Happy Birthday, Bob Dylan!


“All I can do is be me, whoever that is.” — Bob Dylan

Bob Dylan not only revolutionized music but he was also responsible for one of the first music videos.  The video for Subterranean Homesick Blues originally appeared at the start of D.A. Pennebaker’s documentary, Don’t Look Back.  It was filmed in  May 8th, 1965 in the alley behind the Savoy Hotel in London and, as Bob flips those cue cards, keep an eye out for both songwriter Bob Neuwirth and the poet Allen Ginsberg in the background.

Happy birthday to Bob Dylan, who is 74 years old today.

Don’t Not Watch These 6 Trailers For October!


Hi there!  It’s time for another edition of Lisa Marie’s Favorite Grindhouse and Exploitation Film Trailers!  Now, the trailer kitties have gone out and found not only 6 grindhouse trailers for us but 2 bonus trailers as well!

Warning: some of these trailers are NSFW.  So, watch with caution!

Don’t Look In The Basement (1973)

Don’t Open The Window (1974)

Don’t Open The Door (1975)

Don’t Go In The House (1979)

Don’t Answer The Phone (1980)

Don’t Go In The Woods (1981)

And finally, here’s two bonus trailers!

Don’t Look Back (1967)

Don’t! (2007)

What do you think, Trailer Kitty?

kitty

 

Song of the Day: House of the Rising Sun (by The Animals)


The night is growing late and to close it out I’ve chosen a new “Song of the Day” and it’s an all-time blues-rock classic from the 60’s.

Even if one wasn’t a fan of rock from the 1960’s they still would recognize the biggest hit ever released by the British blues-rock band The Animals with their 1964 hit, “House of the Rising Sun”. The weren’t the first band or musicians to have sung the song. No one truly knows the origin of the song, but music luminaries such as Bob Dylan, Woody Guthrie, Lead Belly, Joan Baez and Nina Simone were just a few to have covered it. It would be The Animals version which would live on as the one best remembered.

The song doesn’t just have the soulful cadence of classic blues, but has lyrics that show’s the band’s folk rock influences. It became part of the British Invasion of the United States during the 60’s when rock bands from them to The Beatles, The Rolling Stones right up to The Yardbirds would dominate American airwaves. The Animals would cement their place amongst these giants with this single. One thing which really powered this song through the juggernaut that was The Beatles would be the powerful vocals by frontman Eric Burdon matched with the keyboard playing of Alan Price.

“House of the Rising Sun” by The Animals continues to entertain fans old and new and still one of the best songs to come out during the 1960’s.

House of the Rising Sun

There is a house in New Orleans
They call the Rising Sun
And it’s been the ruin of many a poor boy
And God I know I’m one

My mother was a tailor
She sewed my new bluejeans
My father was a gamblin’ man
Down in New Orleans

Now the only thing a gambler needs
Is a suitcase and trunk
And the only time he’s satisfied
Is when he’s on a drunk

[Organ Solo]

Oh mother tell your children
Not to do what I have done
Spend your lives in sin and misery
In the House of the Rising Sun

Well, I got one foot on the platform
The other foot on the train
I’m goin’ back to New Orleans
To wear that ball and chain

Well, there is a house in New Orleans
They call the Rising Sun
And it’s been the ruin of many a poor boy
And God I know I’m one

Scenes I Love: Jim James Sings Goin’ To Acapulco in I’m Not There


When I’m Not There was first released in 2007, most critics gave most of their praise and attention to Cate Blanchett’s performance as one of the film’s six different representations of Bob Dylan.  In fact, Blanchett was even nominated for Best Supporting  Actress for grabbing her crotch and wearing a painfully fake mustache.  When I first saw I’m Not There, I thought that Blanchett’s performance was overrated.  Having recently rewatched it on DVD, I’ve changed my opinion slightly.  I now think that her performance as “Jude Quinn” is probably the worst performance she’s ever given.  Once you get over the fact that Cate Blanchett’s playing a man, the quicker it becomes obvious that she’s not a very convincing man. 

