I would have never guessed that Camille Paglia would be in awe of Sara Palin or perceive her as follows, “Conservative though she may be, I felt that Palin represented an explosion of a brand new style of muscular American feminism. At her startling debut on that day, she was combining male and female qualities in ways that I have never seen before. And she was somehow able to seem simultaneously reassuringly traditional and gung-ho futurist. In terms of redefining the persona for female authority and leadership, Palin has made the biggest step forward in feminism since Madonna channeled the dominatrix persona of high-glam Marlene Dietrich and rammed pro-sex, pro-beauty feminism down the throats of the prissy, victim-mongering, philistine feminist establishment.” Whoa. (Via Salon.com)

Fresh blood for the vampire

Rip tide! Is the Obama campaign shooting out to sea like a paper boat?

It’s heavy weather for Obama fans, as momentum has suddenly shifted to John McCain — that hoary, barnacle-encrusted tub that many Democrats like me had thought was full of holes and swirling to its doom in the inky depths of Republican incoherence and fratricide. Gee whilikers, the McCain vampire just won’t die! Hit him with a hammer, and he explodes like a jellyfish into a hundred hungry pieces.

Oh, the sadomasochistic tedium of McCain’s imprisonment in Hanoi being told over and over and over again at the Republican convention. Do McCain’s credentials for the White House really consist only of that horrific ordeal? Americans owe every heroic, wounded veteran an incalculable debt of gratitude, but how do McCain’s sufferings in a tiny, squalid cell 40 years ago logically translate into presidential aptitude in the 21st century? Cast him a statue or slap his name on a ship, and let’s turn the damned page.We need a new generation of leadership with fresh ideas and an expansive, cosmopolitan vision — which is why I support Barack Obama and have contributed to his campaign. My baby-boom generation — typified by the narcissistic Clintons — peaked in the 1960s and is seriously past it. But McCain, born before Pearl Harbor, is even older than we are! Why would anyone believe that he holds the key to the future? And why would anyone swallow that preening passel of high-flown rhetoric about “country above all” coming from a seething, short-fused character whose rampant egotism, zigzagging principles, and currying of the gullible press were the distinguishing marks of his senatorial career?

Having said that, I must admit that McCain is currently eating Obama’s lunch. McCain’s weirdly disconnected persona (beady glowers flashing to frozen grins and back again) has started to look more testosterone-rich than Obama’s easy, lanky, reflective candor. What in the world possessed the Obama campaign to let their guy wander like a dazed lamb into a snake pit of religious inquisition like Rick Warren’s public forum last month at his Saddleback Church in California? That shambles of a performance — where a surprisingly unprepared Obama met the inevitable question about abortion with shockingly curt glibness — began his alarming slide.

As I said in my last column, I have become increasingly uneasy about Obama’s efforts to sound folksy and approachable by reflexively using inner-city African-American tones and locutions, which as a native of Hawaii he acquired relatively late in his development and which are painfully wrong for the target audience of rural working-class whites that he has been trying to reach. Obama on the road and even in major interviews has been droppin’ his g’s like there’s no tomorrow. It’s analogous to the way stodgy, portly Al Gore (evidently misadvised by the women in his family and their feminist pals) tried to zap himself up on the campaign trail into the happening buff dude that he was not. Both Gore and Obama would have been better advised to pursue a calm, steady, authoritative persona. Forget the jokes — be boring! That, alas, is what reads as masculine in the U.S.

The over-the-top publicity stunt of a mega-stadium for Obama’s acceptance speech at the Democratic convention two weeks ago was a huge risk that worried me sick — there were too many things that could go wrong, from bad weather to crowd control to technical glitches on the overblown set. But everything went swimmingly. Obama delivered the speech nearly flawlessly — though I was shocked and disappointed by how little there was about foreign policy, a major area where wavering voters have grave doubts about him. Nevertheless, it was an extraordinary event with an overlong but strangely contemplative and spiritually uplifting finale. The music, amid the needlessly extravagant fireworks, morphed into “Star Wars” — a New Age hymn to cosmic reconciliation and peace.

After that extravaganza, marking the 40th anniversary of Martin Luther King Jr.’s epochal civil rights speech on the Washington Mall, I felt calmly confident that the Obama campaign was going to roll like a gorgeous juggernaut right over the puny, fossilized McCain. The next morning, it was as if the election were already over. No need to fret about American politics anymore this year. I had already turned with relief to other matters.

Pow! Wham! The Republicans unleashed a doozy — one of the most stunning surprises that I have ever witnessed in my adult life. By lunchtime, Obama’s triumph of the night before had been wiped right off the national radar screen. In a bold move I would never have thought him capable of, McCain introduced Gov. Sarah Palin of Alaska as his pick for vice president. I had heard vaguely about Palin but had never heard her speak. I nearly fell out of my chair. It was like watching a boxing match or a quarter of hard-hitting football — or one of the great light-saber duels in “Star Wars.” (Here are the two Jedi, Obi-Wan Kenobi and Qui-Gon Jinn, going at it with Darth Maul in “The Phantom Menace.”) This woman turned out to be a tough, scrappy fighter with a mischievous sense of humor.

