Author: Scott Delahunt

 

Posted on by Scott Delahunt

Toy manufacturers know that a successful TV series based on one their products leads to better sales. Deregulation in the 80s allowed toy makers to fund what were essentially half-hour toy ads masquerading as cartoons and live-action shows. The key issue is getting the target audience to watch, which means making the shows enjoyable to watch. Hasbro has had the most success with their spin-off series, from the various Transformers efforts to My Little Pony: Friendship Is Magic. The latter series has helped Hasbro gain in sales while other toy makers saw sales falling. From the creative point of view, the success of a series based on a toy hinges on two elements – the popularity of the show and the popularity of the toy. If either drops, the show is no longer supported. There have been times when the show’s popularity far outstripped the sales of the toy it was based on. One of the exemplars of the phenomenon is Captain Power & The Soldiers of the Future.

Mattel‘s major line has been Barbie. The doll has sustained the company for almost 60 years. However, few companies want to rely on just one product to sustain them. Mattel expanded its toy lines to include items of interest to boys, with Hot Wheels the best known line. In a competitive market, companies are always searching for the next big thing to cash in on. Mattel thought they had found that next big thing with interactive TV.

In the 80s, interactive TV was in its embryonic stage. The idea of viewers participating with what they watched became possible as electronics took advantage of the potential of the silicon chip. While the first patent in the US for interactive TV was issued in 1994, the concept predates the patent. NABU Networks was an ambitious attempt to combine cable television with an Internet-like connection with the ability to play games appeared in 1983, though it folded in 1986. By 1987, Mattel developed a version of the technology for their own use, but didn’t have yet have a toy developed.

In steps Gary Goddard, who had an idea for a live-action children’s series. Mattel saw a way to use their new technology, The result is Captain Power and the Soldiers of the Future. Mattel had requirements, mainly at least three minutes of interactivity per episode, but allowed Goddard to develop the series the way he wanted. Technically, this means that Captain Power isn’t an adaptation but a joint effort. However, the development of the series was separate from the interactive technology and the toys released. The fate of Captain Power is still instructive.

The toys and the show were parallel developments. Goddard, who also acted as the producer, decided to film in Toronto, Ontario. To qualify for tax breaks*, he had to make a decision about which parts of the show would use Canadian talent and which parts wouldn’t. He went with using American writers, including J. Michael Straczynski, Larry DiTillio, Marc Scott Zircee, Michael Reaves, and Christy Marx. Goddard reasoned that if the writing was strong, the directors, all pulled from Toronto’s television industry, would be able to work with the scripts despite being unfamiliar with science fiction**. The writing staff was able to work with the requirements. The big one was the three minutes of interactivity . The closing credits provided one minute, and the writing staff started most episodes with an action sequence that led into the main plot, eating up another minute there. A climactic action sequence would use the last required minute, if not more.

Mattel developed the toy line, including the PowerJet and action figures. The PowerJet and similiar, like the PowerBase and the MagnaCycle, were deisgned to interact with the TV series and with three video tapes released. The toys reacted to signals in the shows, scoring both hits made on targets and hits made on the toy. Get hit too often, the pilot ejects. The toys could be played with as stand-alone, not needing the show or the video cassettes, but the main focus was the interactivity.

Captain Power, for being a live-action kids show designed for a thirty minute time-slot, was ambitious. It was the first series to feature a regular CGI character with Soaron, voiced by Deryck Hazel, followed later by Blastarr, voiced by John Davies. The sets were built at an unused bus repair facility. Effects, barring the lasers, the flashing targets, and Soaron and Blastarr, were all practical. Even the back story showed work. When the series starts, the Metal Wars, the last battle between man and machine, are over, with the machines under Lord Dread, played by David Hemblen, winning. The Earth is a desolate, blasted landscape, with pockets of humanity trying to survive against the Bio-Dread Empire. However, a light stands against the darkness. Captain Jonathan Power, played by Tim Dunigan, has assembled a small team. Equipped with Power Suits, the Soldiers of the Future stand against Dread and his army of robots.

Each member of Power’s team has a specialty. Major Matthew “Hawk” Matheson, played by Peter MacNeill is the aerial expert; his suit includes wings and jets to let him fly. Lieutenant Michael “Tank” Ellis, played by Sven Thorsen, is the heavy assault expert. Sergeant Robert “Scout” Baker, played by Maurice Dean Wint, is the infiltration and espionage expert, with a suit that can project a camouflage to let him blend in with the Bio-Dread troopers, and Corporal Jennifer “Pilot” Chase, played by Jessica Steen, is the technical expert and pilot of the team’s Jump Ship. The characters had history, as well. Tank is the product of a cloning experiment. Hawk lost his son during the Metal Wars. Pilot was a member of the Dread Youth, an organization meant to install blind loyalty to Lord Dread into young adults.

That brings up another point. The series was dark. The villain already won by the start of the series. Dread’s forces were robots commanded by humans whose uniforms were modelled after after the Nazi’s. Even the Dread Youth were a reference, this time to the Hitler Youth. Topics covered by various episodes included the loss of a child and how people treated victims of AIDS in the late 80s. The final episode ended with the death of one of the main characters. Soaron digitized victims, sending them into Dread’s Overmind computer. Captain Power also had a story arc; each episode built up towards the season’s climax. The writing staff did not dumb their scripts down, and were inspired by science fiction series of the past, including Star Trek and The Twilight Zone.

Scripts were written for a second season but were never filmed. The series was not renewed. The sales of the toys weren’t strong enough for Mattel to consider funding a second season. On top of that, Captain Power came under fire for its violence. That combination led to the series ending on a downer with the death of Pilot. However, the series transcended what Mattel wanted from it. It was a well-written science fiction series, first and foremost, and it picked up an adult audience through word of mouth and on USEnet.

A reboot of the series has been announced. Phoenix Rising has signed on Judith and Garfield Reeves-Stevens to develop the new series as a weekly hour-long show. The new series is still in development, though, and no air date has been set.

Captain Power and the Soldiers of the Future shows the limitation of being tied to a toy line. If it had been separate, the success of associated toys wouldn’t have been a factor in the decision to end the series. However, since it was, Mattel had to make the choice in continuing to produce an unsuccessful toy line to support a popular show, and went with its own bottom line. Such is the nature of the corporate world. However, when the creative staff, from writers to directors to actors, all pitch in, a work can go beyond its origins and be remembered.

 

* Canadian content regulations uses a points system. To qualify as a Canadian production, over half the production must include Canadians. The writing staff could be all American, provided the production made up the difference elsewhere. Goddard used Canadian directors, as mentioned, and kept all the post-production companies in Toronto busy during Captain Power‘s only season. The other benefit of qualifying as CanCon is that it made the show easier to sell to Canadian stations. Canadian television has CanCon broadcast requirements, a minimum about of time that has to be Canadian-made. Captain Power, being CanCon, helped fill that requirement.

** Toronto was and is often used as a stunt double for American cities. The directors of the time were more used to shows like mysteries and police procedurals. The last major science fiction series attempted in Toronto prior was The Starlost, which had many problems.

Posted on by Scott Delahunt

For television, the Nineties were the age of syndication. Streaming and the thousand-channel universe were still just beyond the horizon, but cable channels and local stations had time to fill. First run syndicated series filled in the hours, including Hercules: The Legendary Journeys and its spin-off, Xena: Warrior Princess.

Hercules started as a series of TV movies with Kevin Sorbo as Hercules and Anthony Quinn as Zeus. After the TV movies were successful, the series was greenlit. During the first season, Lucy Lawless made several appearances, including as Xena in several episodes. The popularity of the character led to a spin-off series. While Hercules and Xena had their own sidekicks – Iolaus, played by Michael Hurst, and Gabrielle, played by Renee O’Connor, respectively – the two shows shared common supporting characters. Salmoneus, played by Robert Trebor, and Autolycus, played by Bruce Campbell, among them.

