I Think, Therefore I Review.

More Dickensian Celebrations

2012-01-26T01:40:00.000-05:00

More Dickensian Hits!

By Kristin Battestella

You can bet your imaginary hoop skirt I’m going to spend some time talking about a Charles Dickens’ adaptation or two this winter! It is after all, the bicentennial of the celebrated Victorian author’s birth. And guess who else was born on February 7th? Yep, that’s right. Me!

Biography: Charles Dickens – Why not start with this 45-minute spotlight from the longstanding A&E series? Dickens experts and historians shed light on the more uncommonly known aspects of his 19^th century superstar life, from the novelist’s poor early years filled with stifling workhouses and family shame in a debtor’s prison to the darker adult depressions, marital losses, and his would-be inspiring infidelities. Despite having such a heavy, complex subject in a short television window, the focus remains on Dickens’ rising above social and personal difficulty and turning his pains into literary magnitude. While some of the stuffy interviewees and scholars might be 1995 dated, yes, (Gasp! 1995 is dated?) this streamlined but no less insightful documentary is perfect for a classroom conversation.

David Copperfield (1999) – Not only do we have all the heart breaking, cord striking 19^th century lows and sadness expected from this highly autobiographical Dickens tale; but this 2 part adaption boasts an all-star who’s who and interconnected Potter cast. Seriously, a fun Maggie Smith as Betsey Trotwood, Bob Hoskins (Who Framed Roger Rabbit?), Emilia Fox (Merlin), Pauline Quirke (Birds of a Feather) as Peggotty, Ian McKellan (Gandalf, people!), and the little HP himself, an utterly endearing Daniel Radcliffe. And did I mention Madame Hooch and Viserys Targaryen? Forget any presumed nineties television datedness, the production values- ranging from Regency thru Victorian styles- are excellent. Colorful characters are wonderfully stuffy, charming, or tongue in cheek over the top as needed in contrast to the loathsome Trevor Eve (Waking the Dead) as Murdstone. Dickens’ innate distinctions between high - or those who pretend to be upstanding but are cruel- and those who are poor but rich in character come across perfectly. Again, though immediately autobiographical and of its time, it is also a little tragic how incredibly relevant David Copperfield still is. Today’s good-natured are still punished by the ruthlessness of others above, and the scenes of little David in pain could be too close for many or at the least, too upsetting for the classroom. Naturally, there are changes due to the relatively short 3-hour length against the heft of the novel, but there’s still a lifetime’s worth of sacrifice and pathetic-ness to go around and then some. The second half, unfortunately, does drag a bit with the adult Trot Ciaran McMenamin (Primeval) as all goes ill. However, even in that darkest advantageous hour above love or happiness, Dickensian hope wins out in consummate fashion.

Oliver Twist (1948) – This restored adaptation written and directed by David Lean (also helmer of the 1946 version of Great Expectations) opens in frigid black and white fashion and continues the cruel, depressing youth impoverishment and desperate criminal childhood throughout. Oscar Winner Alec Guinness (The Bridge on the River Kwai, Star Wars) gives a lovely performance as Fagin- unrecognizable and unlikeable but witty and twisted all the same- though the work is nevertheless jaded by the stereotypical makeup of the time and Dickens’ off color style. Some of the accents and forties screaming women might be annoying to contemporary audiences as well. Thankfully, John Howard Davies is so tiny and touching as Oliver. Today we often mock the ‘Please, sir…’ line- and the snotty dark humor of the material is here, make no mistake. However, Oliver’s is such a heart-breaking request; no child should ever have to ask for food with such trembling necessity and mistake the humblest slop as indignation. We think we need more and expect to have everything handed to us because it is owed to us. By contrast, itty-bitty Oliver is a sickly little starving thing- and yet he wants more. Suffice to say his want is not the indulgent desire as we perceive it in the 21^st century, and in one line Dickens’ encapsulates all that was wrong with the establishment of the day. Strangely, in some ways, we have become the opposite- rewarding those who circumvent the system to their advantage while the hard working, rule-abiding poor go without. Corners are cut of course, but social and literary critics might enjoy a new study on this relatively saucy post-war America subject matter. The anti-Semitic controversies of the novel and the subsequent delaying and editing of the film also provide plenty of material for modern analysis. Although charming in Oliver’s boyish innocence, this edition is too old and mature for kids. Younger schooling should stick to the Oliver! musical instead.

Scrooge (1970) - Golden Globe winner Albert Finney (Tom Jones, Murder on the Orient Express) stars as the titular miser along with Sir Alec Guinness (yes him again) as the chain rattling Jacob Marley in this acclaimed first musical adaptation. Many lines from the book are faithfully retained despite the addition of a few questionable song selections. We don’t really need this extra sentimentality, the thoroughly Cockney kids’ singing, or a begrudgingly tuneful Ebenezer to further heighten this quintessential holiday turnaround. Actually, the cranky tunes and somber notes seem counterproductive for what is such a serious and scary ghost tale- the dark imagery and freaky effects are indeed superior to the would be musical fervor. Having said that, the music is great for introducing A Christmas Carol to younger audiences- the locales are glorious, the costumes and Victorian décor enchanting. Yes, some sequences might be too scary for super youngins even with the upbeat tunes, but Albert Finney is an absolutely delight as both Scrooge the grump and the younger Ebenezer. His almost unrecognizable dual portrayal makes viewers wonder why this seemingly obvious casting route is the exception rather than the norm for this oft told Dickensian tale.

I do mention Dickens in the classroom a lot, simply because I think such literary exercise is an essential part of today’s education. Instead of bemoaning the difficult language and changed reading structures of modern audiences, we need to study Dickensian circumstance and irony, and continue to learn how we can make more strides and better changes in the next 200 years.

“This boy is Ignorance. This girl is Want. Beware them both, and all of their degree, but most of all beware this boy, for on his brow I see that written which is Doom, unless the writing be erased. Deny it.' cried the Spirit, stretching out its hand towards the city. 'Slander those who tell it ye. Admit it for your factious purposes, and make it worse. And abide the end.'
'Have they no refuge or resource?' cried Scrooge.
'Are there no prisons.' said the Spirit, turning on him for the last time with his own words. 'Are there no workhouses.'”

We spend up all of our educational resources and efforts on red tape, finances, and technicalities that either put away our youth in constant downward spirals or dismisses them to the humdrum of Working for the Man where they can never rise above. Dickens’ manuscripts and their numerous adaptations still show us there is so, so much more. Amen.

The Glenn Miller Story

2012-01-10T02:29:00.000-05:00

The Glenn Miller Story is Just Dynamite!

By Kristin Battestella

James Stewart stars as Glenn Miller, a poor musician courting Helen Burger (June Allyson) in this 1954 biopic. Miller pawns and borrows instruments as needed between gigs - which he’s usually tossed from thanks to his radical, jazzed up arrangements. When Glenn and piano man Chummy (Harry Morgan, Dragnet, MASH) finally get a steady tour with the band, success comes calling- only to be followed by more pawnshops. After years of ups and downs, adoptions, and scrimping and saving; solid acclaim finally arrives thanks to ‘Moonlight Serenade’ and the ‘Glenn Miller Sound’. When war breaks out, Captain Miller and his entire Orchestra enlist and embark on an overseas tour. The boys entertain the troops through the blitz- literally- before a pre-Christmas tragedy intervenes in 1944.

“He’s not dead, he’s missing!” So says Bea Arthur as the Glenn Miller obsessed Dorothy Zbornak on The Golden Girls. When asked if she’s a fan in the fifth season episode ‘Dancing in the Dark’, Dorothy responds, “Are you kidding? I was in the search party!” Today’s younger generation probably only knows ‘In the Mood’- if you’re lucky and they know Miller at all. Although, I suppose I’m a bit of an over fan; my husband says people our age aren’t supposed to like Glenn Miller. When I say put on a record, he chooses one from thirty years ago when I’m thinking 1930s! Unfortunately, as of yet, I’ve been unable to find Miller’s headstone at Arlington National Cemetery, though I have searched for it on a trip or two. There’s simply so much more to this World War II MIA casualty than to be forgotten by contemporary audiences, and The Glenn Miller Story highlights the famed musician from his humble rise and big band heights to career success and his final military service.

Naturally, The Glenn Miller Story is not quite a traditional fifties musical as we might expect, nor is it actually that accurate for a biography. Embellishments on the stories behind Miller staples like ‘String of Pearls’, ‘Pennsylvania 65000’, and ‘Little Brown Jug’ are reaching just a bit towards the love story and over dramatization. Even so, frequent Stewart director Anthony Mann (Winchester ’73, Bend of the River), and writers Valentine Davies (Miracle on 34^th Street, It Happens Every Spring) and Oscar Brodney’s (Tammy and the Bachelor) Oscar nominated tale is still light hearted, toe tapping, and charming. Though only ten years removed from his tragic crash, The Glenn Miller Story doesn’t capitalize, but rather celebrates an American rags to riches story with great people and awesome tunes. Even with said liberties on the facts and the not a musical per se label, the innocent romance, musical scenes, and dynamite compositions are balanced together wonderfully. We have concert sequences and stage performances to accent the human story, and as superior as the music is, it doesn’t replace the focus on the man and his dreams. The Glenn Miller Story also breaks a few 1954 taboos and features black and white musicians playing together- even though there are segregated club scenes, too. I can see some die-hard Miller enthusiasts actually being upset with The Glenn Miller Story; the entire presentation is actually pretty unrealistic. There are obvious errors, timeline confusions, musical anachronisms, and more embellishment than the real deal. I wouldn’t recommend this for the formal classroom either. Here we have a film about one of the greatest composers of the 20^th century, and you hardly ever hear any musical terms! So what if parts of The Glenn Miller Story are completely ridiculously, fifties faults, and marshmallow? This is still an endearing little encapsulation of great pre-war music and mid century sentiment, and it’s an absolute delight!

He’s Jimmy Stewart and he’s Glenn Miller. We instantly like golly gee Glenn because he certainly has a touch of George Bailey, doesn’t he? Stewart (Mr. Smith Goes to Washington, Harvey, Rear Window, The Man Who Shot Liberty Valance, I’ll stop…) is himself- the actor and veteran we know and love- and yet, he is also completely in the vein of Miller’s look, persona, and mannerisms. Miller is a man often down on his luck and low on cash, but he never lets that interfere with his seemingly outrageous dreams. Yes, Stewart is obviously not playing diddily on that slide trombone, but so what? It sounds good; looks good, the man and the music come across perfectly and wonderfully embody an iconic American success story. It’s just amazing how a little pair of glasses can make such a big difference! Of course, the June Allyson romance is a little too Wonderful Life as well, and Allyson doesn’t have much to do beyond being the sassy, good little woman doing all the Mrs. Miller inspiring behind the scenes. However, Allyson does have that button cute style and does sassy so well- heck, she practically made a career out of playing Stewart’s good little woman with Strategic Air Command and The Stratton Story. Unfortunately, there are a lots of great tunes that aren’t heard because room was made for laying the sappy on so thick, but The Glenn Miller Story is still a fine introduction for a younger casual big band fan or a trip down memory lane. This is how a rock bio should be! Who needs all that sex, drugs, and rock n roll thrust on us today when we can have music and stars like this? Not to be outdone, surprise appearances by the likes of The Modernaires, Gene Krupa, and Louis Armstrong add more fun to The Glenn Miller Story. In that regard, there is a lot of footage and musical history that you can’t get anywhere else.

And let’s talk some more about that charming music, because it just needs a paragraph all its own! From the opening bars of ‘Moonlight Serenade’ sweeping in with the credits to the tear jerking ‘Little Brown Jug’ finale, Joseph Gershenson (Thoroughly Modern Millie) and Henry Mancini’s (Breakfast at Tiffany’s) Oscar nominated adaptation and scoring of Miller’s tunes are like a character unto themselves in The Glenn Miller Story. Even with such a heartwarming story, this is an incredible film just to listen to- for the budding forties music fan or those unfortunately unaware, it is simply amazing to hear so many great songs and realize, well, that these are great songs! Though it can be frustrating that all the songs aren’t named onscreen, there are so many recognizable hits and melodies both lingering in the underscore or being played to the hilt with full orchestra arrangements. I simply adore the totally feigned serendipitous appearance of ‘I Know Why and So do You’ and there’s a great dance routine to accompany ‘Tuxedo Junction’. ‘Over the Rainbow’ and ‘At Last’ are here as originally envisioned without Judy Garland and Etta James, and ‘Chattanooga Choo Choo’ arrives just in time to rally the troops. Damn this show gets me every time! I want to cry, I want to get up and dance, gosh darnnit I can’t help myself. If you don’t want the sappy embellished story, you can always pick up this hit soundtrack. Though obviously the compositions here are rerecords and some original Glenn Miller Orchestra names and musicians are entirely missing from The Glenn Miller Story, these tunes are still ten times better than the quivering pop drivel of today.

To accent all the solid sounds, The Glenn Miller Story also has fun fifties scenery, great club locales, and sweet, classic décor. Oh, the cars, the hats, the candlestick phones! Men in dinner jackets and fedoras, gloves, flashy showgirls, and cool color slides. Yes indeed, it is a little more fifties than some of the earlier decades supposedly portrayed, but it all still looks just golden. Those turntables and newspaper montages, sigh. That house, sweet Jesus and those great old-fashioned microphones! The wartime styles, real military footage, and a forties Christmas…If this film doesn’t put a smile on your face, bring a tear to your eye, or have you tapping your toe, nothing will.

Again, The Glenn Miller Story will be too dated or picture perfect rather than true biography for many. For nostalgia lovers, music fans, budding big band connoisseurs, and classic film aficionados, however, this little ditty is tough to beat. Relive that Glenn Miller sound anytime of year with The Glenn Miller Story.Remember, after all, “He’s not dead, he’s missing!”

Winter Horror Pros and Cons

2012-01-07T00:25:00.000-05:00

Winter Horror Hits and Misses

By Kristin Battestella

Are you displeased with all the happiness in the New Year? Snowed in and afraid you might do something…rash… unless you can have a scary movie marathon? Here are a few freaky flicks to enjoy and one or two open for a chilly debate.

The Changeling- An awesome cast- including Oscar winners George C. Scott (Patton) and Melyvn Douglas (Hud) with John Colicos (Battlestar Galatica) and Trish Van Devere (One is a Lonely Number)- is simply delightful in this old school 1980 haunted house tale purportedly based on an actual experience. The wonderfully creepy mansion scenery and touches of 19^th century grandeur gone awry highlight this convincing murder mystery beautifully. Fine music, scares, and tragedy are tossed in, too- along with a few bits of unintentional humor, yes. Perhaps a few styles, fashions, and mannerisms are dated now as well. The mismatched look of real life couple Scott and Van Devere might bother some audiences, too- along with some genuinely heart stopping moments that might have you checking your pacemaker. Nevertheless, the poltergeist aspects, psychic action, and ghostly revenge build excellently for a solid and spooky finale.

The Other – The coming of age style and innocence gone wrong in director Robert Mulligan’s (To Kill A Mockingbird) 1972 horror mystery is slightly obvious, granted. Twins Chris and Martin Udvarnoky are filmed in such a way that careful viewers will spot a lot of the forthcoming mysterious fun, brewing twists, and freaky psychic action. Fortunately, Uta Hager (Reversal of Fortune) is great as the wise grandma Ada. It is a typical role in a horror movie, but Hager adds warmth, old-fashioned clout, and class to the spooky spins. Brief Star Trek alum Diana Mulder is also lovely as our not quite all there widowed mother, but she isn’t there enough- nor is the very young, very briefly onscreen John Ritter (Three’s Company). The 1935 scenery is a little more seventies dated, but the nostalgic element adds to the rural fears, farm horrors, and great juvenile morbidity.

The Rite – Anthony Hopkins (must I?) is superb as always in this 2011 exorcism thriller co-starring Colin O’Donoghue (The Tudors) and Alice Braga (Predators). While there are spooky elements here- and very scary and creepy demonic things do occur- I’m not sure this deserves a horror classification or the frightful expectations of boobs and slice and dice that come with the contemporary horror label. Director Mikael Hafstrom (1408) and writer Michael Petroni (Chronicles of Narnia: Voyage of the Dawn Treader) present a more spiritual film dealing with faith, doubt, possession, and the mysteries of god and man with supernatural turnabouts and twists tossed in. The Rite makes the viewer think before it scares. Who actually becomes possessed? When? Why? The great use of Italian language and Roma locations adds real world international culture and panache, even if O’Donoghue is a little lightweight against Hopkins. But really, who isn’t? Rutger Hauer (really?) is also greatly under utilized, but overall, I’m not sure why people don’t like this one.

Splitsville

The Countess- Actress turned writer and director Julie Deply (Before Sunrise) perhaps wears one too many hats for this 2009 biography. Her make up and hairstyles as the infamous Elizabeth Bathory are too stern, even ugly, and her accent is iffy, with weird pronunciations and strange mixings of languages. Despite strides towards outspoken humor, the titular lady is played a bit too bitchy and unlikeable in what is actually supposed to be an anti Countess Dracula angle. The scripting is slow, disjointed in the first half, and takes too long to get to the reallly nutty bloody everyone’s expecting. The viewpoint is confusing as well, with the Daniel Bruhl (Inglourious Basterds) narrating Bathory’s internal monologue on speculation from his future deathbed…huh? Such eerie historical feminism might have been too ambitious a subject for Deply’s full length directing debut- just tell it straight one way or the other. We have style and good-looking costumes, but the drab, authentic color lacks opulence and full on period lush. The battles are decent, but brief, natural and rustic. There’s blood, but not proper horror. There’s weird man slave action, but the nudity is too tame, with murder montages skimping over all the action. Oscar man William Hurt (Kiss of the Spider Woman, Children of a Lesser God) is also too brief, put aside for a hokey victim of love and weird smear campaign for misunderstood Bathory. It is quite odd to have a historical drama where there is such a horror opportunity. Normally it is the other way around, with those trying for scares and paranormal at any length. The period music is lovely, but everything here just seems too uneven, first draft, overly sparse, and unable to make up its mind.

Suspiria – Finally a show without a ‘the’! In addition to a pleasingly threatening atmosphere and discomforting locations, there are some very good scares in this 1977 European witch fest. The performances from Joan Bennett (Dark Shadows), Jessica Harper (Stardust Memories), and Alida Valli (The Paradine Case) are all good, too, carrying the mystery and the suspense and keeping things entertaining. The main theme music from Goblin is also equally juicy. Unfortunately, the dang music and sound effects are way too much! Everything- but the dialogue, of course- is totally loud and headache inducing. Some of the odd lighting, weird angles, and color variations from director Dario Argento (Dracula 3D) are great as well. But again, a lot of this subterfuge is much too much, creating a visual excess that overall distracts more than helps the meandering plot and limp ending. All of those soft vocals and poor dubbing doesn’t help the toughness, either. Naturally, Suspiria is all well and good for out there audiences and innovative foreign horror fans, but this will be quite annoying and odd for more traditional witchy fans.

Remember, “All work and no play makes Jack a dull boy.”

Band of Angels

2012-01-04T15:09:00.000-05:00

Band of Angels Flawed but Yet Classy

By Kristin Battestella

On a bit of a whim, I decided to write about the 1957 Civil War drama Band of Angels. Though likeable thanks to its stars, and I do like this film, I strangely found this flawed and uneven presentation tough to write about and reflect upon. Do the askew racial perceptions behind the camera ruin the style on screen?

Upon her father’s death, Amantha Starr’s (Yvonne De Carlo) “colored blood” is revealed, and she is subsequently sent to a slave auction and bought by a mysterious gentleman with a past, Hamish Bond (Clark Gable). Hamish treats Amantha as an equal, despite animosity from maid Michele (Carolle Drake) and Hamish’s second Rau-Ru (Sidney Poitier). Raised with respect, education, and inheritance by Hamish, Rau-Ru nevertheless despises his position and escapes to join the Union Army. As Amantha and Hamish warm to each other and develop an unusual love, the Civil War unfortunately comes calling. Will Southern defiance split them apart?

1957, it turns out, was a little too soon for director Raoul Walsh (They Died with Their Boots On, Captain Horatio Hornblower, R.N.) to take on writer Robert Penn Warren’s (All the King’s Men) titular source novel. The slavery presentation here can be just downright cruel. Either the bound are totally menial, ignorant, and subservient or happy nymphomaniacs who can’t get enough of taking the white master’s proffered treats. The interracial storylines and culture clashes try to present some goodness, but the execution is too over the top and comes off as inappropriately fake: “You white trash!” cue dramatic crescendo! Naturally, demeaning terms like negress or worse are used, and it is indeed tough to hear today. However, such talk is meant to reflect the attitudes of the time onscreen- and it glaringly showcases the tone behind the camera, too. There’s plenty of latent naughty and kinky innuendo about what these men do to keep their female slaves from getting “uppity”, too. It all makes Band of Angels so ironic. The breaking of such shocking taboos, showing suicides and shamings- it would seem to make great strides in racial storytelling and portrayals. Yet the ills are inadvertently reinforced by the dated, flawed sensibilities and uneven filmmaking of the day. Despite some lovely performances, these errors will make Band of Angels tough for many audiences. Things do get a little better when the Civil War enters the stage, though the schism is also subparly handled, or at the least, not recreated on the scope it should have been. That is perhaps the worst part of Band of Angels- it could have been much, much more.

