(Originally posted on Digby’s Hullabaloo on April 26, 2025)
Fame (fame) what you like is in the limo Fame (fame) what you get is no tomorrow Fame (fame) what you need you have to borrow
– from “Fame” by David Bowie (backing vocal by John Lennon)
I’ll never forget the first time I saw Billy Wilder’s Sunset Boulevard-although I wish I could.
Allow me to explain.
I was all of 24, living in San Francisco. I didn’t own a VCR (they were exorbitantly priced), so I was still watching the tube in (*shudder*) real time. Perusing the TV Guide one December evening, I was excited to spot Sunset Boulevard on the schedule for 8pm (I believe it was airing on independent Bay Area station KTVU).
For the uninitiated, Gloria Swanson’s turn as a fading, high-maintenance movie queen mesmerizes, William Holden embodies the quintessential noir sap, and veteran scene-stealer Erich von Stroheim redefines the meaning of “droll” in a tragicomic journey down the Boulevard of Broken Dreams (I’ve seen it many times since).
At any rate, I was comfortably ensconced on the couch, really digging the film (despite myriad commercial breaks). Approximately 20 minutes into the broadcast, the station unceremoniously cut away from the film for a news bulletin: former Beatle John Lennon had been shot and killed in New York City.
It was eerie kismet, as the film opens with the shooting death of the protagonist/narrator (played by Holden), and is ultimately a rumination on the dark side of fame.
Being an avid Fabs fan, it kind of harshed my mellow. Still does, actually-whenever the subject comes up.
It’s hard to believe that was 45 years ago (5 years longer than Lennon’s lifespan). Over the ensuing decades, there has certainly been no shortage of documentaries and biopics covering Lennon’s life and work. At this point, I think I’ve seen most of them.
Consequently, one would assume that there are very few secrets, revelations and angles left to explore. Yet, 2025 has seen the release of no less than two new Lennon documentaries (and the year is still young).
First, there’s One to One: John and Yoko:
I haven’t seen it yet (it will be available to rent on streaming platforms beginning on May 9th).
This is the other doc (more on that in a moment)…
Directed by Alan G. Parker, Borrowed Time promises to “…set the record straight on the truth behind many famous Lennon moments, brought to life by rare archive footage, including never-before-seen interviews.”
So does it deliver? Well, in a fashion. As Lennon himself once implored, “All I want is the truth…just gimme some truth.” In context of the director’s approach, you may have to settle for “benefit of the doubt”.
I make that qualification because the lion’s share of screen time is devoted to talking heads. As promised, there are indeed “never-before-seen interviews” with former musical collaborators (Vinny Appice and Earl Slick), as well as music industry insiders, presenters, writers, and journalists (the BBC’s “Whispering” Bob Harris, Anthony DeCurtis, Barry Miles, Pamela Des Barres, Apple Records CEO Tony Bramwell, et.al.).
However, their stories are purely anecdotal; the backstage tales are engaging enough at first, but by the 2-hour mark they began to feel redundant and were not necessarily revelatory. Archival interviews help mix things up a bit, but overall it’s a static affair.
Then there’s the elephant in the room: zero Lennon music. I realize it can be challenging and/or simply too cost-prohibitive to secure permission to utilize copyrighted material in a film; but when you try to paint a portrait of an artist without any paint on your palette, more often than not you are likely to end up with an empty canvas.
Note: the version I previewed is the 134-minute theatrical cut that will be opening in the U.K. only on May 2. However, there is a 3.5 hour director’s cut out on the same date, which will be streaming for a month on the Icon Film Channel and also available to subscribers of the Amazon Prime Video Channels.
When he created his online “fish doorbell” to aid fish migration in the Dutch city of Utrecht, never in his wildest dreams did ecologist Mark van Heukelum imagine that one day his project would end up being featured on an episode of Last Week Tonight with John Oliver.
That’s exactly what happened this past Sunday, when Oliver dedicated a full ten-minutes of his show to van Heukelum’s creation, even enlisting R&B artist Mario to perform a love song aimed at helping the fish population of Utrecht get into the mood.
“I was laughing my head off,” van Heukelum told Dutch broadcaster NOS the day after Oliver’s piece aired. “It was bizarre and above all a very positive story.”
The piece also had an immediate effect on traffic to the fish doorbell website, where visitors can press a button if they see fish in live webcam video outside the Weerdsluis lock in Utrecht, which in turn alerts a lock keeper to open the lock to let the fish through.
According to Anna Nijs, an ecologist with Utrecht municipality, visitors to the site nearly quadrupled overnight, with the site logging between 600,000 and 700,000 visits in the 24 hours following Oliver’s broadcast.
“Of course, you don’t need that many people to actually let the fish through,” Nijs told NU.nl. “But we like to make as many people as possible aware of fish migration and the importance of fewer barriers that we as humans have erected.”
Here’s a short news capsule with a nice overview of the project:
In the grand scheme, ringing that bell may feel like a mere drop in the ocean, but as Jacques Cousteau observed: “We forget that the life cycle and the water cycle are one.”
Speaking of water cycles, life cycles, and Mother Nature…this Tuesday (April 22) is Earth Day. You don’t seem to hear much hype about Earth Day anymore; I suppose the media has had other shiny things to chase after; important and impactful stories to be sure, but from a planetary perspective…will all of this fussing and fighting really matter in 50 years? As Grace Slick once sang, doesn’t mean shit to a tree. Believe me, over the millenniums Mother Nature has seen worse; and from her perspective, Earth is only mostly dead.
So there is still hope.
The photo above was taken December 24, 1968 by Apollo 8 crew member Major William A. Anders. The story behind that now iconic photo is on NASA’s website:
Anders said their job was not to look at the Earth, but to simulate a lunar mission. It was not until things had calmed down and they were on their way to the moon that they actually got to look back and take a picture of the Earth as they had left it.
“That’s when I was thinking ‘that’s a pretty place down there,’” Anders said. “It hadn’t quite sunk in like the Earthrise picture did, because the Earthrise had the Earth contrasted with this ugly lunar surface.”
Anders described the view of Earth before Earthrise “kind of like the classroom globe sitting on a teacher’s desk, but no country divisions. It was about 25,000 miles away where you could still recognize continents.”
An international group of scientists who work with satellite data say the acceleration in the melting of Earth’s ice sheets is now unmistakable.
They calculate the planet’s frozen poles lost 7,560 billion tonnes in mass between 1992 and 2022.
Seven of the worst melting years have occurred in the past decade.
Mass loss from Greenland and Antarctica is now responsible for a quarter of all sea-level rise.
This contribution is five times what it was 30 years ago.
The latest assessment comes from the Ice Sheet Mass Balance Intercomparison Exercise, or Imbie. […]
The 7,560 billion tonnes of ice lost from Greenland and Antarctica during the study period pushed up sea-levels by 21mm.
Almost two-thirds (13.5mm) of this was due to melting in Greenland; one-third (7.4mm) was the result of melting in Antarctica.
“All this has profound implications for coastal communities around the world and their risk of being exposed to flooding and erosion,” said Dr Inès Otosaka from the UK’s Centre for Polar Observation and Modelling (CPOM), who led the latest assessment.
“It’s really important that we have robust estimates for the future contribution to sea-level rise from the ice sheets so that we can go to these communities and say, ‘Yes, we understand what is happening and we can now start to plan mitigations’,” she told BBC News.
So hope does remain…provided that proactive steps are taken. Meanwhile:
[from June 2024]
We just lived through the hottest year since record-keeping began more than a century ago, but before too long, 2023 might not stand out as the pinnacle of extreme heat.
That’s because it’s unlikely to be the only hottest year that we experience. Our climate is changing, growing warmer due to the emissions from burning fossil fuels, and our weather is changing with it. It’s possible that this year may turn out to be hotter still.
In March, scientists from the EU’s Copernicus Climate Change Service said February 2024 was the hottest February according to records that stretch back to 1940. The news came on the heels of their report in early January that, as expected, 2023 was indeed the hottest year on record. Temperatures closed in on the critical 1.5-degree Celsius rise above pre-industrial levels, after which we will see irreversible damage to the planet. These aren’t freak outliers: The extreme heat we’re experiencing is something we’ll need to be prepared to deal with on a much more regular basis, along with storms, floods and drought. […]
A key trend highlighted by the US government’s Fifth National Climate Assessment, published in November, was that climate change is provoking extreme weather events across the country that are both more frequent and more severe. It pointed to an increase in heatwaves and wildfires in the West over the past few decades, the increased drought risk in the Southwest over the past century and more extreme rainfall east of the Rockies. Hurricanes have also been intensifying, as those who have found themselves in the path of a storm know all too well. […]
Even if you live in a region that hasn’t yet directly been impacted by a climate-linked weather event, you’re not off the hook.
“As the climate continues to warm, most areas will be at an increased risk of some types of climate-linked extreme weather,” says Russell Vose, chief of the Monitoring and Assessment Branch at NOAA’ National Centers for Environmental Information and one of the NCA’s authors. “Perhaps the best example is extreme heat – it can occur anywhere.”
He points to the scorching heat dome that descended on the Pacific Northwest in June and July 2021, which was unprecedented in the historical record. The unpredictable nature of such extreme heat means no regions are marked as safe.
At first glance, the image above may appear to be a still from a post-apocalyptic film-but it’s a photo I snapped outside my Seattle office in September of 2020. You’re looking due East across Lake Washington at around 10am…directly into the sun and toward the Bellevue skyline. I was not using any filters, nor was there any retouching of the photo. Normally, the view across the lake appears as it does in this photo I took:
We not only had a freakish late summer “heat dome” in the Pacific Northwest, but much of the West Coast was aflame. For over a month, resulting smoke made air quality so dangerous that local health officials recommended staying indoors and sealing up windows (good times for those of us with no A/C). It was also recommended to wear masks outdoors…which we were already doing for COVID indoors. Oy.
Was this a sneak preview ? How’s the air today? According to The American Lung Association’s “State of the Air” report for 2024 (their 2025 report isn’t out yet)…let’s just say, I wouldn’t toss those N95s away yet.
The “State of the Air” 2024 report finds that despite decades of progress cleaning up air pollution, 39% of people living in America—131.2 million people—still live in places with failing grades for unhealthy levels of ozone or particle pollution. This is 11.7 million more people breathing unhealthy air compared to last year’s report.
The significant rise in the number of individuals whose health is at risk is the result of a combination of factors. Extreme heat, drought and wildfires are contributing to a steady increase in deadly particle pollution, especially in the western U.S. Also, this year’s “State of the Air” report is using EPA’s new, more protective national air quality standard for year-round levels of fine particle pollution, which allows for the recognition that many more people are breathing unhealthy air than was acknowledged under the previous weak standard. […]
“State of the Air” 2024 is the 25th edition of this annual report, which was first published in 2000. From the beginning, the findings in “State of the Air” have reflected the successes of the Clean Air Act, as emissions from transportation, power plants and manufacturing have been reduced. In recent years, however, the findings of the report continue adding to the evidence that a changing climate is making it harder to protect human health. High ozone days and spikes in particle pollution related to extreme heat, drought and wildfires are putting millions of people at risk and adding challenges to the work that states and cities are doing across the nation to clean up air pollution.
I’m just here to bring you good cheer.
Anyway, here are my picks for the Top 10 eco-flicks.
Chasing Ice– Jeff Orlowski’s film is glacially paced. That is, “glacial pacing” ain’t what it used to be. Glaciers are moving along (“retreating”, technically) at a pretty good clip. This does not portend well. To be less flowery: we’re fucked. According to nature photographer (and subject of Orlowski’s film) James Balog, “The story…is in the ice.”
