DID YOU READ

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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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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