120 years of sf cinema, part seven: 1985-1994

2015 marks the 120th anniversary of sf cinema. This is the seventh part of a year-by-year list of films I’d recommend (not always for the same reasons).

Part one (1895-1914), part two (1915-34), part three (1935-54), part four (1955-1964), part five (1965-74), part six (1975-84)

thequietearth
1985
Brazil (Terry Gilliam)
The Quiet Earth (Geoff Murphy)
The Stuff (Larry Cohen)
Zaveshchaniye professora Douelya/Professor Dowell’s Testament (Leonid Menaker)

1986
Aliens (James Cameron) – original cinema cut
The Fly (David Cronenberg)
Hombre mirando al sudeste/Man Facing South East (Eliseo Subiela)
Kamikaze (Didier Grousset)
Kin-dza-dza! (Georgiy Daneliya)
Mauvais Sang (Léos Carax)
Offret/The Sacrifice (Andrei Tarkovsky)
RocketKitKongoKit (Craig Baldwin)

1987bfi-00m-iwp
Friendship’s Death (Peter Wollen)
Gandahar (René Laloux)
Ground Zero (Bruce Myles and Michael Pattinson)
Island of the Alive (Larry Cohen)
Mr India (Shekhar Kapur)
RoboCop (Paul Verhoeven)

1988
Akira (Katsuhiro Otomo)
Caller (Arthur Seidelmann)
Incident at Raven’s Gate (Rolf de Heer)
Na srebrnym globie/On the Silver Globe (Andrzej Zulawski)
They Live (John Carpenter)

1989tumblr_muj6gegSuy1r3owlzo1_1280
Tetsuo: The Iron Man (Tsukamoto Shinya)
Tremors (Ron Underwood)

1990
Darkman (Sam Raimi)
Frankenhooker (Frank Henenlotter)
Hardware (Richard Stanley)

1991poison4
Bis ans Ende der Welt/Until the End of the World (Wim Wenders) 280 minute director’s cut
Delicatessen (Marc Caro and Jean-Pierre Jeunet)
Naked Lunch (David Cronenberg)
964 Pinocchio (Shozin Fukui)
Poison (Todd Haynes)
Terminator II: Judgment Day (James Cameron)
Tetsuo II: Bodyhammer (Tsukamoto Shinya)

19922186664,MqveFMRzikFV7Hc_8n63Uc1ipmVb1vLp9msrFhS3XaEtcAt+Fsvlg6ONLfyZMTzjSXWrTFvr7eQHr2OVvq3ulg==
Alien 3 (David Fincher)
Dongfang San Xia/The Heroic Trio (Johnny To)
Gauyat Sandiu Haplui/Saviour of the Soul (Corey Yuen)
Gayniggers from Outer Space (Morten Lindberg)
Orlando (Sally Potter)
Tribulation 99: Alien Anomalies Under America (Craig Baldwin)

1993
Acción mutante (Alex de la Iglesia)
Demolition Man (Marco Brambilla)
Sankofa (Haile Gerima)

1994
Cosmic Slop (Reginald Hudlin, Warrington Hudlin and Kevin Rodney Sullivan)
Welcome II the Terrordome (Ngozi Onwurah)

George-Clinton-Cosmic-Slop

part eight, 1995-2004

120 years of sf cinema, part six: 1975-1984

2015 marks the 120th anniversary of sf cinema. This is the sixth part of a year-by-year list of films I’d recommend (not always for the same reasons).

Part one (1895-1914), part two (1915-34), part three (1935-54), part four (1955-1964), part five (1965-74)

1975
The Rocky Horror Picture Show (Jim Sharman)
Shivers (David Cronenberg)

1976mrblack
Dr Black Mr Hyde (William Crain)
God Told Me To (Larry Cohen)
The Man Who Fell to Earth (Nicolas Roeg)
Queen Kong (Frank Agrama)
Rabid (David Cronenberg)

1977
Le couple témoin/The Model Couple (William Klein)
Eraserhead (David Lynch)
Izbavitelji/The Rat Saviour (Krsto Papic)
The Last Wave (Peter Weir)
Star Wars (George Lucas)

19789tAjaxi1Jpfe62bRNiWSKKPJkvf
Coma (Michael Crichton)
Dawn of the Dead (George Romero)
Invasion of the Body Snatchers (Philip Kaufmann)
It Lives Again (Larry Cohen)
Jubilee (Derek Jarman)
The Long Weekend (Colin Eggleston)
Piranha (Joe Dante)
Test Pilota Pirx/Pilot Prix’s Inquest (Marek Piestrak)

