Chances are that we will see a renewed interest in Chicago history with the 2013 cinematic release of Erik Larson’s The Devil in the White City with Leonardo DiCaprio as the murderous H.H. Holmes. After all, it should combine the grandeur of the 1893 World’s Columbian Exposition with the grand guignol of Holmes.

If you have not read the book (which we advise) or don’t have the time for it in the next year, try the Devil & the White City Tour guided by Weird Chicago. My recent trip featured stops at the Congress Hotel where Holmes fished for victims, the Union Stockyards and the corner where once stood the infamous pharmacy and “murder castle.”

Weird Chicago can lead you down the twisted path of Chicago murderers, gangsters, ghosts and even the tawdry red light districts. Tours tend to run on Fridays and Saturdays. They are $30 per person ($20 for 12 and under, although the sexy tour is $40 and only for the 18+).

Reservations and availability can be found at www.weirdchicago.com.

So it was that yesterday, (Sunday if you happen to be reading this on say, not a Monday), myself, the charming KL Kenzie, the good Rev. Cpt. Sam Flint and the lovely Lady Lisa all went to view what we were sure was the new fan-boy wank fest “Sucker Punch“.

Flint, already having read reviews from people who have the time to see movies on opening day, promised us that though the film would be very very pretty to look at it – it would also be completely bereft of anything involving either plot or substance.  Having watched the trailer a good 14,028,215 times I came to the conclusion that this was okay – and that we had to see it Sunday so we could have an article up on Steampunk Chicago by Monday.

So to begin, I’m going to start by saying, yes, I know this movie is “dieselpunk” not “steampunk” according to a number of people who have the time to take barely established counter cultures and differentiate them into further sub-genres.  That aside, if you’re looking for a film that evokes the kind of timeless visual imagery of such works as City of Lost Children, Dark City or even Fight Club, this movie is for you.  This brings me to my first laud to Mr. Snyder.

Snyder has deftly taken the style of post World War 2 America for the film, but cleverly and smoothly throws in a number of anachronistic hints that make classifying the movie to any specific time period impossible.  This is hands down, one of the greatest stylistic strengths of the film, and adds an immediate dream-like feeling to its world.

An interesting promo image for the film.

As for the plot,  I’m going to come forward and say that I think all the ill talk of it is un-founded.  I found the plot to be engaging.  I can imagine the biggest issue the casual viewer might have being that it is anything but traditional in the western world sense of plotting, where one starts at point A and goes from point to point until it neatly ends.  Yet plenty of succesful films have avoided that for the better.  Where Sucker Punch is different is that it also defies the more post-modern conceit of the beginning being the end, the “it was all a dream” or even the “it was all in her head” motif.  It’s never made clear just where the movie is really taking place, and it uses this to its own strength.

Without giving too much away, the film is essentially a story within a story within a story, and though – at first – where they begin and end seems evident, after watching the movie in its entirety you’re left not being so sure.  While I enjoyed this aspect, I can see it intensely alienating a majority of viewers.  I think Sucker Punch is a significantly more clever, and intelligent film than one might expect.

Perhaps that is really the “sucker punch” here (yes, pun intended).  The chain gun toting samurai robot-demons and the steampunk Nazi clockwork robot zombies and the bomb train guarded by androids going for the super city are all really really really awesome, but a movie together, they do not make.  Where the film really lies is the plot of five women trying to escape from… well, it’s not clear.  One might say this is a problem, but I don’t think it is here.  This is a film that’s as much about a Buddhist-esque escape from the self as it is about escape from some kind of physical prison, and the nebulous quality of precisely what the prison is really is the center of the story.  It lends itself up to intense speculation and interpretation, and in a culture where we’re increasingly told what to think or how things are, it’s refreshing to not be told what was right, how it was done, or where it came from.

Is Sucker Punch perfect?  No. Is it entertaining?  Yes.  It’s also intensely disturbing and extremely dark.  The fantasy scenes, of which virtually all the hype is being given, are not so much essential to any key plot points, but are essential to your not losing your own mind at how absolutely destitute the lives of the protagonists increasingly become.  So perhaps that’s what we’re left with.  A sucker punch; we come expecting only extraordinary eye candy and yet leave with our minds in a knot.

