#he literally looks so perfectly classic Hollywood here I love it

[waltricia]

Happy Polin Day!! 💛 I accidentally wrote an essay about the lighting in this two second clip. I guess I found my Roman Empire.

Nicola said in an interview that the theme of the first season was passion, the second was longing, and the third is romance, and I fully agree and believe her because everything about this clip SCREAMS romance.

As perfect as they are, I have to put aside costume, hair, and makeup, and just praise the lighting right now bc it really deserves to be discussed.

Anyone who has ever read a romance novel knows that when the leading man looks at the leading lady ~lustily~, his expression darkens and he has a devilish glint in his eye, while she has a soft, open expression and stars in her eyes. That is EXACTLY what they achieved by angling a single soft fill light on Luke from below, while having him kinda backlit/ side lit by the key light (the moonlight), and angling that harder accent light on Nicola from above and back, while having the full key light on her from the front.

In classic horror cinematography, characters are lit from below because it casts sinister shadows on their faces. Hell scenes often have characters lit by fire from below (because obviously). This kind of lighting is also great for portraying lust (see Kanthony in the library, season 2 ep 4, both scenes). Lustiness and the devil go hand in hand (because religion lol), and that’s why this slightly sinister lighting looks so good here.

Colin is every bit the romantic hero, and the way the lighting portrays that is subtle, but intentional. His eyes are shadowed and he has that glint. No doubt he’s about to do something bold and scandalous. Just the way Colin is approaching Pen pretty clearly indicates his intentions, but I really like that you can also derive those intentions from the lighting because it evokes such freakin classic romantic imagery.

And in the same perfectly subtle way, she is also classically lit, but representing the other side of the coin. As he’s lit from hell, she’s lit from heaven. The yellow (😉) light on her has an angelic effect. It’s also a soft spotlight, like how they would light Old Hollywood starlets.

When you combine that light with the key light (the moonlight) that fills her face and makes her eyes sparkle, you really see her, and she is meant to be worshipped. That’s what Colin is seeing. And, obviously, being seen terrifies our wallflower. Which just adds another layer to the significance of Colin’s lighting because not only does the lighting tell us what’s he’s about to do (😘), it also makes sense to have him in the devilish lighting because she’s scared. But it’s the good kind of scary of course.

And what’s so god damn beautiful about the whole thing, is that the opposition that I’m seeing between the lighting of Colin and Pen in this moment exists so harmoniously with the equivalence that I also see between the characters. The feeling of connection between them is stronger than it’s ever been. And I’m guessing she’s literally on some kind of platform, like a doorstep or something, because their lines of sight are more level with each other. So the contrast between Colin and Pen itself contrasts with the closeness between them.

I just love how wonderfully complex that is. I am so impressed.

And that’s just the lighting y’all.

THAT’S JUST THE LIGHTING

💡🤯👏🙌😍🐝🌼🪞💛🩵💚✨

[fyrewalks]

no one asked but here are my wins for oscar outfits last night (bc pretty dresses and suits are my guiitly pleasure)

zendaya - bc when does she not win? pink is her color, i loved the pattern, and the old hollywood vibes with her hair tied it together

da'vine joy - that blue? the sparkles? the sleeves? she brought the drama and elegance. bonus points for her speech making me cry.

lupita nyong'o - ugh that color on her is gorgeous! (almost wonder if she and da'vine used the same stylist bc their dresses go so perfectly together with the color and feathers)

lily gladstone - literally looked regal in the deep blue

carey mulligan - a freaking vintage classic for a reason

america ferrera - she got her barbie moment! love the silhouette too

colam domingo - the flared pants? the pretty buttons? and the cool bowtie? he made a black suit fun

sandra huller - cool sleeves with an elegant silhouette; i love the drama and the twist

gabrielle union - funky and fun but kinda wish she did something else instead of the bun

florence pugh - minus five points for the floating straps. loved the artyness of the dress, but the weird straps were not it for me.

special mention: camila mendes vf gown. literally my favorite version of the blinged out boobie trend

other special mention: ryan gosling's rhinestone pink suit for the performance. perfectly camp and i love anything sparkly

[jungshookz]

ok anyway build-a-bear employee!jin who meets y/n bc she comes in to make a new friend after a breakup and he teases her for being an adult by herself in the store and after she starts tEARING UP he’s like okok no!!!! and helps her make the cutest lil guy and records a cute message to put inside

➺ pairing; kim seokjin x reader

➺ genre; employee!jin, i brought you to build-a-bear so obviously this is going to be very floofy (sfw!!) 

➺ wordcount: 4k

➺ what to expect; “…turning twenty-two soon and you’re buying yourself a teddy bear?”

➺ note; when i told u guys that jin always gets the cutest drabble requests i wasn’t LYING!!! i have my own bear from build-a-bear named blu (he’s dark blue with white stars!! at the age of eight i was not very good at coming up with creative names) so obviously i had to write something for him and his homies

                                         »»————-　🧸————-««

jin has a love-hate relationship with his job

you would think that working at build-a-bear would be pretty fun - and it can be, sometimes! - but jin can confirm right here right now that it’s not aLL that great

on one hand, he loves the dramatics of build-a-bear because he’s given the chance to act like the whole store is whimsical and that the tiny little heart that he stuffs inside of the bear is full of magic and hope and happiness (he majored in acting in university so his degree is surprisingly very useful here)

but on the other hand… he works at build-a-bear.

this isn’t where he thought he’d be!!! not at all!!! 

he’s basically almost thirty and he works at a frickin build-a-bear

this wasn’t part of his plan!!!

his plan was to graduate from university, get famous from acting in a small commercial because of his devilishly handsome face, and then immediately get signed onto some fancy hollywood acting deal and become internationally known

but, no!

he graduated from university, didn’t get any roles in any small commercials, and had to find a way to make money so had no choice but to find work at his local mall

and to make things worse, his boss is literally five years younger than him

he has this bratty little twenty-two year old constantly up his ass and he haTES it

“you forgot the whipped cream on my frappuccino.” jungkook looks up at jin from where he’s sitting behind the counter before raising his drink, “am i blind or are you just bad at listening to instructions? where is the whipped cream, seokjin? WHERE?”

jin clenches his jaw before leaning forward, “they were busy, i guess they just forgot. and i’m not your slave. i only got you that drink so you’d give me a day off tomorrow.”

“well, since there’s no whipped cream on it, you don’t get a day off.” jungkook kisses his teeth before shrugging

“wha-“ jin resists the urge to reach down and wrap his hands around jungkook’s neck, “are you kidding me right now?? i spent forty-five minutes out of my fifty minute lunch break lining up at starbucks to get that for you! forty-five minutes!!!”

“i don’t know what to tell you,” jungkook hums as he kicks his legs up onto the counter and leans back against his chair, “now get back to work. and remember to smile! after all, build-a-bear is where best friends are made-“

“the new slogan is ‘the most fun you’ll ever make’.” jin raises a brow, “you don’t even know our slogan! how did you become the manager?”

jungkook takes a slow sip of his drink while maintaining direct eye contact with jin

sChLuuUuRrRRRr

jesus christ

his life sucks

jin rolls his eyes before turning on his heel and heading back to the main area of the shop

today’s saturday, so the store is a little busier than it usually is - which is great, because jin works off commission and he thinks he’s pretty good at selling teddy bears

on his best day he managed to sell thirty-eight bears in one day

he also convinced most of the kids that their brand new furry friends needed new clothes and a personalised recorded message in place of the usual little red cloth heart

he doesn’t like looking at the parents whenever he’s egging their kids on to buy even more things because they always look at him like they’re going to kill him

anyways

he could’ve ordered like forty frappuccino’s from the money he made on that day

before he left for lunch today he sold eight which really isn’t that impressive

but, to be fair, the mall usually gets busy after lunch, so now is the prime time to make some sales

jin lets out a breath as he scans the store for any newcomers or anyone who’s noT already being bombarded by his co-workers

he can’t help but snicker to himself when he notices yoongi at the stuffing station conducting a heart ceremony

“-and now you can go ahead and give your heart a little kiss-“

he looks up for a split second and jin takes the chance to blows a sweet little kiss at him

he snorts to himself when yoongi’s eye twitches

yoongi hates giving heart ceremonies but he’s actually pretty good at it!

he’s good with children whether he wants to admit it or not

alright, enough making fun of yoongi >:-)

time to hunt down a new customer…

jin sucks his bottom lip into his mouth as he walks around the store slowly

ooh, a little boy and his family just walked i- aaand they’ve been swept up by jimin

okay, no problem!

how about those twin gir- nope, too late, taehyung’s approaching them

damn

that would’ve been a good sale, too

it’s fine

he’ll get someone!

oh, wow

build-a-bear has really upped their game since the last time you were here

to be fair, the last time you were here was like more than ten years ago, so you’d hope that they make some changes to the store

…are those star wars themed teddy bears??

that is most definitely a princess leia teddy bear

and she even gets her own little light sabre!

wow

this is a whole new world

“excuse me, sorry…” you manoeuvre your way through the crowd as you continue looking through your options

is it weird that you’re in here by yourself?

the thought of trailing behind a random child in order to blend in with everyone else crosses your mind for a split second

although… a grown woman creeping behind a child they don’t know probably isn’t going to sound good to the judge when you’re standing in court, so maybe you shouldn’t do that

okay

you know what

it’s fine

it’s totally fine that you’re in here by yourself!

stuffed plushies are for people of all ages!!

it’s not just a kiddie thing

you’re FINE

and you have a perfectly legitimate reason to be in here

the only reason why you’re even in here is because…

well, the short and sweet version is that you got dumped two weeks ago.

which means that you’ve been cooped up in your apartment for the last fourteen days

which means your bedroom was starting to smell a little ripe so you thought it’d be good to air out the place and give your poor bed a break  

(also, please, for the love of god, remember to wash your sheets when you get back home later today.)

anyways

you thought that a trip to the mall for some retail therapy would make you feel better!

so far you’ve only been the food court but you helped yourself to a cheeseburger, some onion rings, and a vanilla milkshake

food always makes you feel better

you could honestly go for another round of onion rings right now

there’s nothing quite like the pain of having your heart broken nudge you towards the direction of binge-eating the pain away, is there?

you were about to head into a victoria’s secret to splurge on pretty panties (that no one but yourself will be seeing for a long time) but this build-a-bear caught your eye

a cuddle buddy you could ugly-cry into for the simple price of $35?

obviOUSLY you had to come in

the only issue now is that there are way too many options to choose from

who do you want to take home??

pawlette the bunny?

toothless from how to train your dragon?

you could even take pikachu home if you wanted to

“timeless teddy…” you mutter to yourself as you dig out a teddy bear skin (also, it’s very unsettling that they’re called ‘skins’. like, you know that’s what they technically are, but the phrase ‘i’ve picked out my skin!’ just makes your skin crawl.)

you lean forward a little to read the label on the wall

teddy bears are a timeless way to share love with every hug! timeless teddy is a classic teddy bear with shaggy brown fur and an adorable smile. personalize this classic teddy bear with outfits, sounds and accessories for a huggable gift they'll cherish forever!

hm

perfect!

a classic teddy bear sounds perfect

there’s nothing wrong with going back to basics

also, you’re assuming the ‘they’ll’ they’re referring to here is a child

…

nO

you are doing this

you will buy this teddy bear!

your other option was to go and adopt a cat from the shelter but you can barely take care of yourself right now so that wouldn’t be a good idea

“hello!” you jump three feet into the air when you’re suddenly being greeted by one of the bright-eyed workers, “can i help you find anything?”

you turn around quickly while clutching your teddy’s skin (gag) to your chest with wide eyes, “h-hello!”

oh

hello indeed

you feel your heart drop a little when you realise that you probably look disgusting right now

you weren’t expecting to bump into a veRY attractive super handsome boy today!!!

very attractive super handsome boy with sweet brown eyes and soft-looking hair and the poutiest lips you think you’ve ever seen in your entire life-

thank god you decided to wear the sweatshirt that doesn’t have any stains on it, right?

the one thing you remember from your previous build a bear experience (once again, 10+ years ago) is that the workers here are usually overly perky sixteen year old girls

this guy is not an overly perky sixteen year old girl

well

maybe he’s the perky part

but everything else??

wowie

he smiles brightly at you before tilting his head, “hello. i’m jin!” he points at his name tag, “i’d love to help you out today. were you looking for anything in particular?”

“hi! hello, jin. i’m, um, i’m y/n. i was, uh-“ you clear your throat, “i was actually just browsing, so…”

“oh, perfect!” jin claps his hands together, “let me tell you all about our collections. there’s the summer fun collection, the rainbow friends, the promise pets, the heartables, the classic build-a-bear collection-“

yeah okay

he’s definitely nailed the perky part of the job

“-DC comics, dr. suess, marvel, my little pony, how to train your drag-“

“you know, i-“ you smile sheepishly after interrupting jin, “thank you so much, but i’ve actually already made my decision, if that’s alright.” you hold your teddy’s limp, hollow carcass up before pressing your lips together

“of course that’s alright!” jin takes the skin from you before shrugging lightly, “i figured i’d just let you know of all the other options in case your younger sibling wanted something more extravagant than just our timeless teddy. follow me to the sound station!”

you don’t get a chance to say anything before jin spins around swiftly to head to the back of the store

he thinks this bear is for your younger sibling

okay, you can work with that!

you can pretend like you’re in here for your non-existent younger sibling and certainly not for yourself

“you can choose a pre-made sound from here,” jin gestures to the bins of plastic hearts (there’s a sound option for an ‘into the unknown’ snippet from frozen 2 which is insane), “or we can go ahead and record a personalised message. what’s your sibling’s name?”

you look up at him immediately

“wha- um, why… why do you need to know my sibling’s name?”

“oh! i was just asking so i could give you an example.” jin hums as he tosses the skin over his shoulder and places his hands on his hips, “like, you could say, hey there… sibling’s name, it’s me, your big sister! i love you! or something like that.”

“ah, right!” you nod to yourself, “that makes sense! my sibling’s name is totally normal information that i have no problem giving to you.”

jin raises a brow when he notices you continuing to ramble about how your sibling’s name is something that you will be telling him soon because you definitely know the name of your younger sibling whomst’ve this bear is for

hm

you’re cute but you’re a little odd

“-my younger sibling’s name is… paulette!” you catch a glimpse of a pink pawlette bunny being stuffed before looking back over at jin, “yep. that’s her name. sweet, sweet paulette. sweet little angel.”

“hey, our iconic bunny is named pawlette!” jin beams, “wouldn’t you want to get paulette her own pawlette? instead of a bear?”

the smile immediately drops from your face

oh god

you’ve never been very good at lying

one time in middle school when you wanted to get out of PE you told the teacher that you were in pain and that’s why you couldn’t do anything on that day

and when he asked you what hurt, all you said was ‘…bleeding out of my butt?’

you don’t even know why you said that!!

you could’ve told him you had a headache or something but nO

you told your teacher your asshole was BLEEDING and that’s why you couldn’t participate in baseball

so yeah

lying has never been your forte

but you don’t want pawlette!!

you want this bear!!!

although, it would make sense to get paulette her own pawlette because that’d be an adorable coincidence…

what are you-

what are you even sAYING

PAULETTE DOES NOT EXIST

“okay, you got me!” you raise your hands in defence and jin’s eyes widen in surprise, “paulette isn’t a real person. i don’t have a younger sibling. i’m in here for me. the bear is for me. the timeless teddy is mine.”

“oh…!” jin purses his lips before nodding slowly, “alright! totally get it. the bear is for you.”

why has everyone he’s ever been attracted to turned out to be a little cuckoo?

the expected demographic of build-a-bear are children aged 3-10 (a child aged below three isn’t interested in stuffed teddies because they don’t really do anything but sit there and a child aged over ten isn’t interested in stuffed teddies because… they don’t really do anything but sit there.)

and you… well, unless you’ve experienced some kind of insane growth spurt, you certainly don’t look like someone aged 3-10 years old

“phew! it feels good getting that off my chest.” you breathe out as you lean over and place your hands on your knees, “there was a lot of pressure there to keep lying to you but-“

“how, um, how old are you, by the way?”

jin doesn’t mean to sound like a judgy bitch

he’s just genuinely curious as to why a 21-23 year old would willingly go into a physical build-a-bear store to buy themselves a stuffed plushie

you could’ve purchased one off the online website

also, aren’t there better things to spend your money on?

like… literally anything besides a stuffed plushie??

“turning twenty-two soon!” you get back up onto your feet, “why do you ask?”

“…turning twenty-two soon and you’re buying yourself a teddy bear?” jin snorts before raising a brow, “i mean, really? didn’t you graduate this year?”

“ah, well…” you reach up to scratch the back of your neck as you feel the tips of your ears beginning to heat up, “i mean, yeah, but like…”

“i’m not judging! some people go on grad trips to party and get wasted after they graduate, and other people go to the mall to build themselves a $35 teddy bear-“ jin laughs to himself before turning around to plop the skin down on little counter attached to the stuffing machine, “anyways, were you thinking about choosing a sound or recording something?”

he spins back around and his eyes widen when he notices that your eyes have gotten red and are starting to water

oh

uh oh

what’s going on?

what’s happening??

are you…

are you crying??

why are you crying??

he was totally kidding!!!

that wasn’t supposed to be mean!!

that was supposed to be playful banter!!!

“oh- oh, god no- wait-“ jin immediately walks over so that he’s standing in front of you and jungkook won’T be able to see that he just upset a customer, “don’t cry!! i was kidding!! i have, like, ten plushies on my bed! i’m twenty-seven and i work at a build-a-bear, if anything, i should be the one crying-”

“i just-“ you reach up to wipe at your eyes as you begin to blubber, “my boyfriend of one year b-broke up with me two weeks ago and i- i just th-thought that a teddy bear would make good company because god knows i’m not in the right mental state to be taking care of a real animal-!”

jin winces when you let out a particularly loud sob and he quickly drags you over so that the two of you are behind the stuffing machine and out of sighT from everyone

crap

he doesn’t even have any tissues on him!!!!

maybe he can pull some fluff out from the machine and you can dab at your tears with that

actually, the cotton might stick to your cheeks if you try wiping your tears away with a fistful of stuffing, so maybe not

“i-i know it’s stupid and humiliating for a grown-up to be in here buying a stupid teddy bear for herself but there’s so much in my life that’s just out of my control right now a-and making this teddy bear seemed like the only thing i could control and i just-“

“y-yes, of course!” jin pulls you into a tight hug (your sobbing is getting a little loud and people are starting to notice so this is the only way he can think to muffle your crying) and strokes the back of your head comfortingly, “i’m so sorry, i had no idea! that makes total sense, of course you can get this teddy bear for yourself…”

he continues to hold you until your sobs reduce to little hiccups and gives a warning look when yoongi mouths whether or not they should call mall security on your ass

when you pull away your eyes are a little puffy and the tip of your nose is red

if jungkook asks, maybe jin can get away with saying that your allergies acted up in the middle of the store

you don’t look like that because he made you burst into tears

not at all!!

“how about we… record a special message for your new friend?” jin digs through the tub to pull out an electronic heart

“i-“ you hiccup, “i don’t really h-have anything i want to say…”

jin purses his lips in thought

hm

stuffing the bear with a heartbeat heart seems way too basic

this is an important bear!

ah!

“why don’t you let me take care of it, okay?” he reaches over and rubs your shoulder gently, “you wait here and i’ll take care of everything. for his stuffing, would you like a soft cuddle bear or a plump one?”

your bottom lip starts to quiver again and you let out a light laugh, “a soft cuddle bear sounds really sweet.”

“then a soft cuddle bear it is.”

“and this is for you.” jin hands you the box over the counter and you take it from him with a grin, “thank you for your purchase! and… sorry about making you cry-“

“oh, god no-“ you snort, “i’m sorry for bursting into tears and loading all of that on you-“

“it’s totally fine!” jin shakes his head, “you’re definitely not the first person to start crying in a build-a-bear, so there’s absolutely nothing to feel bad about.”

“right! right, of course.” you nod and press your lips together, “anyways, thanks for helping me out today, jin.”

“of course! it was a pleasure.” jin clears his throat

it’s pretty clear that the two of you want to continue talking to each other, but…

jin doesn’t usually practice his flirting skills when he’s at build-a-bear, so pardon him for being a little rusty

“so… see you around!” you chirp, “i’m just gonna-“

“wait, uh-“ jin wipes his hands down on the back of his pants, “i… i don’t know if maybe this is a little too soon for you or… and it’s totally fine if you don’t want to, but… maybe i can treat you to an apology corndog or something sometime? i don’t know. this mall doesn’t really offer fine dining, so a corndog is really all i can-“

“yeah, i would love that!” you nod enthusiastically, “an apology corndog with you sounds great. i mean, a regular corndog would be fine too, but- d-do you… want my number?”

also

this isn’t you rebounding or anything

this is the first time in two weeks where your mind hasn’t been clouded with thoughts of your ex-boyfriend

this is the first time in two weeks that you’re actually happy

jin seems genuinely sweet and you wouldn’t mind getting to know him :-))

also you’re glad that hE was the one who asked

because if you were the one who asked, it’d probably make you look that much more pathetic

and you’ve already made a fool of yourself once today!!  

you sigh happily as you slam the car door shut

you’re about to shove the key into the ignition when suddenly you remember that your bear has a personalised message inside of him

“oh, right!” you reach over to open up the cardboard house that he’s been shoVed into

!!!

you wonder what soundbyte jin picked out for you!!!

you pull him out and smile fondly at the sight of his chubby arms dangling over your hands

cute :-))

this was money well spent for sure

okay, now how do you activate the sound…

there’s a bit of squeezing and poking but you manage to find the little heart inside of him

you perk up when you hear a muffled crackle

“hi, y/n! it’s me, your furry friend… uh… jin bear! if you’re listening to this, it probably means you’re super sad… cry into my stomach to muffle the sound of your violent sobs! …oh, god, probably shouldn’t have said that- anyways, um, i hope you feel better soon! and remember to give me plenty of cuddles - i promise it’ll make you feel better!”

hA

that was actually a pretty good message

(you hope jin texts u soon)

“okay, jin bear.” you murmur quietly as you buckle him into the passenger seat, “time to take you home.”

help me help you make your wishes come tru (aka send me a request)

requested drabbles masterlist

[chiseler]

Stolen Faces

Cinema is an art of faces, almost a religion of faces: on screen they loom above us, vast as a mother’s face must appear to an infant. We can get lost in them. The deepest thrill the movies offer may be the opportunity to gaze at human faces longer and with more unabashed, lover-like intimacy than real life regularly allows. Most often, of course, we gaze at beautiful faces, though cinema has its share of beloved gargoyles, mugs with “character” rather than symmetry. But the uncanny power of faces onscreen also anchors films about disfigurement and facial transformations, about masks and scars and plastic surgery. These stories summon all the fears and taboos, desires and unresolved questions swirling around the human face. Do faces reveal or conceal a person’s true nature? Can changing someone’s face change their soul?

Deformity is a staple of horror films, of course, from classics such as Phantom of the Opera and The Raven (in which the hideously afflicted man played by Boris Karloff muses, “Maybe if a man looks ugly, he does ugly things”) to surgical shockers such as Eyes Without a Face. But plot twists involving faces that are damaged or corrected, masked or changed, turn up with surprising frequency in film noir as well, where they are related to themes of identity theft, amnesia, desperate attempts to shed the past or recover the past. One of the grim proverbs of noir is that you can’t escape yourself. There are no fresh starts, no second chances. But noir also demonstrates the instability of identity, the way character can be corrupted, and stories about facial transformations harbor a nebulous fear that there is in the end no fixed self. If noir is pessimistic about the possibility of change, it is at the same time haunted by fear of change—fear of looking in the mirror and seeing a stranger.

