All posts by Dennis Hartley

Home games: Top 10 Sports Movies

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 28, 2020)

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I’m not really a sports guy-but from I understand, this past Thursday would have been Opening Day for America’s favorite pastime:

(from The Washington Post)

By midmorning Thursday, a few hours before first pitch, they would be firing up the fryers and grills and popcorn poppers, filling the air with the unmistakable smell of ballpark food. The marquee out front would have the words we have been waiting all winter to read: “OPENING DAY — TODAY.” You would walk through the tunnel into the bowl of the stadium to be greeted by the sunshine and the expanse of green and the red, white and blue bunting draped over the upper-deck railings.

Fifteen North American cities were set to hold Opening Day on Thursday, with the first games at 1:10 p.m. Eastern time. […] Instead, those 15 stadiums — and the 15 of the visiting teams whose home openers would come later — will be dark Thursday and for many weeks to come. The novel coronavirus pandemic brought the baseball season to a stop before it could even start, and if there is to be an Opening Day at all in 2020, no one can say for certain when it will be.

“It’s going to be weird knowing that we’re not playing,” said Baltimore Orioles Manager Brandon Hyde, whose team was supposed to host the New York Yankees at Oriole Park at Camden Yards on Thursday afternoon. “But there are a lot bigger things than Opening Day right now and a lot bigger things going on in the world.”

Yes, things are definitely a little…weird right now. One of the most FAQs floating around on social media (aside from “How long am I being restricted to quarters?!”) is “So what should I watch?” The good news is…with all the entertainment platforms available in 2020, there’s a glut of “stuff” to watch.

That doesn’t guarantee that it’s all watchable; I understand the need to separate the wheat from the chaff. You don’t want to invest unrecoverable hours of your life watching what turns out to be a lemon (unless, say, the Mystery Science Theater 3000 guys are there to turn it into lemonade). So for the time being, I’ll be combing my archives every Saturday night to bring you the erm…wheat.

With that in mind-while you might not be able to “walk through the tunnel into the bowl of the stadium to be greeted by the sunshine and the expanse of green and the red, white and blue bunting draped over the upper-deck railings”, you can enjoy a reasonable facsimile thereof on your home screen by giving one of these sports-related gems a spin.

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Bend it Like Beckham Writerdirector Gurinder Chadha whips up a cross-cultural masala that cleverly marries up “cheer the underdog” Rocky elements with Bollywood-style exuberance. The story centers on a headstrong young woman (Parminder Nagra) who is upsetting her traditional Sikh parents by following her “silly” dream to become an English soccer star. Chadha also weaves in subtext on the difficulties that South Asian immigrants face assimilating into British culture. Also with Keira Knightley and Jonathan Rhys-Meyers.

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Breaking Away – This beautifully realized slice of middle-Americana (filmed in Bloomington, Indiana) from director Peter Yates and writer Steve Tesich (an Oscar-winning screenplay) is a perfect film on every level. More than just a sports movie, it’s an insightful coming of age tale and a rumination on small town life.

Dennis Christopher is outstanding as a 19 year-old obsessed with bicycle racing, a pretty coed and anything Italian. He and his pals (Dennis Quaid, Daniel Stern and Jackie Earle Haley) are all on the cusp of adulthood and trying to figure out what to do with their lives. Barbara Barrie and Paul Dooley give warm and funny performances as Christopher’s blue-collar parents.

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Bull Durham – Writer-director Ron Shelton really knocked one out of the park with this very funny, well-written and splendidly acted rumination on life, love, and oh yeah-baseball. Kevin Costner gives one of his better performances as a seasoned, world-weary minor league catcher who reluctantly plays mentor to a somewhat dim hotshot rookie pitcher (Tim Robbins). Susan Sarandon is a poetry-spouting baseball groupie who selects one player every season to take under her wing and do some special mentoring of her own. A complex love triangle ensues. It’s Jules and Jim meets The Natural.

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Downhill Racer – This frequently overlooked 1969 gem from director Michael Ritchie examines the tightly knit and highly competitive world of Olympic downhill skiing. Robert Redford is cast against type, and consequently delivers one of his more interesting performances as a talented but arrogant athlete who joins up with the U.S. Olympic ski team. Gene Hackman is outstanding as the coach who finds himself at loggerheads with Redford’s contrariety. Ritchie’s film has a verite feel that lends the story a realistic edge.

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Fat City – John Huston’s gritty, low-key character study was a surprise hit at Cannes in 1972. Adapted by Leonard Gardner from his own novel, it’s a tale of shattered dreams, desperate living and beautiful losers (Gardner seems to be the missing link between John Steinbeck and Charles Bukowski).

Filmed on location in Stockton, California, the story centers on a boozy, low-rent boxer well past his prime (Stacey Keach), who becomes a mentor to a young up-and-comer (Jeff Bridges) and starts a relationship with a fellow barfly (Susan Tyrell).

Granted, it’s a bit of a downer, but still worth your time. Beautifully acted and masterfully directed, with “lived-in” natural light photography by DP Conrad Hall. You will be left haunted by Kris Kristofferson’s “Help Me Make it Through the Night”, which permeates the film.

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Hoop Dreams – One of the most highly praised documentaries of all time, with good reason. Ostensibly “about” basketball, it is at its heart about perseverance, love, and family; which is probably why it struck such a chord with audiences as well as critics.

Director Steve James follows the lives of two young men from the inner city for a five-year period, as they pursue their dreams of becoming professional basketball players. Just when you think you have the film pigeonholed, it takes off in unexpected directions, making for a much more riveting story than you’d expect. A winner.

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North Dallas Forty – Nick Nolte and Mac Davis lead a spirited ensemble cast in this locker room peek at pro football players and the political machinations of team owners. Some of the vignettes are allegedly based on the real-life hi-jinks of the Dallas Cowboys, replete with wild parties and other assorted off-field debaucheries. Charles Durning is perfect as the coach. Peter Gent adapted the screenplay from his original novel. This film is so entertaining that I can almost forgive director Ted Kotcheff for foisting Rambo: First Blood and Weekend at Bernie’s on us a bit later on in his career.

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Personal Best – When this film was released, there was so much fuss over a couple brief love scenes between Mariel Hemingway and co-star Patrice Donnelly that many failed to notice that it was one of the most realistic and empowering portrayals of female athletes to date. Writer-director Robert Towne did his homework; he spent time observing Olympic track stars at work and at play. The women are shown to be every bit as tough and competitive as their male counterparts; Hemingway and (real-life pentathlete) Donnelly deliver fearless performances. Scott Glenn is excellent as a hard driving coach.

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Slapshot – Paul Newman skates away with his role as the coach of a slumping minor league hockey team in this puckish satire (sorry), directed by George Roy Hill. In a desperate play to save the team, Newman decides to pull out all the stops and play dirty.

The entire ensemble is wonderful, and screenwriter Nancy Dowd’s riotously profane locker room dialog will have you rolling. Newman’s Cool Hand Luke co-star Strother Martin (as the team’s manager) handily steals all of his scenes. Lindsey Crouse (in a rare comedic role) is memorable as a sexually frustrated “sports wife” . Michael Ontkean performs the funniest striptease bit in film history and the endearingly sociopathic “Hanson Brothers” are a hoot.

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This Sporting Life – This early Lindsay Anderson effort from 1963 was one of the “angry young man” dramas that stormed out of the U.K. in the late 50s and early 60s, steeped in “kitchen sink” realism and working class angst. A young, Brando-like Richard Harris tears up the screen as a thuggish, egotistical rugby player with a natural gift for the game who becomes an overnight sports star.

Extra innings!

