paramental

Still working on “Advanced Operators,” which has gone from a Lovecraftian novella, to a Stephen King-ish novella, to a Lovecraftian short story, and now to a Fritz Leiberesque short story.

The jury’s out on whether it will have any of my own style, but I’ve been particularly inspired by this passage from Leiber’s “Smoke Ghost”:

Have you ever thought what a ghost of our times would look like […]? Just picture it. A smoky composite face with the hungry anxiety of the unemployed, the neurotic restlessness of the person without purpose, the jerky tension of the high-pressure metropolitan worker […] the aggressive whine of the panhandler, the inhibited terror of the bombed civilian, and a thousand other twisted emotional patterns. Each one overlaying and blending with the other, like a pile of semi-transparent masks […]

This was written in 1941, mind you. As usual, ol’ Fritz has beaten me to the punch.

I’ve uploaded a few stories to the Fiction section. Many will note with amusement that I’ve chosen to upload only an “excerpt” of my Sherlock Holmes pastiche in hopes that it may be published someday. Laugh now–it won’t be so funny when I’m paid $15 for it to be anthologized in an e-zine.

“But Once a Year”

This holiday-themed tale was written sometime around spring 2004. I can’t remember exactly what suggested the idea to me, but it was one of those instances where the story nearly wrote itself in a day or two (or maybe just a few hours). It’s an example of what one might call “Christmas Gothic,” of which the greatest innovator (other than perhaps Charles Dickens) is Tim Burton.

The story is quite short, so I’ve reproduced the complete text here.

The old man sat in the reception room. He wore a red wool suit, trimmed with white.
The room was unbearably warm. The man had taken off his cap and was fidgeting with it nervously, wiping it across his greasy brow. A plate glass window was set in the far wall, but no one was sitting at the desk.

Half an hour passed; then an hour. Still no movement behind the desk. The old man dripped with sweat, and his cap was a twisted mess.

“Mr. Claus.”

The old man leapt up in terror, slipped and fell, knocking his head against a coffee table.

“If you’re not unconscious, Mr. Claus,” crackled a voice from hidden speakers, “please step through the door to your right. You know the way.” On cue, the door had creaked open–apparently of its own accord.

Rubbing his bruised temple and cursing, the old man perched the mangled cap on his head, took a deep breath, and walked through the door.

*

Claus moved slowly down the hall. He was taking his time…delaying the inevitable.

The hall was gray and narrow. Countless doors loomed along both sides. All were unadorned. Other than the silver doorknobs and the faint shadows cast by the doorjambs, there was nothing to relieve the endless corridor of gray.

“Thirty-three,” Claus mumbled, his eyes following the doors on the left. “Thirty-four, thirty-five, thirty-six…thirty seven.”

Claus hesitated, panting. He wasn’t in the best shape of his life. He waited until he had his breath back, then opened the door.

The room was just large enough to avoid being a closet. Like the hall, its walls were a cloudy gray, as if its designers had no interest in–or awareness of–aesthetic appeal.

Behind the bare gray desk sat a…thing.

It wasn’t a man. Most of what was visible above the desk seemed to be the creature’s elongated head, which ended in a snout and a tangle of jagged teeth. Its skin was rough and scaly, and of a vaguely turquoise hue. Its eyes were bulbous and black.

Below the reptilian folds of the neck was a grotesque approximation of a business suit. The creature’s thin, clawed hands were folded neatly on the desk.

“Ah, Mr. Claus.” The voice was oddly smooth, almost unnatural. “Is it that time of year already?”

“Mr. Zaker,” Claus said. He pulled his cap off his head and gave a little bow. The temperature was still much too warm. Claus was used to a colder climate. He could feel drops of sweat sliding down his back.

“Please, have a seat,” said Zaker, gesturing to a chair in front of the desk.

Claus sat. He avoided meeting the creature’s blank, insect-like stare.

“And how are the”–Zaker used a word unpronounceable by humans–“holding up? What is it you call them? Rander?”

“Reindeer,” said Claus.

“Ah yes, reindeer,” Zaker said. “And how are the little darlings? Still fast enough for you? We could cycle a few of them out, if you need new ones.”

“No, they’re fine,” Claus said. “No, uh, no problems.”

“And the ship?” Zaker asked. “Still running? It must be, since you’re here. How have you found the new atmospheric bubble shield? It’s a much better design than the last one–as I’m sure you’ll agree. There shouldn’t be any more unpleasant incidents.”

Claus nodded. He was again mangling his cap.

“Are you all right, Claus?” Zaker asked. He raised a clawed hand. “You look unwell. I could call a medic to come take a look at you…”

“No!” Claus cried. “No, I’m fine. No need for that. Please.”

“Very well,” Zaker said. “Then perhaps we should get down to business. You have the goods, I hope?”

“Yes,” said Claus. “In the sleigh.”

“Excellent,” said Zaker. “The merchants have been absolutely screaming for this shipment. Demand has gone up since your shipments started getting lighter, you know.”

“I know,” Claus murmured.

“In fact,” said Zaker, pulling a long sheet of paper from somewhere beneath the desk, “your shipments have been getting progressively smaller over the last thirty years. Why is that, Mr. Claus?

“Our studies show your planet’s population has exploded in the last fifty years. The goods should be abundant. Yet your shipments have declined over the last decade. Why, Claus?”

“I’ve told you,” Claus whispered. “Times change…it’s not so easy now, to–”

Zaker slammed a clawed fist into the desk. Claus screamed and jumped behind his chair, cowering.

“Our deal is an old one, Claus,” said Zaker. “But that does not mean you are free to gradually renege on your part of it.”

Zaker stood and rounded on Claus. His body was thin in relation to his huge head, but the suit went all the way down to a pair of patent-leather shoes. He looked like a humanoid caricature of an alligator.

“We saved you, Claus,” said Zaker. “You were a dying wretch when we found you, living off your own race like a parasite. We healed you, and opened your eyes to things never conceived of by human imagination. We gave you everything. Technology far beyond that of your current civilization. Tireless alien workers and the means to produce massive quantities of product in no time at all — with little overhead. We gave you a ship, and creatures to pilot it properly. We gave you the ability to slow time. We even gave you immortality.

“And what did we want in return?” said Zaker. “We asked you to work for us one night a year. A single night! And in exchange for spreading joy and mirth throughout your world, we asked for a few simple morsels. A pittance, really. No one would ever miss them.

“And you delivered. Not much at first, but as your fame grew, so did the goods. There were some very good years there, Claus.

“But now the supplies are dwindling again. Why? Our research shows you’re more popular than ever, yet they know nothing of your movements. Some believe you to be a myth. They would never suspect you. So why do you come with less stock every year?”

Zaker’s snout was inches from Claus’s sweat-slicked face. “Are you keeping some for yourself?” Zaker whispered.

“No!” Claus cried. “Never! I would never even think of–”

A clawed hand lashed out and gripped Claus’s throat. “You’re looking well-fed, Claus. Are you sure you’re not keeping a bit, just a wee bit, for yourself?”

“No!” Claus gasped. “No, please…come with me…I’ll show you…”

Zaker released his grip. “Yes,” he said. “Yes, the inspection.”

The creature opened the door and gestured to the hall. “Let us go, then.”

Rubbing his throat, Claus followed the creature out of the room.

*

Claus had parked the sleigh in the docking bay. The “reindeer”–monstrous reptilian quadrupeds who vaguely resembled the Earth animal–were milling around the craft, speaking in a loud, unpleasant-sounding dialect.

Behind the sleigh were two massive holding tanks. Zaker’s employees had detached the cargo and were now scurrying around it.

Zaker strode up to the tanks while Claus waddled behind.

One of the workers handed Zaker a datapad. “Down again,” said Zaker. “You’re going to have to explain this, Claus. But first, let’s check the goods.”

Zaker pressed a button on the side of the cargo container. There was a whirring noise, and a little tray slid out of the tank. Inside was a pile of flat, brown objects.

Zaker picked one up. He took out a small glass, held it to his eye, and inspected the item closely. With a satisfied grunt, he put the glass away and, with another glance at Claus, took a bite.

He chewed thoughtfully. “Excellent,” he pronounced. Zaker opened his gaping mouth and dropped the item in, swallowing it whole. “One of the few perquisites of this job,” he said to Claus, one eye narrowing in a grotesque parody of a wink.

Claus tried to smile, but the result was a nervous grimace.

Zaker strode to the next container. This time, the tray delivered a small cup of creamy liquid. Zaker took a sip.

“Hmmm,” the creature said as it swirled the milk around. “Not too bad. And yet…”

Suddenly Zaker’s face changed. He spat out the liquid and wheeled on Claus. “What’s the meaning of this?” he demanded.

Claus fell to his knees. “I’m sorry!” he cried. “I’m sorry! It’s this new diet everyone’s on! They’re all drinking soy milk!”

“Soy…?”

“Yes! It’s made from plants!”

“Plants?” Zaker gasped.

“I’m sorry, I’m sorry!” said Claus. “The children, they don’t know, they just use whatever their parents have in the fridge…”

“Pasteurization was bad enough,” Zaker said. “And then the low-fat…and now this ‘soy’ milk?”

“They say it’s healthier,” said Claus. “I don’t like it myself.”

“I imagine not, judging by your gut,” Zaker said. “Is this why your shipments have been lighter?”

“Yes,” Claus admitted. “I–I’ve been tasting the milk beforehand and throwing the soy out. But more and more people are drinking it each year. And there was so much this year, I thought, maybe…”

“You thought you could fool us,” Zaker said. “Claus, you know we need pure milk.”

Claus had asked it many times before, but once again he found himself saying, “But why can’t you just steal the milk yourself? Or take some cows?”

“Damn it, Claus,” said Zaker. “I’ve told you a thousand times, we tried that. Our attempts to get the milk out of the cows were…messy, and usually resulted in the death of the cow. The humans became suspicious.”

