Directed by Andrew Stanton
Let me begin by saying that I really enjoyed this movie as
a movie, although I had problems with some aspects of the plot (not
even related to the derivations from the original book, A Princess
of Mars). But what movie these
days – especially big budget special effects blockbusters –
doesn't have plotholes? I think this movie could have done as well
as any other sci-fi epic … were it not fighting such a headwind of
negative pre-release publicity. Sometimes such negativity never
gives an otherwise good movie a chance. Last year, the movie that
became cool to hate even before it appeared was Green
Lantern, which I didn't think
was bad, just nothing
special. I think John Carter
was better than Green Lantern
… at least I enjoyed it more. And there are some signs that word of mouth may be ameliorating to some degree the disastrous opening weekend box office take. Time will
tell. But, regardless whatever happens during the next few weeks,
it is my opinion that John Carter
will ultimately stand the test of time and become the movie from
spring 2012 that will be remembered ten years from now. 21
Jump Street? – Give me a
break! Its only real competition, as I see it, might be The
Hunger Games, but that remains
to be seen. As I said, time will tell.
Anyway,
what follows here are some random comments/assessments of John
Carter, based on not one but two
viewings of the movie. When I first saw it, opening day, I enjoyed
it as a movie although I lamented that it took considerable liberties
with the story originally published a century ago. A week later I
saw it again, after a few days of thought and with more of a critical
eye, taking notes, and in light of a good bit of email exchange with
my good efriend, Barry Ottey. His insights were quite helpful in
properly assessing it. I also had the advantage of going into it with no forlorn hope that it might be a totally faithful adaptation and was therefore better able to take it in on its own terms. To make a long story short, I enjoyed John
Carter even more the second
go'round. But this is not really a review, and will be even more
rambly than my usual efforts.
Because
my main complaints upon initial viewing surrounded deviations from
the original story, that will be a major theme here. There are also
implications the wider world of Barsoom and sequels – should such
be made – that I will consider.
One
change I'll never truly understand as many times as I read Stanton's
explanation is why they changed the title from John Carter
of Mars to simply John
Carter. The stated reason, that
“Mars” as part of a title has not boded well for films in the
past just seems dumb to me. The only good thing that came of it was
the very nice and long overdue addition of “of Mars” to the title
card at the very end of the movie, after John Carter has undergone
considerable character transformation and in fact has just laid down
in his New York mausoleum to make the journey back to his adopted
world. That was nicely done. It complemented very well his dialogue
a few minutes earlier, “John Carter of Earth … John Carter of
Mars sounds better.” Yes it
does. But a simple title of John Carter
gives no hint of what this movie is about. The uninitiated coming
across the early trailers for the movie could only come away
mystified and confused rather than intrigued. I could go on and on
about the marketing mismanagement that John Carter
labored under. Suffice it to say they should have led with their
strengths – the connection to Tarzan,
Pixar, the fact that this story is the source
for a century of epic space romance from Flash Gordon
to Star Wars to
(yech!) Avatar. As
Dr. McCoy said one time (in what context I don't remember), “A
blind man could see it
with a cane!”
The
look was magnificent. This movie looked awesome. In my opinion, you
could easily see the money on the screen. The green Martians were
magnificent, both as playful hatchlings and fierce giants. I rarely
found myself remembering that they were CGI. Same with the great
white apes (although if I recall correctly they were not nearly so
big, and were indeed hairless except for on the crown of their head).
Of course, the dog-like calot
Woola stole the show.
There
was one aspect of the “look” that I was a bit disappointed in. I
long held out hope that some kind of post production magic would add
to the alien-ness of the Martian landscape, make it more truly the
red planet. Yes, to the surprise of many a generation ago, space
probes' images back from the Martian surface hae shown a landscape
that looks much like the deserts of the American Southwest, but all
the pictures I've seen have a reddish cast, with either a lighter
grey-blue or pinkish sky, not the sandy (colored) surface with deep
blue skies that dominate the movie. See e.g. the images from NASA
about three-quarters of the way down this page:
http://nssdc.gsfc.nasa.gov/photo_gallery/photogallery-mars.html
. I would think that given Mars' distance from the sun, half again
as far as the Earth, an impression of a noticeably dimmer daylight
could have been used to foster the viewers' awareness that this is
meant to be an alien planet. Occasional reliance on John Carter's
exaggerated (in the books as well as the movie – I don't think he'd
be able to jump quite that high
or far in one-third gravity) ability to Sak!
