Score Sample: The Last of the Mohicans (1992)

These days if you mention director Michael Mann, most people will  immediately think of Heat or Collateral. A few people will mention Miami Vice, both the series and the movie. But not many people mention Last of the Mohicans, because it like of sticks out of filmography as a "wait a sec, he directed that?" kind of movie. But sure enough Mann tackled this historical epic before diving in the modern epic of Heat.

Mann is notorious for cobbling his film's music from different sources, sometimes even going so far as hiring a composer to score the full movie and then replacing half the original score with other pieces of unrelated electronic and techno music (just ask James Newton Howard about his experience on Collateral). For Last of the Mohicans, we have a similar oddity, two composers working on one film. Neither composer collaborating together, but each gentleman scoring different scenes. Jones was hired initially, but production delays and constant re-editing ended up running into another project he was working. Jones completed as much as he could and Randy Edelman was brought in to finish the project. Edelman provided some of the textural music, material that was lighter and used in the quieter scenes, with a few exceptions. Trevor Jones was brought in for his powerful themes and bombast. Mann managed to make it all work in the film, and as a listen on album it can be a bit uneven (especially with Edelman's uses of electronics). But still, that main theme by Jones is one of the most memorable of the 1990s.

So here is a sample of both men's work

First we have Edelman's music for a quiet scene early in the film, Cora.

And here is the dramatic Main Theme by Jones.

Twin Peaks: Fire Walk with Me (1992)

Introduction:

In an interview with director David Lynch he mentioned that 1992 was probably one of his lowest points of his career. The film he spent so much time and effort on completely bombed with critics and audiences. It wasn’t that people didn’t like Twin Peaks: Fire Walk with Me. They HATED it. You read some of the reviews from the time and there is some real anger in those words. People took the film very personally. They were angry at the man who forced them to look into a very disturbing and dark place.

Summary:

When a young woman is murdered in the pacific northwest the FBI sends one of their best agents to investigate… but it is not who you think. Agent Chester Desmond (Chris Isaak) and his partner Sam Stanley (Keifer Sutherland) start to investigate the murder but find that it may be tied to some bizarre happenings that the FBI is already aware of. Before Desmond can make obtain a solid lead he vanishes and the case goes cold.

We then jump forward a year to follow Laura Palmer (Sheryl Lee) through the final days of her life. Laura is a troubled girl, popular at school and friendly to everyone in Twin Peaks. But she is also addicted to cocaine and will often degrades herself sexually. At home she is being raped by a thing she calls BOB (Frank Silva), who has been abusing her since she was twelve. Laura feels her life burning out of control, especially when she makes a horrifying realization about BOB.  We know how the story ends, and we watch as Laura is consumed by darkness leaving only the words Fire Walk with Me behind.

Good Points:

• Creates a wonderful tone of mystery in the first third and then delves into a dark atmosphere that is filled with dread
• Two top notch performances by Sheryl Lee and Ray Wise
• Filled with layers and themes that build on and enhance the television series

Bad Points:

• Anyone looking for closure to the television series will be disappointed
• Anyone looking for some of the fun characters from the series will be disappointed
• This is a deeply tragic and disturbing film – not a fun time here

Overall:

Judged on its own merits this is one of David Lynch’s best films. His focus on Laura Palmer and her final days is a fascinating and yet horrifying journey to take. He infuses the film with a dread and darkness that goes deeper than many other films because he uses his surreal imagery in a way that words alone can’t touch. The film is a masterpiece of using mood and visuals to create those feelings in the viewer. But it strays far from all the light and fun elements of the television series. If you don’t know that going in, the movie may feel unfair or unwanted. That said, it is nightmare journey that you won’t forget, even if you wanted to.

Scores (out of 5)

Visuals: 5

Sound: 5

Acting: 4

Script: 4

Music: 4

Direction: 5

Entertainment: 4

Total:  4

In Depth Review

Laura's final days.

Twin Peaks: Fire Walk with Me is a study of contrasts in nearly all its aspects, including the reaction it elicits in viewers. It is a film that demands that you pay attention to all its details and yet will throw you for a complete loop while you try to make sense of them. It starts one mystery and ends a different one. It delves into horror and despair but ends with Laura smiling and laughing with tears in her eyes. It is familiar and alien together. It is pure David Lynch, but it isn’t what we asked for (even while we were complaining about his absence during season two of the television series).

I could go on like this, but you get the idea.

It is a difficult movie to watch and to examine. But I’m going to give it my best shot and forgive me if I end up rambling or twisting upon myself on a lost highway somewhere. That kind of thing happens when you discuss David Lynch.

Foreshadowing the fate of Laura.

Let’s take a look at the first part of the film, the one that may feel the most like Twin Peaks as we understood it from the television series. The film opens with what looks like a brutal attack and then cuts to a body floating in a river wrapped in plastic. We are immediately reminded of the discovery of Laura Palmer’s body wrapped in plastic and washed up on the shore of a river near Pete Martell’s (Jack Nance) place. But the titles on the screen tell us that this is Teresa Banks (Pamela Gidley).

Those with a keen memory to the first episode of the television’s series will remember that the murder of Teresa Banks was the case that Agent Cooper connected to the murder of Laura Palmer, leading him to believe this may be the start of a serial killing.

Sam is skeptical about his coffee.

But Fire Walk with Me gives us Agent Chester Desmond and Sam Stanley as investigators on the case. Desmond seems to be much like Cooper with a more instinctual approach to investigation. But Stanley seems to be the complete opposite Albert Rosenfeld (Miguel Ferrer) who’s acerbic and cynical approach in the television series was a treat. Instead Stanley often seems confused, obsessed with strange details and even a little slow to catch on to what is happening around him.

David Bowie arrives and it gets weird!

This twist continues with the investigation into the murder of Teresa Banks. The town is like a bizarro-world version of Twin Peaks. The Sheriff and his staff are rude, mocking and openly resistant to working with the FBI. Hap’s Diner looks run down and owner is surly compared to the Double R Diner in Twin Peaks, which always looks immaculate, and Norma (Peggy Lipton) was always helpful and had a smile for anyone who walked in.

A dirty callback to the little man in the dream.

In fact there is very little beauty in this first portion of the film. Most of what we see of the small town looks run down, filled with junk heaps and dirt. The R.V. Park where we meet the bitter and angry Carl Rodd (Harry Dean Stanton having a good old time in the part) just looks so damn seedy. It is almost as if Lynch is going out of his way to make this look as far from Twin Peaks as possible.

But there is one element that does fit in the first third of the film, the mystery. Lynch follows Desmond and Stanley on their investigation giving us strange clues and pouring on those atmospheric touches that hint at further twisting paths in the depths of this world. Desmond becomes convinced that a ring that Teresa Banks had in a photo is a key clue. His search for the ring leads directly to his disappearance. And that ring plays a key symbolic role in Fire Walk with Me.

"Don't know where. Don't know when."

The first portion concludes with Agent Cooper discussing a dream with his supervisor Gordon Cole (David Lynch reprising his amusing character form the television series) and partner Rosenfeld. Suddenly a missing agent Philip Jeffries (David Bowie in a short cameo) appears and tells a strange tale that we only hear fragments of. Jeffries was investigating something that is tied directly to Banks case (and eventually tied to Laura Palmer’s case as well). Cooper tries to track down Desmond’s last movements and becomes convinced that the killer will strike again.

This first third of the film feels almost like it is coming from another movie or television series focused entirely on the FBI cases surrounding the supernatural events around Twin Peaks. I really like the way it plays out, feeling off kilter enough to be tied to the same world, but also weaving a new mystery and building on a bigger picture. The moods that Lynch captures here are ones of mystery and the uncanny. Watching it now, I kind of wish the move continued along these lines, with Agent Cooper attempting to find out more about these connections and how they play into the mystery of BOB and his unusual pals who live above the convince store.

The lady with the blue rose.

I’ve read that if Fire Walk with Me was a success that Lynch wanted to create more films that followed the FBI cases and delved deeper into these “Blue Rose” cases (what I assume are Agent Coles’ version of the X-files). Sadly the film bombed and Lynch never got a chance to delve into this aspect of the film. But as it stands, it makes for an intriguing 30 minutes of viewing.

But it really is a prelude to the main story: the decay and death of Laura Palmer. That is the black heart of Twin Peaks: Fire Walk with Me and something that was also at the heart of the show. It is the portion of the film that remains longest in the memory because of the horror it delves into and the performances by the main characters in this tragic tale.

Can't you just hear the music?

Visually we are back in Twin Peaks proper. All the dust and rust of the first third of the film are replaced by the familiar suburban bliss from the television series. Favorite locales like the high school, the Double R Diner and the street in front of the Palmer home all make appearances. We also glimpse the pressure cooker on the inside of that same home, the foreboding woods outside the town and of course the Red Room where little men dance and speak backwards. It wouldn’t be Twin Peaks without that.

