Lazy Thoughts From a Boomer

Sleeping... But Not Gone

noreply@blogger.com (le0pard13) — Tue, 22 Feb 2011 00:00:00 +0000

Seems I was having this same debate about a year ago. Then, as it is now, it was over Blogger's less than feature-rich commenting system -- plus it seemed over the short life of this blog, I received feedback stating that the same system had munged their detailed remarks and forced them to re-type their comment more than once. Not good. I did manage to delay the argument by deploying a third-party system (JS-Kit's Echo system) last April, and that helped... some. But even with its nice social networking features, threading, and better editor, that too began to crack (and some like my friend Will couldn't even comment because older browsers had issues with Echo). Of late, whether it was Blogger's or JS-Kit's fault, it stopped working more than once... then Echo's support (did I mention it's a paid service?) stopped responding to this client's requests. It appears like I wasn't the only one unhappy with it.

While all of that was diverting enough, I began to feel that wasn't the only thing driving this. Then I remembered this scene from Silence of the Lambs:

Hannibal Lecter: First principles, Clarice. Simplicity. Read Marcus Aurelius. Of each particular thing ask: what is it in itself? What is its nature? What does he do, this man you seek?
Clarice Starling: He kills women...
Hannibal Lecter: No. That is incidental. What is the first and principal thing he does? What needs does he serve by killing?
Clarice Starling: Anger, um, social acceptance, and, huh, sexual frustrations, sir...
Hannibal Lecter: No! He covets. That is his nature. And how do we begin to covet, Clarice? Do we seek out things to covet? Make an effort to answer now.
Clarice Starling: No. We just...
Hannibal Lecter: No. We begin by coveting what we see every day...

I guess the gist of it has been the fact that I've wanted to change or improve things for a while. Don't get me me wrong. Blogger is not a bad blogging system. In fact, Google made it quite easy for me to join in on the sphere back in 2008. Ridiculously so. But again, after a while, there were things I began to notice that I craved. So when I opened a Wordpress.com account (also free like Blogger) early last year on a lark (or so I believed), I liked what I saw in its writing and publishing features. I'm not, nor do I ever expect to be, a blogger that produces extraordinary content or have a boatload of followers. However, I am one who likes to tinker with things. That's just me. And I'm not interested in getting into flame wars over platforms: Mac vs. PC, iPhone vs. Android, or Blogger vs. Wordpress (but there are loads of posts arguing one way or another on this one). But, I am making a switch... or sorts.

Since change seems to be in the air with some many of my blogging friends (Jen and Kaye have deployed her own custom domains [http://www.jensbookthoughts.com/ and http://www.meanderingsandmuses.com/, respectively], and author John Kenneth Muir and Sci-Fi Fanatic have updated their blogsite's design with nifty new templates), I'll begin posting new content exclusively over at my Wordpress blog site: It Rains... You Get Wet (points awarded to the first person who names the film this quote emanates from) starting this week. I contemplated moving my Blogger posts and comments over to the new blog with this change, but decided against it since I am not really abandoning this blog site or giving up my Blogger account. The only difference is what I've written about in the past (here) will just begin to land over there, instead. If someone leaves a comment on a blogpost (on either site), they'll still get a reply and thank you, regardless, since I'll monitor both to the best of my abilities. I don't do this lightly (hence my months long procrastination) because I realize getting people who are regular readers of Lazy Thoughts... to also make a change to a new site (and/or add another email subscription or RSS feed) is a big request.

I sincerely hope I don't alienate anyone with this, especially those who have read (or lurked), followed, and/or commented over the last few years. In many ways they are the best part of it all, but I do feel like it is for the best at this point in time. Lazy Thoughts (past) will be here, and there (those future posts that are coming). This in no way changes my commitments to friends -- I plan on contributing the promised posts to Kaye Barley and Edward Copeland on their wonderful blogs, and continuing the joint post project with the wordy one, Rachel over at Scientist Gone Wordy. I've learned, too, to never burn your bridges. So who knows, I might myself right back here sometime in the future. But for now, one leopard will be sleeping while another begins prowling. My heartfelt thanks to you all for your readership and understanding.

The Border Lords

noreply@blogger.com (le0pard13) — Mon, 14 Feb 2011 12:00:00 +0000

Having been introduced to author T. Jefferson Parker care of Robert Crais a few years back at a L.A. Times Festival of Books panel, I can honestly say it's been an enjoyable stretch. While friends have read and recommended his earlier works (notably The Fallen, Laguna Heat, and Silent Joe), I started it off with his L.A. Outlaws novel from 2008. It introduced the character of Charlie Hood (along with the personas of Joaquin and Alison Murrieta who continue to haunt all of these novels) and launched a series that has constituted my entire connection with the author. Though I have to admit my time with this string of novels hasn't been without its bumps -- see my review of The Renegades (the L.A. Outlaws follow-up) as a case in point.

Still, there are Southern California authors I will stay with no matter what because they write so well and craft their stories in and around the landscape that is their home (and mine) so adeptly. Parker is one of them. As well, he regularly delivers a consummate perspective (through a myriad of new and continuing characters) on the Drug War theatre happening on either side of the California-Mexico border through the four novels I've read. This author manages to give all the personalities he puts on the page a depth that poorer writers just turn into stereotypes and caricatures. Although, what I've finally come to recognize in the Hood novels is that Charlie is not so much the lead character, but is the platform that forms the basis of Parker's narrative. CH remains relatively interesting, but he can pale when compared to some of those TJP puts into orbit around him by way of southland crime.

That realization of mine began with last year's Iron River, the third book in the series. The history of southern California gun-making and gun-running, and its impact on both sides of the border, were manifest. Let alone the acts of devilry and butchery perpetrated among the drug cartels which Parker chronicled in that novel. Still, the SoCal native raised it up another notch with the fourth in the series published last month, The Border Lords. The synopsis of which has Sean Ozburn, a lone ATF agent 15 months into a deep undercover with the Baja Cartel, going rogue and devising his own strategy for doing good acts and 'fighting evil' that his own people would never condone, let alone authorize. It'll be left to Charlie Hood to ferret out the truth and what is behind the madness on both sides of the border. Jeff Parker has admitted that Border Lords is his implicit homage to his favorite work, Joseph Conrad's Heart of Darkness. IMO, it is one of his best books in the series (one that is projected to be six novels in length) and the genre.

A bit of fair warning, however: the author, who's research and detail of crime and the bureaucracy of law enforcement in the southland is extraordinary, introduced what many have perceived as a bit of mysticism into the last two Charlie Hood novels. Some readers have found it oft-putting (if you bother to read some of Amazon's customer reviews). If that seems incongruent, you may want to steer clear. However, if you do, you'll miss some compelling storytelling by this author and the spellbinding amalgam he's managed to capture on the page. Tim Rutten in his L.A. Times book review may have described it best:

"The border, for both peoples, always has been a moral frontier and a boundary of the imagination as much as a political one, and in this latest novel Parker takes full advantage of the physical and mental landscape's ambiguities. Almost nothing or no one in this gripping narrative is exactly who or what they seem to be. The author, moreover, has a knowing hand and pushes — in a sophisticated but never merely ironic way — against familiar literary memories as varied as Cormac McCarthy's border-hopping cowboys, Carlos Castaneda's Native American shaman and Graham Greene's whiskey priest. In fact, the book's most chilling character — and it's a tight competition — is a twisted pirouette off Greene's memorable character and one of the most appalling clerics in contemporary literature, if he really is what he appears to be."

Brilliance Audio once again produced the audiobook of this novel, as they've done for many of Parker's novels, with their usual fine production values. As well, David Colaci performed the narration with his customary skill, and he's been involved with the entire line since L.A. Outlaws. If you've heard him before, I think you can tell this narrator has become quite comfortable with the Hood character through his readings. Still, Colaci really seems to get a kick out of the variety of individuals Parker brings on to his stage. Although, having to assemble a large and distinct stable of vocal characterizations would not be his strong suit, IMO. Still, he's an asset for the audiobook listener and delivers on what the author has in store for fans who savor what he brings to the table.

Friday Forgotten Song: Castles in the Air

noreply@blogger.com (le0pard13) — Fri, 11 Feb 2011 12:00:00 +0000

In the 1975 film adaptation of James Grady's first novel, the re-titled Three Days of the Condor, Kathy Hale (Faye Dunaway portraying the reluctant 'draftee' to Robert Redford's Joe Turner) says something that decades later continues to strike a chord with me:

"Sometimes I take a picture that isn't like me. But I took it so it is like me. It has to be. I put those pictures away."

The printed photos of desolate city scenes ("lonely pictures", says Turner) in her apartment catch the protagonist's attention, and for which he finds telling. That they are personal in a way that's difficult for her* to share is obvious in those scenes. Such is the case with the song of this forgotten post.

Don McLean is the folk singer-songwriter that broke through in the early 70s with his now legendary ballad, American Pie. In it, he told the story of the deaths of Buddy Holly, Ritchie Valens and J.P. Richardson (The Big Bopper) in a plane crash in 1959 through the scope of his own experience. The National Endowment selected it as one of the five greatest songs of the 20th century in a poll for the Arts and the Recording Industry Association of America. 'Nuff said. The man's talent for song and lyric (he's a veritable poet, IMO) was clearly on display with that first hit, and the albums and singles that followed. But for whatever reason, it is the Castles in the Air song which resonates with me over time, especially through the darkest of moods and times. If I was down in the dumps, this song would be up and playing endlessly on whatever CD player I had at the time.

The lament-filled tune tells of a disillusioned urban dweller coming to grips with the reality that his needs no longer jibe with his girlfriend or her lifestyle. The seemingly contradictory 'I’m city born, but I love the country life' response shouldn't work as a verse for me at all (being the jaded Angeleno that I am), but somehow it does. As well, the tune is unique in that it has more than one form by the same artist. The first manifestation of the song came from his debut album Tapestry. Songfacts reports the...

"... original song, which was recorded in 1969, featured a strings section. This was released the following year on Mediarts Records. In 1971, United Aritsts Records re-released the song, but overdubbed a Moog Synthesizer part. The UA version is more common as the Mediarts version is now out of print."

That initial tune can be found here. The song was originally released as the 'B' side of the 45 single for his next best seller, Vincent, back in 1972. Then and now, many prefer that early form. The song was played enough as a radio 'flip' to reach the Hot 100 back in its day. However, I still prefer McLean's later 1981 re-recording of the track -- that's the one which is marked as his last true 'hit' (making it to the pop Top 40 that same year). For me, its slower tempo combined with the vocal low notes deployed by the artist transforms the track into something more sorrowful compared to the previous rendition. It's more in tune to that of a requiem, I think, and is likely the reason it transfixes me still.

