View allAll Photos Tagged UNFORGIVABLE
One of many radio-collared and ear-tagged Whitetail Deer in the Shenandoah National Park, due to a so-called 'study' based on IF and when CWD (Chronic Wasting Disease) would ever enter the park. You all know how I (and many others) feel about the CWD study 'assault' on the Whitetail Deer in SNP last year. There isn't a stone that has been left unturned regarding all the negatives and the contradictions. If you'd like to see those past posts, please start here: www.flickr.com/photos/lwbrown/8049916404
Thanks to fellow SNP photographer and friend Jim Fields for making me aware of the latest efforts by individuals in both the scientific and deer fields (that have factual, first-hand experience with the disease), regarding new information and new truths that are being unveiled about CWD. Misleading info is usually posted about CWD by the media (and on this SNP web page) which literally sends the public into tailspins with widespread panic and OMG gasps.
I am going to post only a few of the most notable items below, if you're interested in learning more you can view the full 30 minute video of a TV program from Deer & Wildlife Stories: The Truth About CWD. And also check out this Web site, after years of research the real facts about CWD tell a whole different story than what we are accustomed to hearing: www.cwdmyths.com.
1. CWD is not always fatal in deer. It's very, very unlikely to be transmitted. CWD has a prevalence in all deer across the entire United States. In ten years in one deer out of a thousand. One tenth of a percent.
2. In Pennsylvania recently, they tested 2,945 deer from hunter harvested deer. What they found were three positive cases. This translates to a point one percent.
3. Virginia DGIF CWD Snapshot: only 7 deer in Virginia have tested positive (out of 7000) between 2009 and 2013.
4. CWD is not the massive contagion that some ‘experts’ claim it to be. In fact, there has never been one documented case of a herd (wild or farmed) being lost due to a so-called “contagion” of CWD. Evidence suggests that CWD routinely effects around 0.05 percent or less of the cervid population, and that cervids are in no catastrophic danger from CWD.
5. The truth is that CWD has never wiped out a herd of deer or other cervid. The only destruction of herds, when it comes to CWD, has been state quarantine policies. Wildlife authorities in many states routinely kill hundreds of animals as part of their quarantine practices. If one deer or elk is found with the disease, they kill hundreds of animals and they usually find they were all perfectly healthy.
6. CWD has never had a negative impact on a deer population. In fact, the areas with no hunting, such as national parks, typically have the largest infection rates.
7. The Colorado Division of Wildlife identified CWD in a wild elk in 1981, marking the first documented case of CWD in a wild cervid. If CWD was a highly infectious and uncontrollable disease unchecked in the wild — it would certainly have wiped out all the elk in Colorado…right? But the facts tell a different story. The Rocky Mountain Elk Foundation reports that Colorado’s elk population grew 50% to 70% larger from 1984 to 2009. So how come, here it is so many years later, there is more Elk in that area than ever before, and yes, there's CWD present?
8. In Wisconsin ten years ago, CWD was discovered and the state tried to eradicate a 360 square mile area of all the deer. Every buck, doe and fawn. The state put a hit out on them in hopes of eradicating the disease. What they did wasn't eradicate the disease but spent seventy-five percent of the annual DNR budget to do it. They killed 172,000 deer from that small zone, and about 1800 of them tested positive. That's less than two percent. The impact reduced the magnificent whitetail to vermin status. That's unforgivable.
9. To illustrate how different one state looks at CWD from another, let's look at South Dakota. Specifically, lets look at Wind Cave National Park where since 1998, 140 elk residing in the park have been tested for CWD. The test results are amazing. Out of 140 elk being tested, a total of 45 came back positive for CWD. Clearly, the elk herd in South Dakota's Wind Cave National Park had an extremely high occurrence rate of CWD. Yet, in spite of the high occurrence rate, the elk herd grew and soon the numbers of elk would be so high that the habitat could not support them. That's right, in spite of CWD, the elk herd numbers grew at such a rate that the land could not support the elk. So, what did they do? On March 2, 2013 South Dakota's High Fence Wind Cave National Park temporarily lowered part of the high fence and used helicopters to evacuate approximately 200 of the estimated 950 infected or exposed elk into neighboring Custer State Park. Now think about that. Does that make sense?
Bottom line: there are many diseases that free ranging and captive whitetail deer have that are much more devastating to their populations. The number of reported deer deaths due to CWD is miniscule compared to EHD and Bluetongue, both of which are acute, often fatal, viral diseases.
The American Deer & Wildlife Alliance Announces New Campaign to Dispel Myths about CWD.
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Shenandoah National Park states the Deer were tagged and collared so they could study their movement. That makes no sense whatsoever, if CWD shows up from an outside Deer or even from a Deer within that goes outside, what relevance does that have to anything? NONE. And so now they have 'statistics' of where the deer are traveling, what exactly is that going to do for anything? NOTHING. How can this help them 'respond' to CWD if it does show up? NOTTA! To coin an old phrase, they are making mountains out of molehills.
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This statement by DR. DON DAVIS in the above mentioned tv program, speaks loud and clear IMO: There's several reasons why this CWD became an issue. And the first thing is regulatory animal disease agencies.Their job is to regulate animal diseases. Well, like any bureaucracy, they're always looking for new diseases to regulate because it gets them more money. They also are pretty bad about scaring people with diseases. The world's going to come to an end, you've got to give us more money so we can regulate this disease. And to keep our people busy.
Raquelle Lee & Summer Gordon has been seen leaving the "NPG : New Plastic Gym". It's the first appearance from Summer since the messy nightclub scandal of her Ex Ryan Lee. Summer has been spending a few hours inside the building since leaving the Very trendy gymnasium.
Paparazzi : Summer ! are you upset about Ryan & Teresa ? Are you Still friends ?
Summer :Seriously ! I don't care, they can play their little game as long as they want, I'm not working for Mattel anymore, no matter what their website is saying.
Paparazzi #2 : Raquelle, is it hard to be between your brother and you best friend ?
Raquelle : Are you kidding me ? I'm not choosing, My brother as been an as**ole ! He shouldnt have use her in the first place, Familly is important but integrity is more.
Paparazzi #3 : What are your plan Summer : Will you still modeling ?
Summer : I will focus on my acting career... Can you get off my car PLEASE !
Paparazzi #4 : Raquelle, we've been seeing you a lot with a man lately ? Can you tell me about it ?
Raquelle : Let's just say that what happen in Raquelle bedroom stay in Raquelle bedroom... (then she wink at the camera and strike a pose)
Summer : Raq! Come in the car, I wanna go.
Raquelle : (and then Raquelle sing) all the way ay ay !! taking out my freak tonniight !!!
Summer : RAQuelle ! Can you stop playing the diva and come !
Raquelle : Yeah okay !... admit that this was super..
Summer : NO. (and she leave the parking.
Raquelle know how to deal with paparazzi, it's surprising that she's not hiring some herself. Mattel communicate the departure of Gordon from the company, just after these pictures leak, they insist that some event when unforgivable and understand Summer reasons to not work with them anymore.
We don't know what exacly happen last week at mattel, but for sure,things are about to change.
The Doctor: "You betrayed me. Betrayed my trust, you betrayed our friendship, you betrayed everything I've ever stood for... You let me down!"
Clara: "Then why are you helping me?"
The Doctor: "Why? Do you think I care for you so little that betraying me would make a difference?"
This is my tribute to Clara Oswald, the Twelfth Doctor and one of the most underrated scenes in modern Doctor Who history.
When I watched this episode first time, I couldn't understand HOW the Doctor could forgive Clara after what she did. To threaten him into saving Danny Pink she literally destroyed the keys to the TARDIS, leaving herself and the Doctor trapped forever on volcano, unable to leave. Yes, it turned out it all was a dream staged by the Doctor who wanted to see how far she will come to save her dead boyfriend (and actually he can open the TARDIS without the keys by snapping his fingers, but she didn't know about that), but the thing that really matters is that Clara herself believed it was real.
Personally I'm a big fan of Clara, but even I thought she crossed the line entirely and unforgivably. How could any companion betray the Doctor? How dare you, Clara?! :\ Of course, I get it that she wanted her precious Danny (whom I dislike very much) back, fine, but how dare you to betray your friend for it, especially such a friend like the Doctor? I thought that's too much, she went too far! So I couldn't understand, why, just why the Doctor forgives her immediately and even helps her save Danny? Hey, can you hear me, she would have literally ruined your ability to time travel, if only it wasn't the dream, Doctor! How can you forgive her so easily after such a betrayal???
Obviously, he did say why (see the quote above), but at the time I was so pissed off with Clara's betrayal, that the meaning went completely over my head. And I know a lot of Clara haters mention the betrayal among their reasons to hate her, because no companion should betray the Doctor in fans' opinion.
Now, 8 years later, I still think Clara went too far, but I finally understand the Doctor.
This scene is pure gold.
"Doctor... "
"We're in a hurry!"
"... I don't deserve a friend like you."
"Clara, I'm terribly sorry, but I'm exactly what you deserve."
You can watch the scene here:
"Do you really think I care so little.." (Doctor Who Season 8 Episode 11 Dark Water)
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P.S. That's not Doctor Who related announcement, but it's important for me. :)
I just posted a new music video on my YouTube channel, and it's a tribute to Villanelle and Eve from another BBC TV series "Killing Eve" (my followers know I recently made a series of tributes to it)!
It's their story throughout seasons 1-4, but with a happy ending! I hope you'll enjoy it! :D You can see it here, please watch in HD:
Villanelle x Eve - Haunted Heart (S1-S4 + Alternate Ending!) HD
I tried my hand at doing a boy Sidonia but I don't think I succeeded. While the sculpt can be androgynous due to the heavier brow and fairly strong jaw, the expression on the face is unforgivably soft with the parted lush lips. I could try for a heavier brow I think. We'll see how this head looks once dressed and wigged.
The head is airbrushed with Golden Fluid Acrylics. Pearl powders are used for accent. MSC UV flat was used to prep and protect with a final accent using Tamiya gloss.
Note: The head appears quite pinky toned due to the freckles. I will take photos on a WS Granado body soon to show how it looks.
This past week has been inspiring. On Sunday, I watched 49 year old Sabiti Niyoyita, a bilateral amputee, write for the first time since a land mine accident 14 years ago. Then on Wednesday, I visited the Rotary Jaipur Foot Project of Rwanda where Peter (M.D., Jaipur Foot expert, and Project Director) fits functional feet to amputees.
As the week unfolded my friends and I watched Sabiti in awe at his so many "firsts" (holding a mug or mobile, computing calculations at work, shaking hands at social gatherings). Watching Sabiti reminded me, however, that there are also
so many young amputees who must also have access to prosthetics, be they the Jaipur Foot or the LN-4 Prosthetic Hand.
Just take Rwanda's southernmost city Butare, for example, where there are thousands of street children. Some, like the vibrant and smiling child in this photograph, are amputees on crutches. But the need for prosthetics is just the beginning of the issues these children collectively face. Some are blind. Some have AIDS. Everyday life is about surviving, not thriving, as they scavenge for food, or make their home in trash heaps boardering Butare's streets. At night, these kids burrow beneath blankets of rotted refuse, heads at odd angles to the highway.
Some of these children are orphans, others come from broken or abusive homes, a sobering fact which can ironically and unforgivably turn street life into near sanctuary.
For the child in this photograph, though he faces all of the above issues, a prosthetic foot could redirect his future forever.
We want all people to thrive, not just survive, right?
If you want to know more about how you can support the Rotary Jaipur Foot Project of Rwanda or The Rotary LN-4 Prosthetic Hand ("Give Hope. Give A Hand.") you can
email me directly or visit:
www.landminesurvivors.org/news_article.php?id=577
www.time.com/time/reports/heroes/foot.html
www.jaipurfoot.org/01_org_awards.asp
Butare, Rwanda.
Central Afrika.
July 8, 2006.
Statue on Paragon Station, Hull, celebrating the poet Philip Larkin who is 'many things to many people; to some a bleakly beautiful poet with a razor-sharp wit, to others a womanising misogynist whose casual racism is unforgivable.'
Words of Hannah Ellis-Petersen to accompany a new exhibition, held in Hull’s Brynmor Jones library where Larkin was famously the librarian.
Vitina Marcus…..The Cave Girl
www.vitinamarcus.com/photo.html
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
The Lost World (20th Century Fox, 1960).
youtu.be/h1CLA-gJbmA?t=5s Trailer
Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.
Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.
Synopsis
When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.
The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.
The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.
Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.
Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.
Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.
The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.
Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's
classic adventure novel, given the constraints of Hollywood culture.
The Movie Club Annals … Review
The Lost World 1960
Introduction
There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.
Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.
Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:
"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972
Review
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with
unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.
The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.
In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.
Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:
Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.
Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.
Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.
Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.
Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.
With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.
Claude Rains, as Professor George Edward Challenger
And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.
I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.
Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.
To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.
In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.
1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.
And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.
The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.
But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.
While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.
The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.
Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.
Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.
Carl R.
The Lost World (20th Century Fox, 1960).
youtu.be/h1CLA-gJbmA?t=5s Trailer
Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.
Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.
Synopsis
When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.
The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.
The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.
Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.
Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.
Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.
The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.
Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's
classic adventure novel, given the constraints of Hollywood culture.
The Movie Club Annals … Review
The Lost World 1960
Introduction
There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.
Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.
Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:
"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972
Review
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with
unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.
The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.
In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.
Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:
Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.
Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.
Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.
Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.
Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.
With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.
Claude Rains, as Professor George Edward Challenger
And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.
I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.
Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.
To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.
In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.
1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.
And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.
The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.
But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.
While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.
The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.
Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.
Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.
Carl R.
I need you, anyone - with a million and a hole in your pocket,
With lights in his eyes and tiredly inhaling smoke,
Victorious and besieged by enemies...
I need you either way, because I love you.
I need you - anyone who showers the house with petals
And at night he snorts diligently into my right temple,
Unforgivably rarely ringing keys in the hallway
And cheekily breaking the flimsy heart lock.
