Thunderbirds S1 Ep3: City Of Fire

I'm not quite sure about the scaling of those figures and hoverbikes against The Mole. Questionable, but thank you Gerry Anderson for your incredible worlds.

It's FAB Tab Gerry & Sylvia Anderson Friday Folks!
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That's one heck of a skyscraper. Sky Of Fire may be more like it.

We go straight from the frying pan that was the Pit of PERIL into the fire in City Of FIRE! How can you not have an absolute blast with the titles awarded to each episode of Thunderbirds. Someone was definitely sitting around that table determining the cataclysmic word of the week. You'll find there is a significant pattern when it comes the use of descriptive words of absolute and utter disaster. Terror, destruction, attack, death [you know how I feel about that] and disaster itself. There is no breathing room for the boys to men of International Rescue. So it's time to save the world once again [or at least a city]. There's no time to waste. Welcome to Thunderbirds, Series One, Episode 3, City Of Fire. 5-4-3-2-1, Thunderbirds Are Go!

Thunderbirds is all about the disaster of the week and this installment is no exception. This entry in particular reminds me of The Towering Inferno [1974] [produced and partially directed by Irwin Allen, the man behind Lost In Space]. Yet, this Thunderbirds concept, despite the puppets, clearly predates the live action The Towering Inferno by nearly a decade.

A helijet crew reports on the newly completed Thompson Tower. The initial shot of the tower indicates it shoots straight above the clouds. It is a giant store, "a self-contained city," and every commercial item in the world can be obtained within the building. It has 350 floors. A person could live a whole year in just one of the rooms in the tower. Really? How much is rent? It is 2 miles deep and .5 miles wide. The sub-basement has room for ten thousand cars. A monorail, 4 miles long, runs through it linking the parking to the building. I'm not entirely convinced of the math on that. Anyway, the point is this is a true feat of engineering excellence.
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Forget the tower, is there room on Tracy Island? What a paradise.

Meanwhile, over at Tracy Island, Brains is working on a new experimental gas mixture with Jeff Tracy and Tin Tin in tow capable of melting metal. The boys are testing it on some steel. Brains is uncertain of the effects the gas will have on its operators. So, if the Tracy boys keel over and die it's 'oh well, it was worth learning more about it.' Okay. I mean gee whiz do you have a few hamsters handy first? I suspect it will be employed on the city of FIRE! Brains is optimistic as it begins penetrating the metal. Unfortunately Brain's mixture begins influencing the boys. Virgil is the first to be adversely affected. Just the same, Scott and Virgil are happy blasting away at the metal with their gas torches. Virgil's blood pressure drops and down he goes in a heap of puppet wood. Watch those flames puppet boy. Scott drops next and the boys are dangerously close to becoming a kindling fire of minute puppet proportions.

Jeff inquires with Brains on the status of his boys. Don't let that studder fool you, Brains is brilliant. The reason cited by creators in Chris Bentley's The Complete Book Of Classic Thunderbirds has something to do with Brain's intellect moving more rapidly than his physical ability to put a thought into words. There are great many reasons for stuttering or stammering so it's certainly plausible.

Virgil and Scott are alright. The kids are alright! Brains needs to get back to work. Scott welcomes a chance to get back to work with Tin Tin. She's a cutie as puppets go. I suspect she's in hot demand with female puppets in short supply on Tracy Island.
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Note the driver appears to be thrown clear of the vehicle.

Elsewhere, a family enters Thompson Tower for a little shopping. A few short minutes later, an old biddy enters the tower who can't drive if her life depended on it, and it does. Unfortunately her husband is with her. She drives straight through the ticket booth at top speed and into a group of cars in the garage. A large explosion occurs. There's an odd moment from the editing department here. In the crash sequence both the husband and wife are clearly thrown from the vehicle and should be dead. There's no question about it. These people would have been toast. Instead the next framed close-up has the couple in the car engulfed by flames and in a hurry to escape. Seconds later a number of explosions result and the garage becomes a blazing inferno. Inside the building, the family, a husband, wife and child, smell smoke caused by this negligent female driver. Minutes earlier, the patriarch of the family had passed her on the road calling her a menace to society. He didn't know the half of it until now. How right he was.
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Nearby in a security tower, alarms indicate there is a problem inside Thompson Tower. Sprinklers are not responding in the sub-basement. Security personnel shut down all corridors in the garage to seal off the fire. The men are clearly doing their best to C.T.A. [Cover Their Asses] and placing less emphasis on genuine safety. It's "vital not to scare anyone." It would clearly be bad for business especially during this critical grand opening. The men are still closing off corridors. Meanwhile, the world's smartest family still can't seem to find the monorail and are still lost in the sub-basement. By the way, did anyone notice this Thompson Tower seems awful desolate for a grand opening? There's not another soul in throwing distance for the love of God. Business can't be good.
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As our clueless family is busy playing a little game of hide and seek, corridors are shutting down all over the joint and cars are exploding like popcorn just beyond their location. It may not be a city of fire or even a building of fire yet, but it is certainly a Garage Of FIRE! The Security crew can't work the vent system and flames are spreading up through the building. The plan is to send in the fire brigade to put out the flames. One security fellow is more concerned for the people's fears. How does burning to death sound? Is that a better option? Get the bleedin' toy fire trucks rolling will ya jack! For cryin' out loud man, I hate stupid puppet people! In fact, come to think of it, Thunderbirds may be about the only puppet entertainment I enjoy and fully embrace. Most puppets are scary and I don't care much for ventriloquists either. I'll take in a muppet now and again [not in my house, but on TV], but most puppets no. I can even handle muppets integrated into live action programming like Farscape or The Muppet Show. I can honestly say I have little interest in looking into Gerry Anderson's other puppet shows outside of Thunderbirds. Like Space:1999 though, I do have UFO on my radar. So, Thunderbirds is indeed a special series to me, humor aside, or you wouldn't see me within five feet of a TV puppet.
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City Of Fire or Building Of Fire?

The building is now clearly engulfed in flames thanks to the negligence of the Security crew for not acting swiftly. Yeah, they took the let's-stand-by-and-see-what-happens-with-the-fire approach. That just doesn't work. The "sea of windows" is shattering as fire and smoke begin to overtake the building. Fire apparatus is spraying water and doing its very best, but it's too late. "It's going up like match wood," proclaims the security guy. Maybe that's because the model IS actually made of match wood. Meanwhile, the poor, lost family is beginning to succumb to the early stages of smoke inhalation. The Security crew spots the trapped family standing in the hall on camera monitor [moments ago they were sitting on a couch- editing snafu]. They are trapped in B50. Security is paralyzed. They don't know what to do to help them. Thunderbirds perhaps? Just thinking.
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You wouldn't want to be diving off that diving board at the wrong time.