Balog’s journey began in 2005, while on assignment in the Arctic for National Geographic to document the effect of climate change. Up until that trip, he candidly admits he “…didn’t think humans were capable” of influencing weather patterns so profoundly. His epiphany gave birth to a multi-year project utilizing modified time-lapse cameras to capture alarming empirical evidence of the effects of global warming.,
The images are beautiful, yet troubling. Orlowski’s film mirrors the dichotomy, equal parts cautionary eco-doc and art installation. The images trump the montage of inane squawking by climate deniers in the opening, proving that a picture is worth 1,000 words.
The Emerald Forest– Although it may initially seem a heavy-handed (if well-meaning) “save the rain forest” polemic, John Boorman’s underrated 1985 adventure (a cross between The Searchers and Greystoke: The Legend of Tarzan) goes much deeper.
Powers Boothe plays an American construction engineer working on a dam project in Brazil. One day, while his wife and young son are visiting the job site on the edge of the rain forest, the boy is abducted and adopted by an indigenous tribe who call themselves “The Invisible People”, touching off an obsessive decade-long search by the father. By the time he is finally reunited with his now-teenage son (Charley Boorman), the challenge becomes a matter of how he and his wife (Meg Foster) are going to coax the young man back into “civilization”.
Tautly directed, lushly photographed (by Philippe Rousselot) and well-acted. Rosco Pallenberg scripted (he also adapted the screenplay for Boorman’s 1981 film Excalibur).
Godzilla vs. the Smog Monster– I know what you’re thinking: there’s no accounting for some people’s tastes. But who ever said an environmental “message” movie couldn’t also provide mindless, guilty fun? Let’s have a little action. Knock over a few buildings. Wreak havoc. Crash a wild party on the rim of a volcano with some Japanese flower children. Besides, Godzilla is on our side for a change. Watch him valiantly battle Hedora, a sludge-oozing toxic avenger out to make mankind collectively suck on his grody tailpipe. And you haven’t lived until you’ve heard “Save the Earth”-my vote for “best worst” song ever from a film (much less a monster movie).
An Inconvenient Truth– I re-watched this recently; I hadn’t seen it since it opened in 2006, and it struck me how it now plays less like a warning bell and more like the nightly news. It’s the end of the world as we know it. Apocalyptic sci-fi is now scientific fact. Former VP/Nobel winner Al Gore is a Power Point-packing Rod Serling, submitting a gallery of nightmare nature scenarios for our disapproval. I’m tempted to say that Gore and director Davis Guggenheim’s chilling look at the results of unchecked global warming only reveals the tip of the iceberg…but it’s melting too fast.
Koyannisqatsi– In 1982 this genre-defying film quietly made its way around the art houses; it’s now a cult favorite. Directed by activist/ex-Christian monk Godfrey Reggio, with beautiful cinematography by Ron Fricke (who later directed Chronos, Baraka, and Samsara) and music by Philip Glass (who also scored Reggio’s sequels), it was considered a transcendent experience by some; New Age hokum by others (count me as a fan).
The title (from ancient Hopi) translates as “life out of balance” The narrative-free imagery, running the gamut from natural vistas to scenes of First World urban decay, is open for interpretation. Reggio followed up in 1988 with Powaqqatsi (“parasitic way of life”), focusing on the First World’s drain on Third World resources, then book-ended his trilogy with Naqoyqatsi (“life as war”).
Manufactured Landscapes– A unique eco-documentary from Jennifer Baichwal about photographer Edward Burtynsky, who is an “earth diarist” of sorts. While his photographs are striking, they don’t paint a pretty picture of our fragile planet. Burtynsky’s eye discerns a terrible beauty in the wake of the profound and irreversible human imprint incurred by accelerated modernization. As captured by Burtynsky’s camera, strip-mined vistas recall the stark desolation of NASA photos sent from the Martian surface; mountains of “e-waste” dumped in a vast Chinese landfill take on an almost gothic, cyber-punk dreamscape. The photographs play like a scroll through Google Earth images, as reinterpreted by Jackson Pollock. An eye-opener.
Princess Mononoke– Anime master Hayao Miyazaki and his cohorts at Studio Ghibli have raised the bar on the art form over the past several decades. This 1997 Ghibli production is one of their most visually resplendent. Perhaps not as “kid-friendly” as per usual, but many of the usual Miyazaki themes are present: humanism, white magic, beneficent forest gods, female empowerment, and pacifist angst in a violent world. The lovely score is by frequent Miyazaki collaborator Joe Hisaishi. For another great Miyazaki film with an environmental message, check out Nausicaa Valley of the Wind.
Queen of the Sun- I never thought that a documentary about honeybees would make me laugh and cry-but Taggart Siegel’s 2010 film did just that. Appearing at first to be a distressing examination of Colony Collapse Syndrome, a phenomenon that has puzzled and dismayed beekeepers and scientists alike with its increasing frequency over the past few decades, the film becomes a sometimes joyous, sometimes humbling meditation on how essential these tiny yet complex social creatures are to the planet’s life cycle. Humans may harbor a pretty high opinion of our own place on the evolutionary ladder, but Siegel lays out a convincing case which proves that these busy little creatures are, in fact, the boss of us.
Silent Running– In space, no one can hear you trimming the verge! Bruce Dern is an agrarian antihero in this 1972 sci-fi adventure, directed by legendary special effects wizard Douglas Trumbull. Produced around the time “ecology” was a buzzword, its message may seem a little heavy-handed today, but the film remains a cult favorite.
Dern plays the gardener on a commercial space freighter that houses several bio-domes, each dedicated to preserving a species of vegetation (in this bleak future, the Earth is barren of organic growth).
While it’s a 9 to 5 drudge gig to his blue-collar shipmates, Dern sees his cultivating duties as a sacred mission. When the interests of commerce demand the crew jettison the domes to make room for more lucrative cargo, Dern goes off his nut, eventually ending up alone with two salvaged bio-domes and a trio of droids (Huey, Dewey and Louie) who play Man Friday to his Robinson Crusoe. Joan Baez contributes two songs on the soundtrack.
Soylent Green– Based on a Harry Harrison novel, Richard Fleischer’s 1973 film is set in 2022, when traditional culinary fare is but a dim memory, due to overpopulation and environmental depletion. Only the wealthy can afford the odd tomato or stalk of celery; most of the U.S. population lives on processed “Soylent Corporation” product. The government encourages the sick and the elderly to politely move out of the way by providing handy suicide assistance centers (considering ongoing threats to our Social Security system, that doesn’t seem much of a stretch anymore).
Oh-there is some ham served up onscreen, courtesy of Charlton Heston’s scenery-chewing turn as a NYC cop who is investigating the murder of a Soylent Corporation executive. Edward G. Robinson’s moving death scene has added poignancy; as it preceded his passing by less than two weeks after the production wrapped.
# # #
Bonus Tracks!
Here’s an environmentally-sound mixtape for Earth Day:
Environmental groups are bracing for the Trump administration to potentially target their tax-exempt status, a move that could come down on Earth Day, this coming Tuesday, according to reporting from multiple outlets published Wednesday.
Rumors about such a move are swirling as the Trump administration is also reportedly considering plans to revoke Harvard University’s tax-exempt status, a major escalation against the elite institution that critics said marks just the start of a broader assault on nonprofits that refuse to acquiesce to the administration’s demands.
Fears that President Donald Trump will try to revoke environmental groups’ tax-exempt status is the “rumor of the day that is flying around D.C.,” Brett Hartl, the government affairs director at the nonprofit Center for Biological Diversity, toldE&E News. “There’s lots of rumors about what terrible thing [Trump] wants to do on Earth Day, to just give everybody the middle finger.”
Sources who spoke to Bloomberg Law on the condition of anonymity told the outlet that multiple conservation and environmental groups are preparing and assembling legal teams in response to the rumors. Per Bloomberg Law, a potential order from Trump could also seize groups’ funding and designate them as domestic terrorists.
“We are trying to not panic, because we don’t know what it is,” Hartl told E&E News, though he added that environmentalists would “rally together and support each other.”
Kieran Suckling, executive director for the Center for Biological Diversity, told Bloomberg Law that his organization is preparing for a potential order, and said the group would take legal action if it comes to pass.
501(c)(3) tax-exempt organizations, such as the Center for Biological Diversity and Earthjustice, are exempt from federal income tax and can collect tax-deductible donations.
The environmentalist and author Bill McKibben reacted to the reporting by remarking that the threat comes amid the “ongoing decimation of federally funded climate science.”
“I know a great many of these people, and I admire their work endlessly; it’s an honor to be counted among them, even if I’m only a volunteer,” he said of those who work for green groups. “It was perhaps inevitable that Trump and his team would target us; together we’ve been making life harder for his clients in the fossil fuel industry. And in the new America, if you don’t knuckle under you get a knuckle sandwich. Figuratively speaking. One hopes.”
Let us all hope. In the meantime-think globally, act locally.
(Originally posted on Digby’s Hullabaloo on April 12, 2025)
You may have missed this tidbit, amongst the ongoing mass firings across numerous government agencies…but back in February, a funny thing happened on the way to the Apocalypse:
National Nuclear Security Administration officials on Friday attempted to notify some employees who had been let go the day before that they are now due to be reinstated — but they struggled to find them because they didn’t have their new contact information.
In an email sent to employees at NNSA and obtained by NBC News, officials wrote, “The termination letters for some NNSA probationary employees are being rescinded, but we do not have a good way to get in touch with those personnel.”
The individuals the letter refers to had been fired on Thursday and lost access to their federal government email accounts. NNSA, which is within the Department of Energy and oversees the nation’s nuclear stockpile, cannot reach these employees directly and is now asking recipients of the email, “Please work with your supervisors to send this information (once you get it) to people’s personal contact emails.”
The Department of Energy did not immediately respond to an NBC News request for comment.
President Donald Trump’s administration has acted with unprecedented speed — and in some cases, questionable legality — in seeking to cut large portions of the federal government, laying off staff and ending contracts. But that speed has resulted in complications, including firing people agencies actually want to keep.
The emails come after multiple staff — all civil servants — at the NNSA received termination notices late Thursday, according to a source with direct knowledge of the notifications. NBC News reviewed the termination notification, which included the subject line: “Notification of Termination During Probationary/Trial Period.”
The NNSA is tasked with designing, building and overseeing the U.S. nuclear weapons stockpile.
The termination notices, which read “effective today,” came within hours of a Russian drone striking the Chernobyl power plant in Ukraine. NNSA tracks nuclear risks in Ukraine, including through sensor systems.
Whoopsie!
Speaking of Europe…and the rest of the world, for that matter:
Would America be safer if more countries had nuclear bombs? We are about to find out. For the first time in 60 years, European nations are considering arming themselves with nuclear weapons.
The urgent talks in March among Europe’s leaders were triggered by what Germany’s next chancellor, Friedrich Merz, termed a “profound change of American geopolitics” under President Donald Trump. “We must brace ourselves for the fact that Donald Trump will no longer unconditionally honor NATO’s mutual defense commitment,” he said. […]
So far, this is just talk. There are formidable technological, political and economic barriers to building nuclear weapons. It could take even an advanced nation 10 years and tens of billions of dollars to build the facilities to produce the highly enriched uranium or plutonium needed for bombs, then to construct, test and deploy even a small arsenal.
But that is why European leaders feel the urgency to begin discussions now. Should they proceed, the spread of nuclear weapons would not be limited to Europe or our allies. The nuclear reaction chain could quickly spread to Asia, where Japan, South Korea and Taiwan face similar worries about the reliability of their defense agreements with America.
We have seen this dynamic before. In the 1950s and 1960s, all these nations and more explored getting their own nuclear weapons. Two initiatives convinced them not to do so.
The first was America’s ironclad commitment to come to their aid if they were attacked. That extended deterrence — enshrined in the NATO treaty signed in Washington on April 4, 1949 — was not, by itself, enough. The United Kingdom got nuclear weapons in 1952 and France in 1960, despite the security assurances.
