Why are some films considered classics and others are not? Obviously it is all the elements of the film combining together to take the ordinary and push it beyond expectations into extraordinary filmmaking. One or two elements alone are generally not enough to help a film become a transcendent work of art as opposed to merely commercial fare. Lush cinematography but lousy acting, or a great script but inept mise-en-scene will rarely raise a film into the pantheon of all time best movies ever. And perhaps there aren't that many films which do achieve overall greatness in the scheme of things. The AFI Top 100 is a good launching pad even if it does leave off some and include others which might not be appropriate.
In the realm of the classic crime film, though, The French Connection (#70 on the AFI list) is considered to be near the top of the game. Popeye Doyle (Gene Hackman) is a tough, rules breaking narcotics officer who's playing a hunch that a major shipment of herion is about to hit the streets of New York City. Along with his partner, Cloudy Russo (Roy Scheider), they begin following a small time hood (Tony Lo Bianco) on a twisting, dangerous path towards a French drug kingpin (Fernando Rey).
While the story is fairly standard, it is the embellishments to that make it great. In the beginning, Popeye chases an informant through the streets dressed as Santa Claus. Hackman and Scheider throw themselves into this sequence with an energy that appears near lung busting as they pump down the streets after their quarry. Another chase later on is classic surveillance footwork, with one man on one side of the street who passes off to another coming another way while someone else is waiting further down the line. Even this is played with when Popeye follows Frog One/The Frenchman onto the subway and they cat and mouse each other back and forth onto the subway car. The highlight, for many, is the full out car chasing a subway sequence. The driving is great, but it is the pulse pounding editing which really ramps this up.
All the action doesn't mean a thing without the character bits, the banter, and the sense of mind numbing police procedural details. The New York winter is as much an adversary to the cops as the drug dealers. During one of the stakeouts, Popeye gets stuck in a doorway, freezing his ass off, while the Frenchman luxuriously takes his time dining in a fine restaurant. Several times the Popeye and Cloudy get stuck in a car waiting for something to happen. If you've ever spent time in a car during the winter with it turned off, you know just how cold and miserable that can be. And while they're stuck waiting, they talk It seems simple, but this is what makes the film more immediate in its realism. This isn't Dragnet with Joe Friday working his Technicolor detail and never getting his hands dirty. The French Connection tries, and succeeds, at showing how crime is really fought.
William Friedkin's background as a documentary filmmaker is partially the reason the realism works. His use of extended takes and hand held camera work breaks down Hollywood's expectations of standard storytelling up to that point. The influence of this movie on police films and TV is not to be underestimated. In fact, the success of this film led to three other variations: The French Connection 2 (where Popeye goes to Europe and gets hooked on herion), The Seven-Ups (which features Roy Scheider in a role not unlike Cloudy), and the TV movie Popeye Doyle (starring Ed "Married With Children" O'Neill as the titular character). In many ways, though, this film and Friedkin's next, The Exorcist, would be the pinnacle of his career.
Perhaps it is also the time period which is the final influence on the greatness of this film. The 1970's were a time of risk taking and envelope pushing. Friedkin was one of the leaders of the movement, along with Penn, Altman, Coppola, Ashby, Scorsese, amongst others. The grittiness was a reaction to white washed Hollywood standards which began to erode in the 1960's. The establishment of a ratings system helped films like to be made even as they eventually began to censor them. There isn't anything that controversial by our standards today in The French Connection (and its hard to say if there was even then), but there is more freedom for the coarse language and violence which is there.
September 17, 2006
September 15, 2006
Deathwatch (2002)
A pro-war film, on a basic level, is still a treatise against war because someone always suffers. Even with the remote control wars we see waged on TV in our living rooms, the smart bombs which are supposed to extract the ones we don't particularly like still kill and/or wound people. WWI is often cited as one of the most brutally horrific wars man has engaged in. Of course the reason for this is that we had yet to write the rules by which modern day warfare would be waged. Sadly, we are those rules are still being written. While there have been quite a few films which have showcased the grimness of that time period, and while the horror film genre owes a bloody debt to that international conflict, there have been precious few horror movies set within that timeframe, if any.
- HBO's late lamented Carnivale utilized WWI in flashbacks to show the origin of a few characters, but it was never the main action.
- Edgar Ulmer's The Black Cat trods upon the bones of WWI as a backstory for the dark rites of the Satanist Poelzig (Boris Karloff), but never visits there.
- Gods and Monsters acknowledges the mental anguish which helped stimulate the nightmares of writers and filmmakers, but again on in a passing memory.
- The comic book which reads like a lost Universal Monster classic, The Black Forest, truly embraces the time period as being a fertile breeding ground for the WWI experience being a time of monsters both real and imagined.
Otherwise there really doesn't seem to be any examples of horror movies (cheating with the comic book, of course) set in the WWI theater.
That is until the recent UK/Czech co-production, Deathwatch (2002) which tries to fill the hole. Charlie Shakespeare is a sixteen year old British Private who finds himself terrified of trench warfare. After a disastrous battle, he and his squad find themselves wandering behind enemy lines. As luck would have it, they find an almost completely deserted set of German trenches which they commandeer. Taking a German soldier prisoner, they decide to wait for reinforcements despite the fact they have no contact with HQ. Overrun with viscous mud and hungry rats, there's more in the trench than meets the eye: either psychological breakdown from battle fatigue or a psychic force meting out retribution.
While low on gore and special effects, the film never looks cheap. A sprawling set was dug for the trench and the cinematography keeps things well framed and nicely lit. Add on an effective cast of actors including Jamie Bell (King Kong, Billy Elliot), Andy Serkis (Gollum from LOTR, King Kong), and the usual suspect working class British actors and there is enough weariness and short fused paranoia to spare. Doubtful they had much military training, but the gauntness and wild eyes and short fuses all add up to believability.
The ambitions of the film to imbue a supernatural overtone while suggesting simple madness is lofty and bit beyond the first time director, Michael J. Bassett. The task of marshalling an ensemble cast results in confusion for the viewer in terms of who is who and what exactly are they doing. Also, a more forceful hand might have lent greater unease as concerns the mystical forces at work as it does come off a bit too matter of fact. The deleted scenes show that the director may have had some of ambiguity imposed upon him, but it does weaken the film nevertheless. If you had to tag line the general feeling, though, I would rank it as a cross between John Carpenter's The Thing for paranoia/madness amongst the ranks and Michael Mann's The Keep for mixing war with unknown horrors. This isn't to say this is a great film, but definitely serviceable.
- HBO's late lamented Carnivale utilized WWI in flashbacks to show the origin of a few characters, but it was never the main action.
- Edgar Ulmer's The Black Cat trods upon the bones of WWI as a backstory for the dark rites of the Satanist Poelzig (Boris Karloff), but never visits there.
- Gods and Monsters acknowledges the mental anguish which helped stimulate the nightmares of writers and filmmakers, but again on in a passing memory.
- The comic book which reads like a lost Universal Monster classic, The Black Forest, truly embraces the time period as being a fertile breeding ground for the WWI experience being a time of monsters both real and imagined.
Otherwise there really doesn't seem to be any examples of horror movies (cheating with the comic book, of course) set in the WWI theater.
That is until the recent UK/Czech co-production, Deathwatch (2002) which tries to fill the hole. Charlie Shakespeare is a sixteen year old British Private who finds himself terrified of trench warfare. After a disastrous battle, he and his squad find themselves wandering behind enemy lines. As luck would have it, they find an almost completely deserted set of German trenches which they commandeer. Taking a German soldier prisoner, they decide to wait for reinforcements despite the fact they have no contact with HQ. Overrun with viscous mud and hungry rats, there's more in the trench than meets the eye: either psychological breakdown from battle fatigue or a psychic force meting out retribution.
While low on gore and special effects, the film never looks cheap. A sprawling set was dug for the trench and the cinematography keeps things well framed and nicely lit. Add on an effective cast of actors including Jamie Bell (King Kong, Billy Elliot), Andy Serkis (Gollum from LOTR, King Kong), and the usual suspect working class British actors and there is enough weariness and short fused paranoia to spare. Doubtful they had much military training, but the gauntness and wild eyes and short fuses all add up to believability.
