Showing posts with label adventure classics. Show all posts
Showing posts with label adventure classics. Show all posts

Monday, 15 December 2008

The Basingstoke Chronicles - Coming 2009!


April 2005. It began as a short tribute to my favourite Victorian-era adventure writers--Wells, Burroughs, Verne, Rider Haggard. Six months later it was a fully-fledged time travel novel with fun characters and a grandiose plot. I'd never really intended it for publication, at least not in the style I wrote it. But earlier this year I revisited The Basingstoke Chronicles and, to my genuine surprise, found an enthralling yarn buried in the grandiloquence. My next task was to re-edit, re-shape, re-write the entire text, trimming the fat while still maintaining that old-fashioned charm and flavour. No mean feat, considering my latest sci-fi short, Save the World, Tax-Deductible was the most cynical thing I'd ever written.

So it came as quite a shock last week when I was offered an eBook contract for The Basingstoke Chronicles!! I'd submitted it to Uncial Press because I love the specific historical periods featured in their books--Regency, Edwardian, Victorian. My novel wasn't so specific, yet it was a throwback to the formal vernacular and style inherent in those periods. Turned out to be a good match, and I'm thrilled to have found Basingstoke such a fitting home.


Take a look at the prologue (unedited):

The Basingstoke Chronicles/Robert Appleton/Time Travel Adventure



Prologue

My name was once Pacal Votan. How the two rarest flowers on Earth came to rest a mere few feet from where I sit every evening for dinner is a tale many years in the telling. I have never been one to exaggerate - being a man of science, such is not my nature - nor am I prone to lend weight to unlikely claims, especially when their basis is un-scientific. Therefore, to the fantastical elements of this story I am forced to lend the more illustrative voice of my good friend, Lord Basingstoke: a man whose daring propelled him a great distance to find me; a man for whom the unlikely is, and always was, only ever a matter of time.

Throughout that winter’s night on the shingle of Ten Gulls Beach in Devon, southern England, I believed every word of my companion's absurd account. So too, now, do I remember them. The flames from our campfire resisted the onshore breeze with zeal. We had hoped to find a more sheltered spot in which to dry ourselves, but had happened upon only a rudimentary cove. The frank moonlight distilled enough rocky shapes and creeping lines of surf for my every thought to feel stolen or in harm's way.

"Strange, after all we've been through," I said.

"What's that?" replied Lord, rubbing his hands in the heat.

"How such a harmonious place can give me - what was that word - the creeps?"

He laughed, recalling the last time he had heard that term used outside of its original dialect. "Oh, just before the journey began – about seventy-eight years from now," he said.

I shook my head in mock disbelief. The year was nineteen hundred and one. Across the beach, I spied the shape of our vessel bobbing like the neck of an empty bottle, inconsolable in dark silhouette, an ocean messenger bereft of its long-held message.

"The fellow’s name was Rodrigo Esteban Quintas, my diving partner from Cuba. We had hired a research vessel for some serious underwater work," he continued. “And by work, I mean spending a scorching summer in cool, turquoise seas, searching for sunken treasure. Hey, we were the hardest workers of any rich people I knew."

I had to interrupt, "How rich were you, exactly?"

"Rich enough to make a difference and too rich to care. Let's just say if we were in nineteen seventy-nine, you wouldn't be sitting so close to me without a title of some kind - Sir Votan perhaps, or Duke Votan. Seeing as you're a foreigner to these parts, an honorary Count might suffice."

My friend's manner was often so aloof it would veer between outright arrogance and a tone that was utterly endearing without a second's warning.

"Here! Here! Count Pacal Votan, emissary from a distant land, has arrived at this fair isle with a priceless secret for us all and otherwise not a clue. Let us drink a toast to his brazen heroics and sadly poor grasp of English colloquialisms."

With that, he produced his familiar, gilded-silver whisky flask. Alas, as he tipped it, it was empty.

"Damn your hide, man. What did you fill it with?"

I replied with a sheepish whimper, "I didn't."

Despite his insistence at my being out of place, it is Lord Henry Basingstoke who will always be the anachronism. But what great adventurer isn't? To say Columbus or Alexander were simply products of their times is paradoxical, for history tells us the reverse is true. While events may have aligned for conquest, their eras have become the products of their own legacies. The discovery of the New World belongs to an Italian, not he to it; likewise the forging of an Eastern Empire to a Macedonian King. Man creates history, and time - that most cold inevitability - can be made to bow to these bold, aberrant figures.

Lord (as I liked to call him) is one such figure, though I thoroughly doubt he would agree. An Englishman in every sense of the word - from what I have come to know of them, that is a fine compliment - he relishes every challenge life has to offer as surely as every comfort. As he sat opposite me on Ten Gulls Beach, orange firelight waving shadows across his animated face, I knew it would probably be the last time I'd see him. The telling of his great adventure, of which I had only been a small part, was his parting gift to me - the culmination of our friendship through time.

And I miss him to this day.

Though written from memory, I could not have fashioned this account any closer to Lord Basingstoke’s own words without excluding myself from the latter chapters, for that was how he told it to me. This I have remedied by telling it as he would to a stranger. As far as possible, I have tried to assume his mannered dialect. This upper class way of speaking is, it seems to me, both timeless and proper.

So it is here that I'll submit, as I did then, to his incredible tale: the adventures of a fine gentleman as told to me, a humble listener, on December 16th, 1901.


The Basingstoke Chronicles has a tentative release date of September 2009 at Uncial Press.


Thursday, 27 November 2008

Adventure Classics: Book to Film - Part 2

H Rider Haggard

I have to confess I've only ever read Haggard's two most famous novels, King Solomon's Mines and She. But what novels! The first, and arguably the most influential adventure story since Homer's The Odyssey, is an infectious high of daring characters, exoticism, and journeying into the unknown. An English aristocrat teams up with a Navy captain and the most famous white hunter in Africa, Allan Quatermain, to find the former's lost brother, who was last seen on a treasure hunt. They are guided by a map to the fabled King Solomon's Mines, which Quatermain doubts ever existed. Haggard's goal is a potently simple one--to transport you mind, body and soul to the wilds of darkest Africa. I've read the book three times, years apart, and loved it each time. Simply put, it's the adventure story.

Of the many film versions, I've seen three. They span fifty years of Hollywood history, and the comparisons are fascinating. The earliest of these was made in 1936 and starred Cedric Hardwicke (stoic as ever) as Quatermain, and perhaps most intruigingly, black singer Paul Robson as the mysterious native they befriend along the way. The musical interludes are actually a nice touch; they heighten the film's romanticism between action sequences. With it being black and white, the jungle scenes suffer in comparison with later versions, but there's striking cinematography on display--the whole film is gorgeous to look at. But what I like most about this version is its relative faithfulness to the novel. Characters are added or omitted, and there's a godawful romantic subplot (Haggard left the women at home), but particularly in the second half, the book's most memorable scenes are vividly brought to life. We even get to spend a decent amount of time in the mines themselves, something sadly lacking in the 1950 version. Overall, I'd rank this one highly as a film and as an adaptation.

My favourite King Solomon's Mines starred Stewart Granger as Quatermain and Deborah Kerr (regal actress, stunning redhead) in 1950. Two directors travelled to Africa to film the wildlife and primordial landscape, while also managing to squeeze in a quietly powerful love story. It's the epitome of English adventuring--abrupt manners, stubborn pigheadedness, and repressed attraction that slowly boils to the surface. Granger and Kerr look and sound fantastic. That the plot takes a back seat is surprising when I think of this as my fave version, but it has more to do with Granger being the perfect Quatermain than anything else. There's also a frightening (and real) stampede, a canoe trip, and various other perils along the way. The finale is very much scaled-down from the book, but it's a quiet, satisfying ending to this particular romance.

The 1985 romp was an embarrassing mishmash of trendy heroics and daft comedy (it had to compete with both Indiana Jones and Romancing the Stone). A fine actor like Richard Chamberlain would probably have made a superb Quatermain in a straight version; he even had the thin physique of Haggard's hero. But the whole project was souped up and dumbed down. A case in point: Sharon Stone as the female lead! It seems Hollywood is incapable of filming this story in its original, all-male format. Of the three versions, this one is by far the weakest, and frankly should have a different title, as it bears no resemblance to King Solomon's Mines.

Haggard's second hit was another adventure into the exotic. He wrote She in just a few weeks, in what he called a state of "white heat". Again, it's a variation on the treasure hunt, with three companions journeying into the unknown, but this time there's something decidely supernatural at work. The eponymous lady is in fact Ayesha, a powerful queen who hasn't aged in millennia. Her secret is a strange flame that renders anyone who steps inside it immortal. She rules her ancient kingdom with brutality and superstition. In the story's most famous twist, she reveals this secret to one of the adventurers, whom she believes to be the reincarnation of her long-dead lover, but when she demonstrates the effect by walking into the flame, it reverses her immortality, and she crumbles before his eyes.

