Chapter 9: Gathering Force
Not that the first year of the new decade with its collapsing Communism in Eastern Europe and the USSR gave any indication of the gathering Force to come. For Emperor Palpaberg rewarded his two favourite simpering and obsequious puppets, Dante and Marshall, for their service to him. Indeed, he teamed up with Kennedy and Marshall to executive produce the twilit, allegorical and Reitman bashing Dante film, GREMLINS 2: THE NEW BATCH (1990), and Marshall’s first twilit, Ozian themed and allegorical feature film, ARACHNOPHOBIA (1990). Curiously, GREMLINS 2: THE NEW BATCH saw new and nastier gremlins run riot in an ultra-modern and digitally powered office building in New York City owned by Donald Trump evoking but Reitman resembling businessman and developer, Daniel Clamp-played by John Glover-in an implicit and satirical reply to GHOSTBUSTERS 2. While mostly noteworthy for being worse than GREMLINS, GREMLINS II: THE NEW BATCH did see the exuberant and money loving capitalist Clamp triumph in the end with the help of the again implicitly John and Deborah Landis linked Billy and Kate-played again by Galligan and Cates, respectively-implicitly reaffirming that it was indeed back to the profits in the world of Hollywood in the Nineties as implied at the end of BATMAN. GREMLINS 2: THE NEW BATCH also had the foresight to link the havoc causing gremlins not just to the TZ disaster as in the first film, but to the havoc being caused in the world of film art by the introduction of CGI. This prescience set the exasperated tone for the rest of the Nineties, as film artists struggled to come to grips with the digital revolution, work out all of the bugs, and preserve the humanity of film art for the entire decade. Indeed, Kennedy, Marshall and Palpaberg understood this so well, a desperate battle to work out all of the bugs of the new CGI era and preserve the humanity of film art was the implicit point of ARACHNOPHOBIA.
Literally, as Dr. Ross Jennings and his wife and children, Molly, Tommy and Shelley-played by Jeff Daniels, Harley J. Kozak, Garette P. Ratliff and Marlene Katz, respectively-battled a plague of deadly, poisonous and gremlin evoking hybrid CGI spiders that began attacking and killing the inhabitants of the Hollywood cadenced California town of Canaima-a name that evoked the California town of Bodega Bay in THE BIRDS-soon after the Jennings arrived to replace the town’s retiring doctor, Sam Metcalf-played by Jones, the same Henry Jones whose name had already linked Indiana Jones to the TWILIGHT ZONE via his guardian angel character J. Hardy Hempstead in the Serling roasting telefilm, ‘Mr. Bevis’. Significantly, this CGI plague of deadly spiders was created when an even more deadly, diabolically sentient, poisonous, Stripe evoking and Wicked Witch of the West linked Queen Spider with a twilit trio of eyes mated with a local spider after travelling by coffin to Canaima from Venezuela. Of course, this fecund Latin American jungle prologue evoked the South American prologue of RAIDERS OF THE LOST ARK, linking ARACHNOPHOBIA to the Last Good Year of Kennedy, Marshall and Palpaberg. Thus, the triumph of Molly and Ross over the Queen Spider and her deadly underlings-after Jennings managed to conquer his fear of spiders, evoking Scott’s film long fear of heights in VERTIGO-equated with Kennedy and Marshall-and Palpaberg, in the form of John Goodman’s intrepid exterminator, Delbert McClintock-conquering their fear of CGI and embracing the new CGI enhanced film art era in the healing and harmonizing eucatastrophic end. A triumph that also implicitly equated with a triumph over the TZ disaster, as the deadly spiders announced their arrival in Canaima with truly twilit trio of one female and two male victims. Indeed, one of the two male victims was the TWILIGHT ZONE linked Dr. Metcalf, and the other was a teenage football player named Todd Miller-his first name evoking ‘tod’, the German word for death, his surname evoking Miller’ fourth episode of TWILIGHT ZONE: THE MOVIE, and played by Nathaniel Spitzley-confirming the film’s implicit interest in also triumphing over the TZ disaster.
Curiously, Burton also battled fears-this time of causing more twilit and disastrous film set disasters-that year in his sweet, twilit, surreal, Lynchian and allegorical artbuster, EDWARD SCISSORHANDS (1990). Indeed, the fear of giving directions that could lead to film set fatalities was likened to waking up and finding that you had been cursed like Johnny Depp’s Edward Scissorhands with scissors for hands that could cut everyone around you, making you afraid to work as a film artist-symbolized in this case by Ed’s fears of cutting people and objects if he worked as a hair stylist or topiary artist-in this quirky and sympathetic look at TZ disaster haunted directors. Particularly, and not surprisingly, Landis, given the many allusions to SCHLOCK in the film that linked Ed to Schlockthropus, and, hence, Landis-including Ed’s doomed battle with Anthony M. Hall’s Cameron linked Jim for the love of Winona Ryder’s beautiful but goofy suburban teen Kim Boggs, a doomed battle that rivalled Schlock’s equally doomed battle with Charles Villier’s Cal for the love of beautiful but goofy suburban teen Mindy Binnerman. Indeed, the letters of Ed’s surname could be used to create ‘Handis’, affirming the link between Ed and John. Thus, driving Scissorhands out of the bland suburban family and suburb that had taken him in and back into the lonely and gloomy castle on the hill overlooking the suburb, releasing and forgetting him, in the end, symbolized releasing Landis, the TZ disaster and worries about causing more film set disasters, and heading off into the Nineties free of the Zone, in the end.
Significantly, before he returned to his castle, Scissorhands killed Jim, implying that Burton hoped that EDWARD SCISSORHANDS would be a big hit that would topple Cameron. A dream that came true, as the fine and memorable gothic fairy tale was a huge success, warming audiences up to big budget effects filled fantastic films again. Like the second prominent Dick pic and allegorical Verhoeven film inspired by the work of PKD, TOTAL RECALL (1990), which saw Schwarzenegger’s implicitly Stinkious linked secret agent Douglas Quaid aka Hauser defeat another implicitly Cameron linked baddie named Cohaagen-again played by Cox-and usher in a brave new world of CGI enhanced film art on Mars-and implicitly one not dominated by Cameron in the Nineties, given the defeat of Cohaagen-in an eucatastrophic climax that evoked the creation of the brave new CGI world of Genesis in STAR TREK II: THE WRATH OF KHAN-a brave new CGI world that would hopefully avoid devolving into a PKD-style Martian ghetto. A brave new world of CGI enhanced film art that Salman Rushdie hoped that year would be free of the Twlight Zone in his twilit and allegorical novel Haroun and the Sea of Stories (1990), which saw a feisty and Lord Stinkious linked boy Haroun free all of the stories of the world from the twilit malaise that had struck them, allowing daylight and stories on subjects other than the dread Zone Wars to return to the world as Rushdie did his best to free the world from the Twilight Zone at the start of the Nasty Nineties like King the year before in The Dark Half.
Curiously, some film artists still advocated a CGI free film art world, like Besson in his allegorical and implicitly Bigelow roasting film, LA FEMME NIKITA (1990), and Bigelow in her implicitly Landis roasting film, BLUE STEEL (1990). Simon Wincer also favoured A lean, mean and CGI free style in his twilit and allegorical film, QUIGLEY DOWN UNDER (1990). Significantly, this film saw Tom Selleck’s implicitly Stinkious linked Wyoming sharpshooter, Matthew Quigley, travel from San Fran to Australia and gun down Alan Rickman’s evil, callous and implicitly Palpaberg linked Anglo-Australian ranch owner, Elliot Marston, in the end after discovering that Marston had hired Quigley to kill Aborigines. This exorcised from the Temple Theatre the sight of a Lucas linked gunslinger killing settlers for the Waterston played and Palpaberg linked Canton in HEAVEN’S GATE, making it appropriate that QUIGLEY DOWN UNDER was released in the tenth anniversary year of HEAVEN’S GATE. A thoughtful cinematic exorcism not lost on Lord Stinkious, as he soon used Wincer as a director on a young Indy telefilm series to come.
Despite the misgivings of Besson and Wincer, the big budget and effects filled dreams of Burton, Cameron, Kennedy, Marshall, Palpaberg and Stinkious were helped along by Gilliam in his sympathetic allegorical film, THE FISHER KING (1991). For in the healing of Bridges’ raucous and Stinkious linked DJ ‘Wolfman’ Jack Lucas and Williams’ Palpaberg linked Dr. Henry Sagan, and the release of the twilit and disastrous violence that haunted them and their reacceptance of themselves after a successful Grail Quest in the tenth anniversary year of EXCALIBUR, Gilliam implied his hope that the problems that plagued Lord Stinkious and Emperor Palpaberg were now over, and both men would Skyrock again in the Nineties with more effects and product filled, and movie tie-in merchandise promoting, films. Paving the way for Palpaberg when he returned in the tenth anniversary year of the Last Good Year with his own heart warming, Kennedy, Marshall and Gerald R. Molen produced, CGI enhanced, twilit fear conquering and POPEYE evoking allegorical fantastic film, HOOK (1991).
Significantly, while from a distance HOOK seemed like a light children’s film, on closer inspection the film had much darker undercurrents. For Emperor Palpaberg agonized openly over the TZ disaster in HOOK, sending Williams’ Peter Banning into the Twilight Zone of Neverland to defeat Dustin Hoffman’s dastardly Captain Hook-implicitly linked to Altman, given that he resembled Altman and that the film came across as a remake of POPEYE-and his thuggish film pirates and rescue a surrogate My-Ca and Renee in the form of his son and daughter, Jack and Maggie Banning-played by Charlie Korsmo and Amber Scott, respectively. Seeing Banning in the Neverland Zone battling to rescue Jack and Maggie-stolen away to Neverland by Hook from their beds in a spooky and POLTERGEIST evoking sequence that openly linked the film to 1982 and affirmed the link of Jack and Maggie to Myca and Renee-evoked Morrow and his attempt to rescue Myca and Renee the early morning of the disaster, creating a new twilit trio. Significantly, however, Banning was linked to Palpaberg rather than Morrow throughout the film.
Indeed, Emperor Palpaberg underlined that Banning symbolized his TZ disaster haunted self by having Williams act, dress and talk like him throughout the film-complete with similar rimless glasses with round frames and Spielberg’s famous fear of flying. Banning’s two children, and his blonde wife, Moira-played by Caroline Goodall-reminded us that Spielberg was also married to blonde Capshaw and had two children as well by this time, reaffirming the link of Banning to Palpaberg. This film long link implied that Emperor Palpaberg felt even more guilty about the deaths of Myca and Renee now that he was married and had two children of his own. So guilty that he used HOOK to desperately try to make up for his implicit inaction the night of the TZ disaster, clear his conscience and free his mind and soul by symbolically freeing a girl and a boy linked to Renee and Myca yet again from the Twilight Zone, as he had been trying to do since INDIANA JONES AND THE TEMPLE OF DOOM-this time with the help of CGI.
For the possibility that Emperor Palpaberg was amongst the crowd of revellers who did nothing to stop the use of Myca and Renee and watched the TZ disaster was ominously and infuriatingly raised again in the film. Indeed, late in the film a sombre Jack said ‘…he was there, we were there, and he wouldn’t try…’ when prompted by Hook to remember how Banning was too paralyzed with a fear of falling from a ship’s mast to rescue Jack and Maggie from a hanging net trap soon after their arrival in Neverland while a TZ disaster evoking crowd of pirate revellers shouted away was an implicit confirmation that Spielberg had been on the Landis set the night of the disaster but had done nothing to stop the use of Myca and Renee. Disturbing implications that were noticed by Lord Stinkious, for allusions to HOOK and its Main Theme returned in STAR WARS EPISODE II: ATTACK OF THE CLONES. Thus, by allowing Banning to recapture the magic of life, learn how to fly again with the help of the power of the imagination, Julia Roberts’ CGI enhanced Tinkerbell and the irrepressible Lost Boys, and transform back into a confident and playful Peter Pan who rescued Jack and Maggie and liberated them from Hook, his pirates and the Neverland Zone, in the end, Palpaberg implicitly expressed his hope that he too would recapture the magic of life, learn how to fly again with the help of the power of the imagination and CGI, and transform back into a confident and playful Peter Pan film artist who would exorcise the ghosts of Myca and Renee and free them, Morrow, audiences and himself from the Twilight Zone and prevent more fatal film set disasters with the help of CGI. Literally, for the defeat of Hook symbolically broke the chain to 1982, given that Hoffman had played Michael ‘Tootsie’ Dorsey in Sydney Pollack’s allegorical film, TOOTSIE (1982).
Indeed, the fact that HOOK was released in the tenth anniversary year of the Last Good Year underlined that Emperor Palpaberg was desperate to fly again as he had with RAIDERS OF THE LOST ARK in 1981. And no doubt eager to ‘hook’ viewers on movie tie-in merchandise once more, as he would do with his next film. Curiously, Palpaberg’s hopes were clearly shared by audiences, who enthusiastically embraced the film, despite its disturbing implications that Palpaberg had been on the Landis set the night of the TZ disaster. However, this embrace reaffirmed the implication that audiences had released the TZ disaster and their outraged fear and loathing of Folsey, Kennedy, Landis, Marshall, Palpaberg and Stinkious and were now eager to enjoy big budget CGI enhanced films like HOOK. The fact that audiences also embraced the traditional hand drawn animation of Disney that year in the twilit, CGI enhanced and allegorical Gary Trousdale and Kirk Wise film, BEAUTY AND THE BEAST (1991)-which saw the implicitly Cameron linked Beast (voiced by Robby Benson) triumph over the implicitly Stinkious linked Gaston (voiced by Richard White) to win the hand of the lovely, quirky and implicitly Bigelow linked Bell (voiced by Paige O’Hara)-also reaffirmed that audiences had left behind their righteous fury over the TZ disaster and had become just as whole, human and balanced as the spellbound Prince, in the end. And willing to ignore the collapse of Soviet communism and stepping back into a present threatened by nuclear war and a future plagued by nightmarish machines, as implied by the huge success of the curious and allegorical Cameron film, TERMINATOR 2: JUDGMENT DAY (1991). A success that made clear that audiences had released the twilit past and wanted big budget effects filled and CGI enhanced films in the Nineties.
An ALIENS and T1 fused Cameron film that quickly reminded audiences that the twilit and disastrous events of 1982 had indeed spurred on the development of CGI, for ‘Bad to the Bone’ played soon after the arrival from the future of Schwarzenegger’s Terminator, perhaps linked to Stinkious again as in T1. This time to help Hamiliton’s Connor-plagued by nightmares like Reese and Ripley, implicitly linking her to the film art of Landis-protect Edward Furlong’s implicitly Landis linked and young John Connor like Ripley protected Newt in ALIENS. From Robert Patrick’s alienated new, improved and even more pitiless and relentless ‘liquid metal’ T1000 Terminator cyborg from the future, implicitly linked to Lynch given the film’s allusions to the twilit and allegorical film, WILD AT HEART (1990). An implicit allegorical rescue of Landis and his film art that was supported by the fact that John’s step-parents, Janelle and Todd Voigt-played by Jenette Goldstein and Xander Berkeley, respectively-implicitly evoked Kennedy and Marshall, his friend Tim-played by Danny Cooksey-was implicitly linked to Cameron, and his future self-played by Michael Edwards-looked like a lean, mean and battle scarred Landis.
Of course, this film long battle between the old and new Terminators was in complete and surprising contrast to the hoped for end of the dread Zone Wars and the beginning of a peaceful new era of CGI enhanced film art seen at the end of THE ABYSS. This battle also implied that Cameron was not yet convinced that CGI enhancement was the future of film art, perhaps due to the lack of success of THE ABYSS. Indeed, Cameron implied throughout T2 that he was now worried that CGI would not only not release the TZ disaster and end the Zone Wars, but lead to an even more greedy era than ever before, a money mad era filled with remorselessly beastly blockbuster machines. Cameron underlined this implication by the hyperrealistic CGI enhanced nightmares of a L.A. terminating nuclear apocalypse that plagued Sarah throughout T2, and by the spectacular CGI liquid metal visual f/x used for the T1000, CGI visual f/x that made it clear that the digital machine lay increasingly beneath the photogenic exterior of film art. However, despite its power, Cameron implied his confidence that virtuous film artists like himself would defeat this new beast-and that T2 would defeat WILD AT HEART-as the T1000 was defeated and destroyed by the pre-CGI film art linked original Terminator, in the end. A prescient implication, as the battle between the original and new Terminators anticipated the battle between pro-CGI film artists and anti-CGI film artists that broke out over the Nineties. The sight of the T1000 chasing the heroes down a L.A. freeway in a twilit helicopter before really crashing reaffirmed that Cameron was dubious about using CGI enhancement for every dangerous effect sequence in a film, and casually swatted aside any worries about more deadly disasters on film sets.
Given the success of T2 in 1991, it was fitting that Disney should implicitly warn Cameron that same year not to get too cocky and arrogant about his reigning status as box office king, for fear that he would turn into a despondent and solitary Beast-voiced by Robby Benson-forever in the allegorical Gary Trousdale and Kirk Wise film, BEAUTY AND THE BEAST (1991). As for the Trekkies, after dismissing CGI on earlier stellar voyages like Cameron, the legendary crew of the storied USS Enterprise released their misgivings by fighting off symbolic duplicitous and reactionary celluloid film artist purists amongst the Federation and cautiously embraced a fully human but CGI enhanced film art future in the allegorical Meyer film, STAR TREK V: THE UNDISCOVERED COUNTRY (1991)-fittingly directed by Meyer, given that he oversaw the Genesis of a brave new world of CGI in STAR TREK II: THE WRATH OF KHAN. A cautious embrace of CGI not shared by Landis, when he likened the madcap quests for Oscar glory-like the symbolic one on display in INDIANA JONES AND THE TEMPLE OF DOOM-of Cameron, Coppola, Kennedy, Kubrick, Marshall, Palpaberg, Stinkious and himself to the tragicomic exploits of a bunch of equally madcap gangsters and their obsession with a mysterious chauffeur named Oscar-implicitly linked to Cameron, and played by Jim Mulholland-in his light hearted, allegorical and CGI free film, OSCAR (1991). An interest in CGI free film art and gangsters that returned as Coppola wrapped up his Godfather Trilogy with the allegorical film, MARIO PUZO’S THE GODFATHER PART THREE (1991)
Significantly, Coppola despondently linked the climatic murder of Mary Corleone-played by Sofia, suddenly a beautiful and grown up young woman after last appearing as the gawky and geeky kid sister Nancy Kelcher in PEGGY SUE GOT MARRIED-to the death of his dreams to own and operate a real American Zoetrope film studio due to the failure of ONE FROM THE HEART in 1982. Prior to this heartbroken conclusion, Andy Garcia’s new Cameron linked Godfather, Vincent Mancini-who had taken over the Corleone family after the retirement of Pacino’s Michael-gunned down the brash and cocky, low level and Landis linked gangster, Joey Zasa-played by Joe Mantegna-evoking the gunning down of the equally small time and Landis linked gangster, Vincent Dwyer (with his diseased V.D. initials) in THE COTTON CLUB. Of course, given the implication that Palpaberg was on the Landis set on the fateful night of the TZ disaster in HOOK, it was fitting that Mancini also ordered a hit on Donal Donnelly’s duplicitous, blockbuster loot lusting and Palpaberg linked Archbishop Gliday in the end. An interest in film artists linked gangsters and a lack of interest in CGI that was curiously shared by Landis that year, albeit less glumly, in his allegorical film, OSCAR (1991), a light hearted, CGI free and tenth anniversary celebration of the Last Good Year that hoped that 1991 was a First Good Year of a new film era.
Indeed, Landis likened the madcap quests for Oscar fortune and glory that had led to the TZ disaster-like the symbolic one on display in INDIANA JONES AND THE TEMPLE OF DOOM-of Cameron, Coppola, Kennedy, Kubrick, Marshall, Palpaberg, Stinkious and himself to the tragicomic exploits of the implicitly Coppola linked gangster family of ‘Snaps’ Provolone-played by Stallone-and his household staff and gang and a mysterious missing chauffeur named Oscar-implicitly linked to Cameron, and played by Jim Mulholland. Significantly, all of these madcap fortune and glory questers were released from their tragicomic lusts for fortune and glory by all conquering love, implicitly affirming the hope of Landis that 1991 would be the First Good Year of a new era of Dark Side free film art. A light hearted and upbeat mood that disappeared when Verhoeven linked Landis to Detective Nick Curran-played by Douglas-who in his past had shot dead two Myca and Renee evoking tourists for which he was never found guilty, implying that Verhoeven felt that Landis had gotten away with murder in the TZ trial, in his twilit and allegorical contribution to the tenth anniversary of the TZ disaster, BASIC INSTINCT (1992). A Dark mood that returned when Landis implicitly came to the defense of Spielberg and himself and the implicit roastings both received in MARIO PUZO’S THE GODFATHER PART III and returned with a nastier and undead look at film artist linked gangsters in his allegorical film, INNOCENT BLOOD (1992), his ominously entitled contribution to the tenth anniversary of the TZ disaster.
Indeed, INNOCENT BLOOD saw Parillaud return as a French vampiress named Marie who helped Anthony LaPaglia’s Spielberg linked mob infiltrator Joe Gennaro face down and destroy Robert Loggia’s Coppola linked mob boss Sal ‘the Shark’ Marcelli at the eucatastrophic end of the film. Making it somehow appropriate that Coppola would also go batty and return to his horrorshow DEMENTIA 13 roots-always lurking in the dark corners ready to explode in violence in the horror of everyday life in his regular films, particularly the Godfather Trilogy and THE COTTON CLUB-in his next film. For Coppola went from dead mob boss Michael Corleone at the end of MARIO PUZO’S THE GODFATHER PART III to the undead vampire boss Dracula in his own fittingly dark and violent contribution to the tenth anniversary year of the TZ disaster, the twilit and allegorical film, BRAM STOKER’S DRACULA (1992).
