Fortune Is Allied To The Brave: Clash Of The Titans (1981)

I am riding the wave of repetitive blog posts in the New Year!  While it was not a goal of mine to compose a single blog for every day of the year,  as conferences and school will, undoubtedly, get in the way, I am currently afforded plenty of free time and know that there is little excuse as to not make an earnest endeavor to tackle this possibility.  I am also plowing through movies at a fast rate and figured that reflecting on at least one a day would be beneficial.  As such, viewing Clash of the Titans yesterday proved to be the most promising blog post, not because it was in any way the best viewing experience of the day, but more so because it offered me the best chance to navigate a theoretical framework, this one inspired by existentialism, a near and dear philosophical framework of mine that I have become far too detached from in recent years.  Clash of the Titans is a film that has become adored some three decades later not for it being a particularly key narrative offering in the fantasy genre--the middle portion actually drags quite a bit--but has been noted for its interesting use of claymation in a moment when special effects were still moving into the world of CGI, but not completely feasible.  Works like this and Repo Man attempted audacious things with lesser special effects forms and in both cases excel at this incredibly.  What manages to make Clash of the Titans that much more enjoyable is the variety of noted performers who offer their services to the narrative, whether they be the likes of Maggie Smith who would have still been establishing herself as an actress, or the more prolific performances by the great Laurence Olivier and star of the most adored of Twilight Zone episodes Burgess Meredith.  Hell, this film even includes Ursula Andress in a non-Dr. No role which is also a nice thing to see, as she has become unfairly attached to that film.  Clash of the Titans, at first glance, would appear to be a very childish narrative with the special effects magic to reinforce such notions, yet as the narrative unfolds and ethical boundaries become crossed, it becomes rather evident that not only is this a tale with enough tragedy and happenstance to prove quite adult in its scope, it is also a film that considers whether or not the presence of a divine force is truly a blessing, or if the bizarre workings of the natural world are simply out to get even the most well-intentioned of persons.

The Clash of the Titans focus on the deliberations and defiances between the gods of antiquity as the plan to move for power with their respective mortal beings, some of which are through divine ordination their offsprings.  Zeus (Laurence Olivier) in particular is concerned with the well being of his own child Perseus (Harry Hamlin) who is but a small child who has been banished alongside his mother to a remote island to live out his days, an act undertaken by Thetis (Maggie Smith) who has allowed for her own earthy child Calibos (Neil McCarthy) to run wild and act in the most vile of manners.  As such, Zeus with his infinite power has turned the evil Calibos into a figure that properly reflects his own terrible actions.  In a vengeful act, Thetis relocates the young Perseus to a remote island where he is to fend for himself, while attempting to reclaim the kingdom an act which is predicated upon him achieving the affections of a young princess, as well as returning the head of Medusa to a city.  If Perseus fails to achieve this task, Zeus and Thetis come to an agreement that he will release the monstrous Kraken upon the land, much to the concern and confusion of Poseiden (Jack Gwillim).  While Thetis does her best to put up obstacles for Perseus, Zeus is able to recruit the help of the other goddesses in the temple, specifically, Athena (Susan Fleetwood), Aphrodite (Ursula Andress) and Hera (Claire Bloom).  In doing so, Perseus is provided with a set of weapons and devices that makes his navigation of the new lands slightly less challenging, although he still is forced to face off against a variety of mythological beasts, including giant scorpions and Cerebus, al leading to his eventual confrontations with both Calibos and Medusa.  Fortunately, Perseus is also afforded an earthly guide through the figure of Ammon (Burgess Meredith) a poet and oracle of sorts that helps Perseus to translate the messages from the gods and make the best use of the gifts he is given.  While it would appear as though Perseus simply lacks the necessary strength to overcome the powerful Kraken, a last minute boost from his animal companion Pegasus proves enough to succeed, thus making his status as a king amongst men certain, even pushing to a reality where he might achieve the status of a Titan himself.