I need you - in perfectly ironed trousers,
And unshaven, hidden from the light under the weight of his eyelids,
Irritable, affectionate, easy, smiling, difficult...
I need you either way, because you are MY person.
View Larger ImageCeltic-Tree-of-Life-Symbol-Meaning-and-Symbolism
The deeper you delve into the history of the world, of its people, of its cultures, of its traditions and its religions, the more you realize that we are all just one extended family. Nothing separates us apart from a lack of knowledge of our shared past and a hope in a unified future. The Tree of Life is symbolic of this.
The association of trees with Life, both in the worldly plane and that of the gods, is a universal concept that spans both space and time. Evidence that humans accorded trees with a special status and equated them with the spiritual world can be found in virtually every religion and every ancient culture.
The Celtic Tree of Life Symbol and Its Meaning
Crann Bethadh, the Celtic Tree of Life was more than a mythical idea spoken of around campfires and alluded to during certain ceremonies. No, for the Celts, a people who were intimately bonded to the Earth around them, the Tree was a tangible part of everyday existence.
In the thousand years (ending in approximately 500 A.D.) that they were the dominant pagan tribe in Ireland and other parts of Northern Europe, the Celts left created and behind enough evidence of their deep reverence of nature for us to understand their perception of the Universe.
Crann Bethadh was depicted as a tree with a stout trunk, its many branches swirling up to meet the sky above while its equally numerous roots expanded into the earth below. A very interesting variation – and one that has become ever so popular today – is the Tree of Life Knot.
This design projects the branches and roots in such a manner that they weave around the center and one of each connects with one of the other, creating a circle. Often, the Tree’s design is symmetrical in the horizontal plane – it is identical viewed from above or below.
It is not just the tree that is represented in that motif – it is all of life on the planet.
So, why did these designs come to be a part of Celtic culture? How is it that they made the tree a central part of all they knew?
The answer is simple: they recognized that trees were the center of all that occurred. Their ability to create life from the sunlight and water abundant in the air and the soil fed the herbivorous and omnivorous species, including Man. Celts realized that the absence of greenery would be the absence of life itself.
Celtic mythology expanded on this idea by illustrating the branches as reaching up into the sky, the realm of the gods, while the roots settled deep into the soil, anchoring the tree to the earthly realm. Together, the tree became the channel and conduit between the will of the divine world and the mortals who lived below.
The choice of the tree as this means of communication is heavy with symbolism.
The march of the seasons, which first gives the tree its leaves, then strips them, before repeating the cycle alludes to the belief in the cycle of Life to which the Celts ascribed.
The role of the tree as the giver and protector of life also played a significant part. Birds, insects and small animals sheltered in its branches and trunk, as did humans in inclement weather. Trees gave people wood to create homes and tools, and firewood to keep them warm, cook their food and sterilize water to make it potable.
In Celtic lore, trees were seen as ancestors of human beings, a concept which has actual parallels in the science of evolution. This belief accorded them not just a place in mythology but also in genealogy; it created a personal bond between the people who lived in the forest and the trees in their midst.
But to reduce the Celtic respect of the tree to pure symbolism would be an egregious error; the Celts put into practice that in which they believed.
When a tribe chose a spot for a new settlement, they would pick a location around a strong, sturdy tree. The area around that tree would be cleared but that one tree remained as the center of their settlement. Under its shade, the elders of the tribe would meet to make important decisions and give proclamations. The tree was given the name Crann Bethadh.
The tribe’s Tree of Life was seen as its soul. In times of conflict, warring factions would strive to damage or destroy the Tree of their enemies. Doing so was not just a physical act but a great demoralizing tactic meant to sap the will of their victims to fight. Conversely, for one to destroy the Tree of his own tribe was unforgivable sacrilege.
The Tree of Life in Christianity
Most people take a rather simplistic view of the Tree of Life/Knowledge as related in the first chapter of the Bible, Genesis. In it, Adam and Eve are cast out the Garden of Eden because they disobeyed God by eating the fruit of the Tree of Knowledge.
However, a more nuanced reading suggests that consumption of the Fruit of Knowledge reveals to Adam and Eve their imperfection(s) and lays bare to them that they are not infallible. For the pair to have remained in the Garden would have meant eternal suffering over the conscious realization of their own shortcomings.
In that understanding, the exit from the Garden allowed them to live without constant self-loathing.
There are actually references to two Trees in Genesis, the Tree of Life and the Tree of Knowledge. The second is where the forbidden fruit grew. However, after the casting out of Adam and Eve, it is stated that God leaves a guardian at the Tree of
Life.
Are they the same tree?
The Tree of Life in Ancient Egypt
The ancient Egyptian empire were one of the world’s first organized civilizations from which we know of Man’s reverence for the Tree.
Their carvings and artwork speak of an acacia tree from which the god, Osiris and his wife and consort, the goddess, Isis, are borne. The Egyptians refer to the acacia as the tree within which ‘life and death are enclosed’.
The Tree of Life in Hinduism and Buddhism
The banyan tree is accorded a special status in Hindu lore and scripture. If the Celtic Tree of Life is seen to represent a cycle where the branches and the roots meet, the banyan tree achieves this feat in reality.
In the first stage of its life, a banyan tree grows like any other, upwards from the soil towards the sky. However, once it reaches adulthood, the branches droop back down towards the soil and begin to resemble the trunk.
As time progresses, these branches thicken and develop to the point that they are indistinguishable from the original trunk. They also undertake the same roles as the trunk, transporting and distributing nutrients to all parts of the tree. After some time, a single banyan looks like a grove of trees.
This unique behavior is taken by Hindus and Buddhists as a symbol of the great Cosmic Dance where all matter is the same, originating in the Universal Truth and returning to it. Ancient Hindu scriptures like the Vedas and Bhagvad Gita reference the banyan tree.
Buddha is said to have attained Enlightenment under a Bodhi tree in the Northern Indian state of Bihar. A living Bodhi tree in Sri Lanka is supposed to have been gown from a cutting from that actual tree.
Whereas the Buddha himself never referred to the Bodhi as the Tree of Life, it is held in high regard by both Buddhists and Hindus for the role that it played.
The Tree of Life in Islamic Mythology
The Creation myths of Judaism, Christianity and Islam are almost identical as they all refer largely to the Torah. However, unlike Christian tradition that suggests that there might have been two divine trees in the Garden of Eden, the Islamic scripture refers to suggest one.
The Tree of Life in Islam is referred to in the Quran as the Tree of Immortality. The story of the expulsion of Adam and Eve is identical to that in the Torah and Bible; the Devil in the form of a serpent tricks the couple into eating the fruit of the tree, whereupon they gain the knowledge of good and evil.
While most Muslims see the stories in the Quran as a history of actual events, the Ahmadiyyah sect ascribes to the view that the story is not a literal but a metaphorical one. They believe that the eating of the fruit is a symbolic representation of disobedience of God’s orders.
The Tree of Life in Judaism and Kabbalah
In Judaism, the term the ‘Tree of Life’ is very different from what is understood in most other systems of belief. Eitz Chaim is a Hebrew term that translates literally as Tree of Life and is used to describe the Jewish holy book, the Torah itself.
In the mystical beliefs of the Kabbalah, the Tree of Life is a series of ten interconnected points on a vertically-elongated hexagon that represents parts of ‘The Infinite’ (God) that creates and maintains the physical and supernatural realms.
The Tree of Life in Mesoamerican Beliefs
The Tree of Life is more accurately described as the World Tree in the cultures of ancient Central and South American tribes.
These trees are depicted as having four branches extending in the four cardinal directions and roots that descend into water below. The latter is believed to be a representation of the underworld.
The trunk of the tree is often depicted as an upright caiman.
There are references to the cycle of birth, death and rebirth here, but rather an illustration of the three worlds in their discrete states.
The Tree of Life in Norse Mythology
Just like the Celts, the Norsemen, too, had great regard for trees. Several actual trees believed to have magical properties make an appearance in Viking history, including the sacred Tree at Uppsala and Thor’s Oak (Donar’s Oak).
However, there is also the mythical Yggdrasil. Yggdrasil is believed to be either an ash or a yew tree, with branches and roots that lead to the various worlds in which gods and men dwell. The fruit of tis tree keeps the Norse gods youthful.
It is quite possible that the Celtic image of the Tree of Life was inspired by the Norse Viking traditions.
In the Norse version of the cosmos, this great tree connects the nine planes of existence. Among them are the world of men; Asgard, home of the gods; Hel, the land of the Dead; the spring, Hvergelmir; and the well, Mímisbrunnr.
The fact that Yggdrasil stands in a spring alludes to the Norse belief in the origins of all life in water, a version of events with which science seems to concur today. While there is no indication of an actual cycle like that suggested by the Tree of Life knot, the interconnected nature of all the planes of existence through the branches, trunk and roots of the tree seem to propose a parallel idea.
In Norse mythology, the end of the entire universe will happen at a cataclysmic battle between the gods called Ragnarok. All of existence will be rent asunder, save for a man and a woman who hide in the hollow of a tree.
The name of the tree is never revealed, nor is the fate of Yggdrasil when Ragnarok comes.
However, the couple will emerge from within the tree into a world which will have been created anew to start the world all over again. In that sense, Yggdrasil functions as both the protector and sustainer of all life.
The Tree of Life in Popular Culture
The 2009 film, Avatar, depicts a giant planet where every single plant and tree is interconnected by a vast underground network of roots. The local population are able to connect physically to the Tree and, through this act, bond, heal and even affect life and death.
Tree of Life, a 2011 film explores the interconnected nature of not just the planet but the entire Universe and all of existence, past, present and future.
Vitina Marcus…..The Cave Girl
www.vitinamarcus.com/photo.html
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
The Lost World (20th Century Fox, 1960).
youtu.be/h1CLA-gJbmA?t=5s Trailer
Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.
Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.
Synopsis
When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.
The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.
The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.
Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.
Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.
Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.
The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.
Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's
classic adventure novel, given the constraints of Hollywood culture.
The Movie Club Annals … Review
The Lost World 1960
Introduction
There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.
Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.
Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:
"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972
Review
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with
unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.
The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.
In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.
Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:
Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.
Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.
Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.
Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.
Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.
With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.
Claude Rains, as Professor George Edward Challenger
And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.
I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.
Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.
To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.
In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.
1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.
And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.
The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.
But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.
While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.
The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.
Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.
Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.
Carl R.
Ah, yes. Construction, as well as shamelessly posting photos of unforgivably poor quality, goes on yet. The underside of my SHIP, (measuring in at 106 studs), is basically complete. I can't imagine I won't be throwing in little tweaks here and there as I continue. Construction at this point has gone on for about 2 months, and I am estimating another couple weeks until I'm editing, if not posting, the final pics of this very frustrating SHIP.
Why is it frustrating, you ask? Let me tell you.
About a week ago, tragedy struck this MOC as I turned it over to set it on its belly and two rather large sections of the rear of the ship promptly fell off and shattered on the floor. There was apparently enough weight in those two pieces that it immediately overbalanced the ship in my hands, and although I saved the whole thing from falling to a death that would have undoubtedly sent me into an immediate dark age, the sudden lurch caused a rather large section of the front to plummet to the floor in a similar fashion as the rear sections, with much the same result. With that horror still fresh in my mind, (as well as minimal loss of sleep), I have put a lot of extra time into reinforcing the connections, which seems to have paid off, (fingers crossed), because when I flipped this thing over just moments ago, it barely shivered.
Thanks for having a look, and being supportive of my tragedy, (even if it sent you into uncontrollable fits of laughter).
The Lost World (20th Century Fox, 1960).
youtu.be/h1CLA-gJbmA?t=5s Trailer
Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.
Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.
Synopsis
When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.
The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.
The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.
Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.
Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.
Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.
The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.
Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's
classic adventure novel, given the constraints of Hollywood culture.
The Movie Club Annals … Review
The Lost World 1960
Introduction
There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.
Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.
Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:
"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972
Review
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with
unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.
The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.
In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.
Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:
Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.
Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.
Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.
Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.
Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.
With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.
Claude Rains, as Professor George Edward Challenger
And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.
I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.
Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.
To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.
In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.
1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.
And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.
The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.
But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.
While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.
The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.
Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.
Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.
Carl R.
Betrayal is a real thing.. Some boundaries should never be crossed. Some things should never be said. Some things are unforgivable..
We're almost there, she's waiting for us, if we just don't step on a slippery rock and fall into the drink.
You will remember that I had paid for the photo of the young Yukot tribe Native-American woman, and I was awaiting its arrival.
I waited a week, and no photo. This was last spring, mind you. I waited another week, and still no photo. So I politely contacted the seller, and asked him what was up.
Oh, he was sorry. He had put the photo out of mind and forgotten to mail it, but he would do so post haste.
I waited another week. No photo. Ever patient, I gave it another week. Remember, this person. was not only a seller selling me a photograph, but a person whom I considered a friend, a person with a successful career, a happy family. In a sense, I had adopted him and his family. They had become my happy family. I talked to him fairly regularly, about politics, about shop, about places in Ohio. He took his family to Buckeye Lake. As a child, I had spent a day at Buckeye Lake, back when my family was a happy family too (or so it seemed at the time). I felt a connection, almost a kinship.
So again I messaged A. He had put the photo on a shelf and had again forgotten to mail it. He would get right on it.
So now, as Paul Harvey would say, the rest of the story.
Again, I waited. No photo. I gave it another week, yet again. No photo. I sent another message, this one perhaps a bit curt, but not profane. Basically, I asked "where's my photo?"
The third message got no reply. No photo arrived. Zilch, nada, nothing. No photo, no communication.
I guess I was starting to get annoyed. So every time on Facebook when A would make a post, about some family gathering, or some restaurant he liked, I would make a comment, and that comment would only be this: "?"
