A Good Egg
A Good Egg
Ian Miles
“In American cinema, and perhaps in
the culture more generally, there is a kind of nostalgia for the frontier. There
is a half-memory of a changing borderline place, somewhere where a stranger
with no backstory can enter a town and make his mark. In my work, I use outer
space, the future, the frontiers of science and technology, of humanity and
otherness, as liminal areas. Here, it may be the protagonist, or the new beings
or ideas that he [sic] encounters, that come without backstory, as agents of
unpredictable change. Unlike the cowboy films, however, I am concerned with the
effects of these novelties and uncertainties on people and their mentalities,
sometime taming or erasing the frontier, sometimes erecting stronger walls and
berries.” (Vernilak, 1985 – published 1995).
“Is Vernilak himself a man with no
history? Is he merely [sic] a Bob Dylan, concealing a banal backstory? Or is the man of mystery a deliberate
smokescreen, designed to hide a murkier past?” (Boccho, 1995).
2020 marks the 50th
anniversary of Hatchlings (1970), a film that was much-lauded in
its day, but is little-known to most young cinema fans, even those particularly
enthusiastic about SF and fantasy. This
is an opportune moment, then, to take a look at the life and work of its
creator, Vernilak. With the announcement that a drama miniseries on his life is
being commissioned by Netflix, it is also important to consider the
achievements of his work. There is a danger that viewers will be led down a
rabbit hole of fantastic speculation about his personal history – which is, by
now, unlikely to ever come into full focus- while losing sight of his cinematic
achievements.
Vernilak was hailed in his early
career as “the Eastern George Pal”, later seen as an amalgam of Stanley Kubrick
and Stephen Spielberg. Sometimes it now seems that cinema is dominated by SF
and fantasy films, or at least their
special effects. Leading directors readily work in these fields – this is not completely
novel, for example Godard and Truffaut were both known to dabble here. But in his prime, Vernilak was working almost
exclusively in a genre that was regarded as best as of interest mainly to geeky
kids and their grown-up equivalents, at worst as just cheap trash. That his
work should be valued by connoisseurs of world cinema would itself has been
seen as a piece of fantasy or satirical SF. That one of his films – not Hatchlings but As It Was (1965) -
has become a point of reference in contemporary philosophy and physics would be
even less credible.
Vernilak is, of course, an assumed
name. The artist has assumed a surname, with no first name. He tells us that he
adopted this name in tribute to Jules Verne, whose pedagogic and
exposition-heavy work had inspired him
as a boy. A more standard localization of the name would have been
Vernisci or possibly Vernolic. But the name Vernilak was of particular appeal
because, he claims, it resembled verdilac,
a Slavic variety of vampire. (The sense of unease created by this association,
and the unusual word-formation, may have
played against him when he was in conflict with the authorities in later years.
“Vernilak the maniac” was a label that had a lot of airing in the 1960s
crackdown.) The name Vernilak appeared
on the very first of his films, way back in the 1940s. There is even some doubt
about the authenticity of his supposedly genuine original name, H. G. Porat, as recorded in official documents. The
initials H.G. possibly hint to this also being a pseudonym. Only two
biographical essays show evidence of original research, and one of these (by Zemek)
reports persistent rumors that the name of Porat had been assumed during
wartime work. The other (by Vis) does not touch on the subject, but is
generally terse and superficial as to his early life.
Porat is, of course, a Hebrew name, which
might well be unusual for a gentile to assume, so it is at least likely that Vernilak
was himself Jewish. He does not mention this in his interviews, perhaps because
of lingering anti-Semitism, though these interviews were some time after the brief
postwar suspicion of Jewish plots (inspired by Stalin’s paranoia). There are no
hints as to any other birth name, and the double destruction of the National
Archives – in the Luftwaffe bombing and subsequent fire, and in the
controversial wrecking and looting that took place in the 1989 “events” – means
that almost all chances of locating tangible evidence have disappeared. Human
nature abhors a vacuum, and in his part
of the world whirlwinds of rumor and speculation are guaranteed to gust in to
enflame any smoldering uncertainties.
The question arises as to what
happened to Vernilak’s family during, and in the run-up to, the take-over by Nazis
and their local allies. A recent study of Stanislaw Lem (Agnieszka Gajewska’s
2017 Zagłada i gwiazdy: przeszłość w prozie Stanisława Lema -The
Holocaust and the Stars: The Past in Stanisław Lem's Fiction] rather
convincingly addresses this element in Lem’s life and work. She unearths how
Lem’s writings are run through by memories of the Holocaust. She documents
actual events in Lem’s life that are inscribed into his fiction. It is at least
arguable that Vernilak’s output is molded in similar ways, but we know so
little of his early years that this must remain speculative.
The two biographical essays tell us
most of what we know about the man, other than what he chose to reveal in
interviews (most of which are superficial or dealing with his appreciation of
other directors), and what we can infer from his work, or ,glean from a few
anecdotes from contemporaries.
Vernilak’s birthday seems to be
established as July 7th, with the year being variously assigned as
1920, 1921, or 1922. Vernilak was notoriously reluctant to discuss his early
life. Of course, he offered very little about his personal life in general, but
this could easily be a product of political contingencies, or of caution about
going public about his sexuality. In the course of the only extensive interview
with him to have been published – and that a decade after it was conducted – he
refers to both the countryside (wandering though fields of mullein, the scent
of roadside fennel) and the sea
(watching fishermen repair nets and gut fish). Boccho (1995, taking issue with
Vis’ biographical essay as well as Vernilak’s own account) claims that these memories were deployed as
an act of misdirection. This is hardly convincing, given that the country and
the sea would be holiday highlights of the life of a child from (presumably) a
bourgeois middle class family in the 1920s and 30s.
Things become more distinct during the
Second World War, where Porat is recorded as an airman. He, or someone with the
same name, even features in one photograph of a set of pilots, in the air arm
of the National Liberation Army (cf. Zemek on the authenticity of the
photograph and the inscription on its reverse side). Probably, like other
pilots from his part of the world, he had prewar flying experience. Likewise, he
is likely to have spent time working with Britain’s Royal Air Force during
early years of the war. The liberation struggle was mainly land-based, but the
few national aircraft were deployed in aerial combats, and used extensively for
surveillance and supporting ground forces. This experience informs Mystery
Jet (1949; also known as Ghost Plane and Mystery Plane).
Boccho is not the only commentator
to suggest that Porat/Vernilak’s aerial work was mainly a matter of military
intelligence, and that this led directly to his becoming an intelligence
officer with the revolutionary forces in the Turbulence following the liberation
struggle. Wilder commentators have claimed that he may have been a spy, and
even a double agent, rather than an active airman, during the war. No evidence
other than rumor supports this, but with the national records destroyed, and
most contemporaries long dead, there is no way of providing definitive proof.
We wait to see how the Netflix dramatization of Vernilak’s life handles this
period. The titles of the first two episodes are allegedly The Fog Of War
and Underground, which does not raise hopes as to their veracity.
When it comes to his entry into filmmaking,
it is striking that he never discussed this, to our knowledge; nor does he
refer to a love of cameras and photography in his childhood. An intelligence
officer, of course, might well have been appointed to supervise or even lead,
the making of the sort of jingoistic, propaganda-heavy films that started to be
produced in the post-revolutionary period. Mystery Jet certainly has
some of these attributes, but also
deviates from the mold in various ways. In fact, the biggest mystery is how it
was that Vernilak and his co-director, Victor Macceldon, managed to burst upon
the film world with such a competent piece of work, without any trace of their
having been through any form of professional training in cinema. It is hard to believe that experience of
filming potential targets from an aircraft, and participation in amateur
dramatics, would have provided the skills displayed in Mystery Jet. Though
unpolished, and clearly made on a shoestring, the film is far more watchable
than the routine celebrations of national struggle, endurance, and eventual
triumph churned out by the national film companies. The division of
responsibility between Macceldon and Vernilak is unknown. It may have been that
Vernilak was actually working as an apprentice of a sort to Macceldon (despite the
latter not being credited with any known earlier films – was he too using a
pseudonym, perhaps because his name was tainted by some prewar associations?).
Whatever the case, Vernilak is on
record as disowning Mystery Jet. It may be that he genuinely felt that
this was really Macceldon’s work, and that he was merely an assistant whose own
ideas and vision counted for little. It may be that Macceldon’s downfall and disgrace
later in the 1950s impelled Vernilak to put some distance between himself and
the older man. (Incidentally, we know little about Maccledon, not even his
ethnicity. Was this surname a modification of a Hebrew name such as Maidson or
Maltzman?) The film’s effectively racist portrait of Japanese, or unease about
the topic, could have made him want to play safe. Some personal issue of which we
are unaware could always been involved.
The film itself seems tamer than most of these speculations.
