The Titular Devil, With Hand

The Titular Devil, With Hand

Sunday, August 7, 2011

Cainville excerpt





As you may have noticed, I haven't posted since that thing about Infernal Affairs and The Departed...I decided to concentrate on Flaming Sword, which I'd been working on for three and a half years, and really put the sucker to bed, finish the third draft. When I got done, I was feeling a bit deflated and crummy, as I always do when I finish a book, so I decided to just rip right into another book instead of moping for a month...I'd been thinking about a crime novel/ contemporary spaghetti western thing for a while, set in my Utah stomping grounds, which look like the picture at the top, which shows Factory Butte in the Cainville Badlands. Anyway, the book's going to be called Cainville, and I wrote the first chapter while I was down in Chincoteague last week, and I'm posting it here...




Chapter 1: The Tamerlane

My old dad used to say good luck was just bad luck pretending.

Now, he wasn’t a Mormon, and I don’t know if most Mormons would’ve concurred in his jaundiced analysis, but it is a fact that they don’t have the lottery in Utah. If you’re a denizen of the Beehive State (they have pictures of beehives on their state road signs) and like to lose your money in that fashion, you probably play the Idaho lottery, games like Pick it, Pick It Yourself, and Pick a Big One.

That’s what Ducky Madducks did. He lived in Cainville Utah, but he had a girlfriend up in Busterton Idaho, which is a suburb of Boise full of Mormons. She had a two-year old son by Ducky, and he’d drive up there every couple of weeks...sometimes he’d buy the tickets himself...sometimes he’d call her the numbers.

He worked for his brother at the Navajo Joe Motel in Cainville, although he didn’t do much work...he lived out of one of the rooms, occasionally he’d clean the pool, stuff like that. One afternoon in August, he was working himself up to go out into the heat and do...something when he got a phonecall from Deserette.

“Big Jack!” she cried at the other end.He wanted everyone to call him Big Jack, but Deserette was the only person who did...most people called him Ducky, which he hated, although he preferred it to his real name, which was Marvin..

“Deserette,” he said.

“You Picked a Big One,” she said.

He sat up in bed. He’d bought the ticket on Thursday...They had two drawings a week. “Jackpot?”

“Thirty thousand.”

“That’ll do,” he replied, feeling vindicated. When he’d told her he was going to play 12345678910, she and her sister Fruita had made fun of him something awful, but...

“You gonna take me to Vegas?” Deserette asked.

“I am a man of my word,” he answered, and that was crap, and they both kew it, but he didn’t think she’d care. “When can I can pick up the money?”

“Four to six weeks. You’ve got to come up here before that, too, and sign some stuff...but you were coming up anyway.”

“Yeah,” he replied. He augmented his Navajo Joe income by smuggling cigarettes, and he was going up to Busterton to get a trunkful from Deserette’s brother in a couple of days.

“Thirty thousand dollars!” Deserette said.

He laughed.“I could sure buy a lot of lottery tickets with thirty thou.”

“Oh, don’t do that!” she cried.

“Just kidding,” he said.

A load of hundred dollar chips at Bally’s was more like it.




That Wednesday he slipped out of the hotel before his brother Joe woke up, and made that run to Busterton, where he lingered for a bit, screwing Deserette, eating her very good cooking, and pretending to be interested in his fat little son Zack. Then he got the smokes and zoomed on back to Utah in his big fast old eight-cylinder Buick, avoiding all the cops at Salt Lake City and swinging out to the east, circling back down to Seventy a little west of Green River, and taking 24---with the San Rafael Swell, with all its slot canyons, over on the right--- towards Goblin Valley and Hanksville and home.

Now, if you saw Galaxy Quest, you’ve seen Goblin Valley—that’s where they filmed the stuff with the little blue aliens and the weird red sandstone mushrooms. Along with looking like goblins and fungi and just about everything else, those rock formations also look like dark red melty ice cream, and that geological layer crops up all over Utah. But you do get the most amazing dose of it in Goblin Valley.

Still, if I was going to film a movie set on another planet, my vote would go to Cainville, and the Bentonite Hills nearby. Absolutely out of this world, and not in a pretty way, neither....chance are you never saw anything like it. It’s like God found out the world’s first murderer had taken up in the area, and laid the Mark of Cain all over it. There are these badlands, and they’re the baddest-ass badlands ever...flat-topped buttes with yellow rimrock, and profoundly eroded, extremely complicated, grey-blue slopes underneath...when the sun's going down,and the light changes, and you wash those buttes in orange sunset, you can’t even describe the colors they turn.

There’s a little river running between them, through the town...24's the main drag...down by the water, things actually grow, and everything’s bright green. There are some farms and ranches, a couple of stores, and the Yaller Rim Grille. The only beer you can buy is 3 percent, and won’t get you the least bit high, but at least it’s called things like Chasing Tail (There’s a dog chasing its tail on the label) or Polygamy Beer (“Because One just isn’t enough.”) As long as you keep you snout level and don’t look up, everything looks almost normal. But if you lift your nose, you see those buttes, which must be a thousand feet tall, looming over...and it just makes you feel like there must be more—a lot more---things in heaven and earth than are dreamt of in your philosophy.

If you keep on going on 24, you come to this stretch where it looks like there are black locomotives, or the front ends of hearses, just lunging up out of the ground on a slant, right at the base of those buttes...there’s a line of them all all the left hand side of the road, and they look creepily man-made. But the on the right side of the road, there’s some water, and in this one niche in the hills, you’ll find a cozy little motel...that’s Navajo Joe’s. It was built in the late forties and named after its founder, Navajo Joe Madducks, who won the Medal of Honor as a gyrine on Peleliu, even though he was a ripe forty-five years old. He was half Indian, although his descendants, who ran the hotel after him, got progressively whiter as the years went by...looked like veterans of the Afrika Corps.

Ducky was like that, at least at first glance. He was tall and blonde and blue-eyed, got leathery in his twenties. But there was this silliness about him that shone right through.

Now after he unloaded those cigarettes at the Yaller Rim Grille and arrived at the Navajo Joe, he tried to get in and out as quickly as he could. There were a bunch of cars at the hotel...the place started to fill up in the late afternoon with tourists from Capitol Reef, and his brother Joe had to be busy at the front desk. Ducky slipped into his room, called his friend Suzi, found out her husband wouldn’t be back from Tropic for a couple of hours, grabbed a shower and changed his clothes, and was just about to jump back into his Buick when Joe caught him.

Joe looked pretty similar to Ducky in a lot of ways, but the Almighty had done a much better job with the basic specs. Joe didn’t look silly at all. Joe looked hard and mean. People would’ve been happy to call him Big Jack, although he wouldn’t have wanted them to.

“Where the fuck do you think you’re going?” he asked.

“Gotta see someone,” Ducky said.

“I sure could use some help tonight...”

“I’ll be back in a couple of hours.”

“Deserette know about Suzi?”

“She doesn’t care.”

“Yeah, that would be just like a woman...You been to see Deserette’s brother?”

“No.”

Joe got up real close on Ducky, looking right in his eyes. “She called up about twenty minutes ago.”

“Did she?”

“Wanted to know if you’d gotten home all right. Said you hit the Pick A Big One for thirty thou.”

“I was going to tell you.”

“I bet,” said Joe. “You know, you could pay a lot of bills with that money. Get people off your back. Pay off Deserette’s brother. Hell, you could pay me. But Deserette said...you’re going to take her to Vegas.”
“It was her idea.”

“She did not leave me with that impression.”

Quite beside the point, Ducky said: “I’m feeling lucky.”

“You are a half-cooked horse’s ass,” Joe said. “You going to bring Zack with you?”

“He’s going to stay with his aunt Fruita.”

“That poor kid. You are the biggest idiot I know.”

“I’m feeling lucky. I won the lottery, didn’t I?”

“I remember you saying ‘I’m feeling lucky,’ one time, and right at that moment, I could see the State Police pulling into the parking lot behind you.”

“I’m not going to blow the whole wad,” Ducky said. “I’ve got a limit. Two thousand bucks, and then I’m done.”

Joe squinted at him. “Bullshit. You are completely devoid of self-control. And if I know you, you’re going to run through that thirty thousand in about forty-five minutes.”

“How would I run through thirty thou in forty-five minutes?”

“Playing craps. With hundred-dollar chips. At Ballys, I bet. And if you come crawling back here broke, I think I’m going to punch your lights out. Kill you, maybe.” Joe shook his head. “Man, that poor kid of yours.”

“You know,” said Ducky, “just once, you should give me the benefit of the doubt.”

To which Joe replied: “I’d have to be as stupid as you are. Marvin.”

That was the signal that the conversation was over...if Ducky kept on talking to Joe, he knew that every single sentence out of Joe’s mouth was going to end in Marvin, except for the ones that began with it.

“Fuck you,” said Ducky, jumped into his Buick and slammed the door... marvel of luck that he was, he got into into Suzi’s pants and out of her trailer again before her husband blew in from Tropic.





Four to six weeks later...

Ducky snuck up to Busterton again and went to see the lottery people...they wanted him to tape something so they could put him on the news with a big check, but he didn’t want to be on the news for a variety of reasons, and he took the check and hightailed it over to the nearest bank, where they looked at him weird but cashed the thing anyway...Deserette was out in the Buick with the air-conditioning on, bags packed.

As Ducky got back into the car with his bag full of twenties and fifties, he looked at Deserette and thought, as he’d been thinking all morning, that she looked pretty hot. She had her hair up, it was dyed a bright brassy red, and she was wearing high-heeled sandals, tight black pants, and a blue tank top, showing her abundant cleavage...she had her sunglasses on, but he’d seen earlier that she was wearing lots of mascara and eyeshadow, just like he liked...she had a necklace with big pink coral beads that hung down between her boobs, and two big crescent-moon rings were swinging from her ears. If he didn’t get too drunk, he was going to spend a lot of time in Vegas screwing the mother of his child....just as he’d told Joe, baby Zack was off with Aunt Fruita. Ducky thought Zack and Fruita would have a pretty good time together...Fruita was pretty effing dumb.

Since he didn’t have any goods with him, he didn’t have to swing round Salt Lake this time, so he just took Fifteen straight on down, making real good time...him and Deserette had the windows buttoned up nice and tight with the air-con just blasting. Outside it was August in Utah and harsher than hell, everything shimmering in the heat, but they didn’t care, listening to Bill Ray Cyrus, Dwight Yoakum, and Alabama as they ripped along at ninety-five miles an hour, Ducky trusting in God and a brand new Tomoyuki 2000 radar detector that shrieked like a crazy Jap bitch in heat when it was scanned. He and Deserette got to St. George without incident (St. George was much smaller then), and both had big steaks and baked potatoes at a Rax before they got back out on the highway, heading down through the Virgin River gorge and clipping off that little northwestern corner of Arizona. It was still light as they passed through Mesquite, which was also much smaller then, and only had one casino, the Peppermill...the time would come when there’d be lots more, and a big chunk of the degenerate gamblers coming in along Fifteen headed for Vegas would hit Mesquite and not get any further...but in 1992, as Ducky and Deserette went rolling inexorably toward the the Strip and the Tamerlane Massacre, Ducky, to his very great detriment, found Mesquite eminently resistable.

As for the Tamerlane, it had just opened.

A hundred miles east from Vegas, just out of Mesquite, the huge glitzy billboards started rearing up over the Joshua trees...some of them featured Carrot Top, who was the opening headliner at the Samarcand Room. Others showed an enthroned saturnine oriental potentate in a golden turban, jerking chains attached to the necks of a leopard, and a voluptuous blonde bodypainted to look like a leopard. Across the bottom of the billboard ran: Julius Fiske’s Tamerlane Hotel and Casino, coming Spring 1992...in hot barbaric scarlet, the word CONQUER ran across the top.

