Showing posts with label Ray Harryhausen. Show all posts
Showing posts with label Ray Harryhausen. Show all posts

Thursday, April 26, 2018

It's a pretty faithful adaptation. Well, aside from the ladies and the giant animals, that is.


I recently started an "Adventure Classics of Western Literature" group on Facebook and the first book we read through was Jules Verne's The Mysterious Island (1874). And, by the way, the book is over 140 years old, so it's long past its Spoiler date. I'm not gonna even worry about spoiling it for anyone.

Anyway, its a sequel to 20,000 Leagues Under the Sea--Captain Nemo turns out to be a mysterious benefactor who saves the lives of the castaways on several occasions and otherwise helps them out. It's also a sequel to In Search of the Castaways, since the villain in that one (a pirate named Aryton) turns up after being stuck alone on his own island. He's a bit on the nutty side for awhile, but then turns out to be repentant and eager to join the good guys.

The book involves five guys escaping from a Confederate prison camp towards the end of the Civil War, stealing an observation balloon to make their getaway. A hurricane blows them clear across the U.S. and into the Pacific, where they end up on a remote, uninhabited island. They are later joined by Aryton and gradually build their own miniature version of civilization on the island.

The book drips with Verne's usual enthusiasm about men exploring, learning and using their intelligence to improve their lives. The adventure aspects of the novel are also excellent, especially a sequence in which the castaways have to face off against a ship-full of heavily armed pirates.

The novel does have its flaws, though. What many of us in the Adventure Classics group agreed upon was that the characters were flat, without the sort of distinctive personalities that Verne gave his protagonists in other novels. This is especially true of Cyrus Harding, a Captain of Engineers in the Union Army and the leader of the group. Harding's entire reason for existence is to be smarter and more capable than everyone else. He simply doesn't have any significant character traits beyond that.

In 1961, an extremely fun movie version (titled Mysterious Island without the "The"), with special effects by the great Ray Harryhausen, was released. It's interesting to read about the history of the film in Ray's book Ray Harryhausen: An Animated Life.




It turns out that the film was originally supposed to be a straightforward adaptation of the novel, with Nemo and the Nautilus providing the only science fiction elements. But when Ray and his partner Charles H. Schneer got hold of it... well, this is Ray Harryhausen we are talking about. Of course there's going to be giant creatures in it.

At first, the idea was to have the island inhabited by dinosaurs and giant carnivorous plants. This is an idea so breathtakingly cool that its amazing the world didn't explode from pure disappointment when it didn't happen. Instead, it was decided to have the island contain more mundane types of creatures enlarged to giant size. So the castaways in the movie encounter a giant crab, giant bees and a giant baby chicken. Despite not being dinosaurs, these creatures manage to add a lot of fun to the movie. (The crab, by the way, is not a model, but a real crab bought live at a local market, eaten by the crew and cleaned out on the inside so Harryhausen could insert the armatures needed to use it for stop-motion.)


There was talk of getting James Mason to reprise his role as Captain Nemo (having brilliantly played him in Disney's version of 20,000 Leagues a few years earlier). In fact, the design of the Nautilus in this movie is obviously influenced by the Disney version. But Mason was too expensive. Herbert Lom, though, does an excellent job with the role. It's tempting to consider this movie a direct sequel to the Disney movie, but since Mason's Nemo unquestionably dies in that one, we can't quite swing that.

Nemo, by the way, provides a reason for the existence of the giant animals on the island. I won't spoil that reason for anyone who hasn't seen it yet.

The rest of the cast is fine as well. In his book, Harryhausen makes a point of praising the performance of Gary Merrill as newspaper reporter Gideon Spillett--and he's correct in doing so. Merrill brings a cynicism to the reporter that doesn't quite cross the line into making us dislike him.  And he does rapidly become more a team player.

Other castaways, including Harding (played by Michael Craig), are given more personality as well. In this sense, the film can be legitimately said to have improved upon the book.

There are other changes. Originally, Aryton was supposed to still be there--found on the island and (in at least one early script) turned green from something he'd been eating. But budget and script reasons mean that, in the end, Aryton only appears as a pile of moldy bones. (Which, unlike other Harryhausen films, do not come to life.)

In the book, the castaways had a dog named Top, but dogs and stop-motion animation don't mix. Actors, remember, have to use carefully rehearsed, exactly timed movements in filming any scene in which stop-motion creatures will later be added. That would be hard for even a well-trained dog, so poor Top doesn't make it into the film.

The book, by the way, is an all-male affair. Not surprisingly, the movie has a couple of ladies wash up on the island to join the castaways.



Despite all these changes, the movie is actually a pretty faithful adaptation of Verne's novel. The basic bones of the story are still there and the movie still manages to celebrate man's ingenuity in surviving and even prospering in a difficult situation. And none of the additions are jarring or unpleasant.

