CAPTAIN AMERICA: THE WINTER SOLDIER — SCRIPT? CHARACTERS? PLOT?

Matters of Taste – When was the last time a movie, a book, or a television show left you cold despite all your friends (and/or all the critics) raving about it? What was it that made you go against the critical consensus?


Captain_America_The_Winter_Soldier

You mean … other people don’t make their own decision about how they feel after reading a book, seeing a movie or watching a television show?

Because I thought that was what we were supposed to do. You know. Think for ourselves. If not, what’s that big grey lump in the middle of our skull good for anyhow?

A high percentage of current pop culture movies and television annoy or bore us. The last one to leave us saying “Huh?” Was Captain America: The Winter Soldier (2014). It began with an explosion. It barely paused at any point during the next 136 minutes for dialog, character development, plot, or anything else. It ended with a really big explosion. At one point in the viewing, Garry left. He came back 20 minutes later. He said later he didn’t feel he’d missed anything. He didn’t because nothing had happened except a few more things blew up.

It got great reviews.

We are fans of the franchise. With the exception of Thor, which I thought was too dumb and poorly acted even for a late night stupid fix, I’ve enjoyed watching the superheroes of my childhood come to life and save the world. I don’t expect great art, just a modestly coherent story, handsome guys and beautiful women in spandex, and special effects.

However, I anticipate a plot. It doesn’t have to be anything special, but nothing is too little. I require dialog. In short, a script.

Explosions are not enough to carry a movie for more than two hours. If the production company is going to shell out all that money for big name stars, not to mention special effects, how about throwing a few bucks at a scriptwriter? Writers work cheap. Give it a shot, Hollywood.

I don’t care what any reviewer says. I never did. Or for that matter, what friends and family say. If they feel spending a lot of money to watch things blow up is a worthwhile trade, okay with me. In this household, I expect more. Require more.

I should add you’d never get away with that in a book. A book with no story? No character development?  Even if the plot and characters are lame, they nonetheless need to be there. Without them, it isn’t a book and won’t make the big time. Not yet, anyway. And aren’t we glad for that, at least!

IT WAS A LOVELY WAR — A WORLD WAR ONE CENTENNIAL

Happy Birthday, Great War. It’s 100 years since the day you officially started. World War I (WWI), also known as the First World War, was a nearly global war. It officially began on July 28, 1914, though its real beginnings were rooted in events beginning decades, even centuries earlier.

It was an ugly, devastating war. Four years of slaughter that — technically — ended on November 11, 1918.

The official number of military casualties is 22,477,500 killed, wounded, or missing in action. The combined number of military and civilian casualties is more than 37 million. If, as I do, you consider World War II as chapter two of the same conflict, the number of dead becomes even more incomprehensible.

For the past couple of weeks, Turner Classic Movies (TCM) has been “celebrating” the centennial of the first world war, inviting historians and military people to do the introductions and closing comments on the films. General Wesley Clark has been doing TCM’s intros and outros, the last of which was for Oh! What a Lovely War.

He referred to the movie as a musical comedy. While it has amusing moments, calling it a musical comedy doesn’t really cut it. If comedy can be dark, this is one dark comedy.

It’s also surprisingly informative. I can date my interest in World War I and modern American history to having seen this movie when it was released in 1969.

In his closing comments following the movie, General Clark said he hoped we had learned our lesson from this and all the other wars of the past century. I turned to Garry and said, “And what lesson, exactly, might that be?”

“Obviously,” said my husband, making a sour face, “We have learned nothing.”

I agree. Well, I guess we did learn a few things. We learned to build more efficient weapons, including weapons of mass destruction. We can kill more people faster — but no deader — than we did 100 years ago. Much of our military technology emerged during and post-WWI.

I don’t see this as progress. If you want to know why I’m so cynical, why I have trouble believing in a benign deity, look at the casualty figures from the collective wars of the past century.

I love this movie. Not only because of its historical veracity — it’s accurate — but because the music is wonderful. The cast includes everyone who was anyone in British cinema at the time — Laurence Olivier, John Gielgud, Maggie Smith, Vanessa Redgrave, Dirk Bogarde, Ralph Richardson and more, all having a great time.

I’ve seen this many times and I guess so has Garry since we can both know the words to all the songs. Catchy. Very catchy.


OH! WHAT A LOVELY WAR

Directed by Richard Attenborough (his directorial début)

OH WHAT A LOVELY WAR

I saw “Oh! What a Lovely War” when it was released in 1969 and never forgot it. Based on the long-running British stage production, it’s World War I — in song, dance and irony. Its catchy score sticks in your brain.

