(Originally posted on Digby’s Hullabaloo on December 18, 2021)
Prince of the City (Warner Archive)
Sidney Lumet directed this powerful drama based on the true story of NYC narcotics detective Robert Leuci (“Daniel Ciello” in the film), whose life got turned upside down after he agreed to cooperate with a special commission. Treat Williams delivers his finest performance as the conflicted cop, who is initially promised he will never have to “rat” on any of his partners in the course of the investigation. But you know what they say about the road to Hell being paved with “good intentions”. Superb performances from all in the sizable cast (especially Jerry Orbach). Lumet co-adapted the screenplay from Richard Daley’s book with Jay Presson Allen.
Warner Archive has a habit of skimping on the extras; this release is no exception, but this is the best-looking print of it I’ve seen since I first caught it in a theater back in 1981.
(Originally posted on Digby’s Hullabaloo on December 18, 2021)
Modern Romance (Powerhouse Films/Indicator)
In his best romantic comedy (co-written by frequent collaborator Monica Johnson), writer-director Albert Brooks (the godfather of “cringe” comedy) casts himself as a film editor at American International Pictures. His obsessive-compulsiveness makes him great at his job, but a pain-in-the-ass to his devoted girlfriend (Kathryn Harrold), who is exasperated with his history of impulsively breaking up with her one day, only to beg her to take him back the next.
There are many inspired scenes, particularly where a depressed Brooks takes Quaaludes and drunk dials every woman he’s ever dated (like Bob Newhart, Brooks is a master of “the phone bit”). Another great scene features Brooks and his assistant editor (the late Bruno Kirby) laying down Foley tracks in the post-production sessions for a cheesy sci-fi movie.
Brooks’ brother, the late Bob Einstein (aka “Super Dave”, and a regular on Curb Your Enthusiasm) has a wry cameo as a sportswear clerk. Also with George Kennedy (as “himself”) and real-life film director James L. Brooks (no relation) playing Brooks’ boss.
Indicator’s 2021 edition sports a sparkling transfer, an entertaining and insightful commentary track by critic/film historian Nick Pinkerton, and a 15 minute featurette from 2018 with cinematographer Eric Saarienen discussing his collaborations with Brooks.
(Originally posted on Digby’s Hullabaloo on December 18, 2021)
The Gambler (Imprint Films; Region ‘B’)
While there have been many films about degenerate gamblers, the twist in Karel Reisz’s 1974 character study is that the protagonist is also a college literature professor with a penchant for discussing the ethical dilemmas faced by Dostoevsky characters (leaving it up to the viewer to determine whether he’s lecturing to his students…or to himself?).
James Caan tackles this complex role with aplomb. Screenwriter (and future director) James Toback was inspired by the eponymous Dostoevsky story, but also drew from his own travails as a gambling addict. Also starring Lauren Hutton, Paul Sorvino, Morris Carnovsky and Jacqueline Brooks. The supporting cast seems to include every 70s character actor you can think of: Steven Keats, M. Emmet Walsh, Burt Young, Vic Tayback. James Woods, and Stuart Margolin.
Imprint’s Blu-ray transfer is quite obviously not restored (debris and artifacts tell the tale), but image quality, detail and color saturation is still superior to the Paramount DVD released in 2017. Extras include an insightful commentary by author and critic Matthew Asprey Gear, a video essay by Chris O’Neill, an archival interview with Reisz, and more.
Imprint Films is a new outfit out of Australia specializing in reissuing hard-to-find and out-of-print films. Be advised, their discs are region ‘B’ locked; so they require an all-region Blu-ray player (prices on all-region players have dropped considerably in recent years; worth the investment for deep-catalog film buffs). While many of their titles cross over with domestic reissue specialists like Criterion, Shout! Factory and KL Studio Classics, there is always the odd coveted obscurity that falls through the cracks (e.g. …like The Gambler).
(Originally posted on Digby’s Hullabaloo on December 18, 2021)
Brotherhood of the Wolf (Shout! Factory)
If I told you one of the best martial arts films of the 1990s features an 18th-century French libertine/naturalist/philosopher and his enigmatic “blood-brother” (an Iroquois mystic played by future Iron Chef Mark Dacasos) who are on the prowl for a supernaturally huge, man-eating lupine creature terrorizing the countryside-would you avoid eye contact and scurry to the other side of the street?
Christophe Gans’ film defies category; Dangerous Liaisons meets Captain Kronos-Vampire Hunter by way of Crouching Tiger, Hidden Dragon is the best I can do. Artfully photographed, handsomely mounted and surprising at every turn.
The image quality on Shout! Factory’s Blu-ray, while not the revelation I had anticipated (and definitely not restored), is still a welcome improvement over the DVD. However, this edition compensates by packing in the extras, including 2 full-length “making of” documentaries, and 40 minutes of deleted scenes.
(Originally posted on Digby’s Hullabaloo on December 11, 2021)
‘Tis the season for the obligatory year-end roundups, so for your consideration (or condemnation) here are my top 10 picks out of the 50+ first-run films I reviewed in 2021:
Brian Wilson: Long Promised Road – It has been a long, strange trip for Beach Boys founder/primary songwriter Brian Wilson. Brent Wilson’s documentary borrows the “Comedians in Cars Getting Coffee” concept, following Rolling Stone editor Jason Fine and Brian Wilson as they cruise around L.A., listening to Beach Boys tunes. Fine gently prompts Wilson to reminisce about the personal significance of various stops along the way. Most locales prompt fond memories; others clearly bring Wilson’s psyche back to those darker places he’d sooner forget. A sometimes sad, but ultimately moving portrait.
