Saturday Matinee: Capricorn One

By Ken Zurski

Source: Unremembered

In 1976, a controversial new book was released that contended the Apollo 11 moon mission never happened. We Never Went to the Moon: America’s Thirty Million Dollar Swindle was written by Bill Kaysing, a Navy midshipman and rocket specialist, who claimed to have inside knowledge of a government conspiracy to fake the moon landing.

Kaysing believes NASA couldn’t safely put a man on the moon by the end of the 1960’s (a promise made by President Kennedy) so they staged it instead. Kaysing’s theories were technical and persuasive and soon a movement of nonbelievers, inspired by the book, was born.

Whether you believed Kaysing or not was a moot point for American screenwriter and director Peter Hyams.  A former TV news anchor, Hyams was more interested in how such a thing could actually be pulled off?

“I grew up in the generation where my parents basically believed if it was in the newspaper it was true,” Hyams said in an interview with a film trade magazine.  For him, he admits, it was the same with television. “I wondered what would happen if someone faked a whole story.”

So he wrote a story based on the concept.

That was in 1972, four years before Kaysing’s book was released. Hyams shopped the script around but got no takers.  Then something unexpected happened. Watergate broke and America was thrown into a government scandal at its highest levels. Interest in a story like a fake moon landing (in the movie’s case, the first manned mission to Mars) had appeal. In 1976, Hyams was given the green light to make his movie as part of deal with ITC Entertainment to produce films with a conspiracy bent.

“Capricorn One” was released in the Summer of 1977. “Would you be shocked to find out the greatest moment of our recent history may not have happened at all?” the movie posters read.

Reviews were mixed. Chicago Tribune film critic Gene Siskel called it “a surprisingly good thriller” while another critic Harry Themal said it was a “somewhat feeble effort at an adventure film.” Variety was even less complimentary calling it “underdeveloped” and the cast “scattershot.”

In the movie, Sam Waterston, James Brolin and O.J. Simpson play the three astronauts. Elliott Gould, Hal Holbrook, Telly Savalas, Brenda Vaccaro and Karen Black round out the cast. While Brolin was known mostly for his television role as Dr, Steven Kiley on Marcus Welby, M.D. Simpson was a celebrity athlete whose acting career was just beginning.

In hindsight the cast was impressive, but the actors weren’t as important as the story.

After the landing is staged and broadcast as real, the nation is told the three astronauts died instantly in a failed reentry.  But Gould, as journalist Robert Caulfield, is suspicious. The astronauts, who are harbored, realize they have no recourse but to escape or be killed. “If we go along with you and lie our asses off, the world of truth and ideals is, er, protected,” say’s Waterston’s Lt Col. Peter Willis. “But if we don’t want to take part in some giant rip-off of yours then somehow or other we’re managing to ruin the country.”

From there its a cat and mouse game between the good guys and bad. A dramatic helicopter chase scene ensues. In the end, Caulfield with the help from Brolin’s character exposes the conspiracy.

The movie’s tag-line accentuated the drama:

The mission was a sham. The murders were real.

“In a successful movie, the audience, almost before they see it, know they’re going to like it,” remarked Hyams. “I remember standing in the back of the theater and crying because I knew that something had changed in my life.”

The film’s final chase scenes were pure escapism. “People were clapping and cheering at the end,” Brolin relayed to a reporter shortly after the film’s release.

Today, the film’s legacy may be in the conspiracy only.  It’s impact may also have been diminished by the negative attitudes towards O.J. Simpson who in 1994 was charged and acquitted in the brutal murder of his ex-wife, Nicole Brown.

Even Hyams concedes to his own bizarre trivia: “I’ve made films with two leading men who were subsequently tried for the first degree murder of their wives,” he said referring to Simpson in Capricorn One and Robert Blake in his first film Busting (1974).  

Fifty years later, on the 2019 anniversary date of July 20, 1969, the moon landing is still celebrated as one of man’s greatest achievements. “We choose to go to the Moon in this decade and do the other things, not because they are easy, but because they are hard,” President Kennedy prophetically said in 1962.

For some, apparently, that was just too hard to believe.

Several years after it happened, a movie showed how it could be done…Hollywood style.

Saturday Matinee: District B13

By Brian Eggert

Source: Deep Focus Review

If the movies from French producer Luc Besson’s factory of B-grade actioners, District 13 (Banlieue 13, 2004) stands among the best. This is your typical martial arts-laden action extravaganza, filled with thumping techno music, a thin plot, and impressive stunts. But the increasingly prosaic clichés evident in Besson’s other films, which are also evident here, electrify with an uncommon kinetic energy. The action feels and looks real thanks to its stuntmen stars. The plot seems to have a social resonance behind it. And indeed the French soundtrack of techno and rap augments the no-holds-barred attitude of the movie.

