Category Archives: movies

“Shallow”

Yesterday was “Radio Gaga”; today is Lady Gaga!  Long-time readers know that Lady Gaga is pretty big around here, so no suprise!  This is her duet with Bradley Cooper from the new version of A Star is Born.  Enjoy!

Pat Benatar: Metropolis Mix

One could cogently argue that the 1980’s Giorgio Moroder cut of Fritz Lang’s seminal science fiction movie Metropolis is not the best or definitive version.  I would argue, though, that Moroder’s soundtrack for Metropolis is one of the best soundtracks of the 80’s, or, in fact, of that latter part of the last century.  The soundtrack album, though, has different versions of the songs, though, and is in my opinion substantially inferior.  This is most evident with Pat Benatar’s contribution.  She sings “Here’s My Heart”, which recurs throughout the film; and the version in the film is far superior to that on the soundtrack album.  The version above is a spliced-together mix of the movie version of the song.  Despite the inferior production values of the album version, Benatar does great on it; but in the movie version, she sings like an angel.  I dare you not to fall in love with her after listening to this!  😉

Too Much Meta!

“What is meta,” you may ask, “and how is there too much of it?”  Those are excellent questions.  In order to answer them, I’ll need to give a little background on just what it is I’m talking about.  “Meta” comes from the Greek preposition μετά, which simply means “after” or “beyond”, among other things.  It can also be a prefix in which the basic meaning is attached to the root word.  For example, “metamorphosis” pairs meta– with with a derivative of μορφή (morphē), “form” or “shape”, giving the meaning, “beyond the [original] form”.  Thus, in a metamorphosis, something (such as a caterpillar) goes beyond the form it has into another form (such as a butterfly).

A subtle shift in this straightforward meaning began with the works of Aristotle, and rather inadvertently, at that.  Aristotle’s books on various topics derived from what we would now call lecture notes for the talks he gave at the school he founded, the Lyceum. These were either written by Aristotle himself, or taken down by his students.  After his death, these notes were collated and arranged by topic.  The book dealing with the working of the natural world was called the Physics, from the Greek φυσικά (physika), which simply means “having to do with nature”.  The name stuck, and we still call the study of mass, energy, motion, and such “physics”.  The book that was placed next in the sequence after the Physics dealt with abstract topics on the nature of being, what we can know and how we can know it, causality, and so on.  Whoever it was who arranged the texts very pragmatically called this text τὰ μετὰ τὰ φυσικά (ta meta ta physika), literally, “the things coming after the Physics”).  In other words, it was the next book after the one on physics, so its title was essentially After Physics!

This was shortened by the Romans who translated Aristotle into Latin to Metaphysics.  From early on, the tendency was to interpret “meta”–“beyond”–as meaning not “beyond” in the sense of “the next book in the sequence”, which was its original connotation, but “beyond” in the sense of “transcending”.  Thus “metaphysics” was understood to mean “that which goes beyond ordinary physics” or “that which transcends nature”.  This has been the standard connotation of “metaphysics” ever sense; and this connotation has determined the use of “meta” in other contexts, as well.

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Einstein and the Millennium Falcon–the Timeline of The Empire Strikes Back

After forty-one years and counting of the Star Wars franchise, which has brought us ten movies, seven television series, and God knows how many books, comics, works-in-progress, and various other media artifacts, I still maintain that the pinnacle of them all was the second movie (Episode V), The Empire Strikes Back.  I will take that statement as self-evident 🙂 and thus I don’t intend to make that argument here.  Rather, I recently wrote a post about space in which I mentioned time dilation in The Empire Strikes Back, and said that that would be material for another post.  This is that post.

I watched The Empire Strikes Back when it came out in 1980, the summer after my junior year in high school.  It was long-anticipated, and as I’ve mentioned before, some loud-mouthed acquaintances, having read the book before the movie came out, spoiled the big reveal about Darth Vader being Luke’s father.  Despite this, I found I enjoyed the movie enormously, more even than I had the first.  I think this is a good demonstration of an argument made by the Plaid Adder, a blogger I follow.  She says that if a reveal is properly done, then a spoiler–finding out about it ahead of time–doesn’t, in fact, spoil the show.  This was definitely the case with me and Empire.

Anyway, I don’t know when I got to thinking about the specific issue I want to discuss today, but it gradually presented itself to me over the course of a few years.  I don’t think I was aware of it at the time I watched the movie for the first time; but I think I had the matter articulated by the time I was in college.  To make it clear just what I’m talking about, let’s have a quick recap of the relevant events of the movie.

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Ennio Morricone’s Soundtracks Live in Concert

Star Trek or Star Wars?

Star Trek, of course–what kind of question is that?  Actually, if I’m going to write an essay, I should have more to say….

