Harlan Ellison's Watching [NOOK Book]

Overview

Ostensibly, this is a collection of Harlan Ellison’s twenty-five years of essays and film criticism for various publications. What it is in reality is pure, raw, unapologetic opinion. Star Wars? “Luke Skywalker is a nerd and Darth Vader sucks runny eggs.” Big Trouble in Little China? “A cheerfully blathering live-action cartoon that will give you release from the real pressures of your basically dreary lives.” Despite working within the industry himself, Ellison never learned how to lie. So punches go un-pulled, ...
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Harlan Ellison's Watching

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Overview

Ostensibly, this is a collection of Harlan Ellison’s twenty-five years of essays and film criticism for various publications. What it is in reality is pure, raw, unapologetic opinion. Star Wars? “Luke Skywalker is a nerd and Darth Vader sucks runny eggs.” Big Trouble in Little China? “A cheerfully blathering live-action cartoon that will give you release from the real pressures of your basically dreary lives.” Despite working within the industry himself, Ellison never learned how to lie. So punches go un-pulled, the impersonal becomes personal, and the reader is left feeling like they have read something someone actually meant. It is a gauntlet, for sure, but it is also an exhilarating release.
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Editorial Reviews

Library Journal

When he wasn't churning out top-shelf stories, Ellison doubled as a film critic. This 1989 volume collects his musings on film of the 1960s on up (more than 50 essays). He's not a guy to pull his punches when offering his opinions; in fact, he'll actually cram them down your throat with glee. Whether you agree with him or would prefer to string him up by his Buster Browns, Ellison is always greatly entertaining. This edition sports a new intro by Leonard Maltin.


—Michael Rogers
Library Journal
Popular author, screen- and teleplay writer, and all-around bete noir , Ellison collects his 25-years' output of writing on film, from a 1951 high school piece to 1989 columns for Magazine of Fantasy and Science Fiction. Ellison was never a reviewer, even when he was hired to be one, for the 1960s' Los Angeles Cinema magazine, so one doesn't get the critical analysis of a Kael, Canby, or Kauffmann. What one does get is Ellison, the world's youngest curmudgeon, entertainingly sounding off, sometimes on idiosyncratic tangents, on his likes and dislikes. A long introductory essay amusingly tells us how he got to be the way he is. This is an enjoyable, irascible collection, surprisingly fully indexed, and a welcome companion to Ellison's 1970 collected TV musings, The Glass Teat .-- David Bartholomew, NYPL
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Product Details

  • ISBN-13: 9781497604117
  • Publisher: Open Road Media
  • Publication date: 4/1/2014
  • Sold by: Barnes & Noble
  • Format: eBook
  • Pages: 612
  • Sales rank: 1,310,824
  • File size: 1,016 KB

Meet the Author

Harlan Ellison has been called “one of the great living American short story writers” by the Washington Post. In a career spanning more than fifty years, he has won more awards than any other living fantasist. Ellison has written or edited one hundred fourteen books; more than seventeen hundred stories, essays, articles, and newspaper columns; two dozen teleplays; and a dozen motion pictures. He has won the Hugo Award eight and a half times (shared once); the Nebula Award three times; the Bram Stoker Award, presented by the Horror Writers Association, five times (including the Lifetime Achievement Award in 1996); the Edgar Allan Poe Award of the Mystery Writers of America twice; the Georges Melies Fantasy Film Award twice; and two Audie Awards (for the best in audio recordings); and he was awarded the Silver Pen for Journalism by PEN, the international writers’ union. He was presented with the first Living Legend Award by the International Horror Critics at the 1995 World Horror Convention. Ellison is the only author in Hollywood ever to win the Writers Guild of America award for Outstanding Teleplay (solo work) four times, most recently for “Paladin of the Lost Hour,” his Twilight Zone episode that was Danny Kaye’s final role, in 1987. In 2006, Ellison was awarded the prestigious title of Grand Master by the Science Fiction and Fantasy Writers of America. Dreams With Sharp Teeth, the documentary chronicling his life and works, was released on DVD in May 2009.
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Read an Excerpt

FOREWORD

by George Kirgo

It takes but the reading of a single review in this collection to be aware that this is not your normal critic at work--nor, for that matter, your normal person.

