OF FRANKENSTEINS and HYDES : The cautionary fiction of Mary Shelley and Robert Louis Stevens!

 

DR.JEKYLL AND MR. HYDE

Chapter 1

Story of the Door

Mr. Utterson the lawyer was a man of a rugged countenance that was
never lighted by a smile; cold, scanty and embarrassed in
discourse; backward in sentiment; lean, long, dusty, dreary and
yet somehow lovable.  At friendly meetings, and when the wine was
to his taste, something eminently human beaconed from his eye;
something indeed which never found its way into his talk, but
which spoke not only in these silent symbols of the after-dinner
face, but more often and loudly in the acts of his life.

The Robert Louis Stevenson Novel/Novellette from 1886 DR. JEKYLL AND MR.HYDE along with Mary Shelley’S FRANKENSTEIN: THE MODERN PROMETHEUS (almost 70 years earlier in 1818) were both pivotal cautionary tales  that foresaw in the new Marvels of Science, the new quickly expanding horizons of Electricity and Chemistry, changes of a a seismic and (if not morally guided) dangerous potential.

Dangerous not just in bodily harm, or even death, but dangerous to the very quality of what it means to be human, to the very nature of humanity.

Mary Wollstonecraft Shelley tantalized with this fantastic concept of man playing at God and creating life, but that life created by a flawed and fickle and neglectful and abusive God becomes a rebuke onto its creator, and possibly a supplanter of all mankind.

Stevenson tantalized with this fantastic concept, that behind our masks of civility, and mores and morality, there is even in the best of us, some darker divide, and he posited the ability of science freeing the one from the other. And long before that idea would become common place, StevenSON was one of the first, to speak of the possible calamity, of cures to our perceived ills, that give birth to much greater ills.

He foresaw in Hyde the rise of the Sociopath society. Of a whole nation of Hydes, glutted on self interest, trampling children in their wake.

and shelley foresaw even more.

Shelley’s FRANKENSTEIN turns 200 next year, and I always find her story, the story of frankenstein’s genesis amazing.

MARY WAS on a getaway with her soon to be husband, their child, and their friends, AND conceived what would become frankenstein pretty much on a whim, when they were all prompted by lord byron on a stormy, spooky night to see which of them could write the best ghost story. MARY SHELLEY’S STORY , even amongst that august assembly of creators, was considered the most brilliant.

she was only 18 years old. A PROTO FEMINIST and intellectual and renaissance woman.

and had lived in those 18 years more than most live today in an entire life time. in a world devoid of tv or facebook, people themselves, their ability to create, to learn, to excel… people had to be the marvels in their own lives.

These century old novels have stood the test of time because.. beyond being well written, by extraordinary people, they are prophetic and cautionary screeds against the overreaching hubris of man, specifically scientists. cautionary tales, the lesson of which can be summed up thus… because we can do a thing, does not mean we should do that thing.

A great lesson, that Scientists in an age of cloning and gene tampering and manufactured diseases and machines killing men… seem woefully slow at learning. And this abject inability of those makers of fact to learn the lessons of fiction,will keep Shelley’s FRANKENSTEIN and Stevens’ DR. JEKYLL AND MR. HYDE always horribly relevant, and scarily prescient… as new scientific threats to life and limb arise.

 

So with that said, these too works are two of the most adapted in the English language. And I have seen just about all the English language adaptations of note.

In part 2 of this post I will bring you the most recommended adaptations in various formats. From Audio to video to Books!

That should be up Friday Night. Come back for that!

And for right now support this blog and support yourself by buying one of the best book Adaptations of Mary Wollstonecraft Shelley’s FRANKENSTEIN ever put to print…the Dark Horse Bernie Wrightson Illustrated, impeccably designed hardcover version.

Get your copy here:

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Bernie Wrightson’s Frankenstein

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Netflix/Marvel Studios 2017 IRON FIST Episode #1 Review!