On Tracy Island, the boys rest and relax with a glass of wine and a paper by the pool. Tin Tin is swimming in the pool. She invites Alan in to swim with her. She totally wants Alan. Alan declines. WHAT?! You are an idiot puppet! You can't turn that smokin' hot puppet babe down brother. She wants you to swim with her in the worst way. No, no, Alan has to prepare to relieve John in Thunderbird 5. Good Lord man, use some of that God-given wood will ya!? Alan awaits his departure, while the Thompson Tower Security group reaches out for help from International Rescue. The Tracy family gets the details. "It's simple," says the caller. He explains there is a fire and three people trapped. That's about the size of it. You've royally screwed this one Security puppets.
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T5 contacts Tracy Island about Thompson Tower. Jeff Tracy reaches out to the Security tower for the situation. Um, I think that was just covered Jeff. Fire, three trapped - get moving! Thunderbird 1 go! Thunderbird 2 go! We get the standard launch procedure of the vehicles, but the routines are not given quite the same level of detail and time and thus are edited versions of the lengthier launch procedures as portrayed in Trapped In The Sky and Pit Of Peril. Perhaps the creators felt the kids didn't require all that repetition. In the tower, it's getting grave for the family. The smoke is getting thick. Things are going from bad to worse as the tower is on FIRE!
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Thunderbird 1 lands essentially roasting two police cars with its landing thrusters. No kidding.

T1 arrives and Scott informs Virgil he has killed two officers. Just kidding. Scott needs to get to the tower pronto, F.A.B., A.S.A.P. and touch base with F.A.G. Alan! Okay, enough silly stuff. Things aren't good. Virgil notifies Scott things could be tough due to "wind variation." Anyway Scott lands T1 vertically and I had to laugh a little, because as he comes in hot his fiery thrusters literally hail down upon two police cars. If anyone was alive inside those cars they wouldn't be now, because they would be charcoaled chunks of carbon.
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"She's breaking up." Security control tells all fire apparatus to abandon the area, because it is now a towering inferno, which actually would have been a more appropriate title for this entry! The fire tenders leave in their vehicles. The tower succumbs and falls to the ground in a blazing heap. Down below in the sub-basement the family struggles to hang in there. Strange, not another single soul was found to be in the tower? Oddly, once the building is down there isn't a single sign of another building, vehicle or puppet life form in the area. This is a bizarre, miniature puppet adventure.
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Scott and Virgil discuss their only option to save the only three people in the city. I just can't let that go. You guessed it! Brain's gas! Well, not his personal methane gas, but rather his experimental gas formula. There was no passing of rear human gas during the making of this episode. The situation could have been far too combustible. Virgil does mention that small point about the gas being untested and that prolonged exposure could be fatal. It's a minor gripe, but this is International Rescue and their lives are always on the line to aid even stupid people. I've been subject to deadly, toxic gas via my Boy Wonder and let me tell you I understand Virgil's concerns. This stuff is lethal. There have been a few times I was seemingly knocking on death's door to escape that gas swamp. Listen, there is no underestimating what's at stake amidst a colorless, odorless, flammable air mass comprised of decomposing organic matter. It's nasty stuff. Scott and Virgil talk it over and Virgil admits if lives depend on it they must take the risk. Why does something tell me this will be a risk Virgil takes? We shall see. If Scott is sitting pretty behind a console I am going to reach through that television screen and throttle that little puppet manipulator. I kind of chuckled as I listened to this and considered Brain's gas to be quite possibly, well, his own methane.


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Scott informs Virgil this is a job for The Mole. First, Virgil will need to clear the fiery rubble with The Firefly. He tells Virgil to be careful because the rubble is "white hot." Did Scott have to tell Virgil that one? I'm not sure he needed that reminder. Scott tells him he'll be with him as soon as he can. Scott is always there to send Virgil into the lion's den first. Still, all humor aside, each Tracy has their respective role. By the way, so far, I have seen one building on fire and it is now gone. Where is the City Of FIRE! I haven't seen any cities on fire yet. Perhaps the title is misleading. Trapped In The Sky was deadly accurate. Pit Of Peril was perfectly perilous. City Of Fire? Not so much. Well, I've seen a few model trees and shrubs and no signs of life or other city landmarks. City Of Fire is beginning to make me wonder if it shouldn't have been titled Building Of Fire or Towering Inferno for sure.
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The family is disturbed about their situation. "This place is gonna collapse soon." Actually, it already did collapse. Their son falls unconscious. This is a job for Thunderbirds! The Firefly is off. This is The Firefly before there was Firefly. It is also our first introduction to the little fella. Virgil is in his fire gear. One thing I noticed about the Thunderbirds, they certainly generate alot of black and dirty smoke. They certainly aren't environmentalists at this stage of the game. The would never go over well in today's politically correct world. I have to tell you I do love the smoke effects created by the effects team. It is splendid work. The Firefly starts clearing a path through the rubble. "How's it going Virgil?" inquires Scott. Virgil is working his tail off while Scott asks questions. Virgil utilizes the Firefly cannon to explode some of the debris so it can be removed. Wow! This Firefly has everything.


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Scott finally gets in on the action. He drives his car over to Pod 3 to get The Mole. Scott seems to be the premiere Mole driver. The Firefly exits the fire and gives way to The Mole for take over. The Security Crew is impressed with the International Rescue equipment. Yes, we're all impressed. The Mole is in position.




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The Mole penetrates and Scott and Virgil grab their gear, Brain's gas mixture and the newly introduced Hoverbikes. Those Hoverbikes are nifty. Scott and Virgil are cutting through the metal corridors. Will they falter and become a liability themselves? Will everyone die as a result? Fear not, Thunderbirds are go! The lost family's father at first starts talking out loud that "they're finished." That's not exactly how you want to inspire confidence in your family in the dirty end. Fortunately the entire family is unconscious anyway. The man passes out next. Scott and Virgil gather up the family and exit in a nick of time as the roof caves in. Folks, still no sign of the City Of FIRE!!!
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The Security crew reckons International Rescue was brave, but in the end have merely sacrificed their lives. Wrong again Security boys! The Mole exits backwards onto its vehicle base and all ends well once again in the reality of Thunderbirds. Back at Tracy Island Brains explains that the heat within the building must have worked in their favor. Apparently, the vapors from Brain's mixture enters the pores and attacks the blood cells, but the heat must have vaporized the gas emissions before settling into the pores. Convenient. Thank God the Tracy boys were inside a blazing inferno I guess, otherwise the experimental gas created by Brains would have killed them. It's another series of lucky strokes for the boys.
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In the end, the female driver who started the fire is out roving the roads still with her husband. WOW, like that would happen. I fancy a cell might be in order for that menace. Lucky for her not a soul was around at Thompson Tower for the grand opening. Happy music even kicks in. The moral of our story: You can burn down a skyscraper and be out perusing the streets for the next shopping center with no fear of penalty. Ah, isn't life grand in the world of Thunderbirds?
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City Of Fire: C

Writer: Alan Fennell

Director: David Elliot

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Notable Thunderbirds Craft: T1/ T2/ T5/ Pod 3/ The Mole/ The Firefly/ Helijet/ Hoverbikes.
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Important Player In The Thunderbirds Universe: Reg Hill [1914-1999]. Associate Producer. I can relate to Reg Hill in my own small way, because I am a behind-the-scenes kind of guy. Hill was exactly that to Supermarionation genius Gerry Anderson. Hill was critical to the operations of AP Films as its Deputy Managing Director and as Associate Producer. He made things happen. He worked on Stingray and Thunderbirds and became full Producer for the final six episodes of Thunderbirds dubbed Series Two. He was also producer on UFO. Gerry Anderson felt he never got his due in large part because he was behind-the-scenes. Anderson had many kind words regarding Hill for Chris Bentley's book, The Complete Book Of Classic Thunderbirds. "Reg was always there with the answer." He was able to fix technical problems better than anyone. "He was a perfectionist and whatever he did, he did brilliantly." Hill backed Derek Meddings and just about any department in need to get things done with little to none of the glory. "He never received the recognition he deserved." Without this man Thunderbirds would have been severely lacking. In other words, Thunderbirds would not be go! Hill resigned following Year Two of the wonderful Space:1999. Hill passed away in 1999.