Significantly, BRAM STOKER’S DRACULA began with a prologue not in the Stoker novel that saw Gary Oldman’s Count Dracula leading 15th century Romanian Knights of the Order of the Dragon in a decisive battle against Turkish invaders. Of course, these Knights evoked the J.D. Jedi Knights of the Classic Trilogy and the determined Grail Knights of the Lord Stinkious linked King Arthur in EXCALIBUR, linking the Count to Stinkious. The Count’s link to Stinkious was reaffirmed after winning this battle. For Dracula discovered after returning victorious to Castle Dracula that his bride Elisabeta-played by Ryder-had thrown herself from the heights of the castle to her doom after being fooled by a Turkish note that persuaded her to believe that her groom had died in the battle. This fatal fall of a potential wife named Elisabeta evoked the L.A. and Marcia linked Elsa’s fatal fall at the end of INDIANA JONES AND THE LAST CRUSADE and the disappearance of Marcia from the life of Stinkious after the Great Divorce of 1983, linking Elisabeta to Marcia. Heartbroken like Lord Stinkious by this loss of his only Love by cruel fate, Count Dracula renounced Christianity in a Temple in his Castle-turning it into another Temple Theatre of Doom-and vowed to come back from the dead and avenge the death of Elisabeta. This the Count did as an undead vampire who was constantly linked to the Emperor of STAR WARS EPISODE VI: RETURN OF THE JEDI, reaffirming the link of Dracula to Stinkious. Thus, these links implied that miserable undead bachelor Dracula in his lonely Castle symbolized miserable heartbroken bachelor Stinkious in his lonely Skywalker Ranch.
Indeed, Keanu Reeves’ eager young solicitor Jonathan Harker left Budapest on his fateful train journey into Transylvania at the beginning of the film on the 25th of May, the day of the release of STAR WARS EPISODE IV: A NEW HOPE and STAR WARS EPISODE VI: RETURN OF THE JEDI, reaffirming Dracula’s link to Lord Stinkious. The fact that his three good friends, Arthur Holmwood, Quincy Morris and Dr. Jack Seward-played by Cary Elwes, Bill Campbell and Richard E. Grant, respectively-evoked Howard, Murch and Kaufman, three director friends of Lord Stinkious whose careers he had helped, reiterated the film’s implicit interest in Stinkious. Thus, this link to Lord Stinkious implied that Dracula’s brooding hatred of the love of Ryder’s Mina and Jonathan symbolized Stinkious’ brooding hatred of the love of Marcia and Rodriguez. A jealous hatred that lasted until Mina and Marcia finally freed Dracula and Stinkious from their undying hate and bitterness in the Temple Theatre of Doom in Castle Dracula in the end, linking the end of the film to the temple beginning and transforming the Temple Theatre of Doom back into a Temple Theatre of Light as at the end of INDIANA JONES AND THE LAST CRUSADE. Significantly, this exorcism was carried out with a knife stab in the heart and a decapitation that evoked the TZ disaster. Indeed, the twilit trio of sensual vampire women-played by Monica Belluci, Michaela Bercu and Florina Kendrick, respectively- who shared Castle Dracula and who were decapitated by Hopkins’ Dr. Van Helsing shortly before Mina killed Dracula reaffirmed the film’s implicit interest in the TZ disaster and its effect on the Great Divorce of 1983. And so Coppola tried to heal Stinkious and free him from the Great Divorce, like Spielberg tried to do in ALWAYS.
All of which was a far cry from the implicit allegorical intent of Dracula. For Lucy Westerna, the most significant victim of Dracula after he arrived in London, implied that the Dublin born and bred Stoker was using the novel to come to grips with a traumatic event in Ireland. Indeed, Westerna’s Celtic red hair linked her to Ireland rather than England. Her name reaffirmed her implicit link to Ireland, as the letters for Lucy almost evoked the first letters of Leinster, Ulster, Connaught and Munster, the four lands of Ireland. The fact that her surname meant ‘Western Land’ reaffirmed her implicit link to Ireland, as only the Emerald Isle was to the west of the United Kingdom. The fact that being repeatedly bit by Dracula caused Westerna to slowly waste and inexplicably waste away like she was starving to death also affirmed implicit Ireland addressing intent of Dracula, reminding us of the millions of Irish citizens who starved to death during the Great Famine years. Thus, the desperate attempt of Jonathan Harker to defeat Dracula implicitly symbolized the desperate attempt of Abraham ‘Bram’ Stoker to exorcise the horror of the Great Hunger.
Curiously, Howard also returned that year and reached out to Landis in his surprisingly sweet and allegorical film, FAR AND AWAY (1992), his own contribution to the tenth anniversary year of the TZ disaster. Indeed, Howard linked the triumph of Cruise’s embattled but hopeful and Landis linked Irish immigrant Joseph Donnelly over Thomas Gibson’s evil and Spielberg linked Stephen Chase in late nineteenth century Oklahoma territory to the triumph of the embattled Landis over Spielberg in Hollywood territory by the tenth anniversary of the TZ disaster. Disney implicitly agreed in their own tenth anniversary offering, having the implicitly Landis linked Aladdin-voiced by Scott Weinger-team up with the implicitly Morrow linked Genie-voiced by Williams-to free themselves from the curse of the TZ disaster with a triumph over the implicitly John Waters linked Evil sorcerer, Jafar-voiced by Jonathan Freeman-at the end of the twilit, CGI enhanced and allegorical Ron Clements and John Musker film, ALADDIN (1992).
As for Lord Stinkious, he returned in 1992 to stink up the small screen. To make clear that suspicious misgivings about Spielberg were already plaguing him, for they were on open display when Lord Stinkious hoped for another Indy hit when he returned to the public eye on television as executive producer of the CGI enhanced and allegorical THE ADVENTURES OF YOUNG INDIANA JONES telefilm series. Indeed, the YOUNG INDY adventures began the worried obsession with betrayal by Palpaberg that dominated all of the later work of Lord Stinkious. Indeed, the fact that the telefilm series revolved around the young Indy underlined that the series would be addressing Palpaberg, as young Indy’s adventures evoked the young Indy adventure that kicked off INDIANA JONES AND THE LAST CRUSADE. Lord Stinkious affirmed his twilit misgivings by releasing the YOUNG INDY telefilms in 1992, the tenth anniversary year of the TZ disaster. In fact, the first episode of the series debuted on March 3, 1992, only two days from the tenth anniversary of the death of Belushi on March 5, 1982. These links to 1982 also supported the fact that it had been the TZ disaster that spurred the development of CGI to prevent more film set disasters, a development that continued in the YOUNG INDY series as Lord Stinkious asked ILM to use the series ‘…to experiment with low-resolution digital effects…alongside San Francisco-based computer-graphics company Western Image (to extend or create buildings and add) multiple horses, soldiers and crowds’ to expand upon and populate scenes (Hearn pp.170-75).
Fittingly, these youthful adventures took place in the early decades of the twentieth century before the adult film adventures and saw the young Indy meet and influence all sorts of important figures of the Twentieth entury. Significantly, while originally released on television between 1992-96, the YOUNG INDY adventures were then re-edited and re-released on video in time to join a flood of STAR WARS EPISODE I: THE PHANTOM MENACE merchandise for Christmas of 1999. Many of the individual one hour telefilm adventures were fused with another from the same year to form a continuous two hour telefilm on the 1999 videos. These telefilms were then released in a definite chronological order of chapters, underlining that Lord Stinkious wanted the YOUNG INDY adventures to be seen and interpreted in a certain way. Initially, these adventures did not include the child Indy telefilms starring Cory Carrier, who resembled Danny Pintauro, who had played Tad in CUJO. However, in 2007-08, the full telefilm series including the adventures featuring Carrier’s ten year old Jones were released on DVD in three boxed sets, finally completing the saga.
Significantly, the opening Tim O’Brien and Michael Schultz directed twilit and allegorical adventure, CHAPTER 1: MY FIRST ADVENTURE, immediately linked the Young Indy saga to RAIDERS OF THE LOST ARK and 1981 with the arrival of Tablian’s Demetrios Claw, an explosive expert with a HOOK evoking hook for a right hand who was a member of an Egyptian dig involving the Jones family in 1908. The kidnapping of the boy Indy by child slavers later in CHAPTER 1: MY FIRST ADVENTURE-the first of his many worrisome disappearances-also linked the telefilm series to the film thugs of INDIANA JONES AND THE TEMPLE OF DOOM, reiterating that the YOUNG INDY saga was obsessed with the films of Palpaberg and the TZ disaster. Indeed, Flanery’s Jones looked and acted like Michael J. Fox’ McFly, linking this telefilm blast into the past to the BACK TO THE FUTURE trilogy. However, Jones’ middle name was revealed to be Wallins, evoking Walton, the middle name of Stinkious, in a way that reiterated that Jones symbolized Lord Stinkious in this telefilm series, as the older Indy had in INDIANA JONES AND THE TEMPLE OF DOOM and INDIANA JONES AND THE LAST CRUSADE. Thus, this link to Lord Stinkious and the implicit mistrust of Palpaberg seen in the adventures implied that the naïve and idealistic decision of Jones to travel to Belgium, join the Belgian Army and fight in the Great War symbolized the naïve decision of Stinkious to work with Kennedy, Marshall and Palpaberg on INDIANA JONES AND THE TEMPLE OF DOOM after the TZ disaster,and, hence, join the Zone Wars. And that the later decision of Jones to embark on embittering and heartbreaking adventures as a Belgian Intelligence agent in the international intrigue of the Great War was a metaphor for the decision of Jones to embark on embittering and heartbreaking adventures to find out who was really responsible for the helicopter crash heard around the world that set off the dread Zone Wars.
Intriguingly, this secret agent work saw Jones and the Allies manipulate the minds of Germans and Turks with written and photographic propaganda, implying that Jones and his Allies symbolized Lord Stinkious and his Skywalker Ranch gang, and the Germans and Turks symbolized Emperor Palpaberg and his people, as this propaganda evoked the use of allegorical film and telefilm to manipulate audiences in the dread Zone Wars. This manipulative and secret work also evoked YOUNG SHERLOCK HOLMES, turning the series into the YOUNG SHERLOCK JONES adventures. This secret work was usually performed by young Sherlock Jones under the pseudonym of Henri Defense, underlining that Lord Stinkious was on the defensive and coming to the defense of his reputation here in the YOUNG SHERLOCK JONES adventures. This defensive attitude and secret work also evoked Nishi again, almost confirming that Stinkious had joined the Palpaberg side after the TZ disaster in order to find out the truth about the disaster. Intriguingly, one of the few sadolescent YOUNG SHERLOCK JONES adventures that did not take place in Europe during WWI was the first half of the 1916 adventure in the Joe Johnston and Carl Schultz directed allegorical telefilm, CHAPTER 6: SPRING BREAK ADVENTURE.
However, over the course of this chapter, the teenaged Jones and his companions were initially led to believe that Germans were landing and picking up spies by submarine off the coast near Princeton, New Jersey. This brought Europe and Germany into the picture, and also evoked EYE OF THE NEEDLE, the submarine assault on Hollywood in 1941, and the German submarine at the end of RAIDERS OF THE LOST ARK, openly linking the series to Landis, Marquand, Palpaberg and twilit mystery right from the beginning. Indeed, the beach that Jones staked out in hopes of seeing a surfacing German submarine evoked the beach seen at the beginning of JAWS and 1941, linking Palpaberg and his people to the Germans right from the beginning. And to words and reading, for here in Princeton we first met young Sherlock Jones in high school, reading the allegorical novel, Tom Swift and his Electric Runabout (1920?), by Edward Stratemeyer under the pseudonym of Victor Appleton-a name that evoked Victor Morrow. A familiar choice of reading material indeed, for this fantastic fiction story about a rocket car evoked the rocketing cars of AMERICAN GRAFFITI, STAR WARS EPISODE IV: A NEW HOPE, THX 1138 and TUCKER, and anticipated the Deathpod Race in STAR WARS EPISODE I: THE PHANTOM MENACE. And a fitting choice, as Jones was soon tracking down the wily German culprits who stole the Edison Laboratory’s plans for a powerful car battery designed to replace the internal combustion engine and create pollution free rocket cars.
Significantly, however, the plans turned out to have not been stolen by wily German spies after all. Indeed, the battery plans were stolen and given to an oil company with vested interests in the survival of the internal combustion engine by Mark L. Taylor’s Landis lookalike John Thompson, an employee of the Edison Laboratory. For Thompson was angry that Richard K. Olsen’s Thomas A. Edison had received credit and money for the battery patent as head of the Edison Laboratory, despite the fact that Thompson had created the battery. Significantly, giving the battery plans to the New Jersey Fuel and Oil Company so that they could succeed in their quest to destroy the battery and prevent the sale and proliferation of environmentally sound electric cars linked this chapter of the YOUNG SHERLOCK JONES adventures to the Big Three’s plot to destroy the Tucker Torpedo in traditional Lord Stinkious fashion. This betrayal by Thompson also linked the YOUNG SHERLOCK JONES adventures to Landis and betrayal by trusted colleagues like Kennedy, Marshall and Palpaberg right from the beginning. Indeed, Taylor played photographer Jerry Manley in ARACHNOPHOBIA, whose death by poisonous spider bite led to the Wicked Mother spider travelling from the jungles of Venezuela to small town Canaima, CA in his coffin for alienated and mutated CGI gremlin spider mayhem in that film. Thus, by having Taylor play Thompson, Lord Stinkious confirmed that he was indeed coming to grips with Kennedy, Marshall, Palpaberg, and the TZ disaster in the YOUNG SHERLOCK JONES adventures.
Significantly, no sooner did Jones retrieve the missing battery plans, capture Thompson and take Robyn Lively’s Nancy Stratemeyer-a name that evoked Nancy Allen, RAIDERS OF THE LOST ARK, and the last good year of Lord Stinkious-to the high school prom in a sleek and ruby red Bugatti rocket car, then he and his Scots-Welsh father, Dr. Henry Jones sr.-played by Stinkious lookalike, Lloyd Owen–headed west to Alberquerque, New Mexico, on a spring break trip to meet his cousin Frank. Of course, the name of Stephen Graf’s Frank evoked Frank Marshall, confirming that Lord Stinkious was using the YOUNG SHERLOCK JONES adventures to come to grips with Kennedy, Marshall, Palpaberg, and the TZ disaster. Indeed, cousin Frank quickly led the scholarly and sober Jones off the true path and down south on a clandestine adventure to a brothel in Mexico in classic Marshall fashion, affirming his link to the Frank that led Palpaberg astray on the Landis set of TWILIGHT ZONE: THE MOVIE. While in the border town of Columbus, New Mexico, Jones was caught up in a Mexican raid on the town led by Mike Moroff’s Pancho Villa, and chased the bandits back into Mexico on horseback. This led to a brief adventure with Villa and his revolutionary Villistas, where Jones met Ronny Coutteure’s Remy Baudouin, his future companion in the Belgian Army and Belgian Secret Service. A significant meeting, indeed, as Remy was a new older mentor with an elemental and Ozian four letter first name like Yoda. This adventure with the Villistas also led to hearing Villa complain that ‘…I thought we were men, not killers-soldiers and heroes!’, a pensive comment that evoked the TZ disaster and implied that Villa and his men symbolized the haunted and once revolutionary directors of the New Hollywood brat pack after the TZ disaster.
Indeed, Villa and his Villistas were hunted down by US military forces led by Peter Marinker’s General Pershing throughout this part of the adventure, evoking society’s attacks on the New Hollywood brat pack after the TZ disaster, symbolized in THE OUTSIDERS. A fitting reminder of Coppola, for one of Pershing’s officers was Stuart Milligan’s young Lieutenant George S. Patton, evoking Coppola’s screenplay for PATTON. This link to Patton implied that Villa and his men and their desperate attack on a fort at Ciudad Guerroro specifically symbolized Coppola and his American Zoetrope revolutionaries and their desperate assault on Fortress Hollywood in the late Sixties and Seventies-and on the walled off minds and hearts of the public after the TZ disaster. Indeed, the link of Villa and his Villistas to Coppola and American Zoetrope was underlined by their attack on the Mexican hacienda of William Hearst after the assault on Ciudad Guerroro. For at the hacienda Villa and his men took over the private theatre of Hearst and watched some of the films in his collection, linking them to film art and artists, and Hollywood. This link to the idealistic early years of American Zoetrope also linked the early adventures of the YOUNG SHERLOCK JONES series to the years before the TZ disaster.
Significantly, this chapter ended with the return of Demetrios Claw-a name that evoked the twilit trio-that Jones had to triumph over before he could finally join Remy and ride off into the sunrise at the end of CHAPTER 6: SPRING BREAK ADVENTURE. As noted, Tablian’s return evoked his character Barranca in RAIDERS OF THE LOST ARK, the rape of hidden Temple Theatres, and the last good year of Palpaberg and Stinkious, reaffirming that Lord Stinkious was using the YOUNG SHERLOCK JONES adventures to address Emperor Palpaberg and the TZ disaster. Demetrios’ alias, the Jackal, also anticipated an important German double agent to come in the YOUNG SHERLOCK JONES adventures. This explosive triumph over Claw also ended the childhood of Jones and brought his early life full circle, before he headed off with Remy to Europe and the Zone Wars. Indeed, Claw had stolen a jackal figurine from the tomb of Ka while Jones raided tombs as a child in Egypt in CHAPTER ONE: MY FIRST ADVENTURE. The retrieval of the jackal figurine and the explosive triumph over Claw also recalled the explosive triumph over White Suit and the recapture of the Cross of Coronado at the beginning of INDIANA JONES AND THE LAST CRUSADE in another link of this telefilm series to that film, and to the films of Palpaberg. However, not a harmonizing link, as unlike the Cross of Coronado the jackal clearly represented death, disease and duplicity.
Thus, Lord Stinkious kicked off the YOUNG SHERLOCK JONES adventures on a worried and twilit note. Indeed, young Jones fell off a window ledge in Great Zone War Paris while spying on Domiziana Giordano’s Mata Hari in CHAPTER 9: DEMONS OF DECEPTION like Connor fell off a window ledge in Good War Paris in the Landis episode of TWILIGHT ZONE: THE MOVIE, openly linking the telefilm series to Landis and the TZ disaster. Even more significantly, as the series wound on, the YOUNG INDY adventures slowly began to allude more and more to INDIANA JONES AND THE TEMPLE OF DOOM. These allusions implicitly affirmed that Lord Stinkious was using the series to come to grips with his fateful and career and reputation damaging decision to work with Kennedy, Marshall and Palpaberg on INDIANA JONES AND THE TEMPLE OF DOOM. These allusions peaked in the allegorical Wincer directed 1917 adventure, CHAPTER 15: DAREDEVILS OF THE DESERT, the allegorical Bille August and Michael Schultz directed 1917 adventure, CHAPTER 16: TALES OF INNOCENCE, and the allegorical Mike Newell and Dick Maas directed 1918 adventure, CHAPTER 17: MASKS OF EVIL.
Significantly, Jones’ secret agent contribution to the daredevil attack on Beersheba in the Negev Desert of what is now Israel by the Australian Lighthorsemen Regiment in CHAPTER 15: DAREDEVILS OF THE DESERT evoked not the scenes on Tatooine in STAR WARS EPISODE IV: A NEW HOPE or STAR WARS EPISODE VI: RETURN OF THE JEDI, but the fighting on Hoth in STAR WARS EPISODE V: THE EMPIRE STRIKES BACK. For the Australian and English Imperial attack on the small desert town occupied by Germans and Turks and its entrenched line of defenders reminded us of the Imperial attack on the small hidden Rebel fortress and its entrenched line of defenders on Hoth. This was a significant allusion and reversal of events in STAR WARS EPISODE V: THE EMPIRE STRIKES BACK indeed, and one that underlined that Lord Stinkious was now aware that he had left behind his youthful film student Rebellion and become a film Dark Lord with his own filmmaking Empire. And a more confident one now in the Nineties with the Great Divorce, HOWARD THE DUCK, STAR WARS EPISODE VI: RETURN OF THE JEDI, and TZ disasters receding behind him, for Jones’ secret mission to save the vital wells in Beersheba for the soldiers and their horses that were secretly advancing across the desert-and,by so doing, ensuring the success of the Australian and English attack-was successful. Significantly, Jones’ deception included convincing the Germans and Turks that Jones had stabbed to death his secret Beersheba contact Kazim-played by Vincenzo Nicoli-whose name evoked Malikyan’s Kazim, the leader of the Brotherhood of the Cruciform Sword in INDIANA JONES AND THE LAST CRUSADE. This deception was necessary so as to ensure that the Germans and Turks would throw Jones into prison and forget about the two. However, the knife was a trick theatrical knife that slid up into the handle when the blade was pressed on anything and leaked fake blood when a button on the handle was pressed. Thus, this trick theatrical knife confirmed the link of Jones and his Allies to Lord Stinkious and his Allies in the film world.