The setting is Paris, 2010, which upon the release of this movie in 2004 was the future. Use your imagination. The city is plagued by unruly slums, and to isolate the problem areas, the government has erected a wall around a particular neighborhood known as District 13. The walls create a makeshift ghetto wherein all schools, all civil servants, and all hope has been evacuated. Inside, two million people are divided into various gangs and the police have no say, except that no one can leave through the guarded checkpoints. Drugs and crime run rampant on the streets within. Meanwhile, Elitist politicians would prefer to wipe this blotch off their maps entirely and start over.

Two heroes ban together to fight both a crime boss polluting the inside and political corruption stewing from outside the walls. One hero, Leïto (David Belle), comes from the slums. After being double-crossed by the local police, Leïto watches as his sister, Lola (Dany Verissimo), is taken hostage by the seedy gangster Taha (Bibi Naceri), and then he’s put in jail for 6 months to rot. Enter the other hero, supercop Damien (Cyril Raffaelli), who is commissioned by his superiors to go undercover, befriend Leïto, stage a prison break, and then use Leïto to sneak into District 13 to defuse a deadly bomb. The bomb was supposedly stolen from the government by the District 13 gangs, but this McGuffin proves to be slightly more complicated. And of course, Damien has only 24 hours to complete his mission.

Nevermind the plot, though. You’re not watching to find out what happens with Leïto, Damien, and the bomb. You’re watching to see the physical bravado of the two leads, as they demonstrate some of the most impressive stunts you’ve ever seen in any action movie. Belle and Raffaelli run across rooftops, leaping from building to building with ease. They scale obstacles and scuttle across walls like Spider-man. Whenever surrounded by a horde of goons, the heroes take them down without a minimum of fuss, exacting fisticuffs with a seemingly effortless precision. Through it all, they keep up a light banter that keeps the tone chummy and enjoyable.

Belle and Raffaelli are actual stuntmen and practitioners of a street-born, pseudo-martial art known as Parkour. According to the definition of those who practice it, “Parkour is the physical discipline of training to overcome any obstacle within one’s path by adapting one’s movements to the environment.” As opposed to a direct defensive strategy such as karate or jujitsu, Parkour involves running and jumping with fluidity, dodging obstructions with competence and speed through a complete awareness of one’s surroundings. But all you need to understand Parkour exists within this movie. The most amazing scenes aren’t those brimming with violence, they’re the chase scenes where Parkour skills are used to escape.

Director Pierre Morel, who would later helm Taken and From Paris with Love for the American market, exhibits clear and decisive action. The editing captures all the movements of Belle and Raffaelli with amazing clarity, whereas action movies nowadays so often rely on shaky-cam to disguise the stuntmen standing in for big-name stars. There’s nothing to hide in District 13, however, as Belle and Raffaelli complete the stunts and the fights themselves. Comparable to Jackie Chan in his heyday, these actors have the charisma, humor, and ability to advance themselves from stuntmen to stars, and they advance this movie from another dull actioner to must-see entertainment.

Watch District B13 on Tubi here: https://tubitv.com/movies/439503/district-b13

Saturday Matinee: The Secret of Roan Inish

By Roger Ebert

Source: RogerEbert.com

One day, many years ago, an ancestor of Fiona spied a beautiful creature sunning by the sea. She was both woman and seal. We would call her a mermaid, but on that western coast of Ireland such creatures were well-known as Selkies.

The ancestor trapped the creature and married her, and they had children together and lived happily, although she seemed to long for the sea. One day she learned where her husband had hidden her sealskin, up under the roof, and she put it back on, and returned to the sea.

Fiona (Jeni Courtney), who is 12 or 13 years old, is told this story by a relative. It is not told as a “fairy tale” but as an account of family history, to be taken quite seriously. And well might Fiona believe it, because ever since there have been dark-haired children in her family who were said to throw back to the Selkie, and whose eyes turned yearningly to the sea.

The year is about 1946. Fiona’s mother has died, and her father can barely be budged from his mourning in the pub. She is sent to live with her grandparents, on a sea coast across from the island of Roan Inish, where the whole family once lived. There she learns the story of her little brother Jamie, whose cradle was carried off by the waves. And there, with her grandparents and her cousin Eamon (Richard Sheridan), she first explores Roan Inish, which means, in Gaelic, “island of the seals.” The secret of John Sayles‘ “The Secret of Roan Inish” is that it tells of this young girl with perfect seriousness. This is not a children’s movie, not a fantasy, not cute, not fanciful. It is the exhilarating account of the way Fiona rediscovers her family’s history and reclaims their island. If by any chance you do not believe in Selkies, please at least keep an open mind, because in this film Selkies exist in the real world, just like you and me.

On Roan Inish, the girl sees a child’s footprint. Then she sees the child – Jamie! – running on the sand. She calls to him, but he gets back into his cradle, which is borne out to sea by friendly seals. Of course it is hard to convince grownups of what she has seen.

