Westworld (1973) Retrospective

[@luxuryreviewsalways]

Great channel, thoughtful and erudite analysis that, thankfully, isn't click-baity or 3 hours long. Few film suggestions for you Get Carter (1971) and Kind Hearts and Coronets (1949)

[@FilmJournal]

Really appreciate that. Need to do a Michael Caine movie- good call

[@QualityCandor]

Excellent video as always. Fun Fact: 1972's "Pursuit" was the first collaboration between Crichton's most regular composer, Jerry Goldsmith, who'd follow him onto films like "Coma," "The Great Train Robbery," and "Runaway."

[@FilmJournal]

Thank you very much, and yes I should have mentioned that- I was shocked to see goldsmith's name pop up in the opening credits for a TV movie, good score.

[@QualityCandor]

@@FilmJournal I'm sure he'll make his way into the "Coma" video lol. And "Runaway" when you get to it. Crichton always got something unique from Goldsmith in their collabs and it always enhanced the films they teamed on.

[@fellowcitizen]

There needs to be a boxed set of blu-rays for Crichton's films ASAP

[@FilmJournal]

Right!

[@chanceotter8121]

Crichton’s ‘Andromeda Strain’ and ‘The Terminal Man’ were the first “grown-up” novels I read around the time ‘Westworld’ came out. I loved the paperback script of the film that came out that included a wonderful essay by Crichton on the process of making the film. As a kid it was exciting to read and helped flame my love of film.

[@FilmJournal]

Read Andromeda Strain a few weeks ago and really enjoyed it. Bought an old hardcover copy of Terminal Man and that's next on the list.

[@SamiksPersonalChannel-ug6qh]

I was trying to rename my channel to "Film journal" so I just did a quick google search and found this channel. And I can see this becoming one of my favourite channels very soon! I usually watch the videos in 1.5x or 2x speed but your pacing is absolutely fantastic. I am going to make my channel but just not call it Film Journal. But I am definitely going to steal a lot of ideas from your video, especially the speed of how you talk! Loved the topic as Michael Crichton is one of my favourite sci fi authors although I haven't known a huge lot about him. Thanks for bringing his name back to my mind so prominently as Westworld (the first season) is one of my absolutely favourite with Ed Harris and Anthony Hopkins! Looking forward to more essays!

[@FilmJournal]

People have criticized me for talking too fast but I find it more comfortable to present when I read my script. Good luck to you and your channel. Sorry I scooped your name. If I could do it over I'd have picked a better name than Film Journal- you'll think of something good

[@SamiksPersonalChannel-ug6qh]

@@FilmJournal Thanks! Channel like yours inspire me! Maybe we can collaborate sometime later! Not sweat about the name, haha, I think I'll keep the current one.

[@SmartCookie2022]

Great review. You're right about Brynner's gunslinger being a precursor to The Terminator. Schwarzenegger even admitted that he copied Brynner's body movements and facial expression from Westworld for his role in The Terminator. *PS* I actually saw Futureworld (1976) at the cinema and was bitterly disappointed with it. Not only was Brynner's gunslinger only featured in a throwaway dream sequence (mis-sold in the advertsing and trailers), the entire movie was a snorefest for this particluar young kid in '76.

[@FilmJournal]

Did not know that! I liked Futureworld fine and I actually really appreciate dit's fealty to the original. The Yul Brynner thing was a massive rip off. I thought the robot bartender would be revealed to have been the Yul Brynner Robot the whole time and come back swinging at the end- missed opportunity.

[@sharkusvelarde]

Copied what facial expression?

[@dr.impossibleofcounterpunc1984]

Harlan Ellison concept in Soldier from The Outer Limits was the blueprint for The Terminator. I wonder if Crichton had seen the episode from the 1960s United Artists series and applied it to Westworld. As to whether Crichton was familiar with Ellison's work is another matter at that time. Possibly.

[@cullenworkman9975]

Awesome video

[@FilmJournal]

Thanks man!

[@VideoTasties]

I was a big Crichton fan in the 90's and Runaway was one of my favorites in the 80's

[@FilmJournal]

Runaway is great- I think Looker is a legitimately good movie and very creative.

[@mightisright]

My grandfather had all the Crichton paperbacks and I read them. Sphere is the one that I loved the most until they made that awful film adaptation. Looking back, JP and Andromeda Strain are the only excellent adaptations from the books. But if you read this, please watch Michael Crichton speak for himself. Him and Charlie Rose together.

[@MosesWine]

Your thoughts on West World are spot on. They reflect my own very closely. I think Coma is a stronger effort and The Great Train Robbery does not get enough love either.

