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- Reacquaint yourself with myths so powerful that they remain woven into the fabric of the present world, resonating with real-life relevance.Thousands of years ago, they were used to help frame the world of the ancients, and dictate the guidelines of their societies. Today, they are often the first stories we learn as children, iconic tales where good and evil clash, and humanity and fantasy collid
The friendship between the handsome gardener and his elderly gay admirer is by turns tenuous, humorous, mutually beneficial, and ultimately rather sad--but to Condon's credit Whale is never seen as pathetic, lecherous, or senile. Equally rich is the rapport between Whale and his long-time housekeeper (played with wry sarcasm by Lynn Redgrave), who serves as protector, mother, and even surrogate spouse while Whale's mental state deteriorates. Flashbacks to Whale's filmmaking days are painstakingly authentic (particularly in the casting of look-alike actors playing Boris Karloff and Elsa Lanchester), and all of these ingredients combine to make Gods and Monsters (executive produced by horror novelist-filmmaker Clive Barker) a touchingly ! affectionate film that succeeds on many levels. It is at once a keen glimpse of Hollywood's past, a loving tribute to James Whale, and a richly moving, delicately balanced drama about loneliness, memory, and the passions that keep us alive. --Jeff ShannonOne of the most critically acclaimed films of 1998 and winner of several awards including the Oscar for Best Adapted Screenplay, Gods and Monsters is a compassionate speculation about the final days of James Whale (1889-1957), the director of Frankenstein and 20 other films of the 1930s and '40s, who was openly gay at a time when homosexuality in Hollywood was discreetly concealed. Adapted and directed by Bill Condon from Christopher Bram's novel Father of Frankenstein, the film stars Ian McKellen in a sublime performance as the white-haired Whale, who is portrayed as a dapper gent and amateur artist prompted by failing health into melancholy remembrance of things past. Flashbacks of lost love, ! World War I battle trauma, and glory days in Hollywood combin! e with W hale's present-day attraction to a newly hired yard worker (Brendan Fraser) whose hunky, Frankenstein-like physique makes him an ideal model for Whale's fixated sketching.
The friendship between the handsome gardener and his elderly gay admirer is by turns tenuous, humorous, mutually beneficial, and ultimately rather sad--but to Condon's credit Whale is never seen as pathetic, lecherous, or senile. Equally rich is the rapport between Whale and his long-time housekeeper (played with wry sarcasm by Lynn Redgrave), who serves as protector, mother, and even surrogate spouse while Whale's mental state deteriorates. Flashbacks to Whale's filmmaking days are painstakingly authentic (particularly in the casting of look-alike actors playing Boris Karloff and Elsa Lanchester), and all of these ingredients combine to make Gods and Monsters (executive produced by horror novelist-filmmaker Clive Barker) a touchingly affectionate film that succeeds on many levels. It is at onc! e a keen glimpse of Hollywood's past, a loving tribute to James Whale, and a richly moving, delicately balanced drama about loneliness, memory, and the passions that keep us alive. --Jeff ShannonOne of the most critically acclaimed films of 1998 and winner of several awards including the Oscar for Best Adapted Screenplay, Gods and Monsters is a compassionate speculation about the final days of James Whale (1889-1957), the director of Frankenstein and 20 other films of the 1930s and '40s, who was openly gay at a time when homosexuality in Hollywood was discreetly concealed. Adapted and directed by Bill Condon from Christopher Bram's novel Father of Frankenstein, the film stars Ian McKellen in a sublime performance as the white-haired Whale, who is portrayed as a dapper gent and amateur artist prompted by failing health into melancholy remembrance of things past. Flashbacks of lost love, World War I battle trauma, and glory days in Hollywood comb! ine with Whale's present-day attraction to a newly hired yard ! worker ( Brendan Fraser) whose hunky, Frankenstein-like physique makes him an ideal model for Whale's fixated sketching.
