Romero made several Stephen King adaptations including the memorable anthology “Creepshow” in 1982, “Creepshow 2” in 1987 and “The Dark Half” in 1993.
Romero made several Stephen King adaptations including the memorable anthology “Creepshow” in 1982, “Creepshow 2” in 1987 and “The Dark Half” in 1993.
Ridley Scott’s Alien was released in 1979 and was a big hit. By 1986, it had faded away into the eerie mists of time somewhat when the sequel Aliens was unleashed by Twentieth Century Fox and writer/director James Cameron.
Hot off The Terminator, Cameron was just the right guy to take on this sequel. He loved the original and had the sci-fi and technical know-how to push the franchise forward into thrilling new territory. Aliens was a huge hit that summer and earned Sigourney Weaver an Oscar nomination for Best Actress (unheard of for a science fiction movie at the time but indicative of the performance Cameron pulled out of her on set.)
Aliens, like all the best sequels, takes the original concept and expands upon it, deepening the meaning of it. We learn that Ripley’s first name is Ellen and that she had a daughter back on earth who died while she was drifting in space for 57 years (with nothing left for her back on earth, the traumatised Ripley is forced to return to the depths of space and confront her old alien enemy like the Minotaur in the labyrinth of legend.) We learn the name of the Alien species – the Xenomorph (interestingly, both Ridley Scott and Michael Fassbender are using that term to describe the Alien in interviews promoting the new film. James Cameron pulled off a similar trick in Terminator 2, another contender for best sequel of all-time, naming the liquid metal T-!000 a “mimetic poly-alloy.” T2 is making a welcome return in summer 2017 in a new 4k 3D version supervised by Mr Cameron.) The original Alien life cycle was based on an African wasp which lays its eggs under the skin of humans before the hatch out. Cameron expands this concept by making the Alien species a hive organism with a giant queen laying eggs at the apex of the hierarchy. Cameron even names the Alien planet LV-426. (They’re on LV-223 in Alien: Covenant, Ridley Scott again paying homage to the superior sequel Aliens.) The weapons and futuristic forklifts the space marines use delighted audiences with their ingenuity.
The film was shot at Pinewood Studios in England and the British crew gave Cameron a hard time as they thought they were making an inferior sequel to a British director’s classic original. They even dubbed Cameron “Grizzly Adams” at one stage. Cameron said: “The Pinewood crew were lazy, insolent and arrogant. We despised them and they despised us. The one thing that kept me going was the certain knowledge that I would drive out of the gate of Pinewood and never come back.” If you’re wondering why Cameron painted the Brits in such a bad light in Titanic, now you know.
It was also a difficult shoot for Sigourney Weaver using flame-throwings, shooting weapons and having to carry two heavy guns strapped together and the child Newt on her hip. Weaver injured her back from it and you can tell from the way she struggles to run from the Alien Queen near the end.
Jim Cameron was responsible for so many shoot-‘em-up moments in the 80s; The Terminator’s single-handed destruction of a police station, John Rambo’s single-handed destruction of the Viet Cong, the Soviets and the team of Nixonian American mercenaries who double-crossed him and left him for dead. He does it again in the finale of Aliens when Ellen Ripley lets rip with flame thrower, machine gun and grenade launcher to decimate the hated Alien Queen and her precious eggs. (Ripley has lost her daughter and denies the Alien Queen the right to be a mother also, a perfect and clever fusing of character arcs by Cameron.) Strange that by Avatar in 2009, Cameron’s heroes are a blue Smurf-like race worshipping a glowing tree like hippies on another planet. (There are FOUR sequels to Avatar coming in the next decade, folks. So prepare to make more love and not war, man!)
As with the team of mercenaries in Rambo: First Blood Part II (co-written by Cameron), the team of colonial marines in Aliens are a bunch of arrogant jerks that get taught a lesson later in the film. The late, great Bill Paxton, back with Cameron again after a brief Terminator appearance, adds so much humour and energy to the film, even ad-libbing the line “Game over, man, Game OVER!” (his voice cracking with emotion on that last line brings the house down.) Most actors would try to steal scenes by being macho; Paxton does it by being a hysterical (and hysterically funny) coward. It’s a brilliant performance from a fine actor. RIP, Bill.
Another Cameron regular, Michael Biehn, is a commanding presence and potential love interest for Ripley. He replaced James Remar not long into shooting and is a welcome addition to the film.
In 1992, a director’s cut of Aliens appeared adding 17 additional minutes to the running time.
