Over at Alex on Film I’ve been watching the Airport tetralogy: Airport (1970), Airport 1975 (1974), Airport ’77 (1977), and The Concorde . . . Airport ’79 (1979). I was surprised at how much I enjoyed them. Yes they’re trash, but it’s trash that has aged well, and each film has its own silly identity. I actually went to see The Concorde on its initial release, so many years ago now. Of course, after this it was on to Airplane! and other send-ups, since there was no place left to go. And Airplane! is still very funny today too. But don’t sleep on the originals.
Rage on
I recently reviewed Bob Woodward’s Rage, his second book on the Trump presidency (the first was Fear). It’s not a flattering portrait, though I thought he did his best to cast his subject in the best possible light, including excerpts from over a dozen lengthy interviews. What it made me think about though was what an official biography of Trump, when we get it, will look like. You’d have to think it will be flattering, but since no amount of flattery can satisfy a narcissist Trump will still object to it. Putting lipstick on the pig of this presidency, however, will be no easy task. Who will say anything good about Trump’s handling of the job? Not people like Rex Tillerson or John Kelly or James Mattis, who all held high positions in his administration but were cashiered or resigned in (quiet) protest, only to be insulted by their boss on the way out. I anticipate a truly Herculean feat of apologetics.
If certain tendencies proceed unchecked
From The Modern Century (1967) by Northrop Frye:
If certain tendencies within our civilization were to proceed unchecked, they would rapidly take us towards a society which, like that of a prison, would be both completely introverted and completely without privacy. The last stand of privacy has always been, traditionally, the inner mind. It is quite possible however for communications media, especially the newer electronic ones, to break down the associative structures of the inner mind and replace them by the prefabricated structures of the media. A society entirely controlled by their slogans and exhortations would be introverted because nobody would be saying anything: there would only be echo, and Echo was the mistress of Narcissus. It would also be without privacy, because it would frustrate the effort of the healthy mind to develop a view of the world which is private but not introverted, accommodating itself to opposing views. The triumph of communication is the death of communication: where communication forms a total environment, there is nothing to be communicated.
Holding a grudge
Over at Alex on Film I’ve been watching some (but far from all) of the Ju-on or Grudge films, both from the Japanese and American franchises. Along the way I muse a bit about the whole J-horror phenomenon. Is it over now? Did it ever amount to much? What was its significance?
Here’s the line-up:
Katasumi (1998)
4444444444 (1998)
Ju-on: The Grudge (2002)
The Grudge (2004)
The Grudge (2020)
Lovesick aliens
Over at Alex on Film I’ve been watching the Species movies. In which Natasha Henstridge plays a murderous and broody alien who isn’t comfortable wearing clothes. Unfortunately, the movies aren’t quite as much fun as that sounds.
Species (1995)
Species II (1998)
Species III (2004)
Species: The Awakening (2007)
Bond’s law of billiards
From From Russia With Love (1957) by Ian Fleming:
Kerim turned and faced Bond. His voice became insistent. “Listen, my friend,” he put a huge hand on Bond’s shoulder. “This is a billiard table. An easy, flat, green billiard table. And you have hit your white ball and it is travelling easily and quietly towards the red. The pocket is alongside. Fatally, inevitably, you are going to hit the red and the red is going into that pocket. It is the law of the billiard table, the law of the billiard room. But, outside the orbit of these things, a jet pilot has fainted and his plane is diving straight at that billiard room, or a gas main is about to explode, or lightning is about to strike. And the building collapses on top of you and on top of the billiard table. Then what has happened to that white ball that could not miss the red ball, and to the red ball that could not miss the pocket? The white ball could not miss according to the laws of the billiard table. But the laws of the billiard table are not the only laws, and the laws governing the progress of this train, and of you to your destination, are also not the only laws in this particular game.”
Michael Reeves
Over at Alex on Film I’ve been watching the movies — three in total, not counting Castle of the Living Dead that he only got called on to finish — of Michael Reeves. The three movies are She Beast (1966), The Sorcerers (1967) and Witchfinder General (1968). Aside from dying young, Reeves’ reputation rests mainly on Witchfinder General, which is a really good period piece. The Sorcerers is more a curiosity and She Beast barely that.
