You Are A Great Read...

J.D. at the blog RADIATOR HEAVEN (one of my daily must-reads...) has today tagged me for a blogger-to-blogger award called "You Are A Great Read."

Coming from J.D. -- already a 2009 Lammy nominee (for outstanding movie reviews), a Premio Dardos winner, and an all-around terrific movie scholar and writer -- this honor means a great deal to me. Thanks, J.D.: you made my day (and quite possibly my weekend...and perhaps my month...)

Now, as the award-giving business goes, I should also recognize five of my favorite blogs. This isn't easy, because I follow a number of outstanding blogs and I'd like to name more than five.

But here goes anyway. My Five Great Reads (not including RADIATOR HEAVEN) are:

And Now The Screaming Starts

Made for TV Mayhem

The House Next Door

Theofantastique

The Vault of Horror

CULT TV FLASHBACK #83: Harsh Realm (1999-2000)

"A world exists...exactly like ours. Your family and friends. And though you may not know it, I was sent to save you."

-Opening narration to Chris Carter's Harsh Realm (1999), voiced by Lt. Thomas Hobbes (Scott Bairstow)

In 1999, Chris Carter and 1013 Productions, producers of The X-Files (1993-2002) and Millennium (1996-1999), created a third genre series for Fox television. It was called Harsh Realm.

The series -- about a virtual reality version of America existing after a terrorist attack on New York City -- was advertised with the tag-line "It's Just a Game" and broadcast just three episodes before an abrupt cancellation. In all, nine hour-long installments were made.

The abrupt (and inconclusive...) end to Harsh Realm was intensely disappointing, especially to the dedicated fans who actually followed the series on Friday nights at 9:00 pm (the same slot that Joss Whedon's Dollhouse now struggles in...). Viewing numbers were low in terms of network TV expectations, and the series had been under promoted (though TV Guide named it one of the best new shows of the year).

Making matters worse, Harsh Realm faced more than its share of controversy during its short life. For instance, the series was widely derided by critics as an uninspired copy of 1999's The Matrix, even though Harsh Realm was in production concurrently with that blockbuster. More to the point, Harsh Realm was shot in Vancouver on the same budget as your average network medical drama and thus simply could not compete visually with the trail-blazing Keanu Reeves epic.

Perhaps more significantly, the creators of Harris Publishing's Harsh Realm comic book sued Chris Carter when the TV adaptation failed to acknowledge them or their artistic contributions to the series. [NOTE: Actually, the comic was acknowledged in the end credits in the first episode.] The comic-book creators were victorious in their suit, and beginning with the second episode, Harsh Realm episodes featured during the opening credits a title card which specifically noted that the series was "inspired" by the comic-book work of James D. Hudnall and Andrew Paquette. Finally, some years after the TV series' cancellation, Harsh Realm star Scott Bairstow apparently had some...uh...legal difficulties, and did some jail time.

In short, any good historian could probably enumerate abundant reasons why Harsh Realm never achieved the large-scale, avid following of Chris Carter's other video endeavors, but virtually all of them have nothing whatsoever to do with the program's actual quality.

Because, in point of fact, Harsh Realm is constructed upon the same sturdy pillars of good story-telling, symbolic representation, strong characters and dynamic world view that so ably supported The X-Files or Millennium. Indeed, James D. Hudnall and Andrew Paquette should have been credited for their original work from the beginning and to do otherwise was wrong-headed folly.

Yet by the same token, the TV series Harsh Realm takes relatively little of substance from the comic book beyond the "grunge speak" title. To wit, the TV series features brand-new, original characters and boasts an entirely different narrative thrust (it's a military/political struggle rather than the comic's noir-ish detective story...) Of course, the TV series also appropriates the comic's central concept of a virtual reality world, but the TV "harsh realm" and the comic-book "harsh realm" are completely different in every significant way: both visual and thematic. The comic book virtual world is based on overt fantasy concepts (a world of goblins, elves etc...) whereas the TV show more closely adheres to Chris Carter's personal view of the 1990s world: one of bureaucracy, conspiracy, geo-political turmoil, and domination of the many by the few.

After a brief preamble involving Lt. Thomas Hobbes (Bairstow) on a peace-keeping mission gone wrong in Sarajevo in 1994, the action in Harsh Realm shifts rapidly to Fort Dix, New Jersey in the year 1999. There, a disenchanted Hobbes plans to leave the Army permanently in just a few short months. He wants to relocate to California with his beautiful fiancee, Sophie (Samantha Mathis). But even as Hobbes plans to start a new life, he is ordered to report to a secretive, white-haired colonel (Lance Henriksen) for a new, classified assignment. Hobbes is escorted to a secret bunker and -- after a "final supper" -- ordered to "play a game," a virtual reality game called...Harsh Realm.

This "Harsh Realm" game - a simulated war scenario -- was created by the Pentagon in 1995. Utilizing information from satellite cartography and the latest U.S. Census, the war gamers have created a duplicate of America, down to every last location, person and even pet. But there's an important difference between the worlds. In this virtual version of America, a suitcase nuke was detonated in New York City at noon on October 31, 1995 ("Camera Obscura"). Four million Americans died in 2.5 seconds. "Ground Zero" was located... in Manhattan. The game developers hoped to test American military (and civilian peace-keeping) capabilities after such a catastrophic terrorist attack, but they never could have anticipated what occur ed next.

The hero the Army first sent into the game world -- the most decorated veteran in United States Army history, Omar Santiago (Terry O'Quinn) --took over Harsh Realm. Out of the ashes of the apocalypse, this soldier carved out a brutal, military dictatorship for himself. The so-called "United States of Santiago" now encompasses five states...and a great percentage of the Eastern seaboard. Santiago believes "one man can have it all here..." and ruthlessly protects his position of authority.

