Archive for August, 2019

Film Review: Once Upon a Time in Hollywood

August 28, 2019 Leave a comment

Once Upon a Time in Hollywood (2019; Directed by Quentin Tarantino)

As its title suggests, Quentin Tarantino’s Once Upon a Time in Hollywood is a fairy tale, a fable, a fantasy. Jeet Heer even suggests at The Nation that it’s science fiction, presenting an alternate reality version of a historical event in a manner that critiques the conventional Hollywood happy ending, which our own flawed and dissatisfying world is almost never accorded. This roughly marks the film as the third in an interrupted trilogy of historical revenge fantasies from Tarantino, following Inglourious Basterds (the leaders of Nazi Germany are slaughtered in a movie theatre) and Django Unchained (antebellum Southern slave owners receive brutal comeuppance). Tarantino brings back a pair of the big-name stars of those films for Once Upon a Time in Hollywood: Brad Pitt from the former, Leonardo DiCaprio from the latter, respectively as laconic man-of-action stunt double Cliff Booth and fading, self-doubting genre movie and television star Rick Dalton.

The lion’s share of Once Upon a Time in Hollywood coasts seductively on the ample charisma of DiCaprio and Pitt as they move through an obsessively-detailed re-creation of 1969 Hollywood, while also peppering in appearances by flashy, jet-setting rising actress Sharon Tate (Margot Robbie). Married to then-hot Rosemary’s Baby director Roman Polanski (Rafal Zawierucha), Tate lives with Polanski and Tate’s ex-fiancée and perpetual houseguest Jay Sebring (Emile Hirsch) next door to Dalton on Cielo Drive in the Hollywood Hills, although they’ve never met and, judging from the hip Playboy Mansion parties that occupy their nights and the solitary pool-floating alcohol consumption that occupies his, their orbits may never truly cross. Of course, everyone knows what happened to Sharon Tate on Cielo Drive in 1969. Although that does not happen in this movie, Tarantino counts on our dread anticipation of that terrible moment in the film’s “last act”, when Cliff and Rick cross paths with a menacing hippie commune living on Spahn Movie Ranch, calling themselves a “Family” and following a long-haired mentor named Charlie.

The air quotes around “last act” reflect the looseness with which Tarantino, who of course writes as well as directs, approaches the traditional three-act movie structure in Once Upon a Time in Hollywood. Indeed, Tarantino approaches plot pretty loosely in this film as well; we are introduced to Dalton and Booth and Tate, and we mostly watch them live their lives for a couple of hours until some dirty hippies show up one night, spoiling for murderous violence. Dalton takes a meeting with producer Marvin Schwarz (Al Pacino), struggles but ultimately triumphs minorly shooting a villainous role in a pilot for a television western, then takes Schwarz’s advice and flies to Rome to make spaghetti westerns for Italian directors (Tarantino tiptoes right up to directly referencing Sergio Leone’s Once Upon a Time in the West at this point, which is clearly hat-tipped in the movie’s title and is among the strongest of his extremely numerous career influences). Booth cruises through the California sunshine in his car and in Dalton’s, as cool as anything (Tarantino makes everybody look inescapably cool, as he is wont to do), but ends up making a tense visit to Spahn Ranch with Family member Pussycat (Margaret Qualley). Robbie’s Tate, for her part, seems to spend half of the film’s runtime sitting in a movie theatre appreciating her own screwball comedic performance (or the real Tate’s performance, to be precise) in the Dean Martin vehicle The Wrecking Crew.

Tarantino spends an inordinate and amusingly compulsive amount of time in Once Upon a Time in Hollywood re-creating contemporary period details, and this being Tarantino, those details are obnoxiously obsessive and impressively obscurantist. His period Los Angeles streetscapes are choked with neon signs for now-closed restaurants and cinemas and stores and clubs which he either remembers himself or painstakingly researched; there’s a sequence of such signs of establishments clicking on with a foreboding whirring sound, as dusk falls on the night of the Family attack. He painstakingly re-creates scenes from real television shows and movies (and period-type fictional movies and shows, including another Nazi-massacring flick which was a career highlight for the younger Dalton) airing in 1969 and digitally inserts DiCaprio’s Dalton in them, including an iconic scene from The Great Escape with Dalton in the Steve McQueen role, which he is telling a co-star on the pilot that he was close to getting (that whole pilot episode production is based on a real, short-lived Western series called Lancer). The carpet-bombing soundtrack delves into less-trafficked corners of countercultural late-’60s pop and rock, alternating with silence on the music track during Tarantino’s trademarked involved dialogue scenes.

