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#613 – Galaxina (1980)
Galaxina (1980)
Film review #613
Director: William Sachs
SYNOPSIS: In the year 3008, the police space cruiser Infinity is given a mission to acquire a mysterious energy source known only as the “Blue Star.” The crew, including female robot Galaxina, set a course for Altair One, a trip which will take them twenty seven years in cryosleep…
THOUGHTS/ANALYSIS: Galaxina is a 1980 sci-fi parody film. Set in the year 3008, the space police cruiser Infinity is patrolling the edges of known space when its inept crew are contacted with a mission: to retrieve a rock known only as the “blue star,” which is a source of great energy. Sensing a chance at riches and glory, the crew embark on the trip, aided by their female android Galaxina. Being a parody film, the story isn’t the most important aspect of the experience, and is mostly an amalgamation of familiar tropes. usually this eases viewers in so they don’t get bogged down in details, and gives the comedy plenty to lampoon, but here, the problems with the plot structure and pacing severely hamper that effort. The first half of the film is essentially just empty space, where we are introduced to a crew of unlikeable characters that do little other than bicker and moan, while throwing out the occasional crass joke. For forty minutes this continues until we finally get a plot: the crew are asked to go and fetch the mysterious “blue star” rock, and have to spend twenty seven years in cryosleep to reach the planet of Altair One. While the crew is in stasis, Galaxina learns to speak and modify herself to be more human, and so is actually able to be a character of some substance. The second half of the film decides to add some parody of Western films into the mix, diluting the already weak sense of direction and purpose has even further. That said, the film does find it’s footing a bit more in the second half, with more direct parodies such as the pointy eared bartender “Mr. Spot,” and a motorcycle cult/gang who worship their mythical God “Harley David-Son.” By this point though, there’s not enough time for the film to really accomplish anything of note, and still most of the jokes just fail to land.
The film takes on the big sci-fi hitters, such as Star Trek, Star Wars, Alien and 2001, parodying them all at various points. I feel like the film is aimed at a sci-fi audience rather than a general one, but the jokes just don’t go deep enough for that purpose. The choir sound effect whenever someone mentions the “blue star” is the only time the film breaks the fourth wall, and again it just feels like a joke thrown in there because the more types of humour the film can cram in, the better (spoiler: it’s not better). You can overlook the barebones production and effect because that’s part of the old sci-fi experience, but that said, the practical models of the ships are fairly nice. As mentioned, the characters are all fairly unlikeable, even Thor, who provides Galaxina’s love interest, and perhaps is meant to be the most “normal” of the crew, is devoid of any real personality other than being horny. Galaxina has some idea of what it wants to be, but the poor pacing makes it too easy for viewers to get lost. The humour and jokes constantly miss their landing, and an overreliance on crude humour ages the film poorly too. The film finds some footing eventually, but at that point, it’s too late to redeem it, and it just doesn’t achieve anything remarkable. There’s much better sci-fi parodies out there, and this one should probably be left on the fringes of known space.
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#554 – Superman (1980)
Superman (1980)
Film review #554
Director: V. Madhusudhana Rao
SYNOPSIS: Raja, a young boy, witnesses the death of his Mother and Father at the hands of burglars who have infiltrated their home. Raja prays to the God Hanuman for a way to avenge his parents, and is granted superpowers. He keeps the powers a secret until he is an adult, when he happens to find one of the men who killed his parents, and sets off to avenge them…
THOUGHTS/ANALYSIS: Superman is a 1980 Telugu film based on the DC comics superhero, although is definitely an unofficial and unlicensed adaptation. The opening sees the young boy Raja and his family on the eve of Hanuman Jayanthi, preparing for the day. While their preparations are underway, three burglars enter the home and kill Raja’s Mother and Father while he hides. Raja prays to Hanuman for the power to avenge his parents, and is granted super powers. When he grows up, he begins tracking down his parents murderers. As you can probably tell, the plot has absolutely no correlation with the “official” superman story. In fact, Superman barely figures into the movie at all; it’s mostly just a typical family drama about romance, and Raja’s adopted sister bringing shame to the family by becoming pregnant outside of marriage, and Raja having to get her to marry the man that got her pregnant. The whole vengeance story arc is interweaved with the plot, but it’s not really enough to make the film stand out, and the only superman bits are very typical scenarios where he saves out-of-control vehicles and such, made possible by some very cheap special effects and just reversing the footage.
Being an Indian film, there’s plenty of dancing and musical numbers interspersed throughout the film, although none of it is fairly memorable or impressive, which is odd, because this is the one element that these films typically excel in. The one that sticks out is the bizarre musical number with Superman/Raja picking up his wife and taking her to the moon or something? The shots of the moon and Earth floating around as the two sing is…very disorienting. The characters also have some some bizarre outfits, including “Superman’s” own outfit, adorned with a “H” on the chest, rather than the typical “S” (to represent “Hanuman” I suppose). The villains are overly dressed up in an almost comical fashion, with one wearing an oversized Stetson, and the main villain being absurdly overdressed like the cartoon version of an American businessman. Still, at least it makes the characters distinguishable.