Listen to Mr. Ellison as he writes of seeing Joe: "At the end of the film, it took my director friend, Max Katz, and his lady, Karen, to help me up the aisle. I could not focus. I was trembling like a man with malaria. There was a large potted tree on the sidewalk outside the theater. I managed to get to it, and sat there, unable to communicate, for twenty minutes. I was no good for two days thereafter."

But did he like the movie?

What sets Harlan Ellison apart from nearly all other reviewers is that he unblushingly exposes his psyche and personal prejudices with every film he views. He watches viscerally, reacts viscerally, writes viscerally. If you have the stomach for it, you will be rewarded. This book is, of course, just one man's opinion. But the man has a uniquely individual voice, a voice that never minces its words.

"Spaceballs," he writes, "rivals L'Avventura as the single most obstinately boring film of all time. An invincibly tasteless farrago of lame jokes, obvious parodies, telegraphed punchlines, wretched acting, and idiot plot."

He didn't like the movie.

Having made enemies, he cements the enmity in print. Steven Spielberg and Gene Roddenberry are thrashed, and trashed, by Ellison's lash. More than occasionally, he is guilty of overkill; for example, the venom wasted on Gremlins. But, again, this is Ellison's Way. Passion governs his every thought and word. He's been like that at least since April 1964, when wefirst met, on the Paramount lot, both of us writing features. Twenty-five years (at least) at high pitch! I would be exhausted. Harlan isn't. As of April 1989, he remains one of those "who (wear) at their hearts the fire's center."

"Oh, God, the movies," he writes. "For four hours every Saturday afternoon," the movies transported him "away from that miserable lonely charnel house of childhood." The picture show continues to provide joy to Ellison the adult. "...the basic tenets of the Ellison Moviegoing Philosophy: (the movie) kept me rapt and happy all the while it danced before me. What the hell more can one ask from a mere shadow-play?"

And the keynote of the Ellison Movie Reviewing Philosophy: "I will, first and always, try to entertain."

He meets his own high standards. Never does he fail to beguile us. To pique us--even when one finds one's self in disagreement with his judgments.

It never occurred to me that Mickey One was "the finest American film of the year, and possibly of many years!" Is the "compelling" Lolly-Madonna XXX the same one I saw and found to be the opposite of compelling? Brazil "...one of the greatest motion pictures ever made ... in the top ten ... "? (Is criticizing the critic permitted? I've never been a Foreword person before.)

Yet when he and I share a judgment (which I find, to my astonishment and alarm, is almost always), Harlan approaches bull's-eye perspicacity. "2001 is a visually exciting, self-indulgent exercise ... no story ... no plot." And besides that, it's "seriously flawed."

Because of the times, I must get political. When Harlan and I wrote our first movies at Paramount (the titles will remain shameless; Fifth Amendment), the studio was a quiet little village; only a couple of pictures were being made. The lot was a summer playground for two kids, Gregg Hawks and Nick Kirgo, who wandered through dark and empty soundstages while their fathers, Howard and George, labored on a film.

Almost twenty-six years later, Paramount is doing record-making business. But some things, as Harlan points out, remain the same. The writer is still given the shortest shrift available, and since that era of benevolent paternalism, writers have had to strike four times (most recently six long months in 1988) to achieve any semblance of financial or creative progress. As president of the Writers Guild of America, west, I can testify to Harlan's unionist ardor (he's served two terms on the Board of Directors) and his devotion to the cause of his colleagues.

Ellison boldly fights the writer's war. He reminds the reader that every film he reviews began with a blank page (is the truth a cliché?). His essays are celebrations of films and celebrations of screenwriters. When a picture fails, he does not (always) pin the rap on the director, the producer, the actors, the agents, the cinematographers, the studios, the best boy, the gaffer or the gofer. Every film is the writer's responsibility, his blame--and his triumph.

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