By Norman Rockwell
To give thanks in solitude is enough. Thanksgiving has wings and goes where it must go. Your prayer knows much more about it than you do.
— Victor Hugo
By Norman Rockwell
2 More Days Til Thanksgiving…
Monthly Archives: November 2015
Surely, Leslie Nielsen can’t be the bad guy: The Sheepman (1958, directed by George Marshall)
At the start of The Sheepman, reformed gambler and gunslinger Jason Sweet (Glenn Ford) shows up in the middle of cattle country. He has won a herd of sheep in a poker game and he is planning on grazing them on the nearby public land. Knowing that he will face opposition from the local cattle ranchers, Jason asks the local towns people to direct him to the town bully. After Jason beats up Jumbo (Mickey Shaughnessy), Jason is invited to meet Jumbo’s boss, Col. Stephen Bedford (Leslie Nielsen).
As soon as Jason meets Bedford, he realizes that he is not a colonel and his name is not Bedford. Instead, he is an old friend from Texas, a former gambler and outlaw named Johnny Bledsoe. Like Jason, Bledsoe has also gone straight and is now the most powerful man in town. He is also engaged to marry a local girl named Dell Payton (Shirley MacClaine), to whom Jason has taken a liking. Bledsoe tells Jason to take his sheep somewhere else and when Jason refuses, Bledsoe threatens to have him, Dell, and his sheep killed.
Wait a minute, Leslie Nielsen is playing a bad guy?
Surely, you can’t be serious!
I am serious. And don’t call me Shirley.
(Sorry, had to do it.)
Leslie Nielsen is best remembered for being the deadpan comedian who could deliver the most ridiculous of lines with a totally straight face and who helped to make Airplane one of the funniest movies ever made. But before Nielsen recreated himself as a comedic actor, he was a dependably stiff supporting player and occasional leading man who appeared in nearly 100 dramatic pictures. The Sheepman is one of his “serious” roles.
Today, it is always strange to see one of Nielsen’s dramatic performances. Johnny Bledsoe is a standard western villain and Nielsen does okay with the role but, because his serious performances shared the same style as his comedic performances, it was impossible not to think of Dr. Rumack saying, “I just want to tell you both good luck. We’re all counting on you,” even while Johnny Bledsoe was offering to pay the outlaw Chocktaw (Pernell Roberts) to track down and kill Jason and his sheep.
The Sheepman is an average western and, as always, Glenn Ford is a good hero. But ultimately, the most interesting thing about it and the main reason to see it is to witness Leslie Nielsen doing his thing before he officially became the funniest man in the world. Leslie Nielsen was not a terrible dramatic actor but watching The Sheepman made me all the happier that he eventually got to show the world his true calling.
Film Review: American Pop (1981, directed by Ralph Bakshi)
Long before South Park, The Simpsons, and Pixar, there was Ralph Bakshi. At a time when animation was considered to only be good for children, Bakshi shocked audiences and critics with animated films that dealt with mature themes and were definitely meant for adults. His first two films, Fritz the Cat (1972) and Heavy Traffic (1973), was the also the first two animated films to receive an X-rating. Bakshi satirized racism in the controversial Coonskin (1975) and Bakshi’s adaptation of The Lord Of Rings (1978) beat Peter Jackson’s by 23 years. It was after the critical and commercial disappointment of the heavily flawed but interesting Lord of the Rings that Bakshi decided it was time to make a film that would be more personal to him. The end result was American Pop.
American Pop tells the story of four generations of a family of Jewish immigrants and how music affects their lives. In typical Bakshi fasion, this animated film deals with issues of violence, sexuality, drug abuse, and poverty. American Pop may be animated but it is definitely a film meant for adults.
In the 1890s, Zalmie (Jeffrey Lippa) and his mother escape from Russia after Zalmie’s father, a rabbi, is killed by the Cossacks. Zalmie grows up in New York and after his mother is killed in the Triangle Shirtwaist Factory fire, he is raised by a vaudeville comedian named Louie (Jerry Holland). Zalmie wants to be a singer but is shot in the throat during World War I. His voice ruined, Zalmie marries a stripper named Bella (Lisa Jane Persky) and manages her career. His partnership with the mobster Nicky Palumbo (Ben Frommer) leads to Bella dying and Zalmie going to prison.
Zalmie’s son, Benny (Richard Singer), is a jazz pianist who, as a favor to his father, marries Nicky’s daughter. Benny has a son named Tony and tries to pursue his career without using his father’s influence. Then World War II breaks out.
