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Stomp and Co, A troupe of cloggers from Powell Wyoming, march iand stomp thier way down the street in the 2016 Cody Stampede Parade on July 4th in Cody Wyoming.
The Titan stompers are ready to kick some ass and take some names! These are rigged for Lara, Legacy F, MaitreyaX, Reborn, Kupra, Jake, Legacy M, Kario, and Gianni. Also comes with a Fatpack color hud! The Sabbath event opens February 21st!
★ Sabbath LM: maps.secondlife.com/secondlife/SABBATH/214/121/27
★ Cult's Social Media Links ★
#SunlandFire in Shadow Hills – On May 28, 2016, LAFD responded to a Brush Fire at the 9800 block of Sunland Blvd to find one acre of light to medium brush on fire. Approximately 50 LAFD firefighters + LACoFD & ANF assisting extinguished the flames in 25 minutes. No structures were damaged, and no one was injured. Weather at the time of the fire was 76 degrees, humidity 50%, wind 13 mph. © Photo by Mike Meadows.
Dispatched Units: BC10 BC12 BP74 E24 E274 E298 E7 E77 E8139 E8140 E90 EM14 H5 H6 RA90 T74 T98 WT77 + allied agencies.
LAFD Incident # 052816-0833
Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk
610 Stompers of New Orleans giving us quite a dance routine. They are marching in the Krewe of Carrollton Parade New Orleans 02-12-2023.
info about them; 610stompers.com/
Using a deer cart to get our stuff up to the lookout.
Sex Peak Lookout. Kootenai National Forest, Montana.
.The Mana Spirits, also known as Elemental Spirits, are magical beings representative of the elements that make up the world. There are eight spirits in all:Salamander, the spirit of fire Undine, the spirit of water, Gnome, the spirit of earth, Jinn, the spirit of wind, Dryad, the spirit of wood,Luna, the spirit of the moon,Wisp, the spirit of light,Shade, the spirit of darkness.According to Seiken Densetsu 3, in her creation of the world, the Mana Goddess forged the Mana Sword and with it sealed the eight God-Beasts inside Mana Stones, which were then scattered across the world; the Elementals were charged with the duty of protecting the Stones. While each Elemental is a powerful spirit, being an embodiment has a drawback in that they can be physically harmed or limited, notably Jinn (Sylphid) in Seiken Densetsu 3 and Salamando in Secret of Mana. In the World History Encyclopedia featured in Legend of Mana, the Elementals are descended from the Mana Goddess, the embodiment of the creative and destructive forces of Mana, each being born from the light which formed the respective elements of Fa'Diel, the world of Mana.There is a basic system of opposing elemental pairs in the games before Legend of Mana: Undine (water) and Salamando (fire); Gnome (earth) and Sylphid/Jinn (wind); Lumina/Wisp (light) and Shade (darkness); Dryad (nature) and Luna (celestial). The system works differently in Legend of Mana, with the four Western Elements in a circular relationship: Undine overcomes Salamander, who overcomes Gnome, who overcomes Jinn, who overcomes Undine, thus launching the cycle over again; while Wisp and Shade are opposites, and Aura (gold/metal) becomes the new opposite to Dryad (wood) (see Elements).
mana.wikia.com/wiki/Mana_Spirit
www.mythsdreamssymbols.com/dreamsarchetypes.html
Imagine you are sitting in a theater, listening to a heroine sing longingly of her beloved. Suddenly the stage is invaded by two bands of acrobatic warriors. They tumble and twirl, cartwheel and somersault, flip this way and that. From the orchestra come sounds of cymbal, gong, and clapper to punctuate the action.
