The Legend of 1900 (La leggenda del pianista sull'oceano) (1998)
I first watched La Leggenda del pianista sull'oceano (released in US as The Legend of 1900) on the recommendation of a friend who was very enthusiastic about it. I must admit that I was profoundly moved at the time, in that way that only a thoroughly good film can do. I’d almost forgotten how powerful quality cinema can be. I feel justified in my assertion that film may be the greatest art form of the last and current century. Having watched the film again recently, this time on Blu-ray, I was again deeply impressed by the scope of the film and its timeless themes. The high-definition transfer makes the most of the film’s audio-visual excesses. The Legend of 1900 is a beautiful piece of cinema with a striking production design, rich cinematography and a marvellous score by the great Ennio Morricone. Tim Roth is utterly convincing in the lead role and excels in conveying the quirky foibles of the lead character.
I first watched La Leggenda del pianista sull'oceano (released in US as The Legend of 1900) on the recommendation of a friend who was very enthusiastic about it. I must admit that I was profoundly moved at the time, in that way that only a thoroughly good film can do. I’d almost forgotten how powerful quality cinema can be. I feel justified in my assertion that film may be the greatest art form of the last and current century. Having watched the film again recently, this time on Blu-ray, I was again deeply impressed by the scope of the film and its timeless themes. The high-definition transfer makes the most of the film’s audio-visual excesses. The Legend of 1900 is a beautiful piece of cinema with a striking production design, rich cinematography and a marvellous score by the great Ennio Morricone. Tim Roth is utterly convincing in the lead role and excels in conveying the quirky foibles of the lead character.
On the first day of the twentieth century, an abandoned child is discovered in the state room of the luxury liner Virginian. The Stoker (Bill Nunn) who discovers the child, names him 1900 or more accurately Danny Boodmann T.D. Lemon Nineteen-Hundred. Raised within the confines of the ship and never stepping foot on land, 1900 soon develops an ear for music and displays signs of being a child prodigy. It is implied that living among the multi-cultural crew and the rhythm of the engines has somehow shaped his abilities. As 1900 (Tim Roth) reaches adulthood, he becomes an integral part of the ships orchestra, with his sublime talents proving quite a hit with the first-class passengers. But it is with those in steerage that he finds his greatest inspiration. Using his talents to read a person by their look and manner and then to interpret that into music.
Directed by Giuseppe Tornatore (Cinema Paradiso) and based on a dramatic monologue by Italian novelist Alessandro Baricco, The Legend Of 1900 is a beautifully crafted fable and audio-visual metaphor. The sets designs and especially the beautiful cinematography by Lajos Koltai are a delight, reflecting the decadence and excess of sea travel at the time. The film embodies that visual creativity that is so integral to Italian cinema; actors are often cast primarily for the uniqueness of their faces. Polished surfaces reflect the opulent surroundings, yet distort the images, lending a subtle subtext to the dramatic themes. One standout scene sees 1900 playing a Grand Piano with the breaks off, as the ship is tossed in a storm. The instrument glides around the dance floor in the main state room, to the accompanying music. It’s a beautiful vignette and a clever metaphor for the wealthy elites of Europe pursuing their elegant lifestyle, while the sea of politics rages around them as they race headlong towards disaster.
However, visuals aside, it is the films musical score and the way that it is linked to the storyline, which stands out the most. Two of the most powerful scenes centre on how 1900 conveys his emotions through the piano. An apocryphal piano duel between 1900 and the equally legendary Jelly Roll Morton (the self-proclaimed creator of modern Jazz) showcases some incredible musical interpretations combined with innovative camera work. The music played are all genuine period pieces that push technical and artistic performance to its limits. The other scene takes place as 1900 makes his first and only audio recording. While improvising a piece at the piano, he sees a young girl through the porthole. His feelings shape the piece as he creates it, reflecting her beauty, naivety and innocence. This piece, Playing Love, composed by Ennio Morricone is sublime and one of his finest works. The scene is possibly one of the most genuinely moving pieces of cinema committed to film.
The Legend of 1900 suffers slightly through being an Italian film, with an international cast, shot in multiple languages. A lot of the dialogue was subsequently added in post-production by the original actors and voice artists. It was the director’s intention to try and reach a wider audience by not shooting in Italian. Sadly, the dubbing is noticeable at times and a minor distraction. Furthermore, the US distributors as usual failed to see anything beyond the bottom line and subsequently, removed 40 minutes from the films 160-minute running time. This shorter version is inferior to the director’s cut. Also, some of the films digital effects are not quite as polished as they could be, but they do not spoil the overall film. Giuseppe Tornatore also walks a tight rope with the use of sentimentality and dramatic pathos but succeeds where other directors would have failed. The key theme of a man of great talent and ability surrendering his life to the restrictions he has chosen for himself, is very tragic. 1900's world has clearly defined limits that he won’t venture beyond. Land represents for him a place without boundaries, where people can get lost.
“Take the piano. Keys begin, keys end. You know there are 88 of them. Nobody can tell you any different. They are not infinite. You're infinite... And on those keys, the music that you can make... is infinite. I like that. That I can live by. You rolled out in front of me a keyboard of millions of keys, millions and billions of keys that never end. And that's the truth Max, that they never end. That keyboard is infinite... and if that keyboard is infinite, then on that keyboard there is no music you can play. You're sitting on the wrong bench... That is God's piano”.
If you enjoy quality cinema and despair at its absence in the current climate then seek out The Legend Of 1900, especially the full 160-minute Italian version under its original title La Leggenda Del Pianista Sull'oceano. It is a thought provoking piece of cinema, that stays with you long after the film has finished. 1900 himself is an enigma which is never fully explained, although to do so would be to the films detriment. The story focuses on many themes such as loss and regret, but at its heart is the concept that it is ourselves that ultimately define the boundaries of our own life. Change is there, if we choose it, however, it always comes with a price. And if such philosophical themes do not appeal to you, then The Legend Of 1900 has a wealth of outstanding musical performances and set pieces to offer. Although the film ultimately belongs to Roth, whose off-kilter and deliberately vague performance underpins the narrative, just like that of Peter Sellers' in Being There.
LOTRO: Bullroarer Update 22 Build #2
A week on and Standing Stone Games have revised the latest test iteration of Update 22 for LOTRO, on the Bullroarer server. Build #2 now has a proper map that explains exactly where I went last Sunday. It seems that I visited all locations of note apart from Caras Tilion, a deserted Elven stronghold to the South of Eryn Lasgalen, at the foot of the Mountains of Mirkwood. So, I promptly went there tonight and found it inhabited by Fell Spirits and such like. I suspect that this will be the location for a group event as the mobs all seem high level. Like other areas in the test build, the terrain is unstable, and you can find yourself falling through what are supposed to be solid surfaces. Although there are roads marked on the map, trying to find them on the ground and follow them is somewhat harder. However, I suspect that this is meant to reflect the source text of The Hobbit in which the path through Mirkwood was often overgrown and difficult to track, hence the Dwarves got lost.
A week on and Standing Stone Games have revised the latest test iteration of Update 22 for LOTRO, on the Bullroarer server. Build #2 now has a proper map that explains exactly where I went last Sunday. It seems that I visited all locations of note apart from Caras Tilion, a deserted Elven stronghold to the South of Eryn Lasgalen, at the foot of the Mountains of Mirkwood. So, I promptly went there tonight and found it inhabited by Fell Spirits and such like. I suspect that this will be the location for a group event as the mobs all seem high level. Like other areas in the test build, the terrain is unstable, and you can find yourself falling through what are supposed to be solid surfaces. Although there are roads marked on the map, trying to find them on the ground and follow them is somewhat harder. However, I suspect that this is meant to reflect the source text of The Hobbit in which the path through Mirkwood was often overgrown and difficult to track, hence the Dwarves got lost.
I revisited Lake-town and found that there are now more NPCs and sundry embellishments. On the end of some of the piers, you will find locals queuing to use the privies, which I found rather amusing. The only other’s I’ve ever seen in LOTRO are in Rohan and are indirectly involved in a quest. It would also appear that I was broadly correct in my assumptions about the three entrances on the map and where they lead. The eastern door is now clearly marked opening to the Iron Hills and the Forest Gate to the west does lead to Beorning-land. The third entry (or exit point) to the South of Lake-town lead to an area called the Fields of Celduin. Celduin is the Elven name for the Running River, which flow ultimately to the sea of Sea of Rhûn. Perhap SSG have plans to develop Dorwinion as part of LOTRO. Dorwinion, was a land in the vales of the Celduin, northwest of the Sea of Rhûn. It was famous for its great gardens and as the home of the finest wines in all of Middle-earth. Its people were descendants of the Edain, and they had close ties to the Northmen of Dale in genealogy as well as Avari Elves.
Again, I spent my time this evening simply investigating the immediate area in this latest test build and have not undertaken any of the quests in the region. I prefer to wait for the final release of the update, so as not to spoil my enjoyment of it all. My overall opinion of Eryn Lasgalen and the Dale-lands remains the same as I stated in my previous post. This is a well realised and quite striking zone and Lake-town is a stand out location. It certainly is a welcome relief after the dour and oppressive atmosphere of Mordor. I hope that the quests featured in update 22 are as equally creative as the area itself. It just remains to see when SSG intends to release this update. If past events have any bearing on the matter, we may well see a formal release of this area within a few weeks of three or four test builds. Therefore, we may have a live version of this new area by the middle of March.