And yet, there’s something delightful here, largely due to the outgoing grace from Academy Award winner Clark Gable (It Happened One Night, Gone with the Wind, Mutiny on the Bounty). Okay, he’s a little worse for the wear in 1957 compared to those inevitable “Frankly, my dear, I don’t give a damn” memories and pre-war heights. He is long in the tooth and tough to believe now as a young, active leading man, but this adds an extra element to Hamish Bond. There is a feeling of the old guard-onscreen and off- taking one final bow. Gable carries Hamish as an on form, timeless leading man nonetheless. The opening bidding scenes are a little too much like the bazaar scene in Gone with the Wind, indeed, and yet Gable’s gentlemanly presence somehow turns this off-kilter mixed slavery melodrama into some sort of star-crossed Southern romance. Back in the day, I’m sure some women would not mind being bought by Clark Gable for $5,000! Band of Angels seems slower when he’s off-screen, and you wonder why in the heck Amantha has such an attitude about his treating her so well. Really, only Rhett Butler can talk his way out of a duel with totally pimp-acity! (and no, I didn’t mean pomposity, either, like spell check thought.) Hamish’s only fault is he is a little too grey and somewhat out of touch to Amantha and the changes happening around him.

Yvonne “the great Amantha Starr” De Carlo is far, far superior in The Munsters, The Ten Commandments, and McLintock!, oh yes. Of course, she is without a doubt lovely as always, even when she is supposed to be uglied up. However, De Carlo is just too miscast and out of place. Was it really so unacceptable to have an actress who looked anything but white play a half-black heiress? This hypocritical start only makes Amantha’s actions tougher to swallow. She pouts about Hamish’s saving her from far worse sex and slavery, and then uses his position to pretend she is white and seek other men’s marriage proposals. Amantha hates Rau-Ru, but calls him for help when nasty white men would force themselves onto her! I love, love Yvonne De Carlo, but the back and forth, up and down, and insipid backhanding from Band of Angels’ supposedly star character is sketchy at best, and downright unlikable and insulting at worst. Even with all the unkosher racial aspects aside, how is the audience supposed to root for a woman who turns out Clark Gable?

Thankfully, fellow Oscar winner Sidney Poitier (Lilies of the Field, In the Heat of the Night, Guess Who’s Coming to Dinner) anchors Band of Angels beautifully. His Rau-Ru is classic and suave- the perfect young rival to Gable with the strength and education to gracefully buck the system and stereotypes presented. Rau-Ru is menacing and threatening as Hamish’s almost pseudo-presumptive heir; he is obviously ready to rebel or supplant and is portrayed as a danger to the already delicate balance. But is the audience really supposed to believe that a slave discontented with his would be higher station and wanting freedom is a villain? Band of Angels gets the racial aspects at its core quite wrong, yes. However, Sir Sidney has the best-written dialogue here and delivers every word with real weight, honesty, and conviction. Rau-Ru’s tug and pull with Hamish is far more interesting than Amantha’s over the top scandal. You can see the off-screen ideologies of Gable’s day giving way to the Poitier’s movements to come. Band of Angels tries- I really think it does. What it does well is quite classy thanks to the male leads, but the show is inevitably handicapped by the attitudes of the time. Oddly enough, this time capsule also makes the film all the more fascinating to watch.

Yes, the costumes are a little inaccurate and the music is more fifties than 1850s, too. Fortunately, the gowns are still awesome, and all the colorful styles and Victorian vibes set the necessary tone. The men’s top hats and frocks are so, so much more stylish than today. The boys with their pants around their knees couldn’t handle Gable’s suave even if they tried! Granted, the sets are a little stock; this budget was definitely not on the scale of Gone with the Wind. The plants are also a little too, um, plastic! Some of the New Orleans flavors and panache is just right, but other times the underutilized French touches and clichés imply or presume too much. Moreover, the over the top Southern accents and 19^th century via fifties dialogue may be tough to some- lots of stereotypical “hisself” talk with plenty of double negatives. It doesn’t make up for all the off color ways by any means, but the grandiose looking staircases and courtyards are pretty pretty!

Strangely, I always think of Band of Angels together with the 1956 Charlton Heston mail order bride yarn The Naked Jungle, though I’m not really sure why. I suppose both are a little preposterous to start and have classic men to carry what turns out to be a very flawed film. Again, the errors made here mean Band of Angels is not for everyone. However, film students or social scholars may enjoy an examination of the movie’s mistakes and ill attitudes onscreen and off. Fans of the cast, lovers of sordid Tales of the South, or classic period piece audiences can also enjoy Band of Angels- classy, flawed, and all.

More Elvis Christmas Music!

2011-12-24T00:42:00.000-05:00

Elvis Sings the Wonderful World of Christmas and His Christmas Album, Again!

By Kristin Battestella

Originally released in 1957, Elvis’ Christmas Album was so good; they just had to keep reissuing it! I’ve chatted about the original proper previously, but as we can’t ever really get enough of Elvis at Christmas; here are a few thoughts on the 1971 LP Elvis Sings the Wonderful World of Christmas and those pesky Elvis’ Christmas Album reissues, too.

O Come All Ye Faithful and The First Noel open Elvis Sings the Wonderful World of Christmas in unique but reverent fashion. Though Elvis seems to be struggling just a bit, both deliveries are soul felt. Faithful’s unusual rock opera type arrangement and the country church tone for Noel are a touch of seventies, but also old school good. After such a heavy religious aspect on his previous Christmas album, I must say it is a bit odd that these are the only two carols here. I wonder why? On a Snowy Christmas Night allows more time for Elvis to take it easy and still have a seasonal spiritual message. The flow here is much more suited to his style, and thus this track sounds a lot less dated even though it carries the same power and choir of the opening two sessions.

Winter Wonderland also gets to have some fun with a little hillbilly rock guitar jazzing up this staple along with Elvis’ bluesy voice. The titular The Wonderful World of Christmas has the most traditional sounding style here, recalling more old school winters of yore. Ironically, it’s not how the rest of the album sounds at all. It Won’t Seem Like Christmas carries more of a Kentucky Rain light feeling with lots of mellow soul and Christmas romance. It is a ballad that seems solely meant just for Elvis in many ways. Though not all original compositions, most of the tracks here aren’t very well known or at the very least, feel Elvis exclusive and that is not a bad thing.

Side B continues with the similarly titled I’ll Be Home on Christmas Day and If I Get Home on Christmas Day. You would think they would have placed them further apart in the listing, but I digress. I’ll Be Home on Christmas Day puts the back up singers aside and let’s Elvis get singer/songwriter seventies country gospel as only he can. It’s only fault is it doesn’t sound that much like a Christmas song and some of the lyrics are tough to understand. Oh, this is a love lost and coming home tale that just happens to be on 12/25? If I Get Home On Christmas Day is a little easier, breezy, and able to understand or sing along to, but it also doesn’t feel as timeless as the essentials from Elvis’ Christmas Album. Both are certainly likeable listens for Elvis fans, but they are too of the moment in seventies soul arrangement. Holly Leaves and Christmas Trees suffers much of the same. Elvis sound good and mentions the titular seasonal obligations, but it’s more of that same Kentucky Rain power.

Thankfully, Merry Christmas Baby rocks it up a bit. Elvis gets down and naughty here in true guitar bluesy fashion. Though it is odd, I must say, for one who often kept his hip jiving rock and gospel music separate, to have this combination of sexy Yule, but it works. This is the Elvis we expect, and Merry Christmas Baby stands out wonderfully unlike the rest of Elvis Sings the Wonderful World of Christmas’ same same. Silver Bells slows the seasonal down for the finale, and Elvis has room to hold the notes above the choir for a solid traditional finish. Perhaps because I didn’t grow up with this record as much as Elvis’ Christmas Album, it isn’t as classic to me. Outside of a few staples, one might not even notice this was a Christmas album- which is perfect for more causal fans who don’t want his earlier gospel Christmas sound. Actually, if you pick and choose your favorite individual downloads, fans can listen to the essence of Elvis Sings the Wonderful World of Christmas anytime of year. Yes, some may find this slightly tired Elvis pseudo Christmas sound a bad thing- and if it were anyone else, I’d agree. Fortunately, these tunes are still soft seasonal sweetness for a rotating holiday dinner playlist. Elvis die-hards, fans of his later sound, seventies soul lovers, and those in need of secular delights can take up Elvis Sings the Wonderful World of Christmas again and again. Those who like their carols traditional should stick with the 1957 album, but at least Elvis offers the best of both worlds!

Of course, unlike the entirely unique Elvis Sings the Wonderful World of Christmas, the 1958 reissue of Elvis’ Christmas Album is just that, a re-release with an identical line up to the original record. This RCA issue is the one with the snowy blue cover sleeve, which is probably more iconic for some than the original red presents edition that subsequently returned for the brief CD release. I have a picture of my parents from the Christmas before they were married, and you can clearly see this album in the background, no lie! The 1970 Pickwick redo record, however, shakes things up a bit- and not just with its jazzy red ribbons on the album cover. While Blue Christmas, Silent Night, and White Christmas are retained among others from the original 1957 Elvis’ Christmas Album, they sound somewhat different here. There’s no information of a rerecording or use of alternate takes- understandable on an obscure record, but not for Elvis- so maybe it’s just me being used to the CD versions. That and this record might just be really flat! After all, one shouldn’t actually play Elvis records anymore- just display them.

Unfortunately, the four B-side gospel tracks are gone from this 10 tune, paired down Pickwick set, having been replaced with If Everyday Was Just Like Christmas and Mama Liked the Roses. While If Everyday Was Just Like Christmas pays for the affordable price of admission on the reissue with its heartfelt sentimentality, Mama Liked the Roses is an odd selection for a Christmas album. It’s a nice memorial ditty indeed, but it’s just a bit out of place. Then again, I suppose some might have found the gospel inclusions on Elvis’ Christmas Album in 1957 unusual, but are they not quintessential holiday listens now?

Collectors of the record editions can find Elvis Sings the Wonderful World of Christmas or the Pickwick do over if you search long enough, but fortunately, you don’t have to keep on such valuable vinyl Yule after Yule. The Christmas Peace and Elvis Christmas CDs combine all Elvis’ holiday music in one convenient place, and digital options and MP3 downloads make it much easier to keep your seasonal Presley favorites handy. Though dated with some unique sounds and track choices, Elvis Sings the Wonderful World of Christmas is perfect for fans of a soulful secular season, and seriously, there is no reason to not have any version of Elvis’ Christmas Album handy every December.

Whew!

Jane Eyre (2011) Blu- Ray Review

2011-12-18T03:18:00.000-05:00

The New Jane Eyre is Better on Blu-Ray

By Kristin Battestella

Instead of a Dickensian Christmas- that Victorian treat is being saved for Dickens’ bicentennial in a few months- I’m taking time out to revisit the new 2011 Jane Eyre on blu-ray. After all, it is the Fassbender Festivus, don’t forget.

Governess Jane Eyre (Mia Wasikowska) abandons Thornfield Hall and the manor’s mysterious master Edward Rochester (Michael Fassbender) - with whom she has fallen in love. While recuperating at the home of minister St. John Rivers (Jamie Bell), Jane remembers her unscrupulous Aunt Reed (Sally Hawkins, Happy-Go-Lucky) and the ruthless Lowood School before coming to meet housekeeper Mrs. Fairfax (Judi Dench) and her charge at Thornfield, Adele (Romy Settbon Moore). Will Jane be able to escape society’s confines and Thornfield’s secrets and be true to herself?

Charlotte Bronte’s 1847 tale is a familiar one indeed. Thankfully, director Cary Fukunaga (Sin Nombre) and screenwriter Moira Buffini (Tamara Drewe) play with an untraditional timeline- and the changes are great. This flashback storytelling creates more suspense and mystery- especially if one didn’t know the Jane Eyre story. The Lowood scenes are also dynamic, with just enough twistedness. I do, however, wish there was more of Freya Parks (Creation) as sickly little Helen and newcomer Romy Settbon Moore as Adele. Those unfamiliar with the novel might not quite understand her relationship to Rochester here. Fortunately, the literary dialogue shines in lovely fireside scenes. Though everyone is held in check by the Victorian customs, there is plenty of heat and tension amid the firelight or nighttime blue conversations. The superb natural camerawork, light and shadow plan, and period photography all do wonders- but I do wish there were more of the missing cuts and deleted scenes instead of a few slower transitions. This Jane Eyre is not slow paced by any means- the suspense telling is quite the contrast from other period films in fact. However, we shouldn’t pause for pretty reflection and romantic montages when there is so much more from the book to tell. Likewise, despite those great darker storytelling strides, the presentation could have been a lot spookier. I always find it a disappointment as to what was really going on in the depths of Thornfield Hall, but romance fans and period drama lovers will eat this Jane Eyre up. All the societal barriers, conflict, and love triangles are here without being uber sappy and overwhelming for non-fans. Again, the retained language from the book is just great; you want to be able to quote this stuff in regular conversation! I actually prefer this Jane Eyre here on blu-ray more than having seen it in the cinema. At home, you can see everything, hear everything, and read the words onscreen. Sigh.

Though a delightful encapsulation and presentation all around, I do have a few quibbles. The deleted scenes- snips only available previously in the Jane Eyre trailer- are not restored in the film proper. Most of these scenes are longer set up bits and transition extras and probably excised for good reason, yes. However, there is no reason to not put these 16 minutes back into the picture for the video release, as several of these pieces give much needed exposition about Rochester’s relationship to Adele. Their absence takes a lot away if you consider the fact that this Jane Eyre film is trying to do in 2 hours what the 2006 miniseries did in 6. The loss of extra scenes with Helen’s ghost and a very creepy Bertha also makes this Jane seem somewhat lightweight- even as it prides itself on its would be horror tone. What’s worse is some bits still appear to be missing from the trailer. Awards acclaim is happening for Jane Eyre, but not as much as there could be, in part perhaps because it is as if the production didn’t go all the way or at least take their Jane Eyre vision as far as they could have. The blu-ray release is indicative of this fault. Take the time you need, tell your tale to the fullest, sell your ‘for your consideration’ on video where there are abso-toot-ly no restrictions.

Fortunately, Mia Wasikowska (The Kids are All Right) gives everything to her embodiment of the eponymous governess, measure for measure indeed. Mia makes no pretentions as Jane nor trumps up any airs or graces, and yet there is such a poise and old world class to her performance. Despite being a truly good girl, Jane just can’t help but put her intelligence and self-respect above her station- which was a big Victorian no-no. We instantly like Jane and enjoy her transformation from sickly and pale to radiant and confident. Jane’s unusual relationship with Rochester opens them both up, and Bronte’s dialogue is delivered in perfect banter and timing. Jane sounds so good, strong, and natural. It really makes you wonder why we don’t speak like this anymore or carry ourselves with such properness or value. But of course, these societal barriers must be broken down for Jane, and this silent battle and forgetting oneself is addictive! Despite being bound by their respective conventions, Jane and Rochester recognize their kindred souls. Mia and Fassbender are great together, and that’s all the more props and ‘Go Jane!’ for not giving into Rochester! I wish more women today stuck to their convictions as Jane does. And don’t say we do, just take a look at all the talentless people selling their souls on reality television! Charlotte and Jane are quite progressive for their day, with great Dickensian circumstance before Dickensian turnabout was so decidedly Dickensian!

And what of That Fass? Oh, if there was ever a greater literary introduction than Rochester’s- and Fassbender works it! Rochester’s angry debut was my favorite part of reading the book as a kid. I found it so scary, as if the Master of Thornfield is just an apparition, a dreamed up phantom. Who is this nasty guy wanting such respect and service and yet being such a pesky ass himself? All this brood is established in the character, but Fassy’s Rochester is also dang cool. You want to slap him for his initial snarky and attempts at jealous with the shallow Ms. Ingram. But Rochester is also socially unobtainable to Jane, and thus all the more attractive. Fassbender layers in a great spin to his voice, a deeper, harsh, received Victorian, and that fireside conversation with Jane is simply excellent. Fassbender keeps Rochester menacing, but sexy, tongue in cheek, and intelligent. Not many actors today can pull off such balance, much less look so perfect about it. Fassbender hides Rochester’s loneliness with begrudging attitude. He wants a friend and trusts no one but Jane, this spitfire who doesn’t quite know it yet has just stirred him so! When Rochester does get frank and opens himself up, it is no less intimidating even if there is quite the sigh worthy and backwardly flirtatious wink wink. The audience gets swept up along with Jane, as Fassbender again completely disappears into his performance. He looks totally dang different in every frickin film he’s in this year, and hardware is rolling in for Fassy’s work in Jane Eyre, X-Men: First Class, A Dangerous Method, and Shame.

The fan girls may make Jane Eyre just another episode in The Michael Fassbender Show, but I wish more attention was paid to Jamie Bell (The Adventures of Tin Tin, Billy Elliot) as St. John Rivers. He is warmhearted yet stilted by his position. John is not willing to break his society’s standards regardless of how he really feels. We like him, but feel sorry for him at the same time. There also isn’t much time spent on Imogen Poots (Centurion) and Tazmin Merchant (The Tudors), though there is an intriguing examination in their opposite representations- snotty Blanche deserving none of her privilege and poor but entitled to more Mary Rivers. Amelia Clarkson (The Sarah Jane Adventures) is also wonderful as the young Jane. You could have spent the entire two hours just on her at Lowood! I don’t have much to say about Dame Judi Dench (Shakespeare in Love) except that she is simply awesome and time traveled to research this role, I swear!

I am quite pleased to see Jane Eyre getting some- a few but not all- technical awards and recognition. The costumes- upscale, humble, men, women, horses!- are just divine. I love everyone’s frilly nightgowns and heavy frocks- I love the word ‘frocks’ almost as much as this wardrobe! There is no reason to not award the clothes or décor in this picture. This Jane Eyre has the looks of today with modern filmmaking in mind, yet it also seems to be old, as if it were made then. The music and score are also wonderfully authentic, with emotional strings and piano from Oscar winner Dario Marianelli (Atonement). Even the horrid Lowood school looks wonderful along with all the locations and decorations high and low Oh, Thornfield! There is such a bright and happy castle charm, but also a cold, foreboding, mysterious slight. The Hall does seem like Jane’s salvation, but it is a delicate balance between that happiness and the spooky and brooding. Jane Eyre’s foggy, stormy scenery allows for illusions and phantoms on the wind while the lovely English gardens visually layer the happiness, ornamentation, or upscale torment as needed. Major props also for the perfect use of that period lighting. The flickering casts change to highlight characters- Lowood is overshadowed and bleak but Helen’s scenes have a halo aspect to them. It’s all natural lighting, and yet there’s just a hint of supernatural glaze. The candles and firelight work two fold in creating old-fashioned warmth and ambiance and more darkness and shadows. This dark and light looks just perfect on blu-ray; you can see everything clearly amid the lovely glow.

But of course, for all the glory that is the visuals on blu-ray, the BD live features and meaningless previews are a real pain! These long winded opening delays and annoying pop ups aren’t trailers like the cinema- they are commercials. Don’t kid us! I also had a panic when I couldn’t immediately find the subtitles option. Not only were they somewhat cumbersomely placed, but a soft spoken period picture with great English English of olde such as this requires them. The director’s commentary is nice, but the behind the scenes features are too brief. Separate shorts on music and lighting are better, but the total is not nearly enough for today. More insightful interviews and featurettes can be found online. Again, Jane Eyre’s release on video seems like it was a bit rushed or even an afterthought when it could have been much, much more. Where are the costuming features? Full cast interviews and video diaries? A conversation with screenwriter Moira Buffini and a book to film discussion would have been awesome!

Fans of the Charlotte Bronte classic should definitely see this Jane Eyre. Even in even this short adaptation, there is so much to dissect, divulge, and study. While some definitive enthusiasts might find the reduced time or structure changes here too altered, this quick Bronte fix is perfect for classroom analysis, fans of the cast, and period piece aficionados. Fortunately, the blu-ray price has come down in recent months, too, so there’s more opportunity to rent or buy. Indulge your Victorian sensibilities and spend the night at Thornfield with Jane Eyre.

Christmas in Connecticut

2011-12-17T02:40:00.000-05:00

Christmas in Connecticut Losing Its Luster

By Kristin Battestella

I’ve always been a little unfond of the 1945 essential Christmas in Connecticut, but this year’s viewing has all but confirmed it. The dated presentation- focused on misunderstood romantic comedy instead of holiday spirit- is waning and does not hold up against other Christmas classics of yesteryear.

