Memorial Day

American Dreamer

Hammer Tyme

I must have received psychic signals from Transylvania (and Mr. Peel) that it was Sir Christopher Lee’s birthday this week as I’ve been on a serious Hammer Films/Dracula binge all month. Although I grew up a total Monster Kid, bathed in the glow of “Creature Features” amid all the usual genre toys and magazines, I was never a hardcore Hammer Films devotee; I loved the bosomy women and gothic gore, but the films tended to be “stiff upper lipped,” demanding writers and directors who could kick the doors off the gentile English horror. Terence Fischer had a nice classicist eye though I prefered Roger Corman’s stylish and lively AIP Vincent Price pictures. Of course, I was always enthralled by Lee and Peter Cushing, the Lennon-McCartney of the 60′s Hammer genre, but I didn’t completely give myself over to Hammer because the films felt too cold, uncaring and cynical. Yet that’s exactly what separated them from their American cine-brethren: Cushing’s Victor Von Frankenstein was a callous brute, even having his maid-lover murdered to keep her bloody well quiet. Lee’s Dracula had little ingratiating charm like Lugosi, but was more feral and imposing. The films were spartan in their sentimentality.

I did have a selection of Hammer Films that I adored growing up, particularly Ray Harryhausen’s ONE MILLION YEARS B.C. (1966),  CURSE OF THE WEREWOLF (1963), oddities like THE LOST CONTINENT (1968) and sc-fi classics like QUATERMASS AND THE PIT (1968) along with Hammer off-shoots such as THE ISLAND OF THE BURNING DAMNED (1966). And let’s not forget the only Hammer Film to be nominated for an Academy Award: WHEN DINOSAURS RULED THE EARTH (1970) featuring Jim Danforth’s excellent Oscar-worthy effects. Often the elements were there for potential greatness, as in CAPTAIN KRONOS: VAMPIRE HUNTER (1974), whose title alone should have made it a smash. Christopher Lee tired of the cultural-commercial machinations his Prince Of Darkness was subjected to, even though DRACULA HAS RISEN FROM THE GRAVE (1968) was Hammer’s biggest hit, with help from a clever camp marketing campaign (see above) and the colorful direction of Freddie Francis. Still, one can sympathize with Lee after DRACULA A.D. 1972, featuring a pack of swingin’ Londoners who dabble in the black arts; a silly film saved by Cushing’s sincerity and Lee’s bloodthirstiness (but it’s still fun: mod vampires!). The last Peter Cushing and Hammer Dracula epic, THE LEGEND OF THE SEVEN GOLDEN VAMPIRES (1974) is a fantastic kung-fu blood-sucker mash-up and with more energetic, inventive direction, could have been a classic. Hammer was in dire straits in the mid-70′s, so much so that they took out an ad in “Famous Monsters Of Filmland” asking fans to send in a checklist of what they wanted to see next onscreen (I filled mine out but neglected to send it off).

Thanks to the advent of widescreen VHS and DVD releases, I’ve been revisiting Hammer Films over the past decade, finally getting a chance to savor them in their proper cuts and aspect ratios. Many hold up quite well, and if they lack the vitality of their Yank counterparts, they more than made-up in style and exploitation. As stated, the Hammer babes were the best: Ingrid Pitt, Raquel Welch, Caroline Munro, Martine Beswick, among others. The sexual vibes were more pronounced and again, the performances of Peter Cushing and Sir Christopher Lee always elevated the deficiencies in plot or direction. I’m thrilled Hammer Films is back in business and look forward to a new generation of cinematic sci-fi gothic burnt offerings. Oh, and Happy Birthday, Sir Lee.

Gary Coleman RIP

Here’s the first time I recall seeing Gary Coleman, on this hilarious moment from the classic “America2Night” TV series, the revamped version of “Fernwood 2Night.” Coleman comes on at 02:54 and what a charming performer. He had a tough life that he didn’t deserve. I watched ON THE RIGHT TRACK every single time it was on HBO and still can’t explain why to this day. Different strokes…

School’s Out!

Friday Song: Kula Shaker

I discovered this UK psychedelic-Eastern power-pop band during my first visit to Amsterdam. “Discovered” might be the wrong word — “exposed” makes more sense. Europeans are so culturally connected that if a band becomes popular in one country, they’re sure to follow suit in others. I heard this song, “Tattva,” for the first time in Dutch Flowers, while enjoying the blue sky, brown canal and purple haze; soon enough, Kula Shaker was all over the Euro-MTV and stereos. This is my favorite track from “K,” their 1996 debut disc and reflects the Oasis-spirit of English rock from the more optimistic 90′s. Savor the Summer.

