The Orion Loop - Soviet science fiction film (1981)

As part of my exploration of Soviet (and Eastern Bloc) cinema, and more specifically science fiction from those territories, I recently watched The Orion Loop, a 1981 Soviet science fiction movie.

Like many science fiction films from the USSR, The Orion Loop deals with the question of extra-terrestrial life and the potential for its contact with Earth and humans. The plot centres on Earth's efforts to investigation a strong radiation source which has been affecting other spaceships on the edge of the Solar System. The ship which is dispatched on this mission is crewed by a mixture of people and their android 'doubles'. Crew members receive 'visitations' from holograms, which seem to be emissaries from an ancient alien civilization. Some of this activity turns out to be connected to a 'galactic virus' which might affect Earth.

In common with many science fiction works generally (and not just the ones produced in the Communist world), this picture examines some Big Subjects, such as man's attitudes to science, reason, and progress.  International solidarity and co-operation are also shown in a positive light. However, the story (the screenplay was co-written by the famous cosmonaut Alexei Leonov) is quite multi-layered.

One of the central themes of The Orion Loop is how humanity should engage with aliens, and how we should give them a chance and regard their intentions as benign, benevolent and constructive. If we give harmony and conciliation a chance to develop, positive consequences may well ensue. Of course, we may infer that these topics were being employed, at least in part, as a metaphor for how the different peoples of Earth should relate to each other.

Part of the sub-text is that we often mis-read or misunderstand what genuinely threatens our well-being or security, suggesting that we devote excessive resources to tackling 'imagined' threats, when something less obvious or less immediately emotive represents a much more insidious danger. We should stop and ask ourselves what is the real reason behind phenomena which we think are inherently hostile, and we should trust people and Nature more. I interpreted the holograms as being a reference to the desirability of learning from history.

That the crew members of the Soviet spaceship have android doubles allows some exploration of 'humans versus machines' issues, with the insinuation that in certain circumstances human creativity and problem-solving and decision-making capabilities would win out. On the whole, however, I don't think that the film makes as much use of the androids as it could have done. The holograms are very well done, though.

It is interesting that the cybernetician is to some extent cast as the villain, and the irrational one. Perhaps the message is that Mankind's fate is in its own hands?

This one is similar in format and style to other sci-fi movies from the USSR, but this is the early 1980s, so it is more polished technically and contemporary looking, although the special effects and production values are nothing exceptional for the period. 

Maybe I am being my usual over-analytical self, but the 'internationalism' angle of these films intrigues me. Here, as elsewhere, it seems to me that the Soviet Union is portrayed as taking the lead and the initiative for the benefit and welfare of mankind.

In a broader sense the film is observing that there are things about the human mind, and the universe, which we still do not fully understand. We must keep working, methodically and rationally, to unlock and harness the universe's secrets.

I would say that The Orion Loop is a movie which is both enjoyable and cerebral. 

Animals - Pink Floyd

Following on from my review of Pink Floyd's Wish You Were Here album, it seemed logical to more closely examine the record which succeeded it, titled Animals.

Traditionally Animals had largely escaped my close attention.  I invariably skipped over it whilst navigating their catalogue, moving directly from Wish You Were Here to The Wall.  It seemed a bit of an anomaly, a fly in the ointment, and even the record's title and artwork may have acted as deterring factors for me.

More recently, however, I have grown significantly more receptive to the album's tone and its philosophical angles. My own world-view has moved on, becoming more radical and left-leaning, more conscious of the societal forces and dynamics portrayed and critiqued here. Anyway, I quickly discovered that Animals was in fact less antagonistic and 'threatening' than I had previously imagined. It is still though a powerful and impactful work, both musically and lyrically.

One of the striking features of Animals is the direct, almost rhythmic, hypnotic character of the sound. The music comes across, to me at least, as less contrived and ponderous than some of their other work, and it complements the less cryptic nature of the words, whilst also holding the interest. These characteristics are heard in the album's first major piece, 'Dogs'. This song sets the tone for what follows. David Gilmour is on stellar form on lead guitar, and the backing formed by the rhythm section and the keyboards is vibrant and engrossing. 'Pigs (Three Different Ones)' operates in a similar vein.

In some quarters I have heard it stated that the Floyd's lyrical approach here and elsewhere smacks of 'overkill', and that in some sense the 'grandiosity' and stridency might actually dull or obscure the effect of the message, turning people off.  One's attitude to this I think depends on the listener's personal preferences. It does make a change for a band, especially a prog-rock band, to adopt direct, 'harsh' methods, and the album would not be half as memorable or enduring if it had been compromised by a dilution of the passion and vigour.

