Tag Archives: 2020 Reviews

The Virtual International Film Festival: Week 2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 18, 2020)

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Normally, right about now I would be submitting for my press credentials to cover one of the largest film festivals in the country. But as you are aware, these are not normal times.

I’ve covered the Seattle International Film Festival for Hullabaloo since 2006. Over that 14 year period I’ve reviewed over 200 SIFF films. So I thought I’d comb my archives and curate a “Best of SIFF” festival that doesn’t require leaving the safety of your abode.

So welcome to Week 2 of VIFF! These 10 fine selections are all available via streaming:

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Bad Black (Amazon Prime Video, tubi) – Some films defy description. This is one of them. Yet…a guilty pleasure. Written, directed, filmed, and edited by Ugandan action movie auteur Nabwana I.G.G.at his self-proclaimed “Wakaliwood studios” (essentially his house in the slums of Wakaliga), it’s best described as Kill Bill meets Slumdog Millionaire, with a kick-ass heroine bent on revenge. Despite a low budget and a high body count, it’s winningly ebullient and self-referential, with a surprising amount of social realism regarding slum life packed into its 68 minutes. The Citizen Kane of African commando vengeance flicks. (Full review)

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Becoming Who I Was (Amazon Prime Video) – Until credits rolled for this South Korean entry by co-directors Chang-Yong Moon and Jeon Jin, I was unsure whether I’d seen a beautifully cinematic documentary, or a narrative film with amazingly naturalistic performances. Either way, I experienced the most compassionate, humanist study this side of Ozu.

Turns out, it’s all quite real, and an obvious labor of love by the film makers, who went to Northern India and Tibet to document young “Rinpoche” Angdu Padma and his mentor/caregiver for 8 years as they struggle hand to mouth and strive to fulfill the boy’s destiny (he is believed to have been a revered Buddhist teacher in a past life). A moving journey (in both the literal and spiritual sense) that has a lot to say about the meaning of love and selflessness. (Full review)

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Big Star: Nothing Can Hurt Me (Amazon Prime Video) – Founded in 1971 by singer-guitarist Chris Bell and ex-Box Tops lead singer/guitarist Alex Chilton, the Beatle-esque Big Star was a musical anomaly in their hometown of Memphis, which was only the first of many hurdles this talented band was to face during their brief, tumultuous career. Now considered one of the seminal influences on the genre, the band was largely ignored by record buyers during their heyday (despite critical acclaim from the likes of Rolling Stone).

Then, in the mid-1980s, a cult following steadily began to build around the long-defunct outfit after college radio darlings like R.E.M., the Dbs and the Replacements began lauding them as an inspiration. In this fine rockumentary, director Drew DeNicola also tracks the lives of the four members beyond the 1974 breakup, which is the most riveting (and heart wrenching) part of the tale. Pure nirvana for power-pop aficionados. (Full review)

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Endless Poetry (Amazon Prime Video) – Ever since his 1970 Leone-meets-Fellini “western” El Topo redefined the meaning of “WTF?”, Chilean film maker/poet/actor/composer/comic book creator Alejandro Jodorowsky has continued to push the creative envelope.

Endless Poetry, the second part of a “proposed pentalogy of memoirs”, follows young Alejandro (played by the director’s son Adan, who also composed the soundtrack) as he comes into his own as a poet. Defying his nay-saying father, he flees to Santiago and ingratiates himself with the local bohemians. He caterwauls into a tempestuous relationship with a redheaded force of nature named Stella. What ensues is the most gloriously over-the-top biopic since Ken Russell’s The Music Lovers. This audacious work of art not only confirms that its creator has the soul of a poet, but stands as an almost tactile evocation of poetry itself. (Full review)

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Home Care (Amazon Prime Video, iTunes) – The “Kubler-Ross Model” postulates that there are five distinct emotional stages humans experience when brought face-to-face with mortality: denial, anger, bargaining, depression, and acceptance. All five are served up with a side of compassion, a dash of low-key anarchy and a large orange soda in this touching dramedy from Czech director Slavek Horak.