Moira Kelly dopplegangs Donna.

While the familiar strains of Badalamenti’s theme for Twin Peaks plays, and reassures us that we are back in a comfort zone, the film refuses to give us any comfort. The first third of the film had some of that absurd humor that Lynch loves so much, but even that was on the subtle side (for Lynch anyway). Once we get to Twin Peaks itself, the humor is gone. Even when the Log Lady makes an appearance, she is solemn, almost acting as a priestesses giving Laura some kind of absolution.

It is difficult to talk about this portion of the film without some major spoilers so I’m warning you now, going forward I’m going to assume you’ve seen the first two seasons of Twin Peaks and know who killed Laura Palmer. Ok, you still here? Let’s go.

Lounging and daydreaming.

Lynch has said in interviews that what drew him to make Fire Walk with Me was the chance to see Laura Palmer alive, instead of just hearing about her from friends and family and finding out about her secrets through the lens of Agent Cooper and Sheriff Truman. The first scenes featuring Laura show us at her most vibrant, meeting up with Donna (now played by Moira Kelly adding a strange surreal twist to the film and visually tying to the doppelganger concept of the final episode of season two) and going to school. In fact almost all those scenes at school show us the façade of Laura Palmer and the cracks showing underneath. Lynch doesn’t waste any time delving into the darkness of Laura as she sneaks into the bathroom for a quick snort of coke.

Laura sees the man who is the mask.

Right there the movie lays the cards on the table. The mystery of Laura Palmer was going to be revealed, all of it in unflinching detail. We see her drug addiction, her sexual debasement, her rape by BOB, and under all of it the young girl who is sinking under all the darkness within her. This is Sheryl Lee’s performance becomes crucial. If she didn’t convince us, then the movie falls apart. But Lee goes all in with her performance. It is hard to watch her at times because the pain and fear look so real. She’s said that she loved the final result of her performance, but that making the film was a very difficult experience. It comes across in this powerful performance, and gets right to the heart of what Lynch wants to explore in the film.

Matching her is Ray Wise playing her father Leland Palmer. Wise did a very fine job in the television series as he took the journey from grieving father, to vengeful killer, to shattered man and finally to a broken wreck of a human begging for absolution from Agent Cooper as he dies knowing that he murdered his own daughter.

Ray Wise makes this scene very uncomfortable.

In Fire Walk with Me Wise captures the two sides of Leland Palmer, the protective but loving father and the predatory beast that controls his house with fear and oppression. There is a powerful scene where Leland verbally abuses and intimidates Laura at the dinner table. Wise is disturbing in this sequence, his eyes burning with a mixture of animal lust and aggression as he berates Laura and manhandles her in front of his wife. In a scene that follows we see him in his bedroom with his wife, and that aggression melts away and the realization of what he did and said comes across his face. The horror and anguish is palatable as he goes to Laura and apologizes to her. Wise’s performance is pitch perfect, and just adds to the horror of the situation.

But what is the situation. You can debate it forever, and Lynch never gives a solid answer. Is Leland Palmer a mentally unstable man, who descends into rages that cause him to rape his daughter and drive him to kill? Was this persona of BOB something that Laura constructed subconsciously so she could deal with the abuse going on at home? Or is Leland a victim too, controlled by the malevolent force that is BOB to do these unspeakable acts?

If a little man from another place offers you a ring...
Do. Not. Take. It!

Lynch has said that BOB and many of the characters like him in his other films (the Mystery Man in Lost Highway, the cowboy in Mulholland Drive to name a couple) are “abstractions”. He doesn’t ever clarify what that means exactly, but I feel that they are physical manifestations of emotions and thoughts projected out from the characters. These abstractions seem to feed on and build more of the same emotions. Are they actual characters in themselves? Hard to say. When it comes to Twin Peaks, it does seem like these abstractions have a life of their own and can exist outside of the human characters.

BOB hangs up his mask.

In the series it is implied that BOB has attached himself to Leland for many years, and we see that dark side very clearly in Fire Walk with Me. It is very possible that BOB saw the potential for these acts in a young Leland and has been nurturing them over time. But the horror is that you can’t have one with out the other. Leland is BOB on some level and BOB is a part of Leland. Yes BOB rapes and murders Laura, but so does Leland. It is up to the viewer to decide if they want to absolve Leland for his actions and blame it all on BOB.