When I'm in the car with my children randomly slinging tunes through the stereo care of my iPod, and come across Castles in the Air, I'll purposely skip over it to the next track. Like Kathy, it's not something that I think is typical of my (musical) tastes. I own very few tracks like it. But the fact that I have them must mean they are me. And that it still touches 'me deep inside,' paraphrasing McLean. Perhaps that is another reason I put it away, and only bring it out when I'm at depth. Anyway, I hope you enjoy.

And if she asks you why, you can tell her that I told you
That I’m tired of castles in the air.
I’ve got a dream I want the world to share
And castle walls just lead me to despair.

Hills of forest green where the mountains touch the sky,
A dream come true, I’ll live there till I die.
I’m asking you to say my last goodbye.
The love we knew ain’t worth another try.

Save me from all the trouble and the pain.
I know I’m weak, but I can’t face that girl again.
Tell her the reasons why I can’t remain,
Perhaps she’ll understand if you tell it to her plain.

But how can words express the feel of sunlight in the morning,
In the hills, away from city strife.
I need a country woman for my wife;
I’m city born, but I love the country life.

For I cannot be part of the cocktail generation:
Partners waltz, devoid of all romance.
The music plays and everyone must dance.
I’m bowing out. I need a second chance.

Save me from all the trouble and the pain.
I know I’m weak, but I can’t face that girl again.
Tell her the reasons why I can’t remain,
Perhaps she’ll understand if you tell it to her plain.

And if she asks you why, you can tell her that I told you
That I’m tired of castles in the air.
I’ve got a dream I want the world to share
And castle walls just lead me to despair.

* BTW, composer Dave Grusin nails the soundtrack for this film, especially with his Goodbye for Cathy love theme from the movie.

The Black Swan Discussion at The Aero Theatre

noreply@blogger.com (le0pard13) — Tue, 08 Feb 2011 20:53:00 +0000

Last night, the good folks at American Cinematheque Los Angeles had another of their Oscar season events. This one highlighted Darren Aronofsky's five time nominated Black Swan film. Shown along side his debut work, Pi (1998), a discussion occurred in between the screenings with the director, DP Matthew Libatique, and film editor Andrew Weisblum. Some interesting back stories were revealed -- I mean who knew the director feared his 90 lb. lead actor more than Mickey Rourke from The Wrestler and how much those characters are alike. It really was another enjoyable event by the staff at The Aero Theatre who gave their usual marvelous presentation to the film fans in attendance at this sold out event. Below is the start of my video recording of the discourse (you can see the rest in parts 2, 3, 4, and 5). For those who haven't seen the film or anything by this director, it is highly recommended. I'll refer to you to two reviews by a couple of my favorite bloggers:

Pop Culture Nerd - Movie Review: BLACK SWAN
Things That Don't Suck - Black Swan

I hope you enjoy.

The Green Bay Packers Were "Tuff Enuff"

noreply@blogger.com (le0pard13) — Mon, 07 Feb 2011 05:25:00 +0000

After today's 31-25 Super Bowl victory over the Pittsburgh Steelers, I thought the accomplishment of bringing the Lombardi Trophy home needed a worthy song. The 1986 single by The Fabulous Thunderbirds is a particularly fitting one, don't you think?

p.s., shout-outs to Jeff for being pretty prescient and to Bryce for why it was so sweet.

"Fer Shur"... It's an '80 Thing

noreply@blogger.com (le0pard13) — Fri, 28 Jan 2011 12:00:00 +0000

The film blogger over at Colonel Mortimer Will Have His Revenge recently rapped up his 1980 Project. A personal proposal begun some years ago, my friend examined the lion's share of films for that particular year (and posted on many of them).

"For the last few years I have had a slow moving film geek pursuit. The whole endeavor stemmed from my issues with the annual end of the year top ten film lists. I have nothing against them, I love reading them, though I never regard them as anything close to a true sense of what the ten best films of any given year is, but rather revealing the tastes and personality (or lack thereof) of the writer of said list. Does it contain the prerequisite foreign film that the viewer saw once at a festival and appears on the list pretty much solely in a possessive manner (it's mine, and only mine!), does it contain an out of nowhere mainstream blockbuster to prove the writer's ability to register and enjoy pop art (this from someone who would have included Talladega Nights on his non existent top ten list for last year)? No my issue is with my dogged completest attitude. How could I truly create a Top Ten List if I haven't seen every film released in the year, or at least every film that provided me a modicum of interest or critical attention, since a viewing of say, Wild Hogs, would not have any effect on the process."

For those of us who love cinema, his astute perspective on the batch of pictures he examined for that focal twelvemonth makes for some thoroughly enjoyable reading. The start of his series can be found here. And since the Colonel graciously wanted to "know what [my] faves from 1980 are or were back then since I know you actually saw most of these films theatrically", what can I say?

Tubular, totally tubular

1980 was a particularly pivotal year, IMO. One could look at it (if you count a decade from *1 to *0 as some do) as the last year in the turbulent decade that was the 70s. Between Watergate, the oil crises of '73 and '79 (and its subsequent global recession), terrorism, Jonestown, and the tumultuous times and after-effects of the Vietnam War, you'll have a good portion of the reason why I say, "I survived the Seventies." Although, it could also be said that those same arduous times of the Me Decade served as the driving force that delivered some absolutely stellar films (especially in the crime genre, no less). On the other hand, if you count 'a period of ten years beginning with a year ending in 0' (as I do), then it really was the start of a whole new era (and perspective). As I've mentioned before, whatever doldrums and cynicism the 70's decade left behind, films of that subsequent decade seemed to relish (and happily succeed in a semi-profane manner) in jolting that out of folk. That's not to say the 80s were without their pitfalls and excesses, which directors like John Carpenter would deftly criticize on film (They Live) towards the end of the period. But the year 1980 seemed to herald that change.

The following would be my favorites for that very distinctive year. Just about all of these I saw in a theater, first run (the small remainder were seen on good old VHS tape). Those on the list I've linked direct you to reviews I've enjoyed -- those with parentheses indicated reviews by those bloggers I frequent regularly (with some emphasis on the those done by the Colonel). I've placed these films in three distinct categories, which hopefully makes some sense for those reading this.

"Ain't that a kick in the butt?" Mentions

Caddyshack
The Blues Brothers (John Cochrane on Ed Copeland)
Mad Max
Any Which Way You Can (Mr. Peel)
The Dogs of War
The Final Countdown
Melvin and Howard
Somewhere in Time

Pitch Perfect for the Time

Dressed to Kill (Mr. Peel))
The Fog (Colonel Mortimer)
The Stunt Man
Used Cars
The Long Riders (Livius)
The Ninth Configuration
Airplane! (Colonel Mortimer)
Atlantic City
The Shining (Colonel Mortimer)
The Long Good Friday
Superman II
Fade to Black (Colonel Mortimer)

Those That Transcended the Year/Period

Kagemusha (Colonel Mortimer)
Bronco Billy (Mr. Peel)
The Elephant Man (Colonel Mortimer)
The Changeling
Breaker Morant
The Big Red One
Raging Bull (Colonel Mortimer)

And my top favorite is (as you'd expect from the lead graphic), The Empire Strikes Back. On just about every 'the sequel is better than the original film list' I've ever read, it has rippled the longest across time of any of the Star Wars films. For good reason. After the success of the first Star Wars film in '77, just about everyone and their grandmother thought the sequel would be more of the same. They were wrong. And no one thought it could be better. It was. The two best things George Lucas ever did for the series, IMO, was to place the next chapter of his story in Leigh Brackett and Lawrence Kasdan most capable of screenwriting hands, and entrust the directorial leadership to Irwin Kershner. Afterwards, Lucas still didn't understand how lucky he was in doing just that. I evidence that by recalling when he began promotion of its follow-up, Return of the Jedi, he actually promised fans he'd make it up for Empire in the third film. Really. There is a reason I still remember the day I saw the film: 5:30 AM showing the day after Memorial Day at The Egyptian Theatre. Went to work afterwards, a changed man.

William Friedkin at the Sorcerer Screening

noreply@blogger.com (le0pard13) — Mon, 24 Jan 2011 18:32:00 +0000

On Sunday night, I attended the second part in American Cinematheque Los Angeles' two-day tribute for director William Friedkin. The clear emphasis of the evening for this double-feature though was the neglected gem from 1977, Sorcerer. Screenwriter Josh Olson was in attendance and conducted the intro and the discussion afterwards. Josh has been the clear and leading champion for this film's appreciation: see last year's post on the film which includes his Trailers From Hell clip that lobbied fans of gritty and spectacular cinema of the 70s -- as well as Friedkin enthusiasts -- to check it out. I must say, Mr. Friedkin was in extraordinary form during the on-stage discussion with Josh in-between the screenings. I have to admit, too, it was a strange but exciting experience to be in a setting where a film as ferocious and seminal like The Exorcist takes second billing. But, it's one I savored because it was a long time coming. And if there is a movie that's finally getting the recognition it long deserved, this one (like Hickey & Boggs) is it.

I managed to record the interview (see links below) with only one real hiccup. Because the discussion went almost 20 minutes over the expected half hour duration, my wife's Flip recorder ran out of time -- luckily, I had my digital camera as back-up and that allowed me to finish the session. Some interesting highlights:

Josh Olson introduced the film (not recorded) and admitted to the entire audience of Friedkin followers that Sorcerer is his all-time favorite by the director (and no one raised an objection)
the director of the hour sat with the audience the whole time and enjoyed watching the stellar print of the film which the American Cinematheque acquired for the event
quick survey (show of hands) by Josh showed that the majority in the theatre's attendance had never seen Sorcerer -- Josh was plainly really thrilled by that knowing they would be in for a treat
William Friedkin, if you watch the entire interview, can crack a funny line with the best of them; he drew multiple laughs throughout the discussion (and ends the fact- and anecdote-filled interview with a perfect close-out story that was the ideal intro for the second feature)
there will definitely be a Blu-ray disc of the film! Friedkin, after he completes post-production of his latest work, should start the BD and remastering process for Sorcerer around March of this year.
as Josh Olson anticipated, after the film's quintessential 70s ending played out and Sorcerer's end credits appeared, a loud and boisterous applause was thrown by the audience

Below is the start of that event discussion which began as the lights came up (and here are the links to parts 2, 3, 4, and 5). I hope you enjoy -- I sure did.