Hobbes's mission is to "take out" Santiago by any means necessary. To "remove" Santiago's virtual avatar from the Harsh Realm simulation and restore freedom to the virtual country.

Unfortunately, Hobbes' superiors haven't told him the whole story. He can't return to "the real world" (and consciousness) until Santiago is dead, but much more troubling...if he dies in the game (or is "digitized"), Hobbes also dies in reality. And, Hobbes' isn't even the first man to make this attempt to beat Santiago. Literally hundreds of soldiers have gone to Harsh Realm before him...and none have been successful. None have returned. At the conclusion of Harsh Realm's pilot, we see a Raiders of the Lost Ark-esque shot of all the games players: a hospital room that seems to stretch to infinity; with slumbering men and women on hospital beds, tended to by inscrutable technicians; their minds wired to a different reality.

Back in the real world, Sophie is informed by the Army that Hobbes' died on a secret mission, but she is soon approached by a beautiful -- and perhaps treacherous -- informant, Inga Fossa (Sarah-Jane Redmond), and told about a conspiracy of silence. That if she wishes to be reunited with the love of her life, Sophie must expose the lies of the U.S. Government. This mission becomes even more important to Sophie when she learns that she is pregnant with Tom's child. Fossa promises to get a message to Tom in Harsh Realm...

Once trapped inside the wild terrains of Harsh Realm, Hobbes joins up with other fugitives who are also on the run from Santiago. Mike Pinocchio (D.B. Sweeney) is a rogue soldier who volunteered for duty in the virtual world and was once Santiago's top lieutenant. Now, he's a rogue and scoundrel, a gun for hire. Hobbes' other associate is the mysterious Florence (Rachel Hayward), a mute warrior with the unusual power to instantaneously heal the wounds of others.

Over the course of nine episodes of Harsh Realm, Hobbes' attempts to complete his mission and finally get home. In "Leviathan," he travels to the poverty-stricken Pittsburgh Encampment, where he and Pinocchio are captured by soldiers of fortune and nearly sold to Santiago. This episode meditates on the idea of the human soul, and asks if a Virtual Character can possess one.

In "Inga Fossa," Hobbes steals into Santiago City and locates Santiago's secret portal, from which he can travel from Harsh Realm into the real world and back. Hobbes nearly returns home, until he is told by Fossa of Santiago's "Final Solution." Santiago is planning "The Ultimate Terrorism," the destruction of the real world so that only Harsh Realm, and Santiago's domain will continue to exist. Hobbes decides it is better to stay in Harsh Realm and defeat Santiago there...

In "Reunion," Hobbes ends up a slave in a work camp with Pinocchio, and encounters a virtual representation of his dying mother. In the real world, Sophie visits Hobbes real mother, who is also dying of cancer. A double death (in Harsh Realm and in reality) spurs a strange miraculous (if brief...) connection.

In "3 Percenters," the fugitives arrive in the Adirondacks and meet a strange, ostensibly "peaceful" cult hiding a dark secret. "Manus Domini" finds Hobbes, Pinocchio and Florence protecting a tribe of pacifics "Healers" -- women like Florence -- from Santiago. In "Cincinnati" (one of the best installments), Santiago heads to Ohio to personally assassinate the leader of the Resistance, A Native American whose forces have overrun the city.

Finally, the last episode of Harsh Realm, "Camera Obscura" takes Pinocchio and Hobbes to Ground Zero in Manhattan, where a disfigured, manipulative priest keeps two families in a perpetual state of conflict for strange, personal reasons.

Over the nine episodes of this short-lived series, the virtual reality world of Harsh Realm is developed and expanded upon in fascinating, unexpected ways. "Leviathan" reveals that in Harsh Realm there is no religion...no God, no belief in an afterlife. It's a world "without Christian values," according to one character, and that line of thought becomes an existential undercurrent of future segments. In "Manus Domini," for instance, Hobbes ponders the Healers and their origin. Why do they exist? Why did programmers create them? Or, were they created by a "higher power" after all? One beyond the ostensibly "faithless" world of the game.

In terms of technology, Harsh Realm introduces a number of "game"-oriented concepts. It turns out that "unprogrammed game space" exists, and can form short-cuts from one part of the realm to the other. "Reunion" reveals the existence of "skull bugs," mechanical control devices implanted in VC (and human) brains that...can burrow through brain matter...bloodily. "3 Percenters" presents the idea of a programming error: of VC characters who can absorb and replicate the personalities of others...much to the detriment of the originals. It's sort of Harsh Realm meets Invasion of the Body Snatchers. And "Cincinnati" introduces the useful "digi-wand," a handheld device by which a digital character can re-shape and re-fashion his features...the equivalent of virtual plastic surgery. Santiago uses it for diabolical, wicked and brilliant strategic ends. Then there's the Camera Obscura of the final episode, a strange oracle or "seeing" device that appeared at Ground Zero after the nuclear explosion and is believed to foretell (or perhaps manipulate...) the future.

In terms of unique characters, Hobbes, Pinocchio and Florence meet not only the mute, female Healers and the "VC" in Harsh Realm, but steely-eyed Trackers ("Reunion"), deformed Mind Readers ("Manus Domini") and bounty hunters armed with digitizing devices ("Leviathan"). The series encompasses pastoral settings ("Manus Domini"), urban locations ("Camera Obscura") and, like all Chris Carter productions, is gorgeously presented. The camera work, in particular, is highly cinematic, despite the relative lack of visual effects.

