The Flux Capacitor 10.26.07: Week 6 - Wells, Children and Foundations
Posted by Owain J. Brimfield on 10.26.2007
The past, present and future of science fiction - this week we look at prophecy. Plus, all the latest from the world of SF.
Welcome to "The Flux Capacitor", the column that examines the past, present and future of the science fiction genre. I'm your host, Owain J. Brimfield, and each week I'll be taking a look at films, TV shows and a whole lot more that exemplify a particular theme within SF. We'll see how the sci-fi of yesteryear influenced what we see on our screens today, and take a look ahead to see what may be in store in the months and years to come. Later on I'll also discuss some of the latest SF news and see how it impacts on the genre. For now though, let's get the DeLorean on the road - this week's theme is:
PROPHECY
The Past
An integral element of science fiction since the early days of the genre has been its ability to predict the future. Ever since the so-called prophecies of Nostradamus, humans have been fascinated by the capacity of prediction, and no creative genre gives depth to the concept more than does SF, a category of fiction that almost depends on the ability of its writers and filmmakers to bestow credibility on visions of the future. Ever since Arthur C. Clarke invented the communications satellite as an offshoot of his science fiction writing, it's been clear that the genre itself thrives on the sheer imagination necessary to present future worlds, people and devices in a convincing light.
One of the earliest slices of sci-fi in this vein was Alexander Korda's 1936 masterpiece Things To Come, based on a similarly titled H.G. Wells novel. Originally intended as nothing more than an entertaining flight of fancy, the film's prophetic credentials are given immediate, if caustically ironic, credence by the fact that it is set in 1940 on the brink of a global war. It's ominous to think that the film was so close to the impending truth, and so harrowingly nearly there in terms of the detail. Korda's film envisions the war lasting for decades, with humanity returned to a baser level, relying on medieval technologies for survival. Of course, what could once have been could still in fact be [hang on, does that even make sense?] in the current world climate - although I suppose in hindsight that statement could probably have been made at any time over the last seventy years. Soon after its downfall, the human race comes to be ruled over by a group of scientists known as "Wings Over the World", a cabal that has renounced war but still finds time to launch an attack on Everytown, Great Britain (in a tremendous slice of ironical hindsight, the group is actually based in Iraq). Within a hundred years, the scientific-based civilization has taken over the world, with mankind living in underground cities and a Luddite rebellion brewing. It's at once both hugely impressive and depressing that such a plotline could be considered prophetic, and yet I doubt there has been a generation that has lived since the film was made for whom this might not have been a real possibility. Just like old Nostradamus, maybe the prophecies of science fiction might not be ones to which we want to pay heed. Incidentally, the film also ends with one of the greatest rallying calls seen on the screen - "the Universe or nothing, which shall it be?" Perhaps that sentiment, too, will one day seem prophetic.
The Present
If there's any movie yet made that has depicted a more compelling, visionary near-future than Children of Men, then the world has yet to see it. Although by no means an outright attempt at envisioning the future (although there's social commentary in spades), the movie is unflinchingly and brutally honest and in its portrayal of a world torn apart. The kicker is that there is barely an obvious sci-fi conceit at play - while the factor of a human race stricken by infertility certainly provides the driving force of the plot, what we're concerned with here is the casual, almost off-hand way in which director Alfonso Cuaron presents the Earth (or more specifically, the Britain) of twenty years hence.
The gray and decaying society of London and the south of England presented in the film is, sadly, hugely feasible. Buildings fall into disrepair, crime and apathy are rife, and for every spark of compassion there's a flame of ignorance. Without wishing to seem pessimistic, there's a fine line for society to cross, and you have to feel that if it does so, we could be living in circumstances very similar to those depicted here. The rural life displayed in the film's middle act is certainly remarkably similar to that which many in Western society enjoy today. However, the drab, suffocating confines of the first act's London and the closing act's war-torn Dover provide a persuasive, at times almost disturbing counterpoint. There but for the grace of God [he said pretentiously].
However, it's the intricate and subtle details that are the real winner, and tip the balance in favor Children of Men presenting a hauntingly accurate prophecy of the human lifestyle in the near future. Incidental moments such as electronic billboards and subtly advanced automobiles really drive home [pun sort of intended] the way our life has changed over the past few years, and the ways in which it will continue to change. It's perhaps comparable to the pseudo-adaptation of Asimov's I, Robot, or at least represents its antithesis - whereas Proyas' film presents the future in feasible detail but glosses everything over with a big-budget sheen, Cuaron recognizes the grit and reality of the human condition and emphasizes it at every turn. It'll be a while before we see anything as prophetic as this on our screens once more.