1979
Alien (Ridley Scott)
The Brood (David Cronenberg)
‘Hukkunud Alpinisti’ hotel/Dead Mountaineer’s Hotel (Grigori Kromanov)
Mad Max (George Miller)
Sengoku Jietai/G.I. Samurai (Kôsei Saitô)
Stalker (Andrei Tarkovsky)

1980flash_gordon_ornella_muti_mike_hodges_022_jpg_biqb
Altered States (Ken Russell)
The Empire Strikes Back (Irvin Kershner)
Flash Gordon (Mike Hodges)
Scanners (David Cronenberg)

1981
Alligator (Lewis Teague)
Escape from New York (John Carpenter)
Gosti iz Galaksije/Visitors from the Galaxy (Dušan Vukotić)
Mad Max 2 (George Miller)

1982Liquid-Sky-Large
Blade Runner (Ridley Scott)
Chronopolis (Piotr Kamler)
Liquid Sky (Slava Tsukerman)
Les maîtres du temps/Time Masters (René Laloux)
The Thing (John Carpenter)

1983
Born in Flames (Lizzie Borden)
Videodrome (David Cronenberg)

1984
The Adventures of Buckaroo Banzai Across the Eighth Dimension (W.D. Richter)
The Brother from Another Planet (John Sayles)
Dune (David Lynch)
Forbrydelsens Element/Element of Crime (Lars von Trier)
Repo Man (Alex Cox)
The Terminator (James Cameron)
Threads (Mick Jackson)

tumblr_lwkidkSq2C1qcay1ao1_500

part seven, 1985-94

120 years of sf cinema, part five: 1965-74

2015 marks the 120th anniversary of sf cinema. This is the fifth part of a year-by-year list of films I’d recommend (not always for the same reasons).

Part one (1895-1914), part two (1915-34), part three (1935-54), part four (1955-1964)

1965tumblr_ltx4g62J531qjfr7so1_r1_1280
Alphaville, une étrange aventure de Lemmy Caution (Jean-Luc Godard)
Giperboloid Ingenera Garina/Engineer Garin’s Death Ray (Alexander Gintsburg)
It Happened Here (Kevin Brownlow and Andrew Mollo)
Sins of the Fleshapoids (Mike Kuchar)
Terrore nello Spazio/Planet of the Vampires (Mario Bava)
The War Game (Peter Watkins)

1966
Daikaiju Gamera/Gamera (Noriaka Yurasa)
Fahrenheit 451 (François Truffaut)
Gamera Tai Barugon/Gamera versus Baragon (Shigeo Tanaka)
Konex Sprna v Hotelu Ozon/The End of August at the Hotel Ozone (Jan Schmidt)
Seconds (John Frankenheimer)
Sedmi Kontinent/The Seventh Continent (Dušan Vukotić)
Tanin no kao/The Face of Another (Hiroshi Teshigahara)
Ukradena Vzducholod/The Stolen Dirigible (Karel Zeman)

1967danger_diabolik
The Craven Sluck
(Mike Kuchar)
Diabolik (Mario Bava)
Je t’aime, je t’aime (Alain Resnais)
King Kong No Gyakushu/King Kong Escapes (Ishirô Honda)
Privilege (Peter Watkins)
Quatermass and the Pit (Roy Ward Baker)
Week End (Jean-Luc Godard)

1968
2001: A Space Odyssey (Stanley Kubrick)
Brasil Anno 2000 (Walter Lima, Jr)
Mister Freedom (William Klein)
Night of the Living Dead (George Romero)
Planet of the Apes (Franklin J. Schaffner)
Wild in the Streets (Barry Shear)

1969
Change of Mind (Robert Stevens)
Gladiatorerne/The Peace Game (Peter Watkins)
Scream and Scream Again (Gordon Hessler)
Stereo (David Cronenberg)
Yakeen (Brij)
Zeta One (Michael Cort)

1970
The Andromeda Strain (Robert Wise)
Crimes of the Future (David Cronenberg)
Na Komete/On the Comet (Karel Zeman)
THX 1138 (George Lucas)

1971713792kramerice
A Clockwork Orange (Stanley Kubrick)
Glen and Randa (Jim McBride)
The Hellstrom Chronicle (Walon Green and Ed Spiegel))
Ice (Robert Kramer)
Punishment Park (Peter Watkins)