Now Ducky was moved by these displays...among other things, he and Deserette both thought Carrot Top was undeniably funny, and Ducky liked the idea of jerking chains on leopard-spotted slave girls. But he’d always stayed at Ballys when he was in Vegas, and he was real used to it...for one thing, he loved the way the gambling floor opened right off the front desk, so you could just get down to business. The last time he’d been to Bally’s, he’d lost all his money, a whole grand, without ever even checking in...he’d brag about this to folks he thought would be impressed.

The sun had gone down, and the phony night-long sunset of Vegas was well underway, lighting up the western sky, as the Buick approached that last big hill on 15...as he came over the crest, Ducky said “Mmm-mmm” as he always did when he laid eyes on Hog Heaven.

“Feeling Lucky,” he declared.

“Now Jack,” said Deserette, “you said two thousand dollars, you promised.”

“Yeah, I did promise, didn’t I?” he said, thinking he wouldn’t have any problem with her once he’d turned that first two thousand to four thousand, and so on...

They took Fifteen into town and got off at Flamingo Road...Bally’s is right there at Las Vegas Blvd. Ducky parked the car himself, in the garage. After the Buick, the garage seemed mighty hot, but they were back in the the air-conditioning pronto. In the lobby there was a big staircase down to the cavernous gaming floor, and Ducky descended immediately into all the flashing lights and beeps and squawks and senseless bits of tunes, Deserette trailing behind, crying:

“Aren’t we going to check in?”

“You do it,” he said, but she just tagged right along, probably intending to exercise a restaining influence, he guessed.

Fat Chance.

Going straight to the craps tables, he started playing the pass line...he won right from the gitgo, and it didn’t surprise him one bit, although Deserette seemed amazed. He doubled his money in forty minutes.

“You are hot tonight Jack,” said Deserette, and from that moment on, she let him plow all his cash into the game...after a while everybody was betting on him, and the pit boss was watching him real close. When he hit fifty thousand bucks, they changed out the croupier, a little ugly dude named Szygmunt from God knew where, and replaced him with an over-the-hill brunette named Shirley who Ducky guessed had looked pretty good once...but she couldn’t cope with his almighty luck either, and when Ducky crashed through the hundred thousand dollar mark, in came another foreign guy, named Kemal. But the pit boss had some things to say to Kemal, and while they were at it, somebody slipped a note into Ducky’s hand...he turned, saw a thin Italian-looking guy in a blue jogging outfit with white stripes up the side...the guy waved. Ducky looked at the note.

“Poker. Big stakes. Room 2020. Tamerlane.”

Ducky turned again...everyone was looking at him...Deserette adoringly, her big heavily-lined eyes just shining.

“Sir?” asked Kemal.

“Think I’ll cash out,” said Ducky Madducks.

“What are you doing, Jack?” asked Deserette.

“Just got invited to a Poker game, babe,” he replied, whispering in her ear.
Nobody had ever invited him to a private Vegas poker game before, and besides, he had a nice little five-shot .32 revolver tucked into a special pocket in his lucky pants.




After getting his winnings bagged, he and Deserette went back out to the garage...since they hadn’t checked in and freshened up, they changed their clothes in the car, and drove off down the strip to the Tamerlane.

It had gone up in the great big empty lot where the old Nineveh had been knocked down about a year before...rising up out of palm trees, the Tamerlane was a towering forty stories of motifs cribbed from St. Basil’s, Hagia Sophia, Mogul tombs, and Tamil temples, with golden onion domes and minarets covered with Hindu gods. Right out in front was a huge gauntletted forearm thrusting a scimitar straight upwards; it said Conquer in red neon on the blade. When the Tamerlane first opened, the minarets had belted out the call to prayer five times a day until the Sultan of Brunei complained in person. Parking was out back, an unpaved lot, because they hadn’t even started building the garages yet...the lot was surrounded by a chain-link fence...on the west side, there was a gravel road, and beyond that, Route 15. Even though there was a front gate with guards, there was a back gate onto that dirt road you could just drive in and out of. The lot was crammed, so Ducky had to park way back there. They had quite a walk just to get to the hotel.

Inside, not everything was working. Teething problems, Ducky thought...they’d used that term in the service, whenever some new system was acting up. He passed a men’s room with a big waterstain in front of the door, and some of the corridors were unlit...there were a lot of things with plastic over them, and the air smelled like drywall. When Ducky and Deserette got to the main elevator bank in the lobby, the express lifts to the Silk Road restaurant at the top were operating, but the other ones weren’t. People were bitching, and a couple of suits were shouting into walky-talkies.

“Do we have to take the stairs?” Deserette asked miserably.

“We’ll go up to the top and walk down,” Ducky said, congratulating himself for thinking of something so smart. He hit one of the express buttons, looked around, spotted one of the guys who’d been betting on him back at Bally’s, some Jew. Didn’t look like he’d just won a bunch of dough. He was pale and sweaty and down in the mouth...smelled like he’d been drinking and looked like it too.Vegas didn’t seem to suit him...hard to imagine anyplace would. Looked like he’d just come from a funeral and taken off his tie because it had been choking him. He was wearing a black short-brimmed hat, black pants, and a black suit, but his shirt was white. His beard and moustache were neatly trimmed. Dangling from his hand was a black leather valise...a chain ran from the handle up into his sleeve. Ducky had noticed the chain back at the crap table.

Feeling cocky, Ducky asked: “Didn’t I win you some money?”

“You did,” said the other fellow, not sounding too grateful.

Ducky leaned towards him. “You going up to 2020?”

The man didn’t say anything.

“You know, I’ll just see you up there,” Ducky said.

The man acknowledged this with a shrug.

“Hey, well, try not to beat me too badly,” said Ducky.

“I’ll consider it.”

“Name’s Big Jack Walker,” Ducky said, and extended his hand.

The man shook it, even though it looked as though he really didn’t want to, and only did it because he felt cornered.

“Avram Schifrin,” he said.

“You from back east?’ Ducky asked.

“Brooklyn,” Schifrin replied. It had to be a real depressing place, if the way this guy looked was any indication.

Just then the door opened, and they got in. Once the doors closed, Deserette said,

“Nice to meet you, Mr. Schifrin. I’m Jack’s fiancee, Deserette.”

Ducky could tell she was a little bit pissed...he always forgot to introduce her, and whenever she introduced herself, which happened a lot, he felt like a shit.

“Deserette,” said Schifrin...he seemed to think it was a funny name. It looked to Ducky like he was trying not to look at her. The elevator took off, but..not too fast.

“This express elevator is not so express,” Schifrin observed sourly, soundly like a real Jew, at least to an expert like Ducky.

“You know,” said Ducky, “In Utah, we say that the Indians are the Ten Lost Tribes.”

Schifrin didn’t reply, looking unhappier than ever to be anywhere.




Now, Ducky would never learn why Avram was so unhappy...but Avram had come to Vegas with the firm expectation of pulling down the pillars on his own life, and getting everyone else in his family. If, by some miracle, he came out ahead, well, that was God’s will. But if God allowed everything to come crashing down on Avram, that was just fine too, particularly if Avram’s wife Rachel and his brother Samuel got smashed as well.

Avram worked for the family jewelry concern back in New York, and they saved some money and slept better at night using him as a courier instead of some outsider. He was solid, and enjoyed being solid...people respected him a lot more than they respected his brother Samuel, who was the nominal boss. But even though Samuel knew how to make money, he was a bad seed, and Avram had always known it...Avram was pretty sure Samuel was skimming...Samuel was married but had a girlfriend on the side...and finally he got around to screwing Rachel. An anonymous someone dropped Avram a line. Avram had had his suspicions before, but he didn’t have any doubts afterward.

His thoughts got increasingly poisonous. Every shitty thing about everyone in his family that he’d tried to ignore just came front and center. He asked his parents about Sam and Rachel; they advised him to keep his mouth shut...they didn’t want to rock the boat...dad was afraid Sam would stick him in a nursing home.

It all just kept building and building. The inside of Avram’s head was a blacker and blacker place. The day before he had to take a shipment of cut stones out to Vegas, he was driving by a motel and spotted his brother and Rachel coming out of a room...before he even got to the airport, he was already thinking of absconding with the shipment. By the time he got to Atlanta, he was really teetering, and by the time he got on his connection he was over the edge and actively making plans, wondering whether he should unload all the rocks at once, and who he should do the deal with.

He got into Vegas late...had a reservation at Ballys. He always stayed at Ballys because you could get to the tables straight from the front desk. But he wasn’t a degenerate gambler...he’d always had a five-hundred dollar limit, generally on craps...once he burned through that, he could enjoy some of the other stuff in town. He really liked strip joints, and that shooting range where they let you fire machine guns.

He didn’t do any gambling that first night...the tables called out to him in the morning, but he just went to sell the stones, took a taxi to store run by Arabs out to the northwest. He’d decided not to sell all the stones at once...he wanted to test himself, dip his toe into the chilly waters of betrayal, see if he really could fuck over his family big time. He showed the Arabs some stones, they appraised them at thirty thousand, and he scooped up the cash as soon as they could arrange it. Then he went back to Bally’s, stopping off at the convenience store in the lobby to pick up a big bottle of Jim Beam. Practically the whole store was hard liquor. All the way up to his room, he was thinking about the suckers who came to this town to get their throats cut. But he discerned an absolute distinction between himself and those cattle. They were going to get strung up by their heels...he was going to go off like a car bomb.

He just needed most of a bottle of whiskey to get into the proper mental state.

He drank and drank, watched porno movies, couldn’t get much of a hardon with all the booze in his system. He fell asleep, woke up hours later when it was already dark, ordered room service. He had a bunch of messages on the phone, didn’t answer them—he guessed they were from Samuel. What an earful he was going to give the bastard after he’d blown all the money!

He’d ordered a ribeye steak, but he wasn’t very hungry. He still felt pretty drunk. There was a blonde shikse hooker in the elevator on the way down to the gambling floor, and she tried to get friendly, but he didn’t think he could’ve accomplished anything if he’d wanted to. Besides, he was a man on a mission. He got to the craps table about the time this gangly cowboy with a redhead on his arm arrived with a load of chips...between those stacks of black one-hundreds and the yokel’s remarkably foolish appearance and demeanor, Avram decided he’d found the man to help him destroy his family’s fortune...start the process, at least.

But the rustic ( who claimed to be named Big Jack), just kept on winning. Avram bet and bet on the bumpkin, and kept winning right along with him...won more than Big Jack did, as a matter of fact. Avram just kept tempting God to step on him, and God didn’t oblige. In fact, Avram began to entertain the notion that God was egging him on.

That didn’t make Avram feel any better though...it was as if he was being set up. But he’d committed himself to a particular course of action, embezzled from his family, become a bad guy, set things in motion. He couldn’t get off the boat now, and the river was going to take him where it wanted him to go.

Finally Big Jack (there wasn’t a chance in Hell that anyone called him that) decided to cash out...it seemed to have something to do with a wop in a jogging outfit who came up and slipped something to him. Once the cowboy left, Avram hung around the table for a bit more while everyone else dispersed...he was wondering what to do next when Jogging Outfit wop passed him a note.

Immediately Avram went to the cashier...then brought his swag upstairs, took the clothes out of his cloth suitcase with the wheels, and put his winnings in that. Then he sat on the bed for a bit and had a couple of hits of Jim Beam. Then he decided to go and blow himself up (or not) at the Tamerlane.

He took a cab over there. The place was mobbed because it was new, but it was a mess. Since he travelled a lot, he’d seen his share of newly-opened hotels, and all this was pretty typical...probably the only thing that was really functioning smoothly was the casino. Everything else would be fucked up, elevators, security, the kitchen.

