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Isaac Asimov’s Fantastic Voyage from Film to Novel

Isaac Asimov’s Fantastic Voyage from Film to Novel

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Fantastic Voyage by Isaac Asimov
First Edition: Houghton Mifflin, March 1966, Cover art Dale Hennesy
(Book Club edition shown)

Fantastic Voyage
by Isaac Asimov
Houghton Mifflin (239 pages, $3.95, Hardcover, March 1966)
Cover art Dale Hennesy

Isaac Asimov’s early novels were published over a period of just eight years, from Pebble In the Sky in 1950 to The Naked Sun in 1957, with linked collections like I, Robot and the Foundation “novels” along the way. Some of his early short stories, published in magazines as early as 1939, weren’t collected into books until the 1960s, but for the most part Asimov had stopped writing science fiction by the late 1950s, perhaps because of the collapse of the SF magazine market, or perhaps because he’d discovered that writing nonfiction books was more lucrative and easier. As Asimov fans were painfully aware of at the time, a spell of some 15 years went by before he published his next original novel, The Gods Themselves in 1972, to great acclaim and awards recognition. (And then yet another decade went by before Asimov returned to regular novel writing, with Foundation’s Edge and a string of following novels derived from his Foundation and Robot universes.)

—Except for a book called Fantastic Voyage, in 1966, which was a novelization of a movie script.
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Cinema of Swords: Three Counts of Monte Cristo

Cinema of Swords: Three Counts of Monte Cristo

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The Count of Monte Cristo (1934)

Your honor, I stand before you charged with three counts of Monte Cristo, and while I could plead insanity, instead I’ll Dumas best to explain.

(I slay me.)

Alexandre Dumas’s most popular and enduring novels are The Three Musketeers and The Count of Monte Cristo, and one of the most remarkable things about them is that he wrote them at the same time! They were published in simultaneous serial form in two different Parisian periodicals, with T3M finishing first because Monte Cristo was the longer novel. Though written together, the two are very different: T3M is an action-packed tale of youthful heroism, practically the definition of a swashbuckler, while Monte Cristo is a slow-burn revenge fantasy, a swashbuckler more in its themes than its action. It still holds up today; if you haven’t read it, or haven’t read it lately, I recommend the Penguin Books translation by the late Robin Buss. (I know a little bit about translating Dumas, so take my word for it!)

But enough about the book: we’re here for the flicks! Monte Cristo was filmed many times during the silent era, and at least three of those adaptations have survived, but this week we’re going to look at the first thirty years of its sound versions in English. Prepare yourself for the vengeance of Edmond Dantès!

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Releasing Lightning from the Bottle

Releasing Lightning from the Bottle

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In 1993, Bruce Campbell starred in an excellent television show set during the nineteenth century in which he went on adventure after adventure, often in the company of a beautiful woman, and always seeking “the next big thing,” which led to steam-punkish versions of modern inventions. The show was clever, fun, entertaining, thoughtful, and lasted one single season for 27 episodes.

In 2000, Bruce Campbell starred in a television show set during the nineteenth century in which he went on adventure after adventure, often in the company of a beautiful woman, many episodes features steam-punkish versions of modern inventions. The show was juvenile, intermittently fun, and lasted two seasons for 22 episodes.

The first show was The Adventures of Brisco County, Jr. The second was Jack of All Trades. In the latter show, Campbell portrayed Jack Stiles, an American spy sent by Thomas Jefferson to the fictional island of Palau-Palau in 1801. Stiles was teamed up with British aristocrat and spy Emilia Rothschild (Angela Dotchin) and they tried to bedevil the French authorities on the island, represented by Napoleon’s brother, Governor Croque (Stuart Devenie) and his guard captain, Brogard (Stephen Papps).

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Goth Chick News: That Time Disney Tried Its Hand at Horror

Goth Chick News: That Time Disney Tried Its Hand at Horror

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As we well know, Disney is currently focusing a lot of energy on “live action” versions of its animated films, as well as family-friendly live action movies. We’ve seen the likes of Cinderella, Mulan, Beauty and the Beast and Sleeping Beauty (aka Malficent), along with Pirates of the Caribbean and the upcoming Jungle Cruise. But what you might not know, is that Disney has visited this strategy before. In the late 70’s and early 80’s, in an attempt to attract a young-adult audience, Disney also produced several live-action movies, though not ones based on previous stories. The Black Hole, Tron and my personal favorite, Something Wicked This Way Comes all harken back to this era in the Walt Disney Productions timeline.

It’s not that Disney had never done live-action movies before. In fact, from its inception in 1937 through the end of 1979, Walt Disney Productions delivered no less than 106 films with real actors. However, these stories pretty much defined the term “family friendly,” with titles such as Twenty-Thousand Leagues Under the Sea, Pollyanna, The Parent Trap, and The Shaggy D.A. Which is why Disney’s departure in 1979 caused such a kerfuffle.