An empathic, sunny-side-up Moravian home care nurse (Alena Mihulova) is so oriented to taking care of others that when the time comes to deal with her own health crisis, she’s stymied. A deft blend of family melodrama and gentle social satire. Mihulova and Boleslav Polivka (as her husband) are an endearing screen couple. The stories we’ve been hearing about the selflessness of health care workers who are on the front lines of the current Covid-19 pandemic adds a new level of poignancy to Horak’s film. (Full review)

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Mekko (Amazon Prime Video) – Director Sterlin Harjo’s tough, lean, neorealist character study takes place in Tulsa, Oklahoma. Rod Rondeaux (Meek’s Cutoff) is outstanding as the eponymous character, a Muscogee Indian who gets out of jail after 19 years of hard time. Bereft of funds and family support, he finds tenuous shelter among the rough-and-tumble “street chief” community of homeless Native Americans as he sorts out how he’s going to get back on his feet. Harjo coaxes naturalistic performances from his entire cast. There’s more going on here than initially meets the eye; namely, a deeper examination of Native American identity, assimilation and spirituality in the modern world. (Full review)

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Polisse (YouTube, iTunes) – A docudrama-style police procedural in the tradition of Jules Dassin’s Naked City. You do have to pay very close attention, however, because it seems like there are about 8 million stories (and just as many characters) crammed into the 127 minutes of French director Maiwenn’s complex film.

Using a clever “hall of mirrors” device, the director casts herself in the role of a “fly on the wall” photojournalist, and it is through this character’s lens that we observe the dedicated men and women who work in the Child Protective Unit arm of the French police. As you can imagine, these folks are dealing with the absolute lowest of the already lowest criminal element of society, day in and day out, and it does take its psychic toll on them.

Still, there’s a surprising amount of levity sprinkled throughout Maiwenn’s dense screenplay (co-written by Emmanuelle Bercot), which helps temper the heartbreak of seeing children in situations that they would never have to suffer through in a just world. The film fizzles a bit at the end, and keeping track of all the story lines is challenging, but it’s worthwhile, with remarkable performances from the ensemble (it won the Jury Prize at Cannes in 2011). (Full review)

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The Rocket (Amazon Prime Video) – Australian writer-director Kim Mordaunt tells the story of Ahlo (Sitthiphon Disamoe, in a remarkable performance), a 10-year old Laotian boy who can’t catch a break. In rapid succession, a member of his family dies in a freak accident and then the surviving members are forced to relocate after their village gets earmarked for razing to make way for a hydroelectric project. Ahlo’s dour grandma labels him as a “bad luck charm”. Determined to redeem his standing, Ahlo sets out to win an annual Rocket Competition. Mourdaunt has a Terrence Malick-like penchant for gorgeous “magic hour” composition; perfectly capturing the dichotomy of UXBs and battle-scarred ruins as they contrast with Laos’ lush, rugged natural beauty. (Full review)

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Ryuichi Sakamoto: Coda (iTunes) – There’s a wonderful moment of Zen in Stephen Nomura Schible’s documentary where his subject, Japanese composer Ryuichi Sakamoto, after much experimentation with various “found” sounds, finally gets the “perfect” tonality for one single note of a work in progress. “It’s strangely bright,” he observes, with the delighted face of a child on Christmas morning, “but also…melancholic.”

One could say the same about Schible’s film; it’s strangely bright, but also melancholic. You could also say it is but a series of such Zen moments; a deeply reflective and meditative glimpse at the most intimate workings of the creative process. It’s also a document of Sakamoto’s quiet fortitude, as he returns to the studio after taking a hiatus to engage in anti-nuke activism and to battle his cancer. A truly remarkable film. (Full review)

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This May Be the Last Time (Amazon Prime Video) –Did you know that the eponymous Rolling Stones song shares the same roots with a venerable Native-American tribal hymn, that is still sung in Seminole and Muscogee churches to this day? While that’s far from the main thrust of Sterlin Harjo’s documentary, it’s but one of its surprises.

This is two films in one; both family memoir and academic study. Harjo investigates a story concerning the disappearance of his Oklahoman Seminole grandfather in 1962. After a perfunctory search by local authorities turned up nothing, tribal members pooled their resources and continued to look. Some members of the search party kept up spirits by singing traditional Seminole and Muscogee hymns…which inspires the second layer of Harjo’s film.