Neither series felt restricted by history; for fans, this was a feature, not a bug. Myths were used as inspiration for episodes. The Greek gods were given new personalities, though ones that fit with known mythology. Zeus was an old man, regretting his wilder youth. Aphrodite, played by Alexandra Tydings, was a Valley Girl, at times oblivious of her effect on mortals. Ares, especially as played by Kevin Smith on Xena, was charming, but that was a veneer over seething destructive rage. Hercules and Xena both lasted six seasons. Later seasons included the occasional episode in modern times, with Hercules taking on the name Kevin Sorbo and acting on a TV series about his legendary journeys, while Xena, Gabrielle, and Joxer (Ted Raimi) were reincarnated. With Sam Raimi in charge of the production, even the car, the one that has been in every movie he’s made since The Evil Dead, made appearances.

The setting seemed ideal for tabletop roleplaying. Thus, West End Games, publisher of Star Wars The Roleplaying Game, picked up the license and published the Hercules & Xena Roleplaying Game in 1998. At that point, WEG had been successful with the Star Wars license, using a mechanic known as the D6 system. The system first appeared in the licensed Ghostbusters RPG, then was refined for Star Wars. WEG’s success is such that Lucasfilm is still using the company’s sourcebooks*.

So, when WEG released Hercules & Xena, the game was available in two forms. The first was a single book in full colour including photo stills from the series. The second was a boxed set that included the book and added a second book for game masters plus adventures to get players going and a set of the special dice used. These dice were six-sided, but instead of pips or numbers, they had appropriate markings. Five of the dice had two hydra heads and four chakrams while the sixth, meant to be the wild die, had one hydra head, three chakrams, one Eye of Hera, and one Thunderbolt of Zeus.

WEG modified the D6 system, using the d6 Legends mechanic. Instead of adding up the numbers that showed up on the dice, players just had to count successes. With the included dice, successes were chakrams, after Xena’s preferred weapon. Hydrae were failures. With the wild die, the Thunderbolt of Zeus was counted as a success and then allowed the player to roll the die again. The Eye of Hera cancelled a success and allowed the GM to introduce a complication if so wanted. The system provided for cinematic action, just like the shows the game is emulating. The RPG provided for specialties based on what was seen in the shows, including Xena’s pinch, Hercules swinging Iolaus around to hit opponents, and Hercules’ chest stomp. If a move wasn’t included, there was enough information to create it.

Mechanics, though, aren’t the only way to provide the tone, though they help. The game doesn’t require much bookkeeping; the GM sets a target difficulty and the players attempt to beat it with their skill dice roll. Character creation is quick – spend twenty-four dice among the eight attributes, then spend ten dice among skills and specialties, purchase equipment, and that’s it. The main book even helps with describing a number of different types of characters, from warrior to priestess to chronicler to entrepreneur and the suggested attributes and skills for them. Players are also not limited to creating human characters. Centaurs, nymphs, and satyrs are all possibilities for characters.

The game itself is written as if it was a set of scrolls written by Salmoneus and found only recently. The writing is such that it is possible to hear Robert Trebor’s voice while reading, and includes a few wink-nudge moments, just like the two TV series. The example of play in the main book, despite not featuring any of the characters from either shows, could easily have been in an episode. The overall presentation does bring out the setting of Hercules and Xena. The GM’s book, Scroll of the Ancient World, includes tips on how to role play the gods, from Aphrodite’s Valley Speak to Hades’ dark brooding.

The game did have some problems. The main book wasn’t enough alone to run the game; it was missing key sections, especially on how combat worked, though the base mechanic was detailed enough to let players figure it out. Starting characters were nowhere near the competency of the characters from the show, including Joxer. The GM’s book had suggestions on how to start players with experienced characters, but even then, they wouldn’t come close to Gabrielle or Salmoneus. The main book, though, did include stats for the main characters in both series. This was also a complaint with the Star Wars RPG. The game does include the stats for the main and recurring characters, though, allowing players to take on their roles.

The core rules also hinted at a number of planned supplements that would expand the game, allowing for greater flexibility. However, WEG’s parent company, a shoe importer, ran into financial problems. The importer pulled funds from WEG to remain afloat before filing for bankruptcy. WEG could not sustain itself with the loss of cash and wound up closing, losing all of its licenses. Hercules & Xena was the last RPG published under the WEG name, with later game releases done in partnership with other companies.

Licensed role playing games need to balance playability with accuracy to the source. A good core mechanic is a start, but the presentation needs to maintain the tone of the original. The Hercules & Xena RPG has both. The system is solid, having been refined with other games, and the writing brings out the details that drew fans into watching both Hercules: The Legendary Journeys and Xena: Warrior Princess.

 

* Dave Filoni has mentioned in commentaries for Star Wars: The Clone Wars that several designs for equipment have come from The Star Wars Source Book published by WEG.

Posted on by Scott Delahunt

There are many movies that could have been done better. Not just in the realm of B-movies, where budget is often the limit, but also in movies from the major studios. The more interesting films are the near-misses, the ones that just missed the mark. The effort is there, but misapplied, resulting in a disappointment instead of an outright flop. Disney’s The Black Hole is such a movie. Released in 1979, The Black Hole was part of a science fiction renaissance born from the tremendous success of Star Wars. Everyone wanted a science fiction movie. However, Star Wars was also a game changer. While inspired by, among other soruces, the pulp serials of old, the hero wasn’t the square-jawed scientist as parodied by the character Brad in The Rocky Horror Picture Show. Instead, Star Wars featured a farm boy, a character type more likely to be found in a fantasy.

Changing approaches takes time. Scripts need to be written to accommodate the new paradigm. But to get something, anything out to take advantage of the sudden interest, time isn’t a luxury. Star Trek: The Motion Picture used a script meant for the pilot of a rebooted TV series, and it showed. The Black Hole, released the same month, had a script that would have felt more at home with the science fiction of the Forties and Fifties, featuring square-jawed science heroes. The problem there was that The Black Hole wasn’t solely a science fiction movie.

The Black Hole was gothic horror tucked in a science fiction shell.

Science fiction and horror do go and have gone together. Alien was a classic monster in the dark plot on board a spaceship. The Terminator featured an unrelenting robot out to kill one woman and was born from a nightmare. Having The Black Hole be horror isn’t a stretch; the elements are there. The big problem, though, was timing. The Black Hole was a first in many ways for Disney – the first Disney-branded movie to get a PG rating, the first with even mild swearing, the first with on-screen human deaths. It’d be understandable that the studio would be nervous. Disney created both Touchstone and Hollywood Pictures to be able to release films for adults, but neither existed at the time The Black Hole came out.

That was the core issue with The Black Hole – it was a horror movie from a studio that shied away from being too horrific. Disney was known for children’s entertainment. The studio could present frightening situations, like an evil woman becoming a terrifying dragon, but there was always someone brave to stand up to fight the evil. The Black Hole had the evil, but bravery didn’t help save the day. In horror, the hero doesn’t necessarily defeat the evil, just survive it, and that concept doesn’t always translate well to other genres.

The Black Hole looked like a mish-mash of genres. The crew of the Palomino were the square-jawed science types, using intelligence and research and talking to tackle the problem of the day. The Cygnus, despite being a spaceship, wouldn’t be out of place in gothic horror or a Hammer film, hanging in space orbiting a black hole. The end sequence may have been inspired by the ending of 2001: A Space Odyssey with a side trip to Dante’s Inferno. And V.I.N.CENT and B.O.B. owed more to the animal sidekicks of past Disney films than they did to R2-D2 and C-3P0.

This isn’t to say that The Black Hole was a bad movie. The film had a strong cast, with Antony Perkins, Joseph Bottoms, Yvette Mimieux, Ernest Borgnine, and Maximillian Schell, and the vocal talents of Roddy McDowell and Slim Pickins. The special effects were cutting edge for the time, with the black hole a presence on screen. Even with their almost cartoon-quality appearance, V.I.N.CENT and B.O.B. were as capable as any droid from Star Wars, possibly more so with their ability to hover long before CGI made it easy.

Remaking The Black Hole isn’t just hypothetical. One attempt at a remake fell to the wayside after scripts were written. The main issue comes from figuring out just what approach to take with the film. However, for Lost in Translation, the idea is to figure out the core of the original and how to coax it out properly while still keeping the original plot more-or-less intact.