Also, there are a lot of feet. Women’s naked feet, mostly (but sometimes in shoes or boots as well). Often dirty, frequently thrust up insistently into the foreground of the frame. This Quentin character pretty clearly likes feet. A lot. It might be a fetish. Probably best not to call attention to it. Not really sure if it means anything.

Does Once Upon a Time in Hollywood mean anything, beyond Quentin Tarantino’s aggressive nostalgic completistness and conspicuous podophilia? There’s been a robust late-summer debate about that, with critics and commentators across the discourse plumbing depths or bumping into a shallow false bottom, depending on the perspective and trajectory of their particular reading. Is Once Upon a Time in Hollywood a superficial, breezy trifle that trivializes the Tate murders, or is it a sly and transgressive minor masterpiece that subtly deconstructs Hollywood mythmaking on multiple levels? As it happens, I think that there is something going on here, beyond the wish fulfilment fantasy of erasing one of the most horrifying things to ever happen in Hollywood. But what’s going on isn’t beyond that fantasy, it’s another facet of that fantasy, intricately linked with it, immersed in its shimmering waters as if in a nutrient-rich birth pond.

Once Upon a Time in Hollywood is a fairy tale fantasy of the fading, trailing edge of Hollywood’s golden age, a golden age that, like the swinging free-love Sixties counterculture itself, was brutally ended with the Manson Family atrocities even as it pivoted into a new phase behind the rise of a new creative generation of filmmakers. The rise of television and the expansion of American popular culture was fracturing the rigid regime of the Studio Era, as new creative voices (still almost entirely white and male, mind you) influenced by the formalistic freedom and rebellion of European art films (especially French New Wave and the glut of quick, cheap, aesthetically brazen movies out of Italy, the spaghetti westerns included) injected fresh lifeblood into mainstream American film.

Much of this is deep in the background here; of course Roman Polanski was an inventive young auteur direct from the Old World shaking up Hollywood at the time, and Dennis Hopper gets a shoutout, though not a positive one (Dalton insults the “dirty hippie” Family members idling in his cul-de-sac by comparing the male one to the Easy Rider director/star). What’s more in the forefront is what is identified by The Atlantic‘s Caitlin Flanagan as a sense of romanticist, heroic embrace of old-fashioned, cool-headed action-star masculinity, the kind which sidelines women and minorities and is underscored and maintained with the stiffest and most devastating violence. Patriarchy, in a word. Flanagan argues that Tarantino trangressively throws these “values that have repeatedly been proved—proved!—to be dangerous, outdated, the thing that people don’t want anymore” at the audience in this movie, and they eat it up (best opening weekend of Tarantino’s career, after all). This is not so much reactionary (although Flanagan seems to wish it was) as a fulfillment of the promise of the title. Was the inherent benevolence of the stiff-lipped masculine heroism that Dalton and (especially) Booth represent – of which Steve McQueen is the exemplar of this period, referenced not only in The Great Escape casting moment but also played in cameo by Damian Lewis – in this film ever real? Or was it, as Flanagan puts it, “always just a fairy tale, a world ‘that never really existed, but feels like a memory'”?

You might have guessed that Flanagan’s reading influences mine, cigarette-flicking edgelord right-wing-curious though it may be. Cliff Booth is certainly cool, sexy, capable, and highly able with violence. Rick Dalton is splashed across movie posters and marquees and screens as a tough-guy hero, but it’s his stunt double, who tags in anonymously for the most dangerous stuff, who is the genuine article, and not always in a good way. While fixing Dalton’s television antenna on a hot day, Cliff flashes back to a fight with the legendary Bruce Lee (Mike Moh) on a movie set; Lee is arrogant and insufferable in talking up his warrior prowess, and Cliff calls him out and then throws the martial arts legend so hard into a car that it dents the side door (Lee’s family has objected to the moment, but it’s clearly contextualized as Booth’s rose-tinted memory of how he got thrown off a movie set, the unseen true events no doubt less flattering to him).