Iron Fist Movie Poster

The last of the long awaited DEFENDERS heroes, IRON FiST breaks on the Netflix shores this Weekend, and my opinion? Well After Loving the first season of DAREDEVIL with some minor hiccups in the later episodes, Really enjoying JESSICA JONES, being Lukewarm on the 2nd season of DAREDEVIL, and LOVING Hodari Coker’s LUKE CAGE: POWERMAN, I find the first episode of IRON FIST… underwhelming.

 

The trailers were the first hiccup as I found them tedious rather than exciting, and tedium is not what you expect from what should be a Martial Arts rich show. The action looked unimpressive, and the casting, especially of the protagonist gave me cause for concern. He looked unimpressive rather than what he should be… a living weapon.

But trailers can steer you wrong, and hoping to be proven wrong I watch the first episode of IRON FIST. What hits you is the opening sequence, one thing all the Marvel/Netflix collaborations have gotten right is an absolutely great opening/credit sequence. The IRON FIST opening sequence by comparison looks like an unfinished product, a bad joke. An unfocused concept that they simply ran out of time and ended up just throwing something together.

 

 

Getting beyond the disappointment of the Credit Sequence, I like the opening shot of the barefoot hero in New York, a shout out to the Master of Kung Fu Comic’s of the 70s.

 

Quirky but in reality do you know how impossibly disgusting it would be to walk around the streets of New York or any major city in your bare feet?! There are things I fear to step on, even with shoes on. But again it’s a harmless if ludicrous call back to the comics of yesteryear.

 

What immediately impresses me is how much better Finn Jones is as Danny Rand, than the trailers hinted at. He has a likable and commanding presence, that is at the heart of the character, and he is choreographed to move with an effortless balletic grace that speaks volumes of his character and journey.

 

Iron Fist Movie Poster

 

Indeed, Jones as Danny Rand is pretty much, contrary to my thoughts on the trailer, rather than being the weakest thing about the show, in this episode he is the strongest thing. He is very affable, which above all is the saving grace of his character, and in many ways distances him from the other more brooding members of the Defenders.

With the exception of Luke Cage, who beneath his bullet proof skin has, like Danny Rand, the heart of an optimist and a poet. Unlike the bone breaking Daredevil or the oft alcoholic and fatalist Jessica Jones, Power Man and Iron Fist don’t want to hurt their fellow man, they want to help them, make them better; Even, if possible, their villains. It’s why those two work so well as a duo in the comics. Particularly the wonderful David Walker and Sanford Green POWERMAN AND IRONFIST comics that started in 2016.

 

Finn Jones gets the character of Danny Rand, The Iron Fist. Underneath the affable nature of Jones portrayal, there is something you see in his first closeup (when he is trying to get in to be seen) a core of steel, something unyielding that completely sells him in a way the trailer did not.

So the Danny Rand portion of the first episode works well, it is a lot of setup, and I don’t mind setup, if it is done well, and written well, and brought across well, I thought the first two epiosdes of LUKE CAGE, which some considered talky, I felt were two of the finest written hours of television of 2016.

ASIDE ON  LUKE CAGE SERIES AND COLOR CODED TELEVISION

(I’m about to get deep into media bias, particularly as it relates to ethnicity, so feel free to skip the following aside, the ending of it is marked, and continue on with the Iron Fist review)

 