It probably takes a genius like Ray Harryhausen to insert a giant crab into a story that was meant to be fairly realistic and make it seem so natural.



Saturday, October 11, 2014

Golden Voyage of Sinbad Fan Commentary

Two friends and I have recorded a fan commentary for the Ray Harryhausen classic The Golden Voyage of Sinbad. The idea is to play it in tandem with the DVD.

We had a ball doing it--hopefully, if you give it a listen, you'll find it interesting.


Click HERE to download or listen.

Thursday, December 25, 2008

Generations of Sinbads

I love continuity. I love it when a fictional universe—be it from comic book, prose or film—maintains its own consistent internal logic. Middle Earth is like that. So is Narnia and Robert E. Howard’s Hyborian Age. Future History SF novels by Poul Anderson and Larry Niven are also good examples. DC and Marvel comics used to do this, but have quite sadly tossed away all sense of internal continuity in recent years.


In fact, I love continuity so much, I even apply it to situations that don’t really need it. Take the three Sinbad movies made between 1958 and 1977 by stop-motion animator Ray Harryhausen.


In each of these movies, Sinbad has to at some point rescue his one true love from danger. The trouble is that each movie has a different true love. The first time around, it’s the princess of Baghdad. Second time out, it’s a slave girl he acquires, then sets free. The third time, it’s another princess—this time from the city of Charak.



Also, none of the actors playing Sinbad come even close to looking like each other.


So, of course, the most sensible thing to do is simply presume the three movies are set in three separate but similar universes, in which parallel versions of Sinbad are having their own adventures, with each finding his one true love.


But, gee whiz, what fun is that? After all, with the special effects being done by the same guy in each film—and said effects being the heart of each film—isn’t there a way we can jam the stories into the same universe?


Well, of course there is. One way might be to presume that Sinbad’s ladies keep dropping dead of the Black Plague or something between movies. But Sinbad is a high-adventure, swashbuckling-type hero and that sort of inherent tragedy just doesn’t seem to fit him.



So let’s take another route. We’ll start with 1958’s The Seventh Voyage of Sinbad. Kerwin Mathews stars as the heroic sailor, battling a couple of Cyclops, a dragon, a skeleton and a few other unlikely creatures in order to save his girl friend from a curse.


It’s a wonderful movie, with the look and feel of a fairy tale. Mr. Harryhausen’s stop-motion creations have real personality to them and Sinbad’s sword duel with a skeleton is perhaps tied with a Cyclops-dragon fight as the visual highlight of the film.


Sinbad rescues his lady in the end and they get married. Presumably, Sinbad is now a prince of Baghdad.


So let’s now presume that Sinbad has a son. Sinbad II grows up and, taking after his dad, becomes a skilled sailor and leader of men. But Sinbad II doesn’t want to just kick back and inherit his wealth and position. He wants to earn his own way. So, with his father’s blessing, he sails away with his own ship and crew to seek his own fortune.


That leads us up to 1974’s The Golden Voyage of Sinbad. This is my personal favorite of the three Sinbad films—perhaps because it’s the first Harryhausen film I saw in a theater. But it’s also got a good cast, with John Philip Law the most authoritative of the Sinbads and Caroline Munro looking beautiful enough to make most men’s eyeballs melt right out of their sockets. Tom Baker—who would soon after play my favorite Dr. Who on the British television series of that name—does a highly entertaining turn as the villain. The movie’s got a well-constructed plot as well, involving a quest to be the first to find a valuable treasure. The visual highlight is towards the end, when a gigantic cyclopean centaur fights a griffin, then goes up against Sinbad and his men immediately afterward.


Anyways, this Sinbad marries Caroline Munro after the movie ends—the lucky dog. They have a son, Sinbad III, who grows up to look like John Wayne’s son Patrick.


Sinbad III falls in love with the princess of Charak. (Apparently, Sinbads fall in love with royalty on alternate generations.) But when the princess’s brother is turned into a baboon, Sinbad immediately goes on a quest to find a cure.


Sinbad and the Eye of the Tiger (1977) is the weakest of the Sinbad movies. Patrick Wayne doesn’t seem to be having as much fun in the role as Mathews or Law and there is some weak storytelling inherent in the script. But Mr. Harryhausen’s monsters are still too cool for words. The climax, involving a fight between a giant troglodyte and a saber-toothed tiger, is among his best work.


So Sinbad III returns from his quest and marries his lady love. (Who, by the way, looks like Jane Seymour. How lucky can a Sinbad be?) Did they produce a Sinbad IV? One would hope so. The world can never really have enough Sinbads.

Thursday, March 13, 2008

Dinosaur Movies: Part 7


If I absolutely had to pick my favorite movie special effects scene, I admit I would have a bit of a struggle. The Kong vs. T-Rex fight from the original King Kong would be on the short list. So would Ray Harryhausen-animated scenes such as Medusa in Clash of the Titans and the skeleton fight from Jason and the Argonauts.