It’s an anticipation of Cliff’s mastery of violence in the rousing, comedically gruesome climactic face-off with the Family would-be-murderers, but then so, in a darker way, is the nasty rumour that he killed his wife (a flashback shows the lead-up to the moment on their boat, and leaves very little doubt as to how it played it out or what it was about). Cliff will turn his violence against women if need be, as the final battle demonstrates (two of the Tate murderers were women, after all). He is a man with a code, and although that code precludes sex acts with a teenager like Pussycat, it doesn’t preclude gory violent acts on her fellow female Family members, threatening to kill him though they may be.

Although Cliff’s (and Rick’s, and Rick’s Italian starlet wife’s, and Cliff’s dog’s) violence at the film’s conclusion spares Sharon Tate and her houseguests their horrific real-life fate, critics of Once Upon a Time in Hollywood have found Tarantino’s superficial, objectified portrayal of the surviving Tate through Margot Robbie to be a cold comfort tribute. Robbie remains a compelling screen presence, and her relationship with the male gaze of the camera (always already very present in a Quentin Tarantino movie) is one of the most fascinating in contemporary cinema (I would write a full essay on that subject but the effort would no doubt necessitate a re-watch of Suicide Squad, which is not an acceptable price to be paid). But her Sharon Tate is simply not accorded the agency or the psychological depth of Rick Dalton or Cliff Booth here. She is a cipher for appealing, guileless feminine sex appeal, the unthinking, uncaring beneficiary of the patriarchal forcefulness brought to bear by Dalton and especially Booth. This is kind of the point (her murder kept the celebrity-watching public from getting to know her and watch her career grow), but what’s even more the point is that Tarantino could not conceive of a role for Robbie’s Tate beyond this. Like his general whitewashing of the Manson Family saga (no mentions of an apocalyptic race war or Manson’s driving racism to be found, though to be fair the Charles character is only in a single scene) and late ’60s Hollywood in general, one can’t help but feel that Tarantino could have done better with Sharon Tate.

With all of this in mind, it’s difficult not to also read Once Upon a Time in Hollywood as Quentin Tarantino’s complex subtextual negotiation with the scales-falling-from-the-eyes aftershocks of the curtain-lifting Hollywood scandals of the #MeToo wave. Tarantino owes his acclaimed directorial career in no small part to Miramax and its now-disgraced serial sexual predator head Harvey Weinstein, and although he pushed back upon learning of Weinstein’s abuses on at least a couple of occasions, there remains a stain of complicity that Tarantino has acknowledged he cannot quite wash away. Given this disturbing darkness at the heart of Hollywood unveiled by the Weinstein revelations (as well as those about Kevin Spacey, Bryan Singer, Louis CK, Brett Ratner, John Lasseter, and many more), Tarantino’s choice to carefully immerse himself and his audience in a sunkissed fantasy of a vanished Hollywood starring strong, upright screen cowboys might seem like an embrace of nostalgic escapism as a coping mechanism. But of course, this sunny view through the bauble is bent considerably by the contrast with the Manson Family murders, even if those murders are rousingly headed off before the end.

Certain points of light amidst Tarantino’s kaleidoscope of references stand out as flashlight beams into hidden dark corners of these supposed halcyon days. As Rick and Cliff pull onto Cielo Drive for the first time, the car radio chatters about the town’s celebrities and Bill Cosby, whose fall from celebrated entertainment god to convicted rapist might be the grandest of our era, is conspicuously mentioned (in the same breath as Frank Sinatra, too, rumoured in the popular discourse to be the real father of Ronan Farrow, who was raised in the orbit of accused underage predator Woody Allen and who was the key journalist behind the breaking of the Harvey Weinstein sex abuse story). Roman Polanski is a character in the film, of course, and although he drops out of it halfway through and the unforgivable crime that has led to his ostracism from Hollywood remains still in the speculative future, the film-culture-knowledgeable (and Tarantino always pitches his films to them) will keep it forefront in their minds as they absorb this film.

