THE GREATEST EPIC EVER: THE MAKING OF 1963's CLEOPATRA

On June 12, 2013, the epic classic film CLEOPATRA celebrated a grand 50^th anniversary. Because of this monumental landmark, 20^th Century Fox Home Entertainment released a special 50^th Anniversary Edition on a two- disc, 251 minute version onto blu- ray. Upon my personal purchase and recent viewing of the full- scale behemoth, it was revealed to me that there was far more to the tale than what had been captured onto film. Discovering this and enveloping myself with research, I felt compelled to write about the stories within the story that transpired regarding Elizabeth Taylor, Richard Burton and the dramatic behind- the- scenes production that made CLEOPATRA the talk of Hollywood in the early 1960’s. The story would wrap itself in its own Egyptian- like shroud of power, finances, poor decisions, lust and the near demise of the great powerhouse that is the 20^th Century Fox studios.

IN THE BEGINNING: THE CAST OF CHARACTERS THAT STARTED IT ALL

Timeline: the late 1950’s in Hollywood still presented itself as the dream factory that churned out cinematic gold for the audiences in the dark. An overall number of major film studios were still flourishing from the lucrative returns that their films were bringing back home, however, that wasn’t the case for one studio: 20^th Century Fox. Fox had been suffering from a string of costly productions and mediocre returns at the box office. This was bringing the studio’s finances down to an all- time low and made the top brass begin to question what or who was at fault for these appalling and fearful numbers. After the public availability of in- home entertainment, thanks to the introduction of the television set, America had become fixated with the little glowing box and soon became a major clinch in the lack of ticket sales at the box office, losing almost 40% of its previous patrons to TV. In the early years, film studios were actually in odds with television heads and were in constant bickering of dollars and bragging rights over the entertainment of the public. This form of action caused many film moguls to seriously consider their cinematic futures in deed.

Darryl F Zanuck

One such key player was co-founder and studio head of 20^th Century Fox, Darryl F Zanuck, who abruptly decided to step down from his position and leave Hollywood all together in 1956 to pursue a career in Europe as an independent film maker. This hasty decision left the board at Fox concerned for its future… Zanuck had a handsome resume of successful hits under his belt, so who could possibly fill such prestigious shoes?

Spyros Skouras

Enter Spyros Skouras, a Greek immigrant who had previously been largely successful in the exhibition side of films, quickly moved up the ranks and eventually took over as President of Fox. Although coming on board with no real previous film experience, his keen ability of presentation as well as his professional relationship with Zanuck was enough to secure his position right at the top. His first order of business: to ‘green light’ a series of low- cost films that would perform extraordinarily well at the box office and help recover previous financial losses for the company. A task considered easier said than done!

Walter Wanger

Fox Producer Walter Wanger, who had a modest track record of successful films, was looking to remake the story of Cleopatra. The concept had been done twice, once through Fox in the silent classic 1917 with Theda Bara and again in Cecil B DeMille’s 1937 version with Claudette Colbert. Skouras handed Wanger an existing 10 page copy of the 1917 script and instructed him to re-shoot the film as a B- picture to turn a nice profit. The script, however, had no dialog because of its silent origins and had to request a rewriting for a new audience. Wanger would take on the project personally with a new re-write and commence the search for the ideal Cleopatra immediately!

Joan Collins' screen test

One can only imagine the buzz that went through Hollywood as Fox auditioned for the role of the lifetime for any actress! Female lead roles then, as they are now, were scarce and brought out anyone who felt they could audition and take on the task. The studio originally went with its list of contracted actresses that included Sophia Loren, Gina Lollobrigida, Susan Hayward and Brigitte Bardot. Ideally,

Dorothy Dandridge

Dorothy Dandridge was aesthically the closest to the Queen of the Nile’s appearance due to her Nubian heritage, but Fox was looking for a star name for their production. A young Joan Collins even filmed several screen tests and eventually was cast as Cleopatra; however, she became unavailable after several production delays which inadvertently did not allow her to continue the shoot. Originally, Wagner considered Audrey Hepburn as a replacement; she was contracted with Paramount at the time, so he decided to pursue his original idea for the taking of the lead role by approaching a non- contracted actress instead: the person in question was Elizabeth Taylor.

Taylor signs CLEOPATRA contract

The year was 1959 and Taylor was wrapping up SUDDENLY, LAST SUMMER as her last contracted film with MGM. Wanger knew that she would be free to elect her next project without studio entanglements and offered her the role of a lifetime! Oddly enough, Taylor’s reaction was in the form of a laugh, believing that her portrayal of the Nile goddess was ludicrous. She, nonetheless, agreed to take the role… with an unheard of guaranteed salary of one million dollars! After signing the contract, Elizabeth Taylor became the very first actress to ever receive such an astronomical fee for a major motion picture. The studios had, as they would soon discover, signed on for more than they paid for with the likes of Ms. Taylor. Stipulations in the contract stated that a $50,000 a week amount would be paid if the production would go past the agreed 16 weeks as well as a 10% return of the box office’s grosses. Details of production and returns will be discussed in the latter part of the article, but Taylor’s final financial draw would tally up to the sum of $7 million dollars. This would configure to approximately $51 million by today’s standards. 

Peter Finch as Caesar

Aside from finally getting the studio to agree to the first- ever one million dollar salary, Taylor would begin requesting script changes as well. Skouras and Wanger, however, had bigger fish to fry… and fast. Skouras was quickly realizing that the original concept of a modest $2 million production was not going to happen. The budget had now ballooned into a hefty $5 million. Now that their actress of choice had been secured, the search for casting Caesar and Antony would become the new line of business. Marlon Brando was considered for the role of Antony, but had been obligated to film MUTANY ON THE BOUNTY. Actors Peter Finch and Peter O’Toole were also considered for the role.

Stephen Boyd as Antony

Stephen Boyd, who was best known as Messala in the film BEN- HUR, was ultimately casted as Mark Antony. For the part of Julius Caesar, Skouras wanted Cary Grant… Taylor wanted Rex Harrison and the studio settled for Peter Finch instead, who had auditioned for Antony in the first place. As casting had commenced, so had the actual production of the film began as well. Art Directors, Costume designers and Set coordinators were already busy at work on the chosen location of the infamous Pinewood Studios in London.  The largest of its kind in England, the studios would later be known as the 007 set for mostly every James Bond film made as well as director George Lucas’ use for his original STAR WARS trilogy. Next on the list would be the daunting task of selecting the appropriate Director for this high- profiled and costly production.

