A Movie A Day #1: Stop Making Sense (1984, directed by Jonathan Demme)


stop_making_sense_poster_originalA pair of immaculate white sneakers, being worn by the lead singer of The Talking Heads, David Byrne, walk out onto a bare stage while an unseen audience applauds.  Byrne places a radio on the stage beside him and says, “I have a tape I want to play for you.”  Accompanied only by a drum machine and an acoustic guitar, Byrne launches into a performance of Psycho Killer that ends with him lurching across the stage like a marionette that is losing its strings.

So begins the greatest concert film of all time, Stop Making Sense.

As Psycho Killer comes to an end, Byrne is joined on stage by bassist Tina Weymouth.  While Byrne and Weymouth perform Heaven, the black-clad stage crew sets up a drum kit behind them.  Drummer Chris Frantz comes out for the third song, Thank You For Sending Me An Angel.  The fourth member of the Talking Heads, Jerry Harrison, appears on stage for Found A Job and is then followed by several touring members of the band, including legendary keyboardist Bernie Worrell, guitarist Alex Weir, percussionist Steve Scales, and backup singers, Lynn Mabry and Ednah Holt.  It’s not until the concert’s sixth song, Burning Down The House, that the entire band is on stage.

Pieced together from three separate shows performed at the Pantages Theater in Los Angeles, Stop Making Sense showcases one of the most important bands of the 80s at their absolute best.  Eschewing any candid footage of the band backstage and only occasionally showing any shots of the audience, Jonathan Demme keeps the focus on the music and David Byrne’s amazing showmanship.  Even more than the music, what really makes Stop Making Sense stand out is Byrne’s physicality.  During one instrumental passage, Byrne even runs around the stage in circles before jumping back to his microphone without missing a beat.

Though the entire band is in great form, Byrne is almost always the focus of attention.  The only time he’s not is when he goes backstage during a performance of Genius Of Love by Weymouth and Frantz’s side project, The Tom Tom Club.  During that time, Byrne is changing into the “big suit,” the costume that continues to define the Talking Heads to this day.

Along with Burning Down The House, highlights include Life During Wartime,

Swamp,

Once in a Lifetime,

and Stop Making Sense‘s most famous moment, David Byrne performing Girlfriend is Better while wearing the iconic “big suit.”

Stop Making Sense is a fun, exhilarating, and sometimes exhausting concert film and, given all the bad feelings that exist between Byrne and the other three members of the band, it’s probably as close as any of us will ever get to experiencing The Talking Heads live.

For tomorrow’s movie a day, I’ll be explaining why Blue Chips always makes me think of England.

Holiday Scenes That I Love: Festivus Dinner From Seinfeld (NBC, 1997)


Again, Happy Festivus!

This scene is from The Strike episode of Seinfeld.  Believe it or not, it is based on a true story.  Scriptwriter Dan O’Keefe, who wrote this episode, grew up celebrating Festivus, a holiday that was created by his father.  In the real Festivus, the aluminum pole was replaced by a clock that O’Keefe’s father would put in a bag and nail to a wall.  To quote O’Keefe:

“The real symbol of the holiday was a clock that my dad put in a bag and nailed to the wall every year…I don’t know why, I don’t know what it means, he would never tell me. He would always say, ‘That’s not for you to know.'”

Enjoy!

Holiday Scenes That I Love: David Bowie and Bing Crosby Sing A Duet in Bing Crosby’s Merrie Olde Christmas (CBS, 1977)


In this scene from Bing Crosby’s Merrie Olde Christmas, David Bowie stops by the home of his old friend, Sir Percival Crosby, and meets Sir Percy’s long-lost American relative, Bing Crosby!  A discussion of modern music and parenting techniques leads to them performing a duet of Peace On Earth/Little Drummer Boy.

This was Bing’s final Christmas special and he died just five weeks after filming completed.  This scene is a holiday classic and has been described. by the Washington Post, as “one of the most successful duets in Christmas music history.”

When asked about David Bowie, Bing said he was “clean-cut kid and a real fine asset to the show. He sings well, has a great voice and reads lines well.”

Enjoy!

