Back from Europe – Part the Last!

remembrance_day_20121109And I’m back with the sixth and final installment in the 2014 Williams’ Family Eurotrip! And luckily, this one should prove to be the shortest, since our adventures during these last few days really don’t require any historical background. In reality, our last five days in Paris were spent seeing sight after sight, walking the city, drinking up the local culture and relaxing. So there’s plenty to describe and share, but most of it speaks for itself!

Monday, April 21st – Friday, April 25th – Paris and Nanaimo:

The Seine and the Pont de la Tournelle in the distance
The Seine and the Pont de Sully in the distance

As so often happens on a trip, Monday was a day set aside for doing laundry and making sure our wardrobe lasted to the end. So, after breakfast at the hotel, we ventured down to the laundromat and figured out how to work the archaic machines. My mother seemed to remember, as this was the exact same laundromat she had used when she came to France with my sister in 1990 (did I mention they stayed at the same hotel too?) Anyhoo, Carla and I decided we would go for a run while our clothes washed and dried. This took us from our hotel down to the Seine, where we then headed south along the water to get the bridge that would take us to the Bastille Square. This was something we did not get to see the day before on our bus tour, so we decided now would be a good opportunity.

Very quickly, we noticed that the air quality was different than what we were used to. Living in small town BC, our outdoor runs are always characterized by meadow air intermixed with ocean breezes. But Paris, with its many million vehicles and mass transit system, can be forgiven for not being so pure. But of course, the sights were much more plentiful. Along the Seine, between the Pont de la Tournelle and the Pont de Sully, we saw the Statues en Plein Air art exhibit that runs along the south side. I have to admit, I didn’t examine the artwork much, but what I did see seemed very “moderne”.

Bastille Square and the July Column
Bastille Square and the July Column

After crossing the Pont de Sully, we ran up Boulevard Henry IV and reached the Place de la Bastille. The July Monument stood in the center of a roundabout, which we ran around to get a good look of! At the base, the inscription of July 1830 appears in gold, commemorating the July Revolution – otherwise known as the Second French Revolution. The square is jam packed with stores, cafes, cobblestone walk ways, and straddles three separate arrondissements (districts), with half a dozen other landmarks located nearby.

After rounding the Square and running back the way we came, and saw something a little odd. On the Seine, right next to the Pont de Sully, a group of police divers were out in a zodiac, their truck parked on the walkway next to the water. The divers pulled what looked like a body out of the water, and once they got it aboard, one of them began doing chest compressions. I chose to interpret this as an training exercise where the rescue divers were pulling a mannequin out of the water and practicing CPR. But Carla remains convinced that they were pulling a jumper out of the water and trying to resuscitate him. We’re still divided on this…

Statue of Charlemagne
Statue of Charlemagne. Can you see any similarities?

Anyway, we arrived back at the laundromat a little while later and helped my folks escort our clothing home. It was nice to be able to get a second round out of our gear, we changed and showered, and walked to the Ile de la Cite. It was our hope to see Notre Dame’s interior; unfortunately, the lineup was prohibitively long! But it was Easter Monday, so that didn’t come as a huge surprise. So we decided we’d try again on the morrow and decided to carry on to our next destination.

Luckily enough, we were able to snap plenty of picks of the Cathedral, the Square of Jean XXIII, and the awesome statute of Charlemagne that sits out in front. For those who don’t know, he was the Carolingian (aka. Frankish) king who reigned during the late 8th and early 9th century, became Emperor of a western Europe and even led campaigns against the Moors in Spain. Naturally, I had to get a picture of him for our album. But I asked Carla to also take one of me standing in front of the statute because I really liked the look of his beard, and hoped people might see some similarities.

The Palais de Justice
The Palais de Justice

And so we decided to carry on to the Louvre. But first, we needed some lunch. This we found at a restaurant sitting next to the Palais de Justice nearby, which was temporarily closed to the public for renovations. After some sandwiches and coffee, we proceeded to check out the Marche aux Fleurs (Flower Market) next to us, which was jam packed with animals – including some livestock – and carried on. After crossing another bridge, we landed on the east side of town and walked up the Quai de la Megisserie.

As it turned out, was also packed with animals! And by that I mean, pet stores. I’m not sure how many hours we spent visiting each and every one of these, but it was a few. But I guess that’s what happens when you take cat owners and animals lovers away from their pets! After shaking off the guilt of not being able to take every puppy and kitten home with us, we continued on our way to the Louvre, which was just a few more blocks away.

Outside the Louvre
Outside the Louvre

Entering the museum was a bit of a task. First, we had to walk through the former Palace grounds, which is jam packed with vendors – people selling miniature Eiffel Towers and even one guy roasting chestnuts! – and then into the main grounds where the glass pyramid (as shown above) sits. Here, the lineups and crowds were to be found, and lots of signs out telling us to keep an eye on our handbags (thieves and purse cutters like to work there!)

But surprisingly, the wait time was only a half hour or so, and the lineup not as unbelievably long as we suspected. And before we knew it, we were inside and going down the escalator to the entrance foyer. To be fair, everyone in the family had been to the Louvre before, save me. So I was naturally quite impressed when we got inside and looked around. Many escalators ran from the ground to this area, and there were literally hundreds of people crowded in there. And from this spot, multiple staircases lead up to the adjoining floors where all the exhibits that cover the entirety of human civilization are kept.

The Ancient Near East Exhibit
The Ancient Near East Exhibit

We grabbed out tickets, some maps, and looked for our way out. After perusing the layout and debating what we’d like to see first, we decided to head over to the ancient world exhibits. We started with the Ancient Near East, which was filled with examples of ancient Mesopotamian sculptures, stone work, mosaics, and statues. As we walked through the many connected rooms, we were treated to pieces of the region’s later history, dating back as far as 7000 BCE and spanning the civilizations of Ancient Sumeria, Babylon, Iran and the Levant.

Now I’m not exaggerating in the slightest when I say that everything we saw was pretty damn kickass and impressive! But of particular interest, at least to me, were the Stele’s and tablets that contained ancient Sumerian and Babylonian script. And when I finally found the Stele showing the Code of Hammurabi and the tablets with the sections of the code written on it, I was sure to snap some pictures of them! This, and other examples of ancient writings, are amongst the most important historical objects in existence, and it was kind of mind-blowing being in their presence for the first time.

Code of Hammurabi, front -
Code of Hammurabi Stele, front end

As you can see from the photo above, the front end of the Stele (which is sometimes referred to as a “fingernail” because of its shape) shows Hammurabi sitting on his throne where he is dispensing the law to what appears to be a Babylonian subject. Beneath that, the code is listed in its entity, setting out various rules of jurisprudence, religion, trade, slavery, the duties of workers, the distribution of food, and the punishment for infractions. Click on the pictures to get a better look.