The big drawback in terms of Harsh Realm, ironically, is the sense of "sameness" that underlines the pilot, "Leviathan" and "Inga Fossa." In all these episodes, either Hobbes, Pinocchio or Florence are captured and rescued, while in the real world, Sophie puzzles out the mystery of Hobbes' "death." Excepting the pilot, the next two episodes are probably the weakest in the series...and these were the only episodes that aired on network television. The shows are good, just a little plodding; a little dull. But beginning with "Reunion," the quality of Harsh Realm takes a noticeable and dramatic uptick as the stories become more creative, more out there, more involving. The run from "Reunion" through "Camera Obscura" is quite extraordinary, with distinctive, memorable, engaging storylines.

Like his other series, Chris Carter's Harsh Realm is a deeply-layered work, one rife with symbolism, social commentary and perhaps most importantly, clever literary allusion. The series, for example, is very clearly a deliberate variation on the Greek epic poem, The Odyssey, by Homer. In that tale, Odysseus -- a soldier -- attempted to return home from Troy but the journey took him a decade. Ten long and miserable years away from his wife, Penelope. The Odyssey, much like a TV show itself, was highly episodic, with Odysseus encountering a variety of nemeses, including sirens, Lotus-Eaters and the Cyclops Polyphemus. Harsh Realm also concerns a heroic soldier's "long journey home," his separation from his wife/fiancee, and as mentioned above, Hobbes becomes involved with a number of nemeses who are both more and less than human. The tenth, unproduced episode of Harsh Realm was even called "Circe," after a character (a witch...) featured in The Odyssey.

In The Odyssey, Penelope had to deal with suitors, who hoped to persuade her that Odysseus was dead. Even this plot point is echoed explicitly in Harsh Realm, as the Army attempts to convince Sophie of the same thing about Tom, though in this case to protect a conspiracy not to inherit wealth.

Harsh Realm also appropriates some core concepts from Joseph Conrad's novella Heart of Darkness (1902), which involved a man on assignment to capture a fellow countryman, Kurtz. Kurtz had developed a reputation as a "universal genius" amongst the indigenous people in "The Dark Heart of Africa." Heart of Darkness was refashioned as a war drama in Coppola's Apocalypse Now (1979), and given the military framework of Harsh Realm, perhaps it is more appropriate to reference that production here. Because Santiago -- like Brando's Kurtz -- has gone "native," in essence setting up the "local" world of Harsh Realm as his personal kingdom. This idea is true to Conrad's story, which warned against the dangers of imperialism. That's the core idea of Harsh Realm: an interloper (and his military minions...) invade the virtual reality world of Harsh Realm and develop it exclusively for their use. The "VC" are just a resource to be used...not "real" people.

The hero of Harsh Realm, Thomas Hobbes, is not just Odysseus, either. He is named after the English philosopher Thomas Hobbes (1588-1679), the author who wrote Leviathan in 1651. Leviathan -- which also happens to be the title of Harsh Realm's second episode -- concerned autocracy...and its benefits. The philosopher Hobbes believed that government should control religion, the military, the civil apparatus and even the judiciary. He felt that man's natural state was lawlessness, and it was this "natural state" which caused man such hardship, tragedy and strife. Harsh Realm's Hobbes appears to be the antithesis of this autocratic philosophy, at least as far as the nine extant episodes go. He is a man who believes in freedom and liberty, and seeks to free Harsh Realm from Santiago's iron, tyrannical grip. One can never know for sure, but there is an undercurrent in the series that suggests Hobbes may not always feel this way. As he goes along, from episode to episode, he witnesses the lawlessness and inhumanity of Santiago's world. Had the series lasted several years, and Hobbes succeeded in destroying Santiago, one wonders if he would have imposed a Hobbes-ian peace upon the scattered societies of Harsh Realm, essentially becoming the new figurehead. The last scene of the show might have seen Hobbes displacing one Kurtz to become Kurtz himself.

We never saw that happen, but even Mark Snow's score -- which sampled bits of Mussolini speeches -- hinted at some of the autocratic themes and narratives Carter's show deliberated on. How much government? What kind of government? What's the right balance? Today, these ideas are more relevant even than they were in 1999.

As for the Han Solo of Harsh Realm, Mike Pinocchio, his name obviously comes from Curt Collodi's The Adventures of Pinocchio (1883), the story of a puppet who dreamed of becoming a real boy. In the world of Harsh Realm, Pinocchio is a "real" soldier who -- for his own secret reasons -- decides he wants to live as a "virtual" boy in a fake world. As Pinocchio's wooden feet were burned off in The Adventures of Pinocchio, so does Pinocchio lose a leg in the series episode "Manus Domini." In fact, as we learn, Pinocchio was disfigured and (lost a leg) in the real world, and that's the reason he ultimatelychose a "dream" life rather than to continue in the real world. Thus we might say that, like Hobbes, Harsh Realm's Pinocchio is the inverse of his literary namesake.

"Florence" the healer seems named after Florence Nightingale, the legendary angel of mercy. And Harsh Realm's final episode, "Camera Obscura" brilliantly re-stages -- at a post-nuclear ground zero -- the story of Shakespeare's Romeo & Juliet (1883). In this tale, two warring families (not the Capulets and Montagues but Stewarts and McKinleys) threaten to annihilate one another over a petty squabble. Meanwhile, young Aethan McKinley (Romeo) and Fallon Stewart (Juliet) have fallen in love in secret and carry on a relationship. They are encouraged to do so by an interfering "man of God," not Shakespeare's Friar Lawrence, but the deformed, prophetic priest played by Robert Knepper.

As many others have noted, there are other literary allusions in Harsh Realm too. As Hobbes is about to enter the Harsh Realm virtual world for the first time, he gazes down at his chair, and scrawled (madly...) on the arms of the chair are the words "Siege" and "Perilous." If you are familiar with Arthurian legend, you may remember that this writing harks back to the so-called Perilous Seat at the Round Table, the Empty Chair reserved for the greatest of knights or heroes (the one who brings back The Holy Grail). That too, is Hobbes' destiny, perhaps metaphorically. Santiago might be the Holy Grail of Harsh Realm, or Hobbes' white whale.