The ambitions of the film to imbue a supernatural overtone while suggesting simple madness is lofty and bit beyond the first time director, Michael J. Bassett. The task of marshalling an ensemble cast results in confusion for the viewer in terms of who is who and what exactly are they doing. Also, a more forceful hand might have lent greater unease as concerns the mystical forces at work as it does come off a bit too matter of fact. The deleted scenes show that the director may have had some of ambiguity imposed upon him, but it does weaken the film nevertheless. If you had to tag line the general feeling, though, I would rank it as a cross between John Carpenter's The Thing for paranoia/madness amongst the ranks and Michael Mann's The Keep for mixing war with unknown horrors. This isn't to say this is a great film, but definitely serviceable.
September 10, 2006
Halloween 2006: Volume Three and more!!!
Had a great time tonight at Doc Gangrene's birthday bash with good friends, food and undead music! The heated volleyball match was scary. Tried a pumpkin brew of John's which was yummy. Thank you again, sir.
So, this was round one of handing out the Halloween comps. If you didn't get one and would like one, we're going to be doing a round two so get your request in now.
Here's the cover and contents for Volume Three. Personally, this is probably my favorite with the range stretching from early Kate Bush (Anastasia's current passion) to the sad fate of poor Frederick in The Tiger Lillies cabaret song to the skeletal ska rhythms of The Specials. Again, enjoy!
PS: My dad wrote the last song on this CD back in the 1960's around the same time he had a top ten hit with "Day for Decision". I like this one better.
1. Kate Bush – Hammer Horror
2. Les Paul – Bewitched
3. Les Baxter – Terror
4. Combustible Edison – Carnival of Souls
5. Band of Bees – These Are the Ghosts
6. Swamp Zombies – Unemployed
7. Ike & Tina Turner – Mojo Queen
8. Roger & The Gypsies – Pass the Hatchet
9. Screamin’ Jay Hawkins – Little Demon
10. Gene Vincent – Race With the Devil
11. LaVern Baker – Voodoo Voodoo
12. Jackie Morningstar – Rockin’ In the Graveyard
13. Blind Lemon Jefferson – See That My Grave Is Kept Clean
14. The Tiger Lillies – The Story of Cruel Frederick
15. Hank Thompson – Drivin’ Nails In My Coffin
16. Half Japanese – Kiss Of the Vampire
17. Steady Earnest – Vampires
18. The Ventures – Fear
19. Talking Heads – Psycho Killer
20. The Clash – The City Of the Dead
21. The Specials – Ghost Town
22. The Residents – The Electrocutioner
23. Marc Ribot – Witches And Devils
24. Jimmy Rodgers – The Bell Witch
So, this was round one of handing out the Halloween comps. If you didn't get one and would like one, we're going to be doing a round two so get your request in now.
Here's the cover and contents for Volume Three. Personally, this is probably my favorite with the range stretching from early Kate Bush (Anastasia's current passion) to the sad fate of poor Frederick in The Tiger Lillies cabaret song to the skeletal ska rhythms of The Specials. Again, enjoy!
PS: My dad wrote the last song on this CD back in the 1960's around the same time he had a top ten hit with "Day for Decision". I like this one better.
1. Kate Bush – Hammer Horror
2. Les Paul – Bewitched
3. Les Baxter – Terror
4. Combustible Edison – Carnival of Souls
5. Band of Bees – These Are the Ghosts
6. Swamp Zombies – Unemployed
7. Ike & Tina Turner – Mojo Queen
8. Roger & The Gypsies – Pass the Hatchet
9. Screamin’ Jay Hawkins – Little Demon
10. Gene Vincent – Race With the Devil
11. LaVern Baker – Voodoo Voodoo
12. Jackie Morningstar – Rockin’ In the Graveyard
13. Blind Lemon Jefferson – See That My Grave Is Kept Clean
14. The Tiger Lillies – The Story of Cruel Frederick
15. Hank Thompson – Drivin’ Nails In My Coffin
16. Half Japanese – Kiss Of the Vampire
17. Steady Earnest – Vampires
18. The Ventures – Fear
19. Talking Heads – Psycho Killer
20. The Clash – The City Of the Dead
21. The Specials – Ghost Town
22. The Residents – The Electrocutioner
23. Marc Ribot – Witches And Devils
24. Jimmy Rodgers – The Bell Witch
September 7, 2006
Five Minutes to Live (1961)
A.K.A. Door-To-Door Maniac
“People here live the kind of lives magazine ads talk about.” – Fred Dorella
The saying goes that actors want to be rock stars and rock stars want to be actors. Elvis Presley tried to emulate James Dean in his acting, but he never had the intensity like his fellow Sun Records label-mate Johnny Cash did in this, his noirish film debut. Cash is Johnny Cabot, a murderous hood hiding out in sunny Carmella Gardens after machine gunning down a cop in New Jersey. He hooks up with Fred Dorella (Vic Tayback) for a bank heist with a twist. The scheme involves Johnny holding the bank vice-president’s wife at gun point in her home while Fred goes to the bank and extorts the moolah. Everything would be perfect except that banker Ken Wilson (Donald West) is not in love with his wife, Helen (Cay Forester), anymore and plans to run away to Vegas with his mistress that night.
The film works because of Cash’s performance. His dark eyes and leering mouth make him the perfect anti-Elvis. He oozes menace with a wound-up nervous energy that crackles when he waves his hands about, caresses his guitar, or points his muffled gun. Lines are snapped with a laid back Southern drawl which purrs evil intent. When Cash first approaches Ms. Wilson, he pretends he’s a simple salesman, trying to catch flies with honey and $10 bills. But then he’s up behind her, menacing her with his gun, undressing her with his speed freak eyes. The implication of rape even comes up. This is one bad man in a suit. No black here, that would be too simple. A checkered suit for a checkered past. We even get some guitar picking and a couple of snarled songs to amp up the coming violence.
Vic Tayback is great as the partner in crime, but his haircut cries out male pattern baldness. Merle Travis, the country music genius, plays the owner of the bowling alley where the two criminals meet up and he’s pretty slick at being a low-life sycophant. The real shock is young Ronnie Howard as the precocious son of the Wilson’s who has a very dramatic moment near the end of the film.
The ending is probably the biggest let down because it doesn’t know when to stop. The script was written by Cay Forester, who also stars, and you can tell she just wanted to have more screen time than was necessary. However, the general trajectory of the story works and there is enough of a mix of humor and menace to keep the film humming along.
The version I watched on DVD was very dupey. Chandra said it felt as though you were watching a movie underwater. But it is watchable and very entertaining. I have wanted to see this film for a few years now and my anticipation did nothing to lessen the impact of finally seeing it. Well worth your time!
“People here live the kind of lives magazine ads talk about.” – Fred Dorella
The saying goes that actors want to be rock stars and rock stars want to be actors. Elvis Presley tried to emulate James Dean in his acting, but he never had the intensity like his fellow Sun Records label-mate Johnny Cash did in this, his noirish film debut. Cash is Johnny Cabot, a murderous hood hiding out in sunny Carmella Gardens after machine gunning down a cop in New Jersey. He hooks up with Fred Dorella (Vic Tayback) for a bank heist with a twist. The scheme involves Johnny holding the bank vice-president’s wife at gun point in her home while Fred goes to the bank and extorts the moolah. Everything would be perfect except that banker Ken Wilson (Donald West) is not in love with his wife, Helen (Cay Forester), anymore and plans to run away to Vegas with his mistress that night.
The film works because of Cash’s performance. His dark eyes and leering mouth make him the perfect anti-Elvis. He oozes menace with a wound-up nervous energy that crackles when he waves his hands about, caresses his guitar, or points his muffled gun. Lines are snapped with a laid back Southern drawl which purrs evil intent. When Cash first approaches Ms. Wilson, he pretends he’s a simple salesman, trying to catch flies with honey and $10 bills. But then he’s up behind her, menacing her with his gun, undressing her with his speed freak eyes. The implication of rape even comes up. This is one bad man in a suit. No black here, that would be too simple. A checkered suit for a checkered past. We even get some guitar picking and a couple of snarled songs to amp up the coming violence.
Vic Tayback is great as the partner in crime, but his haircut cries out male pattern baldness. Merle Travis, the country music genius, plays the owner of the bowling alley where the two criminals meet up and he’s pretty slick at being a low-life sycophant. The real shock is young Ronnie Howard as the precocious son of the Wilson’s who has a very dramatic moment near the end of the film.
The ending is probably the biggest let down because it doesn’t know when to stop. The script was written by Cay Forester, who also stars, and you can tell she just wanted to have more screen time than was necessary. However, the general trajectory of the story works and there is enough of a mix of humor and menace to keep the film humming along.