This fake knife and illusory death also allowed Vincenzo Kazim to free Jones from prison so that the two could save the wells from being blown up as the Australian and English attack hit Beersheba. The illusory knife also linked well with Jones’ defeat of Catherine Zeta-Jones’ double agent, Maya. For her name was Sanskrit for ‘illusion’, a fitting name for a wily and beautiful woman who betrayed Jones and Kazim to the Germans and Turks. This betrayal evoked Elsa’s betrayal of the Jones boys to the Germans in INDIANA JONES AND THE LAST CRUSADE-a link reiterated by the arrival of the new Kazim-and the betrayal of Lord Stinkiou by Marcia, underlining that a part of Stinkious was still brooding over the Great Divorce in the YOUNG SHERLOCK JONES adventures. Indeed, Maya’s betrayal of Jones reminded us that young Sherlock Jones spent the entire YOUNG SHERLOCK JONES adventures looking for love in an embattled world and never finding it, confirming his links to Lord Stinkious. Maya’s Sanskrit name also evoked the Indian villagers and film thugs of INDIANA JONES AND THE TEMPLE OF DOOM. This allusion confirmed the adventure’s interest in the TZ disaster, and the links of Maya, the Germans and Turks to Palpaberg, his film art and his people. In fact, at one point while being shot at by Tusken Negev desert tribesmen, Jones and Maya had to cross a rope bridge similar to the one seen at the end of INDIANA JONES AND THE TEMPLE OF DOOM, bringing the YOUNG SHERLOCK JONES adventures closer to the second Indy film.
Indeed, the rope bridge was a natural link to the obsession with doom and love in CHAPTER 16: TALES OF INNOCENCE. For Jones fought to woo German soldiers to the Allied side and battled with Jay Underwood’s Ernest Hemingway for the love of Veronika Logan’s beautiful Giulietta in Northern Italy in 1917. Alas, more tragedy surrounded this latest Italian Juliet, and Ernesto and Enrico were taught a heartbreaking lesson in love when sweet and shy Giulietta turned out to be already betrothed to Alfredo. Alfredo’s name evoked Hitchcock, evoking Palpaberg’s interest in Hitch and linking the YOUNG SHERLOCK JONES adventures to film art and Palpaberg again. A brief stop in Venice after northern Italy on the way to a new secret assignment in Morocco reiterated the link to Palpaberg, evoking the rendezvous with Elsa, Sir Richard and the Brotherhood of the Cruciform Sword in Venice in INDIANA JONES AND THE LAST CRUSADE. The ominous links continued, for Jones’ assignment in Morocco-under the Duvall evoking new pseudonym of Captain Duval-was to find out who was stealing rifles from a French Foreign Legion armoury and giving them to more Tusken desert marauders.
This assignment led him far into the desert to the palace-similar to those seen in INDIANA JONES AND THE LAST CRUSADE and INDIANA JONES AND THE TEMPLE OF DOOM-of Maharajah Jamal. A link to the latter film openly made by the fact that Jamal was played by Seth, who played Nehru in GANDHI and Chattar Lal in INDIANA JONES AND THE TEMPLE OF DOOM, openly linking CHAPTER 16: TALES OF INNOCENCE and the rest of the YOUNG SHERLOCK JONES adventures to 1982, INDIANA JONES AND THE TEMPLE OF DOOM, Palpaberg and the TZ disaster. Here at the palace, Jones caught the Arab who was stealing the rifles, and the French Legionnaire who was helping him. Significantly, the Arab looked like Lord Stinkious, and turned to look despairingly at Seth when held in a headlock after his arrest. This hold and despairing look underlined the despairing hold working with Palpaberg on INDIANA JONES AND THE TEMPLE OF DOOM had on the mind of Stinkious. The revelation that a French officer with the Landis evoking name of Laborde was helping the Arab also raised the spectre of betrayal by friends again, and evoked Thompson’s betrayal in CHAPTER 6: SPRING BREAK ADVENTURE. This was an ominous spectre indeed given the scene’s link to INDIANA JONES AND THE TEMPLE OF DOOM, implying that Lord Stinkious had uncovered evidence that he had been betrayed by Emperor Palpaberg and fooled into working with him on the second Indy film. The French officer was also subsequently killed in a deadly fall after a sword fight, evoking the climatic sword fight between Holmes and Rathe at the end of YOUNG SHERLOCK HOLMES. Thus, this ending confirmed the link of the YOUNG SHERLOCK JONES adventures to YOUNG SHERLOCK HOLMES and the pivotal 1982-85 period, and Indy’s status as a young Sherlock Jones. Indeed, this open link to YOUNG SHERLOCK HOLMES prepared us for the recreation of YOUNG SHERLOCK HOLMES in the first half of CHAPTER 17: MASKS OF EVIL.
For the dark, labyrinthine, misty, mysterious and murderous streets of Holmes’ London returned in the form of the dark, labyrinthine, misty, mysterious and murderous streets of Jones’ Istanbul. The secretive streets were filled with men wearing red fezzes, evoking the red fezzes of the Brotherhood of the Cruciform Sword in INDIANA JONES AND THE LAST CRUSADE. In fact, Malikyan returned as a mysterious Armenian agent, evoking his role as Kazim, the leader of the Brotherhood of the Cruciform Sword, openly linking this telefilm to the third Indy film. Here we found Jones on a new secret assignment, posing as a Swedish journalist with the Curt Henderson evoking name of Nils Anderson, while trying to contact Ahmet Levendoglu’s General Mustafa Kemal in an attempt to get him to take Turkey out of WWI. While manoeuvering to get close to Kemal to pass on his message from the government of France, young Sherlock Jones tried desperately to figure out who was hunting down and killing his fellow Allied spies in Istanbul-including one named Nico who looked like Lord Stinkious, and another named Victor-played by Huseyin Katircioglu and Tristram Jellineck, respectively. These four twilit Ozian murders recalled the three Englishmen who were hunted down in London and murdered by Rathe’s sister Mrs. Dribb in YOUNG SHERLOCK HOLMES. A link that set audiences up for the same shocked surprise and sense of betrayal as when Rathe was revealed as the Wicked Ehtar in YOUNG SHERLOCK HOLMES when the identity of the murderer of the Allied spies was revealed to be that of Jones’ closest confidante in Istanbul, a German double agent codenamed the Wolf-a codename that evoked the charming but deadly German agent, the Needle, in EYE OF THE NEEDLE-who had posed as a Bulgarian named Stefan to gain the confidence of Jones.
Of course, the name of Peter Firth’s Stefan evoked Stefan Spielberg, implying that Lord Stinkious now knew that he had been backstabbed when he had worked with Palpaberg on INDIANA JONES AND THE TEMPLE OF DOOM. Indeed, the revelation that Stefan was the killer of the Allied spies implied that Stinkious had found out that Palpaberg was a Wolf in friend’s clothing indeed, and one who had lied to Lord Stinkious about how much he had been told about the illegal hiring and use of Myca and Renee prior to the TZ disaster-and about whether he had watched the tragedy unfold with the rest of the revellers that fateful night on the Landis set. This implied that Lucas had been a Nishi all along, infiltrating the ranks of Kennedy, Marshall and Palpberg after 1982 to find out more about the disaster. The Wolf’s German nationality also confirmed the link of the Palpaberg camp to the Germans and Turks, affirming that the Great War was indeed a metaphor for the post-TZ disaster campaigns between Lord Stinkious and his Allies and Emperor Palpaberg and his camp in the dread allegorical Zone Wars. This prepared us for the open Duel of the Mates between Palpaberg and Stinkious in the allegorical films they released between 1997-2005.
Significantly, after Stefan was revealed as the killer, Jones’ girlfriend Molly-played by Katherine Butler-was shot and killed by Stefan by mistake when Stefan showed up at the apartment of Jones to kill him at the climax of this half of the telefilm. This ending reminded us that Elizabeth, the love of Holmes’ life, was shot and killed by Rathe at the end of YOUNG SHERLOCK HOLMES. This turned Holmes into a haunted and morose bachelor forever, as the Great Divorce had done to Lord Stinkious in those years, linking the Great Divorce to the TZ disaster again in the life and films of Stinkious. Indeed, prior to the shooting, Molly had already broken off her engagement to Jones, reiterating Molly’s link to the Great Divorce. Significantly, Molly broke up with Jones because she did not think she could trust anything the young spy told her. This reason implied again that Marcia broke up with Lord Stinkious in part because she did not trust his assurances that Emperor Palpaberg had been innocent of foreknowledge of, and had not watched, the TZ disaster.
After losing Molly and killing the Wolf, a heartbroken young Sherlock Jones was sent back to Venice for a new secret assignment, this time from American Intelligence. Significantly, one of his spy friends in Istanbul urged Jones not to link himself to INDIANA JONES AND THE LAST CRUSADE again via Venice. Indeed, Boris Isarov’s Vasily warned Jones that he had seen Jones drawn down into a pool of blood and then released as a living dead man in an ominous dream he had had the night before. This pool of blood reminded us that Chen, Le and Morrow were killed in the Santa Clarita River, linking the dream to the TZ disaster in a way that reminded us that the YOUNG SHERLOCK JONES adventures followed an implicit late Sixties to Eighties timeline. Significantly, this twilightmare also implied that the disaster had horrified Lord Stinkious so much that he too had been a numb and dead person ever since the accident-the strongest implied statement that the TZ disaster had been a heartbreaking experience that Lord Stinkious had ever made in his allegorical post-1982 film and telefilm art. However, Jones ignored the ominous warning and headed back to Venice and INDIANA JONES AND THE LAST CRUSADE anyways, where the film studio like heads of Military Intelligence gave him a new secret assignment. This time, Jones was asked to head to Transylvania and make contact with a mysterious Romanian guerrilla leader named Mattias Targo-played by Bob Peck- who was annoying both the Allies and the Germans by attacking both sides. As this half of the adventure evoked BRAM STOKER’S DRACULA, the implication was that Lord Stinkious was using this half to reply to the Coppola film. Indeed, the name of Mattias Targo evoked that of Coppola Francis, affirming the link.
However, Mattias Targo’s name also recalled Maximilian Largo, the Palpaberg linked baddie of NEVER SAY NEVER AGAIN, also linking the telefilm to Palpaberg, 1983 and the release of TWILIGHT ZONE: THE MOVIE. A link reaffirmed when young Sherlock Jones was asked to solve the mystery of a twilit trio of three secret agents already sent to northwestern Romania to make contact with Targo. These three spies had disappeared, and the only trace of them had been a finger, an eye and an ear sent back to Allied Intelligence in a box. These gruesome pieces recalled the gruesome dismemberments of the TZ disaster. The body parts also recalled the dismembered fingers and thumbs found by Jones on a statue to Kalifornia on the way to Pankot Palace in INDIANA JONES AND THE TEMPLE OF DOOM, preparing us for Targo’s Black Palace and implying that Mattias Targo symbolized the Dark Side of Spielberg Steven more than that of Coppola Francis.
Indeed, on arrival at Targo’s spooky palace with its impaled corpses in the courtyard, its eerie and labyrinthine corridors, and its three haunting, mutilated and undead Allied agents-the most dark, evil and violent place ever visited in the film and telefilm art of Lord Stinkious-Jones discovered that Targo had been possessed by the hellish and supernatural spirit of Vlad the Impaler. This evil spirit evoked the evil spirit of the Wicked Kali that had controlled Mola Ram, the boy maharajah Dalim Zingh and even Jones for a while in INDIANA JONES AND THE TEMPLE OF DOOM. This returned the evil, aroused and mind controlling criminal brain from Arous to the art of Lord Stinkious, preparing us for the return of Lord Sidious in the Tragic Trilogy. As this battle with Targo occurred right after encountering a Wolf named Stefan in the first half of the adventure, Lord Stinkious also implied that Stefan Palpaberg as well as Landis had been led astray at the time of the TZ disaster because he had been controlled by Wicked Evil. Targo’s link to out of control Directos was underlined by Jones’ partner in Transylvania, Colonel Waters, for Keith Szarabajka’s Waters looked and acted like notorious film director, John Waters, linking the adventure to the Last Good Year via the allegorical Waters film, POLYESTER (1981).
Fittingly, after Jones was captured by the huge Targo in a Vader neck grip and almost dismembered by him while still alive in his Dark Tower at the end of the creepy adventure, Simone Bendix’ feisty Maria freed Jones and together they tried to kill him by stabbing him and throwing him from the Black Palace heights to his doom. Only succeeding in briefly knocking him unconscious, they took him from his creepy Pankot-style Palace to a nearby crossroads. Here, in the middle of the healing and elemental intersection of four Ozian roads, Jones pounded a stake through the heart of Targo. This released the evil spirit of Vlad and caused Targo to blow up in a TZ disaster evoking fireball, exorcising evil in as in BRAM STOKER’S DRACULA and THE EXORCIST. Thus, Lord Stinkious implicitly freed himself from the Dark Side of Hollywood, and also implied that he was freeing Marcia as well, as the name of Maria evoked Marcia. And literally freed, for the undead spies and soldiers controlled by Targo were freed to rest forever after being liberated from the supernatural power of Vlad with the death of Targo.
Fittingly, after freeing Lord Stinkious and everyone else haunted by out of control and duplicitous Directos and the TZ disaster with the exorcism of Targo, young Sherlock Jones was freed from the Zone Wars with the end of the Great War. Jones and Remy then went on to free themselves from a lust for fortune and glory in the allegorical Carl Schultz 1918 adventure, CHAPTER 18: THE TREASURE OF THE PEACOCK’S EYE. Indeed, no sooner did the Great symbolic War between the forces of Palpaberg and Stinkious end, then Jones and Remy were off to the south Pacific on the frantic trail of a legendary Indian jewel called the Peacock’s Eye. This Indian jewel again linked the YOUNG SHERLOCK JONES adventures and the Zone Wars to the Indian location of INDIANA JONES AND THE TEMPLE OF DOOM. The Peacock’s Eye also reiterated that a lust for money had contributed to the TZ disaster and that Jones was freeing himself from a new Kali film thug trance when he broke the aroused hold that this jewel had on his mind. This South Pacific trip lead to a Titanic-style shipwreck and an isolated island with peaceful and harmonious Polynesian islanders in an INDIANA JONES AND THE TEMPLE OF DOOM-style Shankara village that further allowed Jones to let the lust for fortune and glory drain out of him. Indeed, the Good villagers taught Jones to aim for higher things, convincing him to sail back to the US and return to high school in Princeton and college in Chicago. This evoked Lord Stinkious’ own commitment to education and higher goals after the Great Crash of 1962, making the shipwreck another formative crash in the life, film and telefilms of Lord Stinkious that affirmed that Stinkious was setting his sights high again after symbolically ending the Great Zone War with Palpaberg.
Indeed, this evocation of the Great Crash linked Jones’ training in Archaeology to Lord Stinkious’ training in Film, bringing Stinkious symbolically closer to a new directorial debut. A new directorial debut that Lord Stinkious clearly feared would not be without its own battles against twilit forces and Directos despite defeating Stefan, exorcising Targo and doing his best to end his part of the Zone Wars in the YOUNG SHERLOCK JONES adventures. For viewers knew that the uneasy ceasefire and peace settlement arrived at in Paris between the Allies and Germany before Jones returned to Princeton in the allegorical David Hare and Michael Schultz adventure, CHAPTER 19: WINDS OF CHANGE, would lead to the even larger and more devastating World War II, a larger war that would also explode in symbolic full Force fury in the epic Clone Wars between Jedi and Sith in the Tragic Trilogy. This first half of CHAPTER 19: WINDS OF CHANGE also implied that Lord Stinkious was wondering how much he and his Classic Trilogy movie tie-in merchandise were responsible for the TZ disaster, for this half openly questioned the furious insistence that the German/Palpaberg camp were the only guilty party in the Great War. Indeed, the Vietnamese village location of the disaster was openly linked to the Paris Peace Conference by a tiny Vietnamese delegation-including Alec Mapa’s Ho Chi Minh-that sought greater freedom for the people of French Indo-China.
Jones’ work on rockets with physics professor Robert Goddard-played by Stephen Ayers–when he finally returned to Princeton after the Paris Peace Conference ended reiterated that Lord Stinkious wanted to blast off into the stars and visit that galaxy far, far away again. His valedictorian friend, Paul Robeson-played by Kevin Jackson-further anticipated the Tragic Trilogy and the arrival of Samuel L. Jackson’s Mace Windu. Interestingly, Robeson’s name also confirmed that Jones was inspired by Doc Savage, for Lester Dent wrote the super sagas under the pen name Kenneth Robeson. Significantly, a bitter argument that Jones had with his father while in Princeton reaffirmed that Jones symbolized Lord Stinkious, evoking the bitter argument that broke out with his father when he refused to join Lucas sr. in his stationery store in Modesto. Jones then further disappointed his father by choosing to be trained as an archaeologist at the University of Chicago instead of Princeton, where Jones sr. worked as a professor of History. While working as a waiter in Colosimo’s Restaurant in Chicago to pay for his post-secondary education, Jones met Jeffrey Wright’s jazz clarinettist Sidney Bechet in THE COTTON CLUB evoking and allegorical Carl Schultz 1920 adventure, CHAPTER 20: THE MYSTERY OF THE BLUES.
This re-baptised a symbolic Lord Stinkious in the Afro-mojo Force, a Pharaonic mojo that was always necessary in order to truly emerge as a J.D. Jedi artist in the life and films of Stinkious. In fact, Bechet encouraged Jones to take up the saxophone and learn how to use art to unleash emotions and come to grips with life by mastering a swinging, jazzy version of ‘Twinkle, Twinkle, Little Star’. This musical interlude evoked McFly’s turn at the guitar with the band of Harry Waters, jr’s Marvin Berry at the Star of the Sea dance at the end of BACK TO THE FUTURE. The link to 1985 also affirmed that the earlier events of the YOUNG SHERLOCK JONES adventures-including the TZ disaster linked showdowns with Stefan and Targo-had been set in the early Eighties, reiterating that Lord Stinkious was using the telefilm series to come to grips with the events of those years. After many humourous and tortuous attempts, Jones finally learned to swing, confirming that Lord Stinkious was thinking of heading up in the stars for some serious Skyrocking again. Indeed, the Classic Trilogy Special Editions were released in 1997 a year after the YOUNG SHERLOCK JONES adventures ended in 1996, underlining that Lord Stinkious was eager to let the allegorical Force flow on film again.
Indeed, Lord Stinkious confirmed his not so secret intentions by announcing that he was directing a new STAR WARS trilogy in 1997. He underlined this commitment by sending Jones to Hollywood to meet Erich von Stroheim and John Ford in the allegorical Michael Schultz adventure, CHAPTER 22: HOLLYWOOD FOLLIES. Significantly, Dana Gladstone’s autocratic and raging Erich von Stroheim evoked Landis and reminded us of all of the filmmaking methods the film art world needed to avoid after the TZ disaster. Happily, Stephen Caffery’s warm and easy going Ford taught Jones to be an independent J.D. Jedi filmmaker by filming on location far from theatrical stages and Hollywood, a trick that Lord Stinkious always used to achieve independence from Hollywood in his own films and telefilms. Ford also taught Jones to improvise dialogue and roll with punches when Indy accidentally set fire to a log cabin that was a set in Ford’s latest Western, approaches to filmmaking that Lord Stinkious used in his own film art. Indeed, Ford’s advice reminded us that Smith accidentally crashed Toad’s Vespa when filming the scene at Mel’s Cantina that began AMERICAN GRAFFITI, and that Lord Stinkious used the crash in the finished film because it fit Toad’s character and linked well with the motorcycle robocop crashes at the end of THX 1138. The arrival of Ford also reminded us that George Hall’s cranky and garrulous old Jones-who had introduced and concluded each of the YOUNG SHERLOCK JONES tales on television but was absent from the video and DVD collections-looked like the older Ford-complete with eyepatch! The title of Ford’s latest Western-SIX STEPS TO HELL-also linked the adventure to the six murders carried out by a Wolf named Stefan in CHAPTER 17: MASKS OF EVIL. The allusion to six mrders also anticipated the six murders that occurred over the frantic course of the allegorical, Palpaberg roasting and Lord Stinkious executive produced Mel Smith film, RADIOLAND MURDERS (1994).
Significantly, the film’s many television actors, non-stop frenetic and slapstick pace and the big band music that accompanied the opening night of the new Chicago based national radio station Whalen Broadcating Network (WBN) recalled the profusion of television actors, non-stop frenetic and slapstick pace and the big band music of 1941, immediately affirming the film’s implicit interest in roasting Palpaberg. Indeed, the appearance of Lloyd, McKean and Ned Beatty as Zoltan, the zany sound effects man, Rick Rochester, the radio studio orchestra conductor, and the Hitchcock evoking General Walt Whalen sr., the WBN radio station owner, respectively, confirmed the link of RADIOLAND MURDERS to 1941 and CLUE, as Beatty and McKean had played the equally Hitchcock evoking Ward Douglas, the father of Betty Douglas, and an anti-aircraft gunner named Willy, respectively, in 1941, while Lloyd and McKean had played the Stinkious linked Professor Plum and the Landis linked Mr. Green, respectively, in CLUE. The fact that the film’s frantic and madcap action took place over the course of the chaotic but ultimately healing opening Ozian night of radio station WBN reaffirmed the link to 1941, evoking the similar chaotic but healing Ozian night in that film.
Of course, the healing Ozian night also evoked the more peaceful healing Ozian night in AMERICAN GRAFFITI, a somehow fitting link to AMERICAN GRAFFITI given the importance of radio to that film, and a link to the latter film affirmed by the return of Huyck and Katz as co-screenwriters and Clark and Hopkins as the befuddled parents of Scott M. Campbell’s intrepid and implicitly Quentin Tarantino linked bellhop, Billy Budgitt. Of course, setting RADIOLAND MURDERS in 1939 also placed the frenetic film in the year of the release of THE WIZARD OF OZ, confirming the Ozian structure of the film and reminding us of the Ozian structure of the film art and telefilm art of Lord Stinkious and of the Ozian structure of 1941. Setting RADIOLAND MURDERS in 1939 also set the film only two years before 1941, chronologically reiterating the film’s link to 1941. The fact that the film was made with Universal, the Hollywood studio most linked to Palpaberg and the studio with which he made 1941, also reiterated the link of RADIOLAND MURDERS to 1941 and Palpaberg.