We then doubled-back and went through the Greek antiquities, where my wife asked that we snap a photo of Aphrodite (aka. Venus de Milo) since this was the one major exhibit she missed on her previous trip. Like most of the main exhibits in the museum, get a close look at this one proved tricky. But I somehow managed to get a few shots using her iPod Touch camera, and some of them weren’t too blurry. Check it out below:

Venus de Milo
Venus de Milo

After working our way through the 18th-19th century French Sculptures wing, we doubled back to the Pharaonic Egyptian wing to see the statue of Ramses II. This area also proved to be pretty crowded! And it was here, amidst several sphinx statues, Egyptian columns, and some tall walls designed to look like massive sandstone brickwork, that we got a look at the famous Pharaoh who is chronicled by Egyptian, Biblical, and Greek sources, and who was caricatured by English Romantic poet Percy Bysshe Shelley in his poem “Ozymandias”.

And yet, I have to say, this statue was not that impressive. Seating in the corner next to many others and flanked by columns and big walls, he seemed like merely a part of the larger exhibit and not the focal point, as the map would seemed to suggest. But this came as no huge surprise, considering that his significance – while great in terms of Egyptian history – is a bit uncertain as far as Biblical and western sources are concerned. To this day, there is no actual proof that this is the man Noah said “let my people go” to, or that the Egyptian captivity actually happened. But what can you do?

The consecration of Emperor Napoleon I
The consecration of Emperor Napoleon I

After this, we began making the long trek to the 1st floor so we could see the piece de resistance, the Mona Lisa! Given the size of the palace and the layout, this was no easy task, and we had to weave our way about while someone stood in the front with the map open, calling out directions and making sure we all stayed together in the midst of the crowds. But we succeeded, and found ourselves just one room over from the Mona Lisa.

However, I insisted we pause for  second to witness some of the 19th century French Paintings, which this room was dedicated to. Mainly because it was here that the painting of The consecration of Emperor Napoleon I was to be found (seen above). As a historian, this painting was of great interest to me and the events it captured were nothing if not extremely relevant. So after getting a good shot of the rather massive painting, we proceeded into the densely-packed Mona Lisa exhibit.

Da Vinci's Mona Lisa
Da Vinci’s Mona Lisa

As expected, it was very difficult to get a clear shot of this historic portrait, and the one seen below was about the best we could manage. So thick was the crowd that the only way to get a photo was to hold your camera up high and snap one from a few meters away. The painting was also significantly smaller than I expected, and was kept behind protective wall of glass. But after a few quick pics, we decided we’d done all we could and decided to call it a day! Our feet and knees were hurting, and we were all pretty tired.

After returning to the hotel, we decided to have a low key dinner consisting of food that was bought at a patisserie shop on the way back. Between some baked quiches, sandwiches, delectable deserts, and a few bottles of Leffe Brune, we were all sated and didn’t even need to go out for dinner that night. However, I was determined to check out some of the bars down the street, and the wife and I concluded the evening with a few pints at some of the local pubs.

Inside the Mayflower
Inside the Mayflower

This included the Mayflower, which was about a block away from us and had some wonderful Belgian beers that I know and love on tap. But being an English-themed pub, they served them in pint glasses! This is pretty impressive when you consider that Belgian ales – most of which are centuries-old operations run by Abbeys and Monasteries – range from 6-10% alcohol and accordingly come in 330 ml bottles or are served in chalice glasses. As such, a full pint (568 ml or 20 oz) of this kind of beer is likely to pack a serious wallop!

After a few of these, we proceeded to the next stop down the street, a place known as Teddy’s, where I drank a bit more. I was determined to try all of the taps I did not recognize and could not easily find back home. After we did this, we headed back to the hotel for some hard sleep. Unfortunately, we had a freak accident in our room which made the next few days a little bit difficult. Basically, I was reading from my iPad in bed, and when my wife – who was laying next to me – turned to look up at it, the corner of it got her in the eye. To make matters worse, I freaked out and dropped it, making a bad situation even worse!

Pantheon, front entrance
Pantheon, front entrance

We lay up in bed for awhile while she tried to nurse her throbbing eye. After finally getting to sleep, she woke up the next day with a terrible headache and throbbing eye pain. And that is how Carla got a black eye in Paris! As a result of it, we cancelled out plans with my folks for the day and took it easy. After a late morning and breakfast, we walked around the Latin Quarter, bought lunch from a local market, and walked down to the Pantheon, which was also just a few blocks away from the hotel. Situated next to the Law School of the Universite de Paris and the Lycee Henry IV, the place was packed with students eating lunch, and the smell of weed was in the air!

Originally built as a church dedicated to St. Genevieve, the Pantheon has changed quite a bit over the centuries and now functions as a secular mausoleum containing the remains of several distinguished French citizens – among them such greats as Voltaire, Jean-Jacques Rousseau, Victor Hugo, Emile Zola, Louis Braille, and Marie Curie. We never did get inside, but we enjoyed the lovely walk, and even managed to squeeze in a quick visit to a British-themed local pub called the Bombardier. Then, it was back to the hotel, dinner with my folks at the Petit Gaston (for the second time), and to promptly to bed. Because on Wednesday, we had another big day!

Notre Dame, exterior
Notre Dame, front exterior

It consisted of us visiting the place we saw on the bus tour on foot, or at least as we possible could in a single day. We had hoped to do much of this on Tuesday, but Carla’s eye injury – which I will forever carry a terrible shame for! – put a hold on that. But feeling so much better, we decided to give it a go and proceeded first to the Notre Dame Cathedral. Since it was no longer Easter Weekend, we figured we stood a better chance of getting in. And lo and behold, we did! Despite the long line ups, the crowd proceeded inside at a rapid pace and we found ourselves stepping into this ancient cathedral before long.

Once inside, we were treated to the musty smell, the sounds of chanting, light streaming in from countless stain glass windows, and plenty of amazing art and architecture. As usual, my father explained all features and told us exactly how it differed from the Cathedrals at Chartres and Bayeux. Not surprisingly, this one was the largest we visited to date, and I was sure to get one of the commemorative gold coins from the machine near the entrance. This upped my collection of these tourist keepsakes to four, with coins from the Juno Beach Museum, the Caen Memorial Museum, the Bayeux Tapestry Museum, and the Notre Dame Cathedral.

Notre Dame, interior
Notre Dame, interior

And then, it was off to the Tour Eiffel, which we hoped to be able to ascend and catch sight of the city from on high. However, when we arrived, the lineups proved to be absolutely terrible, and one of the stairwells that connects to the first landing was closed. However, we did catch some lovely break dancers putting on a show at the foot of the tower. We also got to see several soldiers wandering with their FAMAS assault rifles hanging over their shoulders. Similar to what we saw at Charles de Gaulle, this is apparently what passes for normal in Paris. For this humble Canuck, this was a little frightening and but also freaking cool!

So we meandered around the tower for awhile, checked out the Field of Mars located nearby, and walked the entire length of it and rubbed shoulders with some interesting people along the way. We also snapped about half a dozen pics of the Tower itself, including the WIlliams’ family portrait shown below. Once we reached the far end of the field, we rounded the Academie Militaire and proceeded on foot to our next destination – the UNESCO Headquarters. As a heritage register officer, Carla was keen on seeing this place.