That was the same year we got the shoddy Alien 3 and those extra 17 minutes were a soothing balm to seething fans of the franchise. All the characters we loved from Aliens were callously and stupidly killed off in the opening minutes of the third film. It immediately threw away any chance of being a worthy follow-up right then.
(Neill Blomkamp has proposed a fifth Alien film which ignored the disappointing third and fourth entries and continues where Aliens left off. James Cameron has approved the concept while Ridley Scott has shot it down saying it will probably never happen. Meanwhile, Ridley continues with his perplexing and unnecessary prequels. Not many people want them, they want the sequel that should have been but it seems as if it will never happen now. Fox need to give the audience what they want instead of forcing them to accept the opposite. Scott is doing what George Lucas did with Star Wars essentially; he directed the original but the sequel is better as with The Empire Strikes Back. Now, decades later, he is unwisely returning to direct a series of unwelcome prequels that only serve to remind us how great the first trilogy was and make us long for it again.)
I’ll go see Alien: Covenant, but I’m not holding out much hope for it or the franchise. The prequels seem to be explaining too much about the Alien, robbing it of its mystique. We don’t need to know the xenomorph’s backstory, it’s a slimy monster that’s going to get you. That’s all we need to know. Fear of the unknown is the key to great horror films, but movie studios are determined to squeeze every drop of cash out of a franchise. Let’s hope they see sense and give us the one we really want – Neill Blomkamp’s Alien 5.
© Stewart Stafford, 2017. All rights reserved.
The sequel to Fifty Shades of Grey was the big Valentine’s weekend movie for 2017. In it, billionaire Christian Grey renews his S&M relationship with Anastasia Steele. I wasn’t a fan of the first movie. It was a huge missed opportunity. James Foley, director of Glengarry Glen Ross, has replaced the original director and his steadier hand makes for a better movie. There’s a new screenwriter also and it feels dramatically tighter, funnier and just a better movie overall.
The first Fifty Shades film should have been the Basic Instinct of its generation but it completely wimped out to get a cash-friendly lower age rating. In one scene, Anastasia says to Christian: “Show me how bad it can be” (or words to that effect). He smacks her six times really hard on the ass (anyone who has been near an internet connection in the past two decades will know that that is very, very far from the worst it can get). Ms Steele’s face contorts into floods of tears. “Never do that to me again!” she howls. (She just told him to do it to her! Idiot.) Although this is based on a trilogy of books and they might have needed to pace the franchise. If they had gone full-on in the first one, there’d be little wiggle room left for the sequels.
Despite being dubbed “mummy porn” by the British press, Fifty Shades of Grey began life as Twilight fan fiction. Christian Grey began life on the page as Edward Cullen the vampire. There are flashes of Grey’s dark vampire origins in Fifty Shades Darker. A damaged former submissive of his starts jealously stalking Anastasia Steele, a paradigm of what the future could hold for her if she continues exploring Grey’s “kinky fuckery” with him, as Ms Steele calls it. Grey appears to be an energy vampire, sucking the life out of females that cross his path, destroying them and discarding them. That was good writing there.
There is inconsistency in the writing of Anastasia Steele in Fifty Shades Darker. On the one hand, she’s this ordinary girl who is out of her depth in a naughty relationship with this rich chap. On the other, she’s this ravishing beauty that a billionaire and her boss fight over (Grey even buys the publishing house she works for. Helen of Troy she ain’t), while everyone else tells her she’s the most gorgeous girl in the world. So which is it? Is she a struggling ingénue or this beautiful girl used to such attention all her life? That doesn’t make sense. Then again, the whole thing is a female fantasy and not a documentary. If you’re looking for logic, put on the Discovery Channel.
E.L. James gives her heroine a job in a publishing house. There’s a handy movie job for ya. No research needed there, James already knows the publishing world well. Even so, that whole section isn’t very convincing. It’s lazy writing.
Fifty Shades peddles a similarly dangerous Pretty Woman notion in that it suggests that getting involved in degrading sex will lead girls to their rich Prince Charming.
(Kim Basinger appears in Fifty Shades Darker as the baddie. She was also in 9½ Weeks with Mickey Rourke in the 80s; arguably the spiritual movie grandparent of Fifty Shades. That was about a similar kinky relationship and showed the reality of the situation – bondage only leads to more numbing bondage. The woman doesn’t get to change the guy into a vanilla version of his pervy self as happens in Fifty Shades Darker. Strangely, after Christian Grey tones down his act, Anastasia suddenly announces “take me to the Red Room!”, Grey’s whips-and-chains dungeon. This chick doesn’t know what she wants other than wanting to have her cake and eat it too like E.L. James)
On the other hand, it’s an anti-feminist message to acknowledge that some women enjoy bondage and letting men take control sometimes (some men enjoy it too). To deny it or repress it is censorship and a denial of freedom.