Insidious: The Last Key (2018)
Insidious: The Last Key is the fourth instalment of the franchise, but it’s actually the sequel to a prequel. If you wish to watch these movies in chronological order order then 3, 4, 1, 2 is the correct sequence. However, it is not essential to be au fait with the lore of the series to follow the plot of Insidious: The Last Key, although there are a few in-jokes for fans. The film begins with a prologue that gives us the backstory of Elise (Lin Shaye), our psychic who protagonist. Her childhood is far from happy as she lives next to the state prison where her abusive father is the executioner on death row. Young Elise and her brother encounter several paranormal incidents, the last leaving Elise possessed. Her mother Audrey rescues her but dies in the process. The film then moves on to 2010, where Elise gets a call from a scared man currently living in her old house. Despite reservations, she agrees to meet him and confront the supernatural forces behind the haunting. Her two assistants, Tucker (Angus Sampson) and Specs (Leigh Whannell), accompany her and encounter a growing series of well executed but somewhat formulaic set-pieces.
Insidious: The Last Key is the fourth instalment of the franchise, but it’s actually the sequel to a prequel. If you wish to watch these movies in chronological order order then 3, 4, 1, 2 is the correct sequence. However, it is not essential to be au fait with the lore of the series to follow the plot of Insidious: The Last Key, although there are a few in-jokes for fans. The film begins with a prologue that gives us the backstory of Elise (Lin Shaye), our psychic who protagonist. Her childhood is far from happy as she lives next to the state prison where her abusive father is the executioner on death row. Young Elise and her brother encounter several paranormal incidents, the last leaving Elise possessed. Her mother Audrey rescues her but dies in the process. The film then moves on to 2010, where Elise gets a call from a scared man currently living in her old house. Despite reservations, she agrees to meet him and confront the supernatural forces behind the haunting. Her two assistants, Tucker (Angus Sampson) and Specs (Leigh Whannell), accompany her and encounter a growing series of well executed but somewhat formulaic set-pieces.
Insidious: The Last Key is similar to The Purge: Election Year, in so far as both are examples of a movies in a franchise that don’t move things forward but simply take a step sideways and offer more of the same. With Insidious: The Last Key, we are provided with another extended trip to “the Further” and another demonic being that strives to interfere with human affairs. As ever with this series of films, there has been a lot of thought and effort put into the design of the central demon and Key Face is certainly an innovative design. However, if this franchise has a weakness, it is the fact that the supernatural forces are always given the minimum of explanation. That’s not to say that screenwriter, Leigh Whannell, should spoon feed the audience but it would be interesting to learn a little more about the motivations of the demons and why the manifest the way they do.
There is no major graphic violence and once again, the emphasis is on tension and disquiet. There are the usual jump scares that still seem to be in vogue and the sound design is used to great effect. Where both Lin Shaye and Bruce Davidson (playing her adult, estranged brother Christian) have adequate dialogue and something specific to do with their characters, the rest of the cast are not so lucky. Elise conveniently has two young nieces who are mainly present for “women in peril” duty. Tucker and Specs are again mainly comic foils. However, despite being overall just an adequate entry in the series, Insidious: The Last Key still has Lin Shaye as its trump card. There are not many Hollywood franchises that have at their heart a 74-year-old lady and her character remains endearing and robust. The film also makes a stab at some emotional depth during its climax, when Elise confronts the spirits of her past and the script takes a somewhat compassionate turn.
Overall, I found Insidious: The Last Key to be acceptable and the end of the movie nicely dovetails into the set up for the first Insidious back in 2011. Because of the goodwill that the previous three films have generated, I consider this instalment to be an adequate ending to the series, but I really don’t think that there’s any mileage left for a fifth. I don’t see where else you can go with the character of Elise as her fate is already a known quantity. However, since when have narrative issues and a clearly concluded storyline ever stopped a studio from making more movies in a successful franchise? I have a sneaking suspicion that a Tucker and Specs spin-off is also a possibility, which is far too close to Scooby-Doo territory for my liking. However, irrespective of such speculation, Insidious: The Last Key provides formulaic shocks and a clear conclusion. It will probably play better at home, due to lower expecatations.
Levelling and Gear Progression in ESO
One of the most trying old adages associated with the MMORPG genre is “endgame is where the real game begins”, or some variation thereof. It’s a stupid dogma that is happily negates all that the player has done while levelling. It usually goes hand in hand with the mindset that the only worthwhile pursuit at level cap is raiding, but I digress. For many MMOs, it’s a real challenge to make the levelling experience feel tangible and relevant, so players don’t get the impression that their just treading water when it comes to gear and skill points. However, some games do manage to get this right. LOTRO has several sets of armour that you can acquire at early stages in the game that are worth holding onto for at least ten levels. The Armour of Fém is a good example. It can be obtained at level 42 in Aughaire and can last the player right into Moria, ten levels later, before it needs to be replaced. STO proactively negates this problems by allowing gear to be upgraded but again I digress. My point is, much of what we acquire and use as we progress through an MMO is transient, but if the developers have done their job properly, it doesn’t seem that way.
One of the most trying old adages associated with the MMORPG genre is “endgame is where the real game begins”, or some variation thereof. It’s a stupid dogma that is happily negates all that the player has done while levelling. It usually goes hand in hand with the mindset that the only worthwhile pursuit at level cap is raiding, but I digress. For many MMOs, it’s a real challenge to make the levelling experience feel tangible and relevant, so players don’t get the impression that their just treading water when it comes to gear and skill points. However, some games do manage to get this right. LOTRO has several sets of armour that you can acquire at early stages in the game that are worth holding onto for at least ten levels. The Armour of Fém is a good example. It can be obtained at level 42 in Aughaire and can last the player right into Moria, ten levels later, before it needs to be replaced. STO proactively negates this problems by allowing gear to be upgraded but again I digress. My point is, much of what we acquire and use as we progress through an MMO is transient, but if the developers have done their job properly, it doesn’t seem that way.
Sadly, this is not the case in The Elder Scrolls Online. The game has many virtues and selling points, but the gear grind is clearly an irrelevance until you reach a specific point in the game. Namely level 50 with 160 champion points. Until then, finding adequate gear is very difficult and players are “encouraged” by the prevailing dogma of the game, to just slum it with items from quest drops, irrespective as to whether they’re optimum for your characters build. The alternative is to simply buy armour and jewellery from vendors and to apply glyphs to enchant it to your chosen specifications, but this is an expensive option and the gear itself is of the lowest tier of quality. Of course, there is the option of running delves to find suitable gear, but the task is made more difficult by the fact that your character will frequently be underpowered, due to the lack of quality gear they have equipped. As you can see, it’s a chicken and egg situation. The only other alternative is Dolmen farming but then this is not always the most enjoyable way to play ESO. Plus, if you do it for a few hours at a time, you’ll find you’ve out levelled half of what you’ve acquired.
In other MMOs, there are often several alternative ways of acquiring gear sets, other than depending on standard quest rewards. LOTRO has the skirmish system which provides the player with barter currency to buy specific sets. Furthermore, the sets are available to a variety of levels. The reputation system in STO also allows you to buy a variety of gear sets for your ship. And of course, most games also have an auction house system that allow for the buying and selling of all non-bound items. This is where most players look first to fill the gaps in their build or to buy something passable while levelling. Sadly, there is no server wide auction house system in ESO. Individual guilds buy and sell gear. They have store fronts littered round Tamriel. The range of items they sell is dependent upon the guild size, how prodigiously they craft or farm quests. More often than not, most guild traders only have smattering of items below level 50 with 160 champion points because that’s not where the money and market is. Due to there being multiple outlets, checking stock is time consuming. The only option left therefore is to craft gear yourself. However, like everything else in ESO, this only becomes a viable option at level cap.
Exactly how did ESO arrive at this point? Well the One Tamriel Update removed the level restriction on content, scaling everything according to the player, which obviously didn’t help the gear situation. With delves and story quests scaling to your level, there isn’t the surplus of gear generated by content fixed at a specific level. The lack of a server wide auction system is also a major contributor. Finding specific gear, even with addons to help the search process, is time consuming task that requires you to visit a multitude of outlets. Joining a guild may help and there is the chance that fellow guildmates will help you out with gear acquisition. But ESO strikes me as a game with a substantial player population with alts at level cap. Levelling is not seen as a journey in itself but more of an obstacle to be overcome. It’s a shame. This issue certainly doesn’t mitigate the positive aspects of ESO as an MMO, but it does impact upon the way you play until you approach the level cap. Now that I’ve reached level 50 and have amassed over 100 champion points, I can certainly play more effectively. I can now focus on what gear I would like; something I couldn’t do at the start of the game. Perhaps ZeniMax will address this issue in a future update.
The Hobbit (1977)
The Hobbit (1977) is a curious beast. It’s a made for television animated film, which despite its budgetary constraints, strives to comprehensively adapted one of the most beloved children’s books of the last century. I remember reading an article about this television adaptation of The Hobbit, in Starburst Magazine during the late seventies. There were rumours that this Rankin/Bass production, which had already premièred on US network television, would gain a European cinema release. This was presumably to cash in on the success of Ralph Bakshi's animated feature film adaptation of The Lord of The Rings. However, this never happened to my knowledge. In fact, The Hobbit was not commercially available in the UK until 2001, when Warner Bros. released it on DVD to capitalise on the success of Peter Jackson’s The Fellowship of the Ring.
The Hobbit (1977) is a curious beast. It’s a made for television animated film, which despite its budgetary constraints, strives to comprehensively adapted one of the most beloved children’s books of the last century. I remember reading an article about this television adaptation of The Hobbit, in Starburst Magazine during the late seventies. There were rumours that this Rankin/Bass production, which had already premièred on US network television, would gain a European cinema release. This was presumably to cash in on the success of Ralph Bakshi's animated feature film adaptation of The Lord of The Rings. However, this never happened to my knowledge. In fact, The Hobbit was not commercially available in the UK until 2001, when Warner Bros. released it on DVD to capitalise on the success of Peter Jackson’s The Fellowship of the Ring.