What I would say is that some of the lyrics might feel corny or trite to modern ears and eyes; some might compare them to the sort of over-earnest things that could have been written by an excitable and idealistic teenager. That doesn't mean that they lack relevance or strength, and arguably it helps if the listener concentrates on ascertaining the broader meaning behind the words rather than according great credence to the literary merits or sincerity of the lyrics themselves.

'Sheep' is the musical and poetic centrepiece of the LP.  It has a deeply impressive fluency and self-assurance which imbue it with genuine authority. The propulsive bass and the evocative electric piano part are two of the potent ingredients which form a formidable whole. This song is a major reason why I view Animals as signalling the way into the future, both musically and philosophically, rather than harking back to past statements. The production and overall effect feel more 1980s than 1970s. Even by the standards of Pink Floyd, these recordings seemed to represent a departure from a comfort zone, a reaching for liberation.

This album does not exude the sonic diversity of other Floyd works, but the very narrowness and concentrated focus of its anger and its gaze are what contribute to its authenticity and its ability to unsettle and foster contemplation. It must also be mentioned that the concerns and grievances expressed here remain as pertinent and crucial as ever, if not more so. The allusions and metaphors employed on Animals are pointed and unapologetic, and for these reasons it is probably the Floyd album which I would most like to reach the ears of younger people today. 

Looking Backward - 2000-1887 - Edward Bellamy

In recent times, my interest has been increasingly focused on how society can be made more just and equitable, whilst still retaining its dynamism and promoting human flourishing and progress. 'Utopian' literature has formed part of my studies in this area. 

The novel 'Looking Backward - 2000-1887', by Edward Bellamy, was first published in 1888. A man in Boston, Massachusetts is placed into a hypnosis-induced trance or sleep, and wakes up in the year 2000, to find that the world has become a socialist utopia, with the means of production nationalised and money effectively abolished. He is given tours of this new utopia by the family which is playing host to him. There is an interesting 'twist' to the plot near the end which adds a touch of romance alongside philosophical heart of the novel. 

In some respects the work bears similarities to 'News From Nowhere' by William Morris, although their respective utopias differ quite markedly. I found 'Looking Backward' to be more substantial, and less of a 'fairytale', than Morris' effort. That said, I would question how a society can be so profoundly transformed in such a relatively short period of time, apparently without much in the way of resistance, and how the 'virtue' of its citizens can be so uniformly purified. In addition, there is the standard lingering question of how things would function with less emphasis placed on 'incentives' and 'competition'.

Of course, some areas of the story can seem dated, because of the time when the book was created, and the attitudes and theories which were fashionable then do not necessarily translate that smoothly or plausibly for twenty-first century consumption. The solutions which are detailed in 'Looking Backward....' do not always correspond to currently 'fashionable' proposals, and might even seem authoritarian or 'dystopian', and what is envisaged might appear excessively regimented.

In the novel, the apologists for the new system are a bit too certain of their own righteousness for my tastes. Having said that, for a utopian novel this is quite a decent read from a literary viewpoint, even if some might contend that the work served to a large degree as little more than a 'platform' or a vehicle for Edward Bellamy's political and philosophical ideas.

Aretha Franklin - The Queen Of Soul Box Set

There are certain cultural "artefacts" in which I seek refuge from time to time, works or collections in which I seek solace, comfort or reassurance that beauty and imagination can still be found. One such item is the Aretha Franklin box-set The Queen Of Soul (it was previously released under a different title).

This collection essentially documents the time during which Aretha recorded for Atlantic, in other words her time of greatest critical acclaim, creativity and commercial success. The period covered is approximately from 1967 through to the mid-1970s.

When I first listened to this release I was immediately struck by the relentless excellence and quality, and was assailed by a renewed, and most welcome, appreciation of Aretha's talents and artistry. There is hardly a weak track, or a substandard performance, throughout the four discs which make up The Queen Of Soul.

Taking in her halcyon period in such concentrated form led me to appraise the reasons for her status and her reputation. Perhaps the best way in which I can express or articulate this is to stress her interpretative skills - each syllable of every word almost feels like a major event in itself, such is her ability to encapsulate and convey emotion. Some of the credit no doubt goes in some instances to the producers and/or arrangers, but I would estimate that it is mainly Aretha's uncanny sensitivity and savvy which lies at the heart of the appeal of these recordings.