The version I watched on DVD was very dupey. Chandra said it felt as though you were watching a movie underwater. But it is watchable and very entertaining. I have wanted to see this film for a few years now and my anticipation did nothing to lessen the impact of finally seeing it. Well worth your time!
September 6, 2006
Broken Flowers
Part of the intrigue of a Jim Jarmusch film is the space he allows to fall between words and action. The moments of waiting for a reaction stretch on and on in an imitation of reality as opposed to constant forward momentum of typical Hollywood fare. Broken Flowers, the newest film from Jarmusch, stars Bill Murray as Don Johnston, an aging Don Juan, in search of the woman who has anonymously informed him twenty years down the line that he has a son. Murray is more understated in this performance than he has ever been. There is no mugging for the camera, no nervous energy, no puppy dog eye rolls; just stillness and slight reactions. In fact Murray could challenge Buster Keaton for the title of “Stone Face” with his turn here.
The energy of the film is derived from the women in Don Johnston’s life, the ex-lovers: Sharon Stone (widowed white trash mom), Frances Conroy (repressed hippie real estate agent), Jessica Lange (ex-lawyer turned animal communicator), and Tilda Swinton (biker chick). In fact, two of the supporting actress roles are perhaps even more memorable. Chloe Svenigy as Lange’s overprotective assistant is territorial in her rebuking of Johnston’s intrusion. The other is Alexis Dziena as the exhibitionist daughter Lolita who smolders in that peculiar naïf way that Humbert Humbert knew so well.
Also in a superb turn is Jeffrey Wright (Angels in America) as a spleef-smoking, amateur sleuth (Winston), who Mapquests the journey for Johnston and provides an excellent mix disc for him to listen to in the car. That’s one thing about Jarmusch; his taste in music is excellent. Starting with Screamin’ Jay Hawkins’ “I Put a Spell on You” in Stranger Than Paradise, to the Tom Waits’ score in Night on Earth, to the jazzy tunes in Broken Flowers, he picks evocative tunes. Surprisingly there isn’t any great musician turned actor performances this time out. Mystery Train contains two such turns with Screamin’ Jay as the desk clerk and Joe Strummer.
All in all, I find Broken Flowers to be a better film than the last couple by Jarmusch. Coffee and Cigarettes was fun, but slight, as any cobbled together series of shorts made over a twenty year period would be. The best bit was probably Iggy Pop and Tom Waits hanging out together. Ghost Dog: The Way of the Samurai was interesting, but lacked a sense of “realness” that his other films possess. Even when the ghost of Elvis shows up in Mystery Train its OK because everything else is so grounded in probability (Japanese tourists; widows transporting coffins; drunken late night shootings) that the impossibility gains weight. With Ghost Dog the “realness” of Mafioso types and an avenging African-American samurai becomes too fantastic. I can relate to the reality of playing cards, losing money at the track, and listening to the same song over and over again like in Stranger Than Paradise, but I can’t relate to killing someone. Maiming, yes. But not killing.
The energy of the film is derived from the women in Don Johnston’s life, the ex-lovers: Sharon Stone (widowed white trash mom), Frances Conroy (repressed hippie real estate agent), Jessica Lange (ex-lawyer turned animal communicator), and Tilda Swinton (biker chick). In fact, two of the supporting actress roles are perhaps even more memorable. Chloe Svenigy as Lange’s overprotective assistant is territorial in her rebuking of Johnston’s intrusion. The other is Alexis Dziena as the exhibitionist daughter Lolita who smolders in that peculiar naïf way that Humbert Humbert knew so well.
Also in a superb turn is Jeffrey Wright (Angels in America) as a spleef-smoking, amateur sleuth (Winston), who Mapquests the journey for Johnston and provides an excellent mix disc for him to listen to in the car. That’s one thing about Jarmusch; his taste in music is excellent. Starting with Screamin’ Jay Hawkins’ “I Put a Spell on You” in Stranger Than Paradise, to the Tom Waits’ score in Night on Earth, to the jazzy tunes in Broken Flowers, he picks evocative tunes. Surprisingly there isn’t any great musician turned actor performances this time out. Mystery Train contains two such turns with Screamin’ Jay as the desk clerk and Joe Strummer.
All in all, I find Broken Flowers to be a better film than the last couple by Jarmusch. Coffee and Cigarettes was fun, but slight, as any cobbled together series of shorts made over a twenty year period would be. The best bit was probably Iggy Pop and Tom Waits hanging out together. Ghost Dog: The Way of the Samurai was interesting, but lacked a sense of “realness” that his other films possess. Even when the ghost of Elvis shows up in Mystery Train its OK because everything else is so grounded in probability (Japanese tourists; widows transporting coffins; drunken late night shootings) that the impossibility gains weight. With Ghost Dog the “realness” of Mafioso types and an avenging African-American samurai becomes too fantastic. I can relate to the reality of playing cards, losing money at the track, and listening to the same song over and over again like in Stranger Than Paradise, but I can’t relate to killing someone. Maiming, yes. But not killing.
September 3, 2006
Avante Garde Mix Tape
Before the advent of CD-R mixes and Ipod, there was a great subculture known as the mix tape. I used to pride myself on the ones I would make, laboriously slaving till the wee hours of the morn. One of the earliest influences on me for the mix tape was this cool comic trade paperback called Mad Peck Studios: A Twenty Year Retrospective by the Mad Peck. A huge section of the book detailed the musical obsessions of two female superheroes, The Masked Marvel and I. C. Lotz. Basically The Mad Peck used his two heroines to write record reviews which were published in Fusion, Creem, The Village Voice, and later, Spin. What made the book really cool were all the detailed mix tapes that they had published along various themes, with song title, artist, label and running time so you could create a perfect mix tape as well. It was a mixtape manifesto. Recently one of the members of Sonic Youth published a book about mix tapes, but it was more from the perspective of designing their look.
So, with my CD player currently on the fritz in the car, I grabbed a few moldy tapes out of a box to listen to yesterday. Strangely, I can carbon date many of my tapes by what brand they are. Blue Kmart tapes are the earliest that I used to buy and were used to tape Hitchhiker’s Guide to the Galaxy, the Star Wars radio dramatization, and this cool Beatles radio documentary where they played every song off every album with some sort of commentary or associated audio clip. Denon tapes date back to when I worked at Cat’s Records and we had a promo on them. Black Maxell tapes date to the late 80’s and early 90’s when I worked at Tower Records and was getting mucho swag from the Maxell rep. And clear Maxell tapes date from the mid-late 90’s to the early 21st Century. The first tape I grabbed was an old Denon. Sadly, it’s life expectancy had come to an end. The wheels on the tape went round and round but the tape didn’t.
OK, tape number two (a black Maxell) was slammed in. Most of my tapes were pretty normal, a compilation of whatever I was into at the moment. A great example was when I had bought a bunch of really cheap 45’s at Phonolux, so I just comp’d them all together into one big scratchy collection. Generally there were musical smash-ups of two genres which wouldn’t normally go together but which always kept my ear interested. And there were the straight theme tapes like the Balvenie Surf Mix tape which I made one night while drinking single malts. But this tape was different. This one stands apart from everything else I ever did and I had completely forgotten about it.
The tape starts off with Screamin’ Jay Hawkins off the Feast of the Mau Mau album. But not a whole song. No, instead I took grunts, groans, and screams and the occasional verse from the whole album and edited it down to a 2 or 3 minute sound collage. I’m not sure why. It is kinda cool in Cliff Notes way or as a bizarre commercial for what to expect from the Wild Man of Rock and Roll.
The majority of the tape consists of Southern Rock guitar solos from all the greats: “Ramblin’ Man”, “If You Wanna Get to Heaven”, “Free Bird”, “Highway Song”, “Champagne Jam”, “Bell Bottom Blues”, and many others. But remember, these aren’t the songs, these are only the guitar SOLOS! They’re mashed together in a sometimes sloppy but sometimes brilliant editing scheme that eliminates all the pesky mushy love lyrics and jingoistic anthems. And it lasts almost 30 minutes! I have no idea why I did this. In a “Name That Tune” way, it works. In an extended guitar solo that never seems to end kind of way, it almost works. In fact, I would almost love to try recreate it now with digital technology. The rest of the tape is more traditional with three instrumental songs from Tom Waits.
So, what kind of story do you have about mix tapes?