We could be benched for a while. Here are 10 more personal recommendations:

Any Given Sunday

Bang the Drum Slowly

Cool Runnings

Field of Dreams

Lagaan: Once Upon a Time in India

The Longest Yard (1974)

The Natural

Raging Bull

Rocky

When We Were Kings

Guest review: Call of the Wild (***)

By Bob Bennett

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Summary: An enjoyable film that skips the intensity of the original Jack London tale for an endearing “man loves dog” theme with surprisingly good special effects. Haters are gonna hate but this movie punches above its weight and makes you ponder what “civilized” really means.

** Possible light spoilers ahead if you’ve never read the source novel**

I am an unlikely admirer of Chris Sanders’ new family-friendly fantasy adventure Call of the Wild. I have never liked the perennially grumpy Harrison Ford, was convinced that using a CGI dog would be a travesty and was primed for disappointment as an amateur Klondike gold rush historian (I lead tours in Seattle on the gold rush).  And so, it was a surprise when I was genuinely touched by this movie that somehow punched above its weight.

The movie is the tenth film adaptation of Jack London’s original novel, The Call of the Wild, which was an instant success when released in 1903.  The book, authored by one of the first hardy souls to travel over the Chilkoot Pass when gold was discovered near Dawson City in 1896, was unsparing in its depiction of the brutality of nature.

Essentially the book is about how easily the thin veneer of society can be stripped away to reveal a harsh world where man and dog fight to survive through tooth and claw.  Frankly, in 2020 the book is a tough read; think angry Darwinism focused on inherent violence.

This version (adapted from London’s novel by Michael Green) is very Disney-esque, meaning that the movie is suitable for kids but still has enough going on for adults to be entertained.  Violent parts of the book are softened, non-PC portions are left behind (there are many) and new story elements have been added to heighten appeal.

Like the book, the movie presents human feelings through the experiences of a dog without going all in for anthropomorphism (the animals do not talk for example).  The book was always a work of fiction and the movie borders on fantasy.

Buck, a large city dog who is kidnapped and sold into the violent sled dog trade, is the main character.  As a stylized CGI dog, Buck has a commanding personality with just enough visual fidelity to let you regard him as real and with few distracting details.  Buck’s leaps and bounds are incredibly life-like due to use of motion capture sequences of a real dog and his facial expressions are very realistic – and I say that as someone who owns two large canines.

The other dogs in the movie and the wolves are well portrayed – such is the control that CGI gives the director.  One has to wonder if this type of lush storytelling will color our common perception of nature, since there is less and less “real nature.”  As another plus, the filming had a very low footprint on the real environment.  Still, if you can’t get over the CGI, you will not like the movie (in case you were wondering, all the human characters are portrayed by real actors).

The protagonist is a grizzled and despondent prospector, John Thornton, who is played by the well cast Harrison Ford.  John rescues Buck from a cruel and clueless owner (a city slicker of course) and bonds with him.  Ford struggles with old age, regrets and alcoholism – great family fare right?

There are three phases in the narrative.  The first covers Buck’s kidnapping from his plush city life and his baptism into the cruel world of men the dogs they enslave in pursuit of money.  The second features Buck development as a leader of his own pack of dogs.  The final chapter is Buck and John’s Homeric journey into the wilderness which is essentially a quest for deliverance from the evils of man.

The movie was shot partially on green screen, partially on location in California and features gorgeous background plates shot in the Yukon.  Somehow it mostly all works except for a bizarre scene where a pheasant is flushed (a few thousand miles North of their real habitat).

A high point is an incredible dog team action scene with Buck having earned his place as lead dog.  Buck takes his humans for the ride of their life and saves them from a huge avalanche (which was not in the book).

The movie is ultimately a lead up to Buck gradually integrating with a pack of wolves (who are incredibly lifelike).  The conflicting pull that Buck feels for John and the call of the wild by his new pack is the central theme of the story and is beautifully rendered on screen.

“Call of the WIld” is available for home viewing on pay-per-view (Disney)

Cinema Therapy: 10 films that never let me down

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 21, 2020)

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So movie theaters are shuttered, the balcony is closed, and I’m getting emails like this:

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I’d reach for the Ben and Jerry’s…but my local grocery stores seem to be out of stock.

There’s been movement to offer first-run features online; Kino-Lorber will be launching “Kino Marquee” (which they refer to as “virtual screenings” as opposed to standard VOD) and Xfinity cable is now pushing a VOD feature called “Xfinity Movie Premiere”. I’d hazard a guess that other releasing studios and platforms will follow suit very shortly.

With more of us living la vida shut-in (as mandated by authorities and/or common sense), the need for “cinema therapy” is paramount (no pun intended). With that in mind, here are 10 personal faves that I’ve watched an unhealthy number of times; films I’m most likely to reach for when I’m depressed, feeling anxious, uncertain about the future…or all the above. These films, like my oldest and dearest friends, have never, ever let me down.

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Black Orpheus – Marcel Camus directed this mesmerizing 1959 film, a modern spin on a classic Greek myth, fueled by the pulsating rhythms of Rio’s Carnaval and tempered by the gentle sway of Luiz Bonfa and Antonio Carlos Jobim’s gorgeous samba soundtrack. Camus and Jacques Viot adapted the screenplay from the play by Vinicius de Moraes.

Handsome tram operator Orfeo (Breno Mello) is engaged to vivacious Mira (Lourdes de Olivera) but gets hit by the thunderbolt when he meets sweet, innocent Eurydice (Marpessa Dawn). As in most romantic triangles, things are bound to get ugly, especially when Mr. Death (Ademar da Silva) starts lurking about.

A unique film that fully engages the senses. Some may wonder how I’m “comforted” by a story based on a classic Greek tragedy; but it’s the final scene (one of the most beautiful, life-affirming denouements in cinema history) that always assures me that somehow, everything is going to be alright.

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A Hard Day’s Night – This 1964 masterpiece has been often copied, but never equaled. Shot in a semi-documentary style, the film follows a “day in the life” of John, Paul, George and Ringo at the height of their youthful exuberance and charismatic powers.

Thanks to the wonderfully inventive direction of Richard Lester and Alun Owen’s cleverly tailored script, the essence of what made the Beatles “the Beatles” has been captured for posterity. Although it’s meticulously constructed, Lester’s film has a loose, improvisational feel; and it feels just as fresh and innovative as it was when it first hit theaters all those years ago. To this day I catch subtle gags that surprise me (ever notice John snorting the Coke bottle?). Musical highlights: “I Should Have Known Better”, “All My Loving”, “Don’t Bother Me”, “Can’t Buy Me Love”, and of course, the fab title song.

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Local Hero – This magical, wonderfully droll and observant 1983 social satire from Scottish writer-director Bill Forsyth stars Peter Reigert as Macintyre, a Texas-based executive who is assigned by the head of “Knox Oil & Gas” (Burt Lancaster) to scope out a sleepy Scottish hamlet that sits on an oil-rich bay. He is to negotiate with local property owners and essentially buy out the town so that the company can build a huge refinery.

While he considers himself “more of a Telex man”, who would prefer to knock out such an assignment “in an afternoon”, Mac sees the overseas trip as a possible fast track for a promotion within the corporation. As this quintessential 80s Yuppie works to ingratiate himself with the unhurried locals (quite impatiently at first), a classic “fish out of water” transformation ensues. It’s the kindest and gentlest Ugly American tale you’ve ever seen.

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The Maltese Falcon – This iconic noir, based on a classic Dashiell Hammett novel and marking the directing debut for a Mr. John Huston, is so vividly burned into the film buff zeitgeist, that I don’t feel the need to recount the plot. Suffice it to say that “When a man’s partner is killed, he’s supposed to do something about it.” And leave it at that.

