Friday, November 16, 2007

THE LATE GREAT PLANET EARTH (1976; United States)


Hal Lindsay, false prophet

THE LATE GREAT PLANET EARTH (1976)
D: Robert Amram, Rolf Forsberg

"It's almost as if we had an unconscious desire to see the biblical prophesies fulfilled," frets narrator Orson Welles, ominously, in this classic piece of Christian fearmongering. Quietly insane evangelical minister Hal Lindsay attempts to marry revelation to then-current affairs in an effort to prepare us for the Armageddon that lies just around the corner. Obviously, with 30 years of hindsight, we now know he was wrong, and continues to be wrong, but had really swingin' fashion sense circa 1976.

Many actual scientists and deep thinkers appear on screen in LATE GREAT PLANET EARTH, and you'd be forgiven if you felt that some of them (who are clearly talking along evolutionary lines) were being taken out of context to support Lindsay's crackpot theories. Lindsay's apocalypse is scotch-taped together out of all the Bad News® that was available at the time of production. Thus, Lindsay's world was set to end as a result of any number of nasty afflictions. Recombinant DNA! Brazilian killer bees! Viruses from Hell! Atheists and witches run amok! And, as Orson says with deathly gravitas, "Nucular" Holocaust. It's Hal's nauseating belief that if you don't have hardcore Christian faith, then your ONLY possible options are witchcraft, astrology, transcendental meditation, Hare Krishnas or the Rev. Sun Myung-moon's wacky Reunification Church! In any case, Hal sez you haven't got a prayer.


The late, great Orson Welles

As always, Hal saves the best for last, enlightening us as to the coming of the antichrist, a figure he believes is alive today (at least as of 1976), and who would achieve omnipotence through seemingly good deeds and the establishment of world peace before enslaving everyone with microchip implants supplied by the then-fledgling computer industry. Or something. Apparently, only those who heed Hal's book and movie can avoid falling under the spell of this evil megalomaniac. He then proceeds to illustrate his argument with imagery designed to stoke the usual cold-war paranoia: before or around 1982, sez Hal, Russia and China will invade the middle east (didn't happen, at least not the way it's predicted here), the European market will grow to a prophesied ten member nations (25 and counting and still no Armageddon), and the "nucular" bombs will rain from the skies like the falling stars seen by the biblical John on his island retreat (well, we're still waiting!). Nonetheless, this allows the filmmakers to go mad with stock footage, a delirious and depressing exercise in escalating doom that runs a full six minutes, unnarrated. Oh, the humanity!

Just because radical fundamentalists love to fulfill prophesies, or see fulfillment where none rationally exists, doesn't mean the prophets were right. It just means that we'll always have to live with people like Hal, desperate to prove their "faith" has substance rather than just keeping it to themselves, and actually learning from it.

Friday, November 2, 2007

Saturday, September 15, 2007

TIFF 2007: FLASH POINT



FLASH POINT (Hong Kong/China; 2007)

D: Wilson Yip Wai-shun

Re-teaming of the director and star of SPL and DRAGON TIGER GATE is an extra lean, meaty police revenge thriller that treads familiar ground but builds to a protracted action climax that's sure to please fans of mixed martial arts, a school of increasing interest for producer and action director Donnie Yen, not to mention one of the most popular and profitable sports in the world at the time of the film's release. Story has venemous Vietnamese brothers (Ray Lui, Collin Chou and Xing Yu) hardballing their way into territory controlled by Hong Kong gang boss Ben Lam and his compatriots. The near-mortal wounding of Lam convinces the other three to seek justice from Organized Crime & Triad Bureau detective Donnie Yen, a one-man tornado to wants these guys disposed of in the worst way. Yen apparently finds his badge a little restrictive and his deep cover operative (Louis Koo) increasingly at risk of exposure. When gang honcho Ray Lui (in a solid comeback performance) is finally captured, the brothers start eliminating witnesses and eventually sniff out the mole in their midst. Koo survives their attack, but they kidnap his girlfriend to ensure that his memory fails at the trial, and when Lui walks free, Yen's snatches the guy up for delivery to the big showdown. In time, bodies are pushed beyond the limits of known human endurance, just as they have been in Hong Kong action cinema for decades, and Yip's camera swoops and glides to capture the elegant ferocity of these duels without a flurry of smash-cut editing constructing the fights for him. What Hong Kong cinema needs is more movies like this to balance the current lean toward romantic comedies and show that the former colony's film industry hasn't lost touch with the martial artistry and screen action design that have placed it on the international stage


Ray Lui