Rankin/Bass productions had a pedigree in bringing traditional and familiar children's material to the small screen, with such titles as Frosty the Snowman and Rudolph the Red-Nosed Reindeer, so it was not unusual for them to take on such a project. However, a lot of the animation was sub contracted to Japanese studios, which was a standard practise at the time. This subsequently had a major impact on the production design and the aesthetics of the film. Rankin/Bass productions often included songs in their commercial output as it had proven to be a major selling point in the past. Naturally, original Tolkien's work with its abundance of songs and verse, lent itself to this very well. As a result, The Hobbit has a wealth of vocal tracks sung by popular folk singer, Glenn Yarbrough. They’re not to everyone’s taste but they do work, and some do stick quite faithfully to the source text.
The adaptation of the story is very simple. Some of the more complex plot details have been lost, such as the Arkenstone of Thrain, the skin-changer Beorn and the scheming master of Lake Town. Tolkien wrote this story for children and that is the way the film’s screenplay is pitched. The character designs range from the adequate to the bizarre. Gandalf is represented pretty much as you would expect, sticking to the usual old man with a pointy hat trope. Bilbo and the Dwarves reflect a more juvenile friendly interpretation. However, the Trolls and Goblins are not especially scary and lack any real sense of threat. It is in the design of the Elves that this production really fumbles the ball. This race of near perfect creatures with their angelic qualities, are simply ugly and emaciated. Someone definitely failed to understand the source text in this respect. Gollum is also poorly conceived and looks a little like a large Bullfrog. And all I'll say about the dragon Smaug, is that his feline quality is "unusual".
With these shortcomings, are there any positive attributes regarding this production? Well the minimalist water colour backgrounds work well, often drawing on Tolkien’s illustrations themselves. The voice casting has some strong performers, such as John Huston as Gandalf. However, some of the minor characters are played by well-known voice artists Don Messick and John Stephenson. As a result, you do feel that you’re watching an episode of Scooby Doo or The Arabian Nights at times. So where does this leave us? Well it's difficult to be objective, as any adaptation of Professor Tolkien's work tends to be over shadowed by the success of Peter Jackson's two trilogies, which have established an aesthetic standard. Therefore, this older version of The Hobbit suffers as a result, as it flies in the face of this. Overall, it’s a low budget, basic adaptation, with a variety of good and bad animation. It will probably find its most appreciative audience, among children, for whom it was intended.
Thoughts on Blogging Part 2
I usually write a post early on in the New Year in which I list the various goals I’m focusing on over the next twelve months. To date I have not done this because I am still trying to work out what I can and cannot accommodate within my current schedule. As a carer I’m kept very busy, but my weekly routine does offers windows of opportunity for writing. However, free time is a finite commodity, so I have to really cut my proverbial coat according to my cloth this year. Therefore, I’ve decided to pursue the following projects. I will continue to regularly post on Contains Moderate Peril as I enjoy having my own platform and certainly feel that I still have a lot to write about. Also, the audience is steadily growing, and I think it would be counter productive to fly in the face of such a development. I was also given the opportunity to write for MMOGames recently and have decided to accept this invitation. Writing to deadlines and deferring to editors, is an invaluable learning experience. Plus, it presents my writing to a wider audience which is great for brand awareness and other awful marketing terms.
I usually write a post early on in the New Year in which I list the various goals I’m focusing on over the next twelve months. To date I have not done this because I am still trying to work out what I can and cannot accommodate within my current schedule. As a carer I’m kept very busy, but my weekly routine does offers windows of opportunity for writing. However, free time is a finite commodity, so I have to really cut my proverbial coat according to my cloth this year. Therefore, I’ve decided to pursue the following projects. I will continue to regularly post on Contains Moderate Peril as I enjoy having my own platform and certainly feel that I still have a lot to write about. Also, the audience is steadily growing, and I think it would be counter productive to fly in the face of such a development. I was also given the opportunity to write for MMOGames recently and have decided to accept this invitation. Writing to deadlines and deferring to editors, is an invaluable learning experience. Plus, it presents my writing to a wider audience which is great for brand awareness and other awful marketing terms.
However, I have several other ideas and potential projects in development at the moment but it’s proving hard to determine which ones I should do. Some would be fun but are mainly driven by my personal preferences. Others are designed with an eye to reader involvement, which would potentially attract traffic. And as I ponder this matter, it has also dawned upon me how my bent for writing is slowly turning from a passion to a job. I’ve had to create a spreadsheet to track the various blog posts I have scheduled and I’m also setting constraints on the length of some posts, simply to ensure they can be turned around promptly. However, it is logical to put systems in place if you wish to manage a situation. For example, if I think it’s likely that I’m going to write about a film that I’m watching, I will always make notes about it. I also use of Pocket to save interesting articles and reviews that appear in my Feedly subscriptions. I also have a white board on the wall for ad-hoc ideas.
It’s a curious situation, trying to determine exactly when you go from being an enthusiastic blogger to a “writer”. In the past some would argue that you had to have something formally published in physical print before you could credibly claim such a title. Nowadays the criteria seem to be a lot different. Some known and established writers have stated that the title is something you just choose to label yourself and that is substantiated by your body of work. It certainly offers food for thought. I would add that getting paid for your work at some point helps. And while we’re on the subject of writing as a formal job, I’d like to point out I’m not a fan of the old adage “do what you love, and you’ll never work another day in your life”. I think it’s hogwash. If you wish to do anything to the best of your ability, it will require effort and dedication. It’s therefore going to be hard and if it doesn’t feel so, then I would suggest you’re doing it wrong. Work can be fun, but it is not play. Furthermore, I always hear this phrase bandied about by people of independent means, which pretty much negates their point. If you don’t have to do something just to get by, is it really a job?
Despite trying to set some time aside, I haven’t managed to sort out a podcast so far this year. I suspect I am going to have a rethink on that issue. Rather than produce my own show, I may have to see if I can find a slot on someone else’s, which is a big ask. I think this issue may be a separate post in itself. I also fear my aspiration to do a light-hearted stream while gaming, is going to have to be shelved. The movie club idea may still happen, as it could provide a regular article for Contains Moderate Peril. However, the main problem is picking a film to discuss, that is available on most video on demand platforms and therefore accessible. While I try to figure all these things out, I need to focus on my current writing, as that’s something I can manage at present if I stick to my schedule. It also occurs to me as I write this post, why so many people consciously decide to give up blogging or writing in general. It isn’t as easy or straight forward as some perceive it to be. Furthermore, we’re often our own worst enemy by being such hard taskmasters.
Black Sheep (2006)
Black Sheep is a high concept horror comedy from New Zealand. Featuring creative physical effects by Weta Workshop, this tale of genetically modified killer sheep, animal husbandry and environmentalism requires a very broad sense of humour and an abiding love for the “creature feature” sub-genre. It should be noted that the copy I watched was the unrated R1 DVD. This version is stronger in content than the R rated US theatrical release and yet was released at the UK cinemas with only a 15 rating from the BBFC. I suspect that the similarities in humour between the UK and New Zealand contributed to this somewhat low rating. That and the fact that horror comedy often gets a free pass because the humour always tends to mitigate the violence.
Black Sheep is a high concept horror comedy from New Zealand. Featuring creative physical effects by Weta Workshop, this tale of genetically modified killer sheep, animal husbandry and environmentalism requires a very broad sense of humour and an abiding love for the “creature feature” sub-genre. It should be noted that the copy I watched was the unrated R1 DVD. This version is stronger in content than the R rated US theatrical release and yet was released at the UK cinemas with only a 15 rating from the BBFC. I suspect that the similarities in humour between the UK and New Zealand contributed to this somewhat low rating. That and the fact that horror comedy often gets a free pass because the humour always tends to mitigate the violence.
The plot is somewhat rudimentary but appropriate to the genre. Two brothers grow up on a sheep farm. One, Henry Oldfield (Nathan Meister), becomes a sheepophobic (is that a proper word?) after his brother Angus (Peter Feeney) kills his pet and terrorises him with the carcass. Years later Henry discovers that his successful brother is conducting illegal genetic experiments with sheep. An experimental foetus is then accidentally unleashed after environmentalists (Oliver Driver and Danielle Mason) break into the farm. It's not long before those bitten by the monster sheep transform into sheep-human hybrids. Matters get worse as killer flocks rampage through the countryside, seeking human flesh.
Writer and director Jonathan King's debut feature is very matter of fact. You'll either love or hate this film and there is no middle ground. It's gory, crass and obvious. Yet there's some subtle digs at environmentalism, farming and political activism. There are some affectionate homages to the horror genre (one scene is straight out of An American Werewolf in London) and the whole enterprise is refreshingly unpretentious. There is also great cinematography by Richard Bluck and a wonderfully traditional soundtrack by Victoria Kelly which compliments the film greatly. Despite its subject matter and the occasional lapse into that theme we'd hope they wouldn't touch (i.e. sheep loving), Black Sheep is an amusing night's entertainment for those that approach it with the right state of mind. If you are easily offended and gore averse, best give it a miss.