Humphrey Bogart truly became “Humphrey Bogart” with his performance as San Francisco gumshoe Sam Spade. Equally memorable performances from Sidney Greenstreet, Mary Astor, Peter Lorre (“Look what you did to my shirt!”), Lee Patrick and Elisha Cook, Jr. round things off quite nicely. I’ve lost count on my viewings of this one.

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Man on the Train – There are a only a handful of films I have seen that I have become  emotionally attached to, sometimes for reasons I can’t always completely fathom. This 2002 drama is one of them.

Best described as an “existential noir”, Patrice LeConte’s relatively simple tale of two men in the twilight of their life with completely disparate life paths (a retired poetry teacher and a career felon) forming an unexpectedly deep bond turns into an equally unexpectedly transcendent film experience. French pop star Johnny Hallyday and the wonderful screen veteran Jean Rochefort deliver revelatory performances. I feel an urge to go watch it right now.

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Sherman’s March – Documentary filmmaker Ross McElwee is truly one of America’s hidden treasures. McElwee, a genteel Southern neurotic (think Woody Allen meets Tennessee Williams) has been documenting his personal life since the mid 70’s and managed to turn all that footage into some of the most hilarious, moving and thought-provoking films that most people have never seen.

Audiences weaned on the glut of “reality TV” of recent years may wonder “what’s the big deal about one more schmuck making glorified home movies?” but they would be missing an enriching glimpse into the human condition. Sherman’s March actually began as a project to retrace the Union general’s path of destruction through the South, but somehow ended up as rumination on the eternal human quest for love and acceptance, filtered through McElwee’s personal search for the perfect mate.

Despite its 3 hour length, I’ve found myself returning to this film for repeat viewings over the years, and enjoying it just as much as the first time.The unofficial “sequel”, Time Indefinite, is also worth a peek.

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Spirited Away – Innovative Japanese anime master Hayao Miyazaki has made a lot of great films, but this may well be his crowning achievement. A young girl and her parents inadvertently stumble into a resort spa reserved exclusively for traditional Japanese deities and other assorted denizens of the spirit world. Needless to say, this “security breach” throws the phantasmagorical residents into quite a tizzy; Mom and Dad are turned into barnyard animals and their daughter has to rely on her wits and previously untapped inner strength to save them. Visually stunning and imaginative nearly beyond description, it also tells a beautiful story-funny, touching, exciting and empowering.

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The Thin Man – A delightful mix of screwball comedy and murder mystery (based on the Dashiell Hammett novel) that never gets old for me. The story takes a backseat to the onscreen spark between New York City P.I./perpetually tipsy socialite Nick Charles (William Powell) and his wisecracking wife Nora (sexy Myrna Loy). Top it off with a scene-stealing wire fox terrier (Asta!) and you’ve got a winning formula that has spawned countless imitators over the last 86 years; particularly a bevy of sleuthing TV couples (Hart to Hart, McMillan and Wife, Moonlighting, Remington Steele, etc.).

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True Stories – Musician/raconteur David Byrne enters the Lone Star state of mind with this subtly satirical Texas travelogue from 1986. It’s not easy to pigeonhole; part social satire, part long-form music video, part mockumentary. The episodic vignettes about the quirky but generally likable inhabitants of sleepy Virgil, Texas should hold your fascination once you buy into “tour-guide” Byrne’s bemused anthropological detachment.

Among the town’s residents: John Goodman, “Pops” Staples, Swoosie Kurtz and the late Spalding Gray. The outstanding cinematography is by Edward Lachman. Byrne’s fellow Heads have cameos performing “Wild Wild Life”. Not everyone’s cup of tea, but I have an emotional attachment to this film that I can’t explain.

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Wings of Desire – I’ve never sat down and tried to compile a Top 10 list of my favorite movies of all time, period full stop (I’ve just seen too many damn movies…I’d be staring at my computer screen for weeks, if my head didn’t explode first) but I’m pretty sure that Wim Wenders’ 1987 stunner would be a shoo-in. Like 2001 or Koyaanisqatsi (definite contenders) it is akin to the unenviable task of describing color to a blind person.

I mean, if I told you it’s about a trench coat-wearing angel (Bruno Ganz) who hovers over Berlin, monitoring people’s thoughts and taking notes, who spots a beautiful trapeze artist (Solveig Dommartin) one day and follows her home, wallows around in her deepest longings, watches her undress, then falls in love and decides to chuck the mantle of immortality and become human…well, you’d probably say “Dennis, that sounds like a story about a creepy stalker.” And if I also told you it features Peter Falk, playing himself, you’d laugh and say “I’m being punk’d, right?” Of course, there is much more to it. It’s about life, the universe, and everything.

BONUS!

If you really want to go all out for movie night (which is pretty much every night for me), you have to watch a cartoon before the movie, right? Here’s my 2011 review of a Blu-ray box set always guaranteed to lift your spirits. Keep it handy, right next to the first aid kit.

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The Looney Tunes Platinum Collection, Vol. 1 – During those long, dark nights of my soul, when all seems hopeless and futile, there’s always one particular thought that never fails to bring me back to the light. It’s that feeling that somewhere, out there in the ether, there’s a frog, with a top hat and a cane, waiting for a chance to pop out of a box to sing:

Hello my baby, hello my honey, hello my ragtime gal                                     Send me a kiss by wire, baby my heart’s on fire…

If you don’t know what I’m talking about, just go ahead and skip to the next review now.

The rest of you might want to check out this fabulous 3-disc collection, which features 50 classic animated shorts (and 18 rarities) from the Warner Brothers vaults. Deep catalog Looney Tunes geeks may quibble until the cows come home about what’s not here (Warner has previously released six similar DVD collections in standard definition), but for the casual fans (like yours truly) there is plenty to please. I’m just happy to have “One Froggy Evening”, “I Love to Singa”, “Rabbit of Seville”, “Duck Amuck”, “Leghorn Lovelorn”, “Three Little Bops” and “What’s Opera Doc?” in one place. The selections cover all eras, from the 1940s onward.

One thing that does become clear, as you watch these restored gems in gorgeous hi-def (especially those from the pre-television era) is that these are not “cartoons”, they are 7 ½ minute films, every bit as artful as anything else cinema has to offer. Extras include a trio of excellent documentaries about the studio’s star director, the legendary Chuck Jones. The real diamond among the rarities is The Dot and the Line: A Romance in Lower Mathematics (directed by Jones for MGM), which won the 1965 Oscar for Best Animated Short Film.

Rave on, rave on..St. Patrick’s Awesome Mixtape

By Dennis Hartley

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So this St. Patrick’s day is going to be a little weird, right? On this commemoration of the day that Saint Patrick drove the snakes into the sea, the snakes have *possibly* returned (in a roundabout way) to bite us all on the ass. Bars and restaurants are closed, public health authorities are (wisely) advising “social distancing” to help thwart spread of the Covid-19 virus (so parades are right out), the kids are home from school…and you’re considering taking up day drinking. Be strong. Don’t go there yet. Wait until dusk.

Meantime, take a breather. Turn off the news for 30 minutes, kick back, brew a nice cup of chamomile tea (OK…with just a splash of Dead Rabbit, as long as the kids aren’t looking) put in the earbuds and enjoy some fine music imported from the Emerald Isle.

Over the hills and far away: 10 films for St. Patrick’s Day

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 14, 2020)

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As this Tuesday is Saint Patrick’s Day, I thought I’d help you get your Irish up and drive those snakes from your media room with 10 grand film recommendations. Since public celebrations have been cancelled and health officials are advising to remain housebound for a spell, I’ve also noted any cable and/or digital platform availability where applicable (based on my Xfinity package; depending on your cable service, erm-“results may vary”).

