There were,
in the middle of all this epic swordplay, a handful of near misses and
one-offs, as well as a couple of Science-Fantasy “epics” that seemed more like
an attempt to pander to the Star Wars
crowd as well as offer up mediocre swordplay and derring-do (or bad jump
kicks). Hollywood wasn’t interested in making the next fantasy blockbuster;
they were obsessed with remaking that last fantasy blockbuster, only much
cheaper than before. We ended up renting these at the video stores because,
come on, no one saw this in the theater. How on Earth could we have? They were
rated R for nudity, and/or they were shown at the drive-in (we had no car at
the time), and so we had to wait until they made it to VHS or HBO. Or both.
Thankfully,
my parents owned and operated a video rental store throughout my high school
years, which was great for me, since I was allowed to advise as to the movies
we stocked in the horror and science fiction sections. This made me the go-to
guy for staying caught up on the latest nerd-films, from cult classics like The Adventures of Buckaroo Banzai to the
magnum opuses listed below. What they provided for us gamers, more than
anything, was laughs—hoots of derision or just knowing, rueful chuckles. After
all, we had seen better films, hadn’t we? Maybe we weren’t the most discerning
of audiences, but we did have some taste,
right?
What a horrible piece of shit. |
I know
there’s probably one or two of you out there right now saying to yourself, very
smugly, “That fool! Two installments in and he forgot all about Yor, Hunter from the Future from 1983
starring Reb Brown!” No. No I did not. There are dumb movies. There are great
movies. There are dumb movies that go all the way around the dial until they
are inexplicably great again. And then there are movies that don’t even deserve
to be on that dial in the first place. That’s where Yor goes, him and his appalling theme song. There is no metric by
which this movie can be measured that would mark it as anything other than a
waste of good 35mm film. Craft services had to assemble sandwiches for this
movie to be made. Someone ought to sue. Instead, like the Czech Judge’s Figure
Skating Scores at the Winter Olympics, we’re going to drop the lowest one so as
to preserve a better statistical average. The movies below (even Hawk the Slayer) look exponentially
better as a result.
"The Tale of Sir Lancelot" is my favorite Vignette in this movie. "Well, I got A note..." |
Monty Python and the Holy Grail (1975)
Granted,
this movie wasn’t made in the 1980s, and it’s not at all sword and sorcery, but
thanks to the VCR revolution, it was available for repeat viewings whenever we
wanted to watch it, and watch it, we did, over and over and over again. I’m
dropping it on the “so bad that it’s good” list because it has to go somewhere.
Why, you ask? I’ll tell you: there was no other movie more influential to the
hobby of tabletop gaming.
No film
responsible for more quotes, both in character and out-of-game, as Monty Python and the Holy Grail. Try to
think of another movie so ubiquitous that you can utter a single line of
dialogue to a group of strangers at a convention and not only receive the next
line of dialogue in return, but get it as a chorus, complete with horrible
British accents. I once sang out, in a game room at a convention, “Pie Lesu
Domine…” and watched as six or seven people, not at the same table, stood up
and chanted back, “Dona Eis Requiem,” and then hit themselves in the face with
their game books, notebooks, and in one case, his GM’s clipboard. That doesn’t
happen with any other movie, folks.
This movie
does not get the proper credit as a major contributing influence to the
emerging culture of tabletop gaming. It is, perhaps the most important movie of
all time in that regard. Granted, it’s also responsible for the proliferation
of people who love to lapse into an English, or worse, an Irish or Scottish accent,
break into the song about “Knights of the Round Table,” or just torture
everyone around them by repeating the most strident lines of dialogue with the
outright worst comic timing and delivery ever attempted by humans anywhere.
On the plus
side, there is a lot of social value to breaking the tension, sometimes as a
serious moment in the game, when things look dire, and your fighter is
absorbing the damage that other characters aren’t taking so that they can cast
spells, pick locks, or what have you, and the DM rolls damage…”the sword grazes
you for 2 points,” and your fighter says, chest puffed up, “Tis but a scratch!”
He gets the laugh, and everyone remembers that, yeah, it’s still just a game.
From Tim the Enchanter to the Killer Bunny, from the Guardian of the Bridge to the
Tale of Brave Sir Robin, Monty Python and
the Holy Grail made it okay to laugh at the game table, and moreover, it
showed us how.
Original poster art. What a fantastic lie. |
Hawk the Slayer (1980)
This “fan
favorite” and “cult classic” may be the only one of these movies to deserve that appellation. John Terry plays Hawk, the much younger brother of Voltan (and can we
just pause for a minute to reflect on the damage done to these two by their
parents? Who names their kids “Hawk” and “Voltan?”), who is played by Jack
Palance. Ordinarily, he’d be the guy who is out-acting everyone, but not here.
