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Shelf Life: George Lucas’ “THX 1138”

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Just six short years after shepherding the last installment of the “Star Wars” series into theaters, “Revenge of the Sith,” George Lucas returned to the big screen last week with the release of “Red Tails.” Lucas didn’t direct the film himself – that honor went to Anthony Hemingway – but its story was one that Lucas was interested in for years, and which he financed himself with the knowledge that it was unlikely to make all of its money back.

Of course, decades of “Star Wars” discussions, not to mention the various changes he’s made to the films, and his seeming obliviousness (or ambivalence) about his fans’ feelings about those changes, have cast Lucas in a decidedly unflattering light: we understand that the films are his to change, they say, but why antagonize us by denying us versions that we love as they are? Regardless, it’s because of all of this that people forget that he was for a time a pretty impressive, unique filmmaker; he wasn’t close friends with folks like Francis Ford Coppola and Carroll Ballard for nothing. As such, we decided to take a look back at his earliest filmmaking effort, “THX 1138,” and see if it still speaks to his abilities a director as well as it seemed to at the time of its release.


The Facts

Released on March 11, 1971, “THX 1138” was George Lucas very first feature film, an expansion of a short that he made while in film school at USC. Unlike his later triumphs with the “Star Wars” films, Lucas met with commercial failure when it was released, and even when it was rereleased after Lucas’ name became a draw, it remained commercially unsuccessful, earning only $2.4 million total from its various theatrical runs.

Meanwhile, the film enjoyed a healthy level of success among critics, who responded to its dystopian story. The film hovers at 89 percent fresh on Rotten Tomatoes, based on 57 reviews.

What Still Works

Unfortunately, neither of the two original theatrical cuts were ever released on DVD, so the only version of the film available to watch is the Director’s Cut, released in 2004. Nevertheless, Lucas’ film retains all of its ominous power today, offering a portrait of an anesthetized, totalitarian society whose edges begin to fray after one of its citizens diverges from a steady diet of mind- and sense-numbing medications. Especially today, the film seems obviously inspired by Stanley Kubrick, in particular “2001: A Space Odyssey” and “A Clockwork Orange” in terms of its set design, camera angles, and underlying concepts. But Lucas somehow manages to work all of those ideas into a story that’s fully his own, and creates something emotionally evocative and thematically resonant even as he turns a generally unhurried story into a thriller via his Director’s Cut updates.

Amazingly, “THX” may be the only film of his whose changes either don’t affect the viewing experience, or improve it. His use of CGI to flesh out the city in which THX and his fellow citizens live gives the film a broader scope, but it also enhances the victory he achieves when he escapes its underground confinement. As suggested above, meanwhile, the action is intensified, amplifying some of the shots where cars have to be navigating space in traffic or in the society at large, but the truth is that Lucas did such a great job creating this elliptical chase between THX and pursuing authorities on motorcycles that the enhancement is at once welcome and superfluous.

Notwithstanding some digital trickery in which THX’s eyes roll up into his head, the performances of the actors is unilaterally terrific: As the title character, Robert Duvall embodies a certain kind of confused consternation, even when he’s finding unexpected pleasure, and throughout the film he lends the character’s saga a momentum whose significance – or even purpose – seems to escape even him, although he must play it out anyway. As LUH, THX’s “roommate,” Maggie McOmie is also great, albeit understated, and disappointingly absent from the final act of the film, precisely because we’ve grown to care about her. And as SEN, Donald Pleasance gives the film a sniveling sort of bureaucracy, a social and even technological hierarchy where he controls one small quadrant of THX’s life, but it’s enough to ruin it.

What Doesn’t Work

In retrospect, the idea of striking back (or at least positioning oneself) against the existing political or social mores of the day feels like a fairly conventional idea for the culture at large in 1971, and even then wasn’t especially original as an artistic choice (George Orwell’s “1984” was released 22 years earlier). If you’re especially dismayed by Lucas’ employment of Kubrickian ideas and visuals, that’s probably an issue as well, although his utilization of them doesn’t impugn the impact of the films from which he borrowed, and his photography as a whole is quite beautiful.

Despite the general consistency in quality of the Director’s Cut, it’s been so long since any real version of the original cut (or cuts) was available that it would be interesting to see what Lucas changed or enhanced, and what he left the same. There are two specific instances in which the CGI just doesn’t hold up, and calls too much attention to itself – during the rolling-eye scene mentioned above, and when THX is encountering the fringe dwellers at the entrance to the tower he climbs up through in order to reach the surface. Again, however, the changes in the film are mostly aesthetic, and in fact quite understandable – Lucas had little money to create the sorts of vistas he was able to utilize to great effect in the Director’s Cut, and those decisions are oddly justified by the scale of the storytelling.

The Verdict

“THX 1138” is a surprisingly great movie, even for today, and in many ways eerily prescient: Lucas foresaw the advent of a society that is constantly medicated and its senses numbed. His depiction of television and other technology is also really fascinating and accurate as well. But the bottom line is, does the film tell a solid, engaging story, and it absolutely does, then and now. So even if you’re no longer a fan of Lucas’, or think his work and re-work and re-work on the “Star Wars” films renders him unredeemable, “THX 1138” still manages to be a great film, even if you have to squint a little bit and forget who made it – or perhaps more accurately, what he made after it.

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.

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IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines

Shopping

The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.

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Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.

Booger

A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.

Ogre

Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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