In that year, British film and television director John Hough, who had already worked with Disney directing Escape to Witch Mountain and its sequel, was tapped to lead an idea first pitched by Disney producer Ron Miller. He proposed turning a 1979 novel by Florence Engel Randall, entitled The Watcher in the Woods, into one of Disney’s live-action films.

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Yaphet Kotto and Parker

Yaphet Kotto and Parker

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I know I’m a broken record about how Alien is, IMO, the greatest ensemble of character actors in the history of SF in movies. Today seems like a good day to say it again.

One of the many things I learned from the huge “Making of Alien” book is that the actors made their characters. They were thinly sketched in the screenplay. You knew that Kane volunteered to go out exploring and wanted to be lowered on the line to see where the hole led, but it was up to the actors to figure out who these people were. Sigourney Weaver wanted Ripley to be prickly, officious, and disliked by pretty much everyone (except the cat), as she poked around in areas outside her official responsibilities. Harry Dean Stanton had Brett follow Parker around and say “right” all the time (in the original screenplay he just backed Parker up at key moments, saying “yeah” in agreement). Ian Holm decided Ash would do every line and make every move like he was on a job interview. Skerritt was driving Ridley Scott nuts by talking so quietly, but then on screen in the rushes Scott saw that it was working and he was clearly in charge.

Yaphet Kotto walked through the sets and knew how he had to play Parker: “Parker was going to be bigger than life. I thought Parker had to be, because one look at Ridley’s sets–I said this character is going to get lost in this and so he’s got to be big. Bombastic and big.”

Ridley also ordered Kotto to ignore Sigourney Weaver as much as possible, make her feel the nervous, inexperienced outsider to the team, or needle her a little. He wouldn’t eat lunch with her, he’d take the makeup chair as far as her from possible. . . even though he liked her from when they first met and felt a little sorry for her as the newbie with a bunch of people who’d been in big roles for years.

Ridley Scott was a collaborator with his actors. He told them the goals of the scene and let the actors work out who would be standing nervously, who would be slumped with their feet up, stuff like that, then Ridley worked out the lighting. They altered their lines, added busyness with their hands. I think that’s the reason Yaphet Kotto is more Parker in everyone’s memory than his other roles, he had the room to make full use of his gifts.

19 Movies Presents: A Selection of Not Entirely Random 1950’s SF Movie Reviews

19 Movies Presents: A Selection of Not Entirely Random 1950’s SF Movie Reviews

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Enemy From Space/Quatermass 2 (Hammer Films, 1957)

We start with two high-quality Brit flicks, both early excursions into SF by Hammer, segue to two related films of somewhat more dubious quality, and finish with the Stinker of the Month. Be sure to read to the end for the details of the first ever 19 Movies Giveaway.

Enemy From Space/Quartermass 2 (1957: 9+)

The second in the Quatermass series (hence the alternative title), wherein Brian Dunlevy again grumps his way through the Quatermass role. This time around he takes on an alien hive-mind that’s hellbent on turning the world into a giant slime pit.

Not only is this an excellent early Hammer effort, it’s arguably the best ‘50’s British SF film and the best of the ‘50’s blob movies. This time the aliens want our planet, but first they have to un-Terraform it, and they’ve insidiously infiltrated British government and society to do so. Hammer aficionados will recognize a young Michael Ripper in a small role.

[Cast and Crew: Val Guest, director and screenplay co-writer, also directed Mister Drake’s Duck (1951), The Creeping Unknown/The Quatermass Xperiment (1955 UK), The Abominable Snowman (1955 UK). Themes: UK setting, village. Alien: first contact, invasion, hive mind, blob. Mind-control. Peasants toting guns. Rocket attack. Police. Radiation. Scientist, rocket. Secret lab. Wandering planet, asteroid.]

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Ellsworth’s Cinema of Swords: Daimajin Strikes Again!

Ellsworth’s Cinema of Swords: Daimajin Strikes Again!

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Daimajin (or Majin the Monster of Terror)

In the menagerie of Japanese postwar film studios, the Toho Company was the 900-pound King Kong, known best for its crime and samurai films, including those of director Akira Kurosawa. Toho hit the international big time in 1954 with Godzilla, King of the Monsters, which, though inspired by King Kong and The Beast from 20,000 Fathoms, really counts as the first of the kaiju, or Japanese-style giant monster movies. Toho followed up in 1956 with Godzilla Raids Again, and expanded the franchise late in that year with Rodan.

Over the next several years Toho doubled down on the monster bet, adding Mothra, King Kong himself, and Ghidorah, and by the early Sixties other Japanese studios started getting in on the act. This included Daiei Films with their kaiju Gamera, who “starred” in seven features from 1965 through 1971. We know Daiei primarily for the Zatoichi series, which capitalized on their skill at churning out fair-to-exceptional historical samurai adventures mainly for the Japanese market. With Gamera, Daiei had a series that sold internationally as well, and they had the idea of mashing up their two most popular genres, kaiju and chambara, into a single series. (They weren’t alone in this idea: see also Toei’s The Magic Serpent.)