Director Rouben Mamoulian

Producer Walter Wanger’s original choice for director was none other than Alfred Hitchcock. Although an accomplished and respected director, the selection did appear odd and evidently was passed by “Hitch” to pursue his next project instead, THE BIRDS. It was Skouras and fellow Fox studio head Buddy Adler who secured Rouben Mamoulian as their choice.  Mamoulian had an impressive directorial resume with films like DR. JEKYLL AND MR. HYDE (1931), Tyrone Powers’ THE MARK OF ZORRO (1940) and BLOOD AND SAND (1941). Although extensive, Mamoulian wasn’t necessarily brought in for his skills, since his track record only reflected modest films. No, the primary decision was based on his ability to work well with temperamental actresses and extract their best performances without rants and conflicts. Word had spread that Taylor had become such an actress and needed the strong hand of authority to direct and keep the budget in its rightful place. Another factor that Fox had to consider upon contract agreements was the harsh realizations that Taylor had a history of medical conditions. These issues had gotten to a point in her life that they were infamous for affecting previous productions in creating delays.

LIGHTS… CAMERA… DRAMA?

Art Director John DeCuir

Time marched onto the summer of 1960 and general photography was about to commence in London. A cast had been assembled along with a massive set construction project spearheaded by art director John DeCuir, who had won an Academy Award for his work on THE KING AND I (1956). One of the largest and impressive set pieces built was the ancient Egyptian port of Alexandria.

The final set included four 52- foot- high statues which covered 20 acres with a staggering cost of over $600 thousand. The project not only requested the use of every carpenter, painter and builder available… it also put a huge dent in supply and building products throughout the entire country.

Visible tracheotomy scar

It would seem as if things were looking to move forward in a steady pace, until Taylor’s lingering illness would worsen due to the damp weather conditions of London. Her health finally escalated to a case of double pneumonia and, on March 4^th 1961, led into slipping into a life- threatening coma. Doctors had to work swiftly and performed an emergency tracheotomy to keep her breathing. The visible scar from the incision at the base of her throat is visible throughout the finished film. Taylor was rushed back to the United States for immediate rest and recuperation; this period spanned the length of six months in which production was also shut down until photography could commence again. During the time, rumors had already flown across the pond that Elizabeth Taylor was dead! Those were exactly the stories the press needed to run with before even gathering factual information. The execs at Fox were probably more panicked than mournful with their financial investment being pronounced dead. Upon Taylor’s recovery, she happen to read her own obituaries and jokingly said, “they were the best reviews I’d ever gotten.”

Fox took careful assessment of its costly production with many changes occurring during Taylor’s hiatus. For one, director Rouben Mamoulian eventually resigned after his committed two years to the project, leaving Fox with a production that already ran up to $7 million. At the end of it all, Mamoulian’s direction presented Fox with only 10 minutes of usable footage. Taylor suggested her SUDDENLY, LAST SUMMER director to take the helm.

Directing Taylor (l) Joseph Mankiewicz (r)

Enter Joseph Mankiewicz. His flair for presenting classic historical epics was present in 1953’s JULIUS CAESAR and it was then decided that he would be hired on to direct CLEOPATRA. Upon his arrival, Mankiewicz read the Mamoulian script and felt it lacked of excitement and drama. Chewing off more than he bargained for, over- night re-writes of the script were occurring immediately. As for the rest of the cast, both Finch and Boyd also dropped out of the film due to prior commitments and extensive waiting periods for Taylor’s recuperation. Upon extensive meetings with Fox execs, producers and a suggestion or two from Ms. Taylor herself, the role of Julius Caesar would ultimately befall actor Rex Harrison.

Burton (l) and Harrison (r)

Harrison had primary been known, at the time, for his theatre work and was suggested to play Caesar by Taylor herself. The next major casting decision fell upon who would play Mark Antony. A choice made that had been originally rejected by Taylor herself, would be one that would linger into her personal and professional career and help cause one of the biggest scandals in Hollywood history. Enter Richard Burton. The final casting was still considered incomplete and the Fox board was now squeezing Skouras for a release date. Knowing that the previous production had been scrapped with no useable footage, the showman that was Skouras, promised that CLEOPATRA would be the greatest epic ever filmed. The execs bought it and re-shooting was ready to proceed… yet again.

PRODUCTION NIGHTMARES

The Alexandria set as it appeared at Pinewood Studios

One of the main reasons that none of the previous footage could be used was due to the gloomy, cloudy and misty conditions of jolly ol’ England that were captured on film. Most outdoor shots showed unavoidably murky backgrounds… hardly the backdrop required to recreate the desert landscape of Alexandria. In 21^st century sense of filmmaking, a director can now merely request that a large portion of an exotic or expensive set be designed by way of a computer. This was obviously not the case in 1960. So, poor weather and the consideration of Elizabeth Taylor’s health, forced the production to move to the warmer climate of Italy. Fox was also hoping to cut production costs with the Italian six- day work week as well.

Art director John DeCuir had to tear- down the costly and labor- intensive sets build at the Pinewood Studios before leaving London. The most disappointing outcome was that not one frame of production film was kept in the final cut. No, DeCuir would have to rebuild the entire and extensive sets again in Italy. Mankiewicz dubbed DeCuir “the city planner” with the second building of the Roman Forum, which was said to have had been three times larger than the real one. The original ruins lay but only a few miles away from the set. As were the results during the London production, Italy also quickly exhausted its building materials and laborers… so much so that both were requested by nearby countries to help complete construction.

Cleopatra arrival into Rome

As production moved on, one of the most elaborate and breathtaking sequences was the arrival of Cleopatra to Rome for the first time. The scene required a cavalcade of charioteers, archers, dancers, jugglers, elephants and various other entertaining sights that would precede Cleopatra returning to Caesar, having borne his son in Egypt, by riding through the Roman Arch of Titus. Art director DeCuir was told to spare no expense in recreating the grand entrance. Cleopatra and son would ride in atop a Sphinx, pulled by hundreds of Nubian slaves. The Sphinx was to have had the appearance of black marble, so it was constructed out of fiberglass and plaster and was attached to a wood and steel frame and measured 35 feet tall and 70 feet long. During the actual filming, nearly 6,000 extras were hired to cheer Cleopatra’s arrival… when cameras rolled, however, the exuberant crowd instead cheered, “Liz! Liz! Liz!”

The full- sized barge

Just as elaborate and expensive as was the arrival into Rome, another costly piece would be the construction of Cleopatra’s barge upon its arrival at Tarsus. The massive sailing vessel was built to actual size with a price tag of $277 thousand. At the end, an estimated 79 sets were constructed.

Cleopatra's "gold" costume

Sets were not the only expensive items necessary in the story telling. Costumes took an extensive bite out of the budget as well. The Costume Designing team of Irene Sharaff, Vittorio Nino Novarse and Rene created over 20,000 different costumes for the actors and extras. The armies of extras required 8,000 pairs of shoes. And then, there was Elizabeth Taylor who would have a staggering 65 costume changes, including a dress made of 24-carat gold cloth. Her wardrobe tallied up to $194,800 in costs.

The iconic Cleopatra image would create a huge impact of fashion and make-up trends of the early 1960’s. A 1962 Revlon commercial featured the Cleopatra look by introducing the “Sphinx Eyes” appearance. Other items like snake rings and arm cuffs and long maxi dresses would also be part of all the rage.