Conservative though she may be, I felt that Palin represented an explosion of a brand new style of muscular American feminism. At her startling debut on that day, she was combining male and female qualities in ways that I have never seen before. And she was somehow able to seem simultaneously reassuringly traditional and gung-ho futurist. In terms of redefining the persona for female authority and leadership, Palin has made the biggest step forward in feminism since Madonna channeled the dominatrix persona of high-glam Marlene Dietrich and rammed pro-sex, pro-beauty feminism down the throats of the prissy, victim-mongering, philistine feminist establishment.

In the U.S., the ultimate glass ceiling has been fiendishly complicated for women by the unique peculiarity that our president must also serve as commander in chief of the armed forces. Women have risen to the top in other countries by securing the leadership of their parties and then being routinely promoted to prime minister when that party won at the polls. But a woman candidate for president of the U.S. must show a potential capacity for military affairs and decision-making. Our president also symbolically represents the entire history of the nation — a half-mystical role often filled elsewhere by a revered if politically powerless monarch.

As a dissident feminist, I have been arguing since my arrival on the scene nearly 20 years ago that young American women aspiring to political power should be studying military history rather than taking women’s studies courses, with their rote agenda of never-ending grievances. I have repeatedly said that the politician who came closest in my view to the persona of the first woman president was Sen. Dianne Feinstein, whose steady nerves in crisis were demonstrated when she came to national attention after the mayor and a gay supervisor were murdered in their City Hall offices in San Francisco. Hillary Clinton, with her schizophrenic alteration of personae, has never seemed presidential to me — and certainly not in her bland and overpraised farewell speech at the Democratic convention (which skittered from slow, pompous condescension to trademark stridency to unseemly haste).

Feinstein, with her deep knowledge of military matters, has true gravitas and knows how to shrewdly thrust and parry with pesky TV interviewers. But her style is reserved, discreet, mandarin. The gun-toting Sarah Palin is like Annie Oakley, a brash ambassador from America’s pioneer past. She immediately reminded me of the frontier women of the Western states, which first granted women the right to vote after the Civil War — long before the federal amendment guaranteeing universal woman suffrage was passed in 1919. Frontier women faced the same harsh challenges and had to tackle the same chores as men did — which is why men could regard them as equals, unlike the genteel, corseted ladies of the Eastern seaboard, which fought granting women the vote right to the bitter end.

Over the Labor Day weekend, with most of the big enchiladas of the major media on vacation, the vacuum was filled with a hallucinatory hurricane in the leftist blogosphere, which unleashed a grotesquely lurid series of allegations, fantasies, half-truths and outright lies about Palin. What a tacky low in American politics — which has already caused a backlash that could damage Obama’s campaign. When liberals come off as childish, raving loonies, the right wing gains. I am still waiting for substantive evidence that Sarah Palin is a dangerous extremist. I am perfectly willing to be convinced, but right now, she seems to be merely an optimistic pragmatist like Ronald Reagan, someone who pays lip service to religious piety without being in the least wedded to it. I don’t see her arrival as portending the end of civil liberties or life as we know it.

One reason I live in the leafy suburbs of Philadelphia and have never moved to New York or Washington is that, as a cultural analyst, I want to remain in touch with the mainstream of American life. I frequent fast-food restaurants, shop at the mall, and periodically visit Wal-Mart (its bird-seed section is nonpareil). Like Los Angeles and San Francisco, Manhattan and Washington occupy their own mental zones — nice to visit but not a place to stay if you value independent thought these days. Ambitious professionals in those cities, if they want to preserve their social networks, are very vulnerable to received opinion. At receptions and parties (which I hate), they’re sitting ducks. They have to go along to get along — poor dears!

It is certainly premature to predict how the Palin saga will go. I may not agree a jot with her about basic principles, but I have immensely enjoyed Palin’s boffo performances at her debut and at the Republican convention, where she astonishingly dealt with multiple technical malfunctions without missing a beat. A feminism that cannot admire the bravura under high pressure of the first woman governor of a frontier state isn’t worth a warm bucket of spit.

Perhaps Palin seemed perfectly normal to me because she resembles so many women I grew up around in the snow belt of upstate New York. For example, there were the robust and hearty farm women of Oxford, a charming village where my father taught high school when I was a child. We first lived in an apartment on the top floor of a farmhouse on a working dairy farm. Our landlady, who was as physically imposing as her husband, was an all-American version of the Italian immigrant women of my grandmother’s generation — agrarian powerhouses who could do anything and whose trumpetlike voices could pierce stone walls.