I will avoid discussing some of Aretha's most famous hit recordings, partly because in some cases they are burdened by over-familiarity, or do not show off her capabilities to their fullest or truest extent. They tend to be promoted and pushed by media types who are excessively worried about how they themselves are perceived, and as a result some of her more dazzling and affecting performances possibly remain comparatively unrecognised by the wider public.

Her version of "Bridge Over Troubled Water" is one of the highlights here, a spine-tingling rendition which appears to accomplish the kind of mood and power which Simon and Garfunkel themselves might have intended. Just check out the electric piano part near the beginning of the song.

Another stand-out item is "Ain't No Way". Probably not the strongest song Aretha ever committed to tape, but her phrasing and her vocal flexibility elevate it to another level, and it remains one of the most outstanding showcases for her unique talent. "You're All I Need To Get By" works in a similar vein as far as I am concerned, although in that case the singer starts out with more promising raw material.

I could go one, but rather than attempt to articulate this compilation's manifold virtues, the best advice would be listen to it, and enjoy.

Bob Dylan at 80

As Bob Dylan reaches his 80th birthday, I feel it appropriate to commit a few words to blog form about the great man, his influence and his achievements.

My respect for Dylan's artistry and genius has only continued to flourish in recent years, as I have acquired a deeper and broader understanding of his music, its reach and its effects. I would go so far as to say that Dylan's impact on Western culture is comparable to such figures as William Shakespeare and Johann Sebastian Bach.

He gave rock, and by extension pop, music a literate, poetic voice, and practically invented the modern concept of the 'singer-songwriter', an idea which still plays a major role in today's music, albeit in diluted and shallower form. Many 21st century artists owe a major debt to Dylan's pioneering efforts, even if they don't appreciate it themselves.

In his influence on his contemporaries, notably The Beatles, Dylan helped to shape the creation of modern rock music as a credible art form which was deemed worthy of respect, study and analysis in intellectual and high-brow cultural circles.

Although critical favour tends to focus primarily on his mid-1960s work, and his mid-70s resurgence, I think that a wider exploration of his oeuvre is desirable when appraising his talent and scope. There was the outbreak of prolific song-writing in 1967/68, and his role in shifting the musical focus away from psychedelia and back towards simpler modes of expression and storytelling. 

Of course, there was also his courage in 1965/66 in 'going electric' and fusing folk, blues and rock music to create something genuinely intoxicating and vibrant. Those three albums, 'Bringing It All Back Home', 'Highway 61 Revisited' and 'Blonde on Blonde', represent one of the most dazzling and assured outbursts of brilliance and expressiveness ever essayed by a recording artist. 

Dylan was often unpredictable, sometimes downright contrary, but he is a symbol of something extraordinary, a world in which humanity can rise above the mediocre and see in itself something progressive and adventurous. All people who call themselves music lovers should immerse themselves in the work of Bob Dylan. 

Wish You Were Here - Pink Floyd

 As far as Pink Floyd albums go, Wish You Were Here is different from the other albums which surround it in their catalogue, but they were all in their own ways expressing a disillusionment with the zeitgeist, the way the world, in particular the business world, and more specifically in this case the music industry, were developing during the 1970s.  The idea of a 'tribute' to the departed Syd Barrett was also a good vehicle for projecting discontent about the power structures which underpinned and sustained "the system".  Was what happened to Syd merely a symptom of a more profound malaise afflicting Western civilization, his fate a microcosm of what our society does to so many?

Musically I think that Wish You Were Here treads a fine line between sublime confidence and self-assurance, and charges of appearing contrived and over-bearing.  On balance, I think they remained on the 'correct' side of the line, and the resultant record is thoroughly fresh, credible and vital. The messages and themes which it explores remain firmly relevant to twenty-first century audiences.  In some ways Floyd were prescient in their estimation of the forces which oppress and manipulate us. If people were listening to the message, they didn't act on it, or heed it with sufficient vigour or honesty.

One thing which occurs to me is that of Floyd's momentous sequence of albums, spanning the period 1973 until 1979, two of them (Wish You Were Here and Animals) are what I would call "modernist" or "post-modernist'.  The Wall, for all its supposedly uncompromising force, is in places quite traditional, retro even, in musical terms. The Dark Side Of The Moon is a concept album, and I feel that it lacks the hard edges and driven anger of the two studio sets which followed it.