Another framework was needed: the arms control and disarmament commitments embodied in the Nuclear Non-Proliferation Treaty (NPT), negotiated in 1968 and ratified under President Richard Nixon in 1970.
That treaty and the associated mechanisms provided the diplomatic and legal framework that assured countries that if they choose not to get nuclear weapons, their neighbors would not either, and that the world was moving toward nuclear disarmament. […]
Trump is now tearing down these two pillars of global security. If any of these nations were to leave the NPT (as is their right) and launch a weapons program, others would soon follow. The nuclear dominoes would topple globally.
We would be thrust back into the nuclear anarchy of decades past, when President John F. Kennedy warned of “nuclear weapons in so many hands, in the hands of countries large and small, stable and unstable, responsible and irresponsible, scattered throughout the world.”
This will be the nuclear nightmare Donald Trump has unleashed.
Now, I don’t mean to be alarmist, but I recently posted this on Bluesky:
I know, I know…there is enough happening right now to keep you up nights without adding that old chestnut to the mix. That said…there must be something in the air:
As Netflix hit Adolescence continues to make waves and potentially inspire policy, the team behind it has turned its attention to a new impactful project – a Threads reboot.
Warp Films has confirmed it will be turning the BBC’s pivotal TV film into a series. For those unfamiliar, Threads aired on BBC Two in 1984 and depicted the devastating effects of a fictional nuclear apocalypse.
Mark Herbert, founder and chief exec of Warp, said: “Threads was, and remains, an unflinchingly honest drama that imagines the devastating effects of nuclear conflict on ordinary people. This story aligns perfectly with our ethos of telling powerful, grounded narratives that deeply connect with audiences.
“Re-imagining this classic film as a TV drama gives us a unique opportunity to explore its modern relevance.”
Emily Feller, chief creative officer and exec producer, added: “This adaptation will allow us to uncover fresh interpretations in light of today’s world. We imagine highlighting how resilience and connection can offer hope even in the most challenging of times. […]
Not much else is known about the reboot at this stage, or which, if any, original cast members might make a return.
“The most challenging of times”, indeed. So tonight I thought I’d mosey on over to the war room and do a little “reboot” myself. Oh…and Shug? Don’t forget to say your prayers.
(The following was originally posted on August 3, 2024)
Happy End of the World: Top 15 Anti-Nuke Films
“The atomic bomb made the prospect of future war unendurable. It has led us up those last few steps to the mountain pass; and beyond there is a different country.”
-J. Robert Oppenheimer
[Shame mode] All the times I’ve zipped by the I-82 turn-off to Richland, Washington while driving on I-90 and thought “hey, isn’t that where that Hanford superfund nuclear thingy is?” I’ve never stopped to ponder its historical significance. Adjacent to the Hanford Nuclear Site that was built in the early 1940s to house nuclear government workers at the height of the Manhattan Project, Richland is, in essence, a company town; a true “atomic city” with a problematic legacy.
Then again, according to Irene Lusztig’s absorbing documentary Richland (which I caught at last year’s Tribeca Film Festival), how “problematic” depends on who you talk to. Many current residents don’t see why anyone would fuss over the local high school football team’s “mascot”, which is …a mushroom cloud.
The town manufactured weapons-grade plutonium for decades following the end of WW2-to which they had a direct hand in “ending”, via providing the plutonium for the ”Fat Man” nuclear bomb that was dropped on Nagasaki. Lusztig incorporates archival footage for historical context; these segments reminded me of the 1982 documentary The Atomic Cafe. I wasn’t able to track down whether the film is streaming anywhere; but here’s the trailer:
Speaking of which…we are several days away from the 79th anniversary of the Hiroshima bombing. So what have we learned since 8:15am, August 6, 1945-if anything? Well, we’ve tried to harness the power of the atom for “good”, however, as has been demonstrated repeatedly, that’s not working out so well (Three Mile Island, Chernobyl, Fukushima, et al).
Also, there are enough stockpiled weapons of mass destruction to knock Planet Earth off its axis, and no guarantees that some nut job, whether enabled by the powers vested in him by the state, or the voices in his head (doesn’t matter-end result’s the same) won’t be in a position at some point in the future to let one or two or a hundred rip. Hopefully, cool heads and diplomacy will continue to keep us above ground and rad-free.
After all, if history has taught us anything, it doesn’t take much to trigger a global conflict. Interestingly, just last week TCM ran their premiere showing of Nathan Kroll’s 1964 documentary The Guns of August. The film is based on historian and journalist Barbara W. Tuchman’s eponymous Pulitzer Prize-winning 1963 book, which focuses on the first year of World War I (1914) and the events leading up to it (Kroll’s film covers the entire conflict through 1918).
I hadn’t seen the film in decades; I’d forgotten how straightforward and sobering it was in illustrating how an unfortunate series of blunders, miscalculations, misinterpretations and failed diplomacy among the ruling houses of Europe triggered a conflict that ultimately led to 20 million people dead and 21 million wounded (military and civilian casualties combined).
Most famously, the flashpoint occurred on June 28, 1914 with the assassination of Archduke Franz Ferdinand (presumptive heir to the Austro-Hungarian throne) and his wife Sophie, the Duchess of Hohenberg by a Bosnian Serb revolutionary (and the rest, as they say, is History).
Now we’d like to think that such arcane regional bickering and random acts of political violence half a world away from our comfortable living rooms cannot possibly lead to a horrific global conflict ever again…right? I mean, in this day and age? What are the odds?
The U.S. is adding to its military presence in the Middle East in an effort to help defend Israel from possible attacks by Iran and its proxies in the coming days, as well as to protect U.S. troops, the Pentagon says.
Defense Secretary Lloyd Austin said on Friday that he ordered more ballistic missile defense-capable cruisers and destroyers to the Middle East and Europe. An additional fighter jet squadron will also be sent to the Middle East. Austin added that the U.S. is also taking steps “to increase our readiness to deploy additional land-based ballistic missile defense.”
The USS Abraham Lincoln aircraft carrier strike group will also be moved to the Middle East in order “to maintain a carrier strike group presence.” It will replace the USS Theodore Roosevelt carrier strike group after the end of its deployment.
This week, tensions in the Middle East pushed to a critical point after top leaders from the militant groups Hamasand Hezbollah were killed and Iran and its proxies vowed revenge. Iran’s Revolutionary Guards said Saturday that Tehran’s retaliation will be “severe and (taken) at an appropriate time, place, and manner,” Reuters reported. […]
Austin said in a statement on Friday that while the U.S. is taking additional measures to support Israel, its priority is to prevent a wider war in the Middle East.
Let’s hope so. In such volatile regions of the world, prevention is preferable to escalation.
Speaking of which …in light of the upcoming presidential election in November, one of the most pressing questions (no pun intended) voters should ask themselves before marking their ballots is this:
Whose finger would you rather see hovering over the proverbial “red button”? Which candidate is less likely to fumble the “nuclear football”? The what?
Officially called the “ Presidential Emergency Satchel, ” the “nuclear football” is a bulky briefcase that contains atomic war plans and enables the president to transmit nuclear orders to the Pentagon. The heavy case is carried by a military officer who is never far behind the president, whether the commander-in-chief is boarding a helicopter or exiting meetings with world leaders.
Today, nearly 80 years after the beginning of the nuclear age, the risks posed by nuclear weapons are escalating. U.S. presidential leadership may be the most important factor in whether the risk of nuclear arms racing, proliferation, and war will rise or fall in the years ahead.
As UN Secretary-General António Guterres said in a June 7 statement: “Humanity is on a knife’s edge. The risk of a nuclear weapon being used has reached heights not seen since the Cold War. States are engaged in a qualitative arms race. [W]e need disarmament now. All countries need to step up, but nuclear weapons states must lead the way.”
American voters are increasingly aware and, according to recent polling, deeply concerned about nuclear weapons dangers. A 2024 national opinion survey found that a majority of Americans believe that nuclear weapons make the world more dangerous. Overall, just one in eight Americans (13 percent) think nuclear weapons are making the world a safer place, while 63 percent think the opposite, and 14 percent say neither.
In 2024, the candidates’ approaches to these dangers deserve more scrutiny.
How exactly the winner of the 2024 race will handle the evolving array of nuclear weapons-related challenges is difficult to forecast.
Just something to keep in mind come November. No pressure.
With those happy thoughts in mind, I thought I’d share my picks for the top 15 cautionary films to watch before we all go together (when we go). Uh…enjoy?
The Atomic Café – Whoopee, we’re all gonna die! But along the way, we might as well have a few laughs. That seems to be the impetus behind this 1982 collection of cleverly reassembled footage culled from U.S. government propaganda shorts from the Cold War era (Mk 1), originally designed to educate the public about how to “survive” a nuclear attack (all you need to do is get under a desk…everyone knows that!).
In addition to the Civil Defense campaigns (which include the classic “duck and cover” tutorials) the filmmakers have also drawn from a rich vein of military training films, which reduce the possible effects of a nuclear strike to something akin to a barrage from, oh I don’t know- a really big field howitzer. Harrowing, yet perversely entertaining. Written and directed by Jayne Loader, Pierce Rafferty and Kevin Rafferty (Kevin went on to co-direct the similarly constructed 1999 doc, The Last Cigarette, a take down of the tobacco industry).
Black Rain– For obvious reasons, there have been a fair amount of postwar Japanese films dealing with the subject of nuclear destruction and its aftermath. Some take an oblique approach, like Gojira or I Live inFear. Other films, like the documentary Children of Hiroshima and the anime Barefoot Gen deal directly with survivors (who are referred to in Japan as the hibakusha).
One of the most affecting hibakusha films I’ve seen is Shomei Imamura’s 1989 drama Black Rain (not to be confused with the 1989 Hollywood crime thriller of the same title that is also set in Japan). It’s a simple tale of three Hiroshima survivors: an elderly couple and their niece, whose scars run much deeper than physical. The narrative is sparse, yet contains more layers than an onion (especially considering the complexities of Japanese society). Interestingly, Imamura injects a polemic which points an accusatory finger in an unexpected direction.
The Day after Trinity– This absorbing 1981 film about the Manhattan Project and its subsequent fallout (historical, political and existential) remains one of the best documentaries I have seen on the subject. At its center, it is a profile of project leader J. Robert Oppenheimer, whose moment of professional triumph (the successful test of the world’s first atomic bomb, three weeks before Hiroshima) also brought him an unnerving precognition about the horror that he and his fellow physicists had enabled the military machine to unleash.
Oppenheimer’s journey from “father of the atomic bomb” to anti-nuke activist (and having his life destroyed by the post-war Red hysteria) is a tragic tale of Shakespearean proportion. I think this documentary provides a much more clear-eyed (and ultimately moving) portrait than Christopher Nolan’s well-acted but somewhat overwrought 2023 blockbuster Oppenheimer. Two recommended companion pieces: Roland Joffe’s 1989 drama Fat Man and Little Boy, about the working relationship between Oppenheimer (Dwight Schultz) and military director of the Manhattan Project, General Leslie Groves (Paul Newman); and an outstanding 1980 BBC miniseries called Oppenheimer (starring Sam Waterston).
Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb- “Mein fuehrer! I can walk!” Although we have yet to experience the global thermonuclear annihilation that ensues following the wheelchair-bound Dr. Strangelove’s joyous (if short-lived) epiphany, so many other depictions in Stanley Kubrick’s seriocomic masterpiece about the tendency for those in power to eventually rise to their own level of incompetence have since come to pass, that you wonder why the filmmakers even bothered to make it all up.