The Truth of Masks

Two films about men who literally lose their faces take the full measure of the resulting ostracism and crushing isolation—and what men will do to escape it. Hiroshi Teshigahara’s The Face of Another (Tanin no Kao, 1966) is based on a Kobo Abe novel about a scientist named Okuyama who has been literally defaced by a chemical accident. We never see what he used to look like; he spends half the film swaddled in bandages like Claude Rains in The Invisible Man, ferocious black eyes glinting through slits. Obsessed with people’s reactions to his appearance, he lashes out bitterly, insisting that all his social ties have been severed, including his conjugal ties with his wife. She tries to convince him that it’s all in his head and that her feelings haven’t changed, but her revulsion when he makes an abrupt sexual advance convinces him that she’s lying.

Okuyama believes that a life-like mask will restore his relationship with his wife and his connection to society. He has evidently not seen The Face Behind the Mask (1941), a terrific B noir in which Peter Lorre stars as Johnny Szabo, who is hideously scarred in a fire. This tragedy and the ensuing cruelty of strangers transform him from a sweet, Chaplin-esque immigrant to a bitter criminal mastermind, even after he dons a powder-white mask that gives him a sad, creepy ghost of his former face—more Lorre than Lorre.  The mask is merely a flimsy patch on the horrible visage that spiritually scars Johnny, and though it enables him to marry a sweet and loving (and perhaps near-sighted) woman, it can’t reverse the corrosion of his character.  

The doctor who makes a far more sophisticated mask for Okuyama does so because the project fascinates him as a psychological and philosophical experiment. He speculates about what the world would be like if everyone wore a mask: morality would not exist, he argues, since people would feel no responsibility for the actions of their alternate identities. (His theory seems to be borne out by the consequences of internet anonymity.) Unlike the one Johnny Szabo wears, here the mask bears no resemblance to Okuyama’s original looks, and the doctor believes the new face will change his patient’s personality, turning him into someone else.

When the mask is fitted, it turns out to be the face of Tatsuya Nakadai, one of the most striking and plastic pans in cinema history. With only a little help from a fake mole, dark glasses, and a bizarre fringe of beard, Nakadai succeeds in making his own features look eerily synthetic, as though they don’t belong to him. Sitting in a crowded beer hall on his first masked outing in public, he creates a palpable sense of unease, keeping his features unnaturally still as though unsure of their mobility, touching his skin gingerly to explore its alien surface. As he gradually grows more comfortable and revels in the freedom of his new face, the doctor tells him, “It’s not the beer that’s made you drunk, it’s the mask.”

Abe’s novel contains a scene in which the protagonist goes to an exhibit of Noh masks, highly stylized crystallizations of stock characters and emotions. In Noh, as in other traditional forms of theater that use masks, the actor is present on stage but vanishes into another physical being—men play women, young men play old men, gods, and ghosts. In cinema, actors impersonate other characters using their own faces—usually without even the heavy layer of makeup worn on western stages. Movie actors are pretending to be people they’re not, yet if we judge their performances good it means we believe what we see in their faces. When an actor’s real face plays the part of a mask, like Lorre’s or Nakadai’s, this strange inversion—the real impersonating the artificial—has a uniquely disconcerting effect.

At the heart of this disturbing film lurks a horror that changing the skin can indeed change the soul. Okuyama tries to hold onto his identity, insisting, “I am who I am, I can’t change,” but the doctor insists he is “a new man,” with “no records, no past.” In covering his scar tissue with a smooth, artificial skin he eradicates his own experience, and with it his humanity. The doctor turns out to be right when he predicts that the mask will have a mind of its own. Suddenly endowed with sleek good looks, Okuyama buys flashy suits and sets out to seduce his own wife. When he succeeds easily, he is outraged, only to have her reveal that she knew who he was all along. After she leaves him in disgust he descends into madness and random violence. He has become the opposite of the Invisible Man: a visible shell with nothing inside

Okuyama’s story is interwoven with a subplot about a radiation-scarred girl from Nagasaki, whose social isolation drives her to incest and suicide. Lovely from one side, repellent from the other, she looks very much like the protagonist of A Woman’s  Face. Ingrid Bergman starred in the Swedish original, but Joan Crawford is ideally cast in the 1941 Hollywood remake directed by George Cukor. Half beautiful and half grotesque, half hard-boiled and half vulnerable, Anna Holm spells out what was usually inchoate in Crawford’s paradoxical presence. A childhood fire has left her with a gnarled scar on one side of her face, like a black diseased root growing across her cheek and distorting her eye and mouth. Crawford makes us feel Anna’s agonizing humiliation when people look at her, which spurs her compulsive mannerisms of turning her head aside, lifting her hand to her cheek, or pulling her hair down.

Also perfectly cast is Conrad Veidt as the elegant, sinister Torsten Baring. Veidt went from German Expressionist horror—playing the goth heartthrob Cesar in The Cabinet of Dr. Caligari and the grotesquely disfigured yet weirdly alluring hero of The Man Who Laughs—to an unexpected late-career run as a sexy leading man in cloak-and-dagger films such as The Spy in Black and Contraband. When Anna turns her head defiantly to reveal her scar, Torsten gazes at her with a gleam of excitement, even of perverse attraction. She is confused and touched by his kindness and gallantry, helplessly trying to hide her sensitivity beneath a tough façade. Her broken-up, uncertain expressions when he gives her flowers or kisses her hand count as some of the most delicate acting Crawford ever did. Anna assumes that Torsten, the penniless scion of a rich family, must want her to do some dirty work, and she turns out to be right, but he also genuinely appreciates the proud, bitter, lonely woman who faces down her miserable lot through sheer strength of will.

People are horrible to Anna, nastily mocking her wounded vanity and her attempts to look nice. “The world was against me,” she says, “All right, I’d be against it.” She has found the perfect outlet, blackmailing pretty women who commit adultery. In one of the film’s best scenes, the spoiled and kittenish wife she is threatening retaliates by shining a lamp in Anna’s face and laughing at her. Anna leaps at the woman and starts hitting her over and over, forehand and backhand, in an ecstasy of hatred. This savagely satisfying moment is derailed by the film’s first grossly contrived plot twist, as the encounter is interrupted by the woman’s husband, who happens to be a plastic surgeon specializing in correcting facial scars. He offers to operate on Anna, and once the bandages are removed, in a scene orchestrated for maximum suspense, an absurdly flawless face is revealed.

The doctor (Melvyn Douglas) calls her both his Galatea and his Frankenstein: he views her as his creation, but isn’t sure if she’s an ideal woman or an unholy monster, “a beautiful face with no heart.” Her dilemma is ultimately which man to please, whose approval to seek: the doctor who believes her character should be corrected now that her face is, or Torsten, who wants her to kill the young nephew who stands between him and the family estate. This overwrought turn is never plausible; it is always obvious that Anna is no child murderer. What is believable is her erotic thrall to Torsten, the first man who has ever shown an interest in her. Crawford is at her most unguarded in these moments of trembling desire; Cukor remarked on how “the nearer the camera, the more tender and yielding she became.” He speculated that the camera was her true lover.

Anna undergoes months of pain and uncertainty for the chance of being beautiful for Torsten, and there is a marvelous shot of her gazing at herself in a mirror as she prepares to surprise him with her new face, brimming with hard proud joy. But he winds up lamenting the surgery that has turned her into “a mere woman, soft and warm and full of love,” he sneers. “I thought you were something different—strong, exciting, not dull, mediocre, safe.” In this same speech, Torsten reveals himself as a cartoonish fascist megalomaniac, which fits in with the film’s slide into silly, flimsily scripted melodrama, but sadly obscures the radical spark of what he’s saying. Anna’s character is shaped by the way she looks, or rather by the way she is looked at by men; the disappointingly conventional ending sides with the man who equates flawless beauty with moral goodness, and against the one man who was able to see something fine—a “hard, shining brightness,” in a woman’s damaged and imperfect face.

A Stolen Face (1952) follows a similar premise, much less effectively, and reaches the opposite conclusion. Paul Henreid plays a plastic surgeon who operates on female criminals with disfiguring scars, convinced that once they look normal they will become contented law-abiding citizens. He gets carried away, however, sculpting one patient into a dead ringer for his lost love (Lizabeth Scott plays both the original and the copy) and marrying her. His attempt to play Pygmalion backfires, since the vulgar, mean-spirited and untrustworthy ex-con is unchanged by her new appearance: she is indeed “a beautiful face without a heart.” That is a succinct definition of the femme fatale, a type Lizabeth Scott often played and one that embodies a fascination with the deceptiveness of feminine beauty. In The Big Heat (1953), it is only when Debbie (Glora Grahame) has her pretty face rearranged by a pot of scalding coffee that she abandons her cynical self-interest to become an avenging angel, fearlessly punishing the corrupt who hide their greed behind a genteel façade. She has nothing left to lose; pulling a gun from her mink coat and plugging the woman she recognizes as her evil “sister,” the disfigured Debbie asserts her freedom: “I never felt better in my life.”

Blessings in Disguise

Sometimes, people are only too happy to lose their faces. Dr. Richard Talbot (Kent Smith), the protagonist of the superb, underappreciated drama Nora Prentiss (1947), sees the bright side when his face is horribly burned in a car crash. He has already faked his own death, sending another man’s corpse over a cliff in a burning car. In a neat bit of poetic irony, by crashing his own car he has completed the process of destroying his identity, and no longer needs to fear he’ll be recognized. Losing his face is a blessing in disguise—or rather, a blessing of disguise. But the disfigurement is also a visual representation of the corruption of his character: his face changes to reflect his downward metamorphosis with almost Dorian Gray-like precision.

Car crashes are a kind of refrain in the film. The doctor’s routine existence veers off course when a taxi knocks down a nightclub singer, Nora Prentiss (Anne Sheridan), across the street from his San Francisco office. Talk about a happy accident: the nice guy trapped in an ice-cold marriage to a rigid, nagging martinet suddenly has a gorgeous, good-humored young woman stretched out on his examining table. Nora may sing for a living, but her real vocation is dishing out wisecracks (her first words on coming to are, “There must be an easier way to get a taxi.”) When the doctor mentions a paper he’s writing on “ailments of the heart,” the canary, her eyelids dropping under the weight of knowingness, quips, “A paper? I could write a book.”

It’s hard to imagine a more sympathetic pair of adulterers, but the doctor is so daunted by the prospect of asking his wife for a divorce that it seems simpler to use the convenient death of a patient in his office to stage his own demise and flee to New York with Nora. It’s soon clear, though, that some part of him did die in San Francisco. Cooped up in a New York hotel room, terrified of going out lest someone spot him, the formerly gentle man becomes an irascible, rude, nervous wreck. When the faithful and incredibly patient Nora goes back to singing for Phil Dinardo (Robert Alda), the handsome nightclub owner who loves her, Talbot becomes hysterically jealous. Unshaven and hollow-eyed, he slaps Nora and almost kills Dinardo before fleeing the police and heading into that fiery crash. He becomes, as the film’s evocative French title has it, L’Amant sans Visage, “the lover without a face.”

When his bandages are removed, he is unrecognizable, wizened and scarred, his face a creased and calloused mask. His own wife doesn’t know him, and when Nora visits him in prison his damaged face, shot through a tight wire mesh, looks like something decaying, dissolving. He’s in prison because, in an even neater bit of irony, he has been charged with his own murder. He decides to take the rap, recognizing the justice of the mistake: he did kill Richard Talbot.

This same ironic plot twist appears in Strange Impersonation (1946), albeit less convincingly. This deliriously far-fetched tale, directed at a breakneck pace by Anthony Mann, stars Brenda Marshall as Nora Goodrich, a pretty scientist whose glasses signal that she is both brainy and emotionally myopic. She is harshly punished for caring more about work than marriage: her female lab assistant, who wants to steal Nora’s fiancé, tampers with an experiment so that it explodes, burning Nora’s face to a crisp. Embittered, she retreats from the world, and when another woman, who is trying to blackmail her over a car accident, falls from the window and is mistakenly identified as Nora, she seizes the opportunity to disappear, have plastic surgery that miraculously eliminates her scars, and return posing as the blackmailer, to seek revenge. She goes to work for her former fiancé, who strangely fails to recognize her voice or her striking resemblance to his lost love.

The plot plays out as, and turns out to be, a fever dream, but this last credibility stretcher is too common to dismiss as merely the flaw of one potboiler. Plots involving impersonation and identity theft rely not only on unrealistic visions of what plastic surgery can achieve, but on the assumption that people are deeply unobservant and tone-deaf in recognizing loved ones. A film that underlines this blindness with droll irony is The Scar (a.k.a. Hollow Triumph and The Man Who Murdered Himself, 1948), a convoluted but hugely entertaining little B noir in which Paul Henreid plays dual roles as a crook on the run and a psychologist who happens to look just like him. John Muller, pursued by hit men sent by a casino owner he robbed, stumbles across his doppelganger and decides to kill him and take his place. All he needs to do is give himself a facial scar to match the doctor’s. Only as he is dumping the body does he notice that he has put the scar on the wrong cheek—the consequence of an accidentally reversed photograph. But the irony quickly doubles back: Muller decides to brazen it out, and in fact no one notices that the doctor’s scar has apparently moved from one side of his face to the other—not even his lover. (Joan Bennett glides through this awkward part in a world-weary trance, giving a dry-martini reading to the script’s most famous lines: “It’s a bitter little world, full of sad surprises.”) The assumption that people pay little attention to the way others look or sound seems directly at odds with the power that faces and voices wield on film, and the intimate specificity with which we experience them. But noir stories often turn on how easily people are deceived, and how poorly they really know one another—or even themselves.

In The Long Wait (1954), perhaps the most extreme case of confused identity, a man with amnesia searches for a woman who has had plastic surgery. Not only does he not know what she looks like now, he can’t even remember what she used to look like. Since the movie is based on a Mickey Spillane story, he proceeds methodically by grabbing every woman he sees, in hopes that something will jog his memory. The film is fun in its pulpy, trashy way, provided you enjoy watching Anthony Quinn kiss women as though his aim were to throttle the life out of them. Quinn plays a man badly injured in a car wreck that erases both his memory and his fingerprints. This is lucky when he wanders into his old town and discovers he is wanted for a bank robbery—without fingerprints, they can’t arrest him. Figuring he must be innocent, he goes in search of the girlfriend who may or may not have grabbed the money and gone under the knife. It’s an intriguing premise, but the ultimate revelation of the right woman feels arbitrary, and the implications of all this confusion of identities are left resolutely unexamined. Nonetheless, there is something in the film’s searing, inarticulate desperation that glints like a shattered mirror.

Under the Knife

The promise of plastic surgery is a new and better self, the erasure of years and the traces of life. Taken to extremes, it is the opportunity to become a different person. Probably the best known plastic surgery noir is Dark Passage (1947), in which Humphrey Bogart plays Vincent Parry, who visits a back alley doctor after escaping from San Quentin. Parry was framed for killing his wife, so the face plastered across newspapers with the label of murderer has become a false face that betrays him. A friendly cabby who spots him recommends a surgeon who is he promises is “no quack.” Houseley Stevenson’s gleeful turn as the back-alley doctor is unforgettable, as he sharpens a straight razor while philosophizing about how all human life is rooted in fear of pain and death. He can’t resist scaring Parry, chortling over what he could do to a patient he didn’t like: make him look like a bulldog, or a monkey. But he reassures Parry that he’ll make him look good: “I’ll make you look as if you’ve lived.”

During the operation, Parry’s drugged consciousness becomes a kaleidoscope of faces, all the people who have threatened or helped him swirling around. His face is being re-shaped, as his life has already been shaped by others: the bad woman who framed him and the good woman who rescues and protects him, the small-time crook who menaces him and the kind cabby who helps him. Faceless for much of the movie, mute for part of it (he spends a long time in constraining bandages), Vincent Parry is among the most passive and cipher-like of noir protagonists. When the bandages finally come off after surgery, he looks like Humphrey Bogart, and the idea that this famously beat-up, lived-in face could be the creation of plastic surgery is perhaps the film’s biggest joke. But Vincent Parry remains an oddly blank, undefined character, and he seems unchanged by his new face and name. In a sense the doctor is right: he only looks as though he’s lived.

The fullest cinematic exploration of the problems inherent in trying to make a new life through plastic surgery is Seconds (1966), John Frankenheimer’s flesh-creeping sci-fi drama about a mysterious company that offers clients second lives. For a substantial fee, they will fake your death, make you over completely—including new fingerprints, teeth, and vocal cords—and create an entirely new identity for you. There is never a moment in the movie when this seems like a good idea. The Saul Bass credits, in which human features are stretched and distorted in extreme close-up, instills a horror of plasticity, and disorienting camera-work creates an immediate feeling of unease and dislocation, a physical discomfort at being in the wrong place.

Arthur, a businessman from Scarsdale, is the personification of disappointed middle age, afflicted by profound anomie that goes beyond a dull routine and a tired marriage. When the Company finishes its work—the process is shown in gruesome detail, to the extent that Frankenheimer’s cameraman fainted while shooting a real rhinoplasty—the formerly nondescript and greying Arthur looks like Rock Hudson, and has a new life as a playboy painter in Malibu. He’s told that he is free, “alone in the world, absolved of all responsibility.” He has “what every middle-aged man in America wants: freedom.”

At first, however, his life proves as empty and meaningless in this new setting as it was in the old; even when the Frankenstein scars have healed, he remains nervous and joyless as before. After he meets and falls for a beautiful blonde neighbor, who introduces him to a very 1960s California lifestyle, he begins to revel in youth and sensual freedom. Yet something is still not right; at a cocktail party he gets drunk and starts talking about his former existence—a taboo. He discovers that his lover, indeed almost everyone he knows, is an employee of the company or a fellow “reborn,” hired to create a fake life for him, and to keep him under surveillance. His “freedom” is a construct, tightly controlled.

Arthur rebels, making a forbidden trip to visit his wife, who of course does not recognize him. Talking to her about her supposedly deceased husband, for the first time he begins to understand himself: the depth of his alienation and confusion, the fact that he never really knew what he wanted, and so wanted the things he had been told he should want. Seconds is a scathing attack on the American ideal of a successful life, a portrait of how corporations sell fantasies of youth, beauty, happiness, love; buying into these commercial dreams, no one is really free to know what they want, or even who they are. Will Geer, as the folksy, sinister founder of the Company, talks wistfully about how he simply wanted to make people happy.

There is a deep sadness in the scenes where Arthur revisits his old home and confronts the failure of his attempt at rebirth—beautifully embodied by Rock Hudson in a performance suffused with the melancholy of a man who has spent his life hiding his real identity behind a mask. Yet Arthur still imagines that if he can have another new start, a third face and identity, he will get it right. Instead, he learns the macabre secret of how the Company goes about swapping out people’s identities. Seconds contrasts the surgical precision with which faces, bodies, and the trappings of life can be remade, and the impossibility of determining or predicting how or if the inner self will be changed. For that there are no charts or diagrams, and no knife that can cut deep enough.

by Imogen Sara Smith

[betterdaysareatoenailaway]

Random Review #3: Sleepwalkers (1992) and “Sleep Walk” (1959)

I. Sleepwalkers (1992) I couldn’t sleep last night so I started watching a trashy B-movie penned by Stephen King specifically for the screen called Sleepwalkers (1992). Simply put, the film is an unmitigated disaster. A piece of shit. But it didn’t need to be. That’s what’s so annoying about it. By 1992 King was a grizzled veteran of the silver screen, with more adaptations under his belt than any other author of his cohort. Puzo had the Godfather films (1972 and 1974, respectively), sure, but nothing else. Leonard Gardner had Fat City (1972), a movie I love, but Gardner got sucked into the Hollywood scene of cocaine and hot tub parties and never published another novel, focusing instead on screenplays for shitty TV shows like NYPD Blue. After Demon Seed (1977), a movie I have seen and disliked, nobody would touch Dean Koontz’s stuff with a ten foot pole, which is too bad because The Voice of the Night, a 1980 novel about two young pals, one of whom is a psychopath trying to convince the other to help him commit murder, would make a terrific movie. But Koontz’s adaptations have been uniformly awful. The made-for-TV film starring John C McGinley, 1997′s Intensity, is especially bad. There are exceptions, but Stephen King has been lucky enough to avoid the fate of his peers. Big name directors have tackled his work, from Stanley Kubrick to Brian De Palma. King even does a decent job of acting in Pet Semetary (1989), in his own Maximum Overdrive (1986) and in George Romero’s Creepshow (1982), where he plays a yokel named Jordy Verril who gets infected by a meteorite that causes green weeds to grow all over his body. Many have criticized King’s over-the-top performance in that flick, but for me King perfectly nails the campy and comical tone that Romero was going for. The dissolves in Creepshow literally come right off the pages of comics, so people expecting a subtle Ordinary People-style turn from King had clearly walked into the wrong theatre. Undoubtedly Creepshow succeeds at what it set out to do. I’m not sure Sleepwalkers succeeds though, unless the film’s goal was to get me to like cats even more than I already do. But I already love cats a great deal. Here’s my cat Cookie watching me edit this very blog post. 

And here’s one of my other cats, Church, named after the cat that reanimates and creeps out Louis and Ellie in Pet Sematary. Photo by @ScareAlex.

SPOILER ALERT: Do not keep reading if you plan on watching Sleepwalkers and want to find out for yourself what happens.

Stephen King saw many of his novels get adapted in the late 1970s and 80s: Carrie, The Shining, Firestarter, Christine, Cujo, and the movie that spawned the 1950s nostalgia industrial complex, Stand By Me, but Sleepwalkers was the first time he wrote a script specifically for the screen rather than adapting a novel that already existed. Maybe that’s why it’s so fucking bad. Stephen King is a novelist, gifted with a novelist’s rich imagination. He’s prone to giving backstories to even the most peripheral characters - think of Joe Chamber’s alcoholic neighbour Gary Pervier in the novel Cujo, who King follows for an unbelievable number of pages as the man stumbles drunkenly around his house spouting his catch phrase “I don’t give a shit,” drills a hole through his phone book so he can hang it from a string beside his phone, complains about his hemorrhoids getting “as big as golfballs” (I’m not joking), and just generally acts like an asshole until a rabid Cujo bounds over, rips his throat out, and he bleeds to death. In the novel Pervier’s death takes more than a few pages, but it makes for fun reading. You hate the man so fucking much that watching him die feels oddly satisfying. In the movie, though, his death occurs pretty quickly, and in a darkened hallway, so it’s hard to see what’s going on aside from Gary’s foot trembling. And Pervier’s “I don’t give a shit” makes sense when he’s drilling a hole in the phone book, not when he’s about to be savagely attacked by a rabid St Bernard. There’s just less room for back story in movies. In a medium that demands pruning and chiseling and the “less is more” dictum, King’s writing takes a marked turn for the worse. King is a prose maximalist, who freely admits to “writing to outrageous lengths” in his novels, listing It, The Stand, and The Tommyknockers as particularly egregious examples of literary logorrhea. He is not especially equipped to write concisely. This weakness is most apparent in Sleepwalkers’ dialogue, which sounds like it was supposed to be snappy and smart, like something Aaron Sorkin would write, but instead comes off like an even worse Tango & Cash, all bad jokes and shitty puns. More on those bad jokes later. First, the plot.

