Saturday, December 16, 2017

Saturday Morning Cult-TV Blogging: Challenge of the Super Friends: "Revenge of Gorilla City" (November 4, 1978)


In “Revenge of Gorilla City,” an episode of Challenge of the Super Friends (1977), Grod convinces his allies in the Legion of Doom that they must take over peace-loving Gorilla City. Long ago, he was banished from the peaceful metropolis.

Now, Brainiac has developed a mind amplification device that allows the Legion of Doom to enslave the city-dwellers.  Only the city’s King, Solivar, escapes this brain-washing, and manages to warn the Super Friends of the danger. Unfortunately, Superman is far away, in Galaxy 13, pulverizing asteroids.

Rescuing the city of intelligent simians is more difficult than it might seem, too, because Toy Man has created a Kryptonite toy airplane that can immobilize the Man of Steel.


“Holy Gorilla Warfare!” Robin exclaims in “Revenge of Gorilla City,” a story that blends a Planet of the Apes (1968)-style civilization with a superhero story. 

Grod -- the only criminal in the history of Gorilla City -- takes out his revenge on his people, and the episode’s big set-piece is a “royal hunt” of the Super Friends by the mesmerized apes and the Legion of Doom. So, think Taylor, Landon and Dodge under attack, but throw in the DC characters for good measure.


We learn much background about Grod and his civilization in this episode. Gorilla City is hidden under a dome of invisibility, near Bogota, and rests on huge deposits of gold. The Super Friends and the Legion of Doom know about its existence, and apparently Grod has been frothing at the mouth to return there and wreak his vengeance. King Solivar is a noble leader.


Here, everybody drives to the city in moon buggy-type vehicles, and the Legion of the Doom invention of the week is the brain wave amplifier by which Brainiac can establish mental control over the city's denizens.

This week, Wonder Woman is the hero who wears a helmet in space, but no space suit (last week it was Batman), and it’s confusing why she even bothers. Clearly, the writers of the episode understood that some protection is required in space, but didn’t want to give her a space suit, apparently.

Lastly, the Super Friends state a variation on the line that is repeated every week on Challenge of the Super Friends: “Not if we can help it!”

Next Week: “Swamp of the Living Dead.”

Friday, December 15, 2017

Movie Trailer: The Last Jedi (2017)

Star Wars Week 2017: Standing in Line to See Star Wars in 1977



I recently watched the (intriguing) documentary The People vs. George Lucas, and the news camera footage of folks standing in line for The Phantom Menace (1999) and other Star Wars prequels at first seemed quite odd to me. 

I mean, at that point in our national history, there was no need really to stand in line – or camp out in line as the case might be – to see any particular film. The distribution paradigm of carpet-bomb wide release makes the very idea of standing-in-line something of an anachronism, it seems.

But, in my heart, I suppose I do understand why some fans chose to stand in line awaiting a new release in the popular old franchise.  Standing-in-line is a communal experience first, one allowing fans to connect to other Star Wars fans and to plug-in to the community’s sense of enthusiasm and excitement  And secondly, standing-in-line now likely qualifies as a nostalgic experience for older fans, at least for ones of my (advanced) age.

Because let me tell you, back in the day, if you wanted to see Star Wars (1977) or The Empire Strikes Back (1980) or E.T. (1982), for that matter, standing in long lines was absolutely an unavoidable part of the experience.

I will always remember the summer of 1977 and the coming of Star Wars.  I was in second grade at the time, and a friend who lived up the block from me in Glen Ridge came to school with a Star Wars movie booklet; one that featured imagery of Dewbacks, Banthas, Tusken Raiders, Jawas, C3PO, Chewbacca, Darth Vader and other characters of seemingly impossible and unbelievable imagination. 

I had never seen so many strange creatures assembled between two covers, and I so listened in awe as Stephen, my friend, described the film to me in some detail.  I still didn't quite understand why robots were co-existing with monsters and other creatures. It seemed...weird.