Here’s one episode. My father and his visiting brother, a dapper barber by trade, were standing outside having a smoke when a great noise came from the nearby barn. A calf had escaped. Our landlady yelled, “Stop her!” as the calf came careening at full speed toward my father and uncle, who both instinctively stepped back as the calf galloped through the mud between them. Irate, our landlady trudged past them to the upper pasture, cornered the calf, and carried that massive animal back to the barn in her arms. As she walked by my father and uncle, she exclaimed in amused disgust, “Men!”

Now that’s the Sarah Palin brand of can-do, no-excuses, moose-hunting feminism — a world away from the whining, sniping, wearily ironic mode of the establishment feminism represented by Gloria Steinem, a Hillary Clinton supporter whose shameless Democratic partisanship over the past four decades has severely limited American feminism and not allowed it to become the big tent it can and should be. Sarah Palin, if her reputation survives the punishing next two months, may be breaking down those barriers. Feminism, which should be about equal rights and equal opportunity, should not be a closed club requiring an ideological litmus test for membership.

Here’s another example of the physical fortitude and indomitable spirit that Palin as an Alaskan sportswoman seems to represent right now. Last year, Toronto’s Globe and Mail reprinted this remarkable obituary from 1905:

Abigail Becker Farmer and homemaker born in Frontenac County, Upper Canada, on March 14, 1830

A tall, handsome woman “who feared God greatly and the living or dead not at all,” she married a widower with six children and settled in a trapper’s cabin on Long Point, Lake Erie. On Nov. 23, 1854, with her husband away, she single-handedly rescued the crew of the schooner Conductor of Buffalo, which had run aground in a storm. The crew had clung to the frozen rigging all night, not daring to enter the raging surf. In the early morning, she waded chin-high into the water (she could not swim) and helped seven men reach shore. She was awarded medals for heroism and received $350 collected by the people of Buffalo, plus a handwritten letter from Queen Victoria that was accompanied by £50, all of which went toward buying a farm. She lost her husband to a storm, raised 17 children alone and died at Walsingham Centre, Ont.

Frontier women were far bolder and hardier than today’s pampered, petulant bourgeois feminists, always looking to blame their complaints about life on someone else.

But what of Palin’s pro-life stand? Creationism taught in schools? Book banning? Gay conversions? The Iraq war as God’s plan? Zionism as a prelude to the apocalypse? We’ll see how these big issues shake out. Right now, I don’t believe much of what I read or hear about Palin in the media. To automatically assume that she is a religious fanatic who has embraced the most extreme ideas of her local church is exactly the kind of careless reasoning that has been unjustly applied to Barack Obama, whom the right wing is still trying to tar with the fulminating anti-American sermons of his longtime preacher, Jeremiah Wright.

The witch-trial hysteria of the past two incendiary weeks unfortunately reveals a disturbing trend in the Democratic Party, which has worsened over the past decade. Democrats are quick to attack the religiosity of Republicans, but Democratic ideology itself seems to have become a secular substitute religion. Since when did Democrats become so judgmental and intolerant? Conservatives are demonized, with the universe polarized into a Manichaean battle of us versus them, good versus evil. Democrats are clinging to pat group opinions as if they were inflexible moral absolutes. The party is in peril if it cannot observe and listen and adapt to changing social circumstances.

Let’s take the issue of abortion rights, of which I am a firm supporter. As an atheist and libertarian, I believe that government must stay completely out of the sphere of personal choice. Every individual has an absolute right to control his or her body. (Hence I favor the legalization of drugs, though I do not take them.) Nevertheless, I have criticized the way that abortion became the obsessive idée fixe of the post-1960s women’s movement — leading to feminists’ McCarthyite tactics in pitting Anita Hill with her flimsy charges against conservative Clarence Thomas (admittedly not the most qualified candidate possible) during his nomination hearings for the Supreme Court. Similarly, Bill Clinton’s support for abortion rights gave him a free pass among leading feminists for his serial exploitation of women — an abusive pattern that would scream misogyny to any neutral observer.

But the pro-life position, whether or not it is based on religious orthodoxy, is more ethically highly evolved than my own tenet of unconstrained access to abortion on demand. My argument (as in my first book, “Sexual Personae,”) has always been that nature has a master plan pushing every species toward procreation and that it is our right and even obligation as rational human beings to defy nature’s fascism. Nature herself is a mass murderer, making casual, cruel experiments and condemning 10,000 to die so that one more fit will live and thrive.

Hence I have always frankly admitted that abortion is murder, the extermination of the powerless by the powerful. Liberals for the most part have shrunk from facing the ethical consequences of their embrace of abortion, which results in the annihilation of concrete individuals and not just clumps of insensate tissue. The state in my view has no authority whatever to intervene in the biological processes of any woman’s body, which nature has implanted there before birth and hence before that woman’s entrance into society and citizenship.