[@FilmJournal]

get excited for the Coma review- it's a great movie. Thanks for watching

[@wimvanderstraeten6521]

Apparently Crichton got the idea for Westworld when he visited the Pirates of The Caribbean attraction at Disneyland and wondered what would happen if the animatronics would revolt and would try to kill the visitors.

[@FilmJournal]

Crichton had a great imagination

[@thedudeabides3138]

Great essay, well done. Immediate Sub and Like.

[@FilmJournal]

That's awesome! Love to hear it

[@dr.impossibleofcounterpunc1984]

Crichton could be quite a gimmicky writer. You often found Crichton had this issue with developing characters in books. This did translate to film. Jurassic Park is one example. Whilst not asking for the moon, stars, and the universe, you often find this becomes noticeable in the books. Crichton liked testing the waters with high concept ideas that he read about or got wind from close associates in certain fields of expertise, which certainly helped mould and develop the cementing of ideas in filmmaking. Airframe was an exceptionally complicated book to adapt to the screen, but I often found his characters lacked multidimensional thought. Though every idea Crichton had was in part compelling and measured. Had Airframe been made from book to screen, you would probably need an exceptionally well versed scriptwriter with a thoughtful and articulate visionary with an understanding of aeronautical engineering as a director. 😊

[@FilmJournal]

Would you recommend airframe? That sounds kind of intriguing to me. And yes, his characters can either be drawn a little thin- or they are his clear stand in character like Ian Malcom or John Kenner in State of Fear. Which I honestly kind of appreciate.

[@dr.impossibleofcounterpunc1984]

@FilmJournal The vagueness of Crichton's characters might be deliberate or maybe not. Crichton was not the easiest man to get under the skin with. I was thinking about Rising Sun and the corporate takeover of America by the Japanese. One aspect that was played around with on the set of Lost World: Jurassic Park. Remember the Japanese executives running for their lives from the encroaching T-Rex? MCA was under the influence of corporate Japanese affairs at the time. But the rising sun and takeover of America by Japanese multicomglomerates never truly materlized the way Crichton invisiged in the book Rising Sun. On the subject of Airframe. I would say read the book. The book is probably Crichton's best work in physical form. Constructively, Crichton is able to be compelling and direct with the subject matter. The corporate areanoutical industry and the fallout. Disclosure was good in book form, but now looks tired and dated in film form. Some of the interesting concepts and ideas by authors often get lost in translation when Hollywood scriptwriters get to work adapting their own image of the book. Airframe would've ended up like Disclosure. So maybe airframe is better off in book form. At least you can understand the subtext and relationship of character more. Something Crichton lost in other book to screen adaptations to a degree.

[@Water_Rabbit]

I never understood why they couldn't perfect hands. The entire human body replicated and with AI but they couldn't do hands. And Yul is a robot gunslinger. Hands are a gunslinger's livelihood.

[@FilmJournal]

Yeah- seemed like a dumb gimmick that never really gives away the robots. Like, usually if you introduce something like that- there will be a scene where they think someone is human but then they notice his hands, right? It should have been something more subtle- like the reflective eye thing in Blade Runner. Yup Brynner actually has those cool silver contacts in- that would probably have been enough.

[@n_n_n_n_n_n]

Good afternoon, to my fellow robot disrespectors only.

[@FilmJournal]

Let's gooooo

[@samuraijacques952]

Adaptation

[@williamblakehall5566]

I look forward to Coma. Unfortunately, I was distracted by your use of what I consider to be an unworthy and sneakily growing neologism, "adaption" rather than "adaptation." It does distress me and leaves me wondering if we'll ever swing the other way, seeing couples visit orphanages to "adoptate" children.

[@Polina_Gif]

Hey George! Great video! I'm a KZbinr in a similar niche and wanted to connect with you about a potential collaboration or paid integration. I couldn't find your contact information, so I'm reaching out here. If you're interested, please let me know how we can continue this conversation. Thanks! :)

[@FilmJournal]

Yeah, that'd be cool- what did you have in mind? I don't think payment is necessary. You on Twitter? You can DM me there x.com/FilmJournalGuy

[@JakeKaufmanFilms]

I’m usually not this mean on here, but I hate this review bc it’s the kind of cutesy academic word salad that serves only to nullify the anxiety this guy had while watching a movie about really tough manly men. It portrays something raw and real about male relationships and power that he cannot allow himself to entertain. I’m no tough guy either, I wouldn’t- couldn’t- hang with this biker gang. But I can’t imagine disparaging the movie and reducing it to a “deconstruction” of masculinity in the movies when clearly it’s about something so much more. This kind of analysis robs one of having a visceral reaction to a film and instead tucks art away into a little box where it’s not scary anymore.