LOTRO: Bullroarer Update 22 Build #1
A beta version of the latest update for LOTRO is currently available on the Bullroarer test server this weekend. Update 22 (Build #1) or Strongholds of the North, features Northern Mirkwood or Eryn Lasgalen as it known since the fall of Sauron and the destruction of Dol Guldur, as well as the Dale-lands. The area includes such iconic locations as The Halls of the Elven King, Lake Town, Dale and Erebor. As this is an early build, players cannot continue the epic story The Black Book of Mordor. At present, the map for the zone is simply a placeholder and serves little navigational purpose. At times the player marker vanishes from the map entirely. However, as Bullroarer is a test server, players can collect a free stipend of Mithril Coins from the Eyes and Guard Tavern and thus use swift travel to all five new stable locations.
A beta version of the latest update for LOTRO is currently available on the Bullroarer test server this weekend. Update 22 (Build #1) or Strongholds of the North, features Northern Mirkwood or Eryn Lasgalen as it known since the fall of Sauron and the destruction of Dol Guldur, as well as the Dale-lands. The area includes such iconic locations as The Halls of the Elven King, Lake Town, Dale and Erebor. As this is an early build, players cannot continue the epic story The Black Book of Mordor. At present, the map for the zone is simply a placeholder and serves little navigational purpose. At times the player marker vanishes from the map entirely. However, as Bullroarer is a test server, players can collect a free stipend of Mithril Coins from the Eyes and Guard Tavern and thus use swift travel to all five new stable locations.
Bearing this all-in mind, I spent a few hours this afternoon exploring the new area. I have not finished the Mordor expansion yet (mainly because I didn’t enjoy the area) so was careful when travelling around as my primary alt is still only level 109. Porting directly from the Eyes and Guard Tavern takes you to Felegoth, the Halls of the Wood Elves. As you would expect, the traditional Elven motif has been maintained in the art design, although there are subtle differences to other Elven enclaves. Because the Halls are mainly underground, the cavernous expanses are filled with stalagmites and stalactites. Yet unlike Dwarven delves, this area is brightly illuminated and has gardens and areas of natural beauty. The keen explorer will also find the dungeon cells where Thorin and his companions were held. There’s also a cellar with a substantial trap door and numerous barrels. One in particular is worth investigating.
Northern Mirkwood itself is a dark and dismal place, similar to its existing Southern counterpart. The light soon vanishes once you travel beyond the Elven King’s territory and the path twists and turns. Luckily, they’re wooden posts marking the trail, but it is important to stay vigilant or you can get lost. Places of interest in the immediate area include an encounter with Radagast and the Elven trading post of Loeglond on the edge of Long Lake. Upon exiting Eyn Ladgalen you enter Dale-land and discover a newly rebuilt and thriving Lake-town. This is very well realised and certainly captures the spirit of Tolkien’s original description from The Hobbit. If you travel downstream you come to the ruins of the old Lake-town and the remains of Smaug. It is a nice embellishment, similar to the remains of the Bridge of Khazad-dûm in the Foundations of Stone.
North of Lake-town the road leads to Dale which is a broader iteration of what already exists in LOTRO in the instance The Bells of Dale. I like the way the town straddle the tributaries of Long Lake and that water and fountains are a major feature of the design and architecture. Beyond Dale to the Northwest lies the guard post of Ravenhill. Within the small Dwarven edifice is Dís, mother of Fíli and Kíli. There is an entrance behind here, which for the present remains closed and suitably enigmatic. But the jewel in the crown in Erebor. It is large, impressive and gloriously Dwarven. Unlike other Dwarven hubs in Middle-earth, this one is quite linear in its layout and easy to navigate. You can also climb to the western spur of Erebor and survey the land below on the other side, although invisible walls hem you in at present.
I always like to explore I LOTRO and make it my business to investigate an area or region as thoroughly as I can. I like to follow the mountain ranges and other topographical features that Standing Stone Games use to funnel players from quest hub to quest hub. What seems to have become a habit in recent years, is that the areas in free updates are often expansive, but not necessarily functional. I got this impression again in parts of Northern Mirkwood and Dale-Land. However, this does not in any way mitigate the time and effort SSG has put into the design of this area. I also found three entrances/exists to the area. One to the South West that may lead to Southern Mirkwood. Another to the North East that may lead to the Iron Hills. I also discovered the Forest Gate which leads from Carrock. All of these “doorways” are currently blocked. Hopefully the next test build will have a more detailed map and will allow for a more accurate appraisal of the area. In the meantime, as ever, I like what I see and it’s reassuring to see the SSG are still maintaining their high standard of world building.
Punisher: War Zone (2008)
During the seventies, due to the soaring crime rate, failure of national politics and social backlash against the establishment, vigilante films and novels were very popular with the public. Michael Winner's Death Wish captured this sentiment perfectly. Although an exploitation film, it managed to maintain an intelligent and thoughtful edge, which certainly reflected the mood of the New York public of the times. Sadly, these issues where subsequently written out of most future screenplays due to the rise of the Hollywood action blockbuster. Moral subtexts and ethical conundrums were replaced by the sledge hammer ideology of might is right. Heroes were given badges and the official sanction of the establishment and destroyed two dimensional enemies, without any need for ethical reflection or inner introspection.
During the seventies, due to the soaring crime rate, failure of national politics and social backlash against the establishment, vigilante films and novels were very popular with the public. Michael Winner's Death Wish captured this sentiment perfectly. Although an exploitation film, it managed to maintain an intelligent and thoughtful edge, which certainly reflected the mood of the New York public of the times. Sadly, these issues where subsequently written out of most future screenplays due to the rise of the Hollywood action blockbuster. Moral subtexts and ethical conundrums were replaced by the sledge hammer ideology of might is right. Heroes were given badges and the official sanction of the establishment and destroyed two dimensional enemies, without any need for ethical reflection or inner introspection.
The Punisher started life in 1974, as minor character in The Amazing Spiderman comic. He was unique in the fact that he was not a traditional super hero with special powers. He was simply an ex-marine turned vigilante after his family were executed by the Mafia. Due to the mood of the times, he struck a chord with the readers and quickly became a franchise in his own right. Naturally, such a character was deemed to have box office potential and was subsequently adapted for the screen three times. Dolph Lundgren took the lead in Mark Goldblatt's competent 1989 production and Thomas Jane explored the character again in 2004 directed Jonathan Hensleigh's. However, these films strayed somewhat from the central character and tended to focus upon his emotional turmoil. Both make for interesting genre viewing but essentially miss the simplicity and enigma of the central theme.
In Punisher: War Zone, directed by Lexi Alexander, Ray Stevenson takes on the role of Frank Castle. Finally, the character gets the treatment they deserves, in a vehicle that truly captures the original spirit of the comics and graphic novels. Punisher: War Zone is a bleak, extremely violent action film which shows us a man who has lost his soul and functions only to punish the guilty. His work brings him no pleasure, redemption or salvation. It simply provides him with a reason to exist. The religious and philosophical aspects of this are touched on but not explored excessively. This is a film that does not delude itself or the public about what it is about. All the classic protagonists are present. There is a scarred crime boss called Jigsaw (Dominic West) who fills the role of nemesis. Then there is the collaborator and armourer Micro (Wayne Knight) who articulates the justification for our anti-hero. The voice of the establishment and public morality is represented in FBI Agent Paul Budiansky (Colin Salmon).
Despite having a very troubled production (which I won't go in to here), Punisher: War Zone is a professionally made genre picture with some strong action scenes. The cast and script are exactly right for this sort of film. Stevenson is given more to do with the role than you may expect and sells his performance perfectly. West does not attempt to go beyond what is required as Jigsaw. Unlike Heath Ledger's Joker he is not out to score psychological points but simply wants revenge. For the purist action movie fan this is as good as it gets. Shame the US critics didn't see it this way. They made the mistake of looking for more within the material, when more was not required. Perhaps political correct sensibilities demanded some sort of moral sub-text or epiphany. Sorry but you won't find them here. To have pandered to such themes would have totally mitigated the source material and have been an artistic insult.
Punisher: War Zone received a very limited release in the UK due to its poor US box office returns, back in 2008. The emotive nature of the entire subject, is something that often resonates with a good many members of the public. We live in a civilised society that has laws and courts and a process for dealing with crime. We ponder the motives of the guilty and we endeavour to treat them with more humanity than they did their victims. Yet, despite what our heads and moral compass tells us, somewhere in our hearts many off us crave for this kind of hard justice. We know that in reality it would not work, yet the concept of the righter of wrongs who deals in lead, is a potent one that does not go away easily. We live in times where our confidence in the system is sorely tested.
Punisher: War Zone is not for everyone and cannot be considered a mainstream film. It is however, honest enough to be exactly as it should. Why the executives over at Lions Gate picture decided to release this during the Christmas season of 2008 is beyond me. Again, I think this is another example of studio politics and how certain producers still lack confidence in R rated movies, preferring to explore more lucrative options. So, in one respect Punisher: War Zone is a minor milestone is so far as don’t see a picture of this kind too often. Eight years on, Deadpool is the most comparable comparison. As the rights to The Punisher have now returned to Marvel and the franchise has found a home on Netflix, it is highly unlikely we’ll see another cinematic outing again.
Shadow of War: Blade of Galadriel DLC
Warner Bros released a new story expansion for Middle-earth: Shadow of War on Tuesday as well as a patch that expands and “improves” the core game. Blade of Galadriel DLC, follows the adventures of Eltariel, an elite Elven warrior who is sent to Mordor to hunt the Nazgûl. As a playable character Eltariel wields dual blades and the uses the Light of Galadriel instead of a Ring of Power. There are also another eight unique Legendary Orcs added to main story campaign that can be recruited. The Nemesis System has been tweaked, introducing new traits and behaviours to Orc Captains. These include “Tunnel Rat” which lets Orcs burrow into the ground and summon Ghûls, and “Sniper Shot”, which causes archers to fire from great distances with pinpoint accuracy. “Tremor”, makes Ologs concussively hit the ground, staggering nearby foes and damaging structures. The “Gifts of Treasure” offers an alternate way to earn Gems and Mirian.