So, with my CD player currently on the fritz in the car, I grabbed a few moldy tapes out of a box to listen to yesterday. Strangely, I can carbon date many of my tapes by what brand they are. Blue Kmart tapes are the earliest that I used to buy and were used to tape Hitchhiker’s Guide to the Galaxy, the Star Wars radio dramatization, and this cool Beatles radio documentary where they played every song off every album with some sort of commentary or associated audio clip. Denon tapes date back to when I worked at Cat’s Records and we had a promo on them. Black Maxell tapes date to the late 80’s and early 90’s when I worked at Tower Records and was getting mucho swag from the Maxell rep. And clear Maxell tapes date from the mid-late 90’s to the early 21st Century. The first tape I grabbed was an old Denon. Sadly, it’s life expectancy had come to an end. The wheels on the tape went round and round but the tape didn’t.
OK, tape number two (a black Maxell) was slammed in. Most of my tapes were pretty normal, a compilation of whatever I was into at the moment. A great example was when I had bought a bunch of really cheap 45’s at Phonolux, so I just comp’d them all together into one big scratchy collection. Generally there were musical smash-ups of two genres which wouldn’t normally go together but which always kept my ear interested. And there were the straight theme tapes like the Balvenie Surf Mix tape which I made one night while drinking single malts. But this tape was different. This one stands apart from everything else I ever did and I had completely forgotten about it.
The tape starts off with Screamin’ Jay Hawkins off the Feast of the Mau Mau album. But not a whole song. No, instead I took grunts, groans, and screams and the occasional verse from the whole album and edited it down to a 2 or 3 minute sound collage. I’m not sure why. It is kinda cool in Cliff Notes way or as a bizarre commercial for what to expect from the Wild Man of Rock and Roll.
The majority of the tape consists of Southern Rock guitar solos from all the greats: “Ramblin’ Man”, “If You Wanna Get to Heaven”, “Free Bird”, “Highway Song”, “Champagne Jam”, “Bell Bottom Blues”, and many others. But remember, these aren’t the songs, these are only the guitar SOLOS! They’re mashed together in a sometimes sloppy but sometimes brilliant editing scheme that eliminates all the pesky mushy love lyrics and jingoistic anthems. And it lasts almost 30 minutes! I have no idea why I did this. In a “Name That Tune” way, it works. In an extended guitar solo that never seems to end kind of way, it almost works. In fact, I would almost love to try recreate it now with digital technology. The rest of the tape is more traditional with three instrumental songs from Tom Waits.
So, what kind of story do you have about mix tapes?
September 1, 2006
Halloween 2006 - Garage Mix
Frankly I was inspired by John's enthusiasm for creating his mammoth collection of songs celebrating Halloween. So, I've spent the last two nights compiling a number of CDs and then burning the first of two discs which am I happy to share. Here's the contents of Disc Number One!
1. Blue Oyster Cult - (Don't Fear) The Reaper
2. Unnatural Axe - They Saved Hitler's Brain
3. The Germs - Lexicon Devil
4. Total Coelo - I Eat Cannibals (Part One)
5. October Country - My Girlfriend Is A Witch
6. Stone By Stone W/Chris D. - I Pass For Human
7. Slayer - Necrophiliac
8. Deuce Coupes - Satan's Chariot
9. Albert King - Born Under A Bad Sign
10. Eddie Kirk - Them Bones
11. Honeyboy - Bloodstains On The Wall
12. Johnny Fuller - Haunted House
13. The Nomads - Where The Wolf Bane Blooms
14. Quincy Jones - Superstition
15. The Cherry Valance - Two Headed Woman
16. Gas Huffer - Ghost In The Lighthouse
17. Man Or Astroman? - Electrostatic Brain Field
18. Dragula - The Maltese Martian
19. The Makers - Death Of Mr. Monster
20. Crystalites - Undertaker's Burial
21. Bob McFadden & Dor - The Mummy
22. Laika & The Cosmonauts - Psycko
23. The Sonics - Psycho
24. Famous Monsters - Blood Of Frankenstein
25. Sugar Shack - My Girl The Vampire
26. Tarantuala Ghoul & The Gravediggers - King Kong
27. Jan Davis - Watusi Zombie
28. Duplex Planet - Thats Halloween!
A great compiliation by my standards and done on a very impulsive whim. Volume Two is promising to lean a bit more towards Brit Goth, but we'll see (or hear) soon enough
1. Blue Oyster Cult - (Don't Fear) The Reaper
2. Unnatural Axe - They Saved Hitler's Brain
3. The Germs - Lexicon Devil
4. Total Coelo - I Eat Cannibals (Part One)
5. October Country - My Girlfriend Is A Witch
6. Stone By Stone W/Chris D. - I Pass For Human
7. Slayer - Necrophiliac
8. Deuce Coupes - Satan's Chariot
9. Albert King - Born Under A Bad Sign
10. Eddie Kirk - Them Bones
11. Honeyboy - Bloodstains On The Wall
12. Johnny Fuller - Haunted House
13. The Nomads - Where The Wolf Bane Blooms
14. Quincy Jones - Superstition
15. The Cherry Valance - Two Headed Woman
16. Gas Huffer - Ghost In The Lighthouse
17. Man Or Astroman? - Electrostatic Brain Field
18. Dragula - The Maltese Martian
19. The Makers - Death Of Mr. Monster
20. Crystalites - Undertaker's Burial
21. Bob McFadden & Dor - The Mummy
22. Laika & The Cosmonauts - Psycko
23. The Sonics - Psycho
24. Famous Monsters - Blood Of Frankenstein
25. Sugar Shack - My Girl The Vampire
26. Tarantuala Ghoul & The Gravediggers - King Kong
27. Jan Davis - Watusi Zombie
28. Duplex Planet - Thats Halloween!
A great compiliation by my standards and done on a very impulsive whim. Volume Two is promising to lean a bit more towards Brit Goth, but we'll see (or hear) soon enough
August 29, 2006
The Pussycat Lounge
AKA - The Pink Pussycat Lounge (although it doesn't seem very pink)
Located in downtown Fargo, ND, this establishment is just outside the Greyhound station. I first "rode the dog" from Nashville to Seattle back in 1987 to visit my friend Toni. This is an arduous trip, taking three days of butt numbing energy. When you arrive, you feel nasty, but it is one of the more interesting ways to see the countryside because you stop in every podunk town between here and Timbuktu. If you ever attempt a journey like this, pack food (unless you want to eat road slop which has to be prepared quickly since the bus in leaving in mere moments), a book (lots of quality time), and portable music (when you don't want to talk to the crazy person sitting next to you).
On this trip, I flew back having not yet gotten that road hardened feeling into my blood. Two years later I would take the bus back from Seattle to Nashville in order to pick up my car when moving to the Emerald City of the Northwest.
AKA - The Pink Pussycat Lounge (although it doesn't seem very pink)
Located in downtown Fargo, ND, this establishment is just outside the Greyhound station. I first "rode the dog" from Nashville to Seattle back in 1987 to visit my friend Toni. This is an arduous trip, taking three days of butt numbing energy. When you arrive, you feel nasty, but it is one of the more interesting ways to see the countryside because you stop in every podunk town between here and Timbuktu. If you ever attempt a journey like this, pack food (unless you want to eat road slop which has to be prepared quickly since the bus in leaving in mere moments), a book (lots of quality time), and portable music (when you don't want to talk to the crazy person sitting next to you).
On this trip, I flew back having not yet gotten that road hardened feeling into my blood. Two years later I would take the bus back from Seattle to Nashville in order to pick up my car when moving to the Emerald City of the Northwest.
August 27, 2006
"Halloween"
I was listening to a cool comp tonight called New Wave Halloween with tracks by Roky Erickson (personal fav!), The Dream Syndicate, Siouxsie and the Banshees, Dave Edmonds (?), Dead Kennedys, MX-80 (with a rockin’ Theme from Halloween cover) and a few others, not the least of which was Sonic Youth.
Flash backwards to the late 1980’s when I was working at Tower and used to cruise with a young woman named Kat. Hailing from Kentucky and heading towards Chicago (where she would hang with Al Jourgensen), Kat and I used to get off work at Tower (1 AM) and head down to Elliston Square (now The End) and drink beers and White Russians. Through her I was introduced to Sonic Youth and their song “Halloween”. She lived in some apartments just behind the Jackson Apartments off West End and had a huge poster for Sister (or maybe it was Daydream Nation) on her wall. Incredibly raucous, but lulling and rhythmic at the same time, Sonic Youth has continued to be a favorite of mine over the years. Perhaps I’ll recount my experiences seeing them live with Jesus Lizard opening for them some day, but not tonight.