Angel Heart Film (& Disc) Review

noreply@blogger.com (le0pard13) — Fri, 21 Jan 2011 12:00:00 +0000

"Alas... how terrible is wisdom when it brings no profit to the wise, Johnny?"

It's still winter, yes? I say that because mother nature continues to toy with those of us in the southland. It's been a false spring for L.A. dwellers of late, and it seems few know that it won't last. It's just a wicked joke waiting to be played (this after a weird and very wet Fall). I don't expect to get much sympathy on this point from much of the country given what many have gone through in this cold and snowy January. Still, everyone else is not under constant threat to slide into the Pacific Ocean after a gargantuan quake like us (the fact that we'd be wearing shades and sunscreen when it happens is besides the point). So, it's probably good timing for the Scientist Gone Wordy and I to get the duo post series back on track after the holidays. As usual, the wordy one will examine the text of a famed novel later adapted to film, which I will review. In this case, she'll be looking at the source novel for the 1987 Angel Heart film, Falling Angel. Rachel's book review can be found here:

Falling Angel by William Hjortsberg

A brief synopsis of the film: In January 1955 New York City, an archetypical low rent private investigator by the name of Harold Angel hits a jackpot of sorts. He lands a seemingly routine missing-persons case for a wealthy client. It appears some big band singer from years back didn't fulfill a contract with the mysterious vendee, a chap named Mr. Cyphre. It is explained that the crooner was institutionalize long term due to WWII injuries and shell shock. PI Angel's job then is to prove the hospital in question has falsified the records, and using what he comes across, to locate the fellow with the stage name of Johnny Favorite so that a certain 'collateral' can be collected by the patron. The dark elements that the private eye uncovers, and the peril he faces in doing so, will be laid bare in the telling of the tale.

[spoiler warning: some key elements of the film are revealed in this review]

"Cyphre, you bother me!"

My Review: Alan Parker's feature remains very much a film of the 80s, but it sure as hell doesn't act like one. There's no big hair or shoulder pads to get in the way of this period piece. No siree. We're talking about a picture very much in the film noir tradition, crafted by a director (and cinematographer Michael Seresin) who were known for their imagery and styling from that 'decade of excess'. All the same, the filmmakers didn't just create some striking visuals and leave it at that for others to gape at. No, they managed to tell an effective and chillingly original story (director Alan Parker himself adapted Hjortsberg's novel) in a way that honored the author's blending of the noir convention of hard boiled detectives with the subtext dread of the horror genre. My friend John Kenneth Muir could have referenced this film in particular for last month's excellent book review of Paul Meehan's Horror Noir book. John cites an introductory passage which nails the techniques used in this film, in fact:

In his introduction, Meehan rightly notes that, in large part, film noir and the horror film share a "realm of cinematic style," meaning, as he enumerates them: low-key ratio-lighting, absence of fill-light, wide-angle lens use in close-ups to distort faces, etc.

Meehan also points out the deployment in both genres of "anti-traditional narrative techniques," meaning flashbacks and voice-over narration specifically. This chapter nicely sets the parameters of the ensuing survey, allowing the reader to understand which productions exist in the unique "space" of the horror noir, and why so.

All of which exists with Angel Heart. While Parker stays within the spirit of the novel, he isn't afraid to play to his visual strengths. The best example of this is how the director bookends the film. The first primarily sets the mood, even before the audience is ever introduced to the private dick Harry Angel (so well imagined by a young Mickey Rourke). The short main title sequence at the onset (not in the novel) consists of a night's city street littered with the telltale squalor for a less-than-well off NYC borough. As the camera observes a gaunt cat and dog wander about the scene, scavenging for food no doubt in the poor neighborhood, the viewpoint shifts to a throat-cut victim in the street. It is a violent leftover of some evil ritual. And in that instant, there's a sense that more than just the specter of death is floating around. As well, there is a recognition of indifference within the setting -- only a lone walker passes through the scene at the beginning (and likely strolled by the fatality) with nary a pause as the spilt warm blood rapidly cooled against the cold, wintry setting. The segment establishes that no one sees, or really cares. This all just to fix a feeling of foreboding for the story ahead (without a hint of dialogue). It's a subtly brilliant start to the film that declares the director is going to leverage the moving picture aspect to drive much of the story. This in conjunction with the traditional first-person perspective found in detective noir classics.

Main Titles: Angel Heart
Uploaded by le0pard13. - Watch feature films and entire TV shows.

"No-one will mourn one less lawyer in the world - there's death everywhere these days Johnny. But what gives human life its worth... anyway? Because someone loves it, hates it? The flesh is weak, Johnny. Only the soul is immortal. And yours belongs to ME. "

The director, too, takes advantage of a compact cast made up of heavyweights (past, current, and future) with the support of some fine character actors. Since it's told entirely from his character's standpoint, Rourke gets the lion's share of scenes and dialogue. And he carries it off exceptionally well (all this before his decline onset marked by his own excesses, and the inane idea that he had a career in boxing). Of course, no one can forget Robert De Niro's turn as the pivotal Louis Cyphre in the story. This was De Niro in the midst of his career peak giving a performance (even though it's essentially a small supporting role) that scared and mesmerized those who watched it. What remains the most puzzling, though, is Lisa Bonet as Epiphany Proudfoot. She's an arresting presence whenever she's on screen in the film. You simply can't take your eyes off of her (and can certainly understand Harry Angel's attraction to her). This should have been a breakthrough role for her, but instead it seems like the film did little to help her career. She has only a scant filmography. Which is baffling in itself especially for someone as good as she was here. Breaking into film during the mid-to-late 80s should have turned out better. Still, the lead actors only tell a portion of the story why Angel Heart remains one spellbinding film.

"That's it, Johnny. Take a good look. However cleverly you sneak up on a mirror, your reflection looks you straight in the eye."

Even though it ended up being a break even movie at the time (plus controversial for its sexual content and use of the young actress from the family-oriented Cosby Show), the film certainly has reached true cult status now. And why not? With its mix of crime and mystery, along with the disturbing mix of satanic horror interweaved throughout, I think it's clear why it has earned its way to the top echelon of its small sub-genre. As well, Hjortsberg and Parker successfully used the old literary device of foreshadowing in many instances and to great effect (on paper and the big screen). It takes multiple passes with the material to catch them all. In particular:

Harry's dream of visiting the Harlem revival hall with a blood soaked shirt (and hand) and the beckoning elevator door
Cyphre's use of the egg (which he'll gobble) as a symbol for the soul
Harry always locking himself and the person (who'll eventually end up dead) in a room
Epiphany's baby crying when he first meets Harry
Evangeline's daughter's voodoo dance which mimics her later lovemaking with Harry
Harry's reaction to that tryst with Epiphany by smashing the mirror carries the undertone he somehow realizes the incestuous nature of it
Cyphre's twist of the quote by Sophocles from Oedipus the King evidences the above point

Director Parker 's own touch is also affirmed by all the visual instances of spinning fans in the film (which he used to symbolize death coming to call). As well, give him credit by shifting the mood and atmosphere in the story, plus adding some social contrast in the film, by moving it away from a cold gray New York City to the jazz/blues vibe of New Orleans (the music cues likely meant to represent the voodoo undertow). Outside of Apocalypse Now, I can think of few films that top the use of humidity and sweat to palpable effect like Angel Heart. With what the plot portends, I don't think it is much of a surprise when it's revealed that Harry Angel and Johnny Favorite are one in the same -- the former star singer's attempt to get out of his contract with the Devil by garnering another's identity/soul via ritualized murder doesn't quite work out for him. Some people you don't want to swindle, and Lucifer's route to collection is fittingly and singularly a sick one. Still, the enjoyment in the film remains the ride that gets you there. Plus, it is the Harry character the audience grows to care for since he's also an innocent victim (the poor soul captured on New Year's Eve back in '43), and so the finale has impact.

Angel Heart is an unforgettable film (just ask anyone who has ever seen it if they could get some of its images out of their head) -- and one worthy of the William Hjortsberg novel. It shouldn't overshadow the book (which is great, and has one of the all-time best book covers, btw), but there's a tendency in pop culture for that, unfortunately. Nevertheless, I believe it would be apt to close this review by using Alan Parker / Michael Seresin's own striking end sequence (and it is the latter bookend piece I mentioned earlier). The dark, contrasty images of Harry Angel's "elevator ride to Hell" are intercut with the closing credits, along with creaking sounds and sinister musical score (with kudos to composer Trevor Jones and mournful solo sax work by Courtney Pine). All of it makes this segment well worth staying to the end for. And if you listen closely at the finish, you hear the two souls whisper to each other on a black screen (another of those bits audibly foreshadowed earlier of the film) ...

"Harry?

Johnny?"

Angel Heart: Closing Credits
Uploaded by le0pard13. - Check out other Film & TV videos.

The Disc: I picked up the Lionsgate Blu-ray Disc of the film which came out in November of 2009 for this review. And for the most part, I was happy with the disc (a great sale price compensates some). Still, it's not the greatest high definition treatment for an older (coming up on a quarter of a century now) film I've seen of late. Angel Heart's New York nightscape scenes have some striking contrasts, but the blacks on the BD weren't the strongest. Despite all that, the disc kept the original theatrical aspect ratio of 1.78:1. The audio, too, could have been better (some of the dialogue were not as crisp as one could have expected). It's not bad, though (just not great).

Where the Blu-ray Disc really shines is with its extras. Luckily, the studio ported over the features present in the 2004 Special Edition DVD. The two audio commentaries by Alan Parker and the more scene-specific one by Mickey Rourke are particularly interesting (so, too, are the separate interviews for each of them). The voodoo featurettes and behind-the-scene production extras round out what is a very good set.

Lastly, while the new BD menu offers some great graphics over the DVD, I have to admit I continue to be disappointed in both the '04 and '09 disc's cover artwork (which are the identical). I've never been a fan of it and wish they'd have gone back to the original poster (above). Even the old VHS version used it.

Note: for an excellent overview of the film's spellbound (and hard to come by) soundtrack, be sure to check out the music blog post by Shimmy She Wobble.

