Diabolical Dick(tator)

Blu Review: CALIGULA
18 – 152mins – 1979
Written by: Gore Vidal
Directed by: Tinto Brass and Bob Guccione
Starring: Malcolm McDowell, John Gielgud, Peter O'Toole, Helen Mirren, Teresa Ann Savoy
__________________

Oh.

My.

Good.

God.

This is a genuine warning, CR@B fans: Any readers who thought Spartacus: Blood and Sand's penchant for fruity language and fruitier displays of T&A was too extreme for their chaste sensibilities – click away now. Seriously. This Penthouse co-produced picture is in a league all its own. 20,000 leagues under dignity, to be precise, and this rant– sorry: review does have to address some of these base issues in order to fully justify my shock.

Caligula, the infamously controversial taboo-flaunting “porn epic” has – for many years now – been floating around the foot of my “must see” film list. Not because I'm a giant perve (we-e-e-e-ell), but because I simply had to see a legitimate historical biography starring respected Hollywood thespians (just look at that cast!) which also features real hardcore pornography and explicit sexual violence – it just beggars belief! Rest assured you'll never look at The Queen the same way again...

But before I tackle the smut (oo-er), I will first flag up my concern over the casting: Fragile lead Malcolm McDowell didn't convince me at all as Gaius Caesar Germanicus, better known as the eponymous Caligula. Weedy and unimposing, he lacked any sense of gravitas necessary to lead an empire. Would his people really have bowed to his every demonic demand and sardonic whim? What the A Clockwork Orange actor does bring to the role, however, is a pair of authentically mad eyes, which, considering the Roman Emperor's obvious detachment from reality, does serve the immoral bastard well.

At a bum-numbing three hours, this notorious affair is a real schizophrenic failure: the “serious” drama segments concerning Caligula's murdering of his mad predecessor, Tiberius (O'Toole), and fall from grace once he has ascended to the throne and abused his power to the utmost, are overlong, undramatic and simply not in the least gripping; while the repeated insertion of shocking full frontal fetishistic sex scenes, castration, brutal murder and rape is distasteful and disturbingly off-putting to the extreme.

Supposedly representative of the decadence and debauchery prevalent in the Roman powerhouse, Caligula instead comes off as desperate – it's no wonder so many involved in the troubled three year production have since disowned what is little more than the highest budgeted porn film ever made. They can claim all they want that the explicit footage belatedly shot and inserted by Penthouse's Bob Guccione ruined their vision, but even without the all-too-obvious additions, Caligula is still an absolute mess! Almost ever other scene takes place in some new, vast and extravagant set – and yet all the camera is interested in is entwined naked bodies in all their up-close vulgarity. Trust me: you see e-v-e-r-y-t-h-i-n-g.

In one such jaw-dropping scene, Caligula is partaking in a menage a trois with his wife (Mirren) and beloved – in the carnal sense – sister (Savoy) while two random slave girls watch the incestuous depravity from a private room, becoming so turned on that they end up having lesbian relations themselves. The camera continues to dart between these two graphic displays for what feels like ten minutes too long, before jumping to the following morning as if nothing out of the ordinary has taken place. Just another day at the amphitheatre, then?!!

The eponymous mad-man is just so thoroughly detestable that you never once feel for this sister-fucking, mass-murdering, trust-abusing, backstabbing despot who sees no issue with torturing an innocent man until death, then encouraging his bevy of under-dressed minions to “seductively” urinate over the poor man's corpse!! Yet, when a blackbird flies into his bedroom, he squeals like a sissy!! Exactly how we are meant to embrace the “tragic” story of how his own inner circle eventually turned against him is beyond me. Just to preserve my sanity I had to view this obsene monstrosity in three instalments and I could easily have given up after each sitting. The things I do for you guys...!!


In a CR@B Shell: Eschewing art in favour of grot, this is a sick, pitiful and sorry exercise in torture – namely, ours! I really don't know how they got away with making this shameful and indecent mockery to the medium of film, but if you want to watch porn, then just watch porn and leave Caligula to rot like it deserves. Scandalous.
aaaaa

The Eagle has Crash-landed

Book Review: AQUILA
Written by: Andrew Norriss
138 pages
Published by: Puffin Modern Classics
Originally released: 1997
_________________

I can fondly remember looking forward to the weekly instalments of CBBC’s serialised adaptation of Andrew Norriss’s Aquila as an imaginative 13 year old. A flying spaceship which can turn invisible and freeze time with a laser really appealed to me then - and still does today as I approach my 27th birthday! 14 years may have passed, but I can still recall the thunderous spoken Latin message which accompanied the opening titles. Ahhh, good times!

Even back then I was aware the series – also penned by Norriss, who co-created 90's sitcom The Brittas Empire – was based on a novel, and immediately sort to buy said book, but I can remember being curious as to how they could possibly make a second series (which followed on BBC1 in December 1998) given how there wasn’t a follow-up novel...?

Well now there is! Author Andrew Norriss belatedly released Aquila 2 just last year, and the excited child inside me couldn’t pass up the opportunity to revisit the original story before continuing the adventures of school boys Geoff and Tom and their 6000 year old alien spacecraft.

