(Originally posted on Digby’s Hullabaloo on November 28, 2020)
Essential Fellini – Criterion Collection box set
With such a rich oeuvre to cull from, it’s a bit of a head-scratcher that it’s taken this long for someone to curate a decent Federico Fellini collection. That said, Criterion’s 2020 box set proves worth the wait. Predicated on the 100th anniversary of Fellini’s birth, the collection cherry picks 14 of the “essentials” from his catalog, from obvious choices like La Strada, Nights of Cabiria, LaDolce Vita, 8½, Amarcord and Juliet of the Spirits to previously harder to find early works like Variety Lights and The White Sheik. All the films have been newly restored.
As the set was released only several days ago, I haven’t had a chance to make a huge dent but the two films I have watched are impeccably restored (I started with 1950’s VarietyLights because I’d never seen it, and decided to feast on my favorite Fellini Amarcord on Thanksgiving…wow. Now that is one film the 4K restoration process was made for!).
Extras. Where do I start? Two feature documentaries…Fellini: I’m a Born Liar (great doc) and I’m looking forward to Marcello Mastroianni: I Remember (3 hours!). Also included is a restored version of the curio Toby Dammit. Starring Terrance Stamp, the 40-minute film was Fellini’s contribution to the 1968 horror omnibus/Edgar Allan Poe triptych Spirits ofthe Dead (Roger Vadim and Louis Malle directed the other two segments). There are numerous commentary tracks, TV interview segments, and more.
There are two books, one is a guide to the films and the other contains essays. It’s all housed in a sturdy album-sized box, with the discs secured in “coin collector” style pockets (similar to Criterion’s lovely Bergman box set released back in 2018).
(Originally posted on Digby’s Hullabaloo on October 3, 2020)
Dee: Jane, do you ever feel like you are just this far from being completely hysterical twenty-four hours a day?
Jane: Half the people I know feel that way. The lucky ones feel that way. The rest of the people ARE hysterical twenty-four hours a day.
— from Grand Canyon, screenplay by Lawrence and Meg Kasdan
HAL 9000: Look Dave, I can see you’re really upset about this. I honestly think you ought to sit down calmly, take a stress pill, and think things over.
— from 2001: A Space Odyssey, screenplay by Stanley Kubrick and Arthur C. Clarke
George Fields: [to Dorothy/Michael] I BEGGED you to get therapy!
— from Tootsie, screenplay by Larry Gelbart and Murray Schisgal
Man…2020 has been one long, strange century.
As Howard Beale once said, “I don’t have to tell you things are bad. Everybody knows things are bad.” Four score and seven years ago (back in March), when portions of America went into a pandemic-driven lock down and our nation turned its lonely eyes to Netflix, Hulu, Amazon Prime and other streaming platforms in a desperate search for binge-worthy distraction, I published a post sharing 10 of my favorite “therapy movies”.
Now its October (where have the decades gone?) and things are…unsettled. The news cycle of this past week has been particularly trying for those of us who follow that sort of thing (which I assume to be “most of us” who gravitate to this corner of the blogosphere).
With that in mind, here are 10 more personal faves that I’ve watched an unhealthy number of times; films I’m most likely to reach for when I’m depressed, feeling anxious, uncertain about the future…or all the above. These films, like my oldest and dearest friends, have never, ever let me down. Take one or two before bedtime; cocktail optional.
Amelie (Amazon Prime, Hulu) – Yes, I know this one has its share of detractors-but Jean-Pierre Juenet’s beautifully realized film has stolen my heart for life.
Audrey Tautou literally lights up the screen as a gregarious loner who decides to become a guardian angel (sometimes benign devil) and commit random acts of anonymous kindness. The plight of Amelie’s people in need is suspiciously like her own…those who need a little push to come out of self-imposed exiles and revel in life’s simple pleasures.
Of course, our heroine is really in search of her own happiness and fulfillment. Does she find it? You will have to see for yourself. Whimsical, inventive, life-affirming, and wholly original, Amelie should melt the most cynical of hearts.
Casablanca (Amazon Prime) – For me, Michael Curtiz’s 1942 treatise on love, war and character is a textbook “movie movie” …cinematic comfort food, if you will. In other words, I don’t require it to make sense on every level. Whether it’s 100% believable as a World War II adventure, or whether the characters are cardboard archetypes, or whether it looks like it was filmed on a sound stage …all moot issues in a true “movie movie”.
What does matter to me about this film is the romance, intrigue, selfless sacrifice, Bogie, Bergman, Paul Henreid, Peter Lorre, Sidney Greenstreet, Rick’s Café, Claude Rains rounding up the usual suspects, Dooley singing “As Time Goes By”, the beginning of a beautiful friendship, the most rousing rendition of “La Marseille” ever, that goodbye at the airfield, and a timeless message (if you love someone, set them free). What’s not to love about it?
The Dish (Amazon Prime) – This wonderful 2000 sleeper from Australia is based on the true story behind one of the critical components that facilitated the live TV images of Neil Armstrong setting foot on the moon: a tracking station located on a sheep farm in New South Wales. Quirky characters abound in Rob Sitch’s culture-clash comedy (reminiscent of Bill Forsythe’s Local Hero). It’s not all played for laughs; the re-enactment of the moon-landing telecast is genuinely moving. Sam Neill heads a fine cast. Director Sitch and co-writers Santo Cilauro, Tom Gleisner, and Jane Kennedy also collaborated on another film I would recommend: The Castle (1997).
Harold and Maude (Amazon Prime) – Harold loves Maude. And Maude loves Harold. It’s a match made in heaven-if only “society” would agree. Because Harold (Bud Cort) is a teenager, and Maude (Ruth Gordon) is about to turn 80. Falling in love with a woman old enough to be his great-grandmother is the least of Harold’s quirks. He’s a chronically depressed trustafarian who amuses himself by staging fake suicides to freak out his patrician mother (wonderfully droll Vivian Pickles). He also “enjoys” attending funerals-which is where they Meet Cute.
The effervescent Maude is Harold’s opposite; while he wallows in morbid speculation how any day could be your last, she seizes each day as if it actually were. Obviously, she has something to teach him. Despite dark undertones, this is one “midnight movie” that somehow manages to be life-affirming. The late Hal Ashby directed, and Colin Higgins wrote the screenplay. The memorable soundtrack is by Cat Stevens.
