Patrick Stewart is back again to save the day, and he’s doing it in two ways. As Sir Patrick Stewart, he has begun reading sonnets and sharing his readings online. And as one of our favorite Captains, Jean-Luc Picard, he’s sharing news of the ability for anyone to stream the first season of his new series Star Trek: Picard on the CBS All Access streaming service–free.
As most know, the master thespian was an actor in the Royal Shakespeare Company before appearing in Star Trek: The Next Generation and as Charles Xavier in the Marvel X-Men franchise films, including one of his landmark performances in James Mangold’s 2017 Oscar-nominated film, Logan. On his social media (see his Instagram page here) Sir Pat has begun reciting a sonnet a day, in the hopes that “a sonnet a day keeps the doctor away.” He has so far read Shakespeare sonnets 116, 1, and 2.
And Tuesday he announced more good news for his Star Trek fans: “Our #StarTrekPicard season finale is Thursday, and starting today until 4/23, you can watch for free on @CBSAllAccess in the US with the code: GIFT.” All you need to do is sign up for the streaming service and use the code GIFT. Check out the CBS All Access website for full details.
Star Trek: Picard takes place twenty years after the events in the movie Star Trek: Nemesis, which resulted in the death of Brent Spiner’s character Data, and also after the events of Star Trek (2009), which resulted in the destruction of the planet Romulus.
Nothing taken away from the work of actor Joseph Fiennes in the romance-comedy Shakespeare in Love, but in the 2019 biopic All is True, it’s hard to imagine any actor as perfectly cast as William Shakespeare himself than SirKenneth Branagh. In one conversation between Branagh’s Shakespeare and Sir Ian McKellen′s Earl of Southampton, the quiet beauty of language and craft they convey will make you think no two people were better suited to their art. Taking a cue from the subtitle of Shakespeare’s final play, Henry VIII–the play being performed when Shakespeare’s Globe Theater caught fire (pro tip: don’t put stage cannons in your scripts)–All is True takes Shakespeare from there to his death, as he quits writing and returns to his home, his wife, and their two daughters to retire.
Ghosts of his past catch up with Shakespeare, as the rural village of his birth does not forget the scandals of his family’s past and present, silly things today that meant everything to English society in 1613. One of those ghosts is that of his son, Hamnet, the twin of his younger daughter, who died in real life of unknown causes at eleven, and which is expanded upon for dramatic sake in this story by writer/comedian Ben Elton (Much Ado About Nothing). Elton’s script smartly stitches together what history knows about Shakespeare and his family after his plays and what is probable or at least possible, providing a faithful, glorious look at what someone who knew his own legacy in his own time might have done next. Branagh reflects the kind of ego that must have been behind the man. Shakespeare neglected his family for years, and his youngest daughter, played by Kathryn Wilder (Ready Player One), lets him know it.
Shakespeare’s wife, Anne Hathaway, 18 years his senior in real life, is played as impeccably as audiences would expect from Dame Judi Dench, and although 26 years his senior in real life it all works seamlessly. Branagh is hardly recognizable at first, until his undeniable voice takes over, thanks to a prosthetic nose that never leaves any doubt that Branagh conjured the ghost of Shakespeare for this performance. Equal to the performance is the year’s best cinematography by Zac Nicholson(The Guernsey Literary and Potato Peel Society), who frames every scene as if it were an adaptation of an original oil painting by Johannes Vermeer or Rembrandt van Rijn. His use of light–especially his scenes shot by candlelight to mimic chiaroscuro–is magical.
When you think of New York’s Metropolitan Museum of Art, you probably think of the incredible scope of its collection. It houses some of the most famous and rare paintings, photographs, sculptures, and other artifacts from ancient times to the present day. Its collection can be parsed in so many ways to record the history of almost any subject. So it was a brilliant idea for The Met to open up its collection to focus on imagery for the holidays to illustrate a book about traditional Christmas stories. Christmas is Coming! Celebrate the Holiday with Art, Stories, Poems, Songs, and Recipes is an ideal single source book of traditional Christmas songs and stories, illustrated with attractive imagery from artists celebrating the holiday across the centuries. It also includes new poems commissioned for the book and holiday recipes created by the chefs from the restaurant at The Met. If you’ve ever tried to find that one book with stories to read by the fire, with songs to sing to pull out every year, this is for you.