In my endless search for out of print films or “lost” films now available via the internet, I often scour www.archive.org and other sites for things I may have overlooked. Recently, I came across two Fritz Lang films from 1919 and 1920 that were for years presumed missing and only recently were restored to having somewhat coherent plotlines. Today, I discovered that Universal’s early attempt to tackle Jules Verne is now available for streaming and download.

More a curious relic of the past than an accurate interpretation of Jules Verne’s novel, the first long playing version of the story of the nautilus still holds value for the fan of the author and victorian era sci-fi. The movie itself borrows from both Mysterious Island and the aforementioned tale of Captain Nemo, but butchers and recombines them in such a way that the end result is nothing short of ridiculous.

The film is still worthwhile for both the prop design and the incredible underwater vignettes, which are the first dramatic scenes (supposedly) to be shot underwater. An interesting reminder that Hollywood’s literary reinterpretations are nothing new, 20,000 Leagues (1916) is a worthwhile view at least for the purposes of viewing the early days of science fiction adaptation in film.

The film is now available for free download in several formats, including video for iPhone and iPod at www.archive.org.

http://www.archive.org/details/20000Leagues_1916

For a more stimulating look at Jules Verne, check out Karel Zeman’s Fabulous World of Jules Verne.

So Tesla-Con I has come and gone and all in all, the people really enjoyed it!  From panels on character development, taxidermy, tiny top hats and (of course) airships to the delightful tea room (and its lovely view) to the wonderful special guests to various investors, luminaries and members of the ship’s crew (RIP – Henri Grebelle, Lady Grebelle, MacMurry and The Duke of Buckingham) falling dead – it really was quite a weekend.

TeslaCon was represented by several outstanding groups, people, and event planners. The Airship Archon, the Imperial Anti-Piracy Squadron, Cherie Priest, Mark Donnelly! Truly, friendly faces, fantastic dress and creative weaponry and gadgets were at every corner.

The opening ceremonies began the murder mystery right away, with a character dropping dead from a poisoned drink — and continued through the night with a poison gas bomb in the engine room. Throughout the three days,  the actors remained in elaborate character —  sometimes even two or three — and encouraged the other guests to dig deep for clues and come rushing to every scene. A dark and somber eulogy (which apparently the dead speak at) was even delivered for one of the killed crew members. An old-timey seance delivered even more clues, and some real intrigue. The mystery concluded at a Steampunk Gun Show, as bait to draw out the real killer! People were excited and engaged throughout the convention.

From visuals to audio, no expense was spared in outfitting the airship, er, dresing the hotel. Room placards were printed, period dress restroom signs were hung, and dozens of signs, posters, and art adorned all the hallways.

These were posted throughout the CON - photo by JM Coen

Con-goers were greeted by in character porters and ticket takers while music and ambiance (and the drone of engines) played continually in the background. In the well-staffed (and oh-so-polite) tea room, a window to the clouds presented a majestic view of our flight. Next door, hand selected vendors presented their wares at the ship’s store.  An antique shop even graced the lobby of the airship!

Thanks to Daria Melnikova for the TeslaCon compilation video.

Here are some photos from a variety of people who attended the con.  Next year promises even more elaborate decor and production – we can’t wait (of course we can’t, we’re part of the team) – but we do have a suggestion for next year.

Don’t drink the water (bring your own).

Granted, not a great picture, but this was KL and mine luggage for the weekend.

Opening Ceremonies - And the "take off" of the Explorer II with Captain Dunbar talking all the luminaries and investors ready - photo by JM Coen

And the first murder occurrs! Meanwhile Bobbins reads a note from Lord Proctocus! (As you can see it was all quite theatrical) - Photo by JM Coen

Emporer Justininian talks about the Red Fork Empire - photo by JM Coen

Author Cherie Priest talks at her panel - photo by JM Coen

Captain Anthony LaGrange of the Airship Archon! - Photo by JM Coen

Vourteque, KL and Concordia talk with the Captain after the tragic death of Lady Grebelle - photo by Dave Kaemmerer

KL Kenzie talks during her Taxidermy panel - photo - by JM Coen

Both outfits and costumes were outstanding - photo by JM Coen

A Steampunk Dalek (we were told it was powered by a 9 year old child) - photo by JM Coen

A fight breaks out between the RL&GEMS and the IAPS! - Photo by Jena Watson

The Infamous POKER GAME where McMurry died - photo by Lisa Dousharm

Von Grelle and one of her infamous IAPS members (played by GD Falksen) - photo by Lisa Dousharm

The Lovely Dezomas descending the stairs to the ball - photo by Lisa Dousharm

The Duke and Duchess as the ball... just before tragedy strikes AGAIN - photo by Lisa Dousharm

But fear not - in the end all was well - and the RL&GEMS pose for another great picture

Now to get ready for Tesla-Con II!