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The Commitments – “Say it leoud. I’m black and I’m prewd!” Casting talented yet unknown actor/musicians to portray a group of talented yet unknown musicians was a stroke of genius by director Alan Parker. This “life imitating art imitating life” trick works wonders. In some respects, The Commitments is an expansion of Parker’s 1980 film Fame; except here the scenario switches from New York to Dublin (there’s a bit of a wink in a scene where one of the band members breaks into a parody of the Fame theme).

However, these working-class Irish kids don’t have the luxury of attending a performing arts academy; there’s an undercurrent referencing the economic downturn in the British Isles. The acting chemistry is superb, but it’s the musical performances that shine, especially from (then) 16-year old Andrew Strong, who has the soulful pipes of someone who has been smoking 2 packs a day for decades. In 2007, cast member/musician Glen Hansard co-starred in John Carney’s surprise low-budget hit, Once, a lovely character study that would make a perfect double bill with The Commitments.

Available for rental from iNDemand

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Darby O’Gill and the Little People – Sean Connery…in a film about leprechauns?! Well, stranger things have happened. Albert Sharpe gives a delightful performance as lead character Darby O’Gill in this 1959 fantasy from perennially family-friendly director Robert Stevenson (Mary Poppins, The Love Bug, The Absent-Minded Professor, That Darn Cat!).

Darby is a crusty yet benign b.s. artist who finds himself embroiled in the kind of tale no one would believe if he told them it were true-matching wits with the King of the Leprechauns (Jimmy O’Dea), who has offered to play matchmaker between Darby’s daughter (Janet Munro) and the strapping pre-Bond Connery. The special effects hold up surprisingly well (considering the limitations of the time). The scenes between Sharpe and O’Dea are especially amusing (“Careful what you say…I speak Gaelic too!”).

Available for rental from Disney Studios

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A Date for Mad Mary – Seana Kerslake makes a remarkable debut in Darren Thornton’s 2017 dramedy about a troubled young woman who is being dragged kicking and screaming (and swearing like a sailor) into adulthood. Fresh from 6 months in a Dublin jail for instigating a drunken altercation, 20-year-old “mad” Mary (Kerslake) is asked to be maid of honor by her BFF Charlene. Assuming that her volatile friend won’t find a date, Charlene refuses her a “plus one”. Ever the contrarian, Mary insists she will; leading to an unexpected relationship. The director’s screenplay (co-written with his brother Colin) is chockablock with brash and brassy dialog and conveys that unique penchant the Irish possess for using “fook” as a noun, adverb, super verb and adjective.

Available for purchase only from Xfinity on demand (no rental option)

Hear My Song – This charming, quirky comedy-drama from writer-director Peter Chelsom (Funny Bones) concerns an Irish club-owner in England (Adrian Dunbar) who’s having a streak of bad luck. He’s not only on the outs with his lovely fiancée (Tara Fitzgerald), but is forced to shut down his venue after a series of dud bookings (like “Franc Cinatra”) puts him seriously in the red. Determined to win back his ladylove and get his club back in the black, he stows away on a freighter headed for his native Dublin. He enlists an old pal to help him hunt down and book a legendary tenor (Ned Beatty, in one of his best roles) who has hasn’t performed in decades (he’s hiding from the tax man). Fabulous script, direction, and acting. Funny, touching and guaranteed to lift your spirits.

Available for rental from Miramax

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Into the West – A gem from one of the more underappreciated “all-purpose” directors working today, Mike Newell (Dance With a Stranger, Enchanted April, Four Weddings and a Funeral, Donnie Brasco, Pushing Tin). At first glance, it falls into the “magical family film” category, but it carries a subtly dark undercurrent with it throughout, which keeps it interesting for the adults in the room. Lovely performances, a magic horse, and one pretty pair o’humans (Ellen Barkin and Gabriel Byrne, real-life spouses at the time).

Available for rental from Miramax

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My Left Foot – This was the first (and best) of three collaborations between writer-director Jim Sheridan and actor Daniel Day-Lewis (1993’s In the Name of the Father and 1997’s The Boxer were to follow). This intensely moving 1989 biopic concerns Christy Brown, a severely palsied man who became a renowned author, poet and painter despite daunting physical roadblocks.

Thankfully, the film makers avoid the audience-pandering shtick of turning its protagonist into the cinematic equivalent of a lovable puppy (see Rainman, I Am Sam); Brown is fearlessly portrayed by Day-Lewis “warts and all” with peccadilloes laid bare. As a result, you acclimate to Day-Lewis’ physical tics, allowing Brown to emerge as a complex human being, not merely an object of pity. Day-Lewis deservedly picked up an Oscar. Brenda Fricker also earned her supporting Oscar as Brown’s mother. It’s easy to overlook 13-year old Hugh O’Conor’s contribution as the young Christy; it’s also a great performance.

Available from HBO on demand (free to subscribers)

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Odd Man Out – An absorbing film noir from the great director Carol Reed (The Third Man, The Fallen Idol). James Mason is excellent as a gravely wounded Irish rebel who is on the run from the authorities through the dark and shadowy backstreets of Belfast. Interestingly, the I.R.A. is never referred to directly, but the turmoil borne of Northern Ireland’s “troubles” is most definitely implied by word and action throughout F.L. Green and R.C. Sherriff’s intelligent screenplay (adapted from Green’s original novel). Unique for its time, it still holds up remarkably well as a “heist gone wrong”/chase thriller with strong political undercurrents. The great cast includes Robert Newton and Cyril Cusack.

Available from On Demand and ScreenPix

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The Quiet Man – A John Ford classic. I’ll admit to never having been a huge John Wayne fan, but he’s perfect in this role as a down-on-his-luck boxer who leaves America to get in touch with his roots in his native Ireland. The most entertaining (and purloined) donnybrook of all time, plus a fiery performance from the gorgeous Maureen O’Hara round things off nicely. Although quite tame by today’s standards, I’ve always found the romantic scenes between Wayne and O’Hara to be surprisingly erotic for the time. The pastoral valleys and rolling hills of the Irish countryside have never looked lovelier onscreen, thanks to Winton C. Hoch and Archie Stout’s Oscar-winning cinematography.

Available for rental from Paramount

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The Secret of Roan Inish – John Sayles delivers an engaging fairy tale, devoid of the usual genre clichés. Wistful, haunting and beautifully shot by the great cinematographer Haskell Wexler, who captures the misty desolation of County Donegal’s rugged coastline in a way that frequently recalls Michael Powell’s similarly effective utilization of Scotland’s Shetland Islands for his 1937 classic, The Edge of the World. The seals should have received a special Oscar for Best Performance by a Sea Mammal. Ork, ork!

Available for purchase only from Sony (no rental option)

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Song of the Sea – This 2014 animated fantasy from writer-director Tomm Moore centers on a melancholic lighthouse keeper named Conor (voiced by Brendan Gleeson), who is raising his young son and daughter following the tragic loss of his wife, who died in childbirth. After his daughter is nearly swept away when she sleep walks into the nearby surf one night, Conor decides the children would be better off staying with their grandmother in the big city. The kids aren’t so crazy about this plan; after a few days with grandma they make a run for it. Before they can wend their way back home, they are waylaid by a band of characters that seem to have popped right out of one of those traditional Irish fairy tales that Conor’s mother used to tell him as a child.

Moore’s film has a timeless quality and a visual aesthetic on par with the best of Studio Ghibli. There is an overall sense of “warmth” in Moore’s skilled use of traditional hand-drawn animation; genuine heart that is sorely lacking from the computer-generated “product” that gluts our multiplexes these days.

