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.

Mr H Reviews Praising New Lovecraft Movie ‘The Colour Out Of Space’

Something different from politics this time, which I hope will pique the interest of fans of the 20th century SF/Horror writer H.P. Lovecraft. Richard Stanley has directed a film version of Lovecraft’s short story, ‘The Colour Out Of Space’. Starring Nicholas Cage, Joely Richardson, Tommy Chong and others, the film’s due to be released in Britain on the 28th February.

Mr H Reviews is a film news and reviews channel on YouTube, largely specialising in SF, Horror and superhero flicks. The titular presenter is a massive fan of H.P. Lovecraft, who wrote tales of cosmic horror and madness for pulp magazines such as Weird Tales. The film is largely the work of Richard Stanley, who is best known for his SF movie Hardware. This was about a sculptress in a decay future city, whose partner finds the remains of an unknown robot in a radiation-poisoned desert. He brings it back to her so she can turn it into art. When she reassembles it, it is a lethally efficient military robot that then goes on a killing spree to fulfill its programming. The film was extremely similar to a short tale illustrated by the mighty Kevin O’Neill in 2000AD, and Stanley lost the case when the comic sued for plagiarism. Stanley doesn’t seem to have a directed a motion picture since the debacle of The Island of Dr Moreau back in the 1990s. This fell apart, and Stanley was sacked as director, largely because of the casting in the title role of Marlon Brando. Brando behaved extremely bizarrely, making odd demands and requests and seems to have been determined to have the movie shut down. With costs mounting and shooting overrunning, Stanley was sacked and the film completed by another director. The script was also written by Amaris and has superb cinematography by Stephen Annis, who has also made videos for Florence and the Machine.

Stanley is, however, a superb director and Hardware is highly praised. In this review Mr H gives fulsome praise to the movie without giving too much away. Based on the short story of the same title, this is about a surveyor in Arkham telling the story of the strange events in order to try and make sense of it. Something strange falls out of the sky and begins to change the people and environment. The humans suffer bouts of madness, but in contrast to this the environment grows ever more beautiful. The visitor from space is an alien creature, and Mr H praises the work that has gone into it. He says that the film is like Annihilation, which is also about something from space falling to Earth and changing the environment, making it bizarrely beautiful. However, H believes that the Lovecraft film is better. He also states that the creature in it is similar to The Thing, John Carpenter’s classic ’80s adaptation of John W. Campbell’s short story, ‘Who Goes There’. The creature work is excellent and it is more of a homage to the earlier film, rather than a rip-off.

There are a number of Easter eggs in the movie referring to earlier adaptations of Lovecraft’s work. One of these is the name of one of the daughters, Lavinia. I also noted scrawled on the wall in one of the video clips played in this review is the slogan ‘No flesh shall be spared.’ It’s a line from Mark’s Gospel which was used as the slogan for Stanley’s Hardware.

The film’s intended to be the first of a series set in Lovecraft’s universe. Unfortunately, it doesn’t have wide distribution over here and is only showing in Showcase cinemas. But he highly recommends seeing it, even if you have to drive several hours to the nearest cinema.

I’m a fan of Lovecraft’s fiction, which unfortunately has had a very uneven history when it comes to film adaptations. This one looks extremely promising however.

It’s on in the Showcase cinema in Cabot Circus in Bristol, and I shall hope to see it. If you’re interested, then Google to see if its playing anywhere near you.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Trailer for Movie of HP Lovecraft’s ‘The Colour out of Space’

I found this trailer for a forthcoming movie version of H.P. Lovecraft’s short story, The Colour out of Space, over on YouTube. It stars Nicholas Cage and is directed by Richard Stanley.

Lovecraft was a master of cosmic horror, and the creator of the Cthulu mythos about malign, alien gods that seeped down from the stars untold aeons ago. Although they were banished from Earth by the ancient Elder Races, they are constantly seeking ways back. And when the stars are right, and the sunken city of R’lyeh rises from the deep, Cthulhu, the bat-winged, octopus-headed god will rule over a mankind reveling and killing. And in untold aeons even death may die.