(as Tars Tarkas put it) just weren't enough – in fact, without
those other visible reminders almost seemed out of place. My epal
Barry points out ways in which what we saw can match up with
Burroughs' description, particularly the ochre-colored moss that
covers much of the Martian landscape in the books and was visible at times in
the movie, but I think this is one area where playing to popular
conception could have been called for. My favorite of the various posters that appeared for the movie - which I show above - captures what I'm saying best even though it's clearly a sunset image. On the other hand, I was
grateful that the red Martians were pretty much all noticeably darker
in complexion than John Carter himself, suitably “bronzed” as
Burroughs described them. And I didn't find the tattooing too
distracting. Some of the previews had me worried on both counts.
One of
the expected changes was, of course, “Dejah Thoris, Warrior
Princess.” Modern sensibilities will not accept the damsel in
distress who basically goes from captivity to captivity providing
motivation for the hero to do heroic deeds. Remember how Arwen's
role was ramped up, at least in Lord of the Rings:
Fellowship of the Ring. And
here it worked, maybe because I'd been somewhat prepared for this
characterization of Dejah Thoris. I found her much like that
portrayed in the Dynamite comic book series bearing her name. And I
guess giving her the role of a scientist discovering the “Ninth
Ray” was a necessary plot device to give her a central role in the
story, help explain the Therns' focussing on her. I must say I found
the references to her as “Director of the Royal Science Academy of
Helium” a bit jarring, but I did like how they set up John Carter's
discovery of her true status and his reaction, bemusedly saying, “A
Princess of Mars. How 'bout that.” Whereupon I chuckled.
There
was quite a bit of streamlining to the story, at least as characters
go. Dejah Thoris in the book is the granddaughter of Tardos Mors,
not his daughter. His son, her father is a character who does not
exist in the movie, Mors Kajak. I actually had no real problem with
that change – if I recall correctly, Mors Kajak never really takes
a major role in the original stories anyway. A similar change among
the green Martians does have a bit more of a story impact. When Tars
Tarkas is introduced in the movie, he is already Jeddak of the
Tharks, with Tal Hajus one of his warriors who later deposes him,
only to be unseated by John Carter who therefore becomes Jeddak. In
the novel, of course, Tal Hajus is Jeddak to begin with, and Tars
Tarkas ultimately challenges and kills him to become Jeddak. I
really didn't have any problem with this either. The change actually
worked quite well dramatically.
On
balance, although I really could have done without the “war-weary
warrior” cliché of John Carter running from the tragic deaths of
his family while he was away at war, it was a perhaps inevitable bow
to modern sensibilities that worked pretty well in the movie,
providing us with that all-important and necessary character growth
we've got to see now. It was not at all Burroughs' John Carter –
but okay. Realistically, I couldn't have expected such a warrior for
the sake of warfare to have played well to a modern audience and it's
best they didn't try. It did provide us with what I thought was one
of the most moving sequences in the film, the juxtaposition of his
memories of burying his family – for whom he'd come back too late –
with his fight against impossible odds to allow Sola to get Dejah
Thoris away from the Warhoons. And the way it was played into the
plot, with John Carter resisting getting involved in “Dejah
Thoris's war” until he understood that it was his own war on a
couple of different levels, did make for some compelling character
drama.
Several
times in the movie we are shown that the “Therns” (not really
Therns – “The Therns are a myth,” proclaims Matai Shang [see
below]) have been active on Earth. That's the more science-fictiony
way of getting John Carter from the Arizona cave to the red planet
than the book's mysterious form of astral projection or whatnot which
is purely fantasy and would doubtless have come off quite silly to
modern audiences. Matai Shang knows a great deal about 19th-century
American culture, enough to nail down John Carter's origin in the
South, specifically Virginia. He proclaims to John Carter that they
have been on Mars for ages, not destroying the planet but “presiding
over its destruction,” fomenting wars and the like, apparently
feeding off its resources while its people exterminate themselves and
nothing is left. The implication is that they then move on to
another world. Pretty obviously Earth is next on the menu, and the
further implication is that they've already been active there for
thousands of years. It's indicated pretty subtly. Our one good look
at Martian writing, in the temple or whatever up on top of the
mushroom-looking “Gates of Issus,” looks just like Mesopotamian
cuneiforms.
