In
“The Sorceress,” Annie Porter (Jenny Drugan) laments the fact that she
possesses no female friend to talk with about boys and other pressing concerns
in her adolescent life. However, when a
Sorceress named Keela (Adilah Barnes) appears in the land of the lost, she grants
Tasha the power of speech as a way of thanking Annie for saving her life.
Unfortunately,
once she begins to talk, Tasha won’t stop…
Meanwhile,
Keela’s deadly nemesis -- a strange Cyclops
creature called Magas (Ed Gale) -- also encounters the Porters, and seeks
revenge against her.
The
second season of the 1991 Sid and Marty Krofft live-action series Land
of the Lost commences with “The Sorceress,” a relatively undistinguished
episode in the canon.
Like
many other stories in the franchise, this installment involves a visitor in the
land who interfaces with the Porters, and then parts ways at story’s end, but
doesn’t provide any clue about escape.
Here, a world of “magic” is encountered, but not explored in any
meaningful fashion, or in any fashion that would help us contextualize the
stories better.
What
seems missing (and what was abundantly present in the 1970s Land
of the Lost) is some underlying theme to the stories that connects them
all together, or suggests a way of “reading” the series as a whole.
The
original series concerned four groups, essentially -- the Marshalls, the Paku,
the Sleestak, and the dinosaurs – sharing a territory: Altrusia. When things went wrong in that territory, the
Marshalls had to be shepherds of the land, and join with their recalcitrant
neighbors to fix things. It’s not
difficult to read this running theme as commentary on being good stewards of
the environment. Similarly, the Land of
the Lost was known to be a pocket universe with a sense of balance.
The
new series never offers any such specific details, re-hashed or original, that
make the episodes cohere into something larger.
Here,
visitors come, visitors go, but there’s no sense of a creator working to some
meaningful end, or on some meaningful theme, alas. That’s the real difference between the two
series. You can compare special effects,
performances, and set design, but the 1970s series is unequivocally superior in
one sense: it was open to analysis and multiple interpretations. The new
series, while entertaining, is not.
The
underlying theme in “The Sorceress” involves the down-side for wishing for something better when what you already have is pretty darn good. Although Tasha is given the power of speech,
she also begins to develop unfortunate character traits. She has changed from being herself, to being
someone new and different, and Annie never reckoned on that fact when she made
her wish.
The
same idea might be applied to Magas. He
has become a monster because of his power-hungry nature, and has learned nothing
from his transformation. He wanted power, and he got it...but now he's little more than an ugly beast.
Although
it is interesting to see a character whose inner ugliness is reflected by his
outward appearance, Magas may just be the most ridiculous-appearing creature to
appear in either iteration of Land of the Lost.
Perhaps
the most fascinating aspect of “The Sorceress” is geographical. Keela reports
that the dimension gate she traveled through was far, far away in a “great
desert.” So far, viewers have not seen
that desert, only the portions of the Land of the Lost depicted by Vasquez
Rocks, and the landscape near the compound… that looks rather like a park or
nature reserve.
Next
week, I’ll review “The Dreammaker,” which is the most-oft remembered episode of
the new Land of the Lost, and is widely considered to be the best
episode in the remake.
John I agree that that only interesting information about “The Sorceress” is geographical. As you stated, the original '74 series was open to analysis and multiple interpretations. This '91 series scripts lack that because it does not treat the viewer with respect.
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