It’s the one about an American military base commander who goes a little funny in the head (you know…”funny”) and sort of launches a nuclear attack on the Soviet Union. Hilarity and oblivion ensues. And what a cast: Peter Sellers (as three characters), George C. Scott, Sterling Hayden, Slim Pickens, Keenan Wynn, James Earl Jones and Peter Bull. There are so many great quotes, that you might as well bracket the entire screenplay (by Kubrick, Terry Southern and Peter George) with quotation marks.
Fail-Safe– Dr. Strangelove…without the laughs. This no-nonsense 1964 thriller from the late great director Sidney Lumet takes a more clinical look at how a wild card scenario (in this case, a simple hardware malfunction) could ultimately trigger a nuclear showdown between the Americans and the Russians.
Talky and a bit stagey; but riveting nonetheless thanks to Lumet’s skillful knack for bringing out the best in his actors. Walter Bernstein’s intelligent screenplay (with uncredited assistance from Peter George, who also co-scripted Dr. Strangelove) and a superb cast that includes Henry Fonda (a commanding performance, literally and figuratively), Walter Matthau, Larry Hagman, and Fritz Weaver.
There’s no fighting in this war room (aside from one minor scuffle), but there is an almost unbearable amount of tension and suspense. The final scene is chilling and unforgettable.
I Live in Fear-This 1955 Akira Kurosawa film is one of the great director’s most overlooked efforts. It’s a melodrama concerning an aging foundry owner (Toshiro Mifune, unrecognizable in Coke-bottle glasses and silver-frosted pomade) who literally “lives in fear” of the H-bomb. Convinced that South America would be the “safest” place on Earth from radioactive fallout, he tries to sway his wife and grown children to pull up stakes and resettle on a farm in Brazil.
His children, who have families of their own and rely on their father’s factory for income, are not so hot on that idea. They take him to family court and have him declared incompetent. This sends Mifune spiraling into madness. Or are his fears really so “crazy”? It is one of Mifune’s most powerful and moving performances. Kurosawa instills shades of Shakespeare’s “King Lear” into the narrative (a well he would draw from again in his 1985 film Ran).
Ladybug, Ladybug– I didn’t have an opportunity to see this chilling 1963 drama until 2017, which is when Turner Classic Movies presented their premiere showing (to my knowledge, it had never been previously available in any home video format). The film marked the second collaboration between husband-and-wife creative team of writer Eleanor Perry and director Frank Perry (The Swimmer, Last Summer,Diary of a Mad Housewife).
Based on an incident that occurred during the 1962 Cuban missile crisis, the story centers on how students and staff of a rural school react to a Civil Defense alert indicating an imminent nuclear strike. While there are indications that it could be a false alarm, the principal sends the children home early. As teachers and students stroll through the relatively peaceful countryside, fears and anxieties come to the fore. Naturalistic performances bring the film’s cautionary message all too close to home.
Miracle Mile- Depending on your worldview, this is either an “end of the world” film for romantics, or the perfect date movie for fatalists. Anthony Edwards and Mare Winningham give winning performances as a musician and a waitress who Meet Cute at L.A.’s La Brea Tar Pits museum. But before they can hook up for their first date, Edwards stumbles onto a fairly reliable tip that L.A. is about to get hosed…in a major way.
The resulting “countdown” scenario is a genuine, edge-of-your seat nail-biter. In fact, this modestly budgeted, 90-minute sleeper offers more heart-pounding excitement (and much more believable characters) than any bloated Hollywood disaster epic from the likes of a Michael Bay or a Roland Emmerich. Writer-director Steve De Jarnatt stopped doing feature films after this 1988 gem (his only other feature was the sci-fi cult favorite Cherry 2000).
One Night Stand –An early effort from filmmaker John Duigan (Winter ofOur Dreams, The Year My Voice Broke, Flirting, Sirens), this 1984 sleeper got lost in the flurry of nuclear paranoia movies that proliferated during the Reagan era (Wargames, The Manhattan Project, Red Dawn, et.al.).
Four young people (three Australians and an American sailor who has jumped ship) get holed up in an empty Sydney Opera House on the eve of escalating nuclear tension between the superpowers in Eastern Europe. In an effort to quell their anxiety over increasingly ominous news bulletins droning from a portable radio, the quartet find creative ways to keep up their spirits.
Uneven, but for the most part Duigan (who scripted) deftly juggles romantic comedy, apocalyptic thriller and anti-war statement. There are several striking set pieces; particularly an affecting scene where the group watches Fritz Langs’s Metropolis as the Easybeats “Friday on My Mind” is juxtaposed over its orchestral score. Midnight Oil performs in a scene where the two young women attend a concert. The bittersweet denouement (in an underground tube station) is quite powerful.
Special Bulletin– This outstanding 1983 made-for-TV movie has been overshadowed by the nuclear nightmare-themed TV movie The Day After, which aired the same year (I’m sure I will be raked over the coals by some readers for not including the aforementioned on this list, but frankly I always thought it was too melodramatic and vastly over-praised).
Directed by Edward Zwick and written by Marshall Herskovitz (the same creative team behind thirtysomething), Special Bulletin is framed as a “live” television broadcast, with local news anchors and reporters interrupting regular programming to cover a breaking story.
A domestic terrorist group has seized a docked tugboat in Charleston Harbor. A reporter relays their demand: If every nuclear triggering device stored at the nearby U.S. Naval base isn’t delivered to them by a specified time, they will detonate their own homemade nuclear device (equal in power to the bomb dropped on Nagasaki). The original airing apparently panicked more than a few South Carolinian viewers (a la Orson Welles’ War of the Worlds radio broadcast in 1938). Riveting and chilling. Nominated for 6 Emmys, it took home 4.
Testament- Originally an American Playhouse presentation, this film (with a screenplay adapted by John Sacred Young from a story by Carol Amen) was released to theaters and garnered a well-deserved Best Actress nomination for Jane Alexander. Director Lynne Littman takes a low key approach, but pulls no punches; I think this is what gives her film’s anti-nuke message more teeth and makes its scenario more relatable than Stanley Kramer’s similarly-framed but more sanitized and preachy 1959 drama On the Beach.
Alexander, her husband (William DeVane) and three kids live in sleepy Hamlin, California, where afternoon cartoons are interrupted by a news flash that nuclear explosions have occurred in New York. Then there is a flash of a different kind when nearby San Francisco (where DeVane has gone on a business trip) receives a direct strike.
There is no exposition on the political climate that precipitates the attacks; this is a wise decision, as it puts the focus on the humanistic message of the film. All of the post-nuke horrors ensue, but they are presented sans the melodrama that informs many entries in the genre. The fact that the nightmarish scenario unfolds so deliberately, and amidst such everyday suburban banality, is what makes it very difficult to shake off.
As the children (and adults) of Hamlin succumb to the inevitable scourge of radiation sickness and steadily “disappear”, like the children of the ‘fairy tale’ Hamlin, you are left haunted by the final line of the school production of “The Pied Piper” glimpsed earlier in the film… “Your children are not dead. They will return when the world deserves them.”
Thirteen Days– I had a block against seeing this 2000 release about the 1962 Cuban missile crisis, for several reasons. For one, director Roger Donaldson’s uneven output (for every Smash Palace or No Way Out, he’s got a Species or a Cocktail). I also couldn’t get past “Kevin Costner? In another movie about JFK?” Also, I felt the outstanding 1974 TV film, The Missiles of October (which I recommend) would be hard to top. But I was pleasantly surprised to find it to be one of Donaldson’s better films.
Bruce Greenwood and Steven Culp make a very credible JFK and RFK, respectively. The film works as a political thriller, yet it is also intimate and moving at times (especially in the scenes between JFK and RFK). Costner provides the “fly on the wall” perspective as Kennedy insider Kenny O’Donnell. Costner gives a compassionate performance; on the downside he has a tin ear for dialects (that Hahvad Yahd brogue comes and goes of its own free will).
According to the Internet Movie Database, this was the first film screened at the White House by George and Laura Bush in 2001. Knowing this now…I don’t know whether to laugh or cry myself to sleep.
The War Game / Threads– Out of all of the selections on this list, these two British TV productions are the grimmest and most sobering “nuclear nightmare” films of them all.
Writer-director Peter Watkins’ 1965 docudrama, The War Game was initially produced for television, but was deemed too shocking and disconcerting for the small screen by the BBC. It was mothballed until picked up for theatrical distribution, which snagged it an Oscar for Best Documentary in 1967. Watkins envisions the aftermath of a nuke attack on London, and pulls no punches. Very ahead of its time, and it still packs quite a wallop.
The similarly stark and affecting nuclear nightmare drama Threads debuted on the BBC in 1984, later airing in the U.S. on TBS. Director Mick Jackson delivers an uncompromising realism that makes The Day After (the U.S. TV film from the previous year) look like a Teletubbies episode. It’s a speculative narrative that takes a medium sized city (Sheffield) and depicts what would likely happen to its populace during and after a nuclear strike, in graphic detail.
Both productions make it clear that, while they are dramatizations, the intent is not to “entertain” you in any sense of the word. The message is simple and direct-nothing good comes out of a nuclear conflict. It’s a living, breathing Hell for all concerned-and anyone “lucky” enough to survive will soon wish they were dead.
When the Wind Blows– This animated 1986 U.K. film was adapted by director Jimmy Murakami from Raymond Brigg’s eponymous graphic novel. It is a simple yet affecting story about an aging couple (wonderfully voiced by venerable British thespians Sir John Mills and Dame Peggy Ashcroft) who live in a cozy cottage nestled in the bucolic English countryside. Unfortunately, an escalating conflict in another part of the world is about to go global and shatter their quiet lives.
Very similar in tone to Testament (another film on this list), in its sense of intimacy amidst slowly unfolding mass horror. Haunting, moving, and beautifully animated, with a combination of traditional cell and stop-motion techniques. The soundtrack features music by David Bowie, Roger Waters, and Squeeze.
(Originally posted on Digby’s Hullabaloo on April 5, 2025)
Stand, you’ve been sitting much too long
There’s a permanent crease in your right and wrong
Stand, there’s a midget standing tall
And a giant beside him about to fall
WASHINGTON (AP) — In a feat of determination, New Jersey Democratic Sen. Cory Booker held the Senate floor with a marathon speech that lasted all night and into Tuesday night, setting a historic mark to show Democrats’ resistance to President Donald Trump’s sweeping actions.
Booker took to the Senate floor on Monday evening, saying he would remain there as long as he was “physically able.” It wasn’t until 25 hours and 5 minutes later that the 55-year-old senator, a former football tight end, finished speaking and limped off the floor. It set the record for the longest continuous Senate floor speech in the chamber’s history. Booker was assisted by fellow Democrats who gave him a break from speaking by asking him questions on the Senate floor.
It was a remarkable show of stamina as Democrats try to show their frustrated supporters that they are doing everything possible to contest Trump’s agenda. Yet Booker also provided a moment of historical solace for a party searching for its way forward: By standing on the Senate floor for more than a night and day and refusing to leave, he had broken a record set 68 years ago by then Sen. Strom Thurmond of South Carolina, a segregationist and southern Democrat, to filibuster the advance of the Civil Rights Act in 1957.
“I’m here despite his speech,” said Booker, who spoke openly on the Senate floor of his roots as the descendant of both slaves and slave-owners. He added, “I’m here because as powerful as he was, the people are more powerful.”
Pussy Riot, the provocative, political Russian punk band, came to Washington Square Park Wednesday to deliver a stern warning: “Wake up, America!”
Their faces hidden behind red ski masks, six members of the feminist art collective marched down Fifth Ave. and into the Greenwich Village park around 1 p.m. Standing in front of the Washington Square Arch, they unfurled two large banners bearing messages: “Don’t Give Up” and “Freedom of Speech?”
Two other members of the group held up a rotating collection of placards with phrases like “Fever Dream,” “1984” and “Great Again: The Greatest Greatness But Mine Is Greater (Again).”
