Of Ravens and Wolves - Tribute to Joan Aiken

The Wolves of Willoughby Chase (film) (Photo credit: Wikipedia)

Today I was reminded by a very nice doodle on Google that is the 91st birthday of the great children's novelist, Joan Aiken. Aiken was one of the staple children's authors who's work coloured a lot of my childhood upbringing in the Cotswolds. I heard her stories of Mortimer the raven on BBC's Jackanory and then again in my sixth primary school, where it seemed the majority of our reading material was illustrated by Quentin Blake! Later on, I became aware of her other work. Her Wolves Chronicles, particularly the first installment, "The Wolves of Willoughby Chase", were particularly inspirational in later ideas I would have as an adult.

When I moved back to the Cotswolds with my baby daughter, my thoughts often returned to Aiken's work, even if my eyes didn't. I found myself thinking on the worlds she created as I pushed a pram up a steep hill as winter drew near. That tinge of Gothic that touched upon most of Aiken's work put her years ahead of the trend that has shaped a lot of children's fiction, in film and literature, over the last two decades. Ahead of Phillip Pullman's steam punk and other children's alternative history authors, Aiken presented futures that touched strongly on reality. She held her hand with discipline when it came to applying fantasy elements and wove them believeable into the text. This is what makes the Wolves Chronicles so appealing.

Bride of Frankenstein - "to gods and monsters!"

With Boris Karloff in Bride of Frankenstein (1935) (Photo credit: Wikipedia)

In honour of the 80th anniversay of "The Bride of Frankenstein" I have unearthed this short review I submitted a fair few years back.

Ladies and gentlemen of the jury I present to you a fine example that not only puts forward the argument that sequels can be great, but also that there were good sequels before Godfather Part II. The Bride of Frankenstein actually surpasses the original film and is perhaps one of the greatest horror movies made.

I say all this in spite of its glaring flaws as a sequel. It commits all the cardinal sins that a sequel should never do. It changes the tone of the original by introducing comedy, it retcons the ending of the original (if you have read or seen "Misery" this is an absolute no-no with die-hard fans) and unforgivably it brings in a new actress to play a leading role. If that weren't bad enough the titular character barely makes a cameo appearance. So what makes it so good?

Arrive, Park and Hand in Your Keys

“You keep using that term. I do not think it means what you think it means… then again” - (Paraphrased from) “The Princess Bride”

The term “meet and greet”, when associated with airports, is widely accepted to mean a type of valet service for passengers who don’t want to waste time parking. Those who book this service expect to be able to drive close to the departures door and be met by a valet. The passenger then hands the keys over without a second thought in order to make his or her hasty way to the frustrating/reassuring (delete where applicable) onslaught of increasing bureaucracies and inconsistent security rituals, happy in the knowledge that their faithful mechanical steed in going into safe stabling. Upon their return, the tired passengers can then stumble through the arrivals door and be greeted by the smiling chauffer with their car. Unless the memorable scene in “Ferris Bueller’s Day Off” has made you paranoid about car parking attendants or you enjoy losing valuable time from your life searching huge car parks for spaces whilst worrying about missing your flight, I cannot imagine you would disagree with the virtues of such a service. It was the service we happily expected at Standstead Airport when we saw the title “Meet and Greet Parking” on the package deal we booked with “On the Beach”. However, the reality was somewhat different.

Mary Shelley's Counter-Enlightenment

For those who are unaware of one of the most famous stories in Gothic literature, I would like to introduce you to “the story of Frankenstein… I think it will thrill you. It may shock you. It might even horrify you.” You won’t find any of these lines in the original 1818 novel, although the author once famously remarked that she had wanted to write a story that “…would speak to the mysterious fears of our nature, and awaken thrilling horror -- one to make the reader dread to look round, to curdle the blood, and quicken the beatings of the heart”. The image of Whale’s “Frankenstein” is just one example of several horror icons that have become more readily identified with their filmic representation than their source material. Colin Clive’s hysterical portrayal of Frankenstein set the “mad scientist” stereotype, which was far removed from Shelley’s original tragic Faustian version, and Boris Karloff’s simple-minded, grunting, lumbering portrayal of The Monster was even further away from the intelligent, blighted and scorned figure of Milton-esque vengeance in the novel. However, the novel has bitten back over the years since Universal did such a great job of immortalizing its own icons.  The 1980s proved to be something of a watershed in this respect and this is where we find the first publication of Maurice Hindle’s edited text. It is this influential edition of the novel, which has subsequently been reprinted in the same format several times now; I am reviewing rather than the original story.

Stumbling through the Tulips

The modern horror movie is in a pretty sorry state if this is what the kids are raving on about today. I didn’t read much into the hype. All I knew was that it wasn’t yet another “found film” or a “torture porn”, and Tiny Tim’s 1967 cover of the 1929 “Tip Toe Through the Tulips” was being a creepy interpretation. It sounded interesting enough, although I haven’t held out much for hope horror since around 2000. Barely a dozen of horror films have impressed me since then and all are rivalled by shows like “Masters of Horror” and “American Horror Story”.

Plausible Sequel or Too Far Out to Sea - Broadchurch 2

Plot:
Detective Inspector Alex Hardy (David Tennant) and his former partner ex-Detective Sergeant Ellie Miller (Oliva Coleman), now a uniformed Police Constable working traffic, are brought together again over the resulting trial of their previous investigation. Hardy is still troubled by his health and also finds himself drawn back into the murder case he failed to solve before his work in Broadchurch. Miller is wracked by personal guilt and the impact the case had on her family. Meanwhile the Lattimer family struggle to rebuild their family and will be put through new tortures as the court case proceeds…

Review:
I feel the urge of the completest to write this review above all else. I suppose that is quite apt given the way the strength of this series’ continuation is based on its audience demanding that certain loose threads be tied. Many critics and good number of viewers reflected that it might have been better if these threads had been left dangling. Given the focus on the mystery of the first season being so masterfully executed, it was inevitable that Season 2 was being lined up for a fall. The first episode, directed by the main director of Season 1, boded well with both the public and most of the media giving it a positive response. However, by the third episode in I heard the collective groans and read the annoyed social media statuses, with viewers expressing their disappointment. Looking at the sporadic ratings and the to and fro reviews over the eight episodes, it did look like the season was fighting a battle with viewers. After the season finale, which received its biggest rating after the premiere, one newspaper declared it to be another example of how good ideas get milked dry. I could see the journalist’s point, but I did not agree.

A CGI Rant

English: I made this image with computer-generated imagery. 2 views of a man with an M2A1-7 United States Army flamethrower. (Photo credit: Wikipedia)

There is definitely a lot to be said about the way Computer Generated Imagery now dominates many fantasy and science fiction movies. It is as if my generations dreams were made a reality and swiftly became nightmares. I will explore the Era of the Geek at another point. Suffice to say that the below short article caught my attention, explaining that is not just a case of nostalgia why we are less impressed with today's blockbusters than those of yesteryear. My views on the matter?