Fire Music – Call it “free jazz”, “avant-garde” or “free-form” …it’s been known to empty a room faster than you can say “polytonal”. After giving your ears a moment to adjust, director and co-writer Tom Surgal’s retrospective on the free jazz movement that flourished from the late 50s to the early 70s unravels a Gordian knot of roots, influences, and cosmic coincidences that sparked an amazingly rich and creative period for the genre. Sadly, the filmmakers suggest a collective amnesia has set in over the ensuing decades that has erased the contributions of the profiled artists from jazz history. Here’s hoping that enough people see this enlightening documentary to reverse that trend.
Heist of the Century – A stoner heist comedy based on a true story? Stranger things have happened. In 2006, a team of robbers hit the Banco Rio in Acassuso, Argentina. They took hostages, stole $8 million in valuables and cash and escaped in a boat despite being surrounded by 200 police. They ordered pizza and soda for the hostages, sang happy birthday to one of them, and left behind toy guns and a note saying they stole “money, not love.” Director Ariel Winograd and screenwriters Alex Zito and Fernando Araujo have fashioned one of the most entertaining genre entries Elmore Leonard never wrote.
Kurt Vonnegut: Unstuck in Time – Director Robert Weide (best known as a director and producer on Curb Your Enthusiasm) offers an apologia in his 40 years in-the-making portrait of literary giant Kurt Vonnegut for being “one of those directors” who interjects himself; to his credit he stays fairly unobtrusive (over the decades filmmaker and subject developed a genuine father and son closeness until Vonnegut’s death in 2007). Still, this is no hagiography; Weide doesn’t sugarcoat the bad patches nor the darker sides of Vonnegut’s personality. An intimate, inspiring, funny and deeply moving portrait of one of the greatest American writers of the 20th Century. Weide’s film beautifully illustrates how loss and trauma can be spun into gold by the alchemy of an inventive imagination.
The Last Film Show– Child actor Bhavin Rabari gives an extraordinary performance in writer-director Pan Nalin’s moving drama. Set in contemporary India in 2010, the story centers on Samay, a cinema-obsessed 9-year-old boy who lives with his parents and younger sister. Giuseppe Tornatore’s Cinema Paradiso and Francois Truffaut’s The 400 Blows are obvious touchstones, but Nalin puts his own stamp on a familiar narrative. Gorgeously photographed and beautifully acted, this is a poetic love letter to the movies.
The Paper Tigers – It’s been a while (like never) since I’ve seen a kickass Kickstarter-funded martial arts movie that was filmed in my back yard. Writer-director Quoc Bao Tran’s dramedy wasn’t literally filmed in my back yard…but was shot in Seattle. Tran subverts Hollywood tropes by re-imagining TheKarate Kid through the sensibilities of Chan is Missing in his tale of three former teenage kung fu champions, now riddled with the baggage and infirmities of middle age. What separates this from most martial arts fare is its character development, gentle social commentary, intelligent dialog, and surprising warmth. Don’t despair, action fans…there are still lots of fight scenes, expertly choreographed and exciting to watch. I hope this little gem finds a wider audience.
The Pebble and the Boy – 19-year-old Mancunian John (Patrick McNamee) is not a Mod. But his father was, from the 1980s until his recent demise. John not only inherits his father’s house, but his Lambretta scooter, bedecked with Mod accoutrements. Initially, John puts it up for sale, but after discovering a pair of tickets in his father’s wartime coat for an upcoming Paul Weller concert in Brighton, he decides that he will ride it to “the spiritual home of the Mods” and scatter dad’s ashes in the sea. Chris Green’s comedy-drama is an entertaining road movie; a mashup of Johnathan Demme’s Something Wild and Adam Rifkin’s Detroit Rock City. Green’s writing and directing is reminiscent of Bill Forsyth, in the manner he juggles low-key anarchy with gentle humor.
Surge – It is clear from the outset that Joseph (a mesmerizing Ben Whishaw), the protagonist of Aneil Karia’s unsettling yet curiously liberating drama would feel better if he could just …SCREAM. And once that dam bursts, Joseph’s frenetic bacchanal of self-liberation is a “re-birthing” well outside the parameters of clinical supervision (and decidedly anti-social in nature), all rendered in a dizzying cinematic style reminiscent of Run Lola Run and Trainspotting. I know what you’re thinking…but while you may think you know where things are headed, this unique film confounds expectations at every turn.
Waikiki – This shattering psychological drama (written, directed, produced, and edited by Christopher Kahunahana) is about a young native Hawaiian woman (Danielle Zalopany, in a bravura performance) who is at a crossroads in her life. She suffers PTSD from an abusive relationship. She is temporarily homeless and living in her van. She juggles several part-time jobs, including bar tending and teaching hula. One night, upset and distracted following an altercation with her ex, she hits a homeless man with her van. From this point onward the film takes a tonal shift that demands your complete and undivided attention.
Whelm – Set in rural Indiana during the Great Depression, writer-director Skyler Lawson’s debut feature centers on two brothers: Reed (Dylan Grunn) and August (Ronan Colfer), a troubled war veteran. Desperate for money, the siblings get in over their heads with a suave, charismatic but felonious fellow named Jimmy (Grant Schumacher) and a cerebral, enigmatic man of mystery named Alexander Aleksy (Delil Baran). Equal parts heist caper, psychological drama, and historical fantasy. A handsomely mounted period piece, drenched in gorgeous, wide scope “magic hour” photography shot (almost unbelievably) in 16mm by Edward Herrera. The film evokes laconic “heartland noirs” of the ‘70s like Terrence Malick’s Days of Heaven and Robert Altman’s Thieves Like Us.
Holy Krampus…have I really been writing reviews here for 15 years?! I was but a child of 50 when I began in November of 2006 (I was much older then, but I’m younger than that now). Here are my “top 10” picks for each year since I began writing for Hullabaloo.
