Reviews

First, here's some technical information. "The Missiles of October" is a 1974 or '74 ABC-TV/Viacom television movie running at 155 minutes, probably a miniseries, shot on videotape in NTSC. The DVD version is an NTSC version. The picture quality of the DVD is extremely good considering the age and means of the production.

I'm not sure about some of the information about what written material this movie was based on, but immediate informal research concludes that this movie was based partly on John F. Kennedy's book "Thirteen Days" about the Cuban Missile Crisis. If you remember this name somehow, it's probably due to the book's remake into a movie in 2000 (premiered in 1999) with the same title by director Roger Donaldson, with Kevin Costner in a co-starring role.

The name is a reference to a book entitled "The Guns of August," a book about the Great War (a.k.a. WWI) addressing problems of the combination of the "real politik" philosophical paradigm, the German words for realism--a study of politics from the linking of the world through self-interest and armed conflict--with the virtue of the paradigm of idealism. Since the Cuban Missile Crisis occurred in October, the movie's name, "The Missiles of October," is a comment on the former to denote the potential seriousness of the incidents in this crisis which were mainly in the drama of JFK's decisions to avert nuclear war against the communistic U.S.S.R.

The movie has an exceptional cast, and a large one, with actors with long and noticeable careers in cinema long before 1973, even in the days of black-and-white. Otherwise, Soviet Premier Khrushchev is played by Howard DaSilva, who had memorably co-starred in the film version of the stage musical "1776" playing Ben Franklin, the delegate and inventor; in Joseph Losey's film "M"; and, in "The Great Gatsby" with Robert Redford. Also, John Kennedy's brother Robert is played by Martin Sheen, and he had went on to star in "Apocalypse Now" and several other films.

The thirteen days of the Cuban Missile Crisis has since become a subject of study, and this film should be recommended to anyone studying this moment of history, because it is a very literary translation, playing out with the drama being solely located in the scripts themselves: both the screenplay script and the actual international relations scripts from which this movie seems to borrow so much.

In comparison between this 1974 television movie to the 2000 film version, the t.v. movie is very talky, but still manages quite well to pull off the drama which is mostly in the script. The film version has the same dramatic themes obviously, but they are much more well-funded with expensive shots of military crafts both air and sea, an even larger cast, and never-before-seen footage of real nuclear explosions, this time in beautifully full color film rather than the black-and-white stock for the videotaped t.v. movie. The theatrical film version lacks the character of the Soviet Premier, and so it seems much less "talky" than the t.v. version. The t.v. version had already made JFK as the central figure only to tell the story in dramatic sequence rather than in defense of him since it is based on JFK's book, so his characterization is like a lion, as this method is the best way to tell the story that is virtually his anyway. If it had not done this with his perspective, it would've decreased the suspense. The television movie deserves a lot of credit for being able to maintain that suspense through the excellent cast and script, much of which is taken from historic speeches. Ultimately, the t.v. movie is about how JFK had de-pressurized the system, where the film version does this much more in such a way as to imprint an image of JFK in memory.

In result of the historical events as they are portrayed in the t.v. movie, the JFK character mentions his own lack of air support in the Bay of Pigs invasion. It connects the Soviet Premier's placement of missiles in Cuba as a partial belief of the impotence of a U.S. president that is younger than his first son. Nevertheless, with JFK responding by cutting off Cuba from the Soviets, the Americans and the Soviets begin towing the line, in addition to the nuclear threat, as JFK is not only aware of the nuclear missiles the Soviets have placed in Cuba, but is threatening to attack on the moment those missiles become operational. Finally, after military maneuvers and the sole casualty of an American spy plane, the two leaders finally defuse the situation on agreement, in-turn avoiding nuclear war.

Considering history outside of the movie, it could be theorized that the Bay of Pigs, the Cuban Missile Crisis, the subsequent removal of a U.S. base in Turkey, and a decision to remove troops from Vietnam had been reasons for a CIA retaliatory assassination of JFK, as it had commonly done so in covert "black" operations around the world. And so, this movie has significance from a perspective of international relations history, additional to the events of the movie, in that time period where these things happened. The movie seems very close in its historical reference, and the spoken words are from speeches of the political figures represented in this movie.

Captain EO is a much better film than anyone could have hoped. First off, I wish to remind people this a Disney-produced film. It was released into Epcot in 1986.