Tracy Island: I've been reading Author Chris Bentley's The Complete Gerry Anderson: The Authorized Episode Guide and it is THE complete guide to Gerry Anderson folks. It doesn't have the kind of wonderful analysis found in John Kenneth Muir's Exploring Space:1999, but it's not meant to be a critical guide either. It offers anything and everything you need to know about the world of Gerry Anderson and every series he's ever touched. It is a thorough guide to be sure. Bentley knows his Anderson. Anyway, the uninitiated need a little more on the background of Tracy Island.
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The year is 2065. Millionaire Jeff Tracy, a former astronaut, has invested his time and money into International Rescue. Tracy Island operates covertly somewhere in the South Pacific on an uncharted island. He lives there with his five sons, a genius scientist called Brains, Grandma Tracy, Kyrano and his daughter Tin Tin. It is home to Thunderbird 1, 2, 3 and 4 as well as a host of other auxilliary rescue craft. Thunderbird 1 travels at a maximum speed of 15,000 mph. Thunderbird 2 travels at a maximum speed of 5,000 mph. The family is assisted externally by London agent Lady Penelope Creighton-Ward and her ultra cool butler Parker.

Lost In Space S1 Ep1: The Reluctant Stowaway [Pilot]

"What makes some series, like Lost In Space, memorable and popular some 30 years later is some mysterious chemistry between the characters and the actors who played them, as well as the vision of the producers and writers who developed the pilot. It's that elusive quality...." -Writer Shimon Wincelberg [Starlog Magazine #220] on the magic of those series that become unforgettable like Lost In Space-

"DANGER WILL ROBINSON! DANGER!" I shall go to the grave with the immortal words of Robot as spoken commandingly by Dick Tufeld.

My first impressions watching the Pilot episode, The Reluctant Stowaway, of Irwin Allen's classic Lost in Space [1965-1968] is that it feels old. Of course, that's because it is old, but in a good way. It has that nostalgic quality that harkens back to early era science fiction like the classic Twilight Zone [1959-1965]. The visual effects and film stock are similar. It is both warm and eerily inviting and reminds us of a simpler time. Lost In Space, Season One is filmed entirely in black and white and therefore immediately propels itself into the realm of old school, vintage sci-fi television. Later, Season Two and Season Three would be filmed in color to keep up with newcomers like Batman [1966-1968] and would opt for camp over more serious family-centered science-fiction. It's hard to believe I wasn't born when this series was in full production. I wasn't even a twinkle in someone's eye. Nevertheless, like Battlestar Galactica [1978], in its day, Lost In Space launched the most expensive pilot to date at roughly $600,000 and it was filled to the rim with ambition in every ounce of its production.




Is the score to Lost In Space not one of the sweetest orchestrations you've ever heard in your lifetime? The theme would be on my top ten deserted island theme songs CD along with Thunderbirds and Space:1999. The opening credits are beautiful complete with its simple 2D animation. It's utterly fantastic! I would go so far as to say this is one of the best openings in science fiction history. The scoring of the show by Johnny Williams [yes, the Composer John Williams] was simply perfection. The music injected into the series was filled menace, tension and unexpected thrills. Scoring is such a tricky line to walk. You want the music to enhance the scene, but not distract or draw away from it. Somehow Williams managed to enhance and create a score that is a robust, monstrous creature all its own. Set apart from the series, it lends itself to hours of endless listening enjoyment. Still, it set the tone for a big, grand space adventure and sounded every bit as big as the series wuld one day become and remain.

In the fictional world of Lost In Space, it is October 1997. We are introduced to the Robinson family, chosen from over two million potential candidates, who have been selected to rocket to Alpha Centauri via the beloved Earthcraft known as Jupiter II [formerly the Gemini 12 for the originally planned pilot No Place To Hide]. The Jupiter II, like the central vessel in so many classic series [Star Trek, Firefly], is a featured character in the series and anchors the family. It is home away from home as the U.S.S. Enterprise was home to the crew of Star Trek or Serenity was home to Mal and company in Firefly. It is believed Alpha Centauri offers the ideal conditions and resources needed for re-population. Earth is overcrowded and the Robinson family is tasked with finding us a new home. The Robinsons will travel in suspended animation to their destination. They are the prime candidates for a number of scientific reasons, least of which is their outstanding qualities as a family unit, including scientific achievement, resourcefulness and emotional stability [attributable to the nuclear family]. The Jupiter II comes complete with an environmental control robot called simply Robot. We love Robot! America is in a race against other nations to find another home before it is too late. The concern for sabotage is real.

Enter our 'reluctant stowaway' Dr. Smith. Dr. Smith is deliciously evil and played with seditious brilliance by the late Jonathan Harris. He is reluctant, because he is merely on site to place destruct sequences and programming codes into the Robot so that it will activate and destroy the Jupiter II and all aboard. His intentions are to exit the craft before launch. But for who does Smith operate? Operative Smith is discovered by a soldier. Smith knocks him unconscious and places him into the waste disposal tube. Plans go awry for Dr. Smith's who gets stuck on board the Jupiter II. Eight hours following launch Robot is set to destroy the Jupiter II and space family Robinson.

Perhaps one of the single hottest females in science fiction history: Marta Kristen as Judy Robinson. The magic of Lost In Space like so many other classic series was largely due, in part, to perfect casting. A remarkably wonderful cast of actors was assembled to play the parts of space family Robinson. Their chemistry was irresistible. The idea of a Swiss Family Robinson in space led to exciting, simple adventures both entertaining and conceptually interesting for its time. It was undeniably family-driven, child-friendly, but that wasn't to say there wasn't enough science fiction intrigue to keep adults glued to the old tube.

To be clear, it's marked ROBOT POWER. Like many of the shows that stand the test of time after just two or three seasons [Star Trek, Space:1999], Lost In Space has its loyal following and supporters, like me. This is why, once again, The Sci-Fi Fanatic will spend countless hours absorbing even the smallest details found in one of science fiction's greatest works.

Ironically, the classic alien saucer design would be, not from outer space, but rather Earth. Now, Dr. Smith is trapped aboard the Jupiter II. After launch Smith attempts to contact his employer [Aolis 14 Umbra]. Mission accomplished and now ongoing. "How much more money are you going to pay me for this excursion?" He is slimy brilliance overacting the part with panache. He is interestingly sinister as the saboteur here, but eventually becomes the butt of much of the show's comedy especially in Season Two and Three. Robot awakens and flips the switch on the console to give itself more power. Smith attempts to contact Alpha Control. The coordinates set for Jupiter II's destination to Alpha Centauri have been altered. It turns out the entire mission has been correlated to weight sensitive to the pound. There is an additional two hundred pounds of weight aboard thanks to our stowaway Smith. The Jupiter II flies straight into a meteor storm and electrical fires breakout across the ship first opening Major Don West's sleep tube. Major West is the first to receive resuscitation from Smith out of suspended animation.