Harsh Realm balances these classic references and allusions with Carter's particular and peculiar (and wonderful...) brand of up-to-the-minute speculative imaginings. You may recall how the first episode of The Lone Gunmen (in March 2001) forecast the 9/11 attack on Manhattan down to the target (the Twin Towers) and the choice of weapon (jet-liners). The same episode also predicted that such an attack would be a tremendous boon to defense contractors...who would suddenly be developing new weapons for our military industrial complex. That too, proved accurate. Harsh Realm also hints rather dramatically at the shape of things to come in the early 21st century and particularly the War on Terror Age. One episode, "Leviathan," laments Santiago's "culture of fear," something we can all relate to after those color-coded DHS Terrorist Attack Warnings. Another episode, "Cincinnati" seizes on the phrase "failure of imagination" as the reason for a battlefield defeat; the self-same phrase employed explicitly by the 9/11 Commission tasked with studying the reasons why the September 11th attacks were successful. Harsh Realm (especially "Camera Obscura") also obsesses on the "ultimate terrorism," a suitcase nuke detonated in an American city. Fortunately, this hasn't happened (and hopefully will never happened), but it is a scenario that, after 9/11, has been widely raised (and feared) by media, security agencies, and the populace.

Also, Harsh Realm undeniably pointed towards the 21st century in terms of technology. In 2003, the virtual platform Second Life arrived, an alternate world where Residents (Virtual Characters based on real life users) had their own currency, clubs, economy, property and spent copious amounts time "in world." Granted, Harsh Realm's virtual world is far more immersive and tactile, but Second Life is certainly a step towards the world Harsh Realm imagined.

The history of television isn't just about numbers; it's about being in the right place at the right time. Imagine, just for a moment. that a program like Firefly or Harsh Realm had aired on cable, or heck -- even the CW. If they had done so, both shows would have likely lasted seven years, been heralded as masterpieces, and would have drawn "blockbuster" level (for cable) ratings that far outstripped those of recent "hits" like Battlestar Galactica (2005-2009) or Supernatural. But because these turn-of-the-century shows aired on Fox, not a smaller channel, they didn't get the numbers that were predicted...and they disappeared after too short a season. I can't claim Harsh Realm is as good as Firefly, but I can state, with confidence...it was headed in that direction. The last several episodes of the series showed incredible development and improvement. The world, characters and situations of Harsh Realm had, by episode nine, become intriguing, and truth be told, more-than-a-little addicting.

If you enjoy The X-Files and Millennium, I suggest you visit Harsh Realm...but be patient. Get to the poetic episode "Reunion," which suggests a kind of emotional/human bridge between the worlds (and the idea that virtual avatars may share our souls with us...), and you'll be glad you hung on. Get to the brilliant "Cincinnati," in which Santiago shows us why he is the most fearsome man in Harsh Realm, and you'll be convinced that you're watching a genre series of unparalleled genius. Get to "Camera Obscura" and its post-apocalyptic Treasure of the Sierra Madre-esque parable about man's quest for wealth (especially gold), and you'll be convinced that Chris Carter caught lightning in a bottle again, for the third time.

Only...those great episodes never even aired in 1999. So the Harsh Realm of the series title doesn't merely refer to a comic book or a virtual world. It actually references something far more dangerous: the cutthroat, no-second chances world of network television at the beginning of the 21st century, a period of decline. Harsh Realm died as dramatic TV died; as reality TV was born. A smart genre series of paranoid speculation and deep philosophy gave way to Who Wants to be a Millionaire five nights a week, Temptation Island, Survivor, Big Brother and the like. Dramatic TV came out of its slump in 2004 (with the advent of Lost, for instance...) but by then Harsh Realm was "virtually" a memory.

CULT MOVIE REVIEW: Saturn 3 (1980)

In memory of the recently-deceased seventies icon, Farrah Fawcett, I decided to blog today about Saturn 3 (1980), perhaps Farrah's most notable excursion into celluloid horror.

Of course, I fully realize that Saturn 3 is widely considered a bomb, a stinkeroo and a blight upon mankind. It was also a favorite of the Golden Raspberry Awards.

But you know something? Critics aren't always right. Stanley Donen's Saturn 3 is a half-crazy, occasionally-inspired mating of Frankenstein and 2001: A Space Odyssey...one played out between three humans and a giant robot against a high-tech, futuristic backdrop.

Taken on those simple terms, the film is enjoyable, literary, occasionally exciting, and consistently watchable.

Saturn 3 depicts the the story of the psychotic Captain Benson (Harvey Keitel), a scientist who travels to the Experimental Food Research Station on Saturn 3 during a twenty-two day eclipse and communications black-out called "Shadow Lock."

There, the good captain provides "assistance" to two scientists working to alleviate a famine on our overpopulated, polluted planet Earth. Major Adam (Kirk Douglas) and his young romantic partner, the beautiful and innocent Alex (Fawcett) are wary, however, of Benson's form of help: a colossal humanoid robot named Hector, the first of the "Demi God" series. Hector boasts human intelligence (not to mention human brain tissue...) and can even pattern his personality on the direct input he receives from human beings. Since Benson is psychotic, this means that Hector is also psychotic. In short order, the robot begins to develop the same lustful feelings for lovely Alex that Benson has rudely begun to demonstrate...

Named after the Trojan Prince beaten by Achilles outside the walls of Troy, the robot Hector represents Saturn 3's embodiment of the classic Frankenstein Monster, a lumbering abomination given life by a Prometheus-style scientist, here essayed by the over-dubbed (but still creepy...) Harvey Keitel.