The hotel was full of handy men and guys with walky-talkies, and, just as he thought, the elevators were screwed. There was a restaurant called the Silk Road up at the top, and he decided to take the express elevator and walk down to 2020....as it turned out, the cowboy who’d been playing craps back at Bally’s was planning to do the same thing...Big Jack introduced himself...his girlfriend or wife or whatever she was introduced herself as Deserette...one of those goofy Mormon names. Big Jack seemed to think he knew something about Jews. Avram felt no desire to chat him up, expected Jack’s winning streak couldn’t possibly continue. Avram had the distinct impression that the rest of Jack’s life hadn’t been characterized by luck...

They got up to the Silk Road, found an exit and descended. Avram opened up a lead. Down on twenty, the wallpaper in the hall was shiny gold, on which little black Hagia Sophias alternated with turbaned turk-heads. Avram found himself smiling, just a bit. He’d been to Istanbul...

A stout Guinea in a loud red tropical shirt opened the door at 2020. Avram showed him his invitation. The Italian looked over his shoulder, back into the suite. There was a pit, four steps leading down to a sunken floor, where the table had been set up...a couple of rooms opened off the main floor, and there was a spiral staircase leading up to a floor that overlooked everything else. The wallpaper was a kind of shiny violet, in which black Tang dynasty horses were chasing black Bactrian camels. There were four guys at the table already, although the game didn’t look like it had started yet. One of the guys was a little round-faced asian...the other guys were Jews or wops...one was the fellow who’d passed Avram the invitation at Bally’s, although he’d changed out of his exercise duds.

“Sorry, gotta search you,” the man at the door told Avram.

Avram let him.

“Case,” the man said.

Avram didn’t like opening it up, but he knew this ape wasn’t going to let it pass. Avram unlocked it. The stones were in a long plastic bag strapped to the back side of the lid. The man nodded when he saw them.

“Nice,” he said, then looked over his shoulder and signalled. The man he’d signalled to before nodded.

“Make yourself at home, mr...”

“Schifrin.”

“Hello, Mr. Schifrin, my name is Mike. Good luck.”

Avram headed down towards the sunken floor...one of the men at the table was just then getting up...mounting the steps, he picked up a phone from the bar.

“Room service?”




While Avram was being searched, Ducky was wondering what to do about his gun...he didn’t want to give it up, didn’t trust these greasers one bit...he’d shoved it to the bottom of his bag with the cash. Ducky still hadn’t decided what to do when Mike started in on him, and was still dithering when Mike said:

“The bag.”

When Ducky didn’t give it to him right off, Mike just snatched it and opened it up, started rummaging around in there. But right then, a greaseball who’d picked up a phone yelled, “Mike, I’m ordering a platter. What do you want?”

“They got cappacola?” Mike shouted, turning. Cappacola he pronounced gappagool. Ducky had no idea what gappagool was, although he wouldn’t have known what cappacola was either.

The guy with the phone asked. “No,” he told Mike.

“They got proscuitto?” Mike asked.

This came out as prazhoot, and Ducky didn’t know that from gappagool....they didn’t have it anyway.

“Soppressatta,” asked Mike

“No.”

“This fuckin’ place,” said Mike. “Tell me they got pastrami, at least.”

It was a while before the answer to this burning question came back, in the affirmative...Mike just zipped Ducky’s bag up and handed it back to him.

“There you go, Tex,” said Mike, straightening.

Ducky stepped by him.

“You going to search me?” asked Deserette.

“Wouldn’t mind,” said Mike.

“Go ahead,”said Ducky over his shoulder.

He didn’t look back, but she was giggling for the next minute or so...Ducky didn’t like this one bit, but he had to get into the game...

“There’s TVs in those side rooms,” Mike told Deserette, a not-so subtle hint that they didn’t want her hanging around the table. “Help yourself to the bar.”

“I will do just that,” said Deserette.

“Food’ll be along,” Mike said. “Probably take awhile, though. This fuckin’ place.”




Ducky went down to the table and introduced himself as Big Jack Walker.

“Big Jack, huh?” asked a middle-aged balding fellow with a big smile and a lot of jewelry.

“Yep,” said Ducky.

“Well...Big Jack, I’m Ed Levitt.” He nodded towards Avram. “Mr. Schifrin you seem to know...” He indicated the Asian guy. “That’s Winston Yip. He’s from China Town. We recruited him in the Imperial Palace...won the lottery just last week, decided he’d like to share it with us.”

“Hey, I just won the lottery too,” said Ducky.

Winston grinned. “Bad luck for you. Going to cut your ass, Big Jack.” He laughed and shook his head. “Big Jack.”

“You got a problem with my name?”

“No Big Jack. Hell no. Everybody where I come from name Big Jack too. That Wanchai, in Hong Kong. All full of Big Jack. Trip over Big Jack.”

“Hey Winston, be nice,” said one little suntanned wiry mediterranean looking dude. He extended a hairy hand that was even more ring-clotted than one of Ed’s. “Tony Amatuna. They call me Tony, or sometimes just Tuna, sometimes Charlie the Tuna.”

“Not Tony the Tuna?” Ducky asked.

“Why the fuck would anyone call anyone Tony the Tuna? It’s Tony the Tiger, Charlie the Tuna.” He laughed. “Big Jack.”

“Hey hey,” said Winston. “You be nice now, Charlie Tuna.”

“I’m always nice.”

Ed indicated the fellow who’d given Ducky the note at Bally’s.”And that’s Tony Q, but you’ve met.”

“Big Jack,”Tony Q smirked.

Ducky was beginning to get genuinely steamed...even though he’d never been called Big Jack so much, he wasn’t enjoying it at all. But then a western type in vest and a straw cowboy with the brim turned up on either side practically jumped up next to him, and Ducky was shaking his massive paw before he even realized it.

“Aww, they’re just busting your chops, buddy,” the cowboy said, sounding genuinely friendly...Ducky warmed to him immediately.

“And that’s Tim Tardesman, from Lone Pine, over in California,” said Ed.

“I run tours in Inyo,” said Tim. “The Alabama hills, where they shot all those Westerns. You should come on out sometime, and I’ll show you all the big, big rocks.”

“That’s if you like big rocks,” said Ed.

“We’ve got lots of ‘em in Utah,’ said Ducky.

“I bet,” said Ed. “Let’s play some cards.”





Now this game was Ed’s idea...he was a professional card player from St. Louis. At first he’d been content to work the poker games in the casinos along the river, but then he’d hit on the idea of looking for well-heeled losers on hot streaks (generally idiots who’d just won the lottery), and inviting them to private games where they’d be allowed to win just long enough to commit most of their wads, whereupon Ed would open up his actual war chest, and sandbag the shit out of them. Since he always preferred to gamble with someone else’s dough, he’d get his grubstake from some local goombah, who’d usually be happy to throw in a gorilla or two as security...Ed generally had at least one shill at the table as well. He’d never tried his scam in Vegas before; this was his first night,although he’d been in town for about a week, getting introduced...he’d met Marty Gennucci at a card game at the Mirage. Marty ran the International Association of Linen Workers, which serviced about half the hotels on the strip, and also included The Brotherhood of Seafood Truckers, and the Amusement Machine Electrician Union. After the game, Marty and Ed had gotten to talking, and it turned out the Electrician Union had about a million bucks it wanted to invest in something...Ed had been recommended as a straight shooter by a number of straight shooters, and Marty decided to plow those Union dues into something sure-fire. Ed had gotten the money earlier in the afternoon, bundles of hundreds in two big cloth bags They were upstairs at the moment, but Ed figured he’d be getting into one in about an hour and a half...he’d already sized up the guys round the table. He figured “Big Jack” would be cleaned out pretty shortly...Ed wasn’t sure about Mr. Schifrin, though. Something mean was going on in that Jew’s skull, and if Ed had been Tony Q back at the Bally’s, he didn’t think he would’ve invited that particular member of the Tribe...




Everybody anted up, one thousand bucks...Ducky won some hands, kept feeling lucky, even though everybody with the exception of Tim Tardesman kept ragging on Ducky about his name. More and more Ducky found himself thinking about pulling that little five-shot hammerless out of his bag, how satisfying it would be to shoot a couple of these bastards, particularly that little moon-faced chink. But really, he was getting his revenge by taking their money. He kept on winning, and his bets got bigger...mostly he was scoring off Mr. Schifrin...the others were lying low. The Jew was well down by the time that long-awaited sandwich platter arrived.

Mike at the door was pretty grouchy with the room service guy, saying,
“No Prazhoot, you should tip me, you fucking mutt.”

But Tony Q said, “Hey, he’s just the guy who brings the platter.”

“Hey, he’s just an asshole,” said Mike, but tipped him at last.

Everyone except Schifrin gathered round the food...he went to the bar. Deserette came out of that side room, made herself something...Ducky piled up a big fat ham and swiss cheese on rye sandwich with pickles, lettuce and tomato, and thin onion slices. The platter did not look deficient to Ducky. He and Deserette went over to a huge leather couch with a glass coffee table in front of it to have their food...

“Why don’t you go get us some beers?” Ducky asked.

Deserette dutifully rushed over to the bar and came back with a couple of bottles.

“How’s it going?” she asked.

“Pretty good so far,” he replied.

“That Mr. Schifrin looks mighty unhappy,” she observed.

“Ah, he’s just losing,” Ducky said.




Now when everybody got back to the table, Ducky lost large a couple of times and he had this crummy feeling that his luck had changed. He still had just about the same wad he’d brought from Bally’s, which was way more than he’d won when he’d Picked that Big One, and he could’ve gotten up and walked away, and he still would’ve been way ahead. But then, right before the next hand, Winston Yip looked at him and said, “Wassamatta, you turn to pussy now, Big Jack?” and Ducky decided he was going to live up to his nickname, really be a great big Jack.

But the next three hands went worse than the last three, and he compounded his problem by trying to bluff and putting way too much on the line. Mr. Schifrin won two of the hands, and Ed Levitt won the other...Ducky was down to ten thousand bucks.

After that, he just sat there, feeling like an idiot. Schifrin seemed unhappy to be whipping him so badly...Ted Tardesman looked as if he was working himself up to advising Ducky to leave. Everyone else was all glances and infuriating little smiles, but they didn’t say anything...maybe they thought they’d be able to clean him out completely.

Ducky sat out the next few hands...it came down to Schifrin and Levitt...Schifrin went all in. Huge pot. Ducky had never seen so much money.

“Hey Mike,” Levitt called. “Go upstairs.”

Mike left his post and went up the spiral staircase, returning with a great big green athletic bag. Levit unzipped it and dumped the contents on the table. Dozens and dozens of bundled hundreds thumped out.

“Well Avram,what do you think?” Levitt asked.

Ducky was rooted to his chair...Tardesman, Tony Q., Amatuna, Winston Yip, were all staring wide-eyed at the cash, like they were looking at God Himself, To Ducky it seemed like the money was practically glowing.

But Schifrin just unlocked that case from his wrist and opened it up, and tossed a long swollen plastic bag onto the greenbacks...Ducky didn’t know what he was looking at at first, although the stuff in that bag sure did glitter. It was like white fire. Suddenly he realized it was diamonds.

“Oh, wow,” said Winston Yip.

Schifrin smiled thinly at Levitt, said, “Well, Ed, what do you think?”




Ed wasn’t surprised, of course.

Tony Q had told him he thought he’d snagged a diamond courier. And Ed was pretty sure the rocks were genuine, even before he opened the bag...guys were always putting up their watches and their jewelry at games, and he’d made a point of acquiring some chops as an appraiser...he’d seen bagged cut stones before.

But he’d never seen anything like the treasure that had just been tossed down before him. Just to make sure, he opened the bag, took out his jeweller’s glass, examined a few of the stones. They were just wonderful. West African. Probably they’d been mined in the last few months.Very fiery. Nothing much in the way of niggers. His wager had been seen, and then some.

“Mike,” he said.

Mike went upstairs to get the other cloth bag.

