New Harvey coming from Spielberg

While I admit that this is a great idea for Spielberg, there are some things that I really dislike about the way it's coming together.

First- it's Disney. I HATE DISNEY!!!
Second- They're talking about Tom Hanks or Will Smith for the lead. Please give me a break. Why not get Toby Maguire or Optimus Prime? Well, okay, Optimus would dwarf a six foot rabbit and the effect would be lost. Maybe Conan O'Brien is available.

Forgive me. I dont anticipate that the new flick will bear much resemblance to the original, but I do hope for some more creative casting than this. I've stated elsewhere that I'd favor casting a woman in the lead and feature Emma Thompson or Cate Blanchett. That way there cant be any comparisons to Jimmy Stewart, plus, you dont wind up with a sappy comic. Either of these guys would make the film seem trite.

Emma Thompson, on the other hand, can act. She's proven her abilities in all kinds of work, from The Remains of the Day and Howard's End to Much Ado about Nothing.

Blanchett hasnt proven herself to that extent, I just think she could carry the role. I could also go for Kate Winslet.

Of course, this is a Disney/Spielberg film, so instead of having a really good movie, you'll probably wind up with a "sweet, heart-warming story" along the lines of An American Tale or E.T. (I do hope Spielberg's moved beyond that. What would the action figures look like?)



Sorry. I just hate Disney, but avoiding it is like boycotting China. There is no way.

Movies Floating at the Top of Consciousness

This was a friend's post on Facebook. (My list follows, with thoughts.)

Movies Floating at the Top of Consciousness Rules: Don't take too long to think about it and don't feel you need to actually do this. It's just for fun. Fifteen films you've seen that will always stick with you. First fifteen you can recall.

1. Harold & Maude
2. Love Actually
3. Wuthering Heights
4. Life is Beautiful
5. The Big Lebowski
6. Modigliani
7. Fight Club
8. Train Spotting
9. Truly Madly Deeply
10. Fargo
11. Priscilla, Queen of the Desert
12. Saturday Night Fever
13. O Brother Where Art Thou
14. L.A. Stories
15. The Hours

Nice list, with some real surprises for me. Here's mine

1. It's a Wonderful Life
2. Wristcutters: A Love Story
3: The Thomas Crown Affair (McQueen, not Brosnan)
4. Barefoot in the Park
5. Key Largo
6. Babette's Feast
7. The Day the Earth Stood Still
8. A Clockwork Orange
9. North by Northwest
10. The Virgin Spring
11. Winter Light
12. Groundhog Day
13. Fiddler on the Roof
14. Rosenkrantz and Gildenstern are Dead
15. The Wizard of Oz
addendum: Shadowlands

Now that I look at this, I see that only one of mine was made within the last ten years. What's up with that? After I made this list, other films kept coming to mind that I wished I'd listed, but they werent first in my mind. What does that say about me?

There isnt a single Woody Allen film listed. Only two Bergmans, one Hitchcock, and one Neil Simon. Hmm...

So what made these the first to come to mind when I've enjoyed so many movies recently? I cant break it down. Some are comedies. Some are musicals. Others are action/drama. Where's Star Wars? I didnt list any of the Aliens or Terminator series. There are no westerns. (High Noon? The Searchers? Nevada Smith? Stagecoach?) Nothing from Kenneth Branagh? What about The Blues Brothers? I did cheat and squeeze Shadowlands into an addendum, but there are four or five other Anthony Hopkins and/or Emma Thompson pieces that will be with me forever.

I wonder if there might be some kind of subliminal link from each to the next. You know. A little spark that said,"Oh, that reminds me of ......".

Well, whatever the connection, you now know of 31 movies that I and a friend have watched. I'm not recommending all of them, you understand. Nearly half of them werent mine. The sixteen that are simply came to mind in that order. Just because I recall a thing doesnt mean I think you should see it. A lot of what I watch is junk, like reading comic books or listening to random conversations in a restaurant.

TV and Music

Elvis Costello has a show on the Sundance channel, title Spectacle. It's a talk show in the loosest sense of the phrase. All the guests are musicians and songwriters, with the largest portion of the show being devoted to them and their music. Last night was a full panel that included Norah Jones, Kris Kristofferson, Roseanne Cash and John Mellencamp. There were a couple of new song debuts, which was cool. First was a previouly unfinished Hank Williams tune that Norah Jones had completed and has just recorded and released, titled "How Many Times Have You Broken My Heart?". The other was a piece that was co-written by Roseanne, Kris and Elvis, titles "April 5th" (the day it was written).