Of course the work is 'bookended' by the two sections which make up the epic 'Shine On You Crazy Diamond', the first part's more conventional structure and tempo contrasting with the more chaotic and free-form nature of the closing 'reprise'. Despite their length, both sections maintain the interest due to the excellence and vitality of the instrumentalists' playing, and the arrangements are cleverly put together. The lyrics of the song, and the passion and sincerity of the singing, also serve to carry it along. In a feature which is characteristic of much of the album, the sound retains an organic hue, partly due to the use of 'non-electronic' instruments (acoustic piano, organ, saxophone etc), and partly because of David Gilmour's expressive, blues-inflected guitar work.

'Welcome To The Machine' harks back in some respects to The Dark Side Of The Moon, with its portentous, effects-laden opening, but soon develops a life of its own. A track which is perhaps ahead of its time, and although some might be tempted to deride it as 'Pink Floyd by numbers', the drama and grandeur of the musical backdrops and the undeniable validity and importance of the sentiments expounded here make it a compelling and gripping musical spectacle. The music, the words and the vocals combine to paint an unsettling and, one would hope, thought-provoking picture.

With its 'funkiness' and general mien , 'Have A Cigar' anticipates some of the material to be found on the later Animals LP. Another sardonic take on the absurdities and "evils" of the music industry, I don't find it as interesting or as inspiring as the other numbers on the album, and it never really goes anywhere, exuding a rather airless lethargy. OK, the song's subject matter is crucial and central to the album's 'concept', but I think people who eulogise about the song are indulging in some wishful thinking.

If 'Have A Cigar' is comparatively turgid, then the title track is a refreshingly uplifting and invigorating, the poignant lyrics notwithstanding. The sincerity and heart-felt nature of the song comes shining through. Again, the utilization of 'ordinary' instruments, such as acoustic guitars, mixed with some tasteful synthesizer work, means that the component parts have space to breathe and thrive, and something rather marvellous is what emerges.

One of the elements which comes across loud and clear to me is that this is an album which has conviction and polish. The Dark Side Of The Moon examined some Big Ideas, but its general impact was to some degree ameliorated by its format, in that many of the songs were almost vignettes. Wish You Were Here is less cryptic or abstract in its approach; the social critique is more channelled and the tone is harsher, more bitter and angry.  The group deserved credit for showing the courage and assertiveness to persist with this project, and their determination and belief is crystal clear in the quality and the cohesiveness of the finished work.

I would even go so far as to say that Wish You Were Here is the point at which Pink Floyd came into their own, and found their real voice. This "voice" only really remained vibrant and consistently intense for another two studio albums after this, but what a legacy was left behind. 

Wish You Were Here remains compelling and important.

A Dream Come True (1963 Soviet science fiction film)

Continuing my exploration of classic Soviet science-fiction movies, I come to 'A Dream Come True', also known as 'Toward Meeting a Dream' (original title:- Mechte navstrechu), which was originally released in 1963. The film was directed by Mikhail Karyukov and Otar Koberidze.

The premise of the story is reasonably straightforward. A spaceship from a distant planet, journeying towards Earth, encounters difficulties and consequently lands on the planet Mars. The authorities on Earth dispatch spacecraft to render assistance and establish contact.

Although the plot is not that innovative, and in places it flirts with corniness, I found it to be quite an affecting picture. Visually it is lavish, and in its relative slickness it does not necessarily conform to our expectations of science fiction movies from that era. The impression is that the budget was above-average for this type of project, and this is reinforced by the quality of the 'special effects'. There is also some highly effective electronic music, courtesy of Eduard Artemyev.

The 'script' and the narrative explore the standard themes from Soviet films from this genre - faith in science and human progress, peace and international solidarity.  As is often the case, Space is employed as a metaphor for events on Earth. 

If there is an underlying message or philosophical conclusion from the story, it is perhaps one of sacrifice for the greater good, and for the sake of knowledge and progress. Also, that we should not assume the hostile or malign intentions of the inhabitants of other planets. I interpreted the level of political moralizing to be comparatively mild and subtle. To be honest, once one has watched a certain number of old Soviet sci-fi movies, some hard-nosed pragmatism and 'realpolitik' would be welcome as a counterpoint to the unremitting diet of 'idealism' and utopianism. 

A Dream Come True contains more in the way of emotion and 'romance' than your typical sci-fi work, and this might alienate some people who prefer a more 'ascetic' and clinical ambience in such films. The tone and aesthetic of the film are distinctly 'early Sixties' in flavour.

This might not be the most cerebral of science fiction films, but it is quite 'rounded', gripping and satisfying as a watching experience. The conclusion to the film does leave a glimmer of doubt, though.