Pop Culture: Articles for the Scripps Howard News Service & "Seen, Heard, Said"
Why the top-365-songs list isn't a stupid idea
Actors sink their teeth into vampire roles
Gregory Corso: My encounter with a Beat legend
Golden Globes: Sleazy and proud of it
In the offing, Clinton continent looms
"NYPD Blue" opener: The misery continues
New movie genre: Reclusive authors anonymous
"West Wing," "Ally," et al.: Words, words, words
When TV shows outstay their welcome
Film critics dig their own graves with "Angels" review
Great Robert Altman films you never
heard of
Famous folk, next week in the arts, show business briefs
"Time regained": Proust in the multiplex
Glitterati is dead, long live Popfocus
Carl Barks: The man who put the ducks in Duckburg
"Almost Famous": Lester Bangs rises from the dead
Liz Hurley wins in war of words with Jane mag
Douglas poses with Zeta-Jones, and baby-makes three
Weddings that aren't: Douglas, Zeta-Jones, Madonna, Ritchie
The Emmy War: A half-century of coast-to-coast feuding
Jennifer Love Hewitt plays the Iglesias odds
It's raining books by and about Trumps
What's in a mane? Blond woman in the news
Liz Hurley denies dissing ex-beau
Rock Hall of Infamy: Anti-heroes from Elvis to Eminem
Barbra tix bankrupt fans
Laurels for Kathie Lee to rest on
Hillary "In bed" with De Niro, Cruise, Kidman
How "Sopranos," "West Wing" will divvy up awards
This just in: Donald Trump is not a dope
Walter Matthau: A rumpled old dog in the heart of the city
Sampras to take a stroke at wedding bells
Who wants to host "Monday Night Football"?
Queen rewards Tina Brown for demoralizing American readers
How the Korean War cane to TV land 20 years late
Ivanka Trump: From catwalk to commencement line
Lester Bangs: The troublesome punk who wouldn't die
Rags clash over Ted Turner "romance"
With straight face, Trump deems Marla's move "tacky"
"Friends" re-up for another season of top ratings, top money
Madonna in denial, and rightly so
"Suburbia": The continental subdivide
Howard Stern, Sly Stallone in bizarre, apocryphal triangle
Easter video viewing: "Spartacus" to "Harvey"
Billy’s in the news: Bob, Joel in love but not with other
"Charles's Angels" movie: Dispiriting news for old-time fans
Innovative career move for 'NYPD Blue' co-star
Top model: Why I gave oldish rocker husband the heave-ho
Unpleasantville: The awful truth about old-time TV families
Tina Brown held captive in desert by demanding children
Anybody's Oscar: Unusually suspenseful awards show looms
Oscar telecast: Looking for a few good hosts
"Lambs," "Beauty": Oscar's love affair with unacceptable behavior
Brad Pitt, Oscar to be in same room at same time
Letterman bites guest-host bullet: Andrew "Dice" Clay, call your agent
Seinfeld eyes East Hampton manse: Where's the welcome wagon?
"Mod Squad" Immortal dishes couple du jour
Brad Pitt's second thoughts about Oscar
Mike McCurry praises "West Wing": It's not entirely demeaning,,,"
Memo to "Hannibal" producers: Get Najimy while the getting's good
Don't Invite Gwyneth and Oscar to the same party
True or false: Douglas, Zeta-Jones don't even know each other
Ex-Clinton honcho linked to ex-"Cheers" costar
Third party cited in Trump-Knauss breakup
Gossip queen goes to bat for Talk mag
20th century's No. 1 hit: "Satisfaction" hits the spot
Statement: Spice girl's marital problems insoluble
Charlie Brown, Pogo and me
From Howdy to Charlie Brown, we hate to say goodbye
The Beatle George: While his guitar gently weeps
Jodie Foster's people in mild tiff with CBS
A Peanuts trivia Q&A
Publicist: Boyle still joined at hip
There's video in your future and future in your video
"The future is now": Hit rewind
Whitney Houston presides over confluence of talent
Jim Carrey's flack earns A "D," Cher's A "B-minus"
Geraldo: bye-bye, doghouse
Michael Douglas does nothing much, reporters go wild
Ricky Martin on Menudo: Look back in anger
How to outsmart Halloween crowds at the video store
Tom Cruise puts himself in harm's way, only not really
1800-1900: Steaming towards revolution
1700-1800: Liberty, equality and bloodshed
1600-1700: The earth moves; North America is settled
Trump mulls travel plans, from altar to White House
"Faces of Impressionism" Time machine made of canvas, paint
Major quakes aren't personal unless they happen to you
Brad Pitt gracious about character assassination
Director insists Harrison Ford is not a brainless hulk
Costner, Willis, Douglas. Branagh, Sting_ in that order
Streisand: Color her ready to plug her new album
Julia and Benjamin's rings devoid of significance, flack says
Literary mud wrestling, featuring Geri and The Spice Girls
Urgent news: Ford to replace Gibson on "GMA" eventually
She married a monster from outer space
Never mind Godzilla VS. Mothra, Here's Trump VS. Cronkite
Spurned by Pitt, Redford pays court to Damon
Celebrity coyness is bustin' out all over
"Detroit Rock City": Kiss of death
Talk is cheap? Not with Tina Brown at the helm
The Beats: Remembered, Lionized and Unread
Real estate beat, starring Woody Allen and Donald Trump
Mood Music, or how we learned to stop worrying
Sex in the cinema: From "Last Tango" to "Eyes Wide Shut"
Two easy steps to looking exactly like Ricky Martin
Close encounters of the Muppet kind
Upcoming Brad Pitt movie not garbage, insiders say
Kathie Lee's eyewear excites Islanders' ire
Back to the future, continued
"Wild Wild West": Buck Rogers in the 19th century