The implicit interest of the film in Palpaberg was reaffirmed by the look and colour scheme of the radio station sets and the Thirties clothing and ambience, for they evoked Club Obi Wan in INDIANA JONES AND THE TEMPLE OF DOOM, reminding us of all of the links to INDIANA JONES AND THE TEMPLE OF DOOM in the YOUNG SHERLOCK JONES adventures. This link to INDIANA JONES AND THE TEMPLE OF DOOM was reaffirmed by the sight of a twilit trio of slinky blonde female singers-the Miller Sisters, played by Bridget Newton, Amy Parrish and Nina Repeta, respectively-singing along with the swinging big band music performed by the WBN in house orchestra conducted by Rochester, as these sequences evoked the sight of the equally blonde and slinky Scott outraging audiences by singing ‘Anything Goes’ at the beginning of the second Indy film. Indeed, the fact that RADIOLAND MURDERS was released in the tenth anniversary year of the release of INDIANA JONES AND THE TEMPLE OF DOOM in 1984 reinforced the implicit interest of the film in the second Indy film. In addition, the appearance of James as head WBN radio station sponsor Bernie King-his name evoking the work of visual artist Bernie Wrightson on King and Romero’s CREEPSHOW, linking the film to 1982-reaffirmed the link of the film to the twilit and disastrous events of 1982 by way of his role as Leon in BLADE RUNNER. The premeditated murders that occurred at the hopeful new station WBN over its first night on the air were also all forewarned by an eerie voice. This eerie voice evoked the voice of Lord Humungous in THE ROAD WARRIOR, evoking the Last Good Year of film again in a way that reaffirmed the film’s interest in the tragic events of the early Eighties. Station WBN’s name reaffirmed the link, reminding us that Folsey, Kennedy, Landis, Marshall and Palpaberg had made TWILIGHT ZONE: THE MOVIE with Warner Brothers. The fact that two of the murder victims, Walt Whalen jr. and Herman Katzenback-played by Jeffrey Tambor and Larry Miller, respectively-evoked Reiner and Werner Herzog, two film artists who had roasted Palpaberg in their post-1982 films, only reaffirmed the film’s interest in Emperor Palpaberg.
Thus, all of these links to CLUE, INDIANA JONES AND THE TEMPLE OF DOOM, 1941, THE ROAD WARRIOR and TWILIGHT ZONE: THE MOVIE implied that the struggles of the implicitly Stinkious and Marcia linked scriptwriter Roger Henderson and his estranged wife, WBN producer Penny Henderson-played by Brian Benben and Mary S. Masterson, respectively-to solve the six mysterious murders, out and capture the murderer, reconcile their marriage and help new national radio station WBN to rise above the murders and join the Big Three national radio stations as the forceful and Ozian fourth national station on the block symbolized the equally frantic efforts of Lord Stinkious to reconnect with film art, solve and resolve the deaths of the twilit trio in the TZ disaster, and help Skywalker Ranch fully join the ranks of the established Hollywood studios as a newly CGI enhanced national film studio. Indeed, WBN’s struggle with the Big Three national radio stations and the initial insistence by the bungling and THX 1138 evoking police-led by Michael Lerner’s Roger Ebert evoking Lt. Cross-that Henderson had committed the six murders recalled the struggle with the Big Three automakers and their accusations that Tucker had conned investors out of their money with the Tucker Torpedo in TUCKER, reiterating that Stinkious was using RADIOLAND MURDERS to reaffirm his hope that a new Zone free era of film art could be created with the help of CGI as he had done in TUCKER. A hope that Stinkious was implicitly as confident about as he had been in TUCKER-a film also filled up big band music and upbeat energy-despite his rejection by audiences. For Penny and Roger Henderson-their names evoking Curtis and Laurie Henderson in AMERICAN GRAFFITI and their film long quarrelling evoking Han and Leia in the Classic Trilogy to affirm their link to Stinkious and his film art and the halcyon days when life was golden for Stinkious-joined up with the indomitable Billy to solve the six murders, out the killer and save their crumbling marriage and WBN, in the end.
Unfortunately, the fact that the murders of RADIOLAND MURDERS were not only premeditated but treated as a macabre joke as in CLUE implied again that the TZ disaster deaths were also premeditated and murderous joke, enraging viewers yet again. Of course, the six WBN murders also recalled the six Allied spies murdered by Stefan in CHAPTER 17: MASKS OF EVIL of the YOUNG SHERLOCK JONES adventures, reiterating the Dark implication that the TZ disaster deaths were deliberate murders. The allusion to Stefan also set us up for the revelation that the killer was another Palpaberg linked Wolf in ‘friend’s’ clothing in the form of Stephen Tobolowsky’s traitorous WBN studio sound engineer, mad Max Applewhite-his round lensed glasses, obsession with television and his Palpatine evoking surname affirming his link to Palpaberg-reiterating that Stinkious had changed his mind about his ‘friend’ Palpaberg and now suspected him of wrongdoing in the TZ disaster. This implication gave a more personal dimension to the battle between Applewhite and Henderson on the radio transmitter tower on the roof of the WBN building at the end of the film, a struggle between Applewhite and Henderson that evoked the rivalry beween the Palpaberg linked Sitarski and the Stinkious linked Wally for the affections of Betty in 1941. Applewhite’s deadly fall from the WBN roof, in the end, reaffirmed his implicit link to Palpaberg, as it not only evoked the climatic falls of Palpatine and Targo, but also evoked the end of VERTIGO, reminding us that Palpaberg was a disciple of Hitchcock.
Significantly, after the death of the insidious Applewhite, Roger and Penny Henderon also fell back down-this time the vertiginous heights of love-and re-committed to each other. This healing ending allowed RADIOLAND MURDERS to end on the traditional eucatastrophic and healing Ozian note so beloved of Lord Stinkious. The ending also implied that the progress made in CGI enhancement of film art was getting the Force of Lord Stinkious flowing again. For the film, which had begun with the camera POV falling from the stars down to Earth outside the entrance to the WBN building, ended with the camera panning up the rocket ship evoking tower of the WBN building and radio transmission tower and back up into the stars like it did when Henderson reached the secret radio station that housed J.D. Jedi DJ Wolfman Jack at the end of AMERICAN GRAFFITI. As the film Stinkious made after AMERICAN GRAFFITI was STAR WARS EPISODE IV: A NEW HOPE, this pan up into the stars was an implicit sign as early as 1994 that Lord Stinkious was eager to cut loose with some serious Skyrocking in a new CGI enhanced STAR WARS trilogy.
Significantly, Zoltan linked RADIOLAND MURDERS to Perry Davy’s Zoltan in the allegorical Peter MacDonald adventure, CHAPTER 10: THE PHANTOM TRAIN OF DOOM of the YOUNG SHERLOCK JONES adventures. This kinder and gentler tribute to Sam Peckinpah’s violent allegorical film, THE WILD BUNCH (1969), also featured the ironic return of Freeman as anti-German African liberator, Frederick Selous. As with the reappearance of Tablian, this wistfully linked the YOUNG SHERLOCK JONES adventures again to RAIDERS OF THE LOST ARK and the Last Good Year of Palpaberg and Stinkious. The reappearance of Freeman also reminded us of all of the links to the early good years and the Classic Trilogy in the YOUNG SHERLOCK JONES adventures that anticipated the arrival of the Tragic Trilogy. Indeed, the very name of CHAPTER 10: THE PHANTOM TRAIN OF DOOM prepared us for the arrival of STAR WARS EPISODE I: THE PHANTOM MENACE in 1999.
A new STAR WARS episode that was openly anticipated by Classic Trilogy Sound Composer Ben Burtt, who co-wrote, edited and directed the exciting allegorical 1917 adventure, CHAPTER 12: ATTACK OF THE HAWKMEN, which evoked the arrival of Christopher Thom’s implicitly Spock linked hawk-man Hawk in ‘Time of the Hawk’, the first episode of the second season of BUCK ROGERS IN THE 25TH CENTURY. This adventure evoked THE STUNTMAN and featured Great War aerial dogfights that evoked the spacefighter dogfights of the Classic Trilogy and pointed the way to the CGI space battles of the Tragic Trilogy. This adventure also turned Jones into a new stuntman Cam in a way that warned again of the perils of out of control stunts. Indeed, Jones morosely muttered ‘…I have a bad feeling about this’ when Patrick Toomey’s swashbuckling French flying ace Charles Nungesser told him he had to drop down onto Hanover, Germany in an experimental parachute on his new secret mission ‘…full throttle’!-two expressions that paved the way for a new STAR WARS trilogy and also reaffirmed the link of Jones to Lord Stinkious. The appearance of Daniels as a French Q named Francois who supplied Jones with special glasses and a suitcase for this mission openly linked the YOUNG SHERLOCK JONES adventures to the Classic Trilogy and anticipated his return as Threepio in the Tragic Trilogy.
The reappearance of Fisher as a co-writer and the imperious McDiarmid as Professor Levine in the allegorical Rene Manzor and Nicolas Roeg adventure, CHAPTER 9: DEMONS OF DECEPTION, reaffirmed the link of the YOUNG SHERLOCK JONES adventures to the Classic Trilogy, and anticipated his return as the insidious Emperor in the Tragic Trilogy. The arrival of Ford as Jones in CHAPTER 20: THE MYSTERY OF THE BLUES, the only YOUNG SHERLOCK JONES adventure to be introduced and wrapped up with a prologue and epilogue by Ford’s Indy, also linked the series to the Classic Trilogy as well as the Indy Trilogy, and prepared us for the return of Mayhew’s Chewbacca in the Tragic Trilogy. Pernilla August also played a governess named Emile in CHAPTER 3: PASSION FOR LIFE and Giuiletta’s mother in CHAPTER 16: TALES OF INNOCENCE, preparing us for her return as Shmi Skywalker in STAR WARS EPISODE I: THE PHANTOM MENACE and STAR WARS EPISODE II: ATTACK OF THE CLONES. The chariot race in Fred Biblo’s allegorical film, BEN-HUR: A TALE OF THE CHRIST (1925), watched by Jones in a theatre at the beginning of CHAPTER 22: HOLLYWOOD FOLLIES anticipated the Deathpod race of STAR WARS EPISODE I: THE PHANTOM MENACE-even if the film was watched by Jones in an adventure that took place in 1920. Christopher Lee also had a small role as Count Ottakar Graf Czernin in the Wincer and Vic Armstrong directed allegorical 1917 adventure, CHAPTER 13: ADVENTURES IN THE SECRET SERVICE, linking him to the Stinkious love of auto cars, and preparing us for his arrival as the traitorous Count Dooku in STAR WARS EPISODE II: ATTACK OF THE CLONES.
The work of Costume Designer Trisha Beggar, Director of Photography David Tattersall, Production Designer Gavin Bouquet and Producer Rick McCallum in the YOUNG SHERLOCK INDY telefilms also prepared viewers for their work in RADIOLAND MURDERS and the Tragic Trilogy. Unfortunately for Lord Stinkious, however, his optimistic hope that he had left behind the reality or even just the fear that Palpaberg had lied to him about any foreknowledge of the use of Myca and Renee on the Landis set of TWILIGHT ZONE: THE MOVIE with the defeat and exorcism of Targo in CHAPTER 17: MASKS OF EVIL and was now free to Skyrock into new STAR WARS territory proved again to be unfounded, as it had in EMPIRE OF THE SUN and HOOK. For while Lucas had been overseeing the YOUNG SHERLOCK JONES allegorical telefilms, Palpaberg had released two more implicitly incriminating films in the tenth anniversary year of the release of TWILIGHT ZONE: THE MOVIE. The first was the twilit, haunted, Ozian themed and Kennedy co-produced allegorical film, JURASSIC PARK (1993), which was based on the equally twilit and allegorical Michael Crichton novel, Jurassic Park (1991), and which also evoked the Dream Park trilogy-brought to a masterful climax the year before by Barnes and Niven in their allegorical and implicitly Cameron roasting novel, The California Voodoo Game (1992)-and WESTWORLD.
Significantly, JURASSIC PARK began with four mini-prologues that set up the premise of the film, invoking the four mini-prologues that began CLOSE ENCOUNTERS OF THE THIRD KIND in a way that implied that Spielberg was trying to recapture the Skyrocking spirit of ‘77. The first prologue was set in an as yet unknown jungle setting at night, immediately starting the film on a dark and menacing note that was in complete contrast to the light and cheery end of HOOK. This dark jungle setting evoked the South American prologue of RAIDERS OF THE LOST ARK albeit also in ironic and wistful contrast to the good times and high flying of the Last Good Year of film, implying that Kennedy and Palpaberg were brooding over the tumultuous 1981-82 years again in JURASSIC PARK. Indeed, a large grey crate that evoked the crate that the Lost Ark of the Covenant was hidden in at the end of RAIDERS OF THE LOST ARK, and the monstrous crate of the Cowardly Lion linked ‘The Crate’ episode of CREEPSHOW, was soon seen being lifted by a crane into a large open cage, making it implicitly clear that Kennedy and Palpaberg were pensively brooding over the 1981-82 years yet again in JURASSIC PARK. In fact, as the crate was being lifted into the cage, it became apparent that there was another monster-at this point unseen-inside it, openly affirming the link to ‘The Crate’, CREEPSHOW and 1982.
A large supporting ‘X’ that was formed on the side of the crate by its supports also implied that Kennedy and Palpaberg were still worried about the righteously furious and critical X gang, as they had openly implied with the righteously furious ambushes of the Brotherhood of the Cruciform Sword in INDIANA JONES AND THE LAST CRUSADE. An appropriate reminder of ambushes, for after the crate was placed inside the cage, an unseen monster did indeed get out and managed to drag a screaming man who had been watching the crate’s descent into the cage. This openly evoked a similar scene in ‘The Crate’ where Fluffy-the nickname that the cast and crew of this Cowardly Lion linked episode of CREEPSHOW had given the monster-had also attacked from inside the crate and dragged an equally screaming, hurt and bleeding janitor named Mike-played by Don Keefer-into the crate for consumption. Thus, the unseen monster of the film was openly linked to 1982, and, hence, to Landis and the TZ disaster, right at the beginning of JURASSIC PARK. Interestingly, the second of the four mini-prologues reiterated the link of the film to RAIDERS OF THE LOST ARK. Indeed, it was set in an archaeological dig in South America, openly evoking the South American prologue of RAIDERS OF THE LOST ARK. This prologue also introduced a lawyer named Donald Gennaro-played by Martin Ferrero-who played Luigi, the implicitly Spielberg linked Finucci brother, in OSCAR, openly linking the film and the latest monster in the crate to Landis.
The third mini-adventure took place in the Badlands of North Dakota, and introduced us to the implicitly Scarecrow linked and Morrow resembling and Dr. Allen Grant and the implicitly Dorothy and L.A. film art linked Dr. Ellie Sadler-played by Sam Neill and Laura Dern, respectively. The appearance of Neill also reaffirmed the film’s link to 1982, as he had played the perhaps Coppola linked Danny Costello in the allegorical Tim Burstall film, ATTACK FORCE Z (1982). He also evoked Nigel Davenport’s Montgomery, the second in command to Moreau, in THE ISLAND OF DR. MOREAU. In addition, Grant’s open dislike of digital scientific dig software, which threatened to end digs and was seen being plagued by bugs throughout this mini-prologue, and his preference for all human digs, implied that Spielberg was also not terribly impressed with CGI and was worried that it could lead to completely ahuman and all CGI film art. This established an important anti-CGI theme in this CGI enhanced film that continued for the rest of JURASSIC PARK. The fact that raptors were being dug up by Grant, Sadler and their colleagues at this dig also anticipated the revelation that the monster in the crate in the opening mini-prologue was a raptor, and the desperate battle against this cunning raptor mother and her two children.
Last but not least, this mini-prologue also introduced us to Sir Attenborough’s mysterious and Dr. Moreau evoking, John Hammond, the man with the John Landis-like name. Of course, the use of the director of GANDHI as Hammond reaffirmed the film’s interest in the twilit and disastrous year of 1982. Interestingly, the fact that he was discovered by Grant raiding his dig trailer’s refrigerator like Skywalker discovered Yoda raiding his supply crates after crash landing on Dagobah in STAR WARS EPISODE V: THE EMPIRE STRIKES BACK linked him to Yoda, a link to the dimunitive, cane wielding and Great Oz linked Jedi Master that was confirmed by Hammond’s own dimunitive size, cane and link to the Great Oz. This allusion to Yoda reminded us that Bixby’s Lucas linked Banner had briefly taken on the alias Ted Hammond in the allegorical and Harvey Laidman directed tenth telefilm, ‘Earthquakes Happen’ (1979), from the first season of THE INCREDIBLE HULK. Of course, these links to the equally green skinned Hulk and Yoda and to GANDHI implicitly linked Hammond to Lucas, a link reaffirmed by the fourth mini-prologue, which proved that the Fource was truly with JURASSIC PARK.
For this final Fourceful mini-prologue introduced us to the implicitly Landis and Nikko linked Dennis ‘the Menace’ Nedry-played by Wayne Knight-the insidious snake in the garden whose lusts for blockbuster profits would be his undoing. Unfortunately for Grant, Hammond and Sadler, these blockbuster lusts were also the undoing of all of the other main characters, as they set off a disastrous chain of violent, chaotic and TZ disaster evoking events that implicitly affirmed Nedry’s link to Landis. Disastrous, chaotic and violent events that took place at the Jurassic Park that Hammond flew Grant, Sadler and the audience off to in a twilit helicopter.
Significantly, at this point in many ways JURASSIC PARK became a darker and more guilt stricken and violent remake of HOOK. For the opening and ominous helicopter ride to the Jurassic Park run by Hammond and his Ingen people-a corporation that evoked the fittingly Lucas cadenced Delos, the Stinkious linked folks who ran FUTUREWORLD and WESTWORLD-in the mysterious, forbidding, Moreau and Skull Island evoking tropical island of the equally Lucas cadenced Isla Nublar off the coast of Costa Rica-of course!-recalled the sight of Tinkerbell flying Banning to Neverland at the beginning of HOOK, linking Jurassic Park to Neverland and both to the disastrous and deadly Twilight Zone. Significantly, the power of creative CGI to liberate audiences from twilit outrage and to save film art was linked to the genetically recreated and CGI realized dinosaurs that Hammond championed to Grant and Sadler at the Park, confirming his link to Stinkious and linking Jurassic Park as much to Skywalker Ranch as to Neverland and the Twilight Zone. Indeed, the main house at Jurassic Park evoked the Main House at Skywalker Ranch, implicitly affirming the Park’s link to the Ranch.
Curiously, the fact that these CGI realized, genetically recreated, egg hatched-evoking gremlins-and deadly dinosaurs were accidentally freed from thei caged paddocks by a power outage caused by Nedry’s foolish and bumbling skullduggery to run amok like huge CGI gremlins and attack humans like the manbeasts of THE ISLAND OF DR. MOREAU-some with deadly and piratical hooked claws-one dark, stormy, and nightmarish night at Jurassic Park, also allowed Palpaberg to continue Grant’s anti-digital bias, and contrarily use spectacular CGI enhanced film art to warn against new, improved and spectacular CGI enhanced blockbuster beasts being unleashed on an unsuspecting world. This implication was affirmed by the sight of Grant soon trying to desperately save the ‘target audience’ of the film and the Park, as described by Hammond. That is, a Burton and Toto linked boy named Tim and a Dorothy, Luthor and Lord Stinkious linked girl named Lex-played by Joseph Mazzello and Ariana Richards, respectively-who clearly symbolized the young Munchkin audience members that Kennedy, Marshall, Palpaberg and Stinkious were trying to soothe and liberate from twilit fury and nightmares with CGI enhanced film art. Indeed, their arrival was announced by Hammond with an exuberantly ironic ‘…they’re here!’, openly linking them to the outraged young audiences of 1982 via the catchphrase of POLTERGEIST.
Thus, Palpaberg ranted against JURASSIC PARK and the hope of Lord Stinkious that CGI would solve the problem of the TZ disaster, and ironically fought for the continued humanity of film art, an indomitable humanity seen in the courageous and stubborn battle of Allen, Ellie, Lex and Sadler against the blockbuster dinosaur CGI beasts. This evoked Spielberg’s rant against the blockbuster beast in JAWS, and the equally desperate battle of a determined Brody, Hooper and Quint against that film’s equally deadly, huge, tenacious and wily great white shark. Of course, the sincerity of this battle and this rant were in just as much question as they were in JAWS, for despite its misgivings, the film embraced the blockbuster formula as much as JAWS. Allen’s desperate rescue of Lex and Tim not only saw a symbolic Morrow do his best to save a symbolic Renee and Myca, but also evoked Banning’s desperate rescue of Jack and Maggie from Hook and Neverland in HOOK, implying that a guilt stricken Spielberg was yet again trying to use the film to come to grips with the fact that he had been at the Landis set on the night of the TZ disaster and had done nothing to stop the use of Myca and Renee.
Significantly, the most deadly and hooked gremlin dinosaurs of all were a twilit trio of three cunning raptors, led by the Wicked Witch of the West linked Mother met already in the first mini-prologue of the film, a Wicked Mother who also evoked the Wicked Mother spider of ARACHNOPHOBIA. Of all of the dinosaurs, this trio tried the most to kill the new Myca, Renee and Vic and Jack, Maggie and Peter linked trio of Tim, Lex and Allen with their deadly hooked feet at the climax of the film. Significantly, and as with Jack, Maggie and Peter at the end of HOOK, Tim, Lex and Allen were literally saved in the end by CGI enhanced film art. In fact, by a CGI tyrannosaurus rex created by ILM-a T.Rex that evoked the All Terrain-Scout Transports (AT-STs) aka Chicken Walkers of the Classic Trilogy, reaffirming the link of the park to Lord Stinkious-contrarily affirming that Kennedy, Marshall, Palpaberg and Stinkious still hoped that CGI enhanced film art would solve the lingering problem of the TZ disaster, despite the concern that spectacular CGI could lead to all sorts of new CGI enhanced blockbuster beasts being unleashed in the Temple Theatre and perhaps even replace human actors, the implicit underlying fear of the Abel Ferrara film, BODY SNATCHERS (1993). A not entirely surprising rescue, as the names Tim and Lex had created a ‘T. Lex’-like combination that linked them to the T. Rex throughout the film. Velociraptor also sounded like helicopter, reiterating that the raptors needed to be defeated, in the end.