The songs are those sung by the troop during that long war. The cast includes everyone who was anyone in British stage or screen during the 1960s. The credits were a veritable who’s-who of English actors.

World War I is hard to understand, even when you study it. No matter how many books I read, I’m not sure I do or will. Its causes are rooted in old world grudges that make no sense to Americans.

So many ancient hatreds — thousands of years of scores to be settled.

My mother summed it: “Everyone was armed to the teeth. They wanted war. They just needed an excuse. Europe was a giant bomb waiting for someone to light a match.”

Hers may be as good an answer as any other. When the war began, it was the old world. The crowned heads of Europe ruled. When it finally ground to a halt in 1918 (it didn’t really end — WWII was the second chapter of the same war), the world had changed beyond recognition. The European monarchies were gone. A generation of men had been slaughtered; the death toll was beyond belief. The callous indifference to loss of life by those in command remains incomprehensible.

More than 9 million men were killed in battle. This does not include collateral damage to non-combatants and death by disease or starvation. It paved the way for major political upheaval throughout the world.

Says the movie at the beginning: “The principal statements made by the historical characters in this film are based on documentary evidence, and the words of the songs are those sung by the troops during the First World War.”

The first World War could be called an orchestrated, organized international effort to murder a generation of men. They did a good job.

The statements of the historical characters — all lodged a safe distance from the fighting — are ludicrous. General Haig, looking at the staggering loss of life on both sides, really said: “in the end, the Germans will have 5,000 men and we will have 10,000, so we will have won.”? He said it. And meant it.

The arrival of the Americans and their takeover of the endless war — bringing it to a conclusion while there was still something left to save — is a great cinematic moment. I wonder how long it would have gone on without American involvement? Would Europe exist or would it all be a wasteland?

The war is told with music and dancing. Songs mixed with pithy comments from generals, kings, Kaisers and soldiers. It’s a long movie — 144 minutes — and I can promise you that you will have a far better and more visceral understanding of this war and what those little red poppies the Veterans organizations give out (do they still do that?) to commemorate the war to end all wars. Until the next war. And the one after that.

The music is ghastly, funny, catchy. The movie is out of print. It was only in print for a couple of months. I had been looking for it for a long time and was thrilled to snag a copy. A few copies are still available through Amazon. If you are a history buff and love great movies, grab one.

Great directing, biting sarcastic humor, terrific music and informative, this movie is in a category all by itself. It was unavailable for more than 20 years. You won’t be disappointed and you won’t forget it. In the 45 years since I first saw it, I haven’t forgotten it.


From Amazon.com:

Richard Attenborough’s directorial début was this musical satire that deftly skewers the events of World War I — including the assassination of Archduke Franz Ferdinand, a Christmastime encounter between German and British forces, and the signing of the Treaty of Versailles — by portraying them as absurd amusement park attractions. All-star cast includes Laurence Olivier, John Gielgud, Maggie Smith, Vanessa Redgrave, Dirk Bogarde, Ralph Richardson; look quickly for Jane Seymour in her screen début.

144 min. Widescreen (Enhanced); English Dolby Digital mono; Subtitles: English; audio commentary by Attenborough; “making of” documentary.

NOTE: As of a couple of days ago, there were 11 copies remaining.

OH! WHAT A LOVELY WAR – REVIEW WITH VIDEO AND MUSIC

OH! WHAT A LOVELY WAR

Directed by Richard Attenborough (his directorial début)

OH WHAT A LOVELY WAR

I saw “Oh! What a Lovely War” when it was released in 1969 and never forgot it. Based on the long-running British stage production, it’s World War I — in song, dance and irony. Its catchy score sticks in your brain. The songs are those sung by the troop during that long war. The cast includes everyone who was anyone in British stage or screen during the 1960s. The credits were a veritable who’s-who of English actors.

World War I is hard to understand, even when you study it. No matter how many books I read, I’m not sure I do or will. Its causes are rooted in old world grudges that make no sense to Americans.

So many ancient hatreds — thousands of years of scores to be settled.

My mother summed it: “Everyone was armed to the teeth. They wanted war. They just needed an excuse. Europe was a giant bomb waiting for someone to light a match.”

Hers may be as good an answer as any other. When the war began, it was the old world. The crowned heads of Europe ruled. When it finally ground to a halt in 1918 (it didn’t really end — WWII was the second chapter of the same war), the world had changed beyond recognition. The European monarchies were gone. A generation of men had been slaughtered; the death toll was beyond belief. The callous indifference to loss of life by those in command remains incomprehensible.

