A near-worthy successor, to be more exact. The 1991 remake of the classic 60's series was taken into the hands of director Barry Sonnenfield (Men In Black films). Sonnenfield's use of computer enhanced effects and tongue-in-cheek, slapstick surrealism contributed to the success of this film, which spawned a sequel, "Addams Family Values" and a made for video film.

The 60's tv show magic is lost in the wake of modern cinema and even the actors, try as they did, could not match the sophisticated humor that John Astin and Carolyn Jones shared- they were the original Gomez and Morticia. But nevertheless, the film is worth watching, if anything for the special effects and performances by Christopher Lloyd as Uncle Fester and Christina Ricci as Wednesday Addams. Noteworthy is also Lurch and Thing, whose dismembered hand is a computer generated illusion.

The plot of the film revolves around Uncle Fester's amnesia. He has returned from the Bermuda Triangle (something which in itself is impossible, says the doubting Christina Ricci's Wednesday) and brought home his mother. His "mother" is a villainous woman bent on claiming the Addams Family fortune, their estate. When she has managed to influence Fester, the rest of the Addams are forced out of their home and obligated to work for rent in a slum's apartment. Eventually, the villainous woman is defeated and the Addams reclaim their home, and Uncle Fester regains his memory.

The film has its comic moments, i.e. when Gomez (Raul Julia) is watching day time talk show Sally Jesse Raphael and asks where voodoo witch doctors have their meetings, when Pugsley and Wednesday engage in a play and duel (with fake, splurting blood) and the Halloween party in which all the Addams are invited- a host of grotesque, zombie creatures appear, including the two-headed sisters. Cousin Itt also makes an appearance.

Although Raul Julia and Angelica Houston try to imitate the artistic, witty repartee and passion that John Astin and Carolyn Jones shared, they fail to do so. Raul Julia can pass off for Gomez, especially because he is Latin, but Angelica Houston does not portray a convincing Morticia- cast only because Angelica Houston's has pale, dark, "witch" like features. A striking element in the film, besides its cinematography, is its music. The soundtrack, elegant, haunting, romantic, Gothic, which sounds like the same music to the scores of "Edward Scissorhands" or "The Nightmare Before Christmas"- orchestral subtle tones, lush romanticism, tango, etc. An enjoyable film, although what would have been preferable was for the producers of the original tv show (which ran from 1964 to 66), would be to have had John Astin, Carolyn Jones and the rest of the black and white tv show's cast- Ted Cassidy (Lurch) Blossom Rock (Grandmama) Lisa Loring (Wednesday), Ken Weatherwax (Pugsley) and Jackie Coogan (Uncle Fester) to star in a color film directly after the show ended (1966) in an attempt to save the show from a brief syndication. Apparently, this was done in the late 70's, but by then the series had ended years before and a lot of the cast members were quite old.

1967: Dustin Hoffman played the young, naive, confused, hormonal young graduate in the eponymous film, Anne Bancroft played the older, seductive Mrs. Robinson. The film was unlike anything the 60's had ever seen, ahead of its time, bleak, realistic. It portrayed a dismal aspect of non-comformity, the breaking of traditional familie values, in much the same way the recent "American Beauty" portrayed sub-urban America. The film is most famous for the scene in which Mrs. Robinson seduces the young Hoffman (Mrs. Robinson, I think you are trying to seduce me). The affair was scandalous. Not only was she a much older woman, but the mother of her daughter's fiance. The soundtrack was composed by Simon and Gurfunkel, whose song "Mrs. Robinson" was an instant hit and earned them lasting fame. Including also in the film is the symbolic, melancholy "Sounds Of Silence".

Well-written screenplay, powerful and impressive performances by all the actors, great music, some comedy, irony, realism- this film could have well defined the decadence of the 60's era, a time when "free" love was becoming an established idea, when the seedy, steamy underbelly of suburbia was being excavated. An adult film, it should only be viewed by understanding adults, and not impressionable youth who can get the idea that they can follow in the muddy footsteps of Dustin Hoffman's character.