“But–” Claus began.

Zaker waved a hand dismissively. “This method is much easier,” he said. He looked at datapad. “It’s not a total loss. We can probably separate the soy from the real milk. But we can’t use it. That means your shipment is even smaller this year, Claus. Next year, just throw out the soy milk.”

“I will,” said Claus.

Zaker squatted before Claus, who was still kneeling on the floor. He put a claw beneath the old man’s chin and forced him to look up. “You will bring us more milk and cookies next year, Claus,” he said, “or we may be forced to reconsider our deal.”

“But what of the little children and their toys?” Claus asked miserably.

“Tell them that good boys and girls leave out cookies and milk–real milk, none of this soy stuff,” Zaker said. “To be honest, I don’t care what you do. But we need those milk and cookies, Claus. Do you understand me?”

Claus nodded quickly. Zaker stood up.

“Good.” Zaker glanced at his watch. “All right, I’ve got a meeting with Wanda in ten minutes. Judging from her shipments, there doesn’t seem to be a shortage in teeth, at least.”

Claus bowed in shame.

“Oh, get up,” Zaker said. “You look pathetic. Take your ship and go home.”

Gingerly, Claus got to his feet.

“See you next year,” said Zaker as he strode out of the bay. “Oh, and Claus–Mirry Krassmiss.”

END

“One of a Hundred”

This story was originally written to flesh out two characters I had created with a friend for a roleplaying game. When I later began work on Tales of Atreval, I found I could easily swap the two characters for the two main heroes of TOA, Arstace of Fluy and Nahual the Gwant.

I think the story now serves as a good teaser for TOA, and as a brief introduction into the world of Atreval.

IT could have been any of a hundred nights, a hundred besieged fortresses, a hundred battles against overwhelming odds. They had been through so much that the names and places didn’t matter anymore. All they knew was the heady lust for battle, the clamor of sword against shield, and the knowledge that they stood beside one another in touch-and-go circumstances.

“Nahual!” cried the taller, white-haired one. “On your left!”

In response, a battle-axe swung out and a gargol crumpled to the ground.

“Thanks,” growled the smaller one through the din.

They fell to fighting back-to-back, the axe and rapier weaving a web of death around them. The axe-wielder was barely four feet tall, and was a member of the race known as the Gwanti. He looked nothing so much as a cross between a lizard and a very small human. Pointed teeth jutted both up and down from the sides of his mouth. His beady yellow eyes followed every move of his foes. He wore only a shirt of mail and a small loincloth; his tough, scaly gray skin offered more protection than any pair of breeches could.

At his back fought a tall man, lithe where his companion was broad, subtle in his attacks where Nahual was brutal. His pale skin and white hair, highlit by his blue eyes, hinted at his noble heritage. His armor was hidden beneath a black cloak that wheeled about him, obscuring his limbs and confusing his foes, though it never seemed to hinder his own movements. His rapier seemed to lick its victims, sliding instantly through an eye or a heart before flashing to another.

But still the gargols came, squeezing their squat, smooth-skinned bodies between the narrow archways. The only sound in the room was the loud clash of blades, the scuffling of feet on stone, and the grunts of the two non-gargol fighters. Both man and Gwant had fought countless gargols in the past, but their silence and lack of any discernible facial features never ceased to unsettle their stomachs.

Though the gargols seemed innumerable, neither fighter displayed the slightest concern. They had been separated from the main force of defenders an hour earlier. The fortress had apparently fallen, as the gargols seemed to be swarming from all directions. The two had been slowly making their way toward the bowels of the keep in hopes of finding an escape route.

At one point a group of gargols pressed in from the side, separating the pair.

“You all right, Ar?” called the lizard-man.

“Fine!” the man, whose full name was Arstace, cried back. “Mind your own head, you fool!”

And so it went, the gargols coming on in droves and then piling at their feet, lifeless. Nahual managed to reach the door at the other side of the room.

“Ar!” he screeched. “Let’s go!”

Dispatching another gargol, the nobleman leapt nimbly over a pile of dismembered corpses and dashed through the door. Nahual hacked a few gargols near the door, snarled at the remainder, and ducked in after his companion. He dropped the bar into place just as the gargols crashed against the other side.

“That should hold them for about two minutes,” said Arstace. “And what do we do now? I can’t see a thing.”

“Hold on,” said Nahual. He fumbled with the pouches at his waist until he found what he was looking for. There was a hiss, and a small torch began to glow in his tiny clawed hand.

“You’re useful sometimes, lizard,” said Arstace.

“On occasion,” agreed the Gwant, and as the door behind them began to splinter, he swiftly led them down the corridor.

The passage was narrow and wound gently downward. It was made entirely from stone, and a faint chill hung in the air.

There was a loud crash far behind them. Gargolish cries and the clamor of swords sounded down the passage.

“Seems like an awful lot of effort to kill two fighters,” Arstace commented.

“They’re gargols,” Nahual said. “They’re single-minded.”

“If they have any minds at all,” said Arstace.

They continued on in silence, moving as swiftly as they dared. Deeper and deeper the passage wound, until it changed into steep stairs. The chill became oppressive.

“We’re underground,” Arstace said.

Nahual snorted. “Somehow I don’t think this is the way out.”

Finally they reached the bottom of the stairs. They found themselves before a heavy, black iron door. To their surprise, a large torch guttered nearby.

“Someone’s been down here recently,” said Arstace.

Nahual glared at him. “Think so?” he hissed sarcastically.

Arstace walked up to the door and knocked loudly. No response.

The cries of the gargols grew louder. “Well, this isn’t good,” said Arstace.

Nahual looked thoughtfully at the door.

“This isn’t good,” Arstace repeated, looking up at the stair nervously.

Nahual moved to the side of the door, raised his axe over his head (its tip came just to Arstace’s chest), and struck.

There was a crash and a loud bang as the bar on the other side snapped and fell to the floor. The door flew open.

The Gwant poked his head inside. He quickly yanked it back as a rusty sword whistled past his head.

“Death to you!” cried someone from the other side of the door. As Nahual stumbled back, he glimpsed a room full of women and children. An old man stood in the doorway, brandishing the sword. Despite his age, the gaunt muscles that flexed around the handle made him something of a threat. He moved toward Nahual, who was coming to his feet.

“Wait!” Arstace cried, leaping between them. “He is with me! We are friends…”

The old man hesitated, glanced at Nahual, and raised his sword again.

Arstace’s hand snaked out and yanked the weapon out of the old man’s hands. The fellow stumbled back and was caught by the women, who began to wail in dismay.

Meanwhile, Nahual had recovered his composure and was trying to look friendly, standing with his axe over his shoulder.

“Please listen,” Arstace said quickly, putting the old man’s sword on the floor. “We are indeed friends. I am Arstace of Fluy, and this is my companion, Nahual of the Gwanti—the same Gwanti who kept the Southern Pass for so long. We were fighting for the keep, with your men. We became separated from the main force and were trying to find a way out. The gargols have overrun the keep. They are on their way down the stairs at this very moment.”

The women cried out at this. Arstace had to shout. “Is there another way out of this chamber?”

“None,” answered one woman. She bore herself with more courage than the others, and had a resigned, weary look in her aged face. “This is our most well-hidden and protected room. It was our hope that the iron door would hold back any number of gargols,” she said, with an accusatory glance at Nahual.

The Gwant shrugged. It was hard to tell, but Arstace thought the lizard-man looked a little sheepish.

“Very well,” Arstace said to the woman. “What is your name?”

“Freyf,” she said.

“Well, Freyf, my companion and I will do our best to protect you.” He stepped back into the stairwell and began to close the door. “Brace yourselves behind this, and open it for no one. Whether we live or die, we will not return here tonight.”

Freyf nodded, and Arstace closed the door.

*

“Well, Ar,” said Nahual, “dare I say it?”

“Please don’t,” the other muttered.

“I think I will: ‘another fine mess,’ eh?” chuckled Nahual. Arstace groaned.

The screams of the gargols were growing louder. “Sounds like there’s a lot of ‘em,” said Nahual. “What do you think, Ar? Is this it?”

“‘It’?” Arstace echoed. “How can this be it? I couldn’t even tell you the name of this fortress, or who we’re fighting for.”

The clamor grew ever louder. “I just have a strange feeling,” Nahual said. “Not despair, but…”

“No time left,” Arstace said, raising his rapier. “Now for death and glory!”

And then the gargols were upon them.

*

The women and children could hear faint sounds of conflict through the thick iron door. At least they began to die away, and subsided into a dread silence.

For half a day they waited in the chamber, wondering what had happened to the two warriors. Some wanted to open the door, but Freyf was firm: “They told us to open it for no one, and we shall not.”

At last came the familiar knock of their people, two heavy raps followed by five light ones. They had some trouble getting the door open, and soon saw why—gargol bodies were piled waist-deep in the landing and continued upward, past the bend in the stairs.

“Great gods,” said the soldier who had come for them. “What happened here? There are dead gargols nearly to the head of the stair.”

“There were two warriors,” said Freyf. “A nobleman, I believe, and a lizard-man of the Gwanti. They came upon us by accident, then shut us back in and defended the chamber. Do you know what became of them? Are their bodies amongst the slain?”

The soldier shook his head. “I do not know, but I haven’t seen any dead Gwanti. But there are more dead gargols in this part of the keep than any other. And you say that two men—er, a man and a Gwant—killed them all? You have gone mad down here, woman.”

*

The men of the keep never knew what became of Arstace and Nahual, though the soldier who freed the women was soon set to rights as to their existence. More than a hundred gargols had been ill-met by the pair, though rumor quickly raised the number to two hundred and then five hundred, until it was said that two mighty warriors had slain a thousand gargols.

The attack had been repelled at last by the arrival of Prince Hanrik and his men, who had marched south from the Southern Pass. The famous hero had come amongst the gargols like a storm, and his forces had swept the enemy away within a few hours.