Mystery Jet is plausibly inspired by the
notions of “foo fighters” and the like, reported by many airmen during the war
in the air. Officially a taboo topic, aviators of all forces were aware of stories
that odd entities (lights, globes, discs, and other peculiar objects with
peculiar ways of flying) were encountered unpredictably while on mission. In
the film, a mysterious aircraft is repeatedly spotted by national pilots; this
turns out to be a top-secret Japanese autogiro. Much excitement has been stoked
up around the way that its semi-circular wings resemble the “flying saucer” of
Western UFOlogy. This has been taken as hinting at knowledge of secret Nazi UFO
programs, on the one hand, or as evidence of the global reach of alien visitations,
on the other. The film makers’ choice of design of the autogiro may well actually
have simply been a desire to create an unusual phenomenon. Foo fighters were most
often seen as amorphous lights, and it would take some years before flying
saucers became dominant in UFO reports.
Another anomaly is that Japanese
forces were never active anywhere close to this part of the world. Their
insertion onto this film serves to portray an alien enemy – albeit of a
terrestrial kind. The few segments of film actually portraying Japanese forces
has them either as white-coated, bespectacled scientists, or as vicious but
ultimately cowardly, fighters. There has been much consternation about this portrayal
of the enemy, though it is no more extreme as the portraits of Japanese featured
in American comics of the period. The portrayal of Germans (or local Nazi
supporters) in this fashion would not attract the same opprobrium. But why were
Japanese selected as the villains? Was this simply an attempt to render the
enemy more alien, a reflection of early recognition of East Germany’s appetite
for ideologically sound foreign films – or unwillingness on the part of the
directors to render the hated Nazi presence more material? (On this point, I
have myself seen passengers on a commercial flight in the 1980s traumatized by
the appearance of Nazi parades and insignia in an Indiana Jones film that
was being shown as in-flight entertainment).
Being a very maneuverable device,
this mystery plane (not a jet, though capable of spectacularly rapid flight) proves
to be an effective weapon for sabotage missions, and causes some spectacular
damage by dropping both explosives and some sort of incendiary bombs. Our hero
– who is shot down in combat with the autogiro, near the enemy base – manages
to capture it (killing the scientist and numerous Japanese troops in the
process, and leaving the base in flames). Shot down again himself by his own
side on the way home, he manages to crash and escape, but the enemy plane is
destroyed. The national struggle surges on toward ultimate victory. The film
was a minor success, appealing particularly to newly demobilized forces (who
were given reduced admission prices).
Vernilak’s name does not appear on
any films for almost five years. We can imagine him honing his craft and
building strong relationships with the film-making community, especially that centered
on the National School of Photographic, Cinematographic and Televisual Arts. (He spoke warmly of the School in his
interviews.) He will no doubt be among the numerous uncredited contributors to
TV public information messages and documentaries. Some informed commentators
find it surprising that he is not listed in the extensive credits that normally
followed the films of the era. He rose to prominence as if from nowhere, with
the three films that constitute what came to be known (inaccurately) as the
interplanetary trilogy. All of these films envisaged a national space program that
was never to be; the national science and technology infrastructure never developed
capacities for space flight (nor even for missile rocketry, let alone building
aircraft for serious use).
Ad Astra (1954) was a great success, even in other
Eastern Bloc markets, which opened the door to funding for the subsequent and
more truly interplanetary films. Like
Pal’s somewhat earlier Destination Moon (1950), there was a serious
effort to represent the technology and challenges of space flight in as
faithful and plausible war as possible at the time. It has been suggested that
an imprisoned German rocket engineer was employed to provide technical
consultancy for the film, much as German expertise was used in the USA. Unlike the American film, however, there is
added Cold War drama. A spy of unknown origin, but who smokes cigarettes from
suspiciously American-looking packets, tries to sabotage the mission, at first
by tampering with some of the rocket components, then by tampering with the
fuel system. He is discovered while trying to accomplish this, and dies from a
fall after an exciting chase round and up a gantry. This melodramatic episode almost seems to have
come from another film. Critics see Vernilak as here continuing the type of
action adventure featured in Mystery Plane, and have argued that insertion
of such a drama would have been a prerequisite for obtaining funding for such
an ambitious film.
The real heart of the film is the hazardous
flight to the Moon. The voyage is rendered more dangerous by the sabotage of key
instruments. The crew of three manage to compensate for the breakdown of the
system that was supposed to perform navigational calculations, using slide
rules and mental arithmetic. Eventually a guess has to be made which, luckily,
proves correct, and the Moon landing is made safely. The film culminates with a
shot of the space craft blasting off on its return to Earth, leaving the national
flag planted by the cosmonauts in the rocky and barren foreground of the scene.
The special effects were rough but fairly effective in the main. This was one
of the first color films to have come from the national studios, which may have
contributed to its success. There is little characterization of the cosmonauts,
but their captain, Prosper Herge, was played by Gyorg Drabbon, who went on to
star in the rest of Vernilak’s trilogy. His outstanding scene involves a spacewalk,
where his sweat-drenched face is visible through his helmet’s visor, as Earth
swims in the void – at first apparently above him, then below as his
orientation changes. His desperation to retrieve a wrench that has slipped out
of his grip, and is drifting away out of reach, is captured intensely.
In Mars: Red Republic (1958),
Herge is now chief pilot of an expedition to Mars. The space craft is more
futuristic. The film begins when we are already en route to the red planet. We
are provided brief shots of events back on Earth, when it is vital for
scientists there to provide solutions for a problem that emerges as spacecraft
components misfunction under conditions of high vacuum and a micrometeor
bombardment. There is no sabotage this time – there are some brief incidents of
peril and courage during the journey, but the main drama comes from another
source, as Mars turns out to be populated by an intelligent species, the Vrilli.
After some initial shocks and tension, it transpires that these creatures are
not hostile. This is particularly fortunate, since the cosmonauts need to
remain on Mars for some months, before (unspecified) alignments will be optimal
for their returning to Earth. This contingency means that the voyagers have
come in a large craft, and are carrying plenty of food of various kinds and
even some hydroponic equipment.
Mars is portrayed as an ageing
planet whose civilisation has had to retreat underground and abandon heavy
industry. Delany and others have seen the Vrilli as inspiration for Star
Wars’ Ewoks. As well as their love of exuberant music, both creations are
diminutive, furry beings. But it is more likely that both derive from the
popularity of teddy bears and monkeys – and of course the small brown bear is Vernilak’s
national animal. Though agrarian cave dwellers, the Vrilli society is portrayed
as in many ways a socialist utopia, albeit
one labouring under resource constraints. Labor is indeed portrayed in the
film, as hordes of Vrilli emerge from their tunnels to plant, tend and harvest
their crops, singing lustily. (The alien singing was created by manipulating
recordings of children singing patriotic work songs, with some speeding up and
slowing down, and elements played backwards, and then adding unusual
instrumental accompaniments using specially made glass flutes and steel drums.
This was quite a feat given the primitive tape recorders available at the time.)
Earth food is a source of great
pleasure to Vrilli (more singing!) and joy abounds when the pips of an apple
are made to sprout. A range of grains from Earth is left for the Martians to
rejuvenate their agriculture, while some of the interesting red plants from
Mars are to be transported back to Earth. In contrast to the meticulous
depictions of the space flight and Martian surface, the underground cities of
the Vrilli are rather obviously mainly represented by background paintings;
though imaginative, these are far too static and two-dimensional to be
convincing. The Vrilli political system is shown in segments of the film illustrating
two sessions of the communal decision-making forum, where hundreds of Vrillli
gather together in a council to decide upon important issues. Consensus is
reached through debate and voting. In the first of these they determine how the
visitors are to be treated – expelled or welcomed. In the second they discuss a treaty to govern
future relationships with the Earthlings. It is here that what became the most
controversial scene in the film appears. Captain Herge displays the national flag, and
a portrait of the glorious leader, to the aliens. They burst into spontaneous
applause and cries of happiness – or praise - culminating in a dance which
Herge is pressed to lead (carrying the flag and picture). The ecstasies of the Vrilli are so over the
top that it is tempting to view them as satirical, but we should remember that films
that Vernilak will have grown up with would frequently feature scenes of this
sort where “savages” (and even freed slaves) are concerned.
In viewings of the film in other
countries, this scene, which is followed by brief shots of the spaceship’s
departure and the cosmonauts’ journey homewards, was the source of some hilarity,
some anger about propaganda. It was actually excised from many Western showings
of the work. The general consensus is that Vernilak needed to play it very
safely in the oppressive political situation in the late 1950s, when artists of
all kinds were having to watch their step. A display of fealty to the state and its
leader was commonplace in movies, works of fiction in general, and even in
supposedly academic studies. In retrospect, we could interpret the scenes of
political debate among the Vrilli, however tame, as an implicit criticism of
the authoritarian system that Vernilak worked in. Toeing the party line was the
only acceptable form of public discourse, and the airing of various opinions
among the Vrilli may have been a breath of fresh air.