Along with excerpts of The Christmas Story and The Three Wise Men from the Bible, are historic Christmas stories from Arthur Conan Doyle, the Brothers Grimm, Mark Twain, Louisa May Alcott, Leo Tolstoy, and Lucy Maud Montgomery, and poetry from William Shakespeare, William Wordsworth, Christina Rossetti, H.P. Lovecraft, E.E. Cummings, and Robert Louis Stevenson. It includes Clement Clarke Moore’s ‘Twas the Night Before Christmas and Francis Church’s timeless editorial Yes, Virginia, There is a Santa Claus.
The artwork spans the entire collection of The Met, ranging from religious paintings depicting the Nativity from the 15th century and a winter landscape by Camille Pissarro to a collection of three dimensional holiday-related objects, illustrations of Santa Claus, and several images curated from a collection of vintage holiday cards donated to the museum. Christmas is Coming! includes sheet music for ten of the most familiar Christmas songs, and recipes hand-selected by chefs at The Met that include Shepherd’s Pie, Turkey Pot Pie, English Toffee, Cranberry-Thyme Shortbread, and more.
Joel Edgerton, best known for his role as Uncle Owen in the Star Wars prequels and co-star of Midnight Special, and David Michôd direct of 2017’s direct-to-Netflix Brad Pitt movie War Machine, have come together to write the latest adaptation of William Shakespeare’s Henry IV, Parts 1 & 2 and Henry V, in the new direct-to-Netflix drama, The King. Michôd directs the film with Edgerton co-starring. Timothée Chalamet(Interstellar, Homeland) stars as the man who would be King Henry V, who seeks the advice and confidence of Edgerton’s Falstaff.
This is the first major film adaptation of Shakespeare’s Henry V with an American actor as the King. The best received version was the Oscar-winning 1989 version, titled Henry V, starring Kenneth Branagh in a classic take on the King in contrast to Chalamet’s much younger appearing character.
The next Batman, Robert Pattinson(The Lighthouse), plays the French Dauphin, with Ashes to Ashes and Mission: Impossible’sSean Harris as William, Ben Mendelsohn(Rogue One, Ready Player One) as King Henry IV, and Johnny Depp’s daughter Lily-Rose Depp (Yoga Hosers) as Catherine of Valois. Critics in Europe have criticized both Chalamet and Pattinson for their affected accents, Chalamet’s British English and Pattinson’s French.
Robby the Robot. He’s probably the only robot who has his own “Actor” page in the Internet Movie Database. In the history of robots he is probably the most significant and the most game-changing robot of all time. In the world of science fiction, few came before who achieved such fame, but many would follow. Most who created the robots that came after–call them droids, androids and variants like fembots or even cyborgs, like the Terminator T-800, Cylons, and Cybermen, R2-D2 and C-3PO, and K-2So and BB-8–all can point back to Robby as inspiration and a critical step in the evolution of robots in cinema. Robby would become a household name as a co-star and the focus of publicity for Forbidden Planet in 1956 (the classic sci-fi take on William Shakespeare’s The Tempest), and would go on to have guest appearances along with B-9 in Lost in Space, two episodes of The Twilight Zone, and all sorts of classic TV appearances (The Man from U.N.C.L.E., Hazel, Dobie Gillis, The Addams Family, Columbo, Wonder Woman, The Love Boat, Mork & Mindy), and later he can even be spotted in the movies Gremlins and Clueless.