I must have done the "?" comments six or eight times, maybe more, with never a response, and so I just gave up. I certainly had spent enough energy on this relatively-minor betrayal. But then every once in a while the anger and the upset would come creeping back.
I guess about a month ago the whole thing, my feeling about it, my sense of betrayal, came to a head, and I wrote a post, a good bit shorter than this one, about the experience, about this happy family I adopted, about the photograph and the its non-arrival and the exchange of messages that eventually led nowhere, led out into a waterless desert.
I'm not 100% sure I wasn't asking for sympathy, but I got plenty of it. Everyone agreed I had been wronged. No doubt some of my friends expressed similar stories. Three people offered to send me photographs, and two of those people actually did send me photographs. The four photographs I just posted are the result of one of those gifts (the other one is coming).
I didn't name A. I have learned enough in life that everybody should have an out. By not naming him, I left him that out, and I managed to not damage his reputation. I might have offered to name him if somebody sent me a private message. One person did. That was a mistake I shouldn't have made.
And then I heard that ping, or whatever noise Messenger makes, and I looked to see that it was A messaging me. And he set right in apologizing, and acknowledging that his behavior had been unforgivable (maybe he didn't go that far), and not only had he already packed up the photograph, addressed to me, but it was already in the mail. The photograph on its way, at long last, but he would also be happy to refund my $25.
I don't think I thought about that $25 for very long. I told him to take his wife and daughter to an ice cream parlor (Ohio is fairly big on ice cream) for some special treat.
And Jessica, whose photos you've just seen, and Mike, whose photos you will be seeing, had to wait for the arrival of THE PHOTO, the photo I am just about to show you. Only then could I write this, and only a person who knows, or rather has been absorbed into the very fabric of its being by Tristram Shandy, could write this. What patience I have, since every other letter is a typo.
Here is the photograph (the verso will precede it):
The Lost World (20th Century Fox, 1960).
youtu.be/h1CLA-gJbmA?t=5s Trailer
Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.
Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.
Synopsis
When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.
The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.
The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.
Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.
Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.
Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.
The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.
Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's
classic adventure novel, given the constraints of Hollywood culture.
The Movie Club Annals … Review
The Lost World 1960
Introduction
There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.
Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.
Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:
"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972
Review
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with
unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.
The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.
In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.
Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:
Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.
Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.
Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.
Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.
Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.
With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.
Claude Rains, as Professor George Edward Challenger
And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.
I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.
Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.
To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.
In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.
1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.
And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.
The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.
But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.
While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.
The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.
Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.
Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.
Carl R.
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
The Lost World (20th Century Fox, 1960).
youtu.be/h1CLA-gJbmA?t=5s Trailer
Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.
Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.
Synopsis
When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.
The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.
The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.
Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.
Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.
Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.
The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.
Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's
classic adventure novel, given the constraints of Hollywood culture.
The Movie Club Annals … Review
The Lost World 1960
Introduction
There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.
Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.
Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:
"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972
Review
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with
unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.
The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.
In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.
Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:
Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.
Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.
Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.
Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.
Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.
With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.
Claude Rains, as Professor George Edward Challenger
And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.
I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.
Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.
To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.
In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.
1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.
And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.
The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.
But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.
While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.
The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.
Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.
Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.
Carl R.
Contrary to the narrative that is being pushed by the mainstream that the COVID 19 virus was the result of a natural mutation and that it was transmitted to humans from bats via pangolins, Dr Luc Montagnier the man who discovered the HIV virus back in 1983 disagrees and is saying that the virus was man made.Professor Luc Montagnier, 2008 Nobel Prize winner for Medicine, claims that SARS-CoV-2 is a manipulated virus that was accidentally released from a laboratory in Wuhan, China. Chinese researchers are said to have used coronaviruses in their work to develop an AIDS vaccine. HIV DNA fragments are believed to have been found in the SARS-CoV-2 genome. We knew that the Chinese version of how the coronavirus emerged was increasingly under attack, but here’s a thesis that tells a completely different story about the Covid-19 pandemic, which is already responsible for more than 110,000 deaths worldwide. According to Professor Luc Montagnier, winner of the Nobel Prize for Medicine in 2008 for “discovering” HIV as the cause of the AIDS epidemic together with Françoise Barré-Sinoussi, the SARS-CoV-2 is a virus that was manipulated and accidentally released from a laboratory in Wuhan, China, in the last quarter of 2019. According to Professor Montagnier, this laboratory, known for its work on coronaviruses, tried to use one of these viruses as a vector for HIV in the search for an AIDS vaccine! “With my colleague, bio-mathematician Jean-Claude Perez, we carefully analyzed the description of the genome of this RNA virus,” explains Luc Montagnier, interviewed by Dr Jean-François Lemoine for the daily podcast at Pourquoi Docteur, adding that others have already explored this avenue: Indian researchers have already tried to publish the results of the analyses that showed that this coronavirus genome contained sequences of another virus, … the HIV virus (AIDS virus), but they were forced to withdraw their findings as the pressure from the mainstream was too great. To insert an HIV sequence into this genome requires molecular tools. In a challenging question Dr Jean-François Lemoine inferred that the coronavirus under investigation may have come from a patient who is otherwise infected with HIV. No, “says Luc Montagnier,” in order to insert an HIV sequence into this genome, molecular tools are needed, and that can only be done in a laboratory. According to the 2008 Nobel Prize for Medicine, a plausible explanation would be an accident in the Wuhan laboratory. He also added that the purpose of this work was the search for an AIDS vaccine. The truth will eventually come out In any case, this thesis, defended by Professor Luc Montagnier, has a positive turn. According to him, the altered elements of this virus are eliminated as it spreads: “Nature does not accept any molecular tinkering, it will eliminate these unnatural changes and even if nothing is done, things will get better, but unfortunately after many deaths.” Luc Montagnier added that with the help of interfering waves, we could eliminate these sequences and as a result stop the pandemic. This is enough to feed some heated debates! So much so that Professor Montagnier’s statements could also place him in the category of “conspiracy theorists”: “Conspirators are the opposite camp, hiding the truth,” he replies, without wanting to accuse anyone, but hoping that the Chinese will admit to what he believes happened in their laboratory.
www.pourquoidocteur.fr/Articles/Question-d-actu/32184-EXC...
To entice a confession from the Chinese he used the example of Iran which after taking full responsibility for accidentally hitting a Ukrainian plane was able to earn the respect of the global community. Hopefully the Chinese will do the right thing he ads. “In any case, the truth always comes out, it is up to the Chinese government to take responsibility.”
www.gilmorehealth.com/chinese-coronavirus-is-a-man-made-v...
Back in January, when the pandemic now consuming the world was still gathering force, a Berkeley research scientist named Xiao Qiang was monitoring China’s official statements about a new coronavirus then spreading through Wuhan and noticed something disturbing. Statements made by the World Health Organization, the international body that advises the world on handling health crises, often echoed China’s messages. “Particularly at the beginning, it was shocking when I again and again saw WHO’s [director-general], when he spoke to the press … almost directly quoting what I read on the Chinese government’s statements,” he told me.
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The most notorious example came in the form of a single tweet from the WHO account on January 14: “Preliminary investigations conducted by the Chinese authorities have found no clear evidence of human-to-human transmission of the novel #coronavirus.” That same day, the Wuhan Health Commission’s public bulletin declared, “We have not found proof for human-to-human transmission.” But by that point even the Chinese government was offering caveats not included in the WHO tweet. “The possibility of limited human-to-human transmission cannot be excluded,” the bulletin said, “but the risk of sustained transmission is low.”
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This, we now know, was catastrophically untrue, and in the months since, the global pandemic has put much of the world under an unprecedented lockdown and killed more than 100,000 people.
Read: The pandemic will cleave America in two
The U.S. was also slow to recognize the seriousness of this new coronavirus, which caught the entire country unprepared. President Donald Trump has blamed the catastrophe on any number of different actors, most recently, singling out the WHO. “They missed the call,” Trump said about the body at a briefing this week. “They could have called it months earlier.”
Trump may well be looking to deflect blame for his own missed calls, but inherent structural problems at the WHO do make the organization vulnerable to misinformation and political influence, especially at a moment when China has invested considerable resources cultivating influence in international organizations whose value the Trump administration has questioned. (Trump just in March announced he would nominate someone to fill the U.S. seat on the WHO’s Executive Board, which has been vacant since 2018.)
Even in January, when Chinese authorities were downplaying the extent of the virus, doctors at the epicenter of the outbreak in Wuhan reportedly observed human-to-human transmission, not least by contracting the disease themselves. In the most famous example, Dr. Li Wenliang was censured for “spreading rumors” after trying to alert other doctors of the new respiratory ailment; he later died of the virus himself at age 33. China now claims him as a martyr. Asked about Li’s case at a press conference, the executive director of the WHO’s Health Emergencies Programme, Michael Ryan, said, “We all mourn the loss of a fellow physician and colleague” but stopped short of condemning China for accusing him. “There is an understandable confusion that occurs at the beginning of an epidemic,” Ryan added. “So we need to be careful to label misunderstanding versus misinformation; there's a difference. People can misunderstand and they can overreact.”
Those lost early weeks also coincided with the Chinese New Year, for which millions of people travel to visit family and friends. “That’s when millions of Wuhan people were misinformed,” Xiao said. “Then they traveled all over China, all over the world.”
Read: China hawks are calling the coronavirus a ‘wake-up call’
The WHO, meanwhile, was getting its information from the same Chinese authorities who were misinforming their own public, and then offering it to the world with its own imprimatur. On January 20, a Chinese official confirmed publicly for the first time that the virus could indeed spread among humans, and within days locked down Wuhan. But by then it was too late.
It took another week for the WHO to declare the spread of the virus a global health emergency—during which time Dr. Tedros Adhanom Ghebreyesus, the WHO’s director-general, visited China and praised the country’s leadership for “setting a new standard for outbreak response.” Another month and a half went by before the WHO called COVID-19 a pandemic, at which point the virus had killed more than 4,000 people, and had infected 118,000 people across nearly every continent.
The organization’s detractors are now seizing on these missteps and delays to condemn the WHO (for which the U.S. is the largest donor), call for cutting the organization’s funding, or demand Tedros’s resignation. At the White House, Trump’s trade adviser Peter Navarro has been a sharp critic.
“Even as the WHO under Tedros refused to brand the outbreak as a pandemic for precious weeks and WHO officials repeatedly praised the [Chinese Communist Party] for what we now know was China’s coordinated effort to hide the dangers of the Wuhan virus from the world, the virus spread like wildfire, in no small part because thousands of Chinese citizens continued to travel around the world,” Navarro wrote to me in an email. Secretary of State Mike Pompeo recently said the administration was “reevaluating our funding with respect to the World Health Organization;” Trump has said an announcement on the matter will come next week. On the Hill, Republican Senators Martha McSally of Arizona and Rick Scott of Florida are both seeking an investigation of the WHO’s performance in the crisis and whether China somehow manipulated the organization. “Anybody who’s clear-eyed about it understands that Communist China has been covering up the realities of the coronavirus from Day 1,” McSally, who has called for Tedros to resign, told me. “We don’t expect the WHO to parrot that kind of propaganda.” Scott told me he wants to know whether the WHO followed their own procedures for handling a pandemic and why the organization hasn’t been forceful in condemning China’s missteps.
Asked for comment, a representative from the WHO pointed to a press conference Tedros gave this week. “Please quarantine politicizing COVID,” Tedros said then. “We will have many body bags in front of us if we don’t behave … The United States and China should come together and fight this dangerous enemy.” Even in early January, when it was still describing the disease as a mysterious new pneumonia, the WHO was publishing regular guidance for countries and health-care workers on how to mitigate its spread. And the organization says it has now shipped millions of pieces of protective gear to 75 countries, sent tests to more than 126, and offered training materials for health-care workers.
In any case, it’s not the WHO’s fault if China obscured the problem early on, says Charles Clift, a senior consulting fellow at Chatham House’s Center for Universal Health who worked at the WHO from 2004 to 2006. “We’d like more transparency, that’s true, but if countries find reasons to not be transparent, it’s difficult to know what we can do about it.” The organization’s major structural weakness is that it relies on information from its member countries—and the WHO team that visited China in February to evaluate the response did so jointly with China’s representatives. The resulting report did not mention delays in information-sharing, but did say that “China’s bold approach to contain the rapid spread of this new respiratory pathogen has changed the course of a rapidly escalating and deadly epidemic.” The mission came back telling reporters they were largely satisfied with the information China was giving them.
Read: The problem with China’s victory lap
If this is something short of complicity in a Chinese cover-up—which is what former National Security Adviser John Bolton has alleged of the WHO—it does point to a big vulnerability: The group’s membership includes transparent democracies and authoritarian states and systems in between, which means the information the WHO puts out is only as good as what it’s getting from the likes of Xi Jinping and Russian President Vladimir Putin. North Korea, for instance, has reported absolutely no coronavirus cases, and the WHO isn’t really in a position to say otherwise.
The structure also gives WHO leaders like Tedros an incentive not to anger member states, and this is as true of China as it is of countries with significantly less financial clout. During the Ebola epidemic in 2014, Clift said, WHO took months to declare a public-health emergency. “That’s three very small West African countries, and WHO didn’t want to upset them,” Clift said. “WHO didn’t cover itself in glory in that one.” The response this time has been much faster and better, in Clift’s observation. “It doesn’t mean it shouldn’t be examined afterwards to see what they could have done better,” he said. “And one should really investigate the origins of what happened in China.”
The WHO has also shown, however, that it can walk the line between the need for cooperation and information-sharing from member states and the need to hold them accountable for mistakes. During the SARS outbreak in 2003, a WHO spokesman criticized China for its lack of transparency and preparation, which had allowed the virus to spread unchecked. China even later admitted to mistakes in handling the outbreak.
No such critique has been forthcoming this time. One study found that China could have limited its own infections by up to 95 percent had the government acted in that early period when doctors were first raising the alarm and the Chinese Communist Party was still denying the extent of the problem. “The WHO at that time didn’t do their job,” Xiao said. “The opposite: They actually compounded Chinese authorities’ misinformation for a few weeks. That is, to me, unforgivable.”