Although the production side was extensive, massive and expensive… we still haven’t touched on the real drama that could have single- handedly sunk the entire production. For now the introduction of Elizabeth Taylor and Richard Burton will be made and the real drama of this turbulent saga could begin!

THE STORY THAT WAS TAYLOR AND BURTON

In the summer of 1961, after production had moved to the warmer climates of Italy, Taylor had now returned to the set after her six- month medical absence. The time would come for Taylor to work opposite the newly hired actor who was replacing Stephen Boyd’s Mark Antony, that actor was Richard Burton.

Burton’s career, at the time, was primarily that of the stage. He had just won a Tony as King Arthur in CAMELOT. Fox actually bought out his contract in New York and contracted him with a salary of $300 thousand. This would be an ideal opportunity for Burton, being that this was the biggest film he had ever done and the chance to film on location in Rome. Despite being married for 12 years, he had a reputation of romancing his leading ladies. Burton didn’t care much for Taylor’s reputation and had shared his feelings about her well before he even stepped foot on the set. Taylor didn’t know much about him, other than his womanizing behavior and kept to her guard since she had just recently married singer Eddie Fisher… a scandal all its own since he had been married to actress Debbie Reynolds when they were dating. Burton also carried the reputation of drinking.  The latter was discovered quickly as Burton arrived to work the day before filming was to begin: drunk. Hardly able to stand as he staggered around aimlessly, it was Taylor who took him and offered him coffee and a place to pull himself together. The first impression was hardly impressive, but her image of him prior to his arrival was that of arrogance and a bloated ego. Taylor soon found out for herself that he was quite charming. The first day of filming was now here and both actors took the scene. The results were ‘electrifying’, as told by on- lookers and crew. The chemistry was definitely present and both actors began living the roles of helpless lovers.

It was only a matter of weeks when the media ran with the rumored stories reporting everything from public affection, photographing the couple on private yacht excursions and anything else they could run with. As the relationship intensified, the affair became the kind of fodder that appeared everywhere from mainstream magazines to prime- time TV comedy sketches. The type of controversy created in its time was probably considered far worse than anything we might see or hear in present day. For one, actors and studios alike paid big money to publicists and photographers to help create a certain look and likable personality for the fans to relate to. The reputation of such “stars” were the fuelling basis to every fan base… they could make or break you. Taylor’s reputation was severely on the line when she was considered a ‘home wrecker’ in the marriage of Eddie Fisher and Debbie Reynolds, both considered major stars in their own rights. Her coma and near- death experience actually gained the fans’ sympathies and her dignity was restored. Reports of the affair affected Taylor on a personal level. She was actually denounced by the Vatican and on the floor of the United States congress, accused of just not being irresponsible, but immoral as well.

It seem as if the board and executives at Fox were deeply concerned that the Taylor- Burton rumors would destroy the heavily- invested project. The money would be lost with nothing to show for it. The Fox PR department thought very differently, however. The most heated topic could actually be used to draw attention to the film and make people come out to see what was translating onto the screen. The end of production and the release of the film would be the final proof as to whether or not the investment was worth it.

POST- PRODUCTION AND RELEASE

When the film finally wrapped, Fox had ended up spending over $30 million (the amount translates to approximately $300 million by today’s costs) and 96 hours’ worth of film shot spanning 400 days. Because of the extensive amount of film, director Joseph Mankiewicz considered two separate films in regards to the two acts: CAESAR AND CLEOPATRA and ANTONY AND CLEOPATRA. The studios quickly realized that they wouldn’t be able to capitalize on the hot publicity and that paying audiences would not be interested in the first film and would be left clawing to see the drama between Taylor and Burton, which wouldn’t be seen until the release of the second chapter. Fox asked Mankiewicz to condense both proposed films into one giant epic.

The first cut of CLEOPATRA was submitted at a running time of six hours long. After much editing, the film finally made its premiere. Opening in New York on June 11, 1963, the cut had slimmed down to 4 hours and 3 minutes, requiring 49 pages of reshoots to make sense of the cut. A week later, it was reduced to 3 hours and 42 minutes. The 50^th Anniversary blu- ray release clocks in at 4 hours and 11 minutes.

The critics’ were discouraging, but Fox’s PR team came through by peeking the general audiences’ interests. The film grossed over $26 million, making it one of the highest grossing films of 1963. Despite the numbers, it still wasn’t enough to recoup the money invested by Fox. Producer Walter Wanger blamed the executive board and the lack of a completed script and poor production planning for its failure. The film had reportedly finally broke even in 1973 to which Fox “closed the books” to keep any and all profits a secret thereafter.

Elizabeth Taylor and Richard Burton married on March 14, 1964 and would work together on 11 more films including WHO’S AFRAID OF VIRGINIA WOOLF? For which Taylor would win her second Academy Award. The love- hate relationship caused a divorce in 1974, only for the couple to remarry again in 1975 and redivorce in 1976. It was reported that their interchanges lasted until Burton’s death in 1984.

CLEOPATRA was recognized on Academy Award night in 1964. The film won in the categories of Best Cinematography, Best Costume Design, Best Visual Effects as well as Best Art Direction. Ten people, seven Art Directors and 3 Set Decorators, were awarded the Best Art Direction award. It remains the largest number of people sharing a single award in an annual category. The other nominations were: Best Picture, Best Actor (Rex Harrison), Best Editing, Best Score and Best Sound.

FINAL THOUGHTS

JER standing in front of Darryl Zanuck's house in Palm Springs

Considered a huge gamble, did CLEOPATRA live up to the expectations of those involved? Was it truly the Greatest Epic Of All Time? I guess it really does boil down to the individual who watches this film. Some can appreciate the complexity and the detail in the production as well as appreciate and admire both direction and acting. While there are those who will feel the film is lengthy, even bloated, a large spectacle of nothing with lots of money blown on a thin storyline and drawn out to incoherent viewing. Still, it must be scrutinized and looked upon with a certain kind of openness to really get the full feel of the project. I close this up with a final quote from director Joseph Mankiewicz as he referred CLEOPATRA as “the toughest three pictures I ever made.”

What are your thoughts, readers? A spectacular epic or a spectacular flop? Share your thoughts on the epic films of today and yesterday for viewing and share your feelings right here! All comments will be replied to. I thank you for visiting and I do hope you will join me next month as I post a new topic entry on Thursday August 28^th, 2014.

MEETING DAVID NAUGHTON & THE CREATION OF A FILM SERIES FOR DUMMIES!

GREETINGS and welcome to a brand- new entry from JER’S POINT!!! It has been far too long…many things have come and gone since my last entry in 2013. Personal, professional and other hurdles have really tested just how well these legs can jump over. Well, I can report that all is good and my writing cap is back in place with a new year of topics and subjects to discuss.