On the other hand, I support the death penalty for atrocious crimes (such as rape-murder or the murder of children). I have never understood the standard Democratic combo of support for abortion and yet opposition to the death penalty. Surely it is the guilty rather than the innocent who deserve execution?

What I am getting at here is that not until the Democratic Party stringently reexamines its own implicit assumptions and rhetorical formulas will it be able to deal effectively with the enduring and now escalating challenge from the pro-life right wing. Because pro-choice Democrats have been arguing from cold expedience, they have thus far been unable to make an effective ethical case for the right to abortion.

The gigantic, instantaneous coast-to-coast rage directed at Sarah Palin when she was identified as pro-life was, I submit, a psychological response by loyal liberals who on some level do not want to open themselves to deep questioning about abortion and its human consequences. I have written about the eerie silence that fell over campus audiences in the early 1990s when I raised this issue on my book tours. At such moments, everyone in the hall seemed to feel the uneasy conscience of feminism. Naomi Wolf later bravely tried to address this same subject but seems to have given up in the face of the resistance she encountered.

If Sarah Palin tries to intrude her conservative Christian values into secular government, then she must be opposed and stopped. But she has every right to express her views and to argue for society’s acceptance of the high principle of the sanctity of human life. If McCain wins the White House and then drops dead, a President Palin would have the power to appoint conservative judges to the Supreme Court, but she could not control their rulings.

It is nonsensical and counterproductive for Democrats to imagine that pro-life values can be defeated by maliciously destroying their proponents. And it is equally foolish to expect that feminism must for all time be inextricably wed to the pro-choice agenda. There is plenty of room in modern thought for a pro-life feminism — one in fact that would have far more appeal to third-world cultures where motherhood is still honored and where the Western model of the hard-driving, self-absorbed career woman is less admired.

But the one fundamental precept that Democrats must stand for is independent thought and speech. When they become baying bloodhounds of rigid dogma, Democrats have committed political suicide.

Camille Paglia’s column appears on the second Wednesday of each month. Every third column is devoted to reader letters. Please send questions for her next letters column to this mailbox. Your name and town will be published unless you request anonymity.

Before I start, check out Sean Connery’s costume (left). Zardoz is the most important movie nobody (I know) has seen. Forget that there is a lot of nakedness and topless women; or, that you get to see a super-buff, 1974-era, Sean Connery running around for more than two hours in a pair of underwear; this is an important movie or utopia gone terribly distopian.

Zardoz is written and played out like a Broadway musical, with lithe dancer-actors, it is presented like a play. This is not a sophisticated movie but it will surely make you think. I would say that Zardoz is both brilliant and campy; insightful and kitchy, and brutal and actually very good at dealing with the concept of balance: in order to grow as men and as a society, one cannot — must not — merely separate physically from poverty, ignorance, sickness, and death; but, rather, integrate, integrate, integrate — or perish. Bravo! See it.

The quote that is most popular from the movie comes from the first scene. God Zardoz says,

“The gun is good. The penis is evil. The penis shoots seeds, and makes new life to poison the earth with a plague of men, as once it was. But the gun shoots death, and purifies the earth of the filth of brutals. Go forth… and kill!”

“In this cult favorite from John Boorman (Beyond Rangoon), 23rd century society is split into two castes — the overly civilized Eternals and the barely civilized Brutals — one of which is constantly controlling the other. The Brutals worship a huge stone figure known as Zardoz. When Zed (Sean Connery) begins to question the authenticity of this god, the film is able to offer some pointed commentary on class structure and religion.” Via Zardoz/60020833?trkid=14″>Netflix

“Zardoz BY ROGER EBERT / January 1, 1974

John Boorman’s ZARDOZ is a genuinely quirky movie, a trip into a future that seems ruled by perpetually stoned set decorators. It’s set in an Ireland of 2293 that looks exactly like the Ireland of today, until you get inside the Vortex. And then suddenly everything is shimmering gowns and futuristic throne rooms and beautiful young people who glide around at an endless debutante ball.

These are the Immortals. They will never die. They cannot. Every time they try to, their bodies are relentlessly restored by the all-knowing mystical computer mind that runs the Vortex. There’s a catch, though: They can’t die but they can grow old, and for infractions, they’re sentenced to age a few years. If they don’t watch themselves, they might wind up as Immortal Seniles.