Through interviews with tribal members and musicologists, Harjo traces the roots of this unique genre, connecting the dots between the hymns, African-American spirituals, Scottish and Appalachian music. The film doubles as a fascinating history lesson, as well as a moving personal journey. (Full review)

…one more thing

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Good news-You can catch first-run indie films from home… via SIFF’s virtual cinema:

Due to the unfortunate circumstances surrounding COVID-19, our Cinemas are temporarily closed and the 46th annual Seattle International Film Festival has been canceled. SIFF will be on hiatus for the next few months while a small team takes care of SIFF’s assets and plans for the eventual reopening of SIFF.

In the meantime, we’re pleased to be working with distributors to bring you virtual screenings of new independent films. Stay home, stay healthy, and support SIFF with Virtual SIFF Cinema!

On each film detail page, you’ll find a link to the distributor’s screening portal where you’ll be able to rent the film and begin watching. As part of the revenue goes directly back to SIFF, this is a great way to support us during this time and see new films!

…and this just in!

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Another cancelled 2020 film festival that has devised “virtual” solutions for carrying on is Tribeca. While the physical event has been scrapped (for obvious reasons), the organizers are keeping the spirit and mission of the annual event alive by offering film fans worldwide access to select programming specially curated for online viewing, from April 17 through April 26. From the Festival’s April 3rd press release:

…we wanted to move as fast as possible to bring some of our programming from the festival to audiences worldwide. Tribeca Immersive’s audience-facing Cinema360 (in partnership with Oculus) features 15 VR films, curated into four 30-40 minute programs. The public will be able to access Cinema360 via Oculus TV, for Oculus Go and Oculus Quest. The millions of people who own Oculus headsets will be able to participate in this unique programming from home. Tribeca is one of the first and only festivals to introduce this curated immersive experience to consumers.

[…] “As human beings, we are navigating uncharted waters,” said Tribeca Enterprises and Tribeca Film Festival Co-Founder and CEO Jane Rosenthal. “While we cannot gather in person to lock arms, laugh, and cry, it’s important for us to stay socially and spiritually connected. Tribeca is about resiliency, and we fiercely believe in the power of artists to bring us together. We were founded after the devastation of 9/11 and it’s in our DNA to bring communities together through the arts.”

Want to dive in now? A Short Film a Day Keeps Anxiety Away is a fun place to start!

In support of the filmmakers, Tribeca is also providing accredited press access to some of this year’s selections (features and shorts). I’m happy to report I have been granted access, so starting next Saturday, I’ll be sharing some reviews of new films to keep an eye out for in the near future. In the meantime, check out the Tribeca Film Festival website for more info.

Virtual International Film Festival: Week 1

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 11, 2020)

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So movie theaters are shuttered, the balcony is closed, and film festivals are right out.

Normally, right about now I would be submitting for my press credentials to cover one of the largest film festivals in the country. But as you are aware, these are not normal times.

No worries. I’ve been covering the annual Seattle International Film Festival for Digby’s Hullabaloo since 2006. Over the 14 years, I’ve reviewed over 200 festival selections. So I thought I’d comb the archives and curate a sort of Best of the Festival Festival (since the acronym for that is BOFF-for the sake of decorum, I felt I ought not to use it as a header).

So welcome to Week 1 of VIFF! These 10 fine selections are all available via streaming:

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Another Earth (Amazon Prime Video) – Writer-director Mike Cahill’s auspicious narrative feature debut concerns an M.I.T.-bound young woman (co-scripter Brit Marling) who makes a fateful decision to get behind the wheel after a few belts. The resultant tragedy kills two people, and leaves the life of the survivor, a music composer (William Mapother) in shambles. After serving prison time, the guilt-wracked young woman, determined to do penance, ingratiates herself into the widower’s life (he doesn’t realize who she is). Complications ensue.