Available from STARZEncore on demand (free to subscribers)

 

Guest review: The Who Live at Hull 1970

By Bob Bennett

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Note: Bob Bennett is a long-time friend and fellow Who fanatic who shared a few thoughts with me in an email regarding his first spin of The Who Live at Hull 1970, a 2-CD set that was released in 2012 (one that I’d missed too, for some reason). Never one to let a damn fine review go to waste, I asked him if he’d mind terribly if I passed it along.  -D.H.

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Summary: A muscular performance featuring The Who at the peak of their talent recorded on the night after the stellar Live at Leeds album.

Airplane pilots sometimes describe minimizing the possibility of a chain of events happening as avoiding the holes lining up in overlapping slices of Swiss cheese – the more layers, the more unlikely it is that the holes in the cheese line up.

If you take all of the variables of a live rock performance (tempo, acoustics, song selection, miking, individual band member performance, recording production etc. ) and layer them as holey slices of cheese they will occasionally line up – maybe just for a few bars or even one perfect song.

It is these moments that rock fans cherish, and usually they are lost to the universe as they emanate from sweaty taverns or crowded theaters packed with fans.   The Who Live At Leeds is one of those rare moments where an entire performance was perfect and the captured result is almost a  religious experience.

Live At Hull was recorded 80 km to the East of Leeds; apparently as a backup to the performance the night before.  It is not a true bootleg.  It features The Who at the top of their game, with very few effects and no keyboards.  And while brilliant in many spots, it does not match the unattainable heights of Live At Leeds.

The opening song is a thunderous performance of Entwhistle’s “Heaven and Hell” that features Keith Moon playing furiously with a fusillade of almost incomprehensible fills.  It is an astonishing wall of sound that initially echoes the staggering gig of the previous night but then lapses into lower quality jamming.  The song is all the more poignant for the now prescient lyrics that foretold John’s death many years later.   If you are a Keith Moon fan, this opening song is worth buying the album for.

There are many other flashes to of brilliance to be enjoyed, particularly in unexpected variations of Pete Townshend’s guitar work.  But alas, the generous 2-CD recording (which includes all of Tommy on the 2nd disc) is brought to earth by a strange mix that at times buries the right side vocals and short shrifts the bassline unless you crank the volume.

The drums are mixed up front as are Roger’s vocals.  So clear is Roger’s voice that I understood the lyrics in several spots for the 1st time. It sounds as if Pete had 2 mics and would travel from one to another (one with distinctly higher volume).   Keith’s and John’s vocals sound distant — as does the crowd.

Pete’s upbeat banter from Live at Leeds (“Assemble the musicians!”  “Rock otter” “Thomas”) is gone though we do get some thoughtful song intros by Roger before they play covers from other artists.  Keith’s playing on disc 2 is at times a bit uninspired — as if he was tiring or perhaps a bit bored with Tommy (“Amazing Journey” and “Sparks” did have great drumming).

The backup vocals (rarely a strong point of The Who) are often wobbly.  One song at the end of Disc 1, “My Generation”, is a near disaster, turning into a self-indulgent jam by Pete with many false endings as the rest of the band gamely follows along for 15 minutes.

Overall, it is a muscular, workman-like performance, very physical, that makes me marvel at the sheer effort that The Who put pleasing their audiences such as this one; likely composed of factory workers and dock workers in the hard scrabble port city of Kingston upon Hull.

The experience of listening to Live at Hull is a bit disconcerting.  It is like meeting the twin brother of a friend that you did not know had a twin at all.  The tone of the guitars, the tuning of the drums, the sound of the gong and the tenor of the voices are identical to that on Live at Leeds.  Some of the songs are near note perfect copies on both nights (causing me to toss my assumption that all of Keith’s drumming was pure spontaneity).  Gradually one realizes that the albums are fraternal, not identical twins.  And in this case, one of the “twin brothers” gave a once-in-a-lifetime performance …in Leeds.

Notes from Ground Zero…and The Twilight Zone

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 7, 2020)

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The tools of conquest do not necessarily come with bombs and explosions and fallout. There are weapons that are simply thoughts, attitudes, prejudices…to be found only in the minds of men. For the record, prejudices can kill…and suspicion can destroy…and a thoughtless, frightened search for a scapegoat has a fallout all of its own – for the children and the children yet unborn. And the pity of it is that these things cannot be confined to the Twilight Zone.

– Narrator’s epilogue from “The Monsters are Due on Maple Street” (1960 episode of The Twilight Zone) original teleplay by Rod Serling

A few days ago, this Tweet by NBC news journalist Richard Engel caught my attention:

Now here was an angle on the Coronavirus crisis that I hadn’t given much thought to. Engel makes a very salient point about “social” side effects of pandemic panic. Many people are prone to allergies or suffer from non-viral chronic respiratory conditions who will be (or already are) getting dirty looks when they’re out and about. I’ve been worried about this myself for several days; the apple and cherry trees have begun to blossom, and (right on schedule) so has my usual reaction: sneezing fits, runny nose and dry coughing.

I currently live in fear of mob retribution should I fail to suppress a sneeze in an elevator.

On the flip side, I must come clean and plead guilty to feeding the monster myself. Earlier this week I was waiting in line at the drug store. Standing in front of me was a man and his young daughter (I’d guess she was around 7 or 8 years old). She was doing the fidget dance. Just as she twirled around to face in my direction, she emitted a fusillade of open-mouthed coughs. I jumped back like James Brown, nearly colliding with the person standing behind me (we’re all a tad “jumpy” in Seattle just now). For a few seconds, I was seeing red and nearly said something to her dad, who was too busy futzing around with his cell phone to notice his Little Typhoid Mary’s St. Vitus Dance of Death.

Thankfully, my logical brain quickly wrested the wheel from my lizard brain, and I thought better of making a scene. After all she was just a little girl, bored waiting in line.

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A lot of sociopolitical fallout from pandemic panic has been on display in recent weeks: fear of the “other” (ranging from unconscious racial profiling to outright xenophobia), disinformation, fear mongering, and the good old reliable standbys anxiety and paranoia.

This got me thinking about one my favorite episodes of the original Twilight Zone, “The Monsters Are Due on Maple Street”. Scripted by series creator Rod Serling, the episode premiered in 1960. I re-watched it today and was struck by how tight Serling’s teleplay is; any aspiring dramatist would do well to study it as a masterclass in depth and brevity.

**** SPOILERS AHEAD ****

The story opens under blue suburban skies of Maple Street, U.S.A. in a neighborhood straight outta Leave it to Beaver where the residents are momentarily distracted from their lawn mowing and such by the overhead rumble and flash of what appears to be a meteor streaking though the sky. However, this brief anomaly is only the prelude to a more concerning turn of events: a sudden power outage coupled with an inexplicable shutdown of anything gas-powered, from lawn mowers to automobiles. Concern builds.

This precipitates an impromptu community meeting in the middle of the block, as residents start to speculate as to what (or who) could be to blame for these odd events. A young boy takes center stage. An avid sci-fi comic book fan, he regales the adults with a tale he read recently about an alien invasion. In the story, the invaders infiltrate towns by embedding a family in each neighborhood, until the time is right to “take over” en masse.

The seed has been planted; fear, distrust and paranoia spreads through the block like wildfire, becoming increasingly more palpable with the diminishing daylight. By nightfall, anarchy reigns, and once-friendly neighbors have turned into a murderous mob.

The camera pulls away further and further from the shocking mayhem occurring on Maple Street to a “God’s-eye” view, where we become aware of two shadowy observers (who are obviously the alien invaders). After absorbing the ongoing scenario, one asks the other “And this pattern is always the same?” “With a few variations,” his companion intones with a clinical detachment, adding “They pick the most dangerous enemy they can find, and it’s themselves.” Cue Mr. Serling’s equally omniscient epilogue (top of post).

