No Flesh Is Spared in Richard Stanley’s H.P. Lovecraft Adaptation.

Well, almost none. There is one survivor. Warning: Contains spoilers.

Color out of Space, directed by Richard Stanley, script by Richard Stanley and Scarlett Amaris. Starring

Nicholas Cage … Nathan Gardner,

Joely Richardson… Theresa Gardner,

Madeleine Arthur… Lavinia Gardner

Brendan Meyer… Benny Gardner

Julian Meyer… Jack Gardner

Elliot Knight… Ward

Tommy Chong… Ezra

Josh C. Waller… Sheriff Pierce

Q’orianka Kilcher… Mayor Tooma

This is a welcome return to big screen cinema of South African director Richard Stanley. Stanley was responsible for the cult SF cyberpunk flick, Hardware, about a killer war robot going running amok in an apartment block in a future devastated by nuclear war and industrial pollution. It’s a great film, but its striking similarities to a story in 2000AD resulted in him being successfully sued by the comic for plagiarism. Unfortunately, he hasn’t made a major film for the cinema since he was sacked as director during the filming of the ’90s adaptation of The Island of Doctor Moreau. Th film came close to collapse and was eventually completed by John Frankenheimer. A large part of the chaos was due to the bizarre, irresponsible and completely unprofessional behaviour of the two main stars, Marlon Brando and Val Kilmer.

Previous Lovecraft Adaptations

Stanley’s been a fan of Lovecraft ever since he was a child when his mother read him the short stories. There have been many attempts to translate old Howard Phillips’ tales of cosmic horror to the big screen, but few have been successful. The notable exceptions include Brian Yuzna’s Reanimator, From Beyond and Dagon. Reanimator and From Beyond were ’80s pieces of gleeful splatter, based very roughly – and that is very roughly – on the short stories Herbert West – Reanimator and From Beyond the Walls of Sleep. These eschewed the atmosphere of eerie, unnatural terror of the original stories for over the top special effects, with zombies and predatory creatures from other realities running out of control. Dagon came out in the early years of this century. It was a more straightforward adaptation of The Shadow Over Innsmouth, transplanted to Spain. It generally followed the plot of the original short story, though at the climax there was a piece of nudity and gore that certainly wasn’t in Lovecraft.

Plot

Color out of Space is based on the short story of the same name. It takes some liberties, as do most movie adaptations, but tries to preserve the genuinely eerie atmosphere of otherworldly horror of the original, as well as include some of the other quintessential elements of Lovecraft’s horror from his other works. The original short story is told by a surveyor, come to that part of the American backwoods in preparation for the construction of a new reservoir. The land is blasted and blighted, poisoned by meteorite that came down years before. The surveyor recounted what he has been told about this by Ammi Pierce, an old man. The meteorite landed on the farm of Nahum Gardner and his family, slowly poisoning them and twisting their minds and bodies, as it poisons and twists the land around them.

In Stanley’s film, the surveyor is Ward, a Black hydrologist from Lovecraft’s Miskatonic University. He also investigates the meteorite, which in the story is done by three scientists from the university. The movie begins with shots of the deep American forest accompanied by a soliloquy by Ward, which is a direct quote from the story’s beginning. It ends with a similar soliloquy, which is largely the invention of the scriptwriters, but which also contains a quote from the story’s ending about the meteorite coming from unknown realms. Lovecraft was, if not the creator of cosmic horror, then certainly its foremost practitioner. Lovecraftian horror is centred around the horrifying idea that humanity is an insignificant, transient creature in a vast, incomprehensible and utterly uncaring if not actively hostile cosmos. Lovecraft was also something of an enthusiast for the history of New England, and the opening shots of the terrible grandeur of the American wilderness puts him in the tradition of America’s Puritan settlers. These saw themselves as Godly exiles, like the Old Testament Israelites, in a wilderness of supernatural threat.

The film centres on the gradual destruction of Nathan Gardner and his family – his wife, Theresa, daughter Lavinia, and sons Benny and Jack – as their minds and bodies are poisoned and mutated by the strange meteorite and its otherworldly inhabitant, the mysterious Color of the title. Which is a kind of fuchsia. Its rich colour recalls the deep reds Stanley uses to paint the poisoned landscape of Hardware. Credit is due to the director of photography, Steve Annis, as the film and its opening vista of the forest looks beautiful. The film’s eerie, electronic score is composed by Colin Stetson, which also suits the movie’s tone exactly.