Jazz on a Summer’s Day (DVD only) – Bert Stern’s groundbreaking documentary about the 1958 Newport Jazz Festival is not so much a “concert film” as it is a fascinating and colorful time capsule of late 50s American life. Don’t get me wrong, there are plenty of gorgeously filmed numbers spotlighting the artistry of Thelonius Monk, Anita O’Day, Dinah Washington, Louis Armstrong, etc. and the performances are outstanding.
The effect is like “being there” in 1958 Newport on a languid summer’s day. If you’ve ever attended an outdoor music festival, you know half the fun is people-watching, and Stern obliges. Stern breaks with film making conventions of the era; this is the genesis of the cinema verite music documentary, which wouldn’t come to flower until a decade later with films like Don’t Look Back, Monterey Pop, Woodstock and Gimme Shelter.
My Neighbor Totoro (Amazon Prime) – While this 1988 film was anime master’s Hayao Miyazaki’s fourth feature, it was one of his (and Studio Ghibli’s) first international hits.
It’s a lovely tale about a young professor and his two daughters settling into their new country house (a “fixer-upper”) while Mom convalesces at a nearby hospital. The rambunctious 4 year-old goes exploring and stumbles into the verdant court of a “king” nestled within the roots of a gargantuan camphor tree. This king rules with a gentle hand; a benign forest spirit named Totoro (a furry, whiskered amalgam of every cuddly toy you ever cozied up to as a child).
Granted, it’s Miyazaki’s most simplistic and kid-friendly tale…but that’s not a put down. Miyazaki’s usual themes remain intact; the animation is breathtaking, the fantasy elements magical, yet the human characters remain down-to-earth and easy to relate to. A charmer.
North By Northwest (Amazon Prime) – I’m hard-pressed to find a more perfect blend of suspense, intrigue, romance, action, comedy and visual mastery than Hitchcock’s 1959 masterpiece. Cary Grant, Eva Marie Saint, James Mason and Martin Landau head a great cast in this outstanding “wrong man” thriller (a Hitchcock specialty). Almost every set piece in the film has become iconic (and emulated by countless Hitchcock wannabes).
Although I never tire of the crop-dusting sequence or the (literally) cliff-hanging Mt. Rushmore set piece, my favorite part is the dining car scene. Armed solely with Ernest Lehman’s clever repartee and their acting chemistry, Cary Grant and Eva Marie Saint engage in the most erotic sex scene ever filmed wherein participants remain fully clothed (and keep hands where we can see them!). Bernard Hermann’s score is one of his finest.
Pow Wow Highway (DVD only) – A Native American road movie from 1989 that eschews stereotypes and tells its story with an unusual blend of social and magical realism. Gary Farmer (who greatly resembles the young Jonathan Winters) plays Philbert, a hulking Cheyenne with a gentle soul who wolfs down cheeseburgers and chocolate malts with the countenance of a beatific Buddha.
Philbert decides that it is time to “become a warrior” and leave the res on a vision quest to “gather power”. After choosing a “war pony” for his journey (a rusted-out beater that he trades for with a bag of weed), he sets off, only to be waylaid by his childhood friend (A. Martinez) an A.I.M. activist who needs a lift to Santa Fe to bail out his sister, framed by the Feds on a possession beef. Funny, poignant, uplifting and richly rewarding. Director Jonathan Wacks and screenwriters Janey Heaney and Jean Stawarz deserve kudos for keeping it real. Look for cameos from Wes Studi and Graham Greene.
The Man Who Would Be King (Amazon Prime) – Look in the dictionary under “ripping yarn” and you’ll find this engaging adventure from 1975, co-adapted by director John Huston with Gladys Hill from Rudyard Kipling’s short story. Stars Sean Connery and Michael Caine have great chemistry as a pair of British army veterans who set their sights on plundering an isolated kingdom in the Hindu Kush. At least that’s the plan.
Before all is said and done, one is King of Kafiristan, and the other is covering his friend’s flank while both scheme how they are going pack up the treasure and make a graceful exit without losing their heads in the process. As it is difficult for a king to un-crown himself, that is going to take one hell of a soft shoe routine. In the realm of “buddy films”, the combined star power of Connery and Caine has seldom been equaled (only Redford and Newman come to mind). Also with Christopher Plummer and Saeed Jaffrey.
The Ritz (Amazon Prime) – I’m usually not a fan of broadly comic, door-slamming farce (is it necessary for the actors to scream their lines?)-but I make exception for Richard Lester’s 1976 film adaptation of Terrence McNally’s stage play, because it puts me in stitches, no matter how many times I’ve seen it. Jack Weston plays a N.Y.C. businessman on the run from the mob, who seeks asylum in what he assumes will be the last place that the hit men would think of to look for him-a bath house. And yes, campy hilarity ensues.
The cast includes F. Murray Abraham, Jerry Stiller, Kaye Ballard, and Treat Williams as a private detective with an “interesting” voice. They are all excellent, but ultimately upstaged by Rita Moreno as Googie Gomez, a female version of Bill Murray’s cheesy lounge act character on those old SNL episodes. I have learned from experience to not be sipping a beverage or munching a snack when Googie launches into “Everything’s Coming Up Roses”, because otherwise, I will be passing matter through my nose.
With more of us living la vida shut-in (as mandated by authorities and/or common sense), the need for “cinema therapy” is paramount (no pun intended). With that in mind, here are 10 personal faves that I’ve watched an unhealthy number of times; films I’m most likely to reach for when I’m depressed, feeling anxious, uncertain about the future…or all the above. These films, like my oldest and dearest friends, have never, ever let me down.
Black Orpheus – Marcel Camus directed this mesmerizing 1959 film, a modern spin on a classic Greek myth, fueled by the pulsating rhythms of Rio’s Carnaval and tempered by the gentle sway of Luiz Bonfa and Antonio Carlos Jobim’s gorgeous samba soundtrack. Camus and Jacques Viot adapted the screenplay from the play by Vinicius de Moraes.
Handsome tram operator Orfeo (Breno Mello) is engaged to vivacious Mira (Lourdes de Olivera) but gets hit by the thunderbolt when he meets sweet, innocent Eurydice (Marpessa Dawn). As in most romantic triangles, things are bound to get ugly, especially when Mr. Death (Ademar da Silva) starts lurking about.
A unique film that fully engages the senses. Some may wonder how I’m “comforted” by a story based on a classic Greek tragedy; but it’s the final scene (one of the most beautiful, life-affirming denouements in cinema history) that always assures me that somehow, everything is going to be alright.