“We’ve been imprisoned in Russia,” said band member Masha Alyokhina. “We’ve been persecuted. We are in federal wanted lists in our country. So if we appear on the border, we’ll be immediately arrested for our anti-Putin and anti-war — [a war] which he started — activities.
“We are here now because we see the [rise] of authoritarian[ism] here. We want to call people to not be silent and we want people to remember to not to give up, even in the difficult conditions — to have hope inside, to have belief.”
Protesters across the U.S. rallying as part of the “Hands Off!” movement on Saturday are taking to the streets, state capitals, federal buildings, congressional offices and city centers to protest the Trump administration.
Why it matters: President Trump’s political, economic, social, health and legal changes have mobilized a wide cross-section of Americans.
State of play: Demonstrators are also speaking out against Elon Musk’s involvement in the federal government as an unelected official running DOGE.
The anticipated protests prompted the White House to reschedule its Saturday White House spring garden tours.
By the numbers: More than 1,100 rallies, visibility events and meetings were scheduled in all 50 states as of Wednesday.
Organizers said they had more than 500,000 RSVPs as of Friday night. Dozens of advocacy organizations partnered to support Saturday’s mass mobilization
As I am writing this midday Saturday, it’s going pretty, pretty, well:
Looking strong here in the Pacific Northwest, too. Hail Portlandlandia:
Not too shabby here in Seattle today, either:
I’m sorry to hear the White House had to reschedule its Saturday White House spring garden tours, but as Malvina Reynolds sang…if that is Freedom’s price, we don’t mind. In the spirit of solidarity, I’ve picked a few more golden greats guaranteed to mobilize the troops.
The Beatles – “Revolution”
Frank Zappa – “Trouble Every Day”
Elvis Costello – “Night Rally”
Green Day – “American Idiot”
The Clash – “Clampdown”
Woody Guthrie – “All You Fascists Bound to Lose”
Bob Marley & the Wailers – “Get Up, Stand Up”
The Style Council – “The Whole Point of No Return”
Tracy Chapman – “Talkin’ About a Revolution”
John Lennon – “Power to the People”
Sly & the Family Stone – “Stand!”
Heaven 17 – “(We Don’t Need This) Fascist Groove Thang”
Public Enemy – “Fight the Power”
Rage Against the Machine – “Take the Power Back”
Gil Scott-Heron – “The Revolution Will Not Be Televised”
(Originally posted on Digby’s Hullabaloo on March 29, 2025)
I know. April Fool’s Day isn’t until this coming Tuesday . But then again, in the grand scheme of things, does that really matter? What is reality, anyway? Besides, this piece is about film, which is scant more than a (to quote Orson Welles) “ribbon of dreams” to begin with. So with that in mind, I’ve curated my top 10 narrative films wherein the characters and/or the movie audience are fooled, conned, surprised, or shockingly betrayed. Alphabetically…
Barry Lyndon – Stanley Kubrick’s beautifully photographed, leisurely paced adaptation of William Makepeace Thackeray’s rags-to-riches-to-rags tale about a roguish Irishman (Ryan O’Neal) who grifts his way into the English aristocracy is akin to watching 18th-century paintings sumptuously spring to life (funnily enough, its detractors tend to liken it to “oil paintings” as well, but for entirely different reasons). The cast includes Marisa Berenson, Patrick Magee, Leonard Rossiter and Leon Vitali.
This magnificent 1975 film has improved with age, like a fine wine; successive viewings prove the stories about Kubrick’s obsession with the minutest of details were not exaggerated-every frame is steeped in verisimilitude. Michael Hordern’s delightfully droll voice over work as The Narrator rescues the proceedings from sliding into staidness. The most elegant “long con” in cinema…from both a narrative and visual standpoint.
Carny–This oddball affair (Freaks meets Toby Tyler in Nightmare Alley) is set in the seedy milieu of a traveling carnival. Robbie Robertson and Gary Busey star as longtime pals and carnies who take a teenage runaway (Jodie Foster) under their wing and give her a crash course in the art of the con (i.e. hustling customers out of their hard-earned cash).
The story is elevated above its inherent sleaze factor by the excellent performances. Busey’s work here is a reminder that at one time, he was one of the most promising young actors around (up until the unfortunate motorcycle mishap). Director/co-writer Robert Kaylor also showed promise, but has an enigmatic resume; a film in 1970, one in 1971, Carny in 1980, a nondescript Chad Lowe vehicle in 1989, then…he’s off the radar.
Certified Copy – Just as you’re lulled into thinking this is going to be one of those brainy, talky, yet pleasantly diverting romantic romps where you and your date can amuse yourselves by placing bets on “will they or won’t they-that is, if they can both shut up long enough to get down to business before the credits roll” propositions, Iranian director Abbas Kiarostami throws you a curve ball.
Then again, maybe this film isn’t so much about “thinking”, as it is about “perceiving”. Because if a “film” is merely (if I may quote Mr. Welles again) “a ribbon of dreams”-then Certified Copy, like any true work of art, is simply what you perceive it to be-nothing more, nothing less. Even if it leaves you scratching your head, you get to revel in the luminosity of Juliette Binoche’s amazing performance; there’s pure poetry in every glance, every gesture. (Full Review)
The Master– As Inspector Clouseau once ruminated, “Well you know, there are leaders…and there are followers.” At its most rudimentary level, Paul Thomas Anderson’s film is a two-character study about a leader and a follower (and metaphorically, all leaders and followers).
It’s also a story about a complex surrogate father-son relationship (a recurring theme in the director’s oeuvre). And yes, there are some who feel the film is a thinly disguised take down of Church of Scientology founder L. Ron Hubbard.
I find it a thought-provoking and original examination of why human beings in general are so prone to kowtow to a burning bush, or be conned by an emperor with no clothes; a film that begs repeated viewings. One thing’s for sure-Seymour Hoffman and Joaquin Phoenix deliver two fearless lead performances. Like all of Anderson’s films, it’s audacious, sometimes baffling, but never dull. (Full Review)
Nightmare Alley– “How can a guy get so low?” Even within the dark recesses of film noir, this cynical 1947 entry is about as “low” as you can get. Directed by Edmund Goulding and adapted from William Lindsay Gresham’s novel by Jules Furthman, the film was a career gamble for star Tyrone Power, who really sinks his teeth into the role of carny-barker-turned “mentalist” Stanton Carlisle.
Utilizing his innate charm and good looks, the ambitious Carlise ingratiates himself with a veteran carnival mind-reader (Joan Blondell). Once he finagles a few tricks of the trade from her, he woos a hot young sideshow performer (Coleen Gray) and talks her into partnering up to develop their own mentalist act.
The newlyweds find success on the nightclub circuit, but the ever-scheming Carlisle soon sees an opportunity to play a long con with a potentially big payoff. To pull this off, he seeks the assistance of a local shrink (Helen Walker). While not immune to Carlisle’s charms, she is not going to be an easy pushover like the other women in his life. Big trouble ahead…and a race back to the bottom. Full of surprising twists and turns.
Paper Moon –Two years after The Last Picture Show, director Peter Bogdanovich had the audacity to shoot yet another B&W film-which was going against the grain by the early 70s. This outing, however, was not a bleak drama. Granted, it is set during the Great Depression, but has a much lighter tone, thanks to precocious 9 year-old Tatum O’Neal, who steals every scene she shares with her dad Ryan (which is to say, nearly every scene in the film).
The O’Neals portray an inveterate con artist/Bible salesman and a recently orphaned girl he is transporting to Missouri (for a fee). Along the way, the pair discover they are a perfect tag team for bilking people out of their cookie jar money. Entertaining road movie, with the built-in advantage of a natural acting chemistry between the two leads.
Also with Madeline Kahn, John Hillerman, P.J. Johnson, and Noble Willngham. DP László Kovács (my 2007 tribute) is in his element; he was no stranger to road movies (Easy Rider, Five Easy Pieces). Screenwriter Alvin Sargent adapted from Joe David Brown’s novel, “Addie Pray”. (Bogdanovich died in 2022; I wrote this tribute ).
The Servant – Joseph Losey’s brooding and decadent class-struggle allegory features the great Dirk Bogarde in a note-perfect performance as the “manservant” hired by a snobby playboy (James Fox) to help him settle into his upscale London digs. It soon becomes apparent that this butler has a little more on the agenda than just polishing silverware and dusting the mantle. Sara Miles is also memorable in one of her earliest film roles.
Cinematographer Douglas Slocombe’s striking chiaroscuro composition and clever use of convex mirrors (which appear to “trap” the images of the principal characters) sustains a stifling, claustrophobic mood throughout. If you’re an aficionado of the 60’s British folk scene, keep your eyes peeled for a rare (and unbilled) screen appearance by guitarist Davey Graham, featured in a scene where Fox walks into a coffeehouse. Harold Pinter’s screenplay was adapted from the novel by Robin Maugham.
Siesta – Music video director Mary Lambert’s 1987 feature film debut is a mystery, wrapped in a riddle inside an enigma. Ellen Barkin stars as an amnesiac who wakes up on a runway in Spain, dazed, bloodied and bruised. She spends the rest of the film putting the jagged pieces together, trying to figure out who she is and how she got herself into this discombobulating predicament (don’t let your attention wane!).
Reviews were mixed when the film came out, but I think it’s high on atmosphere and beautifully photographed by Bryan Loftus, who was the DP for another one of my favorite 80s sleepers, The Company of Wolves. Great soundtrack by Marcus Miller, and a fine supporting cast including Gabriel Byrne, Julian Sands, and Isabella Rossellini. The script is by Patricia Louisianna Knop, who would later produce and occasionally write for her (now ex) husband Zalman King’s Red Shoe Diaries cable series that aired in the ‘90s.
The Sting – George Roy Hill’s caper dramedy is pretty fluffy, but a lot of fun. Paul Newman and Robert Redford reunited with their Butch Cassidy and the Sundance Kid director in this 1973 star vehicle to play a pair of 1930s-era con men who set up the ultimate “sting” on a vicious mobster (Robert Shaw) who was responsible for the untimely demise of one their mutual pals. The beauty of screenwriter David S. Ward’s clever construction is in how he conspiratorially draws the audience in to feel like are in on the elaborate joke…but then manages to prank us too…when we’re least expecting it!
The Usual Suspects –What separates Bryan Singer’s tightly-directed sophomore effort from the pack of otherwise interchangeable Tarantino knockoffs that flourished throughout the 90s is a great cast (Kevin Spacey, Gabriel Byrne, Chazz Palmenteri, Benicio Del Toro, Kevin Pollack and Stephen Baldwin), smart screenplay (co-written by Singer and Christopher McQuarrie) and a real doozey of a twist ending.
The story unfolds via flashback, narrated by a soft-spoken, physically hobbled milquetoast named “Verbal” (Spacey), who is explaining to a federal agent (Palmenteri) how he ended up the sole survivor of a mass casualty shootout aboard a docked ship. Verbal’s tale is riveting; a byzantine web of double and triple crosses that always seems to thread back to an elusive and ruthless criminal puppet master named Keyser Soze. The movie has gained a rabid cult following, and “Who is Keyser Soze?” has become a meme.
Depending upon whom you might ask, MOVE was an “organization”, a “religious cult”, a “radical group”, or all of the above. The biggest question in my mind (and one the film doesn’t necessarily delve into) is whether it was another example of psychotic entelechy. So what is “psychotic entelechy”, exactly? Well, according to Stan A. Lindsay, the author of Psychotic Entelechy: The Dangers of Spiritual Gifts Theology, it would be
…the tendency of some individuals to be so desirous of fulfilling or bringing to perfection the implications of their terminologies that they engage in very hazardous or damaging actions.