The folks and I in front of the Tour Eiffel
The folks and I in front of the Tour Eiffel

This took some time, and we once again stopped at a roadside restaurant to get some lunch. And I got to say, the building itself was pretty un-ostentatious compared to some of what we’d already seen. But our visit just happened to coincide with a series of displays for International Book and Copyright Day. Trust me, this is actually a lot more fun than it sounds! As we walked down the hallway, we passed dozens of exhibits celebrating different books, styles of writing, animation, and the like. Carla and I sat down at one of the Calligraphy boots, which taught Georgian style writing, and began to learn.

This included the proper way to apply ink to a traditional calligraphy pen and write letters and symbols in the Georgian style. This part was definitely fun, and Carla and I did pretty well for ourselves! She’s a quick study, and calligraphy is kind of my thing. The instructor noted this, and told Carla “Il est fort” (he’s strong) with a degree of wonder and pride in his voice. I didn’t tell him that I’ve actually been doing it for year, even though my preferred style is Black Letter Gothic and I have no formal training.

Musee Dorsay, top floor interior
Musee D’Orsay, top floor interior

And then, for our last stop, we went back along the Seine and stopped in at the Musée d’Orsay. Another line, another long wait, and we were inside, surrounded by Paris’ premier museum of sculpture and art. Carla and my mother sure enjoyed this part. Unfortunately, I had had too much sun that day and my feet were too tired for me to really getting into the spirit of things. Still, it was impressive to see so many impressionist paintings, sculptures, and in one place. Van Gogh was unfortunately not available, since his work was part of a special exhibit. Still, we spent some serious time in the converted train station, and took some rather magnificent pics before finally calling it a day.

We walked back to the hotel along Boulevard St. Germaine, the Seine-adjacent strip that is packed with stores, restaurants, and greenery. We stopped by the 2 Magots (pronounced maj-oats), a restaurant frequented by Hemmingway in his day. Across the street, we also caught a glimpse of the apartment where existentialist philosopher Jean Paul Sartre and philosopher and renowned feminist writer Simone de Beauvoir lived. It really is amazing sometimes how little you have to do in Paris to experience some serious history.

Boulevard St. Germaine
Boulevard St. Germaine

After another sleep, we prepared for our penultimate day Paris. This would consist of us taking in some final sights and sounds and then checking in at one of the airport hotels for the night. For my choice, I asked that we go to the Musee du Moyenne-Ages, the museum of Medieval History on Rive Droite (northern side) of the Seine, which was on the way towards the destination my mother and wife so wanted to see – Les Galleries Lafayette (the freakishly big department store near the Opera Nationale de Paris).

I have to say though that the former was a bit of a letdown. Having expected a large museum similar to the ones we had been seeing all throughout Europe, one containing tons of artifacts and displays recreating the period in question, what we got was basically a collection of medieval statues, architecture and sculpture. Only one room, at the tail end of the museum, contained any arms, armor, or artifacts that weren’t structural in nature (seen below). While this was still very interesting, I could not help but feel disappointed.

Musee du Moyenne-Ages
Musee du Moyenne-Ages

Where were all the swords, armor, livery, and seige engines? Where were the maps that showed the Battle of Hastings, Agincourt, the Crusades and the seige of Constantinople? Where were the recreated manuscripts of Aristotle and other classic texts that were being preserved by monasteries? Where were the displays of what everyday life was like for men, women and children of all walks of life? This is a museum dedicated to one of the most brutal, interesting, and pivotal periods in European history, last roughly 1000 years (5th to 15th century) and encompassing the fall of the Roman Empire to the “discovery” of the New World and the beginning of the Renaissance. Why it was jam-packed with the same stuff found at the Musee D’Orsay or the Louvre?

Ah well, you get the point. After leaving here, we pressed on to the 9th arrondisement and the Galeries Lafayette. This massive department store that encompasses several floors of a domed building, and is jam-packed with clothing outlets, cafes, shoe stores, and just about every other kind of apparel store imaginable. My mother and wife were quite happy wandering around and checking things out, while my father and I were just generally bored, tired, and grumbling. But we did our best, since this last visit in Paris was all about the women getting to explore a major landmark.

La Galleries Lafayette, interior
Galleries Lafayette, interior

Still, I can’t emphasize enough how much I hate shopping, at least when I’m not buying anything. But therein lies the problem, I guess. I believe shopping is about buying things and leaving. My wife believes its about trying things on, looking for deals, and endlessly perusing what’s available. When this is happening, I quickly run out of patience and enthusiasm, my feet get sore, my head begins to ache, and I desperately want to go “do something”. Yeah, I’m not good company on these sorts of things.

Still, as you can see from the pics (above and below), the place was very opulent and I would not deny that it was something we needed to see before we left. And then, it was a trip on Le Metro to the airport, where we were serenaded by a gentlemen and his accordion. I tell ya, these are the kind of things you really need to see while in Paris. The entire time he played, and he was pretty damn good too, it was like I could hear the soundtrack to an old Parisian movie, or any movie set in Paris that is trying to go for that romantic feel.

Galleries Lafayette, domed ceiling
Galleries Lafayette, domed ceiling

Once we reached Charles de Gaulle, again, we hopped the shuttle bus that took us to our hotel a few klicks away. Naturally, the international airport has several major chains set up a short ride away and shuttles countless people too and from the place on a daily basis. We checked in, ate at the hotel restaurant, and went to bed early. This was essential given that we had an early morning, and 20 hours of flight time and layovers to look forward to!

This time around, it was easier since we the eventual jet lag kind of worked in our favor. No overnights and by the time we landed, it would be late at night so we could get swiftly to sleep. And while the layovers SUUUUUCKED – three hours in Toronto and Vancouver respectively – the flights were easy enough to get through. Fourteen hours of flying time doesn’t seem so bad when you got plenty of movies and cable Tv shows to watch. And I managed to catch a few I’ve been meaning to see, like Anchorman 2, Pacific Rim, Catching Fire.

The view from the Mill Bay Ferry, taking us home to Brentwood Bay!
The view from the Mill Bay Ferry, taking us home to Brentwood Bay!

And when it ended, we found ourselves in Nanaimo and ready to hit the hay! A long and sound sleep, and we had breakfast with my parents, discussed our trip, and lamented how we would miss getting up every morning, having breakfast together, and then going out to see historic sites. But we all agreed, we were ready to get home and we missed out cats! So after packing up and saying goodbye for the last time, we hit the island highway and drove off in separate directions.

And I have to say, readjusting to life here at home has been quite difficult. After you see so much of history commemorated, honored, preserved and remembered, with battles that shook the world, wars that changed the course of history, and monuments, artifacts, buildings and entire cities that have stood for thousands of years, domestic life can seem pretty damn humdrum. Lucky for us, we have our photo collections, our keepsakes, our memories and our stories. And sharing them like this with the outside world has been a fun way for me to remember it all.