More than 9 million men were killed in battle. This does not include collateral damage to non-combatants and death by disease and starvation. It remains one of the deadliest conflicts in human history, paving the way for major political upheaval and revolution in many of the nations who fought.

You can’t make this stuff up.

Says the movie at the beginning: “The principal statements made by the historical characters in this film are based on documentary evidence, and the words of the songs are those sung by the troops during the First World War.”

The first World War could well be categorized as an orchestrated, organized international effort to murder an entire generation and they did a damned good job of it. The absurd statements and dialogue of the historical characters, all safely lodged a safe distance from actual fighting, sound ludicrous.

Did General Haig, when looking at the staggering loss of life on both sides, really say: “in the end, the Germans will have 5,000 men and we will have 10,000, so we will have won.”? Apparently he said it. And meant it.

The arrival of the Americans and their takeover of the endless war — and bringing it to a conclusion while there was still something left to preserve — is a great moment. I wonder how long it would have gone on without American involvement? Would they still be fighting it today? Would Europe even exist or would it all be a wasteland?

The war is told with music and dancing. Songs are mixed with pithy comments by generals, kings, Kaisers and occasionally, soldiers. It’s a long movie — 144 minutes — and I can promise you that you will have a far better and more visceral understanding of this war and the meaning of those little red poppies the Veterans organizations give out (do they still do that?) to commemorate the war to end all wars. Until the next war. And the one after that.

The music is ghastly, funny and catchy. The movie is out of print. It was only in print for a couple of months. I had been looking for it for a long time and was thrilled to snag a copy. A few copies are still available through Amazon. If you are a history buff and also love great movies, grab one before they disappear. Over the Memorial Day weekend, one of the movie channels, usually it’s on Encore but sometimes TCM runs it.

Great directing, biting sarcastic humor, terrific music and surprisingly informative, this motion picture is in a category all by itself. It was unavailable for more than 20 years. You will not be disappointed and you will never forget it. In the 45 years since I first saw it, I never forgot it.


From Amazon.com:

Richard Attenborough’s directorial début was this musical satire that deftly skewers the events of World War I — including the assassination of Archduke Franz Ferdinand, a Christmastime encounter between German and British forces, and the signing of the Treaty of Versailles — by portraying them as absurd amusement park attractions. All-star cast includes Laurence Olivier, John Gielgud, Maggie Smith, Vanessa Redgrave, Dirk Bogarde, Ralph Richardson; look quickly for Jane Seymour in her screen début.

144 min. Widescreen (Enhanced); English Dolby Digital mono; Subtitles: English; audio commentary by Attenborough; “making of” documentary.

NOTE: This title is out of print. Limit ONE per customer.

THE LAST STAND (2013) – BEST MOVIE EVER STARRING A FORMER GOVERNOR

Last_Stand_2013Starring Arnold Schwarzenegger, Forest Whitaker, Johnny Knoxville, Rodrigo Santoro. Jaimie Alexander and lots of other people, this is absolutely the best movie ever made by a former governor of California. Or any former governor.

I’m not a very intellectual movie reviewer. That’s just as well, since there is nothing intellectual about this movie.

It’s pretty good. Lots of shooting. Blood spurting. Vicious bad guys. It has the grace to not take itself too seriously, with enough humorous moments and entirely predictable but nonetheless funny lines to make it easy to watch.

“I’m The Sheriff!” growls Arnold and by golly, he is, though Garry and I simultaneously pointed out that he used to be The Governor.

There are a lot of car chases … or maybe not really chases. More accurately, it is exceptionally good stunt driving. They actually did some stunts I’ve never seen before and I really thought I’d seen them all.

Plot? Oh, right. Plot. Okay. Think “High Noon” with a strong whiff of “Terminator.” Or any western movie where the sheriff stands up to some incredibly evil guys and whups their collective asses with the help of his faithful deputies and one old lady with a shot-gun. You’ll be glad to know that Arnold Schwarzenegger, senior citizen, ex-governor gets shot, stabbed and beat up, but walks away proudly in the end. Not into the sunset, but into the local diner. Irv’s Diner. Killing people and catching malevolent drug lords gives him an appetite. I’m just sorry I forgot to buy popcorn. It’s a beautiful, deeply touching, moment.

If you need a violence fix, this is a pretty good choice. It’s well made. Moves right along. Some great artillery and the aforementioned stunt driving.