The great leader himself is reputed
to have loved the film, evidently seeing no satirical intent. He is believed to
have arranged a private viewing and a lengthy tete-a-tete with the
director. We can only imagine the conduct and substance of this meeting: it is
quite possible that the filmmaker retained awe and respect for the man who had
led the national liberation struggle against the Nazi invaders and their
collaborators. The endorsement of the film from the highest level explains the
effective disappearance from the records of a highly critical early review that
denounced the portrayal of socialism as a form of managed decline (“no true
socialist state would have allowed its planet’s resources to be depleted in
this way! the capitalists who must bear
responsibility should have been condemned!”); we only know of it through the
newspaper cuttings assembled by a young fan of local SF.
The hagiography of Mars – and
its portrayal of benign socialism – is a recurrent element of the current denigration
of Vernilak in his own country, on the few occasions when he is mentioned at
all. He is portrayed as a propagandist lackey of an oppressive system. This assertion
has never been so effective a means of dismissal as it is at the present
moment, when the right, and the far right that is now at its core, is again
resurgent in national politics. Those who minimize or discount the well-attested
Nazi atrocities are ready to write off practically all of the achievements of
the postwar period. Yes, there were grey housing blocks, orchestrated political
denunciations, numerous imprisonments, and
not a few executions even into the late 1950s. But there was also a massive
expansion of education and higher education, near-abolition of extreme rural
poverty, and considerable progress in the role of women. The ethnic tensions
that have bubbled up so viciously were barely visible.
Not all his compatriots dismiss
Vernilak’s work completely – there is some grudging respect for the scientific
visionary of his earlier work, and for the ambiguous humanism of his later
films. Hints of subversion and critique in his early studies are unearthed, and
the hagiography is interpreted as ironic (“the portrait is carried
upside-down!”, “the Vrilli are treated as laughing stocks!”). But these points of view are rarely expressed
in the popular press, and are confined to intellectual journals and the few
film scholars who still practice freely in the Universities.
While Mars was less
successful commercially than Ad Astra, at least on international markets,
the blessing from utmost levels meant that Vernilak was now given much more
substantial resources to pursue his next projects. The last member of the
interplanetary trilogy shows the technical benefits of an increased budget, with
even more impressive special effects and crowd scenes. But, while the first two
films are well-grounded in contemporary scientific knowledge and a grasp of
technological possibilities, this was to be a far less plausible and serious
piece of work. Prisoners of Perelandra
(1962, known internationally as Voyagers to Venus, The Green Planet, and Escape
from Perelandra) is aesthetically a very different beast from the two
earlier films. Though the borrowing of Perelandra as a name for Venus (from
C.S. Lewis) might lead us to expect a spiritual or even theological flavor –
which was to characterize several of Vernilak’s later films – Prisoners
is by far the most melodramatic and action-oriented of the interplanetary
trilogy. It is generally regarded as the weakest, and most dated, of the three.
Speculations abound that Vernilak was trying to write to suit the great
leader’s tastes , wishes, or instructions, expressed in their private meeting(s).
Evidence of these tastes is seen as attested by the apparently arbitrary
operation of censorship of foreign films, as well as in the recollections of
several members of top government circles. He favored, for example, US Westerns,
British historical dramas (but not romances), and action adventures that
steered clear of Cold War politics. The romantic subplot is also arguably
attributed to Vernilak being in the middle of a deep heterosexual relationship
with the leading lady, Alexi Elvira. All evidence is that this was a sincere
and passionate relationship. His detractors in the 1970s denounced this as a
cover for a mainly homosexual orientation, though others point to a
considerable bisexual appetite. Another explanation is that a leading lady and
romantic subplot marked an effort to reach a wider audience beyond those to
whom the earlier films mainly appealed - veterans and young would-be
technocrats and engineers. A new generation of well-educated young women was
now packing the cinemas, which faced little competition from the monotonies of
national TV.
Three spacecraft are sent on the
first expedition to Perelandra/Venus, one piloted by Herge (played again by
Drabbon) and one by Elvira’s character (Astra Radice), the third by a character
known only as Brodsky (played by Igor Spitzer, who had featured in minor roles
in earlier films in the trilogy) These craft are much less realistic than the
ships of the earlier films – they are “flying wing” types of vehicle, carrying
only the pilot, and with only just enough internal space beyond the cockpit to carry a
passenger if necessary. Such a design is hardly suitable for a voyage that must
have taken weeks, if not longer; but the space travel is not really the subject
of the film. The true focus is the
adventures that take place on a fantastic Venus.
The evening star is largely a lush
jungle planet, with many monstrous dinosaur-like creatures posing threats to anyone
who ventures into the wilds. Improbably, it also hosts an advanced
civilisation, whose futuristic cities occupy extensive high plateaux that tower
above the wild green rainforests. The Venusians – called Perelandrans in the
film (we do not know what they call themselves), are bald, green humanoids, wearing
uniforms of some rubber-like material, and almost all sporting a metallic
headband. These headbands come in different colors, and it emerges that these
correspond to the social role of the individuals – and that they are
instruments of mind control. The society is a totalitarian system, where rule
is enforced through a system of radio communications that shape loyalty and
suppress subversive thoughts and practices.
The idea here resembles that in the
Strugatsky Brothers’ Prisoners of Power, but that book did not see
publication until the early 1970s (a magazine version appeared in the late 1960s,
but there is no records of drafts circulating clandestinely before then). Mind
control by an alien invader does feature in earlier books and films, however,
including a 1956 Roger Corman move, It Conquered the World, and the 1957
Quatermass II, though there is no sign that Vernilak has seen these. A
more plausible influence is from the Dan Dare series in The Eagle
comic, which in the 1950s and 60s featured bald green Venusians (the Treens)
whose ruler (the Mekon) was sometimes able to exert mind control methods,
notably in the course of an invasion of Earth. The notion of mind control
through radio or other means is one that has emerged frequently, not least
among sufferers from paranoid delusions – and it is in some ways a simple
extrapolation from the use of radio for propaganda purposes, and the
broadcasting of patriotic slogans and messages through loudspeakers in public
places. The advanced technology featured in Prisoners can easily be read
as a critique of such totalitarian trends.
There is a ruling council of Perelandrians,
led by the Empress, a heavily-muscled green female of enormous proportions (quite
unlike the Mekon!), green and bald like the others. The aliens must be
mammalian, because her gender is evident not just from her voice, but also from
her clearly possessing breasts (unlike some of the other council members). The
council members themselves do not wear the otherwise omnipresent headbands. When
our heroes are captured, they are brought before this council by armed guards,
who are shown responding both to verbal orders and instructions communicated to
their headbands. While Radice remains in
orbit, Herge and Brodsky have landed on the planet – they first touchdown in a
jungle clearing, where they soon find themselves attracting attention from fierce
reptiles. Fortunately, the monsters are as preoccupied with fighting among
themselves as they are in pursuing the humans. Brodsky is rescued from danger
by Herge, but his craft is destroyed in the course of a battle between two
tyrannosaur-like creatures. they both manage to escape using the remaining
spacecraft, which is as maneuverable as an airplane (and apparently never
requires refueling). As they fly over a nearby plateau, they are pulled down by
a pair of rays, that catch the spaceship in a pincer motion. Forced to land in
a city square, they are captured by the Venusians.
While there are several twists and
turns in the plot, the essentials can be summarized briefly. Brodsky and Herge
are fitted with headbands but Herge is able to resist the mind control and tear
his off after some rather well-acted mental strife. He frees his companion; the
two fight their way back to the spaceship; Brodsky is killed by a ray weapon and
Herge recaptured. Radice comes to the rescue, subverting the standard trope in
the films of the period (that of a male hero rescuing the love interest). Through a mixture
of skill and guile she defeats the Empress in one-to-one combat and the two
escape in their ships. Herge crashes in the jungle, due to damage occasioned by
his ship, there is yet more dinosaur action, Radice again comes to the rescue,
and the two finally escape Venus in her craft. In the final scenes of the film, as their
voyage back to Earth begins, a voice-over asks if we should return to
Perelandra – and there is an image of dinosaurs storming the Venusian city. Though
this scene is not properly explained, nor integral to the story, Vernilak was
reluctant to drop what looks like a vestige of an alternative plot, or uncompleted
appendage to the plot. Perhaps it was deemed unacceptable to show a
totalitarian regime continuing to flourish.
In a comment several years later,
Vernilak demonstrates his strong attachment to the monster elements of the film.