Retro-View: Risky Business (1983)

Since I feel like I’m trapped in the blog version of HOT TUB TIME MACHINE, I might as well press on into the burgeoning neon soul of the 1980′s. I clearly recall the night I saw RISKY BUSINESS at Birdcage Walk Theaters in the heart of suburban malls and subdivisions; I was immediately impressed by the film’s cool and quiet tone, Paul Brickman’s crisp, clever direction and Tangerine Dream’s evocative, influential score. There was no doubt in the theater that young Tom Cruise, whom I’d only seen as a psychotic soldier in TAPS (1981), was a natural born movie star. He runs the gamut of emotions and expressions, and we’re with him all the way. Brickman’s screenplay was taut and funny, with humor coming from genuine character responses; Joel Goodsen and his friends seemed as real as mine, albeit older, wealthier, and worse, college-bound. At the time, I thought high school was ridiculous and college fit nowhere in my artistic plan. But Goodsen’s fears about his future ala Benjamin Braddock were rooted in success and sexuality. This was the 80′s after all.

If I didn’t identify with his white plight I still felt his pain thanks to Cruise’s winning sincerity (this might be his best performance) along with Rebecca De Mornay’s smokey, sensual persuasion. They make an attractive team and their coupling is more erotic than any PORKY’S or BACHELOR PARTY. De Mornay manages to make something new of the ol’ hooker with a heart of gold. Or in this case, a glass egg. The supporting cast is also terrific with Joe Pantoliano as a smiling cobra and Bronson Pinchot as one of the high schoolers. Oddly, the Chicago setting would figure prominently in the films of the era’s cinematic teen-meister, John Hughes, and the movie plays like a subtler version of his own work, packaged in a genuinely sexy, witty script. I recall the pleased laughter from the audience, most notably when Joel’s best friend, Miles, played to crafty perfection by my pal Curtis Armstrong, leans back during high speed pursuit and says, “I don’t believe this — I have a Trig midterm tomorrow and I’m being chased by Guido The Killer Pimp.” If the crowd wasn’t with the movie during the famed underwear dance, this was the moment that sealed the deal. And since this is 1983, RISKY BUSINESS is all about the art of the deal. Or the steal.

Ronald Reagan was president and all that implies. Hippies were out and Yuppies were in. Just Do It. I remember watching the film, completely caught up in Paul Brickman’s storytelling skills — this is an exceptional directorial debut — yet queasy at the cold materialism inherent in the presentation. Clearly, Joel’s rich, shallow parents were meant to be parodied but Brickman is more generous than Mike Nichols in THE GRADUATE, which this film is clearly emulating at least in terms of generational crisis (Bruce Surtees was even one of the two DP’s along with Raymond Villlalobos). Since the studio wanted Brickman’s more cynical ending changed to one of capitalist triumph, RISKY BUSINESS had the opposite of its intended effect, properly reflecting the new age of shameless greed and opportunity in Tom Cruise’s Wayfarers. Teen pimp as hero. One word: Plastics.

At the time, I could sense this hit movie defining a segment of the cultural gestalt. After it was over, driving home with friends and their newly minted licenses, leaning into the rear seat, the lights of suburbia glazing the window as “Everything Counts” bounced from the speakers, I was excited for the freedom of summer, for the days ahead and the future that looked so bright we all had to wear shades. RISKY BUSINESS is a time capsule of emotion for me, and watching it again, I felt the intoxicating burn of nostalgia, of an era so distant that I was almost startled at the first shot of Cruise in his varsity jacket. What the fuck…

A long time ago…

Advance tickets. Allowed to cut school. Stand in long morning line at the Century Theatres. Vaguely aware Darth might be Luke’s father thanks to Cinefantastique (the first spoiler magazine). Tremendous cheers at Fox fanfare. Stop-motion Taun-Taun! Luke! C-3PO! R2-D2! Amazing Walkers. Han! Leia! Magnificent John Williams score. Perfect Saturday matinee vibe. Much humor. Yoda and Luke bond. The Asteroid Field. Creepy back of Vader’s head. Han and Leia hook up! Huge applause for light speed. Cloud City no big deal. Hello, Lando you scoundrel. Boba Fett! “I know.” Han frozen. Poor C-3PO. Luke to the rescue. Who is The Other? Luke and Darth Vader finally face-off. Dark duel. Mark Hamill never gets enough credit. Space operatic cliffhanger. We have to wait until the next chapter? The Force is strong with this one. Where were you?