The other piece of the puzzle that comes across several times in the dialogue is that BOB wants to take Laura as his next host. He’s grown tired or indulging Leland’s dark side and he want to taste that darkness as Laura. What we see of Laura in this film we understand how that darkness manifests within her. If BOB was to take and augment that further… I shudder to think.

Last Log Lady Rites.

Laura fears this above everything else. That fear is what drives her in most of the film. It is why she struggles so violently in her life. She tries to do good deeds, like work on the Meals on Wheels project. She’s a model citizen in Twin Peaks and everyone loves her. But in her mind that mask is slipping and once her defenses break she will become BOB’s new toy.

The real sadness of the film is watching her fall further and further into despair. No matter what she does it only seems to make things worse. She falls further and further into the darkness and this only make BOB hunger for her more. Self destruction seems to be the only way to truly escape from all of this.

No angel can save Laura now.

Fire Walk with Me ends as it must, with Laura being brutally murdered by her father/BOB. She won’t let BOB in, and in his rage he destroys her. Laura is hopeless as she dies, with the visual motif of guardian angels vanishing from her sight implying the finality of her fate. It’s a crushing sequence that Lee and Wise play so well, but as with much of the film, it is difficult to watch such a bitter and dark climax.

Then there is the epilogue in the Red Room, with Laura and Agent Cooper talking. She seems to have reached some kind of acceptance of what happened to her, and at that moment the angel reappears before her, and she laughs and cries at the same time. You can read this ending in so many ways, as a final bleak FUCK YOU to Laura or as a bit of hope that her soul and her life were not wasted. I’m sure if you asked Lynch, he’d be more interested in your interpretation of the ending then telling you anything about it himself.

Blue Laura laughing in the Red Room.

I’ve only focused on the main conflict and relationship in Fire Walk with Me, but there are plenty of other interesting elements to dive into. Hell I could write another ten pages or so about the other abstractions in the film, the interplay between Laura and her peers, the way her mother relates to the events in the film and how Teresa Banks plays into the whole thing. I could go into some of the production problems Lynch faced (including cast members that didn’t want to come back and footage that was shot but never used). I could also go into how those production issues forced Lynch to make some very creative and interesting solutions that impact the film overall. But as interesting as all those rabbit holes are (and their fascinating imagery too) they serve to support the focus on Laura’s final desperate battle.

Your abstractions just arrived.

I think that Fire Walk with Me represents a major turning point in David Lynch’s approach to storytelling. In nearly all his films afterward (with the exception being The Straight Story) Lynch tells his stories out of narrative order, allowing the emotions of the characters to dictate the flow of the film and often manifest as abstractions. We see elements of these in his previous films, but Fire Walk with Me feels like the first complete manifestation of this approach to storytelling, and it may be his most approachable of those types of films. It is certainly the least oblique, which is saying something.

"Fire... walk... with... me... ME!"

But I wouldn’t recommend this film to a Lynch neophyte. While it is a prequel to Twin Peaks to really appreciate the full impact of the film, you need to watch the first two seasons of the show. And obviously even those who have watched the series ended up disliking the film.

I can see why. In many ways it feels like a harsh slap in the face. The movie is aggressive in its approach to the darkness of the soul. It is also aggressive in its use of symbolism and abstractions. It never tells its story simply or in clear terms. It focuses on mood and atmosphere as much as narrative. It can feel insane, pretentious and just plain pointless.

Fire Walk with Me is not a fun movie to watch. It is heartbreaking and painful. As you unwrap its secrets you see more darkness in the core, and yet it is still beguiling. That is the magic of Lynch’s skill in the filmmaking. If you are in tune with how he tells stories, then the film is a journey worth taking again and again. It is fascinating and horrifying all together, just like Laura Palmer.

The angel returns.

In the scope of the Twin Peaks saga it is an essential tale, that adds to the world crafted in the television series. If a fan of the television show can get past the initial slap in the face, they will find plenty to explore. In the scope of Lynch’s films, this may be one of his best all around productions. Personally I enjoy the ride along the Lost Highway a bit more, but I can’t deny that the emotional impact of Fire Walk with Me may be his most effective.

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Laura lost.

Exploring a Scene – Twin Peaks: Fire Walk with Me

David Lynch is one of those directors who makes use of just about every film making element to create maximum impact in a scene. I’m going to take a look at a scene from Twin Peaks: Fire Walk with Me, because I don’t think it has been discussed too much, and because I had to remove this part from my already long review of the film.