At this point, I should add, I was still high on King Kong (1976), and could not quite believe that any movie might possibly surpass that particular viewing experience.  So sue me.  I was seven.

Soon after my introduction via Stephen to Star Wars, my parents took me and my sister to see the film at a movie theater in Paramus N.J., and I couldn’t wait to see what I would make of the movie.


Only -- in actuality -- I could wait. 

In line. 

For close to three hours. 

The line at the theater stretched around the large rectangular building -- around three corners -- and then led out into the huge parking lot. And the line moved at a snail’s pace.

Finally, of course, we got into the auditorium, and it was absolutely packed. Everyone in my family had to squeeze past other patrons to find four seats together.

And then the movie started and my life changed.  That night before I went to bed, my mother asked me if I liked the movie. My mind was still reeling, and I said that I did.  But I suppose I was a little reserved. 

She then absolved me of my guilt: “It’s okay, John if you liked it better than King Kong,” she said, apparently sensing my loyalty and allegiance to the big ape.  My façade cracked quickly at that point and I was glad and relieved to admit the truth.

I had liked Star Wars a whole lot better than King Kong.  It was…amazing, like nothing I had ever imagined.

By the time The Empire Strikes Back arrived in theaters in 1980, I knew to expect a long line.  And so did my parents.  Before queuing up for the sequel, they bought me Star Wars and Shogun Warrior comic books to read for the wait.  I also had my Star Wars novelization in hand, and a few action figures in my pockets.  The time in line still seemed eternal, but again, the wait was worth it.  I left the theater wondering how on Earth I was supposed to wait for three years to discover Han Solo’s fate.

Then, by the time of Return of the Jedi, there was no need to stand in line, at least in Montclair, N.J., where I saw the film at the Clairidge Theater.  I came out of the film deflated, thinking “that’s it?”  And now I must wonder if my disappointment came about at least a little bit because I missed waiting in line.  There was no build-up to the experience, and no plugging-in to the enthusiasm of other Star Wars fans and even general audiences. More likely, the movie was just disappointing, and the experience played almost no role.  Right?

Of course, I’m glad that, by and large, we don’t have to wait in line to see movies anymore…unless we choose to. 

But I do wonder what the lengthy standing-in-line experience meant in terms of a movie meeting or not meeting audience expectations.  By waiting for hours in line for a film, were we just relieved to be inside -- in the air conditioning -- and therefore more receptive to a film’s spell? 

Or did the waiting-in-line actually build up our anticipation to such a degree that nothing could meet those expectations?  I wonder.

I do know this for certain: Star Wars, The Empire Strikes Back, Raiders of the Lost Ark and E.T. certainly surpassed my wildest expectations, and those are the films I remember most vividly standing in line for.

Ranking Star Wars Now (Before The Last Jedi)



Star Wars: Best to Worst:







All right, there you have it: the Star Wars series as ranked by me at this minute, on the fly.

I reserve the right to think about it, and go over it. Some days, I prefer Revenge of the Sith to The Phantom Menace.

I don't think I would shift either the #1, #2 or #8 slot, but the rest is all in motion.

Ask JKM a Question: Star Wars, Has it Been Good for Cinema or Bad?


A reader, Beth, writes:

I recently read your book Science Fiction and Fantasy Films of the 1970s and would like some clarification on a particular point.  

I realize I might be reading between the lines, but do you believe that Star Wars had a negative impact on science fiction cinema?

Hi Beth, that’s a terrific question.


What my book said -- and the idea I stand by -- is that Star Wars dramatically changed the nature of the science fiction cinema (and science fiction TV, for that matter). 

I feel I can make that case without arguing pro or con regarding the value of Star Wars influence.  But since you asked, I will argue my side too.

First, the case that Star Wars changed the sf cinema:

Before Star Wars, the science fiction cinema of the 1970s was concerned primarily with two ideas: apocalypse and dystopia. 

