After struggling endlessly to read traditional textual books, I decided, for sake of my mental health, to stop, even though I was in the middle of a fantasy trilogy, which to me is no big loss since I didn’t really care about the characters, the setting, or whatnot, and the books will probably never be adapated to feature film, anyway. From now on, I’ll only be reading books that have been adapted into film or will be adapted into film, are part of series I genuinely care about and love (like Star Wars), graphic novels, comics, nonfiction books that aren’t puff pieces or hatchet jobs or in any fashion political or antireligious, and so forth. Decluttering my life in this regard has actually been mildly therapeutic, surprisingly.
This is for one of my oldest friends in the furry fandom (I was penpals with her when LiveJournal was still a thing), and while we had our…disagreements, we were (mostly) on good terms.
I had done this for her as a birthday gift last year. She appreciated it when I showed it to her on FurAffinity, and another friend noted that she was surprised, given her ideological leanings (since many furs don’t like their fursonas depicted in…certain outfits, as I learned many times the hard way). Even if Reaux (the giftee) wasn’t sincere in appreciating my artwork, she was nice, so that sits well with me.
Some other art…
Been messing around with ideological art lately. Someone on DeviantArt thought my own political leanings were…vague, and I’ll acknowledge that I have strong beliefs in many directions, and as a result, I really don’t fit in perfectly with any specific ideology, party, or whatever.
Anyway, here’s the first.
My Christian views, as well.
And part of a new series I’m starting, called “Insanity is…”
An anime adaptation of many Old Testament stories from the Bible (and the story of Jesus’ birth) from Tezuka Productions that stemmed from a request by the Vatican of the studio during the 1980s, with studio founder Osamu Tezuka dying during its production. Among the quirks the studio injected was a mascot character, a fox named Roco; their depictions of Roco and other animals, primarily those in the Genesis portions, are endearing. There seemed to be many episodes missing from the internet, particularly the later ones. However, I still enjoyed this series, even if the English acting often seemed stiff.
Based on the rock opera by Andrew Lloyd Webber and Tim Rice, the first film adaptation of Jesus Christ Superstar, directed by Norman Jewison (who had two years before directed that of Fiddler on the Roof) is an incredibly psychedelic take on the story of Jesus that screams “the 1970s,” rife with tons of WTF anachronisms (like a bus of hippies, military soldiers that resemble those of the film’s time, and a few air force jets, among others), and sizably focusing on historical/religious figures like Jewish high priest Joseph ben Caiaphas (whose name and biblical role I now know thanks to the film and his respective Wikipedia article), with bizarre takes on other luminaries like King Herod as well.
I don’t want to go into intense depth about the film. However, I will say that it exemplifies my belief that the quality of any form of media like books, film, television, and video games (for me especially), positive or negative, is almost strictly a point of view. Much of the music is enjoyable and sometimes catchy but frequently has abrupt instrumental, stylistic, and tonal shifts, with its other aspects having abundant WTF and YMMV moments. I found the film incredibly entertaining (but as I said, film quality is often a point of view) because I relate to the story of Jesus as an autistic (like being seen as delusional and ostracized by my kind) and have certain biases regarding the religious commentary, in which case it very much deserved the criticism from religious groups it got at its time of release.
Overall, I enjoyed the movie but can easily understand why and how many others would feel otherwise.
Based on the 1951 Lerner and Loewe American Western musical of the same name, the 1969 adaptation of Paint Your Wagon stars Lee Marvin as a prospector, Clint Eastwood as an amnesiac whom he recruits as his business partner, and Jean Seberg as one of a Mormon’s wives that he decides to sell to the highest bidder. I first saw this film as a rental in my town’s Blockbuster Video when that chain was still a thing, the title alone piquing my curiosity, the fact Clint Eastwood was in it being one of the sole things I knew about it. The following knowledge I would get about the film came from a brief spoof in The Simpsons episode “All Singing, All Dancing.”
Despite the title, the musical has nothing at all to do with literally painting wagons, with “paint your wagon” being a (very) dated expression meaning “to get things done.” Marvin’s character, Ben Rumson, dubs Eastwood’s “Pardner” as he recuperates, with a new tent town, “No Name City,” emerging when they discover gold. The male inhabitants become lonely from no female companionship until the mentioned Mormon husband comes and sells his wife Elizabeth to a drunken Rumson. A love triangle quickly emerges when Ben leaves his fiancé under Pardner’s care.
The latter portion of the movie involves Rumson and his men scheming to tunnel beneath No Name City to collect gold dust precipitating through the floorboards of saloons from paying customers, the only notable plot detail of which I had heard, courtesy my high school economics class, before I streamed this film. A zealous parson also comes to town in futile attempts to get its residents to abandon their sinful ways. Of course, many musical numbers abound, and while Marvin and Eastwood have never been known for their singing abilities, they did decently, with the former’s “Wand’rin’ Star” probably being the high point of the film’s songs.
While I know this film gets its share of criticism, much justified, I found it an entertaining watch, with some initial themes like Rumson putting his business partners first and his apathy towards humanity resounding well with me. Mature content like references to venereal disease and prostitution also get some spotlight. Religious themes are front and center as well, given Rumson’s indifference towards God, the references to Mormonism and polygamy, and the ultrareligious preacher. Much of the film likely didn’t fly well with 1969 moviegoers (though modern audiences would probably find it less offensive than, say, Blazing Saddles). However, I think that time has vindicated it somewhat, and don’t regret seeing it.
A color remake of the 1925 silent film, Metro-Goldwyn-Mayer’s iconic version released in 1959, like its precursor based on Lew Wallace’s epic historical novel, stars the late Charlton Heston as the eponymous Judah Ben-Hur, a wealthy Jewish prince and merchant living in Jerusalem, twenty-five years after the birth of Jesus in Bethlehem, with both cities under the jurisdiction of the Roman Empire in the Judaea province. As in the book, Ben-Hur is condemned to galley slavery when loose roof tiles from a building from which he witnesses an imperial procession nearly kill the new governor.
Three years later, Ben-Hur is a rower for the flagship of Roman Consul Quintus Arrius, who adopts him as his son after a naval battle leaves the two stranded, and the former spends time in Rome, training as a charioteer. The former returns to Judaea, meeting the Magi Balthasar and Arab Sheik Ilderim, who want him to participate in a chariot race before the new Judean governor, Pontius Pilate, although Ben-Hur initially refuses. However, after learning the fates of his sister and mother, he changes his mind, seeking revenge against Messala in the film’s iconic chariot race recreated from the silent film version and loosely done so twoscore later in the podrace of Star Wars: The Phantom Menace.
The rest of the film has Ben-Hur returning to Judaea to find his mother and sister, also witnessing the trial and crucifixion of Jesus. Overall, this film easily qualifies as a classic, yet deviates from Wallace’s novel in many ways, like what happens with Messala, the post-chariot race portions involving Judah’s mother and sister, and the absence of the scenes at the beginning of the Three Magi meeting and what happens with the Hurs after Christ’s execution and beyond. Regardless, it stands well by itself and is a significant part of cinematic history that warrants viewership by any cinema buff.
Remy's Ramblings 