The Boy, SO happy to see us!
The Boy, SO happy to see us!

So thanks for reading and I hope that someday in the not-too-distant future, I get to share something equally engrossing and awesome with you all! Carla and I of course have our plans, and we’ve already been talking to my folks about our next trip together, where it will take us, and how we’re going to do it all up right this time! So expect to hear more at some point, and as always, I would like to remind people how important it is to remember all that has happened in the past century to make this world a safer and better place.

I guess there’s no way to end this other than to close with the very sentiments that started it all…

remembrance_day___poppy_day_by_daliscar

Dystopia in Popular Culture

Picking up where I left off last time, I thought I’d get into some examples of how dystopian fiction has influenced popular culture. And given all the feedback I got on my previous post, I also wanted to incorporate some suggested titles as well. But, just to be clear, I still haven’t read Hunger Games, so please don’t ask about it!

Alright, so last time, I mentioned just about every examples of dystopian literature I could find. From the earliest examples of Candide and Gulliver’s Travellers, onto the more modern interpretations of The Time Machine and We, and culminating with classics like BNW and 1984, I essentially ended before I could get into how these novels have had an influence on film and other media. In addition to inspiring the written words, these classics have inspired an entire culture of iconography, symbolism and motifs.

Not surprising, really. Every work of dystopian fiction and satire has sought to create images in the reader’s mind, using highly specific descriptions in order to paint a scene and inspire the right mood. Whenever these novels have been adapted to film, or directors were simply trying to convey similar themes, the task of properly conveying it all visually has always been a hefty one. The same is true for graphic novels and any other visual medium. So today, just for fun, and perhaps to complete my romp through the realm of this inspired genre, here are some examples of dystopia in modern media:

Blade Runner:
Granted, Blade Runner was based on Philip K Dick’s Do Android Dream of Electric Sheep?, a dystopian story in some respects, but not in the same way that the movie was. Whereas the novel took place in a post-apocalyptic Los Angeles (circa 2019) which is sparsely populated and where a living animal is seen as a status symbol. In the movie, the year and location are the same, but the setting is starkly different. Here, it is a stuffy, polluted, mega-city made up of massive skyscrapers and giant animated billboards, where the streets are dirty and packed with people who spoke a strange dialect known as Cityspeak (check out my post on Cityspeak for on that).

And what made it all so awesome, aside from the plot, was the attention to detail. Director Ridley Scott, the same man who brought us Aliens, brought his usual artistic touch and a team of first-grade set designers to the table. Overall, they produced some pretty awesome concepts, ones which are still being praised to this day. Here are just a few:

The Tyrell Corp. building, which was kind of the focal point of the movie. Early on, we get a birds-eye view of it as Detective Deckard Cain (Harrison Ford) is being flown there in a Spinner (flying car). Later on, the leader of the Replicant party, Roy Batty, travels there as well seeking answers to some of life’s most basic questions.

For starters, the building is clearly based on a the design of a Ziggurat, the breed of ancient Babylon temple that inspired such legends as the “Tower of Babel”, and which serves as a clear representation for the almost godlike power Tyrell wields. The interior design, with its large columns, soft lighting, candles, an owl (a possible reference to Athena’s owl) and the way Tyrell can block out the sun at will all serve to further illustrate this point. That scene near the end where is dressed in lavish white robes also seemed pretty symbolic, I’d say!

And for those who read 1984, there is a possible encoded reference to the four ministries as well- Truth, Peace, Love, and Plenty – all of which were pyramid-like in design. Coincidence? Who knows? All that matter is when it comes to massive structures that harken back to ancient Egypt and Mesapotamia, the symbolic value is clear. Much like the civilizations that built them, these things stood for power and dominion, both over lesser subjects and the afterlife itself. They were the ruler’s way of achieving immortality by creating something that embodied their power and would stand the test of time. As Shelley said in his poem “Ozymandias”: “Look on my works, ye mighty, and despair!”

And when it comes right down to it, this old-world kind of mentality, updated for the modern age, is indispensable to any dystopian story: Absolute power, wielded by the few over the many and represented in conspicuous and obvious ways! In many cases, it comes in the form of totalitarian governments (a la The Party) who runs things with an iron fist and build massive government buildings to remind everyone of who’s in charge. But in other cases, it takes the form or corporate dominance, where the wealthy rule society like feudal barons while the rest live like serfs. And much like their bureaucratic peers, they choose to lord this by building lavish buildings to themselves and covering themselves with ornate symbols!

Another trademark bit of dystopian set design were the massive skyscrapers, complete with giant video-billboards. No doubt, these too were designed to give the impression of the control corporations had over the people of LA in the future. As if regular sized billboards ads weren’t enough, (or televised, print, bench, flier, blimp, and radio ads) now it seemed that corporate monopolies were splastering their logo’s on screens the size of buildings!

And just to make it realistic, Ridley Scott and his designers were also sure to use logos that were already big in the early 80′s and seemed destined to get bigger – Atari, Coca Cola, Pan Am Air, Cuisinart, Bell System. But interestingly enough, all of these companies suffered heavy losses after the movie’s release. The phenomena came to be known as the “Blade Runner Curse”. Strange, one would think audiences began associating them with dark imagery or something ;)

But personally, I think one of the most effective aspects of the movie’s look and feel came through in the construction of the streets. Here, Scott’s design team made sure that every shot was crammed full of people who whore plastic jumpers, dark glasses, cool headgear, and carried what looked like umbrellas with neon handles. Then came the street vendors who peddled food or exotic pets in the same neighborhoods, facades that were ashen grey in color, and all kinds of neon signs written in various languages. It painted quite the scene, one which can only be described by the words “Future Noire”.

Brazil: 
Directed by Terry Gilliam, an old-time member of the comedy troupe Monty Python and director of such movies as The Adventures of Baron Munchausen, The Fisher King and 12 Monkeys, Brazil was a rather humorous take on the classic 1984. In it, we are presented with a dystopian society that is ruled by a totalitarian regime, but which is buffoonish and incompetent rather than exacting and brutal.

In addition, the people in this world are also overly-dependent on machinery which is rather unreliable and poorly maintained. And last of all, there is the main character of Sam Lowry, a low-level government employee who works in a mind-numbing government job, lives in a small apartment, and is having prescient dreams about a woman and a man in mask who is torturing him.

The movie shared many plot and thematic elements with 1984, but much of its genius comes through in the set design and direction. Given that the aim of the movie was to present a world in which the machinery is as undependable as the bureaucracy, Gilliam decided to go with a look that would call to mind the kind of over-the-top aesthetics of past sci-fi films. While everything was admittedly grey, dark, and shot in wide and tilted angles, there was also a sort of comic, retro feel to the whole thing. This helped to establish the central premise of the movie, in which incompetence and mind-drudging inefficiency were what was destroying humanity, not a specific agenda.