Sleepwalkers is about a boy named Charles and his mother Mary who travel around the United States killing and feeding off the lifeforce of various unfortunate people (if this sounds a little like The True Knot in Doctor Sleep, you’re not wrong. But self-plagiarism is not a crime). Charles and Mary are shapeshifting werewolf-type creatures called werecats, a species with its very own Wikipedia page. Wikipedia confers legitimacy dont’cha know, so lets assume werecats are real beings. According to said page, a werecat, “also written in a hyphenated form as were-cat) is an analogy to ‘werewolf’ for a feline therianthropic creature.” I’m gonna spell it with the hyphen from now on because “werecats” just looks like a typo. Okay? Okay.

Oddly enough, the were-cats in Sleepwalkers are terrified of cats. Actual cats. For the were-cats, cute kittens = kryptonite. When they see a cat or cats plural, this happens to them:

^ That is literally a scene from the movie. Charles is speeding when a cop pulls alongside him and bellows at him to pull over. Ever the rebel, Charles flips the cop the finger. But the cop has a cat named Clovis in his car, and when the cat pops up to have a look at the kid (see below), Charles shapeshifts first into a younger boy, then into whatever the fuck that is in the above screenshot.

Now, the were-cats aversion to normal cats is confusing because one would assume a were-cat to be a more evolved (or perhaps devolved?) version of the typical house kitty. The fact that these were-cats are bipedal alone suggests an advantage over our furry four-legged friends, no? Kinda like if humans were afraid of fucking gorillas. Wait...we are scared of gorillas. And chimpanzees. And all apes really. Okay, maybe the conceit of the film isn’t so silly after all. The film itself, however, is about as silly as a bad horror movie can get. When the policeman gets back to precinct and describes the incident above (”his face turned into a blur”) he is roundly ridiculed because in movies involving the supernatural nobody believes in the supernatural until it confronts them. It’s the law, sorry. Things don’t end well for the cop. Or for the guy who gets murdered when the mom stabs him with...an ear of corn. Yes, an ear of corn. Somehow, the mother is able to jam corn on the cob through a man’s body, without crushing the vegetable or turning it into yellow mash. It’s pretty amazing. Here is a sample of dialog from that scene: Cop About To Die On The Phone to Precinct: There’s blood everywhere! *STAB* Murderous Mother: No vegetables, no dessert. That is actually a line in the movie. “No vegetables, no dessert.” It’s no “let off some steam, Bennett” but it’s close. Told ya I’d get back to the bad jokes. See, Mary and Charles are new in town and therefore seeking to ingratiate themselves by killing everyone who suspects them of being weird, all while avoiding cats as best they can. At one point Charles yanks a man’s hand off and tells him to "keep [his] hands to [him]self," giving the man back his severed bloody hand. Later on Charles starts dating a girl who will gradually - and I do mean gradually - come to realize her boyfriend is not a real person but in fact a were-cat. Eventually our spunky young protagonist - Madchen Amick, who fans of Twin Peaks will recognize as Shelly - and a team of cats led by the adorable Clovis- kill the were-cat shapeshifting things and the sleepy small town (which is named Travis for some reason) goes back to normal, albeit with a slightly diminished population. For those keeping score, that’s Human/Cat Alliance 1, Shapeshifting Were-cats 0. It is clear triumph for the felis catus/people team! Unless we’re going by kill count, in which case it is closer to Human/Cat Alliance 2, Were-cats 26. I arrived at this figure through my own notes but also through a helpful video that takes a comprehensive and complete “carnage count” of all kills in Sleepwalkers: https://www.youtube.com/watch?v=vmt-DroK6uA

II. Santo & Johnny “Sleep Walk” (1959) Because Sleepwalkers is decidedly not known for its good acting or its well-written screenplay, it is perhaps best known for its liberal and sometimes contrapuntal use of Santo & Johnny’s classic steel guitar song “Sleep Walk,” possibly the most famous (and therefore best) instrumental of the 20th century. Some might say “Sleep Walk” is tied for the #1 spot with “Green Onions” by Booker T & the M.G.’s and/or “Wipe Out” by The Surfaris, but I disagree. The Santo & Johnny song is #1 because of its incalculable influence on all subsequent popular music. 

I’m not saying “Wipe Out” didn't inspire a million imitators, both contemporaneously and even decades later…for example here’s a surf rock instrumental from 1999 called “Giant Cow" by a Toronto band called The Urban Surf Kings. The video was one of the first to be animated using Flash (and it shows):

So there are no shortage of surf rock bands, even now, decades after its emergence from the shores of California to the jukeboxes of Middle America. My old band Sleep for the Nightlife used to regularly play Rancho Relaxo with a surf rock band called the Dildonics, who I liked a great deal. There's even a Danish surf rock band called Baby Woodrose, whose debut album is a favourite of mine. They apparently compete for the title of Denmark’s biggest surf pop band with a group called The Setting Son. When a country that has no surfing culture and no beaches has multiple surf rock bands, it is safe to say the genre has attained international reach. As far as I can tell, there aren’t many bands out there playing Booker T & the M.G.’s inspired instrumental rock. Link Wray’s “Rumble” was released four years before “Green Onions.” But the influence of Santo and Johnny’s “Sleep Walk” is so ubiquitous as to be almost immeasurable. The reason for this is the sheer popularity of the song’s chord progression. If Santo and Johnny hadn’t written it first, somebody else would have, simply because the progression is so beautiful and easy on the ears and resolvable in a satisfying way. Have a listen to “Sleep Walk” first and then let’s check out some songs it directly inspired. 

The chords are C, A minor, F and G. Minor variations sometimes reverse the last two chords, but if it begins with C to A minor, you can bet it’s following the “Sleep Walk” formula, almost as if musicians influenced by the song are in the titular trance. When it comes to playing guitar, Tom Waits once said “your hands are like dogs, going to the same places they’ve been. You have to be careful when playing is no longer in the mind but in the fingers, going to happy places. You have to break them of their habits or you don’t explore; you only play what is confident and pleasing.” Not only is it comforting to play and/or hear what we already know, studies have shown that our brains actively resist new music, because it takes work to understand the new information and assimilate it into a pattern we are cogent of. It isn’t until the brain recognizes the pattern that it gives us a dopamine rush. I’m not much for Pitchfork anymore, but a recent article they posted does a fine job of discussing this phenomenon in greater detail.

Led Zeppelin’s “D’Yer Maker” uses the “Sleep Walk” riff prominently, anchored by John Bonham and John Paul Jones’ white-boy reggae beat: 

Here it is again with Del Shannon’s classic “Little Town Flirt.” I love Shannon’s falsetto at the end when he goes “you better run and hide now bo-o-oy.”

The Beatles “Happiness is a Warm Gun” uses the Sleep Walk progression, though not for the whole song. It goes into the progression at the bridge at 1:34: 

Tumblr won’t let me embed any more videos, so you’ll to travel to another tab to hear these songs, but Neil Young gets in on the act with his overlooked classic “Winterlong:” https://www.youtube.com/watch?v=RV6r66n3TFI On their 1996 EP Interstate 8 Modest Mouse pay direct homage by singing over their own rendition of the original Santo & Johnny version, right down to the weeping steel guitar part: https://www.youtube.com/watch?v=VT_PwXjCqqs The vocals are typical wispy whispered indie rock vocals, but I think they work, particularly the two different voices. They titled their version “Sleepwalking (Couples Only Dance Prom Night).”

Dwight Yoakam’s “Thousand Miles From Nowhere” makes cinematic use of it. This song plays over the credits of one of my all-time favourite movies, 1993′s Red Rock West feat. Nicolas Cage, Lara Flynn Boyle, Dennis Hopper, and J.T. Walsh https://www.youtube.com/watch?v=Tu3ypuKq8WE

“39″ is my favourite Queen song. I guess now I know why. It uses my fav chord progression: https://www.youtube.com/watch?v=kE8kGMfXaFU 

Blink 182 scored their first hit “Dammit” with a minor variation on the Sleep Walk chord progression: https://www.youtube.com/watch?v=sT0g16_LQaQ

Midwest beer drinkin bar rockers Connections scored a shoulda-been-a-hit with the fist-pumping “Beat the Sky:” https://www.youtube.com/watch?v=YSNRq0n_WYA You’d be hard pressed to find a weaker lead singer than this guy (save for me, natch), but they make it work. This one’s an anthem.

Spoon, who have made a career out of deconstructing rock n’ roll, so that their songs sometimes sound needlessly sparse (especially “The Ghost of You Lingers,” which takes minimalism to its most extreme...just a piano being bashed on staccato-style for four minutes), so it should surprise nobody that they re-arrange the Sleep Walk chords on their classic from Gimme Fiction, “I Summon You:” https://www.youtube.com/watch?v=teXA8N3aF9M I love that opening line: remember the weight of the world was a sound that we used to buy? I think songwriter Britt Daniel is talking about buying albums from the likes of Pearl Jam or Smashing Pumpkins, any of those grunge bands with pessimistic worldviews. There are a million more examples. I remember seeing some YouTube video where a trio of gross douchebros keep playing the same progression while singing a bunch of hits over it. I don’t like the smarmy way they do it, making it seem like artists are lazy and deliberately stealing. I don’t think it’s plagiarism to use this progression. And furthermore, tempo and production make all the difference. Take “This Magic Moment” for example. There's a version by Jay & the Americans and one by Ben E King & the Drifters. I’ve never been a fan of those shrieking violins or fiddles that open the latter: https://www.youtube.com/watch?v=bacBKKgc4Uo The Jay & the Americans version puts the guitar riff way in the forefront, which I like a lot more. The guitar plays the entire progression once before the singing starts and the band joins in: https://www.youtube.com/watch?v=pKfASw6qoag

Each version has its own distinctive feel. They are pretty much two different songs. Perhaps the most famous use of the Sleep Walk progression is “Unchained Melody” by the Righteous Brothers, which is one of my favourite songs ever. The guy who chose to let Bobby Hatfield sing this one by himself must have kicked himself afterwards when it became a hit, much bigger than "You've Lost That Lovin' Feeling."https://www.youtube.com/watch?v=qiiyq2xrSI0

What can you say about “Unchained Melody” that hasn’t already been said? God, that miraculously strong vocal, the way the strings (and later on, brass horns) are panned way over to the furthest reaches the left speaker while the drums and guitar are way over in the right, with the singing smack dab in the middle creates a kind of distance and sharp clarity that has never been reproduced in popular music, like seeing the skyscrapers of some distant city after an endless stretch of highway. After listening to “Unchained Melody,” one has to wonder: can that progression ever be improved upon? Can any artist write something more haunting, more beautiful, more uplifting than that? The “need your love” crescendo hits so fucking hard, as both the emotional and the sonic climax of the song, which of course is no accident...the strings descending and crashing like a waterfall of sound, it gets me every fucking time. Legend has it that King George II was so moved by the “Hallelujah” section of Handel’s “Messiah” that he stood up, he couldn't help himself, couldn't believe what he was hearing. I get that feeling with all my favourite songs. "1979." "Unchained Melody." "In The Still of the Night." "Digital Bath." "Why Does My Heart Feel So Bad?" "Interstate." "Liar's Tale." “Gimme Shelter.” The list goes on and on. Music is supposed to move us.

King George II stood because he was moved to do so. Music may be our creation, but it isn't our subordinate. All those sci-fi stories warning about technology growing beyond our control aren’t that far-fetched. Music is our creation but its power lies beyond our control. We are subordinate to music, helpless against its power and might, its urgency and vitality and beauty. There have been many times in my life when I have been so obsessed with a particular song that I pretty much want to live inside of it forever. A house of sound. I remember detoxing from heroin and listening to Grimes “Realiti” on repeat for twelve hours. Detoxing from OxyContin and listening to The Beach Boys “Dont Worry Baby” over and over. Or just being young and listening to “Tonight Tonight” over and over and over, tears streaming from my eyes in that way you cry when you’re a kid because you just feel so much and you don’t know what to do with the intensity of those feelings. It is precisely because we are so moved by music that we keep creating it. And in the act of that creation we are free. There are no limits to that freedom, which is why bands time and time again return to the well-worn Sleep Walk chord progression and try to make something new from it. Back in 2006, soon after buying what was then the new Yeah Yeah Yeahs album, I found myself playing the album’s closing track over and over. I loved the chorus and I loved the way it collapses into a lo-fi demo at the very end, stripping away the studio sheen and...not to be too punny, showing its bones (the album title is Show Your Bones). Later on I would realize that the song, called “Turn Into,” uses the Sleep Walk chord progression. https://www.youtube.com/watch?v=exqCFoPiwpk

It’s just like, what Waits said, our hands goes to where we are familiar. And so do our ears, which is why jazz often sounds so unpleasant to us upon first listen. Or Captain Beefheart. But it’s worth the effort to discover new stuff, just as it’s worth the effort to try and write it. I recently lamented on this blog that music to me now is more about remembrance than discovery, but I’m still only 35 years old. I’m middle-aged right now (I don’t expect to live past 70, not with the lifestyle I’ve been living). There’s still a whole other half life to find new music and love and leave it for still newer stuff. It’s worth the challenge, that moment of inner resistance we feel when confronted with something new and challenging and strange sounding. The austere demands of adult life, rent and routine, take so much of our time. I still make time for creative pursuits, but I don’t really have much time for discovery, for seeking out new music. But I’ve resolved to start making more time. A few years ago I tried to listen to and like Trout Mask Replica but I couldn’t. I just didn’t get what was going on. It sounded like a bunch of mistakes piled on top of each other. But then a few days ago I was writing while listening to music, as I always do, and YouTube somehow landed on Lick My Decals Off, Baby. I didn’t love what I was hearing but I was intrigued enough to keep going. And now I really like this song: https://www.youtube.com/watch?v=EMnd9dvb3sA&pbjreload=101 Another example I’ll give is the rare Robert Pollard gem “Prom Is Coming.” The first time I heard this song, it sounded like someone who can’t play guitar messing around, but the more I heard it the more I realized there’s a song there. It’s weird and strange, but it’s there. The lyrics are classic Pollard: Disregard injury and race madly out of the universe by sundown. Pollard obviously has a special place in his heart for this track. He named one of his many record labels Prom Is Coming Records and he titled the Boston Spaceships best-of collection Out of the Universe By Sundown. I don’t know if I’ll ever become a Captain Beefheart megafan but I can hear that the man was doing something very strange and, at times, beautiful. And anyway, why should everything be easy? Aren’t some challenges worth meeting for the experience waiting on the other side of comprehension or acceptance? I try to remember this now whenever I’m first confronted with new music, instead of vetoing it right away. Most of my favourite bands I was initially resistant to when I first heard them. Queens of the Stone Age, Kyuss, Guided by Voices, Spoon, Heavy Times. All bands I didn’t like at first.  I don’t wanna sleepwalk through life, surrounding myself only with things I have already experienced. I need to stay awake. Because soon enough I’ll be asleep forever. We need to try everything we can before the Big Sleep comes to take us back to the great blankness, the terrible question mark that bookends our lives.

[popculturebuffet]

Ducktales Reboot Reviews: The Dangerous Chemistry of Gandra Dee!

Fenton faces some of his greatest challenges yet: Gizmoduck’s soaring popularity and the possiblity of amour...  oh and the return of his arch enemy but that’s a standard tuesday for a superhero. It’s a Date, don’t let him trick you noooo, under the cut. 

I have to admit something first: I WAS going to cover the other two fentoncentric episodes before I got to this one, as a build up to this weekends episode. The problem though was I realized that this week’s episode is, via word of god, going to cover WHY Gyro hates Fenton , and thus I really can’t dig into Gyro’s behavior in both eps, especially Who Is Gizmoduck? where despite his rational fears of having funding cut, he’s still an uttershithead to fenton and I feel it’d be better served if I waited a little and did the ep sometime after saturday.  So with that bit of expostion you probably didn’t need out of the way: Dangerous Chemistry! This one is a personal faviorite of mine, to the point that when I was bored a week or two ago I watched this one just for fun, and probably will again. That’s not why i’m reviewing it: even if I hadn’t I would rewatch it and planned to for the ones I was going to review, it’s just dumb luck. And part of that is Fenton is one of my faviortes: Lin Manuel Miranda really brings his a game to the character, and the crew really fleshed him out, making him a really likeable, fun, and relatable awkward dork. Another reason is one that should be obvious if you saw my comics reviews when I in vain tried to review each dawn of x comic on a weekly basis before throwing up my hands at the sheer volume: I fucking love super heroes, and Who is Gizmoduck and this very episode are very good superhero stories that still fit well into the ducktales universe, as is the darkwing debut “The Duck Knight Returns!”. And finally the episode also has Huey in a major role and I love my red boy. So with all that stuff out of the way I can dive into the ep itself.  This one, as you probably know but I do like me my context, takes place in the second half of season. While Fenton did show up earlier for fellow instant classic “The 87 Cent Solution!”, he’s otherwise been absent this season. My honest theroy is, rather than Lin being busy, which while he sure as hell is he still squeezes the show in, it’s more a simple fact that season 2 is pretty damn stuffed: looking back at the episode count almost EVERY ONE ties into one of the major arcs of the season (Della’s journey home/struggle to fit into her kids life/ the moonvasion, glomgold’s bet with scrooge and louie inc), and those that don’t either bring in major new characters like the Cablleros or Drake, or touch on previous arcs: Last Christmas! touching on Dewey missing his mom while she’s still missing. Lena’s episodes bringing her back to the world of the living/introducing her sister, and then resolving her fear of magica for now and revealing where Magica’s been, and this ep checking in on fenton. There was just a LOT to do and get through, and Gandra was really the only time sesntive thing Fenton wise they had to absolutley do this season. So while it sucks, I do understand why they did it this way,  I do see why and hold no ill will over it.  And to the crew’s credit they used the fact Fenton had been absent cleverly and had a valid reason why we hadn’t seen him outside of one breif apperance: he’s busy. Simple as that. He’s been superheroing all this time: when we catch up with him he’s outright called burnt out by a c-list weather villian who looks like dr.doofnschmritz but lacks his awkward charm. He even uses the same pun twice. It’s also logical: his literal JOB is to be a superhero, it’s what he’s paid for, and given Duckberg seems ground zero for lunatics, it’s only natural ther’es a bakers dozens with techno gimmicks and costumes floating around trying to beat him up. He’s naturally exausted and i’ts made worse by two factors: His alter ego being all over the news, so even when h’es off work he can’t escape work, and being unable to do science.  And both are clever delimas: a lot of the usual superhero issues are non existant for fenton: while he’s bad at hiding his identity, the only person he really has to hide from is his mom, who we later learn at the end of the season already knows and has come around to it. His job isn’t in remote jeapordy because Gizmoduck IS the job, while he still has full acess to a lab to do the science work he’s always wanted. But he’s starting to see the price for doing the right thing: He’s spent so much time as Gizmoduck.. Fenton has nothing of his own. No time to do science, only two friends, and as a result is exausted and burnt out and yearning for a break.  So thankfully he’s taking one, and in another use of “time has moved on a bit because we didn’t have time for Fenton this season” he and Huey have gone from superhero and biggest fan to best friends. But I let it slide, partly because again the season is overstuffed dand i’ll likelky delve into that more when I get to this seasons arcs at some point, and mainly beause the two have a great dynamic: Huey is supportive, just wants his friend to be okay, and meshes with fenton perfectly: Their both big nerds who people tend ot ignore who get overly excited about science. But Hueys more openly confident while Fenton clearly lacks it at times. It’s a nice eb and flow I hope to see more of. 

HE and Huey are hanging out to do science and stuff, with webby tagging along because why not, and I absolutly love the gag of gizmoduck passing by, Webby not noticing at all and only finding out Fenton and Gizmoduck are the same person because Huey makes a rather big deal abotu the fact Gizmoduck just passed by and Webby is really smart and likes solving shit.  So we quickly get the rest of our setup: At the elctronics store, Fenton has a meet cute (which the juinor woodchuck guidebook of course has an entry on. ) with Gandra Dee, played by guest acress Jameela Jamil, better known from the good place and being the only one to point out “hey emil hirsch beat the shit out of the woman what the fuck” when quinten Tarantino cast him in the otherwise amazing film “Once Upon a Time In Hollywood”, who does a great job here. The two have some romantic tension as she calls fenton a suit and what not, he fires back he is good at sceincing and they schedule what may or may not be a date... with Fenton unaware that Gandra is a spy hired by mark beaks to get the gizmoduck passowrd and use her nanites merged with gizmotech to boost his strength. As you do.  The resulting episode is really damn good: Starting in the obvious place, Fenton and Gandra have a reall good dynamic: besides the obvious oppsoites attract thing: the modernized nerutoic nerd and the rebllious scientest there’s the nice contrast in who they work for: Sure Fenton works for a billionare who DOES use some of his and gyro’s work for fairly self serving things (and I didn't realize the universal solvant was a rosa thing first time around, I learned it between viewings, but it’s a nice mythology gag), but it’s been shown as far back as the pilot that’s he’s more than willing ot help all of duckberg, even if it makes a profit. WHy WOULD he stop gyro or fenton’s research for any reason? He funnels a ton of money into them simply beause he knows for every dozen failures something useful will come out of it and at most simply wants more treasure hunting gear, stuff both can whip up easily and for Fenton to spend most of his time as defender of the city, something Fenton wanted anyway. He’s a good boss... while the billionares Gandra’s working with, Bradford as we learned later and beaks in this episode.. are self serving scumbags who only want innovation for world domination and personal validation. By refusing to have ties with or trust anybody or put in the legwork to find an employer who would give her mostly freedom, she wants complete freedomf or her work in exchange for taking money from truly awful people. She’s no freer than fenton is and her hypcoricy is obvious, without making the character terrible in any way. As the kingpin once said in spiderman the animated series “the best strings are invisble”. While Gandra is well aware of who she’s working for she refuses to see the irony or the possible harm in her actions , and it’ll be intresting to see where her charcter goes from ehre.  As for Beaks, he’s a FAR better threat here than in the past episodes: I didn’t MIND him being a joke villian, though I was horribly disapointed, and he will likely be super dated eventually... but here it finds a nice ballance: While he’s still a whiny manchild, the breaking into the lab sequence is utterly delightful and shows that he’s NOT harmless. He’s at his best, like glomgold, when he’s either off to the side comedic relief, or a mixture of genuinely threatining and utterly moronic. His drinking 80 pounds of senstive chemicals turns him into the hulk and the resulting fight scnees are great, as is his confusion upon taking huey and webby hostage “I have your kids.. I think.. I don’t know how this family works” and his cries of “whose the looser now coach dad” are both funny and offerd our first peak into why he’s so screwed up. And his defeat while rediculous is clever, using his love of fame and his phone against him. Overall a much better showing than the past that so far has kept up into season 3: even if his plan backfired there and was for goofy reasons, it was here too, it only fell apart because he hired someone who hated him and underestiamated how much he’d pissed off graves last time. 

As for Fenton himself, the episod eis a great showcase, besides the before issues his manuvering around both the obvious date the kids set up for him (more on that in a second), and his genuine chemsitry and contrast with gandra are a delight.. as his his dad’s lesuire suit. On top of that the scenes wher ehe chews gandra out are a great bit of acting from Lin manuel Miranda, the hurt and fury in his voice coming through great.  To finish it out Huey is a delight this episode, showing himself to be a suprisingly good romantic for his age, serously violet won the lottery with this one, and while overenthsastic, i’ts still sweet and his friendship with fenton is genuinely heartwarming, as is what has to be the best line of the episode besides the beaks one above Huey: Fenton’s going to be devistated! Webby: (Annoyed) Or kidnapped by spies! Huey: (Dead serious) TWO BAD THINGS COULD HAPPENS! It’s a sweet dyanmic overall and the cherry on top of an utterly fantastic episode. Hopefully the momentum keeps up going into saturday. Until then, later days. Speaking of which.. WHY ISN’T THE WEEKENDERS ON DISNEY PLUS. God I shouldn’t be able to keep thinking of shows that are missing. Anyways, once again later days.  P.S. I almost forgot Launchpads great bit listing off all his exes and confriming that he’s probably bi. It was great. 

