‘Outland’ an interesting, breezy science fiction ‘Western’

Press, 8 March 1982, Page 4

‘Outland’ an interesting, breezy science fiction ‘Western’

at time cinema

hans petrovic

OUTLAND Directed and written by Peter Hyams If “Outland” (Avon) is any indication, we have reached the age where the good old western has been superseded by its equally good (if not better) science fiction equivalent. “Star Wars,” probably, will go down in history as the movie which established the new pace and arena in which the baddies (usually still wearing black hats) vie with the goodies for the ultimate (predictable) outcome. Last, week’s “Knightriders” was another of today’s films symptomatic of the changes. In that case, the knight’s charger became a much more modern motor-cycle.

In the field of today's science fiction (distinct from the sci-fi horror movies of the 50s and 60s), the stetson may change for a space helmet, the Winchester for a laser gun, and faithful Tonto for a cute robot — but the story is basically the same.

Neither the singer nor his song has changed — he just wears a different outfit, and the song is slightly more upbeat.

Therefore, this new form of entertainment also needs no greater perspicacity than following the doings of the old riders of the range.

For “Outland.” read “High Noon"; for Frontier Marshal Sean Connery, read GaryCooper; and for Connery’s wife, read Grace Kelly ("Do not forsake me, Oh my darling”).

This time, Connery is sent as a new law enforcement officer to a mining outpost on one of Jupiter’s inner moons, 10, and soon discovers that things are not quite as they should be. A bigger than expected number of workers is dying of unknown causes (“The zero-pressure atmosphere leaves nothing much of a body to inspect for an autopsy”); and Connery’s wife forsakes him because she can’t continue to live on this God-forsaken "outland.” Undaunted. our hero presses on alone; establishing that the deaths are caused by a dangerous drug which makes people "work better but then fries their brains.” It does not take much of an lota of an inkling for Connery to establish the works manager (Peter Boyle) as the villain, and that the real problem lies in trying to deputise others for assistance.

As in that lonesome, western town, no-one wants to become involved — and who can you trust?

As expected, Connery dutifully paces on to the final

showdown — when he punches Boyle on the nose.

However, there is much more to “Outland.” Particularly, the special effects, which evoke a claustrophobic atmosphere in the mechanical maze of the mining station.

Other superb touches include the jail within a jail, which consists of floating a prisoner in free-fall, in a space suit in a vacuum, in Cell 35. “Outland” also includes a number of “in” jokes for the film buffs, such as Connery (the original Bond) asking for secret information from the computer under the stipular tion, “For My’Eyes Only.”

With shades oi "2001," Connery also has a long-distance conversation with his young son over television, which turns out sufficiently saccharine for one to expect the

boy to ask his father for a bush baby for his birthday. Over all, it is “High Noon” that will be remembered, without the need for an out-

landish remake. But. I think, we will have to look further out in the future for our wide-open-spaces entertainment.