You left your indelible mark per imposing designs, working for such respected realms as Purdue University; Carnegie Mellon; Pratt Institute; Phillips Electronics; Society of Illustrators; and Disney.
Most recognize your blazing touch in such spectacular movies as "Star Trek--The Motion Picture"; "Tron"; "Blade Runner"; "Blade Runner 2049"; "Aliens"; "Strange Days"; "2010: the Year We Make Contact"; "Solar Crisis"; "Short Circuit"; "Johnny Mnemonic"; "Timecop"; "Elysium"; "Mission: Impossible III"; and "Mission to Mars", as well as the anime adventures, "Turn a Gundam" and "Yamato 2520".
You opened our minds and inspired us to believe in the future. As such, there will only ever be one Syd Mead: an incomparable visionary for incomparable dreams.
I watched Netflix's second season of "Lost in Space". I liked this one better than the first, since most of the modernized justifications have been stripped or in the very least numbed. That doesn't make this incarnation a mirror image of the Irwin Allen/Ib Melchior concept, let alone the big-budget remake or the ill-fated pilot of some years back, but it does give the latest retelling a more focused ambiance.
I'm getting used to the current characterizations, in this regard. The cast includes Maxwell Jenkins as Will; Toby Stephens as John; Molly Parker as Maureen; Taylor Russell as Judy; Mina Sundwall as Penny; Ignacio Serriccio as Don West; and Parker Posey as "Dr. Smith", aka June Harris. (J.J. Fields abets the gang as A.I. expert, Dr. Ben Adler, and Ajay Friese plays Vijay Dhar, Penny's sort-of boyfriend.)
Speaking of A.I., the Robot (Brian Steele) is back, modified and for a time, lost in his own right for this season, though his presence is felt even during his absence, in line with the limited, screen-time Spock receives in "Star Trek III". Once the Robot reunites with the Robinsons, its friendship with Will builds, as does the youngster's semblance to the character's prior versions. In other words, Will is nowhere near as baby-ish in Season 2, and Smith's need to connect (or manipulate) their mechanical, third-wheel is an interesting twist on a contentious tradition.
Actually, I find Posey's Smith reminiscent of Jonathan Harris' during the original series' initial season and to a degree, in tune with Gary Oldman's in the '98 remake, and by the season's end, sporting a surprising, character flip. Posey is also easy on the eyes and brings a subtle, sexiness to the persona that I wouldn't have thought possible, but man, does it ever work! The pretty Posey often steals the scenery, and considering how good the rest of the cast has become, that says lots.
As with Netflix's first season, the "Lost in Space" sequel uses an ongoing, connecting narrative, as opposed to individual stories, but is distinguished by different modes and moods to break any monotony: the first part catering to a Jupiter 2-as-a-boat concept; then the Robot's rediscovery; followed by a return to the Resolute colonist craft, which is plagued by a weird, matter-eating substance and later an A.I. assault.
Though the Robinsons bicker, they're not as dysfunctional or adversarial as in the first season. That's a good sign and refreshing in light of the popular trend of pitting fictional, family members against one another. (It's bad enough such happens in real life.)
If this latest incarnation continues (and its cliffhanger does demand a return), I do believe the family bond will grow stronger, thus emulating the tight-knit allegiance fans have come to associate with this enduring, science-fiction clan.
The 1923, silent-film adaptation of Victor Hugo's "The Hunchback of Notre Dame", starring Lon Chaney Sr, was a tough act to follow, but RKO accepted the challenge and gave moviegoers a big-budget, sound remake of Quasimodo's powerful tale, released December 29, 1939.
Directed by William Dieterele, produced by Pandro S. Berman and adapted by Bruno Frank and Sonya Levien, the studio recruited Charles Laughton to portray the famed bellringer. He was teamed with Maureen O'Hara as the gorgeous Gypsy girl, Esmeralda; Sir Cedric Hardwicke as the hypocritical Frollo; Thomas Mitchell as the earthy Clopin; Edmond O'Brien as the poetic Pierre Gringorie; and Alan Marshal as the lustful Captain Phoebus: indeed, a phenomenal match of thespians and characters.
Laughton's look, rendered by make-up artist Perc Westmore, differed from Chaney's. Where the latter lifted his semblance straight from Hugo's novel, Westmore gave Quasimodo's deformities a cherubic quality, but they were no less wracked by woe: the sort of guise that would spark ridicule among the derisive and yet compassion among the warmhearted.
As with Chaney's performance, Laughton injected his with a seamless blend of kindness and anguish: a combination that excels whenever he interacts with O'Hara's gentle Esmeralda. Laughton's inquiry to a cathedral gargoyle of "Why was I not made of stone like thee?" ripples with emotion through his subtle but sorrowful delivery.