We want to hear what you think about this article. Submit a letter to the editor or write to letters@theatlantic.com.
www.theatlantic.com/politics/archive/2020/04/world-health...
First trip to Oregon. We logged nearly 600 miles in 72 hours trying to see beauty the state has to offer and barely scratched the surface.
Last morning -- a pre-sunrise trip to Mt. Hood and Trillium Lake, the latter I only became aware of thanks to some great photos here on flickr. Amazingly, on a Monday morning there were only three other people here besides us; a fisherman, and two other photographers. Perfect. Just perfect.
Unfortunately, I committed one of the photographer's most unforgivable sins -- forgetting to check the ISO. For some reason, it was set at 400, and this shot is a little grainy as a result.
Well, well, well… look who got caught not caring—again.
In a stunning turn of events (read: Tuesday morning), she found herself at the Penitentiary of Athenea, proudly holding up inmate number 017-331 like it’s a limited edition badge of honor. Dressed in a tank that screams “No o’clock,” ripped jeans, and an attitude sharp enough to cut through prison bars, our girl clearly committed the unforgivable crime of... zero chill and maximum sass.
When asked about her offense, she simply pointed to her shirt and gave us the finger—well, the manicure—that said it all. Time? She doesn’t know her. Responsibilities? Never met her. Alarm clocks? Enemy number one.
One thing's for sure: If mugshots were a runway, this diva would be getting booked and double-tapped.
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Know I’ve done wrong, left your heart torn
Is that what devils do?
Took you so long, where only fools gone
I shook the angel in you!
Now I’m rising from the crowd
Rising up to you!
Feel with all the strength I found
There's nothing I can’t do!
Chorus:
I need to know now, know now
Can you love me again?
I need to know now, know now
Can you love me again?
I need to know now, know now
Can you love me again?
I need to know now, know now
Can you love me again?
I need to know now, know now
Can you love me again?
It’s unforgivable,
I stole and burnt your soul
Is that what demons do, hey?
They rule the worst in me
Destroy everything,
They blame on angels like you, hey!
Now I’m rising from the crowd
Rising up to you!
Feel with all the strength I found
There's nothing I can’t do!
Chorus:
I need to know now, know now
Can you love me again?
I need to know now, know now
Can you love me again?
I need to know now, know now
Can you love me again?
I need to know now, know now
Can you love me again?
I need to know now, know now
Can you love me again?
Uh, uh, uh, uh!
Oh, oh!
Told you once again,
Do this again, do this again, oh!
I told you once again,
Do this again, do this again, oh, oh!
Chorus:
I need to know now, know now
Can you love me again?
I need to know now, know now
Can you love me again?
I need to know now, know now
Can you love me again?
I need to know now, know now
Can you love me again?
I need to know now, know now
Can you love me again?
==================
Traduzione
So di aver sbagliato, di aver lacerato il tuo cuore
E’ questo quello che fanno i diavoli?
Ti ho portata così lontano, dove solo gli sciocchi vanno
Ho scosso l’angelo dentro di te!
Ora mi sto elevando al di sopra della massa
Mi sto elevando per arrivare a te!
Lo sento con tutta la forza che ho trovato
Non c’è nulla che io non possa fare!
Ho bisogno di sapere adesso, di sapere adesso
Puoi amarmi di nuovo?
E’ imperdonabile,
Ho rubato e bruciato la tua anima
E’ questo quello che fanno i demoni, vero?
Loro riescono a comandare quel che di peggio c'è in me
Distruggono qualsiasi cosa,
incolpano gli angeli come te, sì!
Ora mi sto elevando al di sopra della massa
Mi sto elevando per arrivare a te!
Lo sento con tutta la forza che ho trovato
Non c’è nulla che io non possa fare!
Ho bisogno di sapere adesso, di sapere adesso
Puoi amarmi di nuovo?
Te l’ho detto una volta e lo farò di nuovo
Ho bisogno di sapere adesso, di sapere adesso
Puoi amarmi di nuovo?
The Lost World (20th Century Fox, 1960).
youtu.be/h1CLA-gJbmA?t=5s Trailer
Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.
Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.
Synopsis
When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.
The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.
The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.
Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.
Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.
Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.
The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.
Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's
classic adventure novel, given the constraints of Hollywood culture.
The Movie Club Annals … Review
The Lost World 1960
Introduction
There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.
Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.
Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:
"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972
Review
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with
unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.
The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.
In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.
Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:
Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.
Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.
Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.
Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.
Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.
With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.
Claude Rains, as Professor George Edward Challenger
And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.
I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.
Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.
To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.
In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.
1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.
And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.
The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.
But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.
While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.
The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.
Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.
Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.
Carl R.
Wine Goblet, Original Artwork from a talented English artist....empty, unforgivably for now...
Posted for Our Daily Challenge... Focus
First off, I'm not a fan of Alien 3 or, indeed of Alien : Resurrection. As far as I'm concerned Ripley's story arc was wrapped up at the end of Aliens and no sequel was necessary. So airtight was the script of Aliens that the writers of the third film had to introduce a massive, and still unexplained, plothole, in order to make it work. And, of course, killing off Hicks and Newt in such an offhand way was absolutely unforgivable. You might say, 'that's life, sometimes you don't get a happy ending'. True. That's why we have fiction.
Anyway, rant over. I bought the Alien 3 Ripley because it looked awesome and indeed it is.
VIDEO: (Coming soon!)
••• SCRIPT/LYRICS: •••
MOLEMAN'S EPIC RAP BATTLES!!!!!!
GARNET…
…VS…
…FIRESTORM!!!
BEGIN!
Firestorm:
We could think about what gimmicks convolute our history:
Mixups with Russians, nature-forces and Yoruba witchery,
And we could think of crises wrought on our identity…
Yes, surely…
…But today, let's only think of flaming enemies with fury!
Hey, here comes a question most alarming; not to be dismissed,
And one whose comprehension won't take an atomic physicist:
Why let a contest measure merger-might to choose from we and you
When the answer is plainer than combining two plus freaking two?!
Don't get too cocky, Ronald; let's see this done as it ought to be:
Transmute lit lyrics from raw beats, and lecture blockheads properly!
It's gonna be a far cry from your Brightest Day; I'm going dark,
With aims to end this in a Flash just like my debut story arc!
Complete transparency, now; tip: skip on a kicked-in butt tonight.
Called on and dared to speak out? Quit, not even picking up the mic!
You see your worth as apt for some Gem-world princess, or even goddess,
Yet I wouldn't appraise your value at one-half Nicki Minaj's!
It's a lock, and un-jail-breakable, at that: you're getting blasted;
Your cut's unfit for this face-off, falling flat in every facet.
Why, it's evident: our foe lacks proper grasp of her position,
Just as suits the fruit of reckless, raw romance at first collision!
Molecules are being rewritten, spelling death for sucker golems;
Souring your Sugar sweetness!
That reminds me of a poem… how's it go?
A Ruby's red, and a Sapphire's colored blue;
When they're together, all the better to set fire onto you!
Garnet:
It seems your touted tangibility-tweaking tricks are getting screwy:
Though plainly made with fazing aims, your statements phase directly through me!
Fisticuffs raised to the max, I'll put it heavy-handedly:
This space-borne stone immortal's here to Vandalize you Savagely!
Don't think the balanced bond behind a harmonizing master humbled
By the body-bunking counterpart of Simon and Garfunkel;
You're the one Nuclear waste it's best to keep left in the ashcan:
That brute in Supes' ill-fated Quest for Peace was less a hack, man!
Your own saw Lanterns, Squads, the Reds and A-bombs quell your mission;
That's as jacked up as your black successor's break on television!
You'd do well to fission: squishies risk affliction, sticking to that kind of nexus;
It's as if you're mixing in black clouds in morning-time for breakfast.
Hawking off your power-set as something there's no reproducing?
Your old flame Lorraine objects, and check that shared New 52 scene!
Take me on? You're tripping; I could go all Summer Day,
Mad-laughing as you're curse-slapped, your collapse one stone's throw-down away!
Firestorm:
I'd hardly call that verse a gem, but do see you're impassioned;
Now, brace for an opposite, unequal nuclear reaction!
I'd advise you set about disarming; keep at trying to battle,
And you'll only fall apart, so turn around, three-eyes: skedaddle!
Put a bubble on your gushing pride, and hear just what I'm made of:
Nobel Prize-commemorated brains and brawn prime for the playoffs…
Oh, and right: the atoms' might, infused not in a tiny me,
But through a union whose inducement gets them splitting violently!
The irony…
These elements comprising me like father, son and holy ghost,
Your cotton candy composition couldn't come remotely close;
These bogglers are built to leave your flipping mind
As broken as that gay love metaphor between two different kinds!
Pursuing this is straight-up suicidal; heed some good advice:
Lest you be undone swiftly as a Slipknot, fleeing would be wise!
Hmm… knots, you say?
Tying yours sure garnered fandom's queerness-touting cheers.
What an accomplishment; it merely took damn-near six thousand years!
Our souls, conjoining, form an epic entelechy, knowing which,
Forgo all hopefulness of cloning this, as shown amiss with Soviets,
You cloying, kitschy clod! As for the riffs you spit haphazardly,
Those bare-bones bars have less meat than the prick who nicked your anthem, G!
Ours? Fine-tuned to the quantum level; spliced into arrangements
Set to shake your union to the brink of thrice-induced estrangement,
And don't count on pulling back together, damaged faith restored,
'Cause just the two of us are stronger than your whole volcanic Megazord!
Garnet:
Yeah, I'd imagine you'd know all about that, Orange Ranger,
But your floating mentor-head ought to have warned you to the danger;
What if I told you you'll be blindsided, both blacking-out in quick turn,
When I yank you from the Matrix like my name was Laurence Fishburne?
Known to wreck hard-headed haters, your hot one'll prove no different,
As part-timing casuals get taught the sum of true commitment!
Wanna see a giant of a power couple? I'm your girl; espouse its meaning:
Steady-rocking since mankind, they say, was still fresh out of Eden!
Plus, your Time Squad of a secret team can bite me;
Your whole future's at an end, and naught will tweak it, even slightly!
I mean, blimey: screw false pretense for some cackling magician bull;
That mind-entrapping weeks-long bender? Flatly unforgivable!
I'm dropping bombs; the biggest Ron, his mommy or his pops have seen,
For overkill to match the namesake of a poor man's Constantine:
Destabilizing deconstruction, it'll make them draw a blank.
I'd call your deal a nature-crime; rechristen Raymond: "Ronnie Frank"!
Firestorm:
You say your bodyguard-love schtick will never come to dissolution,
Like a pair of mutant, midget technicolor Whitney Houstons!
Think we'll have a problem here?
Now, that's bananas! We'll be home by daylight,
NASA asked that she's seen, fee-free, to her own, one-way flight!
Girl, your jointly self-absorbed felicity's an utter joke;
Make threats of dropping bombs, and watch your dignity go up in smoke!
You're unprepared for prime time, Gemmy! How can you expect to win this
When your origin got upstaged by a Robot Chicken Christmas?
From N.Y.C. streets to Justice Leagues, we've made ourselves a name;
You've kept ones shared with countless drones, all bred and trained to be the same!
I live up to and past the heights of my Star-Spangled heritage;
You aren't worth your own weight at the ideal price per carat, bitch:
You're meritless! You call those palette-swapped foam Hulk props on you gauntlets?
Come at me with them, and catch a flaming knuckle through the faceplate!
Your lame cheeto P.S.A. coach couldn't top this all-new hotness,
So if you can't stand the heat, beam back on up into your safe space.
See all notions that it's nearly so severely hard to beat her
Shattered like the trust invested in her dear, departed leader!
You perceive self-value more-than-constituting both your parts' sum,
But the math says otherwise; check any jewelry broker's charts, hon!
Half of you served in a royal court as its official seer;
You've gone some kind of third-eye-blind, though, if this isn't crystal-clear:
You don't look awesome, and it's time you went to bed!
Now close the deal!
I'll let your godson know that what you did today was choke, for real!
Garnet:
Oh, you'll find no exhaustion here; I'm far from prone to break a sweat:
When I wipe the floor with phony-hot shits, it's liable to wind up painted red!
It's viable to say I've wholly got this: child's play, though only for Garnet;
Joining in on it? You're gonna get rolled and left cold, all your folks going: "Oh no, they are dead."
Try on a total toxin-taste: raw space-rock rhymes, created ground-up,
Like your Ogaden oasis, the fate of which I wouldn't take it you're too proud of.
A tenth-level belter, I rep rebel melders:
Test against my mettle? Best inject some Nth; augment your cells, or get to shelter!
It's a song of ice and fire; when you're packing just the latter,
Your whole rhythm-ride's implosion-bound, and plasma's gonna splatter.
As for your nuclear family values? I'm beyond such rigid norms,
With Multiplex strengths, all rolled up inside one monolithic form!
Ever-flowering, love letter-showered, empowering, towering gay-romantic titan,
Shade thrown my way's, with a hand-flick, reflected, and BAM: it's the source who sees dishonor.
Dominant during debates, dissent-drainingly as any achromatic tyrant,
Try shouting this down, and watch me unshakenly pluck out your core; ensure you'll be a goner!
………
(*SOLO ROUND!*)
………
Martin Stein:
How's Stein's schooling session's starting something Sapph's supposed to handle?
Kindergarten rooms have brought her whole proud pairing to a standstill!
Singlehandedly one-upping that accursed menagerie,
Observe: in verse, a worse-disturbing blasphemy!
Your present-perspicacity has faltered from foresight-fixation; your taste in soulmates shows, for starters:
Even Jason never sunk to such low standards with his partners!
When this atomic architect takes to the floor,
The only overhyped-up ship that's headed for a wreck is yours!