Hector has been created, it seems, to glorify Benson; to prove to skeptical (and off-screen) co-workers that he is a genius. As is the case in Victor Frankenstein's tragedy, there's a high degree of vanity involved in the genesis of this new life. As Victor sought to "bestow animation" upon "lifeless matter," so does Benson seek to introduce intelligence and even "human learning" to cold machinery. And again like Victor, Benson pioneers a "new way," or new science to achieve his aims. Though he is not technically breaching "the awful boundary between life and death" that Shelley artfully described, Benson is breaching the barrier between man and machine.

Hector's biology also merits comparison to the Frankenstein Monster. This Demi-God class robot is a collection of metallic spare parts and pure brain tissue grown in a lab, not organic corpse parts given life. But much like the Frankenstein Monster, Hector boasts the interesting (and unusual...) combination of a fully formed (or adult) physicality with a naive, almost child-like sense of intelligence. And, as the Frankenstein Monster quickly determines, it is "miserably alone," and seeks companionship. Interestingly, Hector seeks companionship too...sexual compansionship with Alex.

In both stories, the "child" (the monster) turns on the Bad Father, the Creator. In the case of Frankenstein, the rejected/unwanted child draws out the process of killing the parent ("I will work at your destruction, nor finish until I desolate your heart so that you shall curse the hour of your birth...") In Saturn 3, Hector quickly kills Benson and turns his attention towards dominating Alex, a subtle acknowledgment, perhaps of a society (America in the 1980s) more consumed with sex.

Going back to 1968's 2001: A Space Odyssey, one might also be temped to gaze upon Hector as HAL's child: a computer with a menacing, ambulatory physicality to go along with the parent's cold, calculating brain. In the Kubrick film, however, one never knows why HAL goes insane and murders the crew of the Discovery. The reasons for Hector's instability are plain in Saturn 3, and they reflect the Frankenstein story again. Benson, like Victor, is a bad father. One who, through his own intrinsic psychological flaws, overreached and was not able to handle the role of parent. And in this case, the son has inherited the father's psychosis.

Saturn 3 also fascinates in the manner it re-purposes the Biblical story of Adam and Eve. In the Old Testament, God created Adam and Eve and provided them a glorious Paradise in Eden. This couple wanted for nothing until a serpent invaded the Garden and tantalized Eve with the apple from the Tree of Knowledge.

This simple story is re-cast in explicitly technological (and secular, scientific...) terms in Saturn 3 with a character named, of course, Adam dwelling in isolated bliss with his lover, Alex. Their facility is an Experimental Food Research Station featuring an abundance of greenery, a hydroponics bay that could easily be interpreted as...a "garden."

The film also defines the lives of Adam and Alex as ones of unending bliss. Their facility is like a spa. They exercise regularly, jogging the curving, empty corridors. They live in love and peace, sheltered away from the modern, polluted world. Alex is a total innocent, never having visited Earth and knowing nothing of its customs.

Into this paradisical world arrives the Serpent (or Serpents, in this case) -- Hector and Benson. It is not the apple that Benson offers Alex, but lustful sex and recreational drugs, the latter in the form of psychedelic "Blue Dreamers." He awakes in Alex, at the very least, the realization that she has lived a sheltered life. He spawns in Alex a desire to see Earth, which Adam also encourages.

In the coda of Saturn 3, following Adam's sacrifice to defeat Hector, Alex leaves the sealed-up paradise, boards a spaceship and heads for Earth. The Garden is left behind permamently. Alex has tasted the fruit of the tree of knowledge and now returns to the world of fallen man.

There's a nice, commendable simplicity to the narrative of Saturn 3. Against the plainly mythological and literary backdrops, there are but few characters and locations. The movie cleverly isolates its dramatis personae in a trap within a trap within a trap. They're in a hermetically sealed facility on an inhospitable planet during an eclipse. Thus -- again like their Biblical counterparts -- Adam and Alex are really in a sort of "bubble world." The outside world doesn't exist for them, and that means there is no chance of a rescue operation. The future of man (and machine...), it seems, is to be settled here, in this place, with just these few people and their values.

Hector also makes for a powerful, memorable villain. Although he apparently lacks human genitals, Hector has been (inadvertently) programmed with a physical lust for Alex, making him one of the screen's most memorably randy robots (though probably nobody can give Demon Seed's Proteus a real run for his money...). Hector is a murderous child, a sadist, and entirely malicious. At least with the Frankenstein Monster, you felt some sense of compassion. He was "malicious" because he was "miserable." Hector is somehow...colder.

The sets, special effects and costumes in Saturn 3 are all top-notch too, at least for 1980 vintage. And then, of course, there's Farrah Fawcett in a central performance: effortlessly exuding innocence and sexiness at the same time. As in her other roles, there was a winsome and fetching quality to Fawcett. Saturn 3 makes fine use of her naturalness, her seeming sinlessness, even as it exploits her amazing good looks.

Perhaps the aspect of Saturn 3 that I enjoy most involves Adam's journey, however, not Alex's. Adam deeply fears contamination from the outside (from Earth). He has thus set up a utopia on Saturn 3, a perfect little existence. While Earth starves, he possesses plenty of food. While lust and casual sex dominate amongst Earthers far away, Adam has found a perfect, innocent mate who truly loves him. He has attained the goal of intimacy. But when Hector and Benson arrive, they bring "the tree of knowledge" with them. On Earth, Adam would have feared being at the mercy of society, of the government, of his peers. Well, suddenly, in his perfect world, he is at the mercy of Hector, a psychotic who can control every aspect of his environment. Hector controls the air, the food supply, the temperature...everything. Adam is thus made slave to the very technology he has always feared and disdained, and that's a metaphor for the life he fled: one of regimented control where he was but a cog in the wheel. Perhaps that is the reason why Adam chooses to fight Hector to the death, because like Alex, he too has been ejected from paradise by the arrival of this interloper.