Coker’s LUKE CAGE said wonderful truths that you usually don’t get with ethnic characters, because mostly ethnic characters on television are nothing more than Black faces spouting and reaffirming White messages . Messages which whether BUFFY or SUPERGIRL Season 2 or DOCTOR WHO or NEXT GENERATION all tend to be some variation on the wish fulfillment of its writers or worse the unconscious coded messages that they unknowing have accepted as truths, namely White female initially falls for Ethnic Character than comes to her senses and dumps him for a White character.
If that plotline plays out in one show, that’s fine, that’s life, stuff happens. However, if that plot-line plays out in every single show where a white female is romantically tied to a man of color, then that is no longer sharp, inventive writing, or originality, it is programming, played over and over again until we stop seeing it, but keep believing it.
In Hodari Coker’s LUKE CAGE you got writing that was shorn of that very racist programming that makes up 90% of the shows we see on TV, and the output of even our best writers. By no measure do I think Joss Whedon is racist, however he reuses the above pattern of racial politics when it comes to the romantic lives of the men of color he scripts from FIREFLY to BUFFY to AGENTS OF SHIELD to AGENT CARTER. At some point any romantic light he casts the men of color he scripts, any momentum to a healthy heterosexual relationship, particularly with a female of another ethnicity has to be derailed. Their identification as a sexual alpha, derailed. Mac on AGENTS OF SHIELD becomes comedy relief, rather than what he should be on that show… the Mac.
And like I said you would be hard pressed to not see this very strange repetition of sexual marginalization and symbolic castration (fit to be comedy relief or the non-threatening buddy or father figure but not the romantic interest) occur over and over to men of color in just about every dramatic show you can name, particularly the action oriented ones. Whether BUFFY, AGENT CARTER, AGENTS OF SHIELD, NEXT GENERATION, ER, ROSEWOOD, SUPERGIRL, FIREFLY.  Such bias extends even to our news and ‘reality programming’, the fact that over 20 years later the media is still lynching OJ Simpson (A famous Black man accused of murdering a white woman) while in the intervening years there has been no shortage of murdered spouses. However this particular case accomplishes familiar goals of America, the tearing down of idols, the vilification of the other, and a platform to use an individual act, to try to send a message to a whole mass of people. It’s a lynching, writ large, 20th and 21st century style.
And by contrasts it has been envogue for the last 20 years to pair White Males successfully with women of color, pair being perhaps too equal a term, more like have the woman of color fling herself at the White Male, whether that’s FLASH, JAMES BOND, WALKING DEAD, TAKEN, EMERALD CITY, and again a couple of times it is just original storytelling, but for this pattern to be a constant over the last 20 years, then that is something else, that is programming.

 

So I’m always drawn to the shows that eschew these programming ploys, these repeated coded messages. So that is why I hold shows like LUKE CAGE in such high regard. A show where a man of color, a Black man, can be a hero and get the girl, full stop. It’s a rare concept in a mass media that is so racist it is not aware of how rare they have by design, made that concept.
Name me ten Dramatic shows (not comedies) on TV right now where a lead character of color, is in a successful healthy relationship with a female, particularly of another ethnic group. You’d be hard pressed to name 2. But you can name dozens upon dozens of shows that are cast and written the other way. Even though statistics tell us there are far more Black Male/White female relationships than White Male/Black Female relationships.
So why would the fiction of mass media be so contrary and completely out of sync with the realities of the populations watching those fictions? Because invariably the writers, who mostly are white males, propagate their limited definitions of diversity while also crafting their wish fulfillment, which usually breaks down to our White Hero is ‘so enlightened’ because he deigns to have a Black girlfriend, and the Black Girlfriend who has to throw herself at him.
Like I said, once or twice, it is original, however all the time, the same way, it is programming and it is insulting.

 

END OF ASIDE

Hodari Coker’s LUKE CAGE : POWER MAN brilliantly gave us something more than the programming we have been used to, showed us Netflix as a channel where more original and more truly DIVERSE stories could be told.

It left big foot prints for the next show, IRON FIST, to follow in.

And without expecting IRON FIST to be ground breaking, or anti- stereotype and ANTI programming, I did expect it to be good.

Unfortunately the first episode of IRON FIST suffers because its lack of action is not compensated for by rich and compelling characters, or evocative acting. Case in point… Ward and his father.

There is nothing more derailing to a narrative, than a weak antagonist, and unfortunately in Ward and his Father you have two very boring and uninteresting and cookie cutter antagonists. Ward came off as just a petulant child, a whiner, and whiners do not make for great TV.

The scene with Ward and his Dad discussing Danny Rand, rather than riveting is the definition of tedious. I had to look at the clock, to see how much time was left before I could watch something else.

That is never what you want to be doing when watching a show, looking at your clock.