1972
Conquest of the Planet of the Apes (J. Lee Thompson)
Death Line (Gary Sherman)
Solyaris/Solaris (Andrei Tarkovsky)

1973nuits rouges 3
The Asphyx (Peter Newbrook)
The Crazies (George Romero)
Flesh for Frankenstein (Paul Morrisey)
Una gota de sangre para morir amando/Murder in a Blue World (Eloy de la Iglesia)
It’s Alive (Larry Cohen)
Kala Dhandha/Black Mail (Vijay Anand)
Nippon Chinbotsu/Japan Sinks (Shirô Moritani)
Nuits rouges (Georges Franju)
Phase IV (Saul Bass)
La planète sauvage/Fantastic Planet (René Laloux)
The Spook Who Sat by the Door (Ivan Dixon)
Yilmayan seytan/The Deathless Devil (Yilmaz Atadeniz)

1974
The Cars that Ate Paris (Peter Weir)
Dark Star (John Carpenter)
The Parallax View (Alan J Pakula)
Space is the Place (John Coney)
The Stepford Wives (Bryan Forbes)
Terminal Man (Mike Hodges)

2013-03-22-1aterm

120 years of sf cinema, part four: 1955-64

2015 marks the 120th anniversary of sf cinema. This is the fourth part of a year-by-year list of films I’d recommend (not always for the same reasons).

Part one (1895-1914), part two (1915-1934), part three (1935-54)

1955
journey-to-the-beginning-of-time
Cesta do Praveku/Journey to the Beginning of Time (Karel Zeman)
Kiss Me Deadly (Robert Aldrich)
The Quatermass Xperiment (Val Guest)
Revenge of the Creature (Jack Arnold)
This Island Earth (Joseph Newman)

1956
Forbidden Planet (Fred M. Wilcox)
Invasion of the Body Snatchers (Don Siegel)
Not of this Earth (Roger Corman)
Plan 9 from Outer Space (Edward D. Wood, Jr)
X the Unknown (Leslie Norman)

1957cushing-in-close-up
The Abominable Snowman (Val Guest)
Chikyu Boeignu/The Mysterians (Ishirô Honda)
The Curse of Frankenstein (Terence Fisher)
The Incredible Shrinking Man (Jack Arnold)
Quatermass II (Val Guest)

1958
I Married a Monster from Outer Space (Gene Fowler, Jr)
The Revenge of Frankenstein (Terence Fisher)
Vynalez Zkazy/The Fabulous World of Jules Verne (Karel Zeman)

1959
The World, the Flesh and the Devil (Ranald MacDougall)
Les yeux sans visage/Eyes without a Face (Georges Franju)worldfleshdevil7

1960
Der Schweigende Stern/The Silent Star (Kurt Maetzig)
Die Tausend Augen des Dr Mabuse/The Thousand Eyes of Mr Mabuse (Fritz Lang)
Village of the Damned (Wolf Rilla)

1961220px-Amphibian_Man
L’Anée dernière à Marienbad/Last Year in Marienbad (Alain Resnais)
Chelovek Amfibia/The Amphibian Man (Guennadi Kazansky and Vladimir Chebotarev)
The Damned (Joseph Losey)
The Day the Earth Caught Fire (Val Guest)
Mosura/Mothra (Ishirô Honda)

1962
Gritos en la Noche/The Awful Dr Orloff (Jess Franco)
Planeta Bur/Cosmonauts on Venus (Pavel Klushantsev)
The Manchurian Candidate (John Frankenheimer)

1963
Children of the Damned (Anton M. Leader)
Ikarie XB-1 (Jindrich Polak)
La Jetée (Chris Marker)
King Kong Tai Gojira/King Kong versus Godzilla (Ishirô Honda)
Lord of the Flies (Peter Brook)
Matango/Attack of the Mushroom People (Ishirô Honda)
The Mind Benders (Basil Dearden)
X-The Man with X-Ray Eyes (Roger Corman)

matango_1963_01

1964
Dr Strangelove, or How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick)
Fail Safe (Sidney Lumet)
Seven Days in May (John Frankenheimer)

part five (1965-74)

Out of the Unknown: ‘Andover and the Android’, BBC2 29 November 1965

Kate Wilhelm
Kate Wilhelm

This is the second episode not to have survived (apart from its final credits and filmed inserts of newspaper headlines). This is particularly annoying since it is the only episode out of 49 based on a story by a woman. Kate Wilhelm’s ‘Andover and the Android’ was one of several original stories among the reprints in her The Mile-Long Spaceship (1963). When the collection was published in the UK in 1966, it was retitled Andover and the Android, presumably because the adaptation had given it recognition value. Curiously, although the story order was shuffled, ‘Andover’ did not become the lead story. (Out of this World also only had one episode based on a story by a woman, Katherine Maclean’s 1951 ‘Picture Don’t Lie’ (11 August 1962).)