This is as bad to the bone as Dr. Smith would ever be, but he remains forever the schemer. West is our action hero in the show often saving the day and willing to thrust his entire body into harm's way. He is played with vigorous, tough guy, man's man enthusiasm by Mark Goddard. Goddard reluctantly took the role but expected the series would not last. West initiates the re-animating sequence to bring the Robinsons out of their deep sleep. The late Guy Williams is note perfect as the patriarch, Dr. John Robinson, to our Lost In Space family. He was always the man [or guy if you will]. All of the behind-the-scenes history aside about Guy Williams he was an essential component of the series. Each brilliant actor or actress had their part to play.

The Sound Of Music. Angela Cartwright [third from left], as Penny Robinson, played opposite Spider Man's Nicholas Hammond [far left] as youngsters in The Sound Of Music [1965]. Billy Mumy, as boy wunderkind Will Robinson, would later receive a major second wind of sorts as Lennier on Babylon 5 [1993-1998]. The lovely June Lockhart would lead the family as matriarch Maureen Robinson and Norwegian beauty Marta Kristen, as Judy Robinson, rounded out the babe quotient for Lost In Space's special ensemble with her frequent teasing of Don West and her male fanbase.

Artificial gravity is turned off and we get a hysterical sequence of Will and Penny floating around in space on black strings. It is so funny. What do the best shows in science fiction have in common [Star Trek, Space:1999, Thunderbirds, Lost In Space]? Strings and models [female and miniature]. It hits the 8 hour mark and Robot is unleashed in preparation to destroy the Jupiter II. Smith deactivates Robot.

This is a terrific exchange and the kind that establishes the style or type of discourse we would grow to love and come to expect between Dr. Smith and young Will Robinson.




Will reactivates Robot, which commences its mission to "DESTROY!" The family makes every effort to stop Robot and Don is finally to pull the power pack. It's comical to see West and company try and get that power pack on Robot complete with the shaky camera. They have every opportunity to snatch it and yet they move and stagger about, duck and weave giving the impression they are unable to stop Robot. It's like, 'grab the damn thing already will ya!' They are now "hopelessly lost in space."

John must go outside the Jupiter II to make repairs because he refers to himself as "expendable." He was always the courageous family leader putting his neck on the line more than we'd care to count. Don is the Jupiter II's pilot and must stay on the ship. Outside the ship we get more black strings and more great music from Johnny Williams as Guy Williams floats around.

Suddenly, John becomes detached from the cable and is floating around helplessly. Don prepares a rocket gun. Rocket gun! Fantastic! I would love a rocket gun! Smith refuses to go out to save him citing his heart. And so the Smith trait of cowardice begins. Maureen heads out to save her husband. Smith is such a gentleman as he opens the airlock door for her. What a guy. He can't get her out the airlock fast enough if it means he doesn't have to go. The rocket gun is fired and John tries to reach it. It could possibly be one of the silliest looking visual effects on record, but boy do we love it. John will have to hang loose until next time.

TO BE CONTINUED NEXT WEEK! SAME TIME SAME CHANNEL. SAME BLOG! Ah, the riveting cliffhangers and those catchy 60s screen shots for Lost In Space and Batman ["Same bat-time, same bat-channel"]. This is delicious, retro science fiction at its best. Fifty minutes of pure, classic, Irwin Allen science fiction drama.

This is clearly the establishing Pilot that got the ball rolling and set the tone for all the characters involved. The chemistry between cast members is almost immediate. In this, it is a success despite being a fairly slow entry in comparison to the groove the show develops. Lost In Space also develops its own formula once the Jupiter II makes landfall. The Pilot is also more serious in tenor with the material presented here. The darker aspect gives way to a lighter side as episodes progress to the point of silly at times. Some would even argue it devolves into a far more childish exercise with the monster-of-the-week plot lines coupled with Dr. Smith's antics along with Will and Robot. Still, there is a colorful allure to those episodes with plenty to enjoy, but the show definitely strays off course, much like the Jupiter II, from this original installment's tone. Lost In Space may have been a touch campy and far out at times, but it's infinitely watchable and beloved by fans interested in character and story over slick packaging and gimmicks. Lost In Space, like many of Irwin Allen's classics, is loaded with heart and charm. Let's see it again.

The Reluctant Stowaway: B/ Writer: S. Bar David [pseudonym of Shimon Wincelberg]/ Director: Tony Leader.

Lost In Space: The Ultimate Unauthorized Trivia Challenge Interesting Fact: The matriarch, Dr. Maureen Robinson, is introduced in the Pilot with her science title, but it is never referenced again. Can you believe it? Women still had a long way to go in the 1960s. "She spends the next three years acting as the expedition's Chief Cook and Bottle Washer while her husband performs all the science experiments." Nice, funny, but fair point.

Lost In Space: The Ultimate Unauthorized Trivia Challenge [1998] was written by James Hatfield and George "Doc" Burt and is loaded with impressive facts and insights to each of the Lost In Space episodes from all three seasons as well as other random assorted information. Fans from all over added to this labor of love as noted in the acknowledgments. Each episodic chapter is comprised of a number of segments. My favorites are That Does Not Compute and Space Age Fast Fact. Thanks to Dwight Kemper for recommending it. It is long out of print and difficult to find especially mint. With the limited number of publications that ever circulated about this phemomenal series, this is probably the quintessential one to own. Author Jon Abbott's Irwin Allen Television Productions, 1964-1970: A Critical History looks like a potential keeper as well. The Irwin Allen book offers a critical guide to Voyage to the Bottom of the Sea, Lost in Space, The Time Tunnel and Land of the Giants. I would really like to see a proper episode guide authored and until such time I will bring each of them to you right here with clips and photos. I will be your virtual resource.

The Cast: Dr. John Robinson [Guy Williams]/ Maureen Robinson [June Lockhart]/ Major Don West [Mark Goddard]/ Judy Robinson [Marta Kristen]/ Will Robinson [Billy Mumy]/ Penny Robinson [Angela Cartwright]/ Dr. Zachary Smith [Jonathan Harris]/ Robot [Bob May-suit & Dick Tufeld -voice].

More on this amazing cast next BLOG episode!

District 9

Holy Cow! Meet Wikus van de Merwe who works District 9. The character is played with complete credibilty by Sharlto Copley. The transformation of the character throughout the film occurs on a number of levels. This is a tricky performance. Copley deserves an Academy Award. It's a crime he wasn't nominated for Best Actor.

It comes as somewhat of a surprise District 9 was nominated for Best Picture simply because it should be, but the Academy isn't normally that sharp when it comes to science fiction. Nevertheless, District 9 is head and shoulders a better film than Avatar, but it will clearly be the dark horse. The travesty will be that it wins nothing. How can this film not make Best Director and Best Actor categories is a travesty of entertainment justice. READ AT YOUR OWN RISK if you haven't seen the film.