Once Upon a Time in Hollywood does, on a surface level, preserve its vision of Hollywood’s waning halcyon days and fading patriarchal masculinity’s allegedly heroic glow by snuffing out the Manson Family threat and its bloody exposure of delusional murderous fantasism (a mindset integral to Hollywood action flicks) as a destructive force at the core of American culture. Unsuccessful as multiple murderers in the film’s historical revenge fantasy, what the Manson Family becomes instead is a metaphor for those dark forces within the culture of Hollywood and America that Tarantino slyly undercuts and critiques, all while simultaneously and a little subversively/problematically reifying their aesthetic manifestations. Squatting like stray hippie dogs on a former movie set where Hollywood shot westerns, those pre-eminent Studio Era cinematic projections of conservative individualist American values, the Family are like vermin in the temple, an infection in the larger corpus of Hollywood myth that stands in amorphously for all of those bad parts of that myth that Tarantino can’t quite pinpoint (or perhaps can, and decides not to, because it’s easier to punch a few nasty hippies than wrestle with the wasting disease of the American soul).

Before their fateful assault on Dalton’s home, the Family members discuss and seek to preliminarily justify their attack by claiming to have been taught violence by Hollywood, so how fitting to unleash righteous violence in revenge on one such purveyor of those images, after all (as a side note, I had a knot in my gut through this scene, as Maya Hawke plays one of the Family members plotting murder; what a distracting and troubling moment it would have been for Tarantino to have launched Uma Thurman’s daughter into an orgy of ultraviolence after notoriously endangering Thurman’s well-being in their last film together, but fortunately, Hawke plays Linda “Flower Child” Kasabian, who tapped out of the murders at the last moment and testified against the others in exchange for immunity). Although Tarantino gives his audience the climactic orgy of violence they have come to expect from him, he is simultaneously prefacing that violence with an aggressive in-text critique of it and, by emphasizing the dimwitted hippie colloquialisms in the speech of lead critiquer Susan “Sadie” Atkins (Mikey Madison), making that critique seem ridiculous and risible (and also making the Manson Family seem like liberal media critics and not nihilistic right-wing racist radicals they were, as Boots Riley pointed out on Twitter).

Once Upon a Time in Hollywood is a hopelessly tangled dialectic of messy positions and counter-positions, of nostalgic invocations and their cynical, worldly negations. If Inglourious Basterds and Django Unchained reduced grand historical forces like fascistic, anti-Semitic genocide and racially-based chattel slave socioeconomics to exquisitely hateable movie villains to be violently dispensed with (and that assessment of those films is itself unfairly reductive), Once Upon a Time in Hollywood productively fails to boil down the social and cultural faultlines revealed in all of their intractable ugliness by the Manson Family madness to an antagonist that can be effectively killed away. The ideas percolating beneath the sunsoaked cool and brutal climactic slapstick of Once Upon a Time in Hollywood cannot be so easily channeled into revenge tropes, and Quentin Tarantino seems to at least partly realize this as he goes on, and even leans into it before he’s done. The result might not be his best film (there are broadly speaking two Tarantinos, in a way, their oeuvres and obsessions divided by the Kill Bill duology as a pivot point, and his best work is likely on the further side of that dividing line), but it might be his most rich, problematic, and infinitely discussable. Like all good fairy tales, Once Upon a Time in Hollywood troubles the waters as much as it stills them, and quite possibly unsettles far more than it serves to comfort.