Curiously, the name of John Hammond also reminded viewers that famous musical talent scout John Hammond’s last great find was blues guitarist Stevie Ray Vaughan. Vaughan died in a helicopter crash on August 27, 1990, linking Hammond and JURASSIC PARK to tragic helicopter crashes and reiterating the film’s implicit interest in the TZ disaster. Fortunately, despite this ominous link, Tim, Lex and Allen were last seen safely huddled together on a helicopter that whisked them away from the Twilight Park to safety at the end of the film, allowing a symbolic Morrow to save a symbolic Renee and Myca from out of control CGI enhanced film art and back to non-CGI enhanced film art. Sending a curiously contrary message to audiences that while CGI enhanced film art could not be fully trusted yet, helicopters could be trusted now that CGI had made safe film sets a reality-or perhaps not, as the serial number on the side of the helicopter read N2930, continuing the ambivalent outlook on CGI enhanced film art seen throughout the film. Of course, this continued Palpaberg’s post-TZ disaster tradition of desperately redirecting reality and saving the children in the end of his feature film art, evoking the ends of INDIANA JONES AND THE TEMPLE OF DOOM, THE COLOR PURPLE, EMPIRE OF THE SUN, and HOOK.
Curiously, despite the ominous implications that a guilt stricken Palpaberg used JURASSIC PARK to come to grips with the fact that he had been a passive observer on the Landis set the night of the TZ disaster, the film was a fittingly monster hit for Palpaberg. Indeed, JURASSIC PARK was Emperor Palpaberg’s biggest hit since 1982 and E.T., THE EXTRATERRESTRIAL, with a movie tie-in merchandise campaign that was as massive as the one that accompanied E.T., THE EXTRATERRESTRIAL. This implied that it was indeed back to the filmmercial for Palpaberg and the rest of Hollywood, now that the TZ trial was over and that audiences were embracing big budget CGI enhanced film art. A return to the fillmmercial haunted by the TZ disaster, as Spielberg implied in his second twilit and allegorical film of 1993, SCHINDLER’S LIST, a link to the twilit and disastrous year of 1982 openly affirmed by the fact that the film was inspired in part by the allegorical Thomas Keneally book, Schindler’s Ark (1982).
Indeed, the black and white ‘twilight for twilight’ film stock of SCHINDLER’S LIST evoked the black and white film of the original TWILIGHT ZONE telefilm series, reaffirming the film’s twilit intent. This link to the Twilight Zone was reiterated by the subject matter of the film, for the sight of Jews being rounded up by German soldiers in Poland during World War II, killed outright, or sent to slave labour or concentration camps and doing their best to survive in each reminded us not only that Morrow’s Connor was rounded up by German soldiers in occupied France and sent away in a cattle car at the end of the Landis episode of TWILIGHT ZONE: THE MOVIE, but also that society turned against the film artists of New Hollywood after the TZ disaster. This implied that Neeson’s OSCAR evoking factory Direktor, Oskar Schindler, an independent and independently wealthy German businessman shocked by the treatment of the Jews in Poland who did his best to save as many as he could from being sent to the concentration camps by convincing the German occupiers to allow him to use Jews in his factory, the Deutsche Emailwarenfabrik (DEF), symbolized an equally independent and independently wealthy film artist like Lord Stinkious who helped the film artists of New Hollywood after the TZ disaster.
Significantly, Schindler’s Jewish second-in-command at DEF, Sir Kingsley’s Itzhak Stern, evoked Palpaberg throughout the film. An important link, as every day Stern saw Jewish men, women and children who were deliberately murdered by Ralph Fiennes’ implicitly Landis linked slave labour camp commandant Amon Goeth-played by Ralph Fiennes-and his fellow German thugs throughout the film. As these murders evoked the ritual murders committed by the implicitly film artist linked Mola Ram and his thugs in INDIANA JONES AND THE TEMPLE OF DOOM, the implication was that Goeth and his German thugs were also linked to film artists and the murders they committed symbolized people killed on film sets. Thus, the sight of the helpless Stern watching these murders in a twilit black and white film raised the possibility yet again that Palpaberg had been on the Landis set of TWILIGHT ZONE: THE MOVIE on the fateful night of the disaster but had done nothing to stop the illegal use of the children after hours near dangerous explosions and helicopters.
Indeed, the sight of Stern watching the murders reminded us that Morrow was Jewish, again raising the dire and infuriating possibility that Chen, Le and Morrow were deliberated murdered by Landis on his snuffu film set of TWILIGHT ZONE: THE MOVIE on that fateful night in July of 1982. Curiously, as with the dire implications that Palpaberg had been on the Landis set of TWILIGHT ZONE: THE MOVIE the night of the TZ disaster already seen in INDIANA JONES AND THE TEMPLE OF DOOM, EMPIRE OF THE SUN, HOOK and JURASSIC PARK, these further insidious implications were ignored or missed by audiences, who embraced SCHINDLER’S LIST and turned the film into another major success for Emperor Palpaberg in 1993. Dire implications that were repeated in Marshall’s annoying and second twilit and allegorical film, ALIVE (1993).
For Marshall implicitly compared the struggle of New Hollywood film artists to survive in the post-TZ disaster age to the struggle of an Uruguayan rugby team to survive a plane crash in the Andes mountains in the film. This allegory implied that the brave decision of Nando and Roberto-played by Hawke and Josh Hamilton, respectively-to leave behind the band of survivors and successfully walk out of the Andes to Chile and return to rescue the rest with two TZ disaster evoking Huey helicopters symbolized the hard work of Lord Stinkious and Emperor Palpaberg to save film art with CGI enhancement after 1982. Indeed, one of the last mountains Nando and Roberto had to traverse before leaving the Andes for more verdant valleys looked like the Paramount mountain that towered over Jones and the rest of the members of his expedition at the beginning of RAIDERS OF THE LOST ARK. This mountain confirmed that Marshall hoped that Lord Stinkious and Emperor Palpaberg would return to greener pastures one day. The presence of Hawke also affirmed the film’s implicit intent, recalling Hawke’s work as the Lord Stinkious linked Ben in EXPLORERS. The opening plane crash also evoked Miller’s episode of TWILIGHT ZONE: THE MOVIE and the plane crash at the beginning of INDIANA JONES AND THE TEMPLE OF DOOM, reaffirming the film’s link to the TZ disaster.
However, as the ill fated passengers of ALIVE did not collaborate with their pilots for two weeks before their crash to bring about the circumstances that caused the accident, while Kennedy and Marshall knew about the decision to illegally use child extras and helped Folsey and Landis find Chen and Le before the TZ disaster, the link between the TZ disaster and the ALIVE crash was unclear. As Lord Stinkious and Emperor Palpaberg and other film artists shattered by the TZ disaster also did not have to resort to eating the bodies of Myca, Renee and Vic in order to survive in the difficult years after the disaster, unlike the ALIVE survivors, who were forced to eat the bodies of their dead colleagues to survive, it was not entirely clear exactly what point Marshall was trying to make in ALIVE. However, if Marshall was simply hoping for better days ahead, his hopes were rewarded, as audiences who did not understand the implicit allegorical intent of EMPIRE OF THE SUN, HOOK, JURASSIC PARK and SCHINDLER’S LIST also did not understand the implicit allegorical intent of ALIVE or rage against him and the film. Thus, the sweet, twilit, DUNE and THE ELEPHANT MAN evoking and allegorical Bertolucci film, LITTLE BUDDHA (1993), was a relief for audiences.
For the healing and moving tale of three children, Gita, Raju and Jesse-played by Greishma M. Singh, Raju Lal and Alex Weisendanger, respectively-who were believed to be three reincarnated aspects of a dead Tibetan Lama also implicitly implied a reincarnated Chen, Le and Morrow in a way that offered hope that the TZ disaster could be released and that film art could be reborn in a harmonious new era in the tenth anniversary year of the release of TWILIGHT ZONE: THE MOVIE. This implication was reaffirmed by the appearance of Reeves as Prince Siddhartha, the determined and idealistic young Indian prince who bested Maud’dib by triumphing over death, the TZ disaster and the insidious Dark Lord, Mara-implicitly linked to Kubrick as the surprisingly disciplined and serried ranks of his army of demons evoked the equally disciplined and serried ranks of Eighteenth century European soldiers in BARRY LYNDON and of Roman soldiers in the allegorical film, SPARTACUS (1960), and played by Anupam Shyam-in the tale of the Buddha that was intertwined throughout the tale of the reincarnated children like yin with yang. As this CGI enhanced victory of Siddhartha was also an implicit victory for CGI enhanced film art over than CGI enhanced blockbuster beasts, it was appropriate that art could be found within the name of Siddhartha.
In addition, Prince Siddhartha’s deep look into the camera and audiences after being shocked and humbled by the inevitability of death for all living things while pondering a cremation, a shock encounter with death that sent him on the path to Buddhahood, reminded us that breaking the fourth wall was a famous characteristic of the films of Landis. This implied that Prince Siddhartha was linked to Landis, allowing the Buddha to redeem Landis and commit him to ensuring that no living creature would ever again be sacrificed to the blockbuster beast on his film sets, free the twilit trio from the Zone, bring harmony back to the Temple Theatre, and the end the dread Zone Wars. Intriguingly, the allusions to DUNE and THE ELEPHANT MAN in LITTLE BUDDHA evoked Lynch, reminding us of his interest in transcendental meditation. This implied that Bertolucci was also addressing Lynch on one level in LITTLE BUDDHA, an implication reaffirmed by the presence of Chris Isaak as Jesse’s father, for Isaak’s song ‘Wicked Game’ (1990) featured prominently in WILD AT HEART, and Isaak played FBI Special Agent Chester Desmond in the twilit and allegorical Lynch film, TWIN PEAKS: FIRE WALK WITH ME (1992). Of course, this liberating and awakening tale also prepared us for the return of Reeves as an equally liberating and Landis linked cybermessiah who was the one to usher in a neo eon of CGI enhanced film art in a decade closing Zonebusting film to come. A liberated new era that Ramis, as co-writer, co-producer, director and cameo doctor tried to usher in as well with co-writer Danny Rubin and a talented cast and crew in the tenth anniversary year of the release of TWILIGHT ZONE: THE MOVIE with the refreshingly funny, knowing, twilit and allegorical film, GROUNDHOG DAY (1993).
Indeed, in a tragicomic riff on the entrapment of Morrow’s Bill Connor in the Twilight Zone in the Landis episode of TWILIGHT ZONE: THE MOVIE, Murray’s WPBH 9 television weatherman Phil Connors found himself trapped with Scooter’s Punxsutawney Phil, the film’s blockbuster beast-even more nightmarish than the killer rabbit of MONTY PYTHON AND THE HOLY GRAIL!-eliving Groundhog Day every day, and struggling to break free from the Twilight Zone of the small town of Punxsutawney, Pennsylvania, lest he be turned into a blockbuster beast himself-Punxsutawaney Phil Connors! Clearly, Ramis and Rubin felt it was time to allegorically acknowledge and break film art free from its tragicomic fixation with the twilit and disastrous events of July 23, 1982, with healing and liberating humour in this fine tenth anniversary film. Indeed, while being held by an official who looked like Landis, Punxsutawney Phil’s climate prediction was announced by another official-played by Rod Sell-at exactly 7:20:30 every morning, openly confirming the film’s interest in addressing the obsession of film artists with the twilit and disastrous events of July 23, 1982. This struggle to end Puxsutawney Syndrome continued the concerned efforts of Ramis to free filmmakers and viewers from troubling twilit ghosts and bring harmony back to their lives with humour begun in his capacity as co-writer and co-star of GHOSTBUSTERS and GHOSTBUSTERS 2.
The appearance of Murray as Connors underlined this interpretation of GROUNDHOG DAY, as Murray co-starred as sarcastically intrepid and Reitman and Scarecrow linked Ghostbuster Peter Venkman in GHOSTBUSTERS and GHOSTBUSTERS 2. Of course, the names of Phil Connors and Punxsutawney Phil not only evoked Bill Connor of the Landis episode of TWILIGHT ZONE: THE MOVIE, but Philip K. Dick as well, linked forever to the twilit and disastrous events of 1982 via his death and BLADE RUNNER. These links implicitly affirmed that the film addressed the TZ disaster with a humourous evocation of the best of the original TWILIGHT ZONE television shows, which were often also wistfully set in small towns. Indeed, Connors fell off a building like Connor at one point-albeit in a failed suicide attempt-openly linking Connor to Connors. The acronym of television station WPBH 9 reaffirmed the interest in the twilit and disastrous events of July 23, 1982 as the ‘W’ and the ‘B’ reminded us that Warner Brothers had released TWILIGHT ZONE: THE MOVIE. Even the title GROUNDHOG DAY had the same syllable cadence as TWILIGHT ZONE, reiterating the film’s interest in the TZ disaster.
Significantly, the main difference between GROUNDHOG DAY and the GHOSTBUSTERS films was that GROUNDHOG DAY also reached out to Lord Stinkious in a positive way. Indeed, Connors was linked to Lord Stinkious throughout the film. This link was underlined by Connors’ producer Rita-played by Andie MacDowell-who evoked Leia and Marcia. A Punxsutawney local named Ralph-played by Rick Overton-and a young saxophonist in the AMERICAN GRAFFITI-style dance at the Groundhog Day Festival Banquet that closed the film also confirmed this new direction by the fact that both of these big eared extras looked like the equally big eared Lord Stinkious. This implied that Ramis had turned away from blasting Stinkious as he had done in GHOSTBUSTERS and GHOSTBUSTERS 2, and was now on his side like Verhoeven, perhaps as a result of the hard work that Lord Stinkious had done making film sets safe by promoting the development of CGI. Punxsutawney Phil Connors was also allowed to leave the Punxsutawney Zone after losing his arrogant and cynical self absorption, reaching out to others around him-literally, in the case of saving Shaun Chaiyabhat’s Myca evoking Asian kid from falling from a tree-and winning the love of Rita. These efforts implied that Ramis hoped that Lord Stinkious too could find a new love and leave his own low post-TZ disaster and post-Great Divorce spirits. While audiences loved the funny, intelligent, knowing, moving, non-violent and effects free GROUNDHOG DAY-such a refreshing change from the rest of the raging Zone War fare!-and clearly enjoyed being cured of Punxsutawney Syndrome, in the end, even if they did not consciously understand the film’s implicit allegorical intent, they were also clearly eager for more spellbinding CGI magic. For the following year they also eagerly embraced Roland Emmerich’s twilit, DUNE evoking, allegorical and CGI enhanced film, STARGATE (1994).
Intriguingly, as Jaye Davidson’s Wicked, sexually androgynous and implicitly Palpaberg linked extraterrestrial leader Ra was blown up like the great white shark at the end of JAWS by a plucky and determined group of human spacefaring Marines before he could destroy Earth by sending an insidious blockbuster bomb back through the eponymous Stargate-which led to the brave new world of CGI enhanced film in a CGI sequence that evoked the spacetime journeys of TRON and THE LAST STARFIGHTER-Emmerich implied that he was warning film artists that they had to work hard to preserve the humanity of film art so as to avoid creating ahuman and CGI enhanced schlockbuster bombs like JURASSIC PARK that would desecrate the Temple Theatre. Indeed, the film’s many allusions to CLOSE ENCOUNTERS OF THE THIRD KIND, E.T., THE EXTRATERRESTRIAL, INDIANA JONES AND THE TEMPLE OF DOOM, JAWS and RAIDERS OF THE LOST ARK affirmed the implicit Palpaberg blasting intent of the film. The fact that the leader of the human soldiers, Kurt Russell’s Colonel Jonathan ‘Jack’ O’Neill, was implicitly linked to Lynch, and that James Spader’s Dr. Daniel Jackson, his second in command, was implicitly linked to Cronenberg, underlined that Emmerich was committed to retaining the humanity, creativity and artistry of film art like Cronenberg and Lynch. For his part, Lucas surprisingly appeared in a cameo as a disappointed patron of Wonder World in the allegorical, Spielberg supporting, T2 mocking and Cameron roasting Landis film, BEVERLY HILLS COP III (1994).
It was an ambiguous cameo, for on the one hand it implied with his open support of Landis that Lord Stinkous was breaking ranks with and turning against Palpaberg, as he had done in THE RADIOLAND MURDERS. However, given that BEVERLY HILLS COP III implicitly supported Palpaberg and roasted Cameron as in INNOCENT BLOOD, the cameo also implied at the same time that Lord Stinkious was willing to support a roast of Cameron while still unwilling to totally abandon his ‘friend’ Emperor Palpaberg. At any rate, no sooner were Lord Stinkious and his female companion-played by Christina Venuti-disappointed to be unable to ride the Spider ride in Wonder World, than Murphy’s transplanted and Landis linked Detroit police detective, Axel Foley, saved two Latino kids trapped on the ride in a desperate redirection of the reality of the deaths of Chen and Le that evoked the equally desperate redirection of reality seen in the post-1982 films of Emperor Palpaberg. Incidentally, BEVERY HILLS COP III also saw Foley-his Annihilator 2000 multi-purpose assault rifle a satirical nod to the T1000 Terminator of T2- battle Timothy Carhart’s gunhappy and violent, and, hence, Cameron linked and resembling pseudo Wonder World security chief Ellis DeWald for control of the Hollywood linked L.A. area theme park-and of Hollywood. Significantly, Foley, his weathered and Palpaberg linked Detroit detective colleague Pederson-played by Ousaun Elam-and Stephen McHattie’s Secret Service man Steve Fulbright anticipated the ultra secret men of INS Division Six in a Palpaberg executive produced film to come.
For his part, Cameron implied that he was not interested in Palpaberg’s implications of twilit wrongdoing in HOOK when he returned to the Temple Theatre. Instead, Cameron implied that he was replying to the implicit warning against beastly behaviour that he received from Disney in BEAUTY AND THE BEAST and the audience approval of his full throttle Zone Warrior antics in T2 with the twilit and allegorical film, TRUE LIES (1994), a film that was more confidently balanced between love and romance and hate and violence than any film that he had made to date. Indeed, when he was not frantically fighting Middle Eastern terrorists, Scwarzenegger’s Omega Sector Agent Harry Tasker was desperately trying to save his marriage by wooing his bored and restless wife, Helen-her name evoking Paige O’Hara’s Belle in BEAUTY AND THE BEAST, and played by Curtis-back to his side. Cameron also implicitly used TRUE LIES to roast Howard in the form of Bill Paxton’s hapless used car salesman, Simon, perhaps for linking him to a smooth talking Irish thief named McGuire-played by Barry McGovern-in FAR AND AWAY.
When he wasn’t roasting Howard, Cameron had Tasker battling to stop the Crimson Jihad terrorist gang led by the implicitly Lynch linked Salim Abu Aziz-played by Art Malik, whose character Kamran Shah was ironically and implicitly linked to Cameron in THE LIVING DAYLIGHTS-apparently to exorcise the Temple Theatre of the surreal, incestuous and murderous tragicomedy of TWIN PEAKS: FIRE WALK WITH ME, given the allusions to that film in TRUE LIES. Intriguingly, the fact that Tasker and his equally intrepid wife, Helen-who also literally symbolized the film art of Landis as Curtis also played Ophelia, the female lead in TRADING PLACES-mostly stopped Abu Aziz and his gang the old fashioned way with true grit and dangerous on set effects unaided by CGI enhancement reaffirmed that Cameron was still as uncertain about embracing CGI enhanced film art as he had been in T2. The film’s nods to FOR YOUR EYES ONLY, NEVER SAY NEVER AGAIN and RAIDERS OF THE LOST ARK, and the fact that the Carlos Gardel and Alfredo Le Pera tune, ‘Por Una Cabeza’ (1935), that ended TRUE LIES, also implicitly affirmed that Cameron was replying to Palpaberg, for it was heard playing in the restaurant scene that introduced Schindler to the audience in SCHINDLER’S LIST. With its nods to INNOCENT BLOOD, LA FEMME NAKITA, LEON: THE PROFESSIONAL and the allegorical and implicitly Cameron roasting Glen film, A VIEW TO A KILL (1985), Cameron also made clear that he was replying to roasts of himself in those films as well in TRUE LIES.
Interestingly, after roasting CGI in STAR TREK II: THE WRATH OF KHAN, the dim view of CGI seen in TRUE LIES was not advanced by the STAR TREK people, who confirmed that they were losing their wariness of CGI and embracing an even more bold and fully human film art enhanced by CGI in the allegorical David Carson inter-series voyage, STAR TREK GENERATIONS (1994). A bold new CGI enhanced era symbolized by the defeat and death of the evil and perhaps Cronenberg linked Soran-which also literally released 1983 as he was played by McDowell, linked to the year of the release of TWILIGHT ZONE: THE MOVIE by way of his role as Cochrane in BLUE THUNDER-and by the death of Shatner’s time travelling Kirk at the end of the film. Indeed, the spectacular crash of the forward section of the new CGI Enterprise on a pivotal planet made it abundantly clear that STAR TREK was not just one with CGI enhanced film art but unafraid of creating schlockbuster beasts and exuberantly committed to taking the new digital effects where no visual effects had gone before. STAR TREK GENERATIONS also made clear that the new CGI enhanced voyages were not only just as allegorical as the last, but that the young new crew were linked to young new Zonebuster directors that had emerged since 1982. Indeed, Levar Burton’s Geordi Laforge evoked the Jordan loving Lee, Jonathan Frakes’ Commander Riker evoked Besson, and Marina Sirtis’ Troi evoked Bigelow. Patrick Stewart’s Jean-Luc Godard linked Captain Jean-Luc Picard was one of the major exceptions to that rule. The popularity of STAR TREK GENERATIONS also made clear that audiences were fully onboard for more big budget CGI enterprises. A perfect time for STAR TREK to emphasize the humanity of film art, as the following year, Disney and Pixar surprised the world by helming the first all CGI feature film, the twilit and allegorical John Lasseter film, TOY STORY (1995).