In addition, Gillian had much to say about artifice and vanity in this film. Lowry’s mother, who plays an important role in the plot, is obsessed with plastic surgery which she hopes will make her look younger. Towards the end of the movie, Lowry dreams that his mother is attending the funeral of a friend who died as a result of too many invasive procedures. And in what can only be described as an moment of oedipal confusion, his mother even looks like Jill, the much younger woman he has fallen in love with!

An interesting take on 1984 isn’t it? Rather than following a philosophy like the one espoused by O’Brien, where the Party wields absolute control over reality and people’s minds, want to eliminate all emotion except hatred, and has destroyed any activities that do not serve their interests, the totalitarian regime in Brazil is instead motivated by laziness and a desire to cover its own ass. Not being wrong literally means more to them than the lives of their citizens. What better commentary is there on a bureaucratized society?

Judge Dredd:
Yes, the movie didn’t so well, and the script and plot were so simplistic that Stallone himself called it a “no-brainer”. But that doesn’t change the fact that the source material is actually one of the better graphic novels in existence, especially when it comes to depth and irony. Set in a post-apocalyptic world of the not-too-distant future, the comics take place for the most part inside “Mega City One”, one of several megalopolis’s that have sprung up in the US after a nuclear war which left it and Soviet Union utterly devastated.

Within this city, just about everything is automated and unemployment is almost universal. Every city block contains over fifty-thousand people, amounting to a population of about 400 million people per city. Due to overcrowding, massive unemployment and uncontrollable violence, the leaders of this future society created a quasi-fascist justice system whereby individual “Street Judges” (policemen) were charged with dispensing judgement and punishment on site. This had a stabilizing effect on society, but the problems remain…

Automatically, one can see a few things at work here. For starters, there’s the Hobbesian idea of man in the state of nature; how because of nuclear war, life became “nasty, brutish and short” and a tyrannical system was needed to put things back in order. In addition, there’s the whole “who polices the police?” side of things, where audiences naturally fear that the judges will abuse their power or fight to the death to hang onto it.

And last, there is the very real sociological concept of the “megalopolis”, the Northeastern mega city running from Virginia to Maine which was originally coined by French geographer Jean Gottmann. In the course of the comic’s history, it is made clear that Mega City One was not actually designed, but grew out of natural urban sprawl that predated the nuclear war. It was only after the war that it became a self-contained place where automation, unemployment and chaos become so rampant.

Now one might also get the impression that this was all meant to illustrate some preachy, “we made a mistake” kind of message (which is in fact what happened in the movie). But in truth, these issues are presented with a fair degree of subtly and irony in the graphic novel.

Knowing full well how his audience would react to fascist symbols and ideology, John Wager (creator) presented readers with a story that is loaded with both. For starters, the Judge’s symbol is an eagle, which bears a striking resemblance to the Nazi black eagle. The Judge’s uniform is also highly ornate and calls to mind the classical imperial motifs of Centurions and Gladiators. And the fact that Dredd’s face is never seen can only be seen as highly indicative. He’s a faceless law-giver, much like Stormtroopers or the SS.

What’s more, the people who sport these symbols and preach these values are presented as heroes. Judge Dredd, for all intents and purposes, is a social fascist who is bereft of  sentimentality, doubt or remorse over what he does. Unlike the other Judges, there’s no crime he won’t ignore, and he never stops for more than ten minutes at a time to rest in a sleep chamber, then he’s back on the job. He also has little sympathy for people who believe in enlightened reform or who criticize the Street Judges for their abuses of power.

The purpose of this always seemed to be for the sake of ironic social commentary. Rather than condemning the Judges and the system they represent (or endorsing them) we are meant to see how – under the right circumstances – something like this could very well happen!

THX 1138:
You know, its movies like this that remind us all that there was a time that George Lucas had talent, when he cared about thing like plots and inspired story-telling, and not special effects and merchandizing. But I’ll leave my riffs about the Star Wars prequels for another day. Right now, I will admit that there is plenty about this directorial debut worth praising, and not the least of which was the faithful dystopian tone it struck.

Set in a dystopian future where the human race is required by law to take drugs that suppress emotion and sexual desires, are controlled by android police, and all inhabitants worship a godlike being known as OMM 0910, the story is clearly a commentary on how rationalization and automation threatened to destroy humanity. In addition, there are clear and obvious parallels to novels like We, Brave New World and 1984.

For example, the people in this future are all given designations instead of names, the state sanctioned religion is reminiscent of Big Brother, and the mandatory use of mind altering drugs calls to mind Soma. And of course, the stark, clinical portrayal of society in the future is very similar to descriptions of the One State and Oceania in We and 1984. And let’s not forget the scene were android police torture and abuse the main character? Tell me that didn’t come directly out of the scenes where Winston was languishing in the Ministry of Love!

And of course the overall moral of the story, that love is precious and will fight the odds against the forces of cold rationality, this too was practically lifted from Orwell’s and Zamyatin ‘s classics! This is not a criticism, mind you. If anything, Lucas demonstrated a keen ability to adopt freely from novels and franchises in a way that really worked. Much as he would do with Star Wars just a few years later, he seemed to know where to borrow from and how to put it all together!

The Watchmen:
Now this was one of my favorite graphic novels of all time. Lucky for me, it also falls into the realm of dystopian fiction, hence I can talk about it here! In addition to taking place in an alternate universe, the setting is one which is quite dark and gritty. Set in the 1980′s, which is the same period in which it was written, the story is of an alternate reality where the existence of superheroes has caused history to diverge quite a bit from our own. Technically, superheroes have been in existence for many decades, which helps to give the story a real sense of historicity.

However, it was with the service of superheroes in actual wars and government programs that caused history to shift. Beginning with Doctor Manhattan’s intervention in Vietnam and culminating in the development of cheap, renewable energy by Ozymandias (with Manhattan’s help), the Cold War took an unexpected turn. Russia was systematically beaten back to the point where it was becoming desperate and nuclear war seemed inevitable. Meanwhile, society began to decay as war began to occupy more and more of society’s attention and the inner cities were neglected and left to rot.

Told for the point of view of Rorschach, a borderline social fascist with deep-seated issues, the darkness and impending sense of doom really come through! As he investigates the death of the Comedian, a fellow superhero who’s death incites the whole plot, we learn how both he, the Watchmen, and society came to be the way it is. His own tragic story, and that of the Comedians, serves to illustrate how the American Dream failed and cynicism and fear took over.

But of course, the point with dystopian stories is not just to speculate, but to make a point about the time in which it was written. Looked at from this angle, the Watchmen was really telling us about the real world of the 1980′s, a world which had come very far since the post-war era in terms of technological, social and cultural development. And like many other cultural commentaries, a sense of failure and betrayal is at work. What happened to the post-war dream? What happened to the American Dream? How did poverty, crime, licentiousness and cynicism become so rampant? From Rorschach point of view, the Cold War is largely to blame, but so is human nature. And given that he is such a dark and messed up character, I don’t think his opinions were meant to be taken too seriously!