Sapphire:
I see a glorified Jiminy Cricket with a nonexistent sex life.
He will find less clemency afforded here than with his ex-wife!
You've not met a Crystal cold to you as this; you'd better hide:
No psycho on any of infinite Earths could hope to sway me to your side.
Your Doomsday Clock is ticking; precognition needn't spell what's gonna happen,
When the baddest blue boss bombshells 'bout you break since Doc Manhattan's!
This alleged Legend won't see tomorrow: it's apparent you'll be slaughtered;
Deploring the oracle was a mistake just as aberrant as your daughter!
Martin Stein:
Hey, h- …Oh, why should I fall back onto dumb distraction-tunes,
When you're as prone to cause your own strikeout, all while we shoot the moon?
Cut with the C.R.A.P.; let this theory of mine be self-fulfilled: you'll cease to diss me,
Lest I cut your lifeline like your Greek ancestors three from Disney!
Sapphire:
If that Titanic travesty of trite trash-talk's all you've got,
Then it's no inner-fascist speaking when I say you should be shot!
Though I'd have warned you, that would be to squander breath for me; I know this:
You'd be heedless even with a quarter-century of notice!
Ruby:
Hit the streets, relapsed to homelessness: you'll want to keep anonymous;
A fuming-to-the-brim stone's bent on bringing your Apokalips!
The CW can have Ms. Kane informed on termination:
There was no room for her once this Ruby rose to the occasion!
Ronnie Raymond:
It was plain why you would be a cowboy: shit got polarizing.
Now, take one more comic page to heart: ride into the horizon;
No horsebacking, though! Try force-propelled ascension through the sky;
Yo, when you get to space's vacuum, tell your brethren I said "Hi",
And like the Happy of those five red dwarves reneged on standing with you,
Just back down from whence you've stepped up. Better yet, abandon ship, too!
Gangster-rapping worthily of some Dakotaversal bang-baby,
Watch this meta-S.T.A.R. extinguish your eternal flame, baby!
Ruby:
Funny you'd mention horizons: the events that I discern
Are painting you abyss-inbound, and past the point of no return!
Your jerkhole gripes and talking smack? I wouldn't fly to such judgments, were I to be you;
Full-circled like a Tokamak, your lapped back attacks will bite you something entirely new!
Ronnie Raymond:
A tempered temper lends to endless energy attained to blow through;
Rage has got you burning out, and that's my okay to K.O. you,
So let's leave the hero business to myself and the professor,
Making sure they'll see the written notice of your surrend
er!
Ruby:
Have you turned your own brains to jelly?! You're intoxicated; face it:
Flying off the rails, you'll plummet to rock bottom, getting wasted!
I'm out to bring hurt beyond mere heartbreak, and thus, your wounds yet need more salting,
Like your record's blackest mark, which Rusch won't soon let be forgotten!
Sapphire: That was rotten, alright; biting to look back upon as Sodom's burning.
White light this night, too, will end your torment, though with no returning!
Ruby: Or, in more straightforward wording: DIE. You must be nuts,
'Cause if the wedding stage didn't clue you in…
R+S: Today belongs to us!
Martin Stein:
I'll gladly rain on your reunion, jerks; it's time to face the truth:
You're plainly out of it as any circus sideshow saber-tooth!
Ronnie Raymond: If the professor is the passenger beside my pilot, punks,
That puts you as the ones blindfolded, bound and gagged inside our trunk!
Firestorm: You've walked Earth since prehistory?
Well, let's address the elephant…
A flung-back Furby's apt to outpace your epochal relevance!
You'll soon return to purpose-lacking, playing parent off the table,
Once our 'verses clash, and Steven takes an arrow in the navel!
Ruby:
Dude; leukemia is one thing, but those bars of your creation?
Sapphire: Cancerous beyond the help of your most cosmic incarnation!
R+S: Striking with a shadow's subtle grace, yet shining steel's lethality,
You may think it's Injustice, but we're winning by fatality! (Frosty!)
(*♪, ♪-♪-♪, ♪-♪*)
Garnet: You're getting throttled,
Harder than you dropped the ball with Brainiac's whole ship of bottles!
Take a moment to think, now, of just how very wrong you were, disputing me:
A clear-cut polymerized paragon; let no-con-fusion be.
?????????:
The trigger word's been stated! Now, my trap is activated;
Thus, the trump card's played in my fair maiden's name, so sayeth I!
The coming game's experience? You bums should take to fearing it,
Because it's time to D-D-D-D-D-D-D-D-D-DIE!
Blue-Eyes Ultimate Dragon:
I'm the overkill O.G. of owning old O.C.G. scenes; don't test me:
M.C. B.E.U.D. on the track? Best bet that it's your Death-T!
I inflict direct attacks; take life points down to zero, no doubt,
For this joke of a Gem-Knight and Elemental HERO dropout!
I drop right on in, without a brutal cost; sans Cyber-Stein:
Bring triple threats, converging onto Ruby, Ron, Sapphire and Stein!
You're all exhausted; left defenseless as a goblin-force one-shotter:
Losing hands dealt to you all played-out, and now I strike like Yata
Garasu, to lock you pussy Fusionists in strangleholds!
You'd never bend my will in shining armor forged of rarest gold.
In terms of targets fixed upon you, you'll have no chance to Scapegoat it:
One fell burst-stream's zapping your whole sheepish quartet of components!
Weighing you against me, the Millennium Scales will tip so hard,
You'll catapult, with robo-turtles wishing they could flick as far.
You're standing on the edge; ensuing shock is sure to wreck your balance,
Come the baddest dragon's dark discharge from his Zorc Necrophallus!
Need I spell it out? Your destiny is FINAL; undisputed!
As for changing fate, moreover, that's my job, with gods tributed!
Crushing you, why would I spring some virus? That ain't worth my time,
When all your values at their highest couldn't match a third of mine!
The legend that began it all: oft-mimicked, never replicated.
My pot runneth over; it's not necessary to explain it!
You'll beg for some shadow penalty, such twistedness you'll face;
For those who come in behind Blue-Eyes, a Limp Bizkit's what they taste!
Firestorm:
Self-special-summoning into our double-duel? Screw that whole deal;
If I had wanted a royale, I'd just be playing Battlefield!
Blue-Eyes Ultimate Dragon: Don't drag this out with dialogue, delaying; I haven't got all day,
And when this card is heartless to you, how can you so much as pray?
Garnet: Well, I'd say you've let your defenses down, and I ain't talking misprints:
Your effect on me's, put simply as your text box, nonexistent!
Blue-Eyes Ultimate Dragon:
It's the rapper-kingdom finals, whelp; that isn't gonna fly:
Those one-star-studded gauntlets plainly tell that you're unqualified!
I've got you insects flipping out, but doing so won't serve to bite me,
For your lot's too basic!
Lusterless!
Dull!
…Let alone worthy to ride me,
While I shine on ever brightly, even scaled down for the big screen;
Steal the thunder of Gate-Guards: my lyrics' layout's labyrinthine!
This collective looks combustion-bound, face flared up; in a frenzy,
But I've felled far more infernal red-eyed monsters full of envy.
Cards here stacked against you steeper still than Reshef of Destruction,
White light's sealing your demise, so though you guessed correct on one thing,
Know my arsenal's evolved to make for new alternatives;
With chaos rituals to maximize the pain, I'll burn you, bitch!
Watch me send this three-eyed sucker straight to the grave; negate a compensating deck search:
End malformed mashups' miseries, like the doggy saying "Edward"!
Garnet:
Oh, you can banish that shit; try, instead, Fullmetal Jacket,
'Cause I have to ask it: what is your mammoth malfunction, maggot?!
Firestorm: I have had it with these Muto-fighting dragons, coalesced as one,
But for us coming back from this hijacking, hopes look next to none…
Our best's yet unexhausted…
Garnet: The sole option left to take here…
Firestorm: …Should we all agree we want it.
Garnet: …Would be nuclear in nature.
Firestorm: Are you thinking what I am?
Garnet: I don't think that's how fusion works.
Firestorm: Well, screw the rules; we have fan fiction logic!
Garnet: Let's just do this, jerk…
………
Garnetstorm:
Know your last-minute winning plays; details: I take no pleasure in this
As I bust loose from our tightest spot and get direct to business,
No less vocal for it, mind you, while I counter-steal the show,
And finish what your master started, with one down, and three to go!
These blows will knock you sideways, keeping up the damage all the same,
With meteoric impacts fit to fuel your blackest rival's flames!
I'm breaking your sustaining chains; those of my components' restraint, too:
But four pieces here need come together to obliterate you!
Brightly-blazing stone conglomerate, far from some shadow puppet:
Mega-mixture; this vanilla triple-dipper can go shove it!
If you're triple-A, call me the alphabet's whole backmost leg;
No Toonish trickery required, I'll deflect attacks all day!
My fighting spirit's too intense to stay; my presence here is fleeting,
But the Last Turn is upon us, and you're set for searing beating!
Wanna end this with a draw? I'll go Berserker, then: get violent,
And remake Destroy All Monsters; stomp out this tri-headed tyrant.
WHO WON?
WHO'S NEXT?
I DECIDE!
MOLE…
…MAN'S…
HA!
…EPIC RAP BATTLES!!!!!!!
Such a nice place we're tearing apart. Can't believe the scumbag living here can still afford it. After trashing the bar we go even further into the penthouse. I kick down the door to a bedroom and there's a single suit shooting at us. Behind him was exactly what we were looking for. Black Mask, still in a wheelchair. J dealt with the goon, probably Black Mask's caretaker, while I kicked his worthless ass out of the chair. He hits the floor in a twisted mess of limbs, the only things working being his arms and head. Not for long, though.
"You sick fucking freaks! haven't you done enough to me already!?"
"Clearly, no."
"So what, you tore apart my home and wasted my men just to kill a disabled guy!?"
"Don't call yourself that. Shit like you makes disabled people look bad."
"Fuck you, you psychotic bitch! I'll have you tortured to death for this! You and your boyfriend!"
"Huh, really? You should think about that a little more. C'mon, let's go outside, get some fresh air."
"The fuck are you--get your filthy hands off me!!"
I take him to a balcony I saw earlier, his legs limply dragging across the floor on the way there. J thought it was pretty hilarious. I personally thought his pointless screams for his goons were even funnier. I lift him up and hold him over the edge of the balcony, the cold winter wind blowing through his pajamas and the helmet's plume.
"What the fuck do you even get from this?! I've been falling out of the game since you bastards put me in a wheelchair."
"You trying to stay in is exactly why we're here. It's just so sad, Roman. You should be thanking us. We're doing you a favor."
"You're a lunatic! A mad fucking lunatic!!"
"And you're one of the most disgusting piles of human shit I've ever seen, and that's saying something. After the unforgivable shit I've seen you do, there's just not enough time in the year for all the things I wish I could do to you."
"Fuck you! You'll be in a meat grinder before the night's over, I swear to God, you hear me! I'll have you both--"
"Yeah yeah, I get it, and it stopped being cute about 20 minutes ago. Now look, it's not the fall, it's the sudden stop."
"You stupid bitch! Your boyfriend already tried this and I still lived!"
"I know. Here's the thing; when I said 'stop', I should've said 'pop'."
On that note, I pull out an explosive knife and slide it between his ribs. I pushed charge at the end of the hilt just as I let go. I turn around back into the building as I hear his scream behind me fading below, followed by a loud bang 3 seconds later. Job well done as far as I'm concerned. J then tells me to look for a box. I ask why and he mentions something about seeing "goddamn Bombay Sapphire"....
Hope you enjoy your Easter weekend. Apologies for the slightly wonky suspender strap. Standards dropping is unforgivable
Crucio: Inflicts excruciating pain on the recipient of the curse (tortures them). One of the three Unforgivable Curses.
This is the first time that I use lightroom, I used a preset after I edited the color a little bit on photoshop because I wasn't satisfied with the result. I wanted to do a heavy edit for this one that was dramatic and charged with rich colors.
Today, 9/11/25 we remember and never forget those who perished on 9/11/01...24 years ago.
www.911memorial.org/connect/commemoration/24th-anniversar...
Visited a 9/11 Memorial in Holmdel, NJ today, 9/11/25.
Holmdel 9/11 Memorial
voicescenter.org/living-memorial/memorials/holmdel-911-me...
Address:
4 Crawfords Corner Road
Holmdel, NJ 07733
Victims Listed:
Paul V. Barbaro
Chih Min Foo "Dennis"
Lt. Peter L. Freund
Robert L. Horohoe Jr.
Michael Patrick LaForte
Rosanne P. Lang
Matthew Picerno
Gregg Reidy
About:
Contact person Lisa Hettler and email is lhettler@comcast.net
Monument at Town Hall in Holmdel, NJ.
On January 11, 2019, for the ninth year running, I was in Washington, D.C. for the annual vigil outside the White House calling for the closure of the prison at Guantanamo Bay, on the anniversary of its opening. On January 11 this year, the prison had been open for 17 unforgivably long years — unforgivable because it is completely unacceptable for a country like the US, which claims to respect the rule of law, to hold prisoners indefinitely without charge or trial, as is the case at Guantanamo. And, of course, the situation has been particularly intolerable since Donald Trump became president, because he has no intention of releasing anyone under any circumstances, and, fundamentally, exercises complete power over the prisoners, who, this year, I described as his personal prisoners.
This photo shows campaigners with Witness Against Torture, who fast in the run-up to the anniversary and hold actions across the capital dressed in orange jumpsuits, conducting a ceremony at the end of the vigil focused on the 40 men still held.
The vigil was organized by over a dozen rights groups including Amnesty International USA, the Center for Constitutional Rights, Close Guantanamo (which I co-founded in 2012 with the US attorney Tom Wilner), the Justice For Muslims Collective, the World Can’t Wait and Witness Against Torture.
For a video of the vigil outside the White House, see: www.andyworthington.co.uk/2019/01/16/video-and-radio-feat...