The sex scenes while they are well shot, lit and blocked out, feel perfunctory like the actors are just going through the motions. There’s little eroticism in them, that frisson that elevates the whole thing. Writing sex in books and for the screen can be difficult to do, you’re always going close to the line of humour; too much and it’s a laugh riot, not enough and it’s no good.
So, yes, I’d just about watch a third Fifty Shades movie, but let’s hope there’s not a fourth. We need to stop playing around in the grey areas…
© Stewart Stafford, 2017. All rights reserved.
“Star Wars is the fairy story and I was going to do The Texas Chainsaw Massacre of science fiction,” said director Ridley Scott about Alien (1979).
There were vague suggestions in the script as to what the creature looked like. Screenwriter Dan O’Bannon gave Scott a 1978 book by Swiss conceptual artist H.R. Giger titled Necronomicon. Giger had an incredible and unique surreal style with pages and pages of grey, suffocating, biomechanical erotica. When Scott saw one of the many creatures in Giger’s book, he knew he had found his monster.
The creature collapses many of our darkest sexual fears into one beast; its phallic head and tail, its erectile teeth and slavering mouth with two sets of jaws that recalled the vagina dentata (the folk myth of toothed female genitalia that goes back as far as Ancient Greece). So the creature was at once alien yet oddly familiar in subtle, subconscious ways.
The alien has a life cycle straight out of a biology book. The creature begins life as one of the many eggs Kane (John Hurt) finds on the alien planet, the face-hugger leaps out of the egg, wraps itself around his head and implants its seed inside his throat (the first of several oral rapes in the film; Ash the android later malfunctions and tries to shove a rolled-up porn magazine into the mouth of Sigourney Weaver’s heroine Ripley). The writers apparently based this on a species of African wasp which lays its eggs underneath the skin of humans. The alien “foetus” grows inside Kane until it explodes out of him as the chest-burster and hides out in the ventilation shafts of the vast Nostromo spacecraft. The alien rapidly sheds its skin like a snake and grows in size to become the eight-foot tall adult.
Perhaps because Ridley Scott is British, there’s a class element to the hierarchy on board the Nostromo spacecraft. Screenwriting guru Robert McKee says Scott uses “step–down imagery” in the living quarters to make it seem blue-collar; mementoes like the shot glass with the toy bird pecking in it and family photographs show us a crew of interstellar truck drivers light years from home, missing loved ones and complaining about pay and conditions.
It has been said that Alien, like the slasher movies that were popular around the same time, stole the plot of Agatha Christie’s Ten Little Indians where a group of characters are confined in one place and get bumped off one by one. Where the slasher movies and Alien inverted that structure was a plot device called The Final Girl – the female survivor who outlives her peer group and kills the monster or appears to. Ripley is the final girl in Alien. The key difference is that slasher films are set on earth with friends, family, neighbours or the police to call on for help. Ripley is totally alone in the depths of space and working for a company who think she’s expendable. There are no humans around for millions of miles and no one to hear her scream, which made it infinitely scarier.
Nineteen-year-old Mary Shelley is credited with creating the genre of science fiction with her 1818 novel Frankenstein. The feminist theme of that book is that when men create life, they create monsters and Alien essentially has the same theme as the creature is born of man. So Alien is a very clever reworking and reinvention of basic horror and sci-fi themes for a modern audience.
© Stewart Stafford, 2017. All rights reserved.
A nightmare inspired Stephen King to write The Shining novel:
“In late September of 1974, [my wife] and I spent a night at a grand old hotel in Estes Park, the Stanley. We were the only guests as it turned out, the following day they were going to close the place down for the winter. Wandering through its corridors, I thought that it seemed the perfect – maybe the archetypal – setting for a ghost story. That night I dreamed of my three-year-old son running through the corridors, looking back over his over shoulder, eyes wide, screaming.”
“Jack comes to the hotel psychologically prepared to do its murderous bidding. He doesn’t have very much further to go for his anger and frustration to become completely uncontrollable. He is bitter about his failure as a writer. He is married to a woman for whom he has only contempt. He hates his son. In the hotel, at the mercy of its powerful evil, he is quickly ready to fulfil his dark role.” – Stanley Kubrick
The Shining (1980) begins with epic, sweeping helicopter shots of Jack Torrance (Jack Nicholson) and his family driving through the Rocky Mountains. Its director and co-screenwriter, Stanley Kubrick, was scared of flying and sent his second unit to get the shots. The shots become important later when some of the local legends about Native American burial grounds and the cannibals of the Donner Party are brought into play. They also serve to begin the story wide open before venturing into the interiors of the Overlook Hotel and the minds of Jack Torrance and his psychic son Danny. The epic vistas could be made to seem exciting but the ominous, creepy music lets us know we are entering dark territory.