The first step is to get the science as close to correct as possible while still being able to tell a good story. In the original, the Cygnus was poised near the accretion disc of the black hole, using anti-gravity to maintain position. Adding a star in a dying orbit around the black hole allows for a Lagrange point where the acceleration of gravity of both are balanced and will enhance the visuals. The balance of forces also means that the Cygnus can be knocked out of position into danger.

While on the topic of the ships, the Cygnus and the Palomino should look like they’re from the same world. The original Palomino looks more like a lunar landing module of old. The interior of the Palomino is enough room for its five crew and robot. The Cygnus is far larger, and even with its original larger crew, still has far more space than the Palomino. Both were deep space explorers, so why the difference? The Cygnus may have a hydroponics section for longer endurance, but the Palomino doesn’t look right beside it. And it’s the Palomino that needs the change. The Cygnus needs to look like it belongs in gothic horror, brooding in the terrible sky. The Palomino, while smaller, should be a reflection of the Cygnus and what it once was. Get the mood going early.

The last technical design change is V.I.NCENT’s. The core design is good; V.I.N.CENT looks like he should be functional in zero-gravity. The change here is to make the robot more part of the crew, less like an animated character. Keep the basic design, but make V.I.N.CENT less like a commercial product and more a contracted design, where functionality takes precedent over appearance. However, Reinhardt’s robots should keep their appearance, if only updated for modern camera techniques. Provide more articulation to Maximillian, but otherwise keep his appearance. Likewise, the rest of Reinhardt’s robots should only receive minor updates, with some subtle foreshadowing of their true nature before the reveal.

The general plot can be kept, but change the focus from pure science fiction to horror. Once on the Cygnus, the audience should have a feeling that something is off. The scene outside should help; a star losing part of itself to a black hole is not normal. Reinhardt should seem reasonable on first meeting, but as time passes, again, something is off. Only when his plan is revealed should he begin to monologue. For the end, the trip through Hell needs to be kept; Reinhardt’s goal and his fall are key to the plot.

Getting the right feel is the critical. The original was trying to be both science fiction at a time when science fiction in film was going through a paradigm change and horror when the combination of the two was more likely to be a monster movie. The Black Hole won’t work as an action film, and the studio will have to resist the temptation to turn it into one. The goal is to keep the horror aspects front and centre. The Black Hole has potential, but will need work to bring it out properly.

Posted on by Scott Delahunt

Some time back, Lost in Translation reviewed the A-Team movie. However, the years since then has broadened the definition of adaptations and what it means for one to be successful, so it’s time to take a second look.

In 1982, television was going through a renaissance. Many of the staples of the Seventies were on their last legs and ending, either through decisions by showrunners to end the run or through low ratings. One victim of the latter was Happy Days, which had begun its dominance in ratings in 1974. By 1983, it was a shell of what it was, having replaced most of its core cast, ultimately bringing in Ted McGinley. The show was ripe for counter-programming, something that wouldn’t have been thought of in its heyday, when it was just too popular to risk an unknown show against.

NBC had a new series it had piloted with a two-hour movie. The A-Team wasn’t a sitcom; instead, it was a light action-comedy featuring four Vietnam veterans. The general mood in the US about the Vietnam War was beginning be open to the idea of characters having served during the conflict. When The A-Team debuted as a regular series, it pulled in over a quarter of the viewing audience. The show was a change of pace from a tired sitcom.

The narration during the opening credits provided the show’s backstory. A US Army Special Forces unit, the A-Team was ordered to hit the Bank of Hanoi. They returned several days after the armistice and were arrested. The man who gave them the orders, General Morrison, had been killed in the final days of the war, so it became the Army’s word against the A-Team’s. The team broke out of the stockade before their trial and disappeared into the Los Angeles underground, where they became soldiers of fortune.

The pilot picks up with a reporter being held by bandits in Mexico near San Rio Blanco. His protege in LA, Amy Allen, played by Melinda Culea, needs help getting him freed and searches for the mythical A-Team. She’s sent to several locations and meets several odd characters, including Mr. Lee, before meeting the team. The wild goose chase has a purpose. The leader of the A-Team, Colonel John “Hannabal” Smith (George Peppard), wants to make sure she’s not working for the Military Police. However, he’s convinced that Amy is who she says she is and takes the job. However, Amy wants to go along, in part to cover the story of the rescue.

The team gathers. Getting Lieutenant Templeton “Faceman” Peck (Tim Dunigan) and Sergeant Bosco “B.A.” Baracus (Mr. T) is easy enough. Code phrases used on a radio call-in show gets the meeting place and mission needs sent out to them. Getting the last member of the team, though, is a problem. H.M. “Howling Mad” Murdock (Dwight Schultz) is in a VA mental institution and may very well be insane*. Face is the one chosen to break Murdock out.

Getting to Mexico is an issue. B.A. hates flying, especially if Murdock is the pilot. Driving will take time, though, which the team doesn’t really have to pull off the plan Hannibal has in mind. Hannibal tries to distract B.A. long enough so he doesn’t realize that they’re going to the airport. It almost works, though B.A. does get a punch in before the sedative takes effect. He’s out for the duration of the trip, giving the team time enough to reset his watch to reflect the how long a road trip would have been.

In Mexico, Face convinces the local film liaison that the movie allegedly being made needs some equipment, including armour plating and a heavy vehicle. The script isn’t the greatest, and Face complains about the quality of both the story and the director, but what can he do? The liaison gets the gear requested. In San Rio Blanco, Hannibal engages the townsfolk in getting their help to drive out the bandits. The initial plan succeeds, but runs into an unexpected hitch – the bandits are associated with a guerilla band who are better armed than the A-Team. What the guerillas aren’t, though, is a highly trained team with a knack for defying the odds led by a man who can come up with contingencies as the battlefield changes. The A-Team gets the reporter home and the town freed of bandit and guerilla influence.

Back in L.A., Amy convinces Hannibal that she is useful to the team, being the legitimate contact with access to news records. As such, she’s not wanted by the Military Police and isn’t on Colonel Lynch’s (William Lucking) radar as part of the team. The series is thus set up.

When The A-Team gets greenlit, some cast changes are made. Dunigan is replaced by Dirk Benedtic, who was the actor creators Frank Lupo and Stephen J. Cannell had in mind for the role. NBC, though, wanted Dunigan, even though he looked too young for the part. The series followed a similar format as the pilot – the A-Team would be hired to help people who were desperate and outmatched, typically against criminal elements. There would be a montage of the team preparing for the climactic fight, putting together makeshift armoured vehicles and booby traps. Because of its time slot, there were very few deaths. Most of the damage went to vehicles, which crashed in spectacular ways.

Each member of the team has a specialty. Hannibal is the leader and a master of disguise. When he wasn’t leading a mission for the A-Team, he earned a pay cheque as an actor, usually as the monster in a Hollywood B-movie. B.A. is not just the muscle but also the team’s mechanical and electronics expert. Face is the con man, the grifter, the one who interacts with officials to smooth the way for the rest of the team. He’s also the accountant, keeping track of expenditures. Murdock is the team’s pilot and the foil to B.A. Amy is their contact to the legitimate world, allowing for more extensive intelligence on targets.

Over the five season run of the show, there were more cast changes. Colonel Lynch was replaced by Colonel Decker (Lance LeGault), who was more relentless in pursuing the team. Amy was replaced by Tawnia (Marla Heasley), a fellow reporter, who was then replaced by Frankie “Dishpan Man” Santana (Eddie Velez). In the final season, Robert Vaughn joined the cast as General Hunt Stockwell.

The series started having problems near the end. The episodic nature of the show meant that it began to feel stale later in the run. An attempt to shake things up by having General Stockwell fake the A-Team’s death and become their commander didn’t help ratings; the change was too jarring for the remaining viewers. Massive shake ups tend not to work and are seen as a desparation move by audiences, usually coming too late to be of help. The fifth season change also took the show away from the original concept of a Special Forces unit accused and on the run for a crime they didn’t commit.

