The courtyard at UNT’s Bruce Hall, the former home of this writer!
Since today is Tobe Hooper’s birthday and I’ve already shared a scene from The Texas Chainsaw Massacre, it seems appropriate that today’s song of the day should come from Texas as well!
Here is the University of North Texas’s One O’Clock Lab band performing Dizzy Gillespie’s Things To Come!
Released in 1999, The Straight Story is one of the greatest films ever made about America.
Alvin Straight (Richard Farnsworth) is an elderly veteran of World War II. He lives in Iowa, a kind but rather taciturn man who doesn’t have time for doctors and would rather live on his own terms. That said, when his daughter (Sissy Spacek) finally does manage to drag Alvin to a doctor, he’s told to stop smoking and to start using a walker to get around. Alvin refuses, though he does start using two canes. Alvin is an old man. He’s lived a long time and, in his opinion, he knows best about what he needs to do.
For instance, when Alvin hears that his long-estranged brother Lyle (Harry Dean Stanton), has had a stroke, Alvin decides that he need to go Wisconsin to see him. The only problem is that Alvin can barely see and he can’t walk and there’s no way anyone is going to give him a car or even a driver’s license. His solution is to ride a lawnmower from Iowa to Wisconsin.
It’s based on a true story and if The Straight Story sounds like a film that will make you cry, it is. Richard Farnsworth was terminally ill when he was offered the role of Alvin and he accepted because he admired Alvin’s determination to live life his own way. As portrayed in the film, Alvin is not one to easily betray his emotions. He grew up as a part of that stoic generation. He saw his share of violence and death while he was serving during World War II and one gets the feeling that his attitude has always been that, if he could survive that, he can survive anything. (The closest Alvin gets to becoming openly emotional is when he meets another veteran in a bar and it becomes obvious that the two of them share a bond that, as people who seen and survived war, only they can really understand.) Farnsworth so completely becomes Alvin Straight that it’s easy to forger that he was a veteran actor who had a long career before starring in The Straight Story. Alvin may not show much emotion but Farnsworth communicates so much with just the weariness in his eyes and his slow but determined gait that we feel like we know everything about him.
The film follows Alvin on his way to Wisconsin. Along the way, he meets various people and, for the most part, they’re all good folks. Even the runaway hitchhiker (Anastasia Webb) turns out to be a kind soul. When Alvin momentarily loses control of his lawn mower, a group of stranger run out to help him. They don’t know who he is or why he was riding his lawnmower down the street. All that matter is that, at that moment, he’s a person who needs help. The Straight Story celebrates both the beauty and the people of America. It’s one of the most sincere and life-affirming films ever made, one that contains not a trace of cynicism and which is all the better for it. And while many people might be shocked to discover that this film was directed by David Lynch, the truth of the matter is that a strong love for America and Americana runs through all of Lynch’s films. Lynch was an artist who believed that people could surprise you with their kindness and that’s certainly the case with The Straight Story.
The Straight Story was the only one of David Lynch’s films to receive a G-rating. It was also the only film that Lynch made for Disney. It’s interesting to look at Lynch’s filmography and see this heartfelt and deeply touching film sitting between Lost Highway and Mulholland Drive. But The Straight Story really does feature David Lynch at his best. It also reveals him as a filmmaker who could do something unexpected without compromising his signature vision. There’s a lot of beautiful, Lynchian images in The Straight Story. But there’s also a lot of heart.
Liz Phair takes over a jukebox in today’s music video of the day!
Enjoy!
The Sundance Film Festival is currently underway in Utah. For the next few days, I’ll be taking a look at some of the films that have previously won awards at Sundance.
First released in 1990, Longtime Companion was one of the first mainstream feature films to deal with the early days of the AIDS epidemic.