Right up until he came back, Ed was staring Avram right in the eyes. Avram was looking like he knew he was a dead, dead man, but he also looked very hard and composed. He’d hurled himself into this course of action, and now he was going to take his medecine...Ed was almost proud of him...and mucho glad that Avram had been frisked at the door...




Ducky watched Mike go into the room and come back down...Ducky felt almost drunk to think of the money in the bag, and on the table, and the jewels...it was almost hard for him to remember that he’d just been almost cleaned out.

But then he started wondering what Joe was going to say to him when he went back to Cainville. True, he hadn’t lost everything. But he wouldn’t be able to pay Deserette’s brother off now, or Joe, for that matter...Joe was going to rip into him big time...and Hell, Ducky found himself thinking that he’d deserve it.

Unless he took matters into his own hands, that is.

Ed was dumping that second bag out on the table...Ducky couldn’t read
Schifrin’s face at all, unless maybe the poor guy didn’t care about anything anymore. Ducky collected what remained of his stake, put the paethic remnant back in his own cloth bag, got up and stretched, no one paying him any attention at all.

“I think I’m out,” he said. “Need a stiff one.”

He headed up to the bar with the mostly-emptied bag from Bally’s. Tardesman and Amatuna and Winston Yip were congratulating Ed. Mike was heading back to his post. As he went past, Ducky turned to look at him. The tail of that deafening tropical shirt hung down in back, but Ducky could see a lump about belt level...the greaseball had a piece tucked into his pants.

Now Ducky wasn’t good at much, but he knew guns and how to shoot ‘em; there was a spot out in the badlands where he’d ridden his trailbike and his ORV with his friends, and they all brought stuff out there and blasted the hell out of it with shotguns, rifles, and pistols...Hell, everybody in the Madducks family used the place, and everyone was a good shot...Ducky wasn’t as good as Joe, but he was a lot better than most everybody on earth. He expected he was a whole lot better than any of the city boys in the room at the moment...Tardesman looked like he probably knew how to shoot, but Ducky assumed he wasn’t packing because Mike had searched him...Mike probably didn’t always fuck up the way he had with Ducky.

Anyway, since Ducky had lost big, and was confident in his marksmanship, and he couldn’t bear to think of the crap that Joe was going to give him, and he was really mad about all those assholes making fun of a name that wasn’t even his, Ducky knew he had to act, and he pulled out his little wheelgun and closed in behind Mike real quick. Mike heard him, started to turn, but Ducky put a pill right into Mike’s ear. A small slop of blood about the color of Mike’s shirt flew out, landed on that shirt, and vanished...even as Mike was falling, Ducky tossed the five-shot to his left hand, reached under Mike’s shirt, and snatched out Mike’s gun. It was a stainless steel Smith and Wesson .357 magnum. Ducky cocked the hammer and rushed back towards the pit, pistols in both mitts, screaming, “Hands up!”

They were all half out of their chairs...Ed was reaching behind his back...Ducky, who had a .357 slug into Ed’s right shoulder. Blood blossomed in that white shirt, and Ed dropped back into his chair.

Winston Yip got all the way up, and he had a bitsy silver automatic, a lady’s gun...Winston poepped got a shot off, but Ducky got him in the belly, and Winston belched real loud and dropped into his chair too, gun landing in the money.

“All right!” Ducky screamed. “Put your pieces on the table where I can see ‘em! Now!”

Tony Q produced a Berretta but fumbled it, dropped it on the floor.

“I’m unarmed!” screamed Charlie Tuna...Ducky didn’t think he believed him.

“Me too!” shouted Tardesman.

Ducky swung the five-shot towards Charlie Tuna, popped him in an elbow. Charlie gripped the wound, his whole sleeve already scarlet, blood pulsing through his fingers.

“I’m unarmed!” he screamed.

Ducky thought maybe he was...he pointed the Magnum at Wilson Yip, who screamed, “NoNoNoNoNoNoNo!”

“What’s my name?” Ducky cried.

“Oh..Big Jack!” Wilson shrieked.

“Didn’t hear you!”

“Big JACK!”

“Louder!”

“BIG JACK!”

Well, just to show exactly and emphatically how big a man he was, Ducky planted a slug right at the top of Wilson’s nose. Blood jumped down the whole length of it, spurted from his nostrils...his eyes bugged...his head rocked back into the red mist (from the exit-wound) that was still hanging in the air behind him.

Ducky noticed movement...Tony Q was reaching for something...Schifrin snatched that Beretta off the table and shot him three times in the face even as Ducky capped off two more rounds from the Magnum. Tony Q flew back against his seat, which tipped over, and he landed with his feet in the air.

Tardesman made a lunge for Winston’s pistol where it was still lying on the money...Ducky didn’t know why, because Ted had never made fun of him, and shouldn’t have been worried. But there was just nothing whatsoever to do but shoot Tardesman right in his cowboy hat. Tardesman landed on the table but slipped down.

Suddenly Ducky noticed that Levitt had dropped from view...hardly had he made this observation when Ed reappeared, with his own gun, and that pistol that Tony Q had fumbled...he slid to the side, getting behind Amatuna, who seemed to be a just plain old civilian after all, and was still sitting there with his hands up and a terrified expression on his face...Ducky swung both guns towards Levitt and his human shield, but Schifrin wailed into them first, with that Beretta. Charlie Tuna’s face exploded in blood...blood jumped from his shoulder, was shooting out of Ed’s white-shirted chest...Levitt got a couple of rounds off before Schifrin blew one of his eyes out. Then Ed dropped down behind Amatuna’s corpse.

Schifrin turned towards Ducky, looking unhappier than ever. Ducky couldn’t see any blood on that black jacket, but red stains were spreading through Schifrin’s shirt. Ducky didn’t feel like shooting him...also, he wasn’t sure if he had any slugs left...and Schifrin’s Beretta hadn’t locked open, so Ducky knew he had at least one round.

“Hey, take your diamonds,” said Ducky.

“Fuck ‘em,” said Schifrin. “All for you. I hate diamonds. Actually, now that I think of it, you can take the cash too.”

He sat back down in his seat.

“Ducky?” came Deserette’s voice. Ducky turned.

“I think someone shot me,” she said, standing at the top of the stair. She had her hand over her stomach...he ran up and looked, but there didn’t seem to be any blood.

“Look, there’s no blood, honey,”said Ducky. “You’re all right.”

And with that, he rushed back down the pit, threw the diamonds and as much cash as he could into one of those big cloth bags...it pained him greivously to leave the rest, but the bag he’d stuffed was almost too much as it was...it felt like he had part of a railway tie in there...he thought of making Deserette carry the other bag, but he didn’t think she could manage. Beside, they’d stuck around way too long as it was...

“So long Avram,” said Ducky over his shoulder, as he and Deserette rushed for the door...if Schifrin answered, Ducky didn’t hear it.





So then...

Word had gotten out that the Tamerlane, because of its teething problems, wasn’t a good place to stay, even if the casino was going great guns...they were practically giving rooms away, and that’s why Ed had booked a suite there, because he was a cheapskate...a lot of the twentieth floor was empty...not too many people even heard the gunbattle...the rooms were well-made and practically no one was around. Nobody wanted to look out in the hall either, so nobody saw Ducky and Deserette rush on down the hall to the stairwell. Security was all messed up, and there was a fight down in the casino that drew off a lot of guys...it was twenty minutes before anyone got up to 2020, or rather down, because they had to take the elevator up to the Silk road and then go down the stairwell. But when security got inside the room, well...between the cards, the money, and the bodies, it was pretty obvious that they were looking a poker game gone real bad.

Avram was still alive, but just barely.

“I shot them,” he said, coughing blood. “I shot them all.”

They didn’t get another word from him, and he checked out shortly afterwards.




As for Ducky and Deserette, they’d descended in a stairwell where the cameras weren’t working, and got out onto the parking lot through a door where the camera wasn’t working either; it was a long slog for Deserette through that huge parking-lot.

“Ducky, I really think somebody shot me,” she kept saying, and Ducky would answer, “Babe, you’re going to be all right,” and then, “Honey, we’re almost to the car.”

At any rate, she stayed on her feet the whole distance between the suite and the Buick, and didn’t seem to lose a single drop of blood. Ducky threw the bag in the trunk and they got into the car, and Ducky drove out through that back gate in the chainlink fence, and along that dirt road. They got back onto Fifteen, Ducky popped in some Billy Ray Cyrus, and Achy Breaky Heart was up, and they roared towards Utah in the moonlight through the desert and the Joshua trees, with Ducky believing fervently he’d done something even cooler than playing 12345678910 in the Pick a Big One...




As for Marty Gennucci and the rest of the crew who administered the Amusement Machine Electricians pension fund, they figured out pretty quick that only half the cash at the poker game had been accounted for...Marty’s bad judgement, which all his buddies had previously hailed as vision with a capital V, was revealed in a very different light..Marty caught a double tap one night, and wound up entombed in the foundation of the Forty Thieves, whose construction had just begun, a half mile down the road from the Tamerlane.

But even though Marty’s partners had despaired of him, they hadn’t given up on all that cash. They looked into the matter with considerable energy, committed some serious resources. And they had a great big additional incentive, over and above getting back their own dough; turned out that that dead sheenie, the one who said he killed everybody else (nobody believed that) had been carrying (so claimed his brother Shmuel) a fortune in cut stones, and whoever took the union dues almost certainly had the rocks as well. Everyone was looking, Marty’s friends, other crews, the local cops, the Feds, private dicks, Jewish guys from back east.

But none of them were giving too much thought to the Beehive State.

Tuesday, June 28, 2011

Infernal Affairs Vs. The Departed


As should've been clear from that Gangster Top Twenty list, I really love gangster movies, and I have something of an interest in real-life crime stuff...in honor of the arrest of James "Whitey" Bulger, the Boston crimelord, I decided to watch The Departed again.The Jack Nicholson character in the film, Frank Costello, is based on Bulger, and if you look at pictures of Bulger when he's grinnin', he actually looks like Nicholson.

But...

Costello stuff aside, The Departed was a Hollywood remake of a Hong Kong flick called Infernal Affairs,  and I watched that one again too, to see how it fared in a head-to-head matchup, with the remake really fresh in my mind. Well, the result was a perfect illustration of how a great big genius like Martin Scorsese just isn't the solution to every cinematic problem.

I'm a huge Scorsese fan; I think Goodfellas is the greatest mob movie ever...when The Aviator turned up on cable, me and my whole family were quoting the dialogue all the time, and during our vacation in Sedona awhile back, we used "The Way of the Future" as a password...whoever was inside the cottage would answer, "Come In With the Milk" and open the door.

That being said, Scorsese doesn't do everything well. He really isn't any good with thrillers, or stories with plots...consider his version of Cape Fear (drastically inferior to the J. Lee Thompson's original), or Shutter Island, which was utter bullshit from beginning to end, nonsensical and predictable at the same time. Nope; the guy's forte is realism.

Now you might say to yourself that a nasty cops-versus-gangster drama featuring moles dug in on both sides would play to all his strengths...but it doesn't. He might know the mean streets of NYC, but he doesn't know Boston. His scriptwriter, William Monahan, might, but Scorsese doesn't. You don't buy his Boston for one minute---or find it any different from any other Northeastern shithole city---even if you have a band howling about "I'm a Sailor's Peg, and I lost my leg!" at crucial junctures in the film.

Worse, the movie has a plot. It's really plot driven. In fact, there wouldn't be much of a reason for adapting Infernal Affairs if you weren't going to do a thoroughly plot-driven remake. But where that sort of moviemaking calls for discipline, efficiency, and proper structure with a lot of attention paid to the load-bearing members, Scorsese just seems kind a bewildered by the situation, and substitutes posturing and tough-guy mannerisms for sound storytelling.