V for Vendetta:
Yet another awesome graphic novel, and one which also inspired a hit movie adaptation. A piece of speculative fiction, this series was produced in the 1980′s and was set in a near-future dystopian England. Over the years, this series’ thematic elements and symbolism have been compared to 1984. However, in truth, the story has much more in common with The Iron Heel and It Can’t Happen Here, by Sinclair Lewis (which should have made my list of dystopian literature, dammit!) In these two novels, especially the latter, a fascist regime takes power by appealing to the people’s sense of moral purity and a desire for order, and in the end the people got more than they bargained for!

But alas, the story in the comic book version involves nuclear war and the transformation of the UK into “lifeboat Britain”. Given that the movie was made in the early 2000′s, the story had to be updated somewhat. There, the focus shifted to terrorism and the exploitation of fear – echoes of The Handmaids Tale and “Loose Change” there, but I digress. After being passed over by the nuclear holocaust, Britain found itself being flooded with refugees and victims of the war. Bit by bit, authoritarian measures were put into place to deal with the crisis, until eventually, the fascist government of Norsefire took over, and that’s when the real changes happened!

They’re motto: “Strength Through Purity, Purity through Faith” pretty much sums it up! In addition to pushing a religious agenda, they were also very much concerned with purging British society or minorities and “undesirables”. A police state was put into place where a series of departments – the Eyes, Ears, Mouth, and Hands – were tasked with controlling and monitoring all aspects of society. The Eyes handled surveillance, the Ears listened to people’s by tapping their phones and bugging their homes, the Mouth disseminated propaganda, and the Hands investigated criminal activity. And of course all minorities, be they racial minorities, homosexuals, or just political dissidents, were sent to concentration camps where they were exterminated and experimented on.

Into all this enters the character of V, an anarchist revolutionary who is the product of one camp’s twisted experiments. As a result of their invasive procedures, he became an enigmatic genius/amnesiac with a serious chip on his shoulder who is now on a quest to pay the government back for its crimes. His famous disguise, the Guy Fawkes mask and robes of black and red, are as intrinsic to establishing his character as his monologues and affinity for blowing up government buildings!

Judging by the color scheme alone, one immediately can tell that this man is an anarchist by his use of the color black (or anarcho-syndicalist seeing as how he combines it with red). The mask is a further indication of this, given that Guy Fawkes was a radical who tried to blow up parliament because he believes any vestige of government to be anathema to freedom. So in the end, we can see that this a man who wants to bring down the system and is reaching into Britain’s forgotten past to resurrect the idea of civil liberty.

In contrast, Norsefire’s logo was pretty straightforward too. In the comic, Norsefire represented itself on its “motivational posters” with a set of white wings with a space in the middle that was in the shape of a cross, and behind it lay flames. This is obviously meant to conjure up images of religious propriety, or holy war, and of action, all of which are clear allusions to fascist and religious-right iconography. It was also meant, in my opinion, to call to mind Britain’s Action Party, a fascist political group that played a small but influential role in British political life during the 1970′s.

In any case, one can see several staples of dystopia at work in this series, hence why it earned a loyal following and garnered so much critical acclaim. In addition to the idea of a nuclear war breeding totalitarian regime in Britain (right out of 1984), of “Lifeboat Britain” giving rise to a fascist regime (which may have helped to inspire the novel Children of Men) and countless allusions to Nazism and how it really could take root in Britain – which calls to mind Orwell’s essay “England Your England” where he basically asserted that it couldn’t.

Final Thoughts:
Wow, this sort of stuff makes me feel head-heavy and tired! It seems that when you get into a subject as rich as dystopian literature and its various offshoots, there’s no shortage of material! But I think I’ve learned something from all of this and it’s important that I get it right. So bear with me…

As I said in my last post, utopian literature predates dystopian by a couple centuries at least. And I also focused on the differences between the two, how utopian lit shows our failures by using a prefect society as a comparison while dystopian societies show the logical outcome of our most worrisome flaws. However, I’ve now come to think that the issue is far more complicated than all that. For starters, one can find elements of the former in the latter and vice-versa. What’s more, utopian novels and treatises were often loaded with irony, at times truncated themselves to make the point that perfect societies were not so perfect, or perhaps unattainable.

On the other hand, all dystopian novels take as their starting point the idea of a failed utopia. Whether it was a willful lie (as O’Brien revealed in 1984) or an attempt at perfection gone wrong, all dystopians arose out of attempt to create a “perfect society”. In the case of the classics written after the 18th century, the inspiration for this is clear. Beginning with the French Revolution, then the Russian, and countless other revolutions who’s aim was to radically transform society, it seemed that every attempt to create “real equality” and an “earthly paradise” was doomed to result in tyranny and abuse. Sometimes horribly so!

But the earlier utopian writers didn’t have these failed social experiments to point to. In their case, saying that utopias were unattainable would have had to have been purely philosophical. And examples abound! The very word Utopia, for example, is Greek for “no-place”. And the narrator of this book, the man who is an apparent specialist on this fabled society, is named Raphael Hythloday. This last name has a Greek root which loosely translates to “expert in nonsense”. Samuel Butler, another utopian writer, named his fictional society Erewhon, which is simply “Nowhere” written backwards. In addition, in his “perfect” society, people are punished for being sick and treated for criminal behavior, an inversion of the usual procedure!

I guess its like the dividing line between heaven and hell, or revelation and madness. Somehow, the line is fine, and one misstep can take you from one to the other in the blink of an eye! And, as with everything else, we carry these things with us  and project them wherever we go. Well… that was deep! Stay tuned, I’m sure to have something more cheerful for next time!

The Watchmen

Sometime last week, I finally got my hands on the original graphic novel of V for Vendetta. I figured that since I was going to review this movie at some point, I ought to read the source material and treat it like all the other adaptations I’ve covered so far with this blog. Interestingly enough, the creative force being the graphic novel was none other than Alan Moore, the same man who created The Watchmen! While I’ve never been much of a comic book guy – which I admit is both treasonous and weird given my obvious geekhood! – I can honestly say that this was one of the best graphic novels I have ever read. Hell, it was guys like Moore with such creations as Watchmen and V that helped to establish the very concept of the graphic novel. While the dividing line between them and comic books is pretty fine, one can’t deny that guy’s like Moore combine a great deal of thought and inspiration to come up with these things, certainly no less than what typically goes into a high-end novel.

Not only that, but with The Watchmen, we got a story that was equal parts satire on the traditional subject matter of comics (superheroes) and the history of the 20th century. This is done in true sci-fi form, employing an alternate reality to show how the existence of a certain phenomena altered history, and using the differences to illustrate what took place in the real world. Embracing such things as generational change, feminism, war, civil rights, the decline of America, politics, nuclear holocaust, paranoia, UFO hysteria, and the American Dream, the scope and depth of this book was virtually undeniable. And when it came time to adapt it to the big screen, the same spirit came through pretty clear. There were naturally some weaknesses that emerged out of the monumental task of adapting the voluminous text to the big screen, and some complained about the changes, but in the end, it felt like a pretty faithful adaptation, and one that was overdue!

