Man-Thing (2003, or 04, or 05)
Manuel "Man" Thing, younger brother of Jose "Swamp"
Thing, is probably one of comicdom's greatest Latino characters.
OK, maybe not.
I've never read any Man-Thing comics, and this
movie, which is theoretically based on those comics, doesn't really
explain much about the origin of the Unjolly Green Giant. We know
that he is a guardian of the swamp, and his origin has something to
do with greedy, materialistic rednecks polluting his swamp.
I gather that he used to live in Crystal Lake,
because in the opening scene he kills a young couple after they have
sex in a remote place. Well, we don't see actually him do it, but we
know it was his handiwork. Trust me. We also know that, in a movie named after him, he
does not make an appearance until approximately 1:15 into the story.
That may seem odd to you but, given that he looks like the offspring
of an octopus and some spinach (above), that was probably the
correct decision.
Before then, the movie is
a story about a new sheriff in some local backwater bayou town which
seems to be accessible only by boat. He is
investigating some mysterious murders, and getting caught in a turf
war between money-grubbing corporate movie rednecks and their sworn
movie enemies, movie hippies and movie Native Americans. Like all
movie Native Americans, these tribes possess the deep wisdom of
their ancestors, who used phrases like "spirit guardian" and "the
nexus of all reality." Sweet! I wish my ancestors had talked like
that, but they were Polish, and they were more comfortable with
terms like "accordion" and "7-10 split." There isn't much potential
for ancient wisdom there. I mean, can I call the time-space
continuum something like "the accordion of all reality" because it
collapses upon itself? No. It sounds silly. So it's pretty cool that
ancient Native Americans used four star vocab words like "nexus." In
their ancient wisdom, they were preparing for the verbal section of
the SATs generations before there was an SAT.
We have much to learn from them.
I do sometimes wonder why, with their ancient
wisdom and deep knowledge of vocabulary, they can't come up with a
more appropriate term for themselves than Native American. According
to the OED, I am also a native American - "Pertaining to, or
connected with, one by the fact of one having been born there; that
was the place or scene of one's birth, as in native country."
Yet, despite my native American status, I have neither
ancient wisdom nor fancy-schmancy SAT vocab words. I blame it on the
sea. You see, the ancestors of the Seminoles migrated to North
America from Asia via a land bridge, while mine migrated here from
Europe by boat. If it were not for Captain Fokkin' Stubing, I
too would have ancient wisdom. Just my damned luck.
Anyway, the point here is that movie Native
Americans have gone through an official political correction in the
past fifty years. In the 1950s, they were all evil, whoopin',
war-paint-wearin', firewater-drinkin' savages and we knew to root
against them because they raped and killed well-scrubbed, hard
working pioneers and their cute blonde children with perfect teeth.
After the metamorphosis, movie Native Americans now possess fancy
vocab and ancient wisdom from their ancestors, which their ancestors
in turn got from the hawk and the panther and SAT prep courses. We
know to root for them because they embody respect for nature
and never fail to oppose money-grubbing rednecks with toothless
blonde children.
Similarly, we know that all white Americans from
outside of Los Angeles are hard-cussing mobster Northerners or
toothless redneck Southerners who think about nothing but making
money. Just as all Native Americans in the movies are good, all
corporations in the movies are bad, despite the fact that most big
movies are made by corporations. It's a subset of the Mudd's Robot's
Paradox. In most businesses, making money is the raison d'etre. In
the movie business, making money is a bad thing.
As evidenced by the making of Man-Thing.
This film was lensed in 2003 with a production
budget estimated by various sources from $20 to $30 million. With a
budget like that there must once have been plans to release it
theatrically, but it languished on the shelves at Artisan until
their catalogue was acquired by Lion's Gate. Lion's Gate's
executives must have realized it was a total turkey, so they decided
to cut their losses and foisted it off on the Sci-Fi channel, which
is desperate for original programming.
Despite the massive cost, there is nobody in the
cast whom you have ever heard of or seen before, and probably nobody
you will ever hear from again, unless you are Australian. The only
semi-identifiable face belongs to veteran Aussie character actor
Jack Thompson, who plays the older of father and son bad guys. The
star, the sheriff who is trying to sort out the murders, is supposed
to be from Louisiana or some other swampy and all-American place
but, for reasons never explained by the script, he speaks with an
Australian accent. The rest of the characters in the film seem to
have learned their Louisiana dialects from endless viewings of
Vivien Leigh in A Streetcar Named Desire.
As for the tentacled spinach himself, Man-Thing's
best moment comes when he uses one of his many tentacles to whack
some guy in the man-thing. It must be what wrestling announcers
would call a trademark finishing move.
Bottom line? It's a monster movie with absolutely
nothing going for it except the actual monster. Moreover, the
monster itself looks cheesy, has no back story, and doesn't appear
on camera until the film is nearly over.
|
Imogen Bailey (1,
2)
Other Stuff:
|
|