“The
Therns are a myth.” Which means that the aliens are co-opting a
pre-existing myth rather than serving as the source of that myth –
at least that's the way I take it. Which brings up the question of
the goddess Issus, hopefully to be dealt with in a subsequent move
(if we're lucky).
But
adding such an “interplanetary threat” to the story does, I
think, have unfortunate consequences for those subsequent stories.
And that's not all. While I was pleasantly surprised that, overall,
the plot ended up following that of A Princess of Mars
fairly well, I'm not so sure they did very well setting up subsequent
movies that could track the other books nearly as closely. For
several reasons, I would not expect this Dejah Thoris to give up in
despair and take the River Iss to “Heaven.” She doesn't believe
in the Therns in the first place, and why now would she want to head
south? She's really barely John Carter's wife before he's swept back
to Earth. Maybe their
son Carthoris has been conceived by then, but John Carter did not
have years of expectant waiting by the incubating egg to then torment
him during his years back on Earth, separated not just from his wife
of several years but from the child that was due to be hatched.
About
that: This is just a feeling I get from the movie, but I think they
ditched the idea that the red Martians were oviparous like the green
Martians explicitly were. There's something else indicating this as
well.
One thing that has puzzled me quite a bit, expecially with the
… um … ample bosoms sported by the red Martian women as depicted
in the Dynamite series, is why Martian women have breasts
in the first place. They wouldn't be for lactation, right? So, to
further ridicule the “pasties” that adorn them in all but the
“risque” variant covers of the Dynamite series, would they have nipples?
Hilariously, the Dynamite series depicts green women with just as
ample breasts as the reds … but no nipples or pasties.
But if you look closely at the green women in this movie (purely out of scholarly interest, of course), they don't even have breasts at all. This would, in my opinion, track with their egg-laying
reproductive physiology.
Although (this being a PG movie – from
Disney) there are no nipples to be seen, Dejah Thoris is most
definitely not “flat.” Implicitly she therefore is not
egg-laying. I figure that, like the extended life-spans of all
Martians, basically ageless until they reach about a thousand years,
then voluntarily taking the River Iss, and the ageless nature of John
Carter in the book, this aspect of the red Martian humans was deemed
too fanciful for a broad audience.
Anyway,
I think that any sequels are going to diverge increasingly from the
books as Burroughs wrote them. It will be necessary to develop quite
a bit further the whole parasitic alien aspect of the Therns that is
not in any way part of the original story, at the necessary expense
of what Burroughs actually wrote. Which I think will be unfortunate.
I have
a few more thoughts. Again, I did like this movie. It was at least
as good as most sci-fi swords-in-space stories, and looked better
than most. It incorporated enough of Burroughs' own imaginative
world-building to result in a “believable” alien world. The
major misstep I saw in that area was intruding into the story out of
left field a ridiculous walking city
– Words just escape me at this point. I have no idea what that was
all about!
It had
rousing adventure, grand vistas, and a good bit of humor. There were
laugh-out-loud moments such as when John Carter has gained leadership
of the Tharks and rallied them into attacking what turns out to be a
virtually abandoned Zodanga the Walking City ( 8-0 [an attempted
emoticon for slack-jawed astonishment), only to find out that they
really needed to be in
Helium, whereupon one of Tars Tarkas' four hands cuffs John Carter
behind the head as if to say, “You dolt!”
Speaking of four hands, there was John Carter's earlier comment to
Tars Tarkas in the arena, “Tars, give me a hand! You've got four
of 'em; give me one!” That got a definite laugh. There were of
course, moments where I groaned out loud. Besides the Walking City,
I'm thinking of when Matai Shang resorted to the old cliché of
transforming himself into the form of Dejah Thoris when he was
fighting her. Argh. What deception was he perpetrating at that
point? – sure, a couple of seconds later, when John Carter is
there, maybe, although
from the two Dejah Thoris's respective demeanors it was clear which
was which at that point), and there is a clear purpose moments later
when he impersonates John Carter himself moments later to fool Tars
Tarkas (who seems suspicious nonetheless – maybe because “John
Carter” called him “My Jeddak” – I guess Matai Shang didn't
get the memo that John Carter was himself Jeddak at that point!) But
taking Dejah Thoris's form when he did seemed more in line with a
B-movie trope than to make any sense within this story at that point.
