The John Wick of the Ocean

There are some pretty amazing stories and movies of maritime adventure, and vengeful aquatic creatures, but when Dino de Laurentis released his version of a vengeful whale, the result was truly unique. Imagine blending the retribution of "Death Wish" and Moby Dick.

I watched "Orca" (1977) again recently, I realized how special the movie really was.

The scruffy Richard Harris plays a fisherman who angers and incurs the wrath of the deadliest killer whale - a whale whose anger has no bounds. As others have noted, once the vendetta against Harris begins after Harris inadvertently kills a pregnant wale wife, then pretty much everyone Harris knows or talks do gets killed.

Before the movie ends,this Orca Assassin has wiped out Harris' entire town. This whale is more dangerous and more angry than John Wick.

Revenge is a dish best served cold and wet.

A User Review on IMDB masterfully lays out the film:

The dramatic fight between Captain Nolan and the whale could have easily become silly, but it doesn't. The Arctic Circle is accurately represented as a cold place with many iceberg, some of which whales can thwack themselves upon catapulting middle-aged Irishmen forty feet in the air. Keep in mind, also, this was done without the use of computer graphics. Steven Spielberg did not even put the shark in Jaws until over halfway through the film. Why? To hide a machine so fake that I can only assume one of his children made it at camp. The mechanical killer whale in Orca is almost indistinguishable from the stock footage of killer whales continually played throughout the movie.

In 1977, how many directors were brave enough to shoot a killer whale jumping from one side of the boat, eating actor Robert Carradine, and landing on the other side? Just one, Michael Anderson. His bold choices along with screenwriters Luciano Vincenzoni and Sergio Donati (who both show an above average command of the English languages for native-born Italian speakers) make the film a statement not only about whale hunting and whale forgiveness seeking, but also about humanity. Charlotte Rampling's appeal to Nolan not to go fight the whale just because the whale wants revenge is not just about social protocols of how to make it up to the father of a whale baby you accidentally killed, but also an argument against the death penalty. Will Sampson's pointless death is an indictment of the senseless slaughter of tens of millions of Native Americans. When the whale knocks down Captain Nolan's house without any explanation of this whale became such a genius that he can not only knows to knock down structural supports but also can look up addresses in the phone book, it directly shows how our incursion into the world of nature is two-fold. Robert Carradine's tragic death in the film is social commentary on the probability of being eaten if you stand around on a boat being followed by a crazed killer whale. And probably also something about Vietnam, I assume.

And while most in Hollywood choose not to admit it, many have ripped off Orca. The dead baby scene in Trainspotting is suspiciously reminiscent of the dead whale fetus scene in Orca. The creepy quasi-romance between an intelligent female and a somewhat crazy violent child murderer is directly stolen by George Lucas for Star Wars: Episode II. The use of icebergs is blatantly co-opted by Titanic, and I have never heard James Cameron so much as thank Michael Anderson. And don't even get me started on Free Willy. Orca is a complicated story. If you only enjoy movies with obvious heroes and villains, this is not for you. The characters are conflicted. Very conflicted. Take for instance how the killer whale jumps for joy after biting off Bo Derek's leg. The whale shows both glee in his jumps, but also the pain of having lost his family and never being able to bring them back no matter how hard he fights those who took them from him. Like Batman. You see, the only thing black and white in this movie is the killer whale itself. While Orca does not now get the respect it deserves, in time people will realize its genius. Just as people did not understand gravity or continental drift, in time they will come to recognize Orca as the greatest cinematic achievement of all time.

Combat At Knox World's Fair Park

Photographs by Virginia Beld

A horde of fighters swinging swords and howling commandos locked in combat are headed to the Amphitheater at the Knoxville World's Fair Park!

And you are invited to witness it all.

The Wild Thyme Players will present the 2nd Annual "Duels and Desserts" on Friday Sept. 14th at 7 pm for an evening of intense entertainment everyone can enjoy.