[biglittlesshop]

Great Dane 5 Things You Should Know About This Woman Dog Mom She Loves Dogs More Than Human Tee Shirts

I didn’t know anything about this brand when I first bought it it was a Great Dane 5 Things You Should Know About This Woman Dog Mom She Loves Dogs More Than Human Tee Shirts good price and I needed some things so since I was there I picked a few stuff amazingly I really like the products the eye liner does wonders I love it. In response to last week s tatoosday post we got so many tattoos from last unicorn fans around the world that it will take months to showcase all of them to help make things go slightly faster than that and because it s neat to compare and contrast we re going to make today a two tattoosday post take a look at these very different approaches to showing the human and unicorn versions of peter s classic character in one image ashley knight schroeder s tattoo is beautifully stylized I just got this done on saturday the last unicorn has touched my life and helped me through many a rough patch even my sons will watch with me and sing talk along to the movie rippy s tattoos did the work I have no idea who did the original design I saw it and feel in love would love to find the original artist brittni lynn martin and her artist phil meyers from california opted for classic heartfelt look this movie has been my favorite since I was little and is now my favorite book and I have a 3 year old daughter who also loves it and we watch it together so it’s been a huge part of my life so beautiful both of these. The only way to protect your body from these dangerous toxins and reverse the damage that has been done is to use a natural nutritious cleansing program one that will give you exactly what your body needs to flush out all of the toxins that shouldn t be there and boost your metabolism at the same time an easy 3 day program with a complete shopping list and simple recipes that you can make from home without punishing depriving or starving your body start now 3 day cleanse with danette may detox program detox beauty diet fashion cleanse smoothie

Source: Great Dane 5 Things You Should Know About This Woman Dog Mom She Loves Dogs More Than Human Tee Shirts

Great Dane 5 Things You Should Know About This Woman Dog Mom She Loves Dogs More Than Human Tee Shirts, Hoodie, Sweater, Longsleeve T-Shirt For Men and Women

Great Dane 5 Things You Should Know About This Woman Dog Mom She Loves Dogs More Than Human Tee Shirts

See more: Desole Je Suis Deja Pris Par Une Fille Super Geniale Elle Est Nee En Septembre T-Shirt

Premium Trending This Summer Season will Presents Who Love:

Great to have time to visit anton’s retrospective at bucerius kunst forum hamburg until january see you tomorrow night larr the Great Dane 5 Things You Should Know About This Woman Dog Mom She Loves Dogs More Than Human Tee Shirts no edge adam u2 u2eitour antoncorbijn. Diane kendal for nars cosmetics thakoon really wanted girls to look healthy and very american this beauty look is inspired by the 80’s super models cindy claudia linda and christie found in peter lindbergh’s photography skin is gorgeous makeup is fresh and beautifully groomed face concealer sheer glow foundation cheeks deep throat blush eyes last frontier velvet eyeliner smudge across eyes and lower lashline goddess velvet shadow stick audacious mascara brows matte eyeshadow shades blondie bali bengali coconut grove brow gel lips sex machine velvet matte lip pencil. Yesterday was a busy day of meetings and airplane travel for peter and connor but last night peter took some time to share his thoughts on the passing of the great christopher lee christopher lee was the tallest actor I ever knew he was also by far the most literate when we first met in a los angeles studio where he was recording his lines as king haggard in the last unicorn he had just recorded haggard’s speech about his first sight of unicorns and I mentioned that it was probably my favorite speech in the book he immediately wanted to know well did I do it properly we can always redo it right here of course he’d handled the lines perfectly but writers and writers’ opinions about their work mattered intensely to christopher that same afternoon we discovered that between the two of us we we could call to mind just about all the lines of g k chesterton’s poem the rolling english road we also discovered a mutual need to hit the men’s room and my son dan in his mid teens at the time still has a very clear memory of christopher simultaneously peeing while declaiming in that voice which no one could ever keep from imitating after fifteen minutes with him before the roman came to rye or out to severn strode the rolling english drunkard made the rolling english road a reeling road a rolling road that rambled round the shire and after him the parson ran the sexton and the squire I leave it to the reader to imagine that voice in the tiled acoustics of a hollywood bathroom we met a second time in munich where the last unicorn was being dubbed into german most of my memories of that time and of chris lee have to do with books and authors he had known both j r r tolkien and a writer who mattered more to me t h white we had a long ongoing argument in munich about a chapter of the sword in the stone that appears in the english edition of the book but not in the american one he turned out to be right he usually was he never failed to mention the last unicorn as one of his very favorite books and as one of the movies he was most proud of having made indeed he left my whopperjawed as mark twain would have put it when we were being interviewed together on austrian television and he announced oh yes I simply couldn’t resist a chance to play king haggard one more time even in another language after all and he looked straight into the camera it’s the closest they’ll ever let me get to playing king lear the camera swung toward me to catch my stunned reaction and chris looked across the studio at me and winked but my most vivid memory chilling as it remains to this day has to do with the day that I and michael chase walker associate producer of the last unicorn and the one who really got the film made in the first place somehow found our way out to dachau I can’t now recall how we managed it considering that neither one of us spoke german and that you had to take both a subway and a bus to get there from the hotel where the crew were staying but we got there somehow and spent a good half of the day roaming with other tourists around a legendary concentration camp peering blindly into the huge crematoriums but staring with equal horror and fascination at the endless rows of filing cabinets containing every record of every human being who was ever imprisoned starved gassed or simply worked to death in this place michael and I grew quieter and quieter that afternoon until by the time we started back to munich we weren’t speaking at all I think we both felt that we might say anything in words again the first person we met in the hotel lobby was christopher he took one look at us and announced you’ve been to dachau we nodded without answering chris strode toward us looked all the way down from his six foot five inch altitude lowered his voice and inquired still smells doesn’t it with the end of world war ii christopher as a member of the special forces and whose five or six languages included fluent german had been assigned to hunt down and interrogate nazi war crminals and had been present at the liberation of dachau and yes the smell of death had undoubtedly faded somewhat since 1945 but it was still as real as michael and me wandering dazedly between the ovens and the filing system we just didn’t know what it was but christopher did and i’d know it again I never saw him again after munich though we spoke on the telephone a few times on the last occasion when I had called to wish him a happy 90th birthday I remember him assuring me that if by the time you come to make your live action version of your movie I have passed on do not let it concern you I have risen from the dead several times I know how it’s done he worked almost to the last as the real artists of every kind do they work to be working because that’s what they do and they die when they stop I always regarded him as the last of the great 19th century actors that bravura larger than life style went with him no modern rada trained performer would ever attempt it today nor should they it would inevitably come out parody however earnestly meant yet there was always more to christopher lee as an actor than dracula or the mummy or saruman or sherlock holmes for that matter though he was very proud of having played not only both holmes and watson but sherlock’s brother mycroft as well lord summerisle of the original the wicker man probably his favorite of his own movies is most likely closer to chris’s dark benignity than any other role he ever inhabited I believe this because lord summerisle sings a surprising amount in that movie and chris passionately loved singing if there is any such thing as an afterlife or reincarnation I truly hope no believe that christopher lee will return as a wagnerian opera singer if he hadn’t been considered too old in his 30s to be accepted for formal vocal training he might have been in his own eyes at least a happier more fulfilled man but we would have been deeply poorer for it and never have known See Other related products: Mimi Witch Broom Halloween T-Shirt

[letterboxd]

Life in Film: Ben Wheatley.

As Netflix goes gothic with a new Rebecca adaptation, director Ben Wheatley tells Jack Moulton about his favorite Hitchcock film, the teenagers who will save cinema, and a memorable experience with The Thing.

“The actual process of filmmaking is guiding actors and capturing emotion on set. That’s enough of a job without putting another layer of postmodern film criticism over the top of it.” —Ben Wheatley

Winter’s coming, still no vaccine, the four walls of home are getting pretty samey… and what Netflix has decided we need right now is a lavish, gaslight-y psychological thriller about a clifftop manor filled with the personality of its dead mistress—and a revival of one of the best menaces in screen history. Bring on the ‘Mrs Danvers’ Hallowe’en costumes, because Rebecca is back.

In Ben Wheatley’s new film adaptation of Daphne du Maurier’s best-selling 1938 novel, scripted by Jane Goldman, Lily James plays an orphaned lady’s maid—a complete nobody, with no known first name—who catches the eye of the dashing, cashed-up Maxim de Winter (Armie Hammer).

Very quickly, the young second Mrs de Winter is flung into the intimidating role of lady of Manderley, and into the shadow of de Winter’s late first wife, Rebecca. The whirlwind romance is over; the obsession has begun, and it’s hotly fuelled by Manderley’s housekeeper, Mrs Danvers (Kristin Scott Thomas, perfectly cast).

Each adaptation of du Maurier’s story has its own quirks, and early Letterboxd reactions suggest viewers will experience varying levels of satisfaction with Wheatley’s, depending on how familiar they are with both the novel and earlier screen versions—most notably, Alfred Hitchcock’s 1940 Best Picture winner, starring Laurence Olivier Joan Fontaine, and Judith Anderson.

Why would you follow Hitchcock? It’s been 80 years; Netflix is likely banking on an audience of Rebecca virgins (the same kind of studio calculation that worked for Bradley Cooper’s A Star is Born). Plus, the new Rebecca is a Working Title affair; it has glamor, camp, Armie Hammer in a three-piece suit, the sunny South of France, sports cars, horses, the wild Cornish coast, Lily James in full dramatic heat, and—controversial!—a fresh twist on the denouement.

A big-budget thriller made for a streamer is Wheatley coming full circle, in a way: he made his name early on with viral internet capers and a blog (“Mr and Mrs Wheatley”) of shorts co-created with his wife and longtime collaborator, Amy Jump. Between then and now, they have gained fans for their well-received low-to-no budget thrillers, including High-Rise, Kill List and Free Fire (which also starred Hammer).

Over Zoom, Wheatley spoke to Letterboxd about the process of scaling up, the challenge of casting already-iconic characters, and being a year-round horror lover. [The Rebecca plot discussion may be spoilery to some. Wheatley is specifically talking about the du Maurier version, not his film.]

Armie Hammer and Ben Wheatley on the set of ‘Rebecca’.

Can you tell us how you overcame any concerns in adapting a famous novel that already has a very famous adaptation? How did you want to make a 1930s story relevant to modern audiences? Ben Wheatley: When you go back to the novel and look at how it works, you see it’s a very modern book. [Author Daphne du Maurier is] doing stuff that people are still picking up the pieces of now. It’s almost like the Rosetta Stone of thrillers—it tells you everything on how to put a thriller together. The genre jumping and Russian-doll nature of the structure is so delicious. When you look at the characters in the book, they’re still popping up in other stuff—there’s Mrs Danvers in all sorts of movies.

It remains fresh because of its boldness. Du Maurier is writing in a way that’s almost like a dare. She’s going, “right, okay, you like romantic fiction do you? I’ll write you romantic fiction; here’s Maxim de Winter, he’s a widower, he’s a good-looking guy, and owns a big house. Here’s a rags-to-riches, Cinderella-style girl. They’re going to fall in love. Then I’m going to ruin romantic fiction for you forever by making him into a murdering swine and implicating you in the murder because you’re so excited about a couple getting away with it!”

That’s the happy ending—Maxim doesn’t go to prison. How does that work? He’s pretty evil by the end. It’s so subtly done that you only see the trap of it after you finish reading the book. That’s clearly represented in Jane Goldman’s adaptation that couldn’t be done in 1940 because of the Hays Code. That whole element of the book is missing [in Hitchcock’s Rebecca]. But I do really like this style of storytelling in the 1930s and ’40s that is not winky, sarcastic, and cynical. It’s going, “here’s Entertainment with a big ‘E’. We’re going to take you on holiday, then we’re gonna scare you, then we’re gonna take you around these beautiful houses that you would never get a chance to go around, and we’re gonna show you these big emotions.”

After High-Rise, you ended up circling back to more contained types of films, whereas Rebecca is your lushest and largest production. How was scaling up for you? Free Fire does feel like a more contained film, but in many ways it was just as complicated and had the same budget as High-Rise, since it’s just in one space. Happy New Year, Colin Burstead is literally a contained film, that’s right. What [the bigger budget] gave me was the chance to have a conversation where I say I want a hotel that’s full of people and no-one says you can’t have any people in it. You don’t have to shoot in a corner, so that scale is suddenly allowed.

Elisabeth Moss and Tom Hiddlestone in Wheatley’s ‘High-Rise’ (2015).

The other movies I did are seen as no-budget or, I don’t even know the word for how little money they are, and even though High-Rise and Free Fire were eight million dollars each, they’re still seen as ultra-low budget. This is the first film that I’ve done that’s just a standard Hollywood-style movie budget and it makes a massive difference. It gives you extra time to work. All the schemes you might have had to work out in order to cheat and get around faster, but now it’s fine, let’s only shoot two pages today. We can go out on the road and close down all of the south of France—don’t worry about all the holidaymakers screaming at you and getting cross! That side of it is great.

You had the challenge to cast iconic actors for iconic roles. What were you looking for in the casting? What points of reference did you give the actors? I don’t think we really talked about it, but [Armie Hammer] definitely didn’t watch the Hitchcock version. I can understand why he wouldn’t. There was no way he was going to accidentally mimic [Laurence] Olivier’s performance without seeing it and he just didn’t want to have the pressure of that. I think that’s quite right. It’s an 80-year-old film, it’s a beloved classic, and we’d be mad if we were trying to remake it. We’re not.

The thing about the shadow that the film cast is that it’s hard enough making stuff without thinking about other filmmakers. I’ve had this in the past where journalists ask me “what were your influences on the day?” and I wish I could say “it was a really complicated set of movies that the whole thing was based around”, but it’s not like that. When you watch documentaries about filmmakers screening loads of movies for their actors before they make something—it’s lovely, but it’s not something I’ve ever done.

The actual process of filmmaking is guiding actors and capturing emotion on set. That’s enough of a job without putting another layer of postmodern film criticism over the top of it—“we’ll use this shot from 1952, that will really make this scene sing!”—then you’re in a world of pain. Basically, it’s my interpretation of the adaptation. The book is its own place, and for something like High-Rise, [screenwriter Amy Jump] has the nightmare of sitting down with 112 pages of blank paper and taking a novel and smashing it into a script. That’s the hard bit.

Armie Hammer and Lily James in ‘Rebecca’.

Current industry news is not so great—cinemas are facing bankruptcy, film festivals in the USA are mostly virtual, Disney is focusing on Disney+ only. How do you feel about a future where streaming dominates the market and the theatrical experience becomes, as we fear, an exclusive niche? Independent cinema was born out of very few movies. If you look at the history of Eraserhead—that film on its own almost created all of cult cinema programming. One movie can do that. It can create an audience that is replicated and becomes a whole industry. And that can happen again, but it needs those films to do that. They will come as things ebb and flow. The streamers will control the whole market and then one day someone will go “I don’t want to watch this stuff, I want to watch something else” and they’ll go make it.

It’s like The Matrix, it’s a repeating cycle. There’ll always be ‘the One’. There’s Barbara Loden in 1970 making Wanda, basically inventing American independent cinema. So I don’t worry massively about it. I know it’s awkward and awful for people to go bankrupt and the cinemas to close down, but in time they’ll re-open because people will wanna see stuff. The figures for cinemagoers were massive before Covid. Are you saying that people with money are not going to exploit that? Life will find a way. Remember that the cinema industry from the beginning is one that’s in a tailspin. Every year is a disaster and they’re going bust. But they survived the Spanish Flu, which is basically the same thing.

Two months ago, you quickly made a horror movie. We’re going to get a lot of these from filmmakers who just need to create something this year. What can you identify now about this inevitable next wave of micro-budget, micro-schedule pandemic-era cinema? I’ve always made micro-budget films so that side of it is not so crazy. There will be a lot of Zoom and people-locked-in-houses films but they won’t be so interesting. They’re more to-keep-you-sane kind of filmmaking which is absolutely fine. Where you should look for [the ‘pandemic-era’ films] is from the kids and young adults through 14 to 25 who’ve been the most affected by it. They will be the ones making the true movies about the pandemic which will be in like five years’ time.

People going through GCSEs and A-Levels [final high-school exams in England] will have had their social contracts thoroughly smashed by the government after society tells them that this is the most important thing you’re ever gonna do in your life. Then the next day the government tells them “actually, you’ve all passed”, then the next day they go “no, you’ve all failed”, and then “oh no, you’ve all passed”. It’s totally bizarre. Anyone who’s in university at the moment [is] thinking about how they’ve worked really hard to get to that position and now they’ve had it taken away from them. That type of schism in that group will make for a unique set of storytelling impetus. Much more interesting than from my perspective of being a middle-age bloke and having to stay in my house for a bit, which was alright. Their experience is extreme and that will change cinema.

Kristin Scott Thomas as Mrs Danvers in ‘Rebecca’.

It’s time to probe into your taste in film. Firstly, three questions about Alfred Hitchcock: his best film, most underrated film, and most overrated film? It’s tricky, there’s a lot to choose from. I think Psycho is his best film because, much like Wanda, it was the invention of indie cinema. He took a TV crew to go and do a personal project and then completely redefined horror, and he did it in the same year as Peeping Tom.

There’s stuff I really like in Torn Curtain. Certainly the murder scene where they’re trying to stick the guy in the oven. It’s a gut-wrenching sequence. Overrated, I don’t know. It’s just a bit mean, isn’t it? Overrated by who? They’re all massively rated, aren’t they?

Which film made you want to become a filmmaker? The slightly uncool version of my answer is the first fifteen minutes of Dr. No before I got sent to bed. We used to watch movies on the telly when I was a kid, so movies would start at 7pm and I had to go to bed at 7:30pm. You would get to see the first half-hour and that would be it. The opening was really intriguing. I never actually saw a lot of these movies until I was much older.

The more grown-up answer is a film like Taxi Driver. It was the first time where I felt like I’d been transported in a way where there was an authorship to a film that I didn’t understand. It had done something to me that television and straightforward movies hadn’t done and made me feel very strange. It was something to do with the very, very intense mixture of sound, music and image and I started to understand that that was cinema.

What horror movie do you watch every Hallowe’en? I watch The Thing every year but I don’t tend to celebrate Hallowe’en, to be honest. I’m of an age where it wasn’t a big deal and was never particularly celebrated. I find it a bit like “what’s all this Hallowe’en about?”—horror films for me are for all year-round.

What’s a brilliant mindfuck movie that perhaps even cinephiles haven’t seen? What grade of cinephile are we talking? All of the work by Jan Švankmajer, maybe. Hard to Be a God is pretty mindfucky if you want a bit of that, but cinephiles should know about it. It’s pretty intense. Marketa Lazarová too.

‘Marketa Lazarová’ (1967) directed by František Vláčil.

What is the greatest screen romance that you totally fell head over heels for? I guess it’s Casablanca for me. That would be it.

Which coming-of-age film did you connect to the most as a teenager? [Pauses for effect] Scum.

Who is an exciting newcomer director we should keep our eyes on? God, I don’t know. I would say Jim Hosking but he’s older than me and he’s not a newcomer because he’s done two movies. So, that’s rubbish. He doesn’t count.

[Editor’s note: Hosking contributed to ABCs of Death 2 with the segment “G is for Grandad” while Wheatley contributed to The ABCs of Death with the segment “U is for Unearthed” and also executive produced the follow-up film.]

What was your best cinema experience? [Spoiler warning for The Thing.]

Oh, one that speaks in my mind is seeing The Thing at an all-nighter in the Scala at King’s Cross, and I was sitting right next to this drunk guy who was talking along to the screen. It was a packed cinema with about 300 people, and someone at the front told him “will you just shut up?” The guy says “I won’t shut up. You tell me to shut up again and I’ll spoil the whole film!” The whole audience goes “no, no, no!” and he went “it’s the black guy and the guy with the beard—everyone else dies!” That made me laugh so much.

Do you have a favorite film you’ve watched so far this year? Yeah, Zombie Flesh Eaters.

Related content

Classic Gothic Literature to Film—Jennifer Boddaert’s list

Ava’s Dark Romance list

Ben Wheatley’s Life in Film list

Follow Jack on Letterboxd

‘Rebecca’ is in select US theaters on October 17, and streaming on Netflix everywhere on October 21.

[dherzogblog]

songs/19

“I listen so you don't have to”

Hey everyone, we’re back! enjoy some music and musings from the last year

Make sure to click on there bold type for music links and extras!

Lizzo- Juice Lizzo burst into 2019 with a hit song, huge album and wildly successful tour. The “pudding in the proof “. Easily the catchiest tune of the year with an irresistible Bruno Mars 80′s funk vibe, She has the kind of star power and charisma that makes her appealing to just about everyone, including your aunt, who no doubt will be grooving to this on bar mitzvah dance floors for years to come. Blame it on her juice.

Jen Awad- Hungover

Big voiced, post Amy Winehouse soul singer blames it on the juice too. Maybe she was with Lizzo the night before?

Charley Crockett- How Low Can You Go?

Multi ethnic Americana singer/songwriter delivers one of my favorite albums of the year where he effortlessly moves from country to blues to soul. He also recorded one of my favorite country covers of the year (see bottom of this blog for more info on that). His girl is breaking his heart (blame it on the juice again?) on this R&B styled song from a non album single.

Durand Jones and The Indications-  Circles

More sweet 70′s soul, quiet storm style. The swirling strings and Delfonics harmonies would sound perfect coming out of the 8 Track player in your Pinto.

Dr.John- Such A Night (1941-2019)

A true music renaissance man. Starting as a teen in the studios of New Orleans, he learned his trade at the feet of the masters, playing R&B, jazz, and blues with equal skill and feel. The good doctor, (AKA Mac Rebbenack) went on to become an unlikely rock star in the early 70′s with his psychedelic and voodoo inspired Night Tripper alter ego. His long career found him playing several roles along the way, session man, producer, and The Big Easy’s unofficial funk ambassador. I picked this live version of the song because: A. He’s backed beautifully by The Band, B. It’s one of my favorite performances from The Last Waltz, and C. The live setting let’s you hear him stretch out a bit on the keyboards. I watched him perform many times, headlining or sitting in with others at Jazz Fest. No matter what the setting, he always fit right in and found the groove. Piano man, sideman, shaman, there was only one Dr.John.

Van Morrison - Early Days

Like Dr. John, Van’s been around long enough to recall the birth of rock and roll. Throughout his career he never stopped paying tribute to his roots and those who inspired him. You can hear it in his musical references, cover tunes and name checks. At The Hollywood Bowl in October I got to see an unusually joyous performance as he wistfully traced a lifetime of musical influences across R&B, jazz and blues. His latest release is an unabashed love letter to those good old days, three chords and the truth.

Spiral Stairs- Fingerprintz

Scott Kannberg is one of the co-founders of Indie rock legends Pavement. But truth is I never took much of an interest in them. I happened to read about his solo project where he mentioned listening to a lot of  Van Morrison and Nick Lowe while recording. That seemed like a  good enough reason for me to check it out. There are familiar ‘fingerprints” on this one, as you can definitely hear him channeling Van.

Vampire Weekend- This Life

Hardly anyone is ambivalent about Vampire Weekend. Their preppy east coast look, and sleeve wearing, dad rock influences make them polarizing at best. Doesn’t matter to me, I like their catchy hooks, bone dry lyrics, caribbean rhythms, and ringing guitars.This is easily the sunniest song about cheating I ever heard.