Smitten nurse Mary Lee (Joyce Compton, They Drive by Night) writes to Alexander Yardley’s (Sidney Greenstreet) home magazine in hopes her patient and potential fiancé, recovering sailor Jefferson Jones (Dennis Morgan), can have a restorative house visit with columnist Elizabeth Lane (Barbara Stanwyck). Unfortunately, Liz and her editor Dudley (Robert Shayne, Adventures of Superman) have been making up the literary down on the farm inspirations unbeknownst to Yardley. When Yardley approves Jones’ visit and wants to come along for Christmas Eve, Liz agrees to marry architect John Sloan (Reginald Gardiner) and set up on his Connecticut farm to feign her column and save her job. When Jefferson arrives, however, Liz finds her feelings about love and marriage irrevocably changed.

Director Peter Godfrey (The Two Mrs. Carrolls) keeps Christmas in Connecticut dry to start, with the secondary players slow to get the titular events from writers Lionel Houser (Sabotage), Adele Comandini (Three Smart Girls), and Aileen Hamilton (Slightly Dangerous) going. It’s all charming enough for classic romantic comedy audiences, but the real amusement doesn’t begin until we leave the city for the country troubles. Though there is no outright slapstick, the outlandish lies and convoluted cover-ups build to confusing twists and misunderstandings like a supersized Three’s Company holiday episode. Sometimes it’s just a little tough to care, and the tone is not as full on Christmassy as one might expect. This is not It’s a Wonderful Life where Christmas becomes the heart and soul and is dressed to the seasonal hilt. The holiday here is just a backdrop to set the romance in motion. The would-be heartfelt wartime inspirations, unfortunately, are also somewhat ignorant. How nice it would have been for those overseas to think of home with Christmas in Connecticut- but Liz has faked this country life and makes a mockery of what is so precious to so many. It comes across as pretentious to say the least. All this trouble to chase a sailor when you’re pretending to be married? If the tale had toned down the sass and snark in favor of more homespun wartime sentimentality and holiday meaning, perhaps it wouldn’t come across as so pompous today. In the end, it feels like Christmas in Connecticut is about an hour and a half too long.

As you can probably guess, I’m not much of a Barbara Stanwyck fan- though her Liz is quite progressive here. She lives alone, wears pants, doesn’t want folks to tell her what to do, and does what she has to do on her sly way to the top. Liz doesn’t want to marry or live the farm life she hypocritically plugs, and it’s all supposed to be an amusing situation. Unfortunately, Stanwyck comes off as kind of bitchy and unlikeable- we want Liz to be knocked down a notch thanks to that lovin’. Although the viewer also has to wonder why all these men surround her, there are a few amusing moments when Liz has to stammer and think on her feet in her convoluted tale. But there isn’t enough of that charm to carry Christmas in Connecticut, I’m sorry to say. Despite her numerous films and a variety of roles, I always end up feeling as though Stanwyck plays the same similar but different spitfire over and over in films like The Lady Eve, Meet John Doe, and Ball of Fire. Christmas in Connecticut is much the same, unlike her lovely noir Oscar nomination in Double Indemnity.

Dennis Morgan (Kitty Foyle, The Hard Way) is also a little too much like every other forties contract leading man, but at least the runaround romance and stumbling sparring is on par with Stanwyck even if there is simply no chemistry. Liz is so anti-love, but bland Jones stirs her heart love at first sight- despite Reginald Gardiner’s (Mr. Hobbs Takes a Vacation) equally unappealing sham marriage? I’m not buying it. What we see of the servants is also too stereotypical and even insulting. African Americans being so jolly in their subservience and bumbling rotund little men like S.Z. Sakall (Casablanca). Forget him being the warmhearted Uncle Felix- I can barely understand him! And Una O’Connor (Bride of Frankenstein) makes another flaky and fluttery old lady maid appearance! Only Sidney Greenstreet (The Maltese Falcon) remains fun, lighthearted, classy, and always cool. Seriously, the baby switcheroos at the fulcrum of Christmas in Connecticut are really weird- simply not amusing at all.

Though crisp and pretty, the black and white photography puts a damper on the Christmas feelings, too. With a title such as this, the audience expects something bright and colorful. The opening seafaring action is also a little hokey, and the Christmas party scene is used as an excuse for romance before holiday dressings. Thankfully, the swinging tunes are great, with some traditional holiday music laced in the score and carols played on the piano. Oh, that big old tree with tinsel up to wazoo! Actually, that is really the only indication that this tale plays out on Christmas Eve! The snows and sleighs look awesome as well- even if it is totally fake winter weather. That trickery, however, adds to the fun. There are cool cars, and that typewriter! The furs, frocks, long dresses, uniforms- all of it is swanky perfect with a side of sweet décor and nostalgia.

Of course, there are longtime audiences that adore Christmas in Connecticut and watch Yule after Yule, and fans of forties comedies and romantic films and those who grew up with these seasonal viewings can continue to enjoy, indeed. However, the uneven style, put on romance, and lack of Christmas in Christmas in Connecticut is a lot to ask of today’s audiences. Fans of the cast or families looking for an old time secular or neutral holiday film can tune in, but viewers looking for the big Christmas classics should look elsewhere.

Christmas Vinyl Round 3

2011-12-14T00:53:00.001-05:00

Tres Christmas Vinyl!

By Kristin Battestella

I’m digging deeper into ye olde records of yuletide bliss for even more odd vinyl and holiday magic!

The Abbey Choir Little Drummer Boy – I thought this was some quirky obscure record, but amazingly the entire album is available for MP3 Download. The titular carol may be a little too choir shrill, but it’s always fun to sing along with like the Twelve Days of Christmas and The Wassail Song. There’s also lovely old-fashioned church sounding reverence with Silent Night, O Come All Ye Faithful, and God Rest Ye Merry Gentleman. Lesser-heard holiday fair like Christians Awake, As with Gladness Men of Old, While Shepherds Watched Their Flocks, and Angels from the Realms of Glory are nice to have, too. Not all of it is pleasing to the contemporary ear and it is all quite short. However, for many, this is what their childhood Christmas did sound like and should ring as today.

Christmas with George Beverly Shea and George Beverly Shea Silent Night – I already commented on Bev’s Christmas Hymns and Hark the Herald Angels Sing records, but I picked up these two albums second hand and found more great, baritone reverence- sort of. These repeat tracks and varying listings were so confusing; I actually made a chart to figure it all out! In addition to adding six new religious tracks including Fairest Lord Jesus, Holy Holy Holy, Oh Men From the Fields, and Count Your Blessings; the 1972 Silent Night double album contains Go Tell It On the Mountain and all the songs from Christmas with George Beverly Shea. While most of these are the same tunes found on the Christmas Hymns LP, the Hark the Herald Angels Sing set is completely unique with no repeat tracks found here. Whew! It is a shame there’s so little information about these records, and I could see completists driving themselves crazy! Even so, it is nice to have at least one of these albums with Shea’s down and spiritual, and the odd download of some but not all of these tunes are available for folks to pick and choose their favorites. Families looking for an old-fashioned traditional sound can find either of these George Beverly Shea albums fairly easy enough, but I suppose beggars can’t be choosers when it comes to the vinyl.

Silent Night Christmas Carols and Holiday Strings – Now this album does seem to be obscure, but it still one of my favorite holiday records. Yes, it is getting a little crispy and warped by now, but I love the festive instrumentals, from the rousing and upbeat O Come All Ye Faithful and Joy to the World to the heart tugging The First Noel, O Holy Night, and the less and less heard We Three Kings of Orient Are. Though perhaps too plain, religious, or generic for contemporary secular folks, there is however something timeless at work here. Sans vocals trying to adhere to an of the moment style, the music and meaning are allowed room to accentuate that family dinner or night of trimming the tree. The dates, the hours just become, well, insignificant against the revelry. Happy Sigh.

The Star Carol Tennessee Ernie Ford Sings His Christmas Favorites– Ernie gets right to the holiday boasts with Joy To the World and Hark the Herald Angels Sing and keeps the Spirit of the Season heavy through the somber It Came Upon a Midnight Clear and Silent Night finale. In between, rarities such as Some Children See Him, O Harken Ye, Sleep My Little Lord Jesus, and the eponymous track stand out along with a lovely and deep O Holy Night, Adeste Fideles, and We Three Kings. The voice and the spirit are entrenched here most definitely, and will create a lump in your throat if you pause to have a quiet, snowy late night listen. Yes, the old-fashioned 1958 down gospel male singing won’t work for a swanky secular party today. For reminiscing folks seeking a little country gospel in their Christmas, however, downloads and digital Ernie picking and choosing is available. Perhaps that is proof we do still indeed yearn for of the “honestly sung, deep religious feeling” as the record sleeve suggests.

Sigh, so many records, so little time!

The Nativity (1978)

2011-12-12T09:13:00.002-05:00

The Nativity a Decent but Dated Little Movie

By Kristin Battestella

I stumbled upon the 1978 television movie The Nativity on one of the religious channels late at night and though dated and flawed, this is a nice little Biblical tale.

Amid King Herod’s (Leo McKern) tyranny and deadly Roman occupation, the young Mary (Madeline Stowe) and her parents Anna and Joachim (Jane Wyatt and George Voskovec) await the coming of the Messiah to free the Israelites. The carpenter Joseph (John Shea) becomes betrothed to Mary as Herod’s advisors Nestor (John Rhys Davies), Flavius (William Morgan Sheppard), and Diomedes (Freddie Jones) predict a celestial alignment that will bring forth the birth of the true King of the Jews. Ordered by Herod, they search the land for newborns who pose a threat to the king. When Mary has an angelic visitation and becomes with child, she visits her also surprisingly pregnant Aunt Elizabeth (Audrey Totter) and her doubting, mute husband Zechariah (Paul Stewart). Soon, Joseph and the heavily pregnant Mary must go to Bethlehem for the tax census, where Jesus is born.

Director Bernard L. Kowalski (SSSSSSS) is a little uneven in handling the story from Morton Fine (I Spy) and Millard Kaufman (Raintree County). The alternating between Herod’s madness, the journey of the Magi, and the eponymous drama is not a problem, but Herod is dropped all together halfway through the film. I was also totally confused by the three wise men who aren’t actually the magi but encounter Eleazar and another set of real magi looking for the newborn king before becoming the three kings anyway. The Nativity also takes awhile to get going despite a short odd hour and a half to do it. Some of the one on one scenes between Joseph and Mary are a little too seventies budding love, but as the major events get going, the pace improves greatly. The dreamy waterfall conception is a toe towards mystical, but the focus is smartly kept on Mary and Biblical dialogue rather than getting too weird. Not all the names of the players are given onscreen, however, and sometimes it is tough to know who is supposed to be who outside of the obvious figures. The Nativity’s biggest trouble is that it isn’t as moving as it could be or spends more time on the exposition and fluff. Fortunately, when it sticks to the tale at hand via Biblical conversations and faith, thing are a okay.

Wow, Madeline Stowe looks so young! The Last of the Mohicans star does seem a little untrained- even hokey and cross eyed in a few moments with Joseph! However, she is playing the teenaged future mother of Christ, so the innocence and youthful nervousness fits. She’s pretty- probably a little too Hollywood looking compared to what Mary really looked like- but Stowe keeps things natural, lovely, and humble. Likewise, John Shea (Lois & Clark: The New Adventures of Superman) is shy as the poor carpenter and would be pursuer of Mary, but he speaks up and stands strong against the Roman abuses. Joseph doesn’t exactly have it easy, either. We know so little about the guy except that he had to take a lot on faith! Shea handles the difficulty and trust well, though I do wonder if that beard is genuine. The two leads make a cute couple, and fit together as Mary and Joseph, but their early scenes are a little boring, or again played too Love Story with sappy, annoying, intrusive music overtaking their soft dialogue in an unnecessary attempt at more poignancy.

Thankfully, Jane Wyatt (Father Knows Best) and George Voskovec (12 Angry Men) are lovely as the supportive parents who also have much to handle and do so with a lot of class. Of course, John Rhys Davies (Lord of the Rings, Indiana Jones) is always a lot of fun as the feisty and disbelieving royal advisor Nestor, and William Morgan Sheppard (Max Headroom) and Freddie Jones (Dune) have plenty of cranky debates as the trio comes to appreciate the True King. I really wish their part in The Nativity were better realized. Audrey Totter (The Postman Always Rings Twice) and Paul Stewart (Citizen Kane) are also lovely, but barely there as Elizabeth and Zachariah.

The Spanish locations, however, look surprisingly ancient and Middle Eastern. Though the opening Roman battle scenes are a little weak, they do establish the fear and oppression atmosphere just fine and don’t take up too much of the plot. Leo McKern (A Man for All Seasons) as Herod and his palace are somewhat low budget seventies television over the top, but again, this makes it easier for us to dislike the evil king and his bad girl daughter Salome (Kate O’Mara, Dynasty). The creche cave and Star finale look authentic as well, being historically realistic yet allowing room for belief in miracles. The costumes are kind of fifties bright and colorful, but set that Biblical robes and dressings mood we expect. I don’t really know if they had such shiny gold plated menorahs back in the day, but dang I’d like to have a big sweet one like that!

Yes, we already have a lovely retelling in The Nativity Story, and I would love to see an unofficial sequel on the life of Christ to create a loose trilogy with The Passion. However, the screenplay here highlighting the nutty Herod along with Mary and Joseph, feels due for an update. In the end, the datedness, low budget production, and uneven presentation hinders what should be a beautiful and essential tale. However, The Nativity is still great for a classroom or study group comparison or a December family viewing- but it isn’t available on DVD. Typical! Imperfect yes, but you can’t really go wrong with The Nativity.

Sharpe's Rifles (1988)

2011-12-12T02:06:00.000-05:00

Sharpe’s Rifles a Nice Introduction Book

By Kristin Battestella

No, no, I haven’t forgotten Sharpe! Though a lot of busy did take me away from reading Bernard Cornwell’s 1988 prequel Sharpe’s Rifles from time to time, I wanted to write a few literary notes in comparison to the telefilm. Usually, I post my book commentaries with the film they align to, but this one was too long for the comments section! I guess I had more Sharpe thoughts than I thought!

So do please also see our complete analysis on the 1993 television adaptation of Sharpe's Rifles here.

Cut off from his battalion in the Spanish winter of 1809, raised from the ranks Lieutenant Richard Sharpe must unite a small group of rifleman after the death of his Captain. He buts heads with the big Irish rifleman Patrick Harper and reluctantly unites with Don Blas Vivar as he and his Spanish volunteers seek to deliver the Banner of St. James to Santiago de Compostela and unite Spain against French Colonel de L’Eclin and Vivar’s brother Count Mouromorto, a French sympathizer. To make things worse, Sharpe must protect The Parkers, stuffy Methodist missionaries, and their lovely niece, Louisa.

Naturally, character additions, changes, and small-scale productions create a few differences from book to film. Besides the insertion of Teresa for the debut Sharpe show, the book Sharpe’s Rifles concludes with a heavy cavalry battle and butchery fest, rather than a smaller cathedral stand. Rifleman Hagman is somewhat prominent on the page, but remember, the other rifles were television creations. The Parkers storyline is changed as well, tying into the bank draft plot of the film rather than creating a love interest for Sharpe as Louisa does here. Though Teresa’s premature introduction creates a few inconsistencies for the subsequent Sharpe’s Eagle episode, her lady is a superior onscreen move. The written Louis is just a little too wishy washy- only there to create an obligatory love interest where none is really needed. There’s enough going on with Sharpe’s struggle to lead the Rifles along with the back and forth with Vivar. We don’t need a little girl to occupy space or distract Sharpe, especially since nothing good comes of it anyway.

The written Vivar, however, is given more dimension. Instead of being a wise almost fatherly support, he’s slightly more harsh and desperate in his rescue of Spain. Vivar’s kind, even bemusing on occasion and develops a great relationship with Harper, but there’s also a great element of competition with Sharpe. The tug of war over Louisa near the end of Sharpe’s Rifles spells it out, but the devil’s advocate conversations and battle strategy discussions do far more in showing Sharpe’s style and embittered English tone versus Vivar’s intelligence and Spanish pride. Sharpe’s Rifles does unfortunately suffer from some weak villainy. Colonel de L’Eclin feels broad like every other insurmountable French officer that we somehow know will get bested by Sharpe, and the visual character design of the Count of Mouromorto is far more creepy than the faux mysterious written version. Vivar is actually more deadly and action forward than his turncoat brother.

Sharpe and Harper are great as always, but again I feel there wasn’t enough of them. The quiet character scenes are far more interesting than the historical battle details, even though those are sweet too. Sharpe’s Rifles does fall prey to the big omnipresent battle for the finale. Sometimes it is almost as if Sharpe is only a supporting player, a host and the battle is the focus of the tale. Shouldn’t it be the other way around? The French tricks and twists for the Santiago de Compostela siege are also totally obvious, and after an entire novel of building character, intelligence, and character intelligence, everyone is made to look kind of stupid. The reader is repeatedly told the right versus left and inside versus outside clues that we don’t need at the expense of the players. The conclusion feels really rushed- three pages to wrap up three hundred page’s worth of story with Captain Hogan being introduced on the last page!- and sometimes, I get kind of tired of Sharpe for the big battle endings. Yeah, there is a battle, Sharpe gets the bad guy, and he marches on. They kind of all feel the same now. But of course, when you like Sharpe and Harper you want to see them kick ass and bag the bad guys.

Sharpe’s Rifles was an elusive book for me to find a few years ago, and the edition I finally got is a red TV tie -in reissue with Sean Bean on the cover, hehe! Though slightly uneven among players and battles, and again a step down from the original core of Sharpe books, Sharpe’s Rifles is the perfect example of a true prequel. How did our Sharpe and Harper meet? Overall, that question is answered, and for those looking to jump into the written Sharpe, Rifles is a good spot to dive in.

MI-5: Season 9

2011-12-11T03:09:00.000-05:00

MI-5 Season 9 Begins to Wane

By Kristin Battestella

Alas, here again I’ve finally caught up with Season 9 of the British spy series MI-5. Unfortunately, for the first time since I began following the folks at Thames House, I was a little disappointed with this shorted year.

After recruiting new junior case offices Beth Bailey (Sophia Myles) and Dimitri Levendis (Max Brown), promoted Section D Chief Lucas North (Richard Armitage) is confronted by a mysterious figure from his past, Vaughn Edwards (Ian Glen). The connection leads Lucas to rekindle his old romance with Maya Lahan (Laila Rouass), but Sir Harry Pearce (Peter Firth) and Intelligence Officer Ruth Evershed (Nicola Walker) are continually torn between their own would-be romance and life at Thames House.

New writers Jonathan Brackley and Sam Vincent (Hotel Babylon) spend too much of this fall 2010 season’s reduced eight episodes on daily terrorism and saving the UK’s day. Yes, we still have MI-5’s great intricate plots, intelligence, and relevant debates with oil talk, recession topics, and other global events. It’s refreshing to breakaway from standard terror plots to have Chinese and Russian relations, indeed. Unfortunately, all that intrigue is a lot less intriguing without the personal elements from our resident spies- the very piece that made MI-5 so delightful. Without these private reflections or focus on what goes on beyond the Grid, this season’s episodes seem to end too soon or feel shorter despite being the same solid 50 plus minutes. The viewer just doesn’t care as much about the same old misunderstood gunman or unknown bomber week after week- especially when we know so little about our regular players. Season 9 feels like a shadow of MI-5’s former self, and even I’m ready for it to wrap up after Series 10. The ‘people who happen to be spies’ angle has been chopped and lost in favor of the big shocker. Okay, the shockers are still damn good, but without the personal, it all just seems so hollow.

Fortunately, Peter Firth and Nicola Walker remain the glue of the series. Right off the bat, these two hardened spies pussyfoot around their feelings. To hell with the young and beautiful blondes, Harry and Ruth’s one on one private conversations are so, so pretty. I am so glad creator David Wolstencroft stuck with Sir Harry all these years. He makes the show personal, the familiar old spy sacrificing in this changing world, fighting the good fight against global politics and all that. Again, time with its players is MI-5 at its best. Harry’s phone call to his daughter is particularly touching- no need for flashy crap and over the top plots here. Just a family phone call when doing your duty for Queen and Country. Amen. Ruth also creates the perfect emotional fulcrum on the Grid, the expertise of life inside versus the unfulfilled life outside. It’s also a wonderful surprise to catch up with Hugh Simon as tech guru Malcolm Wynn-Jones- the lovely old spook we thought made it out of the system! Colin Salmon has a great guest stint as well. It would have been nice to have a tongue in cheek crossover to his MI-6 Bond compatriot Charles Robinson, last seen in Die Another Day, but alas, no.