As of this posting I have viewed District 9 twice. There has been much discussion surrounding this film since its release and I wasn't exactly sure why. I wanted to see it in theatres, but time got away from me and I began to lose my original enthusiasm for the picture. I could not have been more wrong in my expectations. This is a breath of fresh science fiction air. I remember anticipating seeing both Moon [2009] and District 9 [2009]. I had heard many good things about both films. Critical reaction to both was generally positive. Indeed, both are labors of love, beautifully filmed with their own rich cinematographies, but District 9 for me is the real standout. The difference, apart from the overall subject matter, is speed. Moon is a bit slow for my taste. Director Neill Blomkamp's District 9 is the perfect balance of story, action and human drama. It is a near flawless mix. For a first time director to handle so many moving parts with the kind of steady, directing hand established here is nothing short of awesome. In lesser hands this film would be a disaster. Blomkamp must be the real thing, because this is a chaotic, complex film that is woven by what feels like the work of an auteur. I am clearly gushing over the craftsmanship of the film, but Blomkamp's District 9 is one of the best science fiction films I've seen in years. Dare I say it is a classic that will age with time with the same kind of respect bestowed upon Ridley Scott's Blade Runner for decades? This was a mild stunner for me. The intense visceral reaction I felt while watching the film was far more than I anticipated coupled with the kinds of emotional moments that were woven into the aforementioned Scott classic.

Aliens, dubbed as prawns by the humans, have arrived in a mothership over Johannesburg, South Africa. Initial story details of the alien arrival are established in District 9 and delivered via a cross-section of documentary style and interviews intercut with live action footage. The film does an impeccable job of building a portrait of this fictitious reality. Some of these details and interviews are fascinating in a different way upon repeated viewings. Are there questions? Many. Some are answered. Some are left to our imagination. Were there questions remaining after Blade Runner? Sure. This is what makes science fiction great. Questions are one thing, but is the logic there? The question is are the rules of engagement within the fictious universe plausible? In District 9, the reality is simply mindblowing.

The film is a heady mix of socio-political commentary, human behavior, third world depravity and ghetto-internment camp violence, corporate conspiracy and questions of what qualifies as terrorism. District 9's title itself is essentially a metaphor for apartheid, the Holocaust's concentration camps or Japanese internment camps. Pick your poison from the history books. Most importantly, none of it is preached. It is portrayed, fleshed out and visualized with real grace, unlike the agenda voiced in Director James Cameron's preachy Avatar that hit with the clunky grace of a rock to the head. Greatest of all in District 9 is the portrait of one man's personal catharsis and his evolution within the social hierarchy. The depiction of both human and alien perceptions are reflected from beginning to end through one Wikus van de Merwe of MNU [MultiNational United-America isn't alone in the blame game here] Alien Affairs brilliantly portrayed by Sharlto Copley. His performance is a masterstroke. His character is a complex, multi-dimensional classic and Copley's talent in bringing the charater to fruition lights up the screen. It is Oscar-worthy stuff.

Sharlto Copley's performance is truly stunning. The physical, mental and behavioral transformation he undergoes is astounding for any actor to pull off. He delivers like a natural. He is Wikus van de Merwe. We experience the story through his eyes. He undergoes a change from beaurecratic lifer disaffected by his and others' treatment of the aliens to sympathizer and reluctant hero. Through his struggles he brings an empathy to our CGI visitors that is hardly expected and rarely seen. Wikus himself moves from likeable in a slightly overbearing, talky, slightly pathetic government official way to a kind of regular guy everyman champion. When the tables turn, Wikus is forced to quickly move from accepted to ostracized, integral to exiled, hunter to hunted fearfully running from those he once did the bidding. Following an unfortunate incident Wikus begins to exhibit heart. He's entirely sympathetic and his own emotional transformation through the film is reflected back through an unexpected relationship with one of the prawns called Christopher and Christopher's son. It is through this relationship the race of creatures becomes three dimensional.

Signs of genuine humanity in Wikus begin to surface following the incident and are also reflected through conversations with his wife.



Apart from Wikus desire to return to the comforts of his wife's arms, there are two critical moments for me when Wikas begins to consciously make an emotional change and reluctantly let down the walls. Where the aliens were once simply referred to as prawns, Wikus begins to see something more with Christopher. This is notable in Wikus' personal transformation and growth. Where once he simply referred to the aliens as "creatures" he was now giving them the face they deserved. These were more than cockroaches. These were higher lifeforms and Wikus was finally being forced to recognize this through his own banishment by his own race. Recognizing Christopher as a father and the prawns' own desire for the comforts of home was crucial to the story. And to think at one point earlier in the film Wikus had no compunctions or remorse in disconnecting life support to thriving, gestating, cocooned baby aliens referring to their death knell as "popcorn."


*

The location shoot in South Africa is a striking setting and perfect backdrop for delivering the perfect sense of apartheid-like division between the humans and the prawns. The foreign setting takes most viewers out of their comfort zone. We all feel a little alien in this one. The visuals are a wonder. The spectacles are there, but it is shouldered by a very strong, thoughtful script and performance. The science fiction touches are quite frankly awesome. The alien weaponry humans simply cannot activate due to a biomechanical signature of some sort is breathtaking. I wanted more, more, more. The film is rich in small details developing this technology. Aliens scour heaps of garbage and dumps for any remnant of their material. It is imperative to their survival they find parts from their ship. No substitute will do. Not only is it an alien liquid they seek, but it is their lifeblood that is infused into the very biomechanical technology these aliens use. So much is notable upon a second viewing. I like the simple realities of this film. Our weapons can hurt the aliens. They can certainly use our weapons to hurt us. Their weapons are too advanced to be utilized by us. They have the intelligence to communicate if they wish. Humans have learned aspects of the alien language to communicate with them. Cat food is a delicacy. Yuck! It's all very grounded in simple, good ideas. There are a few sequences where I desperately wanted to see more of the alien technology it was so dam good. It's just terrific stuff. The action and effects are simply awesome in the final hour. I remember reading one review calling the effects "clunky." The only thing clunking was a smashing, metallic alien bioweapon suit device, but there's nothing clunky about this picture. In fact, it's the rare film that goes from good to great with a steady ascension.
*

There is a recognition of inner strength and courgae for Wikus, again, as forced by circumstances thrust upon him. Of course, it doesn't hurt when you have alienware as a suit and a weapon of choice. But Wikus, in a natural moment of humal frailty and weakness crippled by fear, begins to run away from the realities that have engulfed him. It could happen to anyone, not that we would be faced with a body horror crisis or alien visitations. In the end, Wikus finds the strength to do right by Christopher and his son when it comes down to the wire despite knowing his ultimate fate. It is a selfless moment and catapults the character of Wikus to another level. There is something truly powerful in this sequence before the action begins. The juxtaposition of Wikus in the foreground against the backdrop of the alien mothership gives us all pause. It's a beautiful moment and best captured on Blu-Ray, beautiful, because it is here he realizes what needs to be done and what is the right thing. There is something eerie about the moment in Wikus' near recognition of the mothership as part of who he was to become. Could he have felt a connection more profoundly alien here despite finally recognizing his own true humanity? Everything operated by these aliens courses with their own lifeblood. The biomechanical concept is part of who these aliens are. It's not a new concept, but it is delivered better in District 9 than I have ever seen. As a result of being plugged into the alienware, Wikus can hear everything. These alien surroundings were becoming familiar. In a sense, he was becoming part of the hive.