The Shining at heart is a traditional haunted house movie. However, it defies genre conventions by raising uncomfortable social issues like domestic violence, child abuse and racism, issues which were only starting to be publicly discussed in 1980. This further unsettles the audience. Plus, it has the ghosts interacting physically with the human characters, like when a spirit unlocks the pantry where Wendy has locked Jack and sets him free (some people I saw the film with found that hard to believe and that they were unable to suspend disbelief beyond that point).
Then there is the scene where Jack goes to the forbidden room 237. He sees an attractive, naked young woman emerge from the bathtub and they embrace, only for her to turn into a cackling crone and witch-like figure with a decomposing body. There Kubrick appears to be playing with the psychology of dreams and ageing nightmares.
“I think The Shining uses a…kind of psychological misdirection to forestall the realization that the supernatural events are actually happening.” – Stanley Kubrick
There was a recent documentary about The Shining appropriately titled Room 237. In voice-over, people we never see expound on their theories as to what Kubrick’s The Shining is really about. One person thinks it’s a metaphor for the genocide of Native Americans by white settlers. Another believes it to be about the Nazi Holocaust against the Jews of Europe. Someone else sees the Apollo 11 jumper Jack’s son Danny is wearing as proof that Kubrick faked the Apollo moon landings for NASA in 1969 in a television studio. There is a fascinating section of the documentary that explains that Kubrick was getting very interested in subliminal imagery at the time and that The Shining is loaded with signifiers of this type. A movie that began as a novelist’s nightmare and that is presented in such a consistently surreal fashion is, like a dream itself, open to many interpretations.
There was always dark humour running through the work of Stanley Kubrick, most notably in Dr Strangelove or How I Learned to Stop Worrying and Love the Bomb (1964). Kubrick also loved his actors to improvise and these elements came together in the The Shining when Jack Nicholson came up with the line: “Here’s Johnny!” A wicked parody of the line that introduced Johnny Carson on his chat show, it became the most famous line in the movie, was used as the poster image and is one of the most famous lines in film history.
When Jack Torrance is waiting for his interview in the reception area of the Overlook Hotel at the start of the film, he’s reading an issue of Playgirl magazine that has an article about incest in it. The Shining could be seen as an Oedipal tale with the son killing the father (Danny traps his father in the maze where he gets lost and freezes to death, Danny carefully retraces his footsteps and saves himself) so he can have his mother all to himself in their new life together.
© Stewart Stafford, 2016. All rights reserved.
Imaginary things take time to write. Fantasy and horror and, to a lesser extent, science fiction can be among the toughest genres to write as they are works of pure imagination. Science fiction can be slightly researched and current trends can be followed to their logical conclusion. Educated guesses can be made as to what direction science will go in. Fantasy and horror mostly comprise world-building from scratch and, depending on the writer, the concepts can take time to generate.
Added to that, readers want new product yesterday. They’ve become ultra-impatient in the internet age. Some of them even refuse to read the first book in a series as they are unable to wait for the other books to be written and published. “Am I going to have to wait years for you to finish your Vorbing trilogy? I’m an impatient bitch,” one of my readers helpfully explained to me.
In their book, The Neuroscience of Clinical Psychiatry: The Pathophysiology of Behavior and Mental Illness, Edmund S. Higgins and Mark S. George note: “People who can delay gratification and control their impulses appear to achieve more in the long run. Attention and impulsivity are opposite sides of the same coin.” This is especially true of all those internet babies who have grown up in the technological age. So the internet is a bit like Brexit; we don’t know what the full implications of its arrival are yet.
The web has its advantages. It’s a phenomenal communication tool. Twitter has definitely made me think faster and streamline messages better, that is certain. As a way of quickly disseminating a message or a product worldwide immediately, the web takes some beating. The net is like a giant synthetic brain our thought patterns are connected to (a strength and a weakness that can be exploited). There are concerns over privacy and who is doing what with our data and those worries will only increase as time goes on.
