a puppet and any trauma or moral offence incurred seems unlikely to be mollified when the fake violence is revealed much later in the episode to be fake fake violence.

Meanwhile, Crichton (Ben Browder) and Scorpius (Wayne Pygram) are on a mission that's more Saw than Hostel, visiting an alternate reality where they find they must kill alternate versions of Moya's crew in order to find a clue to Aeryn's location. John knows the timeline is fixed, that these people are going to die anyway, but the episode is ambiguous enough on this detail to present a conundrum more thought provoking than the shallow torture puzzle of Saw (I like the Hostel movies much better). It's also great seeing Raelee Hill playing the Stark/Sikozu amalgam. She does a pretty good job imitating the real Stark's mannerisms and ticks.

The episode reminds the viewer of the brutal and unforgiving nature of the galaxy on Farscape. For Aeryn's story, in which she prays Crichton will come and rescue her, it ironically links a more traditional story form--the hero rescuing the damsel in distress--with forsaking religion. In this, there's an interesting echo of "John Quixote" earlier in the season. One wonders if this was part of a planned overall theme for the fourth season from the beginning.

. . .

Farscape is available now on Amazon Prime.

This entry is part of a series I'm writing on Farscape for the show's 20th anniversary. My previous reviews can be found here (episodes are in the order intended by the show's creators rather than the broadcast order):

Season One:

Episode 1: Pilot
Episode 2: I, E.T.
Episode 3: Exodus from Genesis
Episode 4: Throne for a Loss
Episode 5: Back and Back and Back to the Future
Episode 6: Thank God It's Friday Again
Episode 7: PK Tech Girl
Episode 8: That Old Black Magic
Episode 9: DNA Mad Scientist
Episode 10: They've Got a Secret
Episode 11: Till the Blood Runs Clear
Episode 12: Rhapsody in Blue
Episode 13: The Flax
Episode 14: Jeremiah Crichton
Episode 15: Durka Returns
Episode 16: A Human Reaction
Episode 17: Through the Looking Glass
Episode 18: A Bug's Life
Episode 19: Nerve
Episode 20: The Hidden Memory
Episode 21: Bone to be Wild
Episode 22: Family Ties

Season Two:

Episode 1: Mind the Baby
Episode 2: Vitas Mortis
Episode 3: Taking the Stone
Episode 4: Crackers Don't Matter
Episode 5: Picture If You Will
Episode 6: The Way We Weren't
Episode 7: Home on the Remains
Episode 8: Dream a Little Dream
Episode 9: Out of Their Minds
Episode 10: My Three Crichtons
Episode 11: Look at the Princess, Part I: A Kiss is But a Kiss
Episode 12: Look at the Princess, Part II: I Do, I Think
Episode 13: Look at the Princess, Part III: The Maltese Crichton
Episode 14: Beware of Dog
Episode 15: Won't Get Fooled Again
Episode 16: The Locket
Episode 17: The Ugly Truth
Episode 18: A Clockwork Nebari
Episode 19: Liars, Guns, and Money, Part I: A Not So Simple Plan
Episode 20: Liars, Guns, and Money, Part II: With Friends Like These . . .
Episode 21: Liars, Guns, and Money, Part III: Plan B
Episode 22: Die Me, Dichotomy

Season Three:

Episode 1: Season of Death
Episode 2: Suns and Lovers
Episode 3: Self-Inflicted Wounds, Part I: Would'a, Could'a, Should'a
Episode 4: Self-Inflicted Wounds, Part II: Wait for the Wheel
Episode 5: . . . Different Destinations
Episode 6: Eat Me
Episode 7: Thanks for Sharing
Episode 8: Green Eyed Monster
Episode 9: Losing Time
Episode 10: Relativity
Episode 11: Incubator
Episode 12: Meltdown
Episode 13: Scratch 'n Sniff
Episode 14: Infinite Possibilities, Part I: Daedalus Demands
Episode 15: Infinite Possibilities, Part II: Icarus Abides
Episode 16: Revenging Angel
Episode 17: The Choice
Episode 18: Fractures
Episode 19: I-Yensch, You-Yensch
Episode 20: Into the Lion's Den, Part I: Lambs to the Slaughter
Episode 21: Into the Lion's Den, Part II: Wolf in Sheep's Clothing
Episode 22: A Dog with Two Bones

Season Four

Episode 1: Crichton Kicks
Episode 2: What was Lost, Part I: Sacrifice
Episode 3: What was Lost, Part II: Resurrection
Episode 4: Lava's a Many Splendoured Thing
Episode 5: Promises
Episode 6: Natural Election
Episode 7: John Quixote
Episode 8: I Shrink Therefore I Am
Episode 9: A Prefect Murder
Episode 10: Coup by Clam
Episode 11: Unrealised Reality
Episode 12: Kansas
Episode 13: Terra Firma
Episode 14: Twice Shy
Episode 15: Mental as Anything
Episode 16: Bringing Home the Beacon
Episode 17: A Constellation of Doubt

Wednesday, May 20, 2020

When Columbo Fought Cassavetes

John Cassavetes seems an odd fit for a Columbo episode but he makes for a good one. It's not surprising considering Cassavetes directed Peter Falk in several films. The two must have got on very well and certainly they have a fascinating chemistry as actors in this episode, "Etude in Black", which was directed by Nicholas Colasanto (who played Coach on Cheers).

Also somewhat out of place is Blythe Danner as Cassavetes' wife. I would not want to try eating natto with hair like that.

Usually the guest cast includes older movie stars or C list actors from the 60s. The former is represented here by Myrna Loy in a very small role but Cassavetes, as murderer and maestro, dominates the episode with an angry, maniacal performance.

He murders his beautiful pianist lover so that his wife doesn't find out. Unfortunately for him, Columbo is hot on his trail. The detective's technique for getting under the skin of suspects with impertinent rambling is particularly good here. Several scenes start with him doing something slightly strange that later turns out to be legitimately important. Like one scene where Cassavetes shows up at his mechanic's to find Columbo playing around in his car.

Turns out Columbo was checking the mileage to figure out that the car had travelled the distance to the victim's home and back on the night of the murder.

Cassavetes' character all but froths at the mouth. There are a few genuinely unnerving moments where he gets angry and you think he might kill someone else without premeditation. He dresses really well, though. I really want these red boots:

Twitter Sonnet #1356

Emerging mental houses grace the school.
The bricks were bowed by roundly fattened brains.
Stampeding matter slopped the gravy full.
Some letters formed by twenty crossing trains.
The gathered dust revealed a broken glass.
As slowly baking sand encased the kid.
For ev'ry day the ghosts of trains'll pass.
Beneath the loudly shifting iron lid.
A travelled face was pushed beyond the door.
A path of straw becomes a gilded lane.
An empty room invites behind the boar.
Misleading signs were scrawled in ev'ry pane.
A cherry pie invites remembered dreams.
Through shadow leaves the moonless night's in beams.