Jon Cleary once referred to this period in Alistair MacLean's writing career as when he was writing first draft movie scripts after having tried to turn himself into an alcoholic. This does feel like a novelisation of a film script - like Where Eagles Dare. It's in marked contrast to Guns of Navarone although it's a sequel - three surviving characters go on a mission to Yugoslavia, although the mission isn't as clear or ticking clock worthy... it's to draw Allied forces away from Italy.
There's less tension because we know Andreas, Mallory and Miller now, there's no way any could be bad like in Where Eagles Dare - Andreas' whole arc seems silly, leaving his new bride (they changed it from the book where he had no love interest), to go on this mission, and he's indestructible the whole time. Miller could be cut out of the whole book and Mallory is dull - there's an occasional reference to him being New Zealander but MacLean argues really he's Scottish.
The book would have been better off focusing on the support guys - Reynolds, Saunders and Groves - more because they are wild cards and they die at the end. The one moving bit is when Reynolds dies because we got to know him - we don't know anything about Groves or Saunders.
The villains are too obvious - German officer, burly Chetnik - the girl (Maria) underused. I like the blind brother who was an agent, it has good pace, and some twists and decent action. You can see it being an alright movie - the novel is better than the film but it's still not much of a novel.
Saturday, February 29, 2020
Friday, February 28, 2020
Book review - MacLean#18 - "Breakheart Pass" by Alistair MacLean
An unusual setting for a MacLean film - a Western on a train. I wonder if he wrote this after seeing/reading Murder on the Orient Express. It took me a while to get into this - all the characters blurred on a train, there was an old guy, another old guy, an outlaw, a sheriff, a girl (MacLean struggles to bring himself to have two girls). The action occasionally cuts away to other people meaning this feels like it was drafted originally as a screenplay or treatment.
I liked it once I knew what the mystery was - the outlaw is a detective, the dead person was his partner etc, the stakes are gold, the Indians. But it seems a bit too easy for his people. Early MacLeans the struggle is so hard - the elements are tough, it's brutal, they are constantly up against it. Here baddies are constantly getting the drop on heroes and then being rescued quickly by hidden guns/allies.
I did quite like the bantering relationship with hero had with the girl, Marcia. The fort and Indians are underused. It is decently paced and the setting is novel.
I liked it once I knew what the mystery was - the outlaw is a detective, the dead person was his partner etc, the stakes are gold, the Indians. But it seems a bit too easy for his people. Early MacLeans the struggle is so hard - the elements are tough, it's brutal, they are constantly up against it. Here baddies are constantly getting the drop on heroes and then being rescued quickly by hidden guns/allies.
I did quite like the bantering relationship with hero had with the girl, Marcia. The fort and Indians are underused. It is decently paced and the setting is novel.
Movie review - Godzilla#10 - "All Monsters Attack" (1969) **
There's nothing wrong with centering a Godzilla film around a little kid - and the actor who plays the kid is good. Some reliable tropes like bullies, and parents not being around, to make sympathy. I love the idea of the kid befriending Minilla.
But the film lost me when the kid dreamed of going to Monster island. It make the whole thing fake, there were no stakes. They throw in some robbers in the real world and I like how the experience of dreaming of the monsters encouraged the kid to take on the bullies, but mostly this was annoying.
But the film lost me when the kid dreamed of going to Monster island. It make the whole thing fake, there were no stakes. They throw in some robbers in the real world and I like how the experience of dreaming of the monsters encouraged the kid to take on the bullies, but mostly this was annoying.
Thursday, February 27, 2020
Movie review - Godzilla#9 - "Destroy All Monsters" (1968) **
A legendary Godzilla film because of the audacity of its central concept - 30 years in the future all the monsters are shoved on to one island. Monster Island! This is great - but it totally wastes that idea to focus on a story about aliens invading. They use the monsters sure but there's very little monster stuff. There's a lot of aliens and the standard large group of men and a smurfette girl and a hot alien chick. It has its moments but it's an opportunity missed.
Wednesday, February 26, 2020
Book review - "Life Isn't Everything: Mike Nichols, as Remembered by 150 of His Closest Friends" – by Ash Carter and Sam Kashner (2019)
Mike Nichols was one of the giants of late 20th century entertainment - he deserved a bio but this, while there's lots of good stuff about it, isn't it. I think so much of what Nichols did needs to be placed in context - which is kind of there but there's not enough.
Nichols was a refugee from Germany, dad was a doctor but died young, Mike had a skin condition that meant he lost all his hair. His rise was fairy rapid - at university he met Elaine May and discovered impro. He and May became stage stars, Broadway stars then he turned into a giant director of theatre and film.