The English Beat- Whine and Grind/Stand Down Margaret Ranking Roger (1953-2019)

in January of 1980 England was in the grips of 2 Tone mania, the pop music movement that came dancehall crashing out of the UK Midlands, and for a brief black and white checkered moment, dominated the British charts. At the center of the scene were The Specials whose founder Jerry Dammers launched the 2 Tone label and created the blueprint for it’s sound, inspired by the Jamaican music he heard as a kid. These bands (including The Selecter and Madness), combined ska, reggae and punk that launched a brief music and fashion movement. They dressed in a mod black and white style making the look nearly as important as their sound. For most of these bi-racial bands, the goal was to make you dance AND think, with lyrics focusing on social and political issues affecting young people in Thatcher’s Britain. The track here is a good example of that.

I arrived in London on a traveling seminar ready to check it all out, as a college radio DJ I was already a fan of The Clash’s punky reggae. and I had read several dispatches from the British music tabloids like NME and Melody Maker. First chance I got, I was off to a record store where I stood at a listening station to hear The Special’s debut LP.  I was instantly transformed into a card carrying 2 Tone fan boy. As a student, without much money with a long trip ahead, I couldn't afford The Specials album, but I did buy a 45 by the label’s latest signing, The Beat.

The A side was a cover of Smokey Robinson & The Miracle’s “Tears Of A Clown”. It took a minute to get used to hearing the Motown classic played in their energetic ska sound. The tune ends with Ranking Roger “toasting” over the track reggae DJ style, not something heard much outside of Jamaica back then. Side B featured Roger taking lead and riding over a bouncy stop and start rhythm titled “Ranking Full Stop”. It was an instant 2 Tone classic, and I now had a new favorite band.

The Beat (AKA The English Beat) after just one 2 Tone single, were given their own Go-Feet label and releasing a full length album later that year. Their songs seemed to have a slightly more authentic Jamaican sound than the others, dubbier, upbeat and fun. In addition they dabbled in world music and afropop long before it became chic. I saw them perform on their first US tour in Boston later that year.

As the 2 Tone moment waned back home, the group quickly focused on the American audience, touring constantly in the process. The Beat were definitely the band most committed to breaking in the states and nearly did. By the third album, they gained some traction at US radio (particularly here in LA at KROQ) and played the US Festival, but it was too late. The band was already fracturing. Lead singer Dave Wakeling and Roger left unceremoniously in 1983 to form the short lived and mildly successful General Public, while bandmates Andy Cox and David Steele formed the much more successful Fine Young Cannibals. despite some huge hits, they too were short lived.

The original band never reunited. Roger and Wakeling performed together as The Beat for awhile, later each forming his own version. Roger in the UK and Dave in the US. Dave’s version tours constantly to this day. The 2 Tone label didn't last long and the music never truly caught on here. Ultimately suffering the same fate as other short lived UK music fads like Glam Rock or The New Romatics. Their impact was strong enough though to fuel the much maligned ska third wave of the 90′s, and bring Jamaican music a bit farther into the mainstream. All that really remains are the three great studio albums and the memory of their exciting live shows.

I booked the band on a CNN talk show in 1982. I remember they seemed frustrated and were already hinting at a challenged future for the group. Less than a year later they were done for good. I recall desperately wanting them to succeed, bringing my favorite band and the 2 Tone music to the masses. It’s hard to imagine there was a ever a time in your life when a pop group could break your heart like that. 

Foe me and other recovering rude boys/rude girls, the music endures, as does the message.  And today when I hear them streaming into my ear buds, I still want to “move my likkle feet and dance to the beat”, which for the dearly departed Roger I have to think, was always the point.  #loveandunity

The Special- Vote For Me

Politics and social issues remain front and center as the 2 Tone founders return with their first album since the 80′s. Reunited for many years now, this current version of the band boasts more original members of The Fun Boy Three than the original The Specials. That did not stop them from delivering a totally respectable and relevant effort. You can hear dark echos of their classic "Ghost Town” on this dubby tune no doubt inspired by Brexit.

Eddie And The Hot Rods- Do Anything You Wanna Do Barrie Masters (1956-2019)

in 1976/77 Eddie and the Hot Rods stood at the intersection of pub rock and punk as one scene fizzled, and the other burned down everything in its path. The Hot Rods had the classic straight ahead sound of the pub bands plus an attitude that leaned forward into the energy punk would embrace. They enjoyed a brief moment of UK chart success before literally falling into the cracks of the pop music scene. This song, one of my all time favorite singles, sum them up perfectly. Drawing a straight line from Graham Parker to The Clash with a touch of a classic Springsteen working class anthem. In other words....perfect.

Beach Slang- Tommy In The 80′s

When I first saw the title of this song immediately assumed it was a Beach Slang’s tribute to The  Replacements guitarist Tommy Stinson . And even though Tommy himself plays on the track, it is not about him! In fact, it’s actually a tribute to obscure 80′s power popper Tommy Keene. I remembered the name from my MTV days, but honestly had to wiki him for clarification. Despite all these references, the whole thing sounds more inspired by “Jessie’s Girl” than either Tommy. 

The Cars- My Best Friends Girl Ric Ocasek (1941-2019)

Truthfully. I was never a big Cars fan. But in my college days before digital music, you listened to whatever the radio played. And in Boston, they played The Cars a lot. It wasn’t long before they rose from local heroes to national charts toppers. They didn't have the bluesy street cred or swagger of hometown legends Aerosmith or The J Geils Band, but they were our very own neighborhood rock stars. Drummer David Robinson lived in the building next door to Noreen on Comm Ave, and it was always kinda cool to see them strolling around Back Bay or hanging out at a club. Their sound was little cold and metallic for me, but you couldn't deny they crafted pretty great pop and new wave singles. They were omnipresent sound of my college days. The hits literally followed me to MTV and NYC in the 80′s where I often spotted Ric and Paulina strolling hand in hand in Chelsea. This classic love triangle was always my favorite with it’s Tommy James like guitar at the top, handclaps, and unforgettable hook. The band disbanded long ago, but like the classic American automobiles, these songs were built to last.

The Neighborhoods- Don’t Look Down

The Cars were the only Boston group of the era to truly make it big, but that late 70′s scene boasted several other talented bands who scored label deals including: The Nervous Eaters, The Rings, The Paley Brothers, Robin Lane and the Chartbusters, The Fools, The Real Kids, The Stompers, and Mission Of Burma. Later on, The Lyres, The Neats The Del Fuegos, The Mighty Mighty Bosstones, and Murphy’s Law  all managed to find the big time. It was a great time for local music back then. A city filled with students, plenty of clubs to pack on weekends, and college and commercial radio stations willing to play local bands. There were many good acts around town then, and my favorite, without a doubt, were The Neighborhoods. A young, brash power trio led by charismatic lead singer David Minehan. They played a ferocious brand of power pop/punk that would leave their audience breathless. I was certain they were destined for stardom. In the spring of 1979 they released their debut single “Prettiest Girl” on a local label and massive airplay on both college and commercial radio followed. They instantly became the hottest band in town, poised to become the next band from Boston to make it big. But it never happened. Bad luck, poor management and infighting derailed all the momentum. Before you knew it, the gritty street quality that was The ‘Hoods trademark was pushed aside by the synthesized sound of MTV. Over the course of the 80′s and into the 90′s they managed to release some pretty good albums on a variety of indie labels, but it never came together for them. The band reunited and gigs occasionally but hadn’t recorded for many years until right now. Forty years later, the neighborhood may not look the same, but their sound and spirit somehow survive. I suppose there’s something tragic and romantic about a great band lost to time, remembered only by the few who saw them way back when. They really were great, but I guess you had to be there.

Jesse Mailn - Meet Me At The End Of The World Again

New York’s favorite son, soul survivor, and street poet Jesse Malin is back. He’s been around long enough to understand that “When it all blows up, when it all goes down, when it makes you sick, but you’re still around” is victory in itself.  It’s the only life he knows, so what can a poor boy do? 

Brittany Howard- Stay High

This is from Alabama Shakes lead singer's excellent solo debut, unselfconsciously celebrating private moments spent with a lover on this  rootsy and gentle ballad. Her soulful falsetto conveys the kind of lustful bliss you might expect from Al Green or Prince. 

Mississippi All Stars- Mean Old World

Bear with me. This one is tangled up in the roots of several southern rock legacies and is going to take a minute to unpack. The All Stars are led by Luther and Cody Dickinson, sons of legendary Memphis musician and wild man Jim Dickinson. They decided to cover T Bone Walker’s Mean Old World,  a blues number once recorded by Eric Clapton and Duane Allman as part of the historic Derek And The Dominos sessions. The track, featuring their dad Jim, did not make the original release but was later unearthed on an expanded reissue. Still with me?  So, as a bit of a tribute, the guys recorded their own version of the tune and invited Duane Betts, son of Allman Brothers guitarist Dickey Betts to record an Eat a Peach inspired guitar run at the end.

And oh yeah, Jason Isbell is on it as well.

Got all that? 

Samantha Fish- Kill Or Be Kind

Have seen Samantha live several times over the past few years. She’s a very good blues/rock guitarist, vocalist and an exciting live performer. On the sultry “Kill or be Kind” she gives her lover an ultimatum. Fun fact: One of my son’s best friends from high school (Kate Pearlman) wrote two tracks on the album!

Jade Jackson- Bottle It Up

Second album from this promising up and coming alt country artist. She’s on the super cool Anti label which providing immediate credibility and her albums are produced by Social D frontman Mike Ness. And when she’s not on the road she waitress’s at her parent’s restaurant in central California. I’m not sure you can get any more country than that.

The Highwomen- Redesigninig Women

Inspired by The Highwaymen of Willie, Waylon, Johnny and Kris, this all female country “supergroup” quartet is out to break the stereotypes in country music with some really fine songs. While the male Highwaymen banded together to rescue careers in decline, these women (Brandi Carlisle, Amanda Shires, Marren Morris, and Natalie Hemby), are all on the rise. This song is lot of fun.

John Prine- Unwed Fathers

John Prine is back with a remake of his heartbreaking tale of teenage pregnancy. He’s joined this time Margo Price. I got to see Prine live this fall at the beautiful Anson Ford Amphitheater here in LA. His simple, plain spoken lyrics and songs are timeless. I attended the show with my pal David Kissinger who observed that despite health issues, “Prine remains an national songwriting treasure and his performance was as life affirming as you’ll ever see.” Can’t say it any better than that.

Shovels And Rope- Mississippi “Nuthin

Ever wonder whatever happened to that perfect couple from high school? You know, the high school quarterback and the prom queen? This one ain’t “Glory Days”. Our QB peaked in high school and never makes it back to the end zone again, plus he's tortured by the success his old flame enjoys. His anguish and desperation are palpable in this barn burner of a song whose vocals draw inspiration from June & Johnny and John & Exene.

The Delines- Eddie and Polly

Eddie and Polly are young and in love, and doomed. Vocalist Amy Boone’s world weary vocals always sound like it’s 3AM. This one won’t do much for your holiday spirit, but it’s haunting melody might stay with you throughout it.

Yola - Love all Night (Work All Day)

Love the one your with is (at least after work) is the basic idea on this track from this UK performer’s debut long player. Produced by Dan Auerbach of The Black Keys, the collection is full of excellent retro soul-folk. There was a fair amount of buzz in front of the release and she more than lives up to it including a nomination for a Best New Artist Grammy. 

Mavis Staples + Norah Jones- I’ll Be Gone

First recorded effort form this duo. A bittersweet ballad that softly and soulfully looks ahead to a final salvation. But Mavis ain’t done yet. She’s still going strong, recording and touring constantly. She knows she may be running out of time, but there’s still work to do. And whenever she’s finally ready, you can be sure she’ll take us there.

Hope you and yours are well.  The Herzog’s wish you the best and look forward to seeing you in the new year.  For those of you who made it this far, thank you. I’ve got a bonus playlist for you. Artists you like playing songs you love:  covers/19 Enjoy.

peace,

Doug

Los Angeles, December 2019 

[rionsanura]

@jadefyre​ said: hello yes I would like the deets of how the POTC theme evokes the swashbucklery so amazingly please

@mochuelita​ replied to your post: I am HERE for the swashbuckle deets

@jackironsides replied to your post: Will you divulge the secrets??

Oh I will absolutely try. I have no perspective about how much anyone knows about music, so I am likely going to vacillate wildly between explaining basic concepts in insulting detail and glossing over things that seem obvious to me but may not be, but I love this damb song so much that I am bout to EXPLAIN IT SO HARD. (Pls let me know the degree of unintelligibility you encounter here, and in what deet, and I will try to ameliorate.)

This glorious Hans Zimmer/Klaus Badelt/Geoff Zanelli thrill, the crowning achievement of hollywood pirate music, named, appropriately, He's A Pirate, is a deep and riotous well of perfectly executed brain-melting techniques. Welcome to my Deet Tour. The biggest categories of secrets here are

1. hemiola 2. augmentation(**) 3. orchestration 4. modal borrowing 5. cadential rhythm

So the biggest and most important rhythmic secret anyone can ever learn has a name that sounds hilariously like either an unfortunate blood disease or an unfortunate Ancient Greek poet. But it is Life and Greatness; it is the secret that makes compound time magic, and I am such a huge sucker for it that back when facebook was an exciting new platform that had just been opened to a few schools outside the ivy league, including mine, back when fb groups were a form of self-expression and not a freebooting nightmare, I made a facebook group called "If Hemiola Were A Person, We'd Be Married." Yes. And 17 of my closest music school friends joined, because hemiola is really that great.

Here is what it means: you are in compound time (a kind of meter that has beats made of 3 smaller beats). You arrange those tiny beats into groups of 2 instead.* Like this:

| | |   | | | -> | |   | |   | |

Think of the coolest thing about the rhythm in the classic Theory 101 hemiola demonstration standby, America from West Side Story. It goes onetwothree onetwothree onetwo onetwo onetwo. That's one way to hemiola. The most obvious way, very good, very satisfying.

A more advanced (and more connotatively piratical, but we'll get to that in a bit) way to hemiola is to do the 3 and the 2 at the SAME TIME. This can be in different instruments, or in the same instrument at different points in the melody of the same bar; the options are endless. You end up with a rhythm that, devil take it, can only reasonably be called Rollicking. Is it in 3? Is it in 2? DOESN'T MATTER. IT'S HEMIOLA. IT'S IN BOTH. Listen to the A section of He's a Pirate; it has everything that can possibly be in both 3 and 2 going on at once. The melody, played by some forthright horns and low strings, has a rhythm that mostly divides the bar into 3, while still keeping the pickup subdivision that makes you feel like the little beats are in 2 big groups of 3. I'll write the rhythm out with periods for rests and pipes for played beats and divide them into the groups I hear them in, with big spaces between the bars: (...) .||    |. |. ||    |. |. ||    |. |. ||    ||. .||    |. |. ||    |. |. ||    |. |. ||    |.. .||    |. |. ||    |. |. ||    |. |. ||    ||. .||    |. |. |.    ||. .||    |. |. ||   |.. ...

The most ambiguous thing here is the middle beat of the bar, the 4th one if you're counting it in 6 (2nd if you're in 2, 1.5 if you're in 3). This whole melody hinges on that empty beat. Is it part of the second note? Or is it a springboard for the last two notes? Is it an on-beat or an offbeat? IT'S HEMIOLA. IT'S BOTH. MAGIC. Obviously some bars will be easier to hear in 2 (the fourth bar at end of each phrase, for example, which starts with two notes in a row with no space between, and a really emphatic drum hit on beat 4 (or 2, or 1.5) while no notes are happening). Some are easier to hear in 3; the rest of the phrase, besides the fourth bar, has at least two notes per bar that sounds like they should be grouped in Big Three (two little beats per group). The best part about it, and what makes the Rollicking so successful (one might even say, as OP did, that it is Jaunty) is that for most of these bars, it is equally easy to hear them in 3 or in 2. The British Isles, particularly the bits that the English tried and failed to assimilate, are deeply associated with this kind of rhythmic ambiguity. In fact the wikipedia example of what an Irish drum (bodhrán) sounds like is mostly composed of 6/8 hemiola, and though it's not the best playing I've ever heard, it is a good example of the rhythms usually played on that drum.

I'm counting the climactic bit that sounds like cutlass swipes (there's our Swashbuckling) about 0:33-0:46 as a B section. Why does it buckle the swash? Because all the beats of the melody have been occupied so far in this tune, and now there are big holes. Are they still hemiola? Yes. It's just the slightly more obvious kind that switches back and forth between 2 and 3 beats per bar in one voice instead of both at once through ambiguous beat 4 (or 2 or 1.5):

|.. .||   |.. ...   |.. ...    ||. |..    |.. .||    |. |. |.   |.. .||   |. |. |.   ||. ...   |. |. |.   ||. ...   |. |. |.   |.. .(||) (the last two pipes here are the pickup to the C section and can be counted as rests for the purposes of the B section)

But don't worry, both kinds of subdivision are still happening everywhere else. It's a mechanically complex but simply majestic pearl of a tune.

Which brings us to Secret #2: augmentation. This is why we feel the buckle is swashed atop the bowsprit, rather than anywhere else on board. This one is Particularly Secret, because to be honest there is no literal augmentation going on in this song, just the implication of it.** This might be a bit harder to explain.

The C section of this song, starting at 0:45 right after the cutlass swipes, goes rhythmically like this (basically two times in a row, with different notes the second time):

(||)   |.. .||    |. |. |.    |. |. |.    |.. .||    |.. .||    |. |. |.   |. .. |.    |.. (...)

Look how many groups of unambiguous 3 there are in this horn melody! With big holes in the rest of the bars! This makes the melody sound slower, because not as many small notes in a row are being played, even though there are still the same underlying rhythms happening in the drums and the accompanying figures that are not the melody. It's like we're on the top of the ship instead of underneath in the waves being bashed on the hull by all the little chops and splashes we hear in the drums and cellos. We can see/hear those little subdivisions, we're just not involved in them right now: this is how we become majestic. The drums are definitively in 2, which emphasizes the moments when the melody is more 3ish. The bass line and accompanimental figures are ambiguous.

This brings us to Secret #3: orchestration.

The magnificence and high wind (which causes rough seas) are indeed related to some cellos. The swash wouldn't be nearly so all-encompassing if the orchestrators hadn't picked the instruments they picked (I'm not sure who orchestrated this particular moment of the soundtrack; see the wikipedia entry on the 7 different composers hired to orchestrate this score because of weird production reasons). There is an ASTONISHINGLY small number of kinds of instruments used in this song considering the forces available in an orchestra, and all but the cellos, horns, basses, and drums are basically decorations on top of the main tune.

Here is the obvious thing: it's very low. Cellos are pretty low instruments, basses are Really low instruments, horns have the capability to go high but do not do it in this song, and drums have no exact pitch but most of the ones used in this piece for the main beats are low in frequency with occasional high crashy sounds for emphasis. Cellos, and I don't think I'm making this up, I've read association studies, sound like wood. Horns are used in hollywood scores (and for hundreds of years before movies were invented) for noble and majestic melodies, associated with noble and majestic characters and environments and qualities (check out some Wagner for more information about the association of melodies with story elements before movies were invented). This is the deet where we start thinking about notes instead of just rhythms.

It is pretty unusual for notes so low to be so fast. A gem of an aphorism I picked up in high-school-orchestra rehearsals (from the director, no less): "an octave lower, an octave slower." (This was usually meant as a gentle tease to the bass section for not playing their part right, or on time, but it works as an explanation of normal orchestration principles.) We don't expect our driving, foundational bass frequencies to move from note to note so fast. Usually if they do, it's an exceptional showoff moment in a bigger orchestral context where the violins or other high instruments are doing the rest of the fast stuff. Here, the violins are just doubling the low strings to emphasize them when the melody is repeated; the high strings aren't even playing all the time. What this means is that the low instruments are showing off all the time, so it's very drivy and feels much faster than it would if just the high instruments were doing the tune.

It's also one of the reasons the song is foreboding; very low notes, punctuated with high shrieky interjections (like the violin swashes in the cutlass section), is the technique used in horror scoring, which we have been conditioned to associate with something scary. Also I think there is some science there.

Another reason it is a bit foreboding (though other sections of the soundtrack are More Foreboding, for example Fog Bound but we're just talking about the main theme in this post) is Secret #4: modal borrowing.

Let's be clear here, there's nothing Super Weird going on in this melody modally, but there are several ways to do a minor scale, and it takes advantage of more than one. Minor keys have a surprising amount of options regarding what notes to use after the fifth scale degree; you can have a low 6 and 7 (often used coming down the scale), or a high 6 and 7 (usually for going up), or low 6 and high 7 (this is often used to sound middle-eastern) or a high 6 and low 7 (this is not often used, since low 6 is good for tension in that half-step going to the 5th degree, but if it is used, it sounds folky and maybe Old). This array of usual options means you don't really have to borrow much to have both kinds of 6th and 7th scale degrees, but the fact that the melody so frequently emphasizes the low 7 (whole step between 7 and 1, instead of half) makes it sound modal and British-folk-ish. Listen to some jigs (Butterfly, for example) or reels (like this whole set of them) or really any minor-key Irish or Scottish folk music and you'll find it has low 7.

This frequent low 7th scale degree means the chord that starts on the 5th scale degree, usually called the V chord in classical parlance, is in fact in this situation the v chord, because it's minor. That's modal borrowing! The minor v chord is not really native to any mode, because usually we make the V chord major even if 7 is low in the scale, but we call it borrowing anyway. It is a particular kind of sound where the drive of the five chord to the one chord is less strong, because the low 7 doesn't want quite as badly to lead to 1. This makes the chord more atmospheric than functional, and it might be more foreboding this way. It's not rare, it's not exceptional, but it is definitely associated with the British Isles (more the 19th century than the 17th, but fewer people know actual 17th century tunes) and folk music and sea chanties etc. This may be how we know it's the jolly roger flapping from the mast.

However! The tune also has moments of high 7! And this means V is major sometimes! Like the end of the A section before it repeats slightly differently (0:17). The fact that both of these chords exist in this tune makes it even borrowier, because usually you get only one of these kinds of five chord. But sometimes we have major V, which makes it More Climactic, the spectacular flaps of the jolly roger.

The last Secret I would like to relate is #5: cadential rhythm. This is the reason we have any actual association with the 17th century instead of the 19th (most piratey music anyone knows is from the 19th century).

Cadences (a cadence is the way a phrase ends) have been classified over the centuries, in terms of both rhythm and melody, into two kinds. They are conventionally called masculine and feminine, or strong and weak, but those are bullshit names so I am calling them direct and indirect. A direct cadence lands on the downbeat, and probably on the root of the chord. An indirect cadence lands after the downbeat, and so the first note of the bar isn't the cadential note; the note after it is.

The way He's A Pirate uses indirect cadential rhythm is especially emphatic. The very first phrase (0:05-0:08) cadences on the second tiny beat of the bar instead of the first. Since the tiny beats go real fast, it's very obvious how the phrase lands on Not The Big Beat. The tinier the beats are, the more emphatic the syncopation is. BUT THEN: the second phrase cadences directly (0:08-0:11). It goes back and forth between direct and indirect until the end of the A section when we have two indirects in a row, which makes the direct (on major V, no less!) last one especially swashbuckly.

Here is a playlist of 17th century English songs (mostly in compound time), the first of which is also full of hemiola, many (especially the third, 14th, 15th and 16th) of which have indirect cadences at the end of nearly every phrase. The switching back and forth between the two kinds of cadential rhythm is really important to the piratical nature of this song, contributes to the jauntiness, and has actual connections to historical 17th century tunes (though this cadential strategy is also common in the 19th century sea folk tunes people are more likely to know). BEHOLD THE GALLEON.