Back to the writing. This awareness of the disintegration of attention spans has unquestionably changed both the method and style I employ when writing books. I started writing my first book when the internet was in its infancy. I was able to remain in the world I had created all day interacting with my characters. I was totally immersed in it and wouldn’t notice hours passing. Now social media, that great thief of time, eats up chunks of my day without me noticing hours passing. I mostly interact online with people I don’t know instead of my characters. I’m totally immersed in the internet. Writing is done now in feverish bursts to meet my daily word count so I can get back online. Experience has enabled me to do much more in less time though. I no longer need to spend all day going down blind alleys trying to find myself creatively. So perhaps there is no damage done there.
There are writers who have given up social media for a month to get books out there. I’d be concerned about losing half my hard-earned followers. You can’t expect people to continue following you if you’re offline for weeks. Especially if you’re a self-published writer dependent on social media to market your books. It appears to be a 21st-century Faustian pact with the web.
Then there is the pace of the novel itself. I am only too aware that if you fail to hold the attention of your readers, social media is tickling their ears non-stop to woo them away. So they’re dealing with getting their electronic fix too (especially if they’re consuming your book on an e-reader or smartphone app that’s connected to the internet and the ejector seat button for your novel is half an inch away). The pacing of a novel has to match the online frenzy going on out there or you’re toast. Then again, if the flour is going rotten to begin with, maybe the quality of the toast isn’t so important these days. We shall see.
So the internet has rewired our brains, changed our expectations and how books are written, edited, sold and read (or not as the case may be). What form will books take in 2026? 2036? 2066? Will we be taking downloads directly into our brains as in a William Gibson cyberpunk novel? I have a saying: “The possible is just the impossible that we’ve come to accept.” It will happen.
My novel “The Vorbing” is available here
© Stewart Stafford, 2016. All rights reserved.
Wuthering Heights, the only novel by author Emily Bronte before her death at 30, has been highly influential on popular culture. It was published in 1847, the year of the great Famine in Ireland and exactly 50 years before Bram Stoker published Dracula.
The book begins with the narrator Lockwood coming to stay at Wuthering Heights. He is given the former room of Catherine Earnshaw. During the night, he dreams that the ghost of Catherine or Cathy Earnshaw comes to the window, grabs his arm and begs to be let inside. Lockwood informs Heathcliff, the landlord, who opens the window to let the spirit enter but none appears. This supernatural appearance at the window is similar to how Dracula gains entry to the bedrooms of his victims, except he uses his mental, physical and/or erotic power to get in. In some vampire stories, it is necessary to invite a vampire in for them to gain access. It would appear to have at least partially originated in this standout scene from Wuthering Heights.
The story of Wuthering Heights is then told in flashback (Stoker also uses narrators to tell the story of Dracula but in the form of letters and journal entries). Heathcliff as a child is discovered wandering homeless by Mr Earnshaw on his trip to Liverpool. (Liverpool is a port and, as with Dracula, Heathcliff seems to have arrived in England by ship although that is never stated in the book. Judging by the ethnic description of him though and the location where he was found, it is a strong possibility.) The boy is described as “a dark-skinned gypsy in aspect.” Earnshaw names him Heathcliff and brings him home where his presence stirs up jealousy from Earnshaw’s son Hindley and infatuation from his daughter Cathy.
Heathcliff, like Dracula, is the mysterious, dark foreigner bringing his obsessive, destructive and ultimately lethal love to England’s stuffy upper classes. The theme repeatedly used in Wuthering Heights about eternal love even after death was one Bram Stoker would return to in Dracula five decades later.
Although they appear destined to be together, Cathy and Heathcliff grow up and marry other people and their relationship turns jealously masochistic with fatal consequences. Only after their deaths do they appear to fulfill their destiny and become soulmates at last.
Dracula author Bram Stoker was the manager of actor Sir Henry Irving. Irving was a fearsome figure who dominated Stoker. Many believe him to be the inspiration for Stoker’s vampire count.
Not only did Irving serve as inspiration for Bram Stoker but, indirectly, for actor Laurence Olivier who played both Heathcliff in Wuthering Heights and Van Helsing in Dracula onscreen.
When stuck for ideas on how to play Shakespeare’s Richard III in the movie he was directing, Olivier said: ‘I’d always heard imitations of old actors imitating Henry Irving. And so I did, right away, an imitation of these old actors imitating Henry Irving’s voice. That’s why I took that sort of rather narrow vocal address.’
Cathy’s ghost appearing at the window echoes the victory over death and return from the grave in vampire lore. Stephen King’s 1975 novel Salem’s Lot was inspired by Dracula. One night over supper, King mused what would happen if Dracula reappeared in the-then 20th century. Again, King makes the connection between Dracula and Wuthering Heights explicit when dead boy Ralphie Glick comes to his brother’s window after being preyed upon by the master vampire in the town. He also wishes to be let in as Cathy does.