So,  between the pacing issues, and the casting issues, and the uninteresting bad guys, I’m solidly unexcited to move on to the next episode. And that’s not an issue I have had with the previous shows.

I hope to work my way through the series and all the way to the end, and I hope I can report it gets great, but for the first episode all I can give it is a …

Grade: C-

 

Iron Fist Movie Poster

GRAPHIC NOVEL Corner : This Week’s 17 MUST OWN Graphic Novels or Collected Editions!!

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Shang-Chi: Master of Kung-Fu Omnibus Vol. 1 (Marvel Omnibus: Shang-Chi Master of Kung-Fu)

Shang-Chi: Master of Kung-Fu Omnibus Vol. 2

Deadly Hands of Kung Fu Omnibus Vol. 1

S.H.I.E.L.D.: The Complete Collection Omnibus

The Uncanny X-Men Omnibus Volume 1 (New Printing)

The Uncanny X-Men Omnibus Vol. 2 (New Printing)

The Uncanny X-Men Omnibus Vol. 3

Uncanny X-Men Omnibus Vol 3 Variant

X-Men – Volume 2 Omnibus (Marvel Omnibus)

The Fantastic Four Omnibus Volume 1 (New Printing)

The Fantastic Four Omnibus Volume 2 (New Printing)

The Fantastic Four Omnibus Volume 3

The Mighty Thor Omnibus   [MIGHTY THOR OMNIBUS] [Hardcover]

Fantastic Four by John Byrne Omnibus – Volume 1

Captain America by Jack Kirby Omnibus (Marvel Omnibus)

Werewolf by Night Omnibus

The Avengers Omnibus Volume 2

 

Averaging almost $100 a book, no one is going to confuse Marvel’s Omnibus line of high quality, oversized chronological reprints of their most popular and coveted books with cheap.

But for those with a fondness for these four color adventures of yesteryear these collections are a definite boon and a must have. Collecting between 20 and 40 issues of comics, including the letters pages for some, roughly 600 to 1200 pages of comic goodness, the cost is a deal compared to trying to get these issues individually, especially considering in some cases… original issues can run thousands of dollars.

And while these are reprints, they are reprints offered in a quality, oversized format signifigantly superior to the original cheaply produced issues.

From Stan Lee and Jack Kirby’s game changing work on the FANTASTIC FOUR (collected in 3 Omnibuses) to Doug Moench and Paul Gulacy’s seminal work on MASTER OF KUNG FU (70s Kung Fu and Spy Goodness at its best! To be collected over 4 volumes) to the gold standard of comic craft with Chris Claremont and John Byrne and Paul Smith’s THE UNCANNY X-MEN , these are the books and runs… that are deserving of this top of the line production!

Any of the 17 books listed, sell themselves, as noted by how quickly and often these pricey books sellout. Don’t sleep on these 17 books. Get your issues before they become unavailable or prices go up!

 

Tell em HT sent ya!!

 

Currently Watching : MONK and LA MANTE RELIGIEUSE

Two very different, yet thematically similar films are France’s THE MONK and LA MANTE RELIGIEUSE.

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Natalie Saracco’s 2014 film LA MANTE RELIGIEUSE (known by the trivial and clumsy English title of MANEATER) is a modern drama of a woman who burns with an inconsolable flame, and a man of faith, that challenges her toward more. A wonderful film, twisty and enthralling and sensual. Grade: B+.

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Director Dominik Moll’s 2007 film THE MONK, starring one of France’s most compelling actors, Vincent Cassell is about a man of faith, into whose life comes a woman who burns with an inconsolable flame. It’s a beautiful gothic, baroque painting distilled to film; a gorgeous, horrific, and surreal parable played out in the colors of flesh and blood, and to the moaning of the pleasured and the damned. Grade: B+.

There is a Flatiron Film Company DVD from 2013 that runs a 100 minutes and has no special features to speak of (at a minimum a DVD or Bluray should at least sport a director’s or cast commentary) so until there is a better DVD release, you can view this movie for free (as of this writing) on the Roku channel THRILLER THEATRE.