(You may want to bookmark this post as a handy reference for movie night).
(Originally posted on Digby’s Hullabaloo on September 4, 2021)
We went to see those movies with Elvis. They’d all scream when he came on screen. So we thought “That’s a good job!” – John Lennon, from a television interview.
By the time the Beatles “debuted” on The Ed Sullivan Show in early 1964, they already had a rich 7-year history. The four polished pros in slick suits didn’t simply pop out of Liverpool fully formed; they had paid their dues toiling in sweaty cellar clubs and seedy strip joints (including the pre-Ringo “Hamburg period” from 1960-1962). But for fans here in the colonies, they descended like gods from the heavens.
People of “a certain age” reflexively say they “remember” watching the Beatles perform on Sullivan nearly 57 years ago (whether they did or not). For me that “memory” is fuzzy, for a couple of reasons. On February 9, 1964, I was 7 years old; too young to grok the hormonal/cultural impact of this “screaming ‘yeah-yeah’ music” (as my dad labeled any rock ’n’ roll song he heard wafting from my room throughout my formative years).
Also, I was living in Fairbanks, Alaska. At the time, none of the local TV stations were equipped to carry live network feeds. We would get Walter Cronkite a day late (the tapes had to be shipped from Seattle via commercial jet). And weekly programs like Sullivan were broadcast anywhere from 1 to 3 weeks later than they aired in the Lower 48. So technically I “remember” watching the Beatles “live” on Sullivan…on a slight tape delay.
In the Summer of 1967, I discovered two things that changed my life. As much as I would like to be able to tell you that it was body painting and tripping on acid…I can’t. Mainly because I had only recently turned 11. The first thing I discovered was Mad magazine (which undoubtedly explains much to long-time readers).
The second thing was record collecting. I scored my first-ever haul of vinyl, blowing three months’ allowance at the JCPenney in Fairbanks, Alaska. I bought two LPs (at $3.98 a pop), and a 45. The LPs were Revolver and Sgt. Pepper’s Lonely Hearts Club Band, and the 45 was “Penny Lane” / “Strawberry Fields Forever”. That was my gateway drug to all the music (from psychedelic and garage to metal and prog and punk and new wave and everything in between) that has become a crucial element of my life to this day.
Flash-forward 35 years. I was enjoying my first visit to the Rock and Roll Hall of Fame in Cleveland. At the Beatles exhibit, I happened upon a glass case that contained some weathered pieces of paper with hand-written lyrics. I lingered over one, which was initially tough to decipher, with all the scribbled-out words and such:
But you know I know when it’s a bean? Huh? It still wasn’t registering as to what I was looking at. However, when I got to: I think I know I mean-er-yes, but it’s all wrong. That is I think I disagree I realized that I was “this” close to John Lennon’s original handwritten draft of “Strawberry Fields Forever”. My mind was blown. Here I stand, head in hand, with my eyes but inches away from a tangible manifestation of genius.
Suddenly, I panicked. Was I worthy enough to look at it? Should I turn my face away, so it wouldn’t melt like the Nazis’ in Raiders of the Lost Ark when Belloq lifts the lid of the Sacred Object? “Don’t look at it, Marion!” I exclaimed to no one in particular. At any rate, I was overcome; there was something profoundly moving about the experience.
[Intermission]
By 1969, the Beatles had done enough “living” to suit several normal lifetimes, and did so with the whole world looking in. It’s almost unfathomable how they could have achieved as much as they did, and at the end of all, still be only in their twenties.
Are there any other recording artists who have ever matched the creative growth that transpired over the scant six years that it took to evolve from the simplicity of Meet the Beatles to the sophistication of Abbey Road?
Hindsight being 20/20, should we really be so shocked to see the four haggard and sullen “old guys” who mope through the 1970 documentary, Let it Be? Filmed in 1969 and directed by Michael Lindsay-Hogg, the movie was originally intended to be a TV special but ended up documenting the “making of” the eponymous album (there were also snippets of the band working on several songs that ended up on Abbey Road).
Sadly, the film has since weathered a rep as hard evidence of the band’s disintegration. Granted, there is some on-camera bickering (most famously, in a scene where an uncharacteristically riled-up George reaches the end of his tether with Paul’s fussiness).
Still, signs of a deeply rooted musical camaraderie remain in that outdoor mini concert filmed on a London rooftop. If you look closely, the boys are exchanging glances that telegraph they’re having a grand time jamming out; an affirmation that this is what this band of brothers were put on this earth to do, and what the hell …it’s only rock ’n’ roll.
The Let it Be movie doesn’t even begin to scratch the surface of how tumultuous 1969 was for the band. As Ian MacDonald notes in his excellent 1994 assessment of the Beatles’ catalog, Revolution in the Head:
The day after the rooftop concert, the band recorded three songs unsuited to recital in a moderate gale [“Two of Us”, “Let it Be”, and “The Long and Winding Road”] before winding the [recording sessions for the “Let it Be” album] up in some relief. An ignominious failure which shook their faith in their collective judgement, it had pushed them to the verge of collapse. […]
[soon after the “Let it Be” sessions wrapped] a fatal rift in the group’s relationships opened when Lennon, Harrison, and Starr asked the Rolling Stones’ American manager Allen Klein to take over the Beatles’ affairs. McCartney, who favoured Linda Eastman’s family firm of management consultants, immediately opened a court battle which long outlasted the remainder of the Beatles’ career.
