My review of “When the Wind Blows” (1986)

“When the Wind Blows” is a decent 1986 British animated film that follows an elderly couple trying in vain to survive a nuclear war.  It was adapted from a graphic novel by Raymond Briggs, and the two characters are modeled after Briggs’ parents – which must have made this a challenging project to write, given the dark, tragic nature of the material. I’ve had a few friends recommend this – and I suspect it might have a bit of a cult following because it also features music by none other than Roger Waters, David Bowie and Genesis.

This movie employs irony on two levels. One, the animation style is deceptively child-like, and eerily contrasts a brutal story about two people who are woefully unprepared for the aftermath of a nuclear holocaust. It’s a mixture of traditional animation and stop-motion photography, with departures every now and again for really thematic montages, which make great use of fantastic imagery.

Two, the story focuses on the husband’s naive reliance upon government-issue pamphlets, which are entirely inadequate to help them. The feckless couple also romanticizes the British experience during World War II’s “The Blitz,” and wrongfully expects their experience with the new world war will parallel that.

I thought it was well done. I’m not sure the material warranted an hour-and-a-half running time, however, I think this could have been covered in 40 minutes to an hour. The caricaturized voices and vocal optimism also made the characters slightly annoying after about an hour.

Still, I’d give it a 7 out of 10.

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I will not be reviewing “The Human Centipede 3” here …

… because I will not watch the movie.  I watched the entire original, and even reviewed it.  (If you guys are ever interested, look up Roger Ebert’s review of the first movie.  It’s a treatise on tactful, oblique language.)  Then I watched maybe the first 20 minutes of “The Human Centipede 2.”  Frankly, that is just about enough human-centipedey-ness for one lifetime.

I keep mistakenly calling them “The Human Caterpillar” movies … I think that might be some form of Freudian repression.

This film is just so … gross that it’s beneath even me and the reprobates that will occasionally populate my peer group.  I can’t link here to the film’s trailer, or even post a movie poster, because they are just too explicit and repulsive.

Why not focus instead on the Camden family, of The WB’s heartwarming Christian dramedy, “7th Heaven?”  They are far more pleasant, and I’m pretty sure that they inhabit a universe where films like “The Human Centipede 3” do not exist.

Oh you quirky Camdens, with your disarming foibles and well-intentioned hi-jinks!!  YOU’VE CHARMED EVEN THIS SECULAR CURMUDGEON, HAVEN’T YOU???

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It’s an amazing Memorial Day photo …

… of an eagle perching upon a soldier’s gravestone in Fort Snelling National Cemetery.  You’ve got to see this to believe this.

Staff photographer Frank Glick published it in the Star-Tribune in Minnesota:

http://www.startribune.com/memorial-day-look-back-eagle-photo-touches-hearts/127347018/

Why are so many of my friends’ birthdays happening lately??

Seriously!

Was the end of September just a big smooching time for our parents’ generation??

[EDIT: To be clear, I am indeed aware that “smooching” alone does not cause pregnancy.]

A recommendation: Stephen King’s “Hearts In Atlantis.”

This book is, in a word, beautiful.

I still remember receiving my hardback copy one Christmas.  After tearing off the wrapping paper, I was nonplussed with its cover.  Peace signs and missing-cat posters?  This didn’t look like “Night Shift” or “The Tommyknockers.” The back cover’s synopsis did little to reassure me that I would like it.  It was some kind of “coming-of-age” drama, and promised nothing of the monsters and mayhem that I’d always loved in Stephen King’s work.  I got the sense that this was a gift book that I would read out of politeness.  If memory serves, I indeed only sat down with it years later.

I just recommended it to a college friend this weekend.  (And now I am tempted to go grab it again, even though I have been itching for so very long to revisit that quick, short little tale entitled “IT.”)  I tried to explain to my alum that “Hearts In Atlantis” was a “more mainstream” King novel that could be enjoyed by anyone.  She asked if there were “monsters,” and I told her, “Well, yeah, but they’re almost always mostly off-screen.”  (I have a habit of describing books as though they are movies.)

And I do think that’s a good way to describe it.  This is a great introduction to King for a mainstream reader.  The horror elements are minimal.  The fantasy elements are used as a plot device, but quite sparingly.  Yes, the “Low Men” from whom one character hides are fantasy characters from Stephen King’s sprawling and expansive “Dark Tower” multiverse.  But, since they are portrayed so mysteriously, they can be just as easily read as sinister government agents — and this would fit right in with the 1960’s paranoia that this period novel often establishes as part of its setting.

If you do happen to love “The Dark Tower,” however, the characters of Ted Brautigan and Bobby Garfield will be familiar to you.  And there is even a single, fleeting reference to a certain frightening provocateur for the violence and dissent in 1960’s America.  We only hear him spoken of once.  His initials are “R.F.,” although he is known to employ pseudonyms.  The reference to him makes perfect sense in the context of the story, and spells great sadness for another character we’ve come to like.

