I stared at the sun and she stared right back
In his memoir In Spite of Myself (2008), Christopher Plummer tells a set of very funny and wincing stories about the time he was trapped in the original 1956 Broadway production of Arch Oboler's Night of the Auk, a science fiction verse drama which garnered a flurry of bemused and sarcastic reviews for its unvarnished message and sententious medium before closing, like the fondest dreams of Max Bialystock, after eight performances. The conceit of the triumphantly returning crew of the first manned mission to the moon discovering as they lock in for splashdown that the earth beneath them has broken out in nuclear war had worked when staged for radio in the half-hour shock-topical form of "Rocket from Manhattan," first aired on Arch Oboler's Plays in September 1945. Expanded and rewritten for the post-war theater, however:
Perhaps the most accurate assessment of the work and the tidiest summation of the audience's general perplexity came in the form of an opening-night telegram sent to me by the actor Jack Warden. How he got it through the mail service, I'll never know, for it simply read, "What the fuck's an Auk?!"
Of the five members of the cast, Plummer writes that Claude Rains alone escaped unscathed—playing the scientist of the expedition, he was stuck with most of the philosophizing, but managed through sensitive reading and long experience "to make it all sound like Milton or Wordsworth." Plummer, on the other hand, bonded with Wendell Corey over their mutual inability to turn any kind of naturalistic effect out of their high-strung scenes without being yelled at by Oboler, who having ignored all suggestions from producer Kermit Bloomgarden to temper the obstructive dialogue had moved on to interfering with the direction by Sidney Lumet.
He had been one of radio's most prolific writers and among the first to make a feature film in 3-D, the film process introduced into cinemas for which you were forced to put on goggles of dark glass in order to view the images on the screen. Looking like an early motorist, you would watch the action in laser-sharp relief leap out at you in aggressive three-dimensional proximity. That was all very fine, but upon removing the offending spectacles you became strangely disoriented, a trifle dizzy and, in some cases, engulfed in nausea. After my first 3-D encounter (Bwana Devil), there was no other. I had, in fact, been quite seasick. I told this to Wendell who, every time an altercation arose with the stubborn little author, would whisper violently in my ear, "Go on! Quick! Tell him you puked at his film! Tell 'im now!"
All this is by way of explaining that the minute I saw the Film Forum announcing BWANA DEVIL in 3-D! I heard the shoulder devil of Wendell Corey and cracked up.
Perhaps the most accurate assessment of the work and the tidiest summation of the audience's general perplexity came in the form of an opening-night telegram sent to me by the actor Jack Warden. How he got it through the mail service, I'll never know, for it simply read, "What the fuck's an Auk?!"
Of the five members of the cast, Plummer writes that Claude Rains alone escaped unscathed—playing the scientist of the expedition, he was stuck with most of the philosophizing, but managed through sensitive reading and long experience "to make it all sound like Milton or Wordsworth." Plummer, on the other hand, bonded with Wendell Corey over their mutual inability to turn any kind of naturalistic effect out of their high-strung scenes without being yelled at by Oboler, who having ignored all suggestions from producer Kermit Bloomgarden to temper the obstructive dialogue had moved on to interfering with the direction by Sidney Lumet.
He had been one of radio's most prolific writers and among the first to make a feature film in 3-D, the film process introduced into cinemas for which you were forced to put on goggles of dark glass in order to view the images on the screen. Looking like an early motorist, you would watch the action in laser-sharp relief leap out at you in aggressive three-dimensional proximity. That was all very fine, but upon removing the offending spectacles you became strangely disoriented, a trifle dizzy and, in some cases, engulfed in nausea. After my first 3-D encounter (Bwana Devil), there was no other. I had, in fact, been quite seasick. I told this to Wendell who, every time an altercation arose with the stubborn little author, would whisper violently in my ear, "Go on! Quick! Tell him you puked at his film! Tell 'im now!"
All this is by way of explaining that the minute I saw the Film Forum announcing BWANA DEVIL in 3-D! I heard the shoulder devil of Wendell Corey and cracked up.

no subject
That's hilarious, but also very relatable! I remember that I nearly threw up after I watched Avatar in 3D, and couldn't tell if it was because of the glasses (which I obviously had to wear over mine), or because the movie was so bad! XD
Now I'm remembering that Wendell Corey also has a man-eating feline movie in his resumé, but in his case it's tiger (or a leopard, I'm not sure, this was buried in my memory until this moment for a reason--it's pretty bad, but at least it's not in 3D!)
no subject
I watched it without the 3-D glasses and it didn't help.
Now I'm remembering that Wendell Corey also has a man-eating feline movie in his resumé, but in his case it's tiger (or a leopard, I'm not sure, this was buried in my memory until this moment for a reason--it's pretty bad, but at least it's not in 3D!)
Man-Eater of Kumaon (1948)! Good Lord, there's a strikingly unfuzzy copy on YouTube. Now I'll have to watch it.
no subject
\o/ (I'm glad that the other cats he shared screen time with were smaller...)
no subject
no subject
When you put it that way, it does sound like the Spider-Man: Turn Off the Dark of its day. But who do you think could play Claude Rains? (My brain supplied Chris Evans for Plummer.)
no subject
no subject
Claude Rains was in his mid-sixties in 1956 and I'll watch Jared Harris in anything: sold.
no subject
no subject
I believe the common theme is extinction, but I haven't yet managed to make myself read the script to be sure.
no subject
no subject
ETA: Though I guess you mean auk = alcid generally, which isn't local usage for me, but again may be a Pacific thing.
no subject
no subject
I'm not convinced Arch Oboler knew his seabirds.
no subject
...so knowing this, are you more inclined to go see it, or is Plummer's nausea a sufficient deterrent?
no subject
We're thinking it over. If it weren't in New York, we'd have tickets already. (Under any circumstances, we do not expect it to be good.)
no subject
no subject
no subject
(Understood! I can only hope it would be bad enough to justify the trip.)
no subject
no subject
I'll applaud that.
no subject
no subject
I like to think if I'd dreamed it, the play wouldn't have sucked!
no subject
no subject
no subject
Mercifully I have little track record of throwing up, but it could still be that bad!
no subject
Oh dear lord. I’ve been in/seen shows with that kind of thing going on behind the scenes; but at least it wasn’t usually the writer interfering with the direction (usually it was the other way round, which gets “interesting” when the writer is Shakespeare or Jonson)
I’ve never actually been to a 3D movie, so I don’t know how I’d react. I remain fond of SCTV’s various spoofs in which the medium was always represented by someone holding up an object to the camera lens as a “spooky” sound played.
no subject
I have to ask what happened with the Jonson.
I’ve never actually been to a 3D movie, so I don’t know how I’d react.
I saw Scorsese's Hugo in 3-D in 2011 and found the effect distracting but not disorienting. I liked the movie on its own terms very much. The technological experience did not inspire me to watch more movies in 3-D.
I remain fond of SCTV’s various spoofs in which the medium was always represented by someone holding up an object to the camera lens as a “spooky” sound played.
Doctor Tongue's 3-D House of Cats!
no subject
no subject
no subject
I had to tell someone!