Stage combat scenes, an original one-act play, a silent auction and a baked goods sale will make for a heck of a great time at this fundraising event. The actors will perform vignettes using various fighting styles and weapons, including broadsword, rapier & dagger, quarterstaff, epee, knife and unarmed stage combat. The second half will present a swashbuckling original short play based on “The Three Musketeers” written by WTP fight choreographer Mark McGinley. I asked Mark to explain just what these combat scenes are like:

"We have a rather large cast. There are 21 of us playing a variety of roles. Our youngest cast member is Lexi Trigg, who is 11 years old. She's very excited about getting to do a sword fight with her father, Steve. One of our seniors, Jeanette Stevens, will be appearing in two fights that she wrote herself. 

"We've been in rehearsals since mid July. It takes a lot of time to put together a show with this much combat in it. 

"Stage combat is the art of simulating a fight for the purpose of telling a story. It's a matter of working safely with a partner to create the illusion of violence. Yes, stage combat has a lot to do with the martial arts. Good martial technique is important to sell the illusion to the audience. If a fighter is out of stance, lazy, or sloppy the audience will lose interest in what's happening on stage. Stage combat also has a lot in common with dance. When you're in a stage fight, you're doing a learned sequence of movements (choreography) with a partner (not an adversary). 

Rehearsals for the daring combat

"All our weapons are 100% real spring steel. No rubber weapons here. They just don't make that pretty ringing noise. We do use dulled blades, though. We're not crazy, you know.

"And our silent auction will have a pretty wide variety of items to bid on. We have UT memorabilia, free passes to Flyaway in Pigeon Forge, hand made jewelry, and more. And of course, there will be baked goods."

Yummy desserts and combat! That makes for a winning combination in my book.

The event gets underway with doors opening at 7 PM, and the performance will begin at 8 PM. Admission is free with suggested $5 donation or bake sale purchase. Gift packs with merchandise and gift certificates from various local businesses will be up for bid in the silent auction. A portion of the proceeds will go to TribeOne, a community leadership development organization based in East Knoxville. Media sponsorship is provided by WUOT-91.9 FM. For information call 325-9877 or email director@wildthymeplayers.org.

The WTP mission is to provide collaborative learning opportunities in a process-centered environment for artists of all experience levels and backgrounds, and to encourage appreciation of theatre in our community. Formed in 2006, the company is an all-volunteer 501(c)(3) non-profit organization. 

So go!

Modern Tales of Capitalism - or, A Child's Garden of Marketing

There's this skeezy and dangerously deceptive side to marketing and advertising which Americans have perfected and which we really, really do not want to think about. It's because we are accomplices to the eternal pitches and the endless fakery, we sort of love our objectified identities, we like being admired for being a trendsetter (the new term for such folks is now 'early adopter') and a trend follower, and this maze of emotionally-tied evidence is not just some example weird low self esteem, it's also an admission that we are embracing the hype despite the fact it is hype. Our attitudes towards ourselves and our world gets mixed into this murky world and things get confused.

Hollywood is a master of this deception, mingling hype and hokum and we all sort of accept it.

A 2009 movie called "The Joneses", starring David Duchovny and Demi Moore, dives deep into this brave new world and both Hollywood and audiences just were not sure what to do with the movie. it mostly tanked at the box office and critics were stymied to explain the mechanics at work here.

The story seems simple - a group of sales people are hired by a giant corporation to pretend to be a family in high-end suburbia, but they are really together for one reason: to casually influence the neighborhood to buy products the fake family shows off as the trappings of success. Shoes, jeans, TVs, cars, sunglasses, purses, golf clubs, frozen food, bottled drinks, make-up, jewelry, games, cell phones ... an endless list of things. The company which has placed them in this world requires monthly status reports charting whether the fake family is hitting the mark on sales and demands for the things they are hyping. Failure is not accepted.

The companies use the fake family to sell products, the fake family earns high incomes by pushing items as new must-haves, the neighbors eagerly seek to follow the lead of the fakers, the fakers pretend it's just a job and push the idea that happiness is found in objects, in envy, in competition.