Currently Reading: S.H.I.E.L.D.: THE COMPLETE COLLECTION OMNIBUS

 

S.H.I.E.L.D.: The Complete Collection Omnibus

 

S.H.I.E.L.D.: The Complete Collection Omnibus (Marvel): Marvel is proud to present — in a single complete volume — one of comics’ most-innovative series! With international threats on the rise, Tony Stark and a council of global powers tapped Nick Fury to protect the US from Hydra, A.I.M., Baron Strucker, and the Yellow Claw. The greatest team in comics, Stan Lee and Jack Kirby, dove into the world of covert ops, mixing Cold War drama with the mighty Marvel manner. They set the tone, but when Steranko took over, he rewrote the entire rulebook. Steranko turned S.H.I.E.L.D. into one of the most visually innovative comic series ever published and every early story is presented in oversized glory. You’ve been granted Priority A-1 access, so reserve your copy today! Collecting the Nick Fury stories from Strange Tales (1951) #135-168, Nick Fury, Agent of S.H.I.E.L.D. (1968) #1-15, Fantastic Four (1961) #21, Tales of Suspense (1959) #78, Avengers (1963) #72, Marvel Spotlight (1971) #31 (which reveals an important Nick Fury secret!), and material from Not Brand Echh (1967) #3, 8, and 11. Features work by Lee, Kirby, Steranko, Roy Thomas, Denny O’Neil, Archie Goodwin, Jim Starlin, Howard Chaykin, John Severin, Herb Trimpe, Don Heck, Barry Windsor-Smith, Sal Buscema, Joe Sinnott, and more. 960-page oversize color hardcover. – Released in September 2015, in two versions, one with an Alex Ross cover and one with a Steranko cover.  I like Alex Ross, but his cover for this book is underwhelming, clearly the Steranko cover is the one to get.

And you’ll pay for it, as quantities on the Steranko version are climbing in price. But well worth the seeking out.

 

S.H.I.E.L.D.: The Complete Collection Omnibus

 

 

Roku Channel of the Day: TUBI TV and Director of The Day: Roman Polanski

One of the best free VOD channels, TUBI TV has a great selection of movies and TV shows and keeps the commercial interruptions to a minimum. Replaces CRACKLE as the best free Roku channel.

Today’s Recommended movies are:

 

Born to Raise Hell The first 10 minutes of this film do not fill me with confidence. The shaky cam direction, the string of cliches, the chaotic editing. But stick with it, because it becomes a fun vehicle for some great Steven Seagal one-liners and butt kicking. And by the end, the chaotic nature of the beginning is actually revealed as something pretty innovative. This movie is not going to win any awards for originality, but it is an enjoyable watch. And has a couple impressive fight scenes. B-.

 

The Tenant Director Roman Polanski remains a famous and infamous figure, breaking onto the directorial stage in 1962 with KNIFE IN THE WATER, he has crafted some of the definitive films of the disturbed, of the latter 20th century. Among them REPULSION , CUL DE SAC, ROSEMARY’S BABY and this film THE TENANT.

While not one of the films of his prolific or golden age period (from 1962 to 1968 where he was doing a film every two years, before being derailed by horror and madness, in the tragic loss of his wife), THE TENANT is one of Polanski’s oddest films, which is saying a lot, dealing as it does with one of the central themes of Polanski’s  golden age films, ie the fragility of sanity and the deterioration of the protagonist, preyed on by forces both within and without.

 

 

While THE TENANT is not a favorite of mine, the third act is too absurd for my tastes, it should be watched to see Polanski’s genius as an actor (his performance here is great, with wonderful bits of physical comedy thrown in), and his unwavering visual style as a director. 

And its very existance is testament to the indomitability of its director, a man whose life has been beset by enough tragedy and hardships to crush (if not end) most people, from escaping a concentration camp at the age of seven to being at the heart of one of the most infamous mass murders in American history, to being beseiged by various courts, Polanski has continued to not just endure, but to create at a high level, cinema that endures and contributes to our definition of art.