Thus we had films such as No Blade of Grass (1970) the Planet of the Apes sequels (1970-1974), The Omega Man (1971), Z.P.G. (1972), Zardoz (1973), Soylent Green (1973) and Logan’s Run (1976) to name just a few of the titles.

George Lucas himself began his sci-fi career with a film in this dystopian mode: THX-1138 (1971).

Following the blockbuster trajectory of Star Wars, a strong fantasy and swashbuckling component came into the genre. 

Escapism became the key defining factor of sf cinema.


We had films such as Star Crash (1977), Message from Space (1978), and so on. Notice that some of these titles seem to have a grounding not in science fiction, necessarily, but in Western movie tropes translated to the final frontier.

Even James Bond went to space in Moonraker (1979).

Instead of pondering the end of the world, or the future shape of mankind, many post-Star Wars films featured adventure, mysticism and multi-colored laser battles instead.  Politely put, this shift could be described as a dumbing-down; a movement away from big, controversial ideas and towards special effects showcases.

Yet it is undeniable that Star Wars proved that science fiction could succeed at the box office in a big way, and therefore I judge its influence as quite positive.  

The film itself is brilliantly-achieved, a blast of raw energy and hope in a (largely) cynical and down-beat decade. The film is a lot of fun, but let's not forget that it is something beyond entertainment. It presented us, in meticulous detail, the brilliant idea of a "lived in" universe. It re-purposed and re-imagined old serial tropes in a way that made them feel fresh

Without the arrival of Star Wars, additionally, it is doubtful that Star Trek: The Motion Picture (1979) would have been made.


Without Star Wars, we might not have gotten Alien (1979), a truly magnificent film in terms of production design, and its revolutionary view of space travel (blue collar space truckers, for lack of a better term). 

Even some films from the immediate post-Star Wars era that have been widely dismissed as Star Wars knock-offs had something of value, philosophically, to offer. The trippy and dark ending of The Black Hole (1979), elevates that movie above its juvenile shoot-em-up qualities. 


Similarly, Glen Larson’s theatrical version of Battlestar Galactica (1978) was really a fascinating Cold War allegory worrying that we would sell out our nuclear store for the possibility of a fake peace with the Soviet Union.  It was Peace Through Strength…In Space...with chrome robots.


So a careful reviewer with an eye towards history could say that Star Wars changed science fiction cinema -- moving it into deep space and other galaxies, and elevating the escapist aspect of the genre -- but that it didn’t gut the science fiction cinema of its guiding principle: to comment on mankind, his nature, and his future.

Yes, Star Wars was so successful that Hollywood producers fell all over themselves getting silly, empty-headed “space” fantasy movies into theaters. 

But other, cleverer producers, saw that Star Wars gave them an opening to work in a genre that was suddenly incredibly popular. By the 1980s, the success of Star Wars had laid the groundwork for big-screen, big-budget adaptations of the works of Frank Herbert and Arthur C. Clarke, for example.

So, no I don't judge Star Wars' existence of influence as negative.

On intellectual and critical grounds, I would not want to see Star Wars subtracted from film history.  Not merely because I feel it is a great and worthwhile film, but because I feel it opened the doorway for a lot of great movies, even if its success altered the nature of science fiction for a few years.

On personal grounds, I would also not want to take Star Wars out of film history. As a second grader, the film was revelation to me. It changed the direction of my life in so many ways.

Now, I feel this way today, I might add, as a qualifier. 

We’ll be getting a new Star Wars movie every year for now until eternity. Disney is strip-mining the property, and this will make Star Wars seem less like a special event, and more routine.  We know there have been difficulties, behind the scenes, on Solo (the Han Solo movie), due out next year.

Let’s make a date to revisit this discussion. Ask me again in five years if Star Wars has had a positive influence on the cinema of ideas. 