As the dawn spread over the last few scenes of battle, two figures watched from a rocky cliff to the west of the keep.

“Look at him,” muttered Arstace, gazing down at the golden figure of Hanrik. “Such a clumsy fighting style. Sure, he kills two or three at a blow, but he does so maybe four times an hour. The rest of the time he’s trying to move about in that silly armor of his. No wonder he survives all his battles. He’s encased in metal!”

“And look there,” said Nahual, pointing to a figure on horseback near the edge of the fighting. He was dressed in a bright crimson robe, and used a staff to strike the gargols that came too near. At each blow, the gargol screamed and dropped, lifeless.

“Vilmeith came too, eh?” Arstace said. “That whole dramatic entrance was probably his idea. I’ve no doubt he’s quite pleased with his handiwork. Hanrik will be even more beloved for this.”

“Hmph. Vilmeith wouldn’t even be here if we hadn’t killed that dark wizard for him.”

“Ah well,” said the nobleman, clapping Nahual on the shoulder. “We’re alive, at least. It was touch-and-go there for a while.”

“You were worried?” Nahual asked.

“Never,” said Arstace with mock-seriousness. “Our time will come, but not in some nameless keep.” He paused. “I hope not, anyhow.”

“We’ve been in too many nameless keeps,” Nahual said. He stood, dusted himself off and fastened his axe to his belt.

“Yes, time to go,” Arstace said. “This is all in hand. Too bad Hanrik had to show up. Nothing else for us to do. And he’ll take all the credit, no doubt.”

Nahual snorted. “At least we got to bash a lot of heads.”

“Yes,” Arstace agreed as they began to trudge away from the keep. “There is that.”

“The Adventure of the Pharaoh’s Sceptre” (excerpt)

This was written in December 2001 as a gift for a then-girlfriend. To write it, I read about two dozen of Doyle’s original Sherlock Holmes stories in a week, immersing myself in the style. When it was done, I placed it in an envelope claiming to be from a group called “The Sherlock Holmes Society” and mailed it to her under the guise that it was a newly-discovered manuscript from Doyle himself. For the record, it took me about ten minutes to convince her I’d written it.

I’m publishing only an excerpt of the story here, in hopes that I may someday get it into an anthology of Holmesian pastiches.

Extra credit if you can spot the Evil Dead II reference.

In choosing which of the cases of my friend Mr. Sherlock Holmes I chronicle for posterity, I am often varied in my criteria. Sometimes I believe I can draw interest through the principal actors in the drama, if they are of high enough station or notoriety, and not adverse to their story being told. At other times, and this is more to Mr. Holmes’ way of thinking, the case is remarkable in its bizarre details and complexity, rather than its mean participants. Finally there are, on occasion, times, adventures in which it is the object in question that makes the case most interesting. Such was the strange case of the Pharaoh’s Sceptre.

The adventure occurred when I was still a lodger at Baker Street, before I met my wife in the case of the Sign of Four. It was mid-September, and one of the dreariest months I can recall. Fog encircled the town like a wraith, and a premature winter chill drew coughs from the population. Even Holmes, whose strong constitution I had always admired, found himself reaching for his handkerchief from time to time. It had been several days since Holmes had a caller. I kept myself amused with novels and the morning papers, and even ventured out on a trip to a play, though I could not, despite my most pitiable entreaties, convince my friend to join me.

When I returned from the play around six o’clock, my soul somewhat refreshed by laughter (for it had been a comedy), I found Holmes in conversation with a client.

“Ah, Watson, your entrance is, as always, most timely,” said Holmes, gesturing me toward a chair. “Nothing gives me more pleasure than to hear your opinion of my cases, and this one may prove most interesting, at least in its details. May I present Professor Raymond Knowby, of the Ægyptian wing of the British Museum. I suspect you already know some details of his little problem from the papers. Professor, this is my associate Dr. Watson. You may say anything before him that you would say to me.”

The man stood nervously and shook my hand, with a little bow. He was about five feet tall, with a bald head fringed with greying hair. I put his age at about forty-five. He peered at us over half-rimmed spectacles, and had a large mustache with ends that dangled below his chin. He wore a crisp tweed suit with a red cravat, and held his hat in his hands. But what struck me most was his health. He seemed very feverish, and I nearly asked to administer to him on the spot. His face was flushed and his brow covered in sweat, and he mopped both constantly with his soaked handkerchief. His speech was filled with stutters and stammers, as if he were suffering from some mental affliction. His behavior seemed a marked contrast to his scholarly position.

“Since you have just started your narrative, Professor, I wonder if you might not begin again, for the good doctor’s sake.”

“Certainly,” Knowby said. “You must forgive my present condition, doctor, for as I was telling Mr. Holmes, I have come down sick recently, and I suspect I have little hope of recovering from it. But that will be explained in my story.

“The trouble began about one month ago, when one of our agents returned from Ægypt with a large bundle of artifacts. You may heave heard, doctor, of the Deir el-Bahri Cache, a trove of ancient Ægyptian artifacts that was unearthed about ten years ago by Gaston Maspero, head of the Antiquities Service in Cairo. Well, one of the ways we learned about the Cache was by purchasing a surprising number of ancient artifacts through the Ægyptian black market, presumably stolen by expert grave robbers. Ever since then the Museum has, on occasion, employed several of these grave robbers, though I have always found it a rather distasteful affair. They are often excellent guides and have led to many discoveries, if they can be convinced our offers are better than what they could make selling the artifacts on the black market. We have kept agents in Ægypt, always watching the black market for interesting items. Well, one such agent was Jakob Stal. He was one of our best agents, but his success, I suspect, stemmed from his tendency toward unsavoury methods and questionable companions. This Stal, a hulking Swede, returned from Ægypt with a fairly impressive bundle. Most astonishing was a long golden sceptre, three feet long and topped with a flat stone marked by a hieroglyph, an ancient Ægyptian symbol. I have reason to believe the sceptre may have belonged to Ramses II himself!”

– – End of Excerpt – –

“Stealing Llamas”

This story, written in summer 2001, was intended to be a (fond) parody of a certain half-hour-long commercial I enjoyed as a child. As you can see, at this point I’ve started to move away from blatant fan fiction to thinly-veiled fan fiction. This story has already been published online in its entirety by PulpLit, so I’ve reproduced the complete text here.

I awake in the damp cell that serves as my bedroom. Ordinarily, the moss creeping along the walls would be a comfort to my mutated, plant-covered body. But the frigid chill in the air reminds me it’s just another day in the service of Thoom – Lord of Destruction, Scourge of Mysticana, and complete failure.

I can hear the familiar sounds of Manwolf going about his morning business, licking his genitals and slopping his tongue in a bowl of water. I pull the covers over my head. At the usual time – fifteen minutes before any sane person would be awake – Manwolf pounds my door with his lice-ridden fists. “Weed!” he whines. “Weed! Wake up!”

Ah yes, “Weed.” That would be me, Dr. Lerin Ketcherdafaelion. Once the most famous bontanist in Mysticana, now a henchman called “Weed” to a guy named Thoom.

“Get up, Weed!” Manwolf whimpers.

“I’m up, I’m up,” I mutter, peeling away my sheet (or rather, the disease-infested rag I cover my modesty with in the three or four hours of sleep I’m allowed). Manwolf remains outside the door. More genital-licking, no doubt. My own morning ritual consists of adjusting my body to consume carbon dioxide rather than oxygen and catching a few rays of dim sunlight.

“Wee-yid!”

Oh, how I loathe that ambulatory stench! I open the door and there he is, all seven feet of him, curled up on the floor. His eyes look up at me happily. I kick him. “Out of my way, dog!” I yell. Dog is my usual term for Manwolf. Despite the abuse, the stupid beast-man has apparently chosen me for his best friend. This doesn’t surprise me. My luck has been in a steady decline since the whole becoming-a-mutant-freak thing.

“The Master has great plans today!” Manwolf informs me as we trod through the moldy stone corridors. Some of the molds have begun to produce airborne toxins. Manwolf probably has another year or two before the rancid old castle does him in.

“Great plans, eh? What now? Soup strainers that turn you invisible? A sewage gun? Or will we just call a caterer and ring up a big bill on the king’s account?”

“No, much better plans than that!” Manwolf assures me.

The henchmen are all up now, making their way to the throne room so Thoom can show us his latest way to fail. There’s Fishman, who is actually part dolphin. Both Fishman and I have spent hours attempting to explain to Thoom the difference between a fish and a dolphin, but our lord insists on Fishman. There’s the Claw, a man with a lobster claw for a hand. The claw is rather brittle, so the Claw spends most of his time cradling it defensively. There’s the cleverly named Badgirl, an attractive “sorceress” whose powers seem to consist primarily of rebuffing my advances and swift kicks to the groin. Finally, there’s the Cloak, who I hate the most. The Cloak is a tall guy in a really big black cloak. That’s it. He doesn’t do anything. He just stands around in a dark cloak. He’s not even mysterious: talk to him and he’ll tell you his name, life story, etc. It’s not even an interesting story. I hate the Cloak.

The lot of us make our way to the throne room after a short breakfast consisting of milky gray sludge. I’m certain there are old newspapers in it. Badgirl sits next to me, posing seductively. I have no idea who she’s posing for – we’re all mutant freaks and half-animals, except the Cloak, who sucks.

After ten minutes of uncomfortable silence, Lord Thoom deigns to grace us with his presence. He enters the room from the left of the throne. As usual, he’s dressed in a shimmery red robe that I always find a bit festive for a so-called Lord of Destruction. He has no face, only a skull, with glowing red eyes. He wears a garish gold crown and carries a ruby-topped scepter at all times.

The Destruction Lord walks across the dais and takes his seat, glaring at us with open contempt. At least I think it’s open contempt. As I said, the guy has no face.