Other Tales of Alien Visitors Warping and Mutating People and Environment

Color out of Space comes after a number of other SF tales based on the similar idea of an extraterrestrial object or invader that twists and mutates the environment and its human victims. This includes the TV series, The Expanse, in which humanity is confronted by the threat of a protomolecule sent into the solar system by unknown aliens. Then there was the film Annihilation, about a group of women soldiers sent into the zone of mutated beauty and terrible danger created by an unknown object that has crashed to Earth and now threatens to overwhelm it. It also recalls John Carpenter’s cult horror movie, The Thing, in the twisting mutations and fusing of animal and human bodies. In the original story, Gardner and his family are reduced to emaciated, ashen creatures. It could be a straightforward description of radiation poisoning, and it indeed that is how some of the mutated animal victims of the Color are described in the film. But the film’s mutation and amalgamation of the Color’s victims is much more like that of Carpenter’s Thing as it infects its victims. The scene in which Gardner discovers the fused mass of his alpacas out in the barn recalls the scene in Carpenter’s earlier flick where the members of an American Antarctic base discover their infected dogs in the kennel. In another moment of terror, the Color blasts Theresa as she clutches Jack, fusing them together. It’s a piece of body horror like the split-faced corpse in Carpenter’s The Thing, the merged mother and daughter in Yuzna’s Society, and the fused humans in The Thing’s 2012 prequel. But it’s made Lovecraftian by the whimpering and gibbering noises the fused couple make, noises that appear in much Lovecraftian fiction.

Elements from Other Lovecraft Fiction

In the film, Nathan Gardner is a painter, who has taken his family back to live on his father’s farm. This is a trope from other Lovecraft short stories, in which the hero goes back to his ancestral home, such as the narrator of The Rats in the Walls. The other characters are also updated to give a modern, or postmodern twist. Gardner’s wife, Theresa, is a high-powered financial advisor, speaking to her clients from the farm over the internet. The daughter, Lavinia, is a practicing witch of the Wiccan variety. She is entirely benign, however, casting spells to save her mother from cancer, and get her away from the family. In Lovecraft, magic and its practitioners are an active threat, using their occult powers to summon the ancient and immeasurably evil gods they worship, the Great Old Ones. This is a positive twist for the New Age/ Goth generations.

There’s a similar, positive view of the local squatter. In Lovecraft, the squatters are barely human White trash heading slowly back down the evolutionary ladder through poverty and inbreeding. The film’s squatter, Ezra, is a tech-savvy former electrician using solar power to live off-grid. But there’s another touch here which recalls another of Lovecraft’s classic stories. Investigating what may have become of Ezra, Ward and Pierce discover him motionless, possessed by the Color. However, he is speaking to them about the Color and the threat it presents from a tape recorder. This is similar to the voices of the disembodied human brains preserved in jars by the Fungi from Yuggoth, speaking through electronic apparatus in Lovecraft’s The Whisperer in Darkness. Visiting Ezra earlier in the film, Ward finds him listening intently to the aliens from the meteorite that now have taken up residence under the Earth. This also seems to be a touch taken from Lovecraft’s fiction, which means mysterious noises and cracking sounds from under the ground. Near the climax Ward catches a glimpse through an enraptured Lavinia of the alien, malign beauty of the Color’s homeworld, This follows the logic of the story, but also seems to hark back to the alien vistas glimpsed by the narrator in The Music of Erich Zann. And of course it wouldn’t be a Lovecraft movie without the appearance of the abhorred Necronomicon. It is not, however, the Olaus Wormius edition, but a modern paperback, used by Lavinia as she desperately invokes the supernatural for protection.