Don’t forget to ask me your questions at Muirbusiness@yahoo.com

Thursday, December 14, 2017

Star Wars Week 2017: Yoda Hand Puppet

Star Wars Week 2017: Return of the Jedi Lunch Box (1983)







Stars Week 2017: The Empire Strikes Back Lunch Box (1980)



Star Wars Week 2017: Star Wars Lunch Box (1977)



Star Wars Week 2017: Star Wars #15: "Star Duel" (Marvel)



The Marvel-produced Star Wars comic book of the late 1970s wasn't always good. That's for sure. The series suffered from a distinct lack of direction immediately after the adaptation of the blockbuster film; particularly in regards to a silly regurgitation of The Seven Samurai/Magnificent Seven involving Han Solo and other mercenaries (including one who looked like a giant green Bugs Bunny...) combating a giant behemoth on Tattooine.

But when the Star Wars comic-book series was good, it was very good indeed.

Case in point is one of my favorite issues, numbered #15. It's titled "Star Duel" and was first published in September of 1978 (just months before I would soon turn nine years old).


This issue completes a lengthy, multi-issue story arc involving Luke Skywalker and a war on a distant water planet, as well as Han Solo's deadly rivalry with a menacing, scarlet-bearded villain called Crimson Jack. "Star Duel" is written by Archie Goodwin and the artists are Carmine Infantino and Terry Austin.


As "Star Duel" picks up, the planetary war is over, but Crimson Jack -- a space pirate with a stolen star destroyer at his command -- has finally caught up with his Corellian nemesis, Han Solo. At Jack's side is a gorgeous but conflicted space pirate lass named Jolli. She claims she wants Solo dead too (for a recent betrayal when he was her prisoner...), but the fact is...she's in love with him.

As the issue commences, Jack plans to launch an aerial attack (led by Jolli) on the sea-berthed Millennium Falcon (which is undergoing repairs by Chewie and C-3PO). Jolli pilots a Y-Wing against Solo, and this issue features several good character touches for her, including a brief flashback to her tragic youth; one that explains how Jolli became a space pirate and why she's always felt she needs to be "harder," and "tougher" than "any man around her."

The pitched battle between Han Solo and Crimson Jack rages from sea to air to space (with Luke manning the Falcon's turret guns again...), to a final one-on-one outer space quick draw finale -- a blaster duel - involving Solo and Jack. 

But it's Jolli who ultimately casts the deciding laser blast here, in a great (and uniquely touching) finale. The issue's final panel, involving a tender kiss (Jolli's first and last...) is an emotional showstopper. If you love Star Wars, and if you love these characters (especially if you've been following the comics...), this one packs a wallop.

Although undeniably scientifically inaccurate (Solo and Jack don't wear pressure suits during their duel in space, only masks, kinda like the Mynock scene in Empire), this story nonetheless has a lot going for it. There's some great (and forward-looking...) attention to detail. For instance, the droids are depicted in one panel on the exterior hull of the Millennium Falcon making repairs during space flight. I may have forgotten something, but I don't think we actually saw such a thing happening (besides R2 in his bucket back seat on an X-Wing...) until The Phantom Menace in 1999.

"Star Duel" also reveals an assortment of captured spaceships re-purposed by Crimson Jack...and one of them is a TIE Bomber. Again, my memory banks may be failing me here, but I'm pretty sure we didn't see that make and model on screen until the asteroid pursuit of The Empire Strikes Back in 1980...over a year after this comic issue was released.

These instances of cross-media saga continuity certainly warm the heart of my inner geek, but the tragic love story of Han Solo and Jolli, played against the larger-than-life villainy of space pirate Crimson Jack speaks powerfully to my romantic side.

I have fond memories of being very young and reading, re-reading -- and then reading again -- this entire Marvel Star Wars story arc. 

I felt then, and I still feel now, that the climax of "Star Duel" really brings everything home in a wonderful and poignant way. This is a good story about human characters and the choices they make. It may be set against a cosmic landscape of combat, yet it feels intimate and personal. 

Such a mix is precisely what the franchise does best.