“I have summoned you all here for a purpose,” Thoom declares. I guess he forgot we come to this room every damned morning. “I have finally discovered a way to obtain the Book of Forever!”

Silence. Crap! Whose turn is it today? I wonder. I can’t recall who went yesterday. Then I notice Badgirl glaring at Fishman, and breathe a sigh of relief.

“Uh, what is your plan, my lord?” Fishman stammers, the air whistling through his blowhole.

“It’s quite simple, you ichthyological idiot!” Thoom snorts. Ichthyological – not bad. If Fishman were at all a fish, it would have been a pretty good insult. “I wouldn’t expect a toad of your intelligence to grasp the intricacies of my intellect! But of course, I’ll explain my plans.”

Fishman breathes a sigh of relief, and I give him a nod: that was pretty painless. At my side, Manwolf sneaks in a quick lick while Thoom stands and begins to circle around the table, slowly. I hate this technique; it allows for maximum taunting.

“You see, my warriors,” Thoom begins, “in my studies of the Book of Death, I have come to realize that we’ve been going about this all wrong. We’ve been attacking Castle Gladgood from the western and northern sides. We must attack them from the eastern side. Badgirl! What is on the eastern side of Castle Gladgood?”

Caught by surprise, my beauteous maiden stutters, “Um…uh…”

“No!” Thoom interjects. “The desert, you witless witch! The desert is to the east. They will never expect us to attack from that direction.”

“That doesn’t mean Keldor won’t defeat us, like always,” I point out.

“Silence!” Thoom bellows. “I wasn’t finished. We will prevent those do-gooders from being able to fight us in the desert.”

After another pause, the Claw jumps in and says, “And how will we do that, my lord?”

“Simple, you half-handed half-wit!” Thoom cries gleefully. “We will steal their llamas!”

We all look at each other, blinking. Like everyone else, I wonder whether I’ve heard him right. Only Fishman sighs and picks at a scratch on the table; he’s heard Thoom perfectly. Meanwhile, our leader glares at us expectantly, hands on hips.

“Uh…could you repeat that, my lord?” the Cloak asks.

“Their llamas!” Thoom insists. “Once we’ve stolen all their llamas, they’ll never be able to come near us in the desert!”

I close my eyes and pinch the bridge of my nose. Stealing llamas. For absolutely no good reason. Keldor and his allies have flying ships. But I know better than to argue with Thoom.

“So,” Thoom is saying, “Once we’ve got all the llamas, we’ll…”

I start to doze off at this point. The goal of all Thoom’s plans is to obtain the Book of Forever and glean its “secrets” – which will, presumably, help him conquer Mysticana. I’ve always been rather skeptical of the Book of Forever’s alleged powers. It doesn’t seem to me that Keldor or anyone else has ever made much use of the Book. What “secrets” could it possibly hold? Thoom is unclear on this point. I wonder if he’s even sure the Book exists. It seems more like a convenient excuse for sadistically throwing us in harm’s way every weekend.

I feel a clammy hand on my shoulder. “Are you listening, you botanical boob?”

I’m also convinced Thoom spends more time reading his thesaurus than the Book of Death. His constant need to assert his authority, mostly by insulting us, is clearly based on a deep-seated inferiority complex. I suppose being defeated more than 300 times in a row can do that to you.

“I’m listening, my lord,” I mutter.

“Good,” he says, patting my shoulder. He returns to his throne. “When the time comes, you will use your powers to create a thick wall of vines. That will keep Keldor and his friends off our backs long enough to penetrate the castle. Then…”

I tune out again. Yeah, right – a wall of vines. In the desert, no less. Did Thoom have no cumulative memory? Keldor is the self-proclaimed Strongest Hero in the Galaxy. You could drop twelve boulders and a ballistic missile on him and he wouldn’t bat an eye. A wall of vines isn’t an obstacle, it’s a short-lived eyesore.

Whoops…Thoom’s cackling and making fun of Manwolf. That usually means he’s wrapping up. “Excellent,” our fearless leader says, leaning back in his chair and steepling his fingers. “We will go out tonight and steal all the llamas in Mysticana. Tomorrow we attack Castle Gladgood from the west – ”

“East, my lord,” Fishman interrupts. He immediately slaps a fin over his mouth, but it’s too late.

“What?” Thoom snaps.

“Er…I thought the eastern side was the desert one, my lord,” Fishman mumbles.

Thoom raises a hand and blasts Fishman with a bolt of lightning. The anthropomorphic dolphin sails out of his chair and crashes against the stone wall.

Thoom caresses his bony chin. “He’s right, it is the east,” he murmurs. “Right. We will attack from the eastern side tomorrow, once we have all the llamas.”

“My lord,” I say slowly.

“What is it, you…uh, botanical…you plant-like peon?”

“You may want to consider stealing camels as well, since you can ride them in the desert too.”

“What are you babbling about? N-no, no camels! Llamas! Just llamas. Who are you to question my authority?”

“I’m an accredited scientist with an IQ of 215,” I reply. “I’m also thinking we may want to have an exit strategy in case your plan doesn’t work out, if you know what I mean.”

“I don’t know!” Thoom roars. “I do know you’re annoying me, you green leafy lily-wit!”

And that’s that. We lackeys will suffer Keldor’s godlike punches as usual, landing somewhere in the southern hemisphere. Thoom doesn’t care. If he doesn’t curse you openly, he’ll insult you behind your back. We are expendable – and yet, we never die.

*

I tried to talk to Manwolf about it once. “Don’t you ever want to question Thoom’s judgment, dog?”

The living shag carpet shrugged. “The Master is all-wise,” he intoned.

“All-wise in what? Failing? Have we ever seen the Book of Death? I don’t think it exists. Never mind the Book of Forever! How many times will he throw us against Keldor and his omnipotent muscles? God, dog, what are we doing here?”

Being a troglodyte, Manwolf isn’t much use in philosophical contemplation. His response was to grunt and lick his genitals.

I decided to try Fishman next. “Hey, Tim, don’t you think Thoom is lying about the Book of Forever?”

“Maybe,” he replied between bites of a tunafish sandwich.

“Okay…well, doesn’t that bother you? That we might be having our asses handed to us every day for no good reason?”

“I guess.” As you can see, Fishman suffers from a certain lack of conviction.

“Well, I for one am sick of it,” I declared. “Tomorrow morning, I’m telling Thoom that I quit.”

“Good luck.”

The next day, I tried to quit. Really. It went something like this:

“My lord – ”

“What is it, you herbal ignoramus?”

“Uh…nothin’.”

I can’t explain it. There’s just something about being a hideously mutated freak that draws you to megalomaniacs – even when they are completely incompetent. I don’t think Thoom could successfully plan a panty raid, yet I feel compelled to participate in his victory-proof schemes week after week. I never consider usurping him, because that would be too much work – and even if I succeeded, what would I do then? I’m a plant-man. At least Thoom has a goal, unattainable as it is. The Book of Forever is his raison d’etre, his idee fixe, if you will. He will never stop trying to get it, despite the human war machine that is Keldor. You have to admire the guy. The poor, deluded, skull-faced guy.

*

I should probably tell you some of my background. All evil henchman have a story. Manwolf was bitten by a werewolf. Fishman was the result of a genetic experiment gone awry. The Claw’s grandfather was a five-foot lobster. Badgirl had a difficult childhood, and the Cloak sucks. So what about me? How did Lerin Ketcherdafaelion, the great botanist, become a half-man, half-plant known as “Weed”?

There I was, working on my botanical science. Well, pretty soon I had the ambition for world domination that afflicts most botanists during middle age. Without the knowledge of the King or the Royal Protector (Keldor) I began to work on a secret formula to create an army of plant-men to do my bidding. I had to test it on someone, naturally. The thought occurred to me to kidnap a passing vagrant and force him to drink the elixir, but I thought that rather unfair; too many passing vagrants have suffered in the name of mad science. So I drank it myself, and poof! I was a plant-man. Unfortunately I had no way of reversing the process. At that precise moment, Keldor walked in, and – horrified by my new appearance – he tossed me out of the castle. Shunned by the general populace and labeled a monster, I had no choice but to shack up with Thoom and his all-star losers. It was that or be stoned to death by a mob of frightened villagers. Since then, I’ve been drop-kicked all over Mysticana by Keldor and his friends. It’s a living. And at the end of the day, Thoom’s cruel insults and esteem-crushing reprimands make it all worthwhile.

*

So now it’s midnight, and Manwolf and I are slinking around the Royal Zoo. We go right past the camel paddock – plenty of camels there, ready to be saddled up – and move on to the llama cage. There are three llamas. Just three. There were at least ten camels back there.

Manwolf breaks open the bars; he’s useful for a few things. The llamas begin to bleat, or snort, or whatever that annoying sound is. One of the llamas is wearing red metal armor, which seems a bit weird. The armor looks vaguely familiar, but I’m not sure why. Pushing the thought aside, I conjure up some tasty grass and try to calm the animals down, but they can smell Manwolf, and now they’re getting rowdy. The saliva starts flying, and I take a nice blob right in the eyes. I don’t know if it’s possible to describe just how much llamas can spit. It’s impressive. This is the real meat, the glitter and the glory of being an evil henchman. If you’re not being casually smacked aside by an omnipotent hero, you’re being spat on by angry llamas.

Manwolf is soaked by the end, but we manage to get the ugly things lassoed up. With a generous combination of tugging, dragging and cursing, we get them to move about five feet. I try the grass trick again, and this time it works. Using the grass as a lure, we lead them through the zoo and out to the troop carrier, where the other henchmen are waiting with a dozen more llamas. Thoom’s driving the carrier; we have to ride in the back with the llamas, of course. Evidently llamas don’t distinguish indoors from outdoors for bathroom purposes – I can’t even see the floor. The smell is a threat to our very lives. Fortunately we only have to endure it for fourteen hours while Thoom drives at the carrier’s minimum speed, to save gas.