I think the last time I discussed the notion of game theory here on the blog was in regards to the surprisingly enjoyable and decently executed The Cooler, wherein William H. Macy's character represents a figure who is some how divinely unlucky, predisposed to have the world against him, although it is later evidenced that his playing in a larger game of performances and backstabbing had something to do with this.   Nonetheless, game theory denotes a reality where contingency and chance play as much a role in the occurrences of a character as do their skill and prowess, often times luck, or the lack thereof making for the ultimate deciding factor.  Indeed, I would most comfortably apply the ideas of game theory to the likes of film noir where they are most fitting.  With this in mind I still think a case could be made for Clash of the Titans working within this framework in a notable and interesting way, if not outwardly evidenced in the way that Perseus and other figures within the narrative are literally the pawns of the gods rivalry, ones that can be molded, moved and revived merely by a waving of their respective hands.  This realization takes the paranoia latent in the game theory as it relates to something like a crime thriller and puts it into its most realized form as it is a game, and regardless of what Perseus, Calibos or any other earthly figures might attempt, it is still contingent upon the gods playing a larger game with their bodies.  Of course, that is not to say that the skill and precision of the earthy manifestations do not still play a factor.  While both Zeus and Thetis could do their best to give various advantages to their pawns a randomness is still at play.  Suffice it to say, the battle between Medusa and Perseus could have gone a variety of ways and from a statistical standpoint (something key to game theory) Perseus should have lost out, but his low victory percentage is raised ever so slightly by possessing a shield and sword as to make victory feasible.  This paired with his own self-growth made for a push to Titan like statistical probability, all overseen by the hands of Zeus, that allow for him to easily destroy the Kraken.  Game theory, by pure narrative necessity, might be at its most realized in Clash of the Titans.

Key Scene:  The Medusa battle, despite using a now well-dated special effects method is still incredibly cinematic and highly engaging.

This film is well worth your time, but probably is of keen interest to me from a theoretical standpoint, as such I strongly urge a rental first.

I'm Bad, And That's Good: Wreck-It Ralph (2012)

I am quite uncertain about the overarching message relating to Wreck-It Ralph, while it appears to be a scathing critique of capitalist based endeavors, it also does little to clearly condemn the notion of conformity as the only means to assure safety and order.  What is excellent about the film, regardless of a convoluted moral message, is its sheer degree of watchability, particularly visually.  A diehard video game fan will likely react to this film in one of two ways.  Either they will dismiss the very minimal use of famous video game iconography due to licensing issues and thus find it to be an all around failure in concerns to the notion of a game about games (I assure you it is not quite that meta).  The other reaction to the film will be one that embraces the minimal use of video game iconography in favor of a visual style that commits to some of the movements and works of gaming, both in regards to contemporary high definition game, as well as in relation to the pixelated simplicity of games from eras far gone.  I am certainly within the latter camp, in that I found its visual offering quite easy to embrace and was actually worried that the film would spend far too much time clinging to video game references, yet under the direction of Rich Moore, whose involvement with work like Futurama clearly shows through, as the references, like those in the show about a nineties guy living in the future, serves as a means to an end.  Every use of Q*Bert or Pac-Man exist as a means to compile a narrative and the film, instead creates its own set of excellent fictional characters to fill the world, in fact, the one classic character who seems to get more screen time than any other appears to be Zangeif of Street Fighter fame and to be honest, in that situation doesn't everybody win?  Wreck-It Ralph is an absolutely funny film, perfectly navigating the line between children and adult humor, often coexisting within the same scenes and it does not take a detailed understanding of the history of video games to really appreciate this film, although the film certainly provides some moments of reference that are so very obscure that even the most versed of fan boys will find themselves jogging their memory of the classics.