This was in the face of many of his fans seeing this as an excursion into rather
overdramatic and sensationalistic territory, distracting from the more serious
efforts of his earlier film. He also stated that he wanted Harry Harryhausen to
work on the animation of the models which provided the monsters for the film,
but was blocked in this, more on financial than political grounds. Fortunately,
rather good teams working with stop-motion modelling (as well as conventional
puppetry and cartooning) had been established to feed children’s TV programs with
both humorous and more naturalistic animal models. (A few of these programs
gained international success – older readers may remember Scorchy, the
Electric Dragon being shown on
Australian, British and Canadian television, and of course these shows were
pervasive in the Eastern bloc.) The team
was delighted to have the opportunity to work on material that was less cuddly
and anodyne, and gave them an opportunity to be edgy and to portray realistic
violence. They far excelled expectations, and went on to develop more
adult-oriented TV programs in subsequent work, including a satirical program that
is said to have inspired the viciously satirical puppetry of Spitting Image in
the UK in the 1980s. The monster elements of the film were well-received in
both national and international audiences, and the film has retained something
of an ironic cult status in the West.
But this was not a great commercial success, with the monster and alien
adventure aspects of the film being regarded as poorly integrated. The general
tone is widely dismissed as somewhat juvenile and outdated. The emerging romance
between the two lead actors is well-handled. We are left to speculate about
what they could have been able to get up to in their cramped quarters on the
journey home. Perhaps this is fortunate,
given the accounts of tensions between the actors, and between them and their
director.
As for the serious questions in
Vernilak’s work, Prisoners may not have been as scientifically accurate
as the earlier films, but it still manages to address issues of social and
political organization. Who actually are the prisoners? Is it the space pilots
who are captured and, in the case of Herge, rescued – or the Perelandrians, imprisoned
in ideology and a repressive state, with its instruments of mind control? The scope
for the latter interpretation, as a veiled critique of the state socialism of
the Eastern bloc, seems to have only slowly dawned on the authorities. When Vernilak
was subject to frequent official condemnation in the later 1960s and 1970s, his
earlier work was subject to intense critical analysis, and this film was often
selected for such scrutiny. The gender
politics of the film – featuring both a female villain and a heroine who twice
comes to the hero’s rescue, and is always depicted as brave and resourceful –
would sometimes be sneered at as another sign of subversive intent or deviant
sexuality. (“He has reversed the national crest, with Andromeda rescuing Perseus
rather than vice versa.”)
Perhaps Vernilak was wounded by the poor
critical reception of Prisoners. Perhaps he felt that he had served his
time producing films catering to aesthetic sensibilities inferior to his own. Perhaps
the serious illness that afflicted the leader in the mid-1960s gave him a sense
of greater freedom, perhaps the souring of his affair with Alexi Elvira put him
into a less heroic and more pessimistic state of mind. Whatever the case, As
It Was (1965; also known as Kill Hitler! and Time and Again) represented
a major break in style, tone and substance from the films of the interplanetary
trilogy, and is unique among his oeuvre. It is entirely located in a foreign country –
Germany, no less – and features many historical elements.
His new leading man is now Josip Circassian,
playing Jakob Streek, head of a research laboratory in present-day Germany
(whether East or West is not specified, which gave rise to some dispute: the
film’s reception in West Germany was mixed, and it was never publicly shown in
the DDR). Circassian was chosen for the role because, after dying his hair, he
was seen to have stereotypically Aryan features. Or such is Vernilak’s account – the story
that Vernilak and Circassian began an affair during the making of the film, and
it was this that had destroyed his relationship with Elvira, was apparently
well-known at one time. If this was indeed the case, the two actors were
professional enough to have continued to each play a role in As It Was.
Streek’s laboratory is working on “triple
resublimated” thiotimaline, an Asimovian material that, when placed in
extremely intense rotating magnetic fields permits movement backwards in time. (Remarkably,
there are a few mentions of this material online.) Time
travel (backward or forward) is not unknown in movies, though generally it has
been achieved by magic or hypnosis, or sometimes by accident; only rarely by
deliberate use of equipment. The great
exception is George Pal’s The Time Machine (1960). While
Vernilak’s film came some years after this, there is little sign of this having
been an influence. The two could hardly be more different in terms of characterization
and content, only being linked by the Wellsian notion of time travel – and this
too is handled very differently. In As It Was, small shifts (of seconds) are easy to achieve,
but the technology is nothing like Pal’s rather quaint – or as we would now
say, steampunk - apparatus. There is no “flying” chair, rather a complex grid
of metallic and ceramic materials. The problems
of displacement of past matter by the object moved from the present being
overcome by transporting the displaced
matter forward.
There is an amusing early scene
where it is first understood that the mouse that has been transported (together
with its cage) is not the mouse that was sent back a few moments in time. This
is about the only moment of lightness in the film, whose general atmosphere is
tense and ominous. A “time machine” is constructed,
large enough to accommodate a human being, small enough to be carried around
Berlin. Exponentially large amounts of energy are required to send a human
being back further in time – the mid-1940s is the earliest that can be managed
with the laboratory’s power resources. Equivalent energy also has to be
consumed in recovering the time traveler from, and substituting a volume of air
to, the past. The main problem is getting the time traveler to be in the right
location at the right time. This becomes a major source of dramatic tension.
The physics of time travel are not addressed in more detail than needed to give
a sense of plausibility, so the matter of the Earth’s rotation and its movement
around the Sun – itself moving in the Galaxy, itself moving in relation to
other galaxies and the possible origin of the Big Bang – is elided. (This is a
theme taken up by philosophers and physicists as well as film critics, though
Hy and his colleagues claim that there is solutions to this problem in the
theories of special relativity and quantum entanglement.)
Streek secures funding for his
project by stressing the prospects for repairing faults in materials before
they cause catastrophes such as the bridge collapse with which the film begins.
But it becomes apparent that he has a hidden agenda. His parents were victims
of Nazi persecution, and he is determined to stop Hitler. (The reasons for the
persecution are political, not racist – and the name Streek may have been
deliberately chosen to make this clear.) An early scene sees Streek being led
by an eminent historian, Professor Arianne Hulmer, played by Elvira, to archives where he is able
to locate his parents’ names in a list of executed political subversives.
Since the scope for going back in
time is limited, a mission to prevent Hitler’s birth or terminate his childhood
is impracticable. After consultations with Hulmer, with whom there are hints of a romantic spark, Streek
reluctantly decides that it is most feasible to achieve Hitler’s death by a
slight nudge to history. While there had been earlier assassination plots (back
into the 1930s) it was in 1943 (Operation Spark ) and 1944 (the better-known
Operation Valkyrie) that bombs nearly ended Hitler and his reign. In both cases
the plotters had hoped to bring the war to an earlier end, and at least some of
them had wanted to limit the Holocaust and other atrocities that they saw as
tainting the German people. Streek also mentions that their success might also
have limited the mass suicide of Germans following the fall of the Nazis (a circumstance
that was little known to Vernilak’s contemporaries, and we wonder how he gained
knowledge of this).
The plot is convoluted and tense,
but the core is simple enough. Streek voyages back in time twice, once to
assist Operation Valkyrie, once Operation Spark. In each case, his presence
leads to the failure of the plot. It is heavily implied that Hitler might have been
killed had not the attempts been made to influence history. The July 1944 effort
is undermined by the conspirators’ panic after one of them claims to recognize Streek
as an SS agent sent to spy on them. Streek escapes and just makes it back to what
we would now call a “portal” in time to be transported back to the present. But
von Stauffenberg’s ability to set both of the bombs he had intended to use is
impaired. The one bomb that he does activate is hastily planted in an
inadequate location, so Hitler survives.
On his next mission, to 1943, Streek encounters the conspirator who denounced/was
to denounce him in 1944. Streek realizes that it is his presence now that led
to his being recognized in 1944. It is his turn to panic, and he slips up in maintaining
the identity he was trying to assume. Under suspicion, and fearing that he might
inadvertently subvert Operation Spark, he tries not to intervene in events. But
he is nonetheless seen as responsible for the failure of the bomb to detonate.
Whether this is the case is ambiguous: there are hints that his presence was
enough distraction to lead to fumbling among the plotters.
In any case, Streek is again
suspected of being an agent of Hitler’s loyal supporters, and pursued back to
the portal point, which he manages to make with seconds to spare. Wounded, he
decides nevertheless to embark on a mission to a yet earlier period: the city’s
power supplies are hacked into, and there is a striking scene where the lights go
out all over town as the thiotimaline chamber is operated. The film does not
follow Streek into the past: he fails to return. The historian Hulmer is left
to speculate on what might have happened to him. It is concluded that he died
of his wounds or through misadventure. But there is a strong hints that he
changed his mission and managed to save his parents; their names have
disappeared from the list of victims that Hulmer is shown inspecting in the
final scene. A heavily made-up Circassian plays the aged man who watches her as
she leaves the archives. This scene was omitted from initial showings of the
film, which end at the point that Hulmer destroys the time machine. Vernilak
had intended its inclusion, and the abruptness of the incomplete ending was
widely criticized; later releases of the film did feature it. (Circassian is
not credited as playing the old man in the closing titles.) The ambiguity of
the message of this sequence led to much speculation. Are we meant to assume
that Streek gave up on his grand plans and instead just focused on his own
family? Is it implied that we can change small things, but the course of major
events is much less tractable? Would the efforts to kill Hitler have succeeded
without the interference, or would they have failed anyway?