Saturn 3 even closes with a commendable message: that it is the capacity for self-sacrifice that ultimately separates a human soul from artificial intelligence. Hopefully, that's the message that Alex takes back to Earth and preaches. That mankind -- in his ability to put the welfare of those he loves before his own life -- can conquer the machines, overpopulation, lust and the other bugaboos that threaten to destroy a species in perpetual crisis.

With DNA culled from the Old Testament, the work of Mary Shelley and even Stanley Kubrick, Donen's somewhat silly Saturn 3 sure has a "great body."

May I (respectfully...) suggest...you use it?

CULT MOVIE REVIEW: John Carpenter's Prince of Darkness (1987)

More than the work of any major director since Howard Hawks, John Carpenter’s films have undergone a unique "second life" -- a period of intense re-evaluation…and new found appreciation.

Even the classic Halloween (1978) originally drew bad reviews and nearly faded into obscurity until a laudatory Village Voice review by Tom Allen, and a well-timed holiday release rescued the film's reputation. Today, Halloween is a fixed star in the horror firmament; even a companion piece for Hitchcock’s Psycho (1960).

Likewise, Carpenter’s The Thing (1981) was ignored by audiences and vilified by critics in the summer of E.T. (1982). Carpenter was even termed a “pornographer of violence” by some short-sighted critics because of the film’s intensity and pioneering (though admittedly gruesome...) special effects.

Yet by the 1990s, The Thing was exerting enormous influence on the genre in Hollywood productions almost too numerous to list. From The X-Files (“Ice”) and the main adversary of Star Trek: Deep Space Nine -- the shape-shifting “Dominion” (detectable only by blood test…) -- to the T-1000 in Terminator 2 (1991), Thing imitations were practically ubiquitous.

In recent years, critical estimations of In the Mouth of Madness (1994), They Live (1988), The Fog (1980), Vampires (1998) and Ghosts of Mars (2001) have also trended positive. But it is the director’s 1987 Nigel Kneale homage, Prince of Darkness that has witnessed the most meteoric rise in appreciation. Once derided as "second rate" and "klutzy," the film is now beloved for its brawny narrative twists, not to mention Carpenter's crisp direction.

The second movement of Carpenter’s so-called “Apocalypse Trilogy” (a cycle including The Thing and In The Mouth of Madness…), Prince of Darkness is elegantly lensed, suffused with a gloomy, unsettling vibe of cerebral terror (the more you understand, the more afraid you feel…) and punctuated with periodic jolts or "stingers" of extreme intensity. It is, as L.A. Times critic Michael Wilmington opined, a film "filled with graceful, gliding tracking shots, and icily precise Hitchcockian setups of the bleak decor and scary effects." (October 23, 1987).

Prince of Darkness also features one of Carpenter’s most memorable, arresting and pulse-pounding soundtracks. The score’s “ominous intonations…grab you and take command of your heartbeat.” (Allen Malmquist, Cinefantastique Volume 13, # 2, March 1988, page 117).

In all, this Carpenter film fires on all cylinders, and holds up exceedingly well on repeated viewing. At the film's heart is a discussion of science as the new "faith;" and an examination of a population -- another alienated population -- searching for spiritual and emotional meaning in a world apparently devoid of it.

He Lives in the Smallest Part of It

Prince of Darkness features a number of John Carpenter touchstones, both visual and thematic. First and foremost, this is a siege picture (like Assault on Precinct 13 or Ghosts of Mars), meaning that the action focuses on a small group of protagonists inside fighting off superior forces outside.

The abandoned police precinct of Assault has become the abandoned Church -- Saint Godard's -- of Prince of Darkness. In both scenarios, the location of the battle is important. The buildings are relics; ones without contemporary meaning or importance. Society has passed them by in both cases; they are symbols, essentially, of impotent infrastructure or bureaucracy.

Writing for Monthly Film Bulletin in May of 1985, Philip Strick compared the two Carpenter films in a way that is illuminating for our discussion: "With Prince of Darkness, the siege of Assault on Precinct 13 is vividly reconstructed: the derelict fortress, the comfortless corridors, the silent army in the night outside, the collapse of logic and security."

You may recall that the oft-repeated "siege" element in Carpenter's films is an homage to the cinema of Howard Hawks, notably Rio Bravo (1959). But Prince of Darkness is also an homage to one of Carpenter's favorite writers : Nigel Kneale. Kneale was the prime talent behind the British Quatermass films of the 1950s and 1960s (The Creeping Unknown, Enemy from Space and Five Million Years to Earth). His films (as well as TV serials) popularized the notion that threats mistaken as being of supernatural origin are actually...extra-terrestrial. In Five Million Years to Earth (1968) it was a Martian psychic force, not the Devil, sweeping through London, and so on. Carpenter resurrected this concept for Ghosts of Mars in 2001, but first he employed it in Prince of Darkness.

In Prince of Darkness, Jesus is an ancient astronaut, and Satan and his Father (the Anti-God) are also extra-terrestrials. In a tip of his hat to Howard Hawks, Carpenter edited the film Rio Bravo under the name "John T. Chance," the name of John Wayne's character in that movie. Likewise, Carpenter penned Prince of Darkness under the name "Martin Quatermass." Quatermass, of course, is the protagonist of Kneale's most famous works.

Prince of Darkness also evidences Carpenter's distinctive anti-authoritarian voice. Here, the Catholic Church has hidden the truth about the nature of Evil for 2000 years. "We were salesmen," says Pleasence's priest with disgust. "We were selling our product." In various films -- as we've seen -- Carpenter also went after movie critics (They Live), religious fundamentalists (Escape from L.A.), and even used the Catholic Church as a target again in Vampires. There, another Catholic sect was hiding a different Devilish secret: a black crucifix that created the world's first vampires.

