Michael Douglas famously referred to Coma as the first time he was a part of something with a good story, a good cast, and a good director. The latter of those compliments, while true, was at that point based only on Crichton’s debut feature Westworld and his earlier made-for-TV flick Pursuit. The middle statement, about the cast, seems oddly self-serving considering Douglas is in the cast. The actor’s career was likewise young, and oddly enough Mike Crichton and his brother Douglas once published a story under a pseudonym that combined their first names: Michael Douglas.
Whatever conspiracy the Michaels and the Douglases have cooked up here, it probably isn’t as sinister as the conspiracy afoot in Coma. Based on the highly popular novel of the same name by Robin Cook (a friend and contemporary of Crichton’s), the story of Coma is as well thought-out as Douglas claimed. The pairing of Cook and Crichton is a match made in medical thriller heaven, and Crichton’s script treatment of the novel is accurate and respectful of the source material. Slight changes were made, but the overall sense of paranoia that pervades the book is very much intact in Crichton’s screen treatment.
Continue reading Coma (1978)
Though known primarily for his novels, Michael Crichton made a name for himself in Hollywood not only through popular adaptations of his novels such as Jurassic Park and The Andromeda Strain but also by directing films himself for more than a decade. Westworld was both Crichton’s feature directorial debut (barring the ABC made-for-TV film Pursuit) and one of his earliest original screenplays. Plagued with production woes from the start, Westworld is largely renowned today as a major landmark in science-fiction cinema and an important advancement in film technology.
As David A. Price writes in this New Yorker piece, computer-generated imagery is commonplace at the movies these days. Star Wars gets a lot of the credit for sparking the technological revolution in Hollywood (although there have been a few technological advances since then), and it’s certainly true that the effects team behind that space saga deserves most of the commendation in which they bask. But if the question is where did all of this start? — Star Wars and Avatar and every other CGI-laden movie of the past thirty years — then the answer is almost certainly Westworld.
Continue reading Westworld (1973)