Outside the Vortex, a barbaric civilization survives. Slaves till the land and gather the crops, ruled over by sadistic masters who sometimes gallop around killing off the surplus population. One of the barbarians is Zed, played by Sean Connery as a cross between Tarzan and Prince Valiant. But one day, Zed (like Lord Greystoke, come to think of it) finds a child’s alphabet book. He teaches himself to read and then fanatically devours the contents of whole libraries (like Thomas Wolfe, come to think of it). Eventually he comes upon The Wizard of Oz and, in a moment of blinding insight, sees through the whole joke of his world’s social structure.
Zed has himself smuggled aboard the giant floating head of Zardoz, which rules hinterlands, and finds himself inside the Vortex. Here he is an object of great interest, because the Immortals, you see, having lost the ability to die have also lost the drive to procreate and are doomed to an eternity of detumescence. Zed labors with no such difficulty.

The movie is an exercise in self-indulgence (if often an interesting one) by Boorman, who more or less had carte blanche to do a personal project after his immensely successful DELIVERANCE. Boorman seems fascinated by stories which are disconnected from the ordinary realist assumptions of most movies; his LEO THE LAST (1970) gave us Marcello Mastroianni as the last of the big-time decadents, living in a mansion at the end of a deserted street in an eerie London.

Boorman puts a lot of heavy concepts into ZARDOZ, but seems uncertain whether he takes them seriously himself. There are sight gags (the attempt to turn on Connery with futuristic pornography provides the best) , there are group seances that seem lifted bodily from pajama parties, there is no end of special visual effects (every optical printer in England must have been busy for weeks), and at the end there’s a combination shoot-out and mercy-killing spree that is at once ridiculous, depraved and low camp.

Sean Connery wanders through all of this with a slightly bemused expression on his face. He begins as a barbarian given to distrust and childish impulses, but after he gathers all knowledge to himself (the movie is full of phrases like “gathers all knowledge to himself”), he turns into a sort of body-building Einstein who sees into the center of the Vortex, deciphers the wisdom of the crystal, stimulates the Apathetics (that’s another social class I forgot to mention), makes love with a good-looking Immortal dame (she regains the knack) and finally turns into a fossil while the sound track milks Beethoven’s 7th for all it’s worth.

I remember standing in the rain once outside a theater that was playing LAST YEAR AT MARIENBAD. Now there was a movie so complex and personal no one claimed to be able to understand itÑno, not even Time magazine. The people coming out from the previous show were shaking their heads and admitting that they, too, didn’t have a clue. And then it was our turn to go in and be mystified.

Every once in a while, a movie like that comes along; a movie you’ve got to see so that you, too, can be in the dark about it. In the movie’s own terms, this much can be said for sure: It may not make you an Apathetic, but it will certainly age you by two hours.”

“Zardoz Review by Scott Weinberg

If your idea of perfect science fiction consists of space battles and droids, you’re probably best advised to steer clear of John Boorman’s ultra-trippy cult classic Zardoz. If, however, you can enjoy an ironic and entertaining fantasy mind-bender, then this one might be right up your alley. While overlooked by general audiences, Zardoz is one of the most feverishly adored cult movies ever. And while the movie certainly looks outdated and even silly at times, the deeply intelligent and thought-provoking issues under the surface challenge and entertain audiences.

The year is 2293 and most of humanity has devolved into mindless ‘Brutals.’ Their god Zardoz visits these savages periodically, instructing them to hunt down and kill any human ‘Breeders’ they come across. This is because “the penis is evil,” and humanity deserves to be wiped out. Zardoz appears to his violent followers as a giant flying stone head that spits out rifles and ammo, along with his murderous decrees. Zed (Sean Connery), one of the Brutals, stows away aboard the massive stone head, which takes him to ‘the Vortex.’ The denizens of the Vortex are a race of genetically superior, immortal beings that treat one another pretty rotten and long for death. When Zed climbs out of that giant head and starts poking around, things get really screwy.

Zardoz is packed to the gills with high-minded concepts. Take the ‘apathetics.’ These are immortals who have become so bored and disassociated during their eternal lives, that they are breathing, blank zombies. Another faction of the immortals is the ‘Renegades,’ who have become irretrievably insane. These elderly creatures are dumped off in an out-of-the-way building and forgotten. Zardoz is a movie with a lot to say about the ills of society.

Since it was made in 1973, it’s no surprise that Zardoz looks dated and even downright absurd. There are more than a few costumes and set designs that may have you rolling your eyes in disbelief, but it’s important to watch a movie like this with a sense of maturity. It may be difficult to take seriously dialogue like “The penis is evil,” but a willing (and preferably enthusiastic) suspension of disbelief is essential. Yes, that’s Connery as Zed, running around in what looks like a giant red diaper… and yes, there is a scene in which Zed is forced to achieve an erection while dozens of fascinated immortals stare on. But with the plethora of challenging and satisfying ideas being tossed around in Zardoz, it’s a tough movie to dislike.

It’s a testament to writer/director John Boorman that this movie ever saw the light of day. Zardoz was obviously a labour of love for him, and to this day Connery still lists this movie as one of his favourites. If you’re a fan of science fiction in the vein of 2001: A Space Odyssey or Blade Runner, I would recommend Zardoz. While not as ‘polished’ as those other films, it deserves a place in anyone’s sci-fi collection.”