The trailer says it marks the return of Stanley to directing. This is welcome news. He made an excellent film about a berserk robot going on the rampage in a decaying future, Hardware, back in 1989.  2000AD sued and won for plagiarism, as the film’s plot appeared to be stolen from a short story from comic, ‘Shocc!’, drawn by the master of macabre art, Kevin O’Neill. This was about an explorer, who finds a war robot and gives it to his girlfriend. It then comes back to life, and goes on the rampage. The film has cameos with Lemmy, a member of the Goth band The Mission, and Iggy Pop as the DJ, Angry Bob, and the soundtrack includes Motorhead’s ‘Ace of Spades’, The Mission’s ‘Power’ and Pil’s ‘Order of Death’. There’s a reference to the earlier film in the trailer. A shot of the family’s kitchen shows a framed Biblical quotation, ‘No flesh shall be spared’. This was also used in Hardware to explain the B.A.A.L. robot’s genocidal mission to exterminate all humanity.

Stanley disappeared from directing movies, although he continued to make documentaries and pop videos, after the debacle of a version of H.G. Wells’ The Island of Dr. Moreau. Stanley originally intended it to be a relatively low budget film, but the studio wanted a big star. Stanley chose Marlon Brando. Big mistake. Once in the movie, Brando proceeded to do his best to wreck it through bizarre demands and massively arrogant behaviour. There was a documentary made about this whole shambles a few years ago. One of the actresses provided an example of Brando’s weird, cavalier attitude to the film. She went to him to ask the great Hollywood star for acting tips. He told her to carry on doing whatever she liked, because it didn’t matter as the film would be shut down in three weeks anyway. He also asked a member of the production crew if they should ‘f**k with’ one of the producers. When the man asked why, as the producer was a good guy, Brando made a very lame excuse. It’s pretty clear from this that Brando didn’t have any respect for the film. With costs and time overrunning, Stanley was sacked, and a veteran Hollywood director brought in instead to salvage something from the mess. The result apparently is a competent film, but it’s not the really amazing movie that would have appeared if Stanley had been able to complete it according to his vision.

It’s a pity that there was that plagiarism case between 2000AD and Stanley over Hardware. 2000AD want to produce films based on their characters. Two films have been made of ‘Judge Dredd’, but both have performed less than expected at the box office. The most recent, 2012’s Dredd, starring Karl Urban, was a critical success. There’s too much enmity there, but I’d say that if anyone could direct a great movie based on 2000AD’s cast of heroes, Stanley is the man for the job.

Looking at the trailer for the movie, it seems to have rejected Lovecraft’s original plot for the Hollywood cliche of a happy American family that moves into a rural area, only to find something sinister and threatening. It’s a long time since I read the original story, but I don’t think it’s the one Lovecraft wrote. Still, it looks like it could be a really good film, even if it is somewhat less than faithful to Lovecraft.

And to show everyone what Stanley’s Hardware was like, here’s a video for Pil’s ‘Order of Death’ using clips from the film from Hert Zollner’s channel on YouTube.

Enjoy!

TYT: Actor James Cromwell Blasts Oil Police Thugs and Corporate Media

This is another clip from The Young Turks about the protests against the oil pipeline at Standing Rock. In this piece, James Cromwell, the Hollywood actor, talks to The Turks’ Jordan Cheriton about how the thuggish behaviour of the rozzers at Standing Rock and the way the protests have been completely ignored by the mainstream corporate media shows the racism against Native Americans. When there are demonstrations elsewhere, the cops react decently. They arrest people, but don’t usually attack or maltreat them. Here it’s different. And this shows the racism against Native Americans. He also notes that when there are protests and riots in the east, the mainstream media are there. But they’re not covering this protest, with the exception of The Young Turks, because they’re really controlled by the oil companies and the bottom line of not doing anything that would upset their sponsors. The only way to be informed in this country [America] is by people looking it up on YouTube. The clip ends with another Native American chant, which I believe must be in the Sioux language, against the pipeline.