But, again — this is definitely a more mainstream novel, maybe more in the spirit of a dark drama like “Dolores Claiborne” (which I have not read).  Psychic powers and shadowy pursuers take a backseat to stories about people.  There isn’t just one “coming-of-age story.”  There are many, as we see key characters faced with trials and crossroads at different points during their often tragic lives, preceding, during and following a difficult and confusing time in American history.  (I keep calling it a “novel,” even though it’s actually several novellas and three long stories.)  Since it’s the same characters in the same universe, I like to think of it as a single overall novel.  The quite-good film adaptation in 2001, starring Anthony Hopkins, actually covers only one novella within the book, “Low Men In Yellow Coats.”  The eponymous “Hearts in Atlantis” novella is actually a separate tale — one that I enjoyed even more.  This book is a tour de force in showing the points of view for multiple characters.

I was going to state that this is the most moving King tale I’ve ever read.  I hesitate now … I know that a lot of fans point to “The Stand” for such a distinction.  (I personally don’t agree, even though that book is my favorite of all time.)  And certain entries in “The Dark Tower” series are very moving too.  We’ve got Jake’s introduction and fate in “The Gunslinger:”

He is too young to have learned to hate himself yet, but that seed is already there; given time, it will grow, and bear bitter fruit.”

“Go then.  There are other worlds than these.”

We also have Roland of Gilead’s tearful embrace with his father in “Wizard and Glass,” and Steven Deschain’s reveal:  “I have known for five years.”

Still, “Hearts In Atlantis” is a contender.  Parts of it are heartwarming; parts are unflinchingly sad.  It is alternately heartrending and sweet.  I think that this is Stephen King’s most intimate treatment of his characters, with the possible exception of “The Body” (which film fans know as “Stand By Me”).  (And bear in mind, we’re talking about a master of characterization and point-of-view.)  I read “The Body” (part of the collection, “Different Seasons”) when I was a young teen, and that’s so long ago that I cannot adequately compare them.  At any rate, we are a long, long way from straight genre-stuff like “The Boogeyman” and “The Raft.”

I found “Hearts In Atlantis” moving, to say the least.  I hate to invoke the somewhat tired and trite-sounding standby, “I felt as though this book was written especially for me.”  But I do feel that way, and I am not just thinking of one character or one part.  I identified closely with the stages of life and the crises depicted for several characters.  And I can’t even elaborate on why, because such information would be too personal for a public forum.  (Okay, here’s one exception — if anyone reading this lived in Mary Washington College’s Bushnell Hall in 1990 and 1991, there indeed were a slew of guys who played “Hearts” incessantly!!)  This book, which I read in my late 20’s, actually changed the way I looked at … hell, BOOKS.

I’m sorry to gush like a fanboy here yet again … I promise to return to form tomorrow by panning low-budget horror movies.  In the meantime, goodnight, friends.  And do stay ahead of the Low Men.

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“All Summer In A Day,” by Ray Bradbury

Are you enjoying the beautiful summer weather this Memorial Day weekend?  Then why not see beautiful summer weather ironically employed as a plot device for a disturbing science fiction story?  (Sorry, guys, but you knew whose blog this was when you started reading …)

I first heard of this especially cool tale while sneaking a cigarette break from a grant-writing job — a guy in the IT department smoked in the same place outside that I did (thank you, non-functional fire doors), and gave it a hearty recommendation.  Turns out those computer guys know their classic sci-fi authors.

Here’s “All Summer In A Day,” by Ray Bradbury.

**********

“All Summer In A Day,” by Ray Bradbury

No one in the class could remember

a time when there wasn’t rain.

“Ready?”

“Ready.”

“Now?”

“Soon.”

“Do the scientists really know? Will it happen today, will it?”

“Look, look; see for yourself!”

The children pressed to each other like so many roses, so many weeds, intermixed, peering out for a look at the hidden sun.

It rained.

It had been raining for seven years; thousand upon thousands of days compounded and filled from one end to the other with rain, with the drum and gush of water, with the sweet crystal fall of showers and the concussion of storms so heavy they were tidal waves come over the islands. A thousand forests had been crushed under the rain and grown up a thousand times to be crushed again. And this was the way life was forever on the planet Venus, and this was the schoolroom of the children of the rocket men and women who had come to a raining world to set up civilization and live out their lives.

“It’s stopping, it’s stopping!”

“Yes, yes!”

Margot stood apart from these children who could never remember a time when there wasn’t rain and rain and rain. They were all nine years old, and if there had been a day, seven years ago, when the sun came out for an hour and showed its face to the stunned world, they could not recall. Sometimes, at night, she heard them stir, in remembrance, and she knew they were dreaming and remembering and old or a yellow crayon or a coin large enough to buy the world with. She knew they thought they remembered a warmness, like a blushing in the face, in the body, in the arms and legs and trembling hands. But then they always awoke to the tatting drum, the endless shaking down of clear bead necklaces upon the roof, the walk, the gardens, the forests, and their dreams were gone.