A Hard Day’s Night – This 1964 masterpiece has been often copied, but never equaled. Shot in a semi-documentary style, the film follows a “day in the life” of John, Paul, George and Ringo at the height of their youthful exuberance and charismatic powers.
Thanks to the wonderfully inventive direction of Richard Lester and Alun Owen’s cleverly tailored script, the essence of what made the Beatles “the Beatles” has been captured for posterity. Although it’s meticulously constructed, Lester’s film has a loose, improvisational feel; and it feels just as fresh and innovative as it was when it first hit theaters all those years ago. To this day I catch subtle gags that surprise me (ever notice John snorting the Coke bottle?). Musical highlights: “I Should Have Known Better”, “All My Loving”, “Don’t Bother Me”, “Can’t Buy Me Love”, and of course, the fab title song.
Local Hero – This magical, wonderfully droll and observant 1983 social satire from Scottish writer-director Bill Forsyth stars Peter Reigert as Macintyre, a Texas-based executive who is assigned by the head of “Knox Oil & Gas” (Burt Lancaster) to scope out a sleepy Scottish hamlet that sits on an oil-rich bay. He is to negotiate with local property owners and essentially buy out the town so that the company can build a huge refinery.
While he considers himself “more of a Telex man”, who would prefer to knock out such an assignment “in an afternoon”, Mac sees the overseas trip as a possible fast track for a promotion within the corporation. As this quintessential 80s Yuppie works to ingratiate himself with the unhurried locals (quite impatiently at first), a classic “fish out of water” transformation ensues. It’s the kindest and gentlest Ugly American tale you’ve ever seen.
The Maltese Falcon – This iconic noir, based on a classic Dashiell Hammett novel and marking the directing debut for a Mr. John Huston, is so vividly burned into the film buff zeitgeist, that I don’t feel the need to recount the plot. Suffice it to say that “When a man’s partner is killed, he’s supposed to do something about it.” And leave it at that.
Humphrey Bogart truly became “Humphrey Bogart” with his performance as San Francisco gumshoe Sam Spade. Equally memorable performances from Sidney Greenstreet, Mary Astor, Peter Lorre (“Look what you did to my shirt!”), Lee Patrick and Elisha Cook, Jr. round things off quite nicely. I’ve lost count on my viewings of this one.
Man on the Train – There are a only a handful of films I have seen that I have become emotionally attached to, sometimes for reasons I can’t always completely fathom. This 2002 drama is one of them.
Best described as an “existential noir”, Patrice LeConte’s relatively simple tale of two men in the twilight of their life with completely disparate life paths (a retired poetry teacher and a career felon) forming an unexpectedly deep bond turns into an equally unexpectedly transcendent film experience. French pop star Johnny Hallyday and the wonderful screen veteran Jean Rochefort deliver revelatory performances. I feel an urge to go watch it right now.
Sherman’s March – Documentary filmmaker Ross McElwee is truly one of America’s hidden treasures. McElwee, a genteel Southern neurotic (think Woody Allen meets Tennessee Williams) has been documenting his personal life since the mid 70’s and managed to turn all that footage into some of the most hilarious, moving and thought-provoking films that most people have never seen.
Audiences weaned on the glut of “reality TV” of recent years may wonder “what’s the big deal about one more schmuck making glorified home movies?” but they would be missing an enriching glimpse into the human condition. Sherman’s March actually began as a project to retrace the Union general’s path of destruction through the South, but somehow ended up as rumination on the eternal human quest for love and acceptance, filtered through McElwee’s personal search for the perfect mate.
Despite its 3 hour length, I’ve found myself returning to this film for repeat viewings over the years, and enjoying it just as much as the first time.The unofficial “sequel”, Time Indefinite, is also worth a peek.
Spirited Away – Innovative Japanese anime master Hayao Miyazaki has made a lot of great films, but this may well be his crowning achievement. A young girl and her parents inadvertently stumble into a resort spa reserved exclusively for traditional Japanese deities and other assorted denizens of the spirit world. Needless to say, this “security breach” throws the phantasmagorical residents into quite a tizzy; Mom and Dad are turned into barnyard animals and their daughter has to rely on her wits and previously untapped inner strength to save them. Visually stunning and imaginative nearly beyond description, it also tells a beautiful story-funny, touching, exciting and empowering.
The Thin Man – A delightful mix of screwball comedy and murder mystery (based on the Dashiell Hammett novel) that never gets old for me. The story takes a backseat to the onscreen spark between New York City P.I./perpetually tipsy socialite Nick Charles (William Powell) and his wisecracking wife Nora (sexy Myrna Loy). Top it off with a scene-stealing wire fox terrier (Asta!) and you’ve got a winning formula that has spawned countless imitators over the last 86 years; particularly a bevy of sleuthing TV couples (Hart to Hart, McMillan and Wife, Moonlighting, Remington Steele, etc.).
True Stories – Musician/raconteur David Byrne enters the Lone Star state of mind with this subtly satirical Texas travelogue from 1986. It’s not easy to pigeonhole; part social satire, part long-form music video, part mockumentary. The episodic vignettes about the quirky but generally likable inhabitants of sleepy Virgil, Texas should hold your fascination once you buy into “tour-guide” Byrne’s bemused anthropological detachment.
Among the town’s residents: John Goodman, “Pops” Staples, Swoosie Kurtz and the late Spalding Gray. The outstanding cinematography is by Edward Lachman. Byrne’s fellow Heads have cameos performing “Wild Wild Life”. Not everyone’s cup of tea, but I have an emotional attachment to this film that I can’t explain.
Wings of Desire – I’ve never sat down and tried to compile a Top 10 list of my favorite movies of all time, period full stop (I’ve just seen too many damn movies…I’d be staring at my computer screen for weeks, if my head didn’t explode first) but I’m pretty sure that Wim Wenders’ 1987 stunner would be a shoo-in. Like 2001 or Koyaanisqatsi (definite contenders) it is akin to the unenviable task of describing color to a blind person.
I mean, if I told you it’s about a trench coat-wearing angel (Bruno Ganz) who hovers over Berlin, monitoring people’s thoughts and taking notes, who spots a beautiful trapeze artist (Solveig Dommartin) one day and follows her home, wallows around in her deepest longings, watches her undress, then falls in love and decides to chuck the mantle of immortality and become human…well, you’d probably say “Dennis, that sounds like a story about a creepy stalker.” And if I also told you it features Peter Falk, playing himself, you’d laugh and say “I’m being punk’d, right?” Of course, there is much more to it. It’s about life, the universe, and everything.