For a video of the New America panel discussion, see: www.andyworthington.co.uk/2019/01/13/on-my-annual-us-visi...
For Amnesty International USA, see: www.amnestyusa.org
For the Center for Constitutional Rights, see: ccrjustice.org
For Close Guantanamo, see: www.closeguantanamo.org
For Witness Against Torture, see: www.witnessagainsttorture.com
For the World Can’t Wait, see: www.worldcantwait.net
For my most interesting photos, see: www.flickriver.com/photos/andyworthington/popular-interes...
(Rollover)
"Graham's cracker crunch" with chocolate "cremeaux," Valrhona "hot chocolate," creamy fluff and toasted marshmallow.
Taste: The dark chocolate brownie was unforgivably dense and moist. Very rich. The ganache, as well, was very rich. The graham cracker crunch was very much appreciated. All in all, a very rich and dense course - intense flavors. No one finished the whole dish.
I don't know if S'mores are "in" - but had S'mores at the Avenues the month before. Click Here Could "Graham's cracker crunch" be a reference to Graham Elliot Bowles? Hmmmm...
Atlantic Ocean, its unforgivable .. this was a beautiful day of summer that was reaching the end ... the water was cold.
Lomo lc-a + fuji superia
The Lost World (20th Century Fox, 1960).
youtu.be/h1CLA-gJbmA?t=5s Trailer
Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.
Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.
Synopsis
When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.
The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.
The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.
Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.
Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.
Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.
The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.
Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's
classic adventure novel, given the constraints of Hollywood culture.
The Movie Club Annals … Review
The Lost World 1960
Introduction
There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.
Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.
Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:
"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972
Review
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with
unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.
The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.
In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.
Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:
Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.
Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.
Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.
Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.
Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.
With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.
Claude Rains, as Professor George Edward Challenger
And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.
I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.
Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.
To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.
In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.
1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.
And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.
The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.
But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.
While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.
The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.
Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.
Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.
Carl R.
The Lost World (20th Century Fox, 1960).
youtu.be/h1CLA-gJbmA?t=5s Trailer
Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.
Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.
Synopsis
When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.
The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.
The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.
Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.
Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.
Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.
The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.
Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's
classic adventure novel, given the constraints of Hollywood culture.
The Movie Club Annals … Review
The Lost World 1960
Introduction
There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.
Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.
Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:
"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972
Review
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with
unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.
The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.
In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.
Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:
Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.
Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.
Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.
Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.
Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.
With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.
Claude Rains, as Professor George Edward Challenger
And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.
I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.
Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.
To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.
In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.
1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.
And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.
The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.
But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.
While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.
The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.
Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.
Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.
Carl R.
No sé sí recomendar la visita a San Martín de Elínes, Valle de Valderredible, en Cantabria… , desde luego para los amantes del Románico es una joya… pero es que estos también tendrán que pasar para visitarlo por Repudio , y por Cadalso, …y yo no se lo deseo a nadie…que tela tiene la cosa …. No es para asustarse , que es broma.. , son poblaciones anteriores del mismo Valle . Vamos a ser serios… , sí partimos de la impresionante carretera Burgos-Santander , por el Escudo , y cogemos la desviación que sale después de Escalada hacía Polientes , pasaremos por unos lugares para enmarcar… Orbaneja del Castillo, .. y siempre bordeando el Ebro, puentes y montañas esplendorosas , Iglesias románicas y un montonazo de parajes fotografiables, para terminar en Aguilar de Campoo, y desde allí, el que quiera, se pega una vuelta al Románico Palentino. No obstante el Monasterio, después Colegiata y después parroquia, de San Martín de Elines es un punto indispensable de parada . Románico tardío como prueba su altura , una sola nave , unos canecillos asombrosos , que es lo que más me gusta, y hasta tiene un pequeño claustro..., un paisaje en primavera… (mira que yo no aprendo…) y el Ebro… Merece la pena por tanto SOLO pasar por Repudio y Cadalso. La foto está hecha antes de que me volviese a pegar otra nevada… Se me olvidaba ... Por la zona e imperdonable su visita ... Vistas desde Rocamundo - no te tires para abajo, aunque yo lo he bajado con coche... peor aún - , Mirador de Valdeajos, Mirador de Valcabado (27 pueblos contados se ven desde allí arriba) , Paraje de Covalagua , Cueva de Los Franceses, Monasterio de Santa María de Mave, Aguilar de Campoo, .... P.D.: La Torre no la he torcido yo... ya estaba cuando llegue así.
I do not recommend a visit to San Martin de Eline Valderredile Valley in Cantabria ... certainly for lovers of Romanesque is a gem ... but they will also have to pass by to visit Repudiation and Cadalso, and ... I do not want anybody ... that fabric is the thing .... Not to panic, which is a joke .. Are the same people earlier Valle. Let's be serious ... if part of the impressive road Burgos-Santander, on the Shield, and take the diversion that comes after climbing Polientes did, places to go for a few framed Orbaneja Castle ... .. and always along the Ebro, bridges and mountain splendor, Romanesque churches and places of montonazo photographs, so end up in Aguilar de Campo, and from there you want, paste one back to the Romanesque Palencia. However the monastery, and then after Collegiata parish of San Martín de Eline is an essential stop. Late Romanesque height as evidence, a single hall, some amazing canecillos, a landscape in the spring ... (not that I watch ... I learn) and the Ebro ... therefore worth only passing through and reject Cadalso. The picture was made before I return hit another snowstorm ...I forgot ... For the visiting area and unforgivable ... Views from Rocamundo - do not throw down, but I have lowered car ... worse - Lookout Valdeajos, Paraje de Covalagua, Cave of the French, the Monastery of Santa María de Mave, Aguilar de Campo, .... P.D.: The Tower I have not twisted I ... when already the case.
Je ne recommande pas d'une visite à San Martin de Eline Valderredile Valley en Cantabria ... certainement pour les amateurs de roman est un bijou ... mais ils devront aussi passer par la répudiation et à se rendre Cadalso, et ... Je ne veux pas que n'importe qui ... que le tissu est la chose .... Pas de panique, qui est une blague .. Sont les mêmes personnes précédemment Valle. Soyons sérieux ... si une partie de la route impressionnante Burgos-Santander, sur le bouclier, et le détournement qui vient après l'escalade POLIENTES fait, des endroits à aller pour quelques encadrée Orbaneja Castle ... .. et toujours le long de l'Ebre, de ponts et de la splendeur des montagnes, des églises romanes et les lieux de montonazo photographies, si fin dans Aguilar de Campo, et d'où vous voulez, un retour à coller le roman de Palencia. Toutefois, le monastère, et puis après Collegiata paroisse de San Martín de Eline est une étape incontournable. Roman tardif hauteur en tant que preuve, une seule salle, une étonnante canecillos, un paysage au printemps ... (pas que je montre ... je apprendre) et de l'Ebre ... donc utile seulement de passage et de rejeter Cadalso. La photo a été prise avant mon retour a frappé une autre tempête de neige ...J'ai oublié ... Pour visiter le domaine et impardonnable ... Vues de Rocamundo - ne pas jeter, mais j'ai ramené la voiture ... pire - Lookout Valdeajos, Paraje de Covalagua, Cave de la France, le Monastère de Santa María de Mave, Aguilar de Campo, .... P.D.: Le Tour je ne l'ai pas tordu, je ... quand déjà le cas.
The Lost World (20th Century Fox, 1960).
youtu.be/h1CLA-gJbmA?t=5s Trailer
Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.
Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.
Synopsis
When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.
The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.
The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.
Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.
Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.
Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.
The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.
Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's
classic adventure novel, given the constraints of Hollywood culture.
The Movie Club Annals … Review
The Lost World 1960
Introduction
There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.
Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.
Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:
"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972
Review
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with
unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.
The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.
In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.
Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:
Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.
Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.
Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.
Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.
Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.
With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.
Claude Rains, as Professor George Edward Challenger
And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.
I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.
Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.
To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.
In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.
1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.
And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.
The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.
But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.
While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.
The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.
Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.
Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.
Carl R.
Le galant photographe
Monsieur, votre maîtrise en portraits est connue;
Et pour avoir le mien, chez vous je suis venue.
Votre beauté me fait Madame, un grand honneur
En daignant m'accorder cet insigne bonheur !
Pourquoi dérober sous le satin qui la frôle
L'harmonieux contour de votre blanche épaule
La Grâce à la beauté s'est en vous réunit
Et l'amour, en baisers, chante cette harmonie !
Madame quand on a la jambe aussi bien faite
De Diane il faut encore adopter la toilette.
Le galbe de vos seins est inimaginable. . .
Et le cacher serait un crime impardonnable .
The gallant photographer
Sir, your master’s degree in portraits is well known;
And to get mine, I came to you.
Your beauty makes me a great honor
By deigning to grant me this great happiness!
Why steal under the satin that brushes it
The harmonious outline of your white shoulder
The Grace of beauty has gathered in you
And love, in kisses, sings this harmony!
Ma'am, when your leg’s as well-made
From Diane to adopt the toilet.
The shape of your breasts is unimaginable-
And hiding it would be an unforgivable crime.
My second entry for the contest "Out of this World Space Builds" on Lego Idea.
Story:
“A group of villain women have taken over Space and harmony. The heartless leader, Miss Andrea try, in her heart shape spacecraft, to flee the consequences of her actions, her reprehensible acts!!! She even has desacralized the logo of the M-tron to make W-tron (Women-tron), such an unforgivable offense!
At her pursuit, a coalition of 2 classic space squads, the leader of the "EK" squad, Eddy and the leader of "WAL" squad, Cindy. They have developed a strong bond and they are quite complementary; Eddy is a fine pilot and Cindy a good shooter especially with the ion gun that are perfect to disable engines. Together with their new alliance, the "EK-WAL" squad, they want to bring Miss Andrea to justice where she will have a fair trial with all the facts and proofs of her wrongdoings.”
See the main picture (story related) here
Tip: it’s kind of obvious but you need to read between the lines to understand my intention (say rapidly and out loud the name of the villain)
29 November, 2015 – Risso’s Dolphins Slaughter – at Taiji, Japan
No mercy has been shown by the killers of Taiji today, as a small pod of six Risso’s dolphins were brutally slaughtered for consumption. Seven of the eleven banger boats that left the harbor this morning, quickly and efficiently drove the pod into the killing cove. The remaining four were not seen during the drive.
The six Risso’s were netted into the cove, although the pod was huddled together, some managed to break away into the outer nets. One of the Risso’s in the inner nets, desperately tried to swim through the nets to get to his loved ones, but as we know the Taiji killers are notorious for their unforgivable cruelty. A diver conspired with two skiffs to trap the dolphin by tying a rope around the tail and dragged the terrified victim under the tarps to certain death. Cove Guardians reported that no trainers were seen in the cove, it is not common for Risso’s to be selected for captivity.
Destruction and devastation can happen quickly in Taiji, as the killers again prove that they are able to completely erase a once happy family of six Risso’s dolphins within 2 hours.
Today's Livetream is archived at livestream.seashepherd.org/
Sites for more information :
Sea Shepherd Cove Guardians Page (official)
www.facebook.com/SeaShepherdCoveGuardiansOfficialPage
Cove Guardians
www.seashepherd.org/cove-guardians
Photo: Sea Shepherd
Bottle of my cologne. One of the hardest shots I've tried to pull off. Getting just the right amount of light and reflections in the bottle was very difficult. Canon 5d mkii 70-200mm f2.8L Paul C. Buff Einstein monolight strobes, ,reflectors, gels, and christmas lights
St Andrew, Westhall, Suffolk
I'm currently preparing a new page for Westhall at suffolkchurches.co.uk - I'm parking the old one here so it doesn't get lost forever.
Listen: come with me. We’ll set off from the Queen’s Head at Blyford, a fine and welcoming pub across the road from that village’s little church. Perhaps we’ll have just had lunch, and we’ll be sitting outside with a couple of pints of Adnams. You’d like to stay there in the sunshine for the rest of the afternoon, but I’m going to take you somewhere special, so stir yourself. You are probably thinking it is Holy Trinity at Blythburgh, Suffolk’s finest church a couple of miles away on the main A12. But it isn’t.
Nor is it St Andrew at Wenhaston, a mile away across the bridge, and home of the Doom, one of Suffolk’s greatest medieval art treasures. You’ve already seen that.
No. Within a few miles of the pub sign (notice that it features St Etheldreda, whose father King Anna was killed in battle on the Blyth marshes) there is a third of Suffolk’s finest churches. It is the least known of the three, partly because it is so carefully hidden, so secreted away, and partly because Simon Jenkins, inconceivably, unforgivably, missed it out of his book England’s Thousand Best Churches.This may yet have serious consequences, as we shall see.
Blyford is on the main road between Halesworth and Dunwich, but we are going to take a narrow lane that you might almost miss if you weren’t with me. It leads northwards, and is quickly enveloped by oak-buttressed hedgerows, beyond which thin fields spread. Pheasants scuttle across the road in front of us; a hare watches warily for a moment before kicking sulkily back into the ditch (we are on foot perhaps, or bicycle). Occasional lanes thread off towards the woods and the sea.
After a couple of miles, we reach the obscenity of a main road, and cross it quickly, leaving it behind us. Now, the lane narrows severely, the banks steepening, trees arching above us. They guard the silence, until our tunnel doglegs suddenly, and an obscure stream appears beyond the hedgerow. Once, on a late winter afternoon, my dream was disturbed here by a startled heron rising up, its bony legs clacking dryly as it took flight over my head. I felt the rush of its wings.
This road was not designed for cars. Instead, it traces the ancient field pattern, cutting across the ends of strips and then along the sides, connecting long-vanished settlements. The lane splits (we take the right fork) and splits again (the left) and suddenly we are descending steeply into a secret glade shrouded in ancient tree canopies. The lane curves, narrows and opens – and here we are. Still, you might not notice it, because the church is still camouflaged by the trees, and the absurdity of the neighbouring bungalow with its kitschy garden may distract you; but to your right, in a silent velvet graveyard sits St Andrew, Westhall. It has been described in one book as Suffolk’s best kept secret.