This film was a turning point for Vernilak’s
reputation. His popularity had been largely confined to SF fandom and young
audiences. Though there was much adventure and tension in As It Was, this
film was seen as struggling with important ethical and philosophical questions. It was also well-acted and the settings were
generally plausible. The pseudoscience was underplayed, but the technology of
time travel looked convincing enough. The process of being sent back or forward
in time in many ways anticipated the iridescent/transparent effects of being “beamed”
by a Star Trek matter transporter (not shown on TV till 1966). As It Was won several international awards, and had wide
showing in countries whose audiences were comfortable with foreign-language
films. It is still often shown in festivals and, of course, SF fan events. SF connoisseurs have often bemoaned the fact
that few later films have really investigated the paradoxes of time travel that
Vernilak pointed to in this movie. There has been little exploration of the
personal significance of the plot. But is seems reasonable to ask whether the
film hints at his own family’s experiences, even an unfulfilled desire to have acted
differently in the past to save family members? Streek is not overtly Jewish, of course, but
that would be expected of a film made in that particular time and place.
There has, too, been surprisingly
little effort to discuss what it might have to say about its own political
moment. Was Vernilak regretting his own past commitments and wishing he could
rewrite history? Was he endorsing a great man theory of history, something that
official Marxism both rejected with its talk of “inexorable historical forces”,
and surreptitiously endorsed in its panoply of great leaders, from the holy
father of Marx on through Lenin, Stalin, Mao and of course the General himself?
Was he whitewashing Germany’s inner essence, as one film critic claimed? The discussion of such
issues has more or less spluttered out, while the film itself remains revered
for its cinematic qualities: a truly timeless tale of time travel.
It is only recently that an early
draft of the screenplay has been unearthed, in which a rather different temporal
entanglement is posited. The idea is intriguing, but the script works towards a
rather disappointing ending. In this version, Streek is not injured in escaping
the Operation Spark debacle. Realizing that it is his own interventions that
have led the plots to fail, he decides that he has to prevent his own actions. He
transports himself back just a few weeks of present time, to warn himself not to
interfere with history. (It could be argued that since the plots have failed before
the time travelling begins, this could be futile, but the script does not
tackle this paradox.) When he confronts his earlier self, however, he wakes up – it was just a dream, the time
travelling equipment is not yet even functioning. Or was it a dream? As so
often in speculative fiction, the final shot of the film would have homed in on
a clue that he really had travelled in time and changed reality. Vernilak was
clearly unhappy with this version, possibly because of the “just a dream”
cliché, possibly because of the intense paradoxes of such an effort to
forestall one’s own actions. The confrontation between the two Streeks could
have made for a powerful moment, if the technical challenges of portraying the
actor could be overcome. Nevertheless, in my judgement, the version that was realized
is, if not flawless, far superior to the abandoned conclusion.
Vernilak was by no means untouched
by the political upheavals of the mid-1960s. He came in for more than his share of criticism
from official quarters, as the leader himself ailed and his coterie squabbled
over the course that the revolution might take in the case of his demise. It
was in this period that “Vernilak the maniac” was denounced on state radio. Numerous
artists, intellectuals, and other creative spirits were dismissed in sneering
tones by party hacks assuming the role of cultural police. He spoke of funds
being cut, difficulties in getting actors and personnel to work with him, restrictions
on the freedom of movement of many key people. These difficulties surely
impeded an eventually abandoned project, the proposed filming of the screenplay
he’d drafted from Algernon Blackwood’s short story The Willows (1907).
Most probably, however, the main
reason for the failure of this project, is the problem that Vernilak himself spoke
of in his Folios de Film interview. The power of the story lies in the
depiction of internal states of dread and foreboding; these are hard to depict
without falling into the sort of overacting prevalent in silent films of the
1920s. Vernilak had wanted to dispense with those elements of Blackwood’s short
story that described visions of paranormal entities, and to focus on more
naturalistic phenomena – sightings of a strange otter and then of a boatman
shouting warnings while being borne down the river, the ominous movements of
the willows themselves in the winds, the loss of provisions and the damage to
the canoe, and the discovery of a dead peasant. Perhaps a director more
familiar with expressionist horror cinema could have pulled this off, but
Vernilak claims that he found it beyond his capabilities to develop a
satisfactory screenplay. The realization on screen of Blackwood’s vivid
descriptions of unease and a deepening sense of barely-glimpsed but pervasive
hostility, would have been a considerable achievement. We can only speculate as
to whether finding a suitable leading man would have inspired him. With the end
of his relationship with Circassian, though, the obvious candidate was off the
scene. Another reason for the failure to proceed with the film may simply have
been that Vernilak was seeking to transform his own perceptions of an
once-charmed, but now increasingly oppressive political regime into a parable
about the natural world turning upon those who are trying to embrace it. If this film had been made, it would most
probably be seen as an early example of the subgenre sometimes known as
eco-horror. While some lists of
eco-horror movies do include the rat-infested Willard (1971), the
nearest parallels that I can think of are The Birds (1963), of course,
and more closely, the less well-known The Long Weekend (1978, and remade
in 2008) from Australia; but these films’ atmospheres are very different.
Despite the domestic political
discord and hostility of more “official” artists and critics, Vernilak had never
had his studio taken away from him. Compared to less commercially successful
contemporaries, he actually remained
fairly well-resourced. He was also unusually free to travel for many
years, which of course triggered some resentment among his peers, and
speculation in the West that he was some kind of stooge. He attended several
major film festivals and was even able to accept awards at one of these. In
France during 1968, he was present for that year’s abandonment of the Cannes
film festival. The evenements must have
influenced the film he was subsequently to complete, Hatchlings (1970).
The tortuous production of the film has often been described. It has been cited
as an inspiration for satirical scenes about the difficult art of cinema in French
and other films made around that time, such as Truffaut’s (1973) Day for
Night, though these may also have been inspired by Fellini’s 8½ (1963).
Hopper’s The Last Movie (1971), in contrast, seems to have emerged from
a completely different context: arguably, its addled view of the process of
film making derives more from its own director’s alcohol and drug problems than
from the struggle with personalities and politics that Vernilak, Fellini and
Truffaut encountered.
Hatchlings (aka The Heavenly Eggs) further
reinforced his reputation as a director to be reckoned with. The success of As
It Was surely lay behind the decision to make more funds available,
allowing for international settings to feature in several episodes of the film,
even though the bulk of the story takes place in an unspecified country and
city that looks very much like Vernilak’s own.
What is presumably an alien visitation has taken place: saucer-shaped craft
have descended from the sky, in all parts of the inhabited world. Typically,
these perform some local miracle – weapons directed at them are turned into
shiny trinkets; ancient monuments restored to pristine glory; arid land,
deserts, and forests damaged by human intrusion given new life – and then depart
as suddenly and mysteriously as they arrived. But on departure a pile of shining
egg-like artefacts are found at each location of their visits. These “eggs” prove
impenetrable to x-rays, and confound efforts to drill into them with machinery
or to cut into them with lasers.
Some years later, there has been no
further visitation, and while some regimes have the “eggs” under lock and key,
in many countries they have been widely shared across scientific facilities and
even museums and art galleries. The
protagonist is again a scientist, Professor Morell (played by the previously
unknown Evgeny Tchulok, as a bearded and craggy heroic type). He realizes that his
discovery that one batch of eggs is glowing and becoming warm actually reflects
a widespread phenomenon. Perhaps significantly, this is happening over the
course of one Christmas period, which gives the director opportunity to
contrast festive celebrations, and consumer and conflict, around the world. He
is the first to establish that this is also related to the eggs being in close
proximity to pregnant women – experience with his own pregnant wife being the
clue that sets him off, despite initial ridicule from his colleagues, and
subsequent efforts to suppress his research. (These bureaucrats even include
one sneering character who dismisses Morell as a maniac!) This is not quite the scenario of Wyndham’s Midwich
Cuckoos (published 1950, with the first – and most faithful - of the several
films it inspired, Village of the Damned, appearing in 1960). In Wyndham’s
novel, aliens (never seen) have impregnated Earth women, who go on to bear
children who start to display telepathic and mind control abilities. The women
in Hatchlings are already pregnant, in contrast, but what will the
effect of the eggs be on them?
Morell manages to institute an
international survey of the several thousand children identified as associated
with the phenomenon, finding like-minded scientists. It is stated that he has
collaborators in ten other countries, though scenes from only six are
displayed. Under the guise of a health study, the children are regularly
examined. The main features they display in common in the first years of life are
simply that they seem to radiate calmness and to have the ability to defuse conflicts
between people around them. Morell first recognizes this latter characteristic
as the common element across a number of scenarios which the film illustrates
vividly: a brawl at a Soccer match somewhere in South America, a tense
stand-off at a border in South Asia, a feud between religious leaders in Israel….