I hope that these Secrets have been Revealed. If my explanatory techniques have been too obscure, please do ask me about things you find unclear; I larve this song to tiny tiny bits and would be delighted to explain it forever.

*Or the other way around. Hemiola just means messing with the subdivision of beats, regrouping them either from 2 to 3 or 3 to 2. OR BOTH AT ONCE YAAASSSS. also you don’t necessarily have to be in compound time (which is subdivided into 3); you can be in any meter, as long as you are regrouping things between 2 and 3. it’s just easiest and most rollicking when you’re in, for example, 6/8 or 9/8. **Despite my 11 years of music school, I have not found a better inaccurate but explicative term for this technique, but let me explain to you what augmentation actually is, so that you know why this isn't exactly augmentation. When you make a melody twice as slow but with the exact same thing happening, that's real augmentation. Like if in the original melody from my first dumb rhythmic transcription had values of quarter notes instead of eighth notes; if it just sounded slower with the rest of everything going the same speed. Obviously the melody in the C section is not the same as the A section, and it does not actually use values that are twice that of the A section, but it expands the beat to feel slower in a way that is compatible with the flexible ambiguous 2 or 3 subdivision of compound time.

[rayofspades]

Everyone in the World Forgot How Remakes and Sequels Work and I Have to Talk About It Because I’m Losing My Mind

I tried very, very hard to make this a coherent and somewhat organized post, but it’s still gonna sound like the ravings of a mad woman, so...prepare yourself.

Also, this isn’t gonna be an analysis of why remakes and sequels are so popular, because it’s exactly as simple as it seems: people like things that make them feel nostalgic and creators have caught on to this and realized that by remaking a familiar property, their new product has a built in fan base.

Great.

What I want to talk about is how the concept of remakes/reboots/sequels/whatever has been kind of destroyed. Both audiences and Hollywood have created these weird perceptions that are flooding the market in a way that is exhausting to audiences and confusing to creators. 

So, I’m here to discuss all the different types of remakes and why they work or don’t work and how this culture has been conditioned to support them regardless of quality.

Alright,

let’s do this.

Part 1: Cross-Media Remakes:

I find it somewhat impossible to criticize the existence to book--> movie remakes too much because they’re a vehicle for both creativity and audience expansion, even in cases where they’re motivated by money. Harry Potter and The Hunger Games made for some pretty solid movies, and that’s largely because those books just translated well to film. Obviously some changes had to be made to account for time constraints and visual storytelling, but they can get away with having a similar structure and still feeling entirely new based on the hard shift in presentation from book to film. 

I would make a similar argument for Marvel movies. From what I understand, those movies change more from their source material, and there are a lot of them, but it makes perfect sense to adapt comic books to reach a wider audience. I feel like the main reason people are becoming tired of Marvel movies is their overwhelming quantity, not so much the fact that they’re remakes. 

I would also love to talk about the popularity of GoT and LotR, but I don’t think I’m familiar enough with those franchises to properly discuss them, so I’ll leave that to someone else.

But there is something else I want to talk about.

While Harry Potter and The Hunger Games translated really well to film, the same isn’t true for some other cross media adaptations. 

Part 2: Adapt or Die:

In the late 70s, Stephen King wrote The Shining. I’ve read the book and I really enjoyed it, largely due to King’s writing style (the prose, the internal monologues, etc.)

The thing is, The Shining doesn’t really translate well into the film format; it’s really long and a lot of what makes it good is tied to its presentation.

So when Stanley Kubrick adapted The Shining into a film in the early 80s, he changed a lot.

Like

a lot.

The setting and characters remain pretty much the same, and the story follows similar beats, but certain events and themes have been drastically altered to the point where I would consider it a different story.

(Brief aside; the three most famous/iconic scenes from the film (”Here’s Johnny!” “All work and no play”, and Jack frozen in the snow) are ALL exclusive to the film.)

Regardless, both the movie and the book have maintained their own popularity with their own audiences. Both are considered good and both are considered classics. 

Although, from what I’ve heard, The Shining film did receive criticism back in the day for being needlessly unpleasant. Interesting. 

It’s a somewhat similar story with John Carpenter. If you ask people to list good remakes, 90% of the time people will list The Thing (1982). It’s practically the poster child for “hey, not all remakes are bad, guys.” 

In this case, Carpenter was working from both a previous movie (The Thing From Another World) and the prior novella (”Who Goes There?”). Carpenter’s film definitely borrows more from the novella, but it was obviously going to be compared more to the previous film, and it is  v e r y different from the previous film. Carpenter’s film (like The Shining) received criticism for how gross and unpleasant it was, but became the definitive version of The Thing and stood the test of time to become a horror classic.

Basically, if you need to change the original product when remaking it, do it. That is the best thing you could possibly do. It gives the creator a chance to actually create their own unique product that just happens to be based on or inspired by an existing property. This is actually a legitimately cool phenomenon; taking preexisting stories and altering them to fit a new cultural context or simply expanding and improving on ideas. It’s a similar concept to “old wives tales” and fairy tales, and how those stories are constantly changed and retold and in doing so become timeless. Gee I wonder if fairy tales are going to come up later in this post.

Part 3: Bad Changes are Bad

*Strums guitar* This one goes out to all audience members out there who have convinced themselves that bad remakes are bad because they’re too different from the original. *Strums guitar*

Stop. 

Please stop.

Look, comparing a remake to an original to showcase how bad the remake is is perfectly valid criticism. It can highlight how an idea can be botched when it’s not handled properly. Sure. That’s fine. I highly encourage people to compare the dialogue, characters, and world building of Avatar: The Last Airbender and M. Night Shyamalan’s The Last Airbender. It’s important to recognize how one story is an utter fucking masterpiece and one is a poorly told train wreck.

Here’s the thing:

people seem to criticize the film on the basis of “it’s different” and, I mean, sure. But it’s not just that it’s different, it’s that it’s different and....um....

bad? 

Like, one of the “complaints” I saw about the movie was that firebenders now need actual fire in front of them in order to bend it, and I consider that to be just a neutral change. It’s not really better or worse, it’s just different. And please don’t comment on this post with “skflsfjsf NO it’s because in the original firebenders used the SUN as their source of fire” like yeah I know I get it it’s still an inconsequential change.

Now, saying that the earthbenders being held on land as opposed to the sea is a bad change? Yes, that is valid criticism because it makes no goddamn sense within the movie’s universe and just makes everyone look dumb.

That movie is an utter fucking disaster. It’s poorly directed, it’s poorly written, the casting decisions are baffling, the acting is horrible, it’s poorly paced, and it’s bad.

It’s a bad movie.

I would apply the same logic to the new Death Note live action movie (the American one). Putting aside the racial controversy for a minute, I’m fine with changing things about the plot and structure to properly adapt it into a movie. But...yeah. The plot is bad. It just comes across as really dumb and weird.

So yeah, bad remakes are bad, but it’s not as simple as just being “different.”

If y’all keep complaining about remakes making changes, then you’re only encouraging the products I’m about to talk about in the next few Parts.

Arguably the worst and most prolific products of them all...

Part 4: Sometimes, Things That Are the Same.......Are Worse

Alright, I’m gonna start with a really extreme example, but it perfectly captures the essence of what I’m trying to say.

In 1998, Gus Van Sant made the incredibly confusing and brave(?) decision to remake Alfred Hitchcock’s Psycho. And I do mean “remake,” as in, it is shot for shot the same movie. It’s some sort of bizarre cinematic experiment.

I really like the original movie, so you would assume that, since this movie is literally the same movie, I would like it too.

I don’t.

No one does.

It’s the same movie but with worse performances.

It’s pointless.

Its existence is both unnecessary and confusing. Watching it was a bizarre experience that just made me wish I was watching the original.

(The best part about this is that 15 years after this remake came out, Carlton Cuse and Kerry Ehrin solved remakes forever by making Bates Motel; a contemporary prequel/reimagining of Psycho (1960). This show takes the characters and key events from the Hitchcock film and puts them in a different setting with an altered version of plot points. The creators openly and repeatedly state that they did not want to just remake Psycho and instead wanted to tell a tragedy/thriller using the framework of Psycho. To me, this perfectly encapsulates what remakes are supposed to be. It’s a good show and it’s severely underrated. Please go watch it, just ignore like half of season 3 and you’re gold.)

Unfortunately, the most common and (arguably) the most frustrating type of remake/sequel/reboot/whatever is the “let’s do the same thing...but different” type.  They can be a retread of the original plot or just take the title and elements of the original and use them while adding nothing substantially new.

Independence Day: Resurgence, Alien Covenant, The Thing (2011), and proooobably most direct sequels in any popular franchise (like the Transformers movies) fall under this category. 

The most notable ones in recent years are D i s n e y  r e m a k e s, but those get their own section.

Also, I’m hesitant to talk about these because it might just be a cultural difference, but it deeply bothers me when I see Japanese live action films that are based on anime and they just...keep everything the same? 

Like, in a live action remake of FMA, why the fuck wouldn’t you make up some grotesque and upsetting monster thing for the Nina Tucker scene? Why would you just use the design from the manga/anime??? WHY WOULDN’T YOU ADAPT IT TO MAKE IT WORK FOR LIVE ACTION?????????????????????????????????????

But hey, what do I know. It might just be a culture thing.

From what I’ve gathered and experienced, people have the following problems with these types of overly-faithful and/or pointless remakes:

1) They’re boring because it’s just a retread that feels inferior. 

2) They try to replicate elements of the original without understanding the actual appeal (aka the tangible details are addressed while the underlying ideas get sidelined or misunderstood).

3) They just...don’t adapt well.

Even if we were to take The Last Airbender and give it to a competent director who has a decently written script, that’s a case where you probably should have changed a lot more to properly make the jump from animated show to live action movie. Obviously, a lot of things would need to be cut or moved around in order to properly pace it.

I’m gonna talk more about this type of movie in a different section so for now let’s move on to the most recent remake craze that’s driving me up the wall.

Part 5: “I’ve got the power of remakes and anime on my side”

Fuck.

So part of the appeal of anime for me has always been its creativity. While some of it is pretty derivative when looking at specific genres, I’ve always found there to be a significantly wider range of creative ideas and concepts in anime than in any other medium. 

But now the industry’s running on fumes and someone let it slip that you can make a quick buck by just remaking a popular IP.

Fuck.

And I don’t wanna rag on the new-ish trend of readapting old anime for the sake of following the recently completed manga. This has had unbelievably successful results with FMA:B and Hunter x Hunter (2011) becoming massive critical hits (and two of my favourite shows).

(Although it hasn’t escaped my attention that studios have, in fact, used this gimmick to make half-baked and poorly crafted products with the knowledge that the existing fan base will buy that shit anyways. I’m looking directly at Berserk (2016) and Book of the Atlantic.)

But now they’re also adapting/sequel-ing shows purely for the sake of cashing in on the original (or adapting pre-made sequel products that were already made with that mindset in the first place).

Clear Card was boring as fuck and transparently existed to sell toys. 

I dropped Steins;Gate 0 after around 8 episodes when it become abundantly clear that it took the “let’s take elements of the old plot and just....do stuff” route without keeping any of what made the original cool and unique. 

The Evangelion movies seem really antithetical to the original show, and the third one feels like it was made by someone who thought they understood Evangelion and hated it. (But luckily the original is coming to Netflix next year so who even cares. Give me that 10/10 show.)

Although I will admit, Devilman Crybaby’s existence kind of falls under what I was saying earlier in this post. It’s one of many adaptations of an old manga that is changed substantially to fit the current cultural climate, with some unique aesthetic changes thrown in there for good measure.

It’s pretty okay.

But um...

Oh boy...

We’re about to get into it lads.

Part 6: Production IG Broke My Whole Brain. Brain Broken. Dead. No Brain.

Hooooooooo boy.

So, FLCL (also known as Fooly Cooly) is one of my favourite shows. In fact, it’s the only show I’ve ever watched that I have absolutely no problems with. None. Not even nitpicks. 

I’ve watched it 6 times, including with director’s commentary. It has an utterly perfect and unique/fluid aesthetic and I wish its visuals were just playing in my brain all of the time. It’s an arthouse comedy, which is a...rare (nonexistent?) genre, and it pulls it off perfectly. Its cool, its beautiful, its silly, its poetic, its creative, it has great themes that can reach both teenagers and adults, and there is literally nothing else on the planet like it.

So when it was announced that they were making a sequel 18 years later with a different cast of characters, I was...weirdly excited. Like a pavlovian happy response. I got even more excited after seeing the trailer.

Only a short while before the show aired did it dawn on me.

Wh...what are they doing?

From the trailer, I could see that they were taking some familiar plot elements (Medical Mechanica, Haruko, N.O., Atomsk, etc.) and adding some different protagonists.

Um

who gives a single fuck about the plot of Fooly Cooly?

The plot elements...don’t matter. It’s just a vehicle for cool and amazing things to happen.

So the show came out, and I saw more clips on youtube. While it is cool that they’re using different episode directors with some different art styles, the difference in quality between the directing and overall visual presentation is shockingly noticeable. I partially blame the fact that the anime industry isn’t as financially stable as it used to be, but this is also a Production IG show that’s based on an extremely popular property, so that’s barely an excuse. 

It mostly just looks like an anime with some cool stylistic elements, whereas the original looks stunningly perfect, dynamic, unique, and beautiful in every single solitary shot. 

I’ve read and watched many reviews of the sequel, both positive and negative, and from what I can tell it’s a textbook example of a “lets take components of the original and just...use them...while kind of missing the point and appeal of the original show.” Fooly Cooly is made of 100% intangible details. That thing is lightning in a bottle, and by taking the tangible details (plot elements and callbacks) and putting them in your show, you’ve already proven that you’ve completely and 100% missed the point.

Also:

this is the new show’s MAL score. While I consider anything between a 6 and a 7 to be “okay,” MAL scores tend to be higher since people rate on separate components of the show.

Like, a 6.7 on MAL is probably a 3 for everyone else. Yikes.

But honestly, the quality of the show is completely irrelevant, because that’s not the actual problem.

The only way to make a new FLCL product would be by accident. Have a director make a deeply personal product in which they do whatever the fuck they want. Have it be stylistically wild and make it look amazing. Create some sort of arthouse comedy with resonant themes and then just get Production IG to slap the FLCL brand on it to appeal to people’s nostalgia.

And that’s when it hit me.

That’s when my whole brain broke.

That accidental, spiritual sequel product can never happen. 

Because it looks like a huge risk to producers. 

Somehow, by remaking one of the most original and generation defining pieces of media ever created, Production IG proved that we do not live in a world where that type of product is allowed to exist. It can’t exist.

AAAAAAAAAAAAAAAAAAAAAAAAAAH.

Part 7: Disney and the Culture of Hype(rbole)

When I was young, my family owned two versions of Cinderella on film. The 1950 Disney animated version, and the 1997 live-action version with Brandy. 

Obviously, they’re the same story. They follow the same beats and have the same characters. However, there are some major differences in scenes, character portrayal and, most notably, the songs. Both are musicals, but with completely different soundtracks. 

If we want to go even further, we also owned Ever After, which is a completely different retelling of Cinderella with a whole new plot made for an older audience (and it’s also very good. Check it out)

In other words, I have nothing against live action Disney remakes, In fact, I think Disney movies based on fairy tales have become their own type of fairy tale; classic stories that are being constantly retold and reshaped to remain both relevant and timeless. It’s beautiful.

What the fuck is Disney doing in the 2010s?

Right now, the trend seems to be completely recreating older Disney classics, only making them live action and, um, “fixing” them.

If you want a detailed analysis of this, go watch the Lindsay Ellis video about Beauty and the Beast. I’ll briefly sum up, but you should definitely watch the video.

Look, I personally don’t hate Beauty and the Beast (2017), but once you notice that the Beast’s character arc doesn’t really exist...

and that there are a bunch of plot threads that either don’t go anywhere or are just kind of pointless...

and that there’s a weird trolley problem with Belle and the servants that completely botches the moral of the story....

and that by adding a bunch of logic to a fucking fairy tale you’re stripping it of its appeal and also just creating plot holes...

and that the singing isn’t nearly as good as the original...

and a bunch of other problems with acting and characterization....

you start to notice that “hey, they made the exact same movie....but worse.”

But, people are okay with that.

Most people didn’t even really notice. And that’s fine, like what you like. I enjoyed the movie well enough, even though I definitely prefer the original. But...I would probably also like a different retelling of Beauty and the Beast if it was a good product. Except, then it would also be...new? And potentially better? Or at least a lateral move.

I just watched the trailer for the new Lion King (2019), and it looks...kind of good. But even thinking this...I kind of long for death, because the entire trailer is just “hey, remember THIS from the original.”

I’m just...I’m just done. I’m burnt out. I’ve had it.

When are we gonna stop making the same movie over and over again?

Or when are the changes actually going to make sense? I’ve seen most of Tim Burton’s Alice in Wonderland and it just goes in the opposite direction of changing everything, but the changes are just.....uggggh. Not good. Bad changes are bad.

The thing with Disney is that they are also a hype generating machine, especially after purchasing both Marvel and Star Wars. I once heard someone say in a video that, back in the day, people were trying to make the best possible product so it would sell and get popular. People...don’t really need to do that anymore. If you get 304958493093 billion people excited about the next movie in their favourite 80s franchise by promoting and hyping the shit out of it, then you’ve already secured tons of butts in seats before the movie even comes out. Every movie is an event movie if it comes from Disney and is part of one of their big franchises. Every new thing based on an old thing is the new “best thing.”

Even a new sequel that I actually liked, The Incredibles 2, was weirdly hyped up. (Also, even though I liked it, it didn’t escape my notice that there were a bunch of plot problems with the villain and the script proooobably needed another draft. Just saying.)

So, the big questions are, in this current culture, are we ever going to get another original sci-fi property, like the 80s Star Wars trilogy? Are we ever going to see a boom in a genre outside of Disney owned properties? Are we ever going to get another insane, passion-project smash hit like Fooly Cooly?

No. I don’t think so.

Not in the current state of things. 10 years from now? Maybe. 20 years from now? Probably. 

Part 8: Concluding Thoughts

I don’t know, man.

People are still making original things, but they’re not as popular and/or creative as they need to be to change where we are right now.

The very existence of Get Out does lend me some hope. It was a creative and original movie and a very large audience of people (including myself) really liked it. 

Yay.

More of this please. 

So, um, yeah.

I’m going to go watch Fooly Cooly for the 7th time and scream into a void.

Mmmm bye.

[sceptilemasterr]

MW Act 1, Scene 6 - Analysis

Title: Most Wanted: The Hollywood Killer (A CIU Screenplay)

Main Pairings: Dave x Sam

Other Pairings: N/A

Genre: Full Rewrite

Rating: PG-13 for violence, blood, swearing, alcohol, and sexuality

Summary: While talking to the crime lab’s eccentric trio, Sam and Dave learn more about Tull... and each other.

Previous Scene: The Other Case

Masterlist: Link

INT. L.A.P.D. STATION - CRIME LAB - NIGHT

The crime lab is a scene best described as “organized chaos.” Pop music blares from a speaker sitting at the workstation of a man with short black hair, glasses, and a blue cardigan, spinning idly in his chair. This is NIKHIL MANTHA, forensic specialist. Opposite him at another workstation is a man with messy brown hair and a patterned sweater, gritting his teeth in annoyance as he stares at his computer screen; this is REZA FASSIHI, data analyst.

HAYLEY ROSE (ON SPEAKER) (singing): Sirens flickering in your tail lights, your long-lost love’s your only flaw...

REZA: Nikhil, can we please turn that off? This wasn’t a good song four years ago, and it’s still not good now!

NIKHIL: But that’s the point! Pop princess Hayley Rose experimenting with a contrived club album with a hokey country twist? “Outlaw” is incredible in its American awfulness.

REZA: How does that make any sense?!

As the music plays in the background while they continue, the third occupant of the room ignores their argument entirely. MIRASOL BAUTISTA, criminal profiler and psychoanalyst, sits at her own workstation, frowning at whatever she is reading on the screen. She wears a white blazer and has her dark hair tied back into a bun.

NIKHIL: ...it isn’t my fault your tastes are embarrassingly mainstream-

MIRASOL (muttering): The contrarian hipster act, clearly a false front meant to get on people’s nerves. Typically seen in those with low self-esteem and-

NIKHIL: Ouch. I heard that, Mirasol.

MIRASOL: Oh, I know.

The door swings open, and Sam and Dave enter. Sam blinks in surprise at the music. Dave doesn’t bat an eye as he strides up to Nikhil’s workstation and hits the power button.

DAVE (deadpan): Oops.

NIKHIL: Hey! Excuse me, Dave, we were listening to that-

REZA: Correction: you were listening to that.

NIKHIL: Mirasol secretly enjoyed it!

MIRASOL: Excuse me, what?! I will murder you, Nikhil.

REZA: She’s not kidding, Nikhil. You weren’t here for the time she brought a live grenade to work, but-

DAVE: Look, as entertaining as this conversation is, right now, we’ve got a killer to catch. And more importantly, we’ve got company.

Mirasol, Nikhil, and Reza all look up and notice Sam for the first time.

DAVE: This is Sam Massey, U.S. Marshal. Massey, meet the Three Stooges. That’s Reza, our data analyst and resident computer nerd.

REZA (frowning): “Nerd?” Excuse you, Dave, I’m a data analyst and digital security consultant and a moderator for the Crown and the Flame official fansite... Okay, I may be a ‘computer nerd.’

Sam nods, clearly not understanding most of what Reza is talking about.

SAM: ...Pleasure.

DAVE: Over there is Nikhil, forensic analyst and card-carrying hipster.

NIKHIL: Nice to meet you, Marshal. I have to say, this ‘thing’ you’re doing with your outfit? Talk about defying the mainstream L.A. look with your rough-and-tumble style. Such a middle finger to the masses.

Sam crosses her arms, frowning.

SAM: I’m not trying to do a “thing.”

NIKHIL: Exactly, right? Everyone else is always trying too hard. But you get it!

SAM: Uh...

Dave shakes his head in amusement before moving on.

DAVE: Anyway, the cheerful one over there is Dr. Bautista, our criminal profiler and psychoanalyst.

MIRASOL: Just call me Mirasol. These two clowns don’t go by fancy titles, why should I?

SAM: I can respect that.

DAVE: Right, well, that’s the introductions. So, what have you all got for us?

NIKHIL: Perfect timing, actually. I’ve just finished my initial run-through of the forensics. Don’t have much to work with, but I was able to analyze those bullet casings you found, plus the autopsies and ballistics.

SAM: Let’s hear what you’ve got. I’ve got a hunch I want confirmed.

They walk over to Nikhil’s workstation. Nikhil swivels in his chair to face them.

DAVE: How’s it look?

NIKHIL: The autopsy and ballistics reports indicate an abdominal wound from a sawed-off shotgun, fired from approximately three feet away. Casings confirm standard double-aught buckshot. (shakes head) Can’t have been pretty.

SAM: Point-blank, straight to the gut. Tull’s specialty, the sick bastard.

DAVE: Anything else?

NIKHIL: Well, I’ve got an educated guess on the type of shotgun he used. It’s hard to tell for sure, but from what we could get from the camera footage, I’d say an old-school Easton 850, sawed-off.

SAM: Wait. Did you say an Easton 850?

NIKHIL: Why, does that mean something to you?

Sam gets a faraway look in her eyes, staring at a point on the wall. She says nothing for a long moment. Finally, she shakes her head and turns away.

SAM: No. You just... don’t see those every day.