The dream was over. Or so it seemed. The boys were not about to go out on a sour note (at least in a creative sense). As Bob Spitz writes in his exhaustive band bio, The Beatles:
The tapes from earlier in the year that would eventually become “Let it Be” languished in the can, abandoned, a victim of haste and sloppy execution. “[They] were so lousy and so bad,” according to John – “twenty-nine hours of tape …twenty takes of everything – that “none of us would go near them …None of us could face remixing them; it was [a] terrifying [prospect].” “It was laying [sic] dormant and so we decided ‘Let’s make a good album again,’” George recalled.
One drawback with the Let it Be film (aside from the fact it’s been out of circulation for decades and unavailable on home video outside of the odd bootleg) was its relatively short running time. Considering director Lindsay-Hogg had 60 hours of footage at his disposal, the original 81-minute theatrical cut feels stingy; leaving little room for nuance or providing context to the on-camera bickering the 1970 film is chiefly remembered for.
Perhaps predictably in this age of Tweet-length attention spans, there has been much lamentation and rending of garments regarding the decidedly less stingy running time of Peter Jackson’s nearly 8-hour long Get Back, his oft delayed and long-awaited re-edit, sifted from Lindsay-Hogg’s trove of footage (now streaming on Disney+ as a 3-part series). All I can say to those folks is I’ve got no time for you right now, don’t bother me.
The beauty of Jackson’s film is that his extended cut allows room for nuance and context around those storied studio spats, which in fact did not “cause” the break-up of the Beatles; rather they were symptoms of a longtime creative partnership that was literally “aging out”. Three-quarters of the band (John Paul, and George) had been collaborating since they were in their mid-teens; now they were all in their late 20s.
Like any other human being, as each member of the band matured, their individual priorities (as people and as creative artists) diverged. This was evidenced by the release of solo albums from all four members in 1970, the same year Let It Be saw its belated release: Ringo’s Beaucoups of Blues and Sentimental Journey, Paul’s McCartney, John’s John Lennon/Plastic Ono Band, and George’s epic triple album All Things Must Pass.
In fact, one of the film’s greatest delights is catching snippets of songs (still in their infancy) that would end up on later solo albums. John sings “On the Road to Marakesh/Child of Nature” which would turn up in 1971’s Imagine (with different lyrics) as “Jealous Guy” and works on refining a few lines of verse for “Gimme Some Truth” (also destined for Imagine).
George runs a song by the lads that he’s “been working on” called “All Things Must Pass” (it’s already well-formed at that stage). Paul noodles out a recognizable bit of “Another Day” on the piano, which would be his first solo single hit in 1971, and the gorgeous intro to “Backseat of My Car” (a highlight of 1971’s Ram).
Get Back apes the basic structure of Lindsay-Hogg’s Let it Be; the shoot (initially intended to end up as a TV documentary) begins with fitful and half-hearted rehearsals on a sound stage in the drafty (and acoustically-challenged) Twickenham Film Studios. Paul tries to play cheerleader to his cranky band mates (leading to some of the on-camera “bickering”, although it mostly manifests as passive-aggressive asides).
Director Lindsay-Hogg comes off a bit fitful and half-hearted himself; obviously self-aware that precious shooting days are passing by with relatively no narrative to hang his hat on, he prattles on through most of the first third soliciting ideas to spruce up the planned live performance that the film will culminate with.
At one point, Lindsay-Hogg has a brainstorm to film the concert in an ancient amphitheater in Libya, with the audience shipped in from England on the QE2, but the lads won’t have it (I assume this vignette inspired the “Stonehenge” bit in This Is Spinal Tap). Interestingly, the 1972 Pink Floyd documentary Live at Pompeii included a live performance filmed at the ancient Roman amphitheater in Pompeii, Italy (interspersed with footage of the band working on Dark Side of the Moon in the studio, à la Let it Be).
Once the action moves to the basement of the Beatles’ Apple Corps offices, where a makeshift recording studio has been assembled, the band (and the film) begins to perk up considerably. With the deadline pressure of the now discarded TV special off the table, the band focuses on laying down some tracks, enlisting Glyn Johns as producer (George Martin is seen popping in and out of the sessions on occasion, but for the first time, he was not invited to be at the helm …which in hindsight was an unfortunate decision).
But it’s not until keyboard maestro Billy Preston joins the sessions that the band really begins to bring their “A” game. Ironically, Preston would have never been part of the equation had George not (temporarily) walked out of the project (“See you ‘round the clubs,” he deadpans to his stunned band mates before storming out of frame).
While on his hiatus, George hooked up with his pal Eric Clapton and attended a Ray Charles gig in London. Preston (who the Beatles had originally met on a 1962 tour with Little Richard) was playing organ in Charles’ band.
George invited Preston to hang out at the studio, and he ended up playing keys on several songs (most notably, “Get Back” and “Don’t Let Me Down”), as well as sitting in on the rooftop set. At one point in the film, Paul asks Preston “Has anyone asked you yet if you mind coming in every day?” Preston beams like a beatific Buddha (as if someone is going to say “Fuck you…pay me” to an invitation to sit in with the Beatles!).
I was fascinated by the presence of gentle giant Mal Evans. An enigmatic member of the Beatles’ inner circle, Evans was their Man Friday; bodyguard, road manager, roadie, P.A., and apparently (as evidenced in one scene) an occasional co-lyricist.
In another scene, Evans registers childlike delight as he “plays” the hammer and anvil on an early run-through of “Maxwell’s Silver Hammer”. Evans was the person who “discovered” Badfinger and brought them to the Beatles’ attention-which got them signed to Apple. Sadly, in 1976 he was shot dead in his home by LAPD officers, who mistook his air rifle for a real weapon (Evans had been struggling with depression).