My favorite memory of hanging with Kat was when we drove to Bowling Green to see The Church play. Part of that memory lingers with me today because it was the loudest show I’ve ever been to (outside of Dinosaur Jr.) and I believe part of my hearing loss was suffered at said show. By the way, the show was fantastic if you like that neo-psychedelic sound which they embodied oh-so-well. However, the kicker was driving her SAAB all the way back to Nashville on Highway 31E in the middle of the night through all the shit kicker towns between here and there while listening to great industrial and goth tracks.
OK. Second greatest memory of Kat was when she picked up Judge Reinhold (he was shooting a movie in Mississippi and staying in Nashville for the weekends) and we all went back to his suite at the Vanderbilt Plaza and got smashed.
Any way, I’ve lost track of Kat over the years, but those will always be great memories.
Flash backwards to the late 1980’s when I was working at Tower and used to cruise with a young woman named Kat. Hailing from Kentucky and heading towards Chicago (where she would hang with Al Jourgensen), Kat and I used to get off work at Tower (1 AM) and head down to Elliston Square (now The End) and drink beers and White Russians. Through her I was introduced to Sonic Youth and their song “Halloween”. She lived in some apartments just behind the Jackson Apartments off West End and had a huge poster for Sister (or maybe it was Daydream Nation) on her wall. Incredibly raucous, but lulling and rhythmic at the same time, Sonic Youth has continued to be a favorite of mine over the years. Perhaps I’ll recount my experiences seeing them live with Jesus Lizard opening for them some day, but not tonight.
My favorite memory of hanging with Kat was when we drove to Bowling Green to see The Church play. Part of that memory lingers with me today because it was the loudest show I’ve ever been to (outside of Dinosaur Jr.) and I believe part of my hearing loss was suffered at said show. By the way, the show was fantastic if you like that neo-psychedelic sound which they embodied oh-so-well. However, the kicker was driving her SAAB all the way back to Nashville on Highway 31E in the middle of the night through all the shit kicker towns between here and there while listening to great industrial and goth tracks.
OK. Second greatest memory of Kat was when she picked up Judge Reinhold (he was shooting a movie in Mississippi and staying in Nashville for the weekends) and we all went back to his suite at the Vanderbilt Plaza and got smashed.
Any way, I’ve lost track of Kat over the years, but those will always be great memories.
April 23, 2006
The Dante's Inferno Test has banished you to the Eigth Level of Hell - the Malebolge!
Here is how you matched up against all the levels:
Take the Dante's" Inferno Test
Here is how you matched up against all the levels:
| Level | Score |
|---|---|
| Purgatory (Repenting Believers) | Very Low |
| Level 1 - Limbo (Virtuous Non-Believers) | Very Low |
| Level 2 (Lustful) | High |
| Level 3 (Gluttonous) | Very High |
| Level 4 (Prodigal and Avaricious) | Moderate |
| Level 5 (Wrathful and Gloomy) | High |
| Level 6 - The City of Dis (Heretics) | Low |
| Level 7 (Violent) | High |
| Level 8- the Malebolge (Fraudulent, Malicious, Panderers) | Very High |
| Level 9 - Cocytus (Treacherous) | Moderate |
Take the Dante's" Inferno Test
April 20, 2006
Tasty Wolfsbane
[Originally posted on DVDmon.com in 2000]
The Wolf Man (1941)
Film: ****
Audio: **1/2
Video: ***1/2
Extras: ****
Value: ****
Overall: ****
Studio: Universal Produced: 1941 Rated: NR Running Length: 70 min. DVD Release: 11/2/99 Video: 1.33:1 (Full-frame) Audio: English DD 1.0
Even though it comes late in the original Universal Monsters cycle, George Waggner’s The Wolf Man (1941) is rightfully a classic horror movie. The film stars Lon Chaney Jr., the son of the silent screen’s greatest horror icon, Lon Chaney. In this film, Chaney Jr. begins his own ascent into the horror movie pantheon by portraying Larry Talbot, a prodigal son returning to his homeland after years abroad. Unfortunately, while love begins to bloom for Larry in the form of Gwen Conliffe (Evelyn Ankers), so also blooms the wolfbane. After being bitten in an attack by a gypsy werewolf (Bela Lugosi), Larry has to wrestle with his fate.
To criticize a film like The Wolf Man by the standards of films which are made today is to miss a magical opportunity to enjoy classic myth-making. Of course the film is in black and white, the acting seems more stagey, and the violence is hidden from sight. These are the charms of the golden age of Hollywood. But what film made recently can boast the creepy charm of a forest ensconced with thick fog, or a small village of superstitious, torch bearing denizens? To answer my own question, Tim Burton’s Sleepy Hollow (1999), which is as much an homage to the classic Universal horror films as it is to the Hammer horror films of the 1950’s and 1960’s. While the look of The Wolf Man has been influential, it is the anguished monster (as in Frankenstein) which is played for the audience’s sympathy and not just for abject horror that elevates the film above other movies of its kind.
The presentation of the movie is very good with the occasional scratch or spot, but this is also a film which is almost sixty years old. Needless to say, the sound is Dolby Digital Mono. However, the DVD is yet another loaded special edition containing a half-hour documentary, Monster by Moonlight, hosted by director John Landis (An American Werewolf in London). It is very informative and gives a lengthy breakdown into how makeup artist Jack Pierce went about creating the infamous Wolf Man mask. Another bonus feature is a non-stop commentary track by film historian Tom Weaver. A highlight of his comments concerns the aborted attempt to make a werewolf movie back in the early 1930’s which would have starred Boris Karloff. If you’’ve never listened to an audio commentary, this is a great example of what they should be like. Additionally, the disc presents a montage of posters and on-set photos set to the fantastic film score by Charles Previn, Hans J. Salter, and Frank Skinner.
If you are a fan of classic monster movies, The Wolf Man is a howling good time.
The Wolf Man (1941)
Film: ****
Audio: **1/2
Video: ***1/2
Extras: ****
Value: ****
Overall: ****
Studio: Universal Produced: 1941 Rated: NR Running Length: 70 min. DVD Release: 11/2/99 Video: 1.33:1 (Full-frame) Audio: English DD 1.0
Even though it comes late in the original Universal Monsters cycle, George Waggner’s The Wolf Man (1941) is rightfully a classic horror movie. The film stars Lon Chaney Jr., the son of the silent screen’s greatest horror icon, Lon Chaney. In this film, Chaney Jr. begins his own ascent into the horror movie pantheon by portraying Larry Talbot, a prodigal son returning to his homeland after years abroad. Unfortunately, while love begins to bloom for Larry in the form of Gwen Conliffe (Evelyn Ankers), so also blooms the wolfbane. After being bitten in an attack by a gypsy werewolf (Bela Lugosi), Larry has to wrestle with his fate.
To criticize a film like The Wolf Man by the standards of films which are made today is to miss a magical opportunity to enjoy classic myth-making. Of course the film is in black and white, the acting seems more stagey, and the violence is hidden from sight. These are the charms of the golden age of Hollywood. But what film made recently can boast the creepy charm of a forest ensconced with thick fog, or a small village of superstitious, torch bearing denizens? To answer my own question, Tim Burton’s Sleepy Hollow (1999), which is as much an homage to the classic Universal horror films as it is to the Hammer horror films of the 1950’s and 1960’s. While the look of The Wolf Man has been influential, it is the anguished monster (as in Frankenstein) which is played for the audience’s sympathy and not just for abject horror that elevates the film above other movies of its kind.
The presentation of the movie is very good with the occasional scratch or spot, but this is also a film which is almost sixty years old. Needless to say, the sound is Dolby Digital Mono. However, the DVD is yet another loaded special edition containing a half-hour documentary, Monster by Moonlight, hosted by director John Landis (An American Werewolf in London). It is very informative and gives a lengthy breakdown into how makeup artist Jack Pierce went about creating the infamous Wolf Man mask. Another bonus feature is a non-stop commentary track by film historian Tom Weaver. A highlight of his comments concerns the aborted attempt to make a werewolf movie back in the early 1930’s which would have starred Boris Karloff. If you’’ve never listened to an audio commentary, this is a great example of what they should be like. Additionally, the disc presents a montage of posters and on-set photos set to the fantastic film score by Charles Previn, Hans J. Salter, and Frank Skinner.