Wilhelm’s story begins with Roger Andover facing a choice between the death sentence or narco-analysis, which will wipe his memory and personality. (Or something like that – it is not the clearest of opening exchanges or penal systems.) While deciding on his course of action, he recalls what brought him to this juncture. A confirmed bachelor, he was urged to marry in order to be deemed suitable for promotion to a corporate vice-presidency.

Not normal? Just because he liked an orderly life? Just because he loved his music and his books? Because he had never met a woman who could share his interests and not be cluttering his life with a lot of nonsense about changing the apartment and having a horde of messy children underfoot? Because he couldn’t abide women who had to run things, had to interfere constantly, had to manage me the same way they managed money, children, vacations, everything else he could think of? Damn it! He liked living alone. … The fact that he considered marriage slightly irregular seemed not at all odd to him, but explicable in light of the nature of women; and his own celibate life he privately concluded was a result of the happy circumstances that had seen fit to place him higher on the scale of rationality than his fellow man, to give him a keener insight concerning the machinations of the female mind. (116)

Andover seems to fall halfway between a queer stereotype – he is gourmand; he visits Roman ruins, Parisian galleries, German cathedrals, Venetian concerts – and the kind of sophisticated, consumerist playboy figure Hugh Heffner introduced into fifties culture (played so well by Rock Hudson), without quite being either. So as the pressure mounts, he uses blackmail to have a 130439‘perfect wife’ made for him, even though it is illegal to own personal androids. Lydia is a groundbreaking prototype, utterly convincing. And of course – yet to his complete surprise – he grows accustomed to her ways. He falls in love with her.

When Lydia begins to malfunction, the executive Andover has been blackmailing sees his chance: instead of repairing her, he destroys her, embezzles half a million dollars and flees the country. That is when the police become suspicious about the disappearance of Andover’s wife…

Like the last episode’s source story, ‘Andover and the Android’ is rather slender for an hour-long drama. Adapter Bruce Stewart – who would also adapt Colin Kapp’s 1962 ‘Lambda 1’ (20 October 1966) and write 19 of the 26 episodes of the underrated children’s sf series Timeslip (1970-71) – opted to expand the story by transforming it into a comedy. While a number of earlier episodes, regardless of where they are set, languish somewhere in the middle of the Atlantic, with English actors trying on often infelicitous American accents, ‘Andover’ is firmly relocated from a rather vague future US to the England of West End farces (and of an sf film such as The Perfect Woman (Knowles 1949)). The comic action described by Mark Ward in quite painstaking detail sounds laboriously unfunny, but apparently audiences responded well to it.

OOTU Andover Original listingAndover’s scheme is altered slightly – he needs a wife so as to inherit a fortune, but he intends all along to dispose of her once he is wealthy.

And the conclusion is altered significantly. Rather than Andover declaring that he murdered his wife (presumably so he will be executed without it being revealed that he fell in love with a machine), the adaptation’s protagonist is himself mistaken for a faulty android and destroyed, while the faulty Lydia lives on. This blackly comic conclusion – which seems at odds tonally with the earlier farce – was also apparently well-received, according to audience surveys and newspaper reviews. Indeed, the episode was selected for a repeat (under its own title, rather than the series’) a month later as part of BBC1’s A Taste of Two season intended to promote the junior channel.

OOTU Andover 1The episode was directed by Alan Cooke, who would also direct Frederik Pohl’s ‘Tunnel Under the World’ (1 December 1966). He had directed DH Lawrence’s own stage adaptation of Lady Chatterley’s Lover (the cast included Tom Criddle, who plays Andover and also appears in the series’  adaptation of Mordecai Roshwald’s 1959 Level 7 (27 October 1966), scripted by JB Priestley). Cooke was also a classmate at Cambridge with Tony Richardson and John Schlesinger (apparently Andover at one point orders a ‘simple auberge a la John Schlesinger’; Cooke’s brother Malcolm edited Schlesinger’s Far from the Madding Crowd (1967)).

It would have been nice to see it. And not just because Fulton Mackay was in it.

Last episode, ‘The Fox and the Forest’
Next episode, ‘Some Lapse Time’

References
Mark Ward, Out of the Unknown: A Guide to the Legendary Series (Bristol: Kaleidoscope, 2004)
Kate Wilhelm, ‘Andover and the Android’, The Mile-Long Spaceship (New York: Berkeley Medallion, 1963), 115-127.

120 years of sf cinema, part three: 1935-1954

2015 marks the 120th anniversary of sf cinema. This is the third part of a year-by-year list of films I’d recommend (not always for the same reasons), and there are a few years where there is little to recommend for any reason.