In the context of Lindsay’s book, he is expanding on some of the ideas laid down by literary theorist Kenneth Burke and applying them to possibly explain the self-destructive traits shared by the charismatic leaders of modern-day cults like The People’s Temple, Order of the Solar Tradition, Heaven’s Gate, and The Branch Davidians. He ponders whether all the tragic deaths that resulted should be labeled as “suicides, murders, or accidents”.
While it arguably wasn’t as self-destructive, Japan’s “Aum” cult shared many similar traits, and was no less lethal. If you’re as ancient as me, you may recall the 1995 nerve gas attack on Tokyo’s subway system that resulted in 13 deaths and thousands of injuries. This shocking incident introduced the world to a bizarre spiritual sect hitherto unknown outside of Japan.
In an engrossing (albeit disturbing) new documentary called Aum: The Cult at the End of the World, co-directors Ben Braun and Chiaki Yanagimoto paint a “couldn’t make this shit up” portrait of leader Shoko Asahara tantamount to a Bond villain’s origin story (replete with his rejection as a child, seething hatred of society, secret laboratories, evil plans, kidnappings, assassinations, and the inevitable stockpiles of weapons of mass destruction).
The story of Aum follows a trajectory that has become depressingly familiar. The sect was founded in 1983 by Chizuo Matsumoto (who changed his name to Shoko Asahara). Asahara’s original philosophy was centered on yoga, meditation, and self-enlightenment.
That didn’t last.
By the mid-80s, Asahara was getting extensive coverage in high-circulation Japanese occult magazines; this helped spur a sizeable youth following. A canny self-promoter, Ashara seized on this and over the next several years published a series of books and produced anime that portrayed him as having supernatural powers (including the ability to levitate). He even trekked to Tibet with the express purpose of arranging a photo-op with the Dalai Lama.
In the cult hierarchy, members who were scientists and chemists were at the top (which makes a sick kind of sense in hindsight). As the number of followers grew, so did Asahara’s increasingly draconian rules. As journalist Shoko Egawa points out, members were directed to forgo earthly possessions, money, the enjoyment of good food, etc., as such trifles were roadblocks to spiritual enlightenment. The Aum tenets praised not sleeping, not eating, even not changing clothes. The communal diet was “Aum food”, which one former member describes as “boiled vegetables with no flavor at all…rice and natto, day after day.”
Yum.
The turn to the dark side occurred circa 1989. In the film, journalist Andrew Marshall (who co-authored a book about the cult) observes “By 1989 the stock market had peaked and Japan was really entering this period of economic stagnation, and possibly cultural and political stagnation as well, and I think what was about to happen was a symptom of that.”
In 1989, a man began photographing suspicious activities by a “weird group” of people who “suddenly showed up” in his small village of Kammikushiki, which is nestled near the foot of Mt. Fuji. The newcomers were reticent to interact with the villagers, and hostile to any inquiries. They set up a compound containing some unusual equipment (including gas tanks and chemical barrels), and over time were regarded as “bad neighbors” due to non-stop construction noise and loud chanting emanating day and night. When Marshall was poking around, he discovered they also had a “massive Russian helicopter” parked on their premises.
The story gets weirder, and the bodies start piling up even before the Tokyo subway terror attack made international headlines. Equally troubling to learn is how the Japanese media characterized the sect as “silly” and colorful (perfect fodder for a kicker at the end of the newscast, but nothing worth a deeper investigative dive, despite many red flags over time),
As I was watching the film, I was looking at all the footage of this guy and just not seeing the appeal, although thousands of his devoted followers would surely beg to differ. One observer helpfully offers, “No matter what they asked him, he gave them an immediate answer.” (does that remind you of anybody?).
As Woody Allen says in Manhattan, after meeting his girlfriend’s highly-lauded ex-husband, the “little homunculus” portrayed by Wallace Shawn, “It’s amazing how subjective all that stuff is.” Maybe that’s what lies at the the crux of why I’m endlessly fascinated by cults. As I wrote in my 2012 review of Paul Thomas Anderson’s drama The Master:
What he has crafted is a thought-provoking and original examination of why human beings in general are so prone to kowtow to a burning bush, or be conned by an emperor with no clothes; a film that begs repeated viewings. Is it a spiritual need? Is it an emotional need? Or is it a lizard brain response, deep in our DNA?
As Inspector Clouseau once ruminated, “Well you know, there are leaders…and there are followers.”
The best hope for humankind is that, at some nebulous point in (whatever time is left of) our future, we will finally learn the lessons of history and stop repeating the same stupid, stupid mistakes.
(In theaters now; available on all rental platforms March 28th).
(Originally posted on Digby’s Hullabaloo on March 15, 2025)
With Saint Patrick’s celebrations in full swing this weekend, I thought I’d help you get your Irish up and drive those snakes from your media room with 15 grand film recommendations.
Sláinte!
The Commitments – 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. The Commitments can be seen as a riff on Parker’s 1980 film Fame; swapping the locale from New York City 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 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. In 2007, cast member 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.
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, ThatDarn 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!”.
A Date for Mad Mary – Seana Kerslake makes a remarkable debut in Darren Thornton’s 2017 dramedy (co-written by the director with his brother Colin) 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.
Garage – At once heartbreaking and uplifting, this 2007 character study by director Leonard Abrahamson and writer Mark O’Halloran is an underappreciated gem. It’s a deceptively simple story about an emotionally stunted yet affable thirty-something bachelor named Josie (Pat Shortt), who tends a gas station in a small country village (he bunks in the garage). When he befriends a teenager (Conor Ryan) who takes a summer job at the gas station, it unexpectedly sets off a chain of life-shaking events for Josie. Shortt (a popular comic in his home country) gives an astonishing performance. I like the way the film continually challenges expectations. An insightful and affecting glimpse at the human condition.
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 publicly in decades. Fabulous script, direction, and acting. Funny, touching and guaranteed to lift your spirits.
I Am Belfast – I try not to use “visual tone poem” as a descriptive if I can avoid it…but sometimes, there is no avoiding it. As in this case, with Irish director Mark Cousins’ meditation on his beloved home city. Part documentary and part (here it comes) visual tone poem, Cousins ponders the past, present and possible future of Belfast’s people, legacy and spirit.
I’m fairly sure Cousins is going for the vibe of the 1988 Terence Davies film Distant Voices, Still Lives, a similar mélange of sense memory, fluid timelines and painterly visuals (he waxes poetically about the aforementioned film in his epic 15-hour documentary, The Story of Film). Lovely cinematography by Christopher Doyle. A rewarding experience for patient viewers.
In Bruges – OK, full disclosure. In my original review, I gave this 2008 Sundance hit a somewhat lukewarm appraisal. But upon a second viewing, then a third… I realized that I like this film quite a lot (happens sometimes…nobody’s perfect!).
A pair of Irish hit men (Brendan Gleeson and Colin Farrell) botch a job in London and are exiled to the Belgian city of Bruges, where they are ordered to lay low until their piqued Cockney employer (an over the top Ray Fiennes) dictates their next move. What ensues can be best described as a tragicomic Boschian nightmare (which will make more sense once you’ve seen it).
Writer-director Martin McDonagh (who deftly juggles “fook” as a noun, adverb, super adverb and adjective) re-enlisted In Bruges stars Gleeson and Farrell as the leads for his Oscar-nominated 2022 dramedy The Banshees of Inisherin (also recommended!).
Into the West – A gem from one of the more underappreciated “all-purpose” directors, Mike Newell (DanceWith 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).
Miller’s Crossing–his 1990 gangster flick could only come from the unique mind-meld of Joel and Ethan Coen (with shades of Dasheill Hammet). The late Albert Finney is excellent as an Irish mob boss engaging in a power struggle with the local Italian mob during the Prohibition era. Gabriel Byrne (the central character of the film) portrays his advisor, who attempts to broker peace.
You do have to pay attention in order to keep up with the constantly shifting alliances and betrayals and such; but as with most Coen Brothers movies, if you lose track of the narrative you always have plenty of great supporting performances (particularly from Marcia Gay Harden and John Torturro) , stylish flourishes, and mordant humor to chew on until you catch up again.
My Left Foot – The first (and best) of three collaborations between writer-director Jim Sheridan and actor Daniel Day-Lewis (1993’s In the Name of theFather and 1997’s The Boxer were to follow). This moving 1989 biopic concerns Christy Brown, a severely palsied man who became a renowned author, poet and painter despite daunting physical challenges.
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, as did Brenda Fricker, who snagged Best Supporting Actress as Brown’s mother. Don’t let Day-Lewis’ presence overshadow 13-year old Hugh O’Conor’s work as young Christy; he gives an equally impressive performance.
Odd Man Out – An absorbing film noir from the great director Carol Reed (The ThirdMan, The Fallen Idol). James Mason is excellent as a gravely wounded Irish rebel who is on the run from the authorities through the shadowy backstreets of Belfast. Interestingly, the I.R.A. is never referred to directly, but the turmoil borne of Northern Ireland’s “troubles” is 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 well as a “heist gone wrong”/chase thriller with political undercurrents. The top-notch cast includes Robert Newton and Cyril Cusack.
Older Than Ireland – With age, comes wisdom. Just don’t ask a centenarian to impart any, because they might smack you. Not that there is violence in Alex Fegan and Garry Walsh’s doc, but there is consensus among interviewees (aged 100-113) that the question they find most irksome is: “What’s your secret to living so long?” Once that hurdle is cleared, Fegan and Walsh’s subjects have much to impart in this moving and entertaining pastiche of the human experience. Do yourself a favor: turn off your personal devices, watch this wondrous film and plug yourself into humankind’s forgotten backup system: the Oral Tradition. (Full review)
The Quiet Man – I’ll admit to never having been a huge John Wayne fan, but he’s perfect in this John Ford classic 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 gorgeous Maureen O’Hara round things off nicely. Although tame by modern standards, romantic scenes between Wayne and O’Hara are quite fervid for the era. The pastoral valleys and rolling hills of the Irish countryside have never looked lovelier, thanks to Winton C. Hoch and Archie Stout’s Oscar-winning cinematography.
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!
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 out to sea one night, Conor decides the children would be better off staying with their grandmother in the 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 succession of characters that seem to have popped out of one of the 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 something in Moore’s hand-drawn animation that I find sorely lacking in the computer-generated “product” glutting multiplexes these days: genuine heart.
(Originally posted on Digby’s Hullabaloo on March 8, 2025)
Heard about the restaurant on the Moon? Great food…no atmosphere.
Yeah, I know. You rolled out of your crib in hysterics the first time you heard that one. But let’s face it – “atmosphere” is essential; not just for breathing, but for setting a mood.
I’ve curated a noir mixtape that is all about atmosphere; 20 songs evoking dark alleys, rain-slicked streets, low-rent rooms, beautiful losers, and broken dreams. In other words, this ain’t no party, this ain’t no disco. Besides …everyone knows tough guys don’t dance.
BARRY ADAMSON: The Man With the Golden Arm – Prolific, genre-hopping UK musician-composer-producer Barry Adamson’s brilliant 1988 arrangement of the theme from Otto Preminger’s eponymous 1955 noir is a tad down-tempo compared to the film version (written by Elmer Bernstein and originally performed by Richard Maltby & His Orchestra), but nonetheless compelling.
STAN RIDGWAY: Drive, She Said – Harry Chapin’s “Taxi” meets Edgar G. Ulmer’s Detour in this cinematic cabby’s tale from the former Wall of Voodoo lead singer.
THE ALLIES: Emma Peel – The Allies were an early 80s power pop band from Seattle who should have gone places. Unrequited love in the sickly glow of a cathode ray.
Emma, I’ll be your Steed
I’ll be all you ever need
If I cry and if I bleed
Will it help me?
ELVIS COSTELLO: Watching the Detectives – Another two-dimensional dream. She’s filing her nails while they’re dragging the lake… Damn, that’s cold.