If you are a fan of classic monster movies, The Wolf Man is a howling good time.
April 19, 2006
Long Dark Teatime of the Soundtrack
Douglas Adams first entered my life on June 14, 1981 by way of WPLN and the radio version of The Hitchhiker’s Guide to the Galaxy. For the next several weeks I began my first attempts at skipping church in order to record the newest installment. Soon thereafter I bought the first book in hardcover and not much later than that I began signing my English papers as Zaphod Beeblebrox (in response to my friend’s new appellation, Bungalow Bill). Over the next few years I would tape the TV series off WDCN and read the other fine books in the series. You could say I was a fan. Not obsessive, but interested. However, it wouldn’t be until last year that I would learn a deep dark secret of the Guide.
The Eagles recorded the theme song!
Pause with me for a moment. Perhaps you knew this. I didn’t. Those inglorious California milquetoast country rockers, The Eagles, recorded a piece of music which brought tears to my eyes when I saw the movie theatrically because I had so much emotional baggage tied up in it. The Eagles. Honestly, I don’t have anything against them. I’ve even owned both of their Greatest Hits collections a long time ago (but no more).
So, with scientific interest in mind, I have been searching for The Eagles album One of These Nights which contains the song “Journey of the Sorcerer”. My search finally ended yesterday at The Great Escape with a cheap $4 LP purchase. And yes, that’s the song alright. Not your typical Eagles number as there is no harmonious singing or squealing guitar solos, just a banjo and an orchestra. It’s a great number, written by Bernie Leadon, who is not generally regarded as a heavy hitter within the group (that would be Mssrs. Frey, Henley, Felder and later Walsh). “Sorcerer” has a vaguely spacey feeling to it, but only in that early 70’s jam band kind of way where the drugs are just kicking in and you feel like your flying man, just waving that freak flag like you don’t care and to hell with the man!!!
So why was this song chosen? Let us refer to Wikipedia:
The theme tune used for the radio, television, LP and film versions is "Journey of the Sorcerer," an instrumental piece composed by Bernie Leadon and recorded by The Eagles on their album One of These Nights. Only the transmitted radio series used the original recording; a soundalike cover by Tim Souster was used for the LP and TV series, another arrangement by Joby Talbot was used for the 2005 film, and still another arrangement, this time by Philip Pope, was recorded to be released with the CDs of the last three radio series. Apparently, Adams chose this song for its futuristic sounding nature, but also for the fact that it had a banjo in it, which, as Geoffrey Perkins recalls, Adams said would give it an "on the road, hitch-hiking feel.”
Well, there you have it. Douglas Adams used to listen to The Eagles. Next thing you know they’ll claim that Doctorin’ The Tardis by The Justified Ancients of Mu Mu a.k.a. The Timelords were inspired by Gary Glitter and Sweet.
The Eagles recorded the theme song!
Pause with me for a moment. Perhaps you knew this. I didn’t. Those inglorious California milquetoast country rockers, The Eagles, recorded a piece of music which brought tears to my eyes when I saw the movie theatrically because I had so much emotional baggage tied up in it. The Eagles. Honestly, I don’t have anything against them. I’ve even owned both of their Greatest Hits collections a long time ago (but no more).
So, with scientific interest in mind, I have been searching for The Eagles album One of These Nights which contains the song “Journey of the Sorcerer”. My search finally ended yesterday at The Great Escape with a cheap $4 LP purchase. And yes, that’s the song alright. Not your typical Eagles number as there is no harmonious singing or squealing guitar solos, just a banjo and an orchestra. It’s a great number, written by Bernie Leadon, who is not generally regarded as a heavy hitter within the group (that would be Mssrs. Frey, Henley, Felder and later Walsh). “Sorcerer” has a vaguely spacey feeling to it, but only in that early 70’s jam band kind of way where the drugs are just kicking in and you feel like your flying man, just waving that freak flag like you don’t care and to hell with the man!!!
So why was this song chosen? Let us refer to Wikipedia:
The theme tune used for the radio, television, LP and film versions is "Journey of the Sorcerer," an instrumental piece composed by Bernie Leadon and recorded by The Eagles on their album One of These Nights. Only the transmitted radio series used the original recording; a soundalike cover by Tim Souster was used for the LP and TV series, another arrangement by Joby Talbot was used for the 2005 film, and still another arrangement, this time by Philip Pope, was recorded to be released with the CDs of the last three radio series. Apparently, Adams chose this song for its futuristic sounding nature, but also for the fact that it had a banjo in it, which, as Geoffrey Perkins recalls, Adams said would give it an "on the road, hitch-hiking feel.”
Well, there you have it. Douglas Adams used to listen to The Eagles. Next thing you know they’ll claim that Doctorin’ The Tardis by The Justified Ancients of Mu Mu a.k.a. The Timelords were inspired by Gary Glitter and Sweet.
April 17, 2006
Dr. No
[Originally published at DVDMon.com in 2000]
Dr. No (1963) - (Other Action)
Film: ****
Audio: ***
Video: ***1/2
Extras: ****1/2
Value: ****
Overall: ****
Studio: MGMProduced: 1963Rated: PGRunning Length: 110 min.DVD Release: 5/16/00Case: Keep Case CaseVideo: 1.78:1 (Anamorphic/Enhanced for 16x9 TV’’s)Audio: English DD 1.0, Spanish DD 1.0, French DD 1.0Subtitles: NoneRetail price: $30Low online price: $20-->
Every film series has to have a beginning, and while Dr. No is not necessarily the best of the James Bond films (From Russia with Love) nor the worst (A View to a Kill), it does hold the distinction of being the first. In this initial adventure, 007 is sent to Jamaica to investigate the disappearance of another operative. While there he uncovers the fiendish Dr. No, an ally of that international organization of evil, SPECTRE. The movie introduces the Bond aficionado to numerous elements which have come to epitomize the spy chic of the series: exotic locales, diabolical villains, buxom beauties, and rampant political incorrectness.
To a degree, it is the un-PC nature of the James Bond films which helps the series maintain a level of illicit appeal. Bond seduces no less three women through the course of the film, and flirts mercilessly with others. In a day and age where sex can equal death, this attitude seems almost naive. Misogyny aside, a truly disturbing side of Bond is the slight undercurrent of racism. The character of Quarrel (John Kitzmiller) comes off little better than one of the wide-eyed supporting roles played by Mantan Moreland (numerous Charlie Chan films and King of the Zombies). The most egregious example of is Quarrel’’s superstitious belief in the "dragon" of Crab Key. For him to be a part of voodoo would be one thing as it is a real religion, but believing in fire breathing monsters is another. (An interesting sidenote: Quarrel’’s son appears in Live and Let Die which does use voodoo as one of the story devices.) By forcing him to believe in a myth, the story strips him of emotional weight. Of course, 1962 was a world where civil rights were being fought for with real blood, not the stage variety. Such frivolities, of course, were below the radar for a spy concerned with stopping the scourge of evil.
Perhaps, I’’m taking shots at Dr. No because it is considered a classic film. It is an exciting fantasy world that Sean Connery illuminates for us with his prototypical panache. But, it is interesting to look back from the cusp of the 21st century and marvel at the simplistic and partially backwards world of 007.
The DVD is a standard bearer for other like-minded releases, offering two documentaries (one on the origin of the film series and the other on Bond’’s first director). There are also a variety of trailers, ads, photos, and posters archived on the disc. Last, but no least, is the commentary track which hosts an almost dizzying array of people involved in the production. The sound is presented in glorious monophonic splendor and letterboxed for 16x9 enhancement.
- Review By Chris Peltier
Dr. No (1963) - (Other Action)
Film: ****
Audio: ***
Video: ***1/2
Extras: ****1/2
Value: ****
Overall: ****
Studio: MGMProduced: 1963Rated: PGRunning Length: 110 min.DVD Release: 5/16/00Case: Keep Case CaseVideo: 1.78:1 (Anamorphic/Enhanced for 16x9 TV’’s)Audio: English DD 1.0, Spanish DD 1.0, French DD 1.0Subtitles: NoneRetail price: $30Low online price: $20-->
Every film series has to have a beginning, and while Dr. No is not necessarily the best of the James Bond films (From Russia with Love) nor the worst (A View to a Kill), it does hold the distinction of being the first. In this initial adventure, 007 is sent to Jamaica to investigate the disappearance of another operative. While there he uncovers the fiendish Dr. No, an ally of that international organization of evil, SPECTRE. The movie introduces the Bond aficionado to numerous elements which have come to epitomize the spy chic of the series: exotic locales, diabolical villains, buxom beauties, and rampant political incorrectness.