But Lucas, Lucas, Lucas! How much more iffy intrigue can they create here? It was crazy enough going thru all this romance and trauma crap with Adam, and the changes for Richard Armitage’s new lead are tiresome and annoying. This is of course by no means Armitage’s fault- he does great intense stuff like nobody’s business. Unfortunately, the equally good Ian Glen (Game of Thrones) enters MI-5 for what is largely a cop out retread of prior mystery and betrayal thorns. Are we really expected to believe Lucas’ complete character destruction because of woman? And this is all meant to be what really happened before his Russian prison drama and estranged wife? The timeline twists and goofy identity crisis come completely out of left field. This was before Lucas was Section Chief for the first time before Tom? Even with this groundwork being laid throughout the season, the end result is completely rushed and feels like the audience is screwed with information that we should have already known. Besides, doesn’t this make one too many rogue section leaders now? Of course, despite this totally unrealistic turn, it’s all still dang intense down the line thanks to Armitage’s coming to play when the writers obviously didn’t. I find it kind of twisted, even cruel, that the new crew makes it so we steady viewers really don’t know Lucas at all. They Bobbied in the shower just for the shocker of it! He’s in The Hobbit, we know. It’s okay to have him just walk into the sunset, really.

New to MI-5 Sofia Myles (Underworld) fairs no better in character development. I like that her Beth is a bit chubby, simply because she’s not what we’d expect as a spy. That’s an undercover asset, is it not? However, they just thrust Beth upon us and try so hard to make her complicated before dropping any attempt at personal establishment all together. Beth might not have been bad if we got to know her, but we never do, and to put it simply, she’s just not as good as Ros Myers was. Beth tries to be warm, then she’s bitchy- which is it? I feel they were going for a wannabe Kate Winslet vibe, and I’m disappointed there has never been a black female lead or any ethnic section chief on MI-5. What’s with all the dang blondes, weak entrances, and bad exits? Badass ladies, and smartly placed or unexpected players was once the core of the show. Though it was utterly gut wrenching, scream at the tele worthy at the time, in hindsight, getting intimate with our spies only to loose them or distrust them was part of the fun.

Max Brown was also a miss for Series 9. His Dimitri is given a barebones background and remains completely obvious throughout the season. I suppose he would have been cool in due time, but Brown never develops the big presence of previous MI-5 males. I can’t possibly imagine this guy being in charge after Richard Armitage- Brown looks too young and too pretty to be taken seriously, not at all like his fine subterfuge on The Tudors. I feel like we are seeing Danny learn the ropes all over again- minus the heart, agony, and ‘getting to know you’. Shazad Latif is also a waste as computer boy Tariq. Sometimes, the character is even made useless with the gadgetry- unlike Malcolm, who had something imperative every episode and did it with geeky class and wit. We don’t know where the new players live, what they like, how they deal after leaving Thames House. You don’t have to take my word for it, however, just look at their character Wiki pages. It’s a paragraph of empty! Vincent Regan’s (300) tossed in finale appearance and new Home Secretary Simon Russell Beal’s (My Week with Marilyn) intensity are too little too late for MI-5 this season.

More focus is spent this series on action and cool locales like Morocco, and fortunately, it does all still look good. These little niches and slices of London are always cool for little ole American me. However, sometimes there is a bit too much running around and high tech babble making things confusing. Who is where and doing what? It’s fast paced, for sure, with the usual split screens, unique photography, and interesting intercuts in the timeline. Nevertheless, I keep thinking of that first season moment with Tom Quinn looking through the mail slot at the bomb in his home and how throat clutching it was. Do we really need all this wham bam? Season 9 is most definitely not an introduction point for MI-5, the over the top plotting and highbrow action make it look like everything else on television- and all that comes at the expense of the fine character development that previously set MI-5 apart.

Longtime fans of MI-5 on both sides of the pond will still tune in for Series 9. Despite this subpar outing, I can’t wait to get my hand on the six-episode Season 10 swansong. Is MI-5 still better than anything on US television? Probably. Is the writing on the wall that it has run its course? Yes. Look to your preferred rental or streaming options and enjoy MI-5 while it lasts.

Shame (2011)

2011-12-10T01:31:00.000-05:00

Shame Is Worth Much, Much More than the NC-17 Stamp and Snide Penis Remarks

By Kristin Battestella

Upscale Brandon Sullivan (Michael Fassbender) seems to have it all- great job, swanky apartment, awesome New York nights on the town with a cool boss (James Badge Dale). Unfortunately, his perfect façade hides a depraved addiction to sex in all its forms at home, at work, and on the streets. When Brandon’s sister Sissy (Carey Mulligan) comes to New York and crashes on his couch, Brandon’s convenient life of call girls and internet porn spirals out of control. Can a normal relationship with coworker Marianne (Nicole Beharie) save Brandon from his inner turmoil and self-destructive behavior? Or will the escalating tensions and shared past with his sister unravel Brandon completely?

So, I head to the cinema way too early in some strange fear that Steve McQueen’s new and personally much anticipated sex drama Shame will be sold out. During my inevitable wait, I stopped in the Flyers Skatezone next door to see if any pro hockey players were there practicing, but alas no. So, I called my Dad instead. (I bought him a Christmas present in the pro shop, but we’ll just skip that part!)

“I’m at the rink next to the movies,” I said.

“What are you going to see?”

“Uh…Shame.”

“Shame? What’s that about?”

“Um…addiction…kind of…” Really, how do you explain this film to your father?

“Why do you want to see that?”

“Well…because Michael Fassbender is being touted for an Oscar for it.”

“Who?”

“Magneto.”

“Oh. He was really good in that. I like him. The guy can act, that’s for sure. Okay. Enjoy your show.”

The Raw

This will be either a really short review, or a really long one. Right now, I don’t know which, as I would totally love to talk in the finite about Shame but don’t want to spoil so limited a release. Actually, I kind of don’t want to talk about it as well. Artist and Hunger director Steve McQueen wonderfully uses unusual mixes of dialogue and filmmaking, with long silences or musical interludes and alternating intercuts. The seemingly unbalanced editing is a visual reflection of Brandon’s excessive lows, and the distorted timeline builds both a conventional plot and nontraditional storytelling. There are no special effects or flashy herky jerky in your face camera jobs, but Shame is up close and personal for the audience nonetheless thanks to the tight photography and great single conversation scenes. The viewer is, like in A Christmas Carol, at the character’s onscreen elbow. Brandon is our unwilling avatar as Shame rises surprisingly to its inevitable head. (I should also warn you now, that everything I write sounds like a dang penis pun, which I am not intentionally trying to do, so out of the gutter!) I think some of the negative criticism against Shame is that it’s generic or lightweight on the scripting or not that unexpected. Yes, Shame is not super shocking as I think some thought thanks to the NC-17 rating- I’ve seen far more graphic content in Andrea Arnold’s Red Road and Lars Von Trier’s Antichrist. Like Hunger before it, there’s no shock and awe for the sake of it or beating the audience over the head with heavy-handed explanations and metaphors.

The dialogue isn’t porn nasty smutty, either. Again, I’ve heard far worse in violent action films, men, their guns, and their ‘Fuck you, you pussy!’ Shame’s script is actually verbally tame now that I think of it, allowing the actions and expressions of the cast to say much, much more. It is a quiet film, despite having its players cry out in so many ways. I didn’t find Shame that explicit, just somewhat uncomfortable to watch. We know something isn’t right with Brandon, but we can’t quite put our finger on it. We like him, feel for him, there’s no reason to dislike him, but he is creepy and sad nonetheless. Good old New York looks the same way, would be beautiful, but bittersweet. How does that old adage go? You’re in a city surrounded by people and yet never feel so alone. Not to contradict McQueen and co-writer Abi Morgan (The Iron Lady), but Shame doesn’t seem about sex addiction as much as it does intimacy. Now that I’ve seen it, I’m a little miffed at all the interviewers and Shame press that made all the ‘balls out’, ‘exposed’, and ‘stripped down’ jokes, as this film strikes at the heart of why we are becoming more and more interconnected yet driving each other further and further apart.

The Fass

Brandon, however, seems stuck in some sort of childhood trauma with cartoons and juvenile behavior. While the soundtrack for Shame is very sweet and I do love the looks of Brandon’s record collection, one has to wonder why he likes the music he does. His apartment is bare except for that wall of records, what year does he really live in? Brandon is trapped in a very dark place, and Michael Fassbender goes there with him, indeed. Fassbender’s style, mannerisms, and idiosyncrasies define Brandon’s carefully orchestrated façade. He wears the same combination of gray pants and jacket and blue shirt and scarf for most of the picture. As Brandon sinks to further sexual escapades- despite tossing out mounds of porn which surely goes back years, maybe even decades- we spiral along in the destruction. When he tries to behave normally, Brandon can’t, and continues the cycle with more. I absolutely love Fassbender’s near crying during the three-way sex scene- his best parts in the film may be when he doesn’t say anything verbal at all. This is rough, hot, orgasmic sex- people would pay huge amounts of money to see or participate in a Cathouse event like this! Yet this desperate accumulation in search of some sort of unattainable climax is literally making Brandon die inside. He gets off, eventually, sure, but in actuality feels nothing- or worse pain- for what is our most treasured intimacy.

When he should feel something, caring, compassion, or love for others, Brandon can’t or won’t. I love Fassbender’s implication that Brandon doesn’t eat, only drinks, drugs, or caffeines as needed to keep his sex drive going. Fassy wonderfully portrays this bottomless vessel, a haunting beauty that sex should fill or wash clean, but sinks down deeper and deeper. I don’t mean to get philosophical or abstract, but Brandon is a sex vampire, draining himself of his own soul. The viewer feels pity for Brandon and can’t turn away no matter how difficult it becomes to watch. This is man versus man, man versus nature, and man versus himself at its finest, and it is all encapsulated in Michael fucking Fassbender. 300, Hunger, Fish Tank, Inglourious Basterds, Jane Eyre, X-Men: First Class, A Dangerous Method- if you don’t like Michael Fassbender by now, then I have nothing more to say to you. And now after having finally seen Shame, I feel kind of dirty, dazed, confused. People really live like this?

I suspect that if Shame had been about a female sex addict, its wicked NC-17 reception would have been handled quite differently. We used to use the word nymphomaniac in terms of how it was a hot hot hottie woman who needed to be satisfied at any length for more more more! Brandon, though by definition a nymphomaniac or beyond satryism, is the complete opposite of our sex addiction perceptions. Most people think its Charlie Sheen being tiger blood badass cool, we lift up the sex, drugs, and rock n roll lifestyle. Were it Sissy who was the sex addict in Shame, I don’t think it would have received an NC-17 rating. A woman tackling such a serious topic would be lauded and acclaimed and still be considered powerful and sexy even in the ugliness of the topic. There would be no question of hardware for a female sexual twist, look at Boys Don’t Cry or Monster. Though Fassbender has received his deserved share of hardware for Shame- his second BIFA after Hunger and the Coppa Volpi at the Venice Film Festival among them- everyone and their grandma who’s speculating on his Oscar chances has to add all the Hollywood politics and avante garde caveats to the possibility of his nomination or win. Why is there a male double standard at play here? Is not stellar performance stellar performance regardless of discomfort or taboos?

The Support

All this attention of course is being paid to Fassbender, but Carey Mulligan (An Education) is far from fluff. Sissy is simply awesome, full of needy and heart wrenching expression- particularly in her already acclaimed ‘New York, New York’ rendition. Even with the Fassy glory, one of stern constitution and psychology could study Shame exclusively from Sissy’s angle. She has twisted issues all her own- she clearly needs help that Brandon cannot give, nor does he even notice the medical bracelet on her arm or hear her desperate phone calls unless they are annoying him. Sissy is the definition of utterly emotional, wearing her need for affection for any man who will take it. For being so similarly tormented by their past, these siblings are also perfectly against each other. Again, this question of intimacy is at the forefront with Sissy and Brandon. Why is she so ready to be intimate with anyone, even him on some latent level? Why is he so in-intimate that he is almost inanimate? What shared and scarring intimacy already possesses them? The near violent and pseudo sexual scenes between them are awesome. You almost wonder if Brandon is going to sexually assault Sissy just as you suspect she might slash him, too. There are so many little hints about their relationship, from the way neither sibling tries to cover themselves around each other to why Brandon cries during her song. What did he come to New York to escape from? In a way, these two are meant for each other, they should be able to heal their shared brokenness together, and yes, I know that sounds too Lannister nasty! However, what could have been a disturbing incestuous angle for the sake of the scandal is wonderfully dealt with in frank, raw honesty. I love how in one lengthy two shot argument; you can see the mark Fassbender leaves on Mulligan’s face. Seriously, why isn’t she getting more awards talk? Shame requires a female lead to match Fassbender’s tour de force blow by blow, and Mulligan delivers 110%.

Likewise, James Badge Dale (Rubicon) and Nicole Beharie (American Violet) provide great outside support. Dale’s boss David is quite the opposite of Brandon. Where Brandon represents the mirror we don’t want to look into, David is the picture we tape to the glass to fool ourselves. He doesn’t have it together when they go out on the town to pick up women- but his family and top job success seem to be the ideal Brandon should be striving for instead of the porn symphony. Yet David is obviously not as cool as he thinks he is, and his adultery and misogynistic view of women isn’t necessarily that much healthier than Brandon’s addiction. Everybody in this film is messed up sexually when you think about it. I hadn’t seen Beharie before, but she is all kinds of nice. Sassy, confident- and not making any graces about her station in life like David. Marianne has no problem with being open and honest like Sissy nor being sexually provocative like Brandon. She does however, seem to wear her raw better than the others. Even if some wonder about her sexual confidence being too confident- she ditches work and goes to an exhibitionist hotel to have sex with a relative stranger- the sex scene between Beharie and Fassbender is probably the best one of the film. It’s beautiful, even loving, and sexy as a sex scene in a film should be which is markedly different from every other sex scene in Shame. It’s natural, passionate, slightly wild in the desire- and yet, this scene also encompasses everything that is wrong with Brandon. Really, wonderful stuff by the cast all around, and props as well to all those other naughty people!

The NC-17

Now then, unless I am doing a group critique or a viewing list, I never start a review file early- as I was so tempted to do for Shame thanks to all these NC-17 issues. My gosh, you know, The Fassy Wang is actually barely there, flapping about as he walks back and forth in first 5 minutes, whoopiefuckingdo! Honestly, I suspect the NC-17 slap was more likely given for the gay club scene and the length of the three-way sex. Maybe I spoiled myself or perhaps Shame is a little lightweight as some critics say, but I’ve seen worse needless blood, sex, nudity, drug use, and gore. Not just in Hard R films, either, but in sexy PG-13 films and even on standard cable television- when I was a kid, this was a scandal the likes of sneaking out to watch Porky’s! Now a lot of this saucy sex and violence is expressly geared toward teens. If you are going to show pride and a reclaiming of the adult rating for Shame, then you better get your priorities straight on where the line between R and NC-17 lies. Had Hunger been rated by the MPAA, I think it would also have been NC-17. There’s more penis and far worse brutality, but these extremes are also not for the desensitizing shock of it all. McQueen used all human tools available to create the aspects of prison torment, and only a very small percentage look at Hunger just to say Fassy Wang! Why should Shame be any different?

Frankly, I thought the urinating was more bizarre, but I’m glad SMQ shows us the complete Spartan (hehe, no 300 pun intended!) sex life of Brandon before we meet Sissy- if only to get any giggles or inhibitions out at the door. Fassy’s hung, yeah, he has lots of meaningless sex, and it is all okay until his sister arrives, let’s move on to the point of the tale, shall we? Some may also be displeased with the unexplained slice of life nature of Shame, but I like it. We spend this utmost time with Brandon and it is intense. The rating means certain audiences should shy away from the intensity, yet we also want everything shockingly there and explained and dumbed down to impressive visuals as in today’s horror. I like that Shame closes with possibility. Is Brandon any better off at the end then he was at the start? Did this time mean anything to him? If not, what did we just spend the last hour and half doing? I suppose some audiences might be angry if they think it was all a big waste, but like the ratings brouhaha, this is an outward statement mainstream Hollywood is not going to like. How many times a week-even a day- do we waste hours with television, the internet, sex, drugs, rock n roll, and any other potential idolatries or vices? He has a dick, he leaves it hanging out a lot until his sister arrives and forces him to realize that having his dick out all the time is kind of weird. That is the within within statement Shame is making. We should be so shocked-we are if the NC-17 rating is true- yet we see far, far worse on a daily basis- and that is becoming more and more comfortable to us. That’s weird, too, isn’t it?

Brandon is like us, we are he. That is what is so uncomfortable, and frankly unsellable. Those looking for hard-core material thanks to the scarlet NC-17 may not find it and feel Shame is a let down. This is not titillating, nor is it a brutal rape or victimizing violence. A Rated R film will make money. But a thesis on how constantly unfulfilling and painful orgasms make Brandon both unable to live without The Ring of Sex whilst hating his Gollum self for it- this is not going to be popular. Is Brandon beyond redemption? Despite the anonymous sex and self-hatred, he’s not a bad guy. It’s not his fault, it is? Fassbender gloriously shows tragedy, trauma, and corruption up close- which is where the camera is most of the time in the sex scenes- on Brandon’s face. This is a depressing and unentertaining piece, and the NC-17 was Hollywood’s brush off attempt in protection of its bottom line. Bravo to Shame then for beating Hollywood at its own game.

The Experience

For those interested in that positive reception and audience numbers, my theater was in the second tier of limited release for Shame. There were under 25 people, about a quarter full, for this first 11:30 a.m. Friday showing. I was surprised the audience was almost all older folks with only a handful of women and younger adults; though I don’t know if this is because of the senior programs at this particular theater or not. The NC-17 was blazed all over the marquee and signage in red lettering and warned that ID must be shown. Since I look like I am 12 and still get lollipops when I go to the drive thru at the bank, I had my license ready. The older ticket lady just glanced at it briefly, I think because provisional licenses for drivers under 18 or 21 here look different from a regular ID.

“One for Shame, please,” I said.

Then I realized what kind of sentence that was, and said to the lady, “I bet you don’t hear that every day.”

I could still here the lady laughing as snooped in the lobby. Posters were up for Fassbender’s other sex drama A Dangerous Method, due here in January, but naturally, there was no outside Shame advertising. As to the trailers, The Artist looks good, as do the previously unknown to me but artsy heavy Miss Baja and Pariah. The Tinker, Tailor, Soldier, Spy preview was kind of ambiguous, only focusing on Gary Oldman and not using the rest of the star power, but they can’t really give everything away there. In a strange case of appropriate previews, I’ll probably see all of them eventually, just perhaps not at the cinema. It felt weird leaving the theater and coming back into the daylight after seeing Shame- it is after all, a dark, uncomfortable ride Brandon takes us on!

Shame is a great movie, even if it feels a bit inferior to Hunger. Death and starvation were on McQueen and Fassbender’s side then, along with a nothing to loose obscure abandon. Though Fassy has now exploded and it is a little sad to loose an actor to the mainstream sex symbol status, the Academy simply cannot ignore him now without looking like the political prudes they really are. Fans of the cast should see Shame at any available opportunity. It won’t be the NC-17 that puts audiences off of the film, but Shame’s own uncompromising nature makes it tough to see more than once. Witness your own raw, interactive frailty, and experience Shame’s film finery ASAP.

Whew, I guess it was long. Shit! The review! The review was long! Dang friggin’ penis puns!

When My Heart Finds Christmas

2011-12-08T02:09:00.000-05:00

Harry’s When My Heart Find Christmas is Swanky, but a Bit of a Mixed Bag

By Kristin Battestella

My mom had Harry Connick, Jr.’s 1993 holiday hit When My Heart Finds Christmas on CD several years ago, but it seems to have disappeared in the abyss of her car and I never got to hear it. Fortunately, I picked up a used edition cheap. Though a few of Harry’s holiday tunes are still in the swinging spirit of the season, the generic compositions can either be too bland for reverent audiences or just right for those who have Christmas without Christmas.

A typically Harry swanky and jazzy Sleigh Ride opens the set in fun fashion. While the big notes are lively and upbeat, Harry slows down the arrangement just a touch, allowing room for his ad-lib crooner style. It’s all still dang catchy- office party easy instead of the traditional downhill skiing fast paced Pops. When My Heart Finds Christmas, however, is slow and choirful. The titular original is a little is a lightweight and broad on the sentiment, not quite achieving the yule power ballad status, unfortunately. But it’s nice to hear something new and poetic, if a bit romantic, and Harry has room to hold a few notes here. By contrast, It Must Have Been Ol’ Santa Claus rocks a ragtime air. It is fast, Harry tells a fun story, and the chorus is kind of catchy. However, this original also falls short in becoming the next big festive hit.

That Blessed Dawn of Christmas Day does better in the somber and stillness than When My Heart Finds Christmas, perhaps because it actually contains religious lyrics rather than memories of winters past. When a holiday ballad is so slow and brooding with Harry’s lofty notes, perhaps we expect something reverent and angelic. This one is a little too slow, but pretty nonetheless. While Let It Snow! Let It Snow! Let It Snow! is nothing new, of course, Harry Connick, Jr. adds his unique touch of modern big band panache. It’s brassy, toe-tapping, reminiscent of yules of yore and contemporary Christmas all at the same time.