Plot Summary

* Genres: Fantasy, Sci-Fi
* Tagline: Beyond 1984, Beyond 2001, Beyond Love, Beyond Death
* Plot Outline In the far future, a savage trained only to kill finds a way into the community of bored immortals that alone preserves humanity’s achievements.
* Plot Synopsis: In the distant future Earth is divided into two camps, the barely civilized group and the overly civilized one with mental powers. A plague is attacking the second group after which it’s members cease to have any interest in life and become nearly catatonic. When Sean Connery one of the barbarians, crosses over, the tenuous balance in their world is threatened.
* Plot Keywords: Blindness, Bizarre, Book, Mutant Human, Crystal Ball, Head, Harvest, Mutation, Flying Head, Ring, Reverse Footage, Horseback Riding

- Actors: Sean Connery, Charlotte Rampling, Sara Kestelman, John Alderton, Sally Anne Newton, See more
- Directors: John Boorman
- Format: Anamorphic, Closed-captioned, Color, DVD-Video, Subtitled, Widescreen, NTSC
- Language: English, French
- Region: Region 1 (U.S. and Canada only. Read more about DVD formats.)
- Aspect Ratio: 2.35:1
- Number of discs: 1
- Rating R
- Studio: 20th Century Fox
- DVD Release Date: March 27, 2001
- Run Time: 106 minutes
- Average Customer Review: based on 113 reviews. (Write a review.)
- DVD Features:

* Available Subtitles: English, Spanish
* Available Audio Tracks: English (Dolby Digital 3.0), English (Dolby Digital 2.0 Stereo), French (Dolby Digital 2.0 Mono)
* Commentary by director John Boorman
* Still photo gallery
* Concept Art and Pressbook Galleries

- From IMDb: Quotes & Trivia
- ASIN: B000059HAE
- Amazon.com Sales Rank: #2,570 in DVD (See Top Sellers in DVD)

Nominations

* BAFTA Awards: BAFTA Film Award for Best Cinematography
* Hugo Awards: Hugo for Best Dramatic Presentation

Trivia

* The scene where Zed (
* DIRCAMEO:(
* To help keep the movie cost down,
* Zed’s revolver is a Webley in 455 caliber.
* The exterior shots at the very opening of the movie were taken right next to director
* To make the shots of the stone head move into the mouth accurately, the camera was placed at the mouth and tracked backwards, and the film reversed in the lab.
*
* The government initially refused to allow the production team to import the guns for the movie into Ireland because of terrorist attacks occurring at the time.
* Radio spots (available on the DVD) were narrated by
* According to John Boorman, Sean Connery found it incredibly difficult to get work when he abandoned the James Bond role a second time after Diamonds are Forever. Thus, Boorman was able to hire Connery very cheaply for this project.

Goofs

* When mortality comes to the vortex, several “dead” characters can be seen moving.
* When the exterminators on horseback are killing the brutals, tire tracks can be seen on the wet beach sand.
* Early in the film, when the weapons are spewed out of the floating head’s mouth, a crewmember’s arm can be seen throwing them.
* About three minutes into the movie, when the floating head is in the clouds, part of a car can be seen in the top right corner of the screen.
* In the scene where Zed discovers the floating book, you can clearly see the strings suspending it in midair.

Movie Connections

* Remade as: Planet B: Mask Under Mask
* References: Planet of the Apes, 2001: A Space Odyssey
* Referenced in: Excalibur, Dark City, The Big Tease, Wonder Boys, Empire of Dreams: The Story of the ‘Star Wars’ Trilogy
* Featured in: To the Galaxy and Beyond with Mark Hamill, The Fly Papers: The Buzz on Hollywood’s Scariest Insect