By the
way, among the additions to the Therns was their teleportation
ability as well as an ill-defined ability to physically transform
themselves or cast a sensory illusion. The latter seemed to be
treated both ways, or either way in different contexts, as if the
filmmakers themselves hadn't really thought it through.
Another thing I did like was how in the early part of John Carter's sojourn
on Mars he faced the obvious language barrier and a Barsoomian
language much more fully developed than anything Burroughs ever
devised was in evidence. Of course, then he mysteriously learned the
language overnight – “Voice of Barsoom”? – at least he seemed
as mystified as the audience did! Of course, nobody wanted the whole
film to be in subtitles. They did very well in using what little
Barsoomian Burroughs did provide – “Kaor”
for “Hello,” “Sak”
for “Jump,” and the like. The names of the worlds – “Rasoom,”
“Jasoom,” “Barsoom” – and the moons “Cluros” and
“Thuria.” … Barry pointed out a problematic usage of “karad”
as a measure of distance rather than “haad.”
We exchanged several emails discussing that. He says its wrong, I
say it's “problematic.” The only books of the eleven that make
up the John Carter of Mars
series that I've subjected to any kind of word-search analysis are
#1-5, since only they are in public domain and hence available in
free ebook format. In those, the only hits I get for “karad”
are: (1) In #4, Thuvia, Maid of Mars,
in the footnote to chapter 6 (near the beginning), a table of linear
measurement defining a karad
as 100 haads or
one-360th
of the circumference of Mars at the equator; (2) In the glossary of
the same book, where it's defined as “a Martian degree”; and (3)
In the first chapter of #5, Chessmen of Mars,
where the usage is clearly synonymous with degree. Burroughs
apparently never used it explicitly as a linear measurement … and
yet it appears in a table of linear measurement. Hence,
“problematic.” (I finally proposed maybe it was a conscious
choice based on uncertainty how to pronounce “haad”
– “hahd”? – “hadd”? – “HAY-add”? – which Barry maybe
jokingly agreed with....) (Note: I find it interesting that the
Martians use the same definition of a degree as we do, i.e., 360 in a
circle, even though their other measurements are generally-speaking
decimal. I think that's a slight failure of imagination on ERB's part.
There's nothing really magical about 360 degrees.)
One
aspect of the language I did find annoying is one I've already complained about with regard to the Dynamite series of comics: In
only one instance did Burroughs ever
have Dejah Thoris referred to by her “first name” only – one of
the chapters of A Princess of Mars
is entitled, “I Find Dejah.” Otherwise, her name is always
“Dejah Thoris.” Neither element stands alone. Likewise, she
never refers to him as “John” or “Carter” but always as “John
Carter.” The Barsoomians appear not to have had surnames properly
speaking, hence Tardos Mors' son was Mors Kajak, whose daughter was
Dejah Thoris. Yes, Burroughs does refer to surnames in the case oof
the greens, whence John Carter gets his Thark/Barsoomian name (not
“Veer-ZHIN-yah”!
Although that did make a fine running joke), “Dotar Sojat,” not
“Right Hand” as it's strongly implied but rather the “surnames”
of the first two warriors he kills. What Burroughs means by
“surname” is not clear, because the green Martians have no
concept of parentage and hence familial lineage; I would say he used
it synonymously with “second name.” My overall point is that the
names should have always been given in full, odd though it may sound
to our Jassoomian audiences....
(Engaging
in a little speculation here, maybe there was a pattern in naming
eldest sons among the red Martians whereby the second name of the
father becomes the first name of the son while the second name of the
mother becomes the second name of the son. Tardos Mors' wife may
have been ???? Kajak. That could be made to gee-haw (sort of) with
Gods of Mars chapter
14, where John Carter's companion has just been revealed as his son,
and tells him, “The people of Helium asked that I be named with my
father's name [maybe as an unusual honor to the man who had opened
the Atmosphere Plant and saved Barsoom], but my mother said no, that
you and she had chosen a name for me together [more in line with
tradition] … so the name that she called me is the one that you
desired, a combination of hers and yours – Carthoris [which could
be a pet-name, familiar conflation of “Carter Thoris”].” [I
said made to gee-haw.
