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Reviews
The Scarlet Letter (1979)
Literate adaptation trumps skimpy production values
I found this to be a most compelling adaptation of Hawthorne's book, with a literate script and good performances by the leads (Meg Foster, Kevin Conway, and John Heard) and many of the supporting players (Penelope Allen, Caroline Cava, and Josef Sommer). The primitive set design and costuming was an attempt to recreate the Salem of the period, and it appears fairly authentic, if my research of the period is any measure of accuracy. The fine music score by John Morris ("Young Frankenstein," "The Elephant Man") aids in creating the proper tragic, somber atmosphere of this classic story.
On the negative side, the momentum sags in Part 3, the use of videotape over film (which the BBC did quite a lot of back then, too) fails to create the necessary atmosphere for a tale with underlying supernatural elements, and the child playing young Pearl is annoying--but so were most child performers of the period.
This are minor quibbles, however, and I still found the production thoroughly engrossing.
Requiem for a Heavyweight (1962)
A good production, but Quinn missed the heart that Palance found
In every technical aspect, this production is superior to the live television version-- photography, music, and production design capture the seamy underside of the boxing profession--and the supporting members of the cast, particularly Jackie Gleason and Mickey Rooney, rival the quality of the actors they replaced (Ed and Keenan Wynn). Where the film falls down is in the casting of the lead.
Anthony Quinn is a superb actor, and he catches the dim brutishness of the Mountain character. However, he misses the crucial element that Jack Palance so poignantly captured in the live performance--the gentle soul of the man--and that's the element at the very heart of Rod Serling's humane masterwork.
Serling's story expansions to fill out the film version, detailing the corruption and danger of the sport, are interesting but not essential. The film is good, but the live television kinescope is the version of Serling's play that best captures its spirit.
Night Stalker (2005)
X-Files redux
Frank Spotnitz has missed the spirit of what made the original pilot movies and series so unique. In the pilots, particularly, there was a perfect balance between scares and humor, action and character. That should have been the template Spotnitz tried to emulate, not "X- Files" redux. The solemn, ominous tone and paranoid world view is a carbon-copy of that other series and "Millennium." Using the "Night Stalker" name is a ruse to suck in older viewers based on brand recognition of the original. It's like an upstart cola company with a new soft-drink recipe that decides to call itself Coca-Cola. They're hoping the consumer recognition of the name will attract sales. It ain't Coke. It has some elements in common, and you can drink it, but it just doesn't taste the same. Some suckers, however, will buy anything. Calling this series "Night Stalker" is just name-dropping. This is Chris Carter's franchise branching out under the guise of an old classic.
Getting involved with Stuart Townsend's flaccid interpretation of Kolchak is sure going to be an uphill climb. He registers dramatic moments by arching an eyebrow over one of his watery eyes. A shame he got that personality-ectomy before they started production. This is the guy Peter Jackson originally hired to play Aragorn in "The Lord of the Rings"? Jeez, we can be thankful the director thought better of it, canned him, and hired Viggo Mortensen. I can't believe they tapped this Irish pretty-boy to play scruffy, abrasive, larger-than-life Kolchak. Townsend is just swimming in Darren McGavin's out-sized tennis shoes. Ironically, McGavin appeared for a split-second, CGI'd next to the water coolerjust a reminder of what this new show is sorely missing: an intriguing hero.
On the positive side, the murder and attack scenes are well designed, but it's all for naught if one doesn't give a crap about the main protagonist and his equally solemn sidekick (an obvious photocopy of Gillian Anderson's Scully). That's one thing that made "The X-Files" work: the growing friendship and wry humor between Mulder and Scully gave the show a heart, and the actors had some genuine chemistry. Time will tell if Townsend and Gabrielle Union can strike some sparks off each other, but I couldn't detect any rapport in the opener. As for the character of Vincenzo, he's just a generic cut-out, making one long for the presence of Simon Oakland.
I wanted this series to have an approach I could enjoy, but this bland hybrid ain't gonna cut it. IF Spotnitz had hired, say, Paul McCrane as Kolchak and Hector Elizondo as Vincenzo, and IF he had tried to emulate the same balance of chills and humor exhibited by the original pilots, and IF the new approach weren't such a transparent blueprint of the unending story arc of Byzantine conspiracy that was "The X-Files," it might have worked as a respectful homage. But seeing this pretender-to-the-throne being called "Night Stalker" is going to grate on my nerves. If Spotnitz wanted to make this radical a departure from the original, he really should have said "no" to the idea of a remake and just composed a whole new series without trying to shoehorn this sad Chris Carter retread into a classic format.
Update: Those crappy ratings can't be ignored. This turd just got flushed down the cancellation toilet.