Now in The Departed, we have two protagonists, one played played By Leonardo DiCaprio, and the other by Matt Damon. DiCaprio is a Southey kid who wants to escape his past and become a Massachusetts state cop, although the powers-that-be in the state cop establishment decide that he's only fit to go undercover...they assign him to penetrate Jack Nicholson's crew, not knowing that Nicholson has a mole of his own in the State Police, namely Matt Damon. There are various twists and turns...the two moles try to identify each other, and people on both sides get iced.

The film largely builds itself around four or five big scenes from Infernal Affairs, modified to suit the change of location...but whereas, in Infernal Affairs, we got to the first big bit of business within twenty minutes or so, in Scorsese's pic we don't get to that stuff for practically a hour. And even then, the emphasis is completely wrong. In both films, the sequence is about an evil transaction (dope-dealing in Infernal Affairs, microchip-selling in Departed) that's being monitored by the cops; the mob mole realizes that the cops have a mole in the mob, and he very nearly figures out who the cop mole is. In Infernal Affairs, the focus is almost entirely on suspense...will the good guy get caught, or what? The drug deal is almost secondary, and really, we don't care too much about that...the dope's just a macguffin. So are the microchips in The Departed, of course...although Scorsese and Monahan don't seem to realize that. The stuff about Dicaprio being exposed recedes into the background...we get a lot of stupid crap about Red Chinese functionaries bringing machine guns to the deal (it's like something from a Bond movie), and Jack Nicholson posturing and cutting up. In Infernal Affairs, Eric's Tsang's relatively low-key performance as the crime boss is properly subordinated to the rest of the story; in The Departed, Nicholson is pretty entertaining, but believable he ain't. He's constantly mugging, arching his devilish eyebrows, or sticking his teeth out pretending to be a rat...he's given way too much screentime, and he gets steadily more ridiculous as the film goes on, until he's finally bumped off...at which point the movie, sticking rather closer to its source material, gets a whole lot better.

But boy, do we have to wade through a lot of boring structurally useless stuff before we get to that point. There's a bunch of extraneous violence that serves no narrative purpose...you know me, I like violence, but in The Departed, you get the impression that Scorsese threw it in because he just didn't know how to propel the movie otherwise. Then there's the godawful love interest, Vera Farmiga, a police psychiatrist who just happens to get involved with both Damon and DiCaprio. Every time the film threatens to build up a real head of steam, it's almost as if Scorsese or Monahan said to themselves, "Can't have that! Let's bring that woman back in!" She's ill-defined and hopelessly annoying, and whenever she's onscreen, we get endless longeuers with Damon or DiCaprio and her exchanging lousy diaologue about vulnerabilities being revealed and whatnot. Pure root-canal stuff. In Infernal Affairs, the good guy and the bad guy had their own respective girlfriends, but we didn't spend eternities with them.

But there's all sorts of other irrelevant crapola, characters who are introduced and go nowhere, meditations on clerical child abuse, daddy issues, the aftermath of a night of Matt Damon impotence, banter about homos, wandering monologues by Jack Nicholson where you really can't follow the thread...the dialogue is plainly supposed to be nifty gangster-and-cop tough-talk, but it's frequently stilted and downright tortured. There are numerous soulful Oscar clips...the adaptation is absolutely chunky with bits of business retained from the original, bur serving no purpose at all in their new context. One has plenty of chances to wonder if Dicaprio is ever going to look like a grownup, or at least a teen-ager.

That being said, he's pretty good in the movie...so's Matt Damon, and Martin Sheen, and Ray Winstone. Marky Mark Wahlberg, in a role that wasn't in IA, should be singled out for particular commendation. But they all have to play second fiddle to Jack Nicholson, and he lays waste to much of the film...it's rather like one of Marlon Brando's more out-of-control perforances. I was reminded of The Missouri Breaks, and hey, Nicholson was in that one too...maybe it's not a coincidence.

Then, of course, there's Ms. Farmiga, and she's right out.

Now, I guess you must've twigged it that I think Infernal Affairs is vastly superior to the remake, and I won't apologize. When The Departed came out, the critics were most patronizing about IA, but most critics are silly herd animals who should be butchered and eaten by artists. Just consider the runtimes of the respective films. Infernal Affairs is a tight, trim, ninety-seven minutes long, while The Departed is two and a half hours, and almost all the additional material is gas, flab, or both. IA sticks relentlessly to the point. It's hard for me to judge the dialogue from the subtitles, but the story and characterizations stand right the hell out. The direction, by former cinematographer Andrew Lau and Alan Mak, might not be brilliant, but it's all business. Just about everything is effective, but properly subordinated. The focus is primarily on our two moles, just where it should be. And the mob mole, played by Andy Lau (not to be confused with Andrew), is a much more interesting character than Matt Damon's guy, who's a fairly black-and-white vile person, and a limpdick to boot...Lau's character has come to detest working for the bad guys...his motivations in a bunch of the scenes are a whole lot more complex...the climactic action has a whole different vibe to it, and is much more suspenseful. The only way in which The Departed streamlines the story is quite undesirable, and really dumbs the whole movie down. Upon seeing the remake, Andy Lau had quite a bit to say about the way in which his character was mangled, and he was right to be pissed off.

His opposite number, by the way, Tony Leung Chiu Wai in the Dicaprio role, is also very good, as is Anthony Wong in the Martin Sheen part. Of course, Anthony Wong is always good. When you see Tai Seng video coming attractions, he's invariably referred to as "the great Anthony Wong"...I call him that too, every chance I get. I hope we don't have a war with China, because then I wouldn't get to see any more Anthony Wong films...unless we're under military occupation, maybe, and I don't think I'd be able to enjoy them then.

Whatever.

The guys who made Infernal Affairs, Media Asia, had a biggish piece of The Departed, and I bet they were pretty happy with the box office for the most part. As for Scorsese, I think it was his biggest hit, although I might be mistaken about that. It did win all those Oscars, which was just ludicrous. I mean, basically, Scorsese was getting them for his much better movies...which is to say, The Departed won because Dances with Wolves beat Goodfellas for Best Picture...

I don't watch the Oscars any more.

Tuesday, June 14, 2011

King Dinosaur!


As you could probably tell from my ten worst movies list, I have an abiding interest in crappy movies, and I'm always willing to put my hip-boots on and wade into new crap, or revisit some old crap that I might've forgotten about, stuff I saw when it first came out, say, in the 1950's, when I was too tiny to realize that it was crap at all. Well, I think I was about three years old when King Dinosaur was released, and I believe I saw it in a Garden State drive-in with my folks. That recollection is pretty fuzzy, but I have rather clearer memories of King D from TV in the early 1960's, and by then I was old enough to realize what a shitty job they were doing with the ostensible dinosaurs, trying to pass of iguanas as tyrannosaurs, etc. But I don't think I ever realized exactly how big a stinkbomb the movie was.

It was directed by schlockmeister Bert I. Gordon (BIG for short), and the time would come when I would start paying attention to credits, and associate his name with cinematic yellow shitstorms like The Cyclops,  The Amazing Colossal Man, and Food of the Gods,. But I hadn't gotten to that stage the last time I clapped my poor little eyes on King D. I think I thought it was just kind of a rip-off of One Million BC, and it does crib a few moments of footage from D.W. Griffith's caveman epic...but it's way way worse than a mere knockoff, indeed, deserves to be ranked with movies like Robot Monster, which also used One Million B.C. stock footage, and featured location work in Bronson Canyon.

Anyway, the other day, I saw King D listed on the Pay Per View and watched it immediately, the upshot being that I laughed my ass just about off, and made my wife watch it with me the following night...I have a couple of friends, namely Nick Prata and Sam Tomaino, who love bad movies, and I'll show it to them shortly if I get the chance. Hopefully, they'll evangelize on its behalf. It should be a whole lot more famous than it is.

The film manages to pack a huge amount of nothing much into its meager 63 minute running time. The first ten-twelve minutes are nonstop stock footage and voiceovers...one is reminded of that stuff in Ed Wood where Ed waxes ecstatic over the studio's stock-footage library. But I don't think even Saint Ed ever subjected an audience to quite such a deluge of second-hand stuff.

The story, such as it is, involves a new planet (the scientists name it Nova) that somehow sneaks into our solar system and pops up very close to the Earth...the government (represented by a shot of the Capitol Dome) decides to mount an expedition, and the depiction of the ensuing space program is a mindnumbing succession of clips of V-2 rockets, observatories, dials, gauges, oscilloscopes, ampmeters, radar dishes, guys rotating radar dishes, checkpoints, swivel chairs, loudspeakers, big ceiling fans, pipes, ladders, engines cracking off bombers that have just been dropped onto concrete floors,the Blue Angels, an air show, graphs, jet engine test #97, Rocket Test # 2, white mice floating in zero G, and all sorts of other things. Complementing this barrage of senseless visuals quite perfectly, veteran narrator Marvin Miller intones a shitload of stupid exposition with awesome, almost Jack Webbian, earnestness, either because he's a complete idiot and doesn't know any better, or because he's the goddamnedest pro who ever lived.

Just before the expedition gets off the ground, he introduces our voyageurs, two stalwart science studs,and two curvy science bimbettes.We get brief glimpses of them doing scientistic things in their respective fields, such as looking at test tubes and into microscopes. Then, after a very quick count down, a V2 rocket is finally launched, ostensibly with them on board.

The space-travel effects consist of V2 footage simply printed over starry backgrounds, with no attempt at motion-control at all, the rocket dipsy-doodling just about everywhere, because the original material was shot by some cameraman on the ground who was having a hard time keeping his lens fixed on the missile. The same crap continues once the ship arrives in Nova's atmosphere, except that the image of the rocket gets very faint and out-of-focus...we see it creeping and skulking behind some trees, going up and down and even back and forth with pines showing through, because, well...it's just printed right over them.

Ultimately, it flips its butt-end down, and lands in some woods that appear to be in the Angeles Mountains or the Sierras or whatever. Our scientists climb out wearing spacesuits from another movie....the spaceship is just barely represented by a model that's closer to the camera than the scientists are. It's kind of a hanging-miniature effect, and that's okay, but...the spaceship is way too small to have had the passengers inside, and worse, it isn't being photographed at a dead right angle, smack down on the deck, to make it look big and the people tiny. Nope, it's being photographed from above, leaving you with the impression that it's hanging some distance above the ground.

There is some doing of science in a field. The scientists have a microscope in one of those little wooden boxes that microscopes used to come in, and they look at bacteria. One of the guys says, "What era would you say this planet is?" and a bimbette replies, "prehistoric." Owls,elk, boa constrictors and tree-sloths double as extraterrestrial prehistoric critters. After being wounded in a wrestling-match with a smallish alligator, one stud has to put a bullet into a weirdly-superimposed giant mole-cricketish thing which is completely transparent wherever it has a highlight on its body. Our protagonists drift aimlessly around. They go back and forth to the ship. Spotting a lake, one of the girls says, "what I see is a whole lot of water, and that means a bath, and let's get some clean clothes and have one!"

There's an island in the lake...the other girl wants to visit it. It turns out that this is where the dinosaurs live, although we don't know that yet. I love the fact that you land on another planet and you still have to go to an island to get to the dinosaurs.

Eventually that girl and a stud row over, and find themselves in dry rocky Bronson Canyon, even though we've been told the island is all jungly. It takes us forty minutes to get to this point. You'd think that if you only had sixty-three minutes to tell your story, you'd be in rather a rush to cram it with incidents...for God's sake, try to give people their money's worth...throw in another mole cricket, or a guy in a lobster suit. Actually have the bimbettes take that bath in the lake. Or maybe even have a dinosaur somewhere in the first two thirds of the film.

I guess I'm just a starry-eyed idealist.