Categories: Film

Film Review: A Knight’s Tale

August 11, 2019 Leave a comment

A Knight’s Tale (2001; Directed by Brian Helgeland)

Brian Helgeland’s cheeky and diverting genre mashup A Knight’s Tale wastes nearly no time in showcasing its purposely anachronistic take on the martial athletic culture of the Middle Ages run through modern Hollywood sports film convention. The movie’s title sequence takes place in a 14th-century jousting stadium and features the tournament spectators – peasants, nobles, squires, attendants, guards, and heralds – stomping and clapping out the instantly-recognizable three-beat pattern of Queen’s sports-arena staple anthem “We Will Rock You”. One of them even sings along to Freddie Mercury’s lyrics, the line of diagesis gleefully erased. The instant, in-your-face embrace of anachronism was divisive among critics and audiences upon the film’s release in 2001, but its point is obvious, if a mite facile: medieval tournaments were the big-game mass sporting spectacles of Middle-Ages Europe, with jousting knights as the well-paid superstars and hordes of adoring fans cheering them on to victory. Stomp stomp, clap.

Riding into this field of athletic heroes is William (Heath Ledger in his “The New Matt Damon” phase, well before sadly becoming a martyred artistic genius), the fearless, ambitious, social-climbing squire of a knight who expires of dysentry in the middle of a jousting competition in France. William and his fellow squires Roland (Mark Addy, by now a medieval film vet) and Wat (Alan Tudyk) can’t afford to lose their knightly meal tickets, so William poses as his dead master and manages to win (or at least not to lose) the joust. This is a big no-no in tournament circles, as the competitions are only open to knights of proven noble birth and not humble thatchers’ sons like William. But while Roland and Wat are all for turning their winnings into a decent meal and passage back to England, William senses an opportunity to “change his stars”, as his father told him he must try to do when sending him off into squiredom years before.

Purchasing cheap jousting equipment and spending a month training (you better believe there’s a montage sequence, set to War’s “Low Rider”, no less), William seeks to enter the tournament at Rouen. On the road to Rouen (Helgeland’s script makes that joke and har har, good sir), the trio meet a naked, penniless writer named Geoffrey Chaucer (Paul Bettany, thriving in his ideal role as the smartest guy in the room) who gives them bad news and good: only those who can prove four generations of noble lineage can enter the tournament at Rouen, but for some clothes and a bit of coin, he can provide William with a patent of nobility that will get him in. The offer is accepted, and Chaucer also acts as William’s herald at Rouen, giving him an extended, crowd-pleasing, greatly embellished introduction as Sir Ulrich von Liechtenstein of Gelderland, like a prizefight announcer or pro wrestling hype-man.

During the Rouen tournament, William/Ulrich crosses paths with four important figures in his quest to be a tournament champion through the rest of the movie. There’s Kate (Laura Fraser), a widowed blacksmith who mends his dinged armour and makes him new, lightweight steel plates that give him a mobility advantage. He impresses tiltyard opponent Sir Thomas Colville (James Purefoy) with his audacity and his mercy, and gains a friend in a high place when Colville is revealed as Edward, the Black Prince. He contends with and is defeated by Count Adhemar (Rufus Sewell), an arrogant, conniving aristocratic soldier who will become his primary antagonist. And his heart is captured by Jocelyn (Shannyn Sossamon, in the brief, blinding glow of The Shannyn Sossamon Moment), a noble lady who chafes at the expectations of piety and decorum for women of her position, but also likes to wear nice clothes.

The creative anachronism in A Knight’s Tale doesn’t stop at the opening Queen number. A semi-improvised dance at a banquet transitions from medieval music and moves to David Bowie’s “Golden Years” and more modern steps, and the dialogue (some of it likely improvised by the actors, especially the comedic material) is peppered with touchstones out of time, like Wat insulting a Frenchman in a pub by calling him “Quasimodo”. But it would be nitpicking to hold such slips, purposeful or otherwise, against the movie. The classic rock needle-drops in particular firmly drive home whatever feeling or theme needs driving home (William and his party return to London to the power chords of Thin Lizzy’s “The Boys are Back in Town”, for instance), and as Helgeland pointed out at the time, are no more clashing with the period than an orchestral score, given the Middle Ages’ lack of orchestras.

