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2018 in review

Happy New Year
As the year 2018 closes, it’s time for my customary review of what I wrote. It’s also time to thank every reader for participating, for reading my humble musings, for sharing my posts and sending me emails about them. I appreciate your presence and your comments.

Twenty eighteen was another good year for my blog. I wrote almost 180,000 words  and saw one-two percent more visitors than last year (although not quite as many as my best year, 2016). My best month for visitors was May; the slowest was November.

Since Jan. 1, 2012, I’ve written close to two million words on this blog  (about 1.8 million in published posts; nearly  67,000 in draft posts, the rest in pages, cutlines, coding enhancements and comments). I’ve published 1,140 posts since I began (and more than 70 are still in draft form). Of these, 108 posts were published in 2018 (the highest number was in 2014 at 220).

Nine posts were published in January; eight each in February, May, June, July and October; five each in March and April; eleven in May; twelve in August; thirteen in September and December; four in November. I started fourteen other posts that never got published this year, but some may be finished in 2019.

The longest post this year was the Timeline of the original Collus share sale, from July, weighing in at 9,300 words. It was a condensed version of the documentation I provided to the Saunderson Vindictive Judicial Inquiry this year. The SVJI was a hot topic for me right from the day Deputy Mayor Brian Saunderson used it to launch his mayoralty bid even before the official campaign season began. I expect the SVJI will continue to provide me fodder for comment next year as its costs to taxpayers rise and rise and rise.

The shortest post this year was a mere 259 words condemning the nasty attack-robocalls one of the mayoral candidates used in the municipal election campaign. I had once hoped such dirty tactics were beneath local candidates, but I was proven wrong: the ethical bar was set pretty low this campaign.

My most prolific month (in word count) was December at 23,450 words;  my least was November at 7,228. Average number of words per post since I began: 1,544.

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One Million B.C.(E.)

One Million BC(E)
You can’t help but chuckle when Tumak runs down the rocky slope to battle the baby Triceratops (about the size of a Sheltie) and ends up rolling in the dirt with the all-too-obvious rubber model. I half-expected it to squeak like a dog toy.

Akoba and TumakIt’s just one of the many scenes in the 1940 version of One Million BC that make makes it fun to watch. Corny, yes, cheesy, perhaps. But mostly fun. And it was the top-grossing film of the year; that’s no small accomplishment.

The film is basically a Romeo-and-Juliet love story with a happier ending. Throw in some moralizing, a bit of clumsy sexism, warped Darwinism, paleontological anachronisms, some special effects (of sorts… although nominated for an Academy Award for those effects, today they are pretty comical, some even cringeworthy…) and you have a good movie. For its time. Those effects don’t stand up quite so well nigh-on eighty years later, what with out CGI-dense extravaganzas, but don’t give up on it too quickly.

Instead of the Montagues and the Capulets, we have the Stone people with their Romeo (Tumak – Victor Mature) and the Shell people and their Julie (Loana – Carole Landis). And there’s no Mercutio. Or a friendly Friar Laurence. But there is Akhoba – Tumak’s brutal father (Lon Chaney Jr) who gives the film its pathos in a poignantly moral scene, and Ohtao, the friendly rival for Loana’s love who takes his loss of lover and spear who takes the whole competition with a smile.

Call it Romeo and Juliet lite. Without even a syllable worthy of The Bard, of course, since everything vocal in the movie is either a grunt, growl or a made-up word (both tribes seems to speak in single-word sentences and seem to have vocabularies limited to only a handful of words per tribe). Others have pondered more deeply over the language than I, but I did wonder if they only had nouns; verbs were to be discovered only sometime in the future.

Carole LandisAnd despite the cornball (and egregiously inaccurate) notion of dinosaurs and cavemen co-existing, or even cavemen of this level of advancement a million years ago, or the hard-to-watch battles between real lizards (cruelty of a sort no longer allowed in cinema – it is a disturbing part of the film, although the monster scenes were re-stitched into several other B-films in later years), there’s still enjoyable watching here. Assuming you like B-films, that is. To which I always answer in the affirmative.

It’s shot in glorious black and white, has no sex and the violence is very tame (no blood and very few deaths). Even the loincloths and costumes aren’t particularly titillating even for the time (no fur bikinis like Raquel Welch wore in the 1966 sexploitation remake). However, the rather demure Carole Landis looks pretty fetching in her outfit. For the women in the audience, the clean-shaven and frequently topless Victor Mature was considered a romantic hunk in his day. Their romance is remarkably chaste given their skimpy outerwear.
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The Mummy, the remake and the re-imagining

The Mummy, 1931Nineteen thirty-two. The year Aldous Huxley’s novel, Brave New World, was published. The Great Depression was at its worst. Franklin D. Roosevelt defeated Republican Pres. Herbert Hoover to become the American president in a landslide win. Gandhi went on a hunger strike. Amelia Earhart became the first woman to fly non-stop solo flight across the Atlantic Ocean. Eighty-four-year-old Paul von Hindenburg was re-elected president in April, defeating Adolf Hitler. Charles Lindbergh’s 20-month-old son was kidnapped from his New Jersey home. Buck Rogers in the 25th Century, the first scifi radio show was first aired. Irving Berlin, Cole Porter, Fats Waller, George Gershwin and Duke Ellington all had hit songs.

And in 1932 Boris Karloff starred in the Universal Picture’s film, The Mummy. It was a dark, brooding film shot in black and white, rich in noir-ish shadows and implied threat. It was inspired in part by the 1922 discovery of Tutankhamun’s tomb and the alleged curse that carried (spoiler alert: it didn’t) – the opening of the tomb was a worldwide pop culture event even a decade later – and also possibly by a short story by Arthur Conan Doyle, The Ring of Thoth (1890).

But oddly enough, it was also a love story, one that stretched out through millennia. The iconic mummy costume – therefore the monster – is seen only for a short time at the start of the film, making it less visually scary than some films in the genre. Karloff, shorn of his wrappings, plays a newly-resurrected human – still pretty creepy in a restrained, almost gentlemanly way. And yet there’s a certain sympathy in the movie for the monster who remains in love. Roger Ebert even called his performance “poignant.”

The 1932 version, seen today, is far from scary, and more artistic than you might expect from a monster movie. The monster-into-man transition turns it into more of a suspense thriller than fright film. Universal came back with more traditional monster roles for the mummy in a series of low-budget remakes in the 1940s (most starring Lon Chaney Jr), but they failed to win over audiences or reviewers.

Universal had had significant successes with its first two monster films, both released in 1931: Frankenstein (also starring Karloff) and Dracula. These two would go on to spawn several sequels, but The Mummy never had a real sequel, although several “re-imagined” Mummy films would be made from 1940 through to the 1970s. Other monsters would join the party in the subsequent years: The Invisible Man, the Creature From the Black Lagoon and many more.
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