There's also a program on IFN called Live From Abbey Road, which showcases three different acts each week. It's always ecclectic and always good. I've been introduced to some folks that I otherwise wouldnt have listened to.

So, check them out. You'll be glad you did.

Film: Chocolate (not Chocolat)

Director- Prachya Pinkaew
Writers- Napalee, Chukiat Sakveerakul
Star- JeeJa Yanin
Support- a bunch of guys who get creamed by a special-needs girl

-- bent --

Why bent? Because the premise is sooo far-fetched. An autistic girl and her cousin go collecting debts for a bed-ridden cancer victim who used to be the top mobster's favorite plaything. When the debtors wont pay up, all bets are off and the mayhem begins. Oh, and I think the mob boss' hit squad is made up of guys in drag. What's up with that?

The story line and acting are on a level with The Sandlot and Stand By Me. The action sequences, though, are a different story altogether. This movie is a wonderful follower of the Bruce Lee style of movie making. No wires. No special CG effects. Just straight up, in your face (literally) martial arts. There's even a scene in which JeeJa Yanin does a terrific Bruce impression. The final sequence is a fight scene on the side of a building. It's ludicrous, dangerous, and judging from the out-take sequence, very real. They show us the ambulances, stitches, neck braces, etc.

If you like martial arts films, this is one you should see. If not, this one probably wont change your mind.

Film: The ramen Girl

Director- Robert Allan Ackerman
Writer- Becca Topol
Stars- Brittany Murphy, Toshiyuki Nishida
Supporting- Tammy Blanchard, Sohee Park, Kimiko Yo, Renji Ishibashi
some language, adult situations and themes

-- Legit --

Okay, before you laugh too much, let me explain. Somehow, this showed up on the sidebar of my Netflix - Watch Instantly page. It seemed like something I'd enjoy, at the time, so I clicked it. The film surprised me in a couple of ways and I want to share it with you.

First, the opening segments led me down the romantic-comedy road. As it turns out, The ramen Girl isnt one. For folks who liked Tortilla Soup (or the original Eat, Drink, Man, Woman), this one will work well.

What set me up for the r-c, was a sequence of events in which Abby (Brittany Murphy) meets her boyfriend at a local club, makes out with him in the cab home and joins him between the sheets, then is surprised when he dumps her the next morning. In many movies, this is the sequence that sends the girl back home, where she meets some chump she cant stand, who turns out to be her soul-mate (see Hope Floats or Sweet Home Alabama). Not so here.

In some way, I suppose, you could call Maezumi (Toshiyuki Nishida) a soul-mate. He is the ramen chef who agrees to tutor her in the art of ramen. I didnt realize that it was a specialized field, requiring special training and blessing by a ramen master. Although they dont share a common spoken language, Maezumi slowly shares his technique, but Abby somehow cant get the thing right. That's where his mother comes in. Abby cooks for her and the old matriarch is able to articulate the solution in a way that Abby understands. (Evidently, she's learned enough Japanese to get the drift.)

So, this is a journey film. It's about the illumination of a young woman. She discovers what is important in life as she works in a "dirty little ramen shop" and shares her days and nights with Maezumi and his wife.

I suppose you might call this film a Pygmalion. There is a maturation that occurs in Abby under the imposing tutelage of Maezumi. He is the anti-Henry Higgins. He's drunk by nine o'clock in the morning. He never lacks for insulting things to say. One of the first jobs he gives his glamorous new student is to clean the big ol' toilet, on her knees, in a dress, with a sponge and no gloves.

One thing that worked for me, is that Brittany Murphy is one of the few actresses who (in this film, at least) is even more beautiful when she's crying. She already has those big eyes out of a Margaret Keane or Lu Cong painting. Then the tears start and she's almost ethereal.

Something else that probably contributes to my enjoyment of this piece is the time I spent working in restaurants. If you havent done that, there are parts of this film that wont connect for you. If you have, you'll get it. There is nothing like working in the food industry. It's grueling. The hours are horrendous and the pay is almost non-existent. Without fail, though, people who work together in this industry become closer and more involved in each other's lives than in any other place I've ever worked.