Wreck-It Ralph focuses on the title character of Ralph (John C. Reilly) a bad guy in the world of arcade games, something he is coming to despise that it means he must live in the world of bad guy land, or in his case in a brick dump right outside of his game space.  The game he exists within is occupied by the hero Fix It Felix, Jr. (Jack McBrayer) for which the game shares the same name, and Felix, Jr. is the heralded champion of their space, considering that it is often he who saves the penthouse that Ralph destroys.  Even though the space clearly designates between good and evil, Ralph often travels outside of his game to the game center to hang out with fellow bad guys in Bad-Anon meetings, where he attempts to come to grips with his badness.  Yet, Ralph simply wants to obtain a gold medal and be appreciated and when he is not acknowledged on the thirtieth anniversary of the game he ends up "going Turbo" a phrase designated for a former racing game character who became jealous of the success of another game, leading to his moving to that game and subsequently destroying its space.  Ralph's movement through the other game spaces is in no way malicious and he simply desires to obtain an icon of success, actually winning a gold medal in the game Hero's Duty, much to the frustration of its lead character Calhoun (Jane Lynch).  Yet during his existence in the space of this game, he brings along a bug that transfers to his next game space Sugar Rush threatening to infiltrate the sugar pop world and destroy its very core, of course Ralph is oblivious to this all despite being chased by both Calhoun and Felix, Jr. at this point.  During his movement through Sugar Rush he meets up with Penelope (Sarah Silverman) a wily and bratty girl who desires to be a racer in the world, despite being a glitch within the game, something that causes her to be a point of condemnation within the world, particularly in the eyes of world's leader King Candy (Alan Tudyk).  From here on the narrative centers on both Ralph and Penelope as they push towards proving that they are certainly more than their coded identities, something that takes a considerable amount of drive and determination, as well as some confrontation with the very fabrication of the game spaces in which they exist, something they realize has been tampered with far before their arrival.  Needless to say things are returned to order, Ralph embraces his identity as a bad guy, while Penelope learns to adapt her glitch to the game.   For extra kicks, Calhoun and Felix, Jr. even get married.

One can certainly create a quarrel over the positive or negative themes spouted within this film, after all it is a Disney offering and, unlike the previously reviewed Frankenweenie, it is not afforded the artistic reigns of a Tim Burton and must adhere to certain ideologies.  With that being said, I would argue that Wreck-It Ralph is easily the most scathing critique of blind capitalist ambition since Wall-E, while also being extremely concerned with adhering to conformity, something more in line with the Disney films of yore.  I will say this about Wreck-It Ralph, overlooking the other two themes, I would instead focus on its concern for the nature of relevance and staying fresh as it relates to society.  In fact, it is as much a narrative about the woes of growing old as it is anything else.  Much of Ralph's woes come from him not receive appreciation for his job, but that could certainly double as regret for being stuck in the same place for way longer than he planed, a metaphor for the dead end job mentality perhaps, or take Felix, Jr. whose name suggests his own existence within a lineage, something that he, at first, does not outright reject, but upon his meeting of Calhoun he certainly changes his tune ever so slightly.  Even Calhoun has her issues, especially considering that she has lost her fiancé in the past to the creatures of a game which she can never leave.  Even the arcade itself plays into this metaphor (perhaps this film is more meta than I suggested) in that the aging Mr. Litwak (Ed O'Neil) clearly moves with a blasé attitude through is flailing arcade, knowing it is only a matter of time before it is financially illogical to stay open, considering that attendance has dwindled, which is quite a true statement if anybody has seen an arcade as of late, let alone one in operation.  The narrative then rests almost entirely in Penelope who desires nothing more than to exist in the moment and race, she is not only oblivious to the woes of aging or staying important, but almost transcends them, this helps contextualize her glitching as an act of almost nirvana in that she is clearly able to detach herself from the constraints of temporal and spatial existence for her benefit, and, in the end, the benefit of the entirety of the arcade.  The narrative cleverly embraces an idea of continued relevance through incorporation of the past into the present, an acknowledgement of the retro is a term the film uses.  It is clever considering that Disney created this film and at this point they seem to own everything for every persons' childhood (the metaness of this film only grows).

Key Scene:  The Bad-Anon meetings are quite hilarious and only one of the many genuine laughs within the film.

This is still in theaters and certainly benefits from being on the big screen, I suggest taking along somebody of a varied age as it helps to pick up on many of the multiple facets to this complex film, also the animated short at the beginning is quite beautiful.

