The letter said that they were two feet high, and green, and shaped like plumber’s friends. Their suction cups were on the ground, and their shafts, which were extremely flexible, usually pointed to the sky. At the top of each shaft was a little hand with a green eye in its palm. The creatures were friendly, and they could see in four dimensions. They pitied Earthlings for being able to see only three. They had many wonderful things to teach Earthlings, especially about time. Billy promised to tell what some of those wonderful things were in his next letter.
Billy was working on his second letter when the first letter was published. The second letter started out like this:
“The most important thing I learned on Tralfamadore was that when a person dies he only appears to die. He is still very much alive in the past, so it is very silly for people to cry at his funeral. All moments, past, present and future, always have existed, always will exist. The Tralfamadorians can look at all the different moments just that way we can look at a stretch of the Rocky Mountains, for instance. They can see how permanent all the moments are, and they can look at any moment that interests them. It is just an illusion we have here on Earth that one moment follows another one, like beads on a string, and that once a moment is gone it is gone forever.
When a Tralfamadorian sees a corpse, all he thinks is that the dead person is in a bad condition in that particular moment, but that the same person is just fine in plenty of other moments. Now, when I myself hear that somebody is dead, I simply shrug and say what the Tralfamadorians say about dead people, which is ‘so it goes’.”
– Why me?
– That is a very Earthling question to ask, Mr. Pilgrim. Why you? Why us for that matter? Why anything? Because this moment simply is. Have you ever seen bugs trapped in amber?
– Well, here we are, Mr. Pilgrim, trapped in the amber of this moment. There is no why.
Here is my Top 10 Soviet sci-fi movies with a dozen of modern trailers I made specially for it while studying some video editing.
Beautiful new ambient, shoegaze, dreampop, synthpop and techno soundtracks included.
1. ”Stalker”, 1979.
A cerebral timeless masterpiece by Andrei Tarkovsky, probably the most renowned and influential Soviet/Russian director. Loosely based on a story by important Soviet science fiction writers Strugatsky brothers (and seen by many as a prophecy for several upcoming catastrophes including Chernobyl), “Stalker” could be interpreted as a philosophical tale about destiny and choices. But there’s much more that that. It’s simply one of the most important cinema achievements ever, let alone science fiction. The story follows three men as they penetrate deeper into into a mysterious area called “The Zone”, each of them for a different purpose. A thinking sci-fi geek’s must-see. This movie is like a Universe, there are always new layers to discover. Read more here and here.
Music by Bowery Electric.
2. ”City Zero”, 1988.
Theatre of the absurd, a mysterious tragicomedy, a dark metaphor. The late 80-s, without doubt, were the most prolific period for the underground culture in Soviet Union, especially rock music but also cinema. ”City Zero” is the finest dark offspring of that epoch. The film is normally classified as sci-fi/mystery – but if you analyze every single scene separately, there’s nothing completely impossible. It’s the sum of all parts that is greater than the whole… The famous headcake scene actually happened once in Russia. But looking at the whole story makes you feel like slowly drowning in the swamp… It’s kind of ”Donnie Darko” goes on ”Mulholland Drive” in ”The Twilight Zone” atmosphere. My full review here. Watch online here.
Music by Auktyon (Аукцыон).
3. ”Dead Man’s Letters”, 1986.
Directed by K. Lopushansky, surely the most faithful of all Tarkovsky’s followers (he worked as assistant on ”Stalker” set), this film is a heavy and realistic portrayal of the end of the world. Endless piles of rusty metal, interminable yellow twilight, dirty radioactive puddles of mixed water and blood. And dead bodies. Dead bodies everywhere. Men, children, women. Everywhere. There is no hope here. It’s finished. There is no ”if”. The doomsday clock has moved. We are just witnessing the final decay of small group of survivors that will last several months, probably. There is not even a single hint about their survival. It’s a death rattle. Just a matter of time. My full review here. Watch online here.
Music by Ital Tek.
“And so, what is a film? It’s a mosaic made of time.” (A. Tarkovsky)
Dreamy and poignant posters for several films of the great Russian director, by Curzon Artificial Eye. These are definitely most beautiful posters of his works I have ever seen (including probably the original posters) as they reflect carefully the poetic nature of these films, which continue to influence modern filmmakers, such as Dennis Vileneuve who directed the best science fiction movie of 2016, ”Arrival”.
And probably will make the best sci-fi of 2017. And who is currently working on Blade Runner 2049.
”La Jetée” (1962) is a very unusual project. It is…
…a photo novel – a science fiction short film made almost entirely in still photographs. 29 minutes of brain-penetrating painful stills.
…a dystopian science fiction movie made by Chris Marker, a French director whose career spanned for 5 decades and his most notable work were documentary essays, not feature films – let alone science fiction. Yet ”La Jetée” was interconnected with his later works in terms of the spirit.
…incredibly long-lived for a film with such an unusual form – no action, no stars and no actual video – that directly inspired one of the best Terry Gilliam’s films ”12 Monkeys”. Yes, the time when Hollywood still had the guts of making these kind of weird ‘remakes’.
…a grim philosophical story about human perception of things and memory, madness, love, time interchangeability and bleakness.
”The victors stood guard over an empire of rats.”
Director: François Truffaut. Starring: Oskar Werner, Julie Christie, Cyril Cusack. UK, France, USA, 1966. IMDb: 7.3. My rating: 3.5/4. Budget: $1.5 million. Dystopian science fiction.
– Well, it’s a job just like any other. Good work with lots of variety. Monday, we burn Miller; Tuesday, Tolstoy; Wednesday, Walt Whitman; Friday, Faulkner; and Saturday and Sunday, Schopenhauer and Sartre. We burn them to ashes and then burn the ashes. That’s our official motto.
– Here’s a book about lung cancer. You see, all the cigarette smokers got into a panic, so for everybody’s peace of mind, we burn it.
– These are all novels, all about people that never existed, the people that read them it makes them unhappy with their own lives. Makes them want to live in other ways they can never really be.
Truffaut’s “Fahrenheit 451” easily divided the audience in two – some praised the film for black ruthless satire mixed with poetical and sensual style, while the others blamed it for simplicity, lack of imagination and small scale. Probably most of those who have read or heard of Ray Bradbury’s famous novel imagined it differently – sharper, darker, heavier. But Truffaut, being a truly big artist, tried to blend with great imagination his own sensual style and the pressing rhythm of the novel. If you have seen “The 400 Blows”, you will surely recognize the style of the French director. Apparently, “Fahrenheit 451” is not a big movie, rather an intimate tale. It’s also is a perfect example of what happens a talented director is struggling to make a film. Truffaut was obviously not into sci-fi, and it makes “Fahrenheit 451” especially appealing. Continue reading
Director: Pavel Klushantsev. Starring: Vladimir Emelyanov, Geogri Zhzhyonov, Gennadi Vernov, John the Robot. USSR, 1962. IMDB: 6.5. My rating: 3/4. A naive space travel adventure.
– The world government will rule the world according to the laws of mathematics.
(a cosmonaut gone crazy)
– According to quotes from the Smith corporation, the cost of building a highway to the Sirius is 37 million dollars.
(John the Robot)
– Where are your masters?
– Slavery is forbidden by the Constitution, I am a free thinking machine.
(a dialogue between John the Robot and a cosmonaut)
– Inform us on the position of your co-travellers.
– Position horizontal.
(a dialogue between John the Robot and a cosmonaut)
There are several scenes in “Planet of Storms”, for which you can forgive it everything. Continue reading