In fact, A Knight’s Tale displays solid medieval historical research in its fine details, if not always in its larger plot strokes. Bettany’s earthy, baudy Chaucer is shown encountering various inspirations for The Canterbury Tales, including a Pardoner and a Summoner that he would lampoon mercilessly in fiction; Chaucer’s entire presence in the story, roughly set in the 1370s (despite an anachronistic reference to the Battle of Poitiers of 1356), seeks to account in fiction for a six-month missing part of the records of his life movements. I can’t speak to the smaller points of accuracy as regards the jousts, but the details certainly look and sound specific enough to be probably correct, subsumed as they are in the exciting thunder of Richard Greatrex’s cinematography and Kevin Stitt’s editing of the jousting sequences. Sossamon’s hairstyles seem wildly out of place for the period, but again, that’s most likely (part of) the point; her seemingly bizarrely fickle demands to William to first lose a tournament to win her love and then to win the tournament for her instead, meanwhile, are drawn directly from 12th-century French romance poetry.

A Knight’s Tale‘s rendering of the social hierarchy of the Middle Ages, on the other hand, might be more rightly criticized, despite being broadly correct, if you don’t squint at it too much. Tournaments in general and jousting in particular were certainly mainly activities of the European aristocracy and their vassal knights, but though I can’t say for certain that there were not strong legal prohibitions against non-high-born persons entering them, it seems doubtful. At least in the earlier Middle Ages, before the cult of chivalry turned them towards pageantry, the tournaments were primarily extensions of the constant training and preparation for warfare that Europe’s aristocratic soldier class were expected to engage in when they weren’t out fighting wars (which was most of the time). Helgeland’s film only really gestures towards this connection between war games and real war in order to shore up Adhemar’s villainy, darkly referencing his private army (all medieval armies were “private”, to apply a modern distinction that doesn’t really apply in the same way in that era) and its raping and pillaging in the Black Prince’s Poitiers campaign.

Indeed, Helgeland forwards a conception of medieval social mobility that feels both too narrow and too broad. Much is made of William’s impersonation of a noble knight to participate in tournaments; in fact, it’s the central conflict of the plot, his courting of Jocelyn and rivalry with Adhemar branching-offs of this tension. William, by virtue of his birth alone, has no access to knighthood at all, let alone nobility, although of course his character is knightly and noble in a way that a true-born lord like Adhemar cannot claim to be. Practically speaking, the social hierarchy of feudal society was extremely rigid compared to that of the modern capitalist-democratic era, but it was not necessarily officially so. In fact, becoming a squire to a knight like William would have been one of the best channels up the social ladder in medieval Europe; a squire could reasonably expect to be made a knight himself once he reached the age of majority. The move from thatcher’s son to squire would have been the more difficult step, but William’s father arranges this without too much trouble, as shown in flashback.

What A Knight’s Tale does get right, if read more cynically, is the way in which social mobility in the Middle Ages (and maybe today, as well, if one wanted to stretch the comparison) is not a mechanism of social disequilibrium or inversion but firmly under the controlling patronage of the ruling class. William’s humiliating problems after his peasant background is exposed are wiped away by the favour of the Black Prince, who releases him from the pillory, invents for him not only noble but royal lineage, and knights him, before joining William’s cheering section in the climactic joust against Adhemar. Although William’s father tells him that, like all aspirational Hollywood protagonists, he can change his stars if he only believes that he can, truly rising above your position in his historical time and place, this fairly light and fun movie shows us, is only possible if a grand personage is around to give you at least a little boost.

Categories: Film, History, Literature, Reviews

TV Quickshots #38

August 1, 2019 Leave a comment

Good Omens (Amazon Prime Video; 2019-Present)

Adapted from the 1990 fantasy/comic novel by the late Terry Pratchett and Neil Gaiman, Amazon Prime Video’s Good Omens is a good-natured farce about Armageddon. The final battle between good and evil prophesized in Revelations is but a few days away, but neither prissy angel Aziraphale (Michael Sheen) or swaggering demon Crowley (David Tennant) is quite ready for the world to end just yet. Both of them have been on Earth for thousands of years; since the Garden of Eden, actually, when Crowley took on serpent form to tempt Adam and Eve with the apple of knowledge and Aziraphale took pity on them when they were banished for eating from the forbidden fruit, gifting them with his flaming sword to protect them in the wilderness (as the angel and demon watch from the garden’s ramparts, Adam uses it against a predatory lion, with a suggestive and darkly funny damp squelching sound on the soundtrack as Adam swings the weapon at the beast).