Star Trek, in its original incarnation (which I will henceforth refer to by the standard fan abbreviation TOS for “The Original Series”) began its prime-time network run on NBC in 1966, at which time I was three years old.  Its last season ended in 1969, at which time I was six, and about to begin the first grade.  I know Mom and Dad watched it, so I no doubt did, as well.  I’ve seen every episode multiple times since, and given that, it’s hard to sort out any genuine memories of the series’s original airing.

It doesn’t really matter, though.  Throughout my childhood and young adulthood, TOS was more or less constantly in syndication somewhere on one channel or another.  Every time it was available on any of the channels we got, I always watched it.  For reasons that are obscure, certain episodes (e.g. “The City on the Edge of Forever” and “A Piece of the Action”) were in very heavy rotation, whereas others (such as “Errand of Mercy” and the insanely elusive “The Mark of Gideon”) were rarely if ever aired.  I made it my goal to watch every one of the original seventy-nine episodes at least once.  I set this goal at the age of around twelve or thirteen, and it took into my mid-twenties to complete it, but complete it I did.  In the meantime, my involvement with Star Trek was expanding far beyond watching reruns.

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STTMP, Part 7: Director

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In the course of this reconsideration of Star Trek:  The Motion Picture, we’ve looked at all the major aspects of production except for what some consider the most important, the director.  I don’t really have any strong feelings either way with regard to the auteur theory–I think there are cases to be made both ways.  In either case, the director is certainly one of the most important aspects of any film; and the director chosen to helm STTMP was the distinguished veteran filmmaker Robert Wise.

Robert Wise was a Hollywood veteran of long standing, who had worked in almost all cinematic genres.  He won Academy Awards for West Side Story and The Sound of Music.  More germane to the present consideration, he directed the movie widely considered to be the best science fiction movie of the 1950’s, The Day the Earth Stood StillHe also directed the science fiction thriller The Andromeda Strain.  Unlike later directors who often stamped their personality onto all their films, Wise had a reputation as a consummate craftsman who worked with what he was given to make the best movies he could.  Wise had not been familiar with Star Trek, but he had been a favorite director of Gene Roddenberry.  Thus, after several possible directors were discussed, Wise was chosen to direct Star Trek:  The Motion Picture.

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Movies Will Be Closing

I just wanted to note an upcoming change here at the Chequer-Board of Nights and Days.  As you can see at the top of the screen (for now), one of the pages is labeled “movies”.  Some years ago, for some reason or other–I don’t remember why–I began posting movies to the site.  They were mostly B-movies, with a mixture of serious movies, comedies, documentaries, and made-for-TV content.  The number expanded to the point that I organized all of them on a single page so that visitors could browse the selection and watch what they wanted.

Alas, YouTube videos (which is what most of them were) are an ephemeral thing.  They’re always going up and down, and many of the videos I had posted–probably the majority–had become dead links.  I’ve been too lazy to do anything about it, but I’ve gotten back to active blogging lately, and I decided that I needed to clean out the underbrush.  Thus, I will eventually be deleting the “Movies” page.

Why “eventually”?  Well, counterintuitively, it’s actually almost as hard and time-consuming to get rid of all these posts as it was to put them up.  I could just delete the page, but that would leave up all the dead-link posts, and then I’d not have links by which to easily find them again.  Thus, I’m having to gradually go through, post by post; see if the link is dead or not; if the link isn’t dead, and if I want to save the content, then I need to save it at my YouTube channel, or download it with converter software; then I have to delete the blog page; and eventually, after doing all of that, I’ll delete the “Movies” page.  Whew!  I’ve deleted probably twenty or thirty items so far, but there’s quite a bit to go.

The whole concept was a noble attempt, and I hope some of you got some enjoyment out of it; but it just isn’t worth the effort to maintain (I’d have to be fixing links and adding and removing pages all the time), and I need to focus on other things.  The library remains open, however, and I’ve added a few items lately, so feel free to check it out at any time!

 

The Dread Pirate Robert Explains the First Noble Truth

MST3K: The Return

Awhile back, I wrote a series on Mystery Science Theater 3000.  My main focus was on what I saw as the archetypes of the Trickster and the Holy Fool that one could discern in the series.  However, I also talked a little bit about how I came to be a fan of the show, and my thoughts on the two hosts, Joel Hodgson and Mike Nelson.  The previous seasons have been around long enough that I assume everyone has seen them by now, and I won’t be discussing them, anyway.

As MST3K fans are doubtless aware, in April of 2017, the show, after many years off the air, returned with much fanfare and popular acclaim, as well as with new cast.  I watched the new season–the 11th–and enjoyed it.  It occurred to me that having written previously on MST3K, I should post something about its newest iteration.  However, alas, at that time, I had lapsed from regular blogging.  Of late, I have got back to at least periodic writing here at the Chequer-Board.  I decided, therefore, that it was high time that I should return to MST3K and to write about my thoughts on the revived show.

Spoiler Alert:  There will be mild spoilers for Season 11 below.

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