*

There is such raw personality and emotional power running through this film channeled through Wikus and to a lesser extent Christopher. To witness Wikus' catharsis and transformation both physically and emotionally is truly District 9's strength. The science fiction action and alien weaponry is the icing on the cake. A girlfriend of mine said she weeped, because her heart bled for Wikus. She had tissues. She was a girl! She's a girl I tell ya! She loved this film. Wikus is truly your anti-hero, and his guarded personality unravels and reveals real heart. His uneasy alliance with Christopher is forged and his empathies to Christopher's servile race become more pronounced. Christopher is Wikus' alien doppelganger. He sees his own paternal nature in him. Ironically, throughout the entirety of the film the aliens show no designs to even harm the humans. They simply want to go home. This is really hard science fiction to stomach because it throws the mirror up to all of us while we are riveted and repulsed by its every frame. Nothing is wasted here and seeing it a second time proved to me further just how cleverly edited and sharp this Blomkamp's picture is.


*

It's bad enough I have a hard enough time with body horror concepts. Physical transformations so graphically portrayed in films like David Cronenberg's The Fly [1986] simply chill me to the bone. The metamorphosis endured by Wikus is easily as painful to watch here and heartbreakingly rendered by Copley. The same kind of care when into the process for Copley as it did for Jeff Goldblum in The Fly. There are so many emotional currents running through the film thanks to Copley that it is infinitely more human in every aspect than most alien pictures. The film is as original in its assembly as they come despite elements like The Fly or even Black Hawk Down. There's much more in play here. All of these ideas succeed because they are so seamless. I've never seen a film like this one. This is one of those rare sci-fi films that comes along and sets a standard. This is hard core science fiction compared to the more fantasy-oriented world of Avatar.
*

This film really fires up the old synapses. I was sympathetic. I was unsettled. I was disturbed. I was invested. I never once felt detached from this film. It was a remarkable science fiction experience. This film is considered a small event next to the works of films like Avatar, but I found it to be a superior film all around. It was easily as profound and imposing as the spaceship that hovers over Johannesburg proper in the film. You won't want to live here, but District 9 is an essential visit.

Oh and about the future, District 9 is a perfect film as a self-contained "creatuure." The need for a sequel is not required. Like anything else in the film, one's imagination is left to do much of the thinking here. Some of the best science fiction films leave you with unanswered questions that allow the mind to contemplate the possibilties. District 9 is no exception. Nevertheless, many films end with the prerequisite lame finale merely to set up the money coffers for part two and three. The endings and cliffhangers are often dreadful. District 9 is so smart and so deliciously entertaining I stand before you to scream I AM DESPERATE FOR A SEQUEL! I'm not sure Director Blomkamp will do it, but he's the only non-Hollywood guy who should do it. I can't remeber the last time I desired to see a sequel to a film more than this one. Ultimately, a sequel could be a disaster or it could be a masterpiece in the right hands. I think Blomkamp's the guy to do it. I am desperate to learn more about the paths and destinies of both Wikus and Christopher. What of Christopher's world? Will Wikus want to reunite with his human wife? Will she want him? Will it be too late? Will he be loyal to prawn nation? Will mankind be ravaged by all out alien assault led by Christopher. I sure hope so. The epic and intimate potential is all there. Oh what fun it could be. So many questions beg answering, but I will daydream my own conclusions for now. District 9 is quite simply a classic science fiction tale that will leave you considering it for days.

*

As far as the Oscars, Best Picture!? Give it up for Blomkamp. It's better than the patronizingly fun Avatar. It won't beat Director Kathryn Bigelow's The Hurt Locker, but you know something? It should. Okay, not that the Sci-Fi Fanatic doesn't have an agenda here. It won't happen I know. Besides you know Bigelow's picture will win. I can see it all now. The split screen will be on Bigelow and Cameron, former spouses, for the reaction shots. Cameron will be clapping for Bigelow. You always have to put your money on the ex-wife. I don't have one, but I'm thinking.
*

District 9: A+

Deep Thoughts By Michael Garibaldi 2

I was listening to Jerry Doyle [a.k.a. Michael Garibaldi] recently. He was amusing and always channels common sense. I thought I would mention a few of his comments concerning his life on Babylon 5. I'll be paraphrasing here.

He called acting the greatest job and the most fun you'd ever have. He talked about the realities of the acting life certainly being portrayed as far more glamorous than is actually the case most of the time.

He said he three things working for him when he landed his role on Babylon 5 as well as some other bit roles and jobs were as follows:

1. Luck.
2. Timing.
3. Talent. In that order.

He joked that if most people saw his work they would actually wonder about number three. He said, "I was me." By just being himself he was able to succeed. He felt he couldn't actually compete with actors like Bruce Willis or John Travolta, so he had to be himself. He laughed suggesting his best performance came early in Season Four's first few episodes where he got to lay on a table in a coma. He is a trip. I recall those weren't my favorite as far as his performances went. : )

He talked exetensively about Barack Hussein Obama and his fitness for the role of President. It did get me to thinking about my days in college and the political science classes under the tutelage of a mostly liberal political science staff as is typical in colleges and universities. There's not much in the way of conservative thought there. Back then, I certainly agreed with some of what I heard more than I do now. This too is certainly the trend.

One methodology discussed by a political thinker named Barber was a political typology that categorized Presidents. It was really quite brilliant and you could apply any one of these four categories to any President. The categories were as follows and I do believe speak for themselves.

1. Active Positive.
2. Active Negative.
3. Passive Positive.
4. Passive Negative.

It's safe to say the final category is not a real winner. By the way, this is all off memory. No books have been involved in the making of this entry.

Based upon the evidence, I would classify Obama as Active Negative in his first year. This is politics and I'm sure some would disagree. As for your opinions of him, I'll leave that to you, the media and talk radio through the likes of independent thinker Jerry Doyle a.k.a. Michael Garibaldi. You can sort things out from there.

Space:1999 Y1 Ep3: Black Sun

Getting old sucks! You hear nice things about the golden years, but when you get right down to it things just don't work right. Parts hurt. Don't sugarcoat it man, aging profoundly stinks! Then there's that whole death thing. Martin Landau looks none too happy about it either.
As we accept the inevitable, let's enjoy FAB FRIDAY!

We now return to Space:1999 and a solid set of production values that continue to give the writing a run for its money. An asteroid suddenly changes course and Moonbase Alpha is placed on red alert. With only one minute to prepare the commander and company pretty much brace to be toast. Then, once again, as if moving through space and time with a mind of its own the asteroid changes course yet again, coming within range of Moonbase Alpha enough to shake them up, but not enough to destroy their chances of survival. The rock explodes on screen. A black sun is visible and the commander indicates a gravitational pull is drawing them toward it.