Parallel Post Series

The Return of Sorcerer

noreply@blogger.com (le0pard13) — Tue, 18 Jan 2011 12:00:00 +0000

Okay, I'm going to flat out mimic someone else's post about a screening for a little seen and under-appreciated film. In their case, that someone is author Duane Swierczynski (writer of crime thriller fame and various Marvel comic characters), and his post was the one that spotlighted last Friday's showing of a forgotten film he categorizes as one, "downbeat, sunbaked PI movie":

The Return of Hickey & Boggs

I'd have loved to have been there and watched it on the big screen (as I originally did back in October 1972). I've maintained a firm love of this film coming up on four decades now. Nonetheless, I'll have to settle for another like gem from that same decade, this one closer to my neck of the woods. The 1977 neglected film, Sorcerer. For those who are interested, here's the link to my appreciative post of the film from April 2010:

Friday Forgotten Movie: Sorcerer

Strangle-Hold: The Gripping Films of William Friedkin

The good folks over at the American Cinematheque Los Angeles will host a similarly cool event this upcoming weekend. They'll welcome the one-of-a-kind William Friedkin to the Aero Theatre for a two-day retrospective of his films, with a discussion between films with the director each day. While all of the films presented at this function are extraordinary (and most have been seen and lauded over through the years in revival theaters and celebrated DVD releases), it is Sorcerer that has been the least seen of the lot and earned the title of forsaken. And it still doesn't have a decent release on disc. Luckily, as with Hickey & Boggs, that seems to be changing. The film where Mr. Friedkin earned his less-than-affectionate nickname of 'Hurricane Billy' has been climbing in many people's estimations. So, catching this film in a theater will be a treat.

"Friedkin’s most visually awesome film follows small-time crook Roy Scheider from Brooklyn to the sweltering South American jungles, where he lands a job hauling nitroglycerine with hard-luck losers Bruno Cremer and Francisco Rabal. Rather than simply remake Henri-Georges Clouzot’s famed WAGES OF FEAR, Friedkin re-imagined the story as a cosmic vision of man vs. nature, climaxing in the mind-bending image of Scheider and crew literally pushing a loaded truck across a spindly rope bridge." ~ American Cinematheque at The Aero

I would herald the new 35mm print being made available for the show, and forgive me for saying this in the most antithetical of manners, but the event had me at hello.

The L.A. Requiem Book Discussion

noreply@blogger.com (le0pard13) — Mon, 10 Jan 2011 16:29:00 +0000

A few months back, and one of my best blog post picks from last year, Jeff over at Stuff Running 'Round My Head wrote a more than fine examination of one of my favorite books: The Use of Flashbacks in "L.A. Requiem". And it got a bunch of us Craisies wanting to re-read the novel and re-examine it since many of us consider it the watershed moment in the Elvis Cole and Joe Pike series of books. The chief Craisie amongst us, and our dear friend, Elyse (otherwise known as Pop Culture Nerd) came up with a fantastic idea of...

"... an online discussion about it so we can share our thoughts with old and new fans alike."

That event occurred this past weekend. And since Robert Crais is launching another book in the series tomorrow, The Sentry, she expertly summarized the discussion and posted it today as the appropriate tie-in. Of course, I highly recommend it (and the new book):

Book Discussion: Robert Crais’s L.A. REQUIEM

My sincere thanks to both Jeff and Elyse for this.

Friday Forgotten Film: Sharky's Machine

noreply@blogger.com (le0pard13) — Fri, 07 Jan 2011 12:00:00 +0000

To put it mildly, Burt Reynolds has had an interesting career. His charismatic presence with early recurring roles on the Gunsmoke and Riverboat TV series got many people's attention (mine included as a kid). He parlayed that into larger and larger film roles. His rendition of the Lewis Medlock character in John Boorman's adaptation of the great James Dickey novel, Deliverance, was the breakthrough impetus for that big screen vocation. Its impact skyrocketed him during the 70s, and his subsequent films successfully propelled him to the #1 box office crown. The world was his oyster. Then, the 80s collided with it like a bad meteor movie. The evidence becomes painfully clear when the films of that span are mentioned (some of which were purely for the paycheck). Among them, Stroker Ace, Paternity, Stick, Rent-A-Cop, and/or any of the Cannonball or Smokey and the Bandit sequels (among others) will tell you which direction his path then headed.

It's not that all of them were particularly or uniformly bad. Okay, okay... Stroker Ace really does suck. Although, I refuse to pile on since the man did pay for that transgression by meeting the future ex-Mrs. Reynolds (Loni Anderson) in that shoot. I guess it's too easy for some to disparage the former box office king's body of work these days. Still, it's not like we're not talking about a Steven Seagal, direct-to-video career dump. Burt's has been more phoenix-like. Some of the films during those Reagan years were entertaining genre-fare and unjustly maligned. In fact, I still have the DVD of Heat, (not Michael Mann's crime masterpiece but the adapted William Goldman novel from '86) in my library. But before his métier missteps, Reynolds did accomplish something notable at the start of that decade. He directed (his third outing behind the camera) and starred in the highly underrated 1981 thriller, Sharky's Machine. It remains a brutal yet exciting film that played to the actor's strengths and displayed the man's directorial knack.

Adapted from William Diehl's* first novel, it has a lot of things going for it. Including, a really strong supporting cast in Rachel Ward (the Olivia Wilde equivalent for those born after the 80s), Brian Keith, Charles Durning, Bernie Casey, Richard Libertini, and Earl Holliman. Not to mention a scenery chewing performance by Vittorio Gassman and another menacing role for the undervalued actor, Henry Silva (who I saw just the other day), as the baddies. As well, I think the film's storyline provides some thought-provoking contrasts (with screenwriting credit to Gerald Di Pego). It certainly retains some superb aspects of bleaker crime films of the 70s (the use of the late Hari Rhodes of Detroit 9000 fame in a memorable early appearance is a wonderful touch by the filmmakers) while playing out against the newer, more sanguine era we were entering. One can see remnants of the previous decade's decline and the introduction of the spending excesses to come (along with the big hair and padded shoulders, and the approaching Just Say No campaign). Even its purposeful humor (another trait of the good ol' boy Reynolds' screen personality) is used effectively to balance out some of the grim and surprising violence (for its day) in the film.

"I'm gonna pull the chain on you, pal. And you wanna know why? 'Cause you're fucking up my city. 'Cause you're walking all over people like you own them. And you wanna know the worst part? You're from out of state."

For the most part, Reynolds shows unforeseen skill as a director, here. His tracking shot at the start of the film is particularly deft (and observe he'll reverse it for the closing credits). That scene's progression (right up to the director's title credit) has a marvelous flow to it. And it employs the classic Randy Crawford / Crusaders song, Street Life, convincingly to set the mood for that entire sequence. If you think about it, all this was 16 years before Quentin Tarantino would re-use the same tune for 1997's Jackie Brown in an equally downright inner-city themed excerpt. In looking back at this film, I couldn't help but notice director Burt's continual use of the Westin Peachtree Plaza Hotel skyscraper (in downtown Atlanta, Georgia) as a motif throughout the movie. Some would say it is used as a phallic symbol in the picture -- not surprising given the testosterone clearly on display. Plus, I think Burt deserves a bit of credit for staging some compelling action sequences, with him as an actor in almost all of them (never the shy one, he).

Even with its shadowy (and I freely acknowledge convoluted) plot, Sharky's Machine still manages to include some gratifying touches in this actioner. Some of its included martial arts aspects, which made their way into Hollywood film byway of the previous 70s Kung Fu wave, are well done. As it happens, the fight sequence in Nosh's basement between Sharky and the Chin brothers (portrayed by the great Bruce Lee ally and famed martial arts instructor, Dan Inosanto and Weaver Levy) is a favorite of mine and choreographed quite well. It's not a long fight, but it is brutally efficient and highlights western and eastern fighting styles to great effect. Additionally, the torture sequence on the boat is startling for its tension and carnage (seen and unseen), and is hardly mentioned these days (but should be). All of it makes for a highly entertaining thriller that returned substantial box office back in its day and showed audiences that this actor could deliver as a filmmaker, as well. It's too bad Burt Reynolds didn't capitalize on this film and stretch out (like his friend Clint Eastwood) into more challenging roles or not wait till later to try his hand at additional directing duties. The dearth of these meant a considerable slump we'd have wade through till his noteworthy supporting roles in Striptease and Boogie Nights helped to resurrect that career in the 90s.

In particular, Sharky's Machine as a film has suffered indirectly and has been somewhat forgotten (especially by the studio). Warner Brothers released a barebones DVD back in October 1998 and with not a hint of a needed update in the works. Worst, it's badly cropped. The feature's Panavision widescreen (1.85 : 1) framing is chopped to full screen (1.33 : 1) on the U.S. disc. To watch it again in its proper aspect ratio, and once more appreciate the magnificent cinematography of the late William A. Fraker, for this retrospective I had to obtain the Australian Region 4 disc. The R4 DVD still has no extras, but it's the only way to really appreciate this neglected film (and makes you wonder what the WB folk are thinking). Lastly, if for nothing else watch this film just to listen to one of the absolutely great soundtracks ever compiled for a genre film. It's a wondrous mix of jazz and blues tunes by greats like Randy Crawford, Flora Purim, Peggy Lee, Manhattan Transfer, Sarah Vaughan, Joe Williams, Julie London, Chet Baker, Eddie Harris, and Doc Severinsen. I still kick myself to this day for losing my copy of that vinyl LP soundtrack years ago, which still is the only media one can find it on.

As I close this out, let me wish you a great weekend by way of the Somewhere, Someway tune used as the film's love theme, and sung by the great Sarah Vaughan. Enjoy.

* Trivia: author William Diehl has a cameo in the film and plays Percy the pimp in the Vice Squad room scene. Diehl was fifty years old and already a successful photographer and journalist when he decided he had not heeded his life calling and began to write that first novel.

Spanish Makes Everything Sound More...

noreply@blogger.com (le0pard13) — Mon, 03 Jan 2011 12:00:00 +0000

I keep seeing this 30 second commercial on television:

It works on so many levels with me. First, whoever cast this series of commercials for Kahlúa should be given a medal for selecting Ana de la Reguera. She's simply one drop dead gorgeous and talented latina (and besides that she'll also be in Cowboys & Aliens later this year). On top of that, both the actress and the coffee liqueur maker's roots are the same. The unique trade port city of Veracruz, Veracruz, Mexico is their mutual birthplace. With its distinctive Spanish, African, and Caribbean cultural heritage, it's one location that has always fascinated me (no disrespect to my family's ancestral home of Chihuahua, mom). Of course, before my stomach swore me off alcohol, Kahlúa was one of my last spirits of choice. Damnit!

"We speak Spanish, mostly because it's the language we speak."