Cromwell’s appeared in a number of Hollywood blockbusters. I remember him from Star Trek: First Contact and Deep Impact. He’s not the first big name Hollywood actor, who’s lent their voice to Native protests. Marlon Brando also did so in the 1970s, when he joined one of the peoples on the West Coast defending their fishing rights against another company. Cromwell is also right about people turning to the internet to see what’s really going on. This applies to both left and right, though sometimes people from radically opposed parts of the political spectrum look at the same news sources. I was talking the other day to someone, who clearly viewed themselves as a supporter of small government, who also watched RT as well as Fox News.

The mainstream media and the Beeb in particular are complaining about the way their ability to shape the political consensus is breaking down. They moan that it is making people more polarised in their opinions through people of different political views watching only the news channels that share their opinions. But the underlying problem is not addressed or even acknowledged. The mainstream media has a very pronounced corporate bias. Cromwell describes how it works in America. Over here in Britain, where we supposedly have the impartial BBC, the Corporation is still biased. Books and studies have been published, most recently by Cardiff, Edinburgh and Glasgow universities, showing that the Beeb is very much biased towards the establishment. They are far more likely to interview Conservative MPs and managing directors than Labour MPs and trade unionists, and when they do, they are far more likely to accept automatically the views of the Tories and businessmen as being true. And I’ve quoted Barry and Saville Kushner, the authors of Who Needs the Cuts?, how they were constantly infuriated by the Corporation’s automatic assumption that cuts were necessary and the way BBC announcers and reporters shouted down Labour leaders and politicians, who dared to contradict them. And the other year Mike reported how the Beeb was very definitely not reporting on the massive demonstration against its bias that was occurring on its very doorstep. It did report it online, but definitely not as an item on the television.

If people are abandoning mainstream media, it’s because that media is flagrantly biased. It therefore deserves to lose viewers until it corrects this.

Zarjaz! Documentary about 2000 AD!

Borag Thungg, Earthlets! As the Mighty Tharg used to say. I found over at Moria, the Science Fiction Film and Television database, a review of the 2014 documentary Future Shock! The Story of 2000 AD, directed by Paul Goodwin, and made by Stanton Media/Deviant Films. The film tells the story of the Galaxy’s Greatest Comic, and the crew of recidivist cultural deviants, who responsible, amongst other offences, for bringing the world Judge Dredd, Mega-City 1’s toughest lawman. Among those speaking in the movie are the mighty comics creators Pat Mills, Kevin O’Neill, Brian Bolland, Neil Gaiman, Carlos Ezquerra, John Wagner, Dave Gibbon, Bryan Talbot, Alan Grant, Grant Morrison, Cam Kennedy and Karl Urban, who played Dredd in the movie of the same name a few years ago.

The Moria review sets the origins of the comic in the context of Britain in the late 70s and early 80s, when Margaret Thatcher was in power, unemployment was at three million and the National Front was on the march. 2000 AD appeared following the cancellation of Action, a previous comic that had been banned after parents’ concerns that it was too violent. The team assembled to produce the new comic were partly drawn from those responsible for Action, like Mills, and the new comic definitely had a subversive edge. It was partly reacting against the old Fleetway children’s comics, whose stories were very safe. It takes its title from a series of unrelated bizarre stories, ‘Tharg’s Future Shocks’. As I recall, the strip in which these stories were first announced set the tone by showing a jaded, spoiled sprog, defiantly unimpressed with the previous offerings from British comics, who is then taken by Tharg to see the terrible and dangerous visions that the Future Shock strips will introduce. This is too much for the enfant terrible, and the traumatised brat is led away to received much-needed medical care, while Tharg urges them to ‘treat him gently’. An example of the strong subversive theme running through the comic is Dredd himself. Dredd was deliberately intended to be something of an ambivalent hero, a parody of Fascistic US policing. The Moria review notes that the more extreme Dredd became, the more popular he was, to the point where Carlos Ezquerra didn’t want to continue drawing the character after producing the original design. This probably shouldn’t be too surprising, as Ezquerra had as his inspiration for Dredd’s uniform that of Franco’s Fascists with their helmets and shoulder pads, though the review doesn’t mention this. John Wagner, Dredd’s creator, was always insistent that the character should never take off his helmet and show his face, as he was the symbol of the faceless police state.