From her station, Mirasol watches Sam with a calculating look. Dave notices and walks over to her, Sam following.

DAVE: Dr. Bautista, what do we have?

MIRASOL: I’ve told you not to call me that.

DAVE (smirks): Why do you think I keep doing it?

Mirasol rolls her eyes and turns away from him, facing Sam.

MIRASOL: Beckham had your file sent over, Massey. Frequent physical altercations. Questionable use of force. Repeated altercations... fascinating stuff.

SAM: Alright, alright. Let’s cut to the chase. What have you got?

MIRASOL: Let’s see... Propensity for violence and hot-headedness, such as when you brought in a fugitive with multiple broken bones. Then the report of you telling a fugitive with hostages to, and I quote: “Grow a backbone, dirtbag.”

NIKHIL: Ooh, I want that on a shirt.

MIRASOL: And then there’s the raid on the New Flores Cartel, where the massive property damage perfectly showcases your flagrant disregard for-

SAM: Okay, okay, we get the idea! Lemme rephrase: what have you got on Tull?

MIRASOL: Oh, don’t worry. I’ve already put together his profile too, or at least a preliminary one from what little we know.

DAVE: Perfect. Let’s hear it.

MIRASOL: He’s a hired killer, but he’s brutal when he doesn’t need to be, even when it makes his job harder. Clearly enjoys inflicting pain. He’s clever but unstable, with textbook signs of egocentrism, obsessive behavior, and possible narcissism.

DAVE (sarcastically): This guy just gets better and better.

SAM: Anything else?

MIRASOL: Just that... look. I’m not easily disturbed; hell, I read the profiles of psychopaths for a living. Sometimes even for fun. But this guy... he scares me.

Sam nods in understanding.

SAM: Then we just gotta be scarier.

She turns away from Mirasol and heads over to Reza’s station, Dave following close behind. As she approaches, Reza springs awkwardly to his feet, accidentally knocking over his chair as he offers an excited handshake.

REZA: Wow, a Texas Marshal, surrounded by L.A. glitz and glamour! Love it! The fish-out-of-water thing is a classic trope in the industry, y’know.

Sam shakes his hand, looking puzzled.

SAM: The... data analysis industry?

REZA: What? No, the entertainment industry! I’m also an aspiring screenwriter, you know.

NIKHIL: Emphasis on the ‘aspiring’ part. He’s never actually finished a script.

REZA: Shut up, Nikhil! Anyway, my point is that I’m a bit of a film buff.

SAM: Huh. Sounds like that might come in handy in this town.

REZA: Yeah, I know, it’s not really... wait, what?

SAM: Hey, from what I’ve seen, Hollywood’s a special kind of crazy. Might help to have someone who speaks the language.

REZA: Ha! Boom! How’s that defeat taste, Nikhil? Someone actually appreciates me for once!

Nikhil groans and rolls his eyes as Reza picks his chair back up and sits down.

REZA: And speaking of ‘Hollywood’ and ‘crazy,’ by the way, I’ve pulled up some info on the main victim.

DAVE: Gavin? Could be a lead. But what about Tull?

REZA (frowning): Not much. From what I can tell, he surfaced suddenly about a year ago as a paid killer. Other than that, I could barely find anything.

SAM (frowning): What do you mean he ‘surfaced suddenly?’ Where the hell was he before that?

REZA: It’s the weirdest part of this whole thing. Far as I can tell, he emerged from thin air last year. His first kill happened in rural Montana, and before that... the guy just vanishes.

DAVE: Fake name, maybe?

REZA (shakes head): Nothing I can find. But I’ll keep looking. Gavin, on the other hand... with how much he’s posted about himself online, the guy practically did my job for me.

Reza swivels his monitor. Sam and Dave look at the screen, which is displaying a celebrity blog site titled “Dirty Hollywood.”

REZA: His personal blog is plenty already, but the real interesting part is this one. “Dirty Hollywood.” It’s a celeb gossip blog, and with the things he’s posted, he’s made quite a few enemies.

SAM: Could lead us to whoever hired Tull.

DAVE: Agreed. So, who’s on the list of Gavin’s potential enemies, then?

REZA: Honestly? Literally everyone he’s posted about. I can list all of them for you, but we’d be here all day-

DAVE: Give us the three most likely, then. Anything in the past week or so

REZA: Well, let’s see... he leaked some emails from screenwriter Josh Neely, exposing him as a plagiarist.

DAVE: Hold on. I spotted Neely on the tape, just before the murder. He was arguing pretty fiercely with Gavin!

Sam raises her eyebrows.

SAM: Damn. We’ve got our connection, then.

DAVE: Not so fast. Lots of celebrities were at that party, it doesn’t mean anything on its own. Reza, who else?

REZA: Gavin also posted evidence that Ryan Summers was making large, discreet payments to an unknown woman. Sure, Gavin never actually says she’s a call girl, but he sure as hell implies it.

DAVE: Huh. Ryan never mentioned that...

SAM: First-name basis with Ryan Summers? Really.

DAVE: Yeah, he’s a good friend of mine. We play poker on the weekends.

SAM: I’m not sure what’s harder to believe: that your poker face is that good, or that you’re actually telling the truth.

REZA: Anyway, the third suspect is pretty timely, considering Nikhil’s taste in music. Gavin leaked some of Hayley Rose’s, uh... illicit photos from her personal phone.

SAM: She’s the singer you were just listening to? How did Gavin get all this?

REZA: Whatever it was, it definitely wasn’t legal.

Dave sighs, shaking his head in disgust.

DAVE: Typical. Thanks for the leads, though. Let us know if you can find any more on Tull, okay?

REZA: You got it.

Sam and Dave step toward the door, out of earshot of the analysts.

SAM: So what the hell does any of that tell us?

DAVE: I admit it’s not much to go on. What about the gun?

SAM: What about it?

DAVE: You seemed familiar with that specific model when Nikhil mentioned it. Do you know something?

SAM (muttering): Ugh. Of course. Goddamn detective.

Dave raises an eyebrow.

SAM: Nothing that would help the case. Look, Tull’s a killer for hire, right? So, first things first, we should look into the people he offended. Find out who hired him.

DAVE: That’s fair. It’s as good a place as any to start. Let’s go; I’ll drive.

SAM: Hope you drive fast. Every second we waste is another second Tull’s out there, a free man.

Sam heads for the door, but stops when she notices Dave hasn’t moved. He studies her, frowning.

SAM: ...What?

DAVE: Look. If we’re gonna be partners on this, I need you to level with me. Why are you really here?

SAM: It’s my job-

DAVE: Massey, I’m a detective. Half my job is knowing when someone’s lying. We do have Marshals in California, y’know. Something made you get on a plane and fly halfway across the country to nab Tull yourself. Something makes you look like you’re gonna punch a hole in the wall when you think about him.

Sam sighs in defeat.

SAM: Alright. Fine. It’s personal.

DAVE: There. Was that so hard?

SAM: Look. Tull killed someone close to me. I’d rather not say any more right now.

Dave nods and opens the door to head out of the lab.

DAVE: That’s fair. Listen, Massey: we’re gonna get this bastard. That much I can promise you.

SAM: Damn straight.

Next Scene: Good Cop, Bad Cop

CIU Tag List: @brightpinkpeppercorn @endlesshero1122 @bbaba-yagaa @acidsugar0

MW Tag List: @griselda1121

[rankakiu]

Thoughts of the Droid: Alita Battle Angel (2019)

Hello, people of Tumblr! How life treats you? As always, I hope very well. Finally, I had the opportunity to see the movie I most expected from this 2019: Alita Battle Angel

It is another Hollywood effort to adapt a Japanese franchise, being the turn of the series "Hyper Future Vision GUNNM" by the author Yukito Kishiro, which has become over time a reference and classic of the genre of science fiction and Cyberpunk, at the same time having gained the status of cult work. And this time, Hollywood, with the help of James Cameron and Robert Rodriguez have brought us their live-action version, which has given to talk in the middle of the cinema and among fans of anime/manga.

WARNING: NOT SPOILER-FREE. Read at your own risk

Entering already in the review, what did I think about the movie? Short answer: Entertaining, but could give a little more of itself. Now let's analyze the movie in more detail.

Characters: In my opinion, the strongest point of the movie. The interpretations of the actors could not be more accurate and you can see the effort they have put into playing their respective roles. I particularly emphasize the actress Rosa Salazar in her role as Alita and Christoph Waltz as Dr. Dyson Ido. Salazar has done an impeccable job and I, as a spectator, felt that I saw Alita in all her personality and glory. A kind and innocent girl who discovers and marvels at a world that is unknown to her. In this part, they knew how to perfectly balance her surprise and innocence, without Alita looking ignorant or silly. We also have her other side represented perfectly: a lethal soldier who possesses the soul of an entire warrior, with touches of arrogance, whose combat techniques make her a formidable adversary. And whose memories are unlocked little by little making use of their main weapon: the martial art of the Panzer Kunst.

Christoph Waltz, on the other hand, makes a very solid interpretation of Daisuke Ido ... sorry, Dyson Ido, a father figure for Alita. In fact, that aspect pleased me a lot about the movie, which at all times shows an authentic relationship between father and daughter that gets stronger as the story progresses. We see a Dyson Ido, who despite not agreeing with Alita in some circumstances, supports his adopted daughter unconditionally.

I also highlight the actors Keean Johnson and Ed Skrein in their roles of Hugo and Zapan, respectively. They also show that they studied their characters and represented them quite well. We have a Hugo here, who, like his previous incarnations, has the dream of going to Zalem in search of a better life. On behalf of Ed Skrein, he gives us an arrogant and vengeful Zapan, ready to defeat and humiliate Alita.

In general, the rest of the cast works pretty well inside the movie. (By the way, very good detail of those involved in keeping the surprise of Edward Norton as Desty Nova, since seeing him there in the film was a real surprise, and a nice to finish XD).

History: Ironically, this was the weakest point I found in this movie. At first, the story progresses well, but after a few minutes, the story feels rushed, presenting a huge number of characters in a very short period of time, apart from that they explain their characteristics, instead of showing them in the scene on the big screen.

However, I firmly believe that what it plays against was that they tried to make a perfect amalgamation between the first three volumes of the Japanese comic and the two existing OVA’s of the franchise. I recognize that there are scenes of this style that really work, but a good part of them feels that they pass too quickly and does not allow a real conflict between the characters to be generated. In addition, I also believe that Cameron and Rodriguez did such a good job of pleasing the fans, that they almost completely forgot to include more people, that their adaptation was more universal for the entire audience. I understand that in a movie the time is quite limited, but they could make an effort to deliver a more cohesive story. By the way, the violence in the film, although very reduced and soft compared to the original material, is appreciated to see it.

Something that seemed unjustifiable to me in the movie was that they removed all the history of Hugo's past, is essential to understanding his motivations. They kept his dream of wanting to go to Zalem, but you never understand why he wants to go to Zalem. Of course, long before the premiere, I read the volumes of the original Japanese comic, so, even when they missed that part, I understood the reason for Hugo's dream. But someone who approaches the franchise for the first time with this movie will never understand why. Also, you have the scene where Hugo climbs up one of the cables that hold the floating city of Zalem. In the Japanese comic and OVA, you understand that he climbs as a last and desperate alternative to fulfill his dream of belonging to that city. On the other hand, the movie goes up because the hunter-warriors know that he is still alive. Partly it is justified, but it feels forced and taken out of nothing.

As I said above, the story feels rushed and this is more noticeable in the inclusion of Motorball sports scenes, which I would have preferred to have been in the final part of the film and the other two rooms focusing on Alita in her role as hunter-warrior. We have another case, where the final confrontation between Alita and Zapan is hurried and one can barely enjoy the scenes. Almost has no impact on the viewer and to top it off, the change of heart of Chiren, now determined to help Alita feels too forced. It also happens in the case when Zapan loses his face at the hands of Alita, where the scene does not have enough impact to astonish the spectator.

But what intrigues me the most is: how in the end, Alita stays as a Motorball player if practically scenes ago she made rebellious acts against the Factory? Practically entering, dismantling machines, destroying facilities and killing a person (Vector) is enough to put a price on the head of our protagonist. And yet, there you see her at the end very removed from grief and the Factory does not put any reward for her.

But not everything is bad. In favor of the film, I will say that the inclusion of Hugo at the beginning of the story was a success since it allows the romance between Alita and Hugo to unfold naturally. You also feel that in truth chemistry between the actors, which makes their romance more tender and therefore more credible. I highlight two scenes in particular: the first where Hugo teaches Alita to play Motorball and the second where he gives her chocolate to taste for the first time. In the first, they spend more time together and therefore you can feel that their romance is born little by little. It is in the second scene where you see more the innocence of Alita that causes you to die (not literally XD) of tenderness, without forgetting that also this scene has its comic touches well achieved.

It is also fair to mention that the scene of Hugo's death is very emotional and finally we see how Alita is affected by that event. We see her mourn, her sadness, anguish, and despair to witness the death of the man she loved. As a spectator, it moved me a lot.

On the other hand, the justification of Dr. Ido to be a Hunter-Warrior is perfectly raised, since the loss of his biological daughter affected him so much that he decided to make his own justice. In general, it is a very valid reason and the proposal of the film goes further, by presenting an Ido, who after achieving his revenge, did not leave him satisfied, but even worsened his feeling of emptiness. It is quite similar to what the Japanese comic raises originally where Daisuke Ido, to prove the experience of killing, could not leave that profession, being a declared murderer. Something similar also happens with the end of this movie. I will also mention that here it makes more sense that Ido and Chiren have been a couple and their subsequent separation is equally well justified. Here Ido, with Alita, has again the opportunity to return to be a father, and the viewer sympathizes with Ido in that aspect. In general, the scenes that narrate the good doctor Ido's past are brilliantly realized.

If I had to highlight a scene that combines the Japanese comic and the OVA and if it works to perfection, without a doubt it would be the scene of the Bar Kansas and the subsequent fight between Alita and Grewishka. Interestingly, here if you feel a perfect amalgam between both formats and brought to life for the big screen. We have Alita who goes to the Bar Kansas for two reasons: one, seek to prove herself as a warrior hunter, and two get help to stop the evil Grewishka. It turns out to be an impeccable scene, where in spite of giving some events in a different way, it also preserves the essence of both previously mentioned formats (especially the japanese comic). It is here that the arrogant, but charismatic part of Alita is observed, humiliating the other hunter-warriors by telling them the painful truth, accompanied by a beating of epic proportions. On the other hand the sequence of the fight in the bar is very well achieved, reminding us of the fights that occur in the bars of our world XD.

The fight between Alita and Grewishka is the best achieved, having a great intensity in action. It is here where they also took many scenes from the Japanese comic and knew how to transfer them to the film. Here we see an Alita whose inner warrior reappears with more strength than ever, and despite the difference of powers and abilities, she knew how to stand up to her opponent, even when, in a peak scene, her Doll Body is destroyed, Alita never surrendered in the fight. Fortunately she was saved by the help of Hugo, Dr. Ido and the hunter-warrior McTeague. Particularly the scene where Dr. Ido carries the battered body of Alita is moving to see, as one as a spectator feels the affection and paternal care that Ido shows at that time with his adopted daughter, in addition to recalling a classic scene of the Japanese comic . Certainly a maximum point is reached when Dr. Ido rebuilds Alita with the Berserker Body, where he understands and accepts the warrior soul that is inside Alita.

To finish this point, I will say that the scene that I liked the most was precisely the one at the end, where Alita unsheathes her Damascus Blade and points to the sky. We also see Edward Norton in his role as Desty Nova, accepting the challenge of his enemy, a sublimely performed scene, where Alita accepts herself as a warrior, promising the destruction of Nova with a will of steel. Extra points for the design of Nova, where it really looks like its Japanese comic counterpart, without looking like a bad cosplay. In general, Nova's dialogues, along with his brief appearance, left me asking for more of this iconic character.

Visuals and special effects: Simply great. In truth here I recognize the effort they made to present the world of Alita. We see the floating city Zalem in all its corruptive glory, and the Iron City, with its people living as pleasantly as possible, but also presenting their constant problems to survive in an environment too hostile, full of poverty and murder.

The strongest point is the design of Alita and her cybernetic bodies. I still remember the controversy (which fortunately did not happen to major) that generated the fact that Rosa Salazar made her interpretation with the Capture Performance technique and above all, the decision to make the eyes of Alita enormous. To the relief of the majority, that was only a minor detail, since, in the final product, Alita looks pretty good. In all the scenes It looks totally beautiful, besides that, in spite of being a Cyborg, its movements are quite natural and fluid, like those of any other human. The designs of the cyborg bodies are really beautiful, in addition to offering some contrast to differentiate them. We have the Doll Body, whose design is simple, but close up it has ornaments that make it feel empty, in addition to its color palette is warm, ideal to represent the innocence and kindness of Alita. On the other side, we have the Berserker Body, whose design is more elaborate, but not saturated. And their colors are quite indicated to represent their warrior side.

Action: There is not much I can say, except that it is really very good and very well done. It's a frenetic action, but you can clearly see the fast movements of the characters. Once again I highlight Alita, whose movements are not only fluid, but also note that these movements, when attacking, dodging, pirouetting in the air, kicking and punching, you notice a huge physical force in her attacks and above all, her movements are more by instinct, as would be expected of her character, who instinctively recalls her training in the Panzer Kunst. The Motorball scenes are fast, you feel the intensity of the sport and in general, it feels like in its counterpart of the Japanese comic: a sport full of adrenaline and without mercy. The action does not disappoint.

In conclusion, Alita Battle Angel is a decent and acceptable film and adaptation. It is entertaining to watch and one can get to enjoy the experience. However, one also feels that the film had more potential, which unfortunately did not come to fruition at all. This film would recommend it more to Die-Hard fans of Alita or as a way to have a good time to get rid of boredom. For my part, I will say that this movie has become a guilty pleasure. No doubt I would see it again, but with certain reservations. For now, I give this movie 2.5 out of 5 Damascus Blades.

I'll finish my review by saying this: In part, I'm glad to see Hollywood keep trying to make adaptations of foreign franchises. As far as I can see, this industry is taking more seriously to rely on the source material and represent it in the best way they can, in addition to dealing with more some respect to the franchises. In fact, they still have a way to go, but I feel that they have already taken the right path. It is only a matter of time before they finally deliver an adaptation that is universally acclaimed. I count that it will be like this in the future.

Greetings

Rankakiu

Edit: I added my thoughts on two more scenes of the movie. So, I feel that my review is at last complete.

[littleravenwrites]

For - chrisevansimaginez

Pairing - Chris Evans x Reader

Warnings - none

word count - 2.6k

A/N - Hope you enjoy this <3 <3

It’s not every day that you get a call stating you won a contest to hang out with Chris Evans, a contest that you had totally forgotten about until now. You were excited, you were pumped for this…. And nervous, very nervous, now that you thought about it, you were going to be face to face with him in a couple days.

Oh lord.

You were ready and in a cute outfit out of course; you wanted to feel your best. You did up until they called you; you felt the outfit was suddenly the worse thing. But you had no time to change when they told you that you would be getting picked up in a limo in a just a few moments. You didn’t even have time to say thanks because there was knock at your apartment door. You hung up the phone just as you stared; you wondered if it was the limo driver or Chris, there was only one way to find out.

You felt your breath collected in your throat which you let out slowly, you had to gather yourself some. You didn’t want to come out off as a nervous wreck. You opened the door and to your surprised it was Chris Evans, your breath came out shaky. If he couldn’t tell you were a wreck, you were going to sign up for acting classes.

“Hi,” The both of you said at the same time, of course causing you to both laugh.

“Sorry, this morning is all too hectic for me,” Chris apologized as he extended his hand. “I’m Chris,”

You looked down at his hand then back to his blue eyes, you bite your tongue. You wanted to say, ‘Duh, of course you are!’ instead you just placed your hand into his own and shook it. “It’s… It’s amazing to finally meet you, I’m Y/N Y/L/N,” You introduced yourself.

“You don’t have any idea how nervous I am,” He laughed, “I don’t know why, I guess one on ones are different or the fact I have no idea what we’re doing yet…”

“You’re nervous?” You asked while keeping your eyes still connected with his. “I wouldn’t have thought.”

“I know and here you are causal and not bothered… and I’m still holding your hand, I’m sorry…” Again he apologized and let go of your hand.

You laughed, “Its fine and seriously? I’m barely keeping it together!”

Damn, now to look for acting classes.

You closed and locked your front door before walking next to the tall actor, obviously he was different. Taller, the blue of his eyes popped and seemed to be a lot more fit. You couldn’t help but notice certain details like his walk and how his moved when he talked.

“By the way, the whole limo thing I told them not to do this but why would they listen to me?” He said as he led you to the back of the limo. You watched as the driver walked around and opened the door for you, you looked between Chris and the open door. “After you,” He smiled.

You slide into the seat and placed your hands on the side of your legs, your eyes roamed over the interior of the limo. You probably looked pretty awestruck even if you had been in one once before, you closed your mouth that was open slightly and looked over to Chris, who you thought noticed. Luckily for you he was just getting in himself.

You leaned back and bit down on your bottom lip nervously, the only thought going through your head was, ‘oh my god, oh my god, oh my god,’ as you looked forward. But of course you were side checking him; you noticed his shoes up to where his shirt hugged his biceps perfectly. Your head turning to him completely as you literally checked him out now.

“So, Y/N….” Chris’ voice snapped you of your check out zone; you let go of you your bottom lip and raised your eyebrows. He looked over to you, and stood quiet for a moment making you worry that you had something wrong with you. You brought your fingers to your eyes, carefully brushing away anything that could be there and then you moved to your face in general. “I’m sorry; I just had a moment…” He laughed making you stop.

You dropped your hand onto the seat again, “No worries,” You reassured hm.

“I was just looking at the list that they offered us,” He said looking back at his phone, his hand dropped down onto the seat, his fingers over yours just barely. Again, he didn’t notice but you couldn’t stop your heartbeat from fluttering. “It’s public stuff, so cameras… A lot of people and I didn’t expect this to be so… public,” He frowned.

You listened to him and nodded; you turned your hand and squeezed at his hand some. “It’ll be fine.” You said and let go of his hand. “I kind of expected it?” You asked more than said.

“Well that’s not fair to you,” He smiled and sighed some. “Fuck it; we’re doing our own thing.”

If it wasn’t anything you already knew that Chris was a sweetheart, the driver drove you both to where Chris’ car was, and promised you over and over again that there won’t be any chaos. Like you had mentioned you expected it, you didn’t want part of that but you expected it. But still Chris swore up and down the road that this day there wouldn’t be any of that fame chaos.

Chris had just paid the driver for extra time that he didn’t do, obviously feeling bad for not needing his services. There was a small fight of, “Please, just take it, sir.” And “No, I can’t.” Finally, the driver couldn’t get passed Chris’ charm anymore, while you were still trying to keep it together.

“Do you like Chinese food?” Chris then asked you once you were in his car.

“I love it,” You had to force out because you couldn’t believe that you were in his car, you needed a moment to get used to this and you hoped it wasn’t going to get any harder.

“Great, I know this excellent place; it’s a mom and papa restaurant, and no cameras.” You could hear the smile in his voice as you looked out the window.

It grew quiet between the both of you, and you had it already on your mind that you were boring. You looked over to him as he kept his eyes on the road but what seemed to “prove it” was when he turned on the radio. Curiously you looked over to it and heard some rap blasting through the speakers. If you had another pair of eyes, you would’ve seen that Chris had matched your expression.

“May I?” You asked with your hand already reaching for one of the buttons.

