Tuesday, August 21, 2012

Bonding Ritual

"Bond...James Bond." (Dr. No, 1962)

Dr. No
Over the past 50 years, since the release of Dr. No, the James Bond formula has become more memorable than any of the nefarious plots unleashed by the secret agent's many adversaries. Whatever evil scheme Dr. No was planning (I vaguely recall something about the "global economy"...or was that Goldfinger?) is blotted out by the memory of Ursula Andress as Honey Rider emerging from the ocean, Venus-like, in the instantly famous white bikini. Still, Bond movies have remained enjoyable, even when they haven't been very good, due in part to the formula itself, which plays out like a ritual in film after film. While Bond devotees may not hurl toast or toilet paper during a screening, we nonetheless take pleasure in recognizing the following familiar elements each time.

On Her Majesty's Secret Service (1969)
Opening shot of James Bond being tracked through a gun barrel accompanied by his twangy theme music. He turns, fires at the camera, and blood runs down the screen.
License to Kill (1989)
Pre-credits sequence of Bond wrapping up a mission related (or not) to the film, culminating in a spectacular stunt.
Goldeneye (1995)
Opening titles consisting of silhouetted nude women dancing suggestively — often next to or on top of guns — accompanied by the singing of a famous pop star (one in seven times it's Shirley Bassey).
Tomorrow Never Dies (1997)
M recalls Bond from his current mission or time off, interrupting a romantic moment.
From Russia With Love (1963)
Bond enters the MI6 offices by tossing his hat onto the hat rack...
On Her Majesty's Secret Service
...then flirts with M's secretary, Miss Moneypenny, who tells him that she wishes he'd make a serious offer.
The Man With the Golden Gun (1974)
Bond has a mission briefing with M, where he often surprises his boss with an exposition-rich recitation on the villain or valuable object in question.
Goldeneye
Q presents Bond with a host of new weaponized gadgetry, admonishing him to return it in working order.
The Spy Who Loved Me (1977)
Bond drives an expensive sports car tricked out with top-secret features.
Goldeneye
007 introduces himself as "Bond...James Bond."
Die Another Day (2002)
Bond orders a medium dry vodka martini, shaken, not stirred.
The Man With the Golden Gun
Compulsive use of clichéd innuendo ("rise to the occasion," "pump her for info," "cunning linguist", etc.).
Goldfinger (1964)
One or more of the women encountered by Bond have sexually suggestive names (Pussy Galore, Plenty O'Toole, Octopussy, Chew Mee, Xenia Onatopp, Holly Goodhead, etc., etc.)
Goldfinger
Bond sleeps with the bad guy's girlfriend, who is subsequently killed by the villain for her betrayal.
Dr. No
An attempt is made on Bond's life via complicated or exotic method.
License to Kill
Bond kills a henchman in an unusual and gruesome fashion.
The Spy Who Loved Me
The villain's henchman has an unusual physical appearance and/or deadly trait.
Tomorrow Never Dies
Stunt-laden chase scene involving cars, boats, skis, motorcycles, and/or helicopters.
On Her Majesty's Secret Service
Bond confronts the colorful villain in his elaborate lair...
Goldfinger
...is subsequently trapped there...
The Spy Who Loved Me
...then gets free, defeats the villain, rescues the "Bond girl," and escapes before the lair explodes.
Dr. No
Bond and his female companion are radioed or found by the Royal Navy as they drift aimlessly on a body of water. Bond shuts off the radio or otherwise thwarts the rescue in favor of sex.
The Spy Who Loved Me
Reprise of theme song during closing credits, followed by "The End...James Bond will return in..."

See also: Winter games, Bond-style

Wednesday, July 18, 2012

Batman at the movies

In anticipation of this week's release of The Dark Knight Rises, here's a look at the actors who have played Batman in the movies.

Lewis Wilson in Batman, Columbia Pictures' 1943 serial

Robert Lowery in Batman and Robin, a 1949 serial from Columbia

Adam West in Batman (1966)

Michael Keaton in Batman (1989)

Michael Keaton in Batman Returns (1992)

The animated Batman from Batman: Mask of the Phantasm (1993)
was voiced by Kevin Conroy

Val Kilmer in Batman Forever (1995)

George Clooney in Batman and Robin (1997)

Christian Bale in Batman Begins (2005)

Christian Bale in The Dark Knight (2008)

Christian Bale in The Dark Knight Rises (2012)

Friday, June 29, 2012

Happy Birthday, Ray Harryhausen

The legendary stop-motion animator turns 92 today. To commemorate the occasion, Second Reel presents some of the aliens, monsters, dinosaurs, and fantastical creatures from the master animator's incredible filmography.