The ad (and series) manages to squeezes out a seriously frisky sense of humor throughout its very short span, too. Plus, Ana in truth plays her part to the hilt with a sexy charm that's palpable. Intriguing really becomes a word and half by the time she's through with it, no? Notice how she even pronounces Roberto. My grandmother would deliver a loud clamor if she heard me admit I couldn't roll an 'R' to save my own life. This admission from one with a double 'r' in his hispanic surname (which to pronounce correctly incorporates the use of the famed Spanish trill). And she has me in her grips by the time we reach, Piano ("Okay, maybe not the best example."). Put it all together and it blends to the best commercial going, IMO. ¡Delicioso!

Year of Bests '10

noreply@blogger.com (le0pard13) — Fri, 31 Dec 2010 12:00:00 +0000

Wally Skalij, Los Angeles Times

"You mustn't be afraid to dream bigger, darling." ~ Eames [Inception]

I was thinking that I would come up with something keenly philosophical about this year in review, but I think I left all of that in whatever posts I published on the blog this year. I guess I should be happy with that.

Blogosphere

Anyway, the following are what I consider to have been the best posts and events in the blogs I follow and the interconnections they generated for this year:

The class act that is Jen Forbus (look up the term and you'll see her smiling and warm face right there). Plus, she keeps coming up with great reading series like Audiobook Thursdays. to make the rest of us jealous :-). Plus, I have her to thank for my Walt Longmire addiction, as well as sharing her wonderful company at another L.A. Times Festival of Books.

J.D. over at RADIATOR HEAVEN really knows his films and how to write a review that involves his readers. He brought a smile to my face this year with these posts/events on his blog for 2010: Heat, John Carpenter Blogathon, Midnight Run, Tombstone, Miami Vice

Author John Kenneth Muir's work is one that I continually discover through his Reflections on Film/TV blog. His penetrating and keen understanding regarding the context of where specific shows and film fit in our culture always offers up a thought-provoking ride. His recent list of his top visited posts is its own best category, and his look back at 1979's The Warriors remains one of my high-water marks. Still, I know for fact that I drew particular inspiration from two individualized reviews his this year: Cult Review: The Road and Cult TV Flashback # 111: The X-Files: "Sein Und Zeit"/"Closure". He is a smart and generous man, and I'm proud to call him friend.

I have nothing but praise for John D's (of Nobody Move) Greatest Sci-Fi Movies list (along with his overall taste in film).

Ed from Edward Copeland on Film... and more: brought more joy with his anniversary looks at RAN (25th) and The Grifters (20th).

If you enjoy horror, then you shouldn't have missed B-Sol's Vault of Horror series, The Lucky 13. Time to catch up.

Jeff's Stuff Running 'Round My Head blog happily draws me to his thoughts on film, family, and song [even though he is a San Francisco Giants fan ;-)], but his look at one of my favorite books, The Use of Flashbacks In "L.A. Requiem", made my year.

The one who lives in Los Feliz and is a writer continues to put out simply wonderful reviews of films (both old and new) at this blog, Mr. Peel's Sardine Liqueur. Far too many of his movie appraisals would have to be placed here for a bests list and just wouldn't fit (he does so many great ones). So, I'll direct you to one particular and exemplary review to prove my point. His piece on Walter Hill's Wild Bill was great, but it was the last section of the review that affected and pierced me with its words and acuity. And I still consider it the best paragraph I read all year.

Sci-Fi Franatic's movie examination of David Cronenberg's underrated adaptation of Stephen King's The Dead Zone, God's Been a Real Sport to Me post, is the best example of why I'm so glad to have discovered his blog, and in doing so, made another friend.

Jeremy Ritchie's splendid critic defense of director Paul. W.S. Anderson, as well as his Paul Thomas Anderson Blogathon, at Moon in the Gutter shouldn't be missed.

Colonel Mortimer's (of his ... Will Have His Revenge blog) splendid 1980's Project which included favorites The Long Riders and John Carpenter's The Fog was another highlight and finding.

All hail Patricia Abbott's continuing blog and book series, Friday's Forgotten Books. It remains a joy to read, and sometimes to add to.

Naomi Johnson's determination and prowess in bringing off the second annual Watery Grave Invitational cannot be underestimated. If there's any one reason why I continue to enjoy short stories (and her book reviews), it was she and this.

Blogger christian over at Technicolor Dreams never fails at writing something interesting about culture, music, politics and film. For me, the best example of this was his Sci-Fi Dystopia Theatre: Rollerball (1975) post.

Tanya over at Dog Eared Copy weighs in two things near and dear to me. Audiobooks and film. Her recent looks at The Ice Harvest and I Am Legend are not to be missed. But it was her first audiobook review, Matterhorn: A Novel of Vietnam, that caught my eye and put her on the follow list.

I cannot forget to mention the splendid piece for the classic, The Big Country, written by the fine western/noir film blogger who goes by the non de plume of Livius over at Riding the High Country. If you enjoy the genre, don't miss this one.

Will's Secure Immaturity blog was another blue-chip uncovering. That he allowed a less than worthy DS9 fan like myself to join in on his superb Deep Space Nine celebration this year shows he's more than a nice guy. He's also a fine and engaging writer... even though John Kenneth Muir, Sci-Fi Frantic, and I harangue him over his Star Trek: The Next Generation allegiance ;-).

Bryce Wilson (Things That Don't Suck) is another choice find. His review for one of the most startling films of this or any year, Black Swan, left me pointing it out to others to take in. His own review of the year in film is also worth reading.

Chris Voss of Celluloid Moon would be my third on a match, very definitely not unluckily, for new (to me) blog revelation. His review contribution to J.D.'s John Carpenter tribute week, Prince of Darkness, was a thorough blast and stood out to me. His post for the 15 Directors meme was also a great one.

I give full credit and thanks to Rachel of Scientist Gone Wordy for coming up and following up with the idea of doing duo reviews of books and their film adaptations. I'm just happy to ride her coattails with these: The Lathe of Heaven by Ursula K. Le Guin, The Princess Bride by William Goldman, A Scanner Darkly by Phlip K. Dick, The Children of Men by P. D. James, and The Minority Report by Philip K. Dick. Note: I also praise Naomi Johnson for pointing her out to me in blogosphere and noting her thoughts on Elvis Cole and Joe Pike and review of Stalking the Angel. And hell, she even appreciates a great sci-fi classic like Dune.

While I'll always read her fun and sharp-witted movie and book reviews, and especially pieces like Pop Culture Nerd's take on female action heroes, the posts that really tug at me are those when she opens up about herself. Cases in point, My First Halloween and What Memorial Day Means to Me.

Dennis Cozzalio did his readers a great favor with his fascinating, intellectual discourse on seeing (or choosing not to see) Irreversible (a film I still won't touch). And of course who can forget this year's fabulous and legendary film quizzes from Spring Break, Labor Day and Year-End Holiday time.

Lastly, I must spotlight my dear friend Corey Wilde's ~~last~~ latest book review of Print the Legend. This was the post placed into the ether before he handed The Drowning Machine blog's reins over to the very capable hands of Naomi Johnson. It was published on February 15, 2010 and was typical for the quality of his book examinations and the judgment for the works he deemed essential reading. Besides Jen, who got me started scrawling my thoughts down in a weblog, I also have him to thank for where it is now. Without Corey's encouragement, comments and feedback to nurture it in 2008, I think the recording of my thoughts would have petered out a long time ago. I continue to hope and watch out for the man's return to the surface.

Books (includes Audiobooks)

My books of the year in each category are in bold.

Most enjoyed in fiction

Shutter Island, Elsewhere, The Gentlemen's Hour, A Bad Day for Sorry, The Sentry (ARC), The Lock Artist, The Guards, Death Without Company, Toros and Torsos, California Fire and Life, Kindness Goes Unpunished, The First Rule, The Mystic Art of Erasing All Signs of Death, The Rainy City, The Shawshank Redemption (re-read), Strip, Print the Legend, So Cold the River, Savages, A Red Death (re-read), Echo Burning, The Killing of the Tinkers, Metzger's Dog, The Girl With the Dragon Tattoo, Another Man's Moccassins, Salem's Lot (re-read), The Butcher's Boy, Envy the Night, The Magdalen Martyrs

Most enjoyed in non-fiction

The Last Three Miles: Politics, Murder and the Construction of America's First Superhighway, The Films of John Carpenter, 13 Bankers: The Wall Street Takeover and the Next Financial Meltdown, Empire of the Summer Moon: Quanah Parker and the Rise and Fall of the Comanches, the Most Powerful Indian Tribe in American History, The Immortal Life of Henrietta Lacks

Most enjoyed audiobook narrators

I can't imagine anybody other than Gerry O'Brien as the voice of Jack Taylor (The Guards, The Killing of the Tinkers, Magdalen Martyrs), or someone else's tones for Walt Longmire (Death Without Company, Kindness Goes Unpunished, Another Man's Moccasins) instead of George Guidall, and Tom Stechschulte simply is Hector Lassiter (Toros and Torsos, Print the Legend). Not surprisingly, more kudos for Ron McLarty (California Fire and Life, Salem's Lot), Dick Hill (Echo Burning), Frank Muller (The Shawshank Redemption), and Simon Vance (The Girl With the Dragon Tattoo). For me, 2010 brought great audio introductions with the likes of MacLeod Andrews (The Lock Artist), Paul Michael Garcia (The Mystic Arts of Erasing All Signs of Death), Cassandra Campbell & Bahni Turpin (The Immortal Life of Henrietta Lacks), and Michael Kramer (Strip, Savages, Metzger's Dog, The Butcher's Boy).

Movies

Films on the big screen I got a kick out of in 2010

Inception
Toy Story 3
Black Swan
True Grit
Kiss Ass
127 Hours
The Tillman Story
The Dirty Dozen
Chinatown
Harry Brown
The Uninvited (1944)
Inside Job
Shutter Island
Harry Potter and the Deathly Hallows
Heat
TRON: Legacy
Machete
RED
The Expendables
The Other Guys
The Crazies
Hot Tub Time Machine
The American
Salt
Wall Street: Money Never Sleeps
Knight and Day
Back to the Future (25th Anniversary)
Ghostbusters
Unstoppable
Resident Evil: Afterlife
Scott Pilgrim Vs. The World

But I'm still kicking myself for missing Winter's Bone, The Social Network, Hereafter, The Town, Waiting for Superman, Buried, Let Me In, and The King's Speech on the big screen. But, that why Netflix is around.