Recorded At A Subsonic Level Is A Mantra, Lose...Lose...Lose: The Cooler (2003)

2003's The Cooler had all the makings to be an incredibly popular film, whether it be the quotable dialogue, the lavish scenery of Las Vegas or the excellent acting of both William H. Macy and Alec Baldwin.  Yet, when it comes down to it the film simply does not deliver what one would expect to be an extraordinary film.  The Cooler is great in its own right, but fore a multitude of reasons everything appears contrived and forced, making its watchability decrease considerably, not to mention the original cut of the film was reedited due to demands by the MPAA, which felt the films depictions of sexuality to be far too graphic.  Ultimately, The Cooler becomes a run of the mill Las Vegas story that the viewer will recognize through the other gambling movies of days gone by and the scenery that is so familiar to filmic and cultural history that even though it is cleverly executed and well spaced still seems like nothing more than b-roll footage from a travel channel expose on casinos.  Perhaps, the best word to describe a film like The Cooler is, despite masking itself in what should be a stellar film, average.

The film centers on Bernie Lootz (William H. Macy) a down-and-out cooler for the Shangri-La casino.  Bernie, who is apparently the unluckiest man alive, serves as their financial control by passing his luck on to players winning big at the casino partially as a means to make money, as well as a way to pay back past debts to the casino's owner Shelly Kaplow (Alec Baldwin) who broke Bernie's knee in a fit of rage only to offer him a job as a means to assure a financial return.  Bernie, finally free of his debts, explains to Shelly that he is leaving the city for something new and no longer desires to work as the casinos cooler.  This news upsets Shelly, as it comes simultaneously, the introduction of a group of men demanding that Shelly change his casino tactics to reflect modern times, as opposed to his mafialike tactics.  As a result, Shelly hires one of the casinos drink girls Natalie (Maria Bello) to feign interest in Bernie in order to give him a reason to stay in the city.  Initially, Bernie is confused by the advances and assumes he is being tricked, however, when Natalie continues to pursue him, he invites her into his world.  Natalie, easily wins Bernie over with her sultry ways and unyielding advances, but much to Natalie's surprise Bernie's good nature and honesty begin to take hold of her.  The two fall madly in love and all appears fine, until it becomes apparent that Bernie's recent luck with Natalie is affecting his job as a cooler.  Enraged, Shelly takes it upon himself to break the couple apart, however, no amount of physical punishment or ill-will can separate the couple and after some confrontation they come close to leaving.  Unfortunately, due to some other bad decisions and an attempt to protect his punk son, Bernie accrues a larger debt making it impossible to leave without Shelly following.  In one last hurrah, Bernie tries his hand at craps, betting eighty thousand dollars on a single game.  His luck having changed allows him to win and he is able to leave the casino debt free and in possession of a substantial amount of cash.  Shelly is left to face his fading empire with rather fatal results.

The Cooler, while not an incredibly meaningful movie, does have one thing going for it.  The film is an excellent example of game theory as it concerns film criticism.  I will attempt to elaborate on game theory here a bit, but Fredrik on Film provided a far more substantial bit a few months back, concerning the theory.  In essence, game theory posits that life as it exists is a series of games in which rational people engage one another in outcomes in which they will either win or lose with an assumption that the net amount will result in equilibrium.   This excludes, however, those who are adapted to play certain "games" better or have disadvantages that will assure their constant loss at a game.  These two sides of the coin are represented in this film through Shelly and Bernie respectively.  Shelly is a hardheaded businessman who has a set of methods that appear to work for him in the long run, whether it be his brutal means of dealing with cheaters or his clinging to archaic means of casino running with the promise that the customers will be loyal.  He knows how to win the games he engages in, yet as the film proves, he is due for a loss and the equillibrium hits Shelly heavily given that the odds had for a considerable time been in his favor.  The same works for Bernie although his case is the opposite, it appears as though nothing that Bernie engages in is fruitful, yet with time and the help of other rational game players, such as Natalie, Bernie is able to accrue a few wins and help out his equilibrium.  One could look at game theory as a rationalized version of karma, except that good or bad deeds have nothing to do with out come, but that a person is destined to an average number of wins and losses over their lifespan, regardless of their ethical engagement in said life.  The Cooler, as well as many film noir masterpieces, provide the most fruitful examples of the game theory as it relates to film.

The Cooler is an enjoyable film, it will not blow you away with excellence, yet it is not a burden to watch.  This is a straight-out rental movie and one of many concerning the brutal, Darwin fueled world of Las Vegas.