Dreams and myths are constellations of archetypal images. They are not free compositions by an artist who plans them for artistic or informational effects. Dreams and myths happen to human beings. The archetype speaks through us. It is a presence and a possibility of "significance." The ancients called them "gods" and "goddesses."What then is an archetype? Jung discovered that humans have a "preconscious psychic disposition that enables a (man) to react in a human manner." These potentials for creation are actualized when they enter consciousness as images. There is a very important distinction between the "unconscious, pre- existent disposition" and the "archetypal image." The archetype may emerge into consciousness in myriads of variations. To put it another way, there are a very few basic archetypes or patterns which exist at the unconscious level, but there are an infinite variety of specific images which point back to these few patterns. Since these potentials for significance are not under conscious control, we may tend to fear them and deny their existence through repression. This has been a marked tendency in Modern Man, the man created by the French Revolution, the man who seeks to lead a life that is totally rational and under conscious control. Where do the archetypes come from? In his earlier work, Jung tried to link the archetypes to heredity and regarded them as instinctual. We are born with these patterns which structure our imagination and make it distinctly human. Archetypes are thus very closely linked to our bodies. In his later work, Jung was convinced that the archetypes are psychoid, that is, "they shape matter (nature) as well as mind (psyche)" (Houston Smith, Forgotten Truth, 40). In other words, archetypes are elemental forces which play a vital role in the creation of the world and of the human mind itself. The ancients called them elemental spirits How do archetypes operate? Jung found the archetypal patterns and images in every culture and in every time period of human history. They behaved according to the same laws in all cases. He postulated the Universal Unconscious to account for this fact. We humans do not have separate, personal unconscious minds. We share a single Universal Unconscious. Mind is rooted in the Unconscious just as a tree is rooted in the ground. Imagine the Universal Unconscious as a cosmic computer. Our minds are subdirectories of the root directory. If we look in our personal "work areas," we find much material that is unique to our historical experience--could only have happened to us--but it is shaped according to universal patterns. If we humans have the courage to seek the source to which our "account" belongs, we begin to discover ever more impersonal and universal patterns. The directories of the cosmic computer to which we can gain access are filled with the myths of the human species. Modern man fancies that he has escaped the myths through his conscious repudiation of revealed religion in favor of a purely rational natural religion (read: Natural Science). But consider his theories of human origin. In the beginning, there was a Big Bang, a cosmic explosion. This is an image from which reason may begin to work, but it is not itself a rational statement. It is a mythical construct. Consider the theory of biological evolution. Man's ancestors emerge from the seas, and they in turn emerged from a cosmic soup of DNA. The majority of creation myths also begin with the same image of man emerging from primordial oceans. See Genesis 1 or the Babylonian creation epic. Consider the Modern tendency to call ourselves persons from the Latin persona. The term derives from the "mask" of Dionysus. Moderns are the wearers of masks! The reality is concealed in the darkness of mystery. This too is a mythical construct. Synchronicity Personality theorists have argued for many years about whether psychological processes function in terms of mechanism or teleology. Mechanism is the idea that things work in through cause and effect: One thing leads to another which leads to another, and so on, so that the past determines the present. Teleology is the idea that we are lead on by our ideas about a future state, by things like purposes, meanings, values, and so on. Mechanism is linked with determinism and with the natural sciences. Teleology is linked with free will and has become rather rare. It is still common among moral, legal, and religious philosophers, and, of course, among personality theorists. Among the people discussed in this book, Freudians and behaviorists tend to be mechanists, while the neo-Freudians, humanists, and existentialists tend to be teleologists. Jung believes that both play a part. But he adds a third alternative called synchronicity.
Synchronicity is the occurrence of two events that are not linked causally, nor linked teleologically, yet are meaningfully related. Once, a client was describing a dream involving a scarab beetle when, at that very instant, a very similar beetle flew into the window. Often, people dream about something, like the death of a loved one, and find the next morning that their loved one did, in fact, die at about that time. Sometimes people pick up he phone to call a friend, only to find that their friend is already on the line. Most psychologists would call these things coincidences, or try to show how they are more likely to occur than we think. Jung believed the were indications of how we are connected, with our fellow humans and with nature in general, through the collective unconscious. Jung was never clear about his own religious beliefs. But this unusual idea of synchronicity is easily explained by the Hindu view of reality. In the Hindu view, our individual egos are like islands in a sea: We look out at the world and each other and think we are separate entities. What we don't see is that we are connected to each other by means of the ocean floor beneath the waters. The outer world is called maya, meaning illusion, and is thought of as God's dream or God's dance. That is, God creates it, but it has no reality of its own. Our individual egos they call jivatman, which means individual souls. But they, too, are something of an illusion. We are all actually extensions of the one and only Atman, or God, who allows bits of himself to forget his identity, to become apparently separate and independent, to become us. But we never truly are separate. When we die, we wake up and realize who we were from the beginning: God. When we dream or meditate, we sink into our personal unconscious, coming closer and closer to our true selves, the collective unconscious. It is in states like this that we are especially open to "communications" from other egos. Synchronicity makes Jung's theory one of the rare ones that is not only compatible with parapsychological phenomena, but actually tries to explain them!