It’s available on Amazon — free for Prime members. Probably on Netflix too. I haven’t checked but usually if it’s on one, you’ll find it on the other.

BEAUTIFUL MUSIC AND A FINE CAST MAKES A LOVELY FILM – A LATE QUARTET

A LATE QUARTET (2012)

Director: Yaron Zilberman
Writers (screenplay): Seth Grossman, Yaron Zilberman

The Cast:

Philip Seymour Hoffman, as Robert Gelbart
Christopher Walken, as Peter Mitchell
Catherine Keener, as Juliette Gelbart
Mark Ivanir, as Daniel Lerner
Imogen Poots, as Alexandra Gelbart
Wallace Shawn, as Gideon Rosen
Anne Sofie von Otter, as Miriam.

Garry and I watched A Late Quartet  the other day. I bought it after reading its reviews. It sounded like a movie for grown-ups and there have been a dearth movies that don’t star fresh-faced children, but aren’t entirely about getting old. Jokes about getting old begin to get old after a while, so we were ready for a grown-up movie about life and living.The reviews were right. It’s a fine movie.

If the movie has a “hero,” that would be Christopher Walken who plays against type with elegance and grace. Add Marc Ivanir — usually playing an Israeli CIA sort-of-bad-guy on NCIS (he actually is Israeli and a hero) — as the dedicated, haunted first violin. Phillip Seymour Hoffman does his usual excellent job as the quartet’s jealous second violin. Catherine Keener (on viola) is the “could be better” wife to Hoffman  It’s a great mix of characters and some of the best work done by Walken and company.

Their movie musicianship is realistic. They did not actually perform the music on the sound track, but it looked like they knew their way around string instruments. Some of them may have had some early training, the rest were coached for the movie. However it was accomplished, the cinematographer was able to follow the actors’ performances closely, without resorting to long shots to disguise their identities. Well done!

While doing a little reasearch on the stars, I discovered that Walken attended the same university as Garry and I. He was probably there during one of Garry’s years at Hofstra University. Walken was there for just a year, then left for a gig in an off-broadway show. It was news to us that he’d been there at all.

It is one of the many ironies of Garry and my education that most of Hofstra’s most famous graduates are not graduates, but attendees who left before getting a degree to begin highly successful careers in Hollywood. We had a very good drama department and perhaps the biggest measure of its success is how many of the students in the program were “discovered” before they got degrees and went on to fame and fortune without benefit of that piece of paper.

Although it doesn’t hurt if you know some classical music. The world of classical performance is as competitive — more competitive — than any of the performing arts. Understanding this helps you understand the characters’ behavior, but regardless, it’s a good story and a well-written script.

The Story

It’s the 25th anniversary of “The Fugue”, a classical string quartet. Time is catching up with them. Christopher Walken, their cellist and oldest member of the quartet has been diagnosed with Parkinson’s and needs to retire. The first violinist is in love with the second violinist’s daughter, and the second violinist wants to be the first violinist … and sex in the form of “oops” infidelity adds enough spice to imperil the survival of the quartet if the rest of their problems were not disruptive enough.

Walken as the sensible, down-to-earth member of the group, dealing with his own burdens and unwilling to tolerate the childish carryings-on by the other performers, is wonderful. “The Fugue comes first,” he says, or words to that effect. It’s interesting to see Walken cast as the stable, adult, not even slightly crazy, member of the group.

The Music

A Late Quartet refers to Opus 131, one of a group of string quartets written by Beethoven towards the end of his life. It is magnificent. I’ve rarely heard this piece performed at all. It’s challenging music, written when Beethoven had already lost his hearing, yet was still able to hear it in his head. It’s one of Beethoven’s most complex, intense pieces and it’s beautifully performed.

I love the music, studied classical music for many years. I love Beethoven. He is my favorite composer, whose music I play as I drift off to sleep at night and whose symphonies have been my companion on many journeys through my life.

It did not disappoint us. It’s not a light piece of fluff, nor is it depressing or hopeless. Problems come, problems are addressed, problems are resolved. Not everything has a happy ending but within the limits of what’s possible, these adults work out their problems — musical, health, personal and relationship — like … adults. How refreshing!

It’s worth a couple of hours of your time. The DVD is available on Amazon (which is where I got it). The soundtrack is available separately.

THE ONE AND ONLY ORIGINAL CHRISTMAS STORY

I need my annual fix — a viewing of It’s a Wonderful Life, quickly followed by A Christmas Story.