There were dark periods - a difficult childhood, a lack of faith in his abilities as a film director in the 70s, an addiction to medication that contributed to depression and a mental breakdown - and less flattering aspects such as a lust for money and compulsive womanising. But the picture is overwhelmingly positive - intelligent, charming, a firm decision maker, a long legacy of great work.
The book is long, at times fascinating, at other times a slog. There's too many comments from actors, who tend to gush at the best of times - I mean, they're smart actors but still actors, we don't hear as much from say editors, DOPs or executives
There are big gaps on the personal front - his three kids barely get a look in, neither do his first three wives (outside of reference to his womanising), but we do get pages and pages on Diane Sawyer. There are pages on the influence of Nichols and May - I think like a lot of comedy you just had to be there - plus The Graduate, Annie, Spamalot - but notable gaps: nothing on Luv, Plaza Suite, Fools, The Apple Tree, Streamers, Comedians, Family and disappointingly little on films like Wolf, Regarding Henry, What Planet are you from?
At first I was understanding of these omissions but I gradually became annoyed especially as so many pages were devoted to other stuff.
Nichols was a refugee from Germany, dad was a doctor but died young, Mike had a skin condition that meant he lost all his hair. His rise was fairy rapid - at university he met Elaine May and discovered impro. He and May became stage stars, Broadway stars then he turned into a giant director of theatre and film.
There were dark periods - a difficult childhood, a lack of faith in his abilities as a film director in the 70s, an addiction to medication that contributed to depression and a mental breakdown - and less flattering aspects such as a lust for money and compulsive womanising. But the picture is overwhelmingly positive - intelligent, charming, a firm decision maker, a long legacy of great work.
The book is long, at times fascinating, at other times a slog. There's too many comments from actors, who tend to gush at the best of times - I mean, they're smart actors but still actors, we don't hear as much from say editors, DOPs or executives
There are big gaps on the personal front - his three kids barely get a look in, neither do his first three wives (outside of reference to his womanising), but we do get pages and pages on Diane Sawyer. There are pages on the influence of Nichols and May - I think like a lot of comedy you just had to be there - plus The Graduate, Annie, Spamalot - but notable gaps: nothing on Luv, Plaza Suite, Fools, The Apple Tree, Streamers, Comedians, Family and disappointingly little on films like Wolf, Regarding Henry, What Planet are you from?
At first I was understanding of these omissions but I gradually became annoyed especially as so many pages were devoted to other stuff.
Movie review - Jungle Jim#3 - "Mark of the Gorilla" (1950) **
Johnny Weismuller is a terrible actor in these films - lumbering, awkward, uneasy with dialogue. Was he drunk? Lazy? Did he not care?
Still he is Johnny Weismuller and brings his size, heft and legacy in this Tarzan esque tale. There's an expedition, a mystery, baddies.... who dress up as apes to commit crimes which is wonderful and goofy and stupid and makes this pretty fun to watch. Onslow Stevens gives the support cast some extra heft.
Still he is Johnny Weismuller and brings his size, heft and legacy in this Tarzan esque tale. There's an expedition, a mystery, baddies.... who dress up as apes to commit crimes which is wonderful and goofy and stupid and makes this pretty fun to watch. Onslow Stevens gives the support cast some extra heft.
Movie review - Godzilla#8 - "Son of Godzilla" (1967) ***1/2
Every Godzilla movie at this stage tried to add something new - a battle, aliens, a sea monster. This one adds a son, which is a cute idea. There's some funky music, a sexy island girl, an island setting, some bugs (I think), weather scientists, a special web, a killer spider, an American submarine, a weather device that unleashes snow.
But the best thing about it is Minilla, the little Godzilla. Yes it's a silly and over the top creature, looks like it was designed by a six year old as does Godzilla (this was pointed out by Justin Decloux, I think) but it has a great deal of personality. He adds to the excitement as he's little and often struggles in the battles - you know Godzilla is going to be okay but not the little one.
And the ending is genuinely moving - the human induced snow falling, the battle with the spider, Godzilla walking off, Minilla stumbling and crying out and Godzilla coming back to hug the little one as they freeze in hibernation. Sniff.
But the best thing about it is Minilla, the little Godzilla. Yes it's a silly and over the top creature, looks like it was designed by a six year old as does Godzilla (this was pointed out by Justin Decloux, I think) but it has a great deal of personality. He adds to the excitement as he's little and often struggles in the battles - you know Godzilla is going to be okay but not the little one.
And the ending is genuinely moving - the human induced snow falling, the battle with the spider, Godzilla walking off, Minilla stumbling and crying out and Godzilla coming back to hug the little one as they freeze in hibernation. Sniff.
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