THE DOORS: Riders on the Storm – There’s a killer on the road. Distant thunder, the cascading shimmer of a Fender Rhodes, a desolate tremolo guitar and dangerous rhythms.
JULEE CRUISE: Summer Kisses, Winter Tears – And nothing can light the dark of the night/Like a falling star. Somehow, that’s less than reassuring. Ms. Cruise’s Elvis cover is nothing, if not atmospheric.
BLUE ÖYSTER CULT: Then Came the Last Days of May – Wasn’t until the car suddenly stopped/In the middle of a cold and barren plain… A tragic tale of a drug deal gone terribly, terribly wrong.
STEELY DAN: Don’t Take Me Alive – I’m on the lam, but I ain’t no sheep.
Got a case of dynamite
I could hold out here all night
Yes I crossed my old man back in Oregon
Don’t take me alive
CHICO HAMILTON QUINTET: Sidney’s Theme (from The Sweet Smell of Success) – Alexander Mackendrick’s 1957 film noir is one of the most vicious and cynical ruminations on America’s obsession with fame and celebrity (the sharp Clifford Odets/Ernest Lehman screenplay drips with venom). Many scenes take place in a jazz club, featuring performances by the Chico Hamilton Quintet. “Sidney” is the character played by Tony Curtis; he’s a smarmy and furtive press agent who sucks up to Burt Lancaster’s JJ Hunsecker, a powerful NYC columnist who can launch (or sabotage) show biz careers with a flick of his poison pen.
WAS (NOT WAS): Somewhere in America (There’s a Street Named After My Dad) – Our luckless protagonist is trapped in an asphalt jungle; dreaming of a pleasant valley Sunday.
At night only crickets
No prowlers, no sirens
No pinky ring hustlers
No angel dust Byrons
No bars on the windows
No saber-toothed neighbors
Just good simple folks
In a rainbow of flavors
THE LOUNGE LIZARDS: Harlem Nocturne – The Lounge Lizards were formed in the late 70s by actor-musician John Lurie (sax) and his brother Evan (keys), backed by a revolving door of players until the group’s dissolution in 1998. This cover of Earle Hagen and Dick Rogers’ standard evokes smoky lounges, shady dealings, and last calls.
MICHAEL FRANKS: Nightmoves – An instrumental version of this moody piece (composed by Michael Smalls) played under the opening credits for Arthur Penn’s eponymous 1975 neo-noir. Michael Franks later wrote lyrics for it and released a vocal version, which appeared on his 1976 album “The Art of Tea”. Featuring the great Larry Carlton on guitar.
I keep you in frame and I whisper your name till the picture fades
The feeling is already gone, I don’t know why I’m going on
Can’t remember the ending
DAVID BAERWALD: A Secret Silken World – I don’t know what war-torn region of the human soul Baerwald visited in order to find the characters for this story, but I don’t ever want to go there, even just to snap a few pictures.
The seats of his car were like a woman’s skin
Made me think about all those places I’ve been
It made me understand murder and the nature of sin
I leaned back and I listened to his music
AL STEWART: Broadway Hotel – According to Al Stewart, “It’s a very strange song. It’s about a woman who checks into a hotel in order to be alone. She’s alone for a little while and she orders room service. The man who comes up and brings the trey begins a lengthy relationship with her. They lock themselves in the room for about a week and then they order room service.” Oh, what does he know about it? I’m still picturing the flickering light of a neon sign stabbing through the blinds of the hotel room window…
You’re seeking a hideaway
Where the light of day
Doesn’t touch your face
And a door sign keeps the world away
Behind the shades
Of your silent day.
MICK RONSON: Slaughter on 10th Avenue – Richard Rogers originally composed this moody piece to accompany the eponymous ballet featured in Rogers and Hart’s 1936 stage musical On Your Toes. The song was revived in Robert Laven’s 1957 film noir, Slaughter on 10th Avenue…which, despite co-opting the title of the ballet from On Your Toes, had a completely different plot line (adapted from William Keating’s autobiography). A long, strange trip from a 30s ballet to a 70s rocker, but the late great guitar god of glam makes it sing.
ROY BUDD: Get Carter Main Theme – Easily vying for the crown as the best British gangster film of all time (or perhaps a tie with The Long Good Friday), Mike Hodges’ 1971 neo-noir Get Carter (adapted from Ted Lewis’ novel Jack’s Return Home ) was a superb showcase for star Michael Caine. It also featured a fab soundtrack by British jazz pianist Roy Budd. This main theme plays over the opening credits, click-clacking in syncopation with Caine’s train ride to Newcastle (as Caine kills time in the coach car reading a Raymond Chandler novel). Perfect.
COCKNEY REBEL: Mirror Freak –Steve Harley’s enigmatic tale of skins, spivs, and other assorted night creatures.
Oh you’re too cute to be a big rock star
But if you’re cool you may not push it too far
Oh just believe in yourself and take a tip from the elf
And sing a boogie to the image fatale
GIL SCOTT-HERON: Pieces of a Man – Everyone has their breaking point. Gil Scott-Heron’s soulful vocal, Brian Jackson’s transcendent piano, the great Ron Carter’s sublime stand-up bass work, and the pure poetry of the lyrics render a heartbreaking tale.
Pieces of that letter
Were tossed about that room
And now I hear the sound of sirens
Come knifing through the gloom
They don’t know what they are doing
They could hardly understand
That they’re only arresting
Pieces of a man
HENRY MANCINI: Theme from Peter Gunn– I didn’t realize until recently that Peter Gunn was streaming on Prime Video. I didn’t see it during its original run (being that I was 2 years old when the series premiered in 1958). I’ve been digging that crazy jazz and noir vibe (goes down easy in tightly-scripted 27-minute installments, which makes for a perfect nightcap). Of course I’ve always loved the theme song (who doesn’t?), which features one of the greatest guitar riffs of all time. Despite myriad cover versions, Henry Mancini’s original still rules.
ROBYN HITCHCOCK: Raymond Chandler Evening – And with this selection, our coda, have a pleasant one.
It’s a Raymond Chandler Evening,
And the pavements are all wet,
And I’m lurking in the shadows
‘Cause it hasn’t happened yet.
Bonus Track!
TONY POWERS–Don’t Nobody Move (This is a Heist) – This seedy nighttime crawl through the streets of New York leans toward wry comedy, but is noir-adjacent. The 1982 video was a fan favorite on USA’s Night Flight (which is where I first saw it).
They wuz towin’ me away
Cuz I don’t have
Diplomat plates
While this diplomat I know
Is smugglin’ “H”
Into the states
I said “lemmee have
The ticket ‘n the car –
Save me a trip”
So they hauled me in
For giving them
Some unauthorized lip…
(Originally posted on Digby’s Hullabaloo on March 1, 2025)
I felt it apropos on this Oscar Eve to honor Hollywood’s annual declaration of its deep and abiding love for itself with my picks for the top 10 movies about…the movies. Action!
Cinema Paradiso– Writer-director Giuseppe Tornatore’s 1988 love letter to the cinema may be too sappy for some, but for those of us who (to quote Pauline Kael) “lost it at the movies” it’s chicken soup for the soul. A film director (Jacques Perrin) returns to his home town in Sicily for a funeral, triggering flashbacks from his youth. He reassesses the relationships with two key people in his life: his first love, and the person who instilled his life-long love of the movies. Beautifully acted and directed; keep the Kleenex handy.
Day for Night– French film scholar and director Francois Truffaut was, first and foremost, a movie fan. And while one could argue that many of his own movies are rife with homage to the filmmakers who inspired him, this 1973 entry is his most heartfelt declaration of love for the medium (as well as his most-imitated work). Truffaut casts himself as (wait for it) a director in the midst of a production called Meet Pamela.
“Pamela” is a beautiful but unstable British actress (Jacqueline Bisset) who is gingerly stepping back into the spotlight after a highly publicized breakdown. The petulant, emotionally immature leading man (Jean-Pierre Leaud) is a fool for love, which constantly distracts him from his work. Truffaut also has to coddle an aging Italian movie queen (Valentia Cortese) who is showing up on set three sheets to the wind and flubbing scenes.
Truffaut cleverly mirrors the backstage travails of his cast and crew with those of the characters in the “film-within-the-film”. Somehow, it all manages to fall together…but getting there is half the fun. Truffaut parlays a sense of what a director “does” (in case you were wondering) and how a good one can coax magic from seemingly inextricable chaos.
Ed Wood– Director Tim Burton and leading man Johnny Depp have worked together on so many films over the last 30 years that they must be joined at the hip. For my money, this affectionate 1994 biopic about the man who directed “the worst film of all time” remains their best collaboration. It’s also unique in Burton’s canon in that it is somewhat grounded in reality (while I wish his legion of loyal fans all the best, Burton’s predilection for overly-precious phantasmagorical and macabre fare is an acquired taste that I’ve yet to acquire).
Depp gives a brilliant performance as Edward D. Wood, Jr., who unleashed the infamously inept yet 100% certified camp classic, Plan 9 from Outer Space on an unsuspecting movie-going public back in the late 1950s. While there are lots of belly laughs, none of them are at the expense of the off-beat characters. There’s no mean-spiritedness here; that’s what makes the film so endearing. Martin Landau delivers a droll Oscar-winning turn as Bela Lugosi. Bill Murray, Sarah Jessica Parker, Patricia Arquette and Jeffrey Jones also shine.
8 1/2– Where does creative inspiration come from? It’s a simple question, but one of the most difficult to answer. Federico Fellini’s semi-autobiographical 1963 classic probably comes closest to “showing” us…in his inimitable fashion. Marcello Mastroianni is fabulous as a successful director who wrestles with a creative block whilst being hounded by the press and various hangers-on. Like many Fellini films (all Fellini films?), the deeper you go, the less you comprehend. Yet (almost perversely), you can’t take your eyes off the screen; with Fellini, there is an implied contract between the director and the viewer that, no matter what ensues, if you’ve bought the ticket, you have to take the ride.
Hearts of the West– In Howard Zeiff’s 1975 dramedy, Jeff Bridges stars as a Depression-era wannabe pulp western writer (a scene where he asks the barber to cut his hair to make him look “just like Zane Grey” is priceless.) He gets fleeced by a mail-order scam promising enrollment in what turns out to be a bogus university “out West”. Serendipity lands him a job as a Hollywood stuntman. Bridges gets able support from Blythe Danner, Andy Griffith (one of his best performances), Donald Pleasence, Richard B. Shull, and veteran scene-stealer Alan Arkin (he’s a riot as a perpetually apoplectic director). Rob Thompson’s witty script gives the wonderful cast plenty to chew on.
The Kid Stays in the Picture– Look up “raconteur” in the dictionary and you might see a picture of the subject of this winning 2002 documentary, directed by Nanette Burstein and Brett Morgen. While essentially a 90-minute monologue by legendary producer Robert Evans (The Godfather, Rosemary’s Baby, Love Story, Chinatown, etc.) recounting his life and career, it’s an intimate and fascinating “insider” purview of the Hollywood machine. Evans spins quite the tale of a mogul’s rise and fall; by turns heartbreaking and hilarious. He’s so charming and entertaining that you won’t stop to ponder whether he’s making half this shit up. Inventive, engaging, and required viewing for movie buffs.
Living in Oblivion– This under-appreciated 1995 sleeper from writer-director Tom DiCillo is the Day for Night of indie cinema. A NYC-based filmmaker (Steve Buscemi) is directing a no-budget feature. Much to his chagrin, the harried director seems to be stuck in a hellish loop as he chases an ever-elusive “perfect take” for a couple of crucial scenes.