Spoiler alert: Jackson saves the iconic rooftop performance for the finale (as Lindsay-Hogg did in Let it Be…but how else could you end it?). Granted, it’s a long and winding road of “fly on the wall” observation to get there, but it makes the payoff of finally seeing the band perform several classic numbers in their entirety sound that much sweeter. For some, spending a day in the life with the Fabs may ultimately feel like it’s all too much …. but do you want to know a secret? I watched Get Back and thought:
(Originally posted on Digby’s Hullabaloo on November 27, 2021)
In a 2019 review of George Roy Hill’s 1974 film Slaughterhouse-Five, I wrote:
Film adaptations of Kurt Vonnegut stories have a checkered history; from downright awful (Slapstick of Another Kind) or campy misfires (Breakfast of Champions) to passable time killers (Happy Birthday, Wanda June and Mother Night). For my money, your best bets are Jonathan Demme’s 1982 PBS American Playhouse short Who Am I This Time? and this 1974 feature film by director George Roy Hill.
Michael Sacks stars as milquetoast daydreamer Billy Pilgrim, a WW2 vet who weathers the devastating Allied firebombing of Dresden as a POW. After the war, he marries his sweetheart, fathers a son and daughter and settles into a comfortable middle-class life, making a living as an optometrist.
A standard all-American postwar scenario…except for the part where a UFO lands on his nice, manicured lawn and spirits him off to the planet Tralfamadore, after which he becomes permanently “unstuck” in time, i.e., begins living (and re-living) his life in random order.
Now I am transported to 2021, the year I discovered that the best film adaptation of a Kurt Vonnegut story (Slaughterhouse-Five aside) is…Kurt Vonnegut’s life story, which is the subject of Robert B. Weide and Dan Argoff’s documentary Kurt Vonnegut: Unstuck in Time. One could argue that Vonnegut, a WW2 vet who weathered the devastating Allied firebombing of Dresden as a POW, was in fact telling his life story in novels like Slaughterhouse-Five, Cat’s Cradle, and God Bless You Mr. Rosewater.
Vonnegut’s postwar scenario was also not unlike Billy Pilgrim’s. He married his first wife Jane Cox, and they had a son and two daughters. In 1957, their household nearly doubled in size in the wake of an almost unbearably sad family tragedy. Vonnegut’s sister Alice died of cancer, only two days after her husband lost his life in a commuter train crash. Kurt and Jane welcomed three of the late couple’s children into their family.
Of course, Vonnegut’s life does not begin and end with Slaughterhouse-Five; while it sold like gangbusters and made him an instant darling of the literary set, his was no “overnight success” story. By the time of the book’s publication in 1969, Vonnegut had already been toiling at his typewriter for nearly 20 years in relative obscurity (although his 1963 religious satire Cat’s Cradle had become a cult favorite with college students). In the meantime, he still had to punch the clock to support his family (including a stint during the 1950s with the ad department for General Electric in Schenectady, New York).
Despite his breakthrough success (or arguably due to it), the 1970s were an emotional roller coaster for Vonnegut; his first marriage fell apart, he holed up in a New York City apartment and dealt with chronic depression and writer’s block for several years, and his bi-polar son suffered a mental breakdown. He found his mojo again by channeling family travails into two of his 70s novels, Breakfast of Champions and Slapstick (not popular with critics, but therapeutic). He remarried in 1979, and enjoyed a career resurgence soon after.
Fast-forward (or become “unstuck” if you will) to 1982. Burgeoning filmmaker and avid Vonnegut fan Robert Weide sent him a letter proposing a documentary portrait. A fair amount of time passed with no reply. As Weide himself recounts in the film, just when he’d given up hope that he’d ever hear back, he received a handwritten letter from Vonnegut giving his blessing. An over-the-moon Weide started work on the film in 1988.
When you consider the film’s belated 2021 release, it goes without saying a project nearly 40 years in the making is nothing, if not a labor of love. Love, as I see it, is the film’s theme. It’s about the love of creating, the love of writing, the love of a reader for their favorite author, and ultimately, the love of family and the love of a long friendship.
Weide (best known as a director and executive producer on Curb Your Enthusiasm) offers an endearing apologia early on for being “one of those directors” who interjects himself into his documentary; to his credit he stays fairly unobtrusive (over the decades the filmmaker and his subject developed and sustained a genuine father and son closeness until Vonnegut’s death in 2007).
This is no hagiography; Weide doesn’t sugarcoat the bad patches nor the darker sides of Vonnegut’s personality (“genius is pain”, an English poet once sang). The result is an intimate, inspiring, funny and deeply moving portrait of one of the greatest American writers of the 20th Century. Weide’s film beautifully illustrates how loss and trauma can be spun into gold by the alchemy of an inventive imagination. And so it goes.
(Originally posted on Digby’s Hullabaloo on November 13, 2021)
Reporter : Are you a mod or a rocker?
Ringo : Um, no. I’m a mocker.
-from A Hard Day’s Night, screenplay by Alun Owen
Having grown up in the colonies, I didn’t grok “Mods and Rockers” until 1973, the year I bought The Who’s Quadrophenia, Pete Townshend’s paean to the teenage Mod subculture that flourished in the U.K. from the late 50s to mid-60s. The Mods had very distinct musical preferences (jazz, ska, R&B, soul), couture, and modes of transportation:
My jacket’s gonna be cut slim and checked
Maybe a touch of seersucker with an open neck
I ride a G.S. scooter with my hair cut neat
I wear my wartime coat in the wind and sleet
– from “Sea and Sand”, by The Who
On occasion the Mods would rumble with members of another youth subculture who identified as “Rockers”. They were not as tailored as the Mods but had their own uniforms…let’s just say that they were into leather (as in Tuscadero), motorcycles (as opposed to scooters), and 50s rock (Eddie Cochran, Gene Vincent, Chuck Berry, et.al.).