It has taken me a while to write an article on The Imaginarium of Dr. Parnassus for a very simple reason.  It is so complex and is so visually overwhelming that it takes a good week or two to really process what you have seen in the theater.  Most film school professors will tell you that Terry Gilliam is a self-indulgent and pretentious director.  I, of course, almost never agree with film school academics or critics.  I will say that the visuals in this film at times seem to overwhelm the story being told, although in many ways grand amusement is the nature of the Imaginarium itself.

Warning, spoilers follow.

In fact, one of the most puzzling elements of this movie is the very operation of the Imaginarium.  We know that  it is controlled by the mind, and that Parnassus (Christopher Plummer) and the “Devil” use it to fight over the souls of the living.  What I find most perplexing is the position of the character of God in all of this.  We have a very clear Judeo-Christian symbol in Mr. Nick (Tom Waits) who seems to be more Mephistopheles than Satan himself.  Waits slips into the roll of the serpent quite comfortably, as if he has already visited Hell and knows what it’s like.  Many online have pointed to the Jesus symbolism apparent in the character of Tony.  The problem in making that assumption is that Jesus was (according to Christian scripture) without sin and most likely did not harvest the organs of small children.  In the end, I think it is best to not view this with a western mindset regarding ideas of good and evil.

This grey area actually makes the film more interesting than a typical rehashing of the story of Dr. Faustus.  A large flaw with the film’s distribution has been the focus on the character of Tony played by Heath Ledger.  Tony acts almost as more of a Hitchcockian MacGuffin than he does as a main protagonist.  The main conflict in this film is between Parnassus and Mr. Nick.  Some have pointed to the fact that Mr. Nick might not be the antagonist, and that the “bad guy” might be Tony.  Now, Tony might not be a decent human being, but it is quite obvious from a storytelling standpoint that Tom Waits is the clear Antagonist.

The conflict present is whether The Devil will take Dr. Parnassus’ daughter, Valentina (Lily Cole), or if the doctor will be able to rescue her by saving five souls before The Devil corrupts the same amount.  Unfortunately, before meeting Tony, the band of traveling performers does not seem to be up to the task of even saving one soul.  They find Tony hanging underneath a bridge after having to leave their previous performance spot.  They rescue him, but the Devil is not far behind as they continue on their journey.  Tony, proving himself to be useful, revamps the traveling show into something more “contemporary” and succeeds in saving three souls before being pursued by the Russian mob.

It is at this point that we start to understand the true character of Tony.  In a script revision that occurred out of necessity due to Heath Ledger’s untimely passing, Tony’s face (unlike other characters) changes when he enters the mirror.  This could point to many things.  It could be a reference to either the myths of Narcissus or of Janus.  Janus, to me, seems more likely since Tony really is a two-faced liar.  He has built a life on a bed of lies, and even brings business to the Imaginarium via the same questionable methods.

The conclusion does reveal Ledger’s sordid past as the president of a children’s charity, but I am not quite convinced that the facts contained in this portion of the film are accurate.  For one, the Imaginarium enhances fears and self-doubts.  It could be that Tony did borrow money from the mob, but did not participate in activities indicated by the script (not mentioned here for fear of leaking too many spoilers).  I myself, am skeptical of how true Tony’s vision is to the truth since he is such a compulsive liar.  It is very possible that he is the type of person that perpetually lies to the extent that he even believes his own lies.  That would explain his own visions inside the Imaginarium, and leave the door open for interpretation regarding his place in the film and his character.

I am bringing up all of these questions, because I am not quite convinced that Parnassus is a perfect film.  It is quite fun, full of great performances, and  visually arresting.  It also lacks a certain cohesion required to produce a concise narrative.  Part of me believes that this is due to the extensive rewrites that occurred out of necessity thanks to Heath Ledger’s passing.  Another part of me wonders if this isn’t another case of Terry Gilliam’s imagination being to vast and inventive for his own good.  Whatever the case, Parnassus remains a delightful romp through the imagination, with all the signature moments that we have come to expect from a Terry Gilliam film.  If anything, we can all be grateful that one of the few living directors who values childhood imagination is back in top form.