In all of that time, they’ve become fond not only of the place, its many pleasures, and its flawed inhabitants, but of each other as well (this surface-level buddy comedy element takes on same-sex romance undertones that are barely subtextual and were intentionally seeded by Sheen’s performance at the very least). Their preference to keep living there soon grows into an intentional plan to defy their bureaucratic overseers respectively in Heaven (a lighty and airy floor of a gleaming modern office building) and in Hell (a dank, claustrophobic basement warren, seemingly under the same building) and prevent the apocalypse by any means necessary.

The agent of this apocalypse is Adam (Sam Taylor Buck), the Antichrist. Intended to be placed by the dark powers with the power-adjacent family of the American ambassador to the UK (Nick Offerman) and groomed for eventual cosmic battle on the Fields of Meggido in the Holy Land, this Antichrist is mixed up as a newborn baby by a bumbling coven of satanic nuns (the Chattering Order of St. Beryl, who take no vows of silence). This comic mixup leads to the Spawn of Satan being unwittingly raised as an otherwise normal boy in rural England, so that when Armageddon looms and his world-changing powers begin to emerge, nobody in Heaven, Hell, or anywhere else knows who or where he is.

Other characters cluster towards the apocalypse like moths to a flame. Anathema Device (Adria Arjona) comes from a long line of witches, one of which wrote the only accurate book of prophecy ever published, which gives her descendant a clear, if sometimes confounding and unpredictable, roadmap of what is to come; the prophecies are always correct, but that’s often only evident after they have come to pass, as it happens. In Adam’s town, she meets Newton Pulsifer (Jack Whitehall), an unemployed computer engineer with terrible luck around computers who has taken a job as a witchfinder in desperation; his superior is the loopy and quackish Witchfinder Sergeant Shadwell (Michael McKean), who has never himself found a witch and mostly tosses ugly slut-shaming at his landlady and neighbour Madame Tracy (Miranda Richardson), who is also a medium and a part-time courtesan. And what would the apocalypse be without the Four Horsemen: Pollution (Lourdes Faberes; Pestilence retired a century back, muttering about penicillin), War (Mireille Enos), Famine (Yusuf Gatewood), and Death (Brian Cox).

Good Omens has been in production hell (har har) for something like 20 years, and finally landing as a streaming-service miniseries in the Peak TV era is likely a better fate for it than being produced as a truncated and compromised movie. If anything, Gaiman (who writes all six episodes) fleshes out and extends the story and the world of Good Omens, even if his tone and timing is a bit too deliberate for his late writing partner’s impeccable left-field comedic comets (though they shared the authorial credit, both agreed that Pratchett did most of the actual word-to-paper writing of Good Omens, and it shows; the book is a comic Pratchett novel with some Gaiman-esque mythology repurposings). Terry Gilliam was once attached to the property back when it was supposedly destined for the big screen (and back when anybody actually wanted to see a Terry Gilliam movie), and some elements of this final product carry a certain influence from his work (Hell, in particular, is a shabby bureaucratic dystopia reminiscent of Brazil).

Things hum along nicely enough and with strongly good-natured humour, at least until the big special-effects climax at an English military base with the arrival of Satan (voiced by Benedict Cumberbatch). It’s a bit of a flubbed finish (though the novel’s climax is too subversively anticlimactic to have done either), but it’s a nice ride up to that point, especially when the show is in the hands of Sheen and Tennant, both of whom are flawlessly cast and have a great and unique comic and emotional chemistry. One flashback to their common historical intrigues features the series’ funniest and most memorable moment, as Crowley hot-foots down the aisle of a church (consecreated ground, it burns) to aid Aziraphale during a book deal with Nazis gone awry.