As pop culture is concerned, there is likely no single, intact, tangible piece of entertainment memorabilia in science fiction that compares to the robot prop itself, which doubled as a costume worn by Frankie Darrow and voiced by Marvin Miller. The word “iconic” was created for the likes of Robby the Robot. So no wonder our heads began to spin when it became public this month that the actual robot from the groundbreaking science fiction film Forbidden Planet was going to hit the auction block this year. And unlike most auctions of original, screen-used, Hollywood memorabilia, Robby the Robot is being sold with a host of original materials used with the Robot throughout his incredible run, and from the auction photos it appears his light-up electronics are still functional.
Bonhams is the lucky auction house that will sell off Robby later this year, presented by Turner Classic Movies. The auction house posted preview images from its catalog (expected to be available sometime in October) and it’s clear each accompanying production item in the photos could have been auctioned off separately in its own right. All we know so far is the listing itself and photos, with no idea of the auction estimate or any other details that may be released, including its provenance: “Robby the Robot from Forbidden Planet, together with Robby’s car, his alternative head, his control panel, and original MGM packing cases. Also 2 rings for his head, 2 additional arms with pinschers, a stand, a harness, another part for the stand.”
We’re back today with the second part of my interview with Nicholas Meyer, director, screenwriter, and storyteller, as we celebrate the 35th anniversary of Star Trek II: The Wrath of Khan, and its return to theaters next month as part of the Fathom Events series. Meyer directed Star Trek II and Star Trek VI: The Undiscovered Country, and he was a screenwriter on both movies as well as Star Trek IV: The Voyage Home. He chatted with me about his films and more this past week. If you missed part one of the interview, check it out here.
CB: You’ve written words spoken on-screen by Lawrence Olivier (The Seven-Per-Cent Solution), David Warner (Time After Time, Star Trek VI), and Christopher Plummer (Star Trek VI). Are there any other great actors you maybe fantasize, or would like to write, dialogue for?
NM: I’ve also worked with Jason Robards and John Lithgow (both in The Day After). I’ve worked with some really wonderful actors. Fantasizing about working with actors is interesting. When I listened to the Chandos recording of the music from Henry V–the Olivier film with Christopher Plummer reciting or acting out the various Shakespeare vocal parts–I thought, “Wow, I’d really love to work with this man.” And I wrote the part of Chang in Star Trek VI specifically for him. That’s the first time I’ve ever written for an actor other than the Star Trek cast. I said to my casting director Mary Jo Slater, “Whatever you do, don’t come back without him. Because there’s no movie unless it’s him.” It would take me longer than this conversation to rustle around in my brain other actors I’d love to work with–Benedict Cumberbatch–sure, of course.
Nicholas Meyer directing the production crew, with Christopher Plummer as General Chang, on the Klingon courtroom set of Star Trek VI: The Undiscovered Country.
CB: Your Time After Time co-star Malcolm McDowell joined Star Trek in the seventh movie in the series, Star Trek Generations, after you were no longer with the franchise, and it always seemed to me to be an obvious choice to get him into the Star Trek universe. Did he ever contact you about taking on a Star Trek role?
NM: No… we never discussed it. David Warner, who actually has been in two Star Trek movies (as Chancellor Gorkon in The Undiscovered Country and St. John Talbot in Star Trek V: The Final Fronter), was the great post-war Hamlet with the RSC (Royal Shakespeare Company), and I think Malcolm at one point was a spear carrier in that company at the time when David was this huge star. In Time After Time they used to kid each other about those times. Something about carrying a pack of cigarettes under your costume.
CB: You have said you see yourself first as a writer and have been writing and telling stories since you were five years old. Are you as excited today to sit down and craft a story as you were in 1982?
NM: I think when I get going the answer is yes, and if it’s going well the answer is yes, and the hours can go by and I look up and it’s a week later. But as I’ve gotten older, the process of actually starting, of facing what used to be a blank page, which is now a blank screen, having done it again and again and again… Most of the stuff I’ve written has never been produced. Most of the stuff I’ve written for books I’m happy to say has been published, but I haven’t written that many books. But most of my screenplays–including probably my best screenplays–have never been done. So as you get older and you embark on this again and again and again there is a kind of a weariness of picking up the yoke and putting it on your shoulders. That said, getting paid for telling stories beats work any day.