Obviously, when Serling wrote the piece he was referring at the time to the Red Scare; America and Russia were at the height of the Cold War and nuclear paranoia was rampant among the general populace (in the episode, a character sarcastically refers to himself as a “Fifth Columnist” when accused of being an alien invader by his neighbors).

That said, Serling’s script (like much of his work) is “evergreen”. With its underlying themes about mob psychology, scapegoating, and humanity’s curious predilection to eschew logic and pragmatism for fear and loathing, the “message” is just as relevant now.

Keep your head, be a good neighbor, and don’t forget to wash your hands for 20 seconds.

 

Bring back that sunny day: Weathering with You (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 29, 2020)

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It turns out that it is not just my imagination (running away with me). A quick Google search of “Seattle rain records” yields such cheery results as a January 29th CNN headline IT’S SUNLESS IN SEATTLE AS CITY WEATHERS ONE OF THE GLOOMIEST STRETCHES IN RECENT HISTORY and a Feb 1st Seattle P-I story slugged with SEATTLE BREAKS RECORD WITH RAIN ON 30 DAYS IN A MONTH. Good times!

February was a bit better: 15 rainy days with 4.1 hours a day of average sunshine. But hey-I didn’t move to the Emerald City to be “happy”. No, I moved to a city that averages 300 cloudy days a year in order to justify my predilection for a sedentary indoor lifestyle.

In fact it was a marvelously gloomy, stormy Sunday afternoon in late January when I ventured out to see Japanese anime master Makato Shinkai’s newest film Weathering with You (yes, this is a tardy review gentle reader…but what do you expect at these prices?). Gregory’s Girl meets The Lathe of Heaven in Shinkai’s romantic fantasy-drama.

I probably should have taken notes; some of the finer narrative details have slipped what’s left of my addled mind. But I remember the rain. There’s lots of rain. In fact the film opens with a rainstorm; a rather tempestuous one that tosses our young protagonist, a teenage runaway named Hokada (voiced by Kotaro Daigo) into the drink (he’s hopped on a ferry, fleeing his rural island home to lose himself in the bustling metropolis of Tokyo). He’s saved by a man named Keisuka (Shun Ogari), who hands Hokada his business card.

Rain-soaked Tokyo is a less-than-welcoming new home for the likes of Hokada, who finds himself sleeping in alleys for a spell, with naught but the clothes on his back and a growling stomach. One day, he encounters a compassionate girl around his age named Hina (Nana Mori), a fast food worker who gives him a free meal. Hina and Hokada are bonded by family difficulties; with Hokada being a runaway and Hina recently orphaned (she barely supports herself and her young brother with her meager McDonald’s wages).

Fate continues to bounce Hokada around like a tennis ball. Still living on the streets, Hokada crosses paths with a Yakuza; he barely survives the encounter and stumbles across a gun, which he decides to hang onto for protection. Still, he’s buoyed by his burgeoning friendship with Hina and decides to look up his rescuer from the ferry. Turns out his savior runs a somewhat dubious news stringer agency out of a cramped office.

Keisuka’s sole employee is his flirty 20-something niece, Natsumi (Tsubasa Honda), who convinces her uncle to hire Hokada on spec to see if he can help them chase down stories to sell to tabloids. Hokada’s first assignment is to dig up some background for Keisuka’s article-in progress on a local legend regarding so-called “Sunshine Girls”, who allegedly have supernatural abilities to stop rain events purely through concentration and prayer.

One day by chance, Hokada is shocked to espy his new friend Hina being shepherded into a seedy exotic dance club by a less-than-savory looking character. Hokada pulls out the gun that he found earlier and confronts the man, who has intimidated Hina into working for him. Hokada and Hina flee to the rooftop of an abandoned building, where there is a Shinto shrine. Hina convinces Hokada to toss his gun away and reveals that she has the ability to stop rain with prayer. I know-that’s a lot to unpack in just one afternoon.

Therein lies the film’s main weakness…there’s too much to unpack in one afternoon (by the way, there are more developments to the story-so I haven’t spoiled anything). Shinkai can’t decide what he wants to convey: a coming-of-age tale, a social “message” drama, a fantasy, a statement about climate change. This may be an unfair comparison, but the narrative is not as focused and cohesive as in his previous effort, the outstanding 2017 film Your Name. That said, this is a very different type of story, and more ambitious in scope.

Still, there’s a lot to like about Weathering You, especially in the visual department. The Tokyo city-scapes are breathtakingly done; overall the animation is state-of-the-art. I could see it again. Besides, there are worse ways to while away a rainy Seattle afternoon.

This ain’t the Summer of Love: 10 essential rock albums of 1970

by Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 22, 2020)

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I’m livin’ in the 70’s
Eatin’ fake food under plastic trees
My face gets dirty just walkin’ around
I need another pill to calm me down

-from “Living in the 70s” by Skyhooks

If you’ve grown weary of your hippie grandparents getting misty-eyed over “the 50th anniversary of the Beatles on Sullivan”, “the 50th anniversary of the Summer of Love” or “the 50th anniversary of Woodstock”, I have good news for you. The 60s are finally over.

The bad news is …welcome to the 1970s!

When it comes to music, the 1970s were pretty, pretty, good. In fact, I have to say that some of the finest music known to humanity was produced during that decade. Now there are some who subscribe to the theory that one’s “musical taste” is formed during high school and thenceforth set in stone. Full disclosure: I graduated from high school in 1974.

I still say some of the finest music known to humanity was produced during that decade.

In the several years following the release of the Beatles’ game-changing Sgt. Pepper’s Lonely Hearts Club Band album in 1967, the genre broadly referred to as “rock ‘n’ roll” progressed by leaps and bounds. You could say it was “splintering”. Sub-genres began to propagate; folk-rock, blues-rock, progressive rock, country rock, hard rock. By the time the new decade rolled around, you could add more variations: Latin rock, jazz-rock, funk-rock, and polar extremes that would come to be dubbed as “soft rock” and “heavy metal”.

I’ve lost my curly locks (ditto aviator glasses) and there are a few more lines on my face, but I’d guess around 70% of the music that I still listen to was created in the 1970s. (Oh god here he goes now with the anniversary mention) It’s hard to believe that 1970 was (ahem) 50 years ago …but there you have it. With that in mind, here are my picks for the 10 best rock albums of 1970, a year that offers an embarrassing wealth of damn fine LPs.

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All Things Must Pass – George Harrison

1970 was an interesting year for the four artists formerly known as “The Beatles”. The belated release of the less-than-stellar Let it Be (actually recorded prior to 1969’s Abbey Road) was overshadowed by solo album debuts from all four ex-band mates. While John Lennon’s Plastic Ono Band, Paul McCartney’s McCartney, and Ringo Starr’s Sentimental Journey certainly contained fine material, I don’t think anybody saw this one coming (always watch out for the “quiet ones”). George Harrison had been “quietly” stowing away some very strong material for some time-at least judging by this massive 3-record set (although one could argue that the 3rd LP, comprised of 4 meandering jam sessions, was excess baggage). Produced by Phil Spector and featuring a stellar list of backing musicians (Eric Clapton, Ringo Starr, Badfinger, Billy Preston, Gary Wright, Bobby Keys, Peter Frampton, Gary Brooker, Alan White, Ginger Baker, Dave Mason, et.al.) Harrison delivers an astonishing set of songs, many of which have become classics.

Choice cuts: “I’d Have You Anytime”, “My Sweet Lord”, “Isn’t it a Pity (Version One)”, “Let it Down”, “What is Life”, “Beware of Darkness”, “All Things Must Pass”, “Art of Dying”.