But I might, in the end, go with the cowboys vs. Allosaurus scene from The Valley of Gwangi. A few men on horseback go after Gwangi the dinosaur with lassos, hoping to rope him into submission and use him as part of their Wild West show.

They don't stand a chance, of course, but it's a worthy effort.

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The Valley of Gwangi is a little slow getting started--the human characters are only mildly interesting and it takes 'em all a bit too long to get to that darn valley. But once there, the movie takes off like a bullet. They encounter a pterodactyl, which almost makes off with the young boy who accompanies them. Then they run into Gwangi. This eventually leads to their attempt to lasso the big guy. Gwangi drives off the humans and has a nifty fight with a styracosaurus before he's eventually caught and brought back to civilization.

Bringing a prehistoric creature back to civilization is never a good idea, though. Gwangi gets away, fights an elephant and stalks the hero through a huge cathedral.

All of this is made to work by Harryhausen's astonishing skill as an animator. He gives Gwangi life and personality--I love the brief moment where Gwangi pauses to scratch his nose. And--as I stated above--the scene in which the cowboys try to lasso the beast is simply magnificent.

This ends the dinosaur movie series--there's a lot more dino movies out there, but I've covered the cream of the pre-CGI crop. I will return to the subject of dinosaurs in popular fiction from time to time, though. Dinosaurs are, after all, far too cool to ignore.

Thursday, March 6, 2008

Dinosaur Movies: Part 6





Everybody remembers One Million Years BC (1966) as the movie in which Raquel Welsh wears the fur bikini. She also had perfect hair--apparently, female hair care was invented even before the wheel or fire.



But my inner 8-year-old primarily remembers the magnificent Ray Harryhausen animation. A caveman vs. allosaurus fight; a ceratasaurus vs. triceratops fight; an all-too-brief shot of a brontosaurus walking through the desert; a giant turtle that I used to think was real (it was too life-like to be stop motion, I wrongly assumed during my errant youth).



It's all magnificent. The movie is a remake of a 1940 film that used photographically enlarged lizards to represent the dinosaurs. The remake does have a big lizard (and a big spider) appear briefly, but it otherwise sticks to stop motion to give us "real" dinosaurs.



The plot itself is perfectly servicable. Tumok of the barbaric Rock People is exiled from his tribe. He falls in with the peaceful Shell People. Despite helping save a child from a hungry allosaur, his uncouth ways tick off the Shell People and he's told to leave. But the beautiful Loana has fallen in love with him. She tags along with him as he braves the carnosaur-filled wilderness.




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The plot, though, is really just an excuse to set up the dinosaur set pieces. Some of Harryhausen's finest work is on display here. My personal favorite scene is the fight at the Shell People village between the humans and a small (well, maybe 9-foot-tall) allosaurus. It's a perfect blend of animation and fight choreography.



But Ray Harryhausen's single best dinosaur moment would come three years later. We'll take a look at that one in Dinosaur Movies: Part 7

Monday, February 18, 2008

Dinosaur Movies: Part 4

There's a great story behind The Beast from 20,000 Fathoms (1953). Ray Harryhausen was doing the special effects. When science fiction writer Ray Bradbury (a friend of Harryhausen) was visiting the set one day, someone asked him if he could take a look at the script and rewrite it.



Bradbury mentioned that the script seemed to be a lot like a story he'd written for the "Saturday Evening Post" a few years earlier. The next day, he recieved a telegram from Warner Brothers, asking to buy the rights to the story. Apparently, sometime during production, the crew had lost track of where they'd gotten the original story idea from.

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The finished movie really doesn't resemble Bradbury's story that closely. The original story is about a dinosaur--probably the last of his kind-- who mistakes a light house fog horn for a mating call.

The movie does include an atmospheric scene in which the dinosaur smashes a lighthouse, but mostly it follows the standard monster movie conceits of the 1950s. The dinosaur is frozen in the artic ice. A nuclear explosion thaws it out. It eventually makes its way to New York City, where it goes on a rampage before the puny humans figure out how to kill it.


In terms of plot and characters, there's nothing original here. (It may, though, be the first movie that uses a nuclear blast to revive/mutate a monster. Godzilla wouldn't put in his first appearance for another three years.)

In terms of special effects, it's still fun to watch. Ray Harryhausen is a true artist, able to give life and personality to the creatures he brought to the screen. The Rhedasaurus (a fictional species created for the movie) is fun to watch in every scene in which it appears. Its death scene at the movie's climax is particularly good.

The Beast from 20,000 Fathoms isn't the best dinosaur movie ever made. It's not the best Harryhausen film by far either. But it's a fun way to spend 80 minutes.
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