The scene that interests me is the opening titles for the film. Yeah it is mostly music over a slow pull back camera move. But it shows off many of the elements that make a typical David Lynch scene, including the multiple layers of meaning the simple scene takes on.

The first thing we see is a wash of blue, grey and black motion all across the screen. It isn’t immediately obvious what we are seeing, but as the camera begins its slow pull back we see that we are looking at a television showing a screen full of static. It is an interesting choice that we are seeing blue static, not grey or white static as we expect to see on a blank screen. The color blue has a deep significance for Lynch. A blue rose appears later in the film. Electricity is specifically mentioned and in other Lynch films blue lighting and electricity go hand in hand. I usually interpret this to mean that blue and "abstractions" are tied in his films. We are getting into a case tied to the supernatural or to put it in Lynch terms, the abstractions are taking over. 

Now let’s take a listen to the music. Angelo Badalamenti’s score plays a slow paced saxophone lead piece. We aren’t hearing any familiar music from the TwinPeaks television series. This is a new piece of music that is filled with a melancholy feel. But it is still done in the jazzy style that Badalamenti crafted for the series.

Even something as simple as the lettering in the credits is unfamiliar. Gone is the brown outlined with green from the television series. Instead it is white and tilted slightly. We are not getting what we expected visually or aurally.

Then there is sudden eruption of sound. A woman in distress, a brutal male grunting, and the television is smashed by a blow from an axe and the woman cries out in terror as the screen goes dark. What does it all mean?

The next shot mirrors the iconic opening sequence of the television series, where we see a body floating down a river - a body wrapped in plastic. At this point the viewer may be wondering if we are seeing a sequel, or a prequel. Is that Laura Palmer? No. The subtitle appears to tell us this is Teresa Banks, and this is all foreshadowing to the fate of Laura.

From the entire opening credit sequence, you can read a couple layers beyond simple foreshadowing. Twin Peaks the television series is gone, nothing but static. The axe crashing down gives that a further finality (Twin Peaks the television series is dead). It also implies that this film is going to smash through the barriers of the televisions series and go somewhere else. Where? The screams of horror and the violence we hear are the hints. This movie is going to a dark violent place that the television series could never go. The melancholy music hints at the tragedy that is going to unfold. 

But the next shot tells us this is all familiar and yet not what we expected at all.

All this from a simple opening credits sequence and a single shot.

Score Sample: Twin Peaks: Fire Walk with Me (1992)

I've mentioned before how much I admired the work of Angelo Badalamenti on the television series Twin Peaks. Well his excellent fusion of jazz and 50s guitar continued on the album for the feature film Twin Peaks: Fire Walk with Me. The score is a bit of an eclectic mix which is typical of most albums for a David Lynch film. You get material that fits right in there with the television series, but you also get some odd stuff like Badalamenti doing a kind of beat-poet rap thing that is difficult to describe, but the lyrics are pretty darn funny. There are also strange soundscape tracks with rumbling and someone whispering "The Black Dog Runs at Night" which is also the title of that track.

But you also get Julee Cruise, the voice of Twin Peaks in so many ways. Her ethereal singing is highlighted in many episodes and a couple of her songs grace the film as well. But I'm going to share a song that was written for the movie but not used in it. The opening titles of Fire Walk with Me are over this slow jazz piece. On Cruise's album The Voice of Love, we get a version of that same tune with lyrics by Lynch and arranged by Badalamenti. So here is She Would Die for Love performed by Julee Cruise, live from the red room. :)

Supercop (1992)

Introduction:

In 1995 Rumble in the Bronx unleashed Jackie Chan on an ignorant North American audience. And those of us that liked it wanted more. So Miramax was quick to respond by grabbing another Jackie Chan film directed by Stanley Tong. But it was an older movie, part of a series called Police Story. In fact this was the third installment. But hell, that didn’t matter. Just rename it, get Devo to sing the end title song and rename his character Kevin the Supercop and you’ve got movie gold! Right? Tell me I’m right.

Summary:

Drugs are flooding into Hong Kong and “what we need is a Supercop and we need one now!” So Kevin (Jackie Chan) is dispatched to discover and stop the source of the drugs. This takes him to China where he is teamed with Inspector Yang (Michelle Yeoh) a no-nonsense officer whose skill are a perfect match for Kevin’s. They come up with a mission that puts Kevin undercover and working with a man called Panther (Wah Yuen). Panther’s drug connections lead them to Malaysia.