Back at Castle Darkbad we unload the llamas into the castle courtyard. After much spitting, the animals seem content to mill around while we shower off the stench of llama. Thoom, of course, smells lovely as a rose as he screams at us to hurry up.

We meet once more in the throne room. We’re all smelling a bit better, except for Manwolf, who detests bathing. His stench is almost overpowering. He sits next to me.

Thoom swaggers in, supremely confident now that all the llamas in Mysticana are crapping in his courtyard. “Now, my warriors,” Thoom says. “we shall begin our assault! All of you, to the transport, and then – to glory!”

I’m so tired I can’t even roll my eyes. We stumble downstairs, Thoom herding us with his scepter, cackling all the way.

*

We stand across the desert wastes, prepared for battle. Before us is the pink-and-purple monstrosity that is Castle Goodglad, that bastion of all that is Good and Right and Cute. I can see unicorns with rainbow horns prancing on the grass, whilst cherubs and fairies dance like fireflies in the dawning morn. Now that I think about it, I can’t believe I ever chose to live there.

I said we were standing across the desert wastes. That’s not exactly true. In an attempt to spite the rulers of Goodglad, Thoom has forced us to ride llamas all the way to the castle. So rather than standing, we’re lurching back and forth, clutching frantically at ill-fitting saddles or being thrown off entirely.

Thoom stands beside his camel – I mean, llama – holding it by the rein. He’s got the one with the weird metal armor. We’re close enough now to see figures peeking out of rose-tinted windows. I think I spot McDoogle, the king’s head soldier, peering at us from the battlements.

“Rulers of Goodglad!” Thoom bellows. “You see before you the assembled might of Thoom, the Lord of Destruction!” He raises his scepter high in the air and electricity crackles around it. Thoom’s powerful magic makes his inept planning all the more sad.

“We come to you from the desert,” Thoom continues. “And look! We have your llamas. You cannot defend yourselves from our attack. If you do not surrender both Castle Goodglad and the Book of Forever immediately, we will destroy you!”

The echoes of his last words fade from the castle walls, followed by a long silence. I’m waiting for Keldor to stride through the gates and send us into orbit, as usual. But the pause stretches into several minutes, and I can see McDoogle anxiously conferring with some of his officers. There are raised voices, and an argument seems to be going on. Where’s Keldor?

Thoom is as confident as ever. This plan will work. He is as sure of it as he was sure stealing all the books from the Royal Library would work, or that he could poison Keldor with a playing card.

Finally, McDoogle appears on the battlements with a small cadre of troops. He leans over and cups his hands around his mouth. “Could you give us an hour or two?”

I cock an eyebrow. What’s going on?

Thoom is no less curious. “Why?” he demands.

“We need to, uh, prepare for battle,” McDoogle yells back.

Then it hits me. “Keldor’s not there,” I tell Thoom. “They’re stalling for time.”

“Silence, you fool!” Thoom hisses. He turns back to McDoogle. “Now you understand, faithful protector of Goodglad, that without llamas you are helpless! Attack, my warrors!

“Wait!” McDoogle calls out.

“What is it?” Thoom growls.

“Can we have just one llama?”

“No!”

“Please,” McDoogle begs. “Just one. Give us a fighting chance!”

This is too weird. They’ve got dozens of camels. What do they need with a single llama?

“My lord,” I say, “Keldor’s not here. Who cares what they ask for? This is our big chance! Finally, after years of suffering, we can capture Castle Goodglad, and you can get the Book of Forever! Ignore him, and let’s go!”

But Thoom is an idiot. He rubs one claw along his chin, then nods. “Right,” he says. “Good Master McDoogle, I shall give you one llama with which to fight us.” He looks at me and gestures toward the castle. Cursing him under my breath, I begin to lead my llama away.

“No, no,” McDoogle cries from the parapet. He points to Thoom’s llama, with its weird armor. “We want that one!”

“Why?” Thoom asks.

“Uh…because…we like that one better!”

It’s obvious this llama is of some importance to them. But, knowing Thoom…

“Take it!” Thoom cries, and he throws his reign at me. With a sigh, I lead the armored llama to the eastern gates of the castle. As we’re walking, I gaze at the red armor…it’s so damned familiar…

McDoogle himself meets me at the gate with a few guards. “Thank you, Weed,” he says with a nervous smile. The whole thing is ridiculous. Him thanking me for giving him a single llama to fight Thoom and his army of twelve llamas and warriors, when they’ve got flying machines and Keldor, Keldor in his big red armor and…

Oh my God.

“Stop them!” I scream. McDoogle and his warriors, hearing me, quickly rush the llama around the corner. I try to pursue, but they slam the gates in my face. I hear a loud sound, like a crash of thunder, and there’s a big flash behind the corner.

“What is your problem, you idiot?” Thoom barks.

“The llama, you skull-faced moron! Keldor! The llama! The armor!”

Behind me, the gates creak open. I freeze. The henchmen, a hundred feet in front of me, freeze too. Even Thoom cringes.

I hear a familiar chuckle. “Well, well,” says a deep, sonorous voice. There seems to be a tinge of reverb to it, as if sky itself couldn’t contain those tones. “It looks like it’s time to weed the garden!”

I don’t even have time to shudder at the horrible pun. Giant, bone-crushing arms embrace me from behind and raise me high in the air. In the few seconds spared to me, I look down and see, on grotesquely muscled shoulders, the red links of some very familiar armor.

Then I’m flying, flying for what seems like miles, but I crash into the sand a few hundred feet behind Thoom and his warriors. I black out. When I come to, the sounds of a great scuffle reach my ears. Through bleary, sand-seared eyes, I see Keldor beating the pulp out of my fellow lackeys. There goes Fishman, pounded down to his neck in sand; next the Cloak is stripped of his beloved garment, and given a swift kick to the rear; and so on, until only Thoom is left.

As Keldor faces him, still chuckling, Thoom gives a cry of frustration. “You may have won this time, Keldor, but I’ll get you next time! Next time!” And with that, he vanishes. Just teleports himself away, like always.

Keldor strides back to the castle, still chuckling. Just another day, another dollar for the Strongest Man in the Universe. The gate grinds shut behind him. They won’t even bother to capture us. We painfully drag ourselves to our feet. We have broken bones, bruised limbs, dislocated joints. Like some zombie sideshow, we limp and lurch our way back to the desert, toward Castle Darkbad. The llamas are gone, scattered during the battle. It will be a long trip home. Thoom will have been waiting for us for hours, ready to scream at us until his voice gives out.

As I drag my broken leg behind me, leaving a thin trail in the sand, I realize one thing: I know Keldor’s secret. Keldor’s a llama. A brilliant, if lame, secret identity. Yet I’m depressed, because I know the knowledge will do me no good. Thoom will never listen. Who would believe it anyway? It’s absurd.

*

Two days later, I finally manage to get a decent night’s sleep. Decent being about three hours. It took us a day and a half to get back, half an hour for Thoom to heal us with his magic, and then another four hours of screaming on his part before we were allowed to sleep.

But already the sun is poking through the curtains. I hear a hairy fist pounding on my door, and the cry of “wee-yid!” reaches my leafy ears.

Lord of the Rings: The Return of the King

I first read The Lord of the Rings at the rather late age of fifteen. I’d heard of the books before; the title occupied a dim, misty part of my mind, and were associated with a sense of cultishness and even history. Their recent commercialization has been for me bittersweet. I suppose this is not unlike the lesson of the novel itself — everything magical fades (fortunately, there is always something else magical to focus on).

The Return of the King, like its predecessors, is a work of cinematic art. It is not particularly innovative, and its story and themes are of the type that has been portrayed since The Iliad, but as an epic film it can stand proudly next to the best such movies that have ever been made — and a good head taller than many of them. It is a successful culmination of all that has gone before it.

I did spend the first day or so after seeing the movie trying to work past the changes made from the book, as I have for each film. The Fellowship of the Ring followed the plot of the novel relatively closely, but The Two Towers veered off sharply at a few points. King follows more closely than Towers, but still makes some significant changes. Faramir (David Wenham) gets an even shorter shrift than he did in Towers, and his romance with ?owyn (Mirando Otto) is barely suggested. We never see ?omer (Karl Urban) crowned king of Rohan after the death of Th?oden (Bernard Hill), and the Mouth of Sauron makes no appearance before the Black Gate.

What bothered me most, though, was a very slight change. In the novel, when the gates of Minas Tirith are broken open, the Lord of the Nazgul appears at the gates on a horse and attempts to enter the city. His way is barred by Gandalf, who sits astride Shadowfax. Just as the two are about to do battle, the horns of the Riders of Rohan can be heard in the distance, just as dawn rises over the plain. Tolkien wrote that this was his favorite scene in the novel, and it certainly has great cinematic potential. But in the film, the Riders arrive after the gates have been broken, and there is no significant emotional build-up to the Riders’ arrival — despite the despair of Gondor’s steward, Denethor (John Noble), at their absence.

But aside from these quibbles, The Return of the King is a worthy successor to the previous films, and caps the trilogy satisfactorily. After the martial triumphs of The Two Towers, the new movie returns the focus to the journey of Frodo (Elijah Wood) and Sam (Sean Astin) through the dark land of Mordor to Mount Doom in order to dunk the One Ring. Gollum is back (voiced by Andy Serkis), but unfortunately, most of the psychological will-he-or-won’t-he-betray-them has been discarded; Gollum is mostly a villain in this piece.

The largest part of the non-Mordor sequences are devoted to the defense of Minas Tirith. Here Jackson delivers some of his most astonishing visuals; my favorite is Grond, the massive, fire-spewing battering ram that breaks through the gates of the city like a mechanical dragon.

