Unidentified Episode 4, Going Nowhere Man!

 DATELINE: Half-way to the Stars?

head mellon Mellon Head?

Luis Elizando wants to uncover what is going on in the skies for a hundred years—and that is why he quit the Pentagon program that resisted investigations into these unknown objects. It isn’t a coverup as much as a denial of truth.

By the fourth episode of Unidentified, looking at the three released videos that raise all kinds of questions, the former Pentagon leader finds that two were East Coast encounters, not far from Washington. In fact, the young pilots (Ryan Grave and Danny Aucoin) risk their reputations to reveal that they were stalked by an armada of craft acting in ways that go beyond all aerodynamic rules.

Everyone wants to say these could be enemy on Earth vehicles. No one wants to believe that because it would mean sure subjugation by political enemies.

That leaves the unpleasant notion that no one in the government wants to face the inevitability of a smarter, more advanced civilization. Or, conversely, they know that these ships that stalk our nuclear-powered ships and their jets, even into war zones, are benign creatures or light energy from another dimension.

As weird as strikes everyone who witnesses these, there seems to be a reluctance to identify and to confront what they are. It could be someone knows what they are—and hands are off any confrontation.

As the show’s military-based investigators note, to cover this info up is a federal crime. But, the black budgets of top secrecy for decades may render that idea moot. These are not merely ancient alien believers, but men who want to move policy toward open discussion and revelation. Good luck with that.

Chris Mellon may want to shake his congressional associates and wake them like the Rip Van Winkles they are. That thunder in the sky is not elves bowling.

 

 

 

 

 

 

 

 

The Lonely Man, 1950s Latency Period

DATELINE: Another Oddball Western

not so lonely Tony Meets Jack at Gay Bar?

The Western lone rider is the loneliest guy this side of the Maytag repairman in the 1950s.

After appearing as the despicable gunfighter in Shane, there was only one place to go for Jack Palance: revisionist hero from hell. So, he was cast as the good guy in The Lonely Man. This was a trend, as Ernest Borgnine had just transformed into an Oscar-winner after a villainous streak. Rod Steiger was around the corner.

In 1957, the way to do this was to play either a wronged teenage son or a well-meaning father. The James Dean phenomenon was at work: so, they cast Anthony Perkins as the fey son, long separated from his gunslinging father (called an ‘aging’ gunfighter).

Perkins plays it so silly as rebel with a cause that James Dean would have laughed. He likely would have laughed too that mid-30s Palance was considered aging as a father to mid-20s Perkins. It could have been Tab, but Tony will do.

Yet, that was the style of those days. Daddy didn’t know best, but he tried.

And, you use the baritone country music of Tennessee Ernie Ford instead of Tex Ritter.

Some bad guys are unremitting: Neville Brand, Lee Van Cleef, and Elisha Cook.  They are planning on gunning down Palance first chance that comes their way. Elisha Cook’s revenge comes after Palance gunned him down in Shane.

Brand would turn goodie on TV within a few years, but it would take Van Cleef more than a decade to turn to goody-two-shoes roles. All are in their evil-doer prime here.

If you have a strong sense of homoeroticism in this movie, you are not paranoid. Palance “picks up” his son in a bar for the price of a drink. Perkins boasts anyone can have him at those prices. These guys are all interested in their male on male relationships over all else.

As a piece of Hollywood Western ersatz history, this film is a true curio.