The Beast from 20,000 Fathoms (1953)
Jason and the Argonauts (1963)
One Million Years B.C. (1966)
The 7th Voyage of Sinbad (1958)
Clash of the Titans (1981)
It Came from Beneath the Sea (1955)
The Valley of Gwangi (1969)
Earth vs. the Flying Saucers (1956)

Thursday, May 31, 2012

Triple Feature: A Bug's Life, Three Amigos, and Galaxy Quest

A Bug's Life (1998)

A Bug’s Life (1998)
Pixar’s take on Seven Samurai (1954) features a struggling troupe of insect circus performers mistaken for warriors and recruited by an ant to defend his colony from bullying grasshoppers, who return after each year’s harvest to steal the ants’ grain.

Three Amigos (1986)

Three Amigos (1986)
Three out-of-work silent film stars are hired to protect a Mexican village from a marauding warlord by a woman who thinks their on-screen heroism is for real. It’s not until one of the actors is shot that the trio realize they've been hired to fight, not entertain. Instead of fleeing back to Hollywood, the three decide to become the heroes they once portrayed on film. The film contains references to Seven Samurai remake The Magnificent Seven (1960) as well as The Wild Bunch (1969), the funniest of which is Wild Bunch actor Alfonso Arau’s performance as the villain El Guapo.

Galaxy Quest (1999)

Galaxy Quest (1999)
Jason Nesmith, the former star of a cancelled science fiction TV series who makes his living signing autographs at fan conventions and store openings, is approached by what appear to be over-zealous fans about a job. Jason assumes he’s being hired for yet another personal appearance. Instead, he is transported to deep space by aliens who believe the episodes of Jason’s television program are actually “historical documents,” and that Jason is a real-life space adventurer. They present Jason with a functioning replica of his TV spaceship and explain that they are the last survivors of a race that has been hunted to near-extinction by an interplanetary bad guy. Jason convinces his former co-stars to join him in reprising their TV roles for real in order to save the desperate aliens.

Wednesday, April 25, 2012

Seeing is be/live-ing

From its opening scene, Blade Runner declares that it will be a visual movie. Aerial shots of flying cars speeding over a lit-up futuristic cityscape tell us that we'll have plenty to look at. But the following shot, an extreme close-up of erupting flames reflected in a human eye, shows that the movie will be about what and how its characters see. Indeed, the film is replete with eye imagery. Here's a look at some of that imagery and thoughts about how it defines some of the film's themes.

Replicant eyes glow

Rachael during her Voight-Kampff test
Roy kills Tyrell
Tyrell's artificial owl
The Replicants' eyes are often shown with a reflective glow not seen in the humans' eyes. This proclaims their difference (at least to us; Deckard does not appear to see the glow as a distinguishing feature, if at all), and also supports a metaphor used by Tyrell: "The light that burns twice as bright burns half as long," he says, "and you have burned so very, very brightly, Roy."

This notion that Replicants are "more alive" than humans is developed throughout the film, as Roy determinedly seeks out Tyrell and a way to extend his own life. During the climactic chase, Roy gives Deckard a head start and repeatedly lets pass opportunities to kill the Blade Runner. He is less toying with Deckard, however, than teaching him — teaching him to recognize the value of life and to fight for his own. After Deckard hits Roy in the head with a pipe, the Replicant exclaims "That's the spirit!" perhaps seeing in Deckard for the first time some of the spark that shines in his own eyes.

Visual aids

Tyrell's large eyeglasses
Chew's goggles and microscope
Abdul Ben Hassan's glasses
and microscope
Those who create Replicants appear to have failing vision, or at least require optical tools to perform their work. Tyrell wears very large eyeglasses, Chew and Abdul Ben Hassan wear goggles and magnifiers and rely on microscopes, and the woman at the artificial fish shop uses a magnifying screen to examine Deckard's snake scale. This implies an impairment which may inspire these engineers to create beings that are impervious to such defects, but it also suggests a symbolic nearsightedness. Focused so much on the minute details of artificial life, these humans are seemingly oblivious to the grander issues with which the Replicants are preoccupied: existence (Pris: "I think, Sebastian, therefore I am"), mortality (Roy seeks to extend his life), ethics (Roy: "I've done questionable things"), kinship (Roy's group is a kind of family), freedom (Roy: "That's what it is to be a slave"), art (Roy quotes William Blake).

Tyrell's glasses make him look like his pet, the owl, a symbol of Tyrell's wisdom. It is telling, however, that Tyrell's owl is artificial, for despite all Tyrell's technical knowledge, he is unable to extend Roy's life or to offer any comforting or "real" wisdom to the murderous creation that has escaped his control.

"Seeing" machines

Rachael's eye on the VK screen
Holden's Voight-Kampff machine
Deckard's photo machine
Blade Runners can't visually distinguish Replicants from humans without the use of the Voight-Kampff machine, which scrutinizes the subject's eyes for inhuman reactions to questions posed by the operator. Deckard uses another machine to see details in photos taken by Leon; he needs special equipment to look through Leon's eyes, to see what Leon has already seen.

Despite this visual assistance, humans are slow to comprehend. During Leon's examination, Holden is tipped off by Leon's reaction to the question about a tortoise, though does not act quickly enough to avoid being shot. He may see Leon as a Replicant, but he does not perceive the immediate danger. Similarly, it is not until the end of the movie that, after being saved by Roy and then watching him die, Deckard is able to glimpse the Replicant's motives, his "point of view."