However, with three strong seasons and a decent fourth, the series still has fans and name recognition. Hollywood, not one to ignore the lure of an easy draw, spent time trying to build a remake, with the earliest work done in the mid-90s. However, it wasn’t until 2010 that the movie was released. The new cast included Liam Neeson as Hannibal, Quinton “Rampage” Jackson as B.A., Bradley Cooper as Face, and Sharlto Copley as Murdock. With the time difference, the conflict that the A-Team was in changed from the Vietnam War to the second Gulf War.

However, the movie begins eight years before the end of Gulf War II, with a scene similar to the pilot movie. Renegade General Tuco (Yul Vasquez) is interrogating a man hidden by shadows. Since the man won’t talk, Tuco orders the man’s death, using his own pistol. However, said pistol doesn’t work, not having a firing pin. Tuco decides to let his dogs have him instead. The seated man uses the firing pin to unlock his handcuffs just as the dogs arrive. When he steps into the light, we see Colonel John “Hannibal” Smith.

Elsewhere, B.A. Baracus has returned to his former gang to recover his beloved. The gang isn’t willing to just let him leave, which they soon regret. With the gang down, B.A. gets into his beloved GMC Vandura, painted in the classic colours from the original series, and leaves. However, as he heads to a new life, he gets stopped at gunpoint by Hannibal, who notices the Ranger tattoo on B.A.’s arm. With some convincing, B.A. agrees to help Hannibal rescue his teammate.

Face is in deep trouble. He was caught with Tuco’s wife and the General is not happy about it. Tuco wants to set fire to the tires Face is trapped in, but the Lieutenant is buying time, mostly by aggravating the General. Face does get enough time for Hannibal and B.A. to arrive, but they leave with Tuco in hot pursuit. They need a way out and Hannibal has a man in mind. However, this man is in a hospital, but B.A.’s arm needs patching up. At the hospital, Hannibal looks for his man while a doctor sews up B.A.’s wound. Turns out, the “doctor” was Hannibal’s pilot, H.M. “Howling Mad” Murdock, who is in the hospital as a psychiatric patient.

The four take the hospital’s helicopter. Tuco follows in one that is more heavily armed. Murdock takes his chopper through moves that no one sane would try, resulting in B.A. gaining a phobia about flying. Hannibal goads Tuco while keeping an eye on an electronic readout. His plan succeeds; Tuco is lured across the border while engaging in an act of hostility against US military personnel, and a fighter jet is just waiting for the battle to cross the border.

Hannibal pulls the team together as a unit, bringing B.A. back into the Rangers and getting Murdock out of the psych ward, to the point where they are a crack unit in Iraq. Near the end of the conflict, Hannibal is brought into General Morrison’s (Gerald McRainey) for one last mission. Iraqi insurgents have a set of US Treasury plates that would allow for perfect forgeries of American currency, and CIA Agent Lynch (Patrick Wilson) wants them back. Meanwhile, DCIS investigator Captain Charissa Sosa (Jessica Biel) approaches her ex, Face, to warn him against going after the plates.

Since Hannibal outranks Face, the team takes the mission. Hannibal’s plan goes off without a hitch, every contingency taken into account, even B.A.’s fear of flying. Preparation involves scrounging a number of parts, mostly from the private military contractor Black Forest without their knowledge. The team steals the stolen plates and delivers both them and the money already printed to the base. However, at the base, General Morrison’s HMMVV explodes, followed by a strike by Black Forest personnel led by Brock Pike (Brian Bloom). The shipping container holding the printed money and the plates explode and the plates disappear.

Hannibal and his team are arrested and tried for the theft of the plates and the money and are sentenced to dishonourable discharges and prison time in separate facilities. Sosa is also court-martialed, leading to her demotion. After six months, Lynch approaches Hannibal with an offer – accept the agent’s help in escaping in return for finding the missing plates. Lynch provides photos of Pike and an unknown Arab in Frankfurt at the Konigsbank. Hannibal already has plans to escape and just needed a reason. He fakes his own death to escape his prison, kidnaps Face, who has managed to turn his sentence into a spa retreat, then the two free B.A. during a prisoner transfer. Murdock turns out to be the more difficult break out; Sosa, who is still searching for the plates and now Hannibal, has tracked down Murdock to a VA hospital in Germany. With the help of a 3-D film, the team break out Murdock and go on to steal a C-130 Hercules.

The escape isn’t smooth. Stealing any American military aircraft gets immediate attention and two drones are dispatched to shoot down the Hercules. Sosa tries to countermand the orders to shoot down the plane, but the drones destroy the C-130. One of the drones picks up parachutes from an air-droppable tank. The team managed to get inside the tank before the plane exploded. The drones continue their attack. Face shoots one down, but the wreckage takes out two of the three parachutes used by the tank to slow its fall. Hannibal manages to control the plummet using the main gun’s recoil to redirect the tank to land in a lake and then to slow the fall.

In Frankfurt, Hannibal has a plan to get the Arab man, involving pinpoint timing. The plan almost gets derailed, though. Pike recovers quickly from the assault and tries to catch up with the plates. B.A. has him, but during his time in prison, he decided to take a path of non-violence; killing Pike is out of the question. But the team does escape with the Arab and the plates. Sosa catches up to Pike and takes him into custody.

Lynch, though, is still working on getting the plates for himself. Hannibal deduces the Arab’s identity and, before he can make his next move, a gunship obliterates the hideout, killing the Arab. Lynch then takes custody of Pike, working to close off loose ends. Hannibal calls Sosa, wanting to make a deal, the plates for full clemency. Lynch has Sosa’s phones tapped and hears the conversation. What he doesn’t have tapped is the burner phone Face slipped to her earlier, where he explains the plan to her.

The plan to deal with Lynch is a shell game – distract, disrupt, and reveal. Lynch falls for the game, but has Pike standing by as a wild card. But the plan, Face’s, not Hannibal’s, is flexible enough to handle the unexpected addition. Lynch is exposed. But the director of DCIS, Sosa’s boss, has the team arrested for unlawful escape. He wants that case off his books, even if the team did the heavy lifting in stopping Lynch and recovering the Treasury plates. The team, though, promptly escape and disappear into the Los Angeles underground.

The first thing of note for the movie is that it is an origins story. These men aren’t yet the A-Team of the TV series, but end the movie becoming them. As such, the movie expands on the original opening narration, using it to end the film. However, the elements of the original are there. The characters are recognizable. Casting helped here. Neeson channels George Peppard as Hannibal, using similar body language and vocal tones. Cooper has the charm of Face. Jackson brings a new interpretation to B.A. that still fits with what’s seen in the original series. Copley’s Murdock might be crazier than the original.

The tone of the movie varies, from drama to action to comedy, at points causing a mood whiplash. That’s more a factor of what’s expected in today’s entertainment, which does include deeper looks into motives than action-comedies in the Eighties. The movie does delve into the backstory presented in the TV series, pulling names from the team’s past and giving faces to names. The plot is more involved, with two agencies and a mercenary corporation all after the same MacGuffin. The world isn’t as black and white as in the TV series, but the core, that the A-Team are the heroes, remains.

The movie adds a few extras for the long-time fan. First is a post-credits sequence that features Benedict as Face’s fellow prisoner and Schultz as a doctor called in to consult on Murdock. A more subtle Easter egg comes up when the team breaks Murdock out of the German psychiatric facility. The movie sent, The Greater Escape uses the classic theme tune as the credits roll. Among the stars of the movie are Reginald Barclay, Schultz’s character on Star Trek: The Next Generation and G.F. Starbuck, a reference to Benedict’s character on the original Battlestar Galactica. Several scenes would fit without a problem in the original series, as well.

With a PG-13 rating, the movie avoids some of the problems of the original series. Since the show aired at 8:00pm for most of its run, very few people died on screen and none to the full auto fire that the A-Team used. In the movie, there is a body count, though the A-Team is far more judicious on where they shoot, unlike, say, Pike. The language is a little more salty, what one would expect for soldiers on deployment. Again, it’s the difference between prime time television and the PG-13 rating.