But just when we despair of there ever being dinosaurs in King Dinosaur, we get to the dinosaurs! Or rather, two unhappy lizards and a little caiman that we're informed are dinosaurs. The guy and the bimbette get trapped in a Bronson Canyon cave by a tyrannosaur, which is to say, a big iguana.It has an extremely tyrannosaur-like horn glued on its nose, and is held up tyrannosaurusly on its hindlegs once or twice by a wire under its armpits. It wants to eat the scientists, but it can't get in, and the guy scientist takes a polaroid of it looking in the cave, the photo (with the iguana sticking its tongue out) resembling a postcard, kinda "Dinosaur World, Wish you were here." The female scientist screams, and in a frenzied display of sheer femininity, rips the picture up. People offscreen (you can see their shadows on a supposed "cliff") hurl the iguana and the aforementioned caiman together. The poor reptiles don't look like they want to fight, but they roll around for a while, and then the caiman is dead, and some one's thrown chocolate sauce on it.

Meanwhile, a monitor lizard or some sort of big skink has been hanging about. The people offscreen throw him at the iguana, and the lizards flip around for a while, and the monitor lizard dies and gets chocolate sauce poured on him. By virtue of his two savage victories, the iguana has become...

King Dinosaur!

However, all this allows our scientists to escape from the cave. The iguana follows, but little does he know that the other two scientists have brought a nuclear weapon from the V2, one of them announcing, "I've got an atomic bomb, and this would be a good time to use it!" The earth people get on their rafts and row back across the lake...the bomb explodes...one of the scientists laments poignantly that "We've brought civilizations to Nova all right."

God, It's like being stabbed in the heart.

Bert I. Gordon went on to make a slew of other giant monster movies, and all of them were fabulously awful. One of my favorites, Food of the Gods, featured giant wasps that were simply dead curled up wasps (such as you might find on your windowsill) superimposed with astounding crudity on poor innocent backdrops that had done nothing to deserve it. At the climax, giant rats are exterminated by a dam being dynamited; the miniature effect has them swimming around in a fish-tank, with water slopping over the sides in full view of the camera. A little bit later in his career, BIG made some sort of witchcraft movie with Orson Welles, who shouldn't have lived so long...I've never seen that one though.

On a happier note, the screenplay for King Dinosaur was written by Tom Gries, who actually got his head out of his ass, and started directing good westerns, most notably Will Penny and Breakheart Pass. I cannot account for it.

God moves in mysterious ways.

Tuesday, May 31, 2011

Top Ten Science Fiction Movies Part 2


6.Five Million Years To Earth (Quatermass and the Pit), 1967, Director: Roy Ward Baker
This is the best of the Quatermass series, and Nigel Kneale's best movie, period. If the special visual effects were as good as the script, the movie would be the best SF film ever, nudging out even Forbidden Planet, but...the visual effects really bite. There was talk about a remake for a while there...I believe Alex Proyas was planning something. There aren't too many classic films that should be remade, but Five Million Years is one of them...the Martian racial purge and the destruction of London positively cry out for modern digital effects. Also, it wouldn't be a bad thing if a remake was beefed up with some of the material from the BBC TV version....the movie adaptation was very good, but some of the smart stuff was cut out, principally regarding the way in which the evil Martian phenomena at the end are being powered.

The story seems to be a kind of critique of Childhood's End. In Arthur C. Clarke's classic, our primitive stupid civilization is pretty much brought to an end, for good or ill, by the arrival of aliens who look kind of like devils. It's a great book, but I never cared for it...why should we like these aliens, anyway? Nigel Kneale seems to have had the same reaction...he gives us aliens who look like devils and...they're really devilish. In fact, five million years ago, when they tried to colonize the earth by proxy, they succeeded in infecting us with all their demonic attributes, and everything's been much scarier since then...but I'm getting ahead of myself.

In this go-round, Quatermass is finally played by an actor who's a good fit for the role, Andrew Keir, whom some of you might remember from Rob Roy, where he embodied much benevolence and gravitas as the Duke of Argyle. In FMYTE he's much more sympathetic than Brian Donlevy ever was as Quatermass, although he's still pretty sharp-tongued...he also has the added advantage of being a Brit playing a Brit in a Brit space agency.

As the movie opens, Quatermass is still trying to get his space program (literally) off the ground, but he's being thwarted by short-sighted bureaucrats and the nasty, completely unimaginative Colonel Breen (Julian Glover), who just can't see any point in peaceful applications of rocket technology. When something that seems to be an old Nazi rocket from WWII is unearthed in the London subway, Breen is sent to check it out, and Quatermass tags along, for reasons I don't quite recall; even though it's immediately obvious that the thing isn't a V weapon. Breen goes with that explanation, while Quatermass knows that they're dealing with something extremely strange. Attempts to drill into the ship fail, although the drill imparts enough energy to the ship for it to decide to open up, revealing a clutch of long-dead alien insects with tripod-like legs, the bugs bearing rather a resemblance to the Selenites in First Men in the Moon. Exposed to air, the things begin to disintegrate real quick, although some are preserved by Dr. Roney (James Donald) a scientist who winds up working with Quatermass. Breen dismisses the creatures as fakes, but Quatermass knows better...digging into the history of the neighborhood (the street name is Hob's Lane, Hob being one of Satan's many nom de nyms or pseudoplumes), he discovers that the place has been associated with the Devil for a very long time...there have been sightings of "hideous dwarfs" that go back all the way to the Middle Ages. Bizarre mutant hominid fossils with expanded skulls are unearthed in the vicinity of the ship...Quatermass begins to piece together a wild (but of course correct) theory that's sure to displease his superiors.

He speculates that the bugs were ancient Martians, from a period when the red planet could still support life...realizing their planet was dying, the insects got hold of some earth-apes, and modified them, turning them into creatures that were still terrestrial physically, our ancestors in fact, but psychologically and culturally Martian. For some reason, this attempt to pass on the Martian Way didn't take, and we never find out why, but Quatermass and crew soon discover that it's a damn good thing that it didn't.

The guy who tried to drill into the ship earlier is collecting his stuff...the ship subjects him to a wild hallucination of life on Mars. Manifesting scary psychic powers, he goes running about making an extreme nuisance of himself, until he winds up in a church. Quatermass and Roney find him there, under the watchful eye of the pastor, who's convinced that the man's been subjected to some sort of frightful evil, a proposition that Quatermass eagerly agrees to. Quatermass interviews the drill-guy, who tells him about what things were like in his Martian visions...the sky was brown, and the place was full of creatures "leaping and hopping." Quatermass decides to make a recording of one of these hallucinations.

Fortunately, Roney, who's rather an all-purpose scientist, has a machine which can record brainwaves and render them into images. When we get a glimpse of his interior state, we see that he's always subconsciously in a lovely little English village...he just never got enough of that Martian mental heritage. When the machine's installed in the spaceship, Quatermass tries to operate it and can't, but Roney's assistant Barbara (Barbara Shelley) can, and she produces a little movie of a ghastly martian racial purge...the Martians, you see, had a horrendous totalitarian hive society, and they had every intention of passing it on to us. In fact, everything that sucks about human beings derives from the Martians, and our Martian tendencies are lurking just under the surface in most people, just waiting to burst forth.

Quatermass shows the movie to his bosses, who think it's a bunch of bosh...Breen pushes ahead with a plan to hold a press conference, and reveal the ship as a Nazi weapon on national TV. This turns out to be a spectacularly awful idea...when the generators for the kleig lights are turned on, the ship sucks in enough power to really start cooking, and it begins to broadcast a signal to activate everyone's inner Martian. Militarist organization-man Breen is so completely Martian that he falls to his knees in a sort of trance, and the ship burns him up.

But not all Londoners are susceptible...Roney isn't, of course....Quatermass is kind of middling. But the streets start to fill up with troops of psionic zombies, who sense anyone or anything that's different, animals as well as people, and exterminate them....

The climax, which involves a giant Martian plasma-head and Roney butt-wiggling a huge construction crane into the apparition, in order to ground its energy, is sheerly ridiculous...the basic idea is no good, and the special effects are quite awful. In fact, most of the FX in the film just aren't up to it, as I mentioned at the beginning of this piece...the racial purge on Mars, involving as it does, a whole bunch of jiggery little rod-puppets, is particularly risible.

But it doesn't really matter that much. The film floods your noggin with awesomely unsettling ideas pretty early on, and it maintains a very high level of inspiration for most of the runtime. There are long stretches where the writing is simply textbook SF, and the dialogue is all beautifully delivered by great Brit character actors who truly know their stuff. Late one night in South Bend, when my wife was going to Notre Dame back in the seventies, I blundered into this film and was completely enthralled...I've talked it up to everyone I know ever since. One of my favorite things about my youngest son, Nick, is that he watched this movie over and over again when he was quite a young kid...I knew I could expect great things from him. The movie is Hammer's single finest achievement. Buy several copies.

And for God's sake, keep your damn inner Martian down.

7. Time After Time, 1979, Director, Nicholas Meyer
I guess Nicholas Meyer is primarily known to SF fans as the guy who made the best Star Trek film, Wrath of Khan, which almost made it on this list; he also did Trek four, which was the second-best Trek Film, and Star Trek 6, which was just okay. But for my money, his most striking contribution to SF cinema was his H.G. Wells-Jack the Ripper movie, Time After Time, which came out in 1979, and didn't attract too much attention, as I recall.

He'd made a big name for himself with The Seven Percent Solution, and based TAT on an unpublished unfinished novel by a college buddy named Karl Alexander...Meyer had a guy named Steve Hayes write a complete story, then worked on the screenplay himself...the final script was pretty remarkable. When I went to see the movie at a theater in South Bend, some guy was shouting comments and making fun of it...I liked the movie so much that I threatened to go back and beat the shit out of him. He clammed up, lucky for him.

The movie begins in London, late nineteenth century...Jack the Ripper adds another victim to his tally...a bit later that evening, we find ourselves at the home of social critic and novelist H.G. Wells (Malcolm Mcdowell), who has a bunch of his friends over. Wells loses a chess game to Dr. John Leslie Stevenson (David Warner), who makes it quite plain that he thinks Wells' utopian ideas are all crap; he says he always beats Wells at Chess because he always knows what Wells is going to do. When Wells tells him that he'll beat him one day, Stevens on says yes..."When you know what I'm going to do."

Wells has everyone gather round, and informs them that he's invented a time machine...it's down in the cellar, and he shows them how it works, explaining that it's got a key that keeps it from returning to the present, and a feature that sends a passenger flying through time without the machine...why you'd want a feature like that, I don't know, but the machine has one.

Anyway, his disquisition is interrupted when some bobbies show up at the house...they've tracked Spring Heel'd Jack to Wells's domicile...a bloody surgical bag reveals Stevenson to be the killer. But Stevenson has slipped down into the cellar, gotten into the time machine, and booked.

But he doesn't have that non-return key...once he arrived wherever he went, the machine came right back, and appears right in front of Wells after everybody leaves. Deciding he can't let Stevenson go running around butchering people in utopia, he resolves to follow him and bring him back...he gets into the machine and off he goes.

The time-travel visuals that follow are pretty silly...Meyer obviously decided not to mimic the time-travel stuff in Time Machine, which was very literal but also idiotic, using lots of time-lapse stuff---the sequence in TAT involves semi-psychedelic business and radio and TV broadcasts, and oscilloscopes, etc. Of course, I think if you were actually travelling through time in a machine, you wouldn't see a damn thing, but what the hell. Film is a visual medium...you gotta have something on the screen.

But once Wells arrives in the future, the writing settles down and gets pretty sharp. From his dashboard, he knows when Stevenson was going to arrive; turns out the machine was on loan to a museum in San Francisco, and that's where both he and Wells have wound up. Wells breaks his glasses; but the museum has his old writing-desk, and he has some spare specs in the drawer. After being yelled at by a guard, he heads out in pursuit of Stevenson. Reasoning that Stevenson will need money, Wells starts to hit every bank in town, asking about a Brit who's trying to exchange old stuff for fresh American currency. As he goes about town, Wells is fascinated by what he sees, but discovers that the future isn't very Utopian at all...when he tries to spend a night in a church, he asks God to overlook his atheism, only to have a priest kick him out onto the street.

