The Screengrab

By the late 1960s, old-fashioned epics had fallen on hard times. With the counterculture movement in full swing, fewer young moviegoers were interested in large-scale entertainments, with sweeping vistas and larger-than-life filmmaking. However, Hollywood has always been a little slow to catch up with popular tastes, and this led to a string of big-budget flops, as the roadshow musicals and bloated period pictures failed to rope in audiences who went wild for The Graduate and Easy Rider. But if anyone could still make an old-school epic under these circumstances, it was David Lean, coming off the award-winning blockbusters Lawrence of Arabia and Doctor Zhivago. Unfortunately, Ryan’s Daughter wasn’t remotely up to the standard of the director’s best work.

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The recent direction in which Radiohead has turned causes much split opinion, as might be expected from one of the biggest bands in the world.  Some feel that the more avant-garde turn their music has taken is a sign of growth, development, and change for the better, a step away from the simple but distinctive pop craftsmanship that marked their early days and towards an entirely new sensibility, more attuned to the voice of modern minimalist composers than to the pop or even indie-rock tradition.  Others think it's been a disaster, a pretentious and overwrought plunge into the alienatingly highbrow at the cost of the band's credibility, relatability and listenability.  Whatever one's opinion (and I'm certainly in the former camp), a lot of tears have been shed over the fate of the band's guitarist,  Jonny Greenwood.  Though he's been vocally supportive of Radiohead's direction and has adapted his playing admirably well to the demands of the more stripped-down, electronic-influenced work, many have wondered -- especially given the sound of lead singer Thom Yorke's solo work -- if he was fully behind the shift in tone.  But after the release of the stunning soundtrack to Paul Thomas Anderson's There Will Be Blood, no one should worry, least of all Greenwood himself.  It's a masterful album, perfectly suited to the material onscreen, that shows how fully possessed he is by moody minimalism and dissonant, striking tones.

There were legitimate worries when  Greenwood was announced as the composer to the score to There Will Be Blood.  A number of people, myself included, questioned the prominent role assigned to Aimee Mann's music in Magnolia; boosters found it fitting, a natural extension of the movie's story.  Others found it extremely inclusive, smacking of the cart driving the horse.  It turns out they have nothing to worry about:  Greenwood's score in There Will Be Blood is as subtle and insinuating as Mann's songs in Magnolia were obvious and intrusive.  From the first squalling, snakeline chords the the last smothering cluster of strings, it's a tightly controlled, sinister, and utterly appropriate score, a musical realization of the struggles and excesses in Daniel Plainview's soul.  While the movie itself is epic, the score is minute and precise,  coming from a stripped-down version of a full orchestra and delivering a terrible sense of struggle from its very first notes.  At times, Greenwood almost seems to be fighting a horrible battle to make the dissonant blasts and squalling notes force meaning and emotion from the barren landscapes of the film's oil-town settings:  there is pain and effort in this music as real and as clear as Plainview's horribly willful efforts to drag himself out of a hole in the ground with a wooden leg.  Some notes sound relentlessly, again and again, with a  furious insistence worthy of Ligeti; other notes creep loosely around the edges of perception, bringing the entire thing an almost ambient quality like Brian Eno's instrumental efforts.  It's an astonishing piece of work on every level, instantly marking Greenwood as a force to be reckoned with as a film composer.  (Unfortunately, the presence of a slight three-minute quote from his own "Popcorn Superhet Receiver", an avant-garde piece influenced by the Polish composer Krzysztof Penderecki, disqualified the widely praised score from Oscar contention.)

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To celebrate the success of Iron Man, which apparently does a much better job of realistically depicting how a man might go about turning himself into an armored guilded missle than, say, Spider-Man did in its speculation on the probable effects of being bitten by a radioactive spider ("Mommy, hiw come he's not turning brown and lying crumpled on the floor weeping?"), New Scientist has compiled a list of "five science fiction movies that get the science right." This is one of those areas where we'll just have to take their word for it, along with whether the kids in Spellbound got those words spelled right or not, or what circumstances would make it possible for a strange man to flirt with Julia Roberts on the street and not wind up in traction. It may be no surprise that 2001 leads the list; it is, after all, an acknowledged masterpiece of the genre whose "strikingly realistic depiction of space travel" was forged in a collaboration between a serious sci-fi author and a cerebral, perfectionist director. And besides, it always puts us to sleep, just like science class.

