We received a nice shout-out on Friday night from Patrick Read Johnson, whose film 5-25-77 (2022) spurred many fond recollections of our own formative years as amateur filmmakers. Like Johnson, we were beguiled by the modern sci-fi renaissance, exemplified by boundary-pushing films like “2001: A Space Odyssey” and “Planet of the Apes.” It was an era that reached its glorious apotheosis with the release of “Star Wars” on May 25, 1977 – hence, the title of Johnson’s film – and later that same year, “Close Encounters of the Third Kind.”
We all had the calling, but Johnson had the talent, the drive, and the good fortune to make it all the way to Devil’s Tower, so to speak. If you’re a lover of film, a sci-fi geek, a child of the ‘70s, or just a sucker for coming-of-age stories, do make it a point to check out “5-25-77.” There’s probably a lot in it that you’ll be able to relate to.
Then eavesdrop on Roy and my Friday night conversation, in which we were joined by fellow amateur filmmaker-of-yore Joe Metz, with added observations from some of our former cast members. To the rest of the world, it may come across as so much navel-gazing and so many inside jokes, but for us, it was a very special Roy’s Tie-Dye Sci-Fi Corner. Feel free to listen in at the link.
We hope to see you in the comments section for the next installment, and a return to form, when we livestream on Facebook, YouTube, etc., this weekend, with time and topic (Friday or Sunday evening at 7:00 or 7:30 EST) to be determined!
Roy and I toss back a few in our discussion of “The Poseidon Adventure” (1972) here:
Worst New Year’s Eve ever? I’ve had a few that have run it pretty close.
Be that as it may, if “The Poseidon Adventure” (1972) teaches us anything, it’s that there’s got to be a morning after.
To anyone obsessed with the movies and especially to any sci-fi fan who lived through it, the date 5-25-77 takes on an almost totemic significance. That’s the day “Star Wars” was unleashed on an unsuspecting world and, for better or worse, changed everything. Next week, we’ll be talking about a new film, “5-25-77” (2022) – actually two decades in the making – that reflects that first wave of “Star Wars” mania, with its story about a young midwestern filmmaker caught up in the excitement. One of the producers for the project was none other than Gary Kurtz, who produced the original “Star Wars!”
To sweeten the pot, we’ll be joined by my cousin and Roy’s lifelong friend, Joe Metz, as we use this discussion about the film as a springboard for our own personal reminiscences as nascent young filmmakers back in the 1970s and ‘80s, punctuating the conversation with stills and paraphernalia from those early, ambitious projects. Of course, none of us wound up devoting ourselves to making movies, which was probably a good thing, but we had a heck of a lot of fun while it lasted.
Yeah, it was a long time ago, in a galaxy far, far away. I hope you’ll join us in the comments section for what’s bound to be the biggest digression in the show’s history, on the next Roy’s Tie-Dye Sci-Fi Corner. It will be all about us, when we livestream on Facebook, YouTube, etc., next Friday evening at 7:30 EST.
Well, whaddya know? Just when you thought there wasn’t an award he hasn’t already received, John Williams has been knighted.
On Queen Elizabeth II’s final awards list, Williams was granted the honorary title of KBE (Knight of the British Empire). Of course, in order to be formally addressed as “Sir,” he would have to become a British citizen.
Musically, Williams has been a lifelong anglophile. He has also been a frequent collaborator with the London Symphony Orchestra.
His scores to “Star Wars,” “The Fury, “Superman,” “Dracula,” “The Empire Strikes Back,” “Raiders of the Lost Ark,” “Monsignor,” “Return of the Jedi,” “Harry Potter and the Sorcerer’s Stone,” “The Phantom Menace,” “Attack of the Clones,” “Harry Potter and the Chamber of Secrets,” “Harry Potter and the Prisoner of Azkaban,” and “Revenge of the Sith” were all recorded with the LSO.
Furthermore, there would be no “Star Wars” or “Williams sound,” for that matter, without the influence of Sir William Walton, Ralph Vaughan Williams, Sir Edward Elgar, and Gustav Holst.
“You have chosen… wisely.”
A brief history of Williams’ special relationship with the London Symphony Orchestra
John Williams finds yet one more opportunity to place his indelible stamp on the “Star Wars” universe. His new “Obi-Wan Kenobi” theme has at last been unveiled. Disney has kept just about everything about the new series under wraps as inviolable as those of a Tusken Raider. Natalie Holt, the first woman to be hired to write music for a live-action “Star Wars” project, will incorporate Williams’ theme into her scores. Williams himself introduced the theme in concert yesterday in a surprise appearance at “Star Wars Celebration” in Anaheim. Of course, the show is being streamed on Disney+, so I am unlikely to see it anytime soon. But the music sure does sound as if it’s from the pen of the composer of “The Rise of Skywalker.”
Williams conducts his theme from “Obi-Wan Kenobi”
The official studio recording, released as a single:
The complete Anaheim mini-concert, with an appearance by Harrison Ford:
Williams, 90, has been engaged to write the music for Ford’s latest Indiana Jones adventure, expected in theaters next summer.
Okay, laser brains. While all you heretics were out there waving your lightsabers on May 4th, strutting your fandom for Star Wars Day (“May the Fourth be with you,” har har), the Jedi hermits among us continued to quietly stroke our beards and shepherd the wisdom that true Star Wars Day is May 25th – the anniversary of the film’s opening in 1977.
That is, when we weren’t indulging our Dark Sides by ranting about the corruption of the series, even at the hands of its own creator, in epic Facebook screeds.
You may recall my lamenting the numerous post-“Special Edition” incarnations of the original trilogy (released 1977-83), as George Lucas continued to tinker in his digital keep, even as he denied us pristine restorations of the films’ theatrical cuts. These have been withheld by Lucasfilm, despite enormous demand, as its mad emperor continued to overthink and perform unnecessary surgeries on his creations, like some misguided Hawthornian scientist, who would sacrifice beauty in a quest for “perfection.” Instead of, you know, just making more movies.
With the sale of Lucasfilm to Disney, some have nurtured a new hope that its current owners, in a rare moment of grace (albeit motivated by the promise of massive sales), might release restorations in time for Star Wars’ 50th anniversary in 2027 – in the process, redeeming Lucas and allowing him to join Obi-Wan and Yoda in Force heaven.
In the meantime, the thought did occur to me that, while an authorized Disney release would be wonderful, there actually has been a rebel movement among diehard fans and guerilla restorationists, who have taken matters into their own hands to return “Star Wars” to its original glory. This ragtag band has been overseen by Petr Harmáček, an English teacher from the Czech Republic, who goes by the handle Harmy. Harmy has made it his mission to undertake private restorations of the original “Star Wars” trilogy, drawing from all available sources.
Keep in mind, this is in flagrant disregard of George Lucas’ wishes. While Harmy’s “Despecialized Edition” is available for download on the internet, he has so far avoided prosecution and his work has received no legal challenges, since he has charged no fee for his work and has managed to walk a razor’s edge between “fair use” and copyright infringement. You can read more about him and his cause here:
Then you can savor the fruit of his labor, getting as close as possible to the experience of seeing the film as it was released on May 25, 1977. Ideally, you should also have decent playback equipment. Best of all would be to download the file for yourself from a reputable site. Did I mention, it’s free? Also, use the Force to blot out all unhelpful memories of anything that came after to desensitize us and diminish our pleasure.