Benny enlists in the army, seeking redemption from the crimes of his father and father-in-law. Serving in Europe, he misses his piano and, when he finds one in a bombed-out house in Nazi Germany, he plays a few bars of As Time Goes By. When a Nazi walks in on Benny, Benny plays Lili Marleen. For a few seconds, Benny and the Nazi share the common bond of music. “Danke,” the Nazi says before shooting Benny dead.
Growing up without his father, Tony (Ron Thompson) becomes a beatnik and eventually runs away from home. He ends up in Kansas, where he has a one-night stand with a waitress and becomes a songwriter for Frankie Hart (Marya Small), a stand in for Janis Joplin. Both Tony and Frankie start using heroin and Frankie dies of an overdose right before she is supposed to open for Jimi Hendrix. Abandoned by Frankie’s band, Tony ends up as an addict and dealer in New York. Accompanying him is his son, Pete, the result of his hookup with the waitress.
After being abandoned by his father, Pete (also played by Ron Thompson), follows in his footsteps and becomes a successful drug dealer. He is dealing cocaine to all of the big rock bands but, after discovering punk rock, he realizes that he wants something more out of his life.
After announcing that he will no longer sell anyone cocaine unless he is given a chance to record a demo, Pete is given a band and a recording studio. With the drug-craving record company execs watching, this tough and cocky punk grabs the microphone and sings…
…BOB SEGER’S NIGHT MOVES!?
The use of Night Moves, which is one of the least punk songs ever written, is one of the few false notes in American Pop. Otherwise, this is one of Ralph Bakshi’s best films. The majority of the film’s animation was done through rotoscoping, a technique in which animation is traced over live action footage. (For the gang war scenes, scenes from The Public Enemy were rotoscoped, as was footage of the Nicholas Brothers used in the Sing Sing Sing With A Swing montage.) Seen today, the technique is crude but effective at showing the contrast between the fantasy of music and the grim reality of life. Though it has its flaws (*cough* Night Moves *cough*), American Pop is an engaging look at the history and development of American music.
Long Live The King!: Boris Karloff in THE BODY SNATCHER (RKO 1945)
William Henry Pratt, known to horror lovers as Boris Karloff, was born on November 23, 1887. He toiled for years on stage and in small film roles until being cast as The Monster in 1931’s FRANKENSTEIN. Karloff became an overnight success at age 44, and starred in some of the era’s most memorable fright films (The Mummy, THE BLACK CAT, BRIDE OF FRANKENSTEIN). After conquering Broadway in ARSENIC AND OLD LACE (in a role tailor made for him), he triumphantly returned to Hollywood and signed a three-picture deal with producer Val Lewton at RKO. Lewton was making intelligent, subtle horror films and Karloff had taken notice. Their first together, THE BODY SNATCHER, was not only their best, but one of the genre’s best, a masterpiece’s of Lewton’s brand of quiet terror.
Based on a short story by Robert Louis Stevenson, THE BODY SNATCHER is set in 1831 Edinburgh, Scotland. Karloff…
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Artist Profile: Clement Micarelli (1929 — 2008)
Artist Clement Micarelli was born and raised in Providence, Rhode Island and studied art at both The Pratt Institute and The Art Student’s League. Micarelli started his career as a commercial illustrator in 1955 but in 1971, after several years of lucrative success, Micarelli retired from the commercial field. He and his family left New York for Massachusetts, where Micarelli devoted himself to painting full time. His widely acclaimed portraits hang in collections around the world.
Below are some Micarelli’s commercial work, as well as two of his best known paintings.
Turkish Film Fest: Kilink In Istanbul/Kilink Istanbul’da (1967, dir. Yilmaz Atadeniz)
Earlier this year I reviewed probably the best known Turkish Superman film called The Return of Superman. It’s Thanksgiving week and there are bunch of these fun Turkish movies. I thought I would review a few this week, starting today through Saturday. That, or I have a backlog of these movies and this is a good excuse to watch them. Either way, I hope you enjoy them.
We are beginning with Kilink In Istanbul. Kilink is the Turkish knockoff version of the Italian comic book character called Killing. This is one of several of these. The best way I can think of to describe them is to compare them to the Fantomas serials from the 1910s. Except if Fantomas was a sadistic kidnapper, murderer, and all around really really nasty guy. I don’t recall Fantomas being this bad. And if Inspector Juve were Superman. No joke, this is Kilink (Yildirim Gencer) fighting Superman (Irfan Atasoy). Although, my subtitles just call him Superhero and other places you see him called the Flying Man, but come on. Just take a look at him.