Another Earth is a “sci-fi” film mostly in the academic sense; don’t expect to see CGI aliens in 3-D. Orbiting somewhere in proximity of Andrei Tarkovsky’s Solaris, its concerns are more metaphysical than astrophysical. And not unlike a Tarkovsky film, it demands your full and undivided attention. Prepare to have your mind blown. (Full review)

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Kurt Cobain: About a Son (YouTube, iTunes) – A.J. Schnack’s documentary is a unique, impressionistic portrait of musician Kurt Cobain’s short life. There are none of the usual talking head interviews or performance clips here; there’s nary a photo image of Cobain or Nirvana displayed until a good hour into the film. Schnack was given access to a series of frank and intimate audio interviews that Cobain recorded at his Seattle home circa 1992-1993. Schnack marries up Cobain’s childhood and teenage recollections with beautifully shot footage of Cobain’s hometown of Aberdeen and its environs.

The combination of Cobain’s narration with the visuals is eerie; you feel that you are inside Cobain’s temporal memories-kicking aimlessly around the cultural vacuum of a blue collar logging town, walking the halls of his high school, sleeping under a railroad bridge, sitting on a mattress on a crash pad floor and practicing guitar for hours on end.

The film is an antithesis to Nick Broomfield’s comparatively sensationalist rock doc Kurt and Courtney. Whereas Broomfield set out with a backhoe to dig up as much dirt as quickly as possible in attempting to uncover Cobain’s story, Schnack opts for a more carefully controlled excavation, gently brushing the dirt aside to expose the real artifact. (Full review)

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Life of Reilly (Amazon Prime Video) – One interesting thing I learned watching this filmed performance of Charles Nelson Reilly’s entertaining one-man show Save it for the Stage is that he was classically trained as a stage actor. Yes, that Charles Nelson Reilly, perhaps best known for his constant presence on the talk show/game show circuit from the late 60s onward. Reilly (who passed away in 2007) once wryly predicted his obits would contain the phrase “game show fixture”.

Reilly runs the theatrical gamut, segueing from hilarious anecdote to moving soliloquy without missing a beat. He begins with a series of wonderful vignettes about growing up in the Bronx. After a promising start in “Miss (Uta) Hagen’s $3 Tuesday afternoon acting class” in NYC in the early 50s, he hits a brick wall when he auditions for an NBC talent scout, only to be bluntly informed “They don’t let queers (sic) on television.”

Reilly got the last laugh; he recalls poring over TV Guide at the peak of his saturation on the tube, to play a game wherein he would count how many times his name would appear (including reruns). “I know I was once told I wasn’t allowed on TV,” he quips, “…but now I found myself thinking: Who do I fuck to get off?!” Funny, moving and inspiring. (Full review)

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Mid-August Lunch (Amazon Prime Video) – This slice-of-life charmer from Italy, set during the mid-August Italian public holiday known as Ferragosto, was written and directed by Gianni Di Gregorio (who also co-scripted the critically-acclaimed 2009 gangster drama Gomorrah). Light in plot but rich in observational insight, it proves that sometimes, less is more.

The Robert Mitchum-ish Di Gregorio casts himself as Giovanni, a middle-aged bachelor living in Rome with his elderly mother. He doesn’t work, because as he quips to a friend, taking care of mama is his “job”. Although nothing appears to faze the easy-going Giovanni, his nearly saintly countenance is tested when his landlord, who wants to take a little weekend excursion with his mistress, asks for a “small” favor. Complications ensue.

It’s the small moments that make this film such a delight. Giovanni reading Dumas aloud to his mother, until she quietly nods off in her chair. Two friends, sitting in the midday sun, enjoying white wine and watching the world go by. And in a scene that reminded me of a classic POV sequence in Fellini’s Roma, Giovanni and his pal glide us through the streets of Rome on a sunny motorcycle ride. This mid-August lunch might offer you a somewhat limited menu, but you’ll find that every morsel on it is well worth savoring. (Full review)

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Monkey Warfare (iTunes) – Written and directed by Reginald Harkema, Monkey Warfare is a nice little cinematic bong hit of low-key political anarchy. The film stars Don McKellar and Tracy Wright (the Hepburn and Tracy of quirky Canadian cinema) as a longtime couple who are former lefty radical activists-turned “off the grid” Toronto slackers.

When McKellar loans the couple’s free-spirited young pot dealer and budding anarchist (Nadia Litz) his treasured “mint copy” of a book about the Baader-Meinhof Gang, he unintentionally triggers a chain of events that will reawaken long dormant passions between the couple (amorous and political) and profoundly affect the lives of all three protagonists.