This chair rocks
This morning I was surprised to read, in Sue Roe’s The Private Lives of the Impressionists, that in Paris’s Universal Exposition in 1867 “The Americans exhibited an amazing new invention: the ‘rocking-chair.'”
Could that be true? I mean, it seems like such an obvious and fun bit of furniture as a rocking chair would have been around forever. And in fact it does seem to have an earlier provenance. Surprisingly enough, however, they were indeed an American invention. That’s where they apparently got their start in the early 1700s. Though cradles had been rocking since the days of ancient Rome. I wonder why the idea took so long to catch on.
I think Roe must have been thinking of Michael Thonet’s first bentwood rocking chair, which premiered in 1860. Which was a breakthrough but technically wasn’t the first rocking chair. Still, a much later development than I’d thought.
Go big
So, over at Alex on Film I’ve been watching Godzilla movies (and a few of their close kin) for the past few weeks. Not the whole canon, which consists of 36 movies to date. Guinness World Records lists it as the longest-running continuous film franchise.
I grew up with the early Toho Godzilla movies. They were fun, and I think they still have a certain charm. I wasn’t aware of the original Gojira (1954) much later, and it really is a slightly different animal. More recently CGI has taken over, with mixed results. I can’t say I was blown away (or flattened) by anything though.
Here’s the list:
Gojira (1954)
Godzilla Raids Again (1955)
Godzilla, King of the Monsters! (1956)
Gorgo (1961)
King Kong vs. Godzilla (1962)
Mothra vs. Godzilla (1964)
Ghidorah, The Three-Headed Monster (1964)
Invasion of Astro-Monster (1965)
The X from Outer Space (1967)
All Monsters Attack (1969)
Bambi Meets Godzilla (1969)
Godzilla vs. Mechagodzilla (1974)
Terror of Mechagodzilla (1975)
Godzilla vs. Mechagodzilla II (1993)
Godzilla (1998)
Godzilla 2000 (1999)
Godzilla vs. Megaguirus (2000)
Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001)
Godzilla Against Mechagodzilla (2002)
Godzilla: Tokyo S.O.S. (2003)
Godzilla: Final Wars (2004)
Godzilla (2014)
Shin Godzilla (2016)
Kong: Skull Island (2017)
Godzilla: King of the Monsters (2019)
Godzilla vs. Kong (2021)
Godzilla Minus One (2023)
Godzilla x Kong: The New Empire (2024)
What worries me
In an earlier post I mentioned how I thought the long-term consequences of the current pandemic were going to be staggering. I didn’t mean that in a medical sense. Bodies aren’t piling up in the streets. It doesn’t seem as though COVID-19 is going to have any significant impact on the world’s population, which is probably still going to peak somewhere around mid-century. But the economic and political fallout from the pandemic will be huge.
What I was thinking of is the comparison between what happened in the 2008 financial crisis and what’s happening now. Specifically, what’s happening now is that the pandemic is deepening economic inequality, which is already at a dangerous level after a decades-long widening of the gap between rich and poor. The subprime crisis was just another big step in this process, but the pandemic is proving to be even worse, exacerbating the so-called Matthew effect (“to every one who has will more be given; but from him who has not, even what he has will be taken away”).
As Don Pitts writes in a recent piece for the CBC: “There was speculation early in the pandemic that the crisis might be the catalyst for a move away from wealth polarization. But just as they did after the 2008 crisis, lower-for-longer interest rates have once again flowed straight into the pockets of the wealthiest.” Funny how that always seems to happen.
On the individual level it’s well documented now that densely populated and poor areas (both within states and globally) have become virus hotspots, while minorities and workers in low-wage jobs are most at risk both of catching the disease and finding themselves unemployed. On the other side of the great divide, big businesses are able to ride out this crisis. For Amazon it’s even been a boon. And so corporate and capital concentration continues apace while, once again, the little guy goes to the wall.
There will be a political reckoning for all this and I think it would be foolish to think that it is bound to take a progressive turn. Of course that could be the case. As Rebecca Greenfield reports for Bloomberg, “Catastrophic events such as the pandemic have historically been a catalyst for reshuffling the economic order. During the Great Depression, with the New Deal, American workers gained a safety net. After World War II they won leverage with employers and higher pay.” So you can say it’s happened before. But I don’t see a lot of grounds for optimism. Instead we’re likely to see more divisive politics leading to even more regressive outcomes.