Quotes

* Arthur: It was I! I bred you! I led you!
Zed: And I have looked into the face of the force which put the idea in your head. You are bred and led yourself.
* Friend: We’ve all been used…
Arthur Frayn: …and reused…
Friend: …and abused…
Arthur Frayn: …and amused!
* Zardoz: The gun is good.
Exterminators: The gun is good.
Zardoz: The penis is evil. The penis shoots seeds, and makes new life, and poisons the earth with a plague of men, as once it was. But the gun shoots death, and purifies the earth of the filth of brutals. Go forth and kill!
* Zed: Stay behind my aura!
* Consuella: The brutal is now in fourth hour of unconscious sleep. It’s astonishing that Homo Sapiens spends so much time in this vulnerable condition, at the mercy of its enemies.
* Zed: I want the truth.
May: You must give the truth, if you wish to receive it.
Zed: I’m ready.
May: It’ll burn you!
Zed: Then burn me.
* The Tabernacle: Caution: You are approaching the periphery shield of Vortex Four. Caution: You are approaching the periphery shield of Vortex Four.
* Zardoz: Zardoz is pleased.
* The Tabernacle: Vote, please. Vote, please.
* The Tabernacle: I cannot give information which may threaten my own security.
* [watching his memory-scan video of hunting down Brutals] Zed: I love to see them running. I love the moments of their deaths – when I am one with Zardoz.
* [first lines]
Arthur Frayn: I am Arthur Frayn, and I am Zardoz. I have lived 300 years, and long to die. But death is no longer possible, I am immortal. I present now my story – full of mystery and intrigue. Rich in irony, and most satirical. It is set deep within a possible future, so none of these events have yet occurred. But they may! Be warned, lest you end as I. In this tale I am a fake god by occupation, and a magician by inclination. Merlin is my hero! I am the puppet master. I manipulate many of the characters and events you will see. But I am invented too for your entertainment and amusement. And you, poor creatures, who conjured you out of the clay? Is God in showbusiness too?
* [to Zed] Consuella: I have hunted you so long, I have become you.
* George Saden: I think what I think. I hate you all. I hate you all. I hate you all. Including me…
* [about to Liberate Consuela] Zed: All that I am is gone.
* [Zed breaks the heart of the crystal] The Tabernacle: You have destroyed us. You are alone.
* Consuella: Penile erection was one of the many unsolved evolutionary mysteries surrounding sexuality. Every society had an elaborate subculture devoted to erotic stimulation. But nobody could quite determine how this…
[Consuella points to a diagram of a male penis and scrotum]
Consuella: becomes this.
[Consuella points to a diagram of an erect penis and scrotum]
Consuella: Of course, we all know the physical process involved, but not the link between stimulus and response. There seems to be a correlation with violence, with fear. Many hanged men died with an erection. You are all more or less aware of our intensive researches into this subject. Sexuality declined probably because we no longer needed to procreate. Eternals soon discovered that erection was impossible to achieve. And we are no longer victims of this violent, convulsive act which so debased women and betrayed men. This brutal
[Sean Connery]
Consuella: , like other primates living unselfconscious lives, is capable of spontaneous and reflexive erection. As part of May’s studies of this creature, we’re trying to find, once again, the link between erotic stimulation and erection. This experiment will measure autoerotic stimulation of the cortex, leading to erection.
* The Tabernacle: Sleep was necessary for man when his waking and unconscious lives were separated. As Eternals achieved total consciousness, sleep became obsolete and Second Level meditation took its place.
* Zed: What is it you want?
Friend: Sweet death. Oblivion.
Zed: For yourself, or for the whole Vortex?
Friend: For Everybody. An end to the human race. It has plagued this pretty planet for far too long.
Zed: You stink of despair. Fight back! Fight for death, if that’s what you want.
Friend: I thought at first you were the one to help. But it’s hopeless. All my powers have gone.
* May: Friend, I cannot sanction this violence and destruction.
Friend: It’s too late, May. There’s no going back.
May: Don’t destroy the Vortex! Let us renew it. A better breed could prosper here. Given time…
Friend: Time? Wasn’t eternity enough?
Zed: This place is against life. It must die.
May: I have my followers. Inseminate us all, and we’ll teach you all we know. Give you all we have. Perhaps you can break the Tabernacle. Or be broken.
Friend: An end to eternity.
May: A higher form.
Zed: Revenge.
* [to Consuela] Zed: Can you unknow what you know of me?”

Zardoz from Wikipedia

Zardoz is a 1974 science fiction film directed by John Boorman and starring Sean Connery in one of his first post-James Bond roles. The film contains a mix of mythology, a bizarre, sprawling plot filled with twists and incongruities, and wide-ranging satirical and allegorical stabs. Filmed on a small budget of US$1 million, Zardoz‘s mixture of cerebral, philosophical sci-fi was in complete contrast to Boorman’s previous film, the brutal thriller Deliverance. The film was shot by cinematographer Geoffrey Unsworth. An attempt to market the film to the post-2001: A Space Odyssey audience was unsuccessful, although the film has since developed a cult following.

Plot

In a future post-apocalypse Earth (2293), the human population is divided into the immortal “Eternals” and mortal “Brutals”. The Brutals live in a dark-ages wasteland. The Eternals, who live apart in various “Vortices” (singular “Vortex”), hidden bastions of civilization, lead a luxurious but aimless existence. The contrast between the two groups is stark. In general, calamity after calamity has reduced life on much of the Earth to dire subsistence levels. The distant Eternals are unknown to most people. The only contact between the groups is through a religious warrior class called the “Exterminators”, who kill and terrorize other Brutals at the orders of a huge flying stone head called Zardoz. The stone head supplies them with weapons and ideology in exchange for the food they collect.