Eagle One is sent on a probing mission. "It's round. It's huge. It's black. Boy is it black." There's the science for you in the latest entry. Here we go with Space:1999, Year One, Episode 3, Black Sun. The pilot indicates, "does anyone have any idea what it is?" I think that's why you were sent out there jack. In a move of sheer genius the commander has the pilot fire Eagle One's laser into the sun with no impact and little affect. Ya think? "It swallows laser light too," the pilot reports. I'm beginning to get nervous about this particular batch of geniuses. Professor Bergman is busy doing impressive mathematical equating. The pilot's name is Michael and apparently has a love interest in Sandra who is back on the base nervous for him on this mission. He's sure to be dead meat then. The commander tells the pilot to get the hell out of there. He's being pulled toward the black hole sun [Soundgarden's Black Hole Sun is quite possibly one of the greatest rock songs of all-time]. The pilot's ship explodes. Shocker! I didn't see that coming. Seriously, no surprise there. Sandra faints. No surprise there either.

Yikes! That is extreme, hardcore math. Science fiction is my happy place. Science fiction is my happy place. Science fiction is my happy place. Whew! All better thanks.

Commander Koenig is sure they will be dead in three days time. Computer is certain as well indicating with 100% certainty that it is indeed a black sun. I'm not sure we needed Computer for that one. The gravitational pull is immense. It's force immeasurable, "even light cannot escape it." Here's the kind of high concepts attempted on Space:1999. The ideas are good if a tad boring and out there. Still, it can be ambitious.

A forcefield is activated around Moonbase Alpha. Sandra, clearly over her loss already [huh!?], indicates "it's beautiful like fish scales." Kano counters, "you can cut through fish scales." This is not the strongest of scripts. Alan Carter pilots an Eagle and fires upon the forcefield for testing purposes. The base is protected and their plan appears to be working. Somehow I imagine the force of the Eagle's laser is slightly less test-worthy when compared to the actual weight and power behind a black sun. I'm just guessing here. Koenig and Bergman give one another a big hug in their orange spacesuits. They are elated. Doctor Russell is not happy with Bergman and Koenig for risking their lives outside the base. Bergman indicates the Computer gave them a 98% chance of survival. Commander Koenig makes his most logical point thus far. This was a morale booster. The truth is revealed. The power and force inside the black sun is far more capable of bending space and time than the Eagle's paltry test. So what's the point asks the doctor.

Commander Koenig has one Eagle left in tact and on standby should there be survivors. The sun is draining base power and it is getting cooler. Paul indicates to Koenig the gravitational pull is increasing exponentially with each passing minute as they move closer to the sun. It's happening faster than originally calculated. Koenig orders Bergman to re-energize the forcefield. They need to ready the lifeboat Eagle. It will provide safety for a handful of passengers. Soon it is determined they are having problems with one of the anti-gravitational units creating the forcefield when it blows. Bergman is electrocuted.
*

WHAT!? There is a surprising new development in the medical unit. We suspected Bergman would survive. The reason he survived is noted when Russell tells him, "your mechanical heart saved your life you know." WOW. Okay. That was a bit of a surprise and a bit unlikely.

A forcefield protects the base, but what is protecting the moon on which it sits?

Mr. Kano informs Koenig they have four hours remaining. Kano is the computer geek and is certain they cannot survive without Computer. "Is that a fact?" responds Koenig. Personnel are rubbing their hands to keep warm as they are all growing colder on the base. Kano reports Computer has been placed on minimum capacity. Koenig gives him a little dig when he tells Kano and the crew, "now we'll have to think for ourselves." The forcefield is put to the test. Kano is like a dog with a bone. "What about Computer?" Give it a rest geek boy. He can't live without his beloved Computer. I think he would marry it. Chill it man. We're trying to survive here.

Carter approaches Koenig about the lifeboat. He's slightly pissed Eagle Five is loaded and ready to go and as head pilot he wasn't informed. He may have a valid beef. This is actually a pretty good sequence and captures what Space:1999 seems to be lacking thus far, tension.

Clearly Eagle Five was a need to know option. The ship is intended for three men and three women to ensure the survival of humankind in space. Humankind on Earth is in question for a number of reasons I'm not entirely clear including exhaustion of resources. Koenig chooses his six. Carter is selected. Carter is probably feeling like a bit of a heel following his outburst, but I do feel he reacted honestly and additionally perhaps as a pilot concerned for his fellow Alphans' lives. Dr. Russell [you know Koenig loves her] is also chosen along with Sandra and three others. No easy decisions there. There are supplies enough for five weeks. Carter tries to speak. Koenig stops him. "No goodbyes Alan." Dr. Russell prefers to stay. Koenig insists to Russell "it makes a difference... to me." It could be the first notable sign of real affection for her int he series.


*

The episode has clearly picked up after a rocky start due to some dodgy writing. The transport takes our intended survivalists to Eagle Five. I love that transport tube. Paul has accompanied Sandra to see her off and says goodbye. It's very sweet.


*

There certainly needs to be further development of this kind of character interaction. It's a genuine highlight. The Eagle lifts off. I love the Eagle and the Transport Tubes. I would marry both. The Eagle is one of Gerry Anderson's finest contributions to science fiction technology and the starship encyclopedia. This, of course, and his Thunderbirds.


*

There's a bit of levity between Bergman and Koenig as they prepare to, well, die essentially. This is another sweet, pensive moment between Russell and Sandra that considers how trivial our fears are when we were children. Black Sun features some of the finest character moments to date.


*

Bergman waxes poetic and philosophically with Koenig about science and mysticism, God and what we believe in. The scene speaks volumes about Bergman. He is a man who asks questions and ponders a higher power, while maybe not entirely comfortable speaking of the spiritual outside of his comfort zone of science. He keeps a good head about himself when the chips are down too. After all, it doesn't get much worse than death.


*

This installment grows stronger and more successful through its character interactions. These moments really shine. We begin to care for the Alphans, empathize with them as a result of their plight and appreciate their sense of acceptance as they come to terms with their fate. Episode three is the best to date in these terms.

Girls love guys with guitars. This is one character we'd like to see a little more of but won't. I like Paul, but I'm referring to the babe alert.

The entry is populated with a host of wonderful little moments like this. I tried to capture most of them here. Moonbase Alpha closes in on the sun. As the episode progressed I found myself really falling in love with the characters for the first time. They were all staring death in the face. The end was coming and these people were contending with their final moments of life. Their fates sealed, peace was settling in their hearts. They were resigned to it. There is courage and real humanity portrayed in the third episode. The moments, again, are very strong.


*

The moon enters the black sun and Koenig wonders what will happen inside. The forcefield holds. On board the Eagle Five, the surviving six are also affected. I'm not exactly sure why. Back inside the black sun there is an almost trippy 70s vibe. You'd think these guys were smoking something. Koenig and Bergman age into old, old men. They are like a couple of hippie dinosaurs. I feel as though the writers of the show are extremely ambitious, but not entirely successful in their executions. A voice speaks to Bergman and Koenig telling them to come with her. Bergman asks if the voice is that of God. They exit the sun and before they can learn more from the voice they find themselves alive and well and young again. Could divine intervention have been part of their survival here? The odds they faced were certainly not good. Perhaps Bergman will become a believer after all. Koenig is choked up with elation. "The force field held," he exclaims! "I wonder how" questions Bergman. This is when Koenig looks into the vastness of space. Was God out there for them? Certainly Bergman is in disbelief over their good fortunes.
*

The Eagle Five returns. Koenig is stunned and can only ponder the possibility of some kind of divine intercession. What else could it possibly be?
*

A celebration ensues following Eagle Five's return. This is a pretty special end to a fairly solid installment in the end. I love Alan Carter's very Dr. Leonard "Bones" McCoy moment as well.