These moments were often cited in the favorable reviews won by Hatchlings.
Even Pauline Kael, usually immune both to sentimentality and SF, recognized the
power of the depiction, and it was she who fits described Vernilak as “a good
egg”.
The children later grow to be leaders
of one sort or another in their communities, and in the culmination of the
film, when the eggs are again warmly glowing, and alien craft are hanging in
the sky, they are shown as soothing anxieties and eventually acting as
emissaries from Earth to the aliens (who are never actually shown). Many viewers
felt let down by the concluding sequence, where the young adults are heading to
the meeting with the aliens, was too inconclusive – what would they find? Were
the aliens really as friendly as they had seemed, or was this prelude to an
invasion? Many others thought that this
lack of definitive answers was really coherent with the sense of wonder of the
earlier sequences of the film, and left plenty of scope for the audience to exercise
their imaginations and to debate the implications of alien contact for
humanity. Arthur C Clarke was an admirer of the film, and may have been more
than half-serious in claiming that the likely resolution of Hatchlings
would have been close to that of his 1953 novel Childhood’s End (itself
the subject of a TV miniseries, aired on Syfy in 2015).
In the early 1980s I had a rare
encounter with SF royalty, when I was attending a Society for International
Development conference in Colombo, Sri Lanka. Clarke, resident in Colombo, had
given a keynote at the conference. Clarke had spoken, as I recall, of the
coming era of cheap, high-capability, and pervasive communications technology, of
the threat to dictatorships that would be posed by ordinary people gaining the
ability to stream live video of, for example, police suppression of
demonstrators. When I was making my way down the long driveway that led from
the conference venue to the road back into town, Clarke was driving by in his Land
Rover – or perhaps he was being driven, I can’t recall. He stopped to give me a
lift. I took the chance to ask him what he thought of Vernilak and his
disappearance. I knew that Clarke was reticent to talk about being gay to those
who were not close confidants, so I first asked about how familiar he was with
the director’s work. I posed the
question as the innocent SF fan that in reality I was. Clarke made a joke, I realized,
by saying something like “I do hope nothing bad has happened to him: He’s a
good egg.” (Presumably he knew the Kael review.) After a pause he added: “if a
little scrambled”. I asked what he meant, and got a response about Vernilak’s
films being something of a curate’s egg, good in parts. It was then that he
drew the comparison between Hatchlings and Childhood’s End. Whether
he would have said more, or moved into reminiscences about film makers, I
cannot say: I had to get out and head off in another direction, losing the
chance to get Clarke to open up more. Clarke may or may not have been familiar with the
Strugatskys’ The Ugly Swans (circulating as samizdat in the 1960s, published
in West Germany in 1972, and the basis for a 2006 film). Vernilak himself could
well have known of this novel, which is often, though debatably, seen as pursuing
themes similar to Childhood’s End. The “aliens” of the Strugatskys’
novel may be from humanity’s future, but their bonding with present-day young
people – elders are often antagonistic - does have parallels with Clarke’s
work. Themes of young people with extraordinary powers are of course
longstanding n SF: for example, the mutations induced by a nuclear apocalypse
in Henry Kuttners’ Mutant (1953 as Lewis Padgett) and Wyndham’s own The
Chrysalids (1955), each of which features telepathy.
As we approach the 50th
anniversary of Hatchlings, it is striking how well this film has stood
the test of time – so well, perhaps, that there has never been an attempt to
remake it. The specific political contingencies may be strictly historical, the
special effects may be scrappy, but the piecing together of riddles and the
unfolding of successive mysteries remain powerfully evocative. I have elsewhere
argued that the best SF from the “Eastern bloc” frequently involves protagonists struggling to coexist
with, or subsist within, alien and largely incomprehensible systems. Lem and
the Strugatkys are obvious cases. I have
seen this as reflecting the lives of questioning and creative people under
Stalinism and its successors and offshoots in the Cold War period. (Recent
revelations about Lem’s work now lead me to think that Nazism and the Holocaust
may also play a significant role: even before these monstrosities, of course,
Kafka was an early master of articulating such encounters.) The contemporary
resonance is less vicious, though recent trends in nationalism, populism and
cryptoFascism are certainly foreboding. But the experience of living in societies where corporate
forces, remote governments, and complex technoscience leave many people
bemused, cynical and suspicious, is pervasive. And we can only wait to see how
the Chinese moves in the direction of techno-surveillance will unfold.
Hatchlings was initially a slow-burner, but
eventually did unusually well for an “Eastern” film in many Western countries.
It continues to be listed as among the top twenty SF films. After two
successful films, Vernilak was becoming a name to be reckoned with. The
relative failure of his next release, Shambala (1973), was thus a
surprise as well as a disappointment. It was repeatedly described as “shambolic”,
while denunciations along the lines of “ intrinsically vacuous” and “an encyclopedia
of hippy orientalist delusions” were commonplace. One reviewer said that “he
only thing in its favor is that there is no sign of the Yeti”. While the film
has its moments – not least the widescreen shots of towering mountains and close-ups
of the verdant life that clings onto their foothills – it has not aged well. It
was rediscovered by some “New Age” spokespeople around the turn of the century,
but is now rarely included in retrospectives of Vernilak’s work. What seems to
be less known is the inspiration that underlies the depiction of the main
character and his adventures.
Walking along Ulitsa Volkhonka in
Moscow a few years ago, more or less across the road from the rebuilt Cathedral
of Christ the Savior, I spotted a tangle
of signs in both English and Russian, on
a piece of street furniture, directing walkers to various local
attractions. Among the formal-looking points
of interest - Pushkin State Museum of Fine Arts and so on – is a rather
clumsy formulation that piqued my interest. I don’t have a photograph of this, but from
memory there were words written in white on a blue background, saying something
like “The Non-Governmental Museum Named after Nicholas Roerich”. Googling for information on this, I am alarmed
to see that this museum was taken over by the Russian Ministry of Culture in
2017, and news reports suggest it was subsequently closed or at least denuded
of much of its collection of Roerich’s art and the artefacts he had brought
back from his journeys to the East. But travel guides still list it as among
major off-the-beaten-track attractions in Moscow, and I shall investigate
further on my next trip to Russia.
At the time I had heard of Roerich
only through an article in Fortean Times, which featured him on its
February 2015 cover as “Occult Agent of the East”. But a visit to the museum revealed that Roerich was the inspiration for the
explorer in Shambala. A charismatic Russian painter/philosopher, he
loved the Himalayas and believed them to be both the home of gurus possessing
ancient wisdom, and themselves repositories of spiritual energy of some form.
He may not have made his way to the hidden city revealed in the film (and based
on Himalayan myth), but his paintings vividly demonstrate his deep fascination
with the mountains, and with Tibetan and Nepalese culture more generally. Vernilak
must have had contact with some of Roerich’s own disciples, who had somehow
managed to preserve his work through Soviet times. He used the Roerich-as-spiritual-explorer
theme to spin a story that is more Lobsang Rampa than Indiana Jones, but as
fantastical as both of them. The main character in the film, Richter, is
clearly modelled on Roerich (though his name is also that of a famous Russian
pianist).
The orange-robed inhabitants of Shambala are
not just gurus and sannyasins, but actually guardians of humanity. Though their
speech is couched in metaphysical profundities, their mysterious powers –
enabling them to conceal the city from the naked eye – are revealed to be based
on an advanced technology. Possibly this derives from Atlantis, whose
destruction is briefly mentioned as a result of human folly. Alternatively, extraterrestrial
sources are hinted at by a glimpse of a portrait of a flying saucer in an
ancient tapestry - though it is more likely that Shambala is itself the source
of UFOs. The nature and modus operandi of this almost magical technology is never
revealed, though one hint is the declaration that “Among your scientists only
Nikolai Tesla has come close to these ideas.” (This film may have been the
first recorded mention of “red mercury” in fiction, too...)
Though the guardians tend to speak
in portentous and apparently paradoxical mystical tones, Richter gradually comes
to learn of their role in averting disasters from space. There is a brief but impressive
visualization of the Tunguska incident, where Richter is shown a stylized
picture of the event, which morphs into an FX-heavy vision of the descending
asteroid, the aerial explosion and the devastation caused in the forests below.
Some contemporary Russian eyewitness accounts described lights streaming up
into the sky before the near-impact, and this element is intrinsic to the visualization.
The notion is advanced that the guardians have been preventing such major
disasters befalling humanity for millennia. But the gurus forecast that they
will be as unable to prevent nuclear conflagration in the future, as they were to
save Atlantis from itself.
In and of itself, the plot is not
unpromising, and the cinematography is excellent. But the ideas are handled clumsily,
with much convoluted exposition. The characterization is insubstantial plot,
and the depiction of the guardians is rightly dismissed as simplistic Orientalism.