Samurai vs. a giant monster! Thus was born the Daimajin trilogy, which we’re taking a look at this week.

Daimajin (or Majin the Monster of Terror)

Rating: ****
Origin: Japan, 1966
Director: Kimiyoshi Yasuda
Source: Mill Creek Blu-ray

By the mid-Sixties, the Daiei studio was having success in two genres, giant monster movies and samurai adventure films. Why not cross the streams?

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Ellsworth’s Cinema of Swords: Not-So-Wholesome Buccaneers

Ellsworth’s Cinema of Swords: Not-So-Wholesome Buccaneers

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Blackbeard the Pirate (1952)

The role of Long John Silver in Disney’s 1950 Treasure Island finally launched the talented English actor Robert Newton into international stardom. As Silver, Newton popularized the broad West-Country accent that’s become the default talk-like-a-pirate voice of buccaneering rogues ever since. (You can blame—or acclaim— Newton for the ubiquitous piratical “Ahr!”) But fame ruined the actor, enabling endless rounds of drink, gambling, and the kind of wild behavior that made him a role model for Oliver Reed and Keith Moon. And Newton was never able to escape the shadow of the one-legged pirate with the parrot on his shoulder—but typecast though he was, you can still see that he enjoyed the role even while repeating it. Newton died from alcohol-related heart failure in 1956, and his ashes were buried at sea in the English Channel off Cornwall: “Ahr-men.”

Blackbeard, the Pirate

Rating: **
Origin: USA, 1952
Director: Raoul Walsh
Source: Amazon streaming video

On November 22, 1718, Edward Teach, the notorious pirate known as Blackbeard, was killed on his ship the Adventure during a fierce boarding action led by Royal Navy Lieutenant Robert Maynard. By the time he was brought down, Blackbeard had been shot five times and suffered twenty wounds from edged weapons. For the most famous image depicting this event, look no further than the painting by Jean Leon Gerome Ferris on the cover of your editor’s Big Book of Swashbuckling Adventure anthology.

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Things Your Writing Teacher Never Told You: Columbia College Chicago Alumni Fantasy Writers Look at the Changing Role of Heroes in Terry Pratchett’s Troll Bridge Film

Things Your Writing Teacher Never Told You: Columbia College Chicago Alumni Fantasy Writers Look at the Changing Role of Heroes in Terry Pratchett’s Troll Bridge Film

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Troll Bridge, Snowgum Films (2019)

The air blew off the mountains, filling the air with fine ice crystals.

It was too cold to snow. In weather like this wolves came down into villages, trees in the heart of the forest exploded when they froze. In weather like this right-thinking people were indoors, in front of the fire, telling stories about heroes.

This is the epic, atmospheric opening to Sir Terry Pratchett’s marvelous short story, “Troll Bridge,” set in his Discworld series. 

As I write this, it is not too cold to snow, though it’s much too nasty to be outside. The wind is howling and the snow is blowing, and here in Chicago they’ve predicted we’ll get a foot of snow in 48 hours. Texas looks like the Midwest in winter, and there’s damned few snowplows in the Lonestar state. A whopping 80% of the US currently has snow on the ground. 

In past winters, I have seen coyotes slinking around the park a block from our condo building, and one glorious Yuletime night, I saw a 10 point buck, antlers coated in ice, standing in the middle of Michigan Ave, on the Magnificent Mile. It was an icy, wind-whipped night, the type where the snow turns everything it touches into a glowing icicle. Only the buck and I were foolish enough to be out that night. That was 30 years ago, and I remember it clearly to this day.

As the wind howls past my window tonight, it takes little imagination to think packs of wolves might be coming down from the wilds of Wisconsin to stalk through the streets of Chicago.

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Goth Chick News: Devolution Gets Picked Up by Legendary – Let’s Hope They Get It Right

Goth Chick News: Devolution Gets Picked Up by Legendary – Let’s Hope They Get It Right

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First, let me apologize for not telling you about this last summer. Max Brooks, son of Mel and writer of one of my favorite zombie tales ever, World War Z, dropped another excellent story last year, called Devolution: A Firsthand Account of the Rainier Sasquatch Massacre. I was certain I had written about it until I just went to look for the article and found I did not.

So, let’s start there.

I didn’t grab Devolution the moment it hit the shelves. Why? Because when I read “sasquatch massacre” I pondered the likelihood I could take this book seriously. I mean, come on. Big foot, in most of his iterations, cannot help but evoke images of bad reality TV, insurance commercials and debunked mythos. I wasn’t sure I could set these images aside and willingly go with Brooks into a tale where the words “sasquatch” and “massacre” were used in the same sentence while keeping a straight face.

Having met Brooks on a couple of occasions, I know how seriously he researches his subject matter. We discussed how much of what he describes in World War Z is based in actual science, and how many scientists and doctors he interviewed to get everything just right. So, I should have known better than to think he wouldn’t do exactly the same thing with his topic in Devolution.

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