Fairy Tale and Ghost Story Elements

Other elements in the movie seem to come from other literary sources. The Color takes up residence in the farm’s well, from which it speaks to the younger son, Jack. Later, Benny, the elder son tries to climb down it in an attempt to rescue their dog, Sam, during which he is also blasted by the Color. When Ward asks Gardner what has happened to them all, he is simply told that they’re all present, except Benny, who lives in the well now. This episode is similar to the creepy atmosphere of children’s fairy tales, the ghost stories of M.R. James and Walter de la Mare’s poems, which feature ghostly entities tied to specific locales.

Oh yes, and there’s also a reference to Stanley’s own classic film, Hardware. When they enter Benny’s room, glimpsed on his wall is the phrase ‘No flesh shall be spared’. This is a quote from Mark’s Gospel, which was used as the opening text and slogan in the earlier movie.

The film is notable for its relatively slow start, taking care to introduce the characters and build up atmosphere. This is in stark contrast to the frenzied action in other, recent SF flicks, such as the J.J. Abram’s Star Trek reboots and Michael Bay’s Transformers. The Color first begins having its malign effects by driving the family slowly mad. Theresa accidentally cuts off the ends of her fingers slicing vegetables in the kitchen as she falls into a trance. Later on, Lavinia starts cutting herself as she performs her desperate ritual calling for protection. And Jack and later Gardner sit enraptured looking at the television, vacant except for snow behind which is just the hint of something. That seems to go back to Spielberg’s movie, Poltergeist, but it’s also somewhat like the hallucinatory scenes when the robot attacks the hero from behind a television, which shows fractal graphics, in Hardware.

Finally, the Color destroys the farm and its environs completely, blasting it and its human victims to ash. The film ends with Ward contemplating the new reservoir, hoping the waters will bury it all very deep. But even then, he will not drink its water.

Lovecraft and Racism

I really enjoyed the movie. I think it does an excellent job of preserving the tone and some of the characteristic motifs of Lovecraft’s work, while updating them for a modern audience. Despite his immense popularity, Lovecraft is a controversial figure because of his racism. There were objections last year or so to him being given an award at the Hugo’s by the very ostentatiously, sanctimoniously anti-racist. And a games company announced that they were going to release a series of games based on his Cthulhu mythos, but not drawing on any of his characters or stories because of this racism. Now the character of an artist does not necessarily invalidate their work, in the same way that the second best bed Shakespeare bequeathed to his wife doesn’t make Hamlet any the less a towering piece of English literature. But while Lovecraft was racist, he also had black friends and writing partners. His wife was Jewish, and at the end of his life he bitterly regretted his earlier racism. Also, when Lovecraft was writing in from the 1920s to the 1940s, American and western society in general was much more racist. This was the era of segregation and Jim Crow. It may be that Lovecraft actually wasn’t any more racist than any others. He was just more open about it. And it hasn’t stopped one of the internet movie companies producing Lovecraft Country, about a Black hero and his family during segregation encountering eldritch horrors from beyond.

I don’t know if Stanley’s adaptation will be to everyone’s taste, though the film does credit the H.P. Lovecraft Historical Society among the organisations and individuals who have rendered their assistance. If you’re interested, I recommend that you give it a look. I wanted to see it at the cinema, but this has been impossible due to the lockdown. It is, however, out on DVD released by Studio Canal. Stanley has also said that if this is a success, he intends to make an adaptation of Lovecraft’s The Dunwich Horror. I hope the film is, despite present circumstances, and we can look forward to that piece of classic horror coming to our screens. But this might be too much to expect, given the current crisis and the difficulties of filming while social distancing.

Ancient Christian Apologist Tertullian on Human Damage to the Environment

Some of the most vocal opponents of environmentalism and climate change in the US are politically Conservative Christians. They object to it, not just on the grounds that they believe it to be wrong scientifically, but also because they are highly suspicious of it on political and religious grounds. It is argued that the Green movement is really a pagan movement, or else a way of sneaking Socialism in through the back door through stressing the need for legislation and the regulation of industry to protect the environment. It’s also denounced as a form of Nazism, because the Nazis were also eager to protect the German environment.

It’s true that Green politics has strongly influenced some contemporary neo-Pagan religious movements, particularly Wicca, whose deities consist of an Earth mother and horned god. However, the scientific evidence on which the Green movement is based is separate and independent from any one particular religious or political group. And modern Green politics began with books such as Silent Spring in the 1960s and the Club of Rome, a gathering of concerned scientists, in the early ’70s, and not with Hitler and the Nazis.