Warner Bros released a new story expansion for Middle-earth: Shadow of War on Tuesday as well as a patch that expands and “improves” the core game. Blade of Galadriel DLC, follows the adventures of Eltariel, an elite Elven warrior who is sent to Mordor to hunt the Nazgûl. As a playable character Eltariel wields dual blades and the uses the Light of Galadriel instead of a Ring of Power. There are also another eight unique Legendary Orcs added to main story campaign that can be recruited. The Nemesis System has been tweaked, introducing new traits and behaviours to Orc Captains. These include “Tunnel Rat” which lets Orcs burrow into the ground and summon Ghûls, and “Sniper Shot”, which causes archers to fire from great distances with pinpoint accuracy. “Tremor”, makes Ologs concussively hit the ground, staggering nearby foes and damaging structures. The “Gifts of Treasure” offers an alternate way to earn Gems and Mirian.
Photo Mode has also been upgraded, adding new filters, frames, styles, adjustable expressions, and stickers. I always enjoy this facility when it appears in a game and would like to see it available in more titles. Taking screen captures of alts has always been a major part of the fun of any RPG or MMORPG and developers should not overlook this. The latest DLC and patch have also added new Talion or Eltariel player skins for use in the main story campaign. There's also a new stat page, making it easier to keep track of your progress through the game. Plus, a Field of View option has been added which is something that players have regularly asked for. In any game where situational awareness is important, having a broad FOV in invaluable.
I played Middle-earth: Shadow of War heavily when it was released last October. It’s the sort of game that lends itself to intensive play and forging ahead through the storyline. The main selling point is the ridiculous, lore breaking narrative that takes substantial liberties with established canon. Yet if you’re prepared to suspend your sense of disbelief, it is an entertaining game. What becomes very clear after playing the new Blade of Galadriel DLC for about twenty minutes or so, is that apart from a new character skin and a few alternative skills, you’re doing exactly the same as what you did initially with Talion. It’s a classic example of same meat, different gravy which is fine if you can’t get enough of murdering Orcs. However, if you grew tired of this last time round, it’s not going to get any better this time.
Needless to say, as I have other games available at present that I’m more interested in pursuing, I decide to postpone exploring the Blade of Galadriel for the immediate future. Another reason to put it on hold is the simple fact that I’ve already forgotten most of the keyboard combinations for the special attacks and powers. Something that seems to happen a lot these days if I stop playing a game for too long. However, I will give credit where credit is due, because Monolith Studios have certainly provided a substantial amount of new content in this DLC. Furthermore, as a season pass holder there is still more to come later this year. I suspect that I will enjoy this new story at a later date when I want something a little less demanding than the MMOs I am currently involved with.
Feast (2005)
Feast is a low budget horror movie in which a remote redneck bar in Nevada, comes under siege from a group of carnivorous desert dwelling beasts. It’s hardly an original story but as always, the devil is in the detail. Where Feast differs from other similar films is that it offers you all the stereotypical characters and tropes that you expect to find in such a genre movie and then goes in completely in the opposite direction. The film is competently directed by John Gulager in a very contemporary style, with fast edits, deliberately obtuse protagonists and a liberal dose of gallows humour. Once the premise has been set, Feast does not waste a moment of its ninety-minute running time.
Feast is a low budget horror movie in which a remote redneck bar in Nevada, comes under siege from a group of carnivorous desert dwelling beasts. It’s hardly an original story but as always, the devil is in the detail. Where Feast differs from other similar films is that it offers you all the stereotypical characters and tropes that you expect to find in such a genre movie and then goes in completely in the opposite direction. The film is competently directed by John Gulager in a very contemporary style, with fast edits, deliberately obtuse protagonists and a liberal dose of gallows humour. Once the premise has been set, Feast does not waste a moment of its ninety-minute running time.
Feast takes a novel approach to its plot exposition. As we’re introduced to each character, there’s a freeze frame and a brief biography appears onscreen along with their projected life expectancy. This innovative approach is deliberately misleading and it’s not long before several cinematic sacred cows are profaned. Our hero is quickly defenestrated and decapitated and an “innocent” child also meets an unpleasant end. Subsequently, there are further amusing plot twists where characters behave contrary to genre convention. One individual who manages to reach a truck in the bar car park, does not return for their comrades but simply drives off.
It is this clever approach to its subject matter that makes Feast enjoyable and superior genre product. The cast (including Henry Rollins and Clu Gulager) are better than expected (and possibly what the movies deserves) but there are few characters that you feel sympathy for. Yet because of their erratic behaviour and flagrant disregard for horror movies tropes, you are kept involved. The marauding creatures are kept suitably off screen for a lot of the film. They wear dead animal skins and bones which also masks their appearance. Obviously, this is mainly due to budgetary reasons, but it also keeps them somewhat enigmatic. Exactly what they are and where they come from is left unanswered.
I watched a US unrated version of the film which contains a few extra seconds of violence here and there. Overall, this is a visceral horror movie containing eyeball violence, maggots, monster vomit, castration and a lot worse. It’s not intended for the casual viewer. However, what keeps Feast above average is its knowing contradiction of audience expectations and tongue in-cheek approach. The script was selected via the amateur filmmaking documentary series Project Greenlight. The producers include Matt Damon, Ben Affleck, Sean Bailey, and Chris Moore. As ever with the horror genre, the movie was far from a critical success but made sufficient money to generate two sequels. Feast makes for superior Friday night viewing and is therefore recommend purely as such.
The Hobbit by J.R.R. Tolkien (1990)
In 1989 Eclipse Comics produced a three-part adaptation of The Hobbit by Chuck Dixon, Sean Deming and illustrated by David Wenzel. A year later, due to public demand, this was subsequently re-issued as a single graphic novel that has remained in print ever since. The writers wisely chose to sensitively abridge Tolkien’s source text, rather than adapted the story and make any major changes. Hence this graphic novel version of The Hobbit retains much of the dialogue from the original novel and subsequently maintains the book’s inherent charm. There are no major plot omissions and the narrative flows well. The panel layouts are innovative and accommodate a wealth of written material without overwhelming the artwork.
In 1989 Eclipse Comics produced a three-part adaptation of The Hobbit by Chuck Dixon, Sean Deming and illustrated by David Wenzel. A year later, due to public demand, this was subsequently re-issued as a single graphic novel that has remained in print ever since. The writers wisely chose to sensitively abridge Tolkien’s source text, rather than adapted the story and make any major changes. Hence this graphic novel version of The Hobbit retains much of the dialogue from the original novel and subsequently maintains the book’s inherent charm. There are no major plot omissions and the narrative flows well. The panel layouts are innovative and accommodate a wealth of written material without overwhelming the artwork.
Tolkien's The Hobbit is a substantially different book to in comparison to The Lord of The Rings both in narrative style and tone. It was squarely aimed as children and takes a much lighter tone than its sequel. Artist David Wenzel captures this aspect superbly with rich, colourful illustrations. His visualisation of Middle-earth is lush and very European. His depiction of Bilbo Baggins, is suitably ruddy cheeked and rustic. He also distils the characters age and placid demeanour very well. His Goblins are scary but not the feral, demonic entities we see in Peter Jackson’s movies. His Dwarves are regal and less military than other depictions. Gandalf is especially understated, looking more like a village elder than a wizard. Overall the artwork is vivid, and all the characters are clearly defined, which significantly contributes to the readers emotional investment.
Part of the great appeal of Tolkien's work is the mental imagery that it inspires among readers. Tolkien often gave detailed description of people and places but always provided scope for those reading his books to conjure up their own unique interpretations. However, over the years a strong consensus on visual interpretations has developed, due to the popularity of Alan Lee's and John Howe's body of work. Their influence is such that both worked as creative consultants on both of Peter Jackson’s movie trilogies. David Wenzel's graphics are very different from this perceived status quo, yet clearly captures the essence of the story and offers strong characterisations. The Hobbit graphic novel also provides a great alternative introduction to Tolkien's work, without compromising the Professors narrative skills. This version of The Hobbit is therefore a welcome addition to anyone's bookshelf.
Game Complexity
While perusing You Tube, I watched the following video, boldly titled “The Top MMOs to Play This Year”. I found it to be quite informative and felt that the creator made their case well. However, one thing struck me about the five new MMOs that were referenced. All of these titles seem to be stepping away from the “business as usual” approach of the genre and pursuing an increase in complexity with respect to their game systems and mechanics. Now that’s not to say that existing MMORPGs are not complex. Some are, but I usually find that this is born out of skills or systems bloat and a games growth over time. On paper many of LOTROs mechanics are straightforward, but it is their implementation that is esoteric. This is not the same sort of complexity I saw referenced in the video. Many of these new MMOs will feature systems that need to be monitored, maintained or augmented by the player, because they have a direct impact upon the gameplay experience and the very environment of the virtual world they’ll inhabit.
While perusing You Tube, I watched the following video, boldly titled “The Top MMOs to Play This Year”. I found it to be quite informative and felt that the creator made their case well. However, one thing struck me about the five new MMOs that were referenced. All of these titles seem to be stepping away from the “business as usual” approach of the genre and pursuing an increase in complexity with respect to their game systems and mechanics. Now that’s not to say that existing MMORPGs are not complex. Some are, but I usually find that this is born out of skills or systems bloat and a games growth over time. On paper many of LOTROs mechanics are straightforward, but it is their implementation that is esoteric. This is not the same sort of complexity I saw referenced in the video. Many of these new MMOs will feature systems that need to be monitored, maintained or augmented by the player, because they have a direct impact upon the gameplay experience and the very environment of the virtual world they’ll inhabit.