On the Star Trek II: The Wrath of Khan Engineering set, that’s Catherine E. Coulson (later Twin Peaks’ Log Lady) with the camera, director Nicholas Meyer (in Starfleet captain’s jacket) and James Doohan as Scotty, filming the emotional finale.
CB: In your memoir The View From the Bridge, you mentioned some of your best ideas or solutions when writing come while doing laundry, while in the tub, or even building a model boat. What was your biggest revelation and strangest place you found it?
Star Trek: The Wrath of Khan–a member of that fabled Class of 1982’s “best summer of movies”–turned 35 this year, and to celebrate, the film is returning to theaters as part of the Fathom Events series. It has been said the film’s director and screenplay writer Nicholas Meyer saved Star Trek. Meyer was well-known as the author of the New York Times bestselling novel The Seven-Per-Cent Solution and its screenplay, which earned him an Oscar nomination, and for directing and writing the screenplay for the fan-favorite, time travel thriller, Time After Time. After the lukewarm response at the box office to Star Trek: The Motion Picture, executive producer Harve Bennett tapped Meyer to take the franchise in a bold, new direction, and the result, Star Trek II: The Wrath of Khan, became the best reviewed film of the franchise and a classic among all science fiction. Many details about Meyer’s work have been recounted in Allan Asherman’s The Making of Star Trek II: The Wrath of Khan and Meyer’s own memoir, The View from the Bridge. Meyer has also shared a trove of his thoughts and work on the film in director commentaries accompanying the film’s various home releases. He’s not quite finished with Star Trek yet–he’s back again as a writer and producer on the new series, Star Trek: Discovery, premiering next month.
I was ecstatic to interview Nicholas Meyer this past week and listen to him reminisce as director and screenwriter of The Wrath of Khan for the approaching anniversary theatrical release, and ask him questions I’ve had for years about his long writing career. Meyer sees himself first as a storyteller. In addition to The Wrath of Khan, he wrote the screenplay for Star Trek IV: The Voyage Home and he directed and wrote the screenplay for Star Trek VI: The Undiscovered Country. I think you’ll discover—or rediscover—that in Meyer’s selections of leading stage and screen actors like Christopher Plummer, Meyer provided gravitas to the Star Trek universe, and by infusing classical literature into the voices of characters from the likes of Shakespeare, Doyle, and Melville, he elevated Star Trek’s story beyond mere popular science fiction. Everything that would come after The Wrath of Khan in the Star Trek franchise exists as a direct result of Meyer’s success on that film.
Director Nicholas Meyer observing final detail work as Ricardo Montalban’s headwrap is applied, filming the first appearance of Khan in Star Trek II: The Wrath of Khan.
CB: Welcome to borg.com. Thanks for chatting with me and borg.com readers today and congratulations on the 35th anniversary of Star Trek II: The Wrath of Khan.
NM: Thank you so much. It’s a real pleasant surprise—As Kirk said to Scotty, “That’ll be a pleasant surprise.”
CB: Let’s talk about Ricardo Montalban as Khan. I have always loved this line: “I’ll chase him ‘round the Moons of Nibia and ‘round the Antares Maelstrom and ‘round Perdition’s flames.” When you write something like that, do you know that you’ve got it, and when you see Montalban saying it and it appears on the screen, do you get any satisfaction of seeing that all come together?
NM: Absolutely! I have to say, first of all, I didn’t write it. Herman Melville wrote it. I substituted a few planets or something. This is all Ahab. I just cribbed it. I remember with some satisfaction what I took to be at the time my cleverness (which turns out to be the curse of Kirk: “I patted myself on the back for my cleverness”). It wasn’t until I saw Ricardo actually do it that I got goosebumps, and thought, “Holy cow. This is wonderful!” And I said to him actually at some point during the movie, “You really should be playing Lear.” He sort of looks like Lear–with a big set of pecs. Because he has been on stage, he was on Broadway, he did legit plays. He was very touched, I think, that I had told him this, and he made some disparaging remark about his Hispanic accent. I said, “That’s all bullshit. You enunciate perfectly. You could do this.” I think Khan was as close as he ever got to doing it.