The acting is uninspired, and the culmination of the film (as the hidden city is
transfigured to remove it further from invasive Western forces) is banal.
To the best of my knowledge, the
Roerich connection was not made among Western critics, though Roerich was not
entirely unknown among what became the “New Age” in the next decade. The
general consensus was that Vernilak was a late convert to hippie ways of
thinking, much as was claimed for Makavejev when W.R.: Mysteries of the
Organism (1971) surprised audiences around the world. Perhaps there is some
connection, but I cannot help but think that Vernilak’s visits to Moscow in the
late 1960s must have had more to do with Shambala than did any encounters
with the Western counterculture in the same period. His biographers do not seem to have unearthed
anything of significance about the Russian visits - we do not even know whether
the rumored meeting with Tarkovsky even took place. What a treasure it would be
to see a transcript of their conversation, if it did happen! My correspondence
with Roerich enthusiasts in New York, Russia and India has not yielded any
hints of his interactions with the followers in Moscow.
Vernilak’s reputation took a big hit
with Shambala, and he beat a quick retreat home after its initial
showings in film festivals met with near-universal derision. Yet he rebounded
from this disaster with his late masterpiece, the fittingly titled, as it
turned out, Swansong (1978). While
many reviewers saw this as overly freighted with the cod mysticism of Shambala,
it is most often seen as an alternative take on the second half of Hatchlings,
with even more of the flavor of Childhood’s End.
The origin of the children is never
clearly specified, but the film begins with shots of groups of children aged
between 8 and 12, brought together in various locations by various authorities.
The locations and authorities are never explicitly named, but evidently
encompass all regions of the world. In some cases, military institutions are
clearly involved (there is even a fort-like prison displayed, though now I am
inclined to see this as a concentration camp). In other cases, they appear to
be more like social or health services, and in some they are rather sinister if
overtly (over) friendly “men in black” types. There is a religious (Islamic?) organization
in one case, and what might be a New Age cult or a mad billionaire’s (or rock
star’s) coterie in another. The film
switches from one scene to another, as (subtitled) explanations, instructions,
and questions are directed at the children. We are able to piece together the
background – the children were all born within a few years of each other, as a
result of some unspecified event (the Earth passing through “a particular
phase” or “region of space”). They have
begun to manifest powers that have led to their being removed from their
communities and sequestered from the rest of society “for their own good”, or “in
the national interest”, or so that scientists or the military could have a
chance to assess them.
Most of the children escape their
captivity in various ingenious ways, while some are rescued by those who have
escaped earlier. In one case they are assisted by Dontae, the biological father
of one of the group, and in the second main section of the film he is shown
travelling with one of the groups of children, who are evidently able to
communicate telepathically among themselves. They do not have powerful mind
control capabilities, but can gain the sympathy of many receptive humans by evoking
strong empathy for their predicament. They mean no harm, they are simply trying
to fulfil their destiny, and they need support to do so. By this means they are
able to enlist some of their captors, and later border guards, airline pilots,
coach drivers and many others to help them.
In many cases, they could simply be eliciting people’s natural
solidarity: some viewers interpret this element of Swansong as signifying
human resilience and willingness to act against oppressive regimes. Vernilak’s
life and times should have deprived him of
starry-eyed views of individual resistance to authoritarian power, even when
children are concerned. But he may have hoped that by depicting such examples
he would help them to become more common reflexes.
The thousands of special children
congregate in a strange rocky environment (filmed in one of the volcanic lava-strewn
zones, called malpais, of the Canary Isles), where they create a tent
city with the aid of Dontae and a number of other adult helpers (some are
parents, others may or may not be). There is a striking episode where an effort
is made to communicate telepathically between the children and a large group of
these adults. The psychedelic scenes that ensure have a rare beauty, speaking of far more than the era’s “light shows” that accompanied
some rock concerts were ever able to. Parallels have been drawn with the films
of Ed Emshwiller and Oskar Fischinger, with parts of Godard’s A Woman is a Woman.
The sequence is echoed in the later work of numerous creators of music videos
and films to accompany concerts of rock, jazz and experimental music (many of
the latter deserve to be circulated more widely than they currently are). There
is no doubt that this imagery is vastly more sophisticated than that of
Kubrik’s 2001, and indeed of practically all subsequent efforts to
capture psychedelic, spiritual and similar states of consciousness and exotic journeys.
Recently several efforts have been made to create 3-dimensional versions of
this episode, both for display in IMAX cinemas and for use in Virtual Reality environments. These
are rather impressive, but the context of the film is needed to really grasp
the emotional depth and significance of the imagery.
In the final parts of Swansong,
we witness the children ascending to their destiny. Huge channels of light,
like luminous veins and arteries along which blood cells move (in both
directions) become manifest. The children fuse with these, transmitting
themselves into signal that flow up the channels. The adults who have made
connection with them are able to choose whether to join them or not, and Dontae
is one whose Earthly ties are strong enough to make him remain. When the columns,
and the children, have gone, he is left apparently forlorn, but illuminated by
a pulsing light that descends from one of the columns. In a final scene, set in
an unspecified future, the malpais is blossoming with new flowers and there is
birdsong in the air. We see a number of people, including small children, apparently working and celebrating in the reborn
environment.
The interpretation of these
sequences continues to be controversial, with political and religious factions
claiming Vernilak for their own. The power of the narrative, and the very
tangible evocation of intense emotions in the conclusion, make the ambiguity
more telling. While many films that initially confound their audiences turn out
to have quite straightforward meanings, Swansong
has resisted this trajectory.
Vernilak’s disappearance soon after its release means that he has never been
able to demystify things for us. Indeed,
voluntarily or otherwise, he added his own mystery into the equation. The 1978 special
issue of Journal of Second World Cinema (now Central and Eastern
European Cinematic Arts) devoted to Vernilak features three essays that
present differing accounts of the film, as well as a transcription of an
interview with him conducted before the production of Swansong. (We have
drawn on this interview at several points during this essay.)
What can we say about Vernilak’s disappearance
that has not already been recycled endlessly in the more sensationalistic
media? The only thing that is
universally agreed is that he ceased to appear in any official engagements –
including several in which he had been billed to feature – from 1980 on. Most
of the numerous claimed sightings of him can be put into the bin used for disposal
of tales of having seen Elvis, Hendrix, or deceased members of the Kennedy clan.
The passing resemblance of bit players to Vernilak, in a number of films from
Hollywood and its echoes in Bombay, Lagos, Singapore and so on, has been
demonstrated, to the best of my
knowledge, to be no more than a matter of mistaken identity. The probability is
that Vernilak is dead, not a prisoner nor someone who has gone undercover.
One version of events is that Vernilak
was murdered by a gay pick-up, or a homophobic attack, echoing the killing of Pasolini
by a teenager in Italy in 1975. A local newspaper story in 1980 is reported to
have told of a body being found in a car park known to insiders as close to a favored
holiday home of Vernilak. The theory goes that the story was covered up,
perhaps because of the identity of the murderer (ties to high city authorities
are alleged), or perhaps to protect Vernilak’s own reputation at a time of much
homophobia. More lurid accounts speculate about a revenge killing on the part
of security services or those victimized by them in the wake of the country’s
liberation. These stories all depend upon memories of the newspaper story, an
actual copy of which has proved extremely elusive.
The main reason to believe that
there is more than just speculation in these stories of Vernilak’s death is
simply that his last works demonstrate that he was in his prime, and enjoying
his own achievements. The tales of his going underground (again?) and using a
random murder as an opportunity to reboot his life, simply do not accord with
this expanding talent.
So, on this anniversary year, what are we to
make of Vernilak’s life and legacy?
He is rightly celebrated among both
producers (especially in Europe and Asia) and their usual enemies, film critics
(in many regions of the world). His work has cult followings in several
locations, often extending beyond SF fans and those passionate about postwar
Eastern European cinema. That none of his films were made in the English
language has surely restricted their impact, but he is certainly among the top
two or three directors from what was the Eastern bloc whose films managed to
make, and retain, a substantial reputation in the West.
Much cinema continues as if he never existed. Yet traces
of his ideas and approach are pervasive (see Delany’s account of – often
surprising - influences on the Star Wars series). Hatchlings and Swansong
motifs are evident in the rash of films about children and young people with
superpowers, and the reactions to them of the wider society. (These are often
directly drawn from comic books, but the authors of these are likely to have been
influenced by Vernilak.) Few time travel films escape his influence directly,
or more often indirectly, through its uptake by modern physics. Of course, much
SF these days is grappling with issues concerning robots and AI. These topics have
come to almost obsess contemporary makers of serious SF, though they have well-known
antecedents in Metropolis, Demon Seed, and a host of less memorable works. Perhaps
the Frankenstein motif deterred Vernilak from venturing in this
direction. But more to the point, probably, is his preoccupation with themes of
humanity encountering aliens and their works – or the even more unfathomable political
artefacts of contemporary social systems.