I didn’t realize When My Heart Finds Christmas contained The Little Drummer Boy when I picked it up- strange, as I’m usually always on the look out for this lesser heard carol. It’s my husband’s favorite, you see, and not an easy tune to pull off. Ladies or too kiddie fun don’t work for what should be a somber and touching ode. Thankfully, Harry does this one justice. It’s not overly epic sweeping, but not cutesy either. Harry keeps it smooth, low, and spiritually innocent for the season, as it should be. Ave Maria is also enchanting as a partially instrumental and all solemn piano arrangement kept unusually simple and sweet. We don’t need lofty choirs and big notes if Harry is keeping the carol individual and personal, just him and his piano.

The fun returns for Parade of the Wooden Soldiers, because every contemporary big band album needs a place to dance, rock out, and all the better to have some holiday fun for the kids, too! Otherwise, it’s merely ‘eh’. The set arrangement of When my Heart Finds Christmas also seems uneven, intermixing fast swing with slowed spirituals. I’d rather the slow reverence of What Child is This be grouped with all the carols together. At first, the rendition here also seems too unusual, but smartly placed strings cap it off just fine. Though it allows for more tracks on the album, the selections are too short, averaging around 4 minutes or less, with mostly two minute flashes. Christmas Dreaming is fairly short and generic, too- but at least it is a forties winter traditional, the likes of Dean Martin for more easy dinner music good. I Pray on Christmas brings Jesus into the best selling Christmas album of 1993 and gets old school down and gospel, thus doing far better than the other original compositions here. It’s contemporary, church worthy, lifting up, and groovy all at the same time.

Rudolph the Red Nosed Reindeer provides more fun for the kiddies as Harry sings along with the gang and yet also gets dang down and jazzy. Again, I wish When My Heart Finds Christmas went all one way or the other- total jazz or all carol crooner capability, but O Holy Night is the longest track here at over 6 minutes. The length is surprising I must say, considering the somewhat superficially spiritual feel of the album. Harry offers fine orchestra music, sweet delivery, and lofty choirs- even if his arrangement doesn’t go for the tough big notes. However, What Are You Doing New Year’s Eve? concludes When My Heart Finds Christmas with a pleasing and unexpected nod to the end of the year. Again in the spirit of Sinatra, Harry taps into the previously locked market of Auld Lang Syne with this lovely, mellow, parting track. This is how the set should have sounded!

Despite being aware of Connick’s other more recent Yuletide albums, Harry for the Holidays and What A Night! A Christmas Album, I was surprised to realize just how old this set actually is. It isn’t the year that is the trouble, but rather the presentation. This CD is so old; it has a booklet with liner notes and lyrics! Wow, nineties navidad nostalgia! Today if you buy a CD at all, it is usually a very streamlined minimum design, often in the eco friendly foldouts which sometimes amount to nothing more than a disc in cardboard. To see the lyrics of traditional carols included just adds an extra nostalgia to When My Heart Finds Christmas, a treat that ironically isn’t all there in the music, go figure.

There isn’t really a stand out tune on When My Heart Finds Christmas, which I find strange considering its best selling status. Hearing this mix of newer and not quite there originals with mostly easy, fun, or safe spirituals would seem to create a subpar album with little yield and shelf life almost twenty years later. Those looking for a traditional, full on nativity centric record will indeed dismiss When My Heart Finds Christmas as nothing special. I would much rather have had a live companion album to the Harry Connick, Jr. Christmas Special TV program that aired at the time. Harry crooning over the likes of I’ll Be Home for Christmas or The Christmas Song with guest stars sounds so sweet in comparison. His neo-jazzy, swanky style is still unique today and should have been used to its 110% potential on Connick’s debut holiday album. In some ways, I could see this album even angering some folks for its encapsulation of all that is wrong with the December holiday season- push the commercial viability regardless of what each holiday means and whitewash what you really believe. Harry should have gone with his gut and put his sounds full force to either the pop winter standards or the mellow carols- not a ho hum blend of both.

Having said all that, the would-be casual, safe and easy December generic of When My Heart Finds Christmas works for many. Office audiences or casual celebrants looking for a relaxed, quasi-neutral album can have the party sounds with only a hint of religious Christmas, and listeners looking for a lowdown and somber season can enjoy When My Heart Finds Christmas over a candlelit dinner, too. Are there better Christmas albums available? Yes, and you can part and parcel your preferred tracks from When My Heart Finds Christmas with available MP3 downloads. No doubt Harry Connick, Jr. fans can’t wait for December in expectation of playing his Christmas albums, and When My Heart Finds Christmas is worth at least one listen for you to pick and choose for your holiday playlist.

Centurion (2010)

2011-12-07T00:18:00.000-05:00

Centurion Packs a Fun Action Punch

By Kristin Battestella

After my disappointment with The Last Legion, I was keen to see 2010’s other Ninth Legion spectacle, Centurion. Now that I’ve been obsessed with the film’s star Michael Fassbender (X-Men: First Class, Shame) for over a year, this Roman road rage movie from director Neil Marshall is a doubly good yarn.

Centurion Quintus Dias (Fassbender) is captured by Pict leader Gorlacon (Ulrich Thomsen, The World is Not Enough) but escapes to rejoin General Flavius Virilus (Dominic West) and the Ninth Legion. Unfortunately, the Ninth Legion is subsequently decimated in a Pict attack thanks to the trickery of their scout Etain (Olga Kurylenko) - a deadly tracker who had her tongue cut out by the Romans. Dias and fellow soldiers Brick (Liam Cunningham), Bothos (David Morrissey), Thax (J.J. Feild, Captain America), Marcus (Noel Clarke, Doctor Who), and cook Tarak (musician Riz Ahmed) survive the raid and learn Virilus has been captured by Gorlacon. They attempt a rescue in the wilds of Caledonia, but Etain’s pursuit drives the Romans deeper into the frosty and deadly highlands.

I like writer and director Neil Marshall’s Dog Soldiers very much, and the same mix of character fun, action, and surprises again carries Centurion. While Fassbender’s narration is fine, with just the right intriguing old world voice adding thought and realism to the opening violence, our tale is a little disjointed to start. The voiceover comes and goes throughout the film, and a little too much time is taken to set up each scene and establish location after location. Thankfully, once Marshall’s real hunter/huntee story gets going, things move along just fine. Ironically, everything in Centurion’s trailer is taken from that first troublesome 10 minutes of the movie, and yet, this isn’t a bad thing. Not only is it nice to not be spoiled by a preview, but the trailer gives us the action that starts off Centurion and thus leaves the serious segments, a little romance, and a touch of humor as unexpected pleasures. The culturally well-rounded cast is also very pleasing to see- even if some may somehow find the blend unrealistic. Is the language anachronistic? Yes. While there’s no doubt soldiers were foul mouthed back then, the modern slang isn’t over abundantly used ala A Knight’s Tale and the f-bombs don’t detract from the film. What is a little more irritating is that the unfortunate dialogue seems too undeveloped first draft or even borrowed ideology. Soldiers ‘do the dying’ is too Starship Troopers, while the rumors of an enemy not eating, sleeping, and never stopping in their unhuman quest sounds straight out of The Searchers. This broad scripting and iffy footing hinder what could have seriously strengthened Centurion into Gladiator glory or hidden gem status like Black Death.

Fortunately, there are several fine underlying themes of loneliness and outsidership layering Centurion. Brigantes orphan Etain is not truly of the Picts, and Quintus grew up with gladiators, not soldiers. Numidian Marcos and legionnaire Leonidas (hehe) are via Greece, Tarak is a Hindu Kush cook, and Imogen Poots (Jane Eyre) is not exactly happy as the cast out Pict witch Arianne. Everyone is on the wrong side or in the wrong place or isn’t where they really want to be- adding some dimension to what should be a straightforward chase flick. Wow, a little inside journey amid all the fast-paced blood, decapitations, and marathons in this big, violent spectacle! Okay, so parts of Centurion play like an overlong knock-off of The Three Hunters scenes in The Two Towers. Sometimes it’s tough to know who the heck is who amid the full Roman dressings and bloody battle gear. A few folks even seem kind of unnecessary, I grant you. Nevertheless, the action package with drama bonuses here is better than similar cross-culture clashes like Pathfinder or that completely confused Arthurian/Ninth combo The Last Legion or the 2004 King Arthur. Centurion explores villainy and sympathy on both sides of Hadrian’s Wall. The Romans- who did wrong by Etain and those injustices are certainly mentioned - are the good guys being chased, right? Etain should be the bad girl, and the Picts aren’t saints, but we definitely understand their problem with the Roman occupation and can enjoy their revenge. Quintus’ growing Pict mentality mirrors Etain’s pursuit skills- which is a nice, if expected, parallel. There’s great camaraderie among our rag tag Roman fugitives, too. The soldiers have to introduce themselves to each other, which is a sneaky way to slip the exposition in over a fireside meal. Time is taken to know the characters and expand Centurion- though I do wish there was more full-on character development and realization of ideas only hinted at or touched upon.

We shouldn’t be surprised that someone from 300 (technically two some ones with Dominic West appearing) is playing a badass centurion, and yet it’s very easy to accept the Irish-German Michael Fassbender as the titular Roman. Before Fully Realizing The Fass, I kept going, ‘Where do I know that guy from? Haven’t I seen that guy before?’ His concluding declaration in the trailer, “I am a soldier of Rome! I will not yield!” was actually what solidified Centurion as a must see film for me, even BF (Before Fass). Some actors can make such a defiance kind of laughable. Really, Tom Cruise in a Roman legion- bull and a load of it! When Fassbender roars such, however, we believe him. While Centurion is obviously not as quality as the likes of Hunger and Fish Tank finery, Fassbender as Quintus nonetheless bundles up with dirty travel, rage, and rough sword fighting. He commands the audience’s uncompromising attention throughout, and the aforementioned narration makes Quintus personal, soulful, would-be heroic. I was surprised to hear in an interview recently that Fassbender himself didn’t like Centurion or was displeased with his acting here. Even if the material given to them is somewhat unrealized, the performances here are top form and keep Centurion from being just a total chopfest.

I’ve no doubt Fassbender gave his usual chameleon fervor while making this picture. Otherwise, how in the hell could this decidedly non-Roman Irish dude look and sound so Ben-Hur? Fassy also looks spiffy on horseback; it needs to be said- even if that goofy helmet hampers his first lead stateside just a little bit! Fortunately, Fassbender’s great use of languages is delightful, and I confess, sometimes I just like to listen to him. Visually lovely as Centurion is, I may have listened to it in the background while I type more times than I’ve actually seen it! Quintus is a great soldier, yet flawed in his leadership. He doubts himself internally but unflinchingly does what he has to do- this is not a super pretty Fassy movie for the ladies thanks to the dirt and violence. And yet, there’s a touch of romantic softness here that breaks the action with serious reflection and takes time to sit down with our fine cast amid all the crazy pursuits. Imogen Poots’ initially unexpected but somewhat obvious and broadly written Arianne doesn’t make Centurion super sappy by any means. Her tragic and exiled supposed necromancer is well done in one on one scenes with the sensitive Fassy. Strange that it needs to be said do to the violent nature of the film, but Centurion is not a chick flick-although I think some new Fass ladies may indeed find it as such. I must also share that it is a little weird to not be writing about Fassbender from my own initial unknowing or his own then-obscurity. Does one look at Centurion and see an Oscar winner the way Shame is getting hardware acclaim? No. But do you see someone who has all the ingredients to become a star? Abs-o-tute-ly!

Though billed quite highly for what is a somewhat smaller role in Centurion, Dominic West (also in The Devil’s Whore with a pre-famous Fassbender, too) doesn’t have much to chew on as beloved Roman General Flavius Virilus. He’s fun and fits the part of, well, a beloved Roman General. He arm wrestles with the men, they’d die for him, he’s ruthless but loyal, and kicks ass to the end. Fin. Some viewers might also have a major problem with a Bond Girl in Ancient Britain, but I like Olga Kurylenko (Quantum of Solace) as the non-speaking and looking deadly Etain. For a babe, she does fine with what’s given to her, and be honest; it’s tough anytime a performer can’t talk. Kurylenko’s freaky eyes and svelte intensity have no time for exposition and carry a sexy and predatory menace. Etain isn’t dressed skimpy like its One Million Years B.C. either, which helps her to be taken seriously in this kick ass role reversal. After all, she’s not really a villain- the Romans made her do it! As physical and full of presence as Fassbender is, it’s great to see Quintus and Etain go head to head, and Kurlenko keeps up! Liam Cunningham (Hunger, Dog Soldiers) and David Morrissey (State of Play, Red Riding) are also great sardonic bastards, old soldiers who can call some of Centurion’s internal crap out when they see it. Though loveably cranky together, I do worry they are a little too much of the same cloth. As to the other guys’ likeability? Eh, not so much. We simply dislike whom we’re supposed to dislike or never get to know the rest. It seems seven men on the run was a bit too much for Centurion.

Would Centurion have been better as a complete, serious historical drama? Probably. Was Marshall going for drama above action? No, and the visual presentation here is very cool. The photography, colors, and choreography look good. We don’t have modern herky-jerky camerawork; we can see every sword swipe and axe chop in what smartly seems more like natural, saturated, grainy wartime video. The aerial footage and snowy mountain locations are lovely, along with sharp camera angles and nontraditional battle filmmaking. Some of the nighttime action is tough to see, but the interior candlelight is perfection. The décor and costuming all around looks and feels authentic. Even if we don’t want to live there thanks to the ruthless fighting and harsh climate, we want to stay awhile thanks to cute, warm riverside huts and tents filled with Roman finery. The stylized violence is meant to be priority in Centurion, and those battle scenes are indeed sweet. The clashing of Roman organization mixed with Pict guerilla butchery is well done. Technically, Centurion can really go either way with an audience. Historical lovers reading into the subtext and statements will not like the gore galore, but action viewers can just mute Centurion and see all the pleasing battle glory. The rousing music- both high marches and bittersweet to accentuate somber slow motion- caps it all off, too. But of course, the battle violence is always louder than the conversations, the onscreen translations are tough to see, and some names or plot elements are confusing without subtitles. Normally, I don’t like long opening credits, either, as nowadays films just get right to it, but the graphics here are quite cool. Those words sweeping over the Scottish Highlands are a must see in high definition!

The cast for Centurion is there, the ideas and interest, layers and subtext are ready to go. While it delivers on the action and visuals, there is a lingering ‘what could have been’ on the full drama. It would seem this is bad, but I do really, really like this film. It’s quite entertaining thanks to the cast, and do to my continued confoundedness as to how Channing Tatum succeeds in Hollywood, I’m also not really looking forward to yet another Ninth film speculation, The Eagle. I do, however, have a few nitpicks from Centurion. While the accuracy of the Gaelic languages might be a peeve to some, I am too clueless in that area and it sounds of the atmosphere enough for me. Liam Cunningham, however, is left-handed, a Roman no-no sinistra, and Etain the purported part wolf can sniff men downwind but can’t smell their bloody wounds in a confined hut? There are some inconsistencies, yes, but overall Centurion is a fun action yarn. Accept it for what it is instead of what it could or should be, and Centurion becomes a bloody Britannia guilty pleasure.

Kate Smith Christmas Vinyl Delights

2011-12-02T03:11:00.000-05:00

A Pseudo Double Dose of Heavenly Kate Smith Christmas Vinyl

By Kristin Battestella

This time of year, I am of course, trigger needle happy over good old fashioned and flat sounding Christmas records. In seeking angelic sounds of the season-either spiritual, swinging, or secular- one is hard pressed to find a better vocalist than the iconic, full of notes and range Kate Smith. Her Christmas with Kate Smith LP is packed with holiday treats so good they did it twice, with a Picwick Records release Kate Smith O Come All Ye Faithful following in merry suit.

Deck the Halls opens Christmas with Kate Smith with a happy, fast, zestful, and fun rendition. It’s big, boastful, and great to sing along to- but this particular tune lets introductory fun trump Kate’s voice, which is capable of much, much more. Her White Christmas, however, is damn near better than Bing’s original! And I know that is seriously saying something! Oh, the way those big notes are somberly lingered upon- yet Irving Berlin’s essential still moves in a melodic and swinging, effortless style. Kate perfectly delivers with a catchy, deliciously snowy forties sound with just a hint of December brooding. Christmas with Kate Smith is worth the record hunt for this track alone!

Instead of separating the carols and secular tunes between the A and B sides as was often the vinyl custom, the sounds of the season are mixed here with slightly more religious than pop. Hark the Herald Angels Sing keeps the old school reverence just by simply being sung in the proper way like a carol should be sung. I know that is a bit of a cryptic description, but you know a carol done right when you hear it. There is a bit too much choir instead of full on Kate, but The First Noel is lovely as well. Even with the alternating choir vocals, Kate Smith belts this one like nobody’s business. You’ve no doubt she is completely in the spirit of the season as the big notes linger, and thus, you can’t help but be moved, too. When you hear songs like this, it really makes you wonder why our contemporary focus is on such silly things like Santa, reindeer, and snowmen before the crèche.

The religious revelry continues with O Come All Ye Faithful, the titular track of the Pickwick reissue, remember. Kate Smith slows the carol down for extra holiday humility, allowing time for the hefty breaths and true meaning to have the spotlight. There’s a great subtle use of underlying church bells, too, that sets the whole thing off. Fortunately, the casual fun returns for Santa Claus is Coming to Town. Although this a familiar song, Kate rises and falls in unexpected locations, making this take on such an oft done secular staple catchy and anew sixty years later! This arriving Claus is almost danceable and jive worthy for the adults instead of just a warning sing along for the kids. The only trouble is that it’s too short. The whole Christmas with Kate Smith album feels too dang short!

Side B continues the levity with a spirited Joy to the World rendition. Yes, it is holiday hip and festive finery. However, we aren’t rushed here, as is often the case with this carol: too fast or so fast, you feel like you can’t enjoy it. Kate Smith sings more verses and takes all the notes to their proper heights. Oh Little Town of Bethlehem, by contrast, returns to that lovely mellow meaning of Christmas again. I say mellow, which we tend to use in negative terms today, but I mean mellow as in just heavy with great holiday heart and moodiness. We feel like we are at the midnight candlelight service as Kate keeps the notes low and reverent.

God Rest Ye Gentleman continues the medieval tones with more slow and catchy spiritualness. I confess, it does seem strange to here a woman sing this generally male handled carol. We expect it to be too low perhaps for a lady’s range. Kate, however, is able to get sweet and slow whilst also trumpeting the great Gregorian-esque choir. Likewise, It Came Upon a Midnight Clear carries the proper church sounding arrangement, but it is too dang short! Hardly anybody delivers this carol anymore, much less delivers it right, but it feels like the verses are cut quick here and it’s such a pity. Silent Night, thankfully, is perfectly timed, totally reverent, and thus still exceptional. Kate takes all the notes as only she can, and the choir is again carrying that evening spirituality as if we were there 2,000 odd years ago. I don’t know that I’ve heard a better rendition of Silent Night. Ever.

I’m not really sure why the utmost perfection of Silent Night doesn’t conclude Christmas with Kate Smith, but Jingle Bells returns to the happy fun magic for the finale. With such swinging high notes, you might not even know this is a holiday song. This feels like just a zestful snowy date the way Kate handles all the fun and takes the album out on a high note- literally. You might not know it by glancing at the opening and closing tracks, but Christmas with Kate Smith is indeed more religious in between. When listening to the LP, however, it doesn’t feel like this is the album’s fifties fault or Christian crutch. Rather, it stirs up the mistake on us for getting away from spiritual meanings in December and instead replacing them with the need to shop, shop, shop. If you’re looking for a divinely forties sounding Christmas, you can easily fall in love with this little album in whatever format you can find.

Of course, sometime after 1959 when the first release of Christmas with Kate Smith came about, a Pickwick reissue billed Kate Smith O Come All Ye Faithful was released. It’s so tough to play catch up now and try to find the details of who re-released what and when or who copied and remastered what and where. Not only is a lot of the information simply unavailable, but it is such a tragedy that a lot of Kate Smith material has only briefly seen the light of digital day- if at all. Even then in the days of vinyl yore, O Come All Ye Faithful offers all of the same tunes from Christmas with Kate Smith and adds only three new if charming tracks.

He’s Got the Whole World In His Hands and a wonderfully not What Child is This Greensleeves are tacked on to O Come All Ye Faithful after Santa Claus is Coming to Town to conclude Side A. Though not necessarily a Christmas staple, He’s Got the Whole World in His Hands is a fun sing along for the kids in keeping with the religious themes of the set, even if it is a little too kiddie and kind of fast rock out amid an otherwise somber album. It is also a bit strange then, that Greensleeves is the original medieval lyrics. Though I would indeed love to hear Kate do What Child is This, this often unheard traditional is great. The moody lovelorn tale seems just meant for Kate’s long-winded and quivering delivery. Again, not really sure if a 16^th century ode with naughty lady innuendo is more appropriate than a Victorian birth tune, but hey, we’re lucky to have Kate’s Greensleeves at all! For Side 2, Moonlight in Vermont has somehow been stuck in between God Rest Ye Merry Gentlemen and It Came Upon a Midnight Clear. I can’t recall having ever heard it before this album, but it is a lovely swinging ballad seemingly perfectly designed for Kate. Again, whether its idyllic country and nature vibes are totally Christmas is subjective to say the least, but it sounds enchanting!