I hope that I can convey to you something of why this place is so special. Firstly, notice the unusual layout of the building as you walk around it. That fine late 13th century tower, not too high despite its post-Reformation bell-stage, organic and at one with the trees; the breathtaking little Norman church that spreads to the east of it. And then, to the north, a large 13th century nave, thatched and rustic. It was designed for this graveyard, for this glade. Neither has changed much. Beyond it, the grand 14th century chancel, rudely filling almost the entire east end of the graveyard. Perhaps as we step around to the north side the same thing will happen as happened to me one muggy Saturday afternoon in July 2003 – a tawny owl sat watching me on a headstone, and then threw itself furiously into the air and away.
Your first thought may be that here we have two churches joined together – and this is almost exactly right. You can see the same thing on a similar timescale at Ufford, although the development there is rather more subtle than it is here.
Here at Westhall, there was a Norman church – an early one. Several hundred years later a tower was built to the west of it, and then the vast new nave to the north. A hundred years later came the chancel. Perhaps the east end of the Norman church was rebuilt at this time. Mortlock thinks that there was once a Norman chancel, and this may be so. The old church became a south aisle, the particular preserve perhaps of the Bohun family. They married into the famous Coke family, who we have already met at nearby Bramfield.
And so, we step inside. We may do so through the fine north porch; it is a wide, open one, clearly intended for the carrying out of parish business. It was probably the last substantial part of the church to be built, on the eve of the Reformation. The door appears contemporary. Or, I might send you round to step in through the Norman doorway on the south side, into the body of the original church.
You expect dust and decay, perhaps, in such a remote place. But this is a well-kept church, lovingly maintained and well-used. Although there are a couple of old benches scattered about, most of the seating is early 19th century, with that delightful cinema curve to the western row which was fashionable immediately before the Oxford Movement and the Camden Society sent out their great resacramentalising waves, and English churches were never the same again.
If you step in from the south, then you are immediately confronted with something so stunning, so utterly wonderful, that we are going to pretend you cannot believe your eyes, and you pass it by. Instead, draw back the curtain, and step into the space beneath the tower. Walk to the western wall, and turn back.
You are confronted with the main entrance of a grand post-conquest church, probably about 1100. Surviving faces in the unfinished ranges look like something out of Wallace and Grommit. Above, an arcade of windows, the central one open. Almost a thousand years ago, it would have thrown summer evening light on the altar.
As you step back into the aisle, it is now easy to see it as the nave it once was. The northern wall has now gone, replaced by a low arcade, and you step through into the wideness of the modern (it is only 600 years old!) nave.
Here, then, let us at last allow ourselves an exploration of Suffolk’s other great medieval art survival. This is Westhall’s famous font, one of the seven sacrament series, but more haunting than all the others because it still retains almost all its original colour.
The Mass panel is the most familiar, because it is the cover of Eamonn Duffy’s majestic The Stripping of the Altars. The other panels, anti-clockwise from this, are Last Rites, Reconciliation, Matrimony, Confirmation, Baptism, Ordination, and the odd panel out, the Baptism of Christ.
The font asks more questions than it answers. How did it survive? Suffolk has 13 Seven Sacrament fonts in various states of repair. Those nearby at Blythburgh, Wenhaston and Southwold are clearly from the same group as this one, but have been completely effaced. Other good ones survive nearby at Weston and Great Glemham, at Monk Soham, at neighbours Woodbridge and Melton, neighbours Cratfield and Laxfield, at Denston in the south west and at Badingham. We don’t know how many others there might have been; probably not many, for most East Anglian churches have a surviving medieval font of another design. The surviving panels were probably plastered over during the long puritan night (the damage to the figures is probably a result of making the faces flush rather than any attempt at iconoclasm) but they were also all probably once coloured. So why has only this one survived in that state?
The other feature of the font that is quite, quite extraordinary is the application of gessowork for the tabernacled figures between the faces. This is plaster of Paris which is moulded on and allowed to dry – it can then be carved. It is sometimes used on wood to achieve fine details, but rarely on stone. Was it once found widely elsewhere? How has it survived here?
If it was just for the font, then St Andrew would still be an essential destination for anyone interested in medieval churches. But there are several other features that, in any other church, would be considered equally essential.
There is the screen. It is a bit of a curiosity. Firstly, the two painted ranges are clearly the work of different artists. On the south side are female Saints, very similar in style to those on the screen at Ufford. The artists helpfully labelled them, and they are St Etheldreda (the panel bearing her left half has been lost) St Sitha, St Agnes, St Bridget, St Catherine, St Dorothy, St Margaret of Aleppo and finally one of the most essential Saints in the medieval economy of grace, St Apollonia - she it was who could be asked to intercede against toothache. With the possible exception of St Margaret, modern Anglicans would think of all of these as peculiarly Catholic Saints, a reminder that St Andrew was built, after all, as a Catholic church.
The depictions on the northern part of the screen are much simpler (Pevsner thought them crude) and are probably painted by a local artist. Note the dedicatory inscription along the top on this side; it is barely legible, but the names Margarete and Tome Felton and Richard Lore and Margaret Alen are still discernible. I think the figures on this screen are equally fascinating, if not more so. They are all easily recognisable, and are fondly rendered. With one remarkable exception, they are familiar to us from many popular images.
The first is Saint James in his pilgrim's garb, as if about to set out for Santiago de Compostella. The power of such an image to medieval people in a backwater like north-east Suffolk should not be underestimated. Next comes St Leonard, associated with the Christian duty of visiting prisoners - perhaps this had a local resonance. Thirdly, there is a triumphant St Michael, one of the major Saints of the late medieval panoply, and then St Clement, the patron Saint of seafarers. This is interesting, because although Westhall is a good six miles from the sea, it is much closer to the Blyth river, which was probably much wider and faster in medieval times. It seems strange to think of Westhall as having a relationship with the sea, but it probably did.
Next comes the remarkable exception. The next three panels represent between them the Transfiguration; Christ on a mountain top between the two figures of Moses and Elijah. It is the only surviving medieval screen representation of the Transfiguration in England. Eamonn Duffy, in The Stripping of the Altars, argues that here at Westhall is priceless evidence of the emergence of a new cult on the eve of the Reformation, which would snuff it out. Another representation survived in a wall painting at Hawkedon, but has faded away during the last half century.
The last panel is St Anthony of Egypt, recognisable from the dear little pig at his feet. I wonder if it was painted from the life.
There is a fascinating wall painting against the north wall. It shows St Christopher, as you might expect. St Christopher was a special devotion in the hearts of medieval churchgoers, and usually sits opposite the main entrance so that they could look in at the start of the day and receive his blessing. As a surviving inscription at Creeting St Peter reminds us, anyone who looks on the image in the morning would be spared a sudden death that day. It is the other figures in the illustration that are remarkable, though, for one of them is clearly Moses, wearing his ‘horns of light’ (an early medieval mistranslation of ‘halo’).
There are a couple of other wall-paintings, including a beautiful flower-surrounded consecration cross beside the south door, and a painted image niche alcove in the eastern splay of a window in the south wall. This is odd; it should have a figure in it, but none appears to have been painted there. Perhaps it was intended to have a statue placed in front of it, but the window sill is very steep, and it is hard to see how a statue could have been positioned there. DD surmised that there had once been a stand, the base of which was canted in some manner, and that the sill had once been less steep (the base of the painting seems to suggest this). Whatever, it is very odd.
Between the painted niche and consecration cross there are surviving traces of a large painting; it seems to consist of the leafy surrounds of seven large roundels. Mortlock wondered if it might have been a sequence of the Seven Works of Mercy as at Trotton in Sussex, but there is insufficient remaining to tell.
Nicholas Bohun's tomb, in very poor repair, sits in the south-east corner; an associated brass gives you rather more information than you might think you need. A George III royal arms hangs above.
If you haven't lost your appetite for the extraordinary, come back up into the apparently completely Victorianised chancel. Chalice brasses are incredibly rare, because of their Catholic imagery. Westhall had two of them, although unfortunately only the matrices survive. Then, look up; on one of the roof beams is an image of the Holy Trinity, with God the Father holding the Crucified Christ between his knees. There is probably a dove as well, although that is not visible from the ground. Indeed, the whole thing is too small, as if the artist hadn't really thought about the scale needed for it to be seen from the chancel floor.
So there we are, I've let you in on Suffolk's best-kept secret. But I said earlier that I was afraid Simon Jenkins’s omission of this church might have serious consequences. Here is why: there is an ongoing programme of essential repairs, and the church has had to raise tens of thousands of pounds at fairly short notice. The parish has less than a hundred people living in it, and the congregation is barely in double figures. The church is clearly a national treasure, and its continued survival is essential; but it is difficult to convince people of this, because it has been missed out of what is increasingly being treated as a heritage wish-list. It was bad enough that Pevsner’s books were used as arbiters of what should survive when redundancies loomed in the 1970s; it would be appalling if the Jenkins book was used in the same way now.
The Lost World (20th Century Fox, 1960).
youtu.be/h1CLA-gJbmA?t=5s Trailer
Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.
Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.
Synopsis
When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.
The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.
The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.
Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.
Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.
Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.
The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.
Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's
classic adventure novel, given the constraints of Hollywood culture.
The Movie Club Annals … Review
The Lost World 1960
Introduction
There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.
Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.
Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:
"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972
Review
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with
unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.
The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.
In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.
Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:
Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.
Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.
Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.
Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.
Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.
With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.
Claude Rains, as Professor George Edward Challenger
And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.
I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.
Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.
To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.
In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.
1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.
And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.
The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.
But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.
While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.
The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.
Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.
Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.
Carl R.
The Lost World (20th Century Fox, 1960).
youtu.be/h1CLA-gJbmA?t=5s Trailer
Irwin Allen, the producer who would go on to make the disaster film a huge success in the seventies, brought us this Saturday afternoon fodder with giant lizards posing as dinosaurs. Starring Michael Rennie, David Hedison, Claude Rains and Jill St. John.
Intended as a grand sci-fi/fantasy epic remake of Arthur Conan Doyle's classic novel. The first film adaptation, shot in 1925, was a milestone in many ways, but movie making and special effects had come a long way in 35 years. Irwin Allen's Lost World (LW) & 20th Century Fox version was derailed on the way to greatness, but managed to still be a respectable, (if more modest) A-film. Allen's screenplay followed the book fairly well, telling of Professor Challenger's expedition to a remote plateau in the Amazon upon which dinosaurs still lived. Aside from the paleontological presumptions in the premise, there is little "science" in The Lost World. Nonetheless, dinosaur movies have traditionally been lumped into the sci-fi genre.
Synopsis
When his plane lands in London, crusty old professor George Edward Challenger is besieged by reporters questioning him about his latest expedition to the headwaters of the Amazon River. After the irascible Challenger strikes reporter Ed Malone on the head with his umbrella, Jennifer Holmes, the daughter of Ed's employer, Stuart Holmes, offers the injured reporter a ride into town. That evening, Jenny is escorted by Lord John Roxton, an adventurer and big game hunter, to Challenger's lecture at the Zoological Institute, and Ed invites them to sit with him. When Challenger claims to have seen live dinosaurs, his colleague Professor Summerlee scoffs and asks for evidence. Explaining that his photographs of the creatures were lost when his boat overturned, Challenger invites Summerlee to accompany him on a new expedition to the "lost world," and asks for volunteers. When Roxton raises his hand, Jenny insists on going with him, but she is rejected by Challenger because she is a woman. Ed is given a spot after Holmes offers to fund the expedition if the reporter is included. The four then fly to the Amazon, where they are met by Costa, their guide and Manuel Gomez, their helicopter pilot. Arriving unexpectedly, Jenny and her younger brother David insist on joining them. Unable to arrange transportation back to the United States, Challenger reluctantly agrees to take them along. The next day, they take off for the lost world and land on an isolated plateau inhabited by dinosaurs. That evening, a dinosaur stomps out of the jungle, sending them scurrying for cover. After the beast destroys the helicopter and radio, the group ventures inland. When one of the creatures bellows threateningly, they flee, and in their haste, Challenger and Ed slip and tumble down a hillside, where they encounter a native girl. The girl runs into the jungle, but Ed follows and captures her. They then all take refuge in a cave, where Roxton, who has been making disparaging remarks about Jenny's desire to marry him solely for his title, angers Ed. Ed lunges at Roxton, pushing him to the ground, where he finds a diary written by Burton White, an adventurer who hired Roxton three years earlier to lead him to the lost diamonds of Eldorado. Roxton then admits that he never met White and his party because he was delayed by a dalliance with a woman, thus abandoning them to certain death. Gomez angrily snaps that his good friend Santiago perished in the expedition. That night, Costa tries to molest the native girl, and David comes to her rescue and begins to communicate with her through sign language. After Gomez goes to investigate some movement he spotted in the vegetation, he calls for help, and when Roxton runs out of the cave, a gunshot from an unseen assailant is fired, nearly wounding Roxton and sending the girl scurrying into the jungle. Soon after, Ed and Jenny stray from camp and are pursued by a dinosaur, and after taking refuge on some cliffs, watch in horror as their stalker becomes locked in combat with another prehistoric creature and tumbles over the cliffs into the waters below. Upon returning to camp, they discover it deserted, their belongings in disarray. As David stumbles out from some rocks to report they were attacked by a tribe of natives, the cannibals return and imprison them in a cave with the others. As the drums beat relentlessly, signaling their deaths, the native girl reappears and motions for them to follow her through a secret passageway that leads to the cave in which Burton White lives, completely sightless. After confirming that all in his expedition perished, White tells them of a volcanic passageway that will lead them off the plateau, but warns that they must first pass through the cave of fire. Cautioning them that the natives plan to sacrifice them, White declares that their only chance of survival is to slip through the cave and then seal it with a boulder. After giving them directions to the cave, White asks them to take the girl along. As the earth, on the verge of a volcanic eruption, quakes, they set off through the Graveyard of the Damned, a vast cavern littered with dinosaur skeletons, the victims of the deadly sulfurous gases below. Pursued by the ferocious natives, Roxton takes the lead as they inch their way across a narrow ledge above the molten lava. After escaping the natives, they jam the cave shut with a boulder and, passing a dam of molten lava, finally reach the escape passage. At its mouth is a pile of giant diamonds and a dinosaur egg. As Costa heaps the diamonds into his hat, Challenger fondles the egg and Gomez pulls a gun and announces that Roxton must die in exchange for the death of Santiago, Gomez' brother. Acting quickly, Ed hurls the diamonds at Gomez, throwing him off balance and discharging his gun. The gunshot awakens a creature slumbering in the roiling waters below. After the beast snatches Costa and eats him alive, Ed tries to dislodge the dam, sending a few scorching rocks tumbling down onto the monster. Feeling responsible for the peril of the group, Gomez sacrifices his life by using his body as a lever to dislodge the dam, covering the creature with oozing lava. As the cave begins to crumble from the impending eruption, the group hurries to safety. Just then, the volcano explodes, destroying the lost world. After Roxton hands Ed a handful of diamonds he has saved as a wedding gift for him and Jenny, Challenger proudly displays his egg, which then hatches, revealing a baby dinosaur. The End.