(Background—>):
Zack Snyder must have seemed like the natural choice to shoot this epic, having directed 300 – another graphic novel adaptation – just three years before. The end result was an official release that left out various parts of the plot in order to cut down on run time, but still managed to be two and a half hours long. As expected, a directors cut and an “Ultimate Cut” were also released on DVD that contained much of the missing elements, and they run for approx. three and three a half hours respectively! That’s what you get when you try to adapt a classic to the big screen, I guess. In either case, the box office draw and DVD sales were through the roof, another result of a classic meeting the big screen!

Naturally, there were those who complained about the cinematic release, citing the things that were left out, the new ending which did away with the whole UFO theme, and what not. However, the thing that divided audience the most, ironically enough, was Snyder’s commitment and reverence of the original source material. While some praised him for his faithful adaptation, his biggest critics saw this is as a drawback, claiming that his commitment to the source material made the movie feel “stuffy” and “boring”. Some even found themselves falling in the middle, saying that they were impressed with the faithfulness of the adaptation, but unsure as to whether or not this made for a good movie. One thing was certain though, for fans of the graphic novel, the biggest source of contention was the changed ending! Squiddy or Manhattan, which was better? For those of you who read the novel, you know what I mean 😉 For those of you who don’t, read on!

(Content—>):
The story opens on the murder of a superhero by the name of The Comedian. Whereas the novel only shows the aftermath of this, the movie gives us the full fight scene in order to open with a bang and get our attention. In any case, we begin the movie knowing that The Comedian (played by Jeffrey Dean Morgan) is dead, and his friend, fellow superhero Rorschach (Jackie Earle Haley), is on the case! This latter superhero, named for the mask he wears, is one of the few superheros in this day and age who’s not working for the government or gone into retirement. He believes The Comedians death is part of plot to eliminate the Watchmen, as superheroes have been turned on by popular opinion and outlawed by the state. We also learn quickly that due to the historical presence of superheroes, the world has unfolded quite differently. Due to their efforts, America won the Vietnam war, Richard Nixon remained president since, the Cold War escalated and nuclear war now seems inevitable. Society has also gone to hell in a hand basket, but at least there are electrical cars!

So, fearing a plot against his former superhero friends, Rorschach seeks them out and tries to warn them. These include Nite Owl (Patrick Wilson), Dr. Manhattan (Billy Crudup), his wife and partner Silk Spectre II (Malin Akerman), and Ozymandias (Matthew Goode). Most of them are retired, except for Dr. Manhattan who is doing nuclear research for the government (fitting since he’s a nuclear-powered, godlike man!) and Ozymandias who’s supersmarts have led him into the world of inventing and big business. Most of them are skeptical, until an assassination attempt against Ozymandias is narrowly averted. The movie then gravitates between filling in the characters back stories and the progress of the murder investigation in the present.

On the one hand, we see how The Watchmen, an organization of crime-fighting superheroes, evolved from the Minutemen, a similar group that was formed in the 1930’s in response to the rising tide of organized crime and gangsters. In showing the history of the Watchmen, we are made aware of how history unfolded differently since their own stories are so very intertwined with history. What is palatable in all this is the feeling of loss and betrayal that accurately portrays America in the 20th century. Much like in the novel, there is the pervasive sense of the “end of innocence” as we go from a rought but optimistic past through a series of shocks and upheavals, landing finally in a dark and gloomy present where annihilation seems inevitable. Most of this told from the point of view of Rorschach, a man who’s own cynicism reflects the mood of his age. His thoughts and findings, all of which he puts down in his journal (which will come up later), provide the narration. And I dare say Haley did a very good job portraying this dark, brooding superhero! The way Rorschach always said “Hrrrmmmm”, that I thought was done pretty well too.

In any case, Rorschach’s investigation soon leads him to a former villain named Moloch (Matt Frewer) whom he suspects because of him being a former enemy of The Comedian. However, his suspicions are allayed when he learns Moloch is dying of cancer. Interestingly enough, Moloch tells him that the Comedian showed up at his apartment shortly before he died, drunk off his ass and muttering something about how it was all a joke. This makes Rorschach even more curious, as he now believes the man was onto something that could shake even him. It’s been well established at this point that The Comedian was a real SOB, and that his alias is sort of an ironic joke. Like the Joker, his humor comes in a brutal, sardonic form, albeit somewhat less evil (only somewhat).

In any case, Rorschach soon finds himself framed when he returns to Moloch’s apartment, finds him dead, and that the police are upon him. He puts up a brave struggle, but the police soon have him and rip off his mask. They are suprised to find that this ass-kicking vigilante is actually a pretty puny man who wears lifts, but is a grizzled due nonetheless (Haley looked the part pretty well too!). While in jail, we get to hear some of Rorschach’s story as a shrink examines him, and the reasons for his cynicism and dark world-view quickly become clear. Seems Rorschach was the child of a prostitute who routinely beat him, until he ran away from home and began beating the shit out of bullies. In time, became a vigilante and donned a mask that looks exactly like a Rorschach diagram, dolling out justice to those who violated the law and/or his rigid moral code (which he clearly uses to compensate for his lack of moral values growing up). At first, he had limits, beating criminals up but never killing anyone. But then came the encounter that forever changed him, which he relates with brutal detail to the shrink while looking at (you guessed it!) Rorschach diagrams! I shant go into too much detial, suffice it to say that it involved a pedophile/murdered who’s crime demanded swift and severe retribution!

Meanwhile, Dr. Manhattan comes under fire during a televised interview. Seems some investigative reporter has turned up evidence that everyone he’s ever been in contact with is dead or dying of cancer. You see, Manhattan was created when a nuclear accident broke down ever cell in his body, only to later be recomposed out of pure energy. He can take whatever form he wishes, duplicate himself, teleport, vaporize his enemies, and so forth. However, it was assumed up until this point that his presence was benign and he was not a threat unless he wanted to be. When he learns this, he has a minor breakdown and teleports himself to Mars, wanting to break contact with humanity and spare anyone else the harm of being around him. His partner, Silk Specter II, has already moved out since his lack of humanity was driving a wedge between them. But when she hears of his departure, she is understandably upset. She has already moved in with former colleague and friend Nite Owl (Patrick Wilson) and the two begin a sort of affair.