www.mythsdreamssymbols.com/dreamsarchetypes.html
On this day ghosts and other supernatural creatures come out from the Underworld and move among the living. Families prepare food and other offerings and place them on a shrine dedicated to deceased relatives.Mana You must understand that these archetypes are not really biological things, like Freud's instincts. They are more spiritual demands. For example, if you dreamt about long things, Freud might suggest these things represent the phallus and ultimately sex. But Jung might have a very different interpretation. Even dreaming quite specifically about a penis might not have much to do with some unfulfilled need for sex. It is curious that in primitive societies, phallic symbols do not usually refer to sex at all. They usually symbolize mana, or spiritual power. These symbols would be displayed on occasions when the spirits are being called upon to increase the yield of corn, or fish, or to heal someone. The connection between the penis and strength, between semen and seed, between fertilization and fertility are understood by most cultures.The concept of archetypes is central to Jungian psychology and myth analysis. However there are many different ways of looking at what exactly an archetype is (cf Heiddegger). Carol Pearson, in her book, Awakening The Heroes Within shows how five different individuals would view the idea of archetypes.A Shaman, or other seeker after spiritualism, will conceive of archetypes as gods and goddesses, encoded in the collective unconscious, whom are scorned at great risk. Academics and other rationalists, who are typically suspicious of anything that sounds mystic, may conceive of archetypes as controlling paradigms or metaphors, the invisible patterns in the mind that control how we experience the world.Scientists may see the process of identifying archetypes as similar to other scientific processes. Physicists learn about the smallest subatomic particles by studying the traces they leave; psychologists and other scholars study archetypes by examining their presence in art, literature, myth, and dream. Carl Jung recognized that the archetypical mages that recurred in his patients' dreams also could be found in the myths, legends, and art of ancient peoples, as well as in contemporary iterature, religion, and art. They know that they are archetypical becausethey leave the same traces over time and space. People who are committed to religious positions that emphasize one all-encompassing God, can distinguish the spiritual truth of monotheism from the pluralistic psychological truth of archetypes. The god we mean when we speak of "The One True God" is beyond the human capacity to envision and name. The archetypes are like different facets of that God, accessible to the psyche's capacity to imagine numinous reality. Thus these archetypes helpthe person connect to the Eternal; they make great mysteries more accessible by providing multiple images. This is evident in both the Catholic idea of the Trinity (The Father, The Son, and The Holy Ghost), and the Buddhist idea of one Buddha (which is then divisible into the 40, the 400, and the 4000 facets or aspects of that single deity, each with it's own name and story). Finally archetypes are the primal symbols of aspects of our own nature. By identifying with one of more archetypes we can identify our own nature. By portraying these archetypes, we portray ourselves. Thus we can use these archetypes as a spiritual guide to the discovery of selfhood. And what does an archetype mean to ? That's simple. Archetypes are symbols. In the Hermetic Tradition there is very little difference between the symbol and the thing it represents. This is explicit in the Law of Association. By manipulating the symbol it is therefore also possible to directly manipulate the thing. And because archetypes are symbols representing facets of ourselves they allow us to change ourselves. As within, so without. The macrocosm embodies the microcosm.So much for the content of the psyche. Now let's turn to the principles of its operation. Jung gives us three principles, beginning with the principle of opposites. Every wish immediately suggests its opposite. If I have a good thought, for example, I cannot help but have in me somewhere the opposite bad thought. In fact, it is a very basic point: In order to have a concept of good, you must have a concept of bad, just like you can't have up without down or black without white. This idea came home to me when I was about eleven. I occasionally tried to help poor innocent woodland creatures who had been hurt in some way -- often, I'm afraid, killing them in the process. Once I tried to nurse a baby robin back to health. But when I picked it up, I was so struck by how light it was that the thought came to me that I could easily crush it in my hand. Mind you, I didn't like the idea, but it was undeniably there.According to Jung, it is the opposition that creates the power (or libido) of the psyche. It is like the two poles of a battery, or the splitting of an atom. It is the contrast that gives energy, so that a strong contrast gives strong energy, and a weak contrast gives weak energy. The second principle is the principle of equivalence. The energy created from the opposition is "given" to both sides equally. So, when I held that baby bird in my hand, there was energy to go ahead and try to help it. But there is an equal amount of energy to go ahead and crush it. I tried to help the bird, so that energy went into the various behaviors involved in helping it. But what happens to the other energy? Well, that depends on your attitude towards the wish that you didn't fulfill. If you acknowledge it, face it, keep it available to the conscious mind, then the energy goes towards a general improvement of your psyche. You grow, in other words.