So, dont get me wrong. This isnt Babette's Feast. It just is what it is. The ending is predictable, which let me down, and I'd love to have seen a different one. Overall, though, The ramen Girl is one I enjoyed. Usually, I'd show you a trailer, but I think this one gives away too much of the movie. I think the first time you see it, there should be no expectations. Dont try to find depth. This isnt that kind of film. It's like a good bowl of ramen. It isnt very deep, but it's full of flavor.

Miscellaneous musings...

"Well the themes for me were and remain sex and love and grief and death - the things that make us and undo us, create and destroy, how we breed and disappear and the emotional context that surrounds these events." ~Thomas Lynch

In this earthly experience, these four are probably the most common, and most influential, themes expressed. Think of the songs you've heard, or books you've read. Movies, TV shows, plays, even stand up comedy, all revolve around these things.

In fact, I submit the question,"Is anything else worth writing about?" I love to read biographies and non-fiction books. I'm also a big poetry fan, although these past few years have seen my reading in all areas drop off considerably.

The last few books I've read are posted on my LinkedIn page: The Unlikely Disciple, Fractals: The Patterns of Chaos, Carlson's Guide to Landscape Painting, White Peonies and Cezanne's Composition. Despite the titles, as one reads these, it becomes apparent that, even in a book on fractal geometry, discussions on these themes arise. Of course, books on art will contain these in both pictoral and textual forms.

It's a strange thing, to narrow the existence down to just four subjects. Especially in a time when we seem to be pushing so hard to make material things the priority.

Wristcutters: A Love Story

Released- 2006

Director- Goran Dukic

Writers- Goran Dukic (From the story "Knellers Happy Campers", by Etgar Keret)

Stars- Patrick Fugit, Shannyn Sossamon, Shea Whigham, Tom Waits (as Kneller)

-- bent --

There's this genre of films (I dont know what to call it.), in which death starts people on some kind of journey during which they meet a collection of unusual characters and have strange adventures. Donny Darko is one. So are Roadside Prophets, After Hours and The Big Empty. There are more, but I cant think of them right now.

Wristcutters is, I think, one of the best of this genre, whatever it is. It's quirky and witty, very witty, in a black humor sort of way. I cant think of a place where this piece fails. Unlike The Big Empty, this film continues to deliver on every level. The soundtrack is related in an unconventional way- all the songs are by people who committed suicide.

Oh. Guess I should explain why that's important. See, Wristcutters is about a group of dead people, not zombies or vampires, just people who are dead. They've killed themselves in one way or another and all wound up in a strange, desolate place that reminds me of Tuba City. At least, that's true of everyone but Shannyn Sossamon's character, Mikal. She is looking for "the people in charge" because she has come there by mistake. She didnt actually commit suicide. She OD'd and there was some kind of error and she wants to go home.

This film is interesting to me because it brings up some very relevent questions.

Why do people kill themselves over basic problems that people deal with every day? In the case of Zia, it happens to be a failed relationship. Others did it out of frustration or hopelessness. What is it that causes one person out of however many to respond in a self-destructive way?

Do people really change? Even after they've "offed" themselves, these people remain as they were in their lives. Why is it so hard for us to make and maintain the fundamental changes that life sometimes requires? Now, before I get too philosophical and start spouting out theories, I'll switch gears.

SPOILERS AHEAD!!!

Some of the more interesting things about this film are the little details. For example, in Suicide Town (my name for it), you cant smile. It isnt that you arent supposed to. You just cant. Also, there arent any stars. Imagine a sky without stars. Oddly, it is possible to kill yourself again.

In the beginning of the piece, Zia gets a job at Kamikaze Pizza. This is an homage to another story by author Etgar Keret - Pizzeria Kamikaze. I'm not familiar with his work, so I'll be checking it out soon.

One of my favorite characters is Jim, played by Clayne Crawford. The guy is so quirky. First is his hair. Cant explain it, but it fits. Then is a sudden hesitation he gets in mid-sentence. Jim rocks.

Another question that comes to me is- Why do I like this kind of film? You would think that a fifty-two year old, pseudo-conservative guy like me would lean toward things less abstract.

Michael Jackson and Farrah Fawcett

Farrah Fawcett - February 2, 1947-June 25, 2009
Michael Jackson - August 29, 1958-June 25, 2009

While I was not a follower of big fan of either of these people, their passing bears some thoughts. However, I'm not the one to do that. Here's a link to a Jacko article. This one will take you to one on Farrah.

Why not write something about these two mega-stars? There will be lots of those articles written by much better writers than I.