The weather, the economy, faction feuds, coupled with mechanics such as ageing, permadeath and full corpse looting means that those playing Chronicles of Elyria will have to be cognisant of what is happening around, both at an in-game and community level. And it is this very level of complexity that will be a major selling point of the game. You will always find comments on gaming forums or websites such as Massively Overpowered, from some old school gamers lamenting the level of “hand holding” you find in contemporary MMOs. The industry shift in the last ten years to accommodate the so-called “casual” player has not been universally embraced. Therefore, any new title that dispenses with quest trackers, mini-maps and any of the other quality of life improvements must surely appeal to such advocates. Having to think and reason, as well as play collaboratively must surely offer an experience closer to that found in the golden age of MMOs; something such player always extol. Surely the element of risk presented by playing in such an environment, will be to their liking?
One thing is certain. If you wish to effectively play these new MMOs with their additional layers of complexity, then you will need to invest a substantial amount of time not only to progress through the actual game, but to track and master the various systems and variables that can impact upon your experience. You must also cultivate a mindset that accepts that external factors beyond your control will impact upon your time in-game. You may lose valuable resources, or your avatar may even die, effectively mitigating the time and effort you’ve spent. And therein lies the rub. Although on paper I find a lot of the complex parameters featured in these upcoming MMOs interesting, I wouldn’t choose to endure them. A decade ago I had the time and the dedication to invest in MMOs. I do not now and certainly wouldn’t choose to play a game with such a specific rule set. I play for amusement and leisure, not competition and bragging rights (as some seem to define gaming by). I simply don’t want a game that becomes a “job”.
What remains to be seen is whether these new MMOs with their complex and punitive rule set, find a sufficiently big enough player base to sustain themselves financially. I believe that there are gamers out there that will embrace such an approach and we’ve seen successful games of this nature in the past. It simply comes down to whether there is a viable market or not. I suspect that not all of these titles such as Chronicles of Elyria, Pantheon: Rise of The Fallen, Crowfall and Ashes of Creation will survive. When looking back at early MMOs, we must not overlook the context of the era that spawned them. Many factors such as internet connection speed, graphics quality, server technology shaped their design. Gaming itself was also not so common place an activity and pitching to a player base then, was radically different from the market we see today. So, I think that possibly only a few of these new titles will be commercially successful and the others will end up as interesting but ultimately failed experiments. As ever time will tell.
The Sword and the Sorcerer (1982)
The early eighties saw an interesting mini boom in the sword and sorcery films. Studios have always been quick to jump on any bandwagon and the growing popularity of the Dungeons and Dragons role playing games showed a potential market. Subsequently, there was a glut of material from the fantasy genre. John Milius’ Conan the Barbarian (1982) remains the benchmark for such movies with its blend of high adventure and philosophical musing. Other films of note include John Boorman’s Excalibur (1981), Dragonslayer (1981), Legend (1985), Krull (1983) and The Beastmaster (1982) to name but a few. All of them have an interesting pedigree with regard to their respective cast and directors. As always there were numerous poor and substandard entries, but we will not catalogue them here.
The early eighties saw an interesting mini boom in the sword and sorcery films. Studios have always been quick to jump on any bandwagon and the growing popularity of the Dungeons and Dragons role playing games showed a potential market. Subsequently, there was a glut of material from the fantasy genre. John Milius’ Conan the Barbarian (1982) remains the benchmark for such movies with its blend of high adventure and philosophical musing. Other films of note include John Boorman’s Excalibur (1981), Dragonslayer (1981), Legend (1985), Krull (1983) and The Beastmaster (1982) to name but a few. All of them have an interesting pedigree with regard to their respective cast and directors. As always there were numerous poor and substandard entries, but we will not catalogue them here.
However, big budget studio productions were not always a guarantee of success at the box office. Low budget independent films could equally compete within this niche market and the more lucrative entries would often followed a tried and tested formula. Take a perfunctorily script loaded with generic genre tropes, some nominally well-known TV actors, include large amounts of sword play and violence, throw in some gratuitous nudity and see if can bluff your way through ninety minutes. The Sword and the Sorcerer exemplifies this model having all these requisite attributes in spades. Surprisingly the results are an engaging, violent, lurid, tongue in cheek, wannabe epic, that dared to start a franchise.
The film starts with a portentous expository narration where we learn that the evil Titus Cromwell (Richard Lynch) is waging war with the good King Richard (Christopher Cary) for control of the kingdom of Ehdan. Cromwell, having been previously defeated by King Richard, uses a witch to raise the ancient sorcerer Xusia of Delos (Richard Moll) from the dead. Cromwell bargains with Xusia, who then unleashes his sorcery on the armies of Ehdan. King Richard’s eldest son dies bringing news of the impending defeat and it is decided to evacuate the remaining members of the royal household. Cromwell, now victorious, takes the opportunity to murder Xusia while he is weak from his witchcraft.
The King's youngest son, Talon is entrusted with his father's tri-bladed sword and leaves to meet with his mother and sisters. He only just escapes after seeing his father put to the sword by Cromwell himself. Matters get worse as he arrives to leave with his family, only to be ambushed by Cromwell's men. His remaining kin are killed and he sustains a serious hand injury. Vowing revenge, he disappears, leaving the kingdom that is rightfully his in the hands of his enemy, who assume he is dead.
Years later, rumours arise on the borders of Ehdan of a mighty warrior with his sword is for hire. It is also revealed that sorcerer Xusia is not dead but has been slowly regenerating over the years and plotting his revenge against the treacherous Titus Cromwell. Meanwhile there is a growing underground movement to depose Cromwell, led Prince Mikah (Simon MacCorkindale) and his sister, Princess Alana (Kathleen Beller), being the nephew and niece to dead King Richard. Among their secret network of supporters is Count Machelli (George Maharis), Cromwell's War Chancellor, who feeds them news from inside the palace. It is not long before all these individuals come together in violent conflict. Who will prevail and win the throne of Ehdan?
As you can see the script for The Sword and the Sorcerer is quite ambitious. Most genre films would not attempt to create such a complex story, with plots, duplicity and intrigue. The execution of these ideas is rudimentary but this was director Albert Pyun’s directorial debut. There are also some attempts to create interesting characters. Talon (Lee Horsley) in particular is supposed to be a charming, irreverent rogue with a ready sense of humour in the Errol Flynn vein. Simon MacCorkindale gives probably the best performance of the film as Prince Mikah, the anguished, dutiful, heir to the throne. Richard Lynch gives a typical flamboyant performance as Cromwell, bringing that uneasy quality he naturally had. Even Kathleen Beller plays Princess Alana, in a suitably feisty manner. Don’t get me wrong, this is far from Shakespeare but there is an inherent sense of fun and the material is suitably camp as well as schlocky, without being disrespectful to the genre.
Special attention should be given to David Whitaker's score. The music is very grand considering the scope of the production, with generous use of strings and brass. It is heavily influenced by classics score from Miklos Rozsa and Erich Korngold. “The Sword and The Sorcerer Overture" is a good example, where we hear the heroic main theme for the first time (See track below). It is when the music gets more light-hearted that it gets really interesting and enjoyable, for example in "The Bordello", where the main theme gets an upbeat and almost humorous rendition. This is a soundtrack that offers a wide variety of styles and moods, and for a modest genre film, is a quite sophisticated.
Despite the low budget The Sword and The Sorcerer has some well-choreographed set pieces and action scenes. Sadly, stuntman Jack Tyree died during the making of the film, when a high fall went wrong. Part of that stunt can still be seen. Fight scenes are perfectly adequate and the editing is also competent improving the overall film. The production design is ambitious, with creative sets, and stylish lighting. There’s a nice homage to Michael Curtiz in one fight scene, were a brazier is knocked over and the action proceeds in slow motion silhouette. The prosthetic work is well handled by now established names like Greg Cannom and Mark Shostrom. Xusia's tomb and full body make up are good examples of the standard of work. There is also a nice head bisection and skin shedding scene. I would also draw your attention to the implausible death on one character who meets his end via a foot peddle driven grind stone. See if you can spot the flaw in the plan.
The Sword and the Sorcerer is what it is. A low budget genre movie, with liberal quantities of sex, violence and humour. It should be judged on its own merits because it isn’t cut from the same cloth as a massive studio production such as Krull. It should also be noted that the film performed surprising well at the box office and was in fact the highest grossing independent movie of 1982. Yet the proposed sequel which was advertised in the end credits, was delayed due to the director’s other commitments. In the meantime, public tastes changed and the sword and sorcery boom was replaced by the next trend. Despite this, The Sword and the Sorcerer has gained cult status in recent years. It’s playful quality and knowing tone can still entertain thirty-six years on. Few other low budget movies from this genre can make such a claim.
Battle: Los Angeles (2011)
I recently decided to catch up with Battle: Los Angeles. I didn’t bother to see this film upon its initial release, because it struck me as just another generic, sci-fi action movie and I didn’t feel that merited the price of a cinema ticket. However, there are times when you want some easy entertainment, so tracked the film down on one of the VOD platforms I subscribed to. As I suspected, Battle: Los Angeles is a broad, mainstream, big budget action film that requires you to check your brain and sense of incredulity at the door. If you do so, you will be presented with two hours of formulaic entertainment that has the occasional flash of inspiration. I won't bother to list the by the numbers characters and plot line. You can more than likely predict these yourself. I will in the spirit of fairness focus on what I think are the good points.