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Bitches Brew – Miles Davis

Miles Davis is considered a “jazz” artist, but first and foremost he was an artist; one who defied categorization throughout his career. The influence of this 2-LP set on what came to be called “fusion” cannot be overstated. But be warned: this is not an album you put on as background; it is challenging music that demands your full attention (depending on your mood that day, it will sound either bold and exhilarating, or discordant and unnerving). Miles always had heavyweight players on board, but the Bitches Brew roster is legend: including future members of Weather Report (Wayne Shorter, Joe Zawinul), Return to Forever (Chick Corea, Lenny White) and The Mahavishnu Orchestra (John McLaughlin, Billy Cobham) – who are all now acknowledged as key pioneers of fusion.

Choice cuts: “Pharoah’s Dance”, “Bitches Brew”, “John McLaughlin”.

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Black Sabbath – Black Sabbath

Album 1, side 1, cut 1: Howling wind, driving rain, the mournful peal of a bell, and the heaviest, scariest tri-tone power chord intro you’ve ever heard. “Please God help meee!!” Talk about a mission statement. Alleged to have been recorded in a single 12-hour session, Black Sabbath’s eponymous debut album blew teenage minds, scared the bejesus out of the clergy and ushered in a genre of rock that showed no fear of the dark.

Choice cuts: “Black Sabbath”, “The Wizard”, “N.I.B.”, “Evil Woman”, “Sleeping Village”.

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Bridge Over Troubled Water – Simon and Garfunkel

Simon and Garfunkel went out on a high note with their swan song album (figuratively and literally…if you factor in Art Garfunkel’s soaring vocal performance on the title cut). The album not only features one of Paul Simon’s finest and most enduring song cycles, but outstanding production as well by engineer and co-producer Roy Halee. Halee picked up a Grammy for Best Engineered Recording; the album was festooned with an additional 5 Grammys (including Album of the Year and 4 wins for the title track alone). Simon went on to enjoy a highly successful solo career, and while Garfunkel continued to record and perform (including a reunion or two with Simon), his focus shifted to acting.

Choice cuts: “Bridge Over Troubled Water”, “El Condor Pasa”, “Cecilia”, “So Long, Frank Lloyd Wright”, “The Boxer”, “The Only Living Boy in New York”.

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Emerson, Lake, & Palmer – Emerson, Lake, & Palmer

In my 2016 tribute to Greg Lake, I wrote:

Greg Lake was not only one of the gods of prog-rock, but for my money, owned the greatest set of pipes in any musical genre.

That voice has captivated me from the first time I heard “In the Court of the Crimson King” wafting from my radio back in 1969. Even through a tinny 4″ speaker, that beautiful, cathedral voice shot directly through my medulla oblongata and took my breath away.    

Prog-rock’s first super-group not only had “that voice”, but the keyboard wizardry of Keith Emerson (The Nice) and the precise drumming of Carl Palmer (The Crazy World of Arthur Brown and Atomic Rooster). ELP’s eponymous debut showcases the trio’s virtuosic musicianship and seamless blending of folk, rock, jazz and classical influences.

Choice cuts: “The Barbarian”, “Take a Pebble”, “Knife-Edge”, “Lucky Man”.

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Fire and Water – Free

On an episode of his AXS-TV interview series, former AC/DC lead singer Brian Johnson described the voice of his guest Paul Rodgers thusly: “Velvet chocolate, with a splash of whiskey if required.” Perfect. Speaking of “perfect”, Free’s third studio album is damn-near. Fire and Water is an apt title for this strong set of elemental R&B-flavored blues-rock; propelled by Simon Kirke’s powerful drumming, Andy Fraser’s fluid bass lines, and Paul Kossoff’s spare yet dynamic guitar playing, topped off by Rodgers’ distinctive vocals (possessing a voice like that by 21 can only be attributed to “a gift from beyond”).

Choice cuts: “Fire and Water”, “Oh I Wept”, “Mr. Big”, “Don’t Say You Love Me”, “All Right Now”.

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Led Zeppelin III – Led Zeppelin

For their third album (my favorite), Led Zeppelin continued to draw from the well of Delta blues, English folk and heavy metal riffing that had informed the “sound” of Led Zeppelin and II the previous year, but indicated they were opening themselves to a bit of new exploration as well. Robert Plant and Jimmy Page were taking an interest in Eastern music, most evident in the song “Friends” which features an exotic string arrangement that hints at future forays into world music like “Four Sticks” (on IV) and “Kashmir” (on Physical Graffiti). While not bereft of straight-up rockers, this album is also their most “acoustic”, with folk and country-blues influences sprinkled throughout (Page even throws in some banjo for their arrangement of the traditional folk ballad “Gallows Pole”).

Choice cuts: “Immigrant Song”, “Friends”, “Since I’ve Been Loving You”, “Gallows Pole”, “Tangerine”, “That’s the Way”, “Bron-y-aur Stomp”.

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The Man Who Sold the World – David Bowie

You could say that David Bowie invented the idea of “re-invention”. It’s also possible he invented a working time machine, as he was always ahead of the curve (or leading the herd). He was the poster boy for “postmodern”. If pressed, I’d have to say my favorite Bowie “period” would be the Mick Ronson years (1969-1973). When he released his third album in 1970, Bowie was on the precipice of outer space and transitioning to a harder rock sound. Mick Ronson’s crunchy power chords and fiery solos feel like a warmup for Ziggy Stardust and the Spiders from Mars, which was just around the corner.

Choice cuts: “Width of a Circle”, “All the Madmen”, “Black Country Rock”, “After All”, “Running Gun Blues”, “The Man Who Sold the World”.

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Rides Again – The James Gang

One of the most majestic and melodic hard rock albums of the 70s, in a realm with Who’s Next. It was the second of three studio albums with Joe Walsh on lead vocals, guitar, and keyboards (Walsh departed the band in 1972, and bass player Dale Peters and drummer Jim Fox would go on to recruit several more guitarists and lead vocalists throughout the decade, including the late great Tommy Bolin). This is one of Walsh’s finest moments; especially in the Abbey Road-style suite on side 2 (Walsh continued a partnership with producer Bill Szymczyk; working with him on 7 of his solo albums between 1972-1992).

Choice cuts: “Funk #49”, “The Bomber: Closet Queen”, “Tend My Garden”, “Garden Gate”, “There I Go Again”,  “Thanks”, “Ashes, the Rain and I”.

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Tea for the Tillerman – Cat Stevens

To paraphrase from one of the tunes on this album, Cat Stevens had “come a long way” from his first charted hit “I Love My Dog” in 1966 to this beautifully crafted song cycle in 1970. After a life-threatening bout with TB in 1969 that left him hospitalized for months, Stevens went through a spiritual and creative transformation that ultimately inspired him to produce an amazing catalog of compositions within a short period of time (his 1971 follow-up Teaser and the Firecat is equally outstanding). Several songs from this album ended up on the soundtrack for Hal Ashby’s 1971 film Harold and Maude.

Choice cuts: “Where Do the Children Play?”, “Wild World”, “Miles From Nowhere”, “On the Road to Find Out”, “Father and Son”, “Tea for the Tillerman”.

Bonus Tracks!

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Here are 10 more 1970 releases worth a spin:

  • After the Gold Rush – Neil Young
  • Alone Together – Dave Mason
  • Benefit – Jethro Tull
  • Ladies of the Canyon – Joni Mitchell
  • Layla and Other Assorted Love Songs – Derek and the Dominos
  • Lola vs. Powerman and the Moneygoround – The Kinks
  • Moondance – Van Morrison
  • Morrison Hotel – The Doors
  • Sweet Baby James – James Taylor
  • Tumbleweed Connection – Elton John

My funny valentine: 10 Romantic Sleepers

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on February 15, 2020)

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I know …Valentine’s Day was yesterday. But at least I remembered. OK, I’m on the couch.