Not a pretty, idealistic America here - it's a greedy place, though one decked out in style. First-time writer/director Derrick Borte is a former ad man and he expertly lays out all the conflicted ideas with an easy satiric flair, but he's almost too good at his work. By the time the movie hits the three-quarters mark he has fallen in love with his fake family and their fake friends and he seeks out some kind of happy ending. But it falls flat, seems as fake as everything else. And that turned off audiences and critics - the monster is too real, too familiar and it just made everyone uncomfortable.

That's one reason I liked it - it captures an ugly world so well that attempting to find a 'happy ending' for it is just more fakery. We've all been taking part in a giant game of self-delusion and it just doesn't sit well at all.

It's very uncomfortable to realize how much we all participate in being reduced to a marketing demographic, but we still eagerly participate in it just the same. And not just in America.

As proof that it happens, take a look at this very real and very global new infotainment theme park, more rightly termed "advertainment", which has been growing in many nations and is about to land for the first time in America.

It's called KidZania - a fascinating article in Slate on this new kind of adult-directed child's play is a must read:

"Right now, in eight malls spread across three continents, thousands of children are dressed as pilots and flying digital planes from mock cockpits, anchoring news broadcasts in fully functional TV studios, or wearing helmets and extinguishing faux flames with real water cannons.

This is KidZania, a multinational chain of family entertainment centers, where kids try out professions that have been downsized, simplified, and made fun. At these soccer field-size franchises in malls from Tokyo to Lisbon, children play at being adults.

Children can play surgeon, detective, journalist, courier, radio host, and dozens more jobs. They can buy and sell goods at the KidZania supermarket, take KidZania currency that they earn to an operational bank staffed with adult tellers, and be security guards escorting KidZania currency around the park. They can assemble burgers and pizzas, which they can then eat, or give makeovers to other paying children. At the planned KidZania Santiago, Chile, minors will be able to play at being miners. One-size-fits-all costumes supersize the cute factor. The result of all this is mass-produced adorability.

But at the heart of the concept and the business of KidZania is corporate consumerism, re-staged for children whose parents pay for them to act the role of the mature consumer and employee. The rights to brand and help create activities at each franchise are sold off to real corporations, while KidZania’s own marketing emphasizes the arguable educational benefits of the park.
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"And kids aren’t just migrant laborers in KidZania. They are KidZanians, citizens of the nation of KidZania. There is a national anthem and a red and yellow flag, the colors split by the letter K. The KidZania logo itself is that same fluttering flag. Each child receives a bank account, an ATM card, a wallet, and a check for 50 KidZos (the park’s currency). At the park’s bank, which is staffed by adult tellers, kids can withdraw or deposit money they’ve earned through completing activities—and the account remains even when they go home at the end of the day. A lot of effort goes into making the children repeat visitors of this Lilliputian city-state. Also, KidZania itself isn’t cheap. Both parents and children are required to buy tickets to enter—a family of four pays $150 to visit KidZania Tokyo during peak hours—and franchises around the world continue to draw hundreds of thousands of visitors every year.

Like any good nation, KidZania has its elites, too. Each park has a congress of 14 children. Really, it’s a focus group that meets once a month. The kids talk about what they’re doing at school and, more importantly, what’s going on at KidZania. They go on trips to visit the workplaces of KidZania’s sponsors and visit other parks around the world. KidZania can then ensure that the experience is suited to children’s ever-changing needs and whims. Even the adult management uses governmental titles; the most senior manager of each franchise is referred to as the “Governor.”

In addition to using the lingo of an aspiring nation-state with its own proxy legislature, KidZania has a bill of rights. KidZania grants each child “The Right To Know, The Right To Be, The Right To Care, and The Right To Play.”

ProMexico, a Mexican government initiative to promote Mexican commerce, says in its literature that, “KidZania emulates the positive aspects of capitalism.” Linn, though, said, “I don’t see what’s positive about [KidZania]. The more kids are immersed in commercialization, prepackaged fun, the less experience they have of making their own fun, of using their own imaginations, and the more they are dependent on corporations to supply their fun for them.”