All day yesterday they had read in class about the sun. About how like a lemon it was, and how hot. And they had written small stories or essays or poems about it:

I think the sun is a flower,

That blooms for just one hour.

That was Margot’s poem, read in a quiet voice in the still classroom while the rain was falling outside.

“Aw, you didn’t write that!” protested one of the boys.

“I did,” said Margot. “I did.”

“William!” said the teacher.

But that was yesterday. Now the rain was slackening, and the children were crushed in the great thick windows.

“Where’s teacher?”

“She’ll be back.”

“She’d better hurry, we’ll miss it!”

They turned on themselves, like a feverish wheel, all tumbling spokes.

Margot stood alone. She was a very frail girl who looked as if she had been lost in the rain for years and the rain had washed out the blue from her eyes and the red from her mouth and the yellow from her hair. She was an old photograph dusted from an album, whitened away, and if she spoke at all her voice would be a ghost. Now she stood, separate, staring at the rain and the loud wet world beyond the huge glass.

“What’re you looking at?” said William.

Margot said nothing.

“:Speak when you’re spoken to.” He gave her a shove. But she did not move; rather she let herself by moved only by him and nothing else.

They edged away from her, they would not look at her. She felt them go away. And this was because she would play no games with them in the echoing tunnels of the underground city. If they tagged her and ran, she stood blinking after them and did not follow. When the class sang songs about happiness and life and games her lips barely moved. Only when they sang about the sun and the summer did her lips move as she watched the drenched windows.

And then, of course, the biggest crime of all was that she had come here only five years ago from Earth, and she remembered the sun and the way the sun was and the sky was when she was four in Ohio. And they, they had been on Venus all their lives, and they had been only two years old when last the sun came out and had long since forgotten the color and heat of it and the way it really was. But Margot remembered.

“It’s like a penny,” she said once, eyes closed.

“No it’s not!” the children cried.

“It’s like a fire,” she said, “in the stove.”

“You’re lying, you don’t remember!” cried the children.

But she remembered and stood quietly apart from all of them and watched the patterning windows. And once, a month ago, she had refused to shower in the school shower rooms, had clutched her hands to her ears and over her head, screaming the water mustn’t touch her head.

So after that, dimly, dimly, she sensed it, she was different and they knew her difference and kept away.

There was talk that her father and mother were taking her back to earth next year; it seemed vital to her that they do so, though it would mean the loss of thousands of dollars to her family. And so, the children hated her for all these reasons of big and little consequence. They hated her pale snow face, her waiting silence, her thinness, and her possible future.

“Get away!” The boy gave her another push. “What’re you waiting for?”

Then, for the first time, she turned and looked at him. And what she was waiting for was in her eyes.

“Well, don’t wait around here!” cried the boy savagely. “You won’t see nothing!”

Her lips moved.

“Nothing!” he cried. “It was all a joke, wasn’t it?” He turned to the other children. “Nothing’s happening today. Is it?”

They all blinked at him and then, understanding, laughed and shook their heads. “Nothing, nothing!”

“Oh, but,” Margot whispered, her eyes helpless. “But this is the day, the scientists predict, they say, they know, the sun. . . .”

“All a joke!” said the boy, and seized her roughly. “Hey, everyone, let’s put her in a closet before teacher comes!”

“No,” said Margot, falling back.

They surged about her, caught her up and bore her, protesting, and then pleading, and then crying, back into a tunnel, a room, a closet, where they slammed and locked the door. They stood looking at the door and saw it tremble from her beating and throwing herself against it. They heard her muffled cries. Then, smiling, they turned and went out and back down the tunnel, just as the teacher arrived.

“Ready, children?” she glanced at her watch.

“Yes!” said everyone.

“Are we all here?”

“Yes!”

The rain slackened still more.

They crowded to the huge door.

The rain stopped.

It was as if, in the midst of a film, concerning an avalanche, a tornado, a hurricane, a volcanic eruption, something had, first, gone wrong with the sound apparatus, thus muffling and finally cutting off all noise, all of the blasts and repercussions and thunders, and then, second, ripped the film from the projector and inserted in its place a peaceful tropical slide which did not move or tremor. The world ground to a standstill. The silence was so immense and unbelievable that you felt your ears had been stuffed or you had lost your hearing altogether. The children put their hands to their ears. They stood apart. The door slid back and the smell of the silent, waiting world came in to them.

The sun came out.

It was the color of flaming bronze and it was very large. And the sky around it was a blazing blue tile color. And the jungle burned with sunlight as the children, released from their spell, rushed out, yelling, into the springtime.