In 1978, Kate Bush reached number one in the UK charts with her song Wuthering Heights. It was directly inspired by a 1967 BBC adaptation of Emily Bronte’s novel that Kate Bush saw when she was 18 (she even shares the same birthday as Emily Bronte). Bush specifically chose Cathy’s appearance at the window in the book to structure the song around and wrote from her perspective: “Heathcliff! It’s me, your Cathy, I’ve come home. So co-o-o-old, let me in at your window.” She definitely played up the scary, supernatural side of the scene and wasn’t afraid to potentially frighten away record buyers. Her bravery paid off with her first and only number one to date.
Kate Bush’s mother was from Ireland. With her high-pitched wailing and scary eyes in the video, it’s tempting to imagine Kate Bush shifting the setting of Wuthering Heights to Ireland and the ghost of Cathy becoming a Banshee coming in from a misty bog in the Irish countryside. Journalist Clive James famously stated in 1978 that he wasn’t sure ‘whether Kate Bush is a genius or a headcase, but she is definitely something else.’ Her ethereal, otherworldly performance spooked some people just as the original scene in Emily Bronte’s book had.
You can watch the two very interesting versions of her Wuthering Heights videos here;
It just demonstrates how, when an author hits upon a striking and powerful image, it can permeate down consciously and unconsciously through many forms of artistic expression for decades and even centuries to come.
© Stewart Stafford, 2016. All rights reserved.
There is an absolutely brilliant piece of writing in Francis Ford Coppola’s The Godfather. It’s not the opening scene which perfectly establishes the power and darkness of Marlon Brando’s Godfather Vito Corleone and the tone of the film and the resulting trilogy. It isn’t one of the many classic lines; “I believe in America!” “I’m gonna make him an offer he can’t refuse,”, “Luca Brasi sleeps with the fishes”, “Keep your friends close but your enemies closer,” “Don’t ever take sides with anyone against the family again…ever.” (a line which foreshadows Michael Corleone’s murder of his brother and eventual moral downfall as he destroys his own family). It’s not the big, showy assassination scenes or the unforgettable minor characters that are patiently sketched out. I could go on listing all the many examples of masterpiece writing.
The scene I’m referring to is the subtle and under-appreciated negotiation scene with thug-on-the-rise Virgil Sollozzo a.k.a. The Turk. Brando’s Godfather is there as is his son Sonny (James Caan) and two of their henchmen with The Turk at the negotiating table. It is a verbal game of cards with everyone keeping their opinions close to their chests and giving nothing away. It is the 1940s just after World War II. The Turk wants money from the Corleone family to set up a drug-dealing operation (after the Prohibition booze boom of the the 30s, drugs would be the next one for organised crime) which is “infamita” and unacceptable to Brando’s Godfather. This frustrates The Turk and also Corleone’s son who can see the huge opportunity to get in early to the drugs market and make vast profits.
The Turk offers a sweetener that rival mob family The Tattaglias will guarantee the Corleone family’s investment. Hot-headed Sonny foolishly puts all his cards on the table and reveals an eagerness for the deal. “Wait a minute,” Sonny says, “are you telling me that The Tattaglias will guarantee our investment?” There are subtle reaction shots from everyone around the table. It’s a huge mistake and all of them know it immediately. The Godfather tries to reprimand his son and makes apologies for his rashness but it is too late. A division in the family is now revealed and Sollozzo can start to take lethal action to get his deal.
That one line will change the course of the rest of the movie and the other two films that follow. It will result in the death of Sonny Corelone, the attempted murder of his father Vito, the exile of his brother Michael (Al Pacino) to Sicily for taking revenge on Sollozzo and a crooked cop and Michael’s subsequent merciless rise to power on his return, the near-destruction of The Corleone family and an all-out war between the five Mafia families.
Sonny dies before most of these things happen, so he never sees the full consequences of his actions, but we don’t in life. We see some of them, but never all. Another nice touch in the screenplay. The Corleone family are clearly based on the Kennedy clan and their rise from immigrant obscurity to power and success in America with help from organised crime. There then followed assassinations and an unbelievable litany of tragedies just like the Corleones endure. No wonder Americans lapped up The Godfather in the early 70s; they were watching their own history writ large with the drama bringing them even closer inside it.