So, the question lies…what exactly have you been doing with yourself? My response would reflect the immortal words of Don Adams’ Maxwell Smart in saying… would you believe hosting a film series and schmoosing with actor David Naughton?... I hope I have your attention because this blog entry is dedicated to the interesting, first- hand accounts that occurred between the months of July- September of 2013 in the preparation of an actual theatrical film series and involving David Naughton on a fundraiser quest with me.

the outer theater building

Living in a quasi-small town near the now famous Coachella, CA area (known for its annual music festival with the same name) has its advantages… you can, if you really want, have the opportunity to have your voice heard. Sometimes all it takes is getting the conversation started and hoping that someone will listen and help get things going for you. Through a six- degree- of connection, I began talking to the General Manager of a converted theater just a few blocks away from where I live. The more recent events occurring at the newly refurbished theater consisted of live theatrical shows or plays. The theater is made up of three ‘houses’, if you would. One restored house is dedicated to the live shows, another is under construction for cabaret and live music performances…and the final is a newly restored, to its original theatrical house, complete with stadium seating, surround sound and a movie screen. After about a year of conversations and phone calls, it looked like the deal to begin the planned project was ready to move ahead.

The ‘deal’ in question is to propose a film series, to be presented at the theater and have the films chosen by me, along with having the evenings’ presentations hosted by yours truly! Before the series could come into place, experimentations and quick planning had to come into immediate action. The first major hurdle: What format would the films be presented in?



the inner theater itself

The removal of the age- old 35mm projector was the first step, since one couldn’t really rely on the current state of classic 35mm film prints. It was time to step into the 21^st century and install a combined and tested blu- ray player and 5k projector… hours of tweaking both picture and sound was necessary to get the best presentation for a paying audience. Other hurdles came and went… advertising, rental agreements, keeping the audio/ video guy happy, financing and donation handling… but the most difficult task laid ahead… how does one begin the selection process for a film series and which films to choose? The daunting task began after an agreement of a consecutive twelve week run beginning in July and ending in September to play one film per week every Saturday night. Twelve weeks? No problem…now, to choose only twelve films to play! Oye!!!

I would imagine that, if you have elected to read JER’S POINT (and thank you so much for electing to do so…) that you, the reader, is either a fan of film or find film interesting to some sort of degree. Fine… with that level of interest and knowledge…imagine, if you would, that you were allowed twelve weeks to show twelve films of your choice. Only twelve… no double features, no all- day series runs… nothing more than one feature.. one day per week. The task may sound easy to some, but a wide range of optional emotions carry over and personal feelings had to be put aside, yet considered in selecting the chosen dozen!

"Mother, we didn't make the cut!"

My personal feelings did stand up to the forefront! There were films that I selfishly wanted to place on my roster because, well, damn it… I like them! PSYCHO, STAR WARS, TAXI DRIVER, THE GREAT RACE, RAIDERS OF THE LOST ARK and even my all- time favorite THE TEN COMMANDMENTS had to fall off my list. There were options to consider… could I meet my personal interests and the public's likes at the crossroads and appease all along the way?

Have you ever just sat and made out a list of your top favorite films? Just for fun? My good friend and former COUNTERPOINT critic Johnny Chazz and I used to sit and draw up such lists for fun. What began as a list to help pass the time with would metamorphically grow into a list of the “top 100 films” by our own accord! Now, take that list…observe and dissect each and every title…why did it end up on your list and where did it fall in rank between 1 through 100? Now, break your list down to only twelve and live with your decision with no regrets! Yeah, that’s kinda how it went!

NO MORE!!!

The series, from the beginning, was structured to represent who I am as a film fan and that it would be summed up in one word: eclectic. So, I wanted the series to reflect that right from the very beginning...to be able to see the entire series and see that variety was available to anyone who would want to plan on what film(s) to see throughout its run. The choices were going to be diverse and not something to be expected, yet familiar at the same time. I didn’t want to show films that have been exhausted on late night network or pay cable channels… I mean, do we have to show PITCH PERFECT and HARRY POTTER for yet a 25^th time within a 30 day month period? I wanted to focus my selection of films that a younger generation never got to experience in theaters. This generation feels it is perfectly fine to watch a full length theatrical film on their I-phone. Their I-phone? Are we serious here? This type of entertainment viewing is acceptable? My answer is a definitive NO and that would be the basic foundation for my reasons to create this series. Let’s begin building and weighing out the options. Let’s start at the beginning… the first film had to have some recognition, something that would bring attention to the entire series… be the loudest bang of the series to kick things off on the right foot.

A true lover of film recognizes certain qualities that may not transcend to the average viewer. Ever since I can remember, the presentation was crucial to the performance, based on the scope and ‘event’ of the film in my eyes. For example, several films garnered a special day trip to the Chinese Theater in Hollywood, CA to view such films like THE LIVING DAYLIGHTS, GREYSTOKE: THE LEGEND OF TARZAN, THE COLOR PURPLE and THE GODFATHER III… just to name a few.

No way to watch films!

I couldn’t even start to think about seeing films like AVATAR, STAR WARS, SUPERMAN, ALIENS or BEN- HUR on an I- phone or tablet or even a laptop, especially if it were for the first time. Even the biggest HD TV couldn’t duplicate the experience of a theater. You need the aroma of popcorn in the lobby, the selecting and positioning of a stadium or theater seat, the sensation that comes over one as the lights dim and the buzz of the audience is heard as the screen lights up with the images that will entertain its audience. As aforementioned, the choices of what films should make a return to the silver screen is crucial and many factors had to be taken into consideration.

A major factor to consider begins with the selection. Would a particular film appeal to a mass group of viewers over another film?  Which films would bring people out of their prospective homes to come down to a theater and pay admission to see a film they can rent on Netflix and enjoy within the comforts of their own personal environment? What genes would have more appeal than others?

I began with the idea of trying to appease to everyone’s pallet, thus the eclectic concept. Both genre and decade of the film’s release were equally important in my decision making. I could easily lean on pure 1980’s films with its large catalog of films to choose from, but I wanted to reach every demographic as best as possible. Here’s how the final twelve came down.

Oddly enough, THE ROCKY HORROR PICTURE SHOW doesn’t get half the respect it should receive within the Palm Springs, CA neck of the woods as one would think it would. We don’t have the midnight theater circuit in my area and I don’t believe too many ‘locals’ have had the chance to see it in an actual theater but maybe more on a home theater version. I wanted to make ROCKY HORROR the film that would kick off the series with an ‘audience participation’ invite to the presentation as well. Come dressed up; bring the props, the rice, the water pistols and your “Time Warp!” On top of the freedom of participation within the theater, I decided I would show the U.K. version of the film. As opposed to the standard American version that has been shown in theaters since that fateful day back in the year 1975, the European version contains the omitted song “Super Heroes” that appears at the near end of the film. No need to try to convince me, the film is now on my final list… one down and eleven more to go.