Anyway. I’ve combed through my review archives of the last decade or so and assembled a “top 10 list” of romantic comedies that may not have set the box office on fire, but are definitely worth seeking out. You may even fall in love with a few of these. Alphabetically:

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Blind Date – Is there a level of humor below “deadpan”? If so, I’d say that this film from Georgian director Levan Koguashvili has it in spades. A minimalist meditation on the state of modern love in Tbilisi (in case you’d been wondering), the story focuses on the romantic travails of a sad sack Everyman named Sandro (Andro Sakhvarelidze), a 40-ish schoolteacher who still lives with his parents. Sandro and his best bud (Archil Kikodze) spend their spare time arranging double dates via singles websites, with underwhelming results. Then it happens…Sandro meets his dream woman (Ia Sukhitashvili). There’s a mutual attraction, but one catch. Her husband’s getting out of jail…very soon. This is one of those films that sneaks up on you; archly funny, and surprisingly poetic. (Full Review)

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Emma Peters – As she careens toward her 35th birthday, wannabe thespian Emma (Monia Chakri, in a winning performance) decides that she’s had it with failed auditions and slogging through a humiliating day job. She’s convinced herself that 35 is the “expiry” date for actresses anyway. So, she prepares for a major change…into the afterlife. Unexpectedly lightened by her decision, she cheerfully begins to check off her bucket list, giving away possessions, and making her own funeral arrangements. However, when she develops an unforeseen relationship with a lonely young funeral director, her future is uncertain, and the end may not be near. A funny-sad romantic romp in the vein of Harold and Maude, from Belgian-American writer-director Nicole Palo. (Full Review)

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Hot Mess – Comedian-playwright Sarah Gaul does an endearing turn in writer-director Lucy Coleman’s mumblecore comedy about a 25 year-old budding playwright and college dropout who suffers from a lack of focus in her artistic and amorous pursuits. She expends an inordinate amount of her creative juice composing songs about Toxic Shock Syndrome. She becomes obsessed with a divorced guy who seems “nice” but treats her with increasing indifference once they’ve slept together. And so on. The narrative meanders at times, but when it’s funny, it’s very funny. (Full Review)

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Let the Sunshine In – The best actors are…nothing; a blank canvas. But give them a character and some proper lighting-and they’ll give back something that becomes part of us, and does us good: a reflection of our own shared humanity. Nature that looks like nature.

Consider Julilette Binoche, an actor of such subtlety and depth that she could infuse a cold reading of McDonald’s $1 $2 $3 menu with the existential ennui of Shakespeare’s Sonnet 123. She isn’t required to recite any sonnets in this film (co-written by director Claire Denis and Christine Angot), but her character speaks copiously about love…in all of its guises. And you may think you know how this tale of a divorcee on the rebound will play out, but Denis’ film, like love itself, is at once seductive and flighty. (Full Review)

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Liza, the Fox Fairy – If David Lynch had directed Amelie, it might be akin to this dark and whimsical romantic comedy from Hungary (inspired by a Japanese folk tale).

The story centers on Liza (Monika Balsa), an insular young woman who works as an assisted care nurse. Liza is a lonely heart, but tries to stay positive, bolstered by her cheerleader…a Japanese pop singer’s ghost. Poor Liza has a problem sustaining relationships, because every man she dates dies suddenly…and under strange circumstances. It could be coincidence, but Liza suspects she is a “fox fairy”, who sucks the souls from her paramours (and you think you’ve got problems?).

Director Karoly Ujj-Meszaros saturates his film in a 70s palette of harvest gold, avocado green and sunflower orange. It’s off-the-wall; but it’s also droll, inventive, and surprisingly sweet. (Full Review)

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A Matter of Size – When you think “star athlete”, it invariably conjures up an image of a man or a woman with zero body fat and abs of steel. Then there’s Herzl (Itzak Cohen), the unlikely sports hero of this delightful comedy from Israel.

Sweet, puppy-eyed and tipping the scales at 340 pounds, he lives with his overbearing mother, Mona (Levana Finkelstein) and works at a restaurant. After being cruelly fired for (essentially) his overweight appearance, Herzl falls into gloom. But when he experiences a mutual spark of attraction with a woman in his weight watchers group (Irit Kaplan) and finds a new job at a Japanese restaurant, managed by an ex-pro sumo coach (Togo Igawa)-his life takes unexpected turns.

It would have been easy for directors Sharon Maymon and Erez Tadmor to wring cheap laughs from their predominantly corpulent cast, but to their credit (and Danny Cohen-Solal, who co-scripted with Maymon) the characters emerge from their trials and tribulations with dignity and humanity intact. (Full Review)

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Mutual Friends – I’ve always found dinner parties to be a fascinating microcosm of human behavior; ditto genre films like The Anniversary Party, The Boys in the Band, and my all-time favorite Don’s Party. Sort of an indie take on Love, Actually, director Matthew Watts’ no-budget charmer centers on a group of neurotic New Yorkers (is that redundant?) converging for a surprise party.

In accordance with the Strict Rules of Dinner Party Narratives, logistics go awry, misunderstandings abound, unexpected romance ensues, and friendships are sorely tested. Despite formulaic trappings, the film is buoyed by clever writing, an engaging ensemble, and cheerful reassurance that your soul mate really is out there…somewhere. (Full Review)

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A Summer’s Tale – It’s nearly 8 minutes into this delightful 1996 Eric Rohmer film (which had a belated U.S. first-run in 2014) before anyone speaks; and it’s a young man calling a waitress over so he can order a chocolate crepe. But not to worry, because things are about to get interesting. In fact, our young man, an introverted maths grad named Gaspar (Melvil Poupaud) will soon find himself in a dizzying girl whirl. It begins when he meets the bubbly Margo (Amanda Langlet) an ethnologist major who is spending the summer working as a waitress at her aunt’s seaside crepery.

In a way, this is a textbook “Rohmer film”, which I define as “a movie where the characters spend more screen time dissecting the complexities of male-female relationships than actually experiencing them”. Don’t despair; it won’t be like watching paint dry; even first-time Rohmer viewers will surely glean the late French director’s ongoing influence (particularly if you’ve seen Once, When Harry Met Sally, or Richard Linklater’s “Before” trilogy). (Full Review)

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2 Days in New York – Writer-director-star Julie Delpy’s 2012 sequel to her 2007 comedy 2 Days in Paris catches up with her character Marion, who now has a son and a new man in her life, a long-time friend turned lover Mingus (Chris Rock) who has added his tween daughter to the mix. The four live together in a cozy Manhattan loft.

Marion and Mingus are the quintessential NY urban hipster couple; she’s a photo-journalist and conceptual artist; he’s a radio talk show host who also writes for the Village Voice. Marion is on edge. She has an important gallery show coming up, and her eccentric family has just flown in from France for a visit and to get acquainted with her new Significant Other. The buttoned-down Mingus is in for a bit of culture shock. And yes-Franco-American culture-clash mayhem ensues. Smart, funny and engaging throughout. (Full Review)

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Your Sister’s Sister – This offering from Humpday writer-director Lynn Shelton is a romantic “love triangle” dramedy reminiscent of Chasing Amy. It’s a talky but thoroughly engaging look at the complexities of modern relationships, centering on a slacker man-child (Mark Duplass) his deceased brother’s girlfriend (Emily Blunt) and her sister (Rosemarie Dewitt), who all bumble into a sort of unplanned “encounter weekend” together at a remote family cabin. Funny, insightful and well-acted. (Full Review)