Part one (1895-1914), part two (1915-1934) – both of which have lots of links to actual films rather than just occasional pictures…

1935Bride-of-Frankenstein1
Bride of Frankenstein (James Whale)
Kosmitchesky Reis/The Space Ship (Vasili Zhuravlev)
Mad Love (Karl Freund)

1936
The Devil Doll (Tod Browning)
Flash Gordon (Frederick Stephani)
The Invisible Ray (Lambert Hillyer)
The Man Who Changed His Mind (Robert Stevenson)
Things to Come (William Cameron Menzies)

Flash-Gordon-1936-great-old-show-to-watch-on-a-saturday-night1937
Q Planes (Tim Whelan, Arthur Woods)

1938
The Big Broadcast of 1938 (Mitchell Leisen)

1939
The Man They Could Not Hang (Nick Grinde)
Return of Dr X (Vincent Sherman)

1940
Before I Hang (Nick Grinde)
Black Friday (Arthur Lubin)
Dr Cyclops (Ernest B. Schoedsack)
The Man with Nine Lives (Nick Grinde)
Son of Frankenstein (Rowland Lee)

1941
Dr Jekyll and Mr Hyde (Victor Fleming)

1943
The Mad Ghoul (James P. Hogan)

1944
Time Flies (Walter Forde)
The Man in Half Moon Street (Ralph M. Murphy)

1949The_Perfect_Woman_FilmPoster
The Perfect Woman (Bernard Knowles)
Siren of Atlantis (Greg Tallas)

1950
Destination Moon (Irving Pichel)

1951
The Day the Earth Stood Still (Robert Wise)
Five (Arch Oboler)
The Man from Planet X (Edgar G. Ulmer)Gort
The Man in the White Suit (Alexander Mackendrick)
The Thing (from another World) (Christian Nyby)

1952
Monkey Business (Howard Hawks)

1953
The Beast from 20,000 Fathoms (Eugene Lourié)
Four-Sided Triangle (Terence Fisher)
Invaders from Mars (William Cameron Menzies)
It Came from Outer Space (Jack Arnold)

1954creature-from-the-black-lagoon
The Creature from the Black Lagoon (Jack Arnold)
Gojira (Ishirô Honda)
Them! (Gordon Douglas)

Part four (1955-64)

Gojira

120 years of sf cinema, part two: 1915-1934 (links galore!)

2015 marks the 120th anniversary of sf cinema. This is the second part of a year-by-year list of films I’d recommend (not always for the same reasons), and there are a few years where there is little to recommend for any reason.

Part one, 1895-1914

1915
Les vampires (Louis Feuillade)

1916
Verdens Undergang/The End of the World (August Blom)
20,000 Leagues under the Sea (Stuart Paton)

1917
Ever Been Had (Dudley Buxton)

1918
Himmelskibet/A Trip to Mars (Holger-Madsen)

1919
Die puppe/The Doll (Ernst Lubitsch)
Die Spinnen/The Spiders (Fritz Lang)

1920
Dr Jekyll and Mr Hyde (John S. Robertson)
One Week (Edward F. Cline and Buster Keaton)
Der Golem: Wie Er in die Welt Kam/The Golem (Paul Wegener and Carl Boese)

1921
L’Atlantide/Queen of Atlantis (Jacques Feyder)

1922
The Electric House (Edward F. Cline and Buster Keaton)

1923
Paris Qui Dort/The Crazy Ray (René Clair)

1924
Aelita (Jakov Protazanov)

1925
Orlacs Haende/The Hands of Orlac (Robert Wiene)
The Lost World (Harry O. Hoyt)

1926
The Magician (Rex Ingram)

1927
Metropolis (Fritz Lang)
Sur un Air de Charleston/Charleston (Jean Renoir)

1928
Spione/Spies (Fritz Lang)
Alraune (Heinrich Galeen)

1929
Frau im Mond/Woman in the Moon (Fritz Lang)
The Mysterious Island (Lucien Hubbard)
High Treason (Maurice Elvey) – silent and talkie versions on pay per view at BFI player

1930
Just Imagine (David Butler)

1931
Frankenstein (James Whale)
A Connecticut Yankee (David Butler)

1932
Island of Lost Souls (Erle C. Kenton)
Doctor Jekyll and Mr Hyde (Rouben Mamoulian)
F.P.1 Antwortet Nicht/F.P.1 Doesn’t Answer (Karl Hartl)

1933
King Kong (Ernest B. Schoedsack and Merian C. Cooper)
The Invisible Man (James Whale)
Das Testament des Dr Mabuse (Fritz Lang)
Der Tunnel (Curtis Bernhardt) – French version

1934
Gold (Karl Hartl)

Part three, 1935-54

120 years of sf film, part one: 1895-1914 (links galore!)

