Post-WWII America was a savage battle between the conservative and liberals, each tugging desperately until the whole damn thing shattered like a piñata, showering the sixties in free love and whatever other excuses they had to take drugs back then. Winding and hollering their way through like uncaged beasts, carried by a wave of unbridled love, hatred and LSD-spiked orange juice was the Merry Pranksters. Not old enough to be hippies and too old to be beatnicks.
Led by the esteemed author of One Flew Over the Cuckoo’s Nest, Ken Kesey, and with Jack Kerouac’s travelling companion, Neal Cassady, behind the wheel these angel-headed hipsters embarked on a road trip across America. Their carriage was a 1939 International Harvester school bus called ‘Further’, coated to the decks with violent and unimaginable patterns of day-glo paint. Their goal was to shove a firework of truth so far up Conservative America’s arse crack, Congress would be singing stars.
Before now, the remnants of this trip survived in Tom Wolfe’s novel, The Electric Kool Aid Acid Test, and over 100 hours of 16mm reels and audio cassettes, recorded on the trip and passed through the projectors of a select few. That was until Oscar-winning director Alex Gibney (Taxi To The Dark Side) teamed up with Alison Ellwood (Gonzo: The Life and Work of Dr. Hunter S. Thompson) to bring the 40-year-old footage to the silver screen, enterMagic Trip.
The film documents the Prankster’s voyage across America from the West Coast to see New York World’s Fair, ‘The World of Tomorrow’ and a glimpse into the dysotopian future many had predicted. Their travels became embedded into American culture as the first time the little known drug LSD was cast so recklessly into the public eye. The hallucinogen had originally been tested by the CIA to use in interrogations but the Pranksters saw it as a creative potion to warp their mental boundaries. Kesey was never a political anarchist, he simply wanted to batter down the doors of perception and see what came out. In his words, “I’d rather be a lightning rod than a seismograph”.
The result, and something captured so intimately in the film, is a band of teaheads with names like Gretchen Fetchen and Mountain Girl, bombed out of their gourds, babbling their way across America. One pastime, ‘tootling the multitudes’. was to take acid and sit on top of the bus with a flute, capturing onlookers’ reactions with the notes they played. America didn’t know what hit them, one policeman let them go over after he mistook their outfit for a college prank.
After six years of piecing together the footage captured so brilliantly and haphazardly by the Pranksters, this film promises to be the most immersive view of a group that pioneered America’s cultural charge into the sixties. Famous cohorts of the Merry Pranksters included poet Allen Ginsberg, Gonzo journalist Hunter S. Thompson and the Hell’s Angels Motorcycle Gang.
Director Alison Ellwood commented after first watching the footage, “I felt like I was a kind of ghost passenger sitting on that crazed painted bus. I could smell the fumes, feel the heat of the desert and sense my heart pounding as I barreled across the roads, my life in the hands of a genius/madman behind the wheel”.





















Bright Spark or Flash In The Plan
What does the future hold for 3D cinema?
With dwindling audiences and disappointing effects, doubts have been cast over the long-term prospects of revolutionary cinematic format, 3D. A recent survey by research firm Ipsos Mori suggested that people in 2010 were seven times more likely to see a 3D film over its 2D counterpart than today.
Cast a glance over recent box-office figures and this frank message may not come as a surprise. According to the ‘Economist’, 3D films’ share of US box-office revenue has decreased 20% from late 2010 to July this year. This despite the country’s addition of over 5,000 3D-enabled screens. The record-breaking box office hit, ‘Harry Potter and the Deathly Hallows Part 2’, compounded any disappointment when it collected just 43% of its sales from 3D in the US. In comparison, 3D was responsible for over 80% of 2009 hit ‘Avatar’s’ grossing. Is the novelty wearing off for cinema’s latest plaything?
For one, directors have publically declared disillusionment with the technology. Batman rebooter Christopher Nolan has avoided including 3D in his highly anticipated finale ‘Dark Knight Rises’, claiming the technology might hinder the scale of the movie. At a press conference for the upcoming Tintin movie, maestro Steven Spielberg declared the format as “not for everybody” and suggested it was used by some directors as a commercial tool without understanding its different directional requirements. (We’re looking at you, Piranha 3D).
Or Should we say Piranha 3DD?
On top of this, various discomforts have been reported by many 3D audience members. A study by the California State University found that watching the format trebled the risk of eyestrain and headache. Much has been made of the nausea some 3D scenes induce. In the wrong hands, this technology could see a change in the role for popcorn buckets.
The killer blow has to be the audacious move of cinemas to ask audiences to wear plastic glasses for the whole movie. This being a general public who stubbornly expect machines to run their lives and bawl at the slightest technological inconvenience, such as two or less bars of Wi-Fi. You may as well ask them to cross into Hades then concede anything to the machine.
In some cases, 3D gives directors a mandate to discard traditional elements of a movie, such as plot, to focus on delivering the ‘full 3D experience’. Which, to paraphrase, means filming a continuous explosion for 90 minutes, throwing in the occasional strip of magnesium for dialect. The meek will not inherit the genre.
A repeat offender is Michael Bay who has approached the format with the childish glee of a pig rolling in s**t. The director serves up his personal brand of ‘Bayhem’ in the ‘Transformer’ trilogy. If you haven’t seen the films, the experience is similar to being frantically shown around a playroom by a kid tanked up on Soviet energy drinks. “Here’s my robots, and here’s my helicopters… wait, what was I saying?”
Repeat offender Michael Bay
Don’t start writing obituaries yet, is the message cinemas chains are eager to convey. After all investment has been heavy, with 1,065 3D-enabled screens reported in the UK at the beginning of 2011. Though 3D ticket sales have lagged, the higher prices have increased revenue. The USA box-office’s record-breaking haul of $4.4 billion this summer was attributed to the sale of the pricier 3D tickets.
If the USA is tiring of the technology then the Far-East is just becoming acquainted. Technology firm RealD recently signed a deal to bring 3D to 100 Chinese cinemas. That’s not to mention the success of Hong Kong bonk buster, ‘Sex and Zen: Extreme Ecstasy’. The “world’s first 3D erotic film” smashed opening day box office records in Hong Kong. Success with emerging markets, suggests 3D could still be in for a happy ending.
Before sending 3D to the gallows, it is worth considering its capabilities of reviving classic flicks. ‘Star Wars’, Top Gun’, ‘The Lion King’, and ‘Titanic’ have all been signed up for 3D-remakes. This provides an opportunity to bring the films to a new generation of audience, plus show me the person who doesn’t want to see Ewoks battle in 3-D.
The consistent issue hanging over 3D films is how the technology is used. While ‘Avatar’ shot the entire film in stereoscopic 3D to acclaimed effect, some films shoot normally before converting the footage post-production into 3D. An example being whey-face Jason Momoa’s take on ‘Conan the Barbarian’. We all know what happened there.
If directors tack 3D onto their film as a gimmick to increase its commercial appeal then the 3D effects will appear unnatural and ill-suited. Real success in 3D comes from a director who understands the technology and builds the film around its offerings. Spielberg’s upcoming ‘Adventures of Tintin’, which was shot entirely in 3D, will be the best post-Avatar indicator of 3D’s cinematic value. Eventually it is hoped that as the industry becomes more acquainted with the technology. Directional techniques will be developed and finally, in a purging act of self-flagellation, ‘Shark Night 3D’ will be criminalized.