“Now don’t go too far,” called the teacher after them. “You’ve only two hours, you know. You wouldn’t want to get caught out!”

But they were running and turning their faces up to the sky and feeling the sun on their cheeks like a warm iron; they were taking off their jackets and letting the sun burn their arms.

“Oh, it’s better than the sun lamps, isn’t it?”

“Much, much better!”

They stopped running and stood in the great jungle that covered Venus, that grew and never stopped growing, tumultuously, even as you watched it. It was a nest of octopi, clustering up great arms of flesh-like weed, wavering, flowering this brief spring. It was the color of rubber and ash, this jungle, from the many years without sun. It was the color of stones and white cheeses and ink, and it was the color of the moon.

The children lay out, laughing, on the jungle mattress, and heard it sigh and squeak under them, resilient and alive. They ran among the trees, they slipped and fell, they pushed each

other, they played hide-and-seek and tag, but most of all they squinted at the sun until the tears ran down their faces, they put their hands up to that yellowness and that amazing blueness and they breathed of the fresh, fresh air and listened and listened to the silence which suspended them in a blessed sea of no sound and no motion. They looked at everything and savored everything. Then, wildly, like animals escaped from their caves, they ran and ran in shouting circles. They ran for an hour and did not stop running.

And then—

In the midst of their running one of the girls wailed.

Everyone stopped.

The girl, standing in the open, held out her hand.

“Oh, look, look,” she said, trembling.

They came slowly to look at her opened palm.

In the center of it, cupped and huge, was a single raindrop.

She began to cry, looking at it.

They glanced quietly at the sky.

“Oh. Oh.”

A few cold drops fell on their noses and their cheeks and their mouths. The sun faded behind a stir of mist. A wind blew cool around them. They turned and started to walk back toward the underground house, their hands at their sides, their smiles vanishing away.

A boom of thunder startled them and like leaves before a new hurricane, they tumbled upon each other and ran. Lightening struck ten miles away, five miles away, a mile, a half mile. The sky darkened into midnight in a flash.

They stood in the doorway of the underground for a moment until it was raining hard. Then they closed the door and heard the gigantic sound of the rain falling in tons and avalanches, everywhere and forever.

“Will it be seven more years?”

“Yes. Seven.”

Then one of them gave a little cry.

“Margot!”

“What?”

“She’s still in the closet where we locked her.”

“Margot.”

They stood as if someone had driven them, like so many stakes, into the floor. They looked at each other and then looked away. They glanced out at the world that was raining now and raining and raining steadily. They could not meet each other’s glances. Their faces were solemn and pale. They looked at their hands and feet, their faces down.

“Margot.

One of the girls said, “Well . . .?”

No one moved.

“Go on,” whispered the girl.

They walked slowly down the hall in the sound of the cold rain. They turned through the doorway to the room in the sound of the storm and thunder, lightening on their faces, blue and terrible. They walked over to the closest door slowly and stood by it.

Behind the closed door was only silence.

They unlocked the door, even more slowly, and let Margot out.

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I can’t BELIEVE I met Julianne Moore!!!

She visited Washington, DC this weekend as part of her leadership of the Red Nose Day charity telecast.  She is an absolutely lovely human being in addition to being a lovely woman — and she’s warm and downright genteel with her fans.  I also traded hellos with Olivia Wilde and Julianne’s husband, director Bart Freundlich.

Thanks to my great friend Pete Harrison for snapping the picture!!

[EDIT, 5/26/15:  Okay — maybe this  joke has gone far enough … I see this post has gotten a record number of hits, and 56 Facebook shares.  I have never met Julianne Moore; the man depicted is renowned actor James Woods.  It’s been a running joke among a lot of people that I look like Woods — I have been hearing it since I was 16 years old.  Hence the picture of “me” and Moore.  I love it when people are kind enough to share my blog posts — I’m sorry if anyone passed this along unaware that it was a joke!  :-)]

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My review of “A Beautiful Mind” (2001)

With the passing of mathematician John Nash, I am reblogging my review of “A Beautiful Mind” (2001).

My review of “A Beautiful Mind” (2001).

A few quick words on Marvel Comics’ adaptation of “The Little Sisters of Eluria.”

Prose works are usually difficult to translate to comics. (Anyone old enough to remember “Classic Comics?”) “The Little Sisters of Eluria,” Stephen King’s long story adjunct to his “Dark Tower” series, is an example of this. The story’s hero spends most of the story incapacitated in a hospital bed, which presents problems for a visual medium.

Still, the creative team at Marvel Comics does a good job, as they’ve done with every King adaptation I’ve seen them handle. It’s a good, creepy story that captures King’s voice, and it’s a fun late-night read. I’d give it an 8 out of 10.

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I’m Sartre-ing to think this guy was onto something …

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Nurse Your Favorite Heresies in Whispers