2015 marks the 120th anniversary of sf cinema. This is the first part of a year-by-year list of films I’d recommend (not always for the same reasons), and there are a few years where there is little to recommend for any reason.

1895
La charcuterie mécanique/The Mechanical Butcher (Louis Lumière)

1897
L’hallucination de l’alchemiste/An Hallucinated Alchemist (Georges Méliès)
Making Sausages (George A. Smith)

1898
La Lune á une mètre/The Astronomer’s Dream (Georges Méliès)

1899
Un bon lit/A Midnight Episode (Georges Méliès) – first giant bug movie, sort of

1900
Chapellerie et charcuterie mécanique/Automated Hat-maker and Sausage-Grinder (Alice Guy-Blaché) – the first sf film made by a woman

1901
L’Homme à la Tête en Caoutchouc/The Man with the Rubber Head (Georges Méliès)
An Over Incubated Baby (Walter R. Booth)

1902
Le voyage dans la lune/A Trip to the Moon (Georges Méliès)
Le Voyage de Gulliver à Lilliput et chez les géants/Gulliver’s Travels Among the Lilliputians and the Giants (Georges Méliès)

1904
Le voyage à travers l’impossible/The Voyage Across the Impossible (Georges Méliès)
Dog Factory (Edwin S. Porter)

1905
Le Raid Paris-Monte Carlo en deux heures/An Adventurous Automobile Trip (Georges Méliès)

1906
The ‘?’ Motorist (Walter R. Booth)
Rescued in Mid-Air (Percy Stow)

1907 Le dirigeable fantastique/The Inventor Crazybrains and his Wonderful Airship (Georges Méliès)
Deux cent milles sous les mers/Under the Seas (Georges Méliès) – has almost nothing to do with the Jules Verne novel

1908
Photographie électrique à distance/Long Distance Wireless Photography (Georges Méliès)
El Hotel eléctrico (Segundo de Chomón)
Excursion dans la lune/Excursion to the Moon (Segundo de Chomón) – Méliès knock-off
L’Aspirateur/The Vacuum Cleaner (Segundo de Chomón)

1909
The Airship Destroyer (Walter R. Booth)
Hydrothérapie fantastique (Georges Méliès)
Le voleur invisible (Segundo de Chomón)

1910
Frankenstein (J. Searle Dawley)
The Aerial Submarine (Walter R. Booth)
Matrimonio interplanetario/A Marriage in the Moon (Yambo (Enrico Novelli))

1911
The Automatic Motorist (Walter R. Booth)

1912
À la conquête du pole/The Conquest of the Pole (Georges Méliès)
Onésime horloger/Onesime, Clockmaker (Jean Durand)

1913
A Message from Mars (J. Wallet Waller)

1914
Der Golem (Heinrich Galeen)

Part two, 1915-1934

Hard to Be a God (German 2013)

its-hard-to-be-a-god-trudno-byt-bogom.28440Hard to Be a God takes the bare armature of Boris and Arkady Strugatsky’s 1964 novel of the same name – human observers embedded among the population of an alien world, which resembles the terrestrial middle ages and in which the first traces of a Renaissance are being brutally expunged – and does something remarkable with it.

At times it reminded me of Andrei Rublev, of Aguirre, Wrath of God, of Seven Samurai, of Come and See,  of The Seventh Seal or The Virgin Spring, of Tetsuo, of Erasherhead, of Jodorowsky, of A Field in England, of Monty Python and the Holy Grail. And yet it is not remotely like them, or like anything else.

As early as the 1960s, Aleksei German was the Strugatskys’ director of choice, and it only took him half a century to make the film. His earliest attempt was halted when Soviet forces invaded Czechoslovakia in 1968, since a film about a fledgling Renaissance being crushed by an invading totalitarian power was deemed untimely. (German was also briefly involved in Peter Fleischmann’s disastrous 1989 adaptation.) In 2000, he finally began what would become a six-year-long shoot (partly in the Czech Republic), but he died in 2013, leaving his filmmaker son, Aleksei German, Jr., to finalise the edit and the soundtrack.

hardtobe6The Strugatskys’ often comic tale poses a series of ethical questions around the (im)possibility of humanitarian intervention akin to those with which Star Trek’s prime directive narratives feebly wrestle. Are there circumstances in which violence can be used to cut short the violence of others? Is it more cruel passively to observe than it is to step in with an overwhelming force that will turn a society on its head? What is the ethical cost to the observer/intervener? The Strugatsky’s novel can also be understood as an expression of anxiety about the re-emergence of Stalinism as the Khruschev-era Thaw drew to a close.