On DVD, the Platinum Special Edition of Disney's "Beauty and the Beast" is a refreshing and aesthetic experience. The DVD comes loaded with special features- theatrical trailers, three versions of the film, soundtrack, Broadway musical and interactive games. Beauty and the Beast was released in 1991. It was Disney's most enduring classic, and one of the first to use computer generated effects which would pave the way for later films. The romantic, quasi Gothic tale revolves around a haughty prince, transformed into a hideous Beast, who must love a woman and earn her love in return. "But who could ever learn to love a beast ?." That would be Belle, the book-smart, beautiful, courageous and vibrant young heroine and one of the few Disney heroines who is not vain, vapid and helpless. Belle's father becomes imprisoned in the Beast's dungeon and Belle offers to take his place. During her stay in the Beast's castle, she becomes acquianted with the enchanted host of objects and furniture- Lumiere, the candelabra who speaks French like Maurice Chevalier, Cogsworth the uptight British clock, Mrs. Potts (Angela Lansbury) as the warm, motherly teapot an Chip the rambunctious tea cup. Belle saves the Beast with her love- and he is transformed into a handsome, human prince.

The villain in the film is Gaston, a ruggedly handsome, but self-centered and vainglorious hunter. Gaston is determined to make Belle his trophy wife, but his machinations (including locking up her inventor father, Maurice, in an insane asylum). The special effects are computer enhanced- particularily striking is the ballroom scene. Beauty and the Beast is full of memorable and catchy songs by Alan Menken and Tim Rice- "Beauty and the Beast", "Be Our Guest" "Belle", "Gaston" "Something There" "Kill the Beast" and the never before heard song "Human again". There is no wonder why the movie was made into a popular and successful Broadway musical.

For Bellini's Norma, the majority always flocks to recordings by Maria Callas. For those old enough to remember her, they recall her live performances delivered powerfully and dramatically, hailed by many as simply the best. There were other Normas. Joan Sutherland is considered a worthy successor to Maria Callas, and in my opinion, Shirley Verrett did the role the greatest justice. Beverly Sills, a usually lighter-voice, took the role into her hands in a generally impressive performance, Montserrat Caballe sung the role to great acclaim, as did Jane Eaglen and most recently, Renee Fleming. The power-house Norma requires the diva to have a dramatic, resonant voice, tinged with lyricism and beauty for the flowing vocal lines (it is bel canto, after all). Very few sopranos tackle the challenging role. But in this DVD, previously a film, American soprano June Anderson creates opera history in this performance.

June Anderson has had experience in front of the camera. She dubbed the voice for the "Queen Of The Night" in the Magic Flute sequence portrayed in the 1984 Milos Forman film, Amadeus. June Anderson has a rich, full and expressive voice, at paar with Maria Callas. She becomes Norma suitably. Bellini's greatest opera centers around the Druid priestess who has beared children from a Roman officer, Pellione (played here by an Asian tenor). When Pellione jilts Norma for the younger novice priestess, Adalgisa (mezzo soprano), Norma becomes enraged and in blind fury, attempts to kill her own children. But her nobility and humanity wins over and spares their lives. But when the Roman legions declare war on the Druids, war breaks out. Pellione is taken prisoner before Norma, who offers his freedom in exchange for his return to her. But Pellione is determined to run away with Adalgisa. Norma tells the Druids that she has committed a great sin- having loved the enemy and had his children. Her sentence is death by immolation through fire. Her sacrifice moves Pellione and he joins her in the flames.

1992: "Silence Of The Lambs" struck a chord with audiences, causing them to visit their therapists more often, it was said, and people became fans of Anthony Hopkins' portrayal as the elegant, intellectual, charming but psychotic cannibal ex-therapist Hannibal Lecter. Based on the novel by Thomas Harris, the movie won a host of awards, including best picture. Jodie Foster portrayed the novice FBI agent Clarice Starling, whose chemistry with Hopkins was what carried the weight of the film and made it an Oscar winner.