Though these additions are lovely, and either album fits the bill of a sweet, sweet Kate Christmas if you can find them, a lot of sweetness is still missing from what is essentially two of the same album. Where is Kate’s glorious rendition of O Holy Night? Often found in other classic seasonal compilations, Smith is one of a fortunate few who can hit those high notes- and yet it appears unfindable on a Kate Smith album. Likewise, where is the enchanting Christmas Eve in My Home Town? Again, I have this glorious wartime holiday tune on another combo Christmas vinyl set- and only two of the tracks I’ve discussed here have survived on The Kate Smith Christmas Album CD and download currently available. Where does all this heavenly music go?

We all know and love Kate Smith thanks to God Bless America, but it is such a pity to lose such a wonderful Christmas voice. Serious restoration for the likes of Christmas with Kate Smith or Kate Smith O Come All Ye Faithful is a must! Family audiences, Non-secular song collectors, and classic Christmas music listeners shouldn’t have to hunt and pick over the individual MP3 downloads to find such delightful holiday sounds. So dust off the vinyl this season, hang onto those Christmas cassettes, and cling to any Christmas with Kate Smith or Kate Smith O Come All Ye Faithful ye yuletide self can find.

A Second Helping of Christmas Vinyl

2011-11-30T00:19:00.001-05:00

Another Helping of Christmas Vinyl!

By Kristin Battestella

Get ready for more snap, crackle, and pop from yesteryear! Here are this holiday season’s tips on which records to treasure or thrift hunt for in your pursuit of yuletide nostalgia and revelry.

George Beverly Shea Hark the Herald Angels Sing – The titular carol opens this 1964 Christian set with bold, robust nostalgia and then some. Largely filled with lovely, somber, and lesser known or not often seen carols or birth hymns such as Joyously Sang the Choirs, That Beautiful Name, Have You Ever Seen the Star, Dear Little Stranger, Shadows So Softly Enfold Thee, and He Became Poor among others; the holiday tunes here are obviously not for those exclusively celebrating a secular season. The overall album is also quite short, with only the standard verses of one or two famous carols and one full Joyful, Joyful We Adore Thee rendition. Along with Christmas Hymns George Beverly Shea, the tracks here have survived as George Beverly Shea Christmas Joy and A George Beverly Shea Christmas, both available on CD or MP3 download. Regardless of format, for those looking for traditional church bound holiday, Bev is tough to beat.

John Lanchbery Conducts Tchaikovsky’s The Nutcracker – This 1982 two record set is one in a series by Lanchbery and The Philharmonia Orchestra along with Swan Lake and Sleeping Beauty. The LPs also include a booklet on the music, the man, and the ballets all in a pretty and shiny red box, making this album look just as much a part of the season as the tunes from this December dance definitive. Though this is a complete production spread over four sides, the music seems short somehow or goes by too quickly- perhaps because we so often associate The Nutcracker with big Baryshnikov ballets, varying family film adaptations, or lengthy theater performances. Even so, the instantly recognizable Overture and March, the Waltz of the Snowflakes, Kingdom of Sweets and the Dance of the Sugar Plum Fairy, and the Waltz of the Flowers are all here for plenty of ingrained but pleasing sounds of the season. This edition, or really any Nutcracker tunes you can accumulate, is the perfect backdrop for either casual dinners, formal parties, or a relaxing night fireside.

Joyous Christmas Volume 4 – I remember having several copies of this LP from the Beneficial and Columbia Records series, which is a very pleasant background album to play over and over again- which we did, repeatedly. The eponymously rousing Joy to the World leads off a seasonably round set of traditional arrangements such as Silent Night, Adeste Fideles, It Came Upon a Midnight Clear, and The Nutcracker mixed with more instrumentals festivities like Jingle Bells and Toyland. We can also boast some special guest vocalists, from Doris Day’s White Christmas to The First Noel by Nelson Eddy and Johnny Cash’s Little Drummer Boy amid a solid God Rest ye Merry Gentlemen selection and samples from Messiah. Though it’s easy to find these tunes individually nowadays, the vinyl seems fairly common and easy to find second hand. Of course, you could end up with something scratchy and flat, but that what I call ‘fireside’ sound is what appeals to me.

Luciano Pavarotti O Holy Night – You don’t have to be an opera fan to appreciate this long-winded 1976 collection of bellowing spiritual sweeps like Ave Maria, Panis Angelicus, and the titular high note- but it certainly helps! Some of the selections are fairly long at over 8 minutes, and the heavy styles might be too headache inducing for a family dinner, but lyrics and liner notes are included too help budding fans follow along- even if we can’t quite sing along! With Pieta Signore, Gesu Bambino, and Adeste Fideles, Pavarotti creates a culturally classy album of global renditions as only he can. And hey, if you want to pick and choose your windpipes or go for even more tenor magic, the set is available for download or in a Special Deluxe CD edition with bonus tracks.

A Very Merry Christmas Volume 5 – Perry Como’s Home for the Holidays starts off this 1971 LP in quintessential form, and the holiday hits continue with the equally ever-December-present Boston Pops Sleigh Ride, Harry Belafonte’s Christmas is Coming, and more. Traditional inspirations like Mario Lanza’s rendition of O Holy Night, John Gary’s touching Sweet Little Jesus Boy, and the Robert Shaw Chorale O Little Town of Bethlehem/The First Noel medley balance the reverence as Henry Mancini does Rudolph and Frosty for the kids. The Ballad of the Christmas Donkey by Ed Ames, Santa Claus is Coming to Town via Eddy Arnold, and a big Perry We Wish You a Merry Christmas finale keep up the seasonal pace, too. Naturally, these versions are oft available elsewhere on disc or as individual downloads, and this Very Merry Christmas record series from RCA for Grants Stores is a little more junk shop elusive than other sets like Goodyear’s Great Songs of Christmas. Nevertheless, if you could only have one record with all the classics for every aspect of the season all in one place, this would be it.

Again, the records here might be tough to find, and digital options or exact contemporary correlations aren’t always available. Despite the vinyl vintage ebbs and flows or record resurges in popularity where collectors both reissue and overprice or shatter, Frisbee or otherwise trash; we need to remember to treasure the music of Christmas past. Nay, it is our duty to preserve the flat hisses, bent tone, moldy art, and warped plastic of the musical yule’s of yore for future generations!

A Record Collecting Review

2011-11-30T00:08:00.001-05:00

A Few Notes on Vinyl Shopping and Record Collecting

By Kristin Battestella

In my quest for information on cataloging my record collections and reviewing Christmas sets, I’ve seen several sites online that offer records on CD sales or digital classic Christmas albums. While some are certainly wonderful sellers and totally legitimate, others might be quite the scam, so beware. Here are a few tips on what to look for when shopping online for LPs on CD, going thrift store record hunting, or digitally preserving one’s own vinyl pride and joy.

Depending on the record, some prices for this LP to CD conversion service are $30 or more, even $50 or $75 for complete collection sets, and then you have shipping and insurance and whatnots to add. $25 or under makes a little more sense, as that is about on average what you would pay for an officially released CD anyway. While some albums are rare and elusive, sure, most of the hefty prices are covering the overhead costs of someone’s else buying the gadgetry, pretty packaging, and running a little mail order business on the side. For some, doing the research into these sellers and making a ready made and upgraded purchase is more convenient than a thrift store hunt. However, I do fail to see paying some of these prices for essentially a homemade CD, especially when you can get the original vinyl for a maximum $3 an album just by driving a few miles to your local junk shop. Read customer reviews and compare prices before you put up the bucks.

At Goodwill or any other second hand or thrift store selling records, you can examine the record itself for imperfections, feel it in your hands, smell it, even ask to test it before buying if there is also a for sale turntable handy. Do also wear clothes you don’t mind getting dusty or keep cleanser or wipes handy, as it can be a little dirty to search through piles and piles of records! If a run of the mill junk shop is charging higher prices for records, then they should not be moldy, coverless, or tossed about and disorganized. Some unknowledgeable but sly places will just mark any old record or all material by a particular artist just because the record is assumed collectable. But when you damage the record or treat it like crap, honey then it isn’t collectable! Higher end second hand stores, record shops, or any expensive record pricing needs to be justified by the albums being in relatively good condition, perhaps even re-shrink wrapped, and most importantly, stickered with grading information or whether the dang thing plays or not. Do also always check to see if the right record is in the right sleeve! When a record is the usual $.50 to $1.99 or a quarter for a 45, then it’s easy to take a chance on something that might skip or not play just for the sentimentality of having it. Sometimes, a store might also be throwing away its broken records or empty sleeves or trashing the last of a collection that didn’t sell. Occasionally, stores may even give away their leftovers for free!

Finding your nearest store or two with a decent record inventory and getting to know their stocking habits or management personnel can also save you time and money. If a shop knows the records you are looking for, they may call you if they come across it or give you a deal on a collection. I have dragged each of my family members to junk shops and taught them how to sift through the often unorganized piles. Usually, there’s an awkward, unfriendly or squashed set up, too, and it always seems like there is another person trying to look at the records at the same time you are! There’s no need to be competitive, however, or fight as though they are trying to get the last Cabbage Patch Doll away from you. A simple comment or question like, “Lots of Christmas records in this stack!” or “Have you see any Bee Gees albums in that pile?” per my tastes for example, can break the shopper tension and even help you search faster. You may even meet a DJ or fellow recordphile for a trade or private purchase. The joys of hunting for the real record thing far outweigh a virtual exchange, indeed. Not only may you find something else special or unexpected while going through the LP piles - which is part of the fun anyway- but thrift store purchases often also go towards the store’s affiliated charities and programs. In pursuing the records themselves, you can still indulge your vinyl shopping habits smartly and do something worthwhile at the same time while also being green! Do we really need more CDs made to also eventually toss or more records filling up the landfills? No.

Of course shopping online for digital restorations might be perfect from some, and the real world vinyl hunting may be the thing for others. However, with today’s technology, someone with a serious interest in having his or her vinyl go digital can also invest in one’s own USB record player or other convertible electronics now available from long time turntable purveyors like Crosley. Unlike even a few years ago when computerizing your records and tapes needed a room full of devices and seriously specialized software, today a few hundred dollars worth of easy to use equipment and you’re all set up to preserve your entire collection. I know that finding that kind of extra money can sound like a lot nowadays, especially just over saving old records. However, figure the numbers for someone who has a record collection in the triple digits. $50 mail order for a CD of every record you have and you could have bought and paid for the equipment to do it yourself anyway and still had financial room for more records! Besides, if you embark on your own digital restorations, you can control what you want and how you want it for yourself, not for someone else’s bottom line.

And I should also mention a few notes on turntables to play your records on- because who knows someone who has a stack of records but no player with which to play them? Everybody! Buying a cheap turntable second hand is not that great of a bargain, oh no. If you purchase one of those older stereo systems, not all the components may work. You don’t know the equipment’s whole story, and when the needle on the arm breaks, you’ll be out of luck if you can’t find the right replacement. If you do pick up a junk shop player, just don’t expect to get much out of it for the price. Others, however, prefer using broken turntable parts to build their own. Some love to collect broken turntables or just can’t stand to throw them away- like me. Fortunately, finely crafted standalone turntables or made to look old all in one CD/Cassette/Radio/Record Player systems are available new in departments stores or online. Some may come with extra needles, warranties, or replacement part ordering information. Crosley again also sells repair equipment for several turntable models, and the prices aren’t as bad as you may think. For about $100, you can easily find a record player to match your décor, style, or music needs. Who knew?

Yes, getting dirty in thrift shops for vinyl and still listening to those records is kind silly; I know it is a niche market. Buying an LP converted to CD seems like an even more specialized demographic, too, and getting technologically decked out to digitally do it yourself takes its fancy as well. Nevertheless, whichever spin you have on building your record collection, you shouldn’t have to be ripped off for your habit or be unable to enjoy your music of yesteryear. Know what sellers, pricing, shopping, systems, and equipment work for you in your pursuit of snap, crack, and pop vinyl glory.

Black Christmas (1974)

2011-11-29T00:02:00.001-05:00

Black Christmas Still a Frightfesting Good Time

By Kristin Battestella

We watched this original 1974 holiday horror classic this past Halloween as part of our yearly October horror fests. Regardless of the calendar, however, this wintry slasher heavyweight still offers plenty of fright to any festivity.

College roommates Jess (Olivia Hussey), Barb (Margot Kidder), and Phyllis (Andrea Martin) are remaining at their sorority house with Mrs. MacHenry (Marian Waldman) as Christmas is fast approaching. Amid the drinking, carolers and parties for the kids, the girls receive repeated prank phone calls from someone named Billy. When sorority sister Clare (Lynne Griffin, Wind at My Back) is reported missing by her father (James Edmond), Lieutenant Fuller (John Saxon) and Sergeant Nash (Doug McGrath) investigate the disappearance in connection to the increasingly obscene phone calls. Unfortunately, the police’s suspicions are automatically directed at the girls’ boyfriends Peter (Keir Dullea) and Chris (Art Hindle) as the body count rises.

Well here’s a melancholy holiday viewing for you! Director Bob Clark (A Christmas Story, Porky’s) very smartly uses perspective camera work, shadowed and claustrophobic scenes, sharp angles, and foreboding tracking shots to build scares and sustain the suspense and peril through the well paced picture. Some contemporary movie makers do use these tricks, but anymore the smoke and mirror effects are more about the sake of using them or for the shock of the effects themselves- and as a result, the scary just isn’t there. Writer Roy Moore (She Cried Murder) creates drama and character development for another often-underutilized horror layer, too. Yes, we’re in a sorority house, but its not naked silicone pillow fights or heavy sex scenes as we define sorority naughty today. Unexpected real life issues and then taboo topics such as abortion, marriage, unplanned pregnancy, and alcoholism are weaved in nicely. Most of the gore in Black Christmas actually happens off camera or is all talk in nasty phone calls, leaving a lot of the juice, kinky, and disturbed speculations up to the audience. Of course, some of the mystery elements and police investigations will have you screaming at the television, but I like the notion that folks in seventies horror films were unaware of the budding rules of the genre and at worst, act damn stupidly. Even with these hiccups, this is a finely told, steady thriller that will keep you guessing until the end and then some.

While it doesn’t seem as though she is that prolific an actress, we all seem to know who Olivia Hussey is thanks to Romeo and Juliet- or if you’re really a horrorphile, Psycho IV. Of course, she is lovely as always here. Even if Jess is a little snotty to start, she’s a likeable and easy to get behind heroine thanks to her honest portrayal of relationship issues- not to mention these crazy holidays and killings happening all at once! Today, there will be some who might think the boozing Barb is merely Margot Kidder (Superman, The Amityville Horror) just playing herself, but no no no. Kidder looks damn good, sexy, and effortless, and Barb adds both seriousness to Black Christmas with her drinking and levity thanks to her fun and wisecracks. Likewise, Marian Waldman (Deranged) is a riot as the liquor stashing, cranky old lady who’s supposed to be in charge of this crazy house. Of the boy toys, I have to say Keir Dullea (2001: A Space Odyssey) and Art Hindle (Invasion of the Body Snatchers) are nothing that special. Like the wasted Andrea Martin (SCTV), they serve more as assisting foil or red herrings as needed, and one very hokey hockey scene doesn’t even make the cut for me. It’s not that they weren’t developed or done poorly; just the male plots are dropped aside for the scream queen action.

Thankfully, John Saxon, now of A Nightmare on Elm Street fame, is excellent as the caring cop hoping to provide support and safety for the ladies. On the job, he technically isn’t helped too much by Doug McGrath’s (Pale Rider) idiot sergeant. However, McGrath provides several critical scenes of incredible wit and total detective foolhardy. It’s not all out Dewey from Scream or full on Scary Movie Doofy spoof, but again, the holiday humor and real world stupidity add more grim entertainment to Black Christmas. We shouldn’t laugh at the seasonal ignorance, sexual implications, or failed law enforcement, but it is real and freshly handled here in a demented and humorous way. He doesn’t seem to have done much else, but James Edmond as Mr. Harrison is also delightfully well played. He’s a bit of a prude, a stuffy relic compared to the sorority girls, but we don’t often see the fear and tragedy consequences in horror films. It’s a nice touch of sympathy that the audience can completely understand, a solid to hold on to as the slasher hysteria rises.

But my gosh does that wallpaper look so bad! While the seventies long, straight hair and breezy, peasantry costumes look almost medieval revival lovely, the men in huge fur coats and white folks trying on Afros are, however, just…no. Fortunately, the Christmas décor, I have to say, is near awesome. The big, great old wreaths, that tacky white seventies tree, those big old colored bulbs- an underlying sprinkling of holiday music and carols are also present in unexpected, even disturbing ways. This nostalgia of the sights and sounds of an older Christmas celebration adds heaps of atmosphere. Not only are their no cell phones, computers, gadgets or crafty but useless holiday themed deaths, but there is also no shop shop shop and bland Xmas obsession. Black Christmas is old fashioned and traditional, even homely to us like grandma’s apple pie. So when the murder and mayhem elements do kick in, it furthers the twistedness of it all. Many folks find the holiday season as the most depressing time of year- all the visual and oratory cheer should have us thinking happy thoughts, right? No, this is a horror movie, without a doubt. Black Christmas can be watched anytime of year, for sure. It just happens that there are extra scares and spices because this horror movie takes place at Christmas.

You would think more horror films would take place during the holidays. Not perils with winter and snowscapes- we get plenty of those, especially recently it seems- but with the idleness of the season breeding scares or the violation of December sanctities causing terror. Only one other example immediate comes to mind, and that is the also exceptional “….And All Through the House” segment of the 1972 anthology film Tales from the Crypt. Perhaps only adults or wiser youths can appreciate the mix of retro holidays and scares, but there’s actually little to deter Black Christmas from any audience. There are a few vulgarities and drinking innuendos, but today’s tweens and up are probably already aware of all that. Again, the audience suggestion and what you take from the film is paramount here. The blu-ray is also quite delightful, with features and restored magic. However, there are no subtitles, which could go a long way in helping hear the exact naughty in Billy’s phone calls. But alas, that might also be the point in not having captions, too.

Even with some plot confusions or character inconsistencies, and doubtless Black Christmas’ conclusion will also anger some viewers, this vintage slasher is unlike any subsequent slice and dice drivelry thanks to its telephone twists and Christmas charisma. Ring in the season with Black Christmas or get nostalgic any time of year.

(You’ll also notice I didn’t mention the 2006 remake. Pfft!)

A Cat People Trio!

2011-11-28T02:27:00.000-05:00

Cat People (1942), Cat People (1944), Cat People (1982)!!!

By Kristin Battestella and Leigh Wood

Cough up your hairballs, sit back, and lick your paws for not just one, but three chances at feline mayhem: the 1942 classic Cat People, its 1944 sequel The Curse of the Cat People, and the update of the original Cat People (1982). Meow!

Lonely and new to America, Serbian fashion designer Irena (Simone Simon) meets Oliver Reed (Kent Smith) at the zoo. Though they are quickly in love, Irena fears the legend of her people- ancient stories of witches and evil folk who escaped the wrath of Serbian King John by turning into panther like cats. Despite her hesitancy, Irena and Oliver marry, even though his co-worker Alice (Jane Rudolph) is also in love with Oliver. Seeing psychiatrist Dr. Judd (Tom Conway) doesn’t help Irena overcome her cat obsessions, and she becomes increasingly jealous of Alice. Will her anger and passion unleash the evil she fears lies dormant within her?

The direction from Jacques Tourneur (I Walked with a Zombie, The Comedy of Terrors) is as near perfect as your going to find in forties horror- that’s forties horror produced by Val Lewton (Bedlam, The Body Snatcher), mind you. Complete with a great psychological debate on fear and belief versus real world facts, the audience still doesn’t believe we’re going to see a woman who becomes a cat despite Irena’s rising suspicions regarding her feline tendencies. Everyone tells her it’s all in her mind, there there Irena needs help. Why not believe her? When we do see all the creepy implications thanks to excellent use of shadow, lighting, great locations, and action photography, the suspense builds superbly in what we see, but don’t see, believe, but can’t believe. This is film noir, right- not horror. But why can’t screenwriter DeWitt Bodeen’s (The Seventh Victim) tale be both? Of course, we know the effects in making things scary will be limited to the film making of the time, but the panther smoke and mirrors and actual cat uses are solid fun. All the suggestion and subterfuge needed is here, creating a highly stylized noir scare feature indeed. Even now, fifty years on when we know what is to happen, we are still surprised by the well-paced femme blend and sympathetic slinky.