The Sollozzo negotiation scene is rarely commented upon but it is masterful in its execution. Sonny’s unthinking rage is the Achilles heel of the Corleone family, a thread sticking out of a quilt that is gently tugged upon to start the whole thing unravelling. A superb piece of writing that, in a movie that is all about strength and power, reveals a realistic human frailty. The moment is even foreshadowed by Brando who says: “Women and children can be careless but never men.” A great deal of clever planning has gone into the script’s epic construction by Coppola and Mario Puzo based on Puzo’s 1969 novel of the same name. It rightly won the Oscar for Best Screenplay.
Text: © Stewart Stafford, 2016. All rights reserved
The Godfather © Paramount Pictures
“I’m not just a boxer!” Muhammad Ali once said. He wasn’t. He was so much more than that. Apart from his fluid, balletic boxing skills in the ring, he was one of the first sportsmen to use psychology to wear down his opponents before a punch had been thrown. He was fighting some of the toughest, hardest-punching men in the world but he cleverly figured out that they had built up their bodies but neglected their minds. So he used words like weapons, chipping away at his rival’s psyche until they were beaten men and didn’t even know it. That tactic certainly worked with the brutish Sonny Liston in the 60s. Just watch the old black-and-white press conferences as Ali fires one verbal missile after another and world champion Liston can’t believe what he’s hearing from this cocky young pup.
Muhammad Ali was born Cassius Clay. He changed his name for this reason: “Cassius Clay is a slave name. I didn’t choose it and I don’t want it. I am Muhammad Ali, a free name – it means beloved of God – and I insist people use it when people speak to me and of me.” He grew up in a time when black Americans were third-class citizens. He won the Light Heavyweight gold medal at the Rome Olympics in 1960, came back to America, and, when they refused to serve him in a restaurant because of his colour, he went outside and threw his gold medal in the river. Even after becoming Olympic champion for America, no one believed in him. So he believed in himself. He could use words to attack but he could also use words to pump himself up. He called himself The Greatest until he and the world believed it. It gave him the confidence, like a self-fulfilling prophecy, to make his dreams a reality against the tide of begrudgers who wished him ill.
He used words to taunt but he also wrote poems, told jokes and gave speeches to inspire. Some credit Ali with being the first rapper and creating hip-hop music.
In 1974, Ali had perhaps his most famous fight, The Rumble in The Jungle in Zaire, Africa against George Foreman. Nobody gave the ageing Ali a chance. If you watch the Oscar-winning documentary When We Were Kings, you’ll see the extraordinary mental process Ali engaged in to psych himself up for the fight. He begins at the first press conference asking who thinks he can win the fight. Nobody does and he seems down. Then he goes on the attack against his critics. Then he starts working on himself: “Everybody’s scared…there’s nothing to be scared of!” You can see he doesn’t quite believe what he’s saying yet but he keeps going. He turned to his religion for reassurance: “All I need is a prayer because if that prayer reaches the right man, not only will George Foreman fall, mountains will fall!” Ali refused to watch Foreman training, even when they passed each other in the gym. He blocked out his fear. Then Ali tried a different form of psychology on Foreman, a similar brute to Sonny Liston. Ali was 32 then, his speed had left him and he needed a new tactic. He called it rope-a-dope in which he would go to the ropes and absorb punishment before launching a surprise counterattack when the other fighter was exhausted.
When fight night came, Ali started throwing right-hand leads at Foreman. As in any battle, doing the thing your opponent least expects usually ends favourably. A right-hand lead has to travel twice as far across the shoulder to land and it’s hugely disrespectful to any fighter especially the champion of the world to catch him with one let alone twelve as Ali did. Foreman, enraged, punched himself out in the blistering African heat and Ali shocked the world by winning back his world title at the past-it age of 32.
Ali was a political figure too. He became a black Muslim and changed his name, that was a political act. He was involved in the Civil Rights struggle with Malcolm X, that was a political act. And he refused to be drafted into the U.S. Army to go fight in Vietnam, there is no greater political act than that. He said: “Why should they ask me to put on a uniform and go 10,000 miles from home and drop bombs and bullets on brown people while so-called negro people in Louisville are treated like dogs?” Ali was stripped of his titles, boxing licence and was out of the ring for four years in his prime. He didn’t sit around and mope but went on a tour of American colleges to get the young people on his side (and against the war) with his wit, charm and intelligence. Another political act.
Those four years out of boxing cost Ali huge sums of money. Financial pressure and his enormous pride made Ali continue fighting long past his prime. His last, disgraceful fight came three months before his 39th birthday. An ailing, flabby Ali was easily outclassed and hurt by his old sparring partner Larry Holmes. It was an undignified end to an incredible career.