I'm sure this could be quickly shot down with a little study.])
I
could write much more, I'm sure, but won't. As you can see from the time stamp, it's well after midnight. And as you can see from the last paragraph, I've descended into all but gibberish. I apologise for the
scattered nature of this post, even more so than usual. I did love this movie, however. Go see it.
Thanks
for reading if you made it this far.
Later addition: I can't believe I said nothing about the music. It's wonderful. Suitably epic, majestic, whimsical in the right places. I know nothing of the composer Michael Giacchino, but he's a name I'll now notice, I'm sure.
Another later addition: Something else I overlooked -- the implications of the nature of the "Ninth Ray" in this movie. Briefly, in the books, the Barsoomians have discovered two more "colors" than Jassoomian science is aware of. The first "Seven Rays" are the colors of our spectrum; the "Eighth Ray" is the motive force that propels light through the ether -- harnessed by them as an antigravitational force that serves as the basis for their airships; the "Ninth Ray" can be processed to interact with the ether to create breathable atmosphere, and is in fact the reason Barsoom is not now a long dead, airless rock. Eons ago, as the atmosphere was thinning and the seas evaporating, Barsoomian science discovered the "Ninth Ray" in time to build the great Atmosphere Plant that has supported life ever since. In the book, A Princess of Mars, it is the failure of the Atmosphere Plant after the murder of its Caretaker that ultimately results in John Carter being swept back to his homeworld; earlier he had acquired the secret of access to the Plant, and after a desperate flight there and giving access to an engineer, John Carter succumbs to asphyxiation -- and awakens back in the Arizona cave. My first thought was that the way the "Ninth Ray" is portrayed in this movie negates any of that. I'm not sure it does, although it takes a bit of twisting of what we are presented with to make it work. My latest thoughts are that, the "Ninth Ray" being a creative force could also be tapped -- perverted -- into a destructive force as seen here. The discovery of that destructive potential could be what drives this plot in some ways, although I'd have to pay closer attention in yet another viewing (which won't come until the DVD is released) to see if that interpretation works in the scene where Dejah Thoris presents her discovery to the Jeddak and nobles of Helium. This would, however, leave open the possibility of a "Ninth-Ray"-based Atmosphere Plant to fail in a subsequent story as Stanton has hinted in an interview.
Here's a good review from another fan of the books who liked the movie: "John Carter no Citizen Kane, but...." The writer nails what's good about this movie much better than I could.
Unfortunately, John Carter's second weekend box office numbers turned out to be right in line with other recent genre films deemed commercial failures. Note the very similar percentage drop from first to second weekend. Although I have joined the Facebook page calling for a sequel, I expect I'll be disappointed.
“The
Therns are a myth.” Which means that the aliens are co-opting a
pre-existing myth rather than serving as the source of that myth –
at least that's the way I take it. Which brings up the question of
the goddess Issus, hopefully to be dealt with in a subsequent move
(if we're lucky).
About
that: This is just a feeling I get from the movie, but I think they
ditched the idea that the red Martians were oviparous like the green
Martians explicitly were. There's something else indicating this as
well. 
One thing that has puzzled me quite a bit, expecially with the
… um … ample bosoms sported by the red Martian women as depicted
in the Dynamite series, is why Martian women have breasts
in the first place. They wouldn't be for lactation, right? So, to
further ridicule the “pasties” that adorn them in all but the
“risque” variant covers of the Dynamite series, would they have nipples? 
Hilariously, the Dynamite series depicts green women with just as
ample breasts as the reds … but no nipples or pasties. 
Although (this being a PG movie – from
Disney) there are no nipples to be seen, Dejah Thoris is most
definitely not “flat.” Implicitly she therefore is not
egg-laying. I figure that, like the extended life-spans of all
Martians, basically ageless until they reach about a thousand years,
then voluntarily taking the River Iss, and the ageless nature of John
Carter in the book, this aspect of the red Martian humans was deemed
too fanciful for a broad audience.