Significantly, TOY STORY began with the Hanks voiced and implicitly Catmull linked Woody the cowboy doll firmly established as number one in the affections of the John Morris voiced and android evoking digikid, Andy. Until the fateful birthday when a present in the form of the Tim Allen voiced and implicitly Lasseter linked Space Ranger doll, Buzz Lightyear, replaced Woody and all things sly fi in the affections of Andy. This surprise development led to rivalry between the two toys for the attention of Andy, which ended when the two proud toys worked together to triumph over Andy’s gleefully toy dismembering, exploding, reconfiguring and Erik Von Dotten voiced kid neighbour, vicious Sid-implicitly linked to and resembling Disney CEO Michael Eisner, the implicit link reaffirmed by the fact that the name of Sid was just ‘Dis’ spelt backward. Alas, while slyly hopeful and upbeat, TOY STORY was an exuberantly shameless filmmercial for the toys featured in the film. The fact that an entire film could be made with CGI was cause for concern-particularly for actors! Significantly, Lord Stinkious definitely thought so, as a desperate battle against a growing Dark Side linked to CGI and Palpaberg, the dehumanization of film art and its transformation into CGI enhanced blockbuster filmmmercial, and the guilt that he felt that his support for CGI was responsible for these insidious developments were the main themes of the Tragic Trilogy. Curiously, this was a concern that Disney implicitly anticipated in its second animated film of 1995, the CGI enhanced and allegorical Mike Gabriel and Eric Goldberg hand-animated film, POCAHONTAS (1995).
For after implicitly roasting Lord Stinkious in the symbolic form of Gaston in BEAUTY AND THE BEAST, Disney now implicitly reached out sympathetically to him and likened his quest to create a brave new world of CGI enhanced film art with the help of ILM that aspired to something more than making money was linked to the quest of the implicitly Stinkious linked Captain John Smith-who resembled Luke Skywalker, and was sung and voiced by Mel Gibson-to embrace, live in harmony with and save the New World and the beautiful Pocohontas-voiced by Irene Bedard and sung by Judy Kuhn-from the blockbuster gold lusting and implicitly Burton linked Governor Rafcliffe-his suit of armour and cape evoking Batman, and voiced by David O. Stiers-in POCAHONTAS. A curious implication, indeed, given that Burton was more committed to film art for film art’s sake than Lord Stinkous. As for Gilliam, he sent Bruce Willis’ shaven headed and THX 1138 evoking James Cole back in time from a future THX 1138-like underworld to mid-Nineties Baltimore and Philadelphia in a desperate and madcap quest to stop a mysterious plague from wiping out humanity in his dark, depressed, depressing and allegorical film, TWELVE MONKEYS (1995), the second film in his American Trilogy. As the mystery plague that the Lord Stinkious linked Cole tried to stop was linked to CGI, the implication was that Gilliam was warning Stinkious that his promotion of CGI enhanced film art with ILM could lead to a plague of CGI enhanced schlockbuster beasts that could destroy the humanity of film art, turning it into banal and vacuous dreck. Indeed, the plague first appeared in the Lucas territory of San Francisco, underlining the film’s implicit interest in stopping a plague of Lord Stinkious promoting CGI. An implied interest in sending an allegorical message to Lord Stinkious that year that continued when Bigelow and co-writer/producer Cameron united like Harry and Helen Tasker to stop unstable directos and did their best to liberate the world from the Zone in time for the new millennium in their equally dark, depressing and violent but eucatastrophic masterpiece, STRANGE DAYS (1995).
A curious fusion mostly of AMERICAN GRAFITTI, BLADE RUNNER, EYES OF LAURA MARS, STRANGE DAYS, STREETS OF FIRE, THX 1138, VERTIGO, the twilit and allegorical Bigelow film, POINT BREAK (1992), the twilit, allegorical and STREETS OF FIRE evoking Alex Proyas film, THE CROW (1994), and the twilit and allegorical Richard Rush film, COLOR OF NIGHT (1994), STRANGE DAYS began with Ralph Fiennes’ lovable and implicitly Lucas linked lunk-indeed, Nero was as lonesome and brooding a bachelor as Lucas at this point in time-with the Johnny Utah cadenced name of Lenny Nero using a Superconducting Quantum Interference Device (SQUID) headset to playback and experience the recorded experience of one of the robbers of the robbery of a Vietnamese restaurant by twilit trio of unfortunate young men who evoked the four man gangs in POINT BREAK, and four Evil gang bangers led by David P. Kelly’s implicitly Cameron linked T-Bird in THE CROW. However, Nero was outraged that the SQUID recording ended with the robber who was being recorded falling off the roof of the apartment complex housing the ground floor restaurant to his death as he evaded the police. Significantly, while this death recalled another rooftop chase that led to a police officer falling to his doom at the beginning of VERTIGO, it also reminded us that Brandon Lee’s implicitly Bigelow linked Brandon ‘the Crow’ Draven fell to his death before return to life as an implacable avenger at the beginning of THE CROW, and that Kathleen Wilhoite’s Michelle, a troubled patient of the implicitly Lucas linked Dr. William ‘Bill’ Capa-played by Bruce Willis-leapt out of one of his office windows to her doom at the New York beginning of COLOR OF NIGHT.
Tellingly, while supposedly miffed that the SQUID recording led to the death of the robber, Nero was not so miffed that he did not buy this ‘black jack’ snuff SQUID recording from the implicitly Landis linked and gleefully amoral Tick-played by Richard Edson-for a reduced price due to its deadly content. Leaving behind Tick, Nero then cruised the streets of Hollywood in his Benz, his TZ disaster linked license plates of LN 237 throwing more doubt on his dislike of snuff recordings. Curiously, out on the riotous streets of fire, Nero initially fiddled-or was that squiddled?-while a twilit Los Angeles that was heading down the dire path leading to the L.A. met in BLADE RUNNER burned in the last restless and combative nights before New Year’s Eve 1999 ushered in the new millennium, reminding us that the equally dark and violent events of THE CROW took place on the All Devil’s Night on the 30th of October before Hallowe’en. This restless driving reaffirmed his implicit link to Lucas, for the sight evoked Paul Le Mat’s implicitly Great Oz and John Milius linked John Milner cruising the equally restless and riotous night streets of Modesto in his Yellow Brick Roadster in AMERICAN GRAFFITI. Indeed, the non-stop rock and roll of STRANGE DAYS evoked the non-stop rockin roll of AMERICAN GRAFITTI, as well as the non-stop rock n roll of STREETS OF FIRE and its dark and despondent tenth anniversary rebuttal, THE CROW-heck, even COLOR OF NIGHT saw Spoon playing live at the Whisky when the action switched from New York to L.A. The sight of Nero driving alone in his car also evoked the implicitly Lucas linked Travis Bickle in his Yellow Brick Taxi in TAXI DRIVER. The fact that Nero also resembled the implicitly Lucas linked Kowalski in VANISHING POINT reaffirmed his implicit link to Lucas. The fact that we soon discovered that Nero was an ex-LAPD officer reaffirmed his implicit link to Lucas, reminding us that the Force was no longer with Lucas in 1995, and that police officers implicitly symbolized successful professional film artists in BLUE STEEL.
While driving, Nero frantically peddled SQUID CDs or tried to persuade people to wear SQUID headsets and record experiences for him-particularly sexual experiences-that he could sell to squidheads and wireheads. Of course, these SQUID headsets evoked similar experience recording devices encountered in the allegorical literary art of William Gibson, including the apparent sensory perception (ASP) decks of the short story, ‘Fragments Of A Hologram Rose’ (1977), the superconducting quantum interference detectors (Squids) of the short story, ‘Johnny Mnemonic’ (1981), and the simstim of his allegorical novel, Neuromancer (1984), wistfully linking the film to the Skyrocking year of 1977 and the Last Good Year of film art-as well as one of the first years of the dread Zone Wars. These SQUID units reminded us that in 1995, Lucas was also doing his best to peddle CGI enhanced film art to the film art community so as to solve the problem of film set fatalities, reaffirming Nero’s implicit link to Lucas. Indeed, the fact that Nero was adamantly opposed to sanctioning or selling SQUID recordings of people’s deaths affirmed that he wanted SQUID recordings to enhance and promote life, like Lucas wanted CGI to enhance film art and save lives on sets.
Unfortunately for Nero, however, his friend, Iris-played by Brigitte Bako-who evoked Mackenzie Phillips’ Carol in AMERICAN GRAFFITI and Jody Foster’s Iris in TAXI DRIVER in two more affirmations of Nero’s implicit link to Lucas, was raped and murdered in her hotel room at the Sunset Regent, a brutal death that reminded us that the TZ disaster and its repercussions had killed Lucas and his film art. The rapist/murderer also recorded her rape/murder on SQUID, and sent the black jack SQUID recording to Nero to experience, a murderous first person POV recording that evoked the uncontrollable and psychic first person POV visions of the implicitly Spielberg linked John Neville committing murders that tormented the inner eye of Laura Mars in EYES OF LAURA MARS. Intriguingly, Iris was murdered because she also inadvertently recorded the murders of a twilit trio of people-Glenn Plummer’s crusading rap star, Jeriko One, and two others-by LAPD Officers Dwayne Engelman and Burton Strickland-played by William Fichtner and Vincent D’Onofrio, respectively-two psychotic and racist police officers who were the exact opposite of the bumbling but Good police officers, Cooley and Price-played by Rick Rossovich and Richard Lawson, respectively-in STREETS OF FIRE. These nightmarish black jack SQUID recordings slowly and reluctantly Forced Nero to leave behind his dissolute despair and track down the killer of Iris with the help of his friend Lornette ‘Mace’ Mason, played by Angela Bassett. Of course, Mace reminded us that in STREETS OF FIRE the equally female and indomitable McCoy helped the implicitly Lucas linked Cody rescue Aim, the singer evoked by the singer Faith-played by Juliette Lewis-Nero’s Spielberg resembling ex-girlfriend in STRANGE DAYS. Mace also reaffirmed Nero’s link to Lucas, for it had been known for years that in the original script for the STAR WARS saga there was a character named Mace Bindu, who would shortly appear as Samuel L. Jackson’s J. D. Jedi Master Mace Windu, the head of the twelve member Jedi Council in the Tragic Trilogy.
Significantly, Nero tracked down the killer in hotel room 2203, a fateful room number that evoked the 2:20 am time of the TZ disaster, the fateful 23rd of July of 1982, and creepy Room 237 of the Overlook Hotel in THE SHINING. And it turned out the killer was his best friend, Max Peltier-played by Tom Sizemore-a complex character, as he was linked to Spielberg by the SQUID recording of the murder of Iris and the consensual rape of Faith, resembled Besson in his brunette wig, and was as bald as Proyas when the wig came surprisingly off in the struggle that broke out between Nero and Peltier after Peltier was revealed as the murderer. The desperate battle ultimately led to Nero dropping Peltier off room 2203’s balcony to his doom, a fatal fall that evoked the fatal fall of one of the robbers in the black jack SQUID clip Nero experienced at the beginning of the film, bringing STRANGE DAYS full circle. The fatal fall also evoked the fall that killed the implicitly Burton linked Top Dollar-played by Michael Wincott, who played played Faith’s implicitly Lynch linked manager, Philo Gant, in STRANGE DAYS-at the end of THE CROW. Shortly after, Nero also gave up on his ill advised dream to reconnect with his lost and lamented love, the faithless and Spielberg resembling singer, Faith, who had been in league with Peltier. Instead, Nero embraced Mace, reminding us that Cody dropped Aim and turned to the real McCoy at the end of STREETS OF FIRE.
Thus, with a symbolic Lucas finally falling down the vertiginous heights of love and holding the Afro-Queen of his THX 1138 hologram dreams as an enthusiastic L.A. crowd cheered in the new millennium in the ecstatically eucatastrophic and vertiginous end, Bigelow and Cameron implied their hope that Lucas would return to the true path and knock off Besson, Proyas and Spielberg with an allegorical film that would break the world of film art free from the TZ disaster and the Zone forever and usher in a daylit, life affirming and Skyrocking new millennium of film art in style. However, his attempt to do just that with his STAR WARS Tragic Trilogy failed just as badly as did INDIANA JONES AND THE TEMPLE OF DOOM and STAR WARS EPISODE VI: RETURN OF THE JEDI, affirming that for Lucas, it was, indeed, over. For Bigelow and Cameron, however, it was breaking open, allowing them to have a major influence on a new millennium of film art.
Of course, the Squid headsets evoked similar devices encountered in allegorical literary art of William Gibson, including the apparent sensory perception (ASP) decks of the short story, ‘Fragments Of A Hologram Rose’ (1977), the superconducting quantum interference detectors (Squids) of the short story, ‘Johnny Mnemonic’ (1981) and the simstim of the twilit and allegorical novel, Neuromancer (1984), wistfully linking STRANGE DAYS to the Skyrocking year of 1977 and the Last Good Year of film art. Thus, it was fitting that the Gibson scripted and allegorical Robert Longo film, JOHNNY MNEMONIC (1995), was released the same year.
Indeed, the sight of Dina Meyer’s Jane acting as a bodyguard for the eponymous Johnny Mnemonic-played by Reeves-evoked Mace acting as a bodyguard for Lenny Nero throughout the film, curiously linking JOHNNY MNEMONIC to STRANGE DAYS. But it was ironically fitting that JOHNNY MNEMONIC was released the same year as STRANGE DAYS, for the film saw the implicitly Cronenberg linked and seasoned cybernaut, Johnny ‘John Smith’ Mnemonic-his links to SCANNERS, THE DEAD ZONE and VIDEODROME and the fact that the film was shot primarily in Toronto implicitly affirming Mnemonic’s link to Cronenberg-triumphing over the violent and implicitly Cameron linked J.C. cyborg messiah, the Street Preacher of the implicitly Temple Theatre linked Church of the Retransfiguration-played by Lundgren-and the implicitly Landis and Nikko linked and psychotic thug, Shinji-played by Denis Akiyama-thus achieving an important victory for LoTek indie film artists like Cronenberg and their higher minded CGI enhanced film art over terminating Zonebusters and the TZ disaster.
Gibson and Longo also implied their hope that Mnemonic’s victory would bring peace and harmony back to the twilit Temple Theatre, at last. For after defeating Shinji-in a furious struggle over a precipice that evoked Nero and Peltier’s struggle on the balcony of Room 2203-and the Street Preacher, Mnemonic was able to crack a protective virus and download free on the internet all of the Pharmakom Industries data he was carrying in his brain, priceless data that revealed the cure for the dreaded Nerve Attenuation Syndrome aka the Black Shakes, bringing health and happiness to all of the people of Earth at the end of the film. A new era of liberated film art also implicitly hoped for at the end of the allegorical Verhoeven film, SHOWGIRLS (1995), which saw Elizabeth Berkley’s Nomi Malone break free from twilit machinations in a Hollywood linked Las Vegas and stride off on her own towards Los Angeles. A valiant attempt to break the world of film art from the TZ disaster and the Zone that continued that year in Howard’s twilit but rousing, triumphant and feel good allegorical film, APOLLO 13 (1995).
Indeed, the quick thinking and technical brilliance that allowed the ‘gremlin guys’ back at Houston to solve the many mechanical problems plaguing the Apollo 13 spacecraft and bring back its three unlucky and Palpaberg, Landis and Marshall linked astronauts-Commander James A. ‘Jim’ Lovell, John L. ‘Jack’ Swigert, and Fred W. Haise, played by Hanks, Bacon and Bill Paxton, respectively-safe and sound to Earth was linked to the equally creative thinking and computer brilliance that allowed the ILM and Pixar boys to create and perfect realistic CGI to enhance the film as well as to prevent any more film set disasters throughout APOLLO 13. This continued the reassuring message of EXPLORERS and THE RIGHT STUFF that geek brilliance and computer technology would save the day. In fact, beginning APOLLO 13 with the same deadly Apollo 1 (AS-204) launch pad command module fire on January 27, 1967 that killed Chaffee, Grissom and White that had ended THE RIGHT STUFF linked the two films together and openly confirmed that APOLLO 13 continued the reassuring theme of THE RIGHT STUFF with more advanced CGI. The return of Ed Harris as Gene Kranz, head of mission control, also openly linked the film to THE RIGHT STUFF, as he had played astronaut John Glenn in that film. Releasing APOLLO 13 in the tenth anniversary year of EXPLORERS and alluding often to that film also affirmed that the film was continuing the CGI theme of EXPLORERS. Indeed, in many ways APOLLO 13 was simply a fused version of EXPLORERS and THE RIGHT STUFF. A reassurance that clearly pleased audiences, as the film was a huge success.
Curiously, however, the same crowds that celebrated the end of film set disasters with APOLLO 13 were the same crowds that packed theatres the following year to experience Burton and Emmerich repeat the cautionary refrains of T2 and STARGATE and urge film artists to fight to keep the humanity, creativity and artistry of film art from being overwhelmed and destroyed by an invasion of entirely CGI films like TOY STORY, symbolized by the desperate fights that the embattled people of Earth fought to free the planet of CGI linked space invaders in the twilit, Lord Stinkious supporting and Lasseter roasting allegorical artbuster, MARS ATTACKS! (1996), and the twilit, Lord Stinkious supporting and Cameron roasting allegorical film, INDEPENDENCE DAY (1996). Of the two, MARS ATTACKS! led the way in its unabashed assault on TOY STORY. For like the transformation of sweet E.T. into the twilit, monstrous and mayhem loving Stripe in GREMLINS, TOY STORY transformed Buzz Lightyear’s pure and virtuous space cadet into a Martian invasion of mayhem loving, gremlin evoking and lookalike CGI Buzz Lightyears from Hell, complete with glass dome topping space suits, exuberantly laying waste to humanity and their most famous global monuments. Indeed, the link of the Martian gremlins to Buzz Lightyear was implicitly affirmed by the huge and robotic exoskeleton walker that one madcap Martian was seen piloting and causing a gleeful swath of destruction with at the end of the film. For the towering robot looked like a huge and nightmarish Buzz Lightyear-in short, the blockbuzzter beast!
Significantly, the fact that Lukas Haas’ Lord Stinkious evoking teenager, Richie Norris, led a desperate and embattled humanity to victory over the sneering and lookalike Martian invaders with the help of the idiosyncratic sound of Slim Whitman yodelling ‘Indian Love Call’ (1978), implied that Burton hoped like Bigelow that Lord Stinkious would return with a new anddefiantly idiosyncratic CGI free or enhanced film that would lead the way with a Forceful and elemental harmony that would finally end the dread allegorical Zone Wars and bring peace to the Temple Theatre, at last. Indeed, MARS ATTACKS! ended with Portman’s equally teenaged Taffy Dale, daughter of Nicholson’s slain US President James Dale, giving Norris an award for his service to humanity at the end of the film. Of course, this triumphant closing ceremony evoked the equally triumphant ceremony that closed STAR WARS EPISODE IV: A NEW HOPE, affirming Burton’s implicit interest in the return of an old J. D. Jedi named Lord Stinkious. An implicit interest understood by Lord Stinkious, as Portman and a desperate battle that pitted determined humans and dauntless J. D. Jedi against pitiless, lookalike and ahuman CGI invaders who evoked the lookalike CGI invaders of MARS ATTACKS! figured prominently in STAR WARS EPISODE I: THE PHANTOM MENACE. A hope that Lord Stinkious would return to save the day implicitly shared by Emmerich, who beat Burton to the punch in the summer of 1996 by having Goldblum’s implicitly Lord Stinkious linked David Levinson join Bill Pullman’s implicitly Lynch linked President Thomas J. Whitmore and Randy Quaid’s implicitly Cameron linked fighter pilot Russell Casse lead the free film artist of the world to victory against insidious and Palpaberg linked schlockbuster alien invaders in INDEPENDENCE DAY. Significantly, Coppola implicitly agreed with Bigelow, Burton, Cameron and Emmerich that year, urging Lord Stinkious to stop acting like an old retired man and get his game on again, as symbolized by the kids who persuaded Williams’ prematurely aged and Stinkious linked Jack to come out of his Skywalker Ranch Main House evoking house to play again in his sweet and gentle allegorical film, JACK (1996), suggesting that in the minds of film artists, Lord Stinkious was now Lucas again.
For their part, with James Cromwell’s towering and Cameron linked Zefram Cochran helping the crew of the new Enterprise triumph over evil, hi-tech, inhuman and Terminator evoking Borgs with the help of an old school rocket, Frakes implied that he was also worried that the ability to make entire feature films with CGI would lead to the termination of the humanity of film art and that he hoped Cameron would do his best to prevent that from happening in his allegorical first feature film, STAR TREK FIRST CONTACT (1996). A belief in Cameron lacking in the allegorical Landis film, THE STUPIDS (1996). For the madcap quest of the tragicomically indomitable Stupid family to find out who was stealing their garbage implicitly mocked the even more intrepid Tasker family of the Omega Sector in TRUE LIES, implying that Landis was gently roasting Cameron-implicitly symbolized by Metcalf’s nefarious Colonel-for likening the Landis family to the Tasker family. Indeed, the appearance of Tom Arnold as the Harry Tasker evoking family patriarch, Stanley Stupid, affirmed the film’s implicit intent, as Arnold had played Tasker’s aide de camp Albert Gibson in TRUE LIES. However, a more seriously intrepid and embattled commitment to the humanity of film art and that was linked with a battle against TZ disaster linked film gangsters like Landis in Andy and Larry Wachowski’s CGI free first allegorical feature film, BOUND (1996), cleanse the Temple Theatre of THE STUPIDS. A cleansing that ironically returned when a commitment to fully human and J.D. Jedi film art prevailing over the blockbuster Empire returned full Force throttle when Lord Stinkious kicked off 1997 with the STAR WARS Special Edition Classic Trilogy.