Here come duck-tailed Danny dragging Uncanny Annie
She’s tehone with the flying feet
You can break the peace daddy sickle grease
The beat is reet complete
– from “Sweet Gene Vincent”, by Ian Dury & The Blockheads
By the time the Who were rhapsodizing about the Mods in their 1973 rock opera, the movement was all but relegated to the dustbins of history. In 1979, Franc Roddam’s film adaptation of Quadrophenia was released. Using the 1964 Brighton “youth riots” as a catalyst, Roddam fashioned a character study in the tradition of the “kitchen sink” dramas that flourished in the U.K. in the early 60s. Wonderfully acted by a spirited cast, it’s a heady mix of youthful angst and raging hormones, supercharged by the power chord-infused grandeur of the Who’s songs.
Here is where it gets interesting. Not long after Roddam’s film began to build a cult following in the U.K., a Mod revival took hold. It may be more accurate to call it a “post” Mod movement, as this iteration was more about co-opting the couture than embracing the culture. Did the film inspire this revival? Some have suggested it did.
While the Who was the band of choice for the original Mods, the 80s Mods embraced bands like The Jam, Secret Affair, and The Chords. Not coincidentally, all 3 of those bands are on the soundtrack for writer-director Chris Green’s comedy-drama The Pebble and the Boy.
19-year-old Mancunian John (Patrick McNamee) is not a Mod. But his father was, from the 1980s until his recent unfortunate demise in a traffic accident. John not only inherits his father’s house (his parents are divorced), but his Lambretta scooter, fully bedecked with Mod accoutrements. Coming home after the funeral, John contemplates his father’s bedroom, which is done up like a shrine to The Jam (John only likes “one of their songs”).
Initially, John puts the Lambretta up for sale, but after discovering a pair of tickets in his father’s wartime coat for an upcoming Paul Weller concert in Brighton, he decides that he will ride it to “the spiritual home of the Mods” and scatter his father’s ashes in the sea.
Not long after he leaves Manchester, the scooter displays signs of needing a tune-up, so he looks up one his father’s pals from the Mod days (“Your dad and I first met at a Jam gig in ’81,” he reminisces to John). When his outgoing daughter Nicki (scene-stealer Sacha Parkinson) learns John has Paul Weller tickets, she invites herself along (she has her own scooter). After a few road trip misadventures (usually instigated by the free-spirited Nicki), the pair find themselves short of funds for completing their journey.
The more reserved John wants to turn back, but Nicki suggests they stop in nearby Woking (the Jam’s hometown, of course) to borrow money from Ronnie (Ricci Harnett), another of John’s father’s friends from the Mod days. The somewhat surly Ronnie and his, uh …friendly wife (Patsy Kensit) invite them to stay the night. The next day, John and Nicki hit the road to Brighton, now joined by Ronnie’s oddball son Logan (Max Boast).
Green’s film is like a mashup of Johnathan Demme’s Something Wild and Adam Rifkin’s Detroit Rock City. Green’s writing and directing is reminiscent of Bill Forsyth in the way he juggles low-key anarchy with gentle humor (even when someone says, “Fuck off!” it’s so good natured, somehow). McNamee is an appealing lead (he reminds me of the young Timothy Hutton), but it’s Parkinson’s sly performance as the endearingly boisterous Nicki that kicks the film up a notch. Rubber-faced Boast is another discovery; he’s a riot.
The bucolic English countryside and Brighton seascapes are gorgeously shot by cinematographer Max Williams (not too surprising after seeing that his previous credits include documentaries for Discovery, National Geographic and the BBC). Add a great soundtrack, and The Pebble and the Boy emerges as one of my favorite films of 2021.
“The Pebble and the Boy” premieres November 16 on various digital platforms.
(Originally posted on Digby’s Hullabaloo on October 23, 2021)
I confess that I initially felt out of my depth tackling Jason Baker’s documentary Smoke & Mirrors: The Story of Tom Savini. I knew Savini was an actor, primarily from George Romero’s Knightriders (one of my favorite cult movies) and two Robert Rodriguez films: From Dusk Till Dawn (1996) and Planet Terror (2007). What I did not know (embarrassingly) was that despite 77 acting credits, he is more revered by horror fans and industry peers for his makeup artistry and (disturbingly) realistic special effects wizardry.
Perhaps I can be forgiven; looking up his special effects/makeup credits, it turns out I have only seen 3 out of dozens. I am not averse to the horror genre per se, it’s just that I’m not a fan of slasher/gore films; I tend to avoid them altogether.
But since (to paraphrase Marlon Brando in The Godfather) “it doesn’t make any difference to me what a man does for a living” (with the proviso no one is harmed in the process), I plowed forward with an open mind and an impending deadline and found Baker’s film to be a surprisingly warm, engaging portrait of a genuinely interesting artist.
The big surprise is how soft-spoken Baker’s subject is; especially when his resume reads more like a slaughterhouse tour than a fun night at the movies: Dawn of the Dead, Friday the 13th, Maniac, Creepshow, The Texas Chainsaw Massacre 2, Trauma, Machete, et.al.
Savini grew up in a working-class Pittsburgh neighborhood and developed a talent for performing magic tricks at an early age. He also became obsessed with the 1957 Lon Chaney biopic Man of a Thousand Faces. He recalls experimenting with various household products to create his own horror makeup, to freak out his family and friends. Obviously, this kid was destined for a life on the stage …or in front of a movie camera.
The most fascinating elements of this predestination were Savini’s experiences in Vietnam, where he served as a combat photographer. Obviously, if your job assignment literally involves focusing on gruesome images day in and day out, it’s going to do a number on your head. Savini describes how he internally compartmentalized the real-life horror of what he saw as “special effects” (which he’d later draw upon for his film work).