The performances are, as always, top-notch. Particularly kudos go to Wood, who manages to convey some of the pain and greed the Ring inspires, and to Viggo Mortensen, who is given less than an hour to transform his character from a self-doubting ranger to the rightful king of Gondor. Ian McKellen, whose wizard Gandalf was sorely missed for much of The Two Towers, has a much larger role in this film; and the friendship between Legolas (Orlando Bloom) and Gimli (John Rhys-Davies) is finally given its due. (Rhys-Davies should also be credited for carrying the lion’s share of the movie’s much-needed humor.)

What is most impressive is the movie’s successful capture of the sad, elegaic tone of the novel’s conclusion. Like the book, the movie shifts its scope from the epic back to the bucolic as the story returns to Hobbiton, and then finally to the melancholy departure at the Grey Havens. The movie also contains one powerful, beautiful scene, in which the hobbit Pippin (Billy Boyd) sings a haunting song to Denethor while the Steward’s son and his soldiers ride to their deaths.

Of the three films, The Return of the King is the most compressed. Jackson has stated he believes the theatrical versions are the best versions of the films, carrying the most emotional impact. That’s probably true in the case of the first two films, but there’s no denying the slightly rushed feeling of King, and the suspicion that next year’s extended DVD will fill in a few unfortunate gaps. (That, however, may just be from a fan’s perspective; having read the book, I know what the writers skipped over, such as the Faramir/?owyn romance.) Aragorn gets no time at all to enjoy his kingship, and his reunion with Arwen is brief.

These are minor flaws in an otherwise great film. In part, it’s a victim of its own success; the first two films set a high standard for King. Of the three, I think King is my least favorite, though Towers had to grow on me. Only time will tell how these movies hold up. For now, however, we can all bask in the glory of Middle-earth.

Pirates of the Caribbean

“Pirate movie.” Even the phrase itself sounds like a cliche – an old, worn-out cliche. But perhaps it’s so worn-out that, much like “gladiator movie” a few years back, it’s almost something new to contemporary audiences.

There’s absolutely no reason The Pirates of the Caribbean should be anything close to a “good” movie. It’s a “pirate movie” based on a theme park ride. A theme park ride. If I were a hoity-toity Denbyesque film critic, at this point I might make some drily witty comment regarding how blockbuster films, which are promoted (as Neal Gabler discusses in his book Life: The Movie) much like theme park rides (”it’s a non-stop thrill ride!” etc.), might as well be based on theme park rides – but I won’t, largely because I don’t want to bother coming up with something drily witty.

Getting back to the point, there’s no reason “PotC” should be anything even remotely resembling good. But then, in this day and age of cinema, with the incredible paucity of creativity endemic to Hollywood, perhaps there’s also no reason for it not to be.

Pirates is good enough for me to engage in some hyperbole: it’s a glorious, lush Hollywood adventure, the kind we haven’t seen since Raiders of the Lost Ark. None of the pirate films in recent years have dared to be this fun.

Yes, many of the sets look like sets; yes, the dialogue can certainly be cheesy; yes, Geoffrey Rush, as the zombie pirate captain Barbossa, needs more lines. But Pirates has an ace-in-the-hole that renders all other flaws irrelevant: Johnny Depp as Cap’n Jack Sparrow.

I can’t remember the last time I saw a non-Jim Carrey film that I enjoyed solely for one actor’s performance. Oh, Legolas’s – I mean, Orlando Bloom’s – performance as Will Trevor, the film’s ostensible, small-mustachioed hero, is serviceable, and Keira Knightley’s “tough damsel” is suitably simultaneously strong-willed and bodacious. But dear God, someone give a massive bonus to the person who decided to let Depp play Sparrow like an eighteenth-century Keith Richards! Depp is a pure joy to watch. I loved every moment he was on screen, and tapped my mental foot impatiently when he wasn’t. I’ll be buying this DVD for his performance alone.

Generally, the quality of Depp’s performances have been dependent on whether he’s being directed by Tim Burton. Burton was the director who realized Depp was a “character actor” (read: real actor) who got accidentally caught up in the whole celebrity thing. It was Burton who unearthed the touching, sublime Depp of Edward Scissorhands; the neurotic, fastidious Depp of Sleepy Hollow; and most significantly, the ambitious, gloriously wacky Depp of Ed Wood.

Here, in a performance that Richards reportedly did indeed inspire, Depp’s hilariously flamboyant Sparrow flits from one scene to the next. I don’t think I’ve ever seen a film where all the actors seem to be having so much fun, and Depp is clearly having the most fun of all. He plays Sparrow’s eccentric behavior so naturally, one almost wonders if this represents some untapped id in Depp’s psyche.

Director Gore Verbinski, who was responsible for last year’s effectively creepy The Ring, has somehow found a way to tap into that same wacky reservoir. Or maybe he just loosed the leash, it’s hard to tell. In any event, Depp’s Jack Sparrow steals the entire film out from everyone, including Rush (whose Barbossa is essentially a variation on his Casanova Frankenstein character from 1999’s Mystery Men).

Depp’s Sparrow screams sequel – and more than one, if audiences are lucky. The rest of the film – a high seas adventure that runs just a little too long – is simply a vehicle for Depp’s delightful eccentricities. Nonetheless, it all amounts to a few hours of wonderful, true escapist fun, and I can only hope the film’s success will ensure us more adventures with Cap’n Sparrow.

Star Trek: Nemesis

Somewhere around Star Trek VI: The Undiscovered Country, Star Trek fans (a.k.a. “Trekkers” – never “Trekkies“) began to notice a pattern: the even-numbered Trek films were good, while the odd-numbered ones were invariably mediocre at best. This pattern continued once the crew of Star Trek: The Next Generation (TNG) took over; of the three TNG films prior to this year’s Nemesis, only the middle TNG film (and eighth film overall) – First Contact – was a hit with fans and general audiences alike. After 1998’s disappointing Insurrection, fans eagerly awaited the next Trek film – which, as number 10 in the series, had to be good.

But the pattern is broken. One would have preferred it be broken by two consecutive good films, but this is not the case. Star Trek: Nemesis was hoped to be the TNG crew’s Star Trek II: The Wrath of Khan, but it’s not even The Search for Spock.

Nemesis begins with a party celebrating the wedding of Will Riker (Jonathan Frakes) and Deanna Troi (Marina Sirtis), as well as Riker’s promotion to the command of his own starship, the Titan. The party has a few cute moments, with a number of in-jokes and references for fans, but it also feels very much like an episode rather than a movie – not a good sign.

Meanwhile, on the homeworld of the Romulans, a number of senators are murdered in a coup. The new ruler of Romulus is Shinzon (Tom Hardy), a very young, very bald lad with big plans for the Romulan Empire. Shinzon sends out a request to the Federation for an envoy to discuss a peace treaty. Given the trailers for the film and its very title, the overtures are an obvious pretense.

It turns out Captain Picard (Patrick Stewart) & Co. are the only Federation representatives nearby (thanks to an overly-elaborate scheme by Shinzon involving B4, an apparent prototype of the android Data (Brent Spiner), that the crew stumbles upon). Picard confronts Shinzon and discovers they have much more in common than their shiny pates.

It’s soon obvious that Shinzon is up to no good, and it falls to the crew of the Enterprise to stop him. Though the story may sound complex, it’s surprisingly weak. The screenplay was written by Spiner and John Logan, the man who is mistakenly credited for the success of Gladiator (in fact, the script for Gladiator was written by David Franzoni; Hollywood brought in Logan to dumb the script down to their standards). It seems clear that Spiner and Logan were hoping to channel the spirit of Wrath of Khan, still the best Trek film, but the result is a mess. Worse, when the ultimate Khan-inspired moment occurs – I won’t give it away (though the movie itself does a good job of that) – it seems contrived and arbitrary, completely lacking the emotional power of the same moment in Khan. In fact, the dialogue and acting of the crew’s response to this supposedly awful event is so bad, there was laughter in the theater.

What makes a Star Trek film work are changes – promotions, weddings, the birth of children, character deaths. Unfortunately, these are often constrained by external considerations – bringing back a beloved character like Spock, Kirk’s demotion to captain so he can still command a starship, Worf hanging around the Enterprise even though he supposedly moved on long ago.

It may be that the leap to cinema simply came too fast for The Next Generation. More than a decade separated the end of the original series and the release of Star Trek: The Motion Picture – a film which, for all its flaws, worked its ass off to seem like a movie. The majority of the Trek films featuring the original crew feel like movies; the TNG movies feel like extended episodes with slightly higher budgets. Perhaps taking a decade off would have allowed the property to simmer a bit before making the leap to the big screen.

It’s also possible that the problem lies in Next Generation itself. The original series, while it occasionally made a social comment or two, was primarily a scifi-themed adventure series (or, as creator Gene Roddenberry famously described it, “Wagon Train to the stars”). TNG, on the other hand, focused primarily on social commentary or characterization (and usually attempted to give equal share to the entire cast, rather than developing a dramatic pair or trio like Kirk, Spock and McCoy). One wise friend of mine, a Trekker herself, has said that First Contact, with its action-oriented storyline and macho heroics, is actually the furthest from the show in spirit. The original series, packed with adventure and drama, translated well to film; TNG, so much more a product of an entrenched television culture than its predecessor, has not.

But the problems of Nemesis go deeper than the inherent problems of making a TNG film. The movie is loaded with contrivances so obvious they give away the rest of the plot. At one point, a character beams over to an enemy ship and the transporter immediately breaks down. Sure, Trek history is rich with such plot devices – how many times has the Enterprise been unable to go to warp speed, only to be rescued miraculously by Scotty or Geordi? – but by the time the transporter incident occurs in Nemesis, it’s as if the writers have thrown up their hands in helplessness, unable to find a convincing way to build tension. The B4 subplot, abandoned in the second half of the film, serves no purpose other than to reinforce the “duality” theme of the film. Most bizarre of all is the trip to the planet where the android is found, a trip rife with flagrant violations of the Federation’s infamous non-interference Prime Directive (never mind the dorky sight of Picard, Worf and Data in a dune buggy).