Sculptures by Roy Lichtenstein: Fun, Fun, Fun
An expert's verdict:" Austin Powers" is pretty neat
Click here for pointless celebrity gossip
P. Dempsey Tabler of the jungle: The many faces of Tarzan
Kirk Douglas' Ex tells all about Errol Flynn fling
New twist in TV programming: Ax profitable shows
Private jet fees spell the end for another celebrity union
Killer serials: "Flash," "Buck" and a boy named George Lucas
Top nonfiction books: A message from two old men
Celebrity Dream dreams: Monica, Donald, Barbara, Georgette
Two divas, publicist form bizarre show-biz triangle
Johnny Cash tribute: Ring of fire, ring of friends
Streisand employee really upset about rumors
Grande Dame Eyes MGM Grand Gig
Secretive celebs? Not by a long shot
NBC honcho bristles at notion that Brokaw is not a saint
Barbara Walters not keen on daily dose of Monica
"Seen, Heard, Said"
David Letterman, Donald Trump, Eddie Murphy, Elton John
Madonna, Frank Sinatra, Prince Charles, Maj, Ronald Ferguson, Fergie, Miranda Richardson, Brad Pitt, Juliette Lewis, Axl Rose, Stephanie Seymour
|
|
December 8, 1999
'THE FUTURE IS NOW': HIT REWIND
By ROGER ANDERSON Scripps Howard News Service
Welcome to the future. Please don't be confused by the biplanes, drag racers, Harley-Davidson and talking apes.
Well, OK, you got us. This isn't the real future - it's the future, or futures, that filmmakers have been proposing almost since the birth of the movies.
Technology, according to David Schwartz of the American Museum of the Moving Image in New York, is what futuristic films are all about. That's one reason he and his crew have put together a series called "The Future Is Now," which kicks off Saturday (Dec. 11) and runs through Jan. 2, coinciding with the turn of the millennium.
(Futurism fans not fortunate enough to be in New York during that period will be happy to know that most of the movies are readily obtainable on video.)
"Film is, first and foremost, a technological medium," Schwartz says. "It's a technology you can use to take an imagined world and make it palpable, make it look real.
“One theme we wanted to explore here is how humans interact with technology, and that's what most of these films do.
“The movies in the series range from the scary to the comic; we've got beautiful stuff like 'Metropolis' and fun films like Woody Allen's 'Sleeper.'"
No matter whether a film is set in 2000 ("Metropolis," 1927; "Death Race 2000," 1975) or 2013 ("Blade Runner," 1982) or as far afield as the 22nd century ("Sleeper," 1973), Schwarz points out, "they're all really about their own time."
That's why Fritz Lang's vision of the future, 'Metropolis,' features biplanes soaring high above the film's urban canyons. That's also why the "Death Race" scenario involves cheesy-looking drag racers mowing down pedestrians in a bloodthirsty game show.
Terry Gilliam's super-rococo "Brazil" (1986), of course, purposely posits a future world that contains every imaginable piece of retread retro-junk.
Every theory of film, however, gets stood on its head by the talking simians in "Planet of the Apes." But look at it this way; if Charlton Heston can speak English, why not a bunch of monkeys?
Nor is the future going to be short on glum-looking Raymond Chandler-style gumshoes filled with existential dread, according to films like "Alphavllle" (1965) and "Blade Runner.”
"'Blade Runner’ is really one of the great movie masterpieces that look to the future," Schwartz says. "It's very different from a film like '2001: A Space Odyssey,' which was unavailable for the series. While '2001' is very spare and austere, 'Blade Runner' is filled with the hustle and bustle of a great city."
If nothing else, some of the futures projected by filmmakers are visually splendid. Everyone knows that the story of "Blade Runner" amounts to very little, yet filmmakers, critics and fans are almost unanimous in deeming its gloomy, multi-layered urban atmosphere one of the great triumphs of art direction and cinematography.
Same goes, of course, for "Metropolis," which Lang dreamed up after meditating on the New York City skyline of the Jazz Age.
"And 'Things to Come,'" says Schwartz, with reference to William Cameron Menzies' 1936 adaptation of H.G. Wells' work, "is a futurized version of the Art Deco style. When you see it, you can't help but think 1930s."
French New Wave film gods Jean-Luc Godard and Francois Truffaut entered the futurism sweepstakes with "Alphaville" and "Fahrenheit 451" (1966), respectively. While the Truffaut film is based on a Ray Bradbury tale about book-burning in a future age, Schwartz says that's not the film's true appeal.
"It's a beautiful look," he says, "a film where the look is the main thing."
Another element filmmakers envision in the world of the future is carnage, and lots of it. "Mad Max" (1979), "Death Race 2000," "Demolition Man" (1993). and "Blade Runner" have, in the aggregate, more body parts per film frame than most action movies. But sometimes the horror is expressed in a less obvious way.
"One of the great things about 'Brazil' is that all the trouble starts with a little bureaucratic error - a misspelled name," Schwartz says. "That's in spite of all the advanced technology and social engineering. It's still the little things that go wrong."
Roger Anderson is arts and entertainment editor at Scripps Howard News
Service.
back to top
|