I recently decided to catch up with Battle: Los Angeles. I didn’t bother to see this film upon its initial release, because it struck me as just another generic, sci-fi action movie and I didn’t feel that merited the price of a cinema ticket. However, there are times when you want some easy entertainment, so tracked the film down on one of the VOD platforms I subscribed to. As I suspected, Battle: Los Angeles is a broad, mainstream, big budget action film that requires you to check your brain and sense of incredulity at the door. If you do so, you will be presented with two hours of formulaic entertainment that has the occasional flash of inspiration. I won't bother to list the by the numbers characters and plot line. You can more than likely predict these yourself. I will in the spirit of fairness focus on what I think are the good points.
In the early stages of the film there is a great deal of plot exposition regarding the invasion, done via faux news footage. This is far from a new idea but it works quite well in this instance. TV is the means by which most people become aware and experience major catastrophes these days and this angle certainly added some realism. Director Jonathan Liebesman's decision to focus on the story from the ground forces point of view is a smart one. Despite the films large budget, this approach makes the story far more small scale and intimate. There is also a rather clever scene where the Marines find a wounded invader and rather than go down the clichéd route of trying to communicate with it, they simply try to find its weak spots and major organs. They subsequently butcher it. Irrespective of moral and ethics, this is a credible plot development.
Unfortunately, these engaging elements of Battle: Los Angeles are somewhat spread out among less creative material. The reticence to show the invaders is taken a little too far and the PG-13 rating means that the action lacks any real threat or shock. There is also the recurring Hollywood predilection to depict soldiers in a somewhat ill-disciplined light. I'm sure this isn’t the case in reality, especially in the prestigious and select units such as the US Marine Corp. It is also probably best to not start listing the major plot holes especially with regard to the invaders tactics. I would also like to point out that the whole "shaky cam" technique is well past its sell by date. Yes, it can on occasions create an artificial sense of reality but if it is used to the extent where observing what is actually happening is impossible, then it has patently failed as a cinematic technique.
Battle: Los Angeles is the embodiment of disposable entertainment. A few novel ideas help make the whole experience a little more palatable. Aaron Eckhart is a sufficiently robust actor to be able to carry the story and Michelle Rodriguez is far less bellicose than here usual screen persona. The main selling point is the films focus on experiencing the alien invasion from a front-line soldier’s point of view. However, it can be argued that the opening and closing scenes of Gareth Edwards Monsters did an equally comparable job of a tenth of the budget. Battle: Los Angeles is adequate filler if you have a few hours to kill and you want some dynamic, visual effects driven entertainment that requires little or no thought. If you want more than this then best look elsewhere.
Looking For a Bargain in ESO
My recent return to The Elder Scrolls Online has been an enjoyable experience. Like STO, it has taken three attempts for the game to chime with me but this time round, everything has fallen into place. I have managed to install just the right number of add-ons to enhance my experience. I’ve also discovered a class which suits my play style and am currently pursuing a specific build. The quest stories are well written and involving which means I don’t feel like I’m simply undertaking arbitrary tasks for XP. Overall ESO seems to be in a much better place than it was upon its launch in early 2014. Because my progress through the game is going well, I’m considering my options with regard to DLC. I bought the digital collector’s upgrade edition of the Morrowind expansion for £17.99 which is a competitive price. However, I’m interested in the Dark Brotherhood story line because I enjoyed it in Skyrim, so I’ve been trying to find a similar bargain.
My recent return to The Elder Scrolls Online has been an enjoyable experience. Like STO, it has taken three attempts for the game to chime with me but this time round, everything has fallen into place. I have managed to install just the right number of add-ons to enhance my experience. I’ve also discovered a class which suits my play style and am currently pursuing a specific build. The quest stories are well written and involving which means I don’t feel like I’m simply undertaking arbitrary tasks for XP. Overall ESO seems to be in a much better place than it was upon its launch in early 2014. Because my progress through the game is going well, I’m considering my options with regard to DLC. I bought the digital collector’s upgrade edition of the Morrowind expansion for £17.99 which is a competitive price. However, I’m interested in the Dark Brotherhood story line because I enjoyed it in Skyrim, so I’ve been trying to find a similar bargain.
At present, ZeniMax have a deal on the Guilds and Glory Mega Pack DLC in the Crown store. This contains Dark Brotherhood, Imperial City, Orsinium and the Thieves Guild and costs 5,500 Crowns (£29.99). At first glance this looks like an adequate discount as individual DLC usually costs between 2,000 and 4,500 Crowns. However, if you shop around and check some of the game key websites, you can find the Gold Edition of ESO, which contains the base game and the above four DLC for £16.06 which is nearly half the price. This naturally is a better option for both an existing or a new player. The latter get’s the benefits of a 500 Crowns, although that won’t buy much at present prices. Then of course there is the option to buy neither of these “bundles” and to subscribed to ESO Plus which will unlock all current DLC. However, access to all new content is dependent on remaining a ESO Plus member, which doesn’t suit everyone.
Furthermore, it would appear that pre-paid subscription cards for ESO have been withdrawn since the changes in the games business model in 2015. There may still be some residual stock in circulation, although whether they still work or not remains to be seen. In the US Gamestop sell six-month ESO Plus time cards that come with a crate allowance. These are purchased online and provide a redeemable code. These are not however available in Europe. Therefore, I’d advise caution to anyone searching through the third-party websites that sell CD keys and game consumables. Ensure that any pre-paid cards are not those for older versions of ESO. Unless the product directly references ESO Plus, then the cards in question are more than likely obsolete.
As ESO is a buy-to-play game, the selling of additional DLC, expansions and cosmetics is the primary source of revenue. ESO Plus offers a further line of capital, although have no data as to how popular the subscription is. Therefore, it is logical that the developers ZeniMax will endeavour to control prices of all their products. Naturally there are sales and discounts to be had from time-to -time, to encourage player spending. But beyond these there is not a lot of scope to obtain a “bargain” for ESO, outside of official channels. Apart from seeking a deal on the Gold or Imperial Editions of the base game, along with the Morrowind Expansion, players are at the mercy of the in-game store prices. However, I do not find the existing business model for ESO to be too egregious and I’m certainly getting a lot value from my initial expenditure at the moment. So, for the present, the cost of playing ESO is seems equitable. Let’s hope it remains that way.
Inside Jaws (2013)
Once again Jamie Benning has created a filmumentary that is pretty much a definitive exploration of its subject matter. Inside Jaws contains a staggering amount of facts, details, insight and commentary about one of the greatest films ever made. Yet despite a wealth of information, it is presented in a way that is easily digestible and enhances the movie, rather than overwhelms it. As with Star Wars Begins, the original movie is annotated with on-screen text, commentary tracks and behind the scenes footage, which provide incisive overview into the movies production.
Once again Jamie Benning has created a filmumentary that is pretty much a definitive exploration of its subject matter. Inside Jaws contains a staggering amount of facts, details, insight and commentary about one of the greatest films ever made. Yet despite a wealth of information, it is presented in a way that is easily digestible and enhances the movie, rather than overwhelms it. As with Star Wars Begins, the original movie is annotated with on-screen text, commentary tracks and behind the scenes footage, which provide incisive overview into the movies production.
I cannot stress how much work Jamie has gone to in assembling this filmumentary. Not only has he trawled through hours of TV coverage, radio spots, press releases, news articles and biographies, he has also personally contacted and interviewed numerous people associated with the production. This has provided a lot of new and interesting anecdotes and personal stories about the movies lengthy production in 1974. Inside Jaws is the embodiment of a labour of love, yet it is far more than a fan film. Its measured, well thought out approach offers a documentary to rival that of any professional outlet. This is a production that is accessible to both ardent fans, scholars of cinema and those who are simply curious about one of the most successful movies of the seventies.
Throughout Inside Jaws running time, not a stone is left unturned with regard to the production. The screenplay, production design and casting are all explored. It also discretely handles the thorny issue of the authorship of Quint's USS Indianapolis speech; a subject that has been greatly debated over the years. Writers Howard Sackler and John Milius and Robert Shaw all had a hand in shaping the scene and ownership has always been contested. The documentary also shows that despite being a difficult and problematic production, Jaws was a blockbuster that was made with a great deal of integrity and artistic vision. Something I don't believe that can be said about a lot of modern day equivalents.
So, if you enjoy Steven Spielberg's movie on any level, do yourself a favour and watch it again through the unique medium of Jamie Benning's filmumentary. It can only enhance your enjoyment of one the best movies ever made. And when you’ve finished, check out Jamie’s other documentaries. Raiding the Lost Ark, Star Wars Begins, Building Empire and Returning to Jedi. All are available via his Vimeo channel and well worth viewing.
UK Tourism
The United Kingdom is the world's 8th biggest tourist destination. According to the national tourism agency, 2017 was a record year for the UK, with 39.9 million visits by tourists. This number is set to pass over 40 million this year according to VisitBritain, which is predicting tourists will spend a record £27 billion over the coming 12 months. U.S. remains the most-valuable inbound market, although the number of travellers originating from Europe is larger than those travelling from North America. Furthermore, in recent years there has also been a substantial increase in Chinese tourists visiting the UK. Popular destinations include London, Bath, Edinburgh and Cambridge. The country's principal tourist destination is still the capital, with the Tower of London being one of the most visited attraction in the country. The post Brexit fall in the pound against the euro and the dollar is helping drive visits.