For more on Roman Polanski go see an excellent NY Times peice on him Here.

 

And when done sampling his work via VOD and Roku I recommend the following DVDs and Blurays:
Repulsion (The Criterion Collection) [Blu-ray]

Macbeth [Blu-ray]

Rosemary’s Baby (The Criterion Collection) [Blu-ray]

Chinatown [Blu-ray]

Roman Polanski: A Film Memoir (2011) [ Blu-Ray, Reg.A/B/C Import – Australia ]

Roman Polanski: A Retrospective

THE CINEMA OF STATUES : The Films of Rainer Werner Fassbinder


“He was a personable looking man. First your eye said he’s not young anymore, he’s not a boy anymore. Then your eye said : he’s not old. There was something of youth hovering over and about him, and yet refusing to land in any one particular place… In short the impression was agelessness. Not young, not old, not callous, not mature – but ageless. Thirty Six looking fifty six, or fifty six looking thirty six, but which it was you could not say.”

FOR THE REST OF HER LIFE by Cornell Woolrich

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Have you ever watched a film, and mere moments into it been so captured by its construction, its strangeness, and its audacity that it earns a spot in your pantheon, your metaphoric showcase of worthy things? I’m guessing the answer for some of us is yes. I say some, because the strange, by its very nature, will not be the cup of tea of everyone.

MARTHA based on a Cornell Woolrich story “FOR THE REST OF HER LIFE” was my first introduction to the world of Rainer Werner Fassbinder, and what an introduction. I’ve been a huge devotee and fan of all things Cornell Woolrich since discovering his pulp fiction a few years ago. I own and have read a ton of Woolrich stories and novels. When I heard about this movie based (illegally it seems) on one of his stories, I had to try it.

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And MARTHA finally seen, I was blown away by the strange, nearly alien craft and audacity of that film, and that led me by fits and starts to today’s review of Fassbinder’s WORLD ON A WIRE.

I’ve watched movies all my life, I consider myself well informed when it comes to cinema. I’ve seen all the great genres, and most of the great directors. I can speak to you about German Expressionism, Film Noir, French New Wave, Italian Neo-realism, the Pan-African and Post-Colonialism movements. I can talk to you about blockbusters and straight to VOD masterpieces. And when you have seen as many films as I have, to get me through a movie these days… you have to either a/tell the familiar in a captivating way, or b/create something vibrant and unfamiliar.

Most movies and all Blockbusters are the former, they are variations on types of movies and a thematic structure that we have seen time and time again, since the dawn of cinema; what makes them successful is the ability to do the ‘rescuing the girl from the train track’ in a fresh and innovative way.

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Much rarer is the latter, films and filmmakers that fundamentally challenge and expand are definitions of the scope and pathways of cinema.

I’ve seen two of Rainer Werner Fassbinder’s films all the way through, and both of them have struck me that way. Now admittedly they are from phase 1 of the three loosely defined phases of his career. Phase 2 being his Melodramatic phase, Phase 3 being that melodrama morphed into his identity films, dealing with themes of national, sexual, and familial identities in collusion and in conflict. (for more on this and for an overview on the films of Fassbinder please see the excellent Film.com article by Daniel Walber here!)

Phase 1 is arguably his most experimental and innovative films, here you’ll find the genre infused stuff, tinged with film-noir, horror and scifi trappings, the genres that I enjoy. Pro-active genres. I find myself generally not the audience for his phase 2 or 3 films, I’m not a fan of melodrama or just statement films. But with most of these later films not yet tried, I’m open to being pleasantly surprised.

But Phase 1, his cinema of statues and stylization, static but wonderfully composed frames, filled with actors who are at times more statues than men, and when they are animated it is often in very jerky, stilted ways. His women, leading ladies, are variations on a theme, big eyed, statuesque but often emaciated to the point of boniness, strawberry blonds, odd beauty bordering on the antithesis of beauty, mannequins and masks, and a wonderful use of angles and reflections.