At the beginning there is a somewhat confusing opening credit sequence. It’s clearly gonna play at the start of each of these to give a little introduction to the characters. Speaking of characters, here’s the other one.
And Kilink wears that skeleton thing for the entire movie. The question is what exactly is he in this. During the opening credits some people bring in a coffin, inject a mummy with something, it rises up, and underneath is Kilink. Was he hanging out in there? Was he hiding in there? Was he resurrected? It never really says. He just takes off the stuff, starts to plan a crime, then in seconds is off to do it.
That being to kill this doctor who he once knew. Presumedly, before he died. Apparently, he has some formula that Kilink needs to complete his ultimate weapon. Kilink thinks he has what he needs, but it turns out pieces are missing. Now we are introduced to the doctor’s son. This is an odd scene because it’s really random. The son is at a graveyard when all of a sudden this guy appears.
He tells the son he’s going to give him a list of powers. I’m not going to repeat it since it’s almost the exact same thing that Superman’s father says in The Return Of Superman to Superman. You can see it in that review. He tells him that all he needs to say is “Shazam” and he will become Superman. Then he gives him a warning that “only in great danger must be used and not in front of others.” Then POOF! He’s gone up in smoke just as quickly as he came.
In short order, Kilink’s henchmen show up and try to take Superman hostage. This is when we find out that this Superman is not like the Superman from The Return Of Superman. In that one, he basically stands there till the person tires themselves out, then Superman tosses them aside. This Superman dives right into the action. Sometimes quite literally.
Superman is already a thorn in Kilink’s side.
Did I mention this movie moves fast? This movie moves fast! Meanwhile, Kilink is going around reminding us he’s a bad guy. Like when he goes after this girl.
Then he proceeds to rape her?
I put the question mark there because I’m not really sure. It seems like that’s what is going to happen, but then she seems to be in to it. Also, there’s a girl later in the movie with the same color hair. I’m pretty sure she hooks up with him, but I’m not 100% positive. That part was a little difficult to follow. Let’s just say, Kilink has a history of being nasty to scantily clad women like the Wikipedia article on the character says. Not that he’s any better to the guys. And that a girl who looks like this is at his side for the remainder of this movie.
At this point, aside from henchmen around Kilink and some people around Superman, it basically becomes a series of showdowns between Kilink and Superman in one form or another. Here’s some highlights.
Superman Flys
I know this was shot in Turkey and the villain’s name does start with a ‘K’, but perhaps they should have only had two henchmen in this shot.
It certainly is an entertaining hour or so. It really does move fast. It’s like an old serial such as Fantomas, Les Vampires, Judex, or Spiders. It’s a series of action sequences that really don’t move the plot forward, but just set up Kilink and Superman as enemies, then it just ends.
Well, I have three more of these so I guess we’ll see what happens. In one of them Kilink fights Django. I wonder if that one will ripoff Spaghetti Western music in addition to the James Bond music it uses in this one. Ought to be interesting!
Note: There is a version of this on YouTube that appears to have 20 minutes more of runtime that aren’t even acknowledged as existing on IMDb. Unfortunately, it doesn’t have subtitles and my copy does come up and say “End Of Episode”. In these extra 20 minutes or so it appears Kilink gets his weapon working. Kilink also spends some quality time with his lady friend. A woman dances for Kilink. Then Superman shows up to beat people up. We get to see Kilink and Superman fight a bit. Honestly, you’re not missing much. It’s more of the same: Kilink being evil and Superman fighting people. It also ends out of nowhere. However, if you happen to speak Turkish, then by all means, seek out this clearly more complete version.
3 More Days Til Thanksgiving
By Joseph Christopher
I am grateful for what I am and have. My thanksgiving is perpetual.
— Henry David Thoreau
By Norman Rockwell
4 Shots from 4 Films: Happy Birthday, Boris Karloff!
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking. The late, great King of Horror Boris Karloff was born on this date in 1887. Here’s 4 Shots from 4 Films in his memorable career:
Bride of Frankenstein (1935)
Bedlam (1946)
Black Sabbath (1964)
Targets (1968)
Hallmark Review: One Starry Christmas (2014, dir. John Bradshaw)
Don’t you hate it when you sit down to write about a movie and you have no idea how to start it? That’s when you break out The Ramones and just start it by saying you have no idea how to start it. This movie on the other hand starts when we meet our leading lady named Holly Jensen (Sarah Carter) and her boyfriend named Adam (Paul Popowich). Ah, I knew I recognized Paul Popowich. He was on Degrassi: TNG and that short lived Canadian attempt to create both a new Nancy Drew and a new Hardy Boys TV Show. I think these opening scenes can be best described through these three screenshots.