Film - The Big Empty

Writer/Director - Steve Anderson
Stars - Jon Favreau
Support - Daryl Hannah, Gary Farmer, Rachael Leigh Cook, Kelsey Grammer and many more. (Yup, it's one of those.)
This one is very bent. Lots of language.

"You get kind of thirsty waitin' around a town like this."
"Where would we drive?" "I dont know. We could drive to Hawaii..."

Watch the Trailer - or not.

So, Neely asked John to take a blue suitcase to Baker, California and deliver it to a trucker named Cowboy. They cant seem to connect, but Cowboy leaves a blue bowling ball bag with instructions not to open it. Suddenly, Neely is found shot, with his head cut off and John suspects it might be in the ball bag.

Probably, the best thing about this movie is the soundtrack. At times it's kind of like Angelo Badalamenti's work. You know, sort of Twin Peaks. Sprinkled in with it, though, are some commercial gems, including - 18 Wheels & a Crowbar; I'm Your Breadmaker, Baby; and my personal favorite Honkytonk Maniac from Mars.

In fact, The Big Empty is kind of a David Lynch/Coen brothers knock off. It's quirky, with plenty of twists to keep us watching, but nothing to write home about. I never thought I'd say this, but I think Daryl Hannah had the best performance of all. So what does that tell ya?

End of it all? It starts out well, giving us high expectations, but about halfway through the humor goes away and we're left with a collection of scenes leading up to an expected end. Unfortunately, this one doesnt bring us there gracefully, like say, Wristcutters does. I honestly found myself hoping The Big Empty would end. Eventually it did.

I wouldnt run out and rent this, but I'd definitely buy the soundtrack.

Rubberduckzilla!!! and "I Walked with a Zombie"

Yup! That's Rubberduckzilla. Thanks to my friend Kelly for this.

I Walked with a Zombie

"skewed" (but not what you might think)

Released- 1943

Producer- Val Lewton

Director- Jacque Tourneur

Writers- Curt Siodmak and Ardel Wray

Stars- Christine Gordon, Frances Dee, Tom Conway, James Ellison, Edith Barrett

This is a film you have to see. Yes, it's old. Yes, it's in black and white. Yes, it's barely over an hour long. Yes, it is brilliant.

I'd probably say that about any Val Lewton film, but this is one of my special favorites. You'll remember Cat People, The Curse of the Cat People and The Leopard Man. Each of these brought something unusual to the screen. IWwaZ is no exception. There is so much going on in this short little piece that it's hard to explain.

What I love about this movie:

The cinematography is exemplary. Some scenes are beyond any expectation. For example, the night scene in which Betsy is leading Jessica through the darkness and they happen upon the tall, motionless, seemingly emaciated zombie. The moment when he waits, then turns and walks into the darkness is a tremendous shot.

The direction of Jacque Tourneur. Through his direction, this piece maintains a measured pace that brings the viewer along carefully, not fitfully or hurriedly, as we might expect. Also, he is able to control the personalities of his characters. For instance, in the scene I just mentioned any other movie would have sent Betsy screaming and running. In this film, she keeps her head and continues on, as though it was to be expected (which it probably was). It is this contra-intuition that keeps us in the piece.

The Singer. Although it might seem campy, this character is key to the psychology of the film. He brings commentary into the piece, sharing feelings that might not otherwise be communicated.

The final scene. I wont talk about details, but it is poignant and moving, certainly unexpected, yet unquestionably appropriate for this film.

Despite its title, this is an art film that can be appreciated by a wide ranging audience. Even if you dont like horror movies, or art films, or movies with singing in them, you'll find something that resonates with you in this one.

Interestingly, it's the only credit film appearance Christine Gordon (Jessica Holland) ever made. It appears that she also had small, uncredited parts in a few other movies, but this was her most important role. Of course, it wasnt a difficult role and could have been played by any stunningly beautiful woman, but she did it in a way that doesnt seem forced or wooden.

Here's a clip from Turner Classic Movies. It's the scene I was talking about earlier.

Enjoy this one. It comes double packed with The Body Snatcher, which I'll talk about another time.

Jaco Pastorius

I've sort of introduced this post earlier, with Tal Wilkenfeld on the Jeff Beck vid. Lots of people have compared her to Jaco Pastorius, so I thought I'd post a solo from him. Instead, I found this fab interview in which he discusses his influences, philosophies toward musicianship, what it takes to be a good musician, etc. Here's that interview. There will be related vids at the bottom of the screen afterward.