I won’t bore you with the detailed rundown of each and every film, but using the blu- ray format allowed me to offer alternative versions of films that weren’t shown in theaters. For example, the Academy Award winning AMADEUS alternative version allowed me to screen the Special Edition Director’s Cut that included 20 minutes of new scenes incorporated into the cut. I was able to do the same thing with yet another Academy Award winner, GLADIATOR. These extended versions were never shown in theaters and it was an honor and a special treat to see sights and sounds inhibit the theater in a grandiose way… for the first time. This is especially appealing to fans that knew the theatrical version but weren’t aware or knew of the alternative extended options. Two more to add to the list.

THE ROCKY HORROR PICTURE SHOW, The Director’s Cut of both AMADEUS and GLADIATOR have already made the cut. So, now to fill the gaps with a nice bridge built over covering various genres and decades. I wanted to add an intriguing foreign film into my series. I live in a predominately Hispanic valley, so I thought a nice film in Spanish would do well. After much deliberation and a touch of my own personal feelings made me move the contemporary classic PAN’S LABYRINTH to slide into a slot on my list. The Benicio Del Toro film was internationally recognized and well received by both audiences and critics, it appeals to both the foreign- language film fan and covers dramatic and horror/ sci- fi/ fantasy genres that would surely appeal to a larger audience at the same token.

Family films are a great staple to bring everyone out without isolating anyone within the household. So many to choose from… such classic films like MARY POPPINS, BUGSY MALONE and BACK TO THE FUTURE were all considered at one time or another. No, I needed a film that pulled from my mid- teenage years: The 80’s! Again, so many to choose from E.T.: THE EXTRA- TERRESTRAL to THE SANDLOT could be opted as a possible quintessential representation of 80’s family fun… but there was a movie that just spelled out ‘fun’ for anyone who has seen it. Imagination, adventure and a bunch of misguided tikes can only equal out to the 1985 classic hit, THE GOONIES! Think of how glorious the scope, the art direction and the mayhem of this film would look on the big screen…moreover, a whole generation of young fans who would finally get to see this gem on the big screen! Done!

Classics, classics, classics! Who doesn’t like a great classic from the past? This generation may not generally appreciate a black and white film, but there is definitely an audience ready to enjoy an excellent blast from the past in the b/w sense or a fantastic throwback piece! How far back, in terms of decades, should one go? Should I select a great 1950’s film shot in Technicolor and shown in Vista- Vision like OKLAHOMA! or Hitchcock’s VERTIGO? Oddly enough, I have always found it amusing that some film studios (or directors) would decide to use a black and white format to make their films after the use of vibrant colors were made available and enjoyed by audiences. The 50’s truly peaked in the presentation of color motion pictures, yet almost a decade later, would still stray from the format with such early 1960’s films like PSYCHO (1960) and The Beatles’ A HARD DAYS NIGHT (1964). The format may have served many purposes, but 1962’s TO KILL A MOCKINGBIRD’s harsh and intense storyline proved to use the rigid black and white format as a possible metaphor in its story of segregation (whites against blacks) as well and draw major focus to a time forgotten and giving it a classic (maybe historic) visual appearance. To this day, Harper Lee’s novel is read and discussed in schools across the country. It still proves to be an important and educational tool about the society we live in, taking account of our shameful past and recognizing that it still exists in today’s 21^st century. My choice to elect TO KILL A MOCKINGBIRD is simple: it’s a damn good movie and it’s a damn important good movie!

One good classic film deserves another! I wanted to go deeper into the history of films and possibly choose a silent film. I knew I was stepping out of my comfort zone, since I had personally seen only a handful of soundless films and considered myself to be a novice on the subject. One film that had caught my eye and the attention of film fans from around the world was the film and history of Fritz Lang’s 1927 METROPOLIS. The German classic began unfolding itself in director Fritz Lang’s head after a trip to New York to promote an earlier film he had made in October 1924. While arriving to the Harbor by boat, Lang was stunned with the beauty of the larger than life skyscrapers that had created the man-made skyline before him. Never had he seen such metallic towers rise from the grounds and create a backdrop like he had seen. He became obsessed with the scene and immediately saw a future inhabitance filled with towering buildings and the minuscule of man below it, like army ants running to its mound. Production began in 1925, compiled by a cast of virtual unknowns and following a relentless schedule that went nonstop until its wrap- up one full year later on October 1926. Premiering at a staggering running time of 154 minutes, Having been filmed entirely in Fritz’ homeland of Germany, the film was funded and owned by the German production company of Universum Film AG or UFA. The studio thought the length and storyline was far too exhausting for the average patron and decided to edit a much shorter (and incoherent) version of the film for further distribution purposes, including the highly anticipated release in America. The film had been pared down to the approved 115 minutes.

Throughout the years, many have tried to piece the film together to its original Lang version, with the unfortunate destruction of negatives and original copies, it became impossible… it came close, but not fully completed. On July 2008, a damaged, but original negative version of the film, rose from Buenos Aries, Argentina when a copy of the original cut had been sent for distribution purposes in Argentina and subsequently landed in the hands of a private collector.  The print was acquired, digitally copied and restored to its new 148 minute version… the most complete edition available since its original Berlin release on January 10, 1927. This particular edition was released by Kino International as a special edition on both DVD and Blu- Ray formats as: THE COMPLETE “METROPOLIS”. This was the edition I would show on the big screen in my film festival. This version had not been viewed by the general public and I felt a personal obligation to make it available to the film lovers who would come.

Although ROCKY HORROR is clearly defined as a ‘cult’ film, it is also categorized as a musical as well. There are two genres being covered, but that doesn’t mean that the lover of one would love the other. There might be people who like peanut butter and chocolate but won’t eat a Reese’s peanut butter cup! So, I needed to separate the peanut butter from the chocolate and enjoy both as they stand alone!

Let’s start with the cult film that doesn’t have to be a musical. There is a wide range of various interpretations to what defines a cult film. This genre is not black and white…(although there are some cult films that are black and white, but I’m trying to be humorous now!). REPO MAN, THE LOST BOYS, PLAN 9 FROM OUTER SPACE, SUPERFLY, ERASERHEAD and BLOODY MAMA are all examples of films that have been labeled as “cult” films. Some are dramas, actions, horror films, b- movies and other types that differ from the other but all slip nicely under the “cult” umbrella. One of my greatest memories of a definitive cult film occurred at the age of 13 when I snuck a copy of this film, on VHS, to a friend’s house for both of us to see for the first time… the film was A CLOCKWORK ORANGE and I wasn’t the same ever since! Call it what you want and turn it around and dissect it into fours, CLOCKWORK is all the trappings of a traditional cult film. It’s ‘ultra- violent’, sex- filled, rude and perverse. In other words: perfect! The combination of the classic soundtrack that includes the works of Beethoven and Strauss, along with the rich colors and cinematography that the film presents itself with makes this a great film to visually be stimulated with by watching it on the silver screen again.