The list for those that did the same but were on disc or streamed

Ip Man
Despicable Me
Centurion
Red Cliff
Doomsday
The Last Voyage
Dante's Peak
Volcano
Good Hair
The Missing Person
Food, Inc.
The Lathe of Heaven
Children of Men
The Princess Bride
Minority Report
A Scanner Darkly
Freebie and the Bean
Red Sun
Last Train from Gun Hill
Helvetica
Hard Target (Director's Cut)
Nightmares in Red, White and Blue
The Pacific
TRON
The Third Man

Happy New Year!

John W. Adkisson, Los Angeles Times

The Immortal Life of Henrietta Lacks (Audiobook)

noreply@blogger.com (le0pard13) — Wed, 29 Dec 2010 12:00:00 +0000

In general, I've come to believe that as great as some notable novels written through the decades by talented authors are (and I've only read a small bit of them), often fiction can pale next to real-life accounts of little examined historic events. Sure, there are numerous volumes dedicated to the grand stage that are monumental wars and epic political struggles throughout millennia for readers and history buffs like me to sample. But sometimes it is the intimate story of one important individual, and the people and effects surrounding her, that continue to ripple through time in unexpected ways and have an ongoing impact in the lives of many. Such is the case for author Rebecca Skloot's close chronicle of an African-American woman who died young in 1951, but who will outlive those of us breathing today.

Earlier this month, my good friend Bev (of BevsBookBeat) wrote a splendid review for The Immortal Life of Henrietta Lacks that captivated me. I'd heard of the book, and it certainly sparked my interest, but it hadn't caused me to move it up in my book/audiobook stack. Reading Bev's review did just that, and I'm so happy it did. I'm not even going to attempt to cover why it's one of the best books of the year for me, but point you to Bev's written assessment because she covered it better that I ever could:

"This is a non-fiction that reads like fiction~~I read it in three days because I couldn't put it down. I stayed up until 2 in the morning reading it. It was the most fascinating book I have read in a long time and the best book I read this year. This book is so rich in information about science, medicine, and how one person can unknowingly change the world..."

I will only say that the scope of the story spans from the microscopic to the colossal (when one comprehends the scale and growth of the HeLa cell line), and that it cuts across race, class, faith, science, family, and the law that touches our everyday lives. Ms. Skloot, in writing her book, is to be commended for what she accomplished in her written history of the lives of Henrietta and her family, and for showing a fair light on the science and medicine most of us take for granted. It is at once an informative, heartbreaking, and powerfully fascinating bit of history that is surprisingly personal.

The Random House audiobook that I listened to did the work a deserved justice, as well. Narrators Cassandra Campbell and Bahni Turpin could not have performed their reading any better, or have been better matched to the material, IMO. This is another example of a lightning in a bottle instance for a book and its reader(s) in the audio format. Given the range and diversity of the people set down in the book, and the subject matter, I don't think their delivery and achievement can be underestimated. If you listen to the audiobook, there is segment (involving the news of Henrietta's daughter and the author) that will likely catch you as it did me. I won't spoil it for you, but neither the reader nor the listener could fake their reaction. It is a highly recommended book/audiobook for anyone interested in history and remarkable individuals.

ISBN13: 9780307712509
ISBN10: 0307712508

The Future Is Now? Then It's Quiz Time!

noreply@blogger.com (le0pard13) — Mon, 27 Dec 2010 04:03:00 +0000

George Cozzalio, he of the wonderfully named Sergio Leone and the Infield Fly Rule blog, has come up with yet another of his cinematically off-the-wall but thoroughly inspired movie quizzes for his readers. Great timing, too, since with Christmas over I no longer know what to do with myself (except clean-up wrapping paper, buy more batteries, and wonder where the hell the year went). So, without further a do, let's tackle a subject near and dear to my heart (you are more than welcome to participate, btw) with:

PROFESSOR HUBERT FARNSWORTH’S ONLY SLIGHTLY FUTURISTIC HOLIDAY MOVIE QUIZ

1) Best Movie of 2010

Twilight Eclipse... just kidding. While I'm still catching up with all of the end-of-year contenders, if the criteria were only restricted to something I want to see again and again, it would be a tie between these two imaginative and affecting films:

2) Second-favorite Roman Polanski Movie

If Chinatown is my #1 (and it is), then it's got to be the underrated Frantic from 1988.

3) Jason Statham or Dwayne “The Rock” Johnson

I enjoy watching them both, but Dwayne “The Rock” Johnson's self-deprecating humor clinches it for me.

4) Favorite movie that could be classified as a genre hybrid

Neil Marshall's Doomsday. It may be the epitome of derivative, but it's a bloody fun amalgamation.

5) How important is foreknowledge of a film’s production history? Should it factor into one’s reaction to a film?

Ultimately, no. The film has to stand on its own to be worthy of any merit it receives. While I enjoy reading about a film's production history, I'd rather have it make for fascinating trivia.

6) William Powell & Myrna Loy or Cary Grant & Irene Dunne

Cary Grant & Irene Dunne solely because Grant remains one of my all-time favorite actors, and Irene is My Favorite Wife.

7) Best Actor of 2010

Colin Firth will likely get this, but James Franco in 127 Hours is pretty friggin' unforgettable.

8) Most important lesson learned from the past decade of watching movies

If it's not early matinee pricing and parking validation, then it has to be listening to blogging friends film recommendations.

9) Last movie seen (DVD/Blu-ray/theater)

DVD: The Ice Harvest Blu-ray: Knight and Day Theater: TRON Legacy

10) Most appropriate punishment for director Tom Six

A lack of notoriety would do just fine.

11) Best under-the-radar movie almost no one else has had the chance to see

Easy. This one:

12) Sheree North or Angie Dickinson

It has to be Angie, natch (especially for Rio Bravo, Point Blank, and Dress to Kill, among others). And as Patrick commented, "How many presidents did Sheree North sleep with"?

13) Favorite nakedly autobiographical movie

All That Jazz

14) Movie which best evokes a specific real-life place

Michael Mann's Heat for my hometown.

15) Best Director

Tie between Christopher Nolan and Lee Unkrich (see my answer to question #1)

16) Second-favorite Farrelly Brothers Movie

I like Fever Pitch (second to Kingpin), but not much else of theirs.

17) Favorite holiday movie

Even after all these years, it still remains It's a Wonderful Life

18) Best Actress

Has to be Natalie Portman in Black Swan

19) Joe Don Baker or Bo Svenson

Joe Don Baker, if for nothing else than his Darius Jedburgh and memorable pairing with Bob Peck in the original British mini-series, Edge of Darkness

20) Of those notable figures in the world of the movies who died in 2010, name the one you’ll miss the most

Robert Culp. The man turned up in so many television shows and films I watched in my youth, and on. He was always an interesting person, actor, writer, and I dare say, a vastly underrated director. His character of Trent, from Harlan Ellison's Demon with a Glass Hand story, remains my choice for most memorable character (and episode) from the original Outer Limits TV series. Simply, the man could play comedy or drama, hero and villain, lead or character actor with such ease and skill. And he will be sorely missed by me.

21) Think of a movie with a notable musical score and describe what it might feel like without that accompaniment.

Watched this film last month on TCM, The Big Country. Jerome Moross' score is magnificent. And while William Wyler's film would have remained exceptional without its contribution, it likely would not have been the sterling classic it remains without that grand soundtrack.

22) Best Screenplay

Joel & Ethan Cohen's adaptation of the Charles Portis novel for True Grit

23) Movie You Feel Most Evangelistic About Right Now

It would be Charles Ferguson's documentary, Inside Job (along with my answer to question #11, either will get your blood up).

24) Worst/funniest movie accent ever

Bronson Pinchot doing Serge in Beverly Hills Cop

25) Best Cinematography

I'd have to go with fellow blogger Bryce Wilson's selection of Shutter Island

26) Olivia Wilde or Gemma Arterton

Olivia Wilde. Damn, does the camera love her in TRON: Legacy!

27) Name the three best movies you saw for the first time in 2010 (Thanks, Larry!)

Inception
Toy Story 3
True Grit

28) Best romantic movie couple of 2010

With all due respect to Kristen Stewart and Robert Pattison, I'll take the older and lethal power couple of Helen Mirren and Brian Cox from RED any day of the week.

29) Favorite shock/surprise ending

I went back and forth with this one (with The Sixth Sense and Memento), but finally settled on the multiple surprise layers of The Prestige.

30) Best cinematic reason to have stayed home and read a book in 2010

Anything directed by Tom Six (ah crap... I invalidated by answer for question #10!)

31) Movies in 2011 could make me much happier if they’d only

... stop this man from making another Transformers movie:

Merry Christmas

noreply@blogger.com (le0pard13) — Sat, 25 Dec 2010 03:13:00 +0000

Friday Forgotten Song: Cherry, Cherry by Neil Diamond

noreply@blogger.com (le0pard13) — Fri, 17 Dec 2010 12:00:00 +0000

In the wake of Neil Diamond finally making it into the Rock & Roll Hall of Fame this week (along with a great and worthy set of inductees for 2011), I had to put something together for the occasion. But what was I going to spotlight here? I mean the man had so many friggin' hits in his career, many of them marshaling me through my teen years and the caldron that was high school, how could I pick just one and be representative? Who cares that many dismissed his work for so long because they thought it only epitomized the 'soft' side of rock and regulated it to the 'pop' for the era. They miss the point entirely by not acknowledging how superb his discography (and talent) is in point of fact, or how far-reaching its influence. Besides that, many of my relatives simply worshipped the singer/songwriter/performer. For good reason, too. So I had pressure to make this count. In the end, it came down to what I've played the most of recent. And it's a song I only re-discovered a short time back.

Cherry, Cherry was written and recorded by the artist, and released back in 1966 (for the Bang Records indie label). It became Neil Diamond's first big hit (following his debut single, Solitary Man). It reached as high as #6 on Billboard's chart for the year. The pop hymn is a relatively simple song, but it sure gets the job done with an infectious energy -- a distinctive trait for many tracks that came out of the 60s. In fact (as Wikipedia reports), Rolling Stone would later rate the tune as, "one of the greatest three-chord songs of all time." No argument there. Even the release of the live version some seven years later would score the number more applause (it reached #31 in '73). While I liked it then (hey, I was only 11 when it came out), I find I enjoy it a hell of a lot more now. Back in 2009 while I lounged somewhere at home, listening to the oldies radio station in these parts, this track once again popped up on their playlist. Though it was so ridiculously familiar, for some reason that time I zeroed in to what was happening entirely in its background. I surprised myself by marveling at it. So much so, I began to do some research on the song.