German transforms this material into something marvellously different.

A black-and-white world of rain and mud and shit and piss and snot and blood. Of raw sewage and rotting carcasses. Of grotesquery and deformity. Of violence and death. Of the idiocy, as Marx might say, of feudal life.

istoriya-arkanarskoy-rezni-aleksei-german-ultimo-film-01The frame is frequently crowded. Depth of field is constantly destabilised. Fog and smoke and pouring rain obscure the distinction between earth and sky, clouding out the horizon and disrupting perspective. Objects repeatedly cross the frame inches from the camera, blocking our view of what we might otherwise assume to be the subjects of the film. Characters repeatedly look straight at the camera, not to break the fourth wall but as if it is not there. Or as if the camera cannot be permitted to be in the world without being part of the world; and in this the camera is like the terrestrial observers. They are not permitted to stay, like a Federation away team, separate from the world they visit. They are immersed in it. Mired. And so are we.

It is like reading Rabelais, or reading Bakhtin’s reading of him; and in its relentlessness, Hard to Be a God is really funny.

The few Anglophone reviews of the film I’ve seen complain about the absence of a clear plot. But narrative obliquity is the point. Life doesn’t have a plot or narrative arcs. We are just in the middle of all this stuff going on all the time. And it is comical and absurd and messy and always in our faces.

If I’d been watching it alone, I’d have turned off the not-that-helpful subtitles.

maxresdefaultHard to be a God is obsessed with the odours of the world it can only disclose  indirectly, and with the textures of the world. It continually uses the limitations of the medium – the gulf between the tactile and the visual – to undercut the fiction of the neutral, uninvolved observer. Despite the often troubling content of the image, the pristine cinematography is often too beautiful to bear. Don Remata’s spotless white clothes and handkerchieves function in a similar manner – in their absurdity, they are reminders of the full and unavoidable intersubjectivity of being in the world.

Hard to Be a God might not be your cup of tea. That is your loss.

The first African science fiction short story? Leonard Flemming’s ‘And So It Came To Pass’ (full text)

I’ve had various queries about accessing some of the texts I mention in African SF 101; so here is the complete text of the earliest African sf short story I have been able to locate so far. It appeared in Flemming’s collection, A Crop of Chaff (Pietermaritzburg: Natal Witness 1924) pp. 26-31, which had an introduction by Jan Smuts. There was a second edition the following year, but neither it nor the story seem to have been reprinted since. As far as I know, it is out of copyright.

[26]

AND SO IT CAME TO PASS

A distinguished scientist has made the startling statement that mankind will soon be extinct – that there will not be a single human being left in any part of the world. I was in the middle of my tree-planting when I read this, and it almost made me decide to stop planting trees altogether. What’s the use of it all, I thought, if mankind is to be blotted out of existence soon? But I went on with the job, reckoning that they’d be useful for the monkeys to climb up, anyhow.

No human beings on earth . . . nothing but wild animals . . . . wild life.

*            *            *            *

One day in the future, something like this will be written about the past:-

“The last historians of that period state that the beginning of the end of mankind came when the White races were completely exterminated and the Black and Yellow races ruled.

“Of events in other parts of the world outside South Africa this article is not dealing. The over-running of Europe, Australia, and America by Coloured people, and the total annihilation of the

[27]

Whites is to be read of elsewhere; and though the exact year of the last sign of a White man in South Africa is not certain – some stating it to be 150 years after a fight in Europe in 1914-18; and others believing it to be 250 years after, there is sufficient evidence to show that towards the end of the era of man, the Native races in that country made short work of their one-time White rulers.

“From the meagre information available it would seem that events moved along smoothly enough, even during that epoch, when 50 per cent. of the members of Parliament were Blacks; but when the Native races reached that point where they outnumbered the Whites by 47 to 1, it is said that the White races made a final desperate effort to pull together to save themselves and the country.

“This attempt at unity seems to have failed. The Bill for the Employment of Poor Whites on the Mars air route was apparently the stumbling block. That all the Whites were in a poor way at this time does not seem to have occurred to the majority of the politicians, but it is evident that the pushing of this Bill meant a certain number of votes to one section of the White members of Parliament; and the Native menace, which throughout the years had been put aside in favour of Bills like this, very quietly and quickly sprang into a terrible reality. . . .