And it’s sure not John Terry, who has been much better in other movies and TV shows, but in
this film, he acts like he’s reading Ikea instructions to his drunk brother-in-law
who is trying to build a Flurken Chair without an Allen wrench.
The best actor award is a tie between Bernard Bresslaw and Peter O'Farrell--the "giant" and the "dwarf." Their banter and chemistry is practically the glue that holds this think-piece together. Other minor but
celebrated actors and actresses (Patricia Quinn? Magenta from The Rocky Horror Picture Show? Anyone? Anyone?) round out the cast of this British Made-for-TV
movie that got a limited theatrical release before being shunted into VHS and
Betamax for the remainder of the 1980s. It’s important to take note of the fact
that this was (A) British and (B) made for TV, because it explains why the
special effects look like they were made by the A/V club and Seventy-five
dollars. The single best use of a special effect is the re-purposing of the Kryptonian Prison Bands from the opening of Superman (1978) into a serviceable dimension door. That probably cost someone a week's worth of food.
The plot is
ludicrous. The acting is wooden. The motivation is ridiculous—Voltan instigates
the “final confrontation” with his brother over a ransom of two thousand gold
pieces? Forget the fate of the kingdom, the prophesy, the special secret magic
that only Hawk knows—spoiler alert: it’s a sword that leaps into Hawk’s
hand—forget all of that. Hawk’s special ladyfriend burned Voltan’s eye while he
was trying to have his way with her, and so he’s taking it out on everyone.
This world is a land full of assholes, and Hawk is the good guy because he’s
the least asshole asshole of the bunch. His friends, the “elf” and the “giant”
and the “dwarf” are merely the skinny guy, the tall guy, and the short guy, but
you let that go because, when you were thirteen years old in the early 1980s,
you wanted Hawk the Slayer to be much
better than it was.
In some
ways, this movie was more of a spirit animal to the rapidly-evolving Dungeons and Dragons game than any other 1980s film property, but for two
really important factors: its chintziness, and its slap-dash story. And yet…despite this movie being a hot mess that’s held together with silly string and rubber balls, if you deconstruct Hawk the Slayer, preferably with the
sound off, and listening to better music, there’s a lot to pick out and
re-purpose for your D&D games. The mindsword’s pommel is a metal fist that
opens and then clenches a green gem that presumably gives it magic powers—er,
power. Old Man Ranulf’s crossbow fires a clip of bolts, like a machine gun
(this was probably the most ripped-off weapon from the movie).
And owing to the wisp of a budget all of the magical and special effects were accomplished with stop-action photography, quick edits, slow-motion, and when nothing else worked, silly string, I shit you not. Ultimately, there is a genuine sincerity to the movie, in the exact same emotional range as watching an Ed Wood science fiction film and knowing that there was a creative drive behind it, however botched that drive was in the execution.
Contrast this with, say, Flash Gordon, released the same year, with a twenty million dollar budget, and being so completely insincere that De Laurentiis couldn't get anyone to work on the movie because he specifically wanted it to be campy and jokey and not at all in the style of Alex Raymond's original comic strips. No one wanted to be associated with taking a hatchet to another creative genius' vision. I'd rather re-watch Hawk the Slayer, laughing at the same kinds of things I would have laughed at in Flash Gordon (why does the lizard man have eyes in his mouth? It's imbecilic!) and not feel as though I'm kicking Alex Raymond's corpse in the face. Hawk the Slayer co-creator and director Terry Marcel and co-creator and producer Harry Robertson made the movie they wanted to make and, if nothing else, got the tone of the movie exactly right.
And owing to the wisp of a budget all of the magical and special effects were accomplished with stop-action photography, quick edits, slow-motion, and when nothing else worked, silly string, I shit you not. Ultimately, there is a genuine sincerity to the movie, in the exact same emotional range as watching an Ed Wood science fiction film and knowing that there was a creative drive behind it, however botched that drive was in the execution.
Contrast this with, say, Flash Gordon, released the same year, with a twenty million dollar budget, and being so completely insincere that De Laurentiis couldn't get anyone to work on the movie because he specifically wanted it to be campy and jokey and not at all in the style of Alex Raymond's original comic strips. No one wanted to be associated with taking a hatchet to another creative genius' vision. I'd rather re-watch Hawk the Slayer, laughing at the same kinds of things I would have laughed at in Flash Gordon (why does the lizard man have eyes in his mouth? It's imbecilic!) and not feel as though I'm kicking Alex Raymond's corpse in the face. Hawk the Slayer co-creator and director Terry Marcel and co-creator and producer Harry Robertson made the movie they wanted to make and, if nothing else, got the tone of the movie exactly right.