Monkey Warfare is not exactly a comedy, but Harkema’s script is awash in trenchant humor. If you liked Jeremy Kagan’s 1978 dramedy The Big Fix and/or Sidney Lumet’s 1988 drama Running on Empty, I think this film should be right in your wheelhouse. (Full review)

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Nowhere Boy (Netflix, iTunes, Showtime) – There’s nary a tricksy or false note in this little gem from U.K. director Sam Taylor-Wood. Aaron Johnson gives a terrific, James Dean-worthy performance as a teenage John Lennon. The story focuses on a specific, crucially formative period of the musical icon’s life beginning just prior to his first meet-up with Paul McCartney, and ending on the eve of the “Hamburg period”.

The story is not so much about the Fabs, however, as it is about the complex and mercurial dynamic of the relationship between John, his Aunt Mimi (Kirstin Scott Thomas) and his mother Julia (Anne-Marie Duff). The entire cast is excellent, but Scott Thomas (one of the best actresses strolling the planet) handily walks away with the film as the woman who raised John from childhood. (Full review)

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Poppy Shakespeare (tubi, Amazon Prime Video) – Anna Maxwell Martin breaks down the fourth wall and tears up the screen as “N”, a mentally troubled young woman who has grown up as a ward of the state, shuffled about from foster care to government subsidized mental health providers for most of her life. She collects a “mad money” pension from the government, and spends most of her waking hours at a London “day hospital” (where many of the patients participate on a voluntary basis and are free to go home at night).

While there are some amusing moments, I need to warn you that this is pretty bleak fare. That being said, it is well written (Sarah Williams adapted from Clare Allan’s novel) and directed (by Benjamin Ross, who also helmed The Young Poisoner’s Handbook). The jabs at England’s health care system remind me of Lindsay Anderson’s “institutional” satires (Britannia Hospital in particular).

Naomie Harris is very affecting as the eponymous character, a fellow patient who befriends “N”, but it is Martin who commands your attention throughout. She has a Glenda Jackson quality about her that tells me she will likely be around for a while. She’s better than good. She’s crazy good. (Full review)

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Queen of the Sun (Amazon Prime Video) – I never thought that a documentary about honeybees would make me laugh and cry-but Taggart Siegel’s 2010 film did just that. Appearing at first to be a distressing examination of Colony Collapse Syndrome, a phenomenon that has puzzled and dismayed beekeepers and scientists alike with its increasing frequency over the past few decades, the film becomes a sometimes joyous, sometimes humbling meditation on how essential these tiny yet complex social creatures are to the planet’s life cycle. Humans may harbor a pretty high opinion of our own place on the evolutionary ladder, but Siegel lays out a convincing case which proves that these busy little creatures are, in fact, the boss of us. (Full review)

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Telstar (YouTube, iTunes) – This biopic recounts the life of legendary, innovative and tragically doomed music producer Joe Meek (whose career abruptly ended when he shot his landlady before shooting himself in 1967). Telstar is named after Meek’s biggest and most recognizable hit from 1962, an instrumental performed by The Tornados (who were essentially his studio band at the time).

The film (based on a stage play by James Hicks, who co-adapted the screenplay with director Nick Moran) suffers a bit from an uneven tone, but I still think it is quite watchable (especially for fans of the era), thanks to the great location filming, a colorful and tuneful recreation of the early 60s London music scene, and a fearless performance from Con O’Neill (recreating his original stage role as Meek). (Full review)

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Trollhunter (tubi, Amazon Prime Video) – Like previous entries in the “found footage” sub-genre,  Trollhunter features an unremarkable, no-name cast; but then again you don’t really require the services of an Olivier when most of the dialog is along the lines of “Where ARE you!?”, “Jesus, look at the size of that fucking thing!”, “RUN!!!” or the ever popular “AieEEE!”.

