Showing posts with label smoke monster. Show all posts
Showing posts with label smoke monster. Show all posts

Wednesday, August 8, 2012

LOST: It Wasn't Purgatory, episode 4, Walkabout


Walkabout
Events: Opening with a repeat look at the crash, this time from John Locke's perspective, the episode is exciting and busy with a lot of reveals. As the survivors first struggle with what they fear is another encounter with the "jungle monster" in the plane's fuselage (it turns out to be wild boars) they realize that beyond supernatural concerns, they have two very concrete, immediate problems: there are dead bodies everywhere and food has run out. Jack suggests they burn the bodies inside the fuselage to create a rescue signal; John Locke, armed with practical knowledge and about twenty specialty knives, volunteers to hunt the boar for food. Through Locke's flashbacks we learn that he led a uneventful perhaps unsatisfying life, and that he had been planning a trip to Australia for a walkabout, or physical journey of "spiritual renewal." During a hunting expedition with Kate and Michael, a group of boar attack and leave Michael wounded and Locke disoriented on the ground; when Kate protests Locke's wish to continue on alone, he repeats what he earlier told his  boss, "Don't tell me what I can't do."
Greater Meaning: Through this episode we learn a great deal about John Locke---he was belittled by his boss, he was rejected by a woman named Helen, he was a paraplegic---but above all of this, he seemed adamant about making the Walkabout, despite his physical disability, saying several times, it was "his destiny." The episode opens with Locke's eye, just as the pilot episode opened with Jack's; as Kate's episode (Tabula Rasa) in between the two did not open with the same close up shot, we must assume that Jack and John are of greater importance or equality.
Don't tell me what I can't do!
In terms of anatomy, one cannot ignore the symbolism of Locke's connection (through his legs and feet) to the physical world, or in this case, the island, specifically. As Locke wiggled his right toe in the opening shots of the episode, his legs began to function after four years in a wheelchair; this causes not only a physical but also a spiritual renewal (later he tells Walt that a miracle happened to him). Thus, John Locke is a new man on the island. Reborn. It's interesting that despite the physical change, Locke already seems mysteriously at home; he plays backgammon, fashions a dog-whistle, and sits happily in the rain, all within the first few days of the crash. As a would-be leader, his knowledge and abilities are practical, primal. He has aim, skill, strength, and confidence, which is a bit at odds with the man we saw in the flashback; such a significant difference has a way of making the idea of destiny seem extremely relevant.
Jack, who is every bit as important, by contrast, is more at home in the scientific, cerebral world. Where Sayid earlier voiced hesitation in burning the victim's bodies for spiritual reasons, Jack focuses only on the immediate, logical needs of the survivors; "We don't have time to sort out everybody's God." When Claire suggests Jack lead the memorial service he replies bluntly, "It's not my thing." Jack comforts Rose on the beach but can't share her faith that her husband might still be alive. Man of Faith, Man of Science. Both useful, but which will lead?
Further Questions:
1. Who was Helen?
2. Why was Locke in a wheelchair?
3. Why did "the monster" let Locke live?
4. Why is Locke able to walk on the island?
5. Where exactly are they?
6. Why is Jack so anti-faith?
7. Who is the man in the dark suit?
8. How does Rose know Bernard is alive?
9. Why did Locke lie to Michael about seeing "the monster?"

Join me next week for a closer look into the enigma that is Jack Shephard in White Rabbit.

Friday, October 8, 2010

Fuck the Critics, I dug it: House on Haunted Hill.

(Excuse the profanity, but there was really only one way to say that. I thought of saying "eff" the critics, but that just wouldn't be me.)

Directed by William Malone (who's done a bit in the horror genre, mostly television); released in 1999. IMBD: A millionaire offers a group of diverse people $1,000,000 to spend the night in a haunted house with a horrifying past.


Now, don't get me wrong. There were some problems with the film, and as horror films go, it's definitely not anywhere near one of the best, but honestly? I had a great time watching this, it was fun! I can certainly understand why critics wouldn't go for it, but sometimes I get the feeling that film critics  1. hate life, humanity, and films and have no other outlet for their hate other than to bash directors (while making sure to spell out to the rest of the public how elite and super-intelligent they are) and 2. insist that every film made must be Citizen Kane, and if not, well . . . garbage. One of my favorite professors was one that wasn't put off by garbage, did a thesis on the Porky's films and their Canadian popularity, of all things.


ANYWAY.


The look of this film was cool. The house in question, the former mental institute, obviously had a very unique look to it, inside and out. That checkerboard floor (in the what, dining room?) was a nice touch, and apparently the only room in the house that wasn't mildewed, dusty, and falling apart. The examination rooms, the crazy-chamber, and the medical specimen in glass rooms were all gross and dungeony. Not exactly Jame Gumm's basement-calibre frightening, but you know, creepy enough. The actors were all exceptionally beautiful, but as one bitchy critic did truthfully point out, not actually able to claim our allegiance, personality-wise. No matter, I don't think the story required that you be invested in any one person, I mean, were we invested in any of the characters in Clue, specifically? No, we just wanted to see what happened. I was curious about the butchering surgeon's ghost, which was one sort of loose end that never really got resolved, one minute that guy is hacking people up, the next minute, Evelyn busts into a rotten wall and suddenly it's a completely different entity that's gobbling everyone up? Yeah, well, fine with me. Like I said, I had a great time. It's a good October film.






Was it scary? There were scary parts, but as a whole, I'd say it was more of an entertaining kind of fright.  There was a scene where Brigitte Wilson, alone with her video camera, sees something kind of off in the distance and then BAM, it's that surgeon, right up in her face--that was jarring. And when Price gets locked in that crazy chamber, starts seeing all that ridiculous crap and the spinning? That freaked me out more than anything else. I hate spinning. 


I'd say if you're okay with it's non Citizen Kane-ness, go for it. Oh, and there's a smoke monster.
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