I know it's wrong to even consider the characters in the movie as actual entities with personalities, but why did Consuela's attitude toward Sean Connery just flip like a switch? You're a horrible beast, oh, no, whoops, I mean let's get married. I imagine the RAW AWESOMENESS of Sean Connery and his little loincloth was just too much to ignore or something, but who really knows.
That's a very typical sixties/seventies kind of idea, though, particularly where Sean Connery is involved. Think of Pussy Galore in Goldfinger: she flips to the side of good (and, I think it's implied, heterosexuality) because James Bond essentially rapes her, or tries to until she starts to like it, I forget which. Also, in that era there was this whole mostly-well-intentioned idea of raw sexuality overcoming crushing conventionality by BLOWING CONVENTIONALITY'S MIND, which got mixed up with a bunch of wholly unsavory ideas about deflowering the stuck-up ice queen.
I'm ashamed to say that the first time I saw Zardoz, when I was a graduate student and easily impressed by pretentious stuff, I was kind of favorably impressed by how it actually attempted to pull together a lot of basic science-fiction ideas in an ambitious way, and I didn't hate it overall. The second time I saw it, the "oh, come on" reflex kicked in. I mean, it's just a completely ridiculous movie, and the good ideas that are in it were done way better by Arthur C. Clarke in The City and the Stars.
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branchandroot
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Date: 2007-01-15 05:17 pm (UTC)That's a very typical sixties/seventies kind of idea, though, particularly where Sean Connery is involved. Think of Pussy Galore in Goldfinger: she flips to the side of good (and, I think it's implied, heterosexuality) because James Bond essentially rapes her, or tries to until she starts to like it, I forget which. Also, in that era there was this whole mostly-well-intentioned idea of raw sexuality overcoming crushing conventionality by BLOWING CONVENTIONALITY'S MIND, which got mixed up with a bunch of wholly unsavory ideas about deflowering the stuck-up ice queen.
I'm ashamed to say that the first time I saw Zardoz, when I was a graduate student and easily impressed by pretentious stuff, I was kind of favorably impressed by how it actually attempted to pull together a lot of basic science-fiction ideas in an ambitious way, and I didn't hate it overall. The second time I saw it, the "oh, come on" reflex kicked in. I mean, it's just a completely ridiculous movie, and the good ideas that are in it were done way better by Arthur C. Clarke in The City and the Stars.