It’s a Wonderful Life is my sentimental favorite, but A Christmas Story makes me smile. We laugh before they show the funny parts because we know what’s coming. Watching it is our family ritual.

SantaAndRalphie

The original narration by the story’s author, the inimitable Jean Shepherd, is a gem. It’s the story of Christmas seen through the eyes of Ralphie, a kid like me. A kid like you. I don’t care how many musicals they make. The original will always be better. Between Jean Shepherd and Darren McGavin, it doesn’t get better than that.

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I’m not sure what my favorite scene is, but it may be when the neighbor’s pack of hounds gets the Christmas turkey. Or perhaps the lighting of the world’s ugliest lamp!

If by some stroke of ill luck you haven’t seen it, it plays on most cable channels sometime in December. Just in case we miss it, we have it — and all our favorite Christmas movies — on DVD. It was released last year on Blu-ray.

It is sometimes poignant, but it is never sappy. It succeeds in being nostalgic without sticky sweetness and funny without being annoying. It may be the best role of Darin McGavin’s career.

ALMOST MEL BROOKS: THE RAVEN (1963)

The Raven (1935 film)

It’s that time of year again. When every television station digs into its archives and hauls out the hoariest old horror flicks they can find. They don’t have to be good or even scary. If they feature one of the “classic” horror movie actors — Boris Karloff, Vincent Price, Peter Lorre, Lon Chaney Jr., Bela Lugosi (you can sing along because I’m sure you know the usual suspects) — it’s good to go.

After avoiding the movie for 50 years, I sat through an entire showing of The Raven. It stars the usual suspects: Vincent Price, Boris Karloff, Peter Lorre. It features some very serious curtain-chewing by Vincent Price who can barely keep a straight face.Given the dialogue, I can well understand why. Boris Karloff is very Boris Karloff. And surprise! There’s a major role for a very youthful Jack Nicholson. Directed by (who else?) Roger Corman.

Jack Nicholson? In a B horror movie? Yesiree. I didn’t recognize him until Garry pointed him out. Then he made a Jack Nicholson face and I said, “OH yeah, that’s Jack.” He did a couple of films with Roger before Easy Rider catapulted him to fame and fortune.

Vincent’s recitation of Edgar Allen Poe‘s at the beginning of the film is (sorry about the pun) priceless. It’s an unintentionally funny poem anyhow, but Price’s recitation  is so camp I realized the movie was never intended to be taken seriously. This was being played for laughs.

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Sure enough, the movie is a comedy. So much so  I felt as if I were watching “Young Frankenstein.” It wasn’t belly laugh or guffaw funny, but it was funny. Kitsch, camp and way over-the-top.

If you haven’t seen it — on purpose or by omission — take a look. I assume it’s playing on more than one cable channel. Consult your guide. It is bound to be playing somewhere. It’s funny and no, it isn’t scary unless you are 3-years-old and extremely easily frightened.

I will not burden you with the plot. It’s irrelevant. Not to worry. It’s just a bunch of old horror movie stars doing their thing, playing parodies of themselves. And a historically interesting performance by a very early Jack Nicholson, long before he found his way to superstardom.

This is a movie that’s fun to watch and surprisingly entertaining.

For extra credit, try reciting “The Raven.” No laughing allowed. Ham it up as much as you can. I’d be surprised if you can come anywhere near Vincent Price’s classic performance. He was The Ham of Hams. I don’t believe anyone before or since can match his lugubrious tones.

42 – The Story of An American Legend. The Story of America.

42

We meant to see this one in the theatre, but time slipped away and by the time we were ready to go, it was gone. But that turned out to be fine, because we have a wide-screen television and surround. I bought the movie and we got a private screening. Time for baseball and history. Not only baseball. Not only history.

The integration of sports is taken so much for granted today, younger generations can’t imagine when it was any other way. This is the movie that shows how it happened. It’s a movie about many things.

It’s the story of how and why Jackie Robinson became the first non-white player in Major League Baseball. How this began the integration of all professional sports. It was the beginning of modern baseball as well as the first significant move toward real integration.

That it was our original home town team, the Brooklyn Dodgers makes the story more personal for us. Branch Rickey, owner of the Dodgers, decided it was time to make a difference. Because he could, he changed the world. Harrison Ford as Mr. Rickey mumbles. He’s also real, touching, human. He actually made me cry. Harrison Ford is not known for nuanced performances, but he gives one in this movie.