The film follows a group of friends and lovers over the course of ten years. The film opens with a crowded and joyous 4th of July weekend at Fire Island. Willy (Campbell Scott) is a personal trainer who has just started a relationship with an entertainment lawyer who, due to his beard, is nicknamed Fuzzy (Stephen Caffrey). Willy’s best friend is the personable and popular John (Dermot Mulroney). David (Bruce Davison) and Sean (Mark Lamos) are the elder couple of the group. Sean writes for a soap opera and one of Fuzzy’s clients, Howard (Patrick Cassidy), has just landed a role on the show. He’ll be playing a gay character, even though everyone warns him that the role will lead to him getting typecast. The group’s straight friend is Lisa (Mary-Louise Parker), an antique dealer who lives next door to Howard and who is Fuzzy’s sister. The film takes it times showing us the friendships and the relationships between these characters, allowing us to get to know them all as individuals.
Even as the group celebrates the 4th, they are talking about an article in the New York Times about the rise of a “gay cancer.” Some members of the group are concerned but the majority simply shrug it off as another out-there rumor.
The movie moves quickly, from one year to another. John, the youngest of them, is the first member of the group to die, passing away alone in a hospital room while hooked up to a respirator. (The sound of the respirator is one of the most haunting parts of the film.) Sean soon becomes ill and starts to dramatically deteriorate. It falls to David to take care of Sean and to even ghostwrite his scripts for the soap opera. Howard’s acting career is sabotaged by rumors that he has AIDS while Willy and Fuzzy tentatively try to have a relationship at time when they’re not even sure how AIDS is transmitted. At one point, Willy visits a friend in the hospital and then furiously scrubs his skin in case he’s somehow been infected. When one member of the group passes, his lover is referred to as being his “longtime companion” in the obituary. Even while dealing with tragedy and feeling as if they’ve been shunned and abandoned to die by the rest of America, the characters are expected to hide the details of the lives and their grief.
It’s a poignant and low-key film, one that was originally made for PBS but then given a theatrical release after production was complete. Seen today, the film feels like a companion piece to Roger Spottiswoode’s And The Band Played On. If And The Band Played On dealt with the politics around AIDS and the early struggle to get people to even acknowledge that it existed, Longtime Companion is about the human cost of the epidemic. The film is wonderfully acted by the talented cast. Bruce Davison was nominated for an Oscar for his sensitive performance as David. If not for Joe Pesci’s performance in Goodfellas, it’s easy to imagine that Davison would have won. The scene where he encourages the comatose Sean to pass on will make you cry. Interestingly, when David gets sick himself, it happens off-screen as if the filmmakers knew there was no way the audience would have been able to emotionally handle watching David suffer any further.
Longtime Companion played at the 1990 Sundance Film Festival, where it won the Dramatic Audience Award.
One of my favorite scenes from TV’s King of the Hill occurs in an episode in which Hank and Peggy are celebrating their wedding anniversary. They’ve sent Bobby and Luanne away for the weekend. They have the house to themselves but, after their anniversary party, Peggy is feeling depressed. She tells Hank that, for the first time ever, she feels old and she regrets all the dreams that she had that have yet to come true, like inventing and selling her own barbecue sauce.
Trying to cheer her up, Hank says, “C’mon, Peg. We got the house to ourselves for weekend …. and I rented an R-rated movie!”
Peggy looks up, briefly hopeful that Hank did something romantic. “What movie?” she asks.
Hank hesitates, glances down at the floor, and says, “Uhmm …. Platoon.”
It’s funny because it’s true. Just about every man that I know loves Platoon. First released in 1986 and reportedly based on Oliver Stone’s own experiences as an infantryman in Vietnam, Platoon is often cited as being one of the greatest war films ever made. Oddly enough, the film has an anti-war and anti-military message but, in my experience, those who love it talk more about the battle scenes than any message that Stone may have been trying to impart about the futility of war. Pauline Kael once wrote that Oliver Stone had left-wing politics but a right-wing sensibility and I think you can definitely see that in Platoon. Despite all of the characters talking about how pointless the war is and how much they resent being forced to risk their lives for no apparent purpose, the film’s energy comes from the scenes of Chris Taylor (Charlