As some of our regular readers undoubtedly know, I am involved in a few weekly live tweets on twitter. I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie! Every week, we get together. We watch a movie. We tweet our way through it.
Tonight, for #ScarySocial, I will be hosting a true classic, Dario Argento’s Tenebrae!
If you want to join us on Saturday night, just hop onto twitter, start the film at 9 pm et, and use the #ScarySocial hashtag! The film is available on Prime and Tubi! I’ll be there co-hosting and I imagine some other members of the TSL Crew will be there as well. It’s a friendly group and welcoming of newcomers so don’t be shy!
In 1941’s Sullivan’s Travels, Joel McCrea plays a filmmaker who disguises himself as a transient so that he can experience what’s really going on outside of Hollywood. Veronica Lake plays “the Girl,” who ends up sharing his journey.
In today’s scene that I love, McCrea and Lake meet for the first time.
4 Or More Shots From 4 Or More 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 lets the visuals do the talking!
Today, we celebrate the birth of one of my favorite Golden Age actresses, Veronica Lake! It’s time for….
4 Shots From 4 Veronica Lake Films
Sullivan’s Travels (1941, dir by Preston Sturges, DP: John Seitz)
This Gun For Hire (1942, dir by Frank Tuttle, DP: John Seitz)
I Married A Witch (1942, dir by Rene Clair, DP: Ted Tetzlaff)
The Blue Dahlia (1946, dir George Marshall, DP: Lionel Lindon)
As some of our regular readers undoubtedly know, I am involved in a few weekly watch parties. On Twitter, I host #FridayNightFlix every Friday and I co-host #ScarySocial on Saturday. On Mastodon, I am one of the five hosts of #MondayActionMovie! Every week, we get together. We watch a movie. We tweet our way through it.
Tonight, at 10 pm et, I will be hosting #FridayNightFlix! The movie? 1982’s Dead Men Don’t Wear Plaid!
If you want to join us this Friday, just hop onto twitter, find Legend on Prime, start the movie at 10 pm et, and use the #FridayNightFlix hashtag! I’ll be there happily tweeting. It’s a friendly group and welcoming of newcomers so don’t be shy.
From 1979’s The Warriors, here’s a scene that I love. Playing the role of Cyrus, the man who could bring all of the gangs of New York together, is Roger Hill. Playing the role of his assassin is the great David Patrick Kelly.
Cyrus knew what he was talking about but the world wasn’t ready for him.
Death by Lightning, a four-episode miniseries that recently dropped on Netflix, tells the story of two “forgotten men,” as the show itself puts it.
Michael Shannon plays James A. Garfield, the Ohio farmer and former Congressman who, despite attending the 1880 Republican convention solely to give the nominating speech for Secretary of Treasury John Sherman (Alistair Petrie), found himself nominated for President after the convention found itself deadlocked between supporters of Former President Grant (Wayne Brett) and Senator James Blaine (Bradley Whitford). Garfield did not want to run for President and he certainly did not want to run with Chester A. Arthur (Nick Offerman), an associate of New York political boss, Roscoe Conkling (Shea Whigham). However, in November of 1880, James Garfield was narrowly elected the 20th President of the United States.
Matthew MacFayden plays Charles J. Guiteau, a failed lawyer and self-proclaimed newspaper publisher who felt that a stump speech he had given at a small rally was responsible for Garfield’s victory. Guiteau expected to be appointed to a position in the Garfield administration, perhaps as Consul to France. In those days of no Secret Service protection and an open White House, Guiteau was one of the many random office seekers who managed to get a face-to-face meeting with Garfield. What Guiteau did not get was a job. While Guiteau may have deluded himself into thinking that he was an inside player, everyone else viewed him as being a pesky and disreputable character. On July 2nd, 1881, Guiteau shot Garfield in the back. After Garfield died in September, Guiteau was convinced that he would be pardoned by the newly sworn-in President Arthur. Instead, Guiteau was hanged on June 30th, 1882.
(It’s now generally agreed that Guiteau was such a bad shot that Garfield would have survived his wounds if not for the incompetence of his doctors, who probed his wounds with their bare hands in an effort to extract the bullet. Garfield died as a result of multiple infections caused by his medical treatment.)
Again, Death by Lightning describes Garfield and Guiteau as both being forgotten men. That’s not quite true. I knew who both of them were before I watched the miniseries but then again, I’m also a history nerd. As much as I don’t want to admit it, it is true that the majority of today’s Americans don’t know either Garfield or Guiteau. And yet, in 1881, America revolved around them and their fate. Everyone checked every day for news on Garfield’s health and Guiteau’s trial was heavily covered by the press. That’s something to remember whenever you hear people talking about how “history will remember” whatever may be happening in the news today. History may remember but people are quick to forget.
As for Death by Lightning, it does a good job of telling not only the stories of Garfield and Guiteau but also Chester Arthur as well. The miniseries takes place at a time when political machines dominated American politics and also at a time when the Spoils system and the widespread corruption that it engendered were both accepted as immutable political realities. Guiteau, having spent his life seeing other people receive jobs for supporting the right candidate, felt that he was naturally entitled to whatever position he requested. Guiteau’s actions actually did lead to reformation of the Spoils system, with President Arthur emerging an unlikely reformer. Never again would a random office seeker by allowed through the front doors of the White House and never again would a President casually walk around Washington D.C. without some sort of guard. With a smart script, good performances, and even a few moments of unexpected cringe humor, Death by Lighting recreates that moment in American history and it pays tribute to James A. Garfield, who was universally described by his contemporaries as being a decent man who was struck down before he could reach his full potential.