Netflix Streaming Theater Vol. XI

Now we’re dipping into the serious Roman numerals. This reel go-round gives us a widespread new selection of film and television, and I’ve been pleased by the addition of Criterion Collection titles as well as a selection of HD films and some not at all on DVD. If only Netflix Streaming would add more sci-fi and horror…

THE GENERAL (1927) – I’m in the camp that considers Buster Keaton a genius beyond Chaplin (who I think just perfect in his own brave way); his wry humor and technical skill seem incredibly fresh today, devoid of artifice and sentimentality except when it counts. THE GENERAL is a favorite, an astounding action comedy that hasn’t lost anything in silent movie translation. The story deals with Johnny Gray, a sad sack train engineer, who is unfit to join the Confederate army and therefore unable to impress his girlfriend, played by the lovely Marion Mack. Once she is kidnapped by Union spies, he ends up leading the Yanks on a wild train chase through the South, proving himself worthy of a uniform. Amazing to think that this was a critical and commercial failure on release, but was eventually recognized for its cinematic mastery. Some of the compositions, modeled on Matthew Brady’s civil war photographs, are still stunning. And it’s plain hilarious, Keaton’s deadpan expressions are wonderful; I love the moment he puts his hands around the neck of his dim gal in frustration and then quickly kisses her. Orson Welles calls THE GENERAL “the greatest comedy ever made” and who am I to argue? Buster Keaton’s epic is certainly ONE of the best American films ever made. Netflix has raised the bar by bringing The Criterion Collections into the mix. Although the blu-ray is spectacular, this looks crisp and rich on the streaming screen.

DREAMSCAPE (1984) – Here’s one of those borderline cult sci-fi films made in the 80′s that I have fond memories of. This is a clever screenplay by David Loughery, energetically directed by Joseph Ruben, about a hi-tech dream institute run by Max Von Sydow (if only!) where charming, reluctant Dennis Quaid has the ability to enter anybody’s dreams and control the outcome that actually effects their waking — or dying — life. Sinister government agent Christopher Plumber decides to use his other Dream Warrior, a Bruce Lee obssessive played by David Patrick Kelly in another psychotic triumph, to give the President (Eddie Albert) such a scare he’ll die of fright in his sleep. There’s a lot of fun to be had with this premise and the film does its best on a limited budget featuring clever effects by Craig Reardon and others. A fun Saturday afternoon movie. Would make a great Quaid SF double-bill with INNERSPACE.

DREAMS WITH SHARP TEETH (2009) -  So I called Harlan in 2002 and asked if he would be interested in being the subject of a documentary since I couldn’t believe one didn’t exist. He didn’t tell me to piss off and he wasn’t disinterested at all; he told me to call him later in the month. Life interfered with my devious plans and Erik Nelson wisely took on the task of documenting Ellison’s fascinating and controversial life in literature and other media. If you know nothing about his work, you’re in for a treat and if you’re already a fan, this is a choice, angry cornucopia of the father of cyber-punk. There are great rare clips of Ellison through the years, on television at the height of more literate 60′s/70′s talk-show culture and insightful interviews with friends like Robin Williams and Neil Gaiman. Nelson follows Harlan about, letting him wax and rant on a myriad of subjects. As he should be heard.

ABBOT & COSTELLO MEET FRANKENSTEIN (1948) – This influential showcase for the popular vaudeville duo and Universal’s most famous monsters might be the greatest comedy-horror film ever made. As others have noted, one reason why it works so well is that the monsters are not played for laughs, unless you count the ironic banter from Dracula (Bela Lugosi) to Wilbur (Lou Costello). The Wolfman, again assayed by Lon Chaney for the last time at Universal, is pretty scary here and when Frankenstein’s monster (Glenn Strange) starts killing people, you know the filmmakers aren’t messing around. You can see the influence on the John Landis classic, AN AMERICAN WEREWOLF IN LONDON (1981), which features similar tonal shifts from humor to horror. I’m a minor fan of Abbot & Costello and this is of course my favorite. The print looks great in rich black & white with classic expressionist shadows for such a seemingly light effort.

KING OF THE HILL SEASON 1-13 (1997-2009) - I tell you what: this might be the best gold darn reason to have Netflix Streaming, just to savor the entire run of my favorite TV series of the late 90′s/2000′s. I never fail to laugh out loud (usually at Dale Gribble’s paranoid antics) and I’m more often than not moved to tears by the end of each episode. Hard to believe the anarchist creator of Beavis & Butthead could create such a warm, witty and satirical vision of a Texas suburbia, based on the one I lived nearby in the 90′s. The guest voices were better used here than on THE SIMPSONS, such as Meryl Streep as a Louisiana matron and Brad Pitt as Boomhauer’s cousin. Yep.