To a degree, it is the un-PC nature of the James Bond films which helps the series maintain a level of illicit appeal. Bond seduces no less three women through the course of the film, and flirts mercilessly with others. In a day and age where sex can equal death, this attitude seems almost naive. Misogyny aside, a truly disturbing side of Bond is the slight undercurrent of racism. The character of Quarrel (John Kitzmiller) comes off little better than one of the wide-eyed supporting roles played by Mantan Moreland (numerous Charlie Chan films and King of the Zombies). The most egregious example of is Quarrel’’s superstitious belief in the "dragon" of Crab Key. For him to be a part of voodoo would be one thing as it is a real religion, but believing in fire breathing monsters is another. (An interesting sidenote: Quarrel’’s son appears in Live and Let Die which does use voodoo as one of the story devices.) By forcing him to believe in a myth, the story strips him of emotional weight. Of course, 1962 was a world where civil rights were being fought for with real blood, not the stage variety. Such frivolities, of course, were below the radar for a spy concerned with stopping the scourge of evil.
Perhaps, I’’m taking shots at Dr. No because it is considered a classic film. It is an exciting fantasy world that Sean Connery illuminates for us with his prototypical panache. But, it is interesting to look back from the cusp of the 21st century and marvel at the simplistic and partially backwards world of 007.
The DVD is a standard bearer for other like-minded releases, offering two documentaries (one on the origin of the film series and the other on Bond’’s first director). There are also a variety of trailers, ads, photos, and posters archived on the disc. Last, but no least, is the commentary track which hosts an almost dizzying array of people involved in the production. The sound is presented in glorious monophonic splendor and letterboxed for 16x9 enhancement.
- Review By Chris Peltier
April 15, 2006
Martin
[This was originally published as part of DVDmon back in 2000]
Martin (1977) - (Other Horror)
Film: ****
Audio: ***
Video: ***
Extras: ***
Value: ***1/2
Overall: ****
Studio: Anchor BayProduced: 1977Rated: R Running Length: 94 min. DVD Release: 7/4/00 Video: 1.33:1 (Full-frame) Audio: English DD 1.0 Subtitles: None Retail price: $30 Low online price: $18-->
George Romero’’s film, Martin, is a postmodern approach to the vampire myth which eschews all the typical phantasmagorical elements in order to place its monster in the world. Vampires walk in the sun, eat garlic, and long for "sexy stuff" relationships that involve partners who are awake. The film begins with the title character boarding a train where he stalks and murders a victim. The images on screen alternate between a black and white version of what is playing in Martin’’s imagination and a color depiction of his crime. In reality, Martin doesn’’t hypnotize his victims and bite them. Instead, he shoots them up with drugs and then slits their wrists, letting the blood flow all over himself.
Arriving in Pittsburg, Martin is met by his European cousin, Cuda, who is very superstitious. Cuda warns Martin that he will save his soul before destroying him because he knows that Martin is Nosferatu. The dichotomy of the naturalized Martin versus the Old World ways of Cuda is just one of the fascinating themes in Romero’’s film. In a country where we long for roots to a forgotten past, Cuda is a troubling reminder of what those times also held. He is not mistaken in thinking Martin to be evil, but he is thoroughly wrong in thinking why.
Martin does not glamorize vampire chic the way many other films do. Martin’’s feedings rarely go the way he imagines they should. While he acknowledges the lack of magic around him, the deeply longs for it. To be a suave ladykiller and have villagers chasing him with torches is much more romantic than bashing bums and running from police officers. Romero punctures the allure of the vampire mythos by reducing them to pathological serial killers.
The DVD is presented in full frame because it was originally shot that way on 16mm. The picture quality is generally good with some slight ringing in the darker shots. The sound is monophonic, but punchy. Included as a bonus feature is an audio commentary with Romero, Tom Savini (who did double duty as special effects make-up and as an actor), and John Amplas (who played Martin). If sitting down with these three and listening to them reminisce sounds like a good time, this is the track for you. The most frustrating part of the track is learning of a three hour version of the film which has vanished. This is not a movie to use as a show off disc, but it is a rewarding experience for fans of George Romero and of vampires.
- Review By Chris Peltier
Martin (1977) - (Other Horror)
Film: ****
Audio: ***
Video: ***
Extras: ***
Value: ***1/2
Overall: ****
Studio: Anchor BayProduced: 1977Rated: R Running Length: 94 min. DVD Release: 7/4/00 Video: 1.33:1 (Full-frame) Audio: English DD 1.0 Subtitles: None Retail price: $30 Low online price: $18-->
George Romero’’s film, Martin, is a postmodern approach to the vampire myth which eschews all the typical phantasmagorical elements in order to place its monster in the world. Vampires walk in the sun, eat garlic, and long for "sexy stuff" relationships that involve partners who are awake. The film begins with the title character boarding a train where he stalks and murders a victim. The images on screen alternate between a black and white version of what is playing in Martin’’s imagination and a color depiction of his crime. In reality, Martin doesn’’t hypnotize his victims and bite them. Instead, he shoots them up with drugs and then slits their wrists, letting the blood flow all over himself.
Arriving in Pittsburg, Martin is met by his European cousin, Cuda, who is very superstitious. Cuda warns Martin that he will save his soul before destroying him because he knows that Martin is Nosferatu. The dichotomy of the naturalized Martin versus the Old World ways of Cuda is just one of the fascinating themes in Romero’’s film. In a country where we long for roots to a forgotten past, Cuda is a troubling reminder of what those times also held. He is not mistaken in thinking Martin to be evil, but he is thoroughly wrong in thinking why.
Martin does not glamorize vampire chic the way many other films do. Martin’’s feedings rarely go the way he imagines they should. While he acknowledges the lack of magic around him, the deeply longs for it. To be a suave ladykiller and have villagers chasing him with torches is much more romantic than bashing bums and running from police officers. Romero punctures the allure of the vampire mythos by reducing them to pathological serial killers.
The DVD is presented in full frame because it was originally shot that way on 16mm. The picture quality is generally good with some slight ringing in the darker shots. The sound is monophonic, but punchy. Included as a bonus feature is an audio commentary with Romero, Tom Savini (who did double duty as special effects make-up and as an actor), and John Amplas (who played Martin). If sitting down with these three and listening to them reminisce sounds like a good time, this is the track for you. The most frustrating part of the track is learning of a three hour version of the film which has vanished. This is not a movie to use as a show off disc, but it is a rewarding experience for fans of George Romero and of vampires.
- Review By Chris Peltier
April 10, 2006
Forgotten Heroes
[Originally published on April 5, 2006]
Today is a blogging birthday bash for the brilliant Roger Corman: director, writer, producer, actor, and all around cool guy. Who else do you know that’s gonna drop acid as research for a movie about hippies? Point to the sane man who thinks he can direct a coherent feature length movie in two days. Forget the six degrees of Kevin Bacon, how about the six degrees of Corman? This cat has hired and/or worked with the best in the biz: Jack Nicholson, Boris Karloff, Francis Ford Coppola, Jonathan Demme, Joe Dante, Peter Fonda, Vincent Price, Peter Lorre, Basil Rathbone, Peter Bogdanovich, Ray Milland, Bruce Dern, Robert Towne, Martin Scorsese, Ron Howard, and too many others to even mention. Genres? Oh yeah. He’s had a hand in everything from monster drive-in classics, artistic literary adaptations, foreign imports, westerns, gangsters, modern musicals and almost anything else in between. The trick is that he didn’t really think he was cool or an artist. He just did what stimulated him intellectually.
And today he’s a spry 80 years old.
As you may or may not know, I manage a mall-based corporate DVD store. In honor of Roger Corman’s birthday today, I did a pull together of titles we had in stock. Sadly, it wasn’t enormous, but there were some of his directorial classics: Little Shop of Horrors, I, Mobster, Wasp Woman, Last Woman on Earth, A Bucket of Blood, Creature from the Haunted Sea. I also found a few Corman productions: Dementia 13, Boxcar Bertha, Caged Heat, and Rock and Roll High School. Sadly, we had none of his great Edgar Allan Poe films or the 1960s counterculture flicks. When customers would wander in to the store, I’d point out the display and explain that it was in honor of Corman’s birthday. A few would stop and stare for a moment and then stagger off in search of Married with Children box sets or The Chronicles of Narnia. One person actually picked up Rock and Roll High School, pondering a purchase, but went for the new Flaming Lips CD instead of punk rock Ramones. Mostly I got blank looks and indifference.