If you really want to go all out for movie night (which is pretty much every night for me), you have to watch a cartoon before the movie, right? Here’s my 2011 review of a Blu-ray box set always guaranteed to lift your spirits. Keep it handy, right next to the first aid kit.
The Looney Tunes Platinum Collection, Vol. 1 – During those long, dark nights of my soul, when all seems hopeless and futile, there’s always one particular thought that never fails to bring me back to the light. It’s that feeling that somewhere, out there in the ether, there’s a frog, with a top hat and a cane, waiting for a chance to pop out of a box to sing:
Hello my baby, hello my honey, hello my ragtime galSend me a kiss by wire, baby my heart’s on fire…
If you don’t know what I’m talking about, just go ahead and skip to the next review now.
The rest of you might want to check out this fabulous 3-disc collection, which features 50 classic animated shorts (and 18 rarities) from the Warner Brothers vaults. Deep catalog Looney Tunes geeks may quibble until the cows come home about what’s not here (Warner has previously released six similar DVD collections in standard definition), but for the casual fans (like yours truly) there is plenty to please. I’m just happy to have “One Froggy Evening”, “I Love to Singa”, “Rabbit of Seville”, “Duck Amuck”, “Leghorn Lovelorn”, “Three Little Bops” and “What’s Opera Doc?” in one place. The selections cover all eras, from the 1940s onward.
One thing that does become clear, as you watch these restored gems in gorgeous hi-def (especially those from the pre-television era) is that these are not “cartoons”, they are 7 ½ minute films, every bit as artful as anything else cinema has to offer. Extras include a trio of excellent documentaries about the studio’s star director, the legendary Chuck Jones. The real diamond among the rarities is The Dot and the Line: A Romance in Lower Mathematics (directed by Jones for MGM), which won the 1965 Oscar for Best Animated Short Film.
(Originally posted on Digby’s Hullabaloo on January 11, 2020)
Mr. Braddock: Ben, what are you doing?
Benjamin: Well, I would say that I’m just drifting. Here in the pool.
Mr. Braddock: Why?
Benjamin: Well, it’s very comfortable just to drift here.
Mr. Braddock: Have you thought about graduate school?
Mr. Braddock: Would you mind telling me then what those four years of college were for? What was the point of all that hard work?
Benjamin: You got me.
– from The Graduate, screenplay by Buck Henry and Caldar Willingham
I was saddened to hear about the passing of Buck Henry a few days ago; screenwriter extraordinaire, droll character actor, occasional director and samurai deli enthusiast. He co-created the classic “Get Smart” TV series with Mel Brooks, and co-directed the well-received 1978 comedy-fantasy Heaven Can Wait (a remake of Here Comes Mr. Jordan) with the film’s producer/star/co-writer Warren Beatty (Henry also had an acting part).
Depending on your age, you may be thinking “Buck who?” or “Oh yeah…the bespectacled guy in all those SNL “Samurai Deli” sketches with Belushi back in the day.” Regardless of your Buck Henry touchstone, know that he brought a lot of laughter to a lot of people…and that’s a good thing.
For me, I’ll always remember him for his acting work in films like The Man Who Fell to Earth, Gloria,Eating Raoul, Taking Off, Short Cuts, the Real Blonde, Defending Your Life, and The Player…even if a lot of them were bit parts, he had a knack for understated hilarity. And of course, I’ll remember him for his writing. Here are the Henry-penned films you need to see (alphabetical order).
Candy – As far as barely decipherable yet weirdly entertaining films go, you could do worse than Christian Marquand’s 1968 curio. Henry adapted the script from the novel by Terry Southern and Mason Hoffenberg.
What I can say with certainty is that there is a protagonist, and her name is Candy Christian. (Ewa Aulin). However, disseminating what this film is “about” remains in the eye of the beholder. Semi-catatonic Candy whoopsie-daisies her way through vaguely connected vignettes awash in patchouli, bongs, beads and Nehru jackets, as a number of men philosophize, pontificate, and (mostly) paw at her.
Oddly compelling, largely thanks to the cast: Marlon Brando, Richard Burton, James Coburn, John Huston, Walter Matthau, Ringo Starr, John Astin, Anita Pallenberg, Sugar Ray Robinson (don’t ask), and a host of others. Henry has a cameo as a mental patient.
Interesting sidebar: Director Marquand (also an actor) appeared in Francis Ford Coppola’s Apocalypse Now. His lengthy monologue in the “French plantation” scene originally ended up on the cutting room floor but was resurrected for the “Redux” and “Final Cut” versions that Coppola has assembled in recent years. He died in 2000.
Yossarian: OK, let me see if I’ve got this straight. In order to be grounded, I’ve got to be crazy. And I must be crazy to keep flying. But if I ask to be grounded, that means I’m not crazy anymore, and I have to keep flying.
Dr. ‘Doc’ Daneeka: You got it, that’s Catch-22.
Yossarian: Whoo… That’s some catch, that Catch-22.
Dr. ‘Doc’ Daneeka: It’s the best there is.
Anyone who has read and appreciated the beautifully precise absurdity of Joseph Heller’s eponymous 1961 novel about the ugly and imprecise madness of war knows it is virtually “un-filmable”. And yet…Buck Henry did a pretty good job of condensing it into a two-hour screenplay (although arguably some of the best exchanges in the film are those left virtually unchanged from the book).
Of course, it didn’t hurt to have a great director (Mike Nichols) and such a fabulous cast: Alan Arkin, Martin Balsalm, Richard Benjamin, Art Gafunkel, Jack Gilford, Bob Newhart, Anthony Perkins, Paula Prentiss, Martin Sheen, Jon Voight, Orson Welles, Charles Grodin, Bob Balaban, et. al., with Henry playing the part of “Colonel Korn”. I think this 50-year-old film has improved with age.
Day of the Dolphin – “Fa loves Pa!” This offbeat 1973 sci-fi film marked the third collaboration between Henry and director Mike Nichols. Henry adapted from Robert Merle’s novel. George C. Scott is excellent in the lead role as a marine biologist who has developed a method for training dolphins to communicate in human language. Naturally, there is a shadowy cabal of government spooks who take keen interest in this scientific breakthrough. Unique and involving. I like to call this one a conspira‘sea’ thriller (sorry).
The Graduate – “Aw gee, Mrs. Robinson.” It could be argued that those were the four words in this 1967 Mike Nichols film that made Dustin Hoffman a star. With hindsight being 20/20, it’s impossible to imagine any other actor in the role of hapless college grad Benjamin Braddock…even if Hoffman (30 at the time) was a bit long in the tooth to be playing a 21-year-old character.