Overall, Superman doesn’t really make use of the titular character it is unofficially using, and is overshadowed by a more typical family-based drama and romance that you would expect to find in this type of film. Even then, the usual musical numbers, dancing and costumes are also underwhelming. The special effects are daft, the fighting silly, and a surprising amount of obviously fake blood makes this a somewhat entertaining film to watch only based on how absurd it is, and how little they adapt the source material they do not have the rights to.
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#507 – Star Wars Episode V: The Empire Strikes Back (1980)
Star Wars Episode V: The Empire Strikes Back (1980)
Film review #507
Director: Irvin Kershner
SYNOPSIS: Three years after the rebel alliance successfully destroyed the galactic empire’s death star battlestation, the empire has been mercilessly hunting down the rebels and chasing them across the galaxy. The empire has chased them to their latest base in the Hoth system, and begin their assault. Luke Skywalker finds he must fulfil his destiny to become a true Jedi, and his friends evade pursuit from the empire as the stakes are elevated for all of the heroes…
THOUGHTS/ANALYSIS: Star Wars Episode V: The Empire Strikes back is a 1980 sci-fi film and the sequel to the original 1977 film Stars Wars Episode IV. Set three years after the events of the previous film, we find the heroes of the first film hiding out on an ice planet with the rest of the rebel alliance, with the Empire in pursuit. Following their success at the end of the previous film, the title of the film quickly comes to fruition, with the evil galactic empire striking back with overwhelming force. It contrasts quite a bit with the ending of Episode IV, which felt very much like a decisive victory, but then again had Darth Vader survive and showed nothing of the fallout from the Rebel’s victory. The idea of there even being a sequel after the first one was very much in doubt, so it’s fair that there would have been a lack of foreplanning in that regard. The Empire Strikes Back immediately raises the stakes in the opening act, and thrusts our heroes back into action, giving them new motivations and resolve. There’s very little breathing room in the film’s script, and nearly every moment is filled with action and energy. From a story standpoint you could probably cut the Hoth battle down fairly easily, but it’s more of a spectacle than a story impetus, and opening the film with a big action sequence will quickly satisfy those looking for an entertaining film rather than hard science-fiction. Another vast improvement in the story is how the story isn’t stringed together by a series of huge conveniences of characters being in the right place at the right time. There’s a bit of that (Such as Luke happening to crash land at the exact part of a whole planet where Yoda is), but otherwise it’s not much of an issue here.
When Empire Strikes Back was released, it received very mixed reviews: the change in tone from a more simplistic good vs evil story to a more complex world-building and darker tone might have alienated those who were simply looking for more of the same. However, that opinion has shifted quite significantly over the years, becoming a model for how sequels should be made. The film ups the stakes, builds the world, and shifts the tone to provide a new experience. The changes won’t be for everyone, but some amount of change is necessary to keep things fresh and justify actually making a sequel. Furthermore, this film has become regarded as one of the best in the series for these reasons, and it’s accomplishment in turning a fairly simple story into a franchise. The darker tone might be seen as symbolic that the series has “grown up” in some way, and that certainly seems to be what The Empire Strikes Back has been going for.
One thing that I noticed right away with regards to the characters is that even though three years have supposedly passed between this film and the last, the main characters don’t really seem to have changed in those three years. Their relationships all seem to be at a standstill waiting for this film to start. For example, the Luke-Leia-Han love triangle still seems to be a thing, which is something that seems an odd thing to string along for three years. Also that Han has still not paid Jabba the Hutt the money he is owed, despite it being stressed that it was a bit of an urgent matter previously. Apart from that, we get to see more of the character’s backstories and development, where they really start to emerge from their typical roles. Mark Hamil definitely delivers a much better performance than in A New Hope, and it’s clear to see he has been working on his skills. The new characters Yoda and Lando add in some more complexities, and Yoda is played very straight, contrasting with his appearance and clownish antics when he first appears. Obviously the big revelation that (spoilers) Vader is Luke’s Father is the biggest twist in the film, it’s definitely just a sting at the end of the film that sets the stage for the ending, with the heroes on the back-foot and out of options, ready for a redemption in the sequel. We still know very little about Luke’s Father with regards to what he did or who he was, so it doesn’t really change what we know in terms of the story, but yes it is definitely a high drama moment.
The film keeps the very distinct aesthetic divisions between the Empire and the rebels, with the sleek, clean Empire ships contrasting with the more dishevelled, cobbled together Rebel devices. The sets have plenty of detail and complexity to build its world. It gives sci-fi fans plenty of spaceships, lasers, and the like, while still having a sensible story to follow. As I’ve mentioned before, I’m not a Star Wars fan, and there’s probably no film that is going to make me change my mind. The flaws I see in this film stick out because of this, but I can also see how this film works as a successful sequel: it expands the world, deepens the characters, and raises the stakes to give you more of what you like (if you already like it).