Devdas

Director/Screenwriter - Sanjay Leela Bhansali
Stars - Shahrukh Khan, Madhuri Dixit, Aishwarya Rai
Skewed


Wow. This is the most impressive Bollywood film I've seen yet. It's nearly perfect in every way. It's gorgeous and has tons of beautiful women. Lots and lots of music.....and....it's really, really, really long.

The plot is that Devdas (Shahrukh Khan) has been in love with his next door neighbor, Paro (Aishwarya Rai), since childhood. Because he comes from a family of landlords and she belongs to a lower caste, his family forbids him to marry her. In anger, he leaves the house, eventually joining himself to a prostitute (Madhuri Dixit) and taking up residence in her quarters. The main problem is...he cant stop drinking and crying. Truthfully, a third of the way through I was talking to the TV, saying, "Enough already! Just give it up and go on with your life!" There is a scene in which he asks a priest to perform last rites and wades out into the water. Although I knew it wouldnt happen, I found myself hoping he would just die. (This is the only reason I marked the movie "Skewed". Otherwise, it would have been "Legit".)


It isnt that Khan is a bad actor. Devdas is just a nozzle. In this country we'd have locked him away. Twice he set the house on fire. He tried to commit suicide. He smacked his "true love" in the face with a necklace on her wedding night, leaving a scar on her forehead that will never go away. The guy is obviously self-absorbed and demented. The alcohol doesnt help. Despite all this, he's still regarded as if he were someone important and special.


At this moment, I have to say that there is no more beautiful woman on screen than Aishwarya Rai. Her popularity is not hard to understand, as she is also considered one of the best actresses India has to offer. Her performance in Devdas highlights this very well. One thing that must be kept in mind, though, when considering actors in Bollywood, is that they must dance. For Aishwarya, this seems very natural. The truth is, acting for her seems more like a series of poses. I remember hearing someone say that directors had to discipline themselves to resist doing too many close-ups of Hedy Lamarr. Perhaps that's the way it is with A.R. Bollywood, though, doesnt seem to mind.


Before I leave you with the impression that I'm about to form a US chapter of the Aishwarya Rai fanclub, let me relieve your fears. Madhuri Dixit is nearly flawless. She's easily as beautiful as Rai, and her dancing is fabulous. I think her performance in this film is superior to Rai's, but that's for you to decide.


As Paro, Rai wrings everything out of her character. She's vain, yet unfulfilled. We have no trouble at all believing that she is all out in love with this man. When she is coy, it's convincing. Even as the step-mother to someone about her own age, she plays it well.


Dixit gives us a treat as the prostitute, Chandramukhi. She is stunningly beautiful and approaches her character without the darkness that might have been tempting to an American actress. In the film, she leaves active prostitution to pursue her love for Devdas. Although it is fruitless, she believes that he will one day love her, too. She tends to his continual self-destruction and somehow loves him anyway. Although the character isnt so faceted as Rai's, she is still very complex and engaging.


A thing that interests me is how Bhansali brings such a provocative subject to the screen and yet keeps it completely free of nudity or impropriety. This is typical of Bollywood films. Although the subject matter may be controversial, the morality of the product is never in question.


Here's a clip of the Aishwarya and Madhuri together in a long dance number, Dola Re Dola, from Devdas. It's incredible.
(Click on the HD button - lower right - then click it to full screen!)


NOTE: There used to be an embedded YouTube clip here, but it's now unavailable in this country due to copyright restrictions. Sorry...



The beginning of this sequence was the scene I mentioned earlier. Just watching it again I was thinking, "Die! Die!"


If you're wondering why Chandramukhi and Paro are dancing together, it's that Paro is performing some kind of ceremony that requires dirt from a brothel's doorway. She invited Chandramukhi because she's sooo happy that Devdas has someone to care for him. As they're dancing, they sing about their secret shared love for this pathetic loser.


The sinister looking character is the brother of Paro's new husband. He's also a frequent customer at the brothel where Chandramukhi works. The end of this clip is where he exposes her and the secret that she shares with Paro. Because of this, Paro is prohibited from ever leaving the grounds of her husband's estate. This proves most tragic in the end.


In all, I'd recommend this movie to anyone who is interested in Bollywood, or who enjoys musicals. It's vibrant and energetic, certainly entertaining, in some ways thought provoking, informative for the Westerner as to Indian customs and tradition, but most of all...it's just a lot of fun (with the exception of Devdas himself).