Furthermore, writers and philosophers long before the Nazis were also acutely concerned with the threat of overpopulation and the damage humans were doing to the environment. One of them was the early Christian apologist, Tertullian, who wrote

‘Most convincing as evidence of populousness, we have become a burden to the Earth. The fruits of nature hardly suffice to sustain us, and there is a general pressure of scarcity giving rise to complaints. Need we be astonished that plague and famine, warfare and earthquake, come to be regarded as remedies, serving to prune the superfluity of population?’

This quotation was dug up by Adrian Berry, a fellow of the Interplanetary Society, Royal Astronomical Society and Royal Geographical Society. Berry is very much a man of the right, who used to write for the Torygraph. He used it to argue that people have always had exaggerated fears about the threat to society. Or alternatively, they could also be extremely complacent, such as the 2nd century AD Roman writer Pliny. Pliny wrote of the enduring splendor of the Roman Empire just before it began to collapse. Jonathan Margolis also cites in his chapter on predictions of environmental catastrophe, ‘Global Warning’, in his A Brief History of Tomorrow: The Future, Past and Present (London: Bloomsbury 2000) 89, where he also discusses the possibility that predictions of environmental collapse may be wrong.

At the moment, the majority of the world’s scientists are convinced that climate change and environmental damage caused by humanity are real, and a genuine threat to the planet, its flora and fauna, and ultimately humanity itself. Furthermore, archaeologists become increasingly aware how global changes to the environment have caused civilizations to collapse. The early Viking colonies in Greenland were destroyed in the 14th century, when the environment in the northern hemisphere became colder, making it impossible to practice European-style agriculture so far north.

Similarly, the highly developed Pueblo Indian cultures in the Chaco canyon in what is now the southwestern US collapsed and were abandoned when the climate became hostile in the 13th century. The cultures existed in an arid region of the US, using extensive irrigation canals to water their crops. The area suffered an intense drought, and unable to support themselves, the inhabitants moved away.

As for ancient Rome, one of the causes for the barbarian invasions may well have been climate change. The environment became colder from the 3rd century onwards. Central Asian tribes, such as the Huns, moved west, crossing the steppes into Europe and moving south to attack China. This displaced other tribes, such as Goths, who were settled around the Black Sea. The sea levels began to rise, so that the Frisians and other Germanic tribes settled in what is now the Netherlands, were forced to abandon low-lying farms and villages on the coasts. This may have been one of the causes of the Anglo-Saxon migrations to Britain.

In the Greek-speaking eastern Roman Empire, towns shrank, while in the west there was a movement away from the cities, partly through economic grounds. Historians have argued whether the Roman population was decimated by disease. Certainly in Rome itself, located amidst swampland, malaria was endemic, and the sheer size of the population meant that it was periodically subject to outbreaks of other diseases. And the city depended on a steady influx of new immigrants to replenish its population. And there was a constant threat of starvation. The free Roman masses depended on shipments of grain from Egypt and north Africa, and one of the elected officials in the city was responsible for securing the grain supply. Amongst the graffiti found scrawled on walls in Pompeii are election slogans urging men to vote for a particular candidate because ‘he gets good bread’.

Tertullian may well have been absolutely right about the dangers of overpopulation. And regardless of whether he was or wasn’t, the fact that he, one of the great defenders of Christian faith and doctrine in the Roman Empire, was prepared to accept and argue that overpopulation and environmental damage were a danger, shows that there is nothing inherently anti-Christian in the Green movement. This was shown a few weeks ago when the current pope, Pope Francis, criticized Trump’s government for ignoring science and failing to tackle climate change. There’s an irony here in a religious figure attacking the elected leader of a supposedly secular state for having an anti-scientific attitude. And it remains true that there is nothing fundamentally contrary to Christianity about Green politics regardless of the support for Green politics amongst peoples of other religions or none.