Henry V is probably the best of William Shakespeare’s dramas adapted for film, garnering for director and lead actor Kenneth Branagh two Oscar nominations. For the bloodiest of Shakespeare’s plays, Michael Fassbender (Inglourious Basterds, X-Men franchise, Prometheus, Jonah Hex) will take the crown as the title character in this year’s Studiocanal production of Macbeth. Oscar winner Marion Cotillard (The Dark Knight Rises, Inception) will take on the prized role of Lady Macbeth.
From the first trailer released for the latest Macbeth, we can see plenty that may indicate this film is in the same league as Branagh’s film. Plenty of artistry in the cinematography and costumes, and indications that some real effort went into the battle scenes. And isn’t Fassbender a dead ringer for Richard Harris in Camelot?
Other familiar actors featured in the film include David Thewlis (Timeline, the Harry Potter franchise, RED 2, DragonHeart), Paddy Considine (Hot Fuzz, The Bourne Ultimatum, The World’s End), Elizabeth Debicki (The Man from U.N.C.L.E.), and David Hayman (Shetland, Jack Ryan: Shadow Recruit).
Here’s the first trailer for director Justin Kurzel’s Macbeth:
If there’s one thing these lists demonstrate, it’s that great fantasy stories are enduring. All four of us have named several films that reach deep into the literary and oral tradition of myths, legends, traditional bedtime stories, and classics of fantasy literature. It’s not surprising that what makes a great fantasy movie is the same stuff that makes a great story, period: amazing worlds, epic quests, doomed romance, and soaring imagination. More than half the movies on my list are direct retellings of well-known tales, and all of them are adapted in one way or another from earlier source material–be that a novel from the 1990s or a play by William Shakespeare, or anything in between.
It’s neither accidental nor surprising that my personal favorites list went this way, but there are plenty of contenders that just narrowly missed the cut and are worthy of mention, at least in passing. I’ve been thoroughly impressed by recent films Stardust (adapted from the Neil Gaiman novel) and Prince Caspian (from CS Lewis’s beloved Chronicles of Narnia), but I haven’t seen either film often enough to declare it a favorite… yet. Likewise, two classics from my childhood deserve a nod, and would have made the cut if this were a Favorite 15: the glorious Jim Henson/Brian Froud collaboration The Dark Crystal; and Willow, which is just as good as any other high fantasy film made in the last century. Lastly, because I feel someone should mention it, yet it somehow gets overlooked whenever we start talking about great fantasy films, is one of the few mermaid movies ever made (surprisingly enough), 1984’s fantastic classic Splash. It gets overshadowed by Hanks’s Big from a few years later, but it really is a wonderful movie that deserves to be better remembered for its contribution to the genre.
But. You’re looking for the ones that did make the cut, so here is my winnowed-down list of my ten alltime favorite fantasy films:
1. The Princess Bride
Art has suggested that we define great fantasy by the age at which we’re introduced to our favorites, and I tend to agree. This Rob Reiner masterpiece came out when I was thirteen, which is the ideal time to experience this wickedly smart, hilarious, and romantic fantasy romp. But viewers can enjoy it at any age! There are no roles in film history to rival Carey Elwes as Westley/The Dread Pirate Roberts or Mandy Patinkin’s iconic Inigo Montoya, but Robin Wright, Chris Sarandon, Billy Crystal, Andre the Giant, Wallace Shawn, Peter Falk, and all the others turn in perfect performances, too. T he memorable scenes and imminently-quotable catchphrases ensure this film’s status as a fantasy legend.
2. Ever After
When you’re a fairy tale fan, the golden goose (so to speak) is, of course, Cinderella. No other tale so captures our love of the genre and our hope for true love to lift us from the drudgery of our daily lives. Everyone knows this story, and making it fresh and new and wonderful is hard! But Ever After was up to the challenge, and more. Set in the intensely naturalistic setting of early Renaissance France, this adaptation builds on the basic rags-to-riches framework to deliver a complex and deeply satisfying tale of smart lovers who complement one another, yet are set apart by a nearly unconquerable divide. Also, it doesn’t hurt that Dougray Scott makes for a Prince Charming any woman would swoon over.