JrobinsonI commented that Harrison used to be President, not to mention Indiana Jones. Garry pointed out that owning the Dodgers was far more important. I agreed. Because Garry and I agree: there’s nothing more important than baseball. Especially right now.

Chadwick Boseman bears a strong physical resemblance to Jackie Robinson. He doesn’t sound like him, but that’s quibbling. Nicole Beharie is a pretty good likeness of Rachel Isum Robinson. Who, as Garry pointed out, is even today, old as she is, one fine-looking woman. It was no accident Rickey chose a good-looking couple. He knew what they would be up against and it would be hard enough. Any small advantage they could gain by just being attractive … well, they were going to need it.

It’s hard for people brought up after the Civil Rights Amendment to understand the intensity of the hatred, anger and rage bringing a Black man into baseball caused.

It was 1947, the year I was born. The big war in Europe was over and returning Black soldiers were appalled and enraged that the service to their nation had done nothing to alleviate the oppression of Jim Crow laws. Segregation was not merely as bad as it had been. It was worse. Returning Black soldiers made racists all over America nervous that their position of supremacy was being threatened.

It would take 20 years to make get a civil rights amendment to the Constitution. Twenty more to make it real and twenty-five years more to get a non-white President into office. It will probably take another twenty before people stop noticing race … if indeed they ever do. Race and the judgments we make based on skin color are so ingrained, so automatic, so very American.

More than apple pie or the flag, we the people love to hate. It’s the most universal of all human behaviors. Not our ability to love but our willingness to hate.

Chadwick Boseman not only looks like Jackie Robinson. He has his swing. I assume they taught him the swing, but they did it very well and really got that gritty baseball “feel” into the movie. Everyone plays their part with authenticity, as those of us old enough to remember the real guys can attest. Maybe that’s the problem with many of the critics: they never saw the real guys, met them, cheered for them. Lived and died with them through the long season of baseball. They don’t remember, but we do.

The cinematography is great, moving smoothly and naturally between wide and close shots to give you the feeling of the game and more. Nice, tight segues. What is even better captured is the intensity of the abuse Robinson was forced to put up with, to swallow without complaint while simultaneously playing at the top of his game. I’d like to see any modern player survive this.

In many ways, Robinson didn’t survive it. He lived through it, but it killed him from the inside. He blasted open the door of the future and it cost him dearly.

Why did Rickey do it? There was a strong moral component. Rickey believed it was the right thing to do and the right thing to do for baseball. But above all, it was a sound business decision. There was a huge pool of talent out there and the Dodgers needed all the help they could get. By bringing in first Jackie Robinson while simultaneously planning to bring up more Black players, Rickey figured he was going to do some serious winning. He was right.

Leo Derocher

Leo Derocher

Christopher Meloni, ex of Law and Order: SVU, nails Leo Durocher, the crazy, quirky Brooklyn Dodger’s manager. He actually looks like Durocher.

If you love baseball, see it. Even if you don’t love baseball, see it anyway. See it for the history, to remember how hard the battle for equal rights was, is and will continue to be. How much baseball, the American pastime, has always been at the center of the American experience.

And finally see it because it’s the story of a genuine red-blooded American hero. In every sense of the word.

From Garry Armstrong:

I have to admit I was tearing up in places even though there’s no cryin’ in baseball. Critics aside, this was no pleasant Hollywood fable but a fairly authentic account of Jackie Robinson, the man and the player and the times that swirled around him.

Much of this is first-hand recall for me. I was 5 years old and already a budding baseball fan in Brooklyn in 1947 when the young player wearing number 42 became a household name. I remember all the excitement in my neighborhood. Some of it I understood. Some of it I didn’t. The newspapers and radio were full of the Dodgers and Jackie Robinson and how what they were doing would perhaps cause problems all across the country.

I remember angry things shouted by White people we encountered. I recall some very nice comments offered by White people who frequently said Jackie Robinson was “a credit to your people.”

I followed the Dodgers very closely over the years. I knew their lineup by heart, could emulate their swings and could recite from memory details of their personal lives along with the baseball stuff. In later years, I’d have the good fortune to meet many of the Boys of Summer including Peewee, Campy, Big Newk, Ralphie Branca, Gil Hodges, The Duke (My hero) and Jackie Robinson.

Later, as a reporter, they gave me their own first hand accounts of what it was like – that memorable year of 1947. I would also hear from Red Barber, the legendary sportscaster who called almost all of the games during the ’47 season for the Dodgers. One poignant memory involves a conversation with Campy (Roy Campanella) and Jackie Robinson. I was now a young reporter and a familiar face to many of the aging Dodgers. Campy was always “the diplomat”, pleasant and smiling.