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In pieces the movies should not work, stilted, unnatural performances, what is generally considered signs of amateurish or bad acting. However in WORLD ON A WIRE (WELT AM DRAHT, 1973), that ugliness and unease, the uncomfortable pauses, the shots held too long, the awkward pacing, inappropriate and at times overbearing use of music, things we typically identify with bad films and bad filmmakers, in these two films of Fassbinder all these flaws are stylistic choices and become instead function, negating themselves and becoming calling cards of a fundamentally different definition of cinema.

WORLD ON A WIRE, which virtually nobody talks about, is this outrageous and ambitious and way long mini-series of a movie, equal parts science fiction, mystery, and avant-garde film, that has this incredibly intriguing and prophetic premise about a world in which they create not just an artificial intelligence, but an artificial world peopled with artificial intelligences.

WeltAmDraht_Poster

The intelligences are programed to be perfect representations of people, and have a based in time and motion relation to each other, and capable of sex and love and procreation. So an AI universe that is self propagating, and more predictive, as the world is designed to be on a 20 year curve, so the shopping habits and economic changes and housing changes and conflicts that occur in the artificial world today, will be predictive of what happens in our world in 20 years.

It’s a brilliant, mind blowing concept, that you’ll find in better science fiction stories, but not in movies; particularly not in movies of the period, the early 1970s. On top of which the AI universe is viewable and interact-able by means of downloading someone into one of the AI inhabitants of the AI world. What??? That is mind blowingly brilliant and audacious premise for a film, even today in 2016 in an age of avatars, much less for a film made nearly 50 years ago.

And all of that, is not even what the movie is mostly about: it’s a film-noir movie. With a scientist trying to get to the bottom of his coworker’s disappearance. And then there is all the Fassbinder weirdness going on this movie, that just adds yet another level to the movie.

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The doll like women who never seem to blink, random moments of strangeness, [a party scene, where people seem not to move, and the few who do, do the same movements over and over again. A scientist called into his bosses office for serious conversation which they have while not looking at each other and spinning in circles in their chair. a night club with mostly nude attractive Black Men and women dancing while the clothed patrons walk past feeling them up… it is just craziness that comes out of nowhere, but all of it leaves you gobsmaked and off-kilter and not knowing what is coming next.} And it’s not comedy, Fassbinder isn’t just taking the piss or going for laughs here, he is telling a straight story, but he is using a crooked path, fueled by dream logic, he wants the delivery not to be what you are expecting and in WORLD ON A WIRE he succeeds.

Fassbinder, very much the spiritual predecessor to later avant garde filmmakers such as David Lynch and Lars Von Trier, was a young maverick director who died way before his time at the age of 37, however in less than a score of years (before his untimely departure) he would make 44 films, 39 of those being feature films. It is a staggering body of work to have produced by the age of 37. How many of us will ever make one film, much less 44 of them. And to make such across the board unique films, love them or hate them, is a great testament to someone who obviously ate, drank and slept cinema.

600full-rainer-werner-fassbinder Image courtesy of film.com

I can see people not liking or dismissing Fassbinder’s 3+ hour Sci-Fi epic as just flawed. And it is flawed, like I said previously, Fassbinder likes the mistakes, the mistakes of time, mistakes of gender, mistakes of intention, mistakes of moment, and out of all these mistakes with WORLD ON A WIRE he makes, at least for me, something composed of the old, that feels endlessly new.

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Grade: B+. It is definitely not for everybody, but if you like directors who are creative with cinematography (not just 360 degree shots but 540 degree shots), adventuresome in storytelling, and loyal to their actors (Fassbinder works with the same actors repeatedly, including actors of color, such as El Hedi ben Salem, rarely done for the period, and still too little done today) then this is a film for you. Recommended.

The Fassbinder Collection Two – MARTHA

World on a Wire (The Criterion Collection) [Blu-ray]

Speak to Me of Death: The Selected Short Fiction of Cornell Woolrich, Volume 1 (Collected Short Fiction of Cornell Woolrich)