How historically accurate is Death by Lightning? That’s a fair question. Death by Lightning sticks to the established facts about Garfield and Guiteau but a scene in which Garfield’s daughter argues with him about immigration is undoubtedly meant to be more of a commentary on 2025 than 1880. I think it can be argued that no film or series can be 100% historically accurate because those who actually witnessed the events in question are no longer with us. Inevitably, the past is always viewed and recreated through the filter of the present. And indeed, it is tempting to compares Garfield and Guiteau to our modern-day politicians and activists. Guiteau, with his constant excuses for his own dumb decisions and his ranting and raving about how he speaks for the people, was a particularly familiar character. As for the modest and honest Garfield, it’s sadly difficult to think of any modern-day politicians from the same mold.
As a final note, my favorite part of this miniseries occurred during the first episode. The recreation of the 1880 Republican Convention is wonderfully entertaining. It’s amazing to think that, in the days before television coverage required political conventions to become carefully choreographed and tightly controlled, there actually was legitimate suspense about who would end up being nominated. Sadly, those days seem to be over.
In the wake of Zohran Mamdani’s victory in New York City and Graham Platner’s possible victory in Maine, I’ve become a lot more interested in watching anti-communist films. And really, it doesn’t get more anti-communist than a movie about an independent, non-union trucker who has no interest in being an authoritarian and who only want to be left alone so that he can raise his son and make a little money arm-wrestling.
In this scene from 1987’s Over The Top, Lincoln Hawk (played by Sylvester Stallone) explains the importance of turning his hat. That’s all it takes.
Hi, everyone! Tonight, on twitter, I will be hosting one of my favorite films for #MondayMania! Join us for The Wrong Tutor, starring Vivica A. Fox!
You can find the movie on Prime and then you can join us on twitter at 9 pm central time! (That’s 10 pm for you folks on the East Coast.) See you then!
As a film lover, there are three letters that strike fear in my heart. U. F. C.
Seriously, directors — especially male directors — love the UFC and Mixed Martial Arts in general. If I had to guess, I would say that in another few years, there will be no more boxing movies. Sorry, Balboa. Sorry, Creed. You’re going to be replaced by movies that are exclusively about men kicking each other in a cage and then pounding on each other once they’re down. I’m not even saying that’s a bad thing. Obviously, the sport has a lot of fans. In the future, when Conor McGregor is doing double duty as both the President of Ireland and the Pope, a lot it will be due to the popularity of MMA. I have to say, though, that I almost always seem to find films about MMA and cage matches to be a little bit boring, unless they star Jean-Claude Van Damme or, in some cases, Lou Ferrigno. I prefer boxing movies. I guess I like my fights without the little kicks.
The Smashing Machine is a biopic of Mark Kerr (played by Dwayne Johnson), an MMA fighter who, the film tells us, was one of the early pioneers of the sport. When he’s first seen in the film, he’s being interviewed about his success in the UFC. We see a few clips of him fighting and watching his fists fly, we understand why he’s known as The Smashing Machine. He’s known for his ability to end fights quickly. He assures the interviewer that he doesn’t hate any of the men that he fights. (“Is he okay?” Mark asks about an opponent after one particularly brutal beat down.) Mark leaves the United States for Pride, which is Japan’s version of UFC. Not long after arriving in Japan, he discovers that Pride has changed its ruled to disallow almost all of Mark’s techniques because Mark was ending the fights too quickly.
One thing that we notice about Mark is that he’s always smiling and that he seems to have a rather low-key personality for someone who makes his living as a fighter. It’s easy to see that he’s holding back a lot of his emotions and that he gets those emotions out in the ring. When he’s not fighting, he’s living in a nice home with his girlfriend, Dawn (Emily Blunt). He’s a bit of a control freak, worrying about the cat getting on his couch, telling Dawn exactly how to make his protein shakes, and obsessing over the way a cactus is growing outside. Mark may be a fighter but he also constantly worries about his “tummy,” which is apparently overly sensitive. Mark is also a drug addict, popping painkillers like candy and shooting up in his bathroom. When Mark and Dawn argue, his temper can flare and he can go from being soft-spoken Mark to the someone who can tear a door off of its hinges. After Mark loses his first fight, he sinks deeper into depression and then tries to get clean. Complicating things is that Dawn is still using and Mark is preparing for his next fight in Japan.
For all the anticipation and the hype that surrounded its release, The Smashing Machine is an uneven film. It’s not necessarily a bad film but it is a film that leaves the viewer feeling somewhat detached from the action, on the outside looking in. Dwayne Johnson gives a good performance as Mark and Emily Blunt gives a good performance as Dawn but they’re never quite believable as a couple. (In fact, I would argue that Johnson’s best dramatic performance remains his nearly silent but physically powerful turn in the unfairly overlooked Faster.) Because the film is based on a true story and, I imagine, also because the film was directed by Benny Safdie, The Smashing Machine avoids a lot of the traditional cliches of the sports film. It’s very much an A24 film, wearing it’s indie aesthetic like a chip on its shoulder. I have to admit though that, while watching the film, I missed a lot of those cliches. There are some good scenes scattered throughout The Smashing Machine but there’s also not much narrative momentum.
That said, I do have to say that the film’s ending, which feature the real Mark Kerr shopping for groceries, did bring a smile to my face. He’s someone who has been through a lot so seeing him smiling and debating which cut of beef to purchase was definitely something of a relief.