Jackie always seemed angry. I thought he was mad at me sometimes until Campy said he was just “Jackie being Jackie”. The conversation was about how young Black people conduct themselves. Jackie thought many were irresponsible. Campy said they were just kids doing what kids do. Jackie glared at Campy and then smiled at me saying. “You get it, don’t you?”. I just nodded.

Sorry I strayed from the movie but it evoked so many, many memories. And, thanks Harrison Ford, for a splendid portrayal of Branch Rickey!

A Late Quartet (2012) – A Review

A Late Quartet refers to one of a group of string quartets written by Beethoven at the end of his life, in this case, specifically Opus 131.

Director: Yaron Zilberman
Writers (screenplay): Seth Grossman, Yaron Zilberman

The Cast:

Philip Seymour Hoffman, as Robert Gelbart
Christopher Walken, as Peter Mitchell
Catherine Keener, as Juliette Gelbart
Mark Ivanir, as Daniel Lerner
Imogen Poots, as Alexandra Gelbart
Wallace Shawn, as Gideon Rosen
Anne Sofie von Otter, as Miriam.

Garry and I watched A Late Quartet the other day. I bought it from Amazon a few weeks ago after reading some good reviews. It sounded like a movie for grown-ups and there have been a dearth movies that don’t star fresh-faced children. It turns out the reviewers were right.

It’s a lovely film. If anyone is a “hero” in this film, it’s Christopher Walken who plays against type with elegance and grace. Add Marc Ivanir, who usually plays Israeli heavies on NCIS and other crime shows (he actually is from Israel and is an actual hero) as the dedicated and ever so slightly demon-haunted violinist, plus Phillip Seymour Hoffman doing his usual workmanlike job and Catherine Keener on viola and as “could be better” wife to Hoffman’s second violin  It’s a great mix of characters and some of the best work done by Walken and company.

Their movie musicianship is realistic. I know they were not actually the group used to produce the sound track but it looked to this ex-music major as if they knew their way around string instruments. Some may have had some early training, others were coached for the movie. Whatever the means, it enabled the cinematographer to follow the actors’ movement closely, without resorting to long shots that disguise the real identities of the performers. Well done.

While doing a little side bar reasearch on the stars, I discovered — entirely to my surprise — that Walken actually attended the same college as Garry and I and probably was there during one of Garry’s years at Hofstra University. He was only there for one year and left for a gig in an off-broadway show, but it was news to us that he’d been there at all.

It is one of the many ironies of Garry and my education that most of Hofstra’s most famous graduates are not graduates, but attendees who left before getting a degree to begin highly successful careers. We had a very good drama department and perhaps the biggest measure of its success is how many of the students in the program were “discovered” before they got degrees and went on to fame and fortune without benefit of that all-important piece of paper.

Although it doesn’t hurt if you know some classical music and particularly, if you understand the cutthroat world of classical performers, but if you don’t, you can still enjoy the movie.

The plot? It’s the 25th anniversary of “The Fugue”, a classical string quartet. The world is catching up with them. Christopher Walken, their cellist and oldest member of the quartet has been diagnosed with Parkinson’s and needs to retire. The first violinist is in love with the second violinist’s daughter, and the second violinist wants to be the first violinist … and sex in the form of “oops” infidelity adds enough spice to imperil the survival of the quartet if the rest of the problems were not enough.

Walken as the sensible, down-to-earth member of the group, dealing with his own burdens and unwilling to tolerate the childish carryings-on by the other performers, is wonderful. “The Fugue comes first,” he says, or words to that effect. It’s interesting to see Walken cast as the stable, adult, and not even slightly crazy member of the group.

The music — especially Opus 131, the late quartet — is magnificent. I’ve rarely heard this piece performed. It’s an exceptionally challenging piece of music, written when Beethoven was already swathed in silence by the loss of his hearing, yet still able to hear it in his head and write some of the most advanced, complex and intense music of his life.

I admit to being inclined in advance to like this movie. I love the music, studied classical music for many long years. I love Beethoven, probably my all time favorite composer, whose music I play as I drift off to sleep at night and whose symphonies have been my companion on many journeys throughout my life.

It did not disappoint us. It’s not a light piece of fluff, nor is it depressing or hopeless. Problems come, problems are addressed, problems are resolved. Not everything has a happy ending but within the limits of what is possible, these adults work out their problems, musical, health, personal and relationship, like … adults.