The series’ flippant view of Christian eschatology angered some bible-thumping zealots (who petitioned the wrong streaming service to pull the show, with hilarious and fitting cluelessness), but really it’s a humane and humanistic vision that Good Omens embraces, supporting humans making decisions in their own flawed and shambolic free will by making the will of Heaven and of Hell even more foolish. Good Omens is not quite great, but it’s a lot of fun and gets its source material more right than a truncated cinematic take (whose ceiling would have been a box-office disappointment that became a cult favourite anyway) would have done.


What We Do in the Shadows (FX; 2019-Present)

Speaking of getting source material more right than otherwise: check out the What We Do in the Shadows TV series, would you? The series was produced and Americanized for FX by Jemaine Clement, who co-wrote, co-directed, and co-starred in the side-splitting 2014 vampire mockumentary of the same name with the ever-ascending king of New Zealand comedy, Taika Waititi (who directs three of the first season’s ten episodes, with Clement helming three more and their co-star in the film Jackie Van Beek directing two). This makes the show not a sequel or remake but a continuation, a doodle in the same font as the original film (whose characters, along with several surprise big names, cameo in a vampire council scene in the later stages of the season). It strikes the same tone as the film, straddling fantastical absurdism, dark humour, and observational realism and holding it all together with note-perfect deadpan hilarity.

What We Do in the Shadows the film focused on a quartet of vampire housemates in suburban Wellington, New Zealand, balancing mundane quotidian problems (doing the dishes, laying down newspaper to keep the rugs clean when sucking the blood of victims, etc.) with supernatural concerns about eternal life, burning up in sunlight, and beefing with werewolves and beastly arch-nemeses. What We Do in the Shadows the TV show assembles five housemates in a Neo-Gothic pile in Staten Island, New York: Nandor the Relentless (Kayvan Novak), a murderous former Central Asian warlord mostly clueless about the modern world; vampire couple Nadja (Natasia Demetriou) and Laszlo (Matt Berry), the former a bit bored in their centuries-old marriage and seeking the reincarnation of her oft-decapitated lover (now returned as a disappointingly milquetoast parking lot attendant named Jeff, played by Jake McDorman), the latter an arrogant sex freak who has made porno flicks for a century and trims explicit topiary sculptures in the yard; “energy vampire” Colin Robinson (Mark Proksch), who feeds on the energy of others by being painfully, stultifyingly boring; and Guillermo (Harvey Guillen), Nandor’s devoted but guilt-ridden Hispanic-Catholic familiar, labouring in demeaning circumstances on the dim and unlikely promise of one day being turned into a vampire.

The hijinks of these vampires are spread over 10 episodes and thus allow for more variation and difference than in the movie: the vampires aim to conquer the continent by first infiltrating the Staten Island Council, they tussle with a pack of werewolves, and mortifyingly botch a vampire orgy. There is also a greater number of peripheral characters to visit and revisit: Colin has a rivalry and then partnership with an “emotional vampire” named Evie (Vanessa Bayer), Booksmart‘s Beanie Feldstein appears as a LARPer virgin whom Nadja turns into a vampire in pity, and lanky body-suit-acting specialist Doug Jones is The Baron, an ancient and powerful Nosferatu-esque vampire from the Old World who goes out on the town to party with his vampire hosts (all while wearing a New Jersey Devils hat to blend in, a diabolically on-point detail) in the season’s funniest and best episode.

Both the sitcom format and the more minimal creative involvement of Waititi means that the series is more pure comedy than the film, which in the auteur’s trademarked style incorporated irruptions of longing sadness, especially in Waititi’s own romantic dandy character, Viago. That said, the show is very funny; practically everything Novak (who shone as dim-witted jihadi Waj in the brilliant satire Four Lions) says is hilarious just by virtue of the slow, naifish way he delivers his lines (although Berry, combining the sex-crazed machismo of Clement and Jonathan Brugh’s vampires from the film, becomes tiresome), and its running jokes (like how the vampires turn into bats by saying “Bat!”) never stop being amusing. And if it lacks a bit of the film’s heart, a twist involving Guillermo at season’s end promises to give it an added bite of tension and intrigue in its expected second season.

Categories: Reviews, Television