None of this happens in the movie. Also, none of these people are the actors in the film. |
Deathstalker (1983)
By 1983, he
sword and sorcery “craze” was rapidly becoming a drive-in exploitation sub-genre,
as this Roger Corman quickie ably demonstrates. Corman was famous for not
spending a lot of money on his movies, and it shows in Deathstalker, where the
biggest name on the marquee was Barbi Benton. Ironically, despite gossamer,
diaphanous robes that were generous with the side-boob, the former Playboy
playmate is the only woman in the movie who doesn’t get nekkid at some point. Apparently,
she was in her “legitimate actress” phase, which is telling, since she’s the
second-best actress in this mess.
The movie
tries, and it knows, when to be clever—it gets a lot of special effects magic
done with camera angles. This movie looks like a student film made by drunken
Italians. Corman’s most impressive expense is the mediocre Foley work. The
first twenty minutes of this movie is a ham-fisted non-sequitur; it’s not until
the witch shows up that Deathstalker (or “Stalker” to his friends) is supposed
to go after a sword, an amulet, and a chalice and get them all together, like
the Deathly Hallows. Oh, and Barbi Benton, because, um…you know what? It
doesn’t matter. The most powerful spell in the kingdom is apparently Polymorph,
and the movie has more sexual assaults than the Game of Thrones Spring Break Special. If you got anything of substance from this
movie, aside from some prurient existentialism, I’m terrified to see how that
made it into your weekly game.
There is a
weirdly sad and bittersweet coda to watching this movie, and that’s seeing Lana
Clarkson, who played the vivacious Kaira in the movie, and was so popular (no
need to explain it to you why that was so) that she starred in a string of
Roger Corman B-pictures including a title role in the 1985 schlock-fest that is
Barbarian Queen. If you have seen
these movies, you know instantly who I’m talking about, as she was very likely,
um, instrumental, in your developmental years, if you know what I mean and I
think you do. You may also recognize her name as the woman who was shot and
killed by legendary record producer Phil Specter in 2003, which is not the way
I wished to remember her, nor I’m sure anyone else, either. She deserved far
better than an untimely death at the hands of that deranged homunculus.
Here's how you know this is a fantasy movie: look at David Carradine's rippling muscles. |
The Warrior & the Sorceress (1984)
Another
Roger Corman masterpiece, starring David Carradine, who somehow fails to
elevate the meager material, acting in a story co-written by William Stout—yes,
THAT William Stout, legendary dinosaur artist who worked on the Conan the Barbarian production as well
as a ton of other movies and great comics. William Stout! This movie is going
to be awesome, right? Carradine plays a wandering warrior (see the title) named
Kain (really, guys? Kain?) who enters a “town” and deals with bullies guarding
a well. That sets off a chain of events that culminates in a massive battle in
town with Kain in the middle of things.
For those of
you who have no intention of ever re-watching this again (if you ever did in
the first place), I’ll tell you what this is. It’s Yojimbo for the Sword and Sorcery crowd. That is to say, it’s the
sword and sorcery version of A Fistful of
Dollars. It’s a sword and sorcery version of Dashiell Hammett’s “Red
Harvest” for folks who don’t read. Are you picking up what I’m putting down? Carradine
is clearly just out of rehab—or maybe he was about to go in (he did have a
fractured hand for the filming) and his awkward swordplay and nearly-martial
arts moves are not crisp and fast, but he is greased lightning compared to the
rest of the “stuntmen” he has to fight. He sets the pace, and that pace is
weirdly laconic for so simple a story. The rival gang leaders at least embrace
their roles; one of them has a muppet for a best friend, for crying out loud!
The
“Sorceress’” sole contribution to the plot is largely that of a Maguffin, to be
passed back and forth like a hot potato, but she later reveals that she is actually
a plot coupon—for rescuing her, Kain is given the magic sword that only SHE can
create. This sword, we are told, is the key to unfucking the town. Riiiiight.
Now, having
said all that, and accepting the fact that this movie is woefully Crap-tastic,
there is (or was, or will be) a thing to learn from this that you can apply to
your D&D game: good plots have no home. If it’s a good story, you can make
a game out of it. As gaming ever has been (and in particular, back in the day)
a borrowing culture, this movie is a blueprint for swiping, say, Akira Kurasawa
(or Dashiell Hammett, or Sergio Leone…) and shoehorning dynamic plots into your
epic campaign.