Poor Benjamin just wants to take a nice summer breather before facing adult responsibilities, but his pushy parents would rather he focus on career advancement immediately, if not sooner. Little do his parents realize that in their enthusiasm, they’ve inadvertently pushed their son right into the sack with randy Mrs. Robinson (Anne Bancroft), wife of his Dad’s business partner (the original cougar?). Things get complicated after Benjamin meets his lover’s daughter (Katharine Ross).
This is one of those “perfect storm” creative collaborations: Nichols’ skilled direction, Calder Willingham and Buck Henry’s witty screenplay, fantastic performances from the cast, and one of the best soundtracks ever (by Simon and Garfunkel). Some of the 60s trappings haven’t dated well, but the incisive social satire has retained all its sharp teeth. Look for Henry in a cameo as a room clerk.
The Owl and the Pussycat – George Segal plays a reclusive, egghead NYC writer and Barbra Streisand is a perfect foil in one of her best comedic turns as a profane, boisterous hooker in this classic “oil and water” farce, directed by Herbert Ross. Serendipity throws the two odd bedfellows together one fateful evening, and the resulting mayhem is crude, lewd, and funny as hell. Buck Henry adapted his screenplay from Bill Manhoff’s original stage version. Robert Klein is wonderfully droll in a small but memorable role. My favorite line: “Doris…you’re a sexual Disneyland!”
To Die For – Gus van Sant’s 1995 mockumentary centers on an ambitious young woman (Nicole Kidman, in one of her best performances) who aspires to elevate herself from “weather girl” at a small market TV station in New England to star news anchor, posthaste. A calculating sociopath from the word go, she marries into a wealthy family, but decides to discard her husband (Matt Dillon) the nanosecond he asks her to consider putting her career on hold so they can start a family (discard…with extreme prejudice).
Buck Henry based his script on Joyce Maynard’s true crime book about the Pamela Smart case (the most obvious difference being that Smart was a teacher and not an aspiring media star, although it could be argued that during the course of her highly publicized trial, she did become one). A barbed and darkly funny meditation on the cult of celebrity.
What’s Up, Doc? – Peter Bogdanovich’s 1972 film is an entertaining love letter to classic screwball comedies of the 30s and 40s (the most obvious influence is Bringing Up Baby), with great use of San Francisco locations. Ryan O’Neal and Barbara Streisand have wonderful chemistry as the romantic leads, who meet cute and become involved in a hotel mix-up of four identical suitcases that rapidly snowballs into a series of increasingly preposterous situations for all concerned (as occurs in your typical screwball comedy). Henry gets top billing on the script, co-written with David Newman and Robert Benton. The cast includes Madeline Kahn, Kenneth Mars, Austin Pendleton and Michael Murphy.
(Originally posted on Digby’s Hullabaloo on November 2, 2019)
When I was in the 6th Grade at Ft. Wainwright Junior High in Alaska, everyone in class was assigned to choose, memorize and recite a Robert Service poem (I’m assuming this is a uniquely Alaskan rite of passage…although I can’t speak for public school traditions in the Yukon Territories). As most Robert Service poems go on longer than the Old Testament, this is not a casual assignment. My choice… “The Shooting of Dan McGrew”.
Then his lips went in a kind of grin, and he spoke, and his voice was calm, And “Boys,” says he, “you don’t know me, and none of you care a damn; But I want to state, and my words are straight, and I’ll bet my poke they’re true, That one of you is a hound of hell…and that one is Dan McGrew.”
There’s a lot more to it, involving a gal named Lou and how this miner dude (“fresh from the creeks, dog-dirty, and loaded for bear”) gallivants into the local saloon like Rocky Racoon lookin’ for trouble but I think I probably chose it because it gave me an opportunity to work “blue” in front of the class without being admonished by the teacher.
Flash-forward to my junior year of high school. Specifically, that is when I bought an LP called Dolemite for President completely on a whim (OK…the somewhat prurient nature of the album cover and the fact that they kept it behind the counter may have initially piqued my interest). I was also really into comedy albums at the time, and the record store clerk assured me that this obscure comic Rudy Ray Moore was a laugh riot.
I had absolutely no idea what to expect. I smuggled it home (I definitely did not want my parents to see the album cover, and intuitively figured it would be wise to listen with headphones). The track list was intriguing; with cuts like “Dance of the Freaks”, “Farting Contest”, “Long Island Duck”, “Sit in Your Mama’s Lap” (you can ah…Google the rest).
Side 1 opens with Moore in character as presidential hopeful “Dolemite”, who gives an expletive-laden campaign speech touting his (very!) progressive platform (inspiration for Bullworth?) From a stylistic standpoint it was a fairly standard-issue standup monologue.
But the next cut, “Stack-A-Lee”, was…poetry.
Billy said “Stack? You’re takin’ my money, so get on your knees and pray With your life…you’re gonna have to pay.” Stack said “Billy…are you for real? I want you to listen, and listen well I’m the bad motherfucker that blows the devil out of hell!”
I wasn’t able to contextualize “why” at the time, but it somehow reminded me of “The Shooting of Dan McGrew” (although, the miner loaded for bear didn’t refer to himself as “the bad motherfucker that blows the devil out of hell” while calling out Dan Mcgrew).
Most bits on the album turned out to be in rhymes. Filthy, dirty rhymes. I laughed and laughed and became a Rudy Ray Moore fan. He was fresh and original; and his incorporation of long-form verse was more developed than “There once was a girl from Nantucket…” Like Redd Foxx meets The Last Poets (or Robert Service with Tourette’s).
Flash-forward 47 years (jeezus) and I’m doing background research for my review of the 2019 Moore biopic, Dolemite Is My Name. I was surprised to learn from the film that Moore’s rhyming style was not 100% “original”, after all. Rather, it was rooted in an African American oral tradition called “toasting” (not to be confused with “Here’s to your health!”). I came across this enlightening 2004 University at Buffalo news release:
“Get Your Ass in the Water and Swim Like Me: Narrative Poetry From Black Oral Tradition,” a book collected and compiled by SUNY Distinguished Professor Bruce Jackson of the University at Buffalo, is back for a second go ’round. […]
The book collects a popular form of African American literature and folk poetry known as “toasts.” For 30 years, it carried the reputation of a “stone cold classic,” mightily praised by critics, cultural historians, musicians, poets and general-interest readers alike. The book includes a new CD of Jackson’s original field recording of the toasts in the book.