Finally Wells finds an English bank and asks an employee, Amy Robbins (Mary Steenburgen) about tall limies with strange currency. She knows just who he's talking about, and she and Wells get friendly real quick. He thinks he's going to bowl her over with his free-love patter, but she's pretty liberated, and she shocks the hell out of him....he winds up at her place and spends the night.

The next day, though, Stevenson shows up at the bank again, to gets some more greenbacks...Amy lets it slip that someone's been looking for him...he concludes it can only be Wells...from this point on, it's cat-and-mouse in San Francisco between Wells and Jack the Ripper, who finds nasty modern American quite congenial, or would, if he didn't have to contend with his old fuddy-duddy friend from the previous century.

There aren't too many plotholes...the worst is when Wells and Amy use the machine at the museum to go into the future at one point, and she sees a newspaper that says she's been killed...I've never been able to figure out why Wells would insist they go back to the past. But by that time, you're completely hooked, and the movie works up a whole lot of suspense, delivering some nifty twists. Most of the time-travel stuff is extremely well-handled, and seems quite Wellsian. On the other hand, Wells might not have cared for the film's anti-utopian themes...I suppose it would it would depend on whether or not we asked the utopian socialist that wrote Things to Come, or the extremely pessimistic younger Wells, who wrote The Time Machine. For what it's worth, it would've been the latter fellow back during the 1890's...but that's rather a quibble, especially when you remember that he never had a Time Machine.

I completely fell in love with Mary Steenburgen by the way...was most unhappy when I learned her marriage to Malcolm Macdowell folded.

8. Bladerunner, 1982, Director, Ridley Scott
When I saw this again, there were a number of things I just had to choke down. I still thought the movie deserved to be on this list, but there sure was a lot of extremely silly dated stuff. Most of the problems derive from the fact that film simply isn't set far enough in the future, although that's a very common failing in SF films. You take Demolition Man, for example. I really like the movie, think it works quite well as a comedy, but...holy shit. Film came out in '93, and it proffers the notion that the US will be totally disintegrating by '97, and we'll have fabulous suspended animation procedures that will ennable the authorities (the whole political system is completely different) to deal with convicts by freezing them or something.

Well, Bladerunner isn't that extreme, although...maybe it almost is.

Admittedly, it came out in the sacred cinematic year of 1982, and it's set in 2019, so you've got much more time for all this great stuff to happen...except that we're already to 2011 and we don't have flying cars, or replicants, the climate of LA hasn't turned rainy, and we don't have interstellar travel which involves some sort of warfare (with who? People? Aliens?). We can afford (catch?) real snakes if we want them, we've got much better computers than the folks in 2019...and so on.

Then there are things that are just plain incoherent and dumb...why do you need a Voight-Kampf test to spot replicants, when you can just give a sample of tissue to some guy, who can just pop it under an electron microscope, and see the manufacturer's signature or trademark or whatever? For that matter, why do you need a VK test when you can just look at a replicant in the dark, and see that their eyes are glowing, an effect which is so noticeable that guys who manufacture replicant eyes have great big red pupils in the neon eye-signs that they hang outside their places of business?

Problem is, Ridley Scott is way too much of a visualist for his own good. Of course, I'm a writer, and I don't think too highly of the visual arts, but this movie could just plain make more sense if it wanted to---among other things, you could've solved about seventy percent of your problems if you'd just been willing to set the thing at some unnamed point in the future...simple as that. But no, Ridley's got to distract himself with haunting if mystifying images of weird Asians, and lots of fog, and light raking over intriguing surfaces...regarding the Asian biz, he went on to make a wholly Asian action flick, which made Tokyo look like Bladerunner...although Lost in Translation manages to be a whole lot weirder, Asian and more fantastic than either movie.

So, you say, why is Mr. Rogers wasting his typewritten breath on Bladerunner? Well, it's got a bunch of really interesting Philip K. Dick ideas embedded in it, and it does quite a good job with them. Questions about memory, personal identity, and human rights are absolutely central to the film---yeah, it has its share of action, but that's really not what carries the thing. It isn't like Total Recall, for example, where the genuinely cool Dick material (sounds terrible, doesn't it?) got completely overwhelmed by huge doses of completely assinine Paul Verhoeven butchery.

Basically, Bladerunner is an SF hard-boiled detective film; this was rather more obvious in the original theatrical version, which had a voiceover from Harrison Ford. Some people prefer that version to the director's cut that's floating around these days; frankly, the voiceover never bothered me, but I'm also of the opinion that it wasn't necessary plotwise. Having the movie set in a futuristic version of LA makes it even more Raymond Chandlerish; some of the scenes seem to have been directly influenced by The Big Sleep. And the whole detective angle meshes very nicely with the science-fiction---you have this guy going around asking questions, and in this instance, the questions happen to be very big and consequential ones.

In this case, our protag is a hardboiled cop named Rick Deckard (Ford, of course), who's a Bladerunner, which is to say, a killer specializing in the extermination of criminal replicants. Replicants are artificial people grown for specialized tasks...there's a new line of them called Nexus-6 that make really good assassins and soldiers, but there's been a rebellion off-world, and Nexus-Sixes have been banned from earth.

But a handful have gotten here, and they're trying to infiltrate the Tyrell Corporation, which grows them for very big bucks. As the film opens, one of the replicants, Leon (Brion James)is applying for a job at Tyrell...but he's got to pass a Voight-Kampf test, which reveals if you're genuinely human. Even though we have the aforementioned absurdities regarding the test, the scene is pretty effective, and we learn a whole lot about replicants, at least the sort that Leon is...the fellow running the test asks a series of questions, then studies retinal responses. We find out in short order that Leon is pretty childlike, and emotionally stunted, very literal-minded, and has a limited vocabulary---he knows what a turtle is, but not a tortoise. When he's told he's walking in a desert, it disturbs him that he hasn't been told which one, and so on. Finally he realizes he's failing the test, and he just pulls a gun and pumps bullets into his questioner.

Cut to Deckard, who's trying to enjoy some noodles in rainy depressing future LA...Gaff (Edward James Olmos, in scary contact lenses) arrives and whisks him off to Bladerunner headquarters, where Bryant (M. Emmet Walsh), Deckard's former boss, tells Deckard that he needs to come out of retirement, because he's the best, and hunt down those damn Nexus Sixes. Deckard doesn't want to, but Bryant reminds him that he's "Little people" if he's not a cop, and Deckard takes the hint. He's instructed to run a VK test on a Nexus-6 over at the Tyrell Corporation, and goes there in a nifty flying car; he meets the big genius, Tyrell himself (creepily played by Joe Turkel) and is told to run the test on a human being first, namely Tyrell's gorgeous secretary Rachel(Sean Young). This is the second scene where the movie begins to vibrate really interestingly; asking Rachel a series of queasy questions, Deckard begins to realizes that he's dealing with a very human-like replicant, who never knew that she's not real---at least until right now. It takes him a long time to do this, though, and when he's done, she's really really upset...after she's dismissed by Tyrell, Deckard asks him how she could possibly have thought she was human...Tyrell informs him that she's been implanted with fake memories, supplied by Tyrell's niece.

Later on, at his apartment, Deckard just wants to get drunk, but is confronted by Rachel, who tries to convince him that she's real, by showing him photographs of her when she was a kid...when he doesn't buy this, she runs off in tears. We discover that replicants are obsessed with photographs, because most of them don't have memories, or partial ones at best...we notice that Deckard himself has lots of photographs, and we begin to suspect that he might be a replicant too...after all, he could've just been brand new when Gaff picked him up, and his memories of previous replicant-fights might be fake. All of this serves pretty niftily to get the audience (yours truly at least,) ruminating on the nature of their own reality, and what constitutes genuine personhood. Locke holds that a human being, who started off as a blank slate, is individuated by their memories; does this mean that Rachel is, in some sense, actually Tyrell's niece if she has a complete set of her memories? Furthermore, given the "more human than human" qualities of the replicants, some at least, in what sense are they not human? Why shouldn't they have rights? Some of them seem to be little more than biological machines, but at what point do machines become genuine persons?

It should come as no surprise that the movie comes down pretty heavily on the replicants' side...the scenes with Rachel are heartbreaking, you feel very bad for her, and you really start to like the Nexus Sixes that Deckard is trying to kill, even though they're merciless and ferocious...their evil qualities have been completely imposed on them. Moreover, they seem to be acquiring consciences, which were not part of the original program, I presume...one gets the impression that the replicant leader Roy Batty (Rutger Hauer, who should've become a much bigger deal) led his revolt at least in part because he was beginning to detest what he was doing. Moreover, the replicants can fall in love; Leon had a thing going on with one called Zhora (Joanna Cassidy), and we see that very clearly after Deckard wastes her...later in the movie, we learn that Roy Batty was in love with Pris (Darryl Hannah).

The sense that the replicant enterprise is extremely monstrous gets more and more powerful until Roy finally manages to penetrate Tyrell headquarters and meet the man who designed him... Roy, who's only about four years old, has realized he's going to die (a four-year lifespan was built into the Nexus Sixes as a fail-safe measure)and he means to force Tyrell to divulge the secret of prolonging his life. But Tyrell informs him that it's impossible, and he seems to be telling the truth---not sure exactly why he wouldn't lie, and pretend to arrange some phony surgery perhaps. But he's apparently really looked into the matter; problem is, the genetic information they'd need to neutralize is so completely wedded to a replicant that it can't be extracted or shut down...every technique they've tried results in viruses so deadly that the subjects die before they leave the operating table. Tyrell, who seems to be genuinely proud of Roy, then tries to mollify---or perhaps even comfort him---by reminding him of the spectacular, amazing life he's lived; Roy seems to be rather moved, but kills him anyway, then murders the  little genetic-engineer drelb who secured Roy's meeting with Tyrell....after the killings, as he descends in an elevator, Roy is obviously tormented by what he's just done, more proof that he's becoming more human all the time.

Ultimately he goes after Deckard, who's just wasted Pris...painting his face with her blood, he chases Deckard all over the place. Ultimately he has a chance to kill him...and lets him live. He recounts a few details of those spectacular exploits of his...you realize that Tyrell's advice actually made an impression on him...then, most Christlike, he gives up the spirit, releasing a dove that soars up into some foggy light...Deckard winds up with Rachel, and they escape to some part of the country that's still nice for some reason.

I was insufficiently impressed with the film's excellences the first time I saw it, and most of the audience was too; the movie wasn't a hit. Given the combination of Harrison Ford, and Science Fiction, the director of Alien, and special effects by the guy who did them in Close Encounters, I think everyone was expecting something less noirish and more Spielbergian or Lucaslike. But Bladerunner simply isn't interested in providing the sort of satisfactions you get in other movies. It has some funny moments, but mostly it's dead serious, and the SF isn't escapist...you wind up thinking about your own memories, your own nature, why you should be treated like a human being, and the very real possibility that we're going to have corporations or governments growing zillions of non-people who don't have rights but should. In that sense, it shows you something like an actual future that might come to pass, and you find yourself thinking that its flaws are rather less real than its considerable virtues.

9. The Terminator, 1984, Director, James Cameron
What a beautifully-constructed little film this is. It's a crisp hundred and four minutes long, the pace never flags, and even though the movie's got huge doses of action, the characterizations are all great, and there's loads of first-class time-travel SF. As a matter of fact, it has a lot of the same kind of virtues as Time After Time....only with a much higher body count.

Cameron admitted the story was influenced by Harlan Ellison's work...the result was a lawsuit. If you look at the end credits, you'll see that Harlan gets a mention...I presume he got some money too. But on some level, he should've been happy with the movie, even if he was ripped off...Cameron hit it out of the park, and at least he had the sense to steal from someone who knew what he was doing. It's noteworthy that none of Cameron's other films are any where near as good in the script department...they just keep on getting longer, and more complicated, and make progressively less sense.