 

Now, the musical. THE SOUND OF MUSIC, THE KING AND I, SOUTH PACIFIC…even PHANTOM OF THE PARADISE or JESUS CHRIST SUPERSTAR… any and all are worthy options and all appeared on my list at one point or another. I wanted to be somewhat contemporary, yet classic. My choice needed music but not put an audience to sleep. A film that is recognizable but maybe not seen or heard of as often as it should… be stimulating in both the visuals as well as by its musical soundtrack. A personal favorite of mine that would make the cut is THE WHO’S: TOMMY. A rock opera is perfect, there is no spoken dialog and filled with music from the opening scene right down to the end credits. An assortment of recognizable actors and musicians including Tina Turner, Eric Clapton, Ann Margaret, Jack Nicholson, Elton John and Roger Daltrey would play a huge part in my selection just for name recognition. Director Ken Russell definitely created a world around Pete Townsend’s music and lyrics and they are images that are inerasable once they are experienced. The scenes are burned into the back of your brain and your ears ring through the power of the music and the performances of the musicians and singers. TOMMY is clearly a movie that needs to unveil in the darkness of a theater and be seen and heard!

Now, I completely understand that TOMMY or THE ROCKY HORROR PICTURE show isn’t everyone’s cup of tea… they are of the acquired taste, putting it mildly! Now, as the Project Director, my initial rule was to try to please an eclectic audience, giving them a large buffet to which they opt whatever their palate requests. I grew up watching a lot of musicals on television and I know that those experiences heavily influenced two choices thus far. However, aside from THE GOONIES, I have inadvertently ignored the ‘family’ film to which mom, dad, brother and sister can come together as a unit and enjoy a film together. Another musical? Hell, why not? We just don’t see musical films in theaters like we used to. But you know what sounds even better than that? How about a ‘sing- along’? Oh man, I might be really pushing the envelope here but I saw how popular THE SOUND OF MUSIC sing- alongs are when they play at the Hollywood Bowl. The Hollywood Bowl, for crying out loud! This is where The Beatles and The Doors played! The frigging sing- alongs actually sell out! I didn’t want to infringe on the Bowl’s good thing so I had to devise my own alluring music- filled treat. Before I could go further with a possible selection, I had to research which musicals had sing- along editions available with lyrics that would appear on the screen for the novice as much as for the viewer who had sung along on its umpteenth time. MARY POPPINS came pretty close a number of times…very close. I had to think… would MARY POPPINS be a little too sweet? Now, once I discovered that this particular film I chose had a sing- along edition available, it just had to be my obvious choice. There are certain films that just become an overnight classic, no matter how you slice it. Let’s look at the ingredients involved: a soundtrack that has sold over 40 million copies, starred two of the hottest young talents of its decade, received a family- friendly PG rating and it’s all summed up with one single word… GREASE, is the word! Who wouldn’t want to sing along to the theme song performed by Frankie Valli? Ladies, you would be teary- eyed over a rendition of “Hopelessly Devoted To You’… guys, you’d love “Greased Lightin’” (c’mon, you know you would!) and many other great sign- along gems! Plus, you have an audience of familiar ‘greasers’ like yourselves doing their best Travolta or Newton- John singing! It’s on the books!

I am definitely touching on all subjects: Drama, Comedy, Family, Foreign/ Horror/ Sci- Fi (yeah, PAN’s LABYRINTH is a triple- header), Musical and Cult are covered. One specific genre not touched but rings true within my heart is the Western. My late father was an urban cowboy, of sorts. I wrote about him and dedicated my blog about Westerns to him, so I needed to put his favorite film back on the screen in his honor… the classic 1969 Sam Peckinpah western, THE WILD BUNCH. Controversial for its time and considered a very bloody and brutal film, WILD BUNCH grew in both reputation and popularity overnight! Spearheaded by a cast of talented actors including William Holden and Ernest Borgnine, the story of a band of aging outlaws heading from Texas to Mexico is a story that clutched the heart of men (and women) throughout its original run and ever since. Dad loved it, I love it… it’s on my list.

Well, there it is, the list is complete…the list is good! The final twelve are:

THE ROCKY HORROR PICTURE SHOW, AMADEUS (Director’s Cut), The Complete METROPOLIS, GREASE: the Sing- Along Edition, A CLOCKWORK ORANGE, PAN’S LABYRINTH (subtitled in English), THE GOONIES, GLADIATOR (Director’s Cut), TOMMY: The Movie, TO KILL A MOCKINGBIRD and THE WILD BUNCH.

Any good presenter always tries to outdo him or herself whenever possible. Histories of various athletes, performers, singers and actors have all tried to outdo and stretch the talents they are recognized for. Even The Great Houdini would try to top the last thrilling death- defying act with something more harrowing the next time! I see myself as a presenter… a performer, if you would. Afterall, I would be standing in front of my paying patrons and plan on doing a small introduction to each film. A mini- monolog describing the film’s unique characteristics that may include some trivia pieces, a look into the director or actor’s career and maybe a pivotal observation… anything to enhance the appreciation of the film and giving the viewers something they wouldn’t expect when they buy a ticket to a film. Would that be enough to outdo the general viewership? There is always room for more.

DAVID NAUGHTON and JER!

The Palm Springs area is notorious for the hob-knobbing of the Hollywood elite. Some come for its seclusion and others have come to simply retire. Others come to play, including partaking in one of the Valley’s most popular pastime: golf.. and is there a fair- share mount to choose from!  A neighboring friend of mine works at such a resort and has met many celebrities throughout his career. In a passing conversation with him, the subject about films (surprise, surprise) came up and then the question was rung: “Hey Jer, do you know the movie AN AMERICAN WEREWOLF IN LONDON?” My thoughts went into a defensive mode… are you kidding me? The film alone still stands as a definitive landmark for its time in both the unique creation of mashing both comedy and horror genres as well as beingsolely responsible for introducing the Best Special Effects Academy Award category. My friend continues to go on about knowing actor David Naughton, who portrayed the doomed protagonist David Kesler, due to his occasional visits to the golf course. The casual invitation kind of slides in as he informs me that he could arrange for David to come by the course one of these afternoons, putt a round  and have me meet him afterwards! I know that I would have so much to say since my discovery of the film at the age of 13 when in 1981 I actually had the chance to see the monster movie in its premiere theatrical showing. My interests in both film making and special effects were most heightened at that age and my impressionable state thought it to be the best film to come along (it still has held the test of time as is still widely respected, in my eyes). Yes, of course I agreed to the potential meeting, so within a matter of days the possible suggestion would become a reality as I was informed that Mr. Naughton would be thrilled and a day and time would be in order as to when I should stop by the golf resort for the meet and greet.

"Be A Pepper"

That day soon came. I was there and prepared to meet Mr. David Naughton. Coming off the fairway in casual golf attire was the (wolf)man himself. It was a nervous and exhilarating moment for me, to say the very least. We had a moment to sit down inside the clubhouse’s lounge area and chat about the film and his career. This man was a triple threat between singing, dancing and acting beginning as the Dr. Pepper man between the very late 1970’s and early 80’s! He later had a disco chart- topper with his hit “Makin’ It” and finally crossing over to film. I had an internet printed photo for David to sign, which he graciously did. He then opens up a magazine he had been carrying around with him and he showed me about five or six different stills he had brought from his own collection and asked if I wanted any of them signed. I greedily asked for three and he signed them with a smile! We took a couple of photos outside and almost went our separate ways with a handshake.