On DVD, the experience is very thrilling and state-of-the art. Silence Of The Lambs still sends chills down our spines, and engages us in a disturbing world of madness, tinged with cynical humor and engrossing conversations between Hopkins and Foster. Anthony Hopkins is Hannibal Lecter, the former therapist turned cannibal and criminal. It's undoubtedly Anthony Hopkins' trademark role and one that he will be remembered by. We are unnerved when Hannibal Lecter first meets Clarice Starling in the dungeon of the prison, where he confesses that he once "ate a man's liver with some fava beans and a nice chianti". To extract information revolving the transvestite skin-collector Buffalo Bill, Clarice must reveal deeply personal and traumatizing events from her childhood. She recalls running away from an abusive home only to witness the slaughter of innocent lambs in a farm house. The memory continues to haunt her and is reawakened by the hypnotic power of Dr. Lecter. The movie ends with the capture of Buffalo Bill and Clarice Starling's promotion. But Dr. Lecter manages to escape his cell and vanishes into Italy. Which brings us to the next film in the collection, the sequel, also based on the book by Thomas Harris. The follow-up "Hannibal".

2002: Ten years after the release of "Silence Of The Lambs", and ten years after the plotline of that particular film, we find Clarice Starling in a precarious situation. She has been demoted during a violent incident and is still haunted by memories of Dr. Lecter. A lonesome woman, she receives letters from Dr. Lecter, who (like old times) wishes to help Clarice get her career going again and capture another notorious psychotic killer. Dr. Lecter has been living a comfortable and reclusive life in Florence, Italy, a city which had always enchanted him. In Florence, Lecter attends operas, plays Bach's "Goldberg Variations", sips champagne and yes, still hungers for human flesh. Clarice and another agent (played by Ray Liotta) attempt to foil Dr. Lecter's machinations, but are captured and imprisoned in the dining room of Starling's home. In a disturbing sequence, Dr. Lecter, Starling and the FBI agent eat a dinner with the main course being the agent's own brain. Dr. Lecter manages to escape once again.

Most recently, the pre-quel to the events in "Silence Of The Lambs" was released, based also upon the successful Thomas Harris novel "Red Dragon". Red Dragon is still to be released on DVD. These films are the perfect "thriller" collection, each with its own striking features, plus interviews with the actors and director. For fans of the Thomas Harris novels and fans of the films, this is a genuinely superb gift.

I had the privelege of meeting the author, Janet Fitch, casually, accidentally during a rummage sale. This was years ago, before she had written the novel "White Oleander" and before the film was released. She is a woman with keen perception of human nature, with brilliant intellect and literary knowledge. Her first novel is a masterpiece composed of tragic and haunting beauty. The novel follows the life of the artistic, emotional Astrid, the daughter of a single mother, Ingrid, who is a sensational character. Ingrid claims descent from Vikings, some say an excuse for her violent and erratic behavior. Ingrid extracted revenge on an unfaithful boyfriend, Barry, through his murder with poison oleander. Ingrid is put in prison, but continues to communicate with her daughter through short visitations and letters.

Astrid's journey is a classic coming-of-age story, retold in a highly realistic, modern fashion. Astrid is taken from foster home to foster home, each woman who cares for her a strong survivor in her own right (i.e. the prostitute). Astrid learns how to survive, but her intensity subsides with the nurturing and loving relationships she develops with all of these "foster" mothers. The book is well written, with engrossing imagery, with fatalism, with provoking prose. Janet Fitch is a truly gifted writer and we hope to see more of her works in the future.

1980: Ursula Leguin's novel "The Lathe Of Heaven" was a deeply symbolic, metaphysical work of science fiction that even Ursula Leguin herself believed was quite impossible to make into a film. But, nevertheless, the film was made and to great acclaim. In 1980, it was the first film that appeared on PBS. The Lathe Of Heaven stars Bruce Davison as George Orr and Kevin Conway as Dr. Haber. Following a lot of the novel's premise, with subtle, strange music and powerful imagery, this film is stunning. It is, in my personal opinion, as well as another reviewer, a work of science fiction at paar, if not higher, than "2001: A Space Odyssey". Finally, this masterpiece is on DVD, containing the original film and an interview between journalist Bill Moyers and Ursual Leguin herself. Bill Moyers had interviewed Joseph Campbell, whose "Power Of Myth" series can compliment this film as well.