Where Prince of Darkness pinpoints so much new energy, however, is not in these commonly-found Carpenter homages or themes, but rather in the endless possibilities of Quantum Physics. It's a whole new playground for the director, and he makes the most of the territory. The film discusses every important concept from Schrodinger's Cat to "causality violation" (time travel), and it does so with a sort of breathless, fast-paced intelligence that challenges the audience to keep up.

Let’s Talk About Our Beliefs, and What We Can Learn From Them…

Prince of Darkness begins with the discovery of an ancient and secret Catholic sect known as "The Brotherhood of Sleep." The guardian priest of this mysterious sect dies while clutching a miniature box containing a key; a key to the basement of a rundown Church in poverty-stricken L.A. called Saint Godard's.

There, upon an altar in the basement...is a seven million year old canister of volatile, swirling fluid. The liquid is, in fact, Pure Evil: Satan himself.

In hopes of comprehending and defeating this unusual threat, a Catholic priest (Donald Pleasence) teams up with Professor Birack (Victor Wong), a teacher of quantum physics at the Doppler Institute of Physics. Along with a group of dedicated graduate students -- including lonely Catherine Danforth (Lisa Blount) and Brian Marsh (Jameson Parker) -- the man of science and the man of faith spend the weekend at the old church and undertake a study of the canister and the liquid, as well as the corrupted Latin palimpsest that details its history and secrets.

Over a long, horrifying night, as revelation follows revelation, the forces of darkness invade the Church. As the devilish, pre-biotic liquid "self-organizes," it assumes psychokinetic control over small organisms (such as insects) first, then L.A.'s wrteched homeless, and finally it makes zombie minions of many of the graduate students themselves. The evil liquid also selects a human host, Kelly (Susan Blanchard), and plots to bring its demonic father -- the Anti-God -- into our dimension. At the same time, all the graduate students experience a recurring nightmare: a tachyon S.O.S. warning from the year 1999...

Very much like 1982's The Thing, John Carpenter's Prince of Darkness concerns flawed, lonely, awkward human beings living in a world in which there is no real faith or human inter-connection. In fact, Prince of Darkness repeats verbatim a line uttered by R.J. McReady (Kurt Russell) in The Thing: "Faith is a hard thing to come by these days." As in that earlier film the line is spoken by Carpenter's unconventional protagonist and voice for the audience, here a graduate student in quantum physics named Brian Marsh.

The problem is that in a world of advancing science and human knowledge, the old platitudes of religious faith and belief seem antiquated and stale. At least until dressed up with such scientific candy-coating as "differential equations," "tachyons," "indeterminancy," and the like. Yet importantly, those "new" scientific concepts don't tell us who we are (or who we should be...) in the same authoritative sense that old-fashioned belief systems did.

Thus...a void.

Carpenter -- ever the visual artist -- finds an imaginative way of expressing this crisis in spirituality. As Pleasence's priest views St. Godard for the first time, the camera presents an establishing view of the church from behind an old iron gate, and a holy cross -- a Catholic Crucifix -- can be seen jutting heavenward from the church's roof. Yet above the church is another gate slat, this one horizontal in direction. In other words, the cross (representing religion or faith) is boxed in on all sides, from above and from left and right. Visually, it is trapped, confined and caged by its inability to answer the questions that so many people seek in today's world.

Professor Birack -- a wise elder and interpreter of the quantum runes -- seems aware of these problems in human connection, and he seeks amongst his studentsw -- again according to the dialogue, -- "philosophers" rather than "scientists." Philosophers, he understands, will understand how to place scientific knowledge within the context of man's spiritual or emotional world; whereas scientists, by implication, may not.

In Birack's students, we see disciples in waiting: lost souls who, for the most part, have forgotten the art of being human. Instead, they have come as boxed-in as the crucifix over the church. They have labeled themselves using the prevailing and simple lingo of their culture. "I'm a confirmed sexist," Brian tells Catherine proudly while trying to court her, unaware of how silly and bigoted he sounds. Later, Walter (Dennis Dun) tells a racist Jewish Mother joke ("I said rich doctor, not witch doctor!"), and also comments, condescendingly that Lisa, the team translater, could "pass for Asian."

This is a world in which it doesn't matter so much that a woman like Susan (the radiologist) is married, but rather the degree of her marriage ("how married?" a potential suitor asks). Thus communication between people, especially between people of opposite sexes is dominated in Prince of Darkness by what Catherine terms "miscues." These are wrong, defensive interpretations based on pre-conceived notions of others and even a pervasive non-understanding of self. In his essay, "John Carpenter: Cinema of Isolation" scholar John Thonen saw these graduate students as "selfish," and "lifeless" (Cinefantastique, Volume 30, Number 7/8, October 1998, page 71).

What these lost souls seem to lack is the very thing religion once provided for many: a sense of belonging, a sense of man's innate goodness. These young scientists, as the film notes, get romantic when discussing The New Faith (Quantum Physics) but "clam-up" when it comes to talking about emotions, feelings and humanity. Perhaps that's because science provides no guide-lines, no rules, no equations in such matters.

Catherine and Brian are seekers of truth and more than that, they are seekers of love...which is something more meaningful than just good sex (which ironically, is their first connection). Catherine desires to know "what the numbers mean," a search beyond scientific jargon, and Brian's obsession with card tricks represents a need for an understanding of life beyond mere probability tests; in something like...luck.

Each character has an idea of what specific path will lead them to personal enlightenment, but what they wish to make room for is the person -- the other -- who may bring them, by philosophies unknown and unexpected, to the missing piece of life's puzzle. To love. To real intimacy.

