Harlan Ellison's Watching

Harlan Ellison's Watching

by Harlan Ellison


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Product Details

ISBN-13: 9781497643062
Publisher: Open Road Integrated Media LLC
Publication date: 03/10/2015
Pages: 612
Sales rank: 711,945
Product dimensions: 5.50(w) x 8.50(h) x 5.50(d)

About the Author

Harlan Ellison (1934–2018), in a career spanning more than fifty years, wrote 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 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. He passed away in 2018 at the age of eighty-four.

Date of Birth:

May 27, 1934

Date of Death:

June 28, 2018

Place of Birth:

Cleveland, OH

Place of Death:

Los Angeles, CA

Read an Excerpt


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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Harlan Ellison's Watching 4 out of 5 based on 0 ratings. 3 reviews.
figre on LibraryThing 21 days ago
Ostensibly, this is a book of film reviews. And it starts out that way. But even in those more straightforward reviews, you see something more going on. Not just a description of movies, but a description of what movies are about. And more and more you learn how movies are actually made ¿ and destroyed. The book starts well. Sure, there are some older movies discussed that almost no one remembers (and by this, I don¿t mean the newer generation losing the classics ¿ I mean movies that showed up for a brief time, then burned out, that few, if any, of us recall), but that is not important to the message. And the book really hits it stride when the essays reprinted from Fantasy & Science Fiction appear. This is when Ellison truly begins to rip away the façade of movie-making, movie-watching, and the fans. As usual, this gets him in trouble (as indicated in some of the later essays where he quotes some of the letters he¿s received) but then, the truth shall set them free or tick them off. Of particular interest is one of the later essays that looks to be a forerunner of his famous ¿Xenogenesis¿ essay ¿ a description of just how bad fans can be.This book is fascinating. Ellison¿s writing is at its strongest, using all the tricks he has honed over the years to reach sometimes startlingly (to those of us not in the business) conclusions. I can¿t agree with every review, but that isn¿t the point. The learning, the insight, the discovery, the joy of reading ¿ those are the points.
librarianbryan on LibraryThing 23 days ago
Disclaimer: I only read his essays about Lynch's Dune.Written during the period Ellison was the in house reviewer for Magazine of Fantasy and Science Fiction, his deity like status within SF gave him free reign. Much like the D.F.Wallace essays about a Lynch film I reviewed recently, the author's killer wit and occasional genius are on display, but he also was in desperate need of an editor. Through self-aggrandizing diarrhea we can extract that Ellison thought highly of Dune, forgiving its operatic bulging due to the nature of the subject matter (writing the screenplay for which Ellison turned down years earlier). Only he and Newsweek's David Ansen gave the film anything close to positive marks. Ellison's out: it's long and complicated and subtle so naturally everyone who loved Star Wars would hate Dune.He also gives a great conspiracy theory as to why the film failed, and hilarious anecdotes about the studio buffoonery that took place just before the film's release. I don't want to ruin the fun, so you'll have to investigate for yourself.
Anonymous More than 1 year ago