Of course, Cat People also owes a lot of its heart to Simone Simon (Ladies in Love) and her wonderful performance. Irena is a lovely, adorable little gal, and we like her a lot. We feel for Irena when she’s afraid of an unseen badness inside her, and we still feel sorry for her when that feline itch rises to the surface. Likewise, we’ve every reason to also love Jane Randolph (Abbott and Costello Meet Frankenstein) as the would be other woman we should hate. It’s really almost a case of mistaken identity, the nice, good girl who’s bad inside going femme for femme against the bad girl who’s actually pretty good. Alice has also been a long suffering woman with a chance at happiness, and the sympathetic tug of war between the ladies makes for a great layer of friction amid the simply gorgeous costumes they get to wear! What lovely hats, pre war style, and class! The effortless way they handle cigarettes, strut suave with fur coats on their shoulders- the fashion and grace of the ladies adds another level of femininity and feline sexuality without being oversexed, obviously kinky or all out nudity in the way these things are meant to distract from the plotless horror of today. The onscreen ladies are allowed to keep the sexy and be smart in examining power, feminine wiles, their loves, hidden lust- and it gives the audience choice, interaction, and juice.

Tom Conway (The Falcon’s Brother and George Sanders brother!) is a lot of fun as Dr. Judd, a man of his time who doesn’t believe the ladies’ preposterous evil notions but is drawn to the cat allure nonetheless. He’s the shrink, so we don’t doubt his intelligence or ability to help, but Conway looks very suave, almost too suave to be a doctor with his heart in the right place. The stylized old school class, proper gloves, top hats, and a convenient cane with a sword go a long way in upping the peril, too. Kent Smith (The Spiral Staircase), however, is a little weak compared to the other players. Sure, he’s just a nice Average Joe and likeable guy, but almost too blandly so. Oli’s meant to be a man’s man type, but it’s a little tough to believe he’d hold out while married to hot stuff Irena much less carry on an affair but not really an affair affair with Alice. The focus on the ladies and the cat subterfuge emasculate our man in the middle and create a man of inaction. It’s not that this is a bad thing; in fact, it’s a role reversal that was probably quite unexpected at the time.

Fortunately, Kent Smith, Jane Rudolph, and Simone Simon all return for Round Two in 1944 with The Curse of the Cat People. Now that they are married, Oliver and Alice Reed fear for the strange behavior of their six-year-old daughter Amy (Ann Carter). Amy doesn’t fit in with the other school children and spends her time on animals and imaginary fancies. After receiving a ring from a seemingly spooky old neighbor Mrs. Farren (Julia Dean), she wishes for a friend and encounters the ghostly Irena.

Little Ann Carter (I Married a Witch, The Two Mrs. Carrolls) is a dang cute addition and looks strangely enough like Simon to handle the cat connections. She’s also innocent, somewhat sad, and thus endearing despite this inexplicable turn from feline dangers to imaginary friends. Smith and Rudolph do loose more luster as well now that they are supposed to be Leave It to Beaver parents who end up arguing over the shadow of Irena. Simone Simon is of course again magical, even if she’s turned away from the feline wanton into some sort of medieval snow queen angel ghost. Her wispy ghost is indeed heavenly! Singer Sir Lancelot (The Ghost Ship) as the Reeds’ Jamaican servant Edward does a lovely job as well, but unfortunately, it’s a stereotypically of the time and thankless part. Creepy Julia Dean (Nightmare Alley) is mystery worthy fun, too, but the would be dang decent cast can’t do very much with this bizarre new family friendly less femme cat direction.

The Curse of the Cat People isn’t a bad film, really it isn’t. If you accept it as a nice family fancy snowy pseudo Christmas ghost story, it isn’t bad at all! It just is emphatically not a horror movie or even remotely dark and spicy like its predecessor- which is probably what the returning audience from Cat People is expecting. Though writer DeWitt Bodeen returns, two directors- newcomer Gunther von Fritsch (Snow Bear) and Oscar winner Robert Wise (The Sound of Music, wow) seem to have botched a few things up, namely the smooth, sexy, femme noir style of the original film. The focus on the next generation necessitates things be tame, family not scary, and Curse plays more like a ghostly mystery with taunts, teasing, and the usual child troubles. Some of the mean school kids are a bit irritating, even if we’re supposed to care for onscreen children in peril, and the dated child acting may hinder some viewers more so than the complete sequel turnaround. The snow scenery is also fake, and the house and garden set up is too television cardboard design, but the neighborhood haunted house looks good and creepy at least. Yes, Curse of the Cat People created an uphill battle for itself by deviating from the formula. However, it’s also awesome to see a pre-war forties Christmas blended with all those faux winter bundle ups and long lady frocks that flow in almost medieval sweetness. Sigh.

But Thankfully, for once we have a very decent remake with 1982’s Cat People, this time starring Natassja Kinski as Irena Gallier, an orphaned young woman reuniting with her brother Paul, played by Malcolm McDowell. Separated as children after the suicides of their circus performer parents, Paul mysteriously leaves Irena alone in New Orleans shortly after her arrival. Irena explores the city and takes a job at the local zoo with curator Oliver (John Heard) and his fellow zoologist Alice (Annette O’Toole). Unfortunately, the zookeepers and their assistant Joe (Ed Begley, Jr.) have captured a very unruly black leopard. Irena’s growing attraction to Oliver, the proximity of the big cats, and Paul’s strange desires, however, bring about certain changes in Irena’s clean cut behavior and cause her to question her family’s true, feline nature.

Director Paul Schrader (American Gigolo, Affliction) accentuates the great cat photography and animal camerawork with reds, warm colorings, and pops of cat eyes and eerie greens, creating a sensuous, sexy mood lit for ambiance- like a romantic dinner with neo noir mystery. This focus on the sexy is not the dark and sinister tone of a horror picture as we might expect. Cat People is naughty and freaky, with chills that turn on instead of going for all out scary. There is blood, yes, but its use is unexpected, again not in the repetitive ways of slasher sequels today. The not often seen, but long suggested cat effects and animal transformations do the trick beautifully, allowing all the true feline frenzy to build for the final act. All this latent leopard juice is of course heightened by the sweet, sweet theme music by David Bowie (newer audience will recognize its use in Inglourious Basterds), too. The intriguing back story of who all came to be cats or what it all exactly involves might be confusing in some spots, but enough of the tale is in place for the kinky debates. So, sex releases the animal in us? Killing while in cat form lets all the rage out and returns us to human form? It’s bizarre, and yet, there is a certain logic to the animal urges and innuendo. Why do we equate the feline ruthlessness with a misuse of femininity? How can we praise the beauty of powerful women yet fear and demonize the temptation it brings?

While some of the opening effects are a bit dated or low budget looking today and Cat People’s kinky start is a little slow and abstract, the naughty and natural feline dangers get going just fine and remain strong throughout the picture. In fact, we even feel some sympathy for these big cats being trapped in cages and misunderstood as to their conflicted needs. This lifestyle is, after all, perfectly natural to them. Why do we resist it? Pieces and plot elements of Bodeen’s original 1942 script survive in Alan Ormsby’s (The Substitute) updated screenplay. The feline pursuit with a Lewton bus trick and the subsequent pool sequence are a complete ode to the original Cat People- just there are a few more boobs tossed in here! Even with the delightfully smart use of skin, that same what you don’t see shadows and cat sounds suspense is allowed room to shine. The various big cats used for Cat People, mostly black leopards but a few lions and tigers, are simply lovely indeed. Feline fans will both enjoy their spotlight and yet dislike all the cages, rage, and violent portrayals. These pesky incestuous implications are also not for prudes, nor the bondage. You heard me.

Wow, Nastassja Kinski (Tess, To The Devil a Daughter, Terminal Velocity) is eighties virginal hot for Cat People, going braless and strutting through a delicious looking New Orleans. Yes, Irena isn’t totally styled in the near slutty femme we see today, but we like her in all her forms- good girl, naked, cat- nonetheless. Irena is innocent and almost too good to be true- it’s saucy and endearing at the same time. Even if we know the juicy cat tendencies are coming, the audience is still surprised when the wonderfully creepy Malcolm McDowell (A Clockwork Orange, Star Trek Generations) brings the familial twists to a head. His Paul is suspicious from the start, clearly jonesing for his sister, and this back and forth of predator and prey invests us in Irena’s cat journey all the more. It almost seems as if this Cat People should be the big and saucy sequel to the original instead of The Curse of the Cat People. So, this is what those dastardly cat kin have been up to in the last forty years!

Poor good guy with a case of cat corruption John Heard! His new Oliver can’t help but find Irena alluring despite the intelligence and better judgment we know a zoo curator must have. Heard (Home Alone, Awakenings) would seem on the prowl to start, scaring Irena upon their first meeting- but he is soon the one helplessly caught up in the unsavory. The sex scenes between Oliver and Irena are steamy indeed, even if we don’t actually see much. Whom is it going to be more painful for anyway? Annette O’Toole’s (Superman III) Alice is the would be Mary Ann to Irena’s latent Ginger. They begin as quick and intimate friends but obvious female tensions soon arise. It’s a catfight, literally. Though it was probably not the intention at the time, it seems everyone in Cat People is a familiar face. John Larroquette (Night Court) appears briefly as a jerky suit pressuring the zoo, and Ed Begley Jr. (She-Devil) pulls out all the fun bad animal puns before being taken down a notch. The glorious Ruby Dee (A Raisin in the Sun) isn’t fully utilized enough as Paul’s “Like Tamale” housekeeper, Female, nor is good cop Frankie Faison (The Wire). Although Lynn Lowry (Shivers) and Tessa Richarde (Bronco Billy) do provide fun eye candy, as if there was any other kind!

Cat People is a classic early horror treat that fans of straight classic films, noir mysteries, and students of Hollywood horror beginnings should know and love. The Curse of the Cat People comes on a double bill DVD and in collector sets with its precursor, which does keep it easy to find even if it has practically nothing to do with the first film. Just don’t compare Curse to Cat People when you watch, as it should indeed be seen at least once, perhaps at Christmas. Where our 1944 entry is definitely kid friendly, and there’s nothing majorly overt in the original outing, the updated Cat People edition, however, is not for kids. In 1942, the original had to be chaste, but forty years on, the remake was free to unleash the titular folks in all their glory, and indeed, it does. Purrrrrr!

Hammer and Horror Huzzahs!

2011-11-21T12:03:00.002-05:00

Hammer Horror Huzzah!

By Kristin Battestella

As I’ve been on a Hammer Films viewing escapade again this year, I needed to make a list to keep track of them all! Here’s a tally of all our Hammer critiques- not just the scares mind you- divided into categories for easy finding!

The Dracula Series and Vampires

Horror of Dracula

The Brides of Dracula

Dracula Prince of Darkness

Dracula Has Risen from the Grave

Taste the Blood of Dracula

Dracula A.D. 1972

The Satanic Rites of Dracula

Countess Dracula

The Vampire Lovers

Twins of Evil

Frankenstein Films

The Curse of Frankenstein

The Evil of Frankenstein

Frankenstein Created Woman

Frankenstein Must Be Destroyed

Miscellany Hammer

Curse of the Werewolf

The Devil’s Bride

The Flesh and the Fiends

The Gorgon

Let Me In

The Man Who Could Cheat Death

The Mummy (1959)

Night Creatures

She

To the Devil a Daughter

The Viking Queen

The Witches (1966)

Wow. This is what happens when you start your ‘Halloween’ Horror viewing marathons in July!

Draculas vs Frankensteins

2011-11-20T23:37:00.000-05:00

Frankenstein, Dracula, and One for Good Measure

By Kristin Battestella

It’s a debate for the ages in the battle of the Titans of Terror! Frankenstein or Dracula? Cushing or Lee? Lee or Cushing? Who’s the better bad guy? Who’s the better good guy? Here are a few more trouble inducing questions and some answers in the dual horror juiciness.

Dracula: Prince of Darkness – This Terence Fisher helmed 1966 sequel opens with a revisit to his Horror of Dracula and adds fun Victorian via sixties ladies, freaky servant Philip Latham (The Pallisers), action monk Andrew Kier (Cleopatra), candlelit ambiance, and sweet velvet décor. There’s actually a touch of the novel as well, with hints of Renfield and visiting English twists- except our Carpathian guests are two couples this time around. Barbara Shelley (also of The Gorgon) makes a great scaredy cat who would be annoying except that we know somebody should take heed in a vampire picture! Besides, it’s always the good girls like Suzan Farmer (Die, Monster, Die!) who go so bad for Dracula! Even though we know a resurrection ritual is coming, it’s still bloody impressive- literally and figuratively. There’s a great sense of foreboding fear with scary music as Lee silently hypnotizes and takes the dames as he wills in what seems like less than 10 minutes! I know he did some of these films under protest and had conflicts over the dialogue, but Dracula need not speak to be badass either. OMC’s great strength, overbearing physicality, and evil red eyes more than fit the terror bill. It’s actually fitting that there are no wither tos and why fors- just a silent, powerful, unstoppable menace. We don’t have outright nudity or such for this round, but the vamp approach and violation works.

Dracula Has Risen from the Grave – A sweet, bloody, almost Bond-esque introduction and a fun opening shocker lead off the revenge plotting, suspenseful carriage chases, surprising character development, saucy bedroom scenes, religious twists, and rooftop pursuits in this 1968 sequel. Whew! It’s quite intriguing to for once see what would possibly happen after Bram, as we instead focus on Monsieur Rupert Davies (Maigret), priest Ewan Hopper (Julius Caesar), and the terrified village folk who all still live in the shadow of Big C. We actually see more of Lee as Dracula earlier on in the film, and this time he even speaks! Well, it’s only about dozen lines and we still don’t really have enough of the eponymous villain, but Sir Christopher has more to do here. Dracula is quite sensual and kinky; all these necks and bosoms just thrust right at him! Though filmed well, the production values seem a step down from the usual Hammer high style, and the women seem a little too sixties designed instead of the late Victorian onscreen. Young Barry Andrews (Blood on Satan’s Claw) is also too hepcat annoying, as is bad girl Barbara Ewing (Torture Garden) to start- but we know Dracula will educate her- a bite, a beat down, a catfight! Yes, the titular revival is a little preposterous, but its also pretty creative- even if the vampire rules, times, and places established in the first two films are fudged up. The horror sound effects are great, along with impressively eerie green glow effects and colored lens tricks. It does indeed look like death here!

Frankenstein Created Woman – Pimp Cushing returns to his titular villainy for this 1967 sequel of sorts co-starring Susan Denberg (recognizable from the original Star Trek’s ‘”Mudd’s Women”) as his conflicted but deadly creation. The resurrection of the slightly more tender Baron thanks to his henchman Thorley Walters (The Adventures of Sherlock Holmes’ Smarter Brother) and Robert Morris (Quartermass and the Pit) is almost mythical, as is the suggestion of his work delving towards black magic or sorcery in the quest for higher understanding. The philosophical concepts, cruelty, legal injustice, and soulful debates add dimension and horror depths. What happens to love, innocence, and inner beauty when a tormented soul is given a pretty new body? The Victorian stock and demented laboratory look great in establishing the radical and unethical experimentations, too. In addition to great guillotine suggestions and smart uses of red wine symbolism and color, there’s some sweet murder and suspense brought forth by the almost ghostly crossover vengeance. While some may find the plot too abstract or even goofy, the big scary questions that come with science going to far work beautifully with the period creepy. Scientific reincarnation, horror, spirituality- all in one Hammer delight!

Frankenstein Must be Destroyed – Okay, there are more series inconsistencies that might hamper this 1969 outing for some; in many ways, it seems like the Hammer Frankenstein films were themselves released out of order, go figure. The derelict laboratory scares, lady screams, and medical thrills here are darker, more sinister, and brutal compared to the previous installment indeed. Cush is totally freaky this go round- nasty from beginning to end with an acerbic delivery and vehement action both for and against coerced accomplices Simon Ward (Young Winston) and Veronica Carlson (also of Dracula Has Risen from the Grave). How could such a charming little old man play such a saucy bastard? Shudder. The visual mix of finery, top hats, and spats clashing with dirty acts and bloody surgery send the period fine furnishings and Victorian protocol on its ear. Returning director Terrence Fisher (must I?) keeps things very intense, well paced, and properly played for a complete science horror ride. Cocaine use, ethics of medicine, lunacy- with all this juice, it’s easy to say to hell with film continuity!

The Gorgon – Patrick Troughton (Doctor Who) joins Our Men of the Hour as Terence Fisher directs this 1964 Hammer blend of ancient mythology, post-Victorian science, and a good helping of the expected creepy. Shades of Medusa, a little bit of illicit juice, on form decrepit castle sets, and sharp costumes up the ante- along with suspicious doctor Cushing looking so suave in a 19^th century reverse goatee. Lee is also great fun as the crusty, but fatherly and supportive professor- and talk about a mustache! Yes, you read correctly; the boys have switched things up here, and it is dang fine! Unfortunately, the gorgon design is nothing to write home about- you barely see the titular fuss- and some of the nighttime photography is too dark. The DVD is a bit elusive as well, but worth the pursuit for this little trickster. Who knew?

You may have noticed that in all my Horror Heavyweights and Hammer List adventures, I have not yet reviewed Scars of Dracula or The Revenge of Frankenstein. Unfortunately, these two are sacrilegiously and inexplicably not available from Netflix and remain elusive elsewhere. Typical. For that reason alone, I imagine you should hold on for dear life if you find them! If you could choose, that is, between Dracula, Frankenstein, Cushing, and Lee. I still cannot!

A Peter Cushing Assessment

2011-11-19T04:03:00.000-05:00

Peter Cushing is Badass!

By Kristin Battestella

Yes, he stands there in Star Wars as the Death Star blows up rather than evacuating in their moment of triumph. However, in my recent re-watching of a slew of Peter Cushing horror treats, I’ve again concluded that young or old, good guy or villain, Big P is a filmmaking pimp!

Dr. Terror’s House of Horrors – Can you imagine being in a train car with Christopher Lee, Donald Sutherland (Invasion of the Body Snatchers), and Peter Cushing? Director Freddie Francis (Dracula Has Risen from the Grave) and Amicus Productions have done just that in this 1965 anthology. Cushing is downright creepy- as in, you would cross the street when you see him and most definitely not want to share that train car with him creepy. The first two tales, “Werewolf” and “Creeping Vine” are a little slow to start, even confusing, and look somewhat drab with poor effects. Fortunately, the wolfy revenge angles, family scares, and freaky vegetation anchor the bizarre. There also isn’t a lot of charisma from the banal random players - except for Bernard Lee’s (Goldfinger) ominous cameo- or any uber scares for that matter. Plot Three, “Voodoo” goes for some humor and has some great jazz music, but you have to really like the wit or the tunes to fully appreciate it. However, when things get freaky with some good old howling wind and darkness, it’s magical. And wow, PC’s partner in crime Lee is totally funny as a stuck up, almost nerdy tarot disbeliever- it’s just so great to see him against his dark and deadly type. The late Michael Gough (Batman Returns) joins Lee for “Disembodied Hand” and, well…these final segments make the movie. Sutherland’s concluding “Vampire” story is a little obvious, naturally, but it is still a whopper, upping the scares and adding feminine twists- of which, I shall say no more.

The Flesh and the Fiends – Somehow, I find it strange that writer and director John Gilling’s (Shadow of the Cat) 1960 take on the oft-told Burke and Hare grave robbing infamy is in black and white. Am I that used to seeing Big P in color? He looks young, but twisted and slightly warped indeed. Cushing’s upstanding and intellectual medical professor Dr. Knox debates that it’s okay to study a body plucked from the coffin because the soul has already left it- if such a soul could even be proven anyway! His speeches are slick and in his mind justify the gruesome actions committed by Donald Pleasance (Halloween) - who’s practically a pup here! A seriously modern viewer might not even recognize his juicy badness amid all the perfectly escalating crimes, scary deaths, and touches of humor with a freaky George Rose (Pirates of Penzance). However, I suspect all horror fans to know Billie Whitelaw (The Omen) when they see her! The waistcoats and big bowties look great, along with late Regency poufy ladies’ sleeves, huge bonnets, and those primitive medical toys. Though the DVD doesn’t have subtitles, which makes some of the soft dialogue or thick Scottish accents tough, the disc offers the alternate Mania title sequences and both a tame Brit and boobilcious European cut of the film. See, black and white boobs- that’s also a new sight for me.

Night Creatures – Oliver Reed (Burnt Offerings) and Yvonne Romain (also The Curse of the Werewolf with Reed) co star in this demented 1962 high seas adventure perhaps better known as Captain Clegg. Once again, credit to OMP’s pimpness that he can be believed as a zestful little minister and seemingly unassuming parson among all his varied and twisted roles. Then again, we should know better! The 18^th century tricorn hats, historically sweet costumes, and mixed uniforms are lovely as well- simply because we don’t often see such naval style in a horror film. This political intrigue with a touch of the supernatural feels like Hornblower ala Hammer, and the blend works well on both fronts. Yes, these angles could have been stepped up a bit more to further take advantage of such a unique mix, but we also don’t have many films with this spooky seafaring combination either. Although the ghostly and shadowy effects look a little dated, it all still works the freaky just fine. We don’t see the titular haunts that often, however, and some story elements may seem a little obvious now. Fortunately, the mystery and secrets are allowed to stew, keeping the creepy suspense getting good for the finale.