The review discusses 2000 AD’s role as the first British comic to credit the artists and writers, and how this led to a brain drain as their leading creators were then lured off by the big American comic firms like Vertigo. I don’t think 2000 AD were quite the first. I think a few years before then the war comic, Battle, had also started to credit the people creating the strips. It also covers the magazine’s drop in quality and popularity in the 1990s, and then it’s revival under Matt Smith. It notes that all of the creators interviewed saw the comic as edgy, subversive and individualistic. This is certainly born out by some of the comments made in the movie’s trailer, which is also included in the review. This features the various writers and illustrators remarking on the comic and what they intended to achieve with it. Several of them, such as one by Pat Mills, are along the lines that the comics company really didn’t know what was about to hit them.

I don’t think they did. 2000 AD was never as controversial as Action, but nevertheless there were concerns occasionally that the comic was too violent. It did, however, produce some of the greatest comic strips that are still going thirty years later, like the ABC Warriors, Slaine, Nemesis the Warlock, Strontium Dog, The Ballad of Halo Jones, and, of course, Judge Dredd. The future’s ultimate cop was hailed at the time by the space fact magazine, New Voyager, as the Dan Dare for the 1980s. High praise indeed!

The review also talks about the three films or so have that were released based on the comic. These include the two Judge Dredd films, Judge Dredd, which appeared in the 1990s with Sylvester Stallone playing Dredd; and Dredd, which came out a couple of years ago, with Karl Urban in the title role. They also include Richard Stanley’s Hardware, which was taken uncredited from Shok!, a short story told by Dredd’s mechanical friend, Walter the Wobot. 2000 AD took the film’s producers to court in plagiarism case, and won. The film’s producers were forced to credit the 2000 AD strip, though I think Stanley still maintains that he didn’t steal the idea from 2000 AD. Of the two Dredd films, the first is considered a disaster, while the second was a hit with both audiences and the strip’s creators, who praise the movie in the film. Stanley’s Hardware is also a classic of low budget SF film-making, and has rightly received wide praise. It was made in 1989, but still looks good a quarter of a century and more later, and its relatively high quality of design and production makes it appear that it had a bigger budget than it actually had. Stanley’s career as a cinema director I think ended after he was sacked from directing the 1990s remake of The Island of Dr. Moreau. This was at least partly the result of the utterly bizarre behaviour of Marlon Brando, who took the part of Moreau. There’s also a film about the making of that movie, which shows just how bonkers and extremely difficult to work with Brando was, to the point where filming at time degenerated something close to farce. it’s a pity, as Stanley was and is a talented film-maker with fresh, interesting concepts. If things were ideal, he and 2000 AD would ideally make their peace, and he should produce a film based on some of the comics’ other strips. But this ain’t an ideal world, and so that very definitely won’t happen.

I don’t know if the documentary is available on YouTube, and I don’t recall having seen it on the shelves of HMV, but it might be worth checking out your local comics shop, like Forbidden Planet.

The Moria review can be read at: http://moria.co.nz/sciencefiction/future-shock-the-story-of-2000ad-2014.htm

Chris Sterry on the Democratic Need to Prosecute Blair for War Crimes

I’m sorry if this seems a bit incestuous, and rather narcissistic, but I thought Chris Sterry’s comment on his reblog of my post from this morning also deserved to be posted over here. Chris Sterry is one of the many great commenters on my blog. This morning I put up a piece about three videos by the American left-wing comedian Jimmy Dore, in which he gives a line-by-line commentary on Blair’s speech responding to the Chilcot report. This has damned him for waging an unprovoked war, launching hostilities before the available peaceful solutions had been explored. The British people were lied to about Saddam Hussein’s military ambitions and capabilities. There was no proper consideration of how order and peace were to be restored after the conflict was won. And Blair, his minions and allies, were warned that the result of the invasion would be ethnic and religious violence and trouble from Iran.

And Blair remains completely unrepentant. He acknowledges, casually, that ‘mistakes were made’ – in the passive voice, note, as if they just happened with no-one being responsible for them. He then claimed that all the carnage that followed could only be known with hindsight, despite having been told at the time. Michelle, another of the great commenters on my blog, remarked on how sickening this was.

I’m flattered that Chris decided to reblog the piece, commenting:

I thank Chilcot and Jimmy Dore for their condemnation of Tony Blair. It as all been said, no one can be unaware that Tony Blair is the biggest liar in the world and he created the current situation in the Middle East and was the creator of modern radicalisation. This does not mean that George W Bush is an innocent, for he is as guilty as Blair, but that is for the people of America to comment on.

For Blair what should the next step be, there needs to be a process started to bring him to court for being a ‘War Criminal’ for if there is not, we are all complicit in being war criminals.

So be warned Presidents and Prime Ministers in waiting you are accountable for your action both now and in the future. Any atrocities created by these actions are on your shoulders and your shoulders alone for which you will suffer the consecquences.

See: https://61chrissterry.wordpress.com/2016/07/09/the-videos-by-jimmy-dore-on-tony-blair-and-the-chilcot-report/

Chris is right. Democracy means that our leaders are ultimately accountable to us. They govern us through our consent, which we can withdraw at elections by voting for another party or candidate. Democracy means the rule of law, from which our leaders are not exempt. In normal society, criminality is prosecuted and punished. Murderers are tried and sent to jail. Tony Blair lied to the people of one nation, and committed mass murder to the people of another. The Iraqis, and the surrounding Middle Eastern peoples were direct victims of his aggression. But we have also paid the price. The British taxpayer has been forced to fund a war for which there was no legal or moral justification. Morally, our country has been sullied through the atrocities and violence committed through the invasion. And our forces and people have also suffered. Blair sent courageous and capable men and women to die, or return home mutilated and mentally scarred. Their families have lost husbands, wives, sons and daughters. British Muslims have also lost family members, radicalised through the violence they have seen against their co-religionists in Iraq. Some of them have gone on to destroy themselves and others in acts of the most appalling violence.

Blair has said that he takes ‘full responsibility’. In the videos, Dore remarks that it won’t re-animate all the dead killed through his war. The only way he can take full responsibility is by going to jail. Absolutely. Full responsibility means just that. It means more than words, and must entail due punishment for crimes committed. For democracy to mean anything, leaders and governments have to be tried when they commit offences. The great thinkers of the Enlightenment, like Voltaire and Kant, were against cruelty, mass murder and arbitrary government. Kant reformulated the Golden Rule ‘Do unto others, as you would have them do unto you’, in the words of Christ, though the maxim was known long before Him in the Middle East, as ‘If you legislate for one, you legislate for all’. Laws have to apply to everyone, rulers as well as ruled. The execution of Charles I by the Roundheads after the English Civil War shocked England and Europe. He was executed for crimes against the British people. This was a dangerously radical idea, as until that point it was universally accepted, and continued to be so for centuries after, that the king was above the law as the ultimate lawgiver. But no more. Our leaders have to be subject to the same laws as their citizens. This means us, as well as the tyrants we have tried for war crimes, like Ratko Mladic, Slobodan Milosevic, and the other butchers from the former Yugoslavia. Like the Nazis at Nuremberg and Richard Nixon after Watergate. And now Blair should be taken to the dock to face justice for all the horror and violence he has unleashed.

And after him, who knows – Maggie? It would, naturally, be posthumous. Something like Khrushchev’s 1956 secret speech finally attacking Stalin’s ‘Cult of Personality’, and the true vileness of her policies and minions listed and enumerated. As for the charge, well, to quote Marlon Brando in The Wild One, or is it James Dean in Rebel Without a Cause: ‘What’cha got?’

Mirror: IDS Blames 9/11 for Failure as Tory Leader

More insights into the weird psychology of Ian Duncan Smith. According to the Mirror, Smith blamed the al-Qaeda attack on the Twin Towers at 9/11 for his failure as the then leader of the Conservative party in a speech at the Tory party conference. The Mirror article begins

Leadership flop Iain Duncan Smith has blamed the 9/11 atrocities for his failed bid to be Prime Minister.

The top Tory made the claim as he launched an extraordinary attack on Tony Blair – saying he ‘milked’ the situation for all it was worth.

More than 100 Tory activists applauded Mr Duncan Smith’s comments at a packed fringe meeting at their party conference.

Fresh from a speech celebrating welfare cuts , he claimed Mr Blair’s focus on foreign policy contributed to his failure to get a foothold as party chief in 2001.

“The day before I got elected the twin towers were struck,” he told the crowd last night.

“So first of all we got no lift on my announcement. It had to be buried the following day, hardly anybody was paying attention.

“The following day I appeared for the statement in the House, straight in. I didn’t sleep that night, had to sort out shadow cabinet positions, got them all done, got in there and we were straight in.

“Now you know, when the nation is kind of at war there is only one person they look to and it is the Prime Minister, because the Prime Minister is powerful. He’s the one who directs it.

“And Blair, of course, which maybe you can argue, he milked that for all that was worth.”

It’s another piece of Tory double standards, especially coming after David Cameron’s smearing of Jeremy Corbyn yesterday as a supporter of terrorism, who didn’t really care about the 3,000 odd victims of 9/11. That was a gross lie. It appears from this that IDS doesn’t really care for the victims of the biggest terrorist outrage on American soil either, except in so far as they ruined his career as the leader of the Tory party.

As for ‘milking’ a foreign policy crisis and the ensuing war, this is exactly how Maggie Thatcher used the Falklands War to prop up her career as prime minister. Following the British victory over the Argentinians she was lauded by the Tory press as the 20th century incarnation of Boadicea. The Scum in particular harped on about how the Conservatives hoped the ‘Falklands Factor’ would help win them election after election. It helped cement her image of the defiant guardian of everything ‘British’ against foreign aggression and domestic terrorists like the IRA. This was even when she was holding secret talks with them while attacking Labour’s stance on Northern Ireland and the sympathies of many of its members with its Roman Catholics.

Several of the commenters to this blog have pointed out that Smith shows all the symptoms of Narcissistic Personality Disorder, and I think they have a point. This comment certainly shows the man’s egotism and colossal self-pity. He, of course, was never responsible for his failure. It was all somebody’s else’s fault. He comes across as the type of burned-out boxer portrayed by Marlon Brando in On The Waterfront, a shambling wreck c boasting about how he could have been a ‘contender’.

Blair did indeed ‘milk’ 9/11, just as Maggie milked the Falklands. He and Bush also used it as a pretext for the illegal invasion of Iraq. Many Tories, to their credit, condemned the invasion. A friend of mine even started buy the Spectator because of its anti-war line. IDS was not denied the opportunity to tackle him for his foreign policy failures, particularly as the majority of people in this country opposed the invasion of Iraq. IDS cannot blame 9/11 for being ousted as leader of the Tory party. It was due to his own incompetence, and the legacy of his predecessors. But, like some exiled dictator convinced that the people still love him, he simply can’t see this. Perhaps, like Imelda Marcos, he takes refuge from cold, hard reality amongst a massive collection of shoes.

And on a purely, personal ad hominem note, it strikes me from the photos of IDS that have surfaced from the conference that the minister for the murder of the disabled has put on weight. It seems he’s been living very well in his career denying benefits to the poor, the sick and disabled, during which tens of thousands have died. Stilloaks has pointed out that the total death toll of people who have starved to death, or taken their own lives through despair due to his wretched ‘welfare reforms’ is now up to the 70s, if not actually beyond. Marie Antoinette may not have said, ‘Let them eat cake’ when she heard of the starving French masses during the Revolution, but from the pics, Duncan Smith definitely has had a few champagne breakfasts.