The 1936 film adaptation of She is purportedly the best, but I still haven't seen it. That leaves Hammer's 1965 version, starring Ursula Andress, John Richardson, and those two great horror icons, Peter Cushing and Christopher Lee. Being a British production, it's relatively low-budget, but, by that same British token, looks a lot more expensive than it is. There's a nice array of cave interiors, temples, and exotic costumes. I always enjoy this one for its cast, and the fact that it stays fairly close to Haggard's fascinating story. The most famous thing about Hammer's She is Ursula Andress as Ayesha. I think she's well-cast. Striking looks and monotone delivery an exotic queen doth make. Cushing and Lee are good, as always, and there's no shortage of nastiness towards the end. All in all, a pretty good version of a great book.


Edgar Rice Burroughs

If you take away Tarzan, poor ER Burroughs is the most unfortunate author on this list, in terms of screen adaptations of his work. I've read the following books of his, all of which would make terrific family films: The Land That Time Forgot, At the Earth's Core, Pellucidar, A Princess of Mars, Gods of Mars, Warlords of Mars. So what went wrong?

Unfortunately for Burroughs, it's pretty much all been about the jungle guy. Tarzan has overshadowed his other books so completely in the public eye that, even though they were all successful, none has been able to out-muscle audience demand for yet another Tarzan adventure. The Land that Time Forgot was brought to the screen in the seventies. It starred Doug McClure and Susan Penhaligan, and, on balance, was the best of that particular cycle of cheap monster flicks (all starring McClure). Actually, the first half an hour or so of The Land that Time Forgot is rather great. A group of American and English survivors manage to take over the German U-Boat that sank their ship. For the next few weeks, there is a tense seesawing of power on board, the ultimate result being that they end up thousands of miles off course, at the long-lost island of Caprona, a prehistoric world. The film tweaks the books's opening chapters somewhat, but the characters, scenario and action are deftly handled. It's an engrossing start. And to be fair, the remainder of the film is never boring. Despite woeful dinosaur effects, there's always a sense of escapist fun. The ending, too, is admirably faithful to Burroughs'. But I can't help thinking that a modern-day remake would be spectacular.

Same for At the Earth's Core, Burroughs' compelling adventure set in a hidden world deep underground, at the centre of the earth. The land of Peullidar has its own sun (a bright "core"), various disparate human tribes, and a race of hideous, telepathic bird-like creatures called the Mahars, overlords of this realm. Out two heroes, having burrowed down in a proptotype "giant mole", have a hard time resisting the Mahars and galvanizing the tribes into insurrection. Sweeping adventure, corny plot twists, etc. give the story a delightfully juvenile vibe. It would make a terrific matinee movie for kids. Unfortunately, the 1977 attempt was by the makers of The Land that Time Forgot. Cheap sets, feeble sound effects, crummy acting, and maybe the worst monsters ever paraded on screen sink this one like a stuffed diving bell.

In terms of potential, nothing anywhere in this list compares to the scope of Burroughs' great Martian series. He wrote a dozen books in all, I believe, and while I've only read the first three, there was so much imagination in those pages that only a mega-budget Hollywood movie would ever do it justice. That's probably why it has been mooted/started/rumoured/planned/slated for over eighty years. At one point, Ray Harryhausen considered it. Lately, at least five big-name directors have been attached. There's one thing for sure--it could never have been done satisfactorily before the advent of CGI special effects.

John Carter is a Civil War Confederate soldier on the run. One night, in a high cave overlooking the desert, he is whisked away to planet Mars, or what he learns, from its inhabitants, is called Barsoom. Naked, but possessing great agility (due to the lower gravity), he quickly becomes a feared warrior on Barsoom. He befriends a fearsome, twelve-foot green Martian called Tars Tarkas, and finds a loyal pet in multi-eyed, multi-fanged, multi-limbed Woola. But most important of all, he meets lovely Dejah Thoris, the most beautiful (and also naked) woman on the planet, whom he later finds out is none other than a princess of Helium. Carter's various battles, conquests, adventures etc. grow ever more ambitious and dangerous. Spectacular is the world, and the word. It's Burroughs' most gleeful creation--everything you could possibly want from a Martian adventure. Hopefully we'll get to see it some day.


In closing, I'll leave you with my top five books and films from this list. See how many you've read/seen, and if there are any you haven't, I hope I've convinced you to seek them out. It really is like taking a trip back in time. A timeless one.

Cheerio,

Rob


Top Five Books

1. Mysterious Island
2. King Solomon's Mines
3. A Princess of Mars
4. War of the Worlds
5. The Time Machine

Top Five Film Adaptations

1. War of the Worlds (1953)
2. 20,000 Leagues Under the Sea (1954)
3. The Time Machine (1960)
4. The Invisible Man (1933)
5. King Solomon's Mines (1950)