Farage: Britain Should Never Have Signed Armistice, and War Should Have Gone on for Another Six Weeks

While the rest of the UK on Tuesday was remembering the dead of the Great War, Nigel Farage was giving a speech stating his opinion that it should have gone on for longer. Even if this meant that a further 100,000 lives were lost. Farage made this bizarre and offensive claim speaking at the annual Tom Olsen lecture at St Bride’s Church.

His comments have been reported by a number of news agencies, including the MSN news. The anti-racist organisation, Hope Not Hate has an article on it, Armistice was the biggest mistake of the 20th century claims Nigel Farage, at http://www.hopenothate.org.uk/ukip/armistice-was-the-biggest-mistake-of-the-20th-century-claims-nigel-farage-4120.

Hope Not Hate quote Farage as saying, “I believe we should have continued with the advance We should have pursued the war for a further six weeks, and gone for an unconditional surrender. Yes the last six weeks of the war cost us 100,000 casualties, and I’m prepared to accept that a further six weeks of war might have cost us another 100,000.”

He goes on to say that this would have stopped the rise of the Nazis, as it would have forced Germany to surrender unconditionally, rather than negotiate the Treaty of Versailles.

The Treaty of Versailles and the ‘Stab in the Back’ Conspiracy Theory

This is an extraordinary claim, and shows that Fuehrer Farage has quite a bonkers grasp of history. He has a point in that one of the reasons the ‘Stab in the Back’ conspiracy became so widespread, was because British and Allied troops did not enter Germany. This added credibility the conspiracy theory that Germany had lost the War due to the Jews betraying their country. The theory itself is total nonsense. Jews had been patriotic citizens of the Reich since the Kaiser had granted them full citizenship, including lifting the restriction against them serving in the armed forces. There had been a wave of Jewish enlistment in the German forces as a response, and German Jews fought with pride and honour alongside their gentile compatriots. It is one of the savage ironies of history that the captain, who recommended Corporal A. Hitler for the Iron Cross, was Jewish.

Conspiracy Theory due to News Blackouts on German Defeats

Just as influential in spreading the malicious theory was the fact that there was a total news blackout on German defeats. The German people were kept under the impression that the War was going well. It therefore came as a complete shock that Germany and Austria had been defeated. Even the Kaiser was ignorant of the true nature of German defeat. The general were taught that you didn’t tell the Kaiser about military defeats either. You only gave him good news. This may partly have been because Wilhelm II would fly into rage. I read somewhere that he had a habit of rolling them in the snow, or taking their trousers down and having them spanked. If nothing else, it shows you how absolutely mad and unfit for rule he was.

Ethnic Tensions, Not Treaty, Cause of Rise of Nazis

Arguably the problem was not the Treaty of Versailles itself, but the crippling reparations and conditions that it set. Germany was saddled with a massive war debt, though the Weimar politicians succeeded in having it considerably reduced later in the 1920s. The Reich itself lost territories at home and its colonies, such as Cameroon and Togo in Africa. The Poles, Czechs and Slovaks became free peoples with independent countries, along with the other Slav nations of the former Austro-Hungarian Empire. The result was that ethnic Germans became a minority in some of the new states, like Czechoslovakia. There had been ethnic tension between Czechs and Germans since Germans were invited to colonise and develop their marginal parts of the country by the Czech crown in the Middle Ages. Hence the Nazis’ claims of the persecution of ethnic Germans in order to provide a pretext for the annexation of the Sudetenland. Polish independence was bitterly resented by the German nationalist Right. When Hitler later invaded eastern Europe, he justified it not by citing the Treaty of Versailles, but by arguing it was a continuation of the Drang Nach Osten, the German eastwards migration that had begun in the Middle Ages. He also claimed that Germany had a right to the territory of the Slav nations of eastern Europe, like the Poles, based on the argument that these areas had originally been occupied by the eastern Germanic tribes, the Goths, Burgundians and Vandals, before they were colonised by the Slavs sometime around the 8th-9th centuries. Modern scholarship has rejected this claim. The Vandals and Goths were indeed present in these areas, but they were just one element in vast tribal confederations that included many different ethnic groups. The main point, however, is that Hitler based his claim eastern Europe on spurious history, not the Treaty of Versailles.