DiCillo’s cleverly constructed screenplay is quite funny. Fabulous performances abound from a “Who’s Who” of indie film: Catherine Keener, Dermot Mulroney, Kevin Corrigan, James Le Gros and Peter Dinklage (in his first billed film role). Dinklage delivers a hilarious rant about the stereotypical casting of dwarves in dream sequences. It has been rumored that Le Gros’ character (an arrogant Hollywood hotshot who has deigned to grace the production with his presence) was based on the director’s experience working with Brad Pitt (who starred in DeCillo’s 1991 debut , Johnny Suede). If true, all I can say is…ouch!
The Story of Film: An Odyssey is one long-ass movie. Consider the title. It literally is the story of film, from the 1890s through last Tuesday. At 15 hours, it is nearly as epic an undertaking for the viewer as it must have been for director-writer-narrator Mark Cousins. Originally aired as a TV series in the UK, it played on the festival circuit as a five-part presentation. While the usual suspects are well-represented, Cousins’ choices for in-depth analysis are atypical (e.g. African and Middle-Eastern cinema).
That quirkiness is what I found most appealing about this idiosyncratic opus; world cinema (rightfully) gets equal time with Hollywood. The film is not without tics. Cousins’ oddly cadenced Irish brogue takes acclimation, and he tends to over-use the word “masterpiece”. Of course, he “left out” many directors and films I would have included. Nits aside, this is obviously a labor of love by someone who is sincerely passionate about film.
The Stunt Man– “How tall was King Kong?” That’s the $64,000 question, posed by Eli Cross (Peter O’Toole), the larger-than-life director of the film-within-the-film in Richard Rush’s 1980 drama. Once you discover that King Kong was but “3 foot, six inches tall”, it becomes clear that the fictional director’s query is actually code for a much bigger question: “What is reality?”
That is the question to ponder as you take this wild ride through the Dream Factory. Because from the moment our protagonist, a fugitive on the run from the cops (Steve Railsback) tumbles ass over teakettle onto Mr. Cross’s set, where he is in the midst of filming an art-house flavored WW I action adventure, his (and the audience’s) concept of what is real and what isn’t becomes hazy, to say the least.
O’Toole chews major scenery, ably supported by a cast that includes Barbara Hershey and Allen Garfield. Despite the lukewarm reviews from critics upon original release, it has since gained status as a cult classic. This is a movie for people who love the movies.
Sunset Boulevard– Leave it to that great ironist Billy Wilder to direct a film that garnered a Best Picture nomination from the very Hollywood studio system it so mercilessly skewers (however, you’ll note that they didn’t let him win…did they?). Gloria Swanson’s turn as a fading, high-maintenance movie queen mesmerizes, William Holden embodies the quintessential noir sap, and veteran scene-stealer Erich von Stroheim redefines the meaning of “droll” in this tragicomic journey down the Boulevard of Broken Dreams.
Oscar-winner Gene Hackman, his wife and one of their dogs were apparently dead for some time before a maintenance worker discovered their bodies at the couple’s Santa Fe home, investigators said.
Hackman, 95, was found dead Wednesday in a mudroom, and his 65-year-old wife, Betsy Arakawa, was found in a bathroom next to a space heater, Santa Fe County Sheriff’s Office detectives wrote in a search warrant affidavit. There was an open prescription bottle and pills scattered on a countertop near Arakawa.
Denise Avila, a sheriff’s office spokesperson, said there was no indication they had been shot or had any wounds. […]
“He was loved and admired by millions around the world for his brilliant acting career, but to us he was always just Dad and Grandpa,” his daughters and granddaughter said in a statement Thursday. “We will miss him sorely and are devastated by theloss.”
Having grown up watching his movies (he appeared in over 70 feature films between 1961 and his 2004 retirement from acting), I will miss him sorely as well. As will many others:
Gene Hackman has died. I met him on my first picture, “Hawaii” and worked with him again on “Get Shorty”. Both times were unforgettable for me, because he was the real thing; you never caught him acting. He left us a staggering body of work. Thank you, Mr. Hackman, and rest in peace.
Damn straight…you never caught him acting. Like all of the greatest actors, he knew how to listen. And how to react. Musician Billy Bragg commented on Bluesky that Hackman was “a fabulously flawed Everyman” onscreen. I concur. This morning, Digby and I were commiserating via text, and she described him as a “character actor leading man” (which I thought was a great way to put it), adding that his film technique was “so subtle and intimate”.
A good listener, a great re-actor, a fabulously flawed Everyman, subtle and intimate…all these attributes are reflected in 7 of my favorite Hackman performances (in alphabetical order).
All Night Long – This quirky, underrated romantic comedy from Belgian director Jean-Claude Tramont has been a personal favorite of mine since I first stumbled across it on late-night TV back in the mid-80s (with a million commercials).
Reminiscent of Michael Winner’s 1967 social satire I’ll Never Forget What’s ‘is Name, the film opens with a disenchanted executive (Gene Hackman) telling his boss to shove it, which sets the tone for the mid-life crisis that ensues.
Along the way, Hackman accepts a demotion offered by upper management in lieu of termination (night manager at one of the company’s drug stores), has an affair with his neighbor’s eccentric wife (an uncharacteristically low-key Barbra Streisand) who has been fooling around with his teenage son (Dennis Quaid), says yes to a divorce from his wife (Dianne Ladd) and decides to become an inventor (I told you it was quirky).
Marred slightly by some incongruous slapstick, but well-salvaged by W.D. Richter’s drolly amusing screenplay. Hackman is wonderful as always, and I think the scene where Streisand sings a song horrendously off-key (while accompanying herself on the organ) is the funniest thing she’s ever done in a film. Despite Hackman and Streisand’s star power, the movie was curiously ignored when it was initially released.
Bonnie and Clyde – The gangster movie meets the art house in this 1967 offering from director Arthur Penn. There is much more to this influential masterpiece than the oft-referenced operatic crescendo of violent death in the closing frames; particularly of note was the ingenious way its attractive antiheroes were posited to appeal to the counterculture zeitgeist of the 1960s, even though the film was ostensibly a period piece. The real Bonnie Parker and Clyde Barrow were nowhere near as charismatic as Faye Dunaway and Warren Beatty…but we don’t care, do we? The outstanding cast includes Hackman (memorable as Clyde’s brother Buck), Estelle Parsons, Michael J. Pollard, and Gene Wilder (his film debut).
The Conversation – Written and directed by Francis Ford Coppola, this 1974 thriller features Hackman leading a fine cast as a free-lance surveillance expert who begins to obsess that a conversation he captured between a man and a woman in San Francisco’s Union Square for one of his clients is going to directly lead to the untimely deaths of his subjects.
Although the story is essentially an intimate character study, set against a backdrop of corporate intrigue, the dark atmosphere of paranoia, mistrust and betrayal that permeates the film mirrors the political climate of the era (particularly in regards to its timely proximity to the breaking of the Watergate scandal).
24 years later Hackman played a similar character in Tony Scott’s 1998 political thriller Enemy of the State. Some have postulated “he” is the same character (you’ve gotta love the fact that there’s a conspiracy theory about a fictional character). I don’t see that myself; although there is obvious homage with a brief shot of a photograph of Hackman’s character in his younger days that is actually a production still from (wait for it) …The Conversation!
Downhill Racer – This underrated 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. Hackman is outstanding as the coach who finds himself at loggerheads with Redford’s contrariety. Ritchie’s debut film has a verite feel that lends the story a realistic edge. James Salter adapted the screenplay from Oakley Hall’s novel The Downhill Racers.
The French Connection – I have probably seen this film 25 times; if I happen to stumble across it while channel-surfing, I will inevitably get sucked in for a taste of William Friedkin’s masterful direction, Ernest Tidyman’s crackling dialog (adapted from Robin Moore’s book), Gene Hackman and Roy Scheider’s indelible performances, or a jolt of adrenaline:
Gerald B. Greenburg picked up a well-deserved Oscar for that brilliant editing. Statues were also handed out to Friedkin for Best Director, producer Philip D’Antoni for Best Picture, Hackman for Best Actor (Scheider was nominated, but did not win for Best Supporting Actor), and Tidyman for Screenplay Based on Material from Another Medium.
It’s easy to see how Hackman’s work here put him on the map; his portrayal of “Popeye” Doyle is a wonder to behold. Talk about a “fabulously flawed Everyman” …he is slovenly and bereft of social skills, but on the job, a force to be reckoned with; driven, focused and relentless in his desire to catch the bad guys. Doyle’s obsession with his quarry “the Frenchman” (Fernando Rey) becomes his raison d’etre; all else falls by the wayside.
Hackman plays him as a working-class hero of a sort. The criminal he seeks to take down is living high off his ill-begotten gains; cleverly elusive, yet so confident in his abilities to cover his tracks he seems to take perverse pleasure in taunting his pursuer. This is film noir as class warfare. Or …this could just be a well-made cops and robbers flick with cool chase scenes.
Night Moves– Set in Los Angeles and the sultry Florida Keys, Arthur Penn’s 1975 sleeper stars Hackman as a world-weary private investigator with a failing marriage, who becomes enmeshed in a case involving battling ex-spouses, which soon slides into incest, smuggling and murder. As always, Hackman’s character work is top-notch. Also with Jennifer Warren (in a knockout, Oscar-worthy performance), Susan Clark, Edward Binns, Harris Yulin, James Woods and Melanie Griffith (her first credited role). Alan Sharp’s intelligent, multi-layered screenplay parallels the complexity of the P.I.’s case with ruminations on the equally byzantine mystery as to why human relationships, more often than not, almost seem engineered to fail.
Prime Cut – This spare and offbeat 1972 “heartland noir” from director Michael Ritchie (with a tight screenplay by Robert Dillon) features one of my favorite Lee Marvin performances. He’s a cleaner for an Irish mob out of Chicago who is sent to collect an overdue payment from a venal livestock rancher (Gene Hackman) with the unlikely moniker of “Mary Ann”.
In addition to overseeing his meat packing plant (where the odd debt collector ends up as sausage filler), Mary Ann maintains a (literal) stable of naked, heavily sedated young women for auction. He protects his spread with a small army of disturbingly uber-Aryan young men who look like they were cloned in a secret Nazi lab.
It gets weirder, yet the film is strangely endearing; perhaps due to its blend of pulpy thrills, dark comedy and ironic detachment. It’s fun watching Hackman and Marvin go mano a mano; and seeing Sissy Spacek in her film debut. Also with Gregory Walcott (a hoot as Mary Ann’s oafish, psychotic brother) and Angel Tompkins. Gene Polito’s cinematography is top-flight.
Young Frankenstein – Writer-director Mel Brooks’ 1974 film transgresses the limitations of the “spoof” genre to create something wholly original. Brooks goofs on elements from James Whale’s original 1931 version of Frankenstein, his 1935 sequel, Bride of Frankenstein, and Rowland V. Lee’s 1939 spinoff, Son of Frankenstein.
Gene Wilder heads a marvelous cast as Dr. Frederick Frankenstein, the grandson of the “infamous” mad scientist who liked to play around with dead things. Despite his propensity for distancing himself from that legacy, a notice of inheritance precipitates a visit to the family estate in Transylvania, where the discovery of his grandfather’s “secret” laboratory awakens his dark side.
Wilder is quite funny (as always), but he plays it relatively straight, making a perfect foil for the comedic juggernaut of Madeline Khan, Marty Feldman, Peter Boyle, Cloris Leachman (“Blucher!”), Terri Garr and Kenneth Mars, who are all at the top of their game. The scene featuring a non-billed Hackman (as an old blind hermit) is a classic (“My…you must have been the biggest one in your class!”).
This is also Brooks’ most technically accomplished film; the meticulous replication of Dr. Frankenstein’s laboratory (utilizing props from the 1931 original), Gerald Hirschfeld’s gorgeous B & W photography and Dale Hennesy’s production design all combine to create an effective (and affectionate) homage to the heyday of Universal monster movies.