There were some problems with the film. The take on The A-Team went darker than the series did through most of its run, barring the final season. With the CIA and DCIS working against each other putting the A-Team in the middle of the fight and betrayals by trusted sources, the stakes were higher than helping someone deal with a criminal element. There was no Amy Allen; Sosa took on the Colonel Lynch role from the TV series, leaving the team on their own. If there was a sequel, an Amy could be introduced, but the movie didn’t make enough at the box office to justify a follow-up. The big problem was the focus. The movie covered the A-Team’s backstory instead of their exploits as soldiers of fortune in the Los Angeles underground. As such, the movie set up a series that never happened.

The movie did get some elements right. The cast, as mentioned above, had the chemistry and were recognizable as their characters, not just in looks but also in personalities. It’s not just a matter of using catch phrases, but knowing when to use them and why. Several scenes would have fit in with the TV series, just through the banter and camaraderie. The film definitely lived up to the action standard set by the TV series.

The movie remake of The A-Team is a hit-and-miss affair. Some problems could have been shored up, but there was an effort to have the team feel like the original, a difficult task.

 

* Through the series, Murdock displays different neuroses, so it could be an act. However, some of the act continues even when no one is around. He may have an untreated condition that he hides by acting crazier.

Posted on by Scott Delahunt

Very few TV series manage to reach seven seasons. The history of television is littered with series that couldn’t finish even one full season, shows that could get three before being cast adrift, and even a show that didn’t finish it’s own first episode. Series that reach seven seasons have a strong following. The even rarer series that can go for ten seasons tend to be staples of second-run syndication, even when the series is still running. However, there is one series that made it through ten seasons but never became a network darling.

Mystery Science Theater 3000 was created by Joel Hodgson and first aired on KTMA in November of 1988. The premise was simple, as the opening theme says.  A poor schmuck gets sent to a satellite in Earth’s orbit and is subjected to bad movies by his employers/kidnappers to find out just how much pain the human brain can take. However, the poor schmuck knows how to build robots, who help him get through the cheesy movies by riffing with him.

The Comedy Channel, one of the companies that became Comedy Central, picked up the show the following year. With the bigger budget compared to the KTMA days, the show became how it’s best known, with Joel Robinson (played by Hodgson) not only riffing with the bots Tom Servo (first played by Josh Weinstein*, later by Kevin Murphy) and Crow T. Robot (first played by Trace Beaulieu, later by Bill Corbett), but also participating in invention exchanges with the Mads, Dr. Clayton Forrester (Beaulieu) and Dr. Lawrence Erhardt (Weinstein), and doing skits as a break from the movie.

The riffing was the show’s main draw. The production crew looked for cheesy movies, ones that were bad not not necessarily boring, from the films available through syndication. While science fiction and fantasy films make up the bulk of the series, the show wasn’t restricted to just those genres until it moved to the Sci-Fi Channel in 1997. Thus, movies like The Girl in Lover’s Lane and Mitchell appeared along with The Magic Sword and Space Mutiny. If a movie wouldn’t fill the show’s running time, film shorts were added, from old serials to educational films. As long as the writers could find the funny for riffing, the films were added to the line up.

The cast changed during the run of the series. When Weinstein moved on, Dr. Erhardt was replaced by TV’s Frank (Frank Conniff). Joel was replaced by Mike Nelson (Michael J. Nelson) in season 5 during Mitchell, resulting in a new opening theme. When the show moved to the Sci-Fi Channel, Dr. Forrester and TV’s Frank were replaced by Forrester’s more evil and more capable mother, Pearl (Mary Jo Pehl), who then brought on the Observer, aka “Brain Guy” (Corbett) and had Professor Bobo (Murphy) stowaway on her rocket ship after the apes accidentally destroy the Earth in the future.

While continuity was flexible, there were call backs to previous episodes, including Nelson playing Torgo from Manos: The Hands of Fate in several episodes. However, when the Sci-Fi Channel picked up the series, execs insisted on an on-going plot arc, despite the draw being the riffing. The crew did what they could, creating a chase where Pearl tried to catch up to the Satellite of Love. The final episode aired in August 1999 after increasing conflict between Best Brains, owner of MST3K, and the Sci-Fi Channel led to the show being cancelled after ten season, eleven if the KTMA year is included.

The show became a cult classic through word of mouth and the budding public-use Internet. The show had a wide reference base, everything from Gilligan’s Island and SCTV to Shakespeare and Proust. Tapes of the show were circulated, letting fans bring in more people into the joy of MST3K, even if the show wasn’t otherwise available in an area, like Canada**. Thanks to the magic of Internet streaming, Shout! has made the library available online through subscription, in addition to releasing the series slowly on DVD.

The cast members of MST3K continued with riffing with their own projects. Hodgson created Cinematic Titanic, working with Beaulieu, Weinstein, Conniff, and Pehl. Rifftrax was started by Nelson and included Corbett and Murphy. The demand for quality riffing was there. Several people answered the call, but, ultimately, the fans wanted one thing – more MST3K.

Mystery Science Theater 3000: The Return was a Kickstarter project started by Hodgson and Shout!, looking for $2 million to produce three episodes. The Kickstarter ending with over $5.75 million, enough for fourteen episodes and surpassing the Veronica Mars movie efforts. Backers received several benefits, including early access and their names listed in the credtis. With the eighteen years since the end of the series and almost thirty since the beginning, Hodgson, now the executive producer of the series, went with a new cast. Taking the place of Joel and Mike is Jonah Heston, (Jonah Ray). Like Joel and Mike before him, Jonah is also subjected to cheesy movies as Clayton’s daugher and Pearl’s granddaughter, Kinga Forrester (Felicia Day) and Max, TV’s Son of TV’s Frank (Patton Oswalt) not only try to find the breaking point of a human but also try to commercialize the experiments to pay for the new base, Moon 13.

For this analysis, I’m only taking into consideration the first three episodes. Once more are reviewed, there may be an update. Fourteen 90+ minute episodes take time to watch and digest properly. However, all the episodes are available on Netflix. The decision to work with Netflix instead of a more traditional broadcaster or cable station gave the production crew more control over how the series was made. No fights with a station executive who never watched MST3K on what the show should do.

The first episode of a rebooted/remade series is critical in getting viewers to keep watching. Miss the tone, flub the casting, make one big misstep, and the audience leaves. It’s possible to take a show in a new direction; the rebooted Battlestar Galactica demonstrates how it can be done. But MST3K, at its heart, is a comedy. Fortunately, Hodgson is well aware of that, being the creator. The first episode of a show also has to set up the series for new viewers. It’s possible that someone watching The Return has only heard the word of mouth about the original and has never been able to watch an episode.

Thus, we get a longer than usual introductory segment in the first episode of The Return, including a pre-credits scene featuring cameos by Wil Wheaton and Erin Gray talking up the new host, Jonah, before Kinga lures him to the dark side of the moon. The opening credits again tells the full story.

Keeping to Kinga’s desire to make the experiments commercially successful, the show not only keeps to the established format of the original but also brings in elements of late night talk shows, including a band, the Skeleton Crew, and ad bumpers, which also serve as a break point for the audience. The first episode features the Danish monster movie, Reptilicus, which doesn’t have the production values that early Japanese kaiju films had. The riffing comes fast and furious and pulls from a wide reference base but doesn’t overwhelm the action on screen. The host segments include the invention exchange at the beginning and features a rap about the monster legends throughout the world. But the first episode is meant to wow viewers both old and new. The following episodes would be the real tell for the series. Fortunately, the cast and crew are up to the task. The level and quality of riffs remain strong, and the host segments are entertaining.

Naturally, some changes were made from the original, including those noted above. There are new voices for Tom Servo (Baron Vaughan), Crow (Hampton Yount), and Gypsy (previously played by Jim Mallon and untility infielder Patrick Brantseg, now played by Rebecca Hanson). Gypsy also received a modifiction that lets her travel on the ceilings of the Satellite of Love, allowing her to drop in on host segments and in the theatre. Jonah’s host segments include laser-cut wood carvings to illustrate scenes, giving him his own twist. The main puppets now have a team of puppeteers instead of just the one actor doing both voice and manipulation. Thanks to the expanded budget from the Kickstarter, the door sequence is more involved, yet still retains its charm.

