Ethnic criminals and colour-blind casting

Warning: This post will reveal one of the key spoilers in Star Trek into Darkness. It’s not that big a spoiler, especially if you’ve been paying any attention to the buzz around that film for the past two years, but, if by any chance you have been avoiding the spoilers around that film, you may want to avoid this post, too.

Two films in theatres right now feature significant characters who happen to be (1) villainous, or at the very least somewhat shady, and (2) members of an ethnic group that has sometimes been subject to stereotyping. In both films, the characters in question are played by members of an entirely different ethnic group — and this has puzzled some observers, who have asked if the films could have found a more creative but authentic way to navigate the issues raised by their source material.

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Godfrey Reggio’s newest film to premiere in September

You don’t need stories or dialogue to make a movie. Sometimes you just need some really interesting images set to some really good music.

This point was proved for me almost a quarter-century ago, when I discovered Godfrey Reggio’s Koyaanisqatsi (1983), a sort of 86-minute docu-poem that explores the relationship between nature, technology and human society. It quickly became one of my five favorite films of all time, and it made me an instant fan of composer Philip Glass; seven years ago, I even had the joy of attending a screening that was accompanied by Glass himself.

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Credits where credit is due in Bible films

I recently watched Cecil B. DeMille’s Samson and Delilah (1949) for the first time in years, and I hope to write something about it soon. But one detail caught my eye, and got me curious to see if it was part of a trend that might have popped up in other Bible movies, too.

Specifically, I was struck by the writing credits that appear during the opening titles. The film gives credit to four different screenwriters, which is fairly typical — no doubt there were other writers who worked on the film without credit, too — but the film also goes on to specify not just that it is based on the Bible, or on a particular book of the Bible, but that it is based on particular chapters within that book.

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Star Trek into Darkness — first impressions (spoilers!)

This post has taken a lot longer to write than I expected. I saw Star Trek into Darkness on Wednesday night (the studio, in its wisdom, decided to hold this film back from most critics until the last possible second) and began writing this post on Thursday morning, but life got in the way and I couldn’t finish it all in one sitting — and then, whenever I came back to this post, I found that I had more things to say, or different ways of saying what I had already said, and so on, and so on. But here we are now, on Monday, and the film has finished its first weekend in North America (where it slightly underperformed at the box office), and I am finally going to force myself to finish this thing.

So. Here’s the thing about the J.J. Abrams Star Trek movies: He throws so many things at you, so quickly, that you cannot help but miss some details that are actually fairly important, at least on first viewing.

For example, it wasn’t until the second time that I saw his 2009 “reboot” of Star Trek that I realized virtually all of Kirk’s fellow Starfleet cadets had been killed by Nero, except for the ones who were on Kirk’s ship. As you may recall, Starfleet gets a distress call from Vulcan while Kirk is in the middle of being reprimanded by Starfleet authorities — and the disciplinary hearing is put on hold so that all of the recent graduates can board their ships and fly to Vulcan. When all of the ships go to warp speed, the Enterprise accidentally stays behind, because of an error on Sulu’s part — and when the Enterprise finally gets to Vulcan, it finds nothing but a debris field orbiting the planet. Which, when you think about it, means that everyone on all those other ships — including the green alien roommate of Uhura’s that Kirk slept with — is dead, dead, dead. But by that point, the film has forgotten them and moved on to other things; and then, at the film’s conclusion, everyone at Starfleet Academy cheers when Kirk is promoted to captain. Do they make at least a token nod to the fact that they just lost dozens, if not hundreds, of their classmates? Nope.

So, take anything I say in this post with a grain of salt. I have only seen the new film once, and I may have missed all sorts of stuff that won’t register until a second viewing. (One e-pal has already informed me that the movie refers to an incident from the comic-book prequel Countdown to Darkness, but I completely missed that reference as I was watching the film. And I’ve actually read that comic!)

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Scripture on the silver screen / New productions bring Bible-based stories to life

You often hear that the Bible is the best-selling book of all time. It turns out that movies and TV shows based on the Bible can set records in their own mediums, too.

The most recent example is The Bible, an ambitious mini-series produced by reality-TV mogul Mark Burnett (Survivor, The Apprentice) and his wife Roma Downey, former star of Touched by an Angel.

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Will there be two Bible epics on the big screen in 2014?