It’s there where things get tricky because Panther is only the second in command. The ruthless Chaibat (Kenneth Tsang) has started a war with other organized crime groups in Southeast Asia and things get out of hand very quickly. Kevin and Yang will find themselves escaping a coalmine, fighting angry police officers, dodging bullets and missiles, and even attempting to land a motorcycle on a moving train (yeah Michelle Yeoh is just as crazy as Jackie Chan). But will all these heroics (by not one Supercop, but two) be enough to stop Chaibat?

Good Points:

• Some amazing stunt work by Chan, Yeoh and the stunt crew
• Hilariously bad dubbing and dub script
• Michelle Yeoh pretty much steals the movie from everyone

Bad Points:

• The plot seems like a less coherent James Bond clone
• Lots and lots of gunfire and explosions, less physical action
• Some of the intentional humor doesn’t quite work

Overall:

While the plot is over convoluted and less jokey Supercop (also known as Police Story 3) still delivers the entertainment. Plenty of impressive and well filmed stunts and action scenes will keep you engaged. But the extended battle in the jungle goes gun crazy and loses some steam. Luckily, the lovely Maggie Cheung shows up for some silly screwball comedy as Kevin’s girlfriend who is clueless about his mission. The finale involving a helicopter, a moving train and a motorcycle is some of the most impressive stunt work I’ve ever seen. Michelle Yeoh makes for a great partner with Chan and while the movie is less fun then Rumble in the Bronx it is well worth checking out.

Scores (out of 5)

Visuals: 4

Sound: 3

Acting: 3

Script: 2

Music: 3

Direction: 3

Entertainment: 3

Total:  3

Next time Michelle wants to bum a ride, make sure
she actually gets into the car.

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.

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Candyman (1992)

Introduction:

For a while there, we were getting quite a few Clive Barker horror films. His gory and often highly sexual stories seemed like a good fit for 80s and 90s horror cinema. He also tended to delve deep into the dark side of human nature, and it wasn’t always pretty when you saw something dark peering back at you. Of course not all adaptations of his work were successful and that may have lead to his stuff not being translated to film too often these days. Did this flick capture the spirit of Barker’s dark and disturbing world?

Summary:

Helen Lyle (Virginia Madsen) is working on master’s thesis involving urban legends. One of the most interesting stories she encounters tells of a sadistic killer named Candyman (Tony Todd). He has a hook instead of a hand, and appears if you say his name five times while facing a mirror. Helen investigates the stories of Candyman in some of the more dangerous and run down areas of Chicago. She discovers that people are truly afraid of this mysterious figure. Helen’s clinical approach keeps her from being drawn in, even making fun of the whole thing and saying Candyman’s name five times in a mirror.

Helen starts to hear a voice in her head, and see a huge man always watching and waiting. One minute she is facing him, the next she’s laying in a pool of blood that isn’t hers and being accused of abducting a baby. Has the research into Candyman caused Helen to snap, or has something more sinister occurred. Is it possible that a story can be believed so strongly that it becomes reality? Look in a mirror, say Candyman five times and find out.

Good Points:

• An amazing performance by Virginia Madsen
• Tony Todd is one of the most imposing and fearsome specters of the 1990s
• Balances psychological horror with gory kills

Bad Points:

• A slow burn, takes nearly 45 minutes before Candyman truly appears
• Philip Glass’ score may pull some viewers out of the film
• May be a bit too disturbing for those looking for a fun horror flick

Overall:

In my mind this is one of the best adaptations of Clive Barker’s storytelling brought to screen. Madsen’s fine performance allows us to connect to her, so when things start to go wrong we are drawn into the horror. The movie does not hold back in building tension and dread. The finale is disturbing but fitting in its own way. Well worth checking out and certainly one of the best horror films of the 1990s.

Scores (out of 5)

Visuals: 4

Sound: 4

Acting: 5

Script: 4

Music: 4

Direction: 4

Entertainment: 5

Total:  4

Curious about a full review, sent me an email and I’ll make additional thoughts to this review.

Anime Juke Box - Tenchi Muyo Opening Credits - Tenchi Muyo

Here is the opening theme music to the OAV Series Tenchi Muyo from 1992. Like it's sister series El Hazard this opening credits theme is purely instrumental and performed using syths and samples. This is a real rarity when it comes to OAV and television series in anime. You usually get some kind of J-pop song to start things off with. But I really like the atmosphere this sets up. May not be super close to some of the wacky comedy in the series, but it does capture the mystery and wonder elements of the show.