“Toasts are just one aspect of a rich tradition of verbal arts in black culture,” Jackson says. “Public performance of rhyming verse has ancient African roots. And we see it now in rap and hip-hop, which are a mix of African American, Caribbean and several other traditions.
“Toasts are the starting point for rap,” he says, “both in the poetry itself and the way it was used and performed in public situations. As the novelist and former Buffalonian Ishmael Reed says, if you want to understand rap and hip-hop, you’ve got to understand toasts.”
The toasts featured in the book, says Jackson, come from various sources, including street corners, barber shops, bars and jails — “places young men hang around without much to do.”
Although Jackson says the stories told in these works can be personal and intimate — and he has heard blues lyrics and Robert Service poems recited as toasts — they generally celebrate a number of folkloric figures from African-American culture like “Stackolee,” the famed bad man said to have murdered a guy over a Stetson hat […]
Hmm. After reading that, I dug deeper. The first documented reference to a song called “Stack-a-Lee” (by “Prof. Charlie Lee, the piano-thumper”) was in the Kansas City Leavenworth Herald in 1897. Robert Service published “The Shooting of Dan McGrew” in 1907.
I don’t hold a degree in ethnomusicology or poetry, but it does raise a tantalizing possibility that Service, like Rudy Ray Moore, could have been inspired by traditional African-American toasts (all I have to do is tell the truth …and no one ever believes me).
Not that the subject of Robert Service (or his poems) ever arises in Dolemite Is My Name (running concurrently in theaters and on Netflix), but the film does impart everything you ever wanted to know (but were afraid to ask) about the late cult comedian and filmmaker.
The film was a labor of love for producer/star Eddie Murphy, who has been pitching a Moore biopic to studios for decades. Repeatedly thwarted by reticence of studio execs to green light a project about a relatively obscure entertainer, Murphy persisted until Netflix gave a nod. This adds nice symmetry to the film; as it mirrors Moore’s own perseverance.
Directed by Craig Brewer (Hustle & Flow, Black Snake Moan) and co-written by Scott Alexander and Larry Karaszewski, the film depicts how Moore (Murphy), a struggling middle-aged musician and standup eking out a living working at a Hollywood record store and moonlighting as a nightclub MC, found the “hook” that brought him notoriety.
Circa 1970, Moore begins to take “professional” interest in the storytelling skills of Ricco (Ron Cephus Jones) a wino who habitually panhandles at the record store. Ricco regales anyone who has change jangling in their pockets with the raunchy misadventures of a fictional pimp/badass named “Dolemite”. Ricco delivers his tales in the form of rhymes.
This gives Moore an epiphany; he dry-runs the “Dolemite” persona on stage one night, replete with pimp regalia, street attitude, and nasty toasts, and to his delight the audience eats it up. Word-of-mouth spreads, and the new-and-improved act makes him a local hit.
To capitalize on the unexpected career surge, Moore next sets sights on making “party records” that would surpass even the bawdiness of Redd Foxx, who at the time was one of the most popular “blue” acts that was releasing “adults only” comedy albums (although it’s not mentioned in the film, Moore had already released three traditional comedy LPs between 1959 and 1964). As he was still a relative unknown quantity outside of the African American community, Moore initially had to go the D.I.Y. route.
Once he was able to gain a wider fan base from his records, Moore decided to take it to the next logical step…the movies. The final two-thirds of Dolemite Is My Name focuses on the making of Moore’s first independent film, which was called (wait for it) Dolemite.
Bereft of studio backing or deep-pocketed investors, Moore finagles an abandoned L.A. hotel as a sound stage. He assembles a mostly amateur cast, hires some UCLA film students as crew, enlists a black consciousness-woke playwright (Keegan-Michael Key) as screenwriter, and sweet-talks an actor with some Hollywood credits named D’Urville Martin to be his director (played by a scenery-chewing Wesley Snipes).
Moore casts himself as the film’s eponymous hero, a kung-fu fighting badass pimp (this was the peak of the “blaxploitation” era, in case you hadn’t picked up on that) and his stage act partner/comedy foil Lady Reed (Da’Vine Joy Randolph) as his leading lady (made on a shoestring in 1975, every bit of Dolemite’s lack of funding and/or film-making prowess showed on the screen; nonetheless it did find an audience and became a surprise cult hit).
I was getting a strong whiff of Tim Burton’s Ed Wood while watching Brewer’s film. It immediately became clear as to “why” when I looked up Alexander and Karaszewski’s screenwriting credits and discovered Ed Wood to be among them (I’m a little slow sometimes-but I’m nothing if not intuitive).
While it doesn’t tell the complete story of Moore’s life, Dolemite Is My Name captures the essence of what he was about; mostly thanks to Murphy’s committed performance, which is the best work he has done in years.
Mind you, I wouldn’t file it under “good clean family fun”, but Dolemite Is My Name is nonetheless an entertaining, upbeat, and affectionate portrait you won’t need to hide from your parents.
(Originally posted on Digby’s Hullabaloo on July 13, 2019)
Stranger Than Paradise – Criterion Collection
With this 1984 indie classic, Jim Jarmusch established his formula of long takes and deadpan observances on the inherent silliness of human beings. John Lurie stars as Willie, a brooding NYC slacker who spends most of his time hanging and bickering with his buddy Eddie (Richard Edson).
Enter Eva (Eszter Balint), Willie’s teenage cousin from Hungary, who appears at his door. Eddie is intrigued, but misanthropic Willie has no desire for a new roommate, so Eva decides to move in with Aunt Lotte (Cecillia Stark), who lives in Cleveland. Sometime later, Eddie convinces Willie that a road trip to Ohio might help break the monotony. Willie grumpily agrees, and they’re off to visit Aunt Lotte and Eva. Much low-key hilarity ensues.
Future director Tom DiCillo did the black and white photography, evoking strange beauty in the stark, wintry, industrial flatness of Cleveland and environs.
Criterion’s restoration is beautiful. Extras include commentary by Jarmusch and Edson, and Jarmusch’s 1980 color feature debut Permanent Vacation (also restored).
(Originally posted on Digby’s Hullabaloo on July 13, 2019)
I Wanna Hold Your Hand – Criterion Collection
This was the feature film debut for director Robert Zemeckis and writer Bob Gale, the creative tag team who would later deliver Back to the Future and Who Framed Roger Rabbit. Sort of a cross between American Graffiti and The Bellboy, the film concerns an eventful “day in the life” of six New Jersey teenagers. Three of them (Nancy Allen, Theresa Saldana and Wendy Jo Sperber) are rabid Beatles fans, the other three (Bobby Di Cicco, Marc McClure and Susan Kendall Newman) not so much.