Ridley Scott’s Moses movie may be further along than we thought. Box Office Mojo posted a few new release dates to its schedule yesterday, and one of them was for Exodus, the Bible epic that Scott has been developing with 20th Century Fox for the past year or two. If the site is to be believed, Exodus will be coming to a theatre near you on December 12, 2014 — or about a year and a half from now. And that would make it one of two Bible epics hitting the big screen next year, the other being Darren Aronofsky’s Noah, which comes out March 28. Interestingly, that film stars Russell Crowe, who has appeared in four of Scott’s last five films and sort of owes his stardom to an even earlier Scott-directed sword-and-sandals flick, Gladiator (2000) — so who knows, if Scott calls on Crowe’s services again, Crowe could end up finding himself in both of next year’s Bible epics. (Hat tip to The Playlist.)

Twelve-foot gods and the environment: actors talk Noah

I had hoped to have a review of Star Trek into Darkness ready to go live this afternoon, but it’s taking longer to write than I expected, so it will have to wait. In the meantime, here’s a brief update on Darren Aronofsky’s Noah, which I haven’t mentioned here in a while.

Empire posted an “exclusive” interview today with Mark Margolis, who has acted in all of Aronofsky’s films and will play “a fallen angel known as Samyaza” in the new film.

Margolis himself calls his character “a 12-foot god”, and although he doesn’t say what his character will do, exactly, in the new movie, he does talk about what it was like to play the character, who will eventually be rendered in CG:
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Flashback: Almost 20 years of Star Trek reviews!

I grew up with the Star Trek series. When I was six years old and living with my family in Poland, three of my favorite and most-read books were the David C. Cook Picture Bible, C.S. Lewis’s The Chronicles of Narnia, and Stephen E. Whitfield’s The Making of Star Trek, which covered the first two seasons of the original TV show. (I wondered sometimes what Mister Spock, with his emphasis on logic, would make of Lewis’s logic-based arguments for the Resurrection, etc.)

I watched the show in re-runs and saw the first film in the theatre, with my dad, when I was nine years old. On the way home, my dad got me a Star Trek-themed Happy Meal at McDonald’s, and I believe I still have the box and the comic-strip communicator that came with it, somewhere in storage. I was in grade six when Spock died, grade nine when he came back to life, and grade twelve when Kirk & co. went back in time to save the whales. I was in my first (and only) year of Bible school when Star Trek: The Next Generation premiered in 1987 — there were lots of Star Trek fans there — and I was half-way through getting my bachelor’s degree at UBC when the cast of the original series filmed their last movie together in 1991.

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Music for Klingons, part three: Eidelman + Giacchino

The Klingons have been featured in one way or another in every Star Trek movie produced to date — whether as actual characters or as starships on a monitor — but there is only one film in which the Klingons truly took centre stage. And that film happens to be one of the few Star Trek movies that was not scored by Jerry Goldsmith or James Horner, the subjects of the first two parts of this series.

The film in question is Star Trek VI: The Undiscovered Country (1991), which served as a bridge of sorts between the original Star Trek TV series (1966-1969) and its follow-up, Star Trek: The Next Generation (1987-1994). The latter series had shown that the Federation and the Klingons would one day be on friendly terms, so this film — the last one to feature the original series’ entire primary cast, and the first one to feature an actor (though not any of the characters) from the later series — aimed to show exactly how the Cold War between these two powers had ended.

And one of the striking features about the soundtrack for this film, composed by Cliff Eidelman, is how up-front it is about its Klingon elements — to the point where it is the only film in the entire series that does not begin with one of the standard Star Trek themes but, instead, begins with a theme that was written for the Klingons.

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Music for Klingons, part two: James Horner

Klingons have appeared in all but two of the Star Trek movies released to date. The only exceptions are Star Trek II: The Wrath of Khan (1982) and J.J. Abrams’ Star Trek (2009) — though even there, in both films, we do see simulated Klingon warships during the Kobayashi Maru training program. (And there actually was going to be a scene with Klingons in the Abrams film — parts of it were even shown in the movie’s trailers — but the scene itself was deleted in the end.)

So, not surprisingly, all five of the movies that were scored by Jerry Goldsmith — whose work I profiled in part one of this series — gave him an opportunity to write some music for those characters. However, as iconic as Goldsmith’s Klingon theme is, none of the films he scored featured Klingons in a particularly prominent role: in the first one, they get a single scene and are then pretty much forgotten; in his second film, they are secondary antagonists, and less important to the story than Spock’s half-brother Sybok and his band of followers; and in the remaining three films, the only Klingon on view is Worf, who is more or less just one of the heroes.

There are two films, however, that revolve rather significantly around Klingon characters, and the composers who worked on those films brought some interesting elements to the table. This post concerns the first of those composers, James Horner, and his score for Star Trek III: The Search for Spock (1984).

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