Seriously, though- what I like about Andre Ovredal’s film (aside from the surprisingly convincing monsters) is the way he cleverly weaves wry commentary on religion and politics into his narrative. The story concerns three Norwegian film students who initially set off to do an expose on illegal bear poaching, but become embroiled with a clandestine government program to rid Norway of some nasty trolls who have been terrorizing the remote areas of the country (you’ll have to suspend your disbelief as to how the government has been able to “cover up” 200 foot tall monsters rampaging about). The “trollhunter” himself is quite a character. Not your typical creature feature! (Full review)

…one more thing

In case you are still bereft of ideas for movie night, film programmer and writer Kathleen Geier has posted a comprehensive guide aimed at housebound cinephiles jonesing for a deep catalog dive via online streaming. Her eclectic recommendations run the gamut, from classic Hollywood to indie, art house and world cinema.

Book of Saturday: A chillaxing mixtape

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on April 4, 2020)

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You’ve heard the old chestnut about cockroaches and Cher surviving the Apocalypse? Here’s one you can add to the list: Maxell UD XL-II 90 cassettes. I was going through some musty boxes the other day and found a stash of mixtapes that I’ve had since the 70s and 80s. I’ll be damned if they didn’t sound just as good as the day I recorded them (My theory is that they are manufactured from the same material they use for “black boxes”).

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I was into putting together “theme sets” long before I got into the radio biz. My mixtapes were popular with my friends; I’d make copies on demand. I would name my mixtapes. One of my favorites was “The Oh My God I am So Stoned Tape”. I don’t believe that requires explanation; I mean, it was the 70s and I was a long-haired stoner music geek.

(Photo restoration by Kenneth Tiven)

45 years later, I’m still putting together theme sets. It is my métier. It’s kind of sad, actually (grown man and all). Anyway …turn off the news, turn down the lights, do some deep breathing, and let “The Oh My God I am So Stoned Tape 2020 Redux” wash your pandemic anxiety away. I’ve sequenced the songs in a manner designed to evoke and sustain a particular mood-so for maximum effect, may I suggest that you listen to it in order. Enjoy!*

*Herbal enhancement optional

King Crimson – “Book Of Saturday”

Weekend – “A View From Her Room”

Mark-Almond Band – “The City”

Budgie – “Slip Away”

Robin Trower – “Bluebird”

Robert Fripp (f/Daryl Hall) – North Star

Jimi Hendrix – “May This Be Love”

Be-Bop Deluxe – “Crying To The Sky”

Ambrosia – “Nice, Nice, Very Nice”

Heartsfield – “Magic Mood”

kd Lang – “Outside Myself”

Glen Campbell – “Wichita Lineman”

Terry & the Lovemen (aka XTC) – “The Good Things”

Buggles – “Astro Boy (And The Proles On Parade)”

Japan – “Taking Islands In Africa”

Aswad – “Back To Africa”

Laura Nyro – “Smile” / “Mars”

Todd Rundgren – “Boat On The Charles”

The Beach Boys – “Surf’s Up”

Kate Bush – “The Morning Fog”

Jade Warrior – “English Morning”

The Who – “Sunrise”

It’s a Beautiful Day – “White Bird”

Circus Maximus – “Wind” 

King Crimson – “Peace: An End”

Home games: Top 10 Sports Movies

By Dennis Hartley

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

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

(from The Washington Post)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Extra innings!

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

Any Given Sunday

Bang the Drum Slowly

Cool Runnings

Field of Dreams

Lagaan: Once Upon a Time in India

The Longest Yard (1974)

The Natural

Raging Bull

Rocky

When We Were Kings

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

By Bob Bennett

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cinema Therapy: 10 films that never let me down

By Dennis Hartley

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

BONUS!

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

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

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

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

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

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

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

By Dennis Hartley

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

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

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

By Dennis Hartley

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

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

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

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

Available for rental from iNDemand

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

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

Available for rental from Disney Studios

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

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

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

Available for rental from Miramax

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

Available for rental from Miramax

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

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

Available from HBO on demand (free to subscribers)

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

Available from On Demand and ScreenPix

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

Available for rental from Paramount

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

Available for purchase only from Sony (no rental option)

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

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

Available from STARZEncore on demand (free to subscribers)

 

Guest review: The Who Live at Hull 1970

By Bob Bennett

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

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

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

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

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

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

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

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

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

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

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

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

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

Notes from Ground Zero…and The Twilight Zone

By Dennis Hartley

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

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

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

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

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

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

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

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

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

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

**** SPOILERS AHEAD ****

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

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

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

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

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

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

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