It is a nice change from watching stupid kids running around like stupid kids, clearly clueless about life and from the looks of things, not likely to become wiser assuming they manage to survive to grow older.

It’s very much worth a couple of hours of your time, if just for the music. But it is really better than just the music. The DVD is available on Amazon (which is where I got it) and the soundtrack is available separately.

Romance in the Desert — The Wind And The Lion (1975)

wind and lionThe Wind and the Lion is an old-fashioned, romantic adventure tale set in turn of the century Morocco and Washington DC. Parallel stories, an ocean apart, the interlocking of which in many ways foretells the world we live in today.

President Theodore Roosevelt (Brian Keith) is facing an upcoming election. The nation is not thrilled about his handling of the Panama Canal project and although he is among the most popular presidents in many long years, re-election is anything but certain. Meanwhile, in Morocco, an American woman, Eden Pedecaris (Candice Bergen) and her two children are kidnapped by Berber brigand Mulai Ahmed er Raisuli (Sean Connery), triggering a variety of international incidents.

All of this is taking place not long before the opening of the first world war, after which nothing will ever be the same again. All the European powers, as well as the U.S., Japan, Russia and Turkey have their eyes on strategically placed Morocco, headed by a weak sultan beset by civil unrest. The Pedecaris incident has given the various nations an opportunity to send in the troops. And they do. All of them. Including, of course, America.

Meanwhile, out in the desert, there is Mrs. Pedecaris riding with the Berbers.

“You are a great deal of trouble, Mrs. Pedecaris,” says the Raisuli, sounding deliciously like James Bond. Indeed she is.  Ah but what a woman! My kind of woman, one who will take up a sword and fight — for herself, her children and what is right, by golly.

Out in the desert are the Raisuli and Mrs. Pedicaris. He’s brave, handsome and sits a horse like nobody’s business. And she’s beautiful, fearless and proud. What a pair. I have always thought Candice Bergen among the most beautiful women ever. In this movie, she is magnificent as is Connery. They play off each other wonderfully. I don’t know if you could call Sean Connery, as a Berber Chieftain, exactly believable, but he is stunning. Flashing eyes, sharp tongue. A master of wit and charm.

It was probably the best role Brian Keith ever got too. He is entirely believable as Teddy Roosevelt. I’m ready to vote for him. Why not? At least he was straightforward about wanting the United States to militarily dominate the world and he created the national parks system. They don’t make’em like that any more.

The score was composed and conducted by Jerry Goldsmith who used an ensemble including a large percussion section and many Moroccan instruments. The music is haunting and although Jaws composer John Williams won that year’s Oscar, the score for The Wind and the Lion is stunning, possibly Goldsmith’s best; it was one of the American Film Institute’s 250 nominees for top 25 American film scores.

Filmed in Spain where the director, John Milius, had previously filmed his spaghetti westerns (even the scenes set in D.C. were actually shot in Madrid), the cinematography is breathtaking. Broad vistas, magnificent sunsets, deserts and battles on horseback with scimitars at the ready.

The film is accurate and sympathetic to Islam, making it one of the few American movies to become popular in Arab countries. It’s refreshing to see a movie that doesn’t automatically assume the only possible valid religion is Christianity.

When I say romantic, I mean it in the epic sense of the word. It’s a world filled with heroes and heroines who are larger than life. There’s not a super power among them, but nonetheless, superheroes abound.

It’s a great movie. Without a bit of gore, grit, or gristle. No zombies, chain saws or special effects. No CGI. Just great photography, a delicious script, and terrific acting.

Because that’s what it takes to make a wonderful movie. Everything else is wrapping paper and ribbons.

The Last Stand (2013) The Western Revisited

Marilyn Armstrong:

Overall, I’ve been seeing mostly good reviews on this one. Here’s another.

Originally posted on MikesFilmTalk:

The Last Stand Movie Poster

Despite the poor reviews that this film has garnered, I could not wait to see it. I wanted to see it in the cinema, but due to low viewing figures, by the time I could see it, it’s run in the theatres had finished.

This film felt like a reworking of two “classic” westerns. High Noon and Rio Bravo. Borrowing from the High Noon script of the bad guys (or guy) who  are coming in on the train (or via the road in a super duper corvette) and I/we need to stop him works well for the continuation of the story. Then it borrows from the Rio Bravo bit of the sheriff trying to get himself sorted out to defeat the baddies and having the help of his deputies, new and old and a bit of help from at least three citizens from the town.

But maybe I am…

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