[Editor's note: you can also check out my review of the Children of Men DVD... right here at 411 Movies! {cheap pop}]
The Future
It seems as though the primary prophetic tool science fiction has at its disposal is, quite simply, imagination. Nostradamus had that in spades - his downfall was attempting to parlay his creative ramblings into actual, bonafide prophecies. No dice, Jimmy; your writing's good, shame about the reputation. The greats of science fiction used their imagination to enrich their creative worlds, with the potential of giving us all a genuine glimpse into the future. So what would happen, if we could find a way to combine this kind of imagination with some kind of predictive science? Surely any films made as a result of that combination couldn't help but produce real and compelling visions of the future…
Of course, such a means of predicting future trends via scientific methods doesn't exist in reality - but, in a stunning existential twist that rocks the very foundations of this train of thought, and apparently causes me to mix my metaphors, it does exist in fiction. To whit: Isaac Asimov's Foundation saga. (This is the part where you realize that "foundations" in the preceding sentence is actually a spectacularly clever pun, or play on words) Covering the scope of ten thousand years of human evolution way off in the future, the story concerns Hari Seldon, a prophet and scientist, who manages to predict the future of the entire human race to a scary degree of accuracy. His musings are based on the doctrine of psychohistory, a science that analyzes human trends, both sociological and statistical, over the course of time and applies the findings to map the probable actions of large groups of people. It's not an intuitive concept, but Asimov likens it to a gas - whereas one molecule is insignificant and cannot have its actions predicted, a mass of molecules can be studied and its future movements determine, or at least postulated.
Okay, we're getting a bit abstract here, and I don't want to spoil any of the intricacies of Foundation's plot. Let's instead imagine a grand sweeping movie (or more likely franchise) based on the novels. A series whose premise revolves entirely around great flights of imagination - there's no denying that Asimov is one of SF's greatest luminaries, you just need to look at his concepts of robotics to see that - and is predicated on a fictional science of predicting the future. The logic is impeccable, how could it fail to produce an accurate impression of humanity some ten millennia from now? Well, okay, maybe I have in fact just twisted the subject on its head in my desire to see a movie adaptation of Foundation. And considering Seldon set up a secret society of psychics (score one for alliteration there) to ensure his plans panned out as he wanted, psychohistory is maybe not the most accurate of predictive tools when it comes to prophesizing the future. Frankly though, there's no denying that Foundation would make for an epic trilogy to rival the epic-est trilogies that moviedom has seen. Sure, the budget would be astronomical and the themes hard to grasp for the majority of punters (and that's the important point, since Asimov wasn't exactly noted for his characterization). But stick someone like Ridley Scott in charge and all the ingredients would be there for a true SF success. At the very least, it would be better than I, Robot.
The Infosphere
I'm starting to lose track of all the Justice League casting speculation, but here's the latest buzz:
Rupert Evans may have been cast as Superman
Josh Dushamel auditioned for a role, probably Batman
Bijou Phillips auditioned for a part
Rapper "Common" auditioned for the Green Lantern
Mary Elizabeth Winstead auditioned for Wonder Woman
It's certainly moving along quickly isn't it. I have no idea how American audiences would react to a British actor playing Superman, but I'd imagine it wouldn't be favorable. Dushamel as Batman is a reasonable decision, given the circumstances of the movie, although he is a bit generic. Phillips is kinda pretty but I don't think she can act. Winstead, I think, is probably the best of all the bits of casting rumours to come out regarding Wonder Woman so far, and almost takes my favored top spot for the role from Kate Beckinsale. And "Common" can fuck right off.
Paul W.S. Anderson, who will be producing the film adaptation of Castlevania, is apparently working hard to get the film into production before the anticipated writer's strike. (courtesy of Sci Fi Wire)
I don't think that sentence has one single redeeming feature. As if rushing a remake of the classic Death Race 2000 wasn't bad enough. Castlevania has great potential as a film franchise, but I don't think we can be faulted for being pessimistic at this news.
Michael Dougherty and Dan Harris, the screenwriters on Superman Returns, will not be back to write the sequel. Warner Bros. is now looking for new writers. Believe it or not, Warner Bros. is thinking about once again "rebooting" the franchise by acting like Superman Returns never happened due to its poor performance at the box office.
Poor performance? A movie that grossed just under $400 million worldwide? Good thinking, Warner Bros. It's the highest budgeted comic book movie ever made, and pulled back almost double its expenses, not to mention getting overwhelmingly positive reviews. Although Dougherty and Harris screwed up a bit with the whole "son of Superman" subplot, the majority of the screenplay was extremely good and I'm sure they'll be missed on a new project.
Stargate: Atlantis has been renewed for a fifth season. (courtesy of Sci Fi Wire)
I never really viewed any of the TV franchise past SG-1, but it certainly seems to have been pretty successful - surprising, when you think the original film didn't receive many good reviews. I liked it though.
And in slightly related news:
Jewel Staite, who plays Dr. Keller in SG: Atlantis and played Kaylee in Serenity, has stated outright that there is no chance of a Serenity 2.
Goddamn it!
And finally…
As always, reader feedback and suggestions are welcome, I respond to everything so just drop me a line. You can also check out my column "The Wonder Years" over at 411 Games. Next week in "The Flux Capacitor" - things take an altogether nerdier turn. Until then - keep watching the skies.
