Like the documentary Lost in La Mancha, which tell the tale of Terry Gilliam’s never finished film adaptation of Don Quixote, Jodorowsky’s Dune appears to be a much more enjoyable ride as a lost film rather had it actually been made. After the midnight circuit cult success of his bizarro lo-fi films El Topo and Holy Mountain, Chilean filmmaker and all around artsy guru Alejandro Jodorowsky set out to adapt Frank Herbert’s classic sci-fi novel Dune to the big screen. He assembled a a group of holy warrior artists intent on helping him realize his vision, leading them like a prophet. The entire enterprise eventually collapsed when the need for Hollywood big money entered the story. But while his ideas could have been visually fascinating (much of it is too ahead of its time), the overall metaphysical philosophies he was cramming into the story might have only made it another cult curio. Certainly for my taste, the story of the making-of is much more watchable than what might have ended up on the screen. On the other hand, with Jodorowsky’s charismatic storytelling skills it’s hard not to root for his mad-man belief in his dream and for that passion to go beyond mere storytelling to world changing.
Jodorowsky's background in experimental and avant-garde theater in both Paris and Mexico led to an even more unlikely film career. His surrealist and druggy early films found admirers in the midnight filmgoers as well as in French producer Michel Seydoux, who asked the director what he would like to do next. Jodorowsky said Dune and then begun putting together a creative dream team. For his FX Supervisor he failed to convince Douglas Trumbull (2001 and Silent Running) to join the carnival (not a spiritual warrior), but instead landed Dan O'Bannon (fresh off of Dark Star with John Carpenter). He would also convince comic book artist Jean Giraud (Mœbius), the surrealist Swiss painter H.R. Giger and British science fiction book cover illustrator Chris Foss to join the fun. As Jodorowsky apparently worked out the script, he also worked out his visions for the characters and sets with his artists. The ideas came to him in dreams and the talented group came up with some truly astounding art work for what the film would look like. He also supposedly got major rock act Pink Floyd to work on some of the score (as well as goofy French prog rock band Magma). For the cast he managed to gather Salvador Dali, Mick Jagger and Orson Welles (who besides his fee was also sold on the project by being guaranteed a free meal at his favorite French cafe every day of the shoot). The young hero of the film would be played by Jodorowsky‘s adolescent son Brontis (who at the age of seven was prominently featured in El Topo); he would take on around-the-clock sword and combat training for over a year in preparation. The documentary features many of the storyboards that were put in a large coffee table type of book to help sell the project to would-be investors. Needless to say, that book of art now looks like the ultimate Christmas present for any sci-fi geek.Continue Reading
In the world of science fiction films Douglas Trumbull is quietly a hall of famer. His special photographic effects for Stanley Kubrick's 2001: A Space Odyssey would set the standard for outer space visuals for years to come (and I, for one, still find the models more effective than CGI). As a visual effects pioneer, Trumbull would also go on to lend his expertise on films ranging from Close Encounters of the Third Kind, The Towering Inferno, Star Trek: The Motion Picture, Blade Runner, and, most recently, Tree of Life. As a director himself, he helmed two movies including Brainstorm in 1983, an interesting thriller about memory science, remembered mainly as Natalie Wood's last film, and then, most importantly, the first film he directed: Silent Running, a sorta cerebral sci-fi environmentalist saga that has been a major influence on all the subsequent films of the genre.
After all plant life has been destroyed on Earth, scientist and gardener Freeman Lowell (Bruce Dern) works aboard a giant space freighter called Valley Forge with greenhouse domes attached that hovers in space near Saturn, housing both extinct plant life and animals. The idea is that one day these space plant abodes will be able to return to Earth and repopulate its fauna. Lowell is the Adam of this wildlife Eden, aided by his three cute little robots: Huey, Dewey, and Louie, while his yahoo human shipmates (played by Ron Rifkin, Cliff Potts and Jesse Vint) get drunk and android around on their space go-carts with no sensitivity to what he is trying to cultivate.
Shockingly, Earth's powers that be give ord...