No Ewoks, No Jar Jar: Rogue One: A Star Wars Story (2016, directed by Gareth Edwards)


rogue_one_a_star_wars_story_posterA long time ago in a galaxy far, far away…

The evil Galactic Empire spent what had to be billions of Imperial credits to build the greatest weapon in the universe.  It was known as the Death Star and it housed a laser so powerful that it could blow up a planet with just one shot.  And yet, for all the effort and all the years that were spent building it, the Death Star had one glaring vulnerability, an exposed exhaust valve that the Rebel Alliance twice used to the destroy it.

For years, fanboys debated why the Empire would go to the trouble to build a super weapon with such an obvious design flaw.  I have to admit that I was often one of them.  No one else seemed to care but, to us, this was a huge deal.  If the Empire could figure out how to blow up a planet with one super laser, why couldn’t they figure out how to protect that one valve?

Now, thanks to Rogue One: A Star Wars Story, we have an answer.  We not only know why that valve was there but we also know what was meant in New Hope when the rebel general said that the plans to the Death Star had been stolen at great cost.

Rogue One is a fan’s dream, one that answers questions while expanding on the Star Wars mythology.  Unlike the previous prequels, it adds to the story without cheapening the original films.  In fact, of all the Star Wars films, Rogue One is the first to make the Death Star into a believable weapon of mass destruction.  When it appears over one planet, it blots out the sun.  When it blows up a rebel base, we see the destruction from inside the base instead of observing it from the safety of Death Star.  Director Gareth Evans does for the Death Star what he previously did for Godzilla.

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Unfortunately, like Godzilla, the action and the special effects in Rogue One are usually more interesting than any of the film’s characters.  Felicity Jones, Diego Luna, Donnie Yen, Jiang Wen, Alan Tudyk, and Riz Ahmed are all good actors but they’re all playing underwritten parts.  No one steps up like Harrison Ford did in the original trilogy.  Commander Kennec, played by Ben Mendelsohn, has a little more depth than the typical Imperial villain but, for better or worse, the film’s most memorable performances come from a CGI Peter Cushing and James Earl Jones providing the voice of Darth Vader.

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Despite the underwritten characters, Rogue One is still the best Star Wars film since Empire Strikes Back, a return to the grittiness, the thrilling action, and the awe of discovering new worlds that distinguished the first two movies.  For once, a Star Wars film seems to have more on its mind than just selling toys.  Though we already know what is ultimately going to happen to the Death Star at the end of New Hope, Rogue One is a frequently downbeat film.  There are no Ewoks and, to great relief and rejoicing, Jar Jar is never seen.  The closest that Rogue One gets to comic relief is Alan Tudyk providing the voice of a cynical robot.  The emphasis is on the horrors of war and even the rebels are troubled by some of the things that they have done.  For once, the Rebel Alliance actually feels like a rebellion and the evil of the Empire feels real instead of cartoonish.

Rogue One is projected to be the first of many “Star Wars stories,” stand-alone film that will expand the universe and hopefully clarify some of the points that were left unclear by the original trilogy.  I think it’s going to be very successful very Disney.  I’m just dreading the inevitable Jar Jar origin story.

 

You Can Get Anything You Want At Alice’s Restaurant


Now that you’ve watched Blood Freak, be sure to take part in another great Thanksgiving tradition and spare 18 minutes to learn about the day that Arlo Guthrie was arrested for littering and how that heinous crime later effected his draft status.

On its 50th anniversary, enjoy Alice’s Restaurant Massacree and have a wonderful Thanksgiving!

 

 

 

Even Ant-Man Had To Start Somewhere: Halloween: The Curse of Michael Myers (1995, directed by Joe Chappelle)


halloween6coverLong before he was either Ant-Man or Judd Apatow’s favorite leading man, Paul Rudd was just another young actor looking for his first break.  He got it in 1995 when he was cast in the latest entry in the Halloween franchise.  Though Clueless was released first, the man who would be Brian Fantana got his introducing credit for Halloween: The Curse of Michael Myers.  (He’s credited as Paul Stephen Rudd.)

Halloween: The Curse of Michael Myers was Miramax’s attempt to reboot the franchise by ignoring everything that made the first Halloween such a success in the first place.  John Carpenter’s Halloween was the epitome of simplicity, with Michael Myers portrayed as being an almost entirely motiveless killing machine.  One reason why Michael was scary was because he didn’t have any reason for killing other than he was evil.  (It was not until Halloween II that Laurie was discovered to be Michael’s sister and Samhain came into play.)