FUNNY GIRL (1968) – Fan though I be of 60′s Road Show Musicals, I admit to never having seen Barbara Streisand’s Oscar winning and multi-nominated triumphant screen debut until now. Wisely, Netflix Streaming features the fully restored 2.35:1 anamorphic version: Hello Gorgeous. FUNNY GIRL is loosely based on the life of comedienne/singer Fanny Brice, a nice Jewish girl from Brooklyn filled with dreams and chutzpah who found fame among the Ziegfeld chorus and then on her own terms. Directed in super widescreen backlot staid by veteran William Wyler, co-starring Omar Sharif as Brice’s flakey charming husband, and with a cast of hundreds milling about, Streisand drives the film through sheer force of will and talent — it’s easy to see how fresh and exciting she would have been onscreen in 1968. And I think she’s absolutely smokin’ here. The studio walls and story around her already seem like an anachronism. Still, for a three hour Road Show spectacular, the script focuses primarily on her relationship with Sharif with her rise to fame on the sideline when it should be just the opposite. I wanted to know more about her role in Ziegfeld’s garish, ridiculous stage shows (Brice’s own vulgarity gives them taste). Herbert Ross directed the film’s fine musical numbers while Wyler shows his gift for well-composed deep-focus images and one or two impressive aerial shots. Since this is Streisand’s parade all the way, the supporting characters have been cut to the bone, only Kay Medford (from the Broadway show) registers in a Best Supporting Actress nominated role. Also nice to see Ann Francis and Walter Pidgeon together again after FORBIDDEN PLANET (1956). People…people who need…people…

GODZILLA RAIDS AGAIN (1955) – This is the only Toho Godzilla film of the era that doesn’t feature Ishiro Honda as director yet retains Eiji Tsubraya as director of spfx, and for many moons it was one of the hardest to glimpse, least of all on DVD. Thanks to the remastered editions of Classic Media, we were able to finally view not only the butchered American version dubbed GIGANTIS THE FIRE MONSTER (1959) but the original Japanese uncut release with the far superior title. Still, Netflix Streaming gives you only the American dub in a rather poor transfer, with the vocal stylings of Keye Luke, Paul Frees and young George Takei. Unlike the somber atomic parable of the previous debut GOJIRA (1954), this rushed production has forgettable human characters but the first of many Monster on Monster Battles that would define the Toho kaiju era. For the only time, the fight scenes are under-cranked, so there’s no lumbering about, only fast and ferocious attacks between “Gigantis” (as Godzilla is inexplicably called in the US release) and “Anguirus” or “Angilas” (as I prefer). Eiji Tsubraya’s matte and miniature effects are quite impressive; I particularly dig the puppet and rear-projection close-ups. This would be the last black & white Godzilla film, so the scaly silhouettes of the giant monsters blazing a swath of destruction through Osaka are still ominous.

ROBIN AND MARIAN (1976) – Like Terry Gilliam, Richard Lester likes to take the piss out of myths while acknowledging their power. This is obvious in his fascinating take on Robin Hood in his twilight years, featuring Sean Connery in one of his best roles and one that helped pull him away from James Bond and into his own legendary status (similar to the way Gilliam used him in TIME BANDITS). Written by James Goldman, the story deals with Robin Hood and Little John returning to Sherwood Forest after the long bloody Crusades. Maid Marion, spritely played by Audrey Hepburn after a long screen absence, has gotten herself to a nunnery while Robin’s nemesis, the Sheriff of Nottingham (a dignified Robert Shaw), almost pines for his return. It’s great to see Shaw and Connery face off against one another again, but it’s testament to their acting that I didn’t make the obvious FROM RUSSIA WITH LOVE connection until late in the film. As in his wonderful THREE MUSKETEERS (1974), Lester tones down his quick editing to favor the random and matter-of-fact; watch the scene with Robin Hood slowly, painfully scaling the castle wall, the anti-Errol Flynn. David Watkins superior photography creates a burnished palette while John Barry’s elegiac score add to the autumnal vibe. The film takes a darker turn than the material demands, a very 70′s resolution, but Connery and Hepburn make a great couple and Nicol Williamson is untypically understated as Little John. A wonderful last shot. Highly recommended.