The 50s had seen several examples of the dinosaur sub-genre. LW is one of the more lavish ones, owing to color by DeLuxe and CinemaScope. The A-level actors help too. Claude Rains plays the flamboyant Challenger. Michael Rennie plays Roxton, perhaps a bit too cooly. Jill St. John and Vitina Marcus do well as the customary eye candy. David Hedison as Malone and Fernando Lamas as Gomez round out the bill.
The first film version of LW was a silent movie shot in 1925: screenplay by Marion Fairfax. The film featured stop-motion animated dinosaurs by a young Willis O'Brien. Fairfax followed Doyle's text, but Fairfax added a young woman to the team, Paula White. Ostensibly trying to find her father from the first failed expedition, she provided the love triangle interest between Malone and Roxton.
Allen's screenplay tried to stick to Doyle's text as much as Hollywood would allow. It carried on Fairfax's invention of the young woman member of the group as triangle fodder. Fairfax had Doyle's ape men (ape man) but omitted the native humans. Allen had the natives, but no ape men. Allen revived the Gomez/revenge subplot, which Fairfax skipped. Doyle's story had Challenger bringing back a pterodactyl. Fairfax made it a brontosaur who rampaged through London streets (spawning a popular trope). Allen suggested the baby dinosaur traveling to London.
Willis O'Brien pitched 20th Century Fox in the late 50s, to do a quality remake of LW. He had gained much experience in the intervening 35 years, so his stop-motion dinosaurs were to be the real stars. Fox bass liked the idea, but by the time the ball started rolling, there was trouble in studioland. Fox's grand epic Cleopatra was underway, but was already 5 million dollars over budget. Cleo would nearly sink 20th Century Fox when it was finally released in 1963. To stay afloat, all other Fox films' budgets were slashed. Allen could no longer afford the grand O'Brien stop-motion.
Allen's production is often criticized for its "cheap" dinosaurs, which were live monitor lizards and alligators with fins and plates and horns glue onto them. (more on that below) These were already a bit cheesy when used in the 1940 film One Million B.C.. O'Brien is still listed on the credits as "Effects Technician," but all Allen could afford was lizards with glued on extras. Somewhat amusingly, the script still refers to them as brontosaurs and T-Rexes.
The character of Jennifer Holmes starts out promising. She's a self-assured to the edges of pushy, and is said to be able to out shoot and out ride any man. Yet, when she gets to the Amazon jungle, she's little more than Jungle Barbie, dressed in girlie clothes and screaming frequently. She even does the typical Hollywood trip-and-fall when chased by the dinosaur, so that a man must save her.
Bottom line? FW is a finer example of the not-quite-sci-fi dinosaur sub-genre. The actors are top drawer, even if some of their acting is a bit flat. Nonetheless, FW is a fair adaptation of Doyle's
classic adventure novel, given the constraints of Hollywood culture.
The Movie Club Annals … Review
The Lost World 1960
Introduction
There was absolutely nothing wrong with Irwin Allen's 1960 production of The Lost World. Nothing. It was perfect in every way. I therefore find myself in the unique and unfamiliar position of having to write a rave review about a Movie Club movie that was entirely devoid of flaws.
Faced with such a confounding task, I half-heartedly considered faking a bad review, then praying my obvious deceptions would go unnoticed. But the patent transparency of my scheme convinced me to abandon it posthaste. After all, leveling concocted criticisms at such an unassailable masterpiece would be a futile and tiresome exercise, the pretense of which would escape nary a semi-cognizant soul.
Thus, having retreated from my would-be descent into literary intrigue, I start this review in earnest by borrowing a quote from the legendary Shelly Winters, spoken during the 1972 filming of Irwin Allen's The Poseidon Adventure:
"I'm ready for my close up now, Mr. Allen.” Shelly Winters, 1972
Review
A bit of research into the casting choices of Irwin Allen, who wrote, produced, and directed The Lost World, begins to reveal the genius behind the virtuosity.
The first accolades go to Irwin for his casting of Vitina Marcus, the immaculately groomed Saks 5th Avenue cave girl with exquisite taste in makeup, jewelry, and cave-wear. No finer cave girl ever graced a feature film.
Vitina Marcus, as The Cave Girl
She was the picture of prehistoric glamour, gliding across the silver screen in her designer bearskin mini-pelt, her flawless coiffure showing no signs of muss from the traditional courting rituals of the day, her perfect teeth the envy of even the most prototypical Osmond. Even her nouveau-opposable thumbs retained their manicure, in spite of the oft-disagreeable duties that frequently befell her as an effete member of the tribal gentry.
By no means just another Neanderthal harlot, Vitina had a wealth of talent to augment her exterior virtues. Her virtuoso interpretation of a comely cave girl in The Lost World certainly didn't escape the attention Irwin Allen. In fact, he was so taken with her performance that he later engaged her services again, casting her as the Native Girl in episode 2.26 of his Voyage to The Bottom of The Sea TV series.
Leery of potential typecasting, Vitina went on to obtain roles with greater depth and more sophisticated dialogue. This is evidenced by the great departure she took from her previous roles when she next portrayed the part of Sarit, a female barbarian, in episode 1.24 of Irwin Allen's The Time Tunnel TV series.
Vitina, as Sarit
Vitina's efforts to avoid typecasting paid off in spades, as she was soon rewarded with the distinctive role of Girl, a female Tarzanesque she-beast character, in episode 3.14 of The Man From U.N.C.L.E. TV series.
Lured back from the U.N.C.L.E. set by Irwin Allen, Vitina was next cast in the role of Athena (a.k.a. Lorelei), the green space girl with the inverted lucite salad bowl hat, in episodes 2.2 and 2.16 of the revered Lost in Space TV series.
And with this, Vitina reached the pinnacle of her career. For her many unparalleled displays of thespian pageantry, she leaves us forever in her debt as she exits the stage.
For those who would still question the genius of Irwin Allen, I defy you to find a better casting choice for the character of Lord John Roxton than that of Michael Rennie. Mr. Rennie, who earlier starred as Klaatu in The Day the Earth Stood Still, went on to even greater heights, starring as The Keeper in episodes 1.16 and 1.17 of the revered Lost in Space TV series. Throughout his distinguished career, Mr. Rennie often played highly cerebral characters with
unique names, such as Garth A7, Tribolet, Hasani, Rama Kahn, Hertz, and Dirk. How befitting that his most prolific roles came to him through a man named Irwin, a highly cerebral character with a unique name.
The selection of David Hedison to play Ed Malone was yet another example of Irwin's uncanny foresight. Soon after casting him in The Lost World, Irwin paved Mr. Hedison's path to immortality by casting him as a lead character in his Voyage to The Bottom of The Sea TV series. Although Voyage ended in 1968, Mr. Hedison departed the show with a solid resume and a bright future.
In the decades following Voyage, Mr. Hedison has been a veritable fixture on the small screen, appearing in such socially influential programs as The Love Boat, Fantasy Island, Knight Rider, The Fall Guy and The A Team. Mr. Hedison's early collaborations with Irwin Allen have left him never wanting for a day's work in Hollywood, a boon to the legions of discerning fans who continue to savor his inspiring prime time depictions.
Irwin selected Fernando Lamas to play Manuel Gomez, the honorable and tortured soul of The Lost World who needlessly sacrificed himself at the end of the movie to save all the others. To get a feel for how important a casting decision he was to Irwin, just look at the pertinent experience Mr. Lamas brought to the table:
Irwin knew that such credentials could cause him to lose the services of Mr. Lamas to another project, and he took great pains to woo him onto the set of The Lost World. And even though Mr. Lamas never appeared in the revered Lost in Space TV series, his talent is not lost on us.
Jay Novello was selected by Irwin Allen to play Costa, the consummate Cuban coward who perpetually betrays everyone around him in the name of greed. In pursuing his craven calling, Mr. Novello went on to play Xandros, the Greek Slave in Atlantis, The Lost Continent, as well as countless other roles as a coward.
Although Mr. Novella never appeared in the revered Lost in Space TV series, his already long and distinguished career as a coward made him the obvious choice for Irwin when the need for an experienced malingerer arose.
Jill St. John was Irwin's pick to play Jennifer Holmes, the "other" glamour girl in The Lost World. Not to be upstaged by glamour-cave-girl Vitina Marcus, Jill played the trump card and broke out the pink go-go boots and skin-tight Capri pants, the perfect Amazonian summertime jungle wear.
Complete with a perfect hairdo, a killer wardrobe, a little yip-yip dog named Frosty, and all the other trappings of a wealthy and pampered prehistoric society, Jill's sensational allure rivaled even that of a certain cave girl appearing in the same film.
With the atmosphere rife for an on-set rivalry between Jill and Vitina, Irwin still managed to keep the peace, proving that he was as skilled a diplomat as he was a director.
Claude Rains, as Professor George Edward Challenger
And our cup runneth over, as Irwin cast Claude Rains to portray Professor George Edward Challenger. His eminence, Mr. Rains is an entity of such immeasurable virtue that he is not in need of monotonous praise from the likes of me.
I respectfully acknowledge the appearance of Mr. Rains because failure to do so would be an unforgivable travesty. But I say nothing more on the subject, lest I state something so obvious and uninspiring as to insult the intelligence of enlightened reader.
Irwin's casting of the cavemen mustn't be overlooked, for their infallibly realistic portrayals are unmatched within the Pleistocene Epoch genre of film. Such meticulous attention to detail is what separates Irwin Allen from lesser filmmakers, whose pale imitations of his work only further to underscore the point.
To be sure, it is possible to come away with the unfounded suspicion that the cavemen are really just a bunch of old white guys from the bar at the local Elks lodge. But Irwin was an absolute stickler for authenticity, and would never have allowed the use of such tawdry measures to taint his prehistoric magnum opus.
In truth, Irwin's on-screen cavemen were borne of many grueling years of anthropological research, so the explanation for their somewhat modern, pseudo-caucasian appearance lies obviously elsewhere. And in keeping with true Irwin Allen tradition, that explanation will not be offered here.
1964 - Voyage to the Bottom of the Sea, Season One, Episode 7 - "Turn Back the Clock", featuring Vitina Marcus as The Native Girl. Produced by Irwin Allen.
And then there was Irwin Allen's masterful handling of the reptilian facets of The Lost World, most notably his inimitable casting of the dinosaurs. His dinosaurs were so realistic, so eerily lifelike, that they almost looked like living, breathing garden variety lizards with dinosaur fins and horns glued to their backs and heads.
The less enlightened viewer might even suppose this to be true, that Irwin's dinosaurs were indeed merely live specimens of lizards, donned in Jurassic-era finery, vastly magnified, and retro-fitted into The Lost World via some penny-wise means of cinematic trickery.
But those of us in the know certainly know better than that, as we are privy to some otherwise unpublished information about The Lost World. The lifelike appearance of the Irwin's dinosaurs can be attributed to a wholly overlooked and fiendishly cunning approach to the art of delusion, which is that the dinosaurs didn't just look real, they were real.
While the world abounds with middling minds who cannot fathom such a reality, we must follow Irwin's benevolent leanings and temper our natural feelings of contempt for this unfortunate assemblage of pedestrian lowbrows. In spite of Irwin's superior intellect, he never felt disdain toward the masses that constituted his audiences. He simply capitalized on their unaffectedness, and in the process recounted the benefits of exploiting the intellectually bereft for personal gain.
The purpose of all this analysis, of course, is to place an exclamation point on the genius of Irwin Allen, the formation of his dinosaur exposé being a premier example. Note how he mindfully manipulates the expectations of his unsuspecting audience, compelling them to probe the dinosaurs for any signs of man-made chicanery. Then, at the palatial moment when the dinosaurs make their entry, he guilefully supplants the anticipated display of faux reptilia with that of the bona fide article.
Upon first witnessing the de facto dinosaurs, some in the audience think they've been had, and indeed they have. Irwin, in engineering his masterful ruse, had used reality as his medium to convey the illusion of artifice. His audience, in essence, was blinded by the truth. It was the immaculate deception, and none but Irwin Allen could have conceived it.
Indeed, the matter of where the live dinosaurs came from has been conspicuously absent from this discussion, as the Irwinian technique of fine film making strongly discourages the practice of squandering time on extraneous justifications and other such trite means of redundant apologia. For the benefit of the incessantly curious, however, just keep in mind that Irwin Allen wrote and produced The Time Tunnel TV Series, a fact that should provide some fair insight into his modis operandi.
Carl R.