Savini also recounts his collaborations with director George Romero, who gave him his first movie gig in his 1976 indie Martin (which was filmed in Pittsburgh). Savini not only acted in the film but created its prosthetic effects. Savini continued to perfect his craftsmanship in higher-budgeted Romero films like Dawn of the Dead and Creepshow.
Some of Savini’s friends and colleagues (Robert Rodriguez, George A. Romero, Alice Cooper, Sid Haig, Corey Feldman) also appear in the film; their consensus is that Savini is a nice guy…even if he makes his living giving us nightmares. In fact, there’s an overdose of people telling us how nice he is (puff piece territory). But he seems like a nice guy. Just attribute all that murder and gory mayhem to …smoke and mirrors.
“Smoke & Mirrors: The Story of Tom Savini” is streaming on various digital platforms.
(Interviewer) This week they released a few photos from the new big-screen adaptation of Dune by Denis Villeneuve. Have you seen them?
I have zero interest in Dune.
Why’s that?
Because it was a heartache for me. It was a failure, and I didn’t have final cut. I’ve told this story a billion times. It’s not the film I wanted to make. I like certain parts of it very much — but it was a total failure for me.
You would never see someone else’s adaptation of Dune?
I said I’ve got zero interest.
If you had your choice, what would you rather make: a feature film or a TV series?
A TV series. Right now. Feature films in my book are in big trouble, except for the big blockbusters. The art house films, they don’t stand a chance. They might go to a theater for a week and if it’s a Cineplex they go to the smallest theater in the setup, and then they go to Blu-ray or On Demand. The big-screen experience right now is gone. Gone, but not forgotten.
Keep in mind, that interview was conducted during the initial lock-down phase of the pandemic. I don’t know about you, but I am still not “ready” to go back to movie theaters. As I wrote in an October 2020 piece about COVID’s effect on theaters:
…that is my personal greatest fear about returning to movie theaters: my innate distrust of fellow patrons. […] I can trust myself to adhere to a common-sense approach, but it’s been my observation throughout this COVID-19 crisis that everybody isn’t on the same page regarding taking the health and safety of fellow humans into consideration.
I’ve noticed a trend as of late where Hollywood studio marketing departments are insisting that you must see their latest blockbuster on the big screen, otherwise you’re just a fraidy cat, cowering in front of your pathetic little 40” flat-screen. Believe me, as a lifelong movie lover I am pulling for the exhibition arm of the industry and want to see them thrive once again, but to my knowledge, no amount of wishful thinking ever defeated a killer virus. As much as I am dying to see the new Bond movie on a big-ass screen, I’ve decided to hold off a while because for me, this is no time to die.
I suppose this long-winded prelude is my way of giving a disclaimer that the following review of Denis Villenueve’s long-anticipated adaptation of Frank Herbert’s Dune does not necessarily reflect the opinions of staff or management of Digby’s Hullabaloo, but those of a fraidy cat, cowering in front of his pathetic little 40” flat-screen.
To put your mind at ease, I’m not going to bore you with a laundry list of how the film does or doesn’t adhere to the author’s original vision in the source novel; mainly since it’s been 40-something years since I read it, and all I can remember is that it felt like homework. It just didn’t grab me like the universe-building works of Asimov, Zelazny, Niven, and similar sci-fi scribes my stoner friends and I were all into at the time.
Obviously, David Lynch is not a fan of his own 1984 adaptation; the first time I saw it 37 years ago I wasn’t either …but in the fullness of time, it has grown on me (as Lynch’s films tend to do). Yes, it has certain cheesy elements that even time cannot heal, but how can you possibly top Kenneth McMillan’s hammy performance as an evil, floating bag of pus, Brad Dourif’s bushy eyebrows…or Sting’s magnificently oiled torso?
It is evident off the bat that Villenueve’s adaptation (co-written by Jon Spaihts and Eric Roth) is more formalized than Lynch’s; he doesn’t leave his cast as much room to ham it up and distract from the business at hand; but rather uses them like chess pieces.
On the plus side, this makes the plot easier to follow. On the downside, Villenueve runs into the same challenge Lynch faced: there are simply too many characters in Herbert’s novel and not enough time within the constraints of a feature film to give anyone an adequate enough backstory to make you care what happens to them.
The cast is led by Timothée Chalamet as Paul Atreides, rising son of “good” Duke Atreides (Oscar Isaac) and Lady Atreides (Rebecca Ferguson). By decree of the Emperor (of Space? Still unclear to me after a forgotten read and two films), the House of Atreides has been given stewardship of precious “spice” mining operations on the planet Arrakis.
This does not set well with the former dominant House on Arrakis, led by “bad” Duke Harkonnen (Stellan Skarsgård, who appears to be channeling Lawrence Tierney in Tough Guys Don’t Dance). Duke Atreides’ new gig is further complicated by an insurgency of native “Fremen” (led by Javier Bardem, sans cattle prod) and ginormous worms.
I gave up comparing worm size in grade school, but Villenueve’s worms are more awesome than Lynch’s (there have been significant advancements in digital effects since 1984). Sadly, that’s the best thing I can say about Dune 2021 (or as I’ve nicknamed it, “Spice World 2”). It boasts impressive special effects and world-building, but otherwise, the film is a dramatically flat, somber affair with an abrupt “That’s it?!” denouement. I know sequels are in the works …but would it have killed them to give us a cliffhanger?
“Dune” is currently in theaters and streaming on HBO Max
OK, so now I have an excuse to tell you my Star Trek story. Actually, it’s not really that much of a story, but hey, I have some (virtual) column inches to fill-so here goes.
First off, I am not a diehard Trekker (more of a Dwarfer-if you must pry). I enjoyed the 60s TV series, and if I’m channel surfing and happen upon, say, “The City on the Edge of Forever”, or “Space Seed”…They Pull Me Back In (sorry, Mr. Pacino). I never bothered with the spinoff series, but have seen the theatrical films. I tend to agree with the “even-numbered Trek films are the best” theory.