In his book, How I Made a Hundred Movies in Hollywood and Never Lost a Dime, Corman was able to add visionary to his list of professional credits. He wrote, “The trick with theatrical exhibition nowadays is no longer to make big money on rentals as in the 1970s. Instead, you make some money theatrically, but use the release as advertising so you can get the video profits” (p. 228). How true that statement has become. While most of my customers couldn’t be bothered by his body of work, they were reaping the benefits of his business philosophy. DVD sales are the backbone of the new Hollywood with more money made on some films found in stores like mine rather than in the local megaplex. Ultimately, only movie geeks like me and historians will really care about his body of work because film is pop culture. Fads come and go and film fades into celluloid dreams. And Roger Corman was once their king.
Happy Birthday!
Today is a blogging birthday bash for the brilliant Roger Corman: director, writer, producer, actor, and all around cool guy. Who else do you know that’s gonna drop acid as research for a movie about hippies? Point to the sane man who thinks he can direct a coherent feature length movie in two days. Forget the six degrees of Kevin Bacon, how about the six degrees of Corman? This cat has hired and/or worked with the best in the biz: Jack Nicholson, Boris Karloff, Francis Ford Coppola, Jonathan Demme, Joe Dante, Peter Fonda, Vincent Price, Peter Lorre, Basil Rathbone, Peter Bogdanovich, Ray Milland, Bruce Dern, Robert Towne, Martin Scorsese, Ron Howard, and too many others to even mention. Genres? Oh yeah. He’s had a hand in everything from monster drive-in classics, artistic literary adaptations, foreign imports, westerns, gangsters, modern musicals and almost anything else in between. The trick is that he didn’t really think he was cool or an artist. He just did what stimulated him intellectually.
And today he’s a spry 80 years old.
As you may or may not know, I manage a mall-based corporate DVD store. In honor of Roger Corman’s birthday today, I did a pull together of titles we had in stock. Sadly, it wasn’t enormous, but there were some of his directorial classics: Little Shop of Horrors, I, Mobster, Wasp Woman, Last Woman on Earth, A Bucket of Blood, Creature from the Haunted Sea. I also found a few Corman productions: Dementia 13, Boxcar Bertha, Caged Heat, and Rock and Roll High School. Sadly, we had none of his great Edgar Allan Poe films or the 1960s counterculture flicks. When customers would wander in to the store, I’d point out the display and explain that it was in honor of Corman’s birthday. A few would stop and stare for a moment and then stagger off in search of Married with Children box sets or The Chronicles of Narnia. One person actually picked up Rock and Roll High School, pondering a purchase, but went for the new Flaming Lips CD instead of punk rock Ramones. Mostly I got blank looks and indifference.
In his book, How I Made a Hundred Movies in Hollywood and Never Lost a Dime, Corman was able to add visionary to his list of professional credits. He wrote, “The trick with theatrical exhibition nowadays is no longer to make big money on rentals as in the 1970s. Instead, you make some money theatrically, but use the release as advertising so you can get the video profits” (p. 228). How true that statement has become. While most of my customers couldn’t be bothered by his body of work, they were reaping the benefits of his business philosophy. DVD sales are the backbone of the new Hollywood with more money made on some films found in stores like mine rather than in the local megaplex. Ultimately, only movie geeks like me and historians will really care about his body of work because film is pop culture. Fads come and go and film fades into celluloid dreams. And Roger Corman was once their king.
Happy Birthday!
One of the great unanswered mysteries of the universe is “Why do Hollywood studios invariably make movies about a similar topic at the same time?” Remember Dante’s Peak and Volcano; or Mars Attacks! and Independence Day; or Twister and Night of the Twisters and Tornado!;or An American Werewolf in London and The Howling and Wolfen; or Dr. Strangelove and Fail Safe? One of the most famous examples was when Warner Brothers and 20th Century Fox combined dueling projects to save money with The Towering Inferno. Remember, these weren’t projects necessarily designed to cash in on a proven success, but a mad race to get there first.
Sadly, sometimes the better film gets squashed. 1991 saw the release of two retellings of the adventures in Sherwood Forest: Robin Hood: Prince of Thieves and Robin Hood. To this day I have never watched more than five minutes of Kevin Costner’s Robin Hood and I don’t think I’ve missed anything. If I am wrong, please enlighten me. The other Robin Hood from that same year was scuttled from its theatrical release and became a TV movie on Fox instead. Oh that I had been diligent in my videotaping back then since the version they aired ran a full half hour longer than what has been issued on VHS and DVD.
Starring Patrick Bergin fresh off his marvelous turn as Sir Francis Burton in Mountains of the Moon, this Robin Hood is rooted in the muck and mire of the time period. Not only were things rotten, but muddy and gray. From a visual standpoint, this film utilizes the lack of sun as a symbol for oppression. One of the rays of sunshine is provided by a young Uma Thurman as Maid Marian. Most of the usual suspects are present with Prince John (Edward Fox) and the Sherrif of Nottingham being underplayed in order to bolster up true villainy, the Saxon Sir Miles Folcanet (Jurgen Prochnow). A great bit of business involves Folcanet having his throat cut as a point of irriatation by Robin several times on the way to larger life altering wounds. The climax of the film with the April Fools parade is a delight with a veritable beastiary of masks worn by the Merry Men as they invade the castle. If only Robin had worn a fox mask in homage to the Disney cartoon.
In reference to an earlier blog where I noted the various appearances of British actors in other projects, this film features David Morrissey as Little John by way of a North Country hardman. Mr. Morrissey can be seen currently in Basic Instinct 2, but should be remembered for his turn as Ripley in the Dennis Potter-esque musical/mystery Viva Blackpool! which co-starred the new Doctor Who, David Tennant.
While not as much a romp as Errol Flynn’s version, this Robin Hood deserves to be remembered as more than a footnote to Costner’s version. Patrick Bergin hasn’t really followed up on the success of this film. A few years later he would star in Merlin: The Return as King Arthur who has traveled through time with his knights and now attacks petrol trucks. Truly a Turkey Day classic.
Sadly, sometimes the better film gets squashed. 1991 saw the release of two retellings of the adventures in Sherwood Forest: Robin Hood: Prince of Thieves and Robin Hood. To this day I have never watched more than five minutes of Kevin Costner’s Robin Hood and I don’t think I’ve missed anything. If I am wrong, please enlighten me. The other Robin Hood from that same year was scuttled from its theatrical release and became a TV movie on Fox instead. Oh that I had been diligent in my videotaping back then since the version they aired ran a full half hour longer than what has been issued on VHS and DVD.
Starring Patrick Bergin fresh off his marvelous turn as Sir Francis Burton in Mountains of the Moon, this Robin Hood is rooted in the muck and mire of the time period. Not only were things rotten, but muddy and gray. From a visual standpoint, this film utilizes the lack of sun as a symbol for oppression. One of the rays of sunshine is provided by a young Uma Thurman as Maid Marian. Most of the usual suspects are present with Prince John (Edward Fox) and the Sherrif of Nottingham being underplayed in order to bolster up true villainy, the Saxon Sir Miles Folcanet (Jurgen Prochnow). A great bit of business involves Folcanet having his throat cut as a point of irriatation by Robin several times on the way to larger life altering wounds. The climax of the film with the April Fools parade is a delight with a veritable beastiary of masks worn by the Merry Men as they invade the castle. If only Robin had worn a fox mask in homage to the Disney cartoon.
In reference to an earlier blog where I noted the various appearances of British actors in other projects, this film features David Morrissey as Little John by way of a North Country hardman. Mr. Morrissey can be seen currently in Basic Instinct 2, but should be remembered for his turn as Ripley in the Dennis Potter-esque musical/mystery Viva Blackpool! which co-starred the new Doctor Who, David Tennant.
While not as much a romp as Errol Flynn’s version, this Robin Hood deserves to be remembered as more than a footnote to Costner’s version. Patrick Bergin hasn’t really followed up on the success of this film. A few years later he would star in Merlin: The Return as King Arthur who has traveled through time with his knights and now attacks petrol trucks. Truly a Turkey Day classic.
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