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Spacey in Spots, but Still Camp: Reflections on the Movie
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10144 |
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Section : |
THE ARTS
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| Issue
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8 / 1986 |
1,501 Words |
| Author
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Douglas C. Moore
Douglas C. Moore, an internationally recognized silent-film
specialist and a former president of the National Society of
Cinephiles, is now professor of English at Metropolitan
Community College, Kansas City, Missouri. |
Always grist for the mills of the minds of youthful moviegoers is any probing of the unknown, any dabbling in the mysteries of the partially known, or any adventure that crosses the borderline between the probable and the merely possible. The current Twentieth Century Fox release Spacecamp is indeed such an adventure, and children everywhere are relishing it in untold numbers.
There's a very logical fascination with every new frontier and the unexplained that lies beyond. Some have called space the final frontier, but they're exuberantly wrong. There will always be as many "final frontiers" as there have been past frontiers as there have been past frontiers, and space is only the frontier of the moment. Speakers and thinkers in any age are always convinced that their discoveries are the ultimate, yet something always emerges that supersedes and brings new hopes and new challenges, and those become the stuff that movie dreams are made of. Whatever is trendy, whatever is camp, is in, and Spacecamp's space camp is no exception. It's on the cutting edge of every kid's imagination, and imagination is still really the only true magic carpet for fantasy-minded children - or fantasy - minded adults, for that mater.
In the early years of this century the Tom Swift books were devoured by young readers. Consider such mysterious dabbling as Tom Swift and His Airship, Tom Swift and His Motorcycle, or Tom Swift and His Submarine Boat, all copyrighted in 1910 and all exploring those then new and very exciting frontiers, together with all the magic that goes with that sort of thing.
By 1928 it was Tom Swift and His Talking Pictures; by 1933 it was… His
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