The friendship between the handsome gardener and his elderly gay admirer is by turns tenuous, humorous, mutually beneficial, and ultimately rather sad--but to Condon's credit Whale is never seen as pathetic, lecherous, or senile. Equally rich is the rapport between Whale and his long-time housekeeper (played with wry sarcasm by Lynn Redgrave), who serves as protector, mother, and even surrogate spouse while Whale's mental state deteriorates. Flashbacks to Whale's filmmaking days are painstakingly authentic (particularly in the casting of look-alike actors playing Boris Karloff and Elsa Lanchester), and all of these ingredients combine to make Gods and Monsters (executive produced by horror novelist-filmmaker Clive Barker) a touchingly affectionate film that succeeds on many levels. It is at once a keen glimpse of Hollywood's past, a loving tribute to Ja! mes Whale, and a richly moving, delicately balanced drama about loneliness, memory, and the passions that keep us alive. --Jeff ShannonReacquaint yourself with myths so powerful that they remain woven into the fabric of the present world, resonating with real-life relevance.
Thousands of years ago, they were used to help frame the world of the ancients, and dictate the guidelines of their societies. Today, they are often the first stories we learn as children, iconic tales in which good and evil clash, and humanity and fantasy collide. But what is the reality behind these stories? From the epic tragedy of Medusa, Greek mythology s most infamous female fiend, to Hercules, its greatest action hero, and Hades, master of the land of the dead and a god so feared no one would speak his name, explore these myths and the legendary figures who inspired them in CLASH OF THE GODS. Each episode connects ancient myths to actual historical events, as well as to events in th! e Bible and other cultures mythologies, gaining important hist! orical i nsight from renowned scholars in search of the truth behind the legends.
This 10-part series on two discs travels back in time to reveal the stories behind some of history s most infamous mythological figures and legends including:
Zeus
Hercules
Hades
The Minotaur
Medusa
Odysseus: Curse of the Sea
Beowulf
Tolkien s Monsters
Thor
And moreIt's paradoxical that the most heavily invented and imagined parts in this 10-episode Clash of the Gods series are so much less riveting than the simple storytelling by scholars cast to recap the myths in classroom-lecture style. In these hour-long episodes, myths are dramatized with acting that borders on farce. Men pumping their muscles and grunting or monsters' eyes glowing flaccidly into the camera lens are marked periodically by CG blood splatters and modern primitive tattoo designs blazing across the screen that do nothing for Greek myth except make it feel oafish. Even narrator S! tan Bernard's rowdy, punctuated speaking style reminds one of narration for a detective show or a wrestling match instead of an educational documentary highlighting history's greatest mythic heroes. While modernizing ancient myth is a controversial topic, there are many reasons a television show visually explicating the classics to reach new generations is a great idea. But the erratic, hectic visual style of this series does a disservice to already-exciting stories that, according to the show's mission, explain the ancient world's belief that nature was subject to the gods. Clash of the Gods' other premise, more in keeping with its sensationalistic tone, is to expose hidden truths behind the myths.
The majority of the series devotes episodes to the rise of the Olympian gods, beginning with Zeus's battle with his father, Kronos, and the Titans. Images of Zeus with a ridiculous white lightning bolt painted across his face repeat ad nauseam throughout to supposedly! show how Zeus took control of mortal earth until consumed by ! his "unc ontrollable sex drive." Likewise, the episode "Hercules" depicts a well-oiled man in tight underwear roaming the desert to elucidate how he is the world's "ultimate superhero." Only scholars like Tom Stone, who humorously likens Hercules to Babe Ruth, or Michael Fontaine from Cornell University, do any justice to the exploration of metaphorical connections between Hercules's 12-challenge quest and the ordeals humans were experiencing when the myth was popular. "Minotaur" better achieves its aim to link truths to the myth, by linking historical wars between the Cretans and Athenians to the horrific tale of the man-eating Cretan beast, deemed Athenian propaganda by historians like David George at Saint Anselm College. Also meaningful is the narrative thread in this episode about Theseus's dual fathers, one mortal and one god, and the fantastic connection between historical politicians, such as Alexander the Great, who believed that they too were conceived of two men. While "Me! dusa," the two-episode "Odysseus," and "Beowulf" do zilch to enlighten beyond basic redundant storytelling, the lamest episode of all is "Tolkien's Monsters," a heavy-handed look at how J.R.R. Tolkien's Middle Earth was inspired by his days in the trenches during World War I. While the information in this series is informative and interesting, simulated drama and footage that repeats as if the History Channel ran out of material to edit in makes for possibly the worst series on mythology out there. Save your money and read the books instead. --Trinie Dalton