Zed (Connery), an Exterminator, hides aboard Zardoz during one trip, “killing” its Eternal operator-creator, Arthur Frayn (Niall Buggy). Arriving in the Vortex as a stowaway, Zed meets two Eternals — Consuella (Charlotte Rampling) and May (Sara Kestelman). They possess psychic powers, and make Zed a prisoner of the community of decadent effetes in order to study him. Zed is put to work as a physical laborer under the direction of subversive troublemaker called Friend (John Alderton).

Over time Zed learns the nature of the Vortex. The Eternals are overseen and protected from death by an AI called the Tabernacle. Through their vastly extended lifespan the Eternals have grown bored, corrupt, and impotent. They spend days stewarding the vast knowledge of humanity while doing little themselves besides participating in bizarre rituals and mass meditations navel gazing. As they never die and the passage of time is largely meaningless as a result, violating the complex set of social rules, and thereby going “Renegade”, results in artificial aging. An Eternal thus aged will remain as the feeble elderly for the rest of time. More recently some have fallen into catatonia through an odd mental illness, forming a new social strata the Eternals call the “Apathetics”.

As the story progresses, it becomes clear that Zed is not quite the “brutal” the Eternals believe him to be. He very quickly divines the nature of the Vortex and its problems, and starts to play an increasingly proactive role among the Eternals. The backstory develops to reveal that Zed was aware of the true nature of Zardoz, having been led to an old book, The Wonderful Wizard of Oz; the origin of the name Zardoz (Wizard of Oz). After revealing that Frayn had led him to the book and taught him to read, the story is completed; Zed is the ultimate creation of Frayn’s long-running experiment in creative eugenics, using the Exterminator class to control the Brutals with the aim of breeding a superman to save humanity from its dead-end status quo. He had led Zed to understand the nature of Zardoz, hoping he would use it to infiltrate the Vortex.

The Eternals discover the deceit and “age” Friend, while attempting to control Zed. But Zed is actually superior in intelligence to the eternals, and is eventually able to withstand their psychic powers. He destroys the Tabernacle, after which the Vortex is invaded by other Exterminators who bring death to the majority of Eternals, typically with their blessing, given the novelty of the events. A few Eternals escape to make a new life outside the Vortex among the Brutals, carrying the knowledge of civilization. The allegorical ending shows Zed and Consuella producing a child, growing old and dying naturally, whilst the sound of the second movement of Beethoven’s Seventh Symphony swells in the soundtrack.
Spoilers end here.

History

Zardoz is is notable for being the first time a search engine (or a precursor) is shown in a film, retrieving visual images from a database, years before the personal computer was invented. Arthur Frayne is shown instructing the computer to search for specific images of Cars in the way that we associate with search engines, except with voice recognition software .

Production

In the DVD commentary Boorman repeatedly complains about the low budget of the film. Nevertheless he attempted to fill it with a sort of concept art. The Exterminators hunt down the Brutals while wearing large red paper mache facemasks, loincloths and matching bandoliers. The Brutals are instead dressed almost universally in sport coats and jeans, except for young women, who are dressed in “caveman” garb. If this were not enough, in one scene Zed escapes from the Eternals by dressing in a wedding gown. The head of Zardoz, arguably the most important set in terms of plot development, is clearly made of painted paper mache. Most of the sets in the Vortex are equally low quality, variously consisting of large inflated plastic sheets, “olde English” villages, or pastel decorated sets – the Tabernacle is simply a room filled with mirrors.

Reception

In 2004 the magazine Total Film described Connery’s costume (consisting of a ponytail wig, leather knee boots, and a loincloth which bears a strong resemblance to a giant orange nappy or diaper) as the number 1 “dumbest decision in movie history”.

References in popular culture

This article contains a trivia section.
Content in this section should be integrated into other appropriate areas of the article or removed, and the trivia section removed.

* The DC Comics character Vartox is a near-carbon copy of Zed. He has an exact replica of Zed’s clothing, brown hair, and receding hairline. The character’s name is even close to sounding like the “Vortex” of the film.
* The video game Time Bandit, which has several science fiction references, mentions the “spirits of Zardoz“.[citation needed]
* The video for “Dreams” by the rock band TV on the Radio features a huge stone head like the one in “Zardoz” that disintegrates at the video’s end.
* The webcomic Questionable Content referred to Zardoz multiple times in comic number 830].
* Saul was dressed as Zed in an episode of Saul of the Mole Men, “Fun King Johnny”, when he was on trial by combat.

Quotes

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* Zardoz: The gun is good. The penis is evil. The penis shoots seeds, and makes new life to poison the earth with a plague of men, as once it was. But the gun shoots death, and purifies the earth of the filth of brutals. Go forth… and kill! [Zardoz proceeds to vomit a torrent of rifles and ammunition for his followers to use.]