No cigar issues with the old mechanical heart I suppose.

Something is out there indeed. With all intact on Moonbase Alpha our wayward denizens are calling their base home now. There is something unifying about the Alphans' acceptance of the base as home. This was a good story that began on shaky ground. It makes up for the questionable science fiction with some beautiful character moments and some lovely performances. Not to mention science is clearly trumped here by an inexplicable higher power.
*

Still, I enjoyed Black Sun for its intimacy.

The Philosophy of Space:1999: "John, have you ever wondered just how and why we've survived?" [Bergman]
*

Black Sun: B

Writer: David Weir [re-write provided by Christopher Penfold]

Director: Lee H. Katzin

Director Footnote: Lee H. Katzin [1935-2002]. This would be the final episode directed by Lee H. Katzin [Mission:Impossible, Man From Atlantis] who directed the pilot episode Breakway. There were budgetary and time overruns attributed to Katzin's efforts, which hurt him going forward. He had a very successful career as director including Man From Atlantis [1977] before succumbing to cancer in 2002.

*

Author John Kenneth Muir's brilliant insights into the series continue as extracted from his wonderful book Exploring Space:1999. I always view the episodes and generate analysis before reading Muir's remarks. I also give credit where credit is due. In fact, it was clear upon reading his commentary here that Muir was right there with me on the character development angle. He really enjoyed those elements of Black Sun. There is much "humanizing" as the Alphans must essentially "face death" down. Surprisingly, but not incorrectly, he feels the strengths found in the entry do not excuse the lapses in science fiction logic. He judges the entry more harshly. I was willing to let those earlier setups slide, but Muir is less forgiving and maybe justifiably so.
*

On the surface, Muir is certainly not a proponent of the visual effects on display in this entry. I would agree. They are weak in comparison to the other installments. It's a bit like being run through a psychedelic 70s groove machine without the disco.
*

Muir does feel the character strengths simply cannot overcome the plot holes, whereby I was more open to accepting those strengths and making efforts to bridge the gaps in the story. He's not wrong. I kept wondering how Moonbase Alpha's forcefield was going to withstand these higher powers. As Muir suggests, if the moon is destroyed how is a forcefield going to protect the base? He also points to lapses in logic. "These gods are fickle" as he puts it. Earlier in the entry this force destroys an Alphan, but by the end it saves them and is essentially guiding them. So which is it? Is this a malevolent or benevolent god? He's spot on here. Also, he points to dialogue, whereby Bergman feels the forcefield saved them despite the belief in an intervening higher power. Huh? What? There are a lot of logic lapses here. Muir makes a valid point about the logic needed in storytelling. It is necessary to "offer interesting clues (sometimes solely visual clues) that lead toward a logical set of conclusions." Yeah, that's kind of important. There is too much contradiction in play here. His examples will point to the frustrations you'll have viewing the entry. I encountered them as well. Still, I viewed it a little more favorably than Muir on character access alone. It was a step in the right direction for me. In the end, there just weren't enough answers to the questions posed in Black Sun. There's no way for the viewer to "reconstruct" information to formulate answers to the questions. In this, Muir is, once again, absolutely on target. My science fiction imagination is quite vivid, but I'm not sure even that can satiate my thirst for understanding here.
*

It's noted in the episode guides at fanderson.org.uk that Black Sun was Martin Landau, Barbara Bain and Barry Morse's favorite episode. Landau made these comments at a 1978 convention as noted at the terrific website The Catacombs. I can't help but wonder if Landau has been kinder to this series he once starred with the passage of time. It's these words that have not helped the cause of Space:1999, because it sounds like an indictment of the remainder of the series. "Black Sun was one of my favourite shows. That was shot early on in the first season. We thought that was the direction the show was to take. We had relationships, humour, a bunch of us, and music... beautiful! Unfortunately you didn't see the version I liked. It was jazzed up because some people said it was slow. That was a period of finding out. That was the direction Barbara and I wanted the show to go in. Gerry also. We watched Black Sun and said it was really marvellous and it's what Space needed. It's the direction the rest of the show should have."

The Year My Voice Broke

Gentle, and sometimes brutal, coming-of-age films don't come along quite as sincere and genuinely moving as Director John Duigan's Australian film The Year My Voice Broke [1987]. The film was my first introduction to Actor Noah Taylor as Danny Embling. This was the first in a projected Embling trilogy that was to capture the life of Director John Duigan. The sweet, real story of life in a 1960s outback town is a real gem and told with such charm and honesty it's as beautiful as the on location shooting in New South Wales Australia. Sadly, the film is no longer in print in the Region 1 format. In fact, last I looked, my DVD was actually worth well over 100 dollars on Amazon. Crazy. Here is the charming Noah Taylor in what I remember to be his first film role in a scene typical of adolescence.

Noah Taylor's other film highlights include appearances and roles in Shine [1996], Almost Famous [2000], Vanilla Sky [2001], He Died With A Felafel In His Hand [2001], the Lara Croft: Tomb Raider films [2001 & 2003] and a star turn as a young Adolf Hitler in the underrated film Max [2002] opposite John Cusack. He was also in The Life Aquatic With Steve Zissou [2004] and Charlie And The Chocolate Factory [2005]. The Year My Voice Broke has a number of sci-fi connections not least of which is the fact it was produced by Aussie Producer/ Writer/ Director George Miller. It's also presented by production house Kennedy-Miller, a production house formed by Miller with friend Byron Kennedy. This, of course, is the same Kennedy-Miller behind the ingenious Mad Max trilogy starring Mel Gibson. Sadly, Byron Kennedy died in a helicopter crash in 1983. Director/ Producer George Miller has certainly carried the torch with a number of big films as well as Australian-based films keeping the Kennedy-Miller association in name and in honor of his late friend.
*

The Year My Voice Broke resulted in the coming-of-age sequel Flirting [1991], once again starring Noah Taylor in the role of Danny Embling. The film was also the final Aussie-produced film starring the then rising superstar Nicole Kidman. She is gorgeous. Thandie Newton [The Chronicles Of Riddick] also made a splash in the film.

Anyway, The Year My Voice Broke is a special film and worth seeking out as is Flirting also directed by Duigan. Flirting would be the only sequel in the intended Danny Embling trilogy. It's a wonder why though. Both films were awarded Best Picture by the Australian Film Institute. It seems a no brainer to finish this little indie trilogy. What happened? It's never too late to revisit the life of Danny Embling with Noah Taylor at the helm.

In a recent Space:1999 entry, I mentioned Actor Nick Tate also guested in a supporting role in the film. Space:1999 fans love, as I do, the work of Nick Tate who played pilot Alan Carter. He guests in this film as a local police Sergeant. Here is a Nick Tate moment for fans of the man's natural style.

Here's one more shot of Nick Tate.

The Year My Voice Broke: B+