The movie also does an excellent job in displaying the hypocrisy and zeal among the "pious" and "downtrodden" of Medieval Paris. These examples not only show the highs and lows of the period, but also those of modern society, whether relegated to '39 or beyond.
Joseph H. August's atmospheric black-and-white photography and Alfred Newman's regal score make this adaptation all the more special, sealing its classic stature.
There's no debate that "The Hunchback of Notre Dame '39" stands as one of the greatest retellings of all time, maintaining its moody splendor eighty years after its release.
Revisit "Hunchback '39" today to recall what old-time, character-driven filmmaking is all about:
https://www.youtube.com/watch?v=QoHbHMhRXJA.
My close friend, Brett Turner forever hits the mark when it comes to ideal Christmas gifts. This year he gave me a swell set of horror-movie collages.
One is a framed, wood-canvas collectible, featuring Count Mora (not Drac!); the Frankenstein Monster; Regan MacNeil; Chucky; Annabelle; Jigsaw's Billy; the Poltergeist (remake) Clown; Leatherface; Hannibal Lecter; Michael Myers; Pinhead; Freddy Krueger; Jason Voorhees; a Predator; and Jack "Here's Johnny" Torrance.
I've no idea what company produced this brooding beauty (since I couldn't find any online images), but it's sure a standout, measuring an awesome 22" x 16". The arrangement of the cropped pics is perfectamundo: an eerie triumph on all creepy counts.
The second collage is a t-shirt companion piece to the Universal Monsters Rock Rebel pillow that Brett gave me last year. The shirt's featured lineup is strong: the Frankenstein Monster, the Bride, Drac, Kharis, the Wolfman, and the Gill-man From the Black Lagoon.
I can't wait till summer to sport it in public. As with the pillow, the team-up represents my Universal, classic-horror allegiance to a tee (pun intended).
Thank you, Brett for once more making me a merry, monsterized man.
Ho! Ho! Ho! Redbud Studio and Airship 27 Productions have released Ron Fortier's latest Mr. Jigsaw compilation: Mr. Jigsaw's Full Color Christmas Special!!!
The 56-page installment features four Fortier tales, including the mysterious "Miracle on Christmas Island". Each adventure hosts charming artwork by Gary Kato and vibrant coloring by Mort Todd, who also created the splashy cover.
Joining Jiggy is his pretty pal, Amy Boucher, along with the patriotic Liberty Belle and the one and only, Santa Claus, who spreads Christmas cheer in a nifty nod to Rod Serling's "Night of the Meek".
I got a huge, sentimental kick out of this thematic release and so will you. Mr. Jigsaw's Christmas Special is certain to bring year-round joy to anyone bighearted enough to experience it.
Purchase your copy at
https://www.amazon.com/dp/1946183725/ref=sr_1_8?keywords=Mr.+Jigsaw&qid=1576708069&s=books&sr=1-8&fbclid=IwAR20clzfLXkbPK0PVNX871tI2VdE07b2f_2kXYHVPNjlocZWBcACh0fuLo0.
As Dec '19 rolls toward an end, Captain Ron Fortier and Chief Engineer Rob Davis grant us another fanciful flight in a new Airship 27 Podcast.
This episode covers the latest volume of one of Airship 27's most popular series: "Sinbad: the New Voyages".
"Sinbad, Vol 6" includes a novella by Nancy Hansen and a short story by Greg Hatcher. For the record, Airship 27's Sinbad adventures are fashioned in the style of Ray Harryhausen and Charles Schneer's acclaimed trilogy and the volumes' content captures the movies' imaginative fun.
In addition to Sinbad, there's discussion on I.A. Watson's Robin Hood novel-anthology, with emphasis on the author's latest installment, "The Death of Robin Hood".
On the New Pulp group scene, our hosts give us the scoop on Yahoo's abrupt shutdown of Airship 27's discussion forum and the rise of their Facebook Pulp Factory page. (BTW: One needn't be an Airship 27 writer to join the latter; an expressed passion for pulp fiction is all that's required.)
As a special treat, Ron shares gracious words on the Captain Marvel/Black Adam, DC Icon Heroes set, which Donna and I gave him for Christmas. Ron even features the statues in the podcast, and man, do they ever look sharp. Thank you for the kind acknowledgement and keen view of the statues, Captain Ron.
Watch and listen at
https://www.youtube.com/watch?v=qGzGzRVgrRs&fbclid=IwAR0w_DANo-OSXozauIZ6ShZRVKrvu4RaOwg_MlrFTYuRK3n0QpRMw96nEF4.