Even the acting is sub-par. I doubt this will be remembered as Hardy’s breakout role; he plays Shinzon with such ham, I began to wonder if the actor secretly had it in for Star Trek. Stewart phones in his performance – he’s clearly bored with the role and is just cashing that check. Deprived of his directorial duties, Frakes is back to doing what Will Riker does best – taking up space on the bridge. Only Spiner shows a little life, though this may be due to his stake in the film’s reception (due to his screenplay credit). The only thing I found interesting were the Remans – deformed genetic cousins of the Romulans who look like the Star Trek equivalent of Orcs from The Lord of the Rings.

Speaking of directors, the best credit Nemesis director Stuart Baird can boast is Executive Decision, a.k.a. “the movie where Steven Seagal dies in the first ten minutes” (which presumably sticks out in people’s minds because they were immediately given what they wanted). It may be time to let a more interesting auteur take a crack at Star Trek. Perhaps a Ridley Scott or a Bryan Singer could inject the vitality or vision the Trek cinematic franchise lacks these days. But my suggestion remains: Trek needs to take a nice, long break from the silver screen and regroup. Born at the height of the Cold War and infused with its ideologies (both in endorsement of and in response to them), Star Trek needs to reinvent itself and find a new direction. Until then, the franchise will remain its own worst nemesis.

Lord of the Rings: The Two Towers

Having been educated at a college – and in particular, an English department – firmly entrenched in the traditions of mid-to-late twentieth century criticism, it was ingrained in me that to fervently love a text is to sacrifice one’s ability to critique it without bias. As the term and the concept of being a “fan” consolidated over the last few decades it brought with it a corresponding negative connotation with regard to academic integrity. However, I soon discerned that there was a double standard at work. Most professors are “specialists” or “experts,” or, if they’re feeling particularly naughty, “aficionados” of the particular texts discussed in the classes of their own making – one professor, an expert on the Transcendentalist era, taught a class on it, and no one questioned his integrity. It was when a student (or academic) attempted to find the merits in a “popular” work that his or her bias was called into question. This may be something that passes with time; few academics would quibble with a lover of Dickens teaching a class on his novels.

J.R.R. Tolkien, however, seems to be a lightning rod for such debates. Everyone, from scifi/fantasy authors like Michael Moorcock to critics like Harold Bloom and Andrew O’Hehir seem to feel it necessary to loudly proclaim their belief in or against Tolkien’s literary merits. Moorcock’s dislike stems largely from an anti-populist mistrust of the Tolkien “cult” (one wonders at what point Moorcock will consider Tolkien popular enough that his fans no longer comprise a “cult”).

It was partly due such debate that I chose not to review The Lord of the Rings: The Fellowship of the Ring last year. A diehard Tolkien “aficionado,” I went into the movie with some doubts – I’ve read the book three times – but the film was all I’d hoped for, and more. I was so taken with it I knew a review would be fruitless; it would either be some brief ad copy (“The movie of the year!”) or an exhaustive analysis of the relationship of the book to the film, and the merits of each. Ultimately I chose to forego the review entirely.

Now comes The Two Towers, the second installment of the Rings film trilogy. This time around, while I admire the new film nearly as much as the first, I feel assured in reviewing it fairly and equitably. Part of my confidence, I’ll admit, comes from the rather stunning consensus of my critical peers; if Two Towers (TT) doesn’t win the Oscar for Best Picture, it won’t be for lack of critical acclaim.

Where to begin? The story picks up immediately where the previous film left off, with the intrepid hobbits Frodo (Elijah Wood) and Sam (Sean Astin) trekking through the wilderness of Middle-earth, heading for the volcano known as Mount Doom to destroy the One Ring, an evil golden ring that once belonged to the dark lord Sauron. There is a brief flashback to the first film – one of several reuses of previous footage, which is one of the few missteps director Peter Jackson makes in the sequel. But the flashbacks are worked into the narrative, rather than simply being a recap of the previous film’s events.

In the course of crawling toward Mordor, Frodo and Sam accost Gollum, a wretched former owner of the Ring desperate to get his “Precious” back. The hobbits persuade Gollum to guide them through Mordor. Gollum is far and away the most stunning achievement in the film. Rendered entirely in computer graphics but based on the movements of actor Andy Serkis, who also does Gollum’s raspy voice, the creature is miles ahead of Jar Jar Binks or even Dobby from Harry Potter and the Chamber of Secrets. Gollum is, I think, one of the first realistic computer-generated characters to have not only a number of close-ups but even soliloquys. And since Serkis was actually interacting with Wood and Astin, there are none of those misdirected looks by hapless human actors that haunt the appearances of Mr. Binks. Voiced by Serkis, Gollum is a truly tragic, pitiable figure, torn between his lust for the Ring, his newfound loyalty to Frodo, and his guilty rage.

While the hobbits follow Gollum through Mordor, the fort is held down back in the Western lands by the human ranger Aragorn (Viggo Mortensen), the elven warrior Legolas (Orlando Bloom) and the dwarf Gimli (John Rhys-Davies). As the film begins the trio is tracking two other hobbits, Merry (Dominic Monaghan) and Pippin (Billy Boyd), who have been kidnapped by the monstrous orcs. Along the way they run across the warriors of Rohan, a kingdom ruled by King Theoden (Bernard Hill), who has been ensorcelled by the evil wizard Saruman (Christopher Lee).

Like the novel, the film is loaded with characters. A friend of mine recently called Lord of the Rings a historical novel set in a fantasy world, and I think that sentiment perfectly captures why it is so uniquely compelling. It is not entirely, as Anthony Lane wrote of it in The New Yorker, “a last stab at epic” so much as a novel of war, not unlike War and Peace. Yes, it’s got elves and dwarves, but these races are presented in such a realistic detail, complete with their own well-defined languages, cultures and traditions, that it’s little wonder so many Tolkien fans lose themselves in the endless volumes of errata. It has all the pleasure of reading history combined with the pleasure of mythology or folklore. (On a side note, it would be nice if critics like Lane, and even O’Hehir, could come to terms with their fondness for Tolkien’s work without the vaguely insecure-seeming need to qualify that fondess with sniffed asides.)

Despite all the characters and the seeming complexity of plot, The Two Towers is actually easier to follow than its predecessor and zips right along, alternating between three plotlines: Frodo and Sam’s journey through Mordor, Merry and Pippin’s dealings with the Ents (huge walking, talking trees), and the tale of Aragorn, Legolas and Gimli, whose adventures lead them to a desperate battle with Theoden and the men of Rohan in a mountain fortress known as Helm’s Deep.

In the 1960s, as group of filmmakers approached Tolkien about making an animated film based on LR, and even offered a script treatment. Generally displeased with the whole script, Tolkien sent back detailed notes about what changes he disliked and why. He has this to say of Helm’s Deep:

“I am afraid I do not find the glimpse of the ‘defence of the Hornburg’ – this would be a better title, since Helm’s Deep, the ravine behind, is not shown – entirely satisfactory. It would, I guess, be a fairly meaningless scene in a picture, stuck in this way. Actually I myself should be inclined to cut it right out, if it cannot be made more coherent and a more significant part of the story…If both the Ents and the Hornburg cannot be treated at sufficient length to make sense, then one should go. It should be the Hornburg, which is incidental to the main story.”

The Letters of J.R.R. Tolkien, Letter #210

Jackson, for his part, devotes nearly forty-five minutes to the battle. This decision may be responsible for many of the departures from the novel that TT takes, particular in the story of Sam and Frodo. As anyone who’s read the novel knows, TT ends with an excellent cliffhanger for the two Mordor-bound hobbits. Jackson has saved this for next year’s The Return of the King, claiming he didn’t want three battles at the end of the second film. In my opinion it might have been better to downsize the Helm’s Deep battle, or move it closer to the middle of the film.

But Jackson’s decision highlights one of the other reasons TT takes significant liberties from the novel: the emphasis on Aragorn & Co. versus Frodo and Sam. For all the lip service Jackson and his fellow filmmakers have paid to the centrality of the two hobbits’ story, the films have nevertheless expanded both the role and characterization of Aragorn. In the novel, Aragorn is an experienced leader with almost nine decades of experience behind him (his family usually reaches the age of 200 or so, so he’s not even middle-aged). The Aragorn of the novel is plagued by few doubts; he’s something of a demigod. Jackson’s Aragorn is far less sure of himself, making his story more dramatic.

But there’s also the form itself to consider. Jackson is trying to appease both fans and general audiences alike (and, judging by TT’s returns, he’s done an excellent job of it). An hour of Sam and Frodo traipsing around the outskirts of Mordor does not gripping cinema make. Gollum aside, their storyline lacks the epic feel of the Battle of Helm’s Deep, and so they are marginalized (at least for TT).

The other plot point that has many Tolkien purists miffed is the depiction of Faramir (David Wenham). They argue that Faramir should not be so tempted by the ring. But Faramir’s characterization is related to that of Aragorn. Jackson’s Aragorn is far more brooding and uncertain than Tolkien’s demigod. In the novel, Aragorn, like Gandalf and Galadriel and whatnot, is never really tempted to take the Ring. Faramir provides the self-doubting hero role (however briefly) that Tolkien denies super-confident Aragorn. In Fellowship of the Ring (the film)there’s a lot about Aragorn’s fear of being corrupted by the Ring, as Isildur was; and PJ even added that last meeting between Aragorn and Frodo, where Aragorn resists taking the Ring. To have this Faramir fellow – who is blood-related to Boromir, the only member of the Fellowship whom the Ring was able to corrupt – have a big scene where he resists the Ring would have made it seem like the brother of Grabby Boromir is as pure and self-restrained than Aragorn himself, if not more so.