I’ve never felt the urge to buy collectibles, attend a convention, or don a pair of Spock ears for a Halloween party. However, as fate would have it, in my life I have had close encounters (of the 3rd kind) with two cast members from the original show; encounters that (I imagine) would make a hardcore fan wet themselves and act like the star-struck celebrity interviewer Chris Farley used to play on SNL.
In the mid 80s, I was working as a morning personality at an FM station in Fairbanks, Alaska. Our station co-promoted a personal appearance by Walter Koenig at (wait for it) the Tanana Valley State Fair, so I had a chance to meet him. The thing that has always stuck with me, however, was not any particular thrill in meeting “Chekov”, but rather his 1000-yard stare.
It was a look that spoke volumes; a look that said, “I can’t believe I’m onstage in a drafty barn in Fairbanks Alaska, fielding the same geeky questions yet again about the goddamn Russian accent. This is why I got into show business?!” To me, it was like watching a sad, real-life version of Laurence Olivier’s Archie in The Entertainer. And as a radio personality (lowest rung of the show biz ladder) and fledgling stand-up comic (next rung up), I wondered if this was A Warning.
Flash-forward to the mid 1990s. I had moved to Seattle, and found myself “between” radio jobs, supporting myself with sporadic stand-up comedy gigs and working through a temp agency. Through the temp agency, I ended up working for a spell at…at…I’ll just blurt it out: a Honeybaked Ham store in Redmond (I’m sure that there is a special place in Hell for Jews who sell pork; on the other hand, one of my co-workers was a Muslim woman from Kenya, so at least there will be someone there that I already know).
So I’m wiping down the counter one slow day, thinking to myself “After 20 years in radio, and 10 in stand-up comedy, I can’t believe I’m working at a Honeybaked Ham in Redmond, Washington. This is why I got into show business?!” Suddenly, a limo pulls up, and in strolls a casually dressed, ruddy-faced, mustachioed gentleman, getting on in years (hearing aids in both ears). If you’ve ever worked retail, you know that after a while, all the customers sort of look the same; you look at them, but you don’t really SEE them.
As I was fetching the gentleman his ham and exchanging pleasantries, I caught a couple co-workers in my peripheral, quietly buzzing. I put two and two together with the limo and began to surreptitiously scrutinize the customer’s face a little more closely.
Wait…is that…? Nah! Twice in one lifetime? What are the odds? He paid with a check. Name on the check? James Doohan. I kept my cool and closed the sale. As I watched him walk out the door, with a delicious, honey-glazed ham tucked under his arm, an old Moody Blues song began to play in my head: “Isn’t life stray-ay-ay-hange?”
Mr. Doohan has since slipped the surly bonds of Earth, both figuratively and literally:
Star Trek creator Gene Roddenberry is going where no man has gone before.
Part of his cremated remains will be sent into deep space, along with remains of his wife, Majel Barrett Roddenberry, who appeared on Star Trek the Next Generation as Lwaxana Troi and voiced the computer on multiple Trek series.
Remains of James Doohan (Trek’s Scotty) and pioneering sci-fi author Arthur C. Clarke will also be sent into orbit on a memorial flight from the Houston-based Celestis, reports NBC News.
The company, which has been putting remains into orbit for 16 years, will launch its Summerjammer Solar Sail Mission from Cape Cod in November 2014. This will be the first to enter into deep space, and the craft will orbit the sun between Earth and Venus.
Remains from Roddenberry and Doohan have been sent into space on previous Celestis flights. Summerjammer will be launched with an experimental solar sail from NASA, which it hopes will propel the craft with photons from the sun.
This morning, I was enjoying a bowl of instant oatmeal and watching CNN before heading to work, and happened to catch the countdown for the latest Blue Origin flight. I’ve been sort of half-paying attention to the hype surrounding this latest commercial stunt from Amazon founder Jeff Bezos, because…that’s basically what it is (more like a glorified human cannonball act, as the spacecraft doesn’t actually go into orbit around the Earth).
That said, I remain an original series Star Trek fan (I was 10 in 1966), so I thought it was cool that William Shatner was invited along for the ride (which would make him the first surviving member of the original Star Trek crew to make it into “real” space).
Then something unexpected happened. I started to choke up a little as the rocket took off.
For those of us of “a certain age”, that is to say, old enough to have actually witnessed the moon landing live on TV… the fact that “we” were even fucking able to achieve this feat “by the end of the decade” (as President Kennedy projected in 1961) still seems like a pretty big deal to me.
Of course, there are still some big unanswered questions out there about Life, the Universe, and Everything, but I’ll leave that to future generations. I feel that I’ve done my part…spending my formative years plunked in front of a B&W TV in my PJs eating Sugar Smacks and watching Walter Cronkite reporting live from the Cape.
I think it was those childhood memories, plus seeing Captain Kirk going aloft, that got to me. And once I heard Shatner’s comments after he exited the capsule…I was a puddle:
What you’ve just given me is the most profound experience I can imagine. I’m so filled with emotion about what just happened. I-I…it’s just extraordinary. I hope I never recover from this. I hope that I can maintain what I feel now. I don’t want to lose it. It’s so…so much larger than me and life. It hasn’t anything to do with the little green planet we all live in-it has to do with the enormity, and the quickness, and the suddenness of life and death. […] I can’t even begin to express…what I would love to do is communicate as much as possible the jeopardy…the vulnerability of everything. […] 50 miles [above Earth] and you’re in death. This is life and [pointing to the sky] that’s death…and in an instant [as you enter space] you go ‘Whoa …that’s death!’