They all end up together in a caper to “meet the Beatles” by sneaking into their NYC hotel suite (the story is set on the day the band makes their 1964 debut on TheEd Sullivan Show). Zany misadventures ensue. Zemeckis overindulges on door-slamming screwball slapstick, but the energetic young cast and Gale’s breezy script keeps this entertaining romp moving along.
Criterion’s 4K remaster is superb, and extras include two shorts that Zemeckis made while a film student at USC.
(Originally posted on Digby’s Hullabaloo on February 23, 2019)
I’m sure you are aware that the (host-challenged) Academy Awards ceremonies are coming up this Sunday (broadcasting on ABC). As an alleged “movie critic”, I will sheepishly admit that I have only seen 3 of the 8 nominees for 2018’s Best Picture. Then again, it’s been years since Academy voters and I have seen eye to eye as to what constitutes a “best picture”. Either my aesthetic has changed, or the Academy has lowered its standards. And I don’t think my aesthetic has changed, if you catch my drift.
At any rate, this is my way of explaining in advance why you may notice only one “Best Picture” winner from the last several decades made my list, which I have culled from the previous 90 Academy Awards. Perhaps it’s just my long-winded way of saying “they don’t make ‘em like they used to”. And I wish you kids would stay the hell off my lawn.
You Can’t Take it With You (Best Picture of 1938) – 81 years on, Frank Capra’s movie version of George S. Kaufman and Moss Hart’s stage play (adapted for the screen by Robert Riskin, who was nominated) still resonates in light of our current economic woes.
A Wall Street fat cat (Edward Arnold) comes up with various nefarious machinations to force a stubborn but happy-go-lucky homeowner (Lionel Barrymore) and his eccentric and free-spirited family to sell him his property, in order to make way for a new factory he wants to build in a prime metropolitan location.
Complications ensue when Barrymore’s granddaughter (Jean Arthur) falls in love with Arnold’s son (James Stewart). Hilarity abounds, fueled by contrasting worldviews of Arnold’s uptight, greedy capitalist and Barrymore’s fun-loving non-conformist. There’s tons of slapstick, and in accordance with the rules of screwball comedy, nearly the entire cast eventually ends up standing before a judge (en masse) with a lot of explaining to do.
Although this is one of Capra’s more lightweight films, he still folds in social commentary about the disparity between the haves vs. the have-nots; in some respects it seems like a warm-up for It’sa Wonderful Life. Capra also picked up a Best Director win.
Casablanca (Best Picture of 1943)-Romance, exotic intrigue, Bogie, Ingrid Bergman, evil Nazis, selfless acts of quiet heroism, Paul Henreid, Peter Lorre, Sidney Greenstreet, Rick’s Café, Claude Rains rounding up the usual suspects, Dooley singing “As Time Goes By”, the beginning of a beautiful friendship, the most rousing rendition of “La Marseille” you’ve ever heard, that goodbye scene at the airfield, and a timeless message (if you love someone, set them free). What’s not to love about this movie-lover’s movie?
From Here to Eternity (Best Picture of 1953) – Even though James Jones’ salty and steamy source novel about restless GIs stationed at Pearl Harbor was sanitized for the screen, Fred Zinnemann’s film was still fairly risqué and heady adult fare for its time.
Monty Clift was born to play the complex, angst-ridden company bugler (and sometime pugilist) Pvt. Robert E. Lee Prewitt, a classic “hard case” at constant loggerheads with his superiors (and his personal demons).
And what a cast-outstanding performances abound from Burt Lancaster, Deborah Kerr, Frank Sinatra (he won Best Actor in a Supporting Role), Jack Warden, Ernest Borgnine, and Donna Reed. At that point of Reed’s career, it was considered casting against type to have her playing a prostitute, but it paid off with a Best Actress in a Supporting Role win.
Zinnemann won Best Director, screenwriter Daniel Taradash picked up a Best Writing (Screenplay) for his adaptation, Burnett Guffey won for Cinematography (Black and White), and William A. Lyon took home a statue for Best Film Editing. A true classic.
West Side Story (Best Picture of 1961)-You know, there are so many Deep Thoughts that I have gleaned as a result of my many, many viewings of this fine film over the years; and since I am holding the Talking Stick, I wish to share a few of them with you now:
Lawrence of Arabia (Best Picture of 1962) – Until you have viewed David Lean’s masterpiece on a theater screen, you can’t really comprehend how big the desert is. Really big. You just won’t believe how vastly hugely mind-bogglingly big it is. Or how commanding and charismatic 29 year-old Peter O’Toole was in his first starring role.
O’Toole delivers a larger-than-life performance as T.E. Lawrence, a flamboyant and outspoken British army officer who reinvented himself as a guerilla leader, gathering up warring Arab tribes and uniting them in a common cause to oust the Turks during WW I.
Robert Bolt and Michael Wilson based their literate screenplay on Lawrence’s memoirs, sustaining a sense of intimacy throughout. This was no small feat, considering the film’s overall epic sweep and visual splendor (DP Freddie Young and editor Anne V. Coates more than earned their Oscars).
Omar Sharif, Anthony Quinn, Alec Guinness, Jack Hawkins, Claude Rains and Jose Ferrer round off a fine cast, and you can’t discuss this film without acknowledging Maurice Jarre’s magnificent “Best Score”.
In the Heat of the Night (Best Picture of 1967) – “They call me Mister Tibbs!” In this classic film Sidney Poitier plays a cosmopolitan police detective from Philly who gets waylaid in a torpid Mississippi backwater, where he is reluctantly recruited into helping the bigoted sheriff (Rod Steiger) solve a local murder.
Poitier nails his performance; you can feel Virgil Tibb’s pain as he tries to maintain his professional cool amidst a brace of surly rednecks, who throw up roadblocks at every turn.
While Steiger is outstanding as well, I find it ironic that he was the one who won “Best Actor in a leading role”, when Poitier was the star of the film (it seems Hollywood didn’t get the film’s message).
Sterling Silliphant’s brilliant screenplay (another Oscar) works as a crime thriller and a “fish out of water” story. Director Norman Jewison was nominated but didn’t score a win. Future director Hal Ashby won for Best Editing. Quincy Jones composed the soundtrack, and Ray Charles sings the sultry theme.