“One reads of the marvellous efficiency of the Blacks, their organisation and endurance – the overthrow of the Whites – the Black monarchy – the well-trained armies of countless millions, and so, in the eternal efflux of time, we find history repeating itself,

[28]

and discords and dissension taking place amongst the now ruling Black race, eventually terminating in the Great Black War.

“Before this, conditions, compared to the previous “White” era, appear somewhat extraordinary. Courts were abolished, large distilleries erected, nine-tenths of the arable land of the Union was under Kaffir corn, and every riem had disappeared as if by magic.

“Those whom the Gods wish to destroy they first make mad. Practically the whole of mankind was made by 1924. There is a mass of evidence on the truth of this statement (see Vol. VI., pages 47 to 598). One of the most famous and historical instances, of course, was the objection, by a section of the Whites, to the initiation of a broad, bold, emigration scheme, which might quite easily have been the salvation of South Africa.

“Under the rule of the Blacks, Dingaan’s Day became a day of mourning with trained weepers in every market place, and a great annual festival appears to have taken place in the Government Buildings, Pretoria, on July 27, the date of the massacre of the last White man in South Africa – a one-time prohibitionist member of Parliament who was found hiding in an ant-bear hole.”

It was about this time that I was given a day’s leave from – from the place where I was spending eternity. An excellent arrangement this, giving odd residents 24 hours’ leave on earth at the end of a century or two.

I had chosen a day in midsummer as being one in which I stood less chance of catching cold. A

[29]

private Glidoplane had been put at my disposal – motors had long been obsolete.

I landed in Bloemfontein eventually, feeling very depressed at the sight of thousands of black, and brown, and yellow faces, when, to my joy, I caught sight of a white face inside a funny-looking sort of hut, which on closer examination turned out to be one of the old trackless tramcars.

The man inside proved to be a descendant of my old friend Brones. He wasn’t quite white, but at least he was not so “nativey” as the rest of the inhabitants.

Brones and Mrs. Brones were employed by a Mr. Mopilo Thlatyane as cook and gardener.

“It’s a good job as jobs go for one whose ancestors were white,” said Brones. He talked English with difficulty and with a strong accent of Buzuluto – the universal language now – a sort of native Esperanto.

“Do you mean to say that you and Mrs. Brones are working for a native family?”

“We are,” said Brones, “and very glad of the job too; we have this old tramcar for a house, we spent our spare time during the first six months screwing up the loose nuts, we get enough to eat, Thlatyane gives me his old boots and trousers, and Mrs. Thlatyane gives the wife quite a number of old dresses and things. We’re alright. The people I am sorry for are the descendants of those who were connected with the Police Courts – they have a fiendish time of it – always being run in for something or other and tried by the King – of course you know we have

[30]

a monarchy now with a black King at the head. Only yesterday there was a strong leading article suggesting that the authorities go in more for the death penalty with a lingering kind of death.”

“This particular writer is a chap named P. Pombulo Menletyohae – his grandfather’s name was ‘Sixpence,’ I believe. Of course you know that sending these chaps to English Universities was the beginning of the mischief.”

I listened in horror to the details of life as it was to-day. The native police force was kept solely to deal with the descendants of the Whites. Natives were rarely punished. Sheep stealing was encouraged in order that the old traditional cunning and characteristics of the race should not be entirely lost.

“When a native stole a sheep he at once reported the matter to the police, who, after, satisfying themselves that it was a genuine theft, gave the thief a metal disc. At the end of the year the native who had stolen most sheep was given a Diploma of Merit and a sum of money.”

It was with a feeling of relief that I returned to – to where I was spending eternity. It may be warm, but at least my own race are there and – one does feel safe. . . . .

There came in the course of time the inevitable. Jealousies, spite, hatred, disruption, disunion. Just as these had in another era undermined the power of the White man so did they begin to eat in the power of the Black.

The split occurred when a section of the people headed by one Bolohlomo, a noted psychologist of his

[31]

day, started the “No Education” campaign. It was one of the greatest reforms for the betterment of mankind that had ever been known.

They quoted the downfall of the White man as their chief argument for the abolition of education. “If that is where education brings you,” they said, “we don’t want it.”

So came into being the Pro and the Anti-Education parties. There followed feuds and fights and wars until there came the culminating Great War of the Blacks, in which was used every diabolical means of destruction known to science. Until . . . . man existed no more . . . . there was not one human being on earth . . . . as it was in the beginning. . . .

*            *            *            *

A cold wind swept its way around the world. It was the poor old earth singing, “Thank goodness – relief at last.”