In Halloween 6, Michael (played by stuntman George P. Wilbur) is suddenly revealed to be afflicted with the Curse of the Thorn.  Because of the curse, he is required to serve as some sort of indestructible hit man for a cult of Druids (!) who are operating out of the basement of Smith Grove’s Sanitarium (!!), the same mental hospital that Michael escaped from at the start of the first film.  The head of the cult is Dr. Wynn (Mitchell Ryan), who was Sam Loomis’s boss in the first movie.

963589_032Donald Pleasence is back as Dr. Sam Loomis but it is not a happy return.  This was Pleasence’s final film and, in his few scenes, it is obvious that he was not in good health and his famous voice had been reduced to a hoarse rasp.  Pleasence died shortly after filming his scenes, which meant that he wasn’t available for the reshoots that Miramax demanded after the first cut of the film tested badly.  Add that to the fact that director Joe Chapelle reportedly had not seen any of the previous Halloweens, did not find the Loomis character to be interesting, and cut him out of several scenes and Dr. Loomis is barely in The Curse of Michael Myers.

Instead, most of the film is centered around Tommy Doyle (Rudd).  Yes, the same Tommy Doyle for whom Laurie babysat in the first Halloween.  Tommy has figured out that, because of the curse, Michael has to kill his next of kin every Halloween.  How did Tommy figure that out?  I don’t know and the film doesn’t know.  It’s like trying to figure out how Sean Connery knew where the Holy Grail was in Indiana Jones and The Last Crusade.

Michael’s next of kin was Jamie Lloyd but, at the end of Halloween 5, she was kidnapped by the Cult of Thorn and held prisoner for six years.  For some reason, Michael did not kill her while she was being held captive.  Instead, Jamie was impregnated, gave birth to a baby boy named Stephen, and then escaped.  Though she was eventually killed by Michael, Tommy found the baby and has to protect the baby from Michael and the Cult.

list12Why does the Cult want the baby?  Why do birds suddenly appear whenever you are near?  There is no explanation, it’s just something that happens.

 

Michael comes back to Haddonfield to track down his grandnephew.  He also finds time to kill more members of the dysfunctional Strode family.  Luckily, Kara Stroe (Marianne Hagan) and her son, Danny, survive.  Danny is having dreams about killing people which would seem to suggest that he has inherited the Curse of the Thorn, except that the Strodes are not actually related to the Myers family so it doesn’t make any damn sense.

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After six films, it not always easy to keep track of how everyone is related.  Let’s see if I can do it:

Laurie Myers is the younger sister of Michael Myers and Judith Myers.  In 1963, when Michael is 6 and Laurie is 2, Michael murders Judith.  Michael goes to Smith’s Grove Sanitarium, where he is treated by Dr. Loomis and secretly raised by the Cult of the Thorn.  Mr. and Mrs. Myers die in 1965 and Laurie is adopted by the Strodes.  Laurie has no memory of being a Myers.

jamie-lee-curtis-mar-5-2011-2-600In 1978, Michael “escapes” from Smith’s Grove and tries to kill Laurie.  Both he and Dr. Loomis get blown up at the hospital.

Between 1978 and 1988, Laurie marries someone named Lloyd and they have a daughter named Jamie.  But then Laurie and her husband die in a traffic accident and Jamie is raised by her foster family, the Carruthers.  Except Laurie didn’t really die but instead faked her death and abandoned her daughter which seems like a shitty thing to do.

In 1988, it turns out that both Michael and Dr. Loomis survived being blown up and consumed by a raging inferno.  Michael again escapes from custody and goes to Haddonfield.  He tries to kill Jamie but instead ends up falling down a mine shaft.  Jamie goes home and tries to kill her foster mother.

In 1989, Michael turns out to be alive again and tries to kill Jamie for a second time.  The Man In Black, who is somehow connected to the the Cult of Thorn, shows up and breaks Michael out of jail and kidnaps Jamie.

Then, six years later, Jamie has a son named Stephen and is finally killed by Michael.  Meanwhile, Laurie’s uncle, John Strode (Bradford English), has moved into the old Myers house because why not live in the house formerly inhabited by a serial killer who tried to murder your family?  Living with them is Laurie’s cousins, Kara and Tim (Kieth Bogart) and Kara’s son, Danny.