Oddly, whenever I think of the Tenchi Muyo series, this is the theme that pops in my head.

Tenchi Muyo (1992)

Introduction:

When it comes to huge names in Japanese animation in the 1990s, it is tougher to get bigger then Tenchi Masaki. This six episode series kicked off one of the biggest franchises of the time and inspired countless other shows. But just who the heck is Tenchi and why do we not need him?

Summary:

Teenager Tenchi Masaki (Matt Miller) was spending a quiet summer at the family shrine working with his grandfather Katsuhito (Jay Hopper). Intrigued by a legend about a cave near the shrine, Tenchi sneaks inside and starts exploring. He comes across a legendary sword and a sexy blue haired demon named Ryoko (Petrea Burchard). After chasing Tenchi around (and blowing up his school), Ryoko takes a shine to the young man. This is going to cause nothing but trouble.

You see Ryoko isn’t a demon at all, but a space pirate wanted in several star systems. Pursuing her is the princess Ayeka (Jennifer Darling) and her little sister Sasami (Sherry Lynn), as well as the intergalactic criminal Kagato (Michael Scott Ryan). Following Kagato is the bumbling Galaxy Police officer Mihoshi (Ellen Gerstell) ready to capture both lawbreakers. Throw in the mad scientist Washu (Kate T. Voigt) and a rabbit/cat hybrid that can turn into a spaceship (yeah you read that right) and you’ve got a space opera with plenty of action, laughs and cleavage to keep any anime fan happy.

Good Points:

• Some imaginative designs for the spaceships and technologies
• The script keeps the balance of adventure and comedy just right
• There is a girl for any type of fan

Bad Points:

• The overall plot isn’t terribly new or interesting
• Tenchi himself is fairly one note
• English voice cast is hit or miss in these early episodes

Overall:

This is the series that started the whole Tenchi franchise rolling, and that means it is a little rough in places. Some of the animation in early episodes is a bit odd looking, some the storytelling is off kilter. Even some of the characters aren’t quite there yet. But episode three seals the deal. It’s light hearted, funny, has a little skin and hints at the space adventure in the next few episodes. The rest of the series keeps that mix and the result is a good time.

Scores (out of 5)

Visuals: 4

Sound: 4

Acting: 3

Script: 4

Music: 3

Direction: 3

Entertainment: 3

Total:  3

In Depth Review

The title Tenchi Muyo can be translated a number of different ways, and since the Japanese love puns, it comes as no surprise that most of the translations fit the show in some way or other. It could mean “Heaven and Earth”, which fits Tenchi’s adventures on Earth and in space. It can be translated as “This End Up”, and was seen as a background gag in many anime from the AIC production company. Or it can mean “No need for Tenchi”. And honestly when most folks remember Tenchi Muyo it’s not because of the lead, but because of the girls.

Over six episodes Tenchi meets all the various women who will influence his life in future episodes of this particular series (and future franchise entries). The first episode put him together with Ryoko, who ends up being the party girl of the series. The second episode brings purple haired Princess Ayeka, the prim and proper love interest. It also introduces the incredibly cute Princess Sasami, who ends up being the most grounded of the girls, even if she is the youngest. The third episode presents us with Ryo-Oki, the cabbit/spaceship. Yes she’s mostly a mascot in the series, but the episode itself gives us more time with Ayeka, developing her character. Mihoshi arrives in episode four, and the villain Kagato is revealed at the same time. Episode five is where Kagato finally reveals his plot and abducts Ryoko. The final episode brings Tenchi facing down Kagato, and introduces us to Washu the scientist and “mother” of Ryoko.

So the overall plot dealing with the antagonist only gets rolling in episode 4, and that is the first problem viewers may have with this series. The first three episodes revolve around Tenchi meeting Ryoko and Ayeka, and getting into all kinds of comedic adventures with them. Sure there are chases and escapes, energy bolts flying around and even torture, but it’s all done with wink and a grin. If you come into Tenchi thinking that it will be a nonstop romp of space action and adventure, these first three episodes will come as a bit of surprise.

But the tone never really changes. This is a fun series, because it is going for a bit more humor over the action and adventure. Much of the humor is derived from three things: Tenchi interacting with aliens Tenchi interacting with aliens that happen to be hot girls, Tenchi interacting with aliens that are hot girls that are into him. Like any teenage boy, Tenchi is certainly interested in the girls but he’s a bit shy, and finds their antics alarming most of the time.