Overall, The Return is a return home to the Satellite of Love. Even with the changes in cast, the new series is still MST3K. Joel Hodgson took efforts to find out what fans enjoyed, choosing movies that reflect the fan-favourite episodes. The result is a series that welcomes back the fans of the original series while bringing in new viewers.

 

* Better known today as J. Elvis Weinstein.
** Rights issues were the main problem. MST3K had limited rights licensed to them for the movies, and thus couldn’t pass that along to foreign broadcasters. The only way for anyone outside the US to see the show was through the passing of the tapes, which was encouraged in the end credits of each episode. The other option was to see the movie without the riffing, a dire state of affairs for some features.

Correction: I originally had Michael J. Nelson credited as Professor Bobo, when I should have have Kevin Murphy.  Apologies to all involved.

Posted on by Scott Delahunt

Apologies, but the past week became hectic and odd.  Lost in Translation will return next week.

Posted on by Scott Delahunt

The world’s best known secret agent has had a long history. Created by Ian Fleming and first published in 1953, James Bond has appeared in 57 books, including 43 by other authors, at least 29 movies, including those made outside the Eon continuity, and in comics. Bond has been portrayed by six different actors in the main franchise alone. With the sheer number of works available, the 007 movies provide a range of adaptations, from the close but not quite approaches of the early films to the in-name-only later works. One film even manages to adapt the novella as smaller portion of its longer running time.

Approaching the project will take time. Several ways of tackling the franchise exist. First is to go movie by movie. With over twenty movies in the main franchise, that will take time. a similar method would be to group the films by the actor playing Bond. That gives the Sean Connery and Roger Moore eras a longer analysis, and doesn’t take into account the one George Lazenby outing. I could also group three movies together, based on the order being used.

The order, though, is another question. There’s the order of the books, starting with Casino Royale. Using this order means jumping around in the film continuity, such as it exists, and several of the movies have titles that come from other aspects of the character instead of story titles, such as The World Is Note Enough. Movie order may be easier – the films may be better known now by the general audience than the books.

Much like the History of Adaptations, the Bond project won’t be week by week. Instead, the goal will be to have an entry each month, with the intervening weeks being saved for other analyses. This will give me time to read the novels and watch the movies again without being rushed. Right now, though, I’m taking suggestions on the approach. Would the best approach be reviewing one movie at a time or grouping the movies together? What order would be best, the books or the films? And should I touch the non-franchise films? Please answer in the comments below.

This will be a big project, but I hope that it will show the range of adapting styles used in cinema.

Posted on by Scott Delahunt

With students now done with the school year, why not look at an adaptation set in a school? Like fingerprints, no two fictional schools are the same. Some are prestigious, accepting only the best and the brightest. At the other end, there is St. Trinian’s, a school for girls that takes in juvenile delinquents known for terrorizing rival schools and even the locals.

St. Trinian’s started as a panel cartoon gag strip by Ronald Searle. The first St. Trinian’s appeared in 1941, but, with the Second World War looming, Searle enlisted and was stationed in Singapore, where he was taken prisoner by the Japanese. After the war, he resumed the St. Trinian’s strip, though his time as prisoner meant that the cartoon took a darker turn. Searle wrote the strip between 1946 and 1952, compiling the collections in five books. The girls of St. Trinian’s were delinquents, as the various cartoons showed. Field hockey matches against the school were bloody, closer to guerilla warfare than actual sport. The older girls dressed provocatively, modifying their uniforms for effect. However, the teaching staff wasn’t much better, and shared their young charges’ interests is smoking, drinking, and gambling.

Two years after the last of the St. Trinian’s strips, a film adaptation was made. Directed by Frank Laudner and written by Laudner, Sidney Gilliat, and Val Valentine, The Belles of St. Trinian’s brought the wretched hive of scum and villainy to the British silver screen. With the St. Trinian’s strip consisting of gag-a-day cartoon panels, a plot had to be created for the movie. However, given the nature of the school, even a wild plot would fit.

The movie opens with the Sultan of Makyad looking for a boarding school for his young, impressionable daughter, Fatima. Fatima’s governess suggests St. Trinian’s as she knows the headmistress there. The Sultan agrees as his race horse, Arab Boy, is in Barchester County, the same location as the school, and would be able to visit both his horse and his daughter at the same time.

In Britain, the back-to-school trains are busy as students head off to their boarding schools. The screaming from the girls never ends, terrifying everyone in between them and St. Trinian’s. Streets clear out as everyone, from storekeepers and shoppers to hens and the police constable, hide from the returning menace. The girls of St. Trinian’s are well known in the county and are avoided. The police superintendent wants something solid to pin against the school to shut it down, but the Ministry of Education hasn’t sent inspectors after losing two assigned to the school.

However, St. Trinian’s is facing a problem that would see the school closed – a lack of funds. Headmistress Millicent Fritton, played by played by Alastair Sims in drag, returns from her much needed summer vacation only to be told by her accountant that the school has too many outstanding bills to pay and nowhere near enough money to pay them. To add to Millicent’s headaches, her twin brother bookie Clarence, also played by Alastair Sims, returns with his daughter Arabella, played by Vivienne Martin. Bella is upset about being expelled unfairly; after all, her class mate destroyed the library and was allowed to stay. Millicent explains that the library was insured. Clarence, though, isn’t so much interested in Arabella’s education as he is in getting information about Arab Boy.

The school’s sixth form, led by Arabella, and fourth form, including Fatima, take the time to find out more about Arab Boy. In a trial run, the horse wins with a large margin, impressing both sets of girls. Arabella is concerned, though; her father could wind up paying out too much money if Arab Boy wins. The fourth form, though, sees a chance at winning big, and call in Flash Harry, played by George Cole. With their limited funds, even at ten-to-one odds, the fourth form girls wouldn’t get much, unless they can get some of the £100 cash that Fatima’s father gave her.

Millicent, while appearing somewhat doddering, knows exactly the type of people – students and staff – she has at the school, and had put away Fatima’s money for safekeeping. The fourth form girls explain the situation but get nowhere. Millicent, though gets an idea. St. Trinian’s needs £4000, but only has £400. Ten-to-one odds would pay the bills and keep the school open another year. She calls on Flash Harry and lays down the bet.

The sixth form, though, wants Arab Boy to lose. Their plan is to steal the horse until after the race is over. However, Florrie, another girl of St. Trinian’s overhears, and taunts the fourth form with the news. Florrie eventually does tell the younger girls the details after being subjected to a makeshift rack. When Arabella and her form go to steal the horse, they find Arab Boy already gone.

Arab Boy’s whereabouts are discovered the next morning by the sixth form; the horse was enjoying the morning sun through the window of the fourth form’s dorm. This triggers a war between the fourth form, the sixth form, and the teaching staff, who just want to be paid. The fourth form smuggle the horse out the window while the teachers distract the sixth form with a frontal assault.

The film takes pains to keep authenticity with the comic strip. The uniforms worn in the film are modelled after the ones drawn Searle. Several scenes come directly from the strip, including Florrie’s torture and the field hockey match, where the referee, the opposing team’s coach, and the opposing team are taken off the field one by one on stretchers. The opening and closing credits include a a parade of St. Trinian’s drawings by Searle. The result is a movie that incorporates the essence of the cartoon strip while fleshing it out for the needs of a longer work.

The Belles of St. Trinian’s was popular, enough so to have three direct sequels and a continuation of sorts in 1980 with The Wildcats of St. Trinian’s. In 2007, the film franchise was given a reboot with St. Trinian’s, with an eye to updating the setting while still keeping to the roots. The new movie was based on both Searle’s work and The Belles of St. Trinian’s, with Rupert Everett taking on the Alastair Sims roles as both Headmistress Camilla Fritton and her art dealer brother, Carnaby.

The movie begins with Carnaby driving his daughter, Annabelle, played by Talulah Riley, to her new school, St. Trinian’s. Annabelle is horrified at what she sees on the way on to the grounds – burnt out car, a shrunken head, and other dire warnings. The school itself has seen better days. Carnaby is transferring Annabelle from her old school, the Cheltenham Ladies’ College, because he thinks he can get a good discount on his daughter’s tuition. He does manage to haggle Camilla down to £2300, which really doesn’t help her out. Annabelle has no choice but to start school at St. Trinian’s.