In the meantime, her grandparents face eviction from their cottage, which is to be sold to rich folks from the city. They may have to move inland. “To move off of Roan Inish was bad enough,” Fiona’s grandmother says, “but to move out of sight of the sea . . .” She shakes her head, making it clear that it would kill the grandfather, who thinks of the city as “nothing but noise and dirt and people that’s lost their senses!” Can Fiona and Eamon, her young cousin, restore the family’s old cottages on Roan Inish? Can she reclaim Jamie from the sea? I found myself actually caring. John Sayles and Haskell Wexler, who has photographed this movie with great beauty and precision, have ennobled the material. There is a scene where a person numbed by the cold sea is warmed between two cows, and we feel close to the earth, and protected.

One can easily guess how this legend could have been simplified and jollied up in other hands – how it could have been about cute little Selkies. But legends are, after all, told by adults, not children, and usually they record something essential to the culture that produces them. What this legend says, I think, is that the people who tell it live on the land but live from the sea, so that their loyalties are forever divided.

Of course this is a wonderful “family film,” if that term has not been corrupted to mean simpleminded and shallow. Children deserve not lesser films but greater ones, because their imaginations can take in larger truths and bigger ideas. “The Secret of Roan Inish” is a film for children and teenagers like Fiona, who can envision changing their family’s fate. It is also for adults, of course, except for those who think they do not want to see a film about anything so preposterous as a seal-woman, and who will get what they deserve.

Saturday Matinee: Detective Dee: The Four Heavenly Kings

By Andrew Skeates

Source: Far East Films

Tsui Hark returns for a third go around in his fantasy blockbuster franchise, sending the titular Dee on another eye-boggling, mind-warping, wuxia-infused adventure. While the first instalment saw Andy Lau take on the title character, the first follow up, ‘Rise of the Sea Dragon’, saw a younger version of Dee (now played by Mark Chao) muddle his way through an assortment of fanatical situations. ‘The Four Heavenly Kings’ is a direct follow on from ‘Rise of the Sea Dragon’, with Chao and many of the core cast returning for another adventure which may just be the best in the series.

Due to his exploits in ‘Rise of the Sea Dragon’, Dee is rewarded the coveted Dragon Taming Mace: a near mythical and indestructible weapon. So coveted it is, that many a nefarious foe want to get their hands on it including Empress Wu (Carina Lau) who hatches a plan to steal it and discredit Dee using a band of mystical warriors. Coupled with the resurgence of a once deadly spiritual tribe, Dee soon finds all is not what it seems as sorcery weaves it evil way, and he and his fellow Bureau colleagues attempt to uncover the conspiracy and battle an ever increasing assortment of fantastical creatures and foes.

Much like the first two Dee flicks, ‘The Four Heavenly Kings’ is an often breathless fantasy blockbuster that doesn’t skimp on the wuxia action, CGI wonderment and imaginative scenarios. These days Tsui Hark is happy to play in the big budget, CGI sandbox and while his recent films have been a bit hit or miss, the ‘Detective Dee’ flicks have arguably been his most enjoyable blockbusters of late. While ‘Mystery of the Phantom Flame’ and ‘Rise of the Sea Dragon’ could be all over the place in tone and plotting ‘The Four Heavenly Kings’ finds Hark on more assured ground. Sure there is still a fair amount of convoluted plotting and subplot/secondary character development a-go-go which takes a while to digest as the narrative often rockets along, but on the whole this entry flows coherently.

Dee’s cohorts (Lin Gengxin and Feng Shaofeng) get fully fleshed character arcs and are just as integral to the plot and action as the lead, with Feng Shaofeng (as General Yuchi) all but stealing the film. This unfortunately means Dee feels somewhat like a supporting character in his own film but the team dynamic is a nice approach to this threequel and keeps the viewer guessing and often surprised as to where the narrative is going. While the film is packed with playful energy, energetic set-pieces and a good amount of silliness, ‘The Four Heavenly Kings’ also packs in a fair bit of menace, not least when the vicious Wind Warriors show up. A truly threatening foe, they add menace and bite to what is essentially a cartoon blockbuster, Hark wringing out some genuine tension every time they appear on screen.

As with the other Dee instalments (and most of Hark’s recent output), this entry is packed with CGI ingenuity which leads to some truly creative scenarios and characters. For the most part the CGI works (save for the odd wonky bit here and there) and blends into the environment and practical action well. Hark certainly can’t resist packing in as much CGI inventiveness as he can but come the finale it certainly works to deliver some truly eye frazzling action: complete with giant gorillas, squids and some sort of colossal demon made up of eyeballs!

If one isn’t a fan of this type of CGI laced, fantasy blockbuster then one is probably not going to get along with ‘The Four Heavenly Kings’ but if one is (and enjoyed the previous jaunts with Dee) then there is a lot of fun to be had here. Tsui Hark delivers a wickedly fun fantasy romp full of wondrous fight action and flights of fancy.

Watch the film on Tubi here: https://tubitv.com/movies/619638/detective-dee-the-four-heavenly-king