But enough about plot. Visually, The Two Towers is incredible. From the stunning opening sequence – I won’t dare give it away – to Edoras, the capital city of Rohan, built upon a hill – to the sight of ten thousand orcs marching upon Helm’s Deep, TT is full of images that stun the imagination. True, some of the effects don’t quite work; the process by which the hobbits are shrunk doesn’t seem as effective this time around, and the Ents are a tad goofy-looking. But these are easily forgiveable when compared to the likes of Gollum.

And then there’s the acting. George Lucas should take a lesson from Jackson: the best way to make a good epic blockbuster, in this day and age, is to stack the deck with talent. I could write quite a lot on the acting in this film, but I’ll confine my praise to the aforementioned Andy Serkis as Gollum and John Rhys-Davis as Gimli. In TT, Gimli’s role in the films becomes clear: he’s the comic relief, and it works perfectly. In the midst of the hellish battle of Helm’s Deep, he is the Falstaff to Aragorn’s Prince Hal (minus the cowardice). Unlike the hobbits, the artifice surrounding Gimli’s portrayal is never evident; somehow, they’ve managed to shrink Rhys-Davies (who is not a small man) down to four feet.

With that observation, I will bring this long and rambling review to a close. Like many reviewers, I don’t think I quite grasped the substance of this film; I might try some choice words about escapism and the relevance of these films’ popularity in the current world climate…but that’s as much as I’ll say. I won’t try to convince you that this is a “good” or “bad” film. Maybe the hype has turned you off, maybe you don’t like three-hour movies, maybe it all seems like a lot of hooey to you. That’s fine. I loved this movie, I loved the previous one, and I’m fairly certain I’ll love the last one.

Red Dragon

“Fear comes with imagination, it’s the penalty, it’s the price of imagination.”
–from Red Dragon by Thomas Harris

The crime thriller, a combination of the classic pulp thriller and “true crime” accounts of the 1950s and ’60s, was beginning to solidify into its own genre by 1981, when Thomas Harris published his second novel, Red Dragon. This new genre broke away from the much older tradition of mystery fiction by identifying the killer early in the novel and then setting up a cat-and-mouse game between the killer and the protagonist, usually a cop or, more often, a federal agent. Rather than focusing on the protagonist’s effort to solve the crime (as a mystery novel would), the crime thriller took the time to characterize the killer and, often, try and “explain” him or her. The genre frequently used detailed descriptions of forensics methods to fill pages and, in some cases, distract the reader from a predictable plot or flat characters. To distinguish his novel from the bevy of thrillers that had by then saturated the market, Harris needed a hook, something unusual to make his novel unique.

He found two. The first was to have his protagonist, special agent Will Graham, consult an infamous serial killer for help on his case. But this killer couldn’t be some generic sociopath, nor even a strangely charismatic (but still berserk) type like Charles Manson. This killer would be an intellectual, he would be supremely cultured; elitist even. And he would eat people. As such, he would need a name that rhymed with “cannibal.” Thus was Dr. Hannibal Lecter born. In his original incarnation, he is described as having maroon eyes, a “pointed” tongue, and six fingers on one hand – a much more obvious manifestation of evil than the calm blue eyes and ten fingers of Sir Anthony Hopkins.

But a character as gimmicky as Lecter cannot carry a novel alone, as both the novel and film adaptation of Hannibal made very clear. Red Dragon needed something more. Harris envisioned a sleuth who was just one step away from being a psychic, for whom a capacity for “imagination” replaced the supernatural talents claimed by others. In the course of the novel, Graham tries to get inside the killer’s head, forcing himself to think exactly as the killer does. This is no small strain on his psyche; in the case of Lecter, it drove him to a temporary stay in a psychiatric ward.

Red Dragon is a better novel than either of its literary sequels, The Silence of the Lambs and Hannibal, though it lacks the psychological mystique of the former and the humor of the latter. It also has the distinction of being the only book of the Lecter trilogy to be filmed twice: as everyone knows by now, it was first adapted as 1986’s Manhunter, directed by Michael Mann (The Insider, Ali). Mann’s adaptation is a good one, though I will not fall in line with the many critics who find it fashionable to tout Manhunter’s supposed superiority over director Brett Ratner’s new version.

Red Dragon does have one hurdle to get over initially: the fact that it is clearly an attempt to cash in on the franchise that was started not by Manhunter but by 1991’s sleeper hit Silence of the Lambs. It took more than a decade from the writing of Silence for Harris to complete Hannibal, and another year for the film version to come out; then, two years later – boom! Red Dragon. Michael Mann, Jonathan Demme, Ridley Scott…Brett (Rush Hour, Rush Hour 2) Ratner? Red Dragon smelled like Hollywood cashing in on a franchise, and many reviewers were quick to follow that scent.

Surprisingly, Red Dragon defies its cynical detractors. There’s certainly no question about the producers’ motivations – Universal Pictures and MGM Studios gladly put aside their differences in this joint venture to rake in the cash – but that didn’t prevent the cast and crew from putting out a film that stands up well to its fifteen-year-old predecessor. Ratner may be something of a novice director, but when your film stars Sir Hopkins, Ed Norton, Harvey Keitel and Ralph Fiennes, you can just point the camera and something good will come out of it. Fortunately, Ratner does even more than that, and the result is an adaptation of the literary Red Dragon that is as good as, if different than, Manhunter.

Since this is first and foremost a Lecter film (despite Lecter’s relatively minor role in the original novel), Red Dragon begins with a fairly faithful rendition of Lecter’s capture by agent Graham (Norton). From there, the plot is similar to that of Silence of the Lambs: it’s a few years later and a serial killer is on the loose. Nicknamed “the Tooth Fairy” for his predilection toward biting his victims with his hideous dentures, the killer wipes out two suburban families before the baffled FBI turns to Graham for help. Now retired and living in Florida, Graham is reluctant to return to the game after his painful experience with Lecter (who nearly managed to disembowel him before going down). Finally his boss (Keitel) coerces him into taking a look at the case. Graham tries to imagine the killer’s mind and motivations, but he too is brought up short. With only a few days before the next expected killing, Graham turns to the one man who might be able to shed some light on the killer’s behavior: Dr. Hannibal Lecter.

In Manhunter, Brian Cox’s performance was both fittingly low-key and surprisingly creepy; his Lecter toyed with Graham, but did so more successfully because he didn’t talk slowly or put on airs. In Lambs and Hannibal Hopkins redefined the character, and now he must work backward from his characterization in Lambs. Back in his cage, the sense of barely contained chaos Lecter inspired in that film is restored. You get the sense that cutting the man loose would unleash hell on earth. Sadly, Hannibal revealed that wouldn’t be the case, as Hannibal the Cannibal was transformed into everyone’s favorite creepy grandpa. But in Dragon Hopkins makes the good doctor a threat once more.

Of course, Lecter is really ancillary to the main plot, which involves Graham’s efforts to track down the Tooth Fairy, aka Francis Dolarhyde (Fiennes). Norton is a bit young for the role of Graham, but he brings a naivet to the role that acts as a good counterbalance to William L. Petersen’s more been-there-done-that take in Manhunter. Fiennes, playing the heavy, is in full-psycho mode, but ultimately I found it eerie how similar his performance was to that of Tom Noonan in the previous version.

In fact, Red Dragon contains whole scenes that seem to have been lifted out of Manhunter and deposited in Red Dragon, despite having a screenplay written by Ted Tally, author of the Lambs script. This is largely due to the fact that both films really heavily on the book for dialogue, a rarity in this day and age. (On a side note, the dialogue never seems off-kilter – a sharp rebuke to those critics that sniffed at Harris’s supposed “tin ear” for dialogue when Dragon was originally published). But Red Dragon restores a number of plot twists from the book that were absent from Manhunter. In one memorable scene, Dolarhyde, in an effort to quell the beast within, goes to a museum to find the original William Blake painting of the Red Dragon, which he believes has been tormenting him into committing crimes. I won’t reveal what happens; but while it’s an interesting scene, the film fails to explain why Dolarhyde does it. The audience is left with an odd cul-de-sac that serves only to reinforce Dolarhyde’s status as a standard movie psycho.

The cast is rounded out by Harvey Keitel as Graham’s boss and Emily Watson as Reba McClane, Dolarhyde’s bizarre love interest. McClane role, in the both the book and the movie, is to suggest that Dolarhyde may not be quite as bad as he seems to be. Unfortunately all the Watson role does is emphasize Dolarhyde’s textbook social ineptitude and overall creepiness – it’s difficult to believe a woman who seems so chirpy and well-adjusted would ever stick around with a guy who behaves as Dolarhyde does. Finally, the reliable Philip Seymour Hoffman (who always reminds me of Joe Don Baker) gives some sardonic punch to the thankless role of tabloid reporter Freddy Lounds.

Of course, the filmmakers give Lecter much more time than he has in the book – ultimately this is a “Hannibal Lecter movie.” This leads to at least one unnecessary scene in which Lecter enjoys a pleasant dinner (sans hominids). But Hopkins does manage to bring back some of the creepiness and edginess of his original portrayal – watch as his face twists into a demon’s visage as he petulantly cries “No” in response to Graham’s pleas for aid.

My biggest concern for Red Dragon was whether it would focus enough on what I feel is the most significant theme of the novel, that of Graham’s imaginative powers and how they are both his blessing and his curse; also, the way Lecter is blessed with the same gift, but minus the fear. I must give credit to Manhunter for doing a better job with this theme than Dragon. While the exchange quoted in the introduction to this review is given more weight by being moved from Crawford to Lecter, the theme is never played out. We never learn why Graham had to spend so much time in an institution after capturing Lecter, or worry that he might have become so much like the killer that he’s a threat to others.

Red Dragon delivers more scares than Manhunter and is a much better film than Hannibal, although Manhunter still wins for stylishness and Silence of Lambs remains the best of all four films. I will concur with my fellow critics in one respect: let this be the end to the good doctor’s adventures.

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