In fact, on subsequent viewings, I’ve come to realize that the only part of the film that really works for me is the final section.  This is the section where an aging Bob Dylan is played by (of all people) Richard Gere.  This is the section where Gere is known as Billy the Kid and he ends up wandering through a surrealistic frontier town while searching for his dog.  The town is full of people who look like they escape from an especially grim Fellini film and Bruce Greenwood pops up as Pat Garrett.  When I first saw I’m Not There, this final sequence seemed drawn out and rather silly.  However, on subsequent viewings, I’ve come to appreciate the fact that, with this end sequence, director Todd Haynes is at least finally being honest about being pretentious.

Another point in this sequence’s favor is that it features a haunting performance of Dylan’s Goin’ To Acapulco by Jim James and Calexico.  The contrast between the heartfelt delivery of the song, the intellectual pretensions of the entire film, and the inherent Hollywood slickness of Richard Gere all add up to create a scene that I truly love.

Review: The Walking Dead (EP06) – “TS-19”


[Some Spoilers Within]

So, we’ve finally reached the season finale of a very short inaugural season of Frank Darabont’s tv adaptation of Robert Kirkman’s critically-acclaimed and very popular comic book series, The Walking Dead. AMC ordered an initial 6-episode for this season which made setting up the world for the non-fans of the comic book a top priority. This could be seen in the first five episodes as each one explained the rules of this new post-apocalyptic world and how it has changed how people have now begun to behave.

The tv series has stayed mostly loyal to its comic book source, but some divergence from the source material has caused some grumblings amongst the comic book’s legions of fans. It doesn’t matter to them that the comic book’s creator has been ok with the changes and actually an active participant with said changes. These changes have been somewhat minor in the show’s five episodes but as episode five rolled to an end we got a major departure to the source material. Rick has taken his band of survivors back to Atlanta where the CDC (Center for Disease Control) is headquartered at. This never happened in the comic book and it’s inclusion to the story has driven many a fan of the source material batshit crazy.

They ask why make the changes, both minor and major, to a story that was already full of story-arcs, subplots aplenty and enough characters down the line that new ones weren’t needed. I can’t blame them for asking such questions for I, too, are a major fan of the comics right from the very beginning. But these changes is exactly why the story being told by this tv adaptation look and seem fresh to me. The end of the last episode was such a major departure that I can now honestly say that I have no idea what Darabont and Kirkman have in store for Season Two. It’s that element of the unknown and the surprise of not knowing what’s around the corner why I don’t rail against these changes. If I wanted a page-by-page, panel-by-panel adaptation then I’d rather just bring out the comics and re-read them for the umpteenth time.

Now we get to the season finale and whether the major change will actually improve or just ruin the series.

I must say that I was guarded in my optimism about this major departure and the inclusion of the CDC. What I’ve liked about some of the best zombie stories ever put on film or on paper is that the zombie apocalypse never truly gets a definite explanation as to how it began or what caused it in the first place. This season finale episode titled “TS-19” seemed like Darabont’s attempt to try and explain the cause of the zombies and who or what let it loose in the first place. Very bad zombie stories try to over-explain and end up tripping over themselves in the process and thus ruining the experience.

With “TS-19” we get Dr. Edmund Jenner (Noah Emmerich), last surviving researcher in the CDC, give a brief explanation as to the process of when a person goes from living to dead to reanimated corpse. While the fancy computer-enhanced imagery seemed to explain much it really doesn’t. It just scientifically showed what everyone already knew. They still don’t know if it’s a viral or bacterial disease or if it’s even a disease at all. Even Jenner doesn’t discount Jacqui (one of those new characters added in that fans of the comics railed against) mentioning that it could be the wrath of God. The sequence even answers viewers’ question about how long it takes for a recently dead to return back as a “walker”. The answer to that is that they don’t know.

This episode highlighted how ineffectual the very institutions people depended on for help, security and safety when the zombie apocalypse finally hit critical stage. We see this in the show’s cold start prologue as we go back in time to see the final moments at the King’s County Hospital where a comatose Rick Grimes was being kept at for observations. Shane, his partner and best friend, sees the brutal solution the military has for those either infected but alive and/or unwilling to vacate the hospital as it began to be overrun by the “walkers”.

This sequence answered questions about why the military was so inefficient. It’s also a damning condemnation about the rigidity of such a major governmental institution unable to adapt to an ever-changing situation where the enemy didn’t sleep, didn’t stop to rest or wasn’t afraid about being fired on. This was an enemy that was conducting the true meaning of “total war” on a people who were already on the ends of their last rope. The fact that their solution only swelled the ranks of those they fought just showed how doomed the world is when something this apocalyptic occurs without warning and without a means to fully understand and combat.

Even Jenner doesn’t know what made the zombie apocalypse begin and the source of what scientists thought was something they could find a cure for. This ambiguity needed to be shown to stop question from the audience about the “why’s” and “how’s” and instead get the series back onto the road where survival and holding onto their humanity remains their ultimate struggle.

This episode does get them back onto that lonely road with some deciding to stay as the facility began a countdown towards a final decontamination. We get also get a nice scene between Jeffrey DeMunn’s Dale and Laurie Holden’s Andrea that should make fans of the comics happy. The same goes for showing just how ineffectual Rick has been as their leader as every decision he has made has put the group in danger. It shows Rick’s intractable belief in doing the right things and holding on to the vestiges of civilized behavior could be just a front to give his wife and son hope that things will be better. This episode shows Rick that what’s better is to stay for that final decontamination instead of going back on the road where only death and suffering will await him and his group. Jenner’s comment that was heard was like a prophetic announcement that Rick will regret going back out.

So, we finally end Season One of The Walking Dead and have a very long wait (hopefully AMC make the decision to air Season Two not on October but at least a month sooner, if not a couple of months.) til the series picks up again with the convoy of survivors headed to parts unknown. Parts unknown not just for the characters in the series but for fans of the comic book as well. Here’s to hoping that while Darabont and Kirkman uses the comic book as the main path for the series moving forward that they also deviate from it from time to time if there’s a good story to tell on those small paths and tributaries.

Extras

* “Dude, you are such a buzzkill.” – Glenn finally gets back his witty ways as he reacts to Shane’s questioning of Jenner during a celebratory dinner.

* “Man, I’m going to get shitfaced drunk, AGAIN.” – Daryl’s reaction to Jenner’s news that there may be no one left anywhere.

* I found it quite ironic that of all the people to hold out the longest as the rest of the world gave up it would be the French.

* There was quite the Lost In Translation moment towards the end as Jenner whispers something into Rick’s ear before the group bolted to escape. Theories on what already has odds on Lori’s physical situation after the tests Jenner gave the group.

* As a military nut I smiled at the use of the acronym H.I.T. to literally mean a hit of a high-impulse thermobaric high explosive. That’s what I call a hit.

* Scene as Rick tries to plead with Jenner to let them go one can see Daryl still axing away at the blast doors.

* “The world runs on fossil fuel. How stupid is that!” – Jenner pointing out that places still doing research to find a solution failed because the power grids which run on fuel stopped due to lack of it.

* “This is what takes us down. This is our extinction event.” – Jenner finally voicing what everyone in the show has been avoiding and should give a clue as to the true meaning of the show’s title.

* The episode ends with a Bob Dylan song, Tomorrow Is a Long Time, that was very appropriate.

Titanic In Retrospect


Recently, I tried to rewatch an obscure art film from 1997 called Titanic.  From the time I was 12 until I was 16, I watched this movie a lot and, without fail, I cried and cried at the movie’s end.  (Admittedly, it was pretty easy to make me cry back then.)  I decided to rewatch it because I was curious as to whether or not Titanic could still make me cry. 

For those of you who aren’t into art films, here’s a quick synopsis and review of Titanic.

The film’s plot: Bill Paxton and an obnoxious fat guy are held hostage on a submarine by a senile old biddy who insists on telling them the story of how she lost her virginity 98 years ago.

Meanwhile, in London, Leonardo DiCaprio steals some poor kid’s sketch book and then sneaks onto a cruise ship where, pretending to be an artist, he seduces and murders lonely widows. 

Also on the cruise ship is Kate Winslet.  Kate’s engaged to Billy Zane but she’s unhappy about it because — well, there’s some men you fuck and there’s some men you marry and let’s just say that you don’t marry Billy Zane.  Once the boat sets sail, Kate decides to jump overboard.  However, just before she can jump, she’s spotted by Leo.  Leo quickly tosses a burlap sack containing the corpse of Lady Astor into the Atlantic and then rescues Kate.