Head Girl Kelly, played by Gemma Arterton, gives Annabelle a quick tour of the school and introduces the new girl to the different cliques — the chavs, the geeks, the emos, the posh totties, and the first years. Annabelle doesn’t fit in right away with any of the cliques. Later in the evening, she is the victim of a prank pulled by the entire school. She tries to get her father to come pick her up, but he blows her off. Frustrated, Annabelle slaps her cell phone hard enough with her field hockey stick to shatter a bust down the hall. The act of destruction is seen by Miss Cleaver, played by Fenella Woolgar, who, instead of punishing Annabelle, recruits her for the field hockey team.

In London, the new Minister of Education, Geoffrey Thwaites, played by Colin Firth, wants to make his mark on the position. Formerly in charge of prisons, Geoffrey wants to bring the same approach he used there on schools, by taking the worst school in the nation and forcing it to reform. One of his aides has flashbacks to when he was undercover at St. Trinian’s, showing the PTSD he picked up from the time in country. But, since St. Trinian’s is the worst school, both in academics and in behaviour, that is where Geoffrey will start his reforms.

The banks, though, have other ideas. St. Trinian’s is £500 000 in debt, and after having had six final notices ignored, a representative hand delivers the final final notice, giving Camilla four weeks to raise the money, or else have the school turned over to the bank. Making matters worse, Carnaby tries to convince Camilla to just let the school shut down so it could be sold. The girls of St. Trinian’s, though, have mastered the art of electronic surveillance and learn about the looming debt. Kelly comes to the conclusion that, since the adults look to be useless, the girls will have to save the school. If they don’t, they’ll have to go to normal schools.

The Minister arrives in the morning, hoping to find the excesses at St. Trinian’s during the field hockey match between the school and Cheltenham, where his daughter, Verity (Lucy Punch), is the star player and terror. He is surprised to see his former flame, Camilla, as headmistress, though. The match is viscious, with casualties on both teams. Geoffrey takes advantage of the chaos to sneak around. He discovers the various unauthorized extracurriculars the St. Trinian’s girls have, including the religious education teacher crucified, the distillery for knock-off vodka and the pay-per-minute chat line run by the posh totties. However, he’s caught and is shown the way out, though a third story window.

The different cliques have to work together to keep the school open. They enlist the help of Flash Harry, played by Russell Brand, who is their main contact with other criminal elements. He gives the girls a crash course in crime, but Kelly comes up with the master plan – the theft of Vermeer’s “Girl with a Pearl Earring” from the National Gallery. A field trip to the Gallery lets the girls find the security systems and map out how to get in and out. The biggest challenge, though, is getting into the museum. That problem is solved by the new teacher, Miss Dickinson (Lena Headey), who has been trying to get a School Challenge team together. The finals would be held at the Gallery. All the girls need to do is get a team to the finals to get in with security distracted.

However, Geoffrey is still a threat. He returns to St. Trinian’s with the press in tow. His goal is to expose the school’s nefarious activities on camera. The girls are ready for him and go to Code Red, even with ten-year-old twins Tara and Tania (Cloe and Holly Mackie) testing their homebrewed explosives. There is no sign of the problems he found earlier, with a nun teaching the religion class. Worse, Geoffrey flings Camilla’s dog out of the school and into a mulcher in front of cameras, leading him to be the headline, not the St. Trinian’s.

The posh totties become the School Challenge team. While they aren’t necessarily the brightest girls, though they do get the occasional flashes of brilliance, they are the most photogenic. Through means mostly foul, they defeat their opponents, impressing the show host, Stephen Fry. In the finals, they will face Cheltenham. But this does let them get the break-and-enter team a way in.

With The Belles of St. Trinian’s, the memory of Searle’s strip was still fresh, only having ended two years prior to the film’s release and the fifth complilation, Souls in Torment having been released in 1953. The reboot, though, came out fifty-five years after the last published St. Trinian’s cartoon. Times had changed. What was once shocking for movie audiences became quaint. Technology offered more opportunities for mischief. However, St. Trinian’s made efforts to keep to the essence of both Searle’s work and the 1954 film.

First, the uniforms, while updated to take advantage of modern fabrics and sensibilities, were still recognizably St. Trinian’s. The older girls modified the outfits, but even in Searle’s work, they did the same. The definition of scandalous has changed over time, so the uniforms reflected the modern meaning.

The 2007 St. Trinian’s also showed more dead girls than the 1954 film, keeping in line with the strip. Movie ratings systems grew more granular over time, allowing for a difference between a younger teen audience and an older teen audience. A St. Trinian’s girl floating in a fish tank isn’t as unsettling to the older audience. The school itself is far more chaotic in the reboot, reflecting Searle’s work a little closer. The school grounds also showed the dangers more, from the burning car to the various warnings with graffiti.

/St. Trinian’s/ also carries on the tradition set by The Belles of St. Trinian’s, having a male actor play the headmistress and her brother. Alastair Sims’ version of Headmistress Fritton was more dowdy and just getting into the sorts of activities her girls were familiar with. Everett’s Headmistress Fritton encouraged her girls to explore themselves and become the threat the merciless world needs. Both versions cared about the school and the students.

Finally, to show the plan to both the girls and the audience, Polly (Lily Cole) created an animation. The animation is in Searle’s style, though with charicatures of the cast. It’s a nice nod to the original, with some Easter eggs to be found, without confusing new audiences. The animation also furthers the plot, showing the obstacles during the heist.

St. Trinian’s took on the challenges of being both a reboot and an adaptation with two sources, one of those being an adaptation as well, with the added difficulty factor of updating a setting that, while not tied to its time, was shocking for its era. The smoking may have gone, but the attitude remained. In the reboot’s favour, it returned the focus to the students. St. Trinian’s updated the source while remaining true to both the cartoon strip and The Belles of St. Trinian’s.

Posted on by Scott Delahunt

With the recent death of Adam West, it’s past due to take a look at his most endearing role, the 1966 Batman TV series and feature film.

Lost in Translation covered the origin of Batman back while analysing Batman Fluxx. Created in 1939 in the pages of Detective Comics, Batman represents the crossover from mystery men to costumed crimefighters, with a dash of Zorro. Since then, the character has evolved, going from grim hunter of criminals who used pistols to master detective who refuses to kill. Batman’s rogues gallery includes some of the most colourful villains in comics, including the Joker, the Riddler, and Catwoman, all of whom emphasize different aspects of the hero in their clashes.

Superhero adaptations have tended to lag about a decade behind the events in the comics themselves. The general audience isn’t as familiar with current events in titles, either having read the books when younger or just picking up on the better known storylines after the fact. Studios want a wide net when adapting, so minutiae in continuity, always a pain with comics, is often the first to be trimmed. Thus, during a time when DC Comics was turning Batman into the dark detective he’s best known as now, Fox and producer William Dozier were going a different direction, one more in tune with the Batman of the Fifties.

Today, the 1966 Batman TV series is seen as pure camp. Adam West starred as the Caped Crusader, with Burt Ward as Robin, the Boy Wonder. Together, they fought crime that the Gotham City Police Department was unable and incapable of handling. Deep underneath Stately Wayne Manor, the Batcave contained crime fighting equipment that predated many techniques now in use, including DNA analysis.

The series was a comedy, one without a laughtrack. For the first two seasons, Batman aired twice a week, with the first episode ending on a cliffhanger, typically a death trap where Batman and Robin faced certain doom, a doom that would be resolved at the beginning of the second episode. The villains, guest stars all, threatened the safety of the citizens of Gotham City and only Batman and Robin could stop them, usually in a climactic fight in the villain’s hideout filmed with a dutch angle.

Despite, or possibly because of, the series being a comedy, West played Batman serious, which heightened the comedic aspects but also gave the series and the character gravitas. The TV series didn’t shy away from why Bruce Wayne became Batman. Likewise, Ward, Stafford Repp (Chief O’Hara), Neil Hamilton (Commissioner Gordon), and Alan Napier (Alfred) all approached their roles as if the series was a drama. The odd situations and brightly coloured villains stood out in the contrast.