Then began the next great fight of his life when he was diagnosed with Parkinson’s syndrome and the verbose Ali was replaced with a trembling, whispering giant. He still managed to light the Olympic flame at the 1996 games, a highlight for anyone who remembers it. His condition worsened in recent years until he was unable to speak. For the last 30 years, this has been his frail public image. If any good comes from his death, it will be that all his classic clips will get aired again so today’s youth can see what the man was like in his dazzling pomp.
Ali had a dark side too. Fellow boxer Joe Frazier helped Ali out financially when he was banned from the ring. Ali later turned on Frazier, ruined his reputation by calling him an Uncle Tom and a bitter feud developed between them.
It resulted in Frazier breaking Ali’s jaw and knocking him out in their epic Madison Square Garden encounter in 1971 (that resulted in Ali being out of the ring again for a good while). Despite having a white Irish great-grandfather named Abe Grady who’d married a freed slave out of love (not slave rape as Ali conveniently claimed), Ali said some nasty, racist things about white people including: “The white man is The Devil!” He even compared the white race to poisonous snakes. Pretty distasteful stuff but typical of the hardline rhetoric he was absorbing from radicals around him at the time. In 1972, Ali went to Ireland and received a rapturous reception from a then all-white country. Jose Torres, journalist and former world light-heavyweight champion who accompanied Ali to Dublin, said: “I want to tell you something now: I think that it was his experience in Ireland that reminded him of the goodness of white people and he began easing his attacks on the white man after that. It was when he began to take out of his dictionary the talk about the white devils. How could he think bad of white people when every street he walked down in Ireland, he had all these white people loving him?” In 2009, Muhammad Ali journeyed to Ennis in Ireland (below) where his great-grandfather came from and everything came full circle.
Like Shakespeare’s King Lear, Ali is “a man more sinned against than sinning.” History will be kind to him.
When Elvis Presley died in 1977, the Soviet news agency Tass granted him American icon status along with Mickey Mouse and Coca Cola. Muhammad Ali has more than earned that status too. So long denied recognition, Ali forced the United States to overcome its prejudices and acknowledge him and his people. That is perhaps his greatest victory and a lasting legacy that will inspire people of every race, colour and creed for generations to come. May he rest in peace.
© Stewart Stafford, 2016. All rights reserved.
Many things scare us. When it comes to stories, whether it’s books or movies, we’re being manipulated into being afraid. So it helps to have many levels of sell. There’s the obvious thing we’re scared of like alien creatures or zombies. Then there’s the subliminal things that may not register at first.
I saw Steven Spielberg’s Close Encounters of The Third Kind when I was six years old. I didn’t understand a lot of it like the significance of the missing Bermuda Triangle Flight 19 reappearing in the desert 32 years after vanishing.
I also found the Richard Dreyfuss character’s peculiar behaviour confusing. Today, being an adult who has lived through a global recession, I understand exactly the pressures the Dreyfuss character was under.
There were many scenes I found scary. The obvious scare was the little blond boy being abducted from his room by aliens as his screaming mother loses her grip on him (tapping into every child’s nightmare of being taken away from their mother). The scene that really scared me though was when Richard Dreyfuss gets in the shower with his clothes on and slides to the ground crying.
His son sees it and calls him a cry baby. That really made me worry for the protagonist and his family. In a film full of fantastic visuals and scares, it grounded the film beautifully in harsh realism. It was tapping into the other childhood fear that the father, the head of the family, would lose control of himself and the family’s future. So Close Encounters has its visual scares (the aliens) and its psychological kicker (fear of the unknown).
Zombies also have a surface fear and a more profound one playing under the decaying skin on display. The packs of ravenous zombies are frightening (one newspaper branded the zombie the official fantasy creature of the recession!). What is more frightening however is the fear of the unknown they represent. In a zombie apocalypse, everything you know is changing; you don’t know why it’s changing, you don’t know what it’s changing into and there’s nothing you can do to stop it. Just like Close Encounters, zombie movies regress us to a state of infantile powerlessness (which is perhaps why monsters in movies are usually huge with big teeth, the same way our parents appeared to us when we were toothless babies.)
The best writers know how to layer in subtext to give deeper meaning to what was once B-movie material. It is perhaps one reason why fantasy and science fiction movies are now being nominated for and winning Academy Awards in all the major categories, something that was once unheard of and is a refreshing change.
(To read more of my writing on a similar subject click here)
© Stewart Stafford, 2016. All Rights Reserved.