Ladies And Gentlemen We Are Floating in Space

Guardians of the Galaxy (James Gunn, 2014)
If you’re the sort of geek or critic who relies on extra-textual information to judge a movie, Guardians of the Galaxy is simply too good. Which narrative do you choose? The likeable blockbuster that saved Hollywood after a dismal summer? The rise of Chris Pratt, comic foil-turned-leading man? The risks and ultimate successes of James Gunn, a proud genre-bender who rose from Troma schlock to ambitious failures like Slither to make a movie that some critics prefer to Star Wars? The redemption of a director who helmed a segment of Movie 43?

All right, nobody needs to go with that last narrative. But your beloved critics are right — this is a very good movie, which made little sense as a Marvel blockbuster until smart people grabbed hold of it. (Remember, this was announced as a future Marvel epic at the 2012 Comic-Con, where any nerd could have named 20 comics more deserving of a film. I wasn’t there but I’d go with “Black Panther.”) Like The Avengers, it takes the scale and structure of a superhero movie and weds it to farce.

Gunn and Pratt et don’t exactly reinvent the wheel, as most big action movies are meant to be funny. Even the wretched Transformer movies are full of jokes and goofball casting — Shia LaBeouf, for chrissake. Guardians is just forward-facing in its kookiness, parodying a genre with full permission from the studio that invented that genre. It’s a movie that realizes the best parts of Star Wars are not the lightsaber fights, but the Cantina scene and Chewbacca’s grunt language.

Which is to say that it’s not exactly original. The five Guardians, based on characters from some of the more cosmic but less culturally relevant Marvel comics, fit neatly into archetypes. Pratt plays Peter Quill as a gym-sculpted ideal version of the space opera hustler. We meet him in 1988, when his mother dies of cancer and he’s immediately abducted by aliens. (Their reasons for abducting him are kept mysterious until the end of the movie, but they’re not obscure.) We skip right ahead to 2014 — there is no how-he-got-there montage — when Quill is a vain intergalactic “ravager” (like Han Solo) who goes on a treasure hunt without realizing he left a hot alien babe in the ship (like Captain Kirk might). Quill loves listening to the 70s pop mixtape that his mom left him, but apart from that he’s not damaged or out for revenge at all. Hell, the guy has a spaceship and has not bothered either returning to earth or trying to find his father. He seems more interested in establishing an identity as “Starlord.”

Hijinks ensue; Quill is hunted down by Gamorra (Zoe Saldana), an agent of the genocidal Ronan (Lee Pace, who’s buried under make-up), at the very same time he’s being hunted down by Rocket Raccoon (voice of Bradley Cooper) and his living-tree companion, Groot (voice of Vin Diesel). The four are thrown into the Kyln, a crowded space jail, but on the way out they’re joined by Drax (someone from the WWE who’s surprisingly great in the role), an alien whose family was killed by Ronan and comes from a planet without idioms. A sample Drax exchange:

ROCKET: If you use a metaphor it’ll go right over his head.

DRAX: Nothing goes over my head. My reflexes are too quick.

The five of them protect a MacGuffin, which turns out to be one of the Infinity gems that, as comic readers know, grant the users godlike powers. When Ronan finally obtains the gem, the heroes stop him. That’s the movie, but what thrilled me (and every critic) was the genuine delight everyone has in telling this story. The cosmic Marvel stories were full of pomp and drama, from the Silver Surfer’s space poetry to Adam Warlock’s battle against his evil future self. In Guardians, the only people who take this crap seriously are the villains (including Josh Brolin as Thanos and Karen Gillen as his daughter, Nebula), Gamorra, and Drax. And their seriousness is mostly played for jokes. Space is fun, alien worlds are fun, the stars are gorgeous — that’s the point of paying to watch this. Neil DeGrasse Tyson’s head spins as characters survive being shot into space, but the audience gets to see a stunning sequence in which Gamorra floats amid debris and Starlord almost kills himself to save her. Ronan’s final assault is a strategic mess, but it allows all manner of characters to trade jokes and heroics.

Jodorowsky’s Dune (Frank Pavich, 2014)
Well, I didn’t mean to watch these movies back to back, but they cohere into a perfect double feature. In 1975, coming off the cult success of El Topo and The Holy Mountain, the Chilean surrealist Alejandro Jodorowsky obtained the rights to the greatest sci-fi novel of all time. He set about finding “spiritual warriors” who could bring about his vision, for $15 million or so. These people, including Moebius, HR Giger, Dan O’Bannon, and Salvador Dali, went on to create some the sci-fi nightmares we see when we close our eyes. But they didn’t get to make Dune; the movie exists in a storyboard, and in the mind of a director who never fully recovered from the debacle.

This is one of those documentaries that puts a bunch of talking heads onscreen to tell you one version of a story, with no rebuttal. Nicolas Wending Refn, the Drive director, asks us to imagine the world had Dune, and not Star Wars, been the first sci-fi blockbuster. Jodorowsky (who is immensely fun to watch, lapsing between Spanish and broken English) recounts his joy at seeing David Lynch’s Dune and realizing “it was terrible!” A montage shows us the images ripped off from the storyboards, which had been passed around Hollywood like the smart kid’s homework.

What’s funny — and what does not really diminish the movie, at all — is that the lost Dune looks like it might have been terrible as a movie.┬áIn Jodorowsky’s own words the script was made by “raping Frank Herbert,” and the plot details he added are baffling, like a sequence in which Paul Atriedes is conceived by a drop of blood making the journey to his mother’s egg, or the robot through which the Emperor (Dali, who was going to be paid $100,000 for each minute he was onscreen) spoke. Jodorowsky’s ambition was a movie that would spark a cultural revolution, a new religion, just like in the novel. It might have been four hours long. It might have been 12 hours long. Whatever the muses dictated.

You don’t listen to that and conclude “yeah, this would have been as big as Star Wars.” But you do appreciate the madness. Why shouldn’t a director try to start a religion with his movie? Why shouldn’t he try to hire Pink Floyd and Magma to write new music for each planet in the movie? Over the closing credits, we learn that the act of making this documentary put Jodorowsky back in contact with his old producer, and that this led to the 85-year old making his first movie in 23 years. It’s the best ending I’ve seen, or can imagine, to a movie this year.