The tragic love story in Prince of Darkness plays out, interestingly enough, as a modern Christ analogy. Because of her burgeoning relationship with Brian, Catherine is finally open to love, to giving. Ultimately, she sacrifices herself to save mankind. She vanquishes the evil, but at the cost of her own life and future. "She died for us," Birack states succinctly, putting Catherine's sacrifice in decidely religious, Christian terms. Catherine knew what was at stake and made a conscious decision to consider others above her own well-being and survival. She saved, literally, a wicked world (one controlled by the Anti-God). She thus changed everything, preserving our future. Her Gospel, perhaps, is the mesage heretofore incomplete, the one beamed back through time (a causality violation) as an unconscious message. Will that message be different after her choice to save our world, or will it simply cease to exist all together?

No Prison Will Hold Him Now

Prince of Darkness debuted in the Age of AIDS, in 1987. This was the very year, in fact, that President Reagan made his first public statement on the epidemic. It was also the year that the formerly promiscuous James Bond 007 (Timothy Dalton) became a one-woman kind of guy in The Living Daylights.

The AIDS epidemic (as it was understood at the time) serves as an important backdrop to Carpenter’s film, since the “Evil” force depicted here is a fluid passed from person-to-person (usually mouth-to-mouth). Susan infects Calder by kissing him and forcing the evil fluid down his throat. Likewise, she contaminates Lisa in a sexually-charged sequence. As Lisa reclines on her bed, supine, Susan mounts her -- ascending into a dominant position -- straddling her. She then ejaculates the fluid into Lisa's protesting, open mouth. In the case of both AIDS and the Devil Liquid, transmission occurs through what appears to be sexual behavior; and the danger is carried in the equivalent of bodily fluids.

AIDS was largely seen originally (in the 1980s) as a "gay" disease, because it decimated that population first. If you look at the pattern of transmission in Prince of Darkness, you may note that same-sex transmission is highlighted. Susan infects Lisa. Susan and Lisa infect Kelly (all women). Professor Leahy (Peter Jason) and Calder (both men...) go after Brian. The one instance in which a woman does infect a man (Susan to Calder) could be read as representing another sexual taboo: interracial coupling. And come to think of it, Susan -- the first to be infected and spread the disease -- is married; thus acting out, essentially, an infidelity. What we're talking about here isn't just sexual behavior then but perhaps sexual misbehavior. Remember, The Thing too featured a single sex population in peril and posited Evil as an easily-transmitted disease; one "hidden" in the blood. In that film as well as in Prince of Darkness, Carpenter reflects American society's rampant fear of and paranoia about AIDs, about disease transmitted from person-to-person during promiscuous, impulsive acts.

Another important context underlining Prince of Darkness involves the 1980s epidemic of homelessness. By 1983, there were 35 million Americans living in poverty, some five million more than when Reagan had been inaugurated in January 1981. Reagan's economic policies involved what The Christian Science Monitor termed "deep budget cuts in the social service area" in order to lower taxes for the wealthiest Americans. The result was that more and more people lost their homes. Reagan once even audaciously stated that many of these unfortunates were “homeless by choice.”

In Prince of Darkness, it is the homeless who first become human minions to the Devil...an army of streetwalkers and hobos who -- ostensibly aimless -- have found malevolent purpose. Idle hands and all. Carpenter returned to the the theme of poverty and the homeless in his next film, They Live (1988), setting much of the action in a Shantytown called "Justiceville."

Say Goodbye to Classical Reality

Carpenter's Prince of Darkness screenplay asserts a "universal mind" or God if you will. However, because this is a Kneale-ean homage anchored in science, it also asserts the Laws of Physics. In particular, the film reminds us that every particle has an opposite or anti-particle. Therefore, if there is a universal mind or God, by inference there is also an anti-God.

In the film, a shorthand for this duality is quickly established via mirrors, via reflections. Accordingly, much of Prince of Darkness visually and contextually deals with doubling, opposites and mirror images. The mirror becomes the portal to the other world; where our "opposites" exist.

Birack and Pleasence's Priest are mirror images of sorts, possessing contrasting world views (science vs. religion) and Carpenter even uses mirror image compositions and mise-en-scene throughout the film, most notably during Brian's "test" leap into the alley beyond the church, and the subsequent attack of the homeless "antibodies." The film cuts to opposing reverse angles moving in on Brian from both sides. It's a visual mirror, with Brian as our point of reference in both shots, from both angles. Brian's prominent placement in the frame even presages Prince of Darkness's electric, portentous climax: a further "test" by Brian...this one staged as he reaches out for his own, possibly malicious anti-self in a mirror.

These final images resonate. They get under the skin. They promise so much yet explain so little. As Brian reaches for the mirror, gazing into his own reflection, the film's many themes converge. He is not only wondering if Catherine is watching him from the other side -- from the anti-verse -- but he is looking into his own face -- sweaty and pale -- and seeking answers. Brian is wondering, perhaps, if, the evil, the contamination could pass to him next. Only a moment earlier, he imagined himself in bed beside a rotting corpse...(the ultimate fear of the AIDS era...) and the uncertainty, the fear of infection, is palpable. It is this moment that Carpenter leaves us to ponder as the film concludes: a close shot of a groping hand reaching for (but not actually touching...) a mirror; the portal to darkness.

Prince of Darkness remains one of John Carpenter's most frightening films, not merely because of the superb soundtrack, the AIDS-subtext, or the clever use of Quantum Physics, but because the screenplay spotlights how much we take for granted in our daily lives. In Prince of Darkness we witness a world where logic is of no use (it collapses on the subatomic level...) and in which Evil is Real. There is indeed an order to the universe, John Carpenter reminds us...but it's not at all what we had in mind...