With Manhattan gone, the Soviet Union, which has been at a strategic disadvantage since Manhattan first started working for the US government, decides to take advantage of his departure and invades Afghanistan. The Doomsday Clock gets closer to midnight! Similarly, Silk Specter and Night Owl decide to come out of retirement because of the impending crises and do what they can to help people in need. Their affair has been abortive up to this point because they feel afraid and impotent with all that’s happened, but after saving several people from a burning building, they feel on fire and do it right in Nite Owl’s hovercraft! To Halleluiah by Leonard Cohen no less! They then break Rorschach out of jail, knowing that he was right about their being conspiracy at work. With The Comedian dead, an attempt on Ozymandias and the confrontation that made Manhattan leave Earth, it now seems evident that someone wants The Watchmen out of the way. After all that is done, Silk Specter decides to confront Manhattan, which she does after he comes for her and brings her to Mars. In the course of a tense discussion, he reveals to her that The Comedian was her father. Seems her mother, Silk Specter the first (played by Carla Gugino) slept with him in spite of his violent behavior towards her, and she was the result. She is, again, understandably upset, but still manages to convince Manhattan to come back and help them.

Together, Rorschach and Nite Owl go to Ozymandias’ office and unlock his files. In them, they find compelling evidence that he has been behind everything. The smoking gun comes when they see that The Comedian was working for him in the last while, and that his death was obviously to prevent him from telling the others what he had found out. They also figure out that he staged his own assassination attempt and sent a false reporter to tell Manhattan the cancer story, thus getting him out of the picture. They then travel to his Antarctic retreat where they know he’s still working on whatever pet project The Comedian died to protect. And here we get another change just like at the beginning (aka. the addition of a fight scene). In the comics, Ozymandias reveals his full plot to them and only tangles with Rorschach briefly. In the movie, there is an extended fight scene between Owl, Rorschach and Specter before he shows them what he’s really up to. And that’s where the biggest change of all comes into play: the big finish! But first, his motive!

Basically, Ozymandias explains that his plan was to unify the US and USSR and prevent a nuclear war by exploding the world’s largest energy reactors which he and Dr. Manhattan created. This will level several of the world’s major cities. Naturally, they try to stop him, but he explains that its too late and the reactors are already set. The energy signatures of the explosions are consistent with Manhattan’s, in part because the technology is based on the same forces that created him. Ergo, it is believed HE attacked Earth, most likely out of some anger-fueled breakdown that happened as a result of his breakdown. As noted already, this is not what happened in the novel, but more on that later…

Silk Specter and Manhattan have already shown up, and Ozymandias tries to kill Manhattan by luring him into some kind of nuclear de-compiler that is similar to the one that altered him in the first place. However, Manhattan proves immune to it and manages to finally subdue Ozymandias. He, however, turns on his many TV’s and shows him the reports which tell how the US and Soviet Union are standing down in the face of this new attack. They both seem to think Dr. Manhattan is attacking them now and are combining forces to defend against him. The others are angry, but Manhattan cannot argue with the logic and agrees to take on the role of the bad guy and go back into exile, this time permanently. Rorschach refuses to play along, him being a no-compromises kind of guy, and Manhattan is forced to vaporize him to maintain their little secret. Manhattan then says good-bye for the last time and leaves them for good. Nite Owl and Silk Specter leave too, vowing to keep fighting crime as New York rebuilds and build a future together.

The movie then ends with people from a right wing tabloid named the New Frontiersmen talking about there’s no news now that the Cold War has ended. But it seems that in their incoming mail, there’s a strange journal… It’s Rorschach’s, which he happened to mail to them just before he and Nite Owl departed for Antarctica. Remember how he recorded everything in there? Well, it seems like the secret might get out after all! The movie and comic both end on this scene, offering the reader/viewer an uncertain and possibly open ending.

(Synopsis—>):
First off, the new ending. As I’ve said twice now, the part where Ozymandias blew up the world’s major cities and blamed Manhattan was not what had happened in the original graphic novel. There, Ozymandias was working on perfecting matter teleportation, and it was this technology which he also used to try and destroy Dr. Manhattan. In any case, what he was teleporting was the body of a massive, genetically engineered bio-organism that looked very much like a massive alien squiddy into the heart of New York. Sounds weird, I know, but the result was that New Yorkers became convinced that an alien attack was underway. The organism died in the teleportation sequence, and only a few people were killed, but the point is they believed that an invasion attempt had failed, but more could be coming. THIS is what united the US and USSR, the prospect of an external threat that came from another species, not Doc Manhattan.

To be fair, I saw the reason for the changeover. The Squiddy concept was weird, but it played into the whole UFO paranoia that also existed in the latter half of the 20th century, as seen with Roswell and Area 51. The idea of playing that against Cold War rivalry made sense, it was just the execution that seemed a little weird. By putting Dr. Manhattan at the center of the conspiracy, Snyder was able to rework the plot quite effectively, but he did away with an essential element as a result. In addition, the recurring side-story about the pirate comic Tales of the Black Freighter which a patron is reading at a newstand, was also missing. However, Snyder was sure to include an animated adaptation of this portion of the novel onto the DVD.

The concept of the Doomsday Clock was also something that was changed, albeit in a faithful way. In the novel, the clock is not an actual object but a device that tells the reader before each chapter how close they are to the climax. But in order to keep it, Snyder adapted it into the movie as a set piece a media personality used to capture people’s fears about the impending nuclear war. Other than that, the only real changes had to do with action sequences which were included for obvious reasons. And they’re actually quite entertaining, being at once over the top and brutal. In a way, it kind of adds to the satire, combining superhero-like antics with bloody realism, which is essentially what the comic book is all about.

So what else was bang on…? Well, the feel was almost exactly the same. The movie’s intro, done to “The Times They Are A-Changing” by Bob Dylan was quite masterful at establishing the tone and giving the audience a quick glimpse of the back story. In fact, the entire soundtrack is faithful to the time period being depicted, giving it all a sense of historicism. The only flaw I saw in any of this was the scene where Nite Owl and The Comedian (in a flashback sequence) are shown cracking down on protesters during the late 70’s before superheroes were officially outlawed. After dispersing the crowd, Nite Owl turns to The Comedian and says “What happened to this country? What happened to the American Dream?” This was a bit obvious, and it was never done in the comic. For the most part, the movie captured this theme very well so I didn’t see why any of the characters needed to come right out and say it.

But overall, I felt that the movie was a faithful adaptation. In fact, I was impressed with how closely the movie followed the novel until the end. However, this does not mean that it could ever hold a candle to the original. This is not an attempt at snobbery on my part, it’s actually just how I feel about all adaptations. They are fun and serve their purpose, but can never really be expected to provide the same meaning or enjoyment as the original. In addition, reading is always more enjoyable, in my humble opinion, because the reader is able to stop, think, and interpret what they are taking in. In a movie, the entire process is transmissive, no room for interpretation until its all over, and the key jobs of visualization and imagining are done for you.

So… yeah! Watchmen, people! Read it, see it, decide for yourself. And know that the second you do, you too will have an opinion on the subject and demand that it be heard. Hell, you might even shout at a person or two for not sharing your beliefs. See, that’s the thing about geeks. We’re passionate about interesting but inconsequential things!

The Watchmen:
Entertainment Value: 7/10 (run-time kind of brings it down)
Plot: 8/10
Direction: 9/10
Total: 8/10