The underachieving best mates discover Aquila - which means "Eagle" in Latin, in case you were confused by this blog's title - while bunking off a school geography trip and falling into a cave where the skeleton of a Roman soldier is still guarding his prized possession. But rather than using the extraordinary craft to take them on all manner of wild and exotic misadventures, the paper-thin plot instead details their attempts to get the thing home and hidden from their parents and the authorities.

What I found fascinating about the story was how the narrative was just as much about the teacher’s reservations regarding the work-shy pair’s sudden interest in all things bilingual, mathematical and aerodynamic as it was about the unearthed flying pod. Norriss derives a lot of humour from the adult characters – the suspicious school staff, Geoff’s inattentive dad, Tom’s agoraphobic mother, Mrs Murphy the senile, pill-popping next door neighbour – while making Tom and Geoff as “normal” and relatable as possible.

Aquila is essentially a high concept MacGuffin. The extraterrestrial machine isn’t the adventure itself, but merely serves as the catalyst which inspires Tom and Geoff’s personal adventure: it fuels their determination and unlocks their dormant capabilities to achieve whatever they set their minds to. Yes, granted, it’s a twee morality tale, but let’s not forget this is a children’s book, and Norriss disguises his message stealthily beneath the humour and wonder of the lad’s enquiring attempts at discovering what their awe-inspiring treasure is capable of.


In a CR@B Shell: A light, witty and inspirational parable on setting your mind to a goal and reaching for the sky, Aquila impressed me all over again as an adult rediscovering this modern children’s classic and I can’t wait to see where Norriss takes the inquisitive schoolboys in the sequel.
aaaaa

The Empire Strides Back

DVD Review: CENTURION
15 – 93mins – 2010
Written by: Neil Marshall
Directed by: Neil Marshall
Starring: Michael Fassbender, Dominic West, Olga Kurylenko, Ulrich Thomsen, Noel Clarke, David Morrissey, JJ Field, Liam Cunningham, Riz Ahmed, Imogen Poots, Ryan Atkinson
______________________________

Following the stellar double whammy of Dog Soldiers (2002) and The Descent (2005) – not to mention a near messianic level of admiration from Total Film magazine – it is a surprise to me that writer and director Neil Marshall’s subsequent releases (2008’s Doomsday and this year's Centurion) have been released to little fanfare. Indeed, Centurion’s cinema release must have been so limited it totally passed me by!

Sticking with his trusted blueprint of pitting an ever-diminishing band of heroes against a much larger and seemingly unconquerable enemy, Marshall here swaps the supernatural for the quasi-historical – although we’re still very much in his comfort zone of Scotland (Marshall’s beloved homeland and locale for all his previous films), even if it is known as Caledonia back in 117 AD.

Turning the tables on our expectations and favouring the invaders of the sword-slashing, armour-donning Roman Empire over the native, spear-throwing, warpaint-wearing Celtic Picts, Marshall mines the ambiguous legend of the ill-fated Ninth Legion (which was the film’s working title) for gritty, battle-heavy action/thriller gold.

According to historians (and lazy researcher’s best friend, Wikipedia), the 4,000 strong Roman legion marched into Scotland and just disappeared, never to be heard from again... Marshall creatively surmises that the military failure was wiped from the history books to keep the Roman governor of Britannia's record untainted, after a Pict sect lead by a mute, vengance-fuelled warrior (Olga Quantum of Solace Kurylenko) slayed the invading army for murdering their chief's (Ulrich The World Is Not Enough Thomsen) young son (Ryan Atkinson). Lovely chaps.

Yet here we are, siding with the pillaging Roman's, whose motley crew of seven Everyman survivors – lead by centurion Quintus Dias (Michael Hunger Fassbender) – first march north to rescue their captured commander (Dominic 300 West) from the Pict settlement, then head south (via the west, naturally: tactics, people!) to the supposed safety of their fortified garrison. It's a simple plot unburdened by too much character detail.

What Centurion does offer a lot of, however, is walking. Even when the two forces aren't walking towards one another, they're chasing after one another, weapons in hand and revenge in their eyes. And when the chase is up, they're fighting one another. Relentlessly. You see, Centurion also offers a grandiose amount of fighting, and Marshall doesn't skimp on the more spectacularly savage money shots. Many a head is separated from body, eye gouged out and limb hacked off – and we see every bloody strike and slash.

Away from the blistering action, the film’s washed out blue-grey palette, coupled with its misty woodland-shrouded landscapes and swooping aerial views of the Scottish Highlands, lend Centurion an epic and atmospheric quality similar to the obviously comparable Gladiator (2000). Although Neil Marshall's brisk and slimline 93 minute sprint will not remain as iconic as Ridley Scott's drawn out marathon, Centurion does deliver exactly what you would expect from a genre piece carrying the tagline "Fight or Die".


CR@B Verdict: Grisly, grimy and with gallons of gore, Centurion may not be perfect but what it lacks in brains it more than makes up for in brawn: Neil Marshall’s latest is a straight-up slice of hardcore popcorn entertainment.
aaaaa