“Power is fleeting. Love is eternal.”
Krull, 1983 (Ken Marshall), Columbia Pictures
American novelist Stephen King once described Stanley Kubrick’s adaptation of his book, The Shining, as a “… great big beautiful Cadillac with no engine under the hood. You could sit in it, enjoy the smell of the leather upholstery … the only thing you couldn’t do was drive it anywhere.” Krull from 1983 is the Cadillac of science fiction/fantasy motion pictures. Derek Meddings’ production design is an incredible feast for the eyes. James Horner’s Star Trek-like musical compositions are appropriately epic in scope. The visual effects and photography are awe-inspiring. Lysette Anthony is unbelievably beautiful as the damsel-in-distress Princess Lyssa. Unfortunately, the movie takes us nowhere but the back-alleys of Star Wars retreads.
When the Princess is abducted by the evil “Slayers” interrupting her wedding to Prince Colwyn (Ken Marshall, resembling a young Richard Chamberlain), he summons the power of the “Glaive”, the five-bladed handheld pinwheel that looks like an over-sized throwing star seen in the film’s promotional advertisements (and which I’ve always wanted to own), from the top of a mountain and bands together with a motley crew of criminals (among them Liam Neeson and Robbie Coltrane in early roles) in a bid to rescue her. While we have our requisite laser light show, Krull is a movie that favors swordplay, Errol Flynn-style leaps from balconies, and swinging from chandelier ropes. The strange, slimy, tentacled “Beast” informs the Princess that she is to marry it, perhaps to destroy the prophecy of the “girl that shall become queen.”
Colwyn is tutored by the wizardly Ynr (Freddie Jones as “The Old One”), collects his “merry” men, and heads for the Black Fortress, the stunning starship/castle that appears to be built out of a mountain. In a narrative reminiscent of Bert I. Gordon’s The Magic Sword, Colwyn and his band of mercenaries must overcome disparate “challenges”, such as a misanthropic (and rather unpleasant) cyclops, various illusions conjured by the Beast, and assorted Slayers sent to assassinate Colwyn. Meanwhile, Ynr must monitor his sands of time (given to him by ex-girlfriend, The Widow of the Web); for when the last of the sand diminishes, he will die. It’s nice to know when you’re gonna go, is all I’m saying! I remember being frightened by the giant spider in the movie when Ynr traverses an enormous web to to see his old squeeze. Giant spiders freak me out!
An enormously expensive movie (for the time) when produced, Krull would’ve benefited from substantial rewrites. As it stands, the performers merely serve as window-dressing for truly beautiful art direction, cinematography, and stunning action set pieces. Krull is everything I love in science fiction and fantasy, except that it lacks substance. The story is a lazy mix of Star Wars, Lord of the Rings, Clash of the Titans (another early cable favorite of mine), with a little bit of Robin Hood and Jason and the Argonauts thrown in for good measure. Recently, I watched an excellent high definition transfer of the film, and as much as the technical aspects of the film are heightened by it, the deficiencies of the editing and screenplay are displayed as well.
Our first cable box was a non-descript metal contraption with a rotary dial and unlimited potential (with no brand name – weird). We flipped it on, and the first thing we noticed was that the reception was crystal-clear; no ghosting, no snow, no fuzzy images. We had the premium package: HBO, Cinemax, The Movie Channel, MTV, Nickelodeon, CNN, The Disney Channel, and the local network affiliates. About $25-$30 a month. Each week (and sometimes twice a week!), “Vintage Cable Box” explores the wonderful world of premium Cable TV of the early eighties.
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