The eye shop

"If only you could see what I've seen with your eyes."
Roy and Leon enter the eye shop
Chew works on an artificial eye
Leon taunts Chew with his own eyes,
mocking his lack of "vision"
"I just do eyes"

Nowhere are eyes more emphasized than in the eye shop, where Roy and Leon confront Chew, a genetic engineer specializing in eyes. Chew recognizes Roy as a Nexus 6, the most advanced Replicant model, and explains that he designed Roy's eyes. "If only you could see what I've seen with your eyes," Roy says in response.

Not only has Roy seen different, presumably spectacular off-world things that Chew could not have seen, being stranded on Earth, but Roy may also be referring to an ability to see — Roy has "seen" the value of life, and his drive to preserve his own demonstrates a passion not apparent in the humans. Chew, not being a Replicant with such a limited life span, could not have "seen" the same things because his perspective on life is so different — his mortality does not hang over his head as ominously as Roy's hangs over his.

Roy plays with artificial eyes at JF's place. While comical,
the large eyes suggest Roy's great capacity for "seeing."
Roy's words also hint at the idea that Replicants are extensions of their Earth-bound creators. J.F. Sebastian, deemed too ill to leave the planet for a better life on an off-world settlement, marvels at Roy's perfection. Explaining that he worked on the Nexus project, J.F. later tells Roy, "There's some of me in you," and asks Roy and Pris to "do something" spectacular, something that he would be incapable of doing not only due to his illness, but to his being human. So while their mortality may not preoccupy these engineers as much as it does the Replicants, the humans are at least aware of their shortcomings and strive to overcome them vicariously, but in so doing create beings that have to bear greater amounts of fear, stress, uncertainty, and captivity.

"I've seen things you people wouldn't believe."

The difference between what Replicants and humans "see" and value is emphasized in Roy's dying speech, when he tells Deckard, "I've seen things you people wouldn't believe." On the surface it seems that Roy is referring to amazing visions — "attack ships on fire off the shoulder of Orion," "C-beams glitter[ing] in the dark near the Tannhäuser Gate," things that Deckard and other Earth-bound humans could not see from Earth, yet which they would nonetheless find too spectacular to comprehend. Or perhaps the attack ships and C-beams wouldn't be such spectacle to humans after all, but to Roy and other Replicants with a looming death sentence, these visions — any visions — would be worth treasuring, as Leon treasures his photos, as Roy treasures the memories that he fears will be lost like "tears in rain." Seeing is reassurance to Replicants that their experiences are real, not artificial like the memories implanted by Tyrell, but things they have "lived." Seeing validates their existence and makes them feel alive.

(Of course, it is not certain that Roy has seen any of these things. Like Rachael's childhood, Roy's recollections may be implanted memories of things he has never experienced. If Roy has considered this, it is likely that what he has "seen" is instead metaphysical, something he has realized and which he knows has not been understood by the humans of his time, by Tyrell and the society of Frankensteins that have created artificial life without fully considering the consequences. Or perhaps Roy is unaware of the use of implants and accepts his memories as experience, or perhaps more interestingly accepts them as experience while knowing they are false, as Deckard chooses to accept Rachael as human...)

Loss of sight equals death

The end of Tyrell
Leon tries to kill Deckard
Zhora's lifeless eyes

If seeing is necessary for a Replicant to feel truly alive, then loss of sight is equivalent to death. It is fitting, then, that when Roy kills Tyrell he does so by pushing in Tyrell's eyes, inflicting on him the highest penalty, the loss of sight/life. This punishment makes certain what Tyrell's large eyeglasses have suggested all along — that despite his scientific ability, he lacks vision. He, like all the visually impaired genetic engineers, is unable to see what consequences his work has on the work itself, on the Replicants.

The half-blind bartender
After killing Zhora, Deckard explains in voice-over that even though Zhora was a Replicant, he still found it unsettling to shoot a woman in the back. Ostensibly wanting to numb the impact of that sight, he buys a bottle from a bartender with a patch over one eye. Her state of half-blindness ("half-death") suggests the state she dispenses: the inebriation Deckard wants to feel. While the Replicants treasure their experiences and the memories of them, Deckard seeks to forget.

Pris' eyes (de)emphasized

Painted

Glowing
Lit
Rolled back
During her stay with J.F. Sebastian, Pris' eyes are highlighted in several ways: they are accented by a line of black paint that Pris sprays across them, which contrasts the white makeup covering her face; they display the Replicant glow; they are lit by a directed light when she peers through one of J.F.'s instruments; and during Deckard's arrival they are veiled and momentarily rolled back into her head, concealing the iris and pupils and showing only the whites. This white-on-black calls attention to the eyes but also conceals them. "Then we're stupid and we'll die," Pris tells Roy in an earlier scene — her blackened and pupil-less eyes illustrate this prophecy moments before she is killed by Deckard.