“Go for it,”

You had no idea but suddenly this small task was difficult, it was literally just pushing a few buttons but to you it was like the Olympics. Your hand shook some and you closed it, you eyed him from the corner and saw him smiling. He knew.

“It’s okay,” He said and placed his hand on top of yours before he let go.

You rolled your eyes at yourself; you really wanted to get over the fact that you were still nervous. But you couldn’t just yet and you were glad that he understood. You pushed the numbers on his radio, your teeth grabbing the corner of your lips as you focused. You would listen to the song that played finding it as horrible as the next, until finally there was classic rock song. You dropped yourself back against your seat and for those few moments you both ended up singing. It felt normal which it should’ve.

When the song ended you both ended up you groaning at the commercials that started, “Are you kidding me?” Chris said lightly slamming his palm against the wheel.

“Right… we should just listen to Disney music,” You said quietly, you then had mentally punched yourself. Remembering the small fact about him, and again you hoped it didn’t sound like you were just saying that to make him like you. You just really loved listening to Disney music yourself; there wasn’t a moment throughout the day that you didn’t sing a song or two or many.

“Nothing better than driving down Hollywood Boulevard and blasting Disney music,” He said widely, his hand went to the middle console where his phone was laying. His thumb moved over the screen mindlessly before he passed you his phone.  “Let’s see what you got.”

It sounded like a challenge to you, you scroll through the playlist and stopped when you came to Toy Story’s, ‘You Got a Friend in Me,’ what you didn’t expect was a gasp from Chris and him singing it loudly. You joined in mid-way feeling now more comfortable, and continued to pick songs and sing until you got to the restaurant.

“So you like classic rock and Disney music from what I gather so far, you’re quiet too…” Chris said across from you. “Hmm,” he hummed and looked over you slowly. His fork stabbed another piece of his chicken and he took another bite.

He was studying you is what you got and you continued to quietly eat. Your hand reached over gripping the drink you ordered, you took a small sip and jumped some at Chris’ sudden loud, ‘OH!’

“I’m sorry,” He added. “In the car when you were singing you sounded amazing, so I’m assuming you’re some kind of backup singer, maybe a weekend at some kind of joint singer because I don’t want to be mainstream just yet… Am I getting close?”

You shook your head and laughed a little, “Teacher,” You said and wiped off your mouth. “Well soon to be,”

“A Teacher,” He repeated your answer back. “Yeah, yeah… I can see that.”

It was during your meal when Chris learned more about you, why you wanted to become a teacher, what you felt when you were helping the little ones and so on, he knew that you were passionate about it. It seemed that he had more questions for you than you did for him and when you asked why he answered, “Because you literally Google me and find shit,”

You were a breath fresh of air for him, you had nothing to do with the movie industry and he loved it. The more you told him about yourself other than your job, the more he found you had a lot more in common. Sure it was general stuff, but having it in common with you was different, you were passionate about everything you loved. “Yes, you’re very fitting to be a teacher,” He told you more than a few times and every time his smile was wider.

“When you have your own classroom, I would visit, it’s different from my day to day,” He smiled, his eyes drifted off to the side letting you know was in thought.

“That would be awesome,” You said knowing he didn’t hear you and that it was long shot.

After you both were done eating, you both sat there for a moment or in silence. This time your mind wasn’t busy thinking about acting wrong or maybe you were being awkward, it was quiet. You held onto the glass that was in front of you now, it was pretty much empty expect the melting ice. Your lips were still on the straw as you took quiet sips of whatever it caught, your eyes on Chris’ chest.

You heard his phone break the silence; you eyed it briefly before looking up at his face. “What?” You asked as his expression seemed tensed.

“Manager, hold on…” He said with apologetic smile and headed towards the front of the restaurant. You looked over your shoulder to him and bit down on your bottom lip, you watched as he paced along the small waiting room with his head dropping in nods as his hand moved along with his moving lips. You frowned a little and looked forward once he was making his way towards you.

“Y/N, I’m sorry… Got in trouble,” He said with a small chuckle. “Apparently straying away from a list will do that, I wasn’t supposed to do this obviously. They want me to take you home and they’ll give you some Marvel, Captain American I’m assuming, stuff for the inconvenience.” He rolled his eyes some, but smiled anyways.

“Don’t be sorry and no, it wasn’t an “inconvenience”” You started off as your fingers curled into air quotes, you also rolled your eyes. “I had an amazing time with you, you showed me a new restaurant that I’m definitely coming back too and that Disney is something you can get down to in a car,” You reassured him.

“I knew I liked you,” He said with a wink.

The ride back from the restaurant was just as pleasing as it was to, only this time the Disney music was low and you were turned towards him. You both were discussing about upcoming movies, something he was kind of used to but with you, he wasn’t bothered by it. If anything he found out that you had pretty good taste, you had a variety and didn’t just stick to one genre.

There was so much he still wanted to ask you as he pulled up to your apartment building, you sat there for a moment and let it hit you that you had met Chris Evans and got sad by the fact you weren’t going to have something like this again.

“Chris, I had an amazing time with you and whatever they tell you, just know that I would do this in heartbeat again, exactly the same but different restaurant,” You stated as you unbuckled yourself. “And not because it was bad but because you have to try new places,” You continued.

“Thanks, Y/N,” He said and placed his hand on yours. “Listen this might be really out of line, and I don’t ever, ever do this but… can I get your number?” He asked slowly and sucked in some air.

“Really?” You asked and stared at him.

“Please, I mean this is the most fun I’ve had in a long time,” He smiled and put his phone out to you.

You looked down at his phone; there was no way in hell that he was going to text you. Chris Evans texting you out the blue just because? Yeah, okay. You laughed at yourself as you punched in your number and added your name, you handed it back. “I’ll see you later,” You said causally as you got out of his car and headed for your apartment.

You had the widest smile on your lips as you stepped inside and it stayed on your lips until you were getting ready to go bed. This was something that was going be in your mind for days and days, you knew it was fat chance at any further contact but you had one good day more could you ask?

The sound of your phone buzzing distracts you from your thoughts; you sit up in your bed as you unlock your phone and looked at the new number and a text message.

‘Hey, it’s Chris.’

‘Chris Evans, don’t know if you know any more…’

‘Anyways I had a good time with you and I have a question.’

You looked at the texts a few times, he was texting you.

‘Hi Chris, I had amazing time too, and yeah, shoot’

‘Next weekend, why don’t we redo this but at the happiest place, Disneyland?’

Your mouth opened some and you nodded like he could see you.

‘I would love to!’

‘Great, I’ll call you tomorrow!’

[abitterlifethroughcinema]

         #ABitterLifeThroughCinema’s WOKE! Film Reviews

     The Top Ten (+1) Best Movies of 2018 and where to find them!

                                                          by

                                           Lucas Avram Cavazos

+1…11. Overlord  Having its premiere at this year’s Sitges Int’l Film Fest, Overlord not only happened to be one of the fave films screened there this past festival, but this cinematic fantasy is an all-too-real and stark portrayal of a horror that actually occurred, and it deserves a nod from the Barcelona film critic family, so here it goes. Duly noted, I’d say. It starts with an insane aerial combat mission on the night of D-Day, one which goes awry and sees only a handful of paratroopers surviving the drop when enemy fire rains hell. They land in provincial France and the plot sets out to detail some of the inner workings of the Third Reich in reference to the insane, gruesome experiments done on captured Europeans and Jews. Those stories you’ve heard about turning these poor people into guinea pigs for super soldier intent using potent, injected serums…yeah, those? They’re true, if you believe the words of JJ Abrams. Are they as utterly brutal and horror/zombie film-like as displayed here? I sure as hell hope not. (now available On Demand and DVD)

10. The Ballad of Buster Scruggs There once was a film called O Brother Where Art Thou? While this is not its sequel, there is a sharp-witted vein to this film that could only be crafted and gifted to us by the Coen Brothers. What a hoot it is, even if it is a rather darkly-tinted hue of that hoot and humour. It is also one of their finest in years. Revolving around the singing cowpoke Buster Scruggs (Tim Blake Nelson) and five other tales brought to us with the commonly-threaded theme of death in often brutally funny ways, this film is a fine return to oddball form from two of the finest sibling directors of all time. Starring Liam Neeson, James Franco, Zoe Kazan, even Tyne Daly and so many in its vignettes, and that acting star power fuses this Western comedy into new territory for the brothers. Their previous works set in the west always seemed to be re-hashing works of years gone by but here, with their usage of almost comic-book-like details and witty banter make this much more enjoyable than their other historical works like O Bother and their remake of True Grit. Best western in absolute years! (available on Netflix or VOD)

9. Eighth Grade This poignant little film, which should have been wide-released everywhere the world over, is given fierce and bittersweet star power by Elsie Fisher, protagonist and student at the heart of this film. Comedian Bo Turnham has brought us the quintessential coming-of-tweenage story and along with Fisher, everyone in this film is so perfectly placed in their roles, especially Josh Hamilton as her dad, who deserves some nominations for this film but is unlikely to get any. Telling the story of 13-year old Kayla, we the audience get a sneak-peek into the minds and lives of today’s young adults. From her simple YouTube videos made to encourage other young kids to her obvious desire to fit in with older kids to her insecurity with boys, this film paints a stark reality that too many have lived through and this little indie film deserves aplomb from anywhere it can get it! (now available On Demand and DVD)

8. A Star is Born I skipped the critics’ screening of this film for the mere fact that I couldn’t bear to see if the acting and plot lines were another torrid take on a much-redone film. Even into the holiday season, I had not yet seen it and then when I did, I certainly took back any reservations. Bradley Cooper’s update of the film starring himself and Lady Gaga is just about as good as everyone said it was, and that was beyond refreshing to note post-viewing. In many ways, I feel that Cooper is likely revealing a few things about himself with the guise of “it’s a movie” being a nice cover; in some ways, he gives us what I believe are hints of his covert life, and it’s with Gaga’s turn as Ally that we really see him shine beyond the shtick of his character, country-rocker Jackson Maine. In a tad corny-tad, gripping way that takes hold the moment you see Gaga, let’s be frank and real, this film goes on to detail a Diet Coke version of the grim realities that often detail too many a tale of celebrity in Hollywood. Without revealing too many details of the film’s plot and denouement, we are looking at a necessary conversation about alcoholism, drug addiction and fame (plus a lack of ’NO’ men/women in many relationships) that needs to addressed for all ages. Well done, Mr. Cooper Goes to the Oscars. (At select screens, On Demand & DVD)

7. El Angel Incidentally, this may be the first time in a rather long time that I say something good about Argentinian men, so do take note. Telling the true story of fresh-faced boy killer Carlos Robledo Puch, played to Oscar-worthy perfection by newcomer Lorenzo Ferro, the masterful detail to which director Luis Ortega has crafted this arthouse meets dramedy-thriller is astounding and easily touches heights set by dePalma and even, dare I say it, Scorcese. We follow young Carlitos Puch, who is just nearing the edge of seventeen, as takes up with a rough and tough family of his devilishly attractive school chum Ramon, played by the spirited Chino Darin, son of Ricardo Darin. But as Carlitos comes to find out, his street crimes can easily be paved to real ones and his sadistic tendencies suddenly yet gradually paint a picture of someone who is in part desperate for attention and tacceptance and in part a fairly smart, well-to-do young adult. He parlays his sociopathy at pubescence into psychopathy with time, and this film will likely be, but should definitely not be, forgotten come awards and Best Of lists time.(available On Demand and DVD)

6. Black Panther As Oscar season comes to a head, it is worth talking about one of the most striking films that you’ll see for a while. Black Panther is that good, not only because of its genre but also because of its message: that seeking freedom through recreating systems of oppression will only extend the ill-treatment and broken nature we find ourselves in nowadays. Set in the fictional African nation of Wakanda, protagonist King T’Challa (Chadwick Boseman) brings us the first real black superhero from the Marvel universe. With a cast including Lupita Nyong’o, Angela Bassett, Forest Whitaker and Michael B Jordan, the acting is beyond impressive. What is even more amazing, however, is how the plot power-plays many elements of our world’s current political climate. (now available On Demand and DVD)

5. Chappaquiddick Another film which is nothing short of striking in its relevance to the current political situation in the USA. Senator Ted Kennedy was the only remaining Kennedy that I was familiar with throughout my adolescence and early adulthood. Jason Clarke as the Massachusetts senator is astounding, as is the cut of his jib and chin, although the accent was a tad weak, to be ever sincere. This is a complete revelation on the many details that were only gingerly touched upon during the course of the week following the death which this movie is detailing . As the facts are laid out in the film, it astounds me that the American people continued to vote and elect Kennedy for decades after. This is a study on arrogance, class and governmental ambiguity. And if that was the case with liberals in the Sixties, how much more so with conservatives in this digital age? My favourite film of last year’s BCN Film Festival. (now available On Demand and DVD)

4. Private Life Good Lawd this is such a heartwarming/breaking story with the finest elements of believable comedy and situational realism that define the art of the classic Gen X film from the 90s to now. May we never forget that it was Gen, and even those a few years before them, who gave us the digiverse-Netflix-instant oatmeal www.orld in which we live today and when I see a very NYC film like this one, it makes it a true reality check. Being the age that one should be married with kids, I watched Kathryn Hahn as Rachel absolutely slay the silver screen and am eager to see if she picks up any more accolades throughout the current awards season. Simple plot…she’s in her early 40s and her hubby Rich (played by Paul Giamatti) is entering his late 40s and they are fully entrenched within the confines of every single way to conceive a baby. Following the couple through their trials and tribulations really get pushed up an ante when sort-of relative Sadie (the lovely Kayli Carter) decides she will be the surrogate mum for them as things get a tad pear-shaped. This could easily be dubbed a dreamed, for in effect, it is; what needs to be known is that this is also a morality tale for a new age. The old-fashioned ethics of yesteryear just do not apply anymore, at least not in big cities, and the less is more factor easily makes this one of the finest films released within the last year. (available on Netflix)

3. BlacKKKlansman Without a doubt, this is the finest work in all too many years by Spike Lee, and he takes no prisoners in letting you know that the spilled essence of blaxploitation all over this celluloid is to egg you into knowing that this story is 100% true…and crazy. The mere fact that David Duke is literally cheerleading for the current President of the United States should scare us all and wake those who are not. Watching actor John David Washington portray Ron Stallworth, the real-life cop who slyly infiltrated the inner workings of the Klu Klux Klan 40 years ago. After signing up for the Colorado Spring PD, he realises the lack of trust in the 98% Anglo-Saxon workforce, as he’s thrown into monitoring the goings-on of any Black Panther student situations. Eventually, he takes up with a guy on the force that he can dig called Flip and played to skilled excellence by the oddest of lookers Adam Driver. Basically, the plot follows the twosome, as they tag team the aforementioned white supremacist movement, Ron being the voice and Flip being the wingman as they start an investigation on grand wizard bastard himself David Duke, played to troubling perfection by Topher Grace, evoking all of the calmness and utter sociopathic tendencies of a man reviled by most yet revered by still too many. And watching this taut film and how it rolls through such a daunting story with comedic aplomb and vicious realness gives you goosebumps. That said, as the film gets toward its ending, is when Lee gives you the goods when he flashes to scenes from the crazy Charlottesville, Virginia, riots, AntiFa protesting and subsequent death of Heather Heyer, may she rest in peace. God Save the World…and Amerikkka.

2. Fahrenheit 11/9  Premiering a few weeks ago here in Spain at very select cinema screens across the country, this is the first documentary in some time by Michael Moore that could play across an international landscape and should be required viewing on any critic’s or person’s list. The titular oddity refers to the day after we all woke up across the world in shock and awe that Donald J Trump had won the Presidency of the USA. Even if this is not Morre’s best film to date, it is undoubtedly the one that holds the viewers’ feet to the fire and calls for them to fight the nasty funk of this administration. But, it’s when he takes it back to his roots, to Flint, Michigan, and ends up involving all local and state politics, that we start to see the more sinister undertakings happening amongst conservative parties, ideals and societies. When you add in the fact of the Parkland High School shooting and the way Moore later fuses footage of Hitler and his minions and followers with a rally speech made by the current occupant of the White House, it becomes all too obvious that things are exactly as we think they are (A HOT MESS!) and we have very little recourse rather than claiming truth. (now available On Demand and DVD)

1. ROMA There are tender moments of realism that are permitted to happen with the rise of instant cinema on VOD and direct-to-home films, and it has been a pleasure to see that sites like Netflix and Amazon and Canal+ have truly added to the foray in which great celluloid can be brought to the masses. Case in point comes the finest piece of dramatic celluloid that graced the silver screen in the last year. Being a Mexican whose father is a naturalised citizen of the US and a mother who is Chicana from the US, like myself and my siblings, the sentimentality ran deep with this film. One of the differences I experienced was the fact that we were the only Mexican-American family in a stately US country club…and we had an entire childhood spent with loving housekeepers, which is what this film inherently is honouring and depicting, using the backdrop of Alfonso Cuarón’s take on growing up in 70s-upper middle class Mexico City in the neighbourhood of Roma. Depicting the life of the house assistant Cleo (first-time performer Yalitza Aparicio in a J.Hud moment, frankly) and the family of Sr. Antonio (Fernando Grediaga), a doctor in the Mexican capital, what Cuarón has called his most personal film to date, is also a B&W modern tale in the vein of Gone with the Wind, and the fact that he centres around a privileged Mexican family is poignant for several reasons: it not only takes a focus away from how Donald bloody Trump has painted Mexicans, in general, to the world, but it also highlights a very human element to how many classes of society function and live there in the frontier regions of North America and, more importantly, EVERYWHERE…easily put, this is a sweet, oft-times simple, oft-times brutal story on humanity. What binds so many critics together on this film’s merits is that fact that Alfonso Cuarón has crafted the past year’s most enigmatic movie, leaving us to make our own answers to what happens to Lady Cleo, her best mate Teresa, and this beautiful family. Absolutely and quietly stunning! (available on Netflix and selects screens across the country)

[bbclesmis]

NY Post: ‘Selma’ star David Oyelowo brings a song-less ‘Les Mis’ to TV

Twelve years ago, a vaguely known British actor with an unusual surname decided — like thousands of hopefuls before him — to take a gamble on moving to Hollywood.

Except that David Oyelowo, fresh from a three-year stint as intelligence officer Danny Hunter on the BBC drama “Spooks” (re-titled “MI-5” in the US), couldn’t just chuck a few things in a bag and find the nearest motel on the Sunset Strip. The actor was a married man, with two kids in tow and another on the way; this would have to be a family decision.

“We literally said, ‘Let’s sell up and give this a go,’” Oyelowo recalls. “We deliberately decided we didn’t want to have a safety net. ‘Go big or go home,’ we said. And we so nearly went home. I didn’t work for 14 months.”

It’s hard to imagine Oyelowo — who would go on to perfectly embody Martin Luther King Jr. in “Selma,” star alongside Tom Cruise in “Jack Reacher,” work with Christopher Nolan in “Interstellar” and steal scenes in Lee Daniels’ “The Butler” and “The Paperboy” — struggling for a single moment. But, he tells Alexa, the struggle was real.

“We knew there may be tough times, but we didn’t know they were going to be as tough as they were,” he admits. “To make ends meet, I taught drama at [the University of Southern California] for a little bit, and that Trader Joe’s application was burning a hole in my pocket. Oh yeah, it was tough.”

Today, Oyelowo, his actor/producer wife Jessica and their four children (Asher, 17, who’s a runway model for Dolce & Gabbana; Caleb, 14, who’s keen to follow in dad’s footsteps; Penuel, 11; and Zoe, 7) are all living the California dream. Well, except for the weather part.

The actor is currently draped in a bathrobe and rolled in a blanket, shivering on an unseasonably cold beach in Playa del Rey for our Alexa cover shoot.

After it wraps, we head into his trailer, which is as warm as his personality. Oyelowo may be a serious actor, but he also laughs easily. His clipped and precise British accent, he says, is a consequence of studying drama at the prestigious London Academy of Music and Dramatic Art. (“They knock all the London out of you,” he jokes.)

Although he’s gone on to become a huge Hollywood success by anyone’s standards — as an increasingly powerful actor, writer and soon-to-be director — those fallow 14 months left their mark.

“I don’t know — as an actor — if you ever really feel like a Trader Joe’s application is far from reach,” he says. “And that’s why I have a production company. I’m not very good at waiting by the phone for the agent to ring.”

He says he learned a great deal about the production process during the seven years it took from the “Selma” script landing on his doorstep in 2007 to the film actually being released in 2014. Oyelowo watched five directors come and go over that period, and ultimately helped to secure acclaimed director Ava DuVernay for the job.

These days, Oyelowo is doing as much of his own producing and writing as he is acting, co-founding the production company Yoruba Saxon with Jessica.

In April, his six-part TV miniseries adaptation of Victor Hugo’s classic “Les Misérables” will air on PBS. Oyelowo executive produced the project and stars as Javert, alongside recent Oscar-winner Olivia Colman as Madame Thénardier and Dominic West as Valjean. And, perhaps as a surprise to Les Mis’ Broadway fans, not a single person will burst into song for the entire six-hour production.

“With six hours of television, we can offer so much more nuance and complexity and dimension than the musical could ever give you,” he says. “Plus, I just felt it really spoke to the time we’re in: the erosion of the middle class, revolution in the streets. Living here in America, I don’t think we’ve seen this many protests and marches since the civil rights movement.”

Oyelowo will also soon start work on his directorial debut, the drama “The Water Man,” which is being produced by Yoruba Saxon and ShivHans Pictures along with Oprah Winfrey’s Harpo Films. “I’m very nervous. It’s no joke directing a movie,” he says.

That project comes on the heels of his starring role in the psychological thriller “Relive” (from horror stalwart Blumhouse Productions), which debuted in January at the Sundance Film Festival. Oyelowo describes it as “a love story between an uncle and his niece.”

“His niece gets murdered and somehow time splits, and he realizes that she is in the past and he is two weeks in the future, and he has to save her,” he explains. “It’s really just about trying to reach someone you love and take them from any harm which — as a father — is something I live with every day.”

The actor pauses to take out his phone and proudly show off a picture of his oldest boys, Asher and Caleb. Oyelowo is in the picture, too, but you can barely see him behind their towering frames. He’s an extremely proud family man.

“My mother passed away a couple of years ago, and my father came to live with us,” he says. “He gets to hang out with his grandchildren, and be looked after by me — which I think of as a huge privilege.”

His father, Stephen — a prince from Nigeria (“which sounds more impressive than it is,” Oyelowo explains modestly) — has completely adapted to LA life.

“For some reason, he’s obsessed with leaf blowing and he goes to the movies about twice a week, which he never used to do,” Oyelowo says. The family, along with their three dogs, has set up home in Tarzana, an LA suburb about 20 miles from archetypal celeb enclaves like Beverly Hills or Malibu.

“I like that it’s a bit further out, not in the middle of the crazy,” he explains. “I mean, my wife and I just kept having children, and it’s a good place to have a lot of space.

Jessica just doesn’t like cities, and where we live, people walk down the street with their horses.”

Oyelowo may have separated himself from the center of celebrity culture physically, but he’s as entwined as any A-list power player. Not that he’s entirely used to his current social circle.

“Oh, I definitely pinch myself,” he laughs. “This is going to sound so conceited to your readers, but I’m going to say it anyway. I was in my bathroom yesterday, and I was on the phone to Oprah Winfrey while Mel Gibson was texting me. I got off the phone, and I went, ‘Who are you? What is this life?’ Oprah had said to me, ‘Look at God, look at us, aren’t we blessed?’ And I went, ‘Yes. Yes we are.’”

https://nypost.com/2019/03/20/selma-star-david-oyelowo-brings-a-song-less-les-mis-to-tv/