But he was making lean, mean savvy stuff way back when. The opening shots, of great big war-machines crushing hundreds of human skulls, set the tone real quick...in the future, human beings will be having it out with evil robots in a ripped-up post-apocalyptic landscape. I have, as a matter of fact, been waiting quite some time for a sequel which really uses that future and that imagery...seems like a no-brainer to me...but what do I know?

After some cool credits with scary futuristic letters crawling across the screen, and a nifty theme from Brad Fiedel, we get chucked into a pretty headlong story. A robot assassin (Arnold Schwarzenegger) from that horrible future has come to the present to kill off the mother of John Connor, a guy who will ultimately lead a successful revolt against the robots. But Connor has sent back one of his most trusted soldiers, Kyle Reese (Michael Beihn), to protect his mom, Sarah (Linda Hamilton). Pretty much the whole first third of the movie involves the robot and Reese maneuvering around 1980's LA, trying to find her...even before the real action kicks in, a load of people get snuffed by the robot. Both he and Reese are using the phone book to track Sarah down...the robot is, of course, wasting every Sarah Connor he can find. The most remarkable thing about all this is that there aren't any stupid coincidences...pretty much everything makes sense...both the robot and Reese are getting their respective jobs done acting exactly like combatants from the future. The movie tells you where they get their clothes from, where they get their guns, and how the Terminator finds out where Sarah is after he's killed her roommate instead of her...most movies, let alone SF movies, aren't anywhere near this well constructed.

Anyway, Sarah's heard about the ongoing Sarah Conor massacre, and has taken refuge in a disco...she's spotted Kyle and thinks he's her real problem, but just as the terminator is about to snuff her, Reese doses the robot with blast after blast of buckshot. The terminator goes down temporarily, and Reese escapes with Sarah in a cop car.

A bunch of breathless exposition follows. Reese tells her all about John Connor and the robots...basically, the terminator is a combat chassis covered in actual human tissue so that it can fool people. As for the whole robot regime, it came about when a system of defense computers actually developed consciousness, decided the whole human race was a threat, and started nuking the US, The USSR, and I guess, everyone else...

We learn all this is a middle of a big car chase, by the way...the robot and the cops are after our protags, and the robot is listening in the police radio.Reese and Sarah get caught by the police, while the robot crashes his vehicle and heads off to gets some heavier artillery.

At the police station, Reese is questioned by a psychologist, which gives us yet another great venue for some more exposition, most of it about the niceties of time-travel...we learn that it's only possible for organic creatures, and that's why neither the robot nor Reese could bring future weapons---"nothing non-living" would go. But we also find out that the terminator could make it because he's encased in living tissue. Why the machines would create a time-travel system that only allows biologicals, I don't know...but I suppose it's less nonsensical than the whole idea of time travel itself.

The robot arrives at the police station, shoots it up...Sarah and Reese escape in the confusion...while the robot's making some much-needed to repairs to his bullet-riddled self, Reese gets busy with Sarah, and winds up impregnating her with John Conor...ultimately the robots have succeeded mainly in bringing her together with John's farther, making John possible. But she's still got to survive..and when she makes an incautious phone call to her mother up at Big Bear, the Terminator, pretending to be mom, finds out where she's hiding, and the climactic chase is on...

The movie has tremendous fun with time travel...lot of stuff about paradoxes and unintended consequences. As I said, the robots wind up bringing about precisely the outcome they were trying to prevent...Sarah's got to worry about whether or not to tell her son who his father was, since it would be harder for John to send him...Kyle Reese, equipped with an old Polaroid of Sarah to he can recognize her, falls in love with her before he ever even meets her...pregnant with Kyle's kid, She stops at a Mexican gas-station where she's polaroided by a little Mexican kid, who presents her with the picture that will make Kyle fall in love with her, although Kyle's already dead...it's all very ingenious, and poignant, too. The final scene, where the Mexican gas-station guy says, "There's a storm coming," and Sarah says, "I know," and we see her driving off into the shadow of this huge thunderhead, is fantastic stuff, one of the best movie endings ever.

I was much less happy with the second Terminator, although a lot of people preferred it...it thought it was nearly twice as long and half as smart. It did have a lot of impressive groundbreaking special effects, but the writing wasn't nearly as good. Trouble was, the theatrical version had most of its brains cut out, in favor of the big money shots...a lot of troubling things were explained in those deleted scenes, such as why the good terminator was getting more human mentally, or why the Robert Patrick terminator was getting so incompetent at the end...but mostly, the thing was an illustration of how a vast increase in budget can't compensate for a less than adequate script. Moreover, I really hated the fact that they saved the day at the end and the war didn't happen...it kinda invalidated the end of the first film.

I thought the third film was much better than it had a right to be...I particularly liked the pretty downbeat ending. As for the fourth movie, I thought it was lousy, although I'd really been looking forward to it. Since it took place in the future, after the nuking, I thought that, at last, they're going to make the movie with the giant tracked robots and the skulls! But no, we got something else entirely, and it wasn't really what we wanted to see...

10. Eternal Sunshine of the Spotless Mind, 2004, Director, Michel Gondry
Whew, after The Terminator, it was rather a desert for real cinematic SF. In my opinion, every single one of Cameron's movies was less smart than the one preceding it...well maybe Terminator 2 was better than The Abyss. Those big Roland Emmerich things were frequently entertaining, but all of them were profoundly stupid. The Star Wars prequels were completely devoid of the kind of zip that that made the original flick so engaging, and all you had to fall back on was the effects, because you sure as hell couldn't fall back on the acting or the dialogue...as for any kind of relationship to actual science...well, there was none of that. District Nine had a lot of things going for it, but its science fiction left much to be desired...you have to buy into things like an alien fluid that operates their technology but also turns you into an alien, starting with your arm, if you inhale some of it...sheesh.

Nope the only SF film during this period that I'd single out is Eternal Sunshine of the Spotless Mind. The movie was an extremely weird sell, even though it starred Jim Carrey...there was an understandable attempt to pass it off as a typical Carrey comedy, but people saw through that...it did mediocre business, although it probably didn't cost too much. Fact is, the primary effect that it dishes up is just plain horror...it's extremely nightmarish. But it's also pretty Philip K. Dicklike...Dicklike in reverse. It's as if Lacuna is the opposite of the Recall company...they take your memories out, rather than giving you fake ones.

For about the first fifteen minutes of the movie, you really have no idea that it's going to have any sort of SF element at all. We get Jim Carrey's character, nerdy Joel Barish, meeting Kate Winslet's Clementine Kruczynski on the train back to NYC from Montauk. She's fairly crazy and out there, with multi-colored hair and an extremely brash manner. Even though they're very different, they hit it off...he winds up at her apartment, which is all full of strange countercultural stuff, and they have some drinks while listening to music from an old Bollywood snake woman movie called Nagin. She makes him pretty uncomfortable, but he likes the experience enough to keep on going with her...the movie does quite an excellent job in depicting the awkward early stages of a relationship. Everything seems to be going okay...then there's a fade-out, and we finally get the credits.

When we get back to Joel, everything seems to have gone to shit with him and Clementine...this seems to be a flash-forward, although we find out ultimately that it's a flashback. He's already broken up with her, but then he finds out that things are even worse than he thought...she's had him erased from her memory by a company called Lacuna. He goes to their crummy office to find out if the whole memory erasure thing is really possible, learns it is from Dr. Mierzwiak (Tom Wilkinson), and decides to have the procedure done on himself---that is to say, have Clementine erased from his memory.

Now, obviously, this memory-erasure technique is something we don't have yet, as Joel initially points out to Dr. Mierzwiak. But the movie just accepts it as a sort of a given, rather like Wells' time machine. They just have this technique. But once they assert this, the idea's developed quite powerfully. At first, Joel's a little worried...he asks if the technique doesn't damage the brain...the good doctor replies, "Well, technically it is brain damage...about on a par with a night of heavy drinking...nothing you'll ever miss." He then asks Joel to bring every piece of memorabilia he associates with Clementine. That done, Joel puts his head into a monitor, and is shown all the junk he brought in...looking at each piece, he fetches up the relevant memories...this causes various spots to light up on monitors, and Mierzwiak makes a map of all the places where Clementine can be found in Joel's brain.

Afterward, Joel goes home, and takes a pill that puts him into a real deep sleep; and after he's down, Mierzwiak's boys park their nondescript white van outside, get their gear out of the back, and go into Joel's apartment, hook his head into another rig, and spend the night drinking beer, partying with Mierzwiak's dishy secretary Mary (Kirsten Dunst) and erasing Clementine from his brain. We alternate between Joel's mental states and their shenanigans...as they light up one memory after another, he finds himself back at this or that place, which then goes out of focus and dark as the memory is destroyed. Very swiftly, he concludes that he really doesn't like this process, and gets more and more terrified...no matter where he goes in his mind, he begins to suspect that someone is spying on him, present in some way....we discover that one of Mierzwiak's idiots, Patrick (Elijah Wood),worked on Clementine, and has used the information he discovered to seduce her...principally, he's mined every thing she remembered about Joel, and he's kinda inflicting that whole relation ship on her again, only, of course, she doesn't remember it...

As the night progresses, we learn that even though Mary is carousing with Mierzwiak's other idiot, Stan(Mark Ruffalo), she's much more fixated on the doctor himself...down inside Joel's brain, we see him begin to take active steps to try to retain his memories of Clementine, and after a while, she's actively accompanying him through all his memories. He manages to get enough control of the process to bring her into memories of things where she wasn't present...the whole erasure process comes to a halt. This might seem arbitrary, but really it's not...eventually we learn that the technique is quite imperfect at best, and that it has to be done to some people repeatedly...either that, or they just drift back into the same relationships they had before, thinking they're doing it for the first time.

Dr. Mierzwiak is called to the house...he's much more skillful with his process than his assistants, and as Mary looks on adoringly, he locates Joel in a part of his own brain where he shouldn't be, and starts chasing him down. The erasure sequences get more and more harrowing, characterized by first-rate special effects...we realize that that flash-forward towards the beginning was actually a flashback when Joel meets Clementine at a party on Montauk. Just before Clementine is seemingly extirpated forever, she tells Joel to "meet her in Montauk." Then the process is apparently completed.

Mierzwiak has a great sense of accomplishment...but we discover that Mary really has serious designs on him, and he's willing to give her a tumble, even though he's married. However, his wife has discovered that Mary is with him, and she's really pissed, because Mary had had a previous affair with him, and had had her memory erased, at the wife's insistence. "Don't be a monster," the wife says, and tells him to tell Mary, which he does...Mary reacts with horror, swipes Mierzwiak's files, and mails them to all his patients, many of whom have been having their memories erased repeatedly, only to have their lives go off the rails the same way, or have the memories come back...

As for Joel, the only thing he seems to have left of Clementine is that strange desire to visit Montauk, and as we already know, he does...they hit it off again. But then they read the stuff Mary has sent out, and realize how terribly things had gone for them before. Even so, knowing that it could turn out the same way, they decide to give it another shot...happy ending...

Maybe.

The direction, by Video specialist Michel Gondry, is first-rate...the romance between Carrey and Winslet really clicks, and when it goes south, it really goes south. But the movie is also excellent as a horror film, and a textbook demonstration of the proper way to use digital effects. Gondry's transitions are particularly novel and unsettling, very reminiscent of real dreams. He also had a hand in the story, with Charlie Kaufman, and Pierre Bismuth; Kaufman did the screenplay...I don't think there's a single misstep in the writing. I've watched the movie mutiple times; just watched it again. Highly recommended. Makes Inception, which dealt with similar material, look just like the overproduced twaddle it is.