A FILTHY LIFE (2009) – John Waters is the inverse camp raconteur to Harlan Ellison. Both are outspoken in their respective fields and neither suffer fools — though Waters adores freaks. This is the film version of his recent stage show minimally directed by Jeff Garlin and maximally performed by Waters, looking like a pink cigarette wrapped in blue velvet, or Don Knotts in an AIP Beach Party film. The show follows him as he recounts his cinematic adventures from Baltimore to 42nd Street to Broadway, with pits stops to his odd childhood and crime trials and beyond. I laughed louder than the audience, but he’s one of the few souls on this planet that can make me consistently guffaw. I could listen to John Waters talk all day and night. How great is it that the King Of Trash has become an American Pop Icon?

Ronnie James Dio RIP

I saw Black Sabbath on their tour for “The Mob Rules” and was impressed that my favorite metal band had managed to replace one of the irreplaceables, at least for two great records including “Heaven And Hell.” That “The Mob Rules” was apropos written for the adult fantasy cartoon HEAVY METAL was icing on the cross. Dio was great in concert and he had a wicked set of gothic pipes. I’d like to think he’s bringing a little bit of Heaven to Hell right now or vice versa…

Shock Cinema!

The new issue of SHOCK CINEMA is on the stands now featuring the usual funny and insightful reviews by Steven Puchalski, along with a rare, fascinating interview by Steve Ryfle with Jim Kelly, who lays out for the record exactly what he thought of Bruce Lee. Grab it now, man.

Friday Song: a-ha

Yes, I will be seeing a-ha at Club Nokia for their final American show on their global “End On A High Note” tour. It’s the end of an era for my favorite post-Beatles band, a lonely niche for any American fan as this country lost out in appreciating their dark, melodic, and majestic songs, written by Mags and Paul Waaktar-Savoy and vocalized by Morten Harkett. They were always well-reviewed and respected around the world, obviously far more popular, and their admirers includes U2; Morrissey, Leonard Cohen; new bands like Royskopp and Coldplay cite them as huge influences. And they even did a James Bond theme song.

They certainly influenced my life, their ambitious melancholia mirroring my own, and when my friends made fun of me, I told them you don’t get to choose what music moves your soul. I’m a sucker for a great melody and they had a unique talent for that rarest of music gifts. Their sound was a cross between The Doors and Depeche Mode mixed with Grieg and Tangerine Dream, filtered through their own Nordic cinematic sweep and scope. The first time I played their 1985 debut album, “Hunting High and Low,” out of pop curiousity, I was theirs forever by track five: “Living A Boy’s Adventure Tale.” This remains my favorite a-ha song, as it probably is for their most devout fans, and when the trio play the soaring epic on Saturday night, I expect there won’t be a dry heart in the house as we all wonder where we’re supposed to go now…

Frank Frazetta RIP

Just a short time after his birthday, Prince Sirki paid a visit to one of the greatest fantasy illustrative artists of any time. This is perhaps my favorite Frank Frazetta image, 1972′s “The Silver Warrior,” from the Michael Moorcock book of the same name. His work was legion and his influence cannot be measured. Talk about giants walking the earth…

Saturday Afternoon Matinee

Friday Song: Freddie Mercury & Montserrat Caballe

Did you know that Freddie Mercury recorded an album with famed opera singer Montserrat Caballe entitled “Barcelona”? I didn’t either. At least not until around 1995 when I chanced upon the disc at Amoeba. Am I an opera fan? Yes — when I like it. And I LOVE this amazing collaboration from 1988. Commissioned to write a song for the Summer Olympics to be held there, Mercury and Caballe got on so well together that he decided to fashion a whole album around their unique skills. Although Mercury’s famed band, Queen, was true operatic rock, he finally put himself on stage with a genuine powerhouse in the genre. Released in 1988, the eight track disc didn’t make a dent in America, although the single “Barcelona” was a giant international hit. Easy to hear why. This is one of my music treasures, a melodic soaring expanse of triumph and tragedy filtered through Mercury’s soulfull chops and Caballe’s angelic voice. I don’t think Mercury ever looked or sounded better, and it’s clear the unique duo adore each other as you can see in the video for one of my favored tracks, “The Golden Boy,” a gospelesque paen to the curse and power of Art. When “Barcelona” was re-released in 1992, a year after Freddie Mercury’s tragic death, it immediately flew into the US Top Ten — a fitting place for his final, most beautiful music. And Montserrat Caballe refused to perform the songs again without him. Opera, indeed.