The legendary pair of songwriter-promoters, Jeff Barry and Ellie Greenwich, produced the piece. No slouches there, no siree. Plus, they contributed a great deal to what makes the track as good as it is. The first thing you should notice, there is no drum beat in it -- something unheard of for the time. The rhythm is kept solely by the handclaps. The song that became the hit is in fact the demo -- a later studio version with horns and drums didn't cut it and has since found its way to Diamond's 1996 anthology, In My Lifetime. Next, that is in fact Barry and Greenwich (someone admired and missed most dearly by my friend Moondancer) performing the background vocals. It was Ellie herself that invented the background arrangement for Cherry, Cherry, and it's her voice in the chorus that initially drew me in. And it is why I recognize how great and enjoyable the backing is in the production. She'd also performed the support vocals for Kentucky Woman, again with Neil and Jeff. It was a revelation to me how catchy Neil, Jeff, and Ellie's voices remain and how much they added to the overall verve of the tune. Even after all of these years. Top it off with Diamond's now recognizable and steady guitar licks that really drive the melody -- a career quality the Hall of Fame pays tribute to in their bio for the singer. Lastly, let's not overlook Artie Butler's work on piano and Hammond organ which gives the piece a unique and playful character. Put it all together and you'll know exactly why I think this tune shouldn't be anywhere in the vicinity of forgotten.

With congratulations to Mr. Diamond, and in heartfelt remembrance of my aunt Olivia and my wife's mother Arlene.

Baby loves me, yes, yes she does
Ah, the girl's outta sight, yeah
Says she loves me, yes, yes she does
Mmm, gonna show me tonight, yeah

Hey, she got the way to move me,
Cherry
(She got the way to groove me)
Cherry, baby
She got the way to move me
(She got the way to groove me)
All right

Tell your mama, girl, I can't stay long
We got things we gotta catch up on
Mmm, you know
You know what I'm sayin'
Can't stand still while the music is playin'
All right

Y'ain't got no right, no, no you don't
Ah, to be so exciting
Won't need bright lights, no, no we won't
Gonna make our own lightning

Hey, she got the way to move me
Cherry
(She got the way to groove me)
Cherry, baby
She got the way to move me
(She got the way to groove me)

No, we won't tell a soul where we gone to
Girl, we do whatever we want to
Ah, I love the way that you do me
Cherry, babe, you really get to me

Hey, she got the way to move me,
Cherry
(She got the way to groove me)
Cherry, baby
She got the way to move me
(She got the way to groove me)

Cherry....

A Spanish Guitar Rip

noreply@blogger.com (le0pard13) — Sun, 12 Dec 2010 17:02:00 +0000

While this instrumental track is ten years old, I find myself playing it of late. From The Rippington's Life in the Tropics album, Russ Freeman's guitar work with Caribbean Breeze shows its distinct latin influence in the contemporary smooth jazz piece. It remains a highlight. The fact that my old fusion favorite, Bob James, makes an appearance on the album is another. This is for those cold, wintry days when you rather be on a tropical beach somewhere. Preferably, there's a hammock and drink involved.

Let me take you down, 'cause I'm going to Strawberry Fields

noreply@blogger.com (le0pard13) — Wed, 08 Dec 2010 20:27:00 +0000

John Lennon: Where were you when?

BBC News asked this question yesterday in their piece for the 30th anniversary of this sad event:

John Lennon's death 30 years ago was one of those shocking, poignant "where were you when" moments that fashion collective memories out of historic events.

I look at my children today, who are both now ardent Beatles fans (to the chagrin of their mother, no doubt), and can't really find the words to express the depth of that moment, or express what it meant to fans (and non-fans) alike when it played out. Perhaps, it's still a little too painful. I have explained to them that John died a long time ago, but it comes off flat. Certainly, Elvis fans should be able to relate since their moment had arrived three years in advance. Even though I was less passionate toward Presley, I can still recall that instant as well. I was driving eastbound on the 10 freeway, just passing downtown L.A., when I heard the news of Elvis' death on FM radio.

It's not a matter for someone to be nostalgic. Shocks to the system of this sort make an indelible impression on human software. So it was for millions when it was announced that Mark David Chapman shot John Winston Ono Lennon in the back when he returned home to The Dakota apartments on this date 30 years ago today. Forlornly, and forever, sealing those two, and place, in time. The passing of the decades since has only increased my appreciation for the artist, and lessened any time I dwell on Lennon's murderer. But, when I do think of him (like today), it is this quote from Michael Mann's The Insider that always comes to mind:

"Fame has a fifteen minute half-life, infamy lasts a little longer."

So where was I? You would have found me sitting alone in an L.A. apartment (a girlfriend's at the time who was away at an evening college course) watching a now ancient 19" cathode ray tube television set. Ironically, that location is less than 2 miles from where I live now. I was viewing the Monday Night Football game, Patriots vs. Dolphins, when Howard Cosell made the sad announcement (a bulletin he did not want to do):

Since my mother had died two years previous in 1978, I thought I had no more tears for anything. I was mistaken.

But I'd Heard There's No Crying in Baseball

noreply@blogger.com (le0pard13) — Fri, 03 Dec 2010 12:00:00 +0000

I don't believe it is an 'official' meme, but I've seen this story reported on some newscasts as well as some online pieces (including some blog posts) and I had to add my 2¢. It concerns Play.com recent piece of its Top 10 list of films that make grown men cry. Let's forget for the moment that this site is a U.K. online retailer that is also in the business of selling DVDs and Blu-ray Discs (as was likely the fact that it was looking to spur sales with such an inventory). This is a emotional subject and is due all serious consideration. Ahem... Hans Gruber said it best, I believe: "It's Christmas, Theo." So for those who haven't run into it, here is their list:

Toy Story
Forrest Gump
Return of the Jedi
ET
Jerry McGuire
Titanic
The Notebook
Marley and Me
Shawshank Redemption
Up

I guess the subject gathered me in because we recently watched Toy Story 3 on Thanksgiving, and my daughter noted that my eyes seemed a little glassy at times. Yeah, well... it happens. I'm comfortable enough in my own masculinity (having crossed the median of my 50s will do that) to admit there are plenty of films that fit into the category for this movie watcher. Even my friend over at Pop Culture Nerd knows this (byway of a comment of mine). As to the retailer's list, here are some of my thoughts:

you might as well list the entire Toy Story trilogy here (I personally can't get through any of them without that misty reaction). Jessie's Song sequence in Toy Story 2 and Andy's final good-bye to his toys in Toy Story 3 epitomize those moments for me
the closing scenes with father and son in Return of the Jedi made up for more than few problems with the film
as much as I've enjoyed ET over the years, I've come to feel a tad used by Spielberg, here
I would put Jerry McGuire (which I found irritating), The Notebook, and Marley and Me into a sub-category of film in which guys got hauled off to because their dates wanted to see the films -- no way they voluntarily opted on their own for these
who put this list together?!? Up and The Shawshank Redemption are not high enough on the list!

So, in no particular order, here is my personal list that gives this grown man that certain lump in his throat (taking into account my thoughts for the above entries):

Gladiator - any guy that lists this one as a favorite and doesn't feel something by the time Maximus ends his journey to Elysium, is either lying or made of stone.
Brian's Song (1971) - I was 15 at the time I saw this, and needless to say my friends in high school and I couldn't verbalize anything the next day.
Field of Dreams - between old Doc Graham coming off the field to save the child from choking to death, and Ray and his long dead father playing catch at sunset, I lose it every time.
Schindler's List - I don't have to explain this one, yes?
The Iron Giant - the Iron Giant's choice to be what it wants to be, instead of what it was built for, has lost none of its power (even after multiple viewings).
Wall•E - see why here.
Million Dollar Baby - I have no words. Devastating. I still have the disc unopened in my library.
Rudy - if there's another sports (true) story film for my list, it's got to be this one.
To Kill A Mockingbird - there so many scenes here that get to me, but if I'm to pick one... "Jean Louise. Jean Louise, stand up. Your father's passing."
Old Yeller - it got to me as a child when I first saw it... and I hadn't had a dog as a pet back then. I simply don't know what it would do to me now.
Star Trek II: The Wrath of Khan - I gotta tell 'ya, my throat was so sore keeping it together with my date at the time when I first saw this in theaters.
Pat Garret & Billy the Kid - it's Sheriff Baker's death scene, all done to Bob Dylan's Knockin' on Heaven's Door.
It's A Wonderful Life - how can I not mention this film's ending?:

"A toast to my big brother George: The richest man in town."

What would be on your list?

My Fierce One Turns 11

noreply@blogger.com (le0pard13) — Sun, 28 Nov 2010 00:17:00 +0000

My beautiful daughter's birthday was today. For the event, those of us who could cook created a fine meal with tacos, guacamole, and other great accompaniments. Instead of cake, we had cupcakes decorated in various custom designs by the eleven year old of the hour and those who came together to honor her. BTW, if I ever want to get a giggle out of folk who know her, I refer to my youngest as "my quiet and demure daughter." For my mind, I think she gets her keen and fierce personality from the one who shares the same birthday (and who influenced her old man growing up). Had he lived, Bruce Lee would have turned 70 today. To celebrate them both, there's only one theme song that fits.

Song for the Holiday: Get Here

noreply@blogger.com (le0pard13) — Wed, 24 Nov 2010 15:35:00 +0000

With the Thanksgiving Day holiday almost upon us, and being the busiest travel day of the year, it always reminds me of those trying to get home. When I think about my family and the holiday, being home for it means a great deal to me. As it does for others who have to travel to make it happen. Whenever my wife and I roam anywhere, it is my mate who the kids and I follow to our destination. She is the sightseeing one between the two of us, and loves getting us there. Me? While I have a fondness for journeying with the gang, it's my role for getting us home, together.

With that, there is one song that epitomizes the type of yearning I get when away, looking for home ground. The 1988 title track for singer/songwriter Brenda Russell's fourth album, Get Here, does it for me on so many of these fronts. Though it rated as only a minor R&B hit back in the late-80s, its longing lyrics and keyboard melody always attracted me to the tune. Russell's vocal stylings do the song justice, but it is the piece's lyrics where its passion resides (see below).

That being said, my favorite version of the ballad remains its 1991 cover by Oleta Adams. In comparison to the original release, this one became a huge international hit. No doubt the song was spurred by the effects and sentiments for those involved in the Gulf War that year. Nevertheless, it was this Russell-written song that meant so much to so many then, and that it still captures the feelings of those away from home even now. Whether people are overseas (in whatever circumstances), on the other side of the continent, or in the very next town, coming home is where it's at (especially with this holiday).