Epcot was a complete bore in 1986. Except for the area with the countries, nothing deserved the attention that Captain EO did. When I visited Epcot, this film was so fun, I went back to see it in the first day seven times. It's only 17 minutes long, so I had enough time to see it seven times. It's an exciting film: very immersing and fun.

It was directed by Francis Ford Coppola, and this film is as masterfully directed as Apocalypse Now and The Godfather, or anything else he's directed. It stars Michael Jackson.

It released in 1986, which was about six years into the Reagan Administration and "the moral majority." This film crashes right through that mentality to fulfill a much-needed statement about the future of the human race, and also of human enlightenment. It pits a contrast of meaningful and non-prejudiced life against a black-and-white drone mentality. The meaningful, non-prejudiced, and enlightened perspective is symbolized by the film's protagonist philosophy: the loudness of the film in its multi-racial (or rather multi-species) dance routines, the rainbow on the lead character's shirt, and the lead character dressed in a white uniform. The lead is played by Michael Jackson. The protagonist philosophy depicts the good, while the antagonist's philosophy is symbolized as the evil aspects of humanity, the drone mentality: the spider-appearance of the antagonist leader mostly in black is similar to H.R. Giger's Alien from a few years before, the black-and-white and gray color pallet, the German expressionism, the robots symbolizing the drone mentality and fascism, and the planet's metallic-refused surface for industrial advancements. The antagonist leader is played by Angelica Huston, a white woman.

Although this film appears to be a science fiction, it is similar to Star Wars in that they are both disconnected Westerns to some degree: the subject here is good versus evil as laid out by symbolism. This gives the film its weight. Or, it could be construed loosely as what happens to the inner universes of two people who fall in love, which could be symbolized by the protagonist being played by a black male star and the antagonist being played by a white female, although this idea isn't as developed as the former; but, both of them probably fit together somehow. It probably exemplifies the possibility of how the two could fit together when endured by love over hate. Love, not money, makes the world go 'round.

The reason Captain EO is a very good film is half because of the importance of its statement to all enlightened existences and half because of the quality in its direction, its expression, its submersion, the technicality of its cinema. The special effects rival films like this one showcased by theme parks today, and according to one source is the most expensive film ever made, by the minute, estimated at over one million dollars per minute of the movie.

Jackson performs two songs in the movie, "We are Here to Change the World" and "You're Just Another Part of Me." The latter track is on Jackson's music album "Bad" (1990) virtually the same way it is performed in the film. The other song does not exist in that form anywhere else; however, there is a song with this exact title on the album "Victory" (1984) by the Jacksons, an album on which Michael performs.

Although I have not seen the film in at least the thirteen years since Disney withdrew the film in 1994, I remember being wooed by it during my teenage years. Epcot was very boring, and this film amazed me: I saw it seven times that day I first saw it. It's in "3-D." The room had special effects. When Jackson's space vehicle lands on the planet, fog fills the audience and stage under the screen image. When a character shoots a laser gun, the explosions occur on the ceiling of the theater. When the spaceship travels through space, the entire room is filled with stars. Even though I haven't seen the film for a very long time, I remember it, and I remember what sitting the auditorium was like: I felt excited by all of it.

"Victory Through Air Power" (1943) is one of Disney's direct propaganda films for the U.S. State Department reiterating the 1942 book of the same name. It bounces between live-action segments, with briefing-style professed theories on the abstract value of air superiority, and segments with animated diagrams and maps supporting its theories. In combination with the Disney movie, the book's author presented the idea of separating air units away from the U.S. Army and into their own department. Soonafter, the U.S. Government formed the Air Force.

This film is just one of the reminders that Walt Disney exists elsewhere from his current stature as a "children's movie producer." He was also a McCarthyist in favor of the blacklist during the Congressional witch hunts from the House UnAmerican Activities Committee (HUAC). To the day I write this, his company still censors Disney's Beethoven segment of "Fantasia" (1940) in VHS and DVD video releases due to a racial comment. Also, the only movie the company has not released of his original classics is "Song of the South," a movie about a little white boy who encounters a group of black storytellers. This writer is curious how, in the time of "Amos and Andy," Disney came up with an idea for a little black mouse in work overalls named "Mickey" which he voiced. These are interesting traits of Walt, none of which revolved around a lack of maturity.