“Mr. Naughton, can I ask you a question?”, I proposed at the last minute. “I am putting together a film series and I would love to have you showcase AN AMERICAN WEREWOLF IN LONDON and maybe be available for either a Q&A, an opportunity to meet and greet with you or sign autographs.” David asked me to contact our mutual friend and he would see what he could do.

At that moment I thought that I was maybe being given the brush- off and I should be happy to have had the chance to meet him and leave it at that. I did contact my neighboring friend and he would communicate the details, as the liaison he would become. Surprisingly enough, less than a week later, I get the confirmation and David’s personal phone number so that we could work out the details at our own time…exit my neighbor, enter moi! 

Jer (l) with David Naughton (r)

By Mr. Naughton’s request, he would move ahead with an appearance only if a fundraiser could be incorporated to assist an organization of some sort. We decided that the very theater I was going to conduct my film series from was ideal, since they are a non- profit operation and desperately in need of financial assistance. The date selected would be, oddly enough, September 13, 2013…Friday the 13^th! So, on one hand I had my film series list in order and on the other hand I was able to secure a legit celeb that would personally introduce his own film and meet and greet an audience. I felt I was sitting on top of the entertainment world.

To read the article printed in the "PALM SPRINGS LIFE" magazine, go to the following link: http://www.palmspringslife.com/Palm-Springs-Life/Desert-Guide/September-2013/Horror-Classics-Return-Features-Appearance-by-David-Naughton/

David greets my mom at the fundraiser

Fast- forward into the date of July 2013. The film series would be a large learning tool, but arguably, a success in many aspects. I had never conducted such a series and experience was now listed on my resume for future references. The audiences ranged in demographics and obviously noticed that both the showings of the GREASE Sing- Along and THE GOONIES were the most successful of the program. Note to self: more blockbuster family films! Each film pulled its own crowd of interested patrons and feedback was important. Hearing that such a series was much needed made me feel very happy and gave me a sense of accomplishment. The AN AMERICAN WEREWOLF IN LONDON fundraiser was a very personal experience to myself and to the addition of  the program! To view how our guests were treated to hor d’oeuvres and beverages while being given a chance to schmooze with David Naughton was an accomplishment I was able to see happen from my own conception.. and the fact that it worked out how I wanted it to. He made everyone feel welcomed and his introduction before the film started was a well- rehearsed kick- off from a man who has obviously done this a number of times before.

The audience awaiting GREASE: the sing- along!

And so, my friends, this is how yours truly spent last summer…away from the blog world and exploring another uncharted world. One that can now be said has been visited and one that will be seen again soon… very soon.

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THE STAR WARS LORE: THE COMPROMISE OF THE ORIGINAL TRILOGY

On a creative aspect, an artist may never feel completely satisfied with what eventually ends up on canvas or sculpted from marble. A writer may feel that characters need to be continually fleshed- out or developed entirely different from what ends up as the written form. It must be fair to say that a filmmaker has to feel the same way about what ends up on film as well. Why does the creative mind wrestle with the sense of uncompleted dissatisfaction? Maybe it’s the never- ending imagination that continually builds on the visual or the creator’s mind’s eye, the literal or the expressive side of the creator. Walt Disney said that Disneyland would never be finished… it is a place in which trees would continue to grow and flowers would blossom as well as  attractions will be constructed and created to meet the needs of the guests’ demands. Borrowing a page from Disney’s philosophy, could the same be said of how director George Lucas originally saw STAR WARS when it was released on May 25, 1977? Is it a project that will not stop growing or changing? 

Here is the first trailer seen in 1977 for STAR WARS

Director GEORGE LUCAS on the set of  STAR WARS

Initially, STAR WARS was originally budgeted at $11 million with a very limited resource of visual and special effects that literally had to be created from the ground up because of the lack of existing departments or companies in Hollywood at the time. Without realization of what was going on at the time, George Lucas and his team were seeing the birth of his visual effects company, Industrial Light and Magic. Lucas expressed regret and that sense of dissatisfaction with its original release because the visual world created by Lucas’ mind’s eye didn’t translate as he’d hoped for at the time of production: mainly due to constraints in budget, technology and time. Over the years, Lucas has created a momentum of controversy with the ever- changing additions and removals of scenes, effects and sounds with the advancements in computer- animated software and special and visual effects and the continued growth and expansion of his company. Changes that have made the original hardcore fans huff in disagreement!  

In the wake of celebrating its 36^th Anniversary on May 25^th this year and the ever- building news and the excitement of a new EPISODE VII installment to be directed by wunderkind J.J. Abrams with announced returns from original cast members Mark Hamil (Luke Skywalker), Carrie Fisher (Lea Organa) and Harrison Ford (Han Solo)… I felt the topic needed to be brought to light… did the lore of STAR WARS go a little too far?

Early news of ABRAMS directing STAR WARS VII

The original "Early Bird Package" from Kenner Toys in 1977

This might get me in trouble with some of the hardcore fans, so let me list my personal credentials as to why I feel engaged on the subject. I consider myself to be an OG (Original Goer or Geek) of the STAR WARS trilogy! I actually got to see the original theatrical release of STAR WARS back in 1977 right before turning nine years old. Old enough to remember the anticipation and the wonderment of seeing the original cut on a big screen. I was one of the very first to send off for the first four Kenner action figures with the special “Early Bird Certificate” package, making me the first on my block to own Luke, Lea, Chewbacca and R2-D2 before anyone else could. I tried to see the original trilogy as often as I could in theaters as often as possible and catch the ‘Returning Engagements’ as well. I am not trying to bash any of the current youths’ interest and love for the saga and the various storylines and structures, I am saying that the original trilogy of STAR WARS, THE EMPIRE STRIKES BACK and RETURN OF THE JEDI is all the series really needed and without needing to be retouched!

The ‘signs of things to come’ began in 1978 when science- fiction author Alan Dean Foster penned the novel “Splinter Of The Mind’s Eye.” Neither the story or plotline were officially brought upon or masterminded by creator George Lucas and the novel was considered the first story line to retroactively make it one of the earliest Expanded Universe works. The story’s timeline apparently takes place between what is STAR WARS and THE EMPIRE STRIKES BACK and none of the events of the novel are ever referred to or mentioned in any of the films. The book is one that I avoided because it was an imaginary work of science fiction that didn’t reference the worlds Lucas had created on film. The novel, respectfully, was merely a proposed possible “what- if” of events until a captive audience of film- goers awaited the release of the true STAR WARS sequel, THE EMPIRE STRIKES BACK.