Significantly, this STAR WARS Special Edition Classic Trilogy was a surprise success. Clearly, audiences did not share the concerns of film artists about the perils and pitfalls of CGI enhanced film art. Few J.D. Jedi purists also complained that the CGI enhancement of the Classic Trilogy was blasphemy-despite significant changes like having Greedo shoot first in the Mos Eisley cantina duel so as to make it appear that Solo was shooting in self defense and therefore not a callous and quick witted murderer, so as to free Coppola and the Lord Stinkious from the lingering twilit taint that they approved of murder, particularly murder on film sets. Nor did they complain about all of the cutesy new digital creatures that were inserted into the film-particularly during the landspeeder ride into the enlargened and enpopulated Mos Eisley in STAR WARS EPISODE IV: A NEW HOPE-that Disneyfied the film and even implied that Lord Stinkious was already thinking of selling the moisture farm to Disney and trying to make the STAR WARS franchise as appealing as possible to them by 1997.
In fact, few audience members complained about the return of Lord Stinkious at all, embracing the new version of the Classic Trilogy as if the last fifteen years had not happened and the Darkest of the Dark Lords was now simply Lucas again. Clearly, the older generation had forgotten what had happened or had forgiven Lucas, while a younger generation did not know or care about the twilit controversy-helped along no doubt by the popular STAR WARS: SHADOWS OF THE EMPIRE video game created by Lucas Arts and released in the mid-Nineties for the Nintendo 64. Thus, it was not surprising that by the time the Special Edition finished its record breaking run for re-released films, the man now nostalgically referred to again as Lucas heeded the entreaties of Bigelow, Burton, Cameron, Coppola and Emmerich and announced that he had decided to make a new STAR WARS trilogy, with the first film to be released in 1999 to get the new millennium off to a Skyrocking start as wished for at the end of STRANGE DAYS. And as at the end of the allegorical, Lucas supporting and THX 1138 evoking Andrew Niccol film, GATTACA (1997), which saw Hawke’s implicitly Lucas linked Vincent head off into the stars again with the help of CGI at the end of the film.
The triumph of the implicitly Lucas linked and Donovan Tate voiced Hercules over the implicitly Cronenberg linked and Woods voiced Hades at the end of the CGI enhanced John Musker and Ron Clements film, HERCULES (1997), also implied the hope of Disney that Lucas would return from the underworld and Skyrock again in the Temple Theatre. The success of the allegorical Spottiswoode adventure, TOMORROW NEVER DIES (1997), which saw Brosnan’s implicitly Lucas linked Bond triumph over the implicitly Emmerich, Kubrick and Palpaberg linked Stamper, Henry Gupta and Elliot Carver-played by Gotz Otto, Ricky Jay and Pryce, respectively-also implied the hope of Spottiswoode that Lucas would strike back and usher in a Skyrocking new millennium of CGI enhanced film art. However, as a fear that entirely CGI films like TOY STORY would create soulless and ahuman film art was one of the main themes of the new Tragic Trilogy, clearly Lucas shared the concern of Gilliam that his promotion of CGI would lead to a plague of beastly CGI enhanced blockbuster films. A concern that implicitly now bothered Emperor Palpaberg more as well, for the uncertainty and ambiguity surrounding CGI seen in JURASSIC PARK was gone and replaced with open fear of CGI enhanced film art-particularly CGI film art that bashed him-when he returned to the Temple Theatre and responded to INDEPENDENCE DAY and MARY SHELLEY’S FRANKENSTEIN with the dark and gloomy allegorical film, THE LOST WORLD (1997).
Significantly, before the film began, there was a curious and ominous prologue that saw a fish hook fall from above like the helicopter of the TZ disaster into what was clearly a reflection of a waxing crescent moon in a stream. At that point, the camera panned up to a boy sitting on and fishing from a waxing 9crescent moon in a cloud scattered sky, before the camera panned right into a cloud surrounded Dreamworks SKG logo. This curious animated logo that kicked off an Emperor Palpaberg film for the first time reminded us that a waxing crescent moon hanging in a clear night sky ‘…with only high-scattered clouds’ was reflected from the waters of the Santa Clarita River on that fateful July 23, 1982 night of the TZ disaster (LaBrecque, 49). This immediate link to the night of the TZ disaster implied that the rampaging raptors and T-rexes that returned from JURASSIC PARK to haunt THE LOST WORLD again still symbolized the gremlin fears of fatal and perhaps deliberate film set disasters and audience backlashes that haunted the minds and guilty consciences of directors like Palpaberg and Stinkious. Indeed, shortly after the film began, Goldblum’s tall, serial womanizing-and, hence, Cameron linked-and returning star mathematician Ian Malcolm accused the Ingen lawyers who had taken over Jurassic Park from Sir Attenborough’s Hammond-and an ailing Hammond on his deathbed-of a coverup of evidence in the deaths of three people during the gremlin dinosaur rampage in JURASSIC PARK. This was a very infuriating and ominous accusation indeed, as it suggested a similar coverup in the deaths of Chen, Le and Morrow in the TZ disaster in yet another disturbing implied admission of guilt in a post-1982 Palpaberg film.
Palpaberg also implied that the success of TOY STORY now had him worried about the possibility of all CGI film sweeping away the humanity of film art. In fact, there was an implication that the new forbidden and all CGI dinosaur island of Isla Sorna symbolized Pixar and their all CGI film art throughout THE LOST WORLD. For the island was located eighty-seven miles southwest of the Isla Nublar of JURASSIC PARK, reminding us that Lucas had sold his CGI division to Steve Jobs around 1987, a CGI division that had been promptly renamed Pixar. Thus, the sight of the dinosaurs-particularly the raptors and T-rexes again-hunting down and killing many of the corporatist and anti-corporatist people who went to the island also symbolized the fear that all CGI film art would do away with a need for people. Palpaberg also indicated throughout THE LOST WORLD that he was now quite worried that he had re-opened the Pandora’s box of Dark blockbuster Forces that had led to the TZ disaster with the massive movie tie-in merchandise campaign that accompanied JURASSIC PARK.
For the Ingen corporatists who went to Isla Sorna to capture dinosaurs-including a father and mother T-rex pair that evoked the dreaded two headed Siskebert of WILLOW-for their theme park in San Diego also evoked crass and callous merchandise and money obsessed film artists again-and the symbolic film thugs of INDIANA JONES AND THE TEMPLE OF DOOM, EMPIRE OF THE SUN, HOOK, INDIANA JONES AND THE LAST CRUSADE and SCHINDLER’S LIST-confirming the worries of Palpaberg. Indeed, their leader-Arliss Howard’s beastly blockbuster profit lusting Ingen lawyer, Peter Ludlow-evoked Emmerich and the Godzilla film he was working on throughout the film. Thus, after finally capturing and bringing back the mother tyro and its baby to paying audiences in San Diego in classic KING KONG fashion, Emperor Palpaberg sent his usual ironic and anti-blockbuster message in an exuberant blockbuster film to Emmerich, the Pixar people and other film artists to aim for higher goals than beastly schlockbuster profits when he had Ludlow hunted down and killed by the baby under mother’s watchful gaze at the end of the film. It was an ironic death, as the baby tyro evoked E.T. throughout the film, openly linking this literal Kid monster to the crass commercialization of film. Significantly, the implication that Emperor Palpaberg was now seriously worried about the arrival of CGI enhanced film art and about whether the bugs in that film art had been fully worked out yet was reiterated that same year when CGI was linked to an alienated, out of control and blockbuster extraterrestrial bug when executive producer Palpaberg and director Barry Sonnenfeld fused THE BLUES BROTHERS and GHOSTBUSTERS with CREEPSHOW and THE LAST STARFIGHTER-and replied to BEVERLY HILLS COP III and TRUE LIES-in the twilit and allegorical film, MEN IN BLACK (1997).
And star director bugs, for while D’Onofrio’s Edgar, the struggling farmer whose human guise the bug assumed, evoked King’s role as Jordy Verrill in the Scarecrow linked first episode of CREEPSHOW in 1982, the bug was implicitly linked to Disney via Michael Eisner. At any rate, the gleefully violent and destructive Edgar was a blockbuster CGI enhanced bug that had to be stopped at all cost by the intrepid and Omega Sector evoking INS Division Six Agents, K and his reluctant young recruit, J-bickering like Bud and Otto in REPO MAN, implicitly linked to Palpaberg and Lucas, and played by Jones and Will Smith, respectively-in order to save planet Earth for a new era of bug free and CGI enhanced film art-symbolized by Linda Fiorentino’s Mathilda Lando evoking and L.A. linked Dr. Laurel Weaver-at the end of MEN IN BLACK. Incidentally, given that J was a young man whose real name, J.D. Edwards, evoked the J.D. Jedi of the STAR WARS films, the implication was that a new, improved and CGI enhanced Lucas symbolically took over the retiring K’s role at the end of the film. If so, MEN IN BLACK was another film that urged Lucas to get his CGI game on and get back into the film art game in the Nineties. A pro-Lucas message that Besson implicitly reaffirmed in the twentieth anniversary year of the release of STAR WARS EPISODE IV: A NEW HOPE when he returned to the Temple Theatre in 1997 and proved that he now had the heavy mettle needed to take the world on a one way ticket from twilight in time for the new millennium with his allegorical, openly elemental and Ozian themed, surprisingly CGI enhanced and wholly remarkable Zonebusting film, THE FIFTH ELEMENT (1997).
And literally returned to the Temple Theatre, as THE FIFTH ELEMENT began during the First World War in a hidden and sacred secret chamber in an Egyptian Temple Theatre of Light that evoked the Temple Theatres of the Indy Trilogy. Significantly, here in this Temple Theatre, Besson reversed his previous anti-technology stance and implied his hope that CGI enhanced film art would heal the wounds of the TZ disaster and return harmony to audiences and the Temple Theatres of the world. A hope literally seen and heard in the mysterious hieroglyphs translated by John Bluthal’s Peter Ustinov evoking Professor Pacoli in the Egyptian Temple Theatre of Light, hieroglyphs that stated that Evil entered the world when three planets were in eclipse, Evil that would need to be stopped by a personified Fifth Element. Of course, these eclipsed three planets implicitly evoked the deaths of Chen, Le and Morrow, which had caused Evil to enter the world of Planet Hollywood. Pacoli’s translation also evoked ‘…a shadow shall fall over the universe, and Evil will grow in its path, and death will come from the skies’, the eerily prescient voiceover-by Percy Rodrigues?-that ominously anticipated the TZ disaster heard at the beginning of HEAVY METAL: THE MOVIE, the first indication that Besson was out to remake and top that film. This voiceover also prepared audiences for the arrival of the carnol and blockbuster mayhem obsessed Loc-nar, a dread and insidious ball of gloating Evil discovered in another desert by another professor at the beginning of HEAVY METAL: THE MOVIE, thus preparing audiences for the arrival of another insidious ball of Evil in THE FIFTH ELEMENT.
Intriguingly, the mysterious prophetic hieroglyphs also evoked a similar mysterious and prophetic inscription on a wall translated by Jen in THE DARK CRYSTAL, an inscription that prophesied that ‘…when single shines the triple sun, what was sundered and undone shall be whole’, openly linking THE FIFTH ELEMENT to the twilit and disastrous year of 1982. This link to the TZ disaster was also reinforced by the fact that when the film progressed three hundred years into the future to the 23rd of July 1982 evoking twenty-third century of Earth after the prologue-in a way that evoked the five hundred year trip into the future of Lucky Buck in BUCK ROGERS IN THE 25TH CENTURY-Evil was literally symbolized by an all consuming and unstoppable black ball approaching Earth from space that evoked the carnol Loc-nar in HEAVY METAL: THE MOVIE and V’ger in STAR TREK: THE MOTION PICTURE. Only an action packed and Ozian themed quest four centuries later to find the Temple’s missing four elements-a quest that evoked the quest by a group of early humans to find and keep the fire of film art alive in the allegorical Jean-Jacques Annand film, QUEST FOR FIRE (1981)-by five 23rd century heroes implicitly linked to the four elements and to Dorothy and her four Ozian companions would prevent this black ball of twilit Evil from destroying the world.
Luckily, the missing four elements were indeed found over the course of the healing and harmonizing film by the five Ozian heroes, and brought back to the secret sacred chamber hidden in the Egyptian Temple Theatre of Light, in the end. Here Jovovich’s Barbarella, Dorothy, Laurie, Leia, Madison, Taarna and brave new world of CGI enhanced film art linked orphaned extraterrestrial waif, Leeloominai aka Leeloo, to be centred between the healing and openly personified elemental Ozian force of Charlie Miles’ behatted and implicitly Earth and Scarecrow linked and Lynch evoking Priest, David; Bruce Willis’ implicitly Lucas, Fire and Cowardly Lion linked New York flying taxi driver and ex-space fighter pilot, Major ‘Richard’ Korben Dallas; Chris Tucker’s implicitly Lee, Wolfman Jack, Air and Great Oz linked intergalactic Radio Cosmos DJ, Ruby Rhod; and Holm’s implicitly Water and Tin Man linked Priest, Vito ‘Jerry’ Cornelius. This harmonious centring and the love of Dallas allowed Leeloo to be filled with the light saber-like Force of the four elements and to explode with the healing Force of the Fifth Element, saving the Earth by turning the approaching V’ger ball of carnol Evil into an inert Death Moon, implying Besson’s hope that he had successfully mastered the brave new world of higher minded CGI enhanced film art, as anticipated by the similar ending of STAR TREK: THE MOTION PICTURE. Of course, the sight of Leeloo exploding with the righteous Force of the Fifth Element evoked the telekinetic explosion of Carrie and the pyrokinetic explosion of Charlie at the ends of Carrie, CARRIE, Firestarter and FIRESTARTER-and the similar endings of GHOSTBUSTERS, RAIDERS OF THE LOST ARK and THE DARK CRYSTAL. This saved the world and healed viewers, freeing them from the TZ disaster and freeing CGI enhanced film art from schlockbuster beasts in time for the new millennium, in the eucatastrophic end.
Besson also easily topped HEAVY METAL: THE MOVIE throughout THE FIFTH ELEMENT, no doubt to remind audiences that HEAVY METAL: THE MOVIE and the HEAVY METAL adult fantasy/sly fi magazine that inspired the hand-animated film were both based on the French adult fantasy and sly fi magazine, METAL HURLANT. Indeed, the name of Korben Dallas reminded us that Richard Corben’s allegorical adult fantasy, Neverwhere (1978), was featured in HEAVY METAL magazine and HEAVY METAL: THE MOVIE, where the always naked muscle man Den was voiced by John Candy! The allusion to Corben also reminded us that there was a poster of Corben’s album cover painting for Meatloaf’s BAT OUT OF HELL (1977) on the wall of the room of Anne Parillaud’s implicitly Bigelow linked Nikita in the building that housed the secret French intelligence service Nikita was persuaded to work for in LA FEMME NIKITA. The attempt by taxi driver Dallas to help the beautiful, mysterious and red headed Leeloo in a New York of the future also evoked the attempt by the Richard Romanus voiced taxi driver Harry Canyon to help another beautiful and mysterious red head-voiced by Susan Roman-in a New York of the future in the ‘Harry Canyon’ segment of HEAVY METAL: THE MOVIE. Significantly, Besson’s implicit hope that Lucas would return to the Temple Theatre to kick off a brave new world of CGI enhanced film art in time for the new millennium was implicitly repeated that same year by Verhoeven when he again implied his support for Lucas and put the gore in allegory in his exuberantly ultraviolent, CGI enhanced and promoting, and ALIENS, DUNE and 1941 evoking film, STARSHIP TROOPERS (1997), inspired by the equally gung ho, violent and allegorical Robert A. Heinlein novel, Starship Troopers (1959).
For the commitment of film artists around the world to working together to fight off and eliminate the digital bugs preventing the transition of film art to the CGI age was likened in the film to the grim determination of a terran United Citizen Federation as politically united as the future Earth of THE FIFTH ELEMENT to work together to fight off the incessant attacks of annoying CGI gremlin bugs from the forbidding planet Klendathu-a commitment that evoked the battle against the out of control CGI bug in MEN IN BLACK. An implacable determination helped along by the exuberant commitment of indomitable Mobile Infantry space marines like Johnny D. Rico-played by Casper Van Dien-whose implicit link to Luke Skywalker linked him to Lucas throughout the film. Indeed, the J.D. first initials and J.R. full initials of super trooper Johnny D. Rico evoked J.D. Lucas jr., reaffirming the implication that Rico symbolized Lucas. The film’s allusions to the STAR WARS Classic Trilogy reaffirmed the implicit Lucas supporting intent of STARSHIP TROOPERS.
In addition, the link of the bugs to DUNE throughout the film implied that the final victory over the bugs on Planet P symbolized a victory over Lynch. A murderer-played by Edward Neumeier, the film’s screenwriter-who looked like Cameron seen in a ROBOCOP evoking Media Break television spot in the film also reaffirmed the implication that Verhoeven was still against Cameron and on the side of Lucas. And with the prescience to anticipate the full scale Duel of the Mates between Lucas and Palpaberg about to break out, and to back Lucas in that epic allegorical struggle, too. For as Wally bested Sitarski for the hand of Betty in 1941, so too did Rico outwit and best the bugs to capture the implicit symbol of the new CGI enhanced film art of Lucas, the beautiful Star Force Pilot Carmen Ibanez-who resembled Bigelow, implying that Verhoeven was also pleased by the implicit support of Lucas in STRANGE DAYS, and was played by Denise Richards-while the implicitly Palpaberg linked Star Force Pilot Zander Barcalow-played by Patrick Muldoon-lost not only Ibanez but his brain to an insidious brain bug that evoked the spacing guild navigator in DUNE.
Thus, Verhoeven implied that he wanted Lucas to command the Ranch’s Roughnecks on one more exuberant stomp on film set gremlins and the bugs plaguing CGI with a new, bug free and CGI enhanced STAR WARS trilogy in STARSHIP TROOPERS. And Disney implied that they agreed with Verhoeven, for they curiously co-released the ultraviolent film with TriStar under the name of their brand hiding production company, Touchstone Pictures. Significantly, Rico’s besotted and Disney evoking fellow trooper, Dizzy Flores-played by Dina Meyer-died towards the end of the film, just before the climatic triumph over the bugs. This death signalled that Disney was dying as a traditional hand drawn celluloid animation studio, and triumphantly recreating themselves as a digitoon studio. An increasing interest in CGI enhanced film art seen again when Cameron continued the Palpaberg roasting fervor of THE ABYSS and TRUE LIES and struck back at BEVERLY HILLS COP III and FAR AND AWAY in November of 1997 with his most fully human film to date, the allegorical and righteously furious Zonebuster, TITANIC (1997).
Indeed, with the sweeping love of the Landis linked Irish peasant Joseph Donnelly and the Landis film art linked Irish aristocrat Shannon Christie-played by Nicole Kidman-and their peaceful voyage to America in FAR AND AWAY returning in the sweeping love of the implicitly and unusually Cameron linked Jack Dawson-played by Leonardo DiCaprio-and the art loving and linked Rose Dewitt Bukater-her first name evoking the equally enchanting rose of BEAUTY AND THE BEAST, her appearance evoking Mary Pickford and played by Kate Winslet-and their doomed voyage to America aboard the CGI enhanced Titanic-a floating Overlook Hotel, with torrents of water eventually flooding its labyrinth of passages rather than torrents of blood as in THE SHINING-Cameron made it implicitly clear that he was addressing FAR AND AWAY throughout TITANIC. The fact that a Cameron evoking con man named McGuire that Christie and Donnelly met at sea was killed by Irish gangsters soon after arriving in the U.S. in FAR AND AWAY may have also inspired Cameron to respond to Howard with TITANIC. In addition, the fact that Rose’s fiancée, the wealthy but callow Cal Hockley-played by Billy Zane-was implicitly linked to then Disney CEO Michael Eisner implied that Cameron was sending another message to Disney as in TRUE LIES. No doubt that Cameron was concerned that Disney was rushing too quickly into all CGI film art with the release of TOY STORY two years earlier, an all CGI film art that would rob film art of its humanity. Indeed, the fact that White Star Line managing director Bruce Ismay-played by Jonathan Hyde-resembled Disney affirmed that Cameron was replying to TOY STORY on one level in TITANIC. The fact that Bernard Hill’s doomed and foolish Captain E. J. Smith evoked the Mel Gibson voiced Captain John Smith in the allegorical and CGI enhanced Disney, Mike Gabriel and Eric Goldberg film, POCAHONTAS (1995)-a film that implicitly linked Cameron’s reluctance to embrace CGI enhanced film art to the reluctance of Captain Smith to embrace the Irene Bedard voiced and Judy Kuhn sung Pocahontas at the end of POCAHONTAS-also implicitly reaffirmed that Cameron was replying to Disney on one level in TITANIC.