There is also plenty of humor mined from the conflict between Ayeka and Ryoko. They wouldn’t get along in the best of times, but the fact that they both fall for Tenchi just compounds the issues. As the series progresses, this relationship is warped around in all kinds of ways – even turning to a grudging respect at times. What is nice is that in this series, both women are fairly grounded, escaping some of the over the top shrillness that would make later incarnations of the series a chore to watch.

Then there’s Mihoshi, who is around for klutzy comedic relief. She’s involved in lots of physical comedy, as well as moments where she gets so flustered that she forgets a crucial instruction or action. Is it a coincidence that she's a blonde? While handled mostly for laughs, it also becomes a plot point now and again (and it worked really well into the finale for these six episodes). In later incarnations, Mihoshi would get dumber and dumber until she was basically a vegetable with breasts. Here, she’s still a likable character.

Tenchi’s father and grandfather are also around for laughs. The dad has a strange obsession with his son getting laid and tries to help out as much as he can. This character trait was dropped after this series, thankfully. The grandfather appears to be a tired old man, but is really a master warrior with a secret past. This past comes into play in the second half of this series, as well as plays into future installments. It was a unique twist that presents some interesting story opportunities.

This balance of humor and space action is what really makes the series a fun ride. But visually there’s a lot of interesting stuff going on. The creators do some wonderful things with Ayeka’s ship and technology. They are all based on living trees, and her guardians are huge cylinders of wood. Trees and nature play a large role in the series and the royal family of the planet of Jurai. Contrast this to Ryo-Oki the furry little cat/rabbit that turns into a huge crystal powered starship. The fact that the mascot doubles as a death dealing craft is something you’d only find in anime (a similar thing happened in El Hazard where the cat could turn into “living armor”). Then there are more traditional starships like those used by the Galaxy Police and the behemoth used by Kagato, with its steel corridors and labyrinthine passageways.

There are also some well-animated action scenes, especially at the end when Ryoko leads the charge into Kagato’s ship. Lots of full motion combat and very little of the cost saving panning over still frames that anime can rely too heavily on.

The English voice acting is a mixed bag. Back in the day it caused some controversy. The first three episodes are a little rough, with Miller and Burchard still getting a feeling for the characters. Darling however does an excellent job right out of the gate making Ayeka sound snobby and proper all at once. The entire cast gets better as the series goes along, and by the time they hit the second series of the OAV they will be right in the grove. However Darling, Burchard and Voigt have all been criticized for sounding too old for the young ladies they are playing. I can see that, but at the same time all three ladies make it work, and it actually ends up adding a bit of nuance to the characters. There are plenty of jokes about how old Ryoko really is and how she’s all over Tenchi. In English, the fact that Ayeka doesn’t sound much younger than the space pirate makes her comments about Ryoko’s age even funnier. Washu is short and is always trying to act like a little kid. With Voigt’s voice added to the visuals I end up laughing more than with the Japanese actress. This is all a matter of taste, but I really like the English cast, and the fact that Pioneer managed to keep nearly all of the cast for nearly all the English iterations of the franchise is a major feat.

The rest of the sound track works well enough. The musical score is typical of AIC's work, mostly synth material. The comedy music is typical stuff, and the heroic action music works well enough. The opening theme music is catchy, and the end J-pop song is cute. The sound effects are interesting because they seemed to be mined from the Skywalker sound archive, just like El Hazard.

What is hard to appreciate now is that this series was released on video, episode by episode over a span from September 1992 to March of 1993. Each episode is about 30 minutes long. This was just the way it was done in Japan back in the day, and in North America we usually ended up with two episodes per tape, not much better. I’m not sure if that lag time made the whole series seem a bit more impressive or what, but Tenchi really appealed to anime fans on both sides of the ocean.

I think a big part of the appeal was viewers putting themselves in Tenchi’s place. Not only does he have hot alien gals fawning all over him, but he gets to use a powerful sword and energy weapon and save the world from a deadly foe. There is more than a little bit of Star Wars at play here (from the energy swords to the sound effects borrowed directly from the Lucasfilm library). But the whole thing never feels stale. Sure it is familiar, but there’s enough humor to keep things light and fun. This was followed by a one-shot episode, The Night Before the Festival and then by a second series of OAVs.