But if you pretend that you never had that evil wish, if you deny and suppress it, the energy will go towards the development of a complex. A complex is a pattern of suppressed thoughts and feelings that cluster -- constellate -- around a theme provided by some archetype. If you deny ever having thought about crushing the little bird, you might put that idea into the form offered by the shadow (your "dark side"). Or if a man denies his emotional side, his emotionality might find its way into the anima archetype. And so on. Here's where the problem comes: If you pretend all your life that you are only good, that you don't even have the capacity to lie and cheat and steal and kill, then all the times when you do good, that other side of you goes into a complex around the shadow. That complex will begin to develop a life of its own, and it will haunt you. You might find yourself having nightmares in which you go around stomping on little baby birds! If it goes on long enough, the complex may take over, may "possess" you, and you might wind up with a multiple personality. In the movie The Three Faces of Eve, Joanne Woodward portrayed a meek, mild woman who eventually discovered that she went out and partied like crazy on Saturday nights. She didn't smoke, but found cigarettes in her purse, didn't drink, but woke up with hangovers, didn't fool around, but found herself in sexy outfits. Although multiple personality is rare, it does tend to involve these kinds of black-and-white extremes. The final principle is the principle of entropy. This is the tendency for oppositions to come together, and so for energy to decrease, over a person's lifetime. Jung borrowed the idea from physics, where entropy refers to the tendency of all physical systems to "run down," that is, for all energy to become evenly distributed. If you have, for example, a heat source in one corner of the room, the whole room will eventually be heated.When we are young, the opposites will tend to be extreme, and so we tend to have lots of energy. For example, adolescents tend to exaggerate male-female differences, with boys trying hard to be macho and girls trying equally hard to be feminine. And so their sexual activity is invested with great amounts of energy! Plus, adolescents often swing from one extreme to another, being wild and crazy one minute and finding religion the next.As we get older, most of us come to be more comfortable with our different facets. We are a bit less naively idealistic and recognize that we are all mixtures of good and bad. We are less threatened by the opposite sex within us and become more androgynous. Even physically, in old age, men and women become more alike. This process of rising above our opposites, of seeing both sides of who we are, is called transcendence.
www.mythsdreamssymbols.com/dreamsarchetypes.html
The ego is the centre of consciousness. It is identity. It is 'I'. But it is not the totality of the psyche. Being the king of consciousness amounts to dominion over a small but important land surrounded by a wide world of terra incognita. The more aware the King is of lands beyond his domain the more secure he will be on his throne, but he must not be tempted to open the borders to it all. In Jungian theory the unconscious is far too vast to ever be made fully conscious, poking about in it is not without danger, yet ignoring it is also a mistake since it leads to a brittle fixedness which at best impedes growth, at worst can break when under the pressure of the 'threat' of change.So called "humanist spirit" relates to the thought and the viewpoint concerning man's mental life: the humanist spirit is linked with humanitarianism and is different from each other. Compared with animals, the author concluded: Tao (Dao) and Food, kindheartedness and living, righteousness and benefit, moral integration and feats of strength, principles and appetites and independent will, etc. all are human personality values. Simultaneously strong human social responsibility is also human social value. Human beings live in nature, mutually coordinate, and co-exist in harmony together with nature which is also the representation of man's natural
www.google.fr/search?q=ghosts+supernatural+creatures+Unde...
slave flash snooted off camera left aimed at the shoe
Vivitar 285HV snooted off above model off camera right
Lightroom adjustments
The TRA Stomper was built to combat enemy infantry and light vehicles. It is equipped with 2 T4-Gatling guns and a pair of self defense guns to protect the relatively weak back. Although slow in turning the Stomper can run at speeds up to 120 MPH in a straight line.
I know I haven't uploaded a lot recently but this is the first in large amount of creations I have planned, so expect more uploads soon :)
"Old Stomping Grounds" is where I'll be today moving out....I've been with Vintage Rabbit Antique Mall a long time back and forth over the years as a "stable" where I've been followed....but's it's time to move out and move on.......Wish me luck today with a long, tedious, sweaty move ahead......
I added some blood detail to the 'fig, so I thought it appropriate to show how the blood got all over his boot.
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.