If you have noticed, I must make note that to this date I still refer to the 1977 film as STAR WARS and not the recently- dubbed and long- winded title of STAR WARS IV: A NEW HOPE! Who is with me on this?

One of my major gripes were my wrestled feelings about the long- awaited prequel trilogy of Episodes I, II and III (THE PHANTOM MENACE, ATTACK OF THE CLONES and REVENGE OF THE SITH). Here’s my gripe… a new generation of blu- ray babies will watch the prequels first before, because they are going to follow numerical suit, to only be huffing and puffing over the poorly plotted and visually- disappointing IV, V and VI. I say this only from my personal observations: a new generation notices the difference in production value (or lack of) and don’t care for them, thinking they don’t stack- up to the overly- visual effects- heavy prequel trilogy. Another gripe involves the line of plots that were carefully placed in a particular order to grow awareness and suspense between IV, V and VI. Plot surprises will now be pre- maturely given away in the first three films that originally left audiences gasping with surprise within the original trilogy! Can we name a few? WARNING: Do not read- on if you have been living under a rock and not seen the STAR WARS six- pack! 

A trailer for the Prequel STAR WARS Trilogy

Who can ever forget the theatrical showing of THE EMPIRE STRIKES BACK and witnessing the first time Darth Vader delivered the “I am your father” line as a reply to Luke Skywalker’s thoughts that Vader had murdered his father? I can still remember a sense of disbelief… wait a minute… maybe it’s Vader’s way of deceiving Luke to believe a lie to play with his emotions or pull him to The Dark Side? Could there really be such a connection from the apprentice Jedi and the soulless Sith Lord? The suspense and surprise is now ruined do to the fact that we are not only are introduced to Anakin Skywalker (with the last name giving things away) but we also see Anakin father the twins and become the evil Sith Lord Darth Vader within Episode III: REVENGE OF THE SITH. Speaking of the twins… how about the confirmation that Luke and Lea were siblings? We caught a bit of bait when, towards that heightened moment in Episode V: THE EMPIRE STRIKES BACK that we witness apprentice- in- training Luke prematurely leave the planet of Dagobah due to a premonitioned cry for help from Han and Lea. As Luke departs, the apparition- version of Obi- Wan Kenobi states, “That boy is our last hope” only to have Master Jedi Yoda reply, “No, there is another.” An audience was left bewildered with guesses… who are they referring to? Han? Lea? R2- D2??? Thus, we would find true confirmation within Episode VI: RETURN OF THE JEDI. Well, that moment has been trampled with the premature telling of the secret shrouded within, yet again being revealed within the finale of Episode III: REVENGE OF THE SITH as it reveals mother Padme birthing the twins and literally calling them by their names,” Luke….Lea” as they are being pulled out of her! Did she really have to do that? Or…did Lucas really have to do that? Couldn’t we had been left with an unseen birth and be left to our devices whether it was one child or twins or triplets and find out later on throughout the series what significance it might have? 

A trailer for the Original STAR WARS Trilogy

Let’s talk about the Expanded Universes that have been created and embraced by the “STAR WARS fans.” This is where I have issues and problems, on a variety of different levels. To begin with, there are far too many Expanded Universes to keep track of with too many different characters and galaxies and plotlines to keep in order… there are too many novels to even mention here with the stretched- out worlds built from the original lore. To add more expansion, the world of computer technology has introduced a series of video and/ or computer games including THE FORCE UNLEASED and the recently released THE OLD REPUBLIC. Both games, respectfully, open gamers to even more newly- created worlds and characters than what some novelists have yet to touch. Some familiar characters or worlds still are very much present in the telling, for lore sake, but the stories are shaped differently with only the imagination left as a possible limitation.

One of the biggest  and most recent creations brought forth within the Expanded Universe submissions is the very popular 3D computer- animated STAR WARS: THE CLONE WARS series. Like the novel, “Splinter Of The Mind’s Eye” that takes a narrative look at what might have occurred between STAR WARS and THE EMPIRE STRIKES BACK, STAR WARS: THE CLONE WARS is a series of stories that chronologically takes place between the prequel’s trilogy storylines of THE CLONE WARS and REVENGE OF THE SITH. It covers a three- year period of events never covered in the films. What makes the series ideally special is that it was produced in association with Lucasfilm Ltd. The animation is a characterization of familiar characters in itself. We are surrounded by the day- to- day threats and adventures of a young Obi- Wan Kenobi and his Padawan Jedi apprentice, Anakin Skywalker, as well other STAR WARS prequel trilogy characters like Jedi Master Mace Windu. Although never mentioned within the films’ lore, the animated series has Anakin himself taking on his won apprentice, Ahsoka Tano. The Emmy- award winning series went into five seasons before ending.

An exciting trailer for STAR WARS: THE CLONE WARS

It is perfectly acceptable and welcomed to have creative people come up with imaginative ideas and express them, but fans have literally accept anything into their own perspective of the STAR WARS lore without question! Moreover, it has also been intertwined within our pop culture as well. On a recent reality series that based itself on who was considered the biggest of all geeks called KING OF THE NERDS, a challenge had been brought forth to pit two of its geek contestants in a STAR WARS trivia contest. From the ten questions asked, I could honestly recall only two of them being film lore and the rest dealt with novelizations, video games or God knows what else! I call my ruling as unfair! What the hell was all that about? I consider myself an expert on the films and trivia in general, especially when it deals with the latter trilogy, but this was out of control! I felt like I been knocked- off my A- game and that doesn't sit right for me or my ego!

Director JJ ABRAMS: STAR WARS VII

At this time, a barrage of serious geeks are rejoicing with the recent announcements within the STAR WARS universe. Only a select few can genuinely know what and where the STAR WARS lore will go next. As mentioned before, the Walt Disney Company has bought the rights to the STAR WARS name and will be producing and presenting the heavily- guarded Episode VII into the world of geekdom! What we do know is that the announcement J.J. Abrams (STAR TREK, SUPER 8) has been named as Director with a script treatment being written by Lawrence Kasdan, who penned THE EMPIRE STRIKES BACK screenplay. Speculation can only predict that the new story will pick up some fifteen years after the events from which RETURN OF THE JEDI took place. One can only also guess that Han and Lea have married and possibly raising a family of some sort as well as focusing on the strengths of Luke’s Jedi abilities that have grown and matured within the years. Could we possibly see Lea embrace her Jedi heritage and learn the proper ways of the Force as well? What evil foes will our Rebel friends be presented to deal with this time? The possibilities are endless, but faith in the well- structured ensemble of a production team  and studios’ blessings can only mean that we will have not only have our expectations met, but exceeded through to the finale.

What are your thoughts of the ever- growing STAR WARS lore? Are you a follower of all or a devoted fan of the films alone? What are your thoughts of another sequel and the direction the story and plots might go?

I look forward to your comments and will post and reply to all! Keep checking back for the next blog topic installment set to be posted on SATURDAY JUNE 1st, 2013. As always, thank you for your comments and for reading!