The British quad almost conveys that classic sense of a historical epic. Then you see Miles O'Keefe's face... |
Sword of the Valiant (1984)
This list
ends much as it began: with tales of the knights of the round table. In this
case, it’s only one knight, Sir Gawain, but the movie itself borrows heavily
from several conflating and overlapping legends in the various Arthurian tales.
Sword of the Valiant was a Cannon
Film Group cash grab starring Miles O’Keefe, back when the producers, Golan and
Globus, were in their…well, let’s call it their “creative heyday.” Yeah, that’s
it.
The story
follows O’Keefe as the newly-knighted Sir Gawain and his encounter with the
Green Knight, including the exchange of blows to the neck, the Green Knight’s
delaying of the return blow, and Sir Gawain’s exploration of a year and a day,
riding hither and yon, doing the deeds that have been assigned to other knights
in the annals of our history and literature. This screenplay, written by
director Stephen Weeks, is a shuffled deck of stories involving bits and pieces
cobbled together from Le Morte d'Arthur
and The Mabinogion, blending everything into a Cornish smoothie, or if you
prefer, and kind of Cinematic Stone Soup.
Incidentally,
Sword of the Valiant marks the second
time Stephen Weeks tackled this subject; the first, made in 1973, was called (wait
for it) Gawain and the Green Knight and starred Murray Head as Sir Gawain. You
know, “One Night in Bangkok?” Yeah. On the other hand, Nigel Green is the Green
Knight. I mention this because if you want something less cheesy and better
acted, it’s not a bad version to track down.
Why am I
even talking about this nearly-forgotten cinematic gem? Because it’s actually
one of the better lesser efforts of any of the films. I’m not saying it’s
great; after all, it’s got Miles O’Keefe in it. And he’s at his Miles O’Keefiest,
with his chiseled good looks, Olympic diver’s physique, and all the charm and
charisma of an eighth grader’s gym bag. There is not one single line of
dialogue he utters that sounds like he believes it, or that it came from a
human being. His career peaked at Tarzan,
the Ape Man. In this movie, he’s rocking this blonde pageboy cut, sort of an
Ubermensch Prince Valiant Look, and when he’s not strapped into plate armor of
one kind or another, his “courtly clothes” and blonde hair make him look like
he’s in an ABBA Tribute band.
Now, I told
you that to tell you this: the movie also stars Sean Connery, Ronald Lacey,
John Rhys-Davies, David Rappaport, Emma Sutton, Cyrielle Claire, Trevor Howard
and Peter-Freaking-Cushing. Full stop.
Or to put it
another way, every single actor in this movie is a better one than the lead,
and together, they are greater than the sum of their parts. And they mitigate
(but do not obliterate) O’Keefe’s Spam-tastic performance.
The other
thing this movie could have used less of, aside from Miles O’Keefe, is special
effects. If there was ever a movie to use dramatic lighting, simple camera
tricks, and absolutely no optical compositing, this would have been that movie.
But magical things have to glow, apparently, and we’ve just got to use this
expensive process to do it, only it’s shoddily handled in the movie, so it just
draws a lot of attention to itself. Unlike Miles O’Keefe. They should have
spent more time and money teaching O’Keefe how to sword fight instead.
The rest of
the movie isn’t bad—it’s certainly way better than it has a right to be—and aside
from a couple of logic leaps in the service of a story, for this is a Traditional
Romance, at its heart—the mass battles work, as do the jousts, Connery is
awesome as per usual, Brian Cobern (from Fiddler on the Roof) evidently didn’t
get the memo that John Rhys-Davies was in the movie and he turns his mischievous
Friar Vosper into Sallah from Raiders of
the Lost Ark. The movie ends by simply ending, and it is sufficiently artsy,
but mostly, it’s a relief that we are spared some more of what would have been
the worst emoting ever from someone in an ABBA Tribute Band. Did I mention that
O’Keefe sucks?
Here’s the real take-away: despite the script playing very fast and very loose with all of that lovely source material, this movie shows what can be done with actual mythology and legend to bend it into the shape of a story, or a series of adventures, or both. If Sword of the Valiant doesn’t inspire you to read up on the tales of King Arthur, then you are missing out on primo source material for your Dungeons and Dragons games.
___________
Assuming you are still engaged after wading through all that, here are the other articles in the series:
The Movies of Dungeons and Dragons, Part 1: Primary Sources
The Movies of Dungeons and Dragons, Part 2: The Ray Harryhausen Playbook
The Movies of Dungeons and Dragons, Part 3: Secondary Sources
The Movies of Dungeons and Dragons, Part 4: The Best of the Rest
The Movies of Dungeons and Dragons, Part 5: The End of an Era
No comments:
Post a Comment
Note: Only a member of this blog may post a comment.