With the success of such syndicated shows as Star Trek: The Next Generation and Tales from the Crypt, Metro Goldwyn Mayer decided it was the right time to bring back its old anthology series, The Outer Limits. The one hour show would first appear on the cable network Showtime, and then be released into syndication.
All they needed was a good story – one that could handle being extended into a 90 minute movie. They found it in a George R.R. Martin novelette, “Sandkings”. The 1978 story would have to undergo some major adjustments in order to work on TV – not the least of would be that it had to work within a TV budget.
The original story is an award-winning horror tale where the protagonist is a right proper cretin who deserves everything that happens to him – but I’m not going to talk about that. Not even about how the movie is different from the story. One has to treat the movie on its own – and if you have to have read the book to understand the movie, then the movie hasn’t done it’s job.
Any other year.
Any other year, and it could have easily won the Academy Award for Best Animated Feature. But at the 2010 Oscars, it was nominated with Up, Coraline, The Fantastic Mr. Fox, and The Princess and the Frog. One of the best set of nominees since they added the category in 2001. Heck, even the animated short films that year were all awesome!*
Any other year, and it should have won. But when one of the other nominees (Up) was also nominated for Best Picture, what chance did it have?
And a foreign film, too!
Director: Marcell Jankovics
Writers: László György, Marcell Jankovics
Music by: István Vajda
Start by collecting bits and pieces of local folk tales and legends. In this case, that means Hungarian, Avar, and others from the peoples that came and went through that part of southeast Europe.
Assemble them into a fairly standard “Hero’s Journey” tale.
Decide to animate the result.
Take some mild hallucinogens to give you inspiration for your design aesthetic….
Back in the 70s and 80s, Turkey – or at least the Turkish film industry – didn’t seem to care much for international copyright law. If a movie was successful in the US, they’d quickly churn out their own version, rights be damned. “Turkish Star Trek” dropped a noted comedian into the Star Trek universe for (presumably) comedic effect. “Turkish Star Wars” is really a movie called The Man Who Saved the World, and is not a knock-off of Star Wars – it just ‘borrows’ a couple of space battle scenes for background footage (and steals music from Raiders of the Lost Ark). Seytan is sometimes called “Turkish Exorcist” – with very good reason. It’s practically a scene-for-scene, if not shot-for-shot, remake.
The National Film Preservation Board “works to ensure the survival, conservation and increased public availability of America’s film heritage, including: advising the Librarian on its recommendations for annual selections to the National Film Registry…The National Film Registry selects 25 films each year showcasing the range and diversity of American film heritage to increase awareness for its preservation.”
Well, at least according to their website.
For the average movie buff, it’s a list of movies that are deemed sufficiently important for aesthetic, historic, or cultural reasons. They started selecting movies in 1989, but over the years they have somehow managed to avoid selecting one particular film. So once I’m done writing this, I’m going to nominate this movie – and hope someone there actually reads my nomination, and acts favorably.
The Blob (1958)
It isn’t an easy matter to take a movie to an international audience. There’s a lot that doesn’t translate across cultures. Comedy is often highly culturally specific. Romance depends a lot on social customs. Drama is a little easier to do, but it still has some problems.
Action and thrills, however, cross all borders. Explosions and monsters speak all languages. Is it any wonder that the biggest international box office successes these days are action & adventure flicks?
But even there, some things may still not translate very well across space and time.
There are many things that can make a movie bad. Lack of talent either in front of or behind the camera, overreaching by the director / producer, a budget totally incapable of bringing the story to life, a stupid story idea to begin with…
Then there are things unconnected with the movie itself that can have an effect.
Producer Gary Kurtz (who had also worked in that role on Star Wars and The Empire Strikes Back) was going through an ugly divorce at the time. The money he spent / lost in the divorce led to a cascade of problems with Slipstream, culminating in the movie never getting a US theatrical release. Which is probably why you haven’t heard of it.
The Old Haunted House movie has changed quite a bit over the recent decades. One cannot have a simple haunting by a lone spirit who needs to have his (or her) soul put to rest anymore; one has to have a portal to hell on the property, some sort of demonic possession, or the scene of some horrible atrocity with dozens of victims in order to attract an audience.
Now there’s nothing inherently wrong with a movie like that, but it’s too easy for a filmmaker to fall into the trap of using blood and gore as a replacement for a good, honest scare. For an “old school” spooky haunting, you’ve got to go back quite a ways.
The Enterprise is at an unspecified starbase for a little R&R, and to pick up a few new crewmembers. The character development and backstory comes to a halt when new orders come in. The USS Bowfin, a scout ship, was sent off to do an anthropological survey, and they are well past their reporting deadline. Kirk and crew are dispatched to find out what happened.
The briefing en route fills in the details of the Bowfin’s mission. The planet they went to was pretty much uninhabited, except for a large tropical archipelago. Rather uninteresting, except for some oddities that warranted a closer look.
Looks like it’s pretty much a case of Mutiny on the Bowfin. But if that’s all there is, we wouldn’t have much of a story, would we.
The Zorba family is in a rather bad state. That day, the repo men came and collected all their furniture. There’s no indication as to the source of their financial troubles, but it doesn’t really matter. That night, while eating dinner on the floor (the repo men didn’t take their dishes or kitchenware), a telegram arrives. The father, Cyrus (Donald Woods), is being instructed to show up at the offices of attorney Benjamin Rush (Martin Milner, in his pre “Adam-12” days).
It doesn’t look good at all.
However, once Cyrus gets there, he’s informed that his eccentric uncle Plato Zorba has died recently, and has left Cyrus and his family his house and all its contents. This is a pleasant surprise to Cyrus; he’d though Plato had died years ago. The family quickly relocates to the old mansion (conveniently furnished, and with a live-in housekeeper (played with suitable creepiness by Margaret Hamilton).
There, they find out that Uncle Plato’s eccentricities concerned the supernatural, and he had developed a method that he claimed would make ghosts visible. That would explain the weird glasses that were the only non-house item left by the will. Uncle Plato also happened to “collect” ghosts – and they shared the house with him….
Haunted or no, the Zorbas really don’t have much choice at the moment….