Thor – the extended trailer, and Source Code – an ill named, ill conceived, illustration of why time travel movies suck
What should have been a really cool chapter in the Marvel comix/movie build up to the Avengers was a dreary exercise best described as a perfunctory pronouncement. It was less of a movie and more of an extended trailer.
Filmed and directed with great flourish, a powerful sound track, and beautiful actors, who were all sitting around waiting for a cohesive story to come along and give some meaning to their existence. Alas it did not. To make matters worse, of all the interesting enemies that Thor has battled over the last 50 years the frost giants might have been the least interesting and least plausible. This is because according to the Vedic theory of film criticism, mythological personalities have resonance with humans because at some level our sub-conscious recognizes that these are not made up ideas but rather reflections of something that actually exists in dimensions now sealed off to us.
We may not have an abundance of evidence for the existence of mythological beings, but we do have enough to consider it as a hypothesis. It can hardly be a coincidence that all cultural cosmologies share an amazing number of attributes among their descriptions of mythological beings. It is a bit too facile and poor scholarship to simply relegate this phenomenon off to shared subconscious archetypes. As open-eyed scientific observers we should consider the possibility that other life form yet undiscovered by everyday science may exist. According to the Vedic model demigods, fairies, ogres, angels, demons and all manner of extra-human being are real.
But frost giants do not have a place in the pantheon of potentially real persona. They are a dumb concoction of the marvel writing team of Stan Lee and his brother. The Norse mythology does describe the jotunn or giant and demon races, similar to descriptions in Vedic texts. But frost giants were simple a very weak substitution. Though these were some of the first villains described in the original comic, the film makers took so many liberties with the origins story they could easily have made the frost giant into real giants with more reasonable powers.
The story would also have been better if it had clung to the aspect of the original story that made it such a valuable comic in the silver age of the 60’s (I remember finding a forgotten trunk in a storage shed in the early ‘70’s, filled with many of the original Thor comics and loving every minute of reading their musty smelling pages.) In the original story Odin banishes Thor to earth where he becomes Donald Blake medical student and lives as an ordinary mortal. Eventually he reconnects with his hammer and for a time lives with a dual identity. The film makers decided to jettison all this in favor of a parade of special effects and muscle flexing. The result is a film that is all form and little content.
Recommendation: if you are, like me, a fan of the Marvel Comic world and you are counting the days to the release of the Avengers movie, you pretty much have to see it. Everyone else, stay home and watch something else.
Source Code was a film filled with potential. It had an intriguing theme, that when we die enough of our mental energy persists in the three-dimensional realm that if you could capture it or contain it you could mine it to explore the experiences and sensory input of those last moments (eight minutes according to the filmmakers). But sadly the filmmakers took that potentially interesting concept and rammed it into a bad Hollywood action romance. A world where our hero is repeatedly experiencing eight minutes of somebody’s last moments alive before being blown to bits by an anti-government atheist. A sort of Ground Hog’s day that descends into hyper incredulousness because in this person’s eight minute memory the internet works, you can call people the memory keeper didn’t know (like the hero’s father) and you can go places that they never went; even get off the train and run around a train station that clearly wasn’t in memory. But let’s say we give them all that. Let’s be a bit flexible and give these befuddled writers some leeway. Unfortunately they will return the favor by resorting to one of the weakest and worst cinematic devices known to filmkind: time travel.
The reason time travel is such a crummy ploy, at least according to a Vedic theory, is that traveling back in time is impossible. According to both physics and Vedic rules time is one directional. And nothing can reverse events transpired in the past. In the Vedic view time is an incarnation of God known as Kala. Hence the famous verse, “Time I am, the great destroyer of worlds.”
It has always felt to me as though the plethora of time travel themed movies share an almost pathological evidence of God Envy. It is the bitter longing of the religious atheist to fantasize about the ability to bend or reverse time. It is even understandable. But as a plot device it remains a creative intransigence. A time travel plot is that most immoral act of writing: it lacks imagination.
Recommendation: not worth the price of a movie ticket at the theaters and not worth the time of an intelligent working person on DVD or Netflix.