Midnight Cowboy (Best Picture of 1969) – “I’m WALKIN’ heah!” Aside from its distinction as being the only X-rated film to ever win Oscars, John Schlesinger’s groundbreaking character study also helped usher in a new era of mature, gritty neo-realism in American film that would reach its apex in 1976 with Scorsese’s Taxi Driver (one year before Star Wars ushered that era to a full dead stop).
Dustin Hoffman has seldom matched his character work here as the Fagin-esque Ratso Rizzo, a homeless New York City con artist who adopts country bumpkin/aspiring male hustler Joe Buck (Jon Voight) as his “protégé”. The two leads are outstanding, as is the supporting cast, which includes John McGiver, Brenda Vaccaro, Barnard Hughes and a teenage Bob Balaban. Also look for cameos from several of Andy Warhol’s “Factory” regulars, who can be spotted milling about here and there in a memorable party scene.
In hindsight, the location filming provides us with a fascinating historical document of the seedy milieu that was “classic” Times Square (New York “plays itself” very well here). Schlesinger won an Oscar for Best Director, as did Waldo Salt for his screenplay.
In hindsight, the location filming provides us with a fascinating historical document of the seedy milieu that was “classic” Times Square (New York “plays itself” very well here). Schlesinger won an Oscar for Best Director, as did Waldo Salt for his screenplay.
The Godfather (Best Picture of 1972) and The Godfather, Part II (Best Picture of 1974)-Yes, I’m counting them as one; because in a narrative and artistic sense, they are. Got a problem with that? Tell it to Luca Brasi. Taken as a whole, Francis Ford Coppola’s two-part masterpiece is best summed up thusly: Brando, Pacino, and De Niro.
Annie Hall (Best Picture of 1977) – As far as his “earlier, funny films” go, this semi-autobiographical entry ranks as one of Woody Allen’s finest, and represents the moment he truly found his voice as a filmmaker. The Academy concurred, awarding three additional Oscars as well-for Best Actress (leading lady Diane Keaton, in her career-defining role), for Director (Allen) and for Best Original Screenplay (Allen again, along with co-writer Marshall Brickman).
Part 1 of a triptych (or so the theory goes) that continued with Manhattan and Hannah and Her Sisters, it is also the film that neatly divides the history of the romantic comedy in half. So many of the narrative framing techniques and comic inventions that Allen utilized have become so de rigueur for the genre (a relatively recent example would be The 500 Days of Summer) that it’s easy to forget how wonderfully innovative and fresh this film felt back in 1977. A funny, bittersweet, and perceptive look at modern romance.
No Country for Old Men (Best Picture of 2007) – The bodies pile up faster than you can say Blood Simple in Joel and Ethan Coen’s masterfully made neo-noir (which also earned them a shared Best Director trophy). The brothers’ Oscar-winning screenplay (adapted from the Cormac McCarthy novel) is rich in characterization and thankfully devoid of the self-conscious quirkiness that has left some of their latter-day films teetering on self-parody.
The story is set among the sagebrush and desert heat of the Tex-Mex border, where the deer and the antelope play. One day, pickup-drivin’ good ol’ boy Llewelyn (Josh Brolin) is shootin’ at some food (the playful antelope) when he encounters a grievously wounded pit bull. The blood trail leads to discovery of the grisly aftermath of a shootout. And yes, being that this is Coen country…that twisty trail does lead to a twisty tale.
Tommy Lee Jones gives a wonderful low-key performance as an old-school, Gary Cooper-ish lawman who (you guessed it) comes from a long line of lawmen. Jones’ face is a craggy, world-weary road map of someone who has reluctantly borne witness to every inhumanity man is capable of, and is counting down the days to his imminent retirement (‘cos it’s becoming no country for old men…).
The entire cast is outstanding. Javier Bardem picked up a Best Supporting Actor statue for his unforgettable turn as a psychotic hit man. His performance is understated, but menacing, made all the more creepy by his benign Peter Tork haircut. Kelly McDonald and Woody Harrelson are both excellent as well.
Curiously, Roger Deakins wasn’t even nominated for his outstanding cinematography, but his work on this film easily ranks among his best.
(Originally posted on Digby’s Hullabaloo on December 15, 2018)
King of Hearts – Cohen Film Collection/Sony Blu-ray
The utter madness of war has rarely been conveyed in such a succinct (or oddly endearing) manner as in Philippe de Broca’s absurdist adult fable. Alan Bates stars as a WW1 Scottish army private sent ahead of his advancing company to a rural French village, where he is to locate and disarm a bomb that has been set by retreating Germans.
His mission is interrupted when he is suddenly set upon by a coterie of loopy and highly theatrical residents who (literally) sweep him off his feet and jovially inform him he is now their “king”. These happy-go-lucky folks are, in fact, inmates of the local asylum, who have occupied the town since the residents fled. The battle-weary private decides to humor them, in the meantime brainstorming how he can coax them out of harm’s way before the war inevitably intrudes once again.
It’s wonderful to have a newly-restored 4K scan of this cult favorite, which has been previously difficult to track down on home video. Extras include a feature-length commentary track by film critic Wade Major, a new conversation with the film’s leading lady Genevieve Bujold, and a new conversation with cinematographer Pierre Lhomme.
(Originally posted on Digby’s Hullabaloo on December 15, 2018)
The Hitchhiker’s Guide to the Galaxy [TV series] – BBC Blu-ray
I’m not sure if it’s possible to “wear out” a DVD, but I’ve probably come closest to doing so with my copy of the original BBC-TV version of Douglas Adams’ sci-fi comedy cult classic.
In a nutshell, the Earth is obliterated to make way for a hyperspace bypass by a Vogon construction fleet (as the result of bureaucratic oversight the requisite public notice was posted in a basement-on a different planet). One member of humanity survives-Arthur Dent, a neurotic Englishman who “hitches” a ride on a Vogon vessel just before the Earth-shattering “ka-boom”, thanks to his friend Ford Prefect, whom Arthur never suspected was an alien doing field research for the eponymous “guide”. Zany interstellar misadventures ensue, with a quest to find the answer to life, the Universe, and everything.
While the 2005 theatrical remake was a hoot, it lacked the endearing cheesiness of the 1981 series. As it was originally shot on video and 16mm, the very idea of a “restored” Blu-ray edition is a bit silly, really…but it actually is an upgrade, particularly in audio quality (it’s mostly about the wonderfully cheeky dialog anyway). And with 5½ hours of extras, Adams geeks will be in 7th heaven (or at least somewhere near Alpha Centauri!).