George Orr (Bruce Davison, resembling, as one viewer said Mark Hammill who played Luke Skywalker) is a troubled young man. He discovers that his dreams have the unsettling power of changing reality and the space time continuum, altering the future. When George Orr seeks help from a dream analyst and psychiatrist, Dr. Haber. When Dr. Haber uncovers George's secret, he begins to harness its power. Session after session with George Orr, he attempts to make the world a better place - he tries to eliminate disease and world hunger, racism and tries to bring about world peace. But each alteration produces a negative effect and a dark consequence. The world is destroyed and aliens dominate humanity. Dr. Haber becomes consumed with his thrist for power, corrupted by his obscession to play and become God. But the aliens sternly warn that such people are destroyed by the lathe of heaven.

George Orr manages to escape and Dr. Haber's demise is the crippling of his powers and old age. Bill Moyers and Ursula Leguin speak of the powerful imagery in the film and its striking and frightening use of collective unconscious. Ursula Leguin is a gifted writer, drawing inspiration from mystic sources, a New Age philosopher with the deepest perception of human nature. I strongly suggest that viewers interested in poignant and meaningful science fiction (a la 2001: Space Odyssey) see this film. It is also a great film companion to the novel. For college or high school level students, this film should be very educational as well as entertaining.

1980: Ursula Leguin's novel "The Lathe Of Heaven" was a deeply symbolic, metaphysical work of science fiction that even Ursula Leguin herself believed was quite impossible to make into a film. But, nevertheless, the film was made and to great acclaim. In 1980, it was the first film that appeared on PBS. The Lathe Of Heaven stars Bruce Davison as George Orr and Kevin Conway as Dr. Haber. Following a lot of the novel's premise, with subtle, strange music and powerful imagery, this film is stunning. It is, in my personal opinion, as well as another reviewer, a work of science fiction at paar, if not higher, than "2001: A Space Odyssey". Finally, this masterpiece is on DVD, containing the original film and an interview between journalist Bill Moyers and Ursual Leguin herself. Bill Moyers had interviewed Joseph Campbell, whose "Power Of Myth" series can compliment this film as well.

George Orr (Bruce Davison, resembling, as one viewer said Mark Hammill who played Luke Skywalker) is a troubled young man. He discovers that his dreams have the unsettling power of changing reality and the space time continuum, altering the future. When George Orr seeks help from a dream analyst and psychiatrist, Dr. Haber. When Dr. Haber uncovers George's secret, he begins to harness its power. Session after session with George Orr, he attempts to make the world a better place - he tries to eliminate disease and world hunger, racism and tries to bring about world peace. But each alteration produces a negative effect and a dark consequence. The world is destroyed and aliens dominate humanity. Dr. Haber becomes consumed with his thrist for power, corrupted by his obscession to play and become God. But the aliens sternly warn that such people are destroyed by the lathe of heaven.

George Orr manages to escape and Dr. Haber's demise is the crippling of his powers and old age. Bill Moyers and Ursula Leguin speak of the powerful imagery in the film and its striking and frightening use of collective unconscious. Ursula Leguin is a gifted writer, drawing inspiration from mystic sources, a New Age philosopher with the deepest perception of human nature. I strongly suggest that viewers interested in poignant and meaningful science fiction (a la 2001: Space Odyssey) see this film. It is also a great film companion to the novel. For college or high school level students, this film should be very educational as well as entertaining.

Laurence Gardner completes his "Holy Grail" trilogy (Bloodline Of The Holy Grail, Genesis Of Thee Grail Kings) with this book, "Realm of the Ring Lords". The book is once again full of a plethora of information, as well as lush illustrations. Laurence Gardner may write like a mystic novelist, but his keen perception of words (he is as much an etymologist as he is a historian) make the fiction very truthful. After all, myth has some basis on true facts. In "Realm of the Ring Lords", Gardner takes an inside look on the mystic origins of "ring" legends and how they relate to the Holy Grail. Garder has proposed that the Holy Grail, a feminine symbol, represents the bloodline of Jesus and his union with Mary Magdalene. In "Genesis Of The Grail Kings", he further explores the personages of Abraham and Moses. Time after time, in true Kabbala tradition, Gardner elevates the man/woman relationship and the procreational power, especially of prominent figures.