The sight of his Captain Smith throwing caution and fear of icebergs to the wind in an ill advised attempt to set the cross-Atlantic sailing record on the maiden voyage of the SS Titanic and the final voyage of Smith also implied that Cameron was reminding film artists again that reckless and madcap lusts for fortune and glory could still lead to fatal set disasters and sink CGI enhanced film art like TITANIC in the digital age. The eerie but appropriate fact that the stern section of the Titanic was the last to disappear from sight at 2:20 am in the early of April 15, 1912 reaffirmed that implicit reminder, as it reminded us that the TZ disaster took place at 2:20 am in the morning of July 23, 1982. Cameron also used TITANIC to lash out at the many critics of his abrasive and full throttle style of directing by predicting that his art would go on after his many critics had disappeared. Indeed, his nude drawing of Rose that rose up from the depths of the Atlantic after it was found instead of the Heart of the Ocean diamond in the safe brought up from the submerged wreck of the Titanic by Paxton’s Sir Scott evoking Brock Lovett and Lewis Abernathy‘s Landis evoking Lewis Bodine and the rest of their American and Russian team of blockbuster fortune and glory hunters confirmed his confidence that his art would go on long after priceless baubles and his age had disappeared like the age of the Titanic. Or was Cameron yet again stating his belief that the art of Landis would go on, given that the many times that Jack and Rose broke the fourth wall by gazing into the camera and the physical mayhem at the end of the film when the Titanic began to sink evoked the film art of Landis yet again? A fitting link to drawing and painting, as CGI was being increasingly used to manipulate film art into a new art form that was merging animated painting with photography and transforming film art into something new: a Cyberfilm System linked to the world enveloping cybersphere of the world wide web.
Cameron underlined his commitment to film art by avoiding a movie tie-in merchandise campaign as always and insisting that the film stand on its own, reiterating his commitment to film art for art’s sake. The presence of Paxton reminded us that he had first appeared in a Cameron film as the punk leader of the ragingly anti-commercial T1, underlining the anti-commercial message of TITANIC and bringing the film career of Cameron full circle on a more thoughtful and romantic note. In fact, the short and passionate love affair of Reese and Sarah was recreated in TITANIC in the short and passionate love affair of Rose and the Cameron linked J.D. artist Dawson, underlining that Cameron was bringing his film career full circle. The elder Rose-played by Gloria Stuart-reaffirmed this implication. For she recounted her moving and morally instructive tale eighty-four years after surviving the sinking of the Titanic, reminding us that T1 was released in 1984. The short but intense and passionate love affair of Jack and Rose also evoked the passionate romances in STRANGE DAYS and TRUE LIES, reminding us that the heart-as well as the art-would go on, despite film set and other disasters. Dawson’s J.D. initials also implied that Cameron now saw himself and not Lord Stinkious as the world’s premier J.D. Jedi film artist. Indeed, the time period of the film and young Dawson’s search for love in a troubled time evoked the Great War era of the YOUNG SHERLOCK JONES adventures and the search by young Jones for love in a troubled time, with the fictional Dawson mixing and mingling with real historical figures like Jones jr.
The return of Warner as the Evil and implicitly Lynch linked valet Spicer Lovejoy-Warner’s appearance as the equally Evil Thomas Eckhardt in TWIN PEAKS implicitly affirming his link to Lynch in TITANIC-also evoked his role as Evil in TIME BANDITS, a film that also saw the sinking of the Titanic. This linked the tragedy free first days of the Titanic’s maiden voyage to the last good years before the iceberg of the TZ disaster. Indeed, the film reminded us of the allegorical Jerry Jameson film, RAISE THE TITANIC (1980)-based on the allegorical bestseller, Raise the Titanic! (1976) by Clive Cussler-confirming TITANIC’s link to the last good years. These last good days were reaffirmed by Rose quoting Harold Baigent’s line from the end of THE ROAD WARRIOR-‘…and that was the last I saw of him’-to describe how the dead Dawson had disappeared into the depths of the Great Mystery at the end of the film. For this quote from the older Feral Kid concerning his last sight of Mad Max openly linked the film to 1981, and was another link to Max in the films of Cameron that confirmed that the raging Terminator had been transformed into the sensitive, humane and life affirming Dawson. Of course, the appearance of Warner also reminded us that he played real world CEO Dillinger, the MCP and Sark in TRON, reaffirming the film’s implicit interest in the twilit and disastrous year of 1982. Curiously, DiCaprio also underlined TITANIC’s link to the TZ disaster, as he had appeared in one of the many GREMLINS clones-Kristine Peterson’s twilit and allegorical film, CRITTERS 3 (1991). Just as curiously, Rose’s fears of marital slavery and star filled nights and trauma on a ship sailing across the Atlantic Ocean linked TITANIC to Palpaberg’s second twilit and allegorical film of 1997, AMISTAD (1997), released just before Christmas like his second and more serious film of 1993, SCHINDLER’S LIST.
Significantly, the animated, ominous and TZ disaster linked animated boy fishing on a waxing crescent moon in a cloud scattered sky Dreamworks SKG logo that preceded THE LOST WORLD also preceded this film, implying again that Spielberg was on the Landis set the night of the TZ disaster. As with THE LOST WORLD, this ominous logo gave AMISTAD a twilit ambience before the beginning of the film, immediately linking the West African men and women impressed into slavery on board the ironically entitled ship La Amistad-Spanish for friendship-to the TZ disaster. The implicit link of the West African slaves to the TZ disaster was quickly reaffirmed by the uprising by the West Africans on a dark and stormy night at sea in late July of 1839 that led to the Africans killing their Spanish captors and taking over La Amistad. Indeed, Djimon Hounsou’s Cinque, who emerged as the leader of the slaves in the subsequent trial, pulled a long nail free from a ship plank that allowed him to unlock his shackles and free his comrades at the 2:20 mark of the film, openly linking the violent uprising to the righteous fury of audiences after the TZ disaster on 2:20 am on July 23, 1982. This scene also evoked a similar scene that saw Batty pull a nail from the floor of a building at the end of BLADE RUNNER, reiterating the film’s link to July of 1982. Given that AMISTAD evoked COMING TO AMERICA, the implication was that Cinque symbolized Folsey, and the liberation of Cinque and his fellow West Africans in the twilit third and final controversial trial that ended the film on a triumphant note symbolized the release of Folsey and his TWILIGHT ZONE: THE MOVIE crew in time for the new millennium in the tenth anniversary year of the TZ trial. The presence of Ensign Covey-played by Chiwetel Ejiofor-the free and well dressed West African sailor who acted as translator for Cinque and his people at the trial supported this implication, for he evoked the equally well dressed Landis beside Folsey at the TZ trial.
In further support of this liberating conclusion, it was noticeable that the main players in the three momentous trials that finally secured the freedom of the West Africans were linked to the main film artists in the dread Zone Wars. Indeed, on the side of the prosecution that was pressing for the return of the West Africans to their Spanish owners, it was noticeable that Geno Silva’s Ruiz-who survived the uprising on La Amistad-Pete Postlethwaite’s chief prosecutor Holabird, Tomas Milian’s Spanish Ambassdor Calderon and Anna Paquin’s Queen Isabella of Spain resembled Kubrick, Emmerich, Altman and Portman’s Mathilda in LEON: THE PROFESSIONAL, linking her to Besson. On the side of the defense fighting for the release of the West Africans, Hopkins’s ex-U.S. President John Q. Adams, Matthew MacConaughey’s intrepid lawyer Roger Baldwin and Stellan Skarsgard’s anti-slavery newspaper editor Louis Tappan resembled Hitchcock, Cameron and Shatner. In addition, presiding President Martin Van Buren, Secretary of State John Forsyth, first trial Judge Andrew T. Juttson and second trial Judge Coglin-played by Nigel Hawthorne, David Paymer, Allan Rich and Jeremy North, respectively-resembled Verhoeven, Scorsese, Coppola and Palpaberg. Significantly, after being freed, Cinque and the rest of the West Africans were then sent home by ship to Africa like the mother tyro and her baby were sailed home at the end of THE LOST WORLD. Unfortunately, the liberated Lost Children sailed east into civil war in Sierra Leone, a Civil War that in time also broke out in the United States. A civil war that U.S. Rangers also sailed east into when Palpaberg returned to the Temple Theatre to liberate Morrow like he had liberated Folsey and Landis in AMISTAD in the twilit allegorical film, SAVING PRIVATE RYAN (1998).
Significantly, the animated, ominous and TZ disaster linked Dreamworks SKG logo preceded this film as in AMISTAD and THE LOST WORLD, immediately implying that the film was haunted by the twilit and events of 1982. This implied link was reaffirmed by the fact that the bloody and brutal fighting by American Rangers on Utah Beach on June 6, 1944 and then through the fields and towns of Normandy against the Dark Side linked Germans featured in the film evoked Morrow’s work as Sergeant Chip Saunders fighting his way through Normandy and northwest Europe in WWII with U.S. forces in the allegorical telefilm series, COMBAT (1962-67)! In fact, the film long allusion to COMBAT! implied that the embattled and tragicomic mission of Hanks’ implicitly Palpaberg linked Ranger Captain John H. Miller to lead seven other soldiers on a mission to find and relieve from further combat duties Matt Damon’s implicitly Morrow linked Private James F. Ryan symbolized the equally embattled and tragicomic attempt by Palpaberg and other film artists to come to grips with Morrow’s death in the TZ disaster and to free him from the Twilight Zone. This implication was supported by the fact that some of the Rangers that Miller led on this quixotic mission were implicitly linked to fellow battling Zone War film artists. Indeed, Sizemore’s Sergeant Horvath, Vin Diesel’s Pte. Capuzzo, Jeremy Davies’ Pte. Upham, Edward Burns’ Pte. Reiben and Barry Pepper’s Pte. Jackson were linked to Kubrick, Coppola, Dante, Lucas and Lynch, respectively. Maximilian Martini’s Corporal Henderson, who was eventually found fighting with Ryan, was also implicitly linked to Cameron. Thus, it was ironic that while Ryan survived, Miller and most of the other director soldiers who did their best to find and relieve Ryan were killed in the fighting that raged throughout the film, perhaps Palpaberg’s way of admitting that Cameron would probably be the only film artist still remembered after all of them had passed on. The noteworthy exception was the Stinkious linked Reiben, perhaps Palpaberg’s way of wishing Stinkious luck on his next STAR WARS trilogy. At any rate, the huge and depressing impact that the TZ disaster had had on Palpaberg was implicitly affirmed by the fact that Miller died at the 2 hour and thirty-seven minute mark of the film, linking Miller’s death to the twilit and disastrous events of July 23, 1982.
Unfortunately, on top of the infuriating sight of the Palpaberg linked Miller watching and participating in TZ disaster violence throughout the film, SAVING PRIVATE RYAN was marred by another scene that implied that Emperor Palpaberg had been on the Landis set at the time of the TZ disaster. For Jackson-a surname that linked the film to JURASSIC PARK via Jackson’s character, Arnold-shot and killed a German sniper-played by Stephan Grothgar?-who evoked the Vietnamese girl sniper of FULL METAL JACKET, but who looked like a young and beardless Palpaberg circa July 23, 1982. A not surprising move on the part of Jackson, since this Palpaberg sniper opened fire on Jackson and his comrades when they tried to rescue a French boy and girl-played by Martin Beaton and Anna Maguire in this Ireland filmed production, respectively-two children that evoked Chen and Le. Given the sniper’s resemblance to a young Palpaberg, his death implied that Palpaberg was trying to reassure audiences-particularly X gang members-that he had killed his Dark Side and could be trusted again. An infuriatingly pathetic and unsuccessful attempt, as this sniper ominously linked Palpaberg again to watching film violence involving children, implying that he definitely could not be trusted! Indeed, the Palpaberg sniper was killed by a shot in his right eye as he peered through his film camera evoking rifle sight at the children and the protecting Rangers, underlining the link of himself and Palpaberg to the TZ disaster. Curiously, Palpaberg and his new studio Dreamworks SKG continued his embattled and guilty meditations on the TZ disaster and his misgivings about CGI that same year by supervising the release of Dante’s twilit and allegorical gremlin toy soldier film, SMALL SOLDIERS (1998), the trimax of his Gremlin Trilogy.
Significantly, the creepy, ominous and TZ disaster linked Dreamworks SKG logo preceded the film, immediately giving SMALL SOLDIERS a twilit cadence. Like Burton in MARS ATTACKS!, Dante used the film to attack the carefree toy schilling of TOY STORY with a desperate battle between creepy and idiosyncratically unique but Good Gorgonite monster dolls-voiced by McKean, Christopher Guest and Harry Shearer-against lookalike, GloboTech X-1000 super microchip powered, psychotic and sentient Commando Elite toy soldiers-voiced by Dern, Ernest Borgnine, Jim Brown, George Kennedy and Clint Walker, respectively-and rebooted movie tie-in merchandise madness. For these violent action figures were linked not just to the gremlins, but to movie tie-in merchandise gone beserk throughout the film. The sight of the Jones voiced Commando leader Major Chip Hazard haunting the final battle at the end of the film with a custom built helicopter also confirmed the film’s link to the TZ disaster. However, despite the allusions to the TZ disaster, it was noticeable that Hazard was implicitly linked to anti-New Hollywood indie film artist Jim Jarmusch rather than Landis or Morrow throughout the film. Thus, the implication was that the embattled alliance of the Gorgonites with Gregory Smith’s troubled teen and implicitly Palpaberg linked Alan Abernathy and his family against the Evil Commando Elite and their equally demented bimbo allies, the Gwendy Dolls-voiced by Sarah M. Gellar, Doris Karloff and Christina Ricci, respectively-symbolized the battle of New Hollywood against Zonebusting and anti-New Hollywood film artists like Bigelow, Jarmusch and Tarentino since 1982. Indeed, the fact that the Frank Langella voiced Gorgonite leader, Archer, and the wild and crazy McKean voiced Gorgonite, Insaniac, evoked Lucas and Landis, respectively, affirmed the implicit link of the idiosyncratic Gorgonites to the equally idiosyncratic film artists of New Hollywood.
Unfortunately, real life death haunted Emperor Palpaberg’s new studio Dreamworks SKG and SMALL SOLDIERS in 1998 in a way that recalled the disastrous and deadly year of 1982. For psychotic Gwendy Doll inspiration and punk rockette Wendy O. Williams committed suicide on April 6, 1998. Implicitly Morrow linked supporting actor Phil Hartman-who played the Abernathy’s next door neighbour, Phil Fimple-also died, killed by his wife in his sleep on May 28, 1998, after he completed work on the film. However, despite these deaths, the hopeful message of SMALL SOLDIERS was ironically shared that year by Landis. Indeed, by having a Good super Blues Brothers band beat an Evil Louisiana Gator Boys super blues band in a closing battle of the bands at the spooky swamp palace of Eryka Badu’s Queen Moussette, in the end, Landis implied his hope that twilit film artists would work together to free film art from the Zone in time for the new millennia at the ironically eucatastrophic climax of his allegorical film, BLUES BROTHERS 2000 (1998).
Landis also implied his hope that Cameron would finally forgive and forget and embrace Landis and Palpaberg in the film. Literally, as Joe Morton’s implicitly Cameron linked and cadenced Commander Cabel Chamberlain gave up on his career in law enforcement and his righteously furious pursuit of Akroyd’s Landis linked Elwood J. Blues and Goodman’s Palpaberg linked Mighty Mac and the rest of the Blues Brothers Band and joined them all for some serious house rocking, in the end. For their part, Lasseter and Andrew Stanton implied an exuberant support of CGI despite all of the bugs that plagued it in their allegorical film, A BUG’S LIFE (1998), which literally had all of the persistent CGI bugs and problems unite to triumph over the insidious and implicitly Jeffrey Katzenberg linked grasshopper, Hopper-voiced by Kevin Spacey-and the TZ disaster, in another ominous victory for ahuman and full CGI film art, in the end. An optimism shared by Emmerich, who implied that the initial problems adjusting to the new CGI enhanced age of film art and the temptation to use it to create schlockbuster beasts would be defeated like the Palpaberg linked Godzilla at the end of his allegorical and CGI embracing film, GODZILLA (1998).
Indeed, the film’s many allusions to GREMLINS, JAWS, JURASSIC PARK and THE LOST WORLD and the fact that Godzilla looked like a cross between a gremlin and a tyrannosaurus rex implicitly affirmed the link of Godzilla to the blockbuster beasts Palpaberg had allowed to lay waste to the Temple Theatre in the CGI age. The fact that Roger and Gene, the Mayor of New York and his assistant-played by Lerner and Lorry Goldman, respectively-resembled, talked and acted like Ebert and Siskel also affirmed that film art was being saved from schlockbuster CGI enhanced excess with the defeat of Godzilla. A somehow fitting allusion to Ebert and Siskel, given that GODZILLA was released in the tenth anniversary year of the appearance of the dreaded two headed Siskebert in WILLOW in 1998. Significantly, the exuberantly CGI enhanced and New York saving film also reiterated Emmerich’s implicit commitment to the film art of Lynch seen in STARGATE. For Broderick’s worm expert and hero of the day, Dr. Niko Talopoulos-his surname evoking INDEPENDENCE DAY co-production and alien effects and Godzilla effects designer Patrick Tatoupolos-evoked Lynch’s obsession with the worms of Arrakis in DUNE.
The appearance of Doug Savant as Sergeant O’Neal reaffirmed the implicit support of Lynch, for he evoked the implicitly Lynch linked O’Neill in STARGATE. And how strangely fitting that Kurosawa died in September of 1998, as he and his blockbuster beast of a film, SEVEN SAMURAI, were the implicit sarcastic target of the original Ishiro Honda allegorical film, GODZILLA (1956). Incidentally, Proyas implicitly disagreed with Emmerich, having Rufus Sewell’s Landis linked John Murdoch discover his inner powers and use them to sweep away the new world of CGI enhanced film art and the insidious Strangers-led by Ian Richardson’s implicitly Palpaberg linked Mr. Book-who brought it to Earth at the SCANNERS evoking end of his BLADE RUNNER, BLUE VELVET, DUNE and THE INVASION OF THE BODY SNATCHERS evoking film, DARK CITY (1998). A disdain for CGI enhanced film art not shared by the Wachowski Siblings when they returned to the Temple Theatre in April 1999 a month before the return of the Force to spoil the May tricks of Lord Stinkious and implicitly replied to using CGI to pacify audiences in MEN IN BLACK with their CGI enhanced, triumphantly Zonebusting, Landis supporting, DARK CITY and DUNE evoking, Neuromancer, JOHNNY MNEMONIC and LITTLE BUDDHA fused and Ozian themed allegorical hung fu film, THE MATRIX.
Indeed, the Good Agents of INS Division Six of MEN IN BLACK morphed into the Evil Agents of THE MATRIX, led by Hugo Weaving’s insidious and implicitly Morrow linked Agent Smith. Ironically, this caused Fishburne’s mysterious Great Oz and Solo, SRT, Wolfman Jack and Yoda evoking-and, hence, implicitly Lucas linked-Rebel leader, Morpheus, to recruit Reeves’ initially frozen cyberpunk Tin Man, Thomas A. Anderson-his ruptures of the fourth wall linking him to Landis-like Agent K recruited Edwards to the Men in Black-and Ying Ruocheng’s Reverend Mother and Yoda evoking Lama Norbu recruited the twilit trinity of reincarnated kids to the Tibetan Buddhist cause in LITTLE BUDDHA-to battle the Agents of Evil and the CGI machines that created and controlled them. Significantly, Anderson was able to fight the CGI enhanced blockbuster machine and their Agents after Morpheus first freed him of pesky CGI bugs, and then persuaded him to take a ruby red pill that evoked the invigorating ruby red pill downed by THX 1138, affirming the link of Morpheus to Lucas. This ruby red powerup allowed Anderson to eventually become one with the brave new world of CGI enhanced film art, and thus master the TRON evoking digital Matrix and the T1 and T2 evoking and always beastly CGI enhanced blockbuster machine world. Ruby red power also allowed Neo to triumph over Agent Smith like Prince Siddhartha triumphed over the Dark Lord Mara in the LITTLE BUDDHA, SCANNERS and VIDEODROME evoking climax, giving him the cyberspunk to best Agent J by Skyrocking exultantly through the clouds in an even flashier pair of black sunglasses as a messianic cyberBuddha-!Maud’Neo!-in the end.
An exultant and liberating ending that implied that the Wachowski Siblings hoped that THE MATRIX would be a truly Matrix blasting Zonebuster film and one that would awaken audiences and film artists to the dangers of allowing themselves to be pacified by the CGI enhanced blockbuster beast and free them, film art and the Temple Theatre from the Twilight Zone forever, kicking off a whole neo cyberocking eon of creative and bug free CGI enhanced film art ‘…without rules and controls, without borders and boundaries’. A cyberocking neo eon that also liberated the TZ trio, for shortly before the exultant end of the film, the Great Morpheus and the Dorothy linked Trinity-her name evoking the TZ trio, her presence evoking Sonja Smits’ Bianca O’Blivion in VIDEODROME and Dina Meyer’s Jane in JOHNNY MNEMONIC, and played by Carrie-Anne Moss-joined Neo in escaping from a falling Huey helicopter-the same type used on the Landis set of TWILIGHT ZONE: THE MOVIE-before it crashed into the side of a skyscraper. That audiences did not rise up in outraged fury and protest the danger of this very realistic helicopter crash, secure in the knowledge that there had been no danger to cast or crew because the crash was pulled off with CGI magic, spoke volumes for how comfortable audiences already were with CGI, and how far they had left the TZ disaster behind. Bringing the nasty Nineties full embattled circle from the real helicopter crash at the end of T2 to the CGI helicopter crash at the end of THE MATRIX. Ironically, while supportive of Lucas, THE MATIRIX was done so well, it would be more difficult for the ex-Jedi All Star Lucas to impress audiences when he finally got his game on and the following month, launching the first allegorical salvo in a full Force cinematic Duel of the Mates.