Kate rewards him by taking him down to her cabin and showing him a painting by Someone Picasso.  (Early on in the film, Billy correctly says that Someone Picasso will never amount to anything and that’s true.  Someone was always overshadowed by his older brother Pablo.)  Leo looks at the painting and says, “Look at what he does with color here.”  As a former Art History major, that line made me smile.  That’s the type of statement that is regularly uttered by people who can’t think of anything else to say.  When a guy looks at a painting and says, “Look at what he does with color here,” what he’s actually saying is, “Look, babe, I went to the damn art museum with you so there better be a blow job in my immediate future.”

Leo has dinner with Billy and Kate.  Leo says, “I’m just a tumbleweed blowing in the wind.”  Over at the next table, a shifty young man named Bob Dylan overhears and thinks, “That would make a good song.  But the little man must die so nobody knows I stole that line from him…”

Anyway, Leo eventually slips Kate a rohypnol, convinces her to pose naked while he secretly tapes her for Youtube, and then proceeds  to have sex with her in the back seat of a car.  Afterward, Kate says, “Do you want to hang out tomorrow?”  Leo replies, “Uhmm…I might be busy.  I’ll call you.”  “My God,” I said as I watched all this, “it’s like reliving my freshman year of college all over again.”

Anyway, 8 more hours pass.  All the rich passengers on the ship do rich things while all the poor passengers get drunk and trash the lower levels of the boat.  Suddenly, without warning, the boat is besieged by the living dead.  Billy Zane insists that they would be safer in the basement.  Leo disagrees while Kate says, “So, you think you can just fuck me and leave!?  No way!”

12 more hours pass.  The living dead manage to rip a hole in the side of the boat.  Billy chases Leo and Kate around the Titanic as it sinks.  “I hope you’ll be very happy together!” he screams.  Meanwhile, up top, two rich guys put on tuxedos and one of them says something like, “We’re going to die like gentlemen.”  Which I guess is what they end up doing though, honestly, it sounds to me like the guy’s just being a smartass.

Eventually, Kate and Leo end up sitting on an iceberg together.  Kate wonders if this is a dream.  Leo proceeds to spin a top on the ice to find out.  Suddenly, Bob Dylan floats by in a rowboat.  “This machine kills fascists!” he shouts as he shoots Leo with a crossbow.  Leo sinks into the water.  Bob Dylan smirks.  “How does it feel to be on your own?” he asks.

The end.

A quick review: I guess the easiest way to review Titanic is to answer my original question.  Does the film still make me, at the age of 24, cry like it did when I was 12?  No, it does not.  To be honest, the only tears that I shed while rewatching Titanic were tears of shame and boredom.  This is the movie that I once thought was the greatest thing ever?  True, I was young and stupid but still…

On the plus side, Kate Winslet gives a good performance even if her character is basically just a sexist male fantasy.  Billy Zane is also a lot of fun as her jilted suitor.

On the negative side, there’s everything else.  The script — written by Someone Cameron — is full of laughably bad lines and plotwise, the film has all the depth of a lanced boil.  The romantic elements of the plot made me cry back when I was 12 because I didn’t have a whole lot of real world experience to compare Titanic’s fantasy against.  Now, at the age of 24, I’ve actually had to deal with my fair share of guys who say actually do make dumbfug statement about things like being a tumbleweed blowing in the wind (not to mention being king of the world).  I’m not saying that a good movie can’t present a romantic idealization of reality.  I’m just saying that a good movie can do that without insulting the viewer’s intelligence like Titanic does.

One last note — Leo DiCaprio has become a great actor.  But, in Titanic, he just comes across like a shrill poseur.

I Learned Something Today Conclusion: Just because you and a million others think that a movie is great today, that doesn’t mean that the movie’s going to be anywhere near as good 12 years later.  In this age of Avatar and the Social Network, that’s a lesson that I think many self-appointed film “gurus” would do well to consider before they throw a hissy fit just because a complete stranger on the Internet disagrees with them.