In fairy tales, such as Sleeping Beauty or Rapunzel, there is always a helpless maiden, a woman frustrated because she has no male consort- Sleeping Beauty was cursed with a sleeping spell and Rapunzel was kept a prisoner in a tower, only to be saved by a handsome prince. This, Gardner insists, is only another manifestation of the Grail legends, of the inevitable union of man and woman for dynastic intentions, such as those dating back to old Sumerian civilizations. The same applies to the ring lore. Rings, symbols of eternity and perpetual bloodline. The rings of power have been the source of inspiration for J.R.R. Tolkien's "Lord of the Rings" and the Wagner opera "Ring of the Nibelung" which he had himself taken from the Norse sagas.

Gardner further explores the great cycle of legends revolving around King Arthur, the Round Table and the Knights Of The Holy Grail. King Arthur, without a question, is a parody of Jesus, a triumphant Christian king who will return once again in dark days to save people, a wounded king during "the wasteland" who can only be saved and healed by the life-giving Holy Grail. Arthur's purity was never a question in the old legends. Lancelot and his carnal affair with Guenevere, a violation of the balance between Arthur and Guenevere's marriage and the stability of the Round Table (which both coexisted in a mystic bond), made the ideal of Camelot become merely an ideal, and less a reality.

A great book, with deep insight on mythology and the meaning of legends. Laurence Gardner concludes his trilogy with a very thought-provoking book. Eventhough one cannot believe every thing, per letter about anything, one must always have in mind that in fiction, there is always some element of truth.

In the mid sixties (1964-1966), there was a tv show about an unusual family that was a far different bunch than "The Brady Bunch", than the soap-clean "Leave It To Beaver" and "Donna Reed" shows. Although genuinely witty and humorous, it was the Addams Family that first marked the foundation for comic disfunctional families that would come later. The Addams Family were the original Osbournes. Their eccentric personalities, their abnormal tastes and behavior, which they were very comfortable with, seemed strange to "outsiders" with the more conventional and normal 60's home life. Although I did not grow up watching "The Addams Family" or "The Munsters", it is refreshing to look back at the success of this show. Cox and John Astin (who played Gomez) provide us with colorful photos and illustrations, as well as commentary by the cast, and chronicles the Addams, and the behind the scenes magic.

John Astin portrayed Gomez Addams, the father and head of the household. John Astin had already appeared in films in the fifties, including Westside Story, and in the show, provided much of the wit and humor. Gomez was a wealthy lawyer, although dressed in a gangster suite, smoked cigars frequently and indulged in all kinds of oddball activities: he wrecked his electric toy trains, he practiced Zen Yoga standing on his head, he swung on a chandelier, he fenced with Morticia and also danced the tango. He would always become aroused when Morticia spoke a single word of French (and ocassionally a Yiddish word).

Morticia Addams was played by 50's film actress Carolyn Jones, who was ending her marriage to Aaron Spelling during the syndication of the show. Morticia was mysterious, beautiful, vibrant and intellectual. She painted abstract art, dressed in that tight-fitting long, ... black dress, and was quite proud (her nuances included crossing her arms in an Indian-style fashion and speaking with firm authority). She raised two children, Pugsley and Wednesday (Ken Weatherwax and Lisa Loring), who were taught to be secure in their strangeness- Pugsley playe with various dangerous wildlife and Wednesday had the comic lines "It's so nice and gloomy" and was attached to a headless Marie Antoinette doll.

Lurch, the zombie-like, seven feet something butler, was portrayed by Ted Cassidy. He was striking, Frankenstein-like and had a deep, "throat" voice (You rang ?) and would always intimidate house guests. Although seemingly devoid of personality, Lurch had his moments- i.e. the episode in which he becomes the head of the household to impress his visiting mother, and the episode in which he becomes a recording artist and sings like a Beatles rock star. Uncle Fester was played by Jackie Coogan. Fester was a lonely, lovestruck balding man with a taste for pain (he would sleep in a bed of needles) and could light up a light bulb in his mouth. Others in the family were Thing, a severed hand that was alwayst "at hand" for small favors- answering the phone, getting the mail, opening up a bottle of champagne, etc. And then there was Cousin Itt, a hairy, shapeless creature with an incomprehensible language and funny high voice.

The Addams was a fun show to watch, keeping a generation of audiences full of laughter, perhaps making people forget the troubles that the 60's brought. It would still be fun to watch today- recently, a "New Addams" family show was given for a small run on cable tv and of course, the old series inspired the movies starring Raul Julia, Angelica Houston and Christina Ricci.