Democracy Resented by Nazis as Imposed by Foreign Powers

The Nazis were also able to overthrow German democracy, because it was seen as a foreign imposition, alien to German nature. The political parties that signed the Treaty, the Social Democrats, Catholic Centre Party and the two Liberal parties, were denounced as ‘November criminals’ because they had done so. But it was democracy itself, as imposed by Britain and her allies, that was the true target of resentment. In one of his speeches, Hitler denounced democracy as a Jewish device to enslave the Aryan man. Utter nonsense, but it gained a kind of spurious validity because democracy had been created through the allied victory. This had forced the Kaiser and the Austrian emperor to abdicate.

The Occupation of the Rhineland and German Nationalist Resentment

Finally, the western powers did occupy parts of Germany militarily when they considered that the Germans were not meeting their obligations under the Treaty. The Rhineland contained Germany’s industrial heartland, the Ruhr. They were occupied by the French in 1924, after they believed that Germany was not paying its full share of reparations to La Patrie. Again, the presence of foreign troops in Germany could hardly have been welcome to the Germans themselves. I doubt very much that Allied troops would have been any more welcome to German nationalists, and indeed could have been a source of resentment, if the War had continued until the invasion and absolute collapse of Germany itself.

The Nazis arose not merely because of the Treaty of Versailles, but because of the sheer humiliation of defeat. Farage is therefore talking utter nonsense with the suggestion that the War should have continued and the Armistice not signed.

Further Fighting in War Unnecessary, Siegfried Sassoon

And let’s have no illusions about just how callous, and unnecessary further fighting would have been. I’ve blogged on here before about how Siegfried Sassoon came to his anti-War stance from his conviction that the War had been won in 1917, and that further fighting was simply unnecessary slaughter. As it stands, thousands died unnecessarily in the last few hours of the Armistice. The Treaty had been signed hours before, yet it set the time for the cease fire as 11 O’clock for symbolic reasons. The soldiers continued to fight right up to the very last minutes, useless deaths in order to win a peace that had already been achieved.

Farage states that he would have had the War continue, even if it cost a further 100,000 dead. That’s a colossal number in itself, but it’s only a fraction of the total number who were killed in the conflict: 14 million.

Farage Chickenhawk: Talks, but never Fought, in War

Conservative critics of Bush’s invasion of Iraq called Dubya and his fellow warmongers ‘chickenhawks’. They were men and women, who had never served in the armed forces themselves, and had no experience or understanding of the brutal reality of combat. They were perfectly happy to mouth off about war, and send others to their deaths in pursuit of American power and corporate profit, but had never, ever, risked their own lives for their country in combat.

Farage has the same attitude. It’s the mentality of someone, who sees himself as a commander, above the bloody, messy business of actually fighting in the trenches, in foxholes and mud and filth himself. It’s the same attitude of the out-of-touch generals, politicians and princes, who sent their citizens to die in pain, fear and misery, for military glory. It’s the attitude of a man, who seems to feel that victory for Britain was certain from the outset. All that was needed is to throw more men at it, and hang the consequences.

The Stupid Officer and the Sergeant Major

It reminds me of a story I heard from a re-enactor friend of mine. I used to do Dark Age re-enactment years ago. It was great fun, and I met some really interesting, great people. Several of them were former soldiers. I was talking to an ex-squaddie one day, who told me about the sheer, bloodthirsty stupidity of one of the officers he’d come across. The man came out on parade one morning, and declaring that his father had had a medal. He also wanted one, and blithely told his troops that he didn’t care how many of them died, as long as he got it.

The RSM was mightily unimpressed. He walked up to the commander, and told him, ‘I don’t think you ought to be saying that to the men, Sir.’

The commander was indignant, ‘What, what! How dare you say that to me!’

‘See me later about it, Sir’, said the Sergeant Major.

Later on the Sergeant Major explained, ‘I really don’t think you should say that to the men, Sir. If you say that again, they’re likely to shoot you. And if they don’t, I certainly will!’

Farage Vainglorious, Waster of Human Life

Farage has the same attitude as the officer in this tale. It’s one of the reasons why he should never, ever, be given power. Remember, if he becomes Prime Minister, he becomes Commander in Chief of the armed forces. And then God help us all.