Adams broader vocal range brings an added resonance to the piece, I think. Her efforts with the song really match the lyrics for all their worth. Achingly at times. So, for those on the road this season, or just away, this song is for all of you. May you all have a wonderful Thanksgiving... and get home safe.

You can reach me on an airplane, you can reach me with your mind
You can reach me by caravan, cross the desert like an Arab man
I don't care how you get here, just get here if you can
You can reach me by sail boat, climb a tree and swing rope to rope
Take a sled and slide down the slope, into these arms of mine
You can jump on a speedy colt, cross the border in a blaze of hope
I don't care how you get here, just get here if you can

There are hills and mountains between us
Always something to get over
If I had my way, surely you would be closer
I need you closer oh closer

You can windsurf into my life, take me up on a carpet ride
You can make it in a big balloon, but you better make it soon
You can reach me by caravan, cross the desert like an Arab man
I don't care how you get here, just get here if you can

I don't care, I don't care,
I need you right here right now
I need you right here right now right by my side
Yeah yeah yeah yeah yeah
Get here, oh, oh, oh
I don't care how you get here,
Just get here if you can.

The Lathe of Heaven Film Review

noreply@blogger.com (le0pard13) — Wed, 17 Nov 2010 12:00:00 +0000

Be careful what you wish for, you may receive it.

Back in September of this year, I put together a post for My Picks for The Greatest... Sci-Fi Film Edition. In it, I placed a little PBS film high up on that loftiest of lists for this genre. There it drew the attention of my NoCal blogging compadre, Rachel (from Scientist Gone Wordy). So, per her suggestion for our next 'parallel post', The Lathe of Heaven novel and film, by fantasy/sci-fi author Ursula K. Le Guin, will have our mutual focus for this the November edition of our little book/film series. As usual, the wordy one will examine the text of the 1972 Locus SF Award novel winner, while I get to go back and relive my 1980 youth by reviewing that now famous broadcast of Thirteen/WNET's adaptation of the sci-fi classic. Rachel's book review can be found here:

The Lathe of Heaven by Ursula K. Le Guin

A brief synopsis of the film: in the near-future, those folk still around live in a world that is the leftover of war, over-population, and the weather effects rooted in the first two. In this sphere, the seemingly ordinary Portland Oregonian, George Orr, is desperately seeking help for his dreams. George is increasingly anguished because he feels the world (along with himself) is becoming tenuously unstable. So much so, we learn his drug use has caused a near overdose via phenobarbital and dexidrine (he is an "intelligent schizophrenic", if nothing else). Why? He realizes that his dreams are changing the world around him. Reality itself. And so his attempts are an effort to chemically suppress his sleep. He thus ends up in the care of psychiatrist and dream specialist William Haber. The discovery of Orr's 'gift' will put both men in the tale to the test regarding power, best intentions, and unexpected consequences.

[spoiler warning: some key elements of the film are revealed in this review]

"Back up, George. Dreams are not harmful. For instance, day dreams can be wonderful. I have them all the time. I dream heroics. I save the girl, the whole damn planet. Haber saves the world."

My Review: even after 30 years, this film still has the same power and elegance of story. It remains a simple film (hell, being a public broadcasting television channel with only a $250,000 budget for the shoot, what else could it be) that nonetheless presents its grand ideas in a very neat and distinct fashion. Directors Fred Barzyk and David R. Loxton manage their small cast, meager special effects, and images well enough to convey a future in an almost dreamlike manner. Most who have viewed the film have found this small production enthralling for that reason. It maintains a key illusory element (some would argue its sole attraction) in telling its science fiction-based allegory. Le Guin's story has the ability to imagine, or re-imagine, this world -- and ultimately question the results. The film makes a seemingly impossible story cogent for the time it takes to watch, and consequently lingers in the mind of the viewer. That remains its power after all these decades.

Orr: "Don't you see these things aren't problems. They don't have answers that you can find in your arithmetic book."
Haber: "Defeatism! We were put here to make a better place."
Orr: "Your attempts to use my dreams and make the world a better place can destroy it."

The fact that dreams are the vehicle for change in the story makes it easy for who come across this film to connect with it. I mean, essentially, we're all dreamers (few us do not dream). Author Le Guin's story line asks the question what would any of us do if given the god-like power to change the world. It doesn't take much to grasp that dreams exists in the realm where our hopes and aspirations lie, along with our fears and darkness. Le Guin cleverly juxtaposes this within a story that has the ability to make the whole of it happen. I ask you: who hasn't secretly dreamt of this? Le Guin gave it light and a voice when she wrote it (and later when Thirteen/WNET adapted it to the screen). Would we not try to end war, starvation, injustice, and disease, if you had the capacity to do so? Or, would we self-aggrandize our own individual power and status? Here, the author shows us what any sane, well-intentioned human being would do. Both.

"I don't believe it! I tell you to dream away Man's inhumanity to man, and what do you do?!? You unite the world against an alien invasion! What a stupid, wasteful way to get peace on Earth!"

The Lathe of Heaven, a marvelous title if there ever was one, revolves around three principal characters. George Orr (Bruce Davison) as the effective dreamer, and Dr. William Haber (Kevin Conway) as the oneirologis are the primary pair. Each represents the yin and yang of the story. George is the follower, a goes along to get along-type, while Haber is the striver. The doer. A man of intellect, drive and ambition that believes in "the greatest good for the greatest number." I'm not forgetting the stunning Margaret Avery, mind you. Her character, Heather LeLache, is the pivot for Orr and his contention with Haber and his efforts to better the world within the film. Like the psychiatrist, Heather initially doubts Orr's ability to change reality ("all the way back to the Stone Age"). Although, her character ultimately comes around to the realization, and becomes a focal interest for George. The Beatles tune (the one suggested by the alien creatures who arrive on scene byway of an effective dream of George's), With a Little Help From My Friends is the film's musical representation for their attraction to each other. She is the impetus that finally moves the passive George to stop Haber from destroying the world (when the psychiatrist's ego gets the better of him).

Haber: "You know what they say, neurotics build castles in the sky. Psychotics live in them."
Heather: "And psychiatrists collect the rent."

In the thirty years since its initial broadcast, The Lathe of Heaven has gathered a devoted faction of followers (including ordinary folk [me], high profile fans like Tom Hanks, and many that are Ursula K. Le Guin admirers). Some conclude that its popularity (and cult status), prior to its release to DVD in August 2000, related to the simple fact that it was scarcely re-televised since its premiere. They rationalize the praise such a low-budget film has gathered was less critical and more nostalgically-based. PBS only had a small span of years where the film could initially be re-broadcast (ending in 1988). There is likely a bit of truth there. However, I counter that with the shared opinion that the film remains relevant decades later, and especially after multiple viewings. To be clear, most of the film is open to interpretation. Plus, the filmmakers used the audience's imagination to great effect by what they don't show throughout the piece. Credit, too, the screenwriters, which included Diane English, Roger Swaybill, and the author herself. They brought the dialogue on the screen (through these characters) to captivating life. Personally, the film's imagery and straightforwardness reminds me of Chris Marker's sci-fi classic, La jetée. As well, its ideas explore similar psychological terrain brought forth in the definitive Forbidden Planet (1956). That's some heady company for such a small film rarely seen before 2000.

Finally, the simple fact is that the story takes precedence in the production. No grand special effects, or scene-chewing acting, mask a lack thereof (something all too common in some of today's sci-fi releases). The Lathe of Heaven works (or fails) on the strength of the sci-fi parable Le Guin constructed over 30 years ago. And that is to be applauded. Though it should be said, the leads in this thought-provoking story all give more than solid performances. Especially Bruce Davison and Kevin Conway -- both of who have significant sci-fi chops. Their involvements in the genre, such as in the new Outer Limits series (respectively for White Light Fever and as the control voice), and in Star Trek spinoff series (Davison with ST:Voyager and ST:Enterprise episodes, and Conway as Kahless in the Rightful Heir episode of ST:TNG) prove that. Furthermore, it's important to note that there is no real villain in the piece (again, something in common with the La jetée and Forbidden Planet narratives). The author presents viewers with only contrary versions of ourselves as she weaves the tale. Le Guin has spoken out on the novel/film's Taoist principles through the years, as well as its concepts regarding the symbolism of the turtles/aliens in her sci-fi tale.

As much as I gush about it here, is it a perfect film? Simply, no. The PBS film can be somewhat stage bound at times, and its low budget effects now seem crude in comparison. What's more, viewers must bring an imagination to the table to have any chance in enjoying the experience. However, I see that as its strength, too. As film critic Pauline Kael famously wrote: "Great movies are rarely perfect movies."

Material and DVD note: The title for this work comes from a mistranslation of a writing by the Chinese philosopher, Chuang Tzu:

"To let understanding stop at what cannot be understood is a high attainment. Those who cannot do it will be destroyed on the lathe of heaven."

The author loved the quote and used it for the title. There were no lathes in China when that was written. From the 2000 DVD - "The Lathe of Heaven was produced in 1979 for broadcast television. The original film materials have been lost forever. A new digital master was created from the surviving 2" tape and was then color corrected using state-of-the-art technology. Ghosting and darkening of the images may appear in some scenes. It is the best quality transfer possible of this important work using the only surviving materials."

I'm Waiting for This

noreply@blogger.com (le0pard13) — Mon, 15 Nov 2010 19:07:00 +0000

A western, and one that has marauding alien invaders? Sign. Me. Up (says the Firefly fan).

Never Die Young

noreply@blogger.com (le0pard13) — Fri, 12 Nov 2010 12:00:00 +0000

As close as a personal motto as there is in song for me:

We were ring-around-the-rosy children

They were circles around the sun

Never give up, never slow down

Never grow old, never ever die young

Synchronized with the rising moon

Even with the evening star

They were true love written in stone

They were never alone, they were never that far apart

And we who couldn't bear to believe they might make it

We got to close our eyes

Cut up our losses into doable doses

Ration our tears and sighs

You could see them on the street on a saturday night

Everyone used to run them down

They're a little too sweet, they're a little too tight

Not enough tough for this town

We couldn't touch them with a ten-foot pole

No, it didn't seem to rattle at all

They were glued together body and soul

That much more with their backs up against the wall

Oh, hold them up, hold them up

Never do let them fall

Prey to the dust and the rust and the ruin

That names us and claims us and shames us all

I guess it had to happen someday soon

Wasn't nothing to hold them down

They would rise from among us like a big baloon

Take the sky, forsake the ground

Oh, yes, other hearts were broken

Yeah, other dreams ran dry

But our golden ones sail on, sail on

To another land beneath another sky

Have a great weekend, folks.