Batman attracted guest stars. Regular villains included Caeser Romero’s Joker, Burgess Meredith’s Penguin, Frank Gorshin’s Riddler, and Julie Newmar’s Catwoman, all playing against type. Romero kept his signature mustache, not quite hiding it under the Joker’s white make up. Other actors who appeared on the series include Victor Buono as King Tut and Vincent Price as Egghead. Even if they couldn’t get a role as a villain, other actors appeared during the weekly wall-climbing sequence, commenting on the oddness of two costumed crimefighters walking on their walls.

After the first season, the studio wanted to sell the series to foreign markets. To help with the sales, the studio made the Batman the Movie. The goal of the film was to introduce the series and its stars. To further intrigue audiences, the movie included four villains – the Joker, the Penguin, the Riddler, and Catwoman. With one exception, all were played by their regular actors. Julie Newmar wasn’t available for filming, so Lee Meriweather filled in. With four key villains, it wasn’t just Gotham City in danger, but the entire world, as they scemed to kidnap the delegates to the United World Headquarters.

The movie kept to the tone of the TV series. Helping there was being filmed between seasons, with the same cast and crew. Lorenzo Semple Jr*, who had also written several of the episodes, wrote the script for the movie, keeping the tone consistent. With the added time allowed by a film, 105 minutes instead of two 24-minute episodes, the story could be given time to unfold and the Bruce Wayne side of Batman could be explored. Just like the TV series, Commissioner Gordon and Chief O’Hara were stymied by the villains and had to turn to Batman and Robin to save the day. The film includes some now-classic lines, including, “Some days, you just can’t get rid of a bomb.

The third season of the series saw several changes. The first was going to a more episodic approach, with each episode self-contained. No more cliffhangers to be resolved at the beginning of the next episode. The other major change was the introduction of Batgirl, played by Yvonne Craig. Barbara Gordon, the Commisioner’s daughter, joined the Dynamic Duo in their crusade against crime to keep Gotham City safe. Eartha Kitt stepped into the role of Catwoman when Julie Newmar was again unavailable. The episodes felt a little more rushed as the plot needed to be wrapped up at the end instead of allowing for the usual two parts. However, the change in approach gave the actors a bit of a break; the episodes were still meant for a half-hour time slot, which now aired once a week. There were some two- and three-part episodes, but they were still aired one part a week.

The TV series reflected an older version of Batman, one that was more camp than the current version. Yet, the actors treated the characters seriously. The commentary with the movie by Adam West and Burt Ward showed that, even with the problems they faced – Ward especially – they still realized that they were playing Batman and Robin. The series was a comedy; the roles were still important to them and to the actors playing the villains. This approach is why the series is still beloved even today.

The movie of the series is a perfect example of adapting properly. In its favour, the goal the studio had was to give international audiences a taste of what the TV series offered. Changing that focus would have created problems for keeping the new audience. The movie’s budget also allowed to film on location instead of in studio and for the use of new bat-gadgets, including the Bat-copter and the Bat-boat. Footage of both would appear in the following seasons as needed.

Combined, the Adam West TV series and movie are an important part of Batman lore. Later adaptations would still pay homage to the work. Batman: The Animated Series introduced one of Bruce Wayne’s childhood heroes, the Grey Ghost, voiced by West himself. Elements of the TV series can be seen even in Tim Burton’s Batman of 1989. DC Comics even released a continuation comic for the series, Batman ’66. Adam West has left a legacy that will be remembered fondly.

 

* Semple has come up in past reviews here at Lost in Translation, including Street Fighter: The Movie and Flash Gordon.

Posted on by Scott Delahunt

Since the dawn of television, the medium has been seen as pandering to the lowest common denominator. Film was seen as more prestigious. Today, though, the situation has reversed. While film adaptations are still desired by fans, television may be the better medium, allowing for greater depth. What happened?

In the US, television became dominated by three broadcast networks, ABC, CBS, and NBC. While there were other options, including the public broadcaster PBS, those three networks aired the bulk of TV series. The nature of ratings meant that, on average, a network could expect a third of the viewing audience for any given time slot. To attract a broader audience, the network would need a show with broad appeal, something that attracted families during the early evening and something that brought in adults later in the night. An inexpensive family drama could survive longer than an expensive high-brow science fiction series that needed special effects and dedicated sets. Broadcasters also could let a series find an audience. Even a 20 share meant that the network could sell the show to sponsors.

Film, however, was where the glamour was. Movies had an edge on television just on relative longevity alone. In the Fifties, colour was the norm for film, shown on a large screen. The stars were larger than life, thanks to the Hollywood glam machine. Even as televisions became more affordable, a weekly night out at the movies wasn’t a hardship. Studios still had limitations, though. The “voluntary” Hays Code, taking effect in 1930, put limits on what could be shown, leading to writers leaving what happened off-screen to the audience’s imagination. Beginning in the late Fifties, with Some Like it Hot, directors and studios started ignoring the Code, or, in the case of foreign film makers, weren’t bound by it in the first place. As a result, the MPAA introduced a classification system in 1968 that would let audiences decide for themselves what they were comfortable with.

Early television couldn’t compete with film. Television sets were small, with grainy black and white pictures, and very dependent on the strength of the broadcast signal. Movies were backed by studios with a good distribution system, shown on large screens that directors took full use of. Actors used television as a stepping stone towards a career in film. Better televisions were available, and colour became the standard for TV in the Sixties, but film still got the lion’s share of attention.

Then came the 500-channel universe. As cable grew, the choices available went from local and nearby broadcast stations to specialty channels available through subscription. Audiences could find a niche they wanted. Advertisers could target their market with more precision. Sports fans had several channels available to them, as did lovers of classic films and science fiction aficionados. With the expanded range available, specialty channels didn’t have to worry about the lowest common denominator. Networks, though, took time to learn the lesson. With the expanded competition, though, the quality of even the lowest of the low still had to improve. Add in time-shifting technologies as video cassette recorders and digital recording, viewers no longer had to plan around their favourite shows.

Film ran into new problems. The competition in television meant that there was less time for the weekly movie outing. The economic woes meant that nights out became rarer, especially after the Great Recession of 2007. Coupled with rising ticket and popcorn costs at theatres, who were trying to find ways to stay afloat despite record blockbusters, a movie night became a luxury. Not helping was the ballooning costs of making movies. Comedies were starting to cost as much as special effects laden science fiction movies; The Hangover 3 cost as much to make as Star Wars Episode I: The Phantom Menace. Studios now need films to be popular not just in the US, but also around the world. This need means aiming for the lowest common denominator, one that transcends international borders.

In contrast, televisions main problem is filling all the hours. Stations, broadcast and specialty alike, will still fill time by airing old programming. Sports stations will show classic games of the past; science fiction stations show older series that still have a following, like Star Trek; movie channels will show classic films of yesteryear. The stations will also create new programming as well. The quality may not be great, but even Sharktopus brings in an audience. Budget is a concern, but specialty channels can create TV series that brings in subscribers.

For adaptations, this reversal of roles means that television is the better medium, especially for long form works like novels. HBO’s success with A Game of Thrones, based on George RR Martin’s A Song of Ice and Fire series, and AMC’s similar success with The Walking Dead, based on the graphic novels by Robert Kirkman and Tony Moore, showed that it is possible to create a series that resonates with audiences. Naturally, there were follow-the-leader adaptations, especially in fantasy with MTV adapting Terry Brooks’ Shannara series as The Shannara Chronicles. Television allows for greater depth over a season than possible in a two hour film, allowing the adaptation to take the time it needs to present the characters properly.

Film still has its glamour, though. Movies have budgets that television can only dream of. The same budgets, though, mean that most studios aren’t going to take huge risks. Deadpool, an R-rated superhero raunchy comedy, would never have been made if the X-Men franchise didn’t get past the first movie. With television’s lower budgets, a failed pilot isn’t as much of a loss as a blockbuster dud, and the expectation of TV pilots is lower.

The reversal of roles between film and television is recent and the root is economic. Adaptations of longer works, including series of novels, television has become the medium of choice. Film’s competitive edge has eroded, and television is coming into its own.

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