The United Kingdom is the world's 8th biggest tourist destination. According to the national tourism agency, 2017 was a record year for the UK, with 39.9 million visits by tourists. This number is set to pass over 40 million this year according to VisitBritain, which is predicting tourists will spend a record £27 billion over the coming 12 months. U.S. remains the most-valuable inbound market, although the number of travellers originating from Europe is larger than those travelling from North America. Furthermore, in recent years there has also been a substantial increase in Chinese tourists visiting the UK. Popular destinations include London, Bath, Edinburgh and Cambridge. The country's principal tourist destination is still the capital, with the Tower of London being one of the most visited attraction in the country. The post Brexit fall in the pound against the euro and the dollar is helping drive visits.
It’s ironic that despite only living forty-minutes away from central London and having worked there for over a decade, I have seen very little of the capitals major tourist attractions. In the past I’ve had little time for sightseeing but now I find myself in a situation where such day trips are more convenient and desirable. So today, I and my significant other decided to visit the biggest tourist hotspot in the UK; the Tower of London. As we’re both ex-civil servants we still have Health and Social Security Recreational Association (HASSRA) membership. Like many organisations of this kind, they offer a wealth of discounts, concessions and vouchers. Hence, we obtained two free tickets. Irrespective of the weather, time of year and the hefty £21.50 entrance fee, the Tower of London remains a big attraction and I was surprised by the number of tourist present. However, it does offer a lot of value as there are numerous exhibits, along with themed activities.
About two thirds of the Tower’s grounds are available to the public. The remainder of the Castle is still occupied and used for various civic functions. Various military regiments alternate between guarding the tower grounds and there are several on duty throughout the day. Yesterday there were soldiers from the Irish Guards on site and although they are great tourist attraction, they’re not present just for show. They are armed and should be treated with suitable deference. The White Tower is also home to the Royal Armouries, which is a fine collection of weapons and body harness. Then there’s the Fusilier Museum and The Bloody Tower with is its exhibition of prisoners and torture. But the main attraction is the Crown Jewels. This extensive collection drawn from various Monarchs is compelling and certainly attracts the biggest crowds. The Tower also regularly hosts themed events and activities such as Falconry, historical re-enactments and military displays.
Due to the sheer number of international tourists that visit the Tower daily, all displays, and signage are multilingual. I initially thought that the curators were being a little over generous with their use of space and could possibly have fitted in more exhibits. I now see that the generous walkways and roomy galleries are designed that way to accommodate the flow of visitors. There are also a lot of audio visual displays that rely upon animation and infomercials to convey various historical facts. Again, this is done to address the needs of tourists that are not be fluent in English. Overall, the Tower of London successfully manages to curate and display artefacts of historical importance in a broad and accessible fashion. It is a very family friendly day out, although some of the exhibits are somewhat ghoulish. However, that goes with the historical pedigree of the castle.
We very much enjoyed are day out today and have decided to plan a lot more day trips in 2018. The fact that we can get discounted or free entry to so many places is a major benefit. Our excursion was also very illuminating by showing first hand, the significance of tourism to the UK economy. The sheer number of people visiting the capital today gained context in light of our personal experience. The current political and economic uncertainties certainly do not seem to be discouraging visitors at present. In the meantime, we are already considering going to Hampton Court, Chartwell and the Joust Tournament at Eltham Palace later on in the year. If there is to be a tourist boom this year then I see no reason why we shouldn’t contribute towards it.
The House on the Borderland by William Hope Hodgson (2000)
The House on the Borderland is a Vertigo comics graphic novel version of the 1908 baroque supernatural story by Edwardian writer, William Hope Hodgson. Adapted by Richard Corben and Simon Revelstroke, with illustrations are by Richard Corben of Hellblazer and Heavy Metal fame, The House on the Borderland proves to be a bold and innovative visual retelling of a rather densely narrated tale. The story tells a tale of two gentlemen on a week’s fishing holiday in the Irish village of Kraighten in the mid-fifties. Whilst exploring the local countryside they discover the ruins of a very curious house that appears to have been swallowed by a sinkhole. They subsequently find what appears to be the diary of its former owner. The torn pages seem to hint at an evil presence that was slowly and irresistibly encroaching upon the property. The author alludes to other events such as strange beasts in the ground at night and his own worsening nightmares. Is any of it to be believed, or is it simply the ravings of a deluded mind?
The House on the Borderland is a Vertigo comics graphic novel version of the 1908 baroque supernatural story by Edwardian writer, William Hope Hodgson. Adapted by Richard Corben and Simon Revelstroke, with illustrations are by Richard Corben of Hellblazer and Heavy Metal fame, The House on the Borderland proves to be a bold and innovative visual retelling of a rather densely narrated tale. The story tells a tale of two gentlemen on a week’s fishing holiday in the Irish village of Kraighten in the mid-fifties. Whilst exploring the local countryside they discover the ruins of a very curious house that appears to have been swallowed by a sinkhole. They subsequently find what appears to be the diary of its former owner. The torn pages seem to hint at an evil presence that was slowly and irresistibly encroaching upon the property. The author alludes to other events such as strange beasts in the ground at night and his own worsening nightmares. Is any of it to be believed, or is it simply the ravings of a deluded mind?
William Hope Hodgson’s original novel is an extremely difficult story to adapt to the graphic novel format. Most of the source text is written as diary entries, in which it describes arcane forces, astral projection and esoteric visions. Blending supernatural paranoia, fantasy and Lovecraftian horror in a first-person narrative that hints rather than discloses, it’s a tough book to crack. Yet Corben and Revelstroke make an inspired effort in condensing the text and visually extrapolating the complex descriptions. The artwork is innovative and does a good job of capturing the dark and eldritch tone of the story. The text adaptation strives to be as faithful to the source material as it can, yet inevitably has to relinquish on some of the more esoteric themes which are too difficult to render visually. However, the essential ideas of the original story are not only present but prove to be quite accessible. The understated approach of the artwork in keys scenes captures the menace conveyed by William Hope Hodgson in his original story.
Featuring an introduction by comics luminary Alan Moore that offers an affectionate appreciation of Hodgson's contribution to the horror genre, The House on the Borderland is a valiant attempt to bring a classic cerebral work to a wider audience via a very visual medium. Ultimately, the adaptation cannot offer the exact same experience as reading the original novel, but it must be applauded for bringing such material to a wider audience. It certainly succeeds in tapping into that disquieting quality that porcine horror can have, hinting at beasts who may well have a comparable intelligence to humans, while harbouring an inherent enmity to us as a species. Hopefully after reading The House on the Borderland, graphic novel horror fans will subsequently seek out and familiarise themselves with William Hope Hodgson’s other work, which is the equal to that of H.P. Lovecraft. I would certainly like to see further visual adaptations of the authors back catalogue.
Classic TV Themes: Hawaii Five-O
I grew up during the seventies when network TV shows still put a lot of thought and effort into such things as their theme tune. It was a decade littered with memorable tracks that captured the essence of the shows they came from. Many have now become integral aspects of popular culture, leading to countless internet memes as well as becoming the ringtones of choice for many a fortysomething. However, things are very different now. You can have a staggeringly good theme for your show, but it can't possibly be longer than thirty seconds. And don’t think for a moment that viewers can listen to it again at the end, as it has now become standard practice to compress the credits into a third of the TV screen and preview what's coming next, while some link announcer spouts inanities. Mercifully, cable and streaming companies tend to treat their TV shows with greater respect. The lack of commercial advertising ensures a longer program duration and hence more focus on a theme tune. However, network TV still commands big audiences, yet hasn’t in recent years produced any TV show themes of note.
I grew up during the seventies when network TV shows still put a lot of thought and effort into such things as their theme tune. It was a decade littered with memorable tracks that captured the essence of the shows they came from. Many have now become integral aspects of popular culture, leading to countless internet memes as well as becoming the ringtones of choice for many a fortysomething. However, things are very different now. You can have a staggeringly good theme for your show, but it can't possibly be longer than thirty seconds. And don’t think for a moment that viewers can listen to it again at the end, as it has now become standard practice to compress the credits into a third of the TV screen and preview what's coming next, while some link announcer spouts inanities. Mercifully, cable and streaming companies tend to treat their TV shows with greater respect. The lack of commercial advertising ensures a longer program duration and hence more focus on a theme tune. However, network TV still commands big audiences, yet hasn’t in recent years produced any TV show themes of note.
For me the track that embodies the traditional notion of the TV theme tune and elevates it to an art form, is Morton Steven's Hawaii Five-O theme. I cannot think of a piece of music, born of a TV show that is quite as evocative and inspirational. For years there has not been an original recording available so fans and enthusiasts have had to slum it with indifferent cover versions (which I hate). However, in 2012 the only legitimate soundtrack album was finally re-released on CD. It contains a studio extended version of the main theme along with incidental music from one the episode Operation Smash. It is a crisp and tight arrangement of the theme and superior to all previous version in circulation.
In 2010 the show was rebooted and has proven to be surprisingly popular. It is currently in its 8th season. However, at the time the question on everyone’s lips was would the main theme be retained, or would it be jettisoned for something else? Luckily common sense prevailed so the classic iconic theme and title credits were cleverly recreated. But the process was not exactly problem free. Brian Tyler, a composer with a respectable pedigree in film and TV, was brought on-board to manage the soundtrack production. He initially toyed with idea of re-arranging Stevens seminal theme tune. Let it suffice to say that test audiences did not warm to it and after some overtly negative feedback the it was replaced with a more traditional arrangement. This recording even included some of the session musicians that worked on the original track in 1968. Sadly, the demands of modern TV broadcasting still had an impact on the completed piece of music. Modern title sequences on popular network shows are now no more than thirty second and so the theme was shortened to meet this requirement. However, the full version can be found on the official soundtrack album to season one and is version posted below along with the original from 1968.