3. A Knight’s Tale
Carrying on with the argument that retellings fit in the fantasy genre, magic or not, I’m sneaking one of my very favorite movies–period–onto this list. Turned off by the truly dreadful previews, I nearly missed this one–and I’m so glad I didn’t. From the ensemble cast (Heath Ledger! Rufus Sewell! Paul Bettany! That guy from Firefly!) to the wacky rock soundtrack, Chaucer has never been so much fun (and he was no wet blanket to begin with).
4. Mary Poppins
No film explores the power of childhood make-believe adventures better than this Disney classic. Who didn’t want their toys to put themselves away? Or spend an afternoon popping in and out of chalk drawings, riding magical carousel horses and winning the derby? Or laugh themselves into flight? A spoonful of sugar and the confident wink of a magical nanny makes it all possible.
5. Indiana Jones & The Last Crusade
Tales of King Arthur and the Holy Grail have been centerpieces of Western fantasy as long as we’ve been telling stories. The third, and arguably the best, installment of the Indiana Jones franchise brings that classic quest to the screen better than any film, ever. (I’m talking to YOU, da Vinci Code. You too, Excalibur. *shudders*) (The second-best film adaptation of the King Arthur legend is, of course, the 1960s classic Camelot with Richard Harris and Vanessa Redgrave.)
6. Portrait of Jennie
For pure romance and starcrossed lovers, you can’t ask for more than William Dieterle’s sweet Depression-era tale of a starving artist and the doomed model who shapes his career, and his life. It has all the makings of a gothic mystery–but the tender performances of Joseph Cotton and Jennifer Jones make this instead a sweeping story of the power of love to reach beyond time and death. Fans of Jane Seymour and Christopher Reeve’s Somewhere in Time should look this one up. (And fans of Portrait of Jennie should look up the marvelous children’s novel Tom’s Midnight Garden by Phillippa Pearce.)
7. Harry Potter & The Prisoner of Azkaban
The best installment of one of the most beloved fantasy series of our age. Need I say more?
8. Beauty and the Beast
No one was surprised when this Disney adaptation of Gabrielle-Suzanne de Villeneuve’s classic French fairy tale became the first-ever animated film to be nominated for the Academy Award for Best Picture (and thus changed the awards structure forever). The lavish production, with its marvelous soundtrack, brought this tale as old as time to life with all the wonder and beauty we expect in our fairy tale films.
9. Arabian Nights
I have expressed my love for these stories on borg.com before, and this made-for-TV miniseries starring Mili Avatal absolutely swept me away. The production is gorgeous and epic, with a bold and brilliant cast that includes fine performances by Jason Scott Lee, John Leguizamo, Rufus Sewell (!), and Andy Serkis. It offers up all our Arabian Nights favorites: Ali Baba, Aladdin, and, of course, Scheherazade and her deeply disturbed husband, played with heartbreaking madness by Dougray Scott (who, really, we could stand to see A LOT more of. Just sayin’.).
10. Much Ado About Nothing
This is last on my list not because it’s my least favorite of the ten; far from it–it’s actually my alltime favorite movie! But of the ten, it’s the one that feels the least like fantasy to me, although it has neither more nor less magic than The Princess Bride, Ever After, or A Knight’s Tale. Directed by and starring Kenneth Branagh at the height of his early career, this utterly perfect adaptation of Shakespeare’s lusty romantic comedy is set against the breathtakingly beautiful Tuscan countryside and features fantastic performances by Emma Thompson, Brian Blessed, Kate Beckinsale, Robert Sean Leonard, Michael Keaton, and Denzel Washington. I want to step inside this movie and live there, every time I watch Much Ado–and if that’s not the very definition of fantasy, than I don’t know what is.