Meanwhile, Laurie is in the witness protection program and teaching school but you don’t have to worry about that until Halloween: H20.

Got all that?

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I haven’t even gotten to the sleazy radio DJ who wants to do a live Halloween broadcast from inside the old Myers House.  There’s not much to say about him beyond noting that the role was originally offered to Howard Stern.

There are two versions of The Curse of Michael Myers floating around.  There’s the producer’s cut, which goes into more detail about the druids and attempts to fill some of the continuity gaps in the franchise.  Then there’s the theatrical edition, which was what Miramax released into theaters.  I have only seen the theatrical cut, which is a confusing mess.

While the producer’s cut features Michael being defeated by Celtic magic (which sounds stupid but would actually go with what’s already been established in the movie), the theatrical cut ends with Michael, who has previously survived being shot six times by Dr. Loomis, falling down a mine shaft, and literally blowing up, somehow being beaten into submission by Paul Rudd and a lead pipe.  Is there nothing that Paul Rudd cannot do?

Mr. Rudd, the town of Haddonfield owes you a debt of gratitude.

You stay classy, Haddonfield.

You stay classy, Haddonfield.

 

A Halloween Film Review: Seizure (1974, directed by Oliver Stone)


seizure1Everyone had to start somewhere and, long before he became one of the leading political provocateurs of American cinema, Oliver Stone was just another struggling film school grad who was looking for a chance to make a name for himself.  Like many aspiring filmmakers, Stone made his directorial debut with a low-budget horror film.

Filmed in Quebec and featuring an eclectic cast that included a soap opera star, a former Warhol superstar, a faded teen idol, a past Bond girl, and a future Bond villain, Seizure stars Jonathan Frid (of Dark Shadows fame) as Edmund Blackstone.  Edmund is a horror novelist who is described as being “a modern-day Edgar Allan Poe.”  When Edmund’s rich friends get together for the weekend, they are terrorized by three maniacs: the Queen of Evil (Martine Beswick), a mute giant called the Jackal (Henry Judd Baker), and a psychotic dwarf named The Spider (Hervé Villechaize).  

All of Edmund’s guests face the inevitability of death in a different way.  Playboy Mark Frost (Troy Donahue) is too concerned with pursuing pleasure to realize that he’s in danger.  Businessman Charlie Hughes (Joseph Sirola) gets out his wallet and tries to buy his way out of trouble.  Mikki (Mary Woronov), Charlie’s much younger wife, strips down to her underwear and runs away.  Eunice Kahn (Anne Meachem) jumps out of a window after the Spider ticks her into using an aging cream.  Eunice’s husband, philosopher Serge (Roger de Koven), faces death with stoicism.  Edmund’s brother-in-law, Gerald (Richard Cox), is a long-haired hippie who accidentally gets shot in the head by Edmund and dies saying, “You bastard!”  Edmund’s wife (Christina Pickles) tries to protect her son (Timothy Ousey) and Edmund reveals himself to be the first of the many flawed father figures who would appear in Stone’s films.

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If not for the identity of its director, Seizure would be a forgotten film.  In fact, it seems to be a film that Stone wishes was forgotten.  He rarely mentions it in interviews and usually describes Seizure as being a “learning experience” and there’s really nothing about Seizure that would make you think the director would go on to win three Oscars.  It’s a slow and talky movie that is just occasionally weird enough to be interesting.  Seizure‘s philosophical digressions are pure Stone but otherwise, it’s hard to see any sign of the director that Stone would become in Seizure.

Still, what other movie features Jonathan Frid and Mary Woronov having a knife fight while Martine Beswick and Hervé Villechaize watch?

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Congratulations, Bob Dylan!


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Congratulations to the latest Nobel laureate in Literature, Bob Dylan!  After being twice considered, Dylan was finally honored this year “for having created new poetic expressions within the great American song tradition.”

Dylan now joins such previous winners as Mario Vargas Llosa, Harold Pinter, Gunter Grass, William Golding, Samuel Beckett, and Saul Bellow.

In this scene from Bob Dylan’s directorial debut, the 232-minute long Renaldo and Clara, Bob Dylan and Allen Ginsberg pay a visit to Jack Kerouac’s grave.