She is a doctor of astronomy and her Hardy Boy boyfriend is a lawyer. He is going to have to be absent on Christmas because a business opportunity has come up that calls him away to New York. If only he knew he was in a Hallmark movie, then he would have known that is the mark of death for a current boyfriend. Might as well have put up the crown signal to send a message to all men in the area that now is the time to pounce on her. Well, it turns out that her parents are also in New York.
She gets the idea to visit her parents after looking at a picture of herself and Adam on MyBudsBook. It’s obviously the pot smokers version of Facebook. Then she buys bus tickets because the movie works better having her meet Luke (Damon Runyan) there, then on a plane. That, and her character is supposed to be afraid of flying. Hmmm…funny that both the guys she has vying for her heart both had recurring roles on Degrassi: TNG. By the way…
these are some of the best fake Internet screens I have seen this year. I just watched Nightcrawler (2014) and it didn’t even fake the Internet this well.
This is Luke who seems to be talking to me about the boom mic popping into frame in movies. He is a cowboy cause of course he is. He is on his way to a rodeo. At this point, I must admit this was making realize I really should have reviewed Ballad Of A Soldier (1959) for Veteran’s Day.
The bus breaks down and the two of them have a moment. She shares her love of astronomy with him. They have a similar moment later when they talk about Orion. I must say I was disappointed that she didn’t share the origin of Ursa Major with him. That being the story of when Hercules threw a bear into space.
And no, Luke never fights eight men, then throws a log into space. He doesn’t need to because she already likes him and it turns out her dad is a big western fan. It also helps that Damon Runyan does a good job of just playing a helluva nice guy. They could have made him a high price lawyer too and we still would have totally bought that she should be with him.
The rest of this movie is a couple scenes where we see the two of them have some quality time, and the rest is poor Adam drowning. Luke even whips out a brother who can sing. Once Luke got the folks at the company party who were hiring Adam to do line dancing, it was all over. Shortly afterwards she breaks up with him, but not after saying she wants something that honestly sounds like quite the tall order even for Luke:
“No, Adam. I want love. Not the comfortable, safe kind. I want extraordinary, passionate, everything in sync love where their touch electrifies your soul. When what you want most in the world is to make them happy.”
Okay Holly, but that is a bit much for this movie. Just saying. Regardless, she should be with the cowboy. And yes, he shows up on a horse and they kiss.
I think this is the third Hallmark movie I’ve seen where the guy shows up at the end on a horse. However, it’s the first one where it makes sense. They set it up nicely, he decides to go after her while he’s at the rodeo, and he’s a cowboy to begin with. It fit much better here than in the other two.
My only real complaint about this movie is why did they bother with the character of Adam? I think this would have been deeper and more moving if she had just got on the bus to visit her family, they meet, and they spend the rest of the movie falling in love. Nice and simple. Sure that would have made it a little tougher on screenwriter Rickie Castaneda, but I think it would have been better that way. He really felt like a third wheel on the movie itself. Still, I enjoyed this one. As always with Hallmark movies, it’s nothing to seek out, but it is a perfectly nice thing to flip on to kill some time around dinner for the holidays.
Seeing as I started this by mentioning The Ramones.
Here’s one for Luke (She’s The One by The Ramones):
Here’s one for Holly (I Wanna Be Your Boyfriend by The Ramones):
And here’s one for poor Adam (Indian Giver by The Ramones):
Rockin’ in the Film World #1: ROCK AROUND THE CLOCK (Columbia 1956)
I’m kicking off this new series on the marriage of rock’n’roll music and film with what many believe is “the first rock’n’roll movie”, 1956’s ROCK AROUND THE CLOCK. The title tune was used in the opening credits of 1955’s THE BLACKBOARD JUNGLE and caused teen fans to riot in theaters upon hearing that Big Beat. Producer Sam Katzman, always ready to jump on the latest bandwagon, put this quickie together and had a box-office smash on his hands. Adults were perplexed, but teenagers stormed theaters in droves, eager to plunk down their hard-earned cash to get a glimpse of rockers Bill Haley and His Comets, The Platters, and other hitmakers of the era.
The plot is virtually non-existent: band manager Steve Hollis and his sidekick Corny, tired of the dead big-band scene, make their way to New York to seek work with Corrine Talbot’s talent agency. Stopping in small town Strawberry Springs, they notice hordes of…
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Through the Shattered Lens 