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Being a mime in the movie business usually entails getting punched in the face, but Dan Richter managed to parlay his trapped-in-an-invisible-box skills into a key role in “one of the most influential and important sequences in film history.” No, not the tennis scene from Blow-Up; you’ll remember Richter for hooting, beating his chest and – most famously – throwing a bone in the air.

Not only did Richter play “Moonwatcher,” the ape-man who invents weapons of mass destruction in Stanley Kubrick’s 2001: A Space Odyssey, he also choreographed the “Dawn of Man” sequence that opens the picture. “It so happened I was teaching private classes in mime in London at the time,” Richter told our man Bilge Ebiri at New York magazine’s Vulture blog. “Anyway, I was asked if I would go out and let Stanley pick my brain. I said, "If you give me twenty minutes, a stage, leotards, and some towels, I can show you how to do it."

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Cinematical asks the musical question, “Have you had enough of musicals based on movies?” According to Monika Bartyzel, “Variety reports that Bubble Boy is getting some workshop musical treatment. Bubble freakin' Boy…Just you wait -- one day we'll get to see Carmen Electra's boobs bouncing around not in 3D splendor, but rather a musical version of Scary Movie. She'll run through the audience, a light spray of water hitting her as she tries to run from the killer in her underwear ... while singing.”

Movie City Indie pays tribute to the 40th anniversary of 2001: A Space Odyssey with a veritable galaxy of links to online goodies, including some of the reviews Kubrick’s epic received on first release.

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The science fiction writer Sir Arthur C. Clarke has died, at 90, in his adopted home of Sri Lanka. Clarke broke into publishing through Astounding Science Fiction magazine and later served as "science adviser" to the British adventure comic strip Dan Dare, eventually becoming revered as a major figure of the genre as the author of such books as Childhood's End. To movie lovers, though, Clarke will always be best remembered for his work on Stanley Kubrick's 2001: A Space Odyssey. That movie grew out of "The Sentinel", a story Clarke first wrote in 1948 as an unsuccessful entry in a BBC competition; later published under the title "Sentinel of Eternity", it introduced the concept of the monolith which would anchor the screenplay that Clarke and Kubrick eventually assembled, drawing on other stories by Clarke, such as "Encounter at Dawn." While Kubrick made the movie, Clarke wrote a novel, also called 2001: A Space Odyssey, which was published shortly after the novel's release. Technically, the book, being based on the screenplay, might be called a novelization, but it was intended not as a cheap tie-in but as a work that could stand on its own while also serving as a complementary work to the movie.

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Steve Johnson contemplates the ongoing disappointment that is the Internet thriller. It's not as if Hollywood has ever trusted computers any farther than they could throw them. HAL 9000 tried to hog the spacecraft for himself in 2001: Space Odyssey; in Colossus: The Forbin Project, an electronic super-brain invented by the guy who plays Victor on my grandmother's beloved The Young and the Restless, was designed to serve as a perfect missile defense system but immediately started acting too big for its business; its descendant, the computer in WarGames almost started World War III in an excess of playfulness; and don't get me started on that weekend at Westworld. (Hell, I had more fun at Euro Disney.) But for the better part of a decade now, Hollywood has been specifically trying to tap into the supposedly vast, ominous potential of the Internet and hook into some of those cool cyberpunk dollars, with decidedly mixed results. "Like a virus shrugging off an outdated antibiotic," Johnson writes, "the Net has proved resistant to such attempts. You've seen evidence of the struggle. Over and over, Hollywood has shown us things happening on computer monitors in improbably large and cartoonish letters, as if all Web sites dealing with national security are designed by the folks at Webkinz. 'To eliminate Baltimore, click here,' that kind of thing."

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