Vernilak’s work is of its time, to
be sure. But it is of much more than historical interest, and is surely due for
a revival that will secure his place in the pantheon of unmissable cinema. Perhaps
the Netflix dramatization will lead to more of his work becoming available on
streaming services, being discussed on fan sites of all sorts, securing the
recognition it deserves beyond cineastes.
Meanwhile the major impact of
Vernilak’s work is undoubtedly in modern philosophy and, more recently, in some
arcane but fascinating areas of quantum physics. In each field – and they
overlap, of course – As It Was has become something of a trope,
frequently referred to in discussions of the nature of time, the paradoxes that
might be associated with travel in time, the existence of multiple realities,
and the like. Moving on from simplistic criticisms of the supposedly
inconsistent temporal mechanics of the film, philosophers have argued about the
“many worlds” implications of the abortive attempts at re-engineering the past
into a more acceptable direction. Ideas such as “knotted time” and “transitional
inertia” are deployed by critics of “many worlds” and multiverse accounts.
Meanwhile proponents of the multiverse - and not only those who proclaim “if it
is possible, but has not happened here, then it will have happened elsewhere,
perhaps in many elsewheres” - see As It Was as an exemplar not of track
dependence, but of slippage across worlds. The time machine is also an engine
of displacement, which seems appropriate enough for Vernilak and his
compatriots.
Physicists have also taken the film
up, especially in America. Hy in particular claimed that it was seeing this as
an adolescent that prompted his lifelong fascination with the physics of time,
and led to his pivotal role in the development of quantum supratime theories. As
It Was (or more accurately, variants of the brief synopsis of As It Was
presented in several of Hy’s earlier studies) is regularly cited in both
popular accounts and cutting-edge studies. Disputed claims that laboratory work
is demonstrative of looping effects like those of the film have emerged from two
US teams, with researchers in other countries disagreeing about the substance
and/or significance of their claims. The debate is reminiscent of that over
so-called cold fusion a few years ago, though the expenses of the necessary
apparatus have meant that there is nothing like the rush to replicate that was
then evident. Meanwhile, there is the usual touting of alarmist fears about
unintended consequences of human meddling (“playing God”) with nature. The
current sensationalism resembles that around the Large Hadron Collider, which
allegedly was going to accidentally create a black hole into which we would all
disappear. The trajectory of quantum physics suggests that this controversial
field of study would have risen to the fore whether or not Vernilak had made
his film. Perhaps the intense debate about temporal paradoxes might not have
done. We might have been more preoccupied with the intricacies of worm theory,
as developed by Prinn, Bloch and their followers, who focus more on the
problems of dark time that are creating such stumbling blocks for analysis of
the Big Bang.
The message of As it was, is
an ambiguous one, but it can be seen as warning us against speculating too much
about what might have been had history taken a different course. One thing is
certain. Without the rise of quantum supratime, Netflix and their gaggle of
independent producers would never have hired Hy and his colleague Alhazred as
“advisors” to their forthcoming miniseries on Vernilak. Billionaires do
sometimes invest in vanity projects in space exploration or biomedicine, as we
well know: publicly listed companies less often. Historians and other
specialists are often employed as consultants in film and video projects: SF
movies will often have engaged astrophysicists and the like. But controversial
quantum physicists, whose work is barely comprehensible to most laypeople, are
another matter. Not only is the field of study unusual; according to
information given to investors, a large chunk of the “advisory” funding is
paying for laboratory research. What can
this mean?
We can dismiss the ideas floated on
some outlandish websites that this funding is intended to finance a
“chronoscope” (a device for viewing historical events), or even to build a
functioning time machine. The only piece of “evidence” for such ideas is an off
the cuff comment by Alhazred in one of his rare public appearances since the
deal with Netflix was commissioned. He said that he hoped to “establish the
truth” about Vernilak’s early life and to “test his philosophy of time”. These comments may be frivolous, or are more
likely to be misdirection. Perhaps the testing is purely theoretical work, and
the establishment of truth a matter of more archival study. The alarmists also seize on Hy’s recent
statements (reported by participants in several academic seminars) that he is
well on the way to documenting how transitional inertia can actually be
combined with his version of supratime theory. If this could be done, it is
implied, we can rest assured that interventions in the past (if such things
were possible) would follow the main thrust of As It Was, and not disrupt
history. Fearmongers have seized upon these statement as proving
that his team is hell-bent on more than subatomic time travel. But physicists
that I have spoken to insist that these statements are merely elaborating on claims
that he has made for many years now, and that alleged mathematical models have
yet to be fully elaborated, let alone validated by other researchers. (There is, at the time of writing, a call for
papers on this topic in the International Journal of Supra- and Hyper-time
Studies.)
If we dismiss the idea that any real effort is
underway to advance the study – let alone the practice - of time travel, what
is going on? I can see several possibilities, which are not mutually exclusive.
I think that it is most probable that the researchers are employed to provide
insight into the veracity of the miniseries’ treatment of time travel. Perhaps,
too, they are being consulted as to the equipment featured in As It Was,
why Vernilak chose the apparatus he did, how far it corresponds to modern
technology, and so on. Another speculation is that the entertainment
company is looking beyond Vernilak, and exploring prospects for further
documentary or drama series around the themes of time travel. Perhaps Netflix
is simply seeking to gain publicity and/or burnish their output with scientific
credentials. Among the more sane discussions on
the web, I am struck by two viewpoints in particular. At one extreme is the
group calling itself The WatchMen, along with numerous excitable commentators.
Most of these voices assume that time travel is not only possible, but its
deployment is imminent. They ask for radically new regulations and more
"responsible innovation" to govern this and other areas of science.
They demand that we properly understand the limits of temporal inertia, and
most of these commentators seek to ensure that nothing is done that might
substantially change the course of history. A few individuals have argued that
we have a duty to erase major tragedies from the past, making a progressively
better world. But the great majority of WatchMen commentators see this as
fraught with immense dangers - not least the obliteration of ourselves, since
major changes in history would probably undermine our own existence. The
possible investigation of Vernilak's past is a case in point. What if his death
were forestalled? We would then have access to the body of work that he might
have gone on to create… but would "we" still be we? My memory of writing
these lines would have been erased,
since I would never have been engaging in these speculations. My account
of his career would have taken some other form. Or what if time travellers
somehow interfered with his earlier life, perhaps in an effort to uncover some
of his secrets? Might be have been exposed as an agent? Might his life have
been ended, or taken different paths – he could have been inspired to be a
philosopher rather than a filmmaker? Could it be that an effort to discover the
real person would mean that the name Vernilak would never even have come into
being?
The second viewpoint is more mainstream. This echoes the
opinion of many scientists that such speculation is pointless, that the
advances in quantum time physics are of no practical significance. Their
scepticism about the possibility of transporting any significant material
backwards in time through time is expressed almost every time that they deign
to comment on the topic at all. Furthermore, some of them have remarked that there
is the issue of space, as well as time, to consider. Since the Earth is hurling
through space, aty an orbital velocity close to 30 kilometers per second, would
not a trip back in time, even one of a few minutes, mean that travellers would
find themselves propelled into a vacuum yet to be occupied by our planet.
(Consider the even worse consequences of emerging within the body of this
planet - the explosive consequences of
two bodies of matter attempting to occupy the same space at once.) There is
little reason to assume that that a time-travelling person (or other object)
would continue to move in synchrony with the Earth in its orbit round the Sun
(itself moving relative to other parts of the Milky Way, which in turn is
moving relative to other galaxies…).
Relativity theory tells us that space itself is not some static
unchanging grid. I confess that I get lost in the scientific arguments about
whether there are any mechanisms that could enable an object displaced in time
to retain a stable relationship with persisting elements of their environment.
What I can deduce, however, is that these are only the most immediately
striking of a large number of problems articulated in academic journals and
more popular media. It is also apparent
that the Watchmen and their ilk have displayed little interest in engaging with
such issues. Until they can systematically refute the objections from
mainstream scientists, their alarmism warrants little attention. But then
again, perhaps the Netflix series will in some way build upon the arguments. If
the researchers they have hired are advising precisely upon this, the outcomes
are going to be, shall we say, interesting.
Vernilak’s name will live on in one
way or another. He will be more than a footnote in the worlds of philosophy and
physics. If Hy’s hypotheses prove correct, and supratime becomes an established
paradigm, he may become today’s version of Newton’s apple. Beyond that, hopefully
he will be best remembered as a virtuoso and creator, as a pioneer of East
European and indeed world cinema, and as one of the giants who brought SF into
mainstream respectability. Whatever spell is cast by the Netflix drama, the
embroidery around his life is unlikely to overshadow that reputation. The miniseries,
if completed, will surely bring more people to his work. We can then look
forward beyond As It Was, to As It Will Be.