Twins of Evil – Another horror gem that goes by a dozen different titles and is tragically near impossible to find! Lovely playmates Mary and Madeleine Collinson join a zealous witch finder Cushing in this 1971 pseudo sequel prequel to The Vampire Lovers. Even if the ladies may seem young or look a little too seventies ingénue to start, they are simply dynamite in their matching frocks and do fit the colonial style. Without subtitles, the accents and dubbing might be iffy for some, but so what. It might also be tough to tell the girls apart initially, but bad girl Frieda makes herself known against good twin Maria, and the audience is treated to mistaken identity suspense, decent effects, and some sensual scares. And oh, how Big Pete rocks that puritan look! He’s scary strict yet charismatic in his persecutions and latently kinky in beating and burning pretty girls. Cushing raises the evil fears and witchy terrors amid the vampness along with the slick Damien Thomas (Jane Eyre) as Count Karnstein. Who’s more the villain, the count who makes no secret of his bloodthirsty practices or the ringleader who burns the innocent? Though juicy, some of the plotting here doesn’t make sense if you think too hard, for writer Tudor Gates (also Lust of the Vampire) may stray too far from the film’s predecessors and the Carmilla novel. Nevertheless, there’s great blood, boobs, black candles, and rituals to enjoy, along with a fun Katya Wyeth (A Clockwork Orange) appearing for Mircalla’s rising and seduction scenes. Stroke that candle girl!

Another Vincent Price Viewing List!

2011-11-14T06:29:00.001-05:00

More Vincent Price Shenanigans

By Kristin Battestella

It is important to spread the viewing love to all the Titans of Horror year round. Fortunately, Vincent Price made many a scary film for us to enjoy!

The Comedy of Terrors – This 1964 blend of humor and creepy reunites Big V with Boris Karloff and Peter Lorre (The Raven) and Basil Rathbone and Joyce Jameson (Tales of Terror) - and oh, can Price feign that sympathy as a stressed and struggling undertaker! Lorre is wonderful as OMP’s little assistant Gillie- the pair is almost vaudeville in their interrupted wrong doings and ironic conversations. It’s great to see everyone- usually so serious and refined- having a good time. Yes, it’s campy and over the top- but the cast makes the humor amid the horror acceptable. We like to see them poke fun at themselves- Lorre bothering to open a cut out door to make his exit or Rathbone’s crazy and wonderfully windblown quoting of Macbeth amid his mistaken bouts of catalepsy! Writer Richard Matheson (Legend of Hell House) keeps the wit on form for the performances, and the smartly timed funerary gags and physical comedy work perfectly with director Jacques Tourneur’s (Cat People) use of high speed film, distorted organ music, and Jameson’s fun off key opera. There’s a sense of Victorian carnival and flair amid the darker tone and open, stage-like atmosphere. Obviously, this set up is not meant to be super scary and some audiences may not like the toe toward slapstick, but there are some juicy and fearful pursuits in the final act. All the spooky of similar films is here along with some self-awareness and solid entertainment. Karloff’s clueless old man is worth the price (hee, no pun intended!) of admission alone.

Dr. Phibes Rises Again! – A silly but fun narration recaps The Abominable Dr. Phibes as we speed up 3 years for the expected bizarre, over the top music, demented humor, and far-fetched resurrection plots in this 1972 sequel. Though not as colorful or flashy as the original, the blend of old school abstract, anachronistic flair, seventies art deco sets, and freaky, stylized deaths is mighty fine. The distorted editing can be either positive for some or negative for others- but there’s plenty of suspense, archaeology adventure, psychedellia, and a double demented love story to keep things fun. Robert Quarry (Count Yorga, Vampire!) is nasty good with some twisted parallels to Price’s undeniable Phibes, Peter Cushing (Brides of Dracula) is a sharp surprise in his cameo, and replacement assistant Valli Kemp has a lot of silent hijinks and fun get ups. Yes, there are fewer scares and revenge and some sequences are low budget subdued, but the audience doesn’t necessarily need to see the first film, either. Unfortunately, I really don’t know why AIP didn’t continue with further sequel plans.

The Fly – VP supports his brother David Hedison (Live and Let Die) and sister in law Patricia Owens (Seven Women from Hell) as the subdued straight man to the sweet, 1958 colorful, high tech, mad scientist lab hysterics here. Though the French angles are limited to a few names and words; other fine touches like buzzing in the scoring, mid century décor, and debates over science versus religion, the sacredness of life over human intelligence, and the horrors of meddling with it all keep this version fresh. Early talk of teleportation and transporting food ideas and how they could solve world’s problems still say a lot, along with the fun and dang decent-if loud- special effects. I never knew there was so much suspense in catching a little fly! Even if modern audiences may find this film tame or hokey now in comparison to Croneberg’s remake or other contemporary science fiction horror, there’s a great build up of hidden what you don’t see to the insect reveal- and the fly work still looks good. Distorted bugview camerawork and tiny shockers just do wonders: ‘Help me! Help me!’

The Last Man on Earth – A wonderfully subtle and largely solitary performance by Vincent Price anchors this 1964 debut adaption of Richard Matheson’s novel I am Legend. The voiceovers and somewhat comical undead might be tough for some, but the focus on melancholy and slowly degenerating delivery works with the post-apocalyptic depression and isolation. Of course, the plot isn’t all silent and alone- flashbacks detailing the genesis of the vampire-like pestilence and the subsequent collapse of family break up the despair nicely. Unlike the bigger scope and action of Will Smith’s recent I am Legend or the seventies garish of Charlton Heston’s Omega Man- both good in their own right- the time here is better spent on the intimate and personal in examination of self and society. The simplest need for companionship, the arrogance of man, humanity’s stupid short sightedness- really, I don’t know why Matheson was displeased with the final result here.

Shock – This 1946 medical murder mystery is more a suspense tale than straight horror, but the twists and scares are definitely here. An early and fun dream sequence also smartly uses scale, camera zooms, and focus tricks to play with the minds onscreen and the audience’s perceptions of it all. Anabel Shaw (To Hell and Back) is unfortunately a little too of the time hysterical, and the plot may seem too Rear Window-esque in its witnessing. However, Our Man Vincent is so young and suave, with a slick but not yet raspy voice and a lot of angry and bad doctoring style. Oh, what lengths his psychiatrist will go to for the sexy nurse Lynn Bari (Nocturne)! But I shall say no more…

The Tingler – Director William Castle (House on Haunted Hill) bemusingly warns the audience of his latest theatrics of the day to open this 1959 parasite horror funfest and assures us it is okay to scream! Yes, the attempt at sexy film noir stylings for Patricia Cutts (I Was a Male War Bride) is hokey, but Judith Evelyn’s (Giant) mute and silent scares do wonders along with great uses of color- yes color- in a black and white film. The blurred lines between the onscreen silent movie house and the then theater experience are also kitschy good, with Big V almost playing a film within a film event when the screen goes black. In fact, with the right set up and approach, this tactic could still work in the cinema today- and be far better than all the headache inducing 3D. Price, of course, is just a little too nonchalant about doing an autopsy isn’t he? It’s so creepy the way he investigates fear from the mind and shock on the body as if it were no big deal to experiment at the expense of others. Certainly, the idea of a tingly worm on our spines festering on our fears is totally preposterous- but Price sells it and the camp of it all wonderfully. Really, when a film uses LSD as part of the plot, we can’t be expected to take the science too seriously.

The Wicker Man (1973)

2011-11-09T03:15:00.000-05:00

The Wicker Man Simply Great Horror

By Kristin Battestella

One of my earliest professional reviews was of the 2006 remake of The Wicker Man. My critique was right out of the theater, and we now know how that turned out! Yes, a relatively fine cast can’t save that one from its strangely laughable and obvious outcome. Fortunately, this 1973 original tour de force is horror goodness and delight.

Upon receiving a mysterious letter about a missing girl named Rowan Morrison, devout police sergeant Neil Howie (Edward Woodward) travels to the isolated island of Summerisle where his investigation is strangely blocked at every turn. Rowan’s mother (Irene Sunter, Take the High Road), school teacher Miss Rose (Diane Cilento), the town registrar (Ingrid Pitt), the seductive tavern lord’s daughter Willow (Britt Ekland) - each presents bizarre beliefs, pagan hysteria, and sexual decadence that test the Sergeant’s realms of expected morality and religion. Howie eventually meets with Lord Summerisle (Christopher Lee) and learns about the island’s history of hearty fruit strains, natural blessings and rituals, seasonal parades to numerous gods, fertility rites, and sacrifice. As the May Day festival approaches, Howie fears for the fate of the missing Rowan- and eventually, for his very soul.

Director Robin Hardy (returning to Summerisle this year with the follow up The Wicker Tree) and writer Anthony Shaffer (Sleuth, Frenzy) build great mystery, brooding, and foreshadowing in this tale taken from David Pinner’s novel The Rite. Perhaps it’s a relatively familiar story now thanks to The Wicker Man’s horror celebrity status or that aforementioned shadow of a remake. However, there’s still plenty of innuendo, suspicion, suggestion, and topsy turvy to keep everything well paced and entertaining for an hour and a half. There’s an intelligent clashing of Pagan versus Christian ideologies, old world discussions, and awry and warnings on both sides. Naturally, The Wicker Man may put several audiences off thanks to the sexual conversations, ill pagan portrayals, and some stubborn Christianity. Serious spiritual prudes might just faint, and the pagan picture painted is not a positive one. The people of Summerisle apparently see no distinction between sacrifice and murder, but is it the outside arm of the law’s right to judge their ways? Both sides would think the other is in an upside down world and wrongs are made all around. We know someone has to come out on top- and even if you know the ending, it’s still dang scary and smart horror in getting there.

Edward Woodward was the man as The Equalizer (seriously, not even Robert Mitchum could replace him!) and he’s still great here almost 30 years on. Howie blindy clings to his faith as the paramount rule in all the lands and arbitrarily goes about his lawly ways whether they are warranted or not. On one hand, you have to admire the guy, the one point of sense and proper society on this decadent island! I love the Sergeant’s great buttoned up contrast- always in uniform with his hat on and looking totally seventies city- in a Summerisle that looks like we’ve stepped back in time. Howie largely represents us, the supposedly better off and enlightened viewer, but his poking his nose where it doesn’t belong will also be his undoing. We root for him to solve the crimes, but you also yell at the television over some of his stupidity. And seriously, it is very easy for a man to look stupid going toe to toe with Christopher Lee! Woodward’s acerbic Biblical quote for quote prayers and salvation scenes are excellent against the twisted and juicy charismatic and power tripping Lee as Lord Summerisle. Okay, so I’m really not sure about that wig he’s sporting, but seeing Dracula in Beltane drag is quite bizarre and absolutely memorable. Perhaps more strangely, the demented pomp only makes Summerisle more attractive and powerful. It does seem such a lovely and orgyriffic island- all Lee’s talk of fruitfulness that just happens to come thanks to a sacrifice at any cost. The audience, however, does have to wonder exactly how much Summerisle actually believes in the pagan potluck he’s been handed. Is it all about the power trip? Or is the faith only while the fruit is good? Lee’s ambiguity adds a shady corner in the match against Woodward’s stalwart, and this core beautifully takes The Wicker Man a step further.

Things are a little more uneven as we turn to the ladies, though I must say. The stunning triumvirate of Diane Cilento (The Agony and the Ecstasy), Britt Ekland (The Man with the Golden Gun), and Ingrid Pitt (The Vampire Lovers) doesn’t have much to do beyond being an all too supple and willing accomplice. We don’t get to see as much of the dames as I might have liked performance-wise, and yet, we do get to see a lot otherwise if you know what I mean. Of course, there’s some thick accents and dubbing going on as well, but Ekland fans will find The Wicker Man must see even if there’s some body doubling for her very naughty serenade. Pitt is actually an unnamed character and only appears in a few scenes, but she’s delightfully delicious as always. Cilento fairs slightly better as Summerisle’s semi companion and the kinky schoolmarm perpetuating his ideas. Unlike the iffy remake which is pro women or Spice Girls power in using men as we see fit, here sexual relations seem slightly more misogynistic. The gals answer to the man and the harvest, yes, but they aren’t afraid to be sexual or manipulative as needed either. It’s a juicy dynamic, and fans of the skin or the girls will enjoy.

In addition to all the fleshy scenery, the Scottish locations look so sweet. I don’t know much about proper Celtic practices, but the onscreen rituals look awesome and freaky real at the same time. The peasant-esque garb, breezy slip off gowns, kilts, and swinging casual seventies suits also look sharp. While the photography is a little grainy and there is some unusual editing and cutting, these work in the framework of the film and thrust Sergeant Howie into a surreal, distorted world. The musical styling, scoring, and songs totally fit within this environment, and the lovely sounds take on several layers of irony, warpedness, or kinky as needed- if you’re still paying attention to what’s really supposed to be going on during “Willow’s Song,” that is! Some purer horror audiences or contemporary non-musical viewers might find the tunes annoying or at best, you need to be feeling your Celtic music mood. Nevertheless, the sounds are authentic and flavorful, adding another touch and dimension to The Wicker Man.

Cult horror fans, Lee enthusiasts, and other lovers of the cast should definitely see The Wicker Man. Yes, those touchy about religion or pagan iconography might want to avoid if these audiences feel their respective side is mis-portrayed. Fortunately, the excellent performances, food for thought plot, and dynamic pacing more than make up the difference on anything potentially offensive. However, it should go without saying that The Wicker Man is not for kids, unless you want them to learn about fruits of the womb and phallic imagery in the movie classroom! Despite those seventies naughty vibes, this isn’t dated one bit- though the lack of DVD subtitles, lost footage, and varying versions and film lengths can be bothersome. The Wicker Man also isn’t really a harvest or autumntide picture either, thanks to its springtime festival subject matter. Add a whallop to your May Day and witness The Wicker Man.

The Birds (1963)

2011-11-07T03:02:00.000-05:00

The Birds One of Hitchcock’s Finest

By Kristin Battestella

My mother hates freaky birds, and to this day, I don’t think she has ever made it through Alfred Hitchcock’s 1963 avian fright fest The Birds. Tragic.

Troublemaking rich girl Melanie Daniels (Tippi Hedren) crosses paths with San Francisco lawyer Mitch Brenner (Rod Taylor) and plots to get back at him by following him to Bodega Bay for the weekend and leaving two lovebirds for his young sister Cathy’s (Veronica Cartwright) birthday. While in Bodega Bay, strange bird attacks begin to occur, and Melanie stays with schoolteacher Annie Hawthorn (Suzanne Pleshette) - an ex-flame of Mitch’s. More birds attack at Cathy’s birthday party, and Mitch and Melanie must come to the aide of Mitch’s widowed mother Lydia (Jessica Tandy) as birds of all feathers frightfully and fatally flock on the coast.

Alfred Hitchcock’s (Psycho, Notorious, Suspicion, must I go on?) direction is once again great, with a slow, country town brew of romantic tizzies, humor, suspense, animal disturbia, and more. Based loosely on a tale from Daphne Du Maurier (Rebecca), the script by Evan Hunter (The Blackboard Jungle) may seem long or stilted by some today. However, the solid two hours and tight pacing from Hitch work seamlessly with all the classic freaky here. There are just so many layers of suggestions to investigate- familial innuendo, social stigmas, birds pecking away at our defenses and plucking out people’s eyes. Are these the human eyes that can’t see these birds are angry and aren’t going to take it anymore?! What would indeed happen if birds decided to turn against us? The religion versus science hints, witch and evil harbinger debates- I love the diner scene where a boy eating chicken asks his mother if the birds are going to eat him. We would be pissed if the roles were reversed indeed! Whatever the social causes of or paranoid responses to the avian hysteria, the seed is smartly planted- and The Birds is still dang scary. It’s quite easy to think there is intelligent design or feathered revenge at hand, just as we could also think it’s all just some bizarre animal turn or random instinct. Both possibilities remove our safe controlled answers and thrust the audience into the unknown- and there is nothing more frightening to us. Instead of contemporary shock and awe and desensitization, The Birds is all about what we see but don’t believe, what we don’t see but know to be true, and what we hear that so scares us.

Wow, Tippi Hedren (Marnie) starts as a real socialite bitch! I couldn’t quite think of a word to describe her at first, but I see online that I’m not the only one who eventually settled on one name: Paris Hilton! Fortunately, Melanie grows into a charming heroine in the face of this bizarre horror despite her typical blonde helpless babe looks. Hedren does look smashing in her fur coat and high heels- somehow being a woman of sass, smarts, and action without a hair out of place. Although she does wear that same green suit for three days! I don’t know that the up-close soft focus glow is really necessary from Hitch, but Tippi most certainly stands out among the crowd in The Birds. Are these avian attacks Melanie’s fault? Is her ploy of lovebirds the cause? It’s certainly an easy place to point the accusing finger, and Suzanne Pleshette (The Bob Newhart Show) is the perfect dark-haired, pseudo femme opposite. Annie is meant to be the good girl schoolteacher despite her sexy look- her brunette style certainly isn’t in Hitchcock’s favored ice queen vein. The mixing ideologies, however, work in Annie and Melanie’s relationship. They become fast friends despite the romantic rivalry over Mitch and a frosty attitude from his mother. Ha! Frenemies before there was such a thing, eh Paris? Speaking of Mitch, Rod Taylor (The Time Machine) is totally cool as a fun, swinging big city lawyer who ends up protecting his family against freak birds on the weekend. It isn’t a role that one can take too lightly or overly serious, and Taylor finds the everyman balance. Mitch is smart, charming, strong and there when you need him without being too sixties misogynistic- even if there is a strange mama’s boy angle going on.

Oscar winner Jessica Tandy (Driving Miss Daisy) is simply lovely as Mitch’s mom Lydia, too. Despite her jealousies and overbearing ways, the viewer instantly feels for the widow who can’t hold onto herself and her family with all this titular mayhem happening. She’s lonely, sad, yet still strong, and again, it’s all a little weird the way Lydia looks to her son to symbolically replace her husband as head of the house. Fortunately, little Veronica Cartwright (Alien) is so cute- not nearly as annoying as so many old school child stars often are. Cathy is realistic before the trauma and remains sincere while the hysteria happens. Although I do wonder why these old films always have a college aged or even fully-grown child and then an elementary kid- did people really raise one child to entirety and then have another? Or is there an additional layer of Mitch and Melanie’s action parents relationship with Cathy for us to explore? Yes, a modern audience will notice some of these then latent suggestions or shout at the television, as some of the players’ actions are a little impractical in The Birds. No one takes the offensive or gets some guns or weapons against the birds. While it’s totally iconic now, you couldn’t even find a phone booth to hide in today- not that one would choose a box made out of glass anyway. Hello, kamikaze birds on the run and no one ever gets away from the windows? Nevertheless, we like the people in The Birds and get to know them for a little while, thus making it easier to believe their fears and irrationalities when the fantastic avians hit.

Despite its color filming, the dark and light values and cutting edge photography are used so smartly; The Birds almost seems black and white or devoid of palette in some scenes thanks to bleak interiors or flocking crows and sparrows. Then of course, we get set up for unusual stills, zooms, and angles with pops of fresh red trickles. The sound alternatives are also dynamite. Sometimes the action plays almost as a silent film but for lingering vocals, singing, and squawking bird effects. Naturally, some of the old school cheats are recognizable to wise contemporary audiences: matte paintings, split screens, innovative composite effects, live birds, fake birds, and every other trick possible. However, we know The Birds is an old film, and even so, it still looks wonderfully freaky. Toss in that real bird scenery with all the twisted intelligent layers, and the smoke and mirrors trickery, and we still buy in to this definite sense of real world menace and animals gone awry.

Sigh; there is just something about the production design and style of classic films. Famed Oscar winner Edith Head’s (A Place in the Sun, Samson and Delilah) limited dressings for Hedren add color and a pop of sixties panache. Toss in cool cars- an Aston Martin no less- gas lamps, tea sets, suave updos, and the casual use of brandy for even more nostalgia. Today, young actors forget there is a sense of grace and style in the way men used to handle their cigarettes or how the women twist the phone cords as they chat on those sultan type phones. And using a pencil to dial on a rotary phone- wow, some youths might not even know what the means! The Birds is wonderfully of its time, and yet, there is nothing here so dated to distract new viewers. Everything still looks good, just made to look old perhaps. One might think this bird nightmare did in fact happen somewhere along some coastal inlet some 50 years ago. The conclusion, I must say, may annoy some, but the infamous and eerie warning should be respected whether you like it or not. Bird lovers may also have serious problems with The Birds thanks to their onscreen misuses and angry portrayals. That two story pet shop, however, is dang sweet, and the cute and humorous little lovebirds are just that adorable.

If you’ve somehow gone this long without seeing The Birds, this should be your next must see. Classic fans surely already know and love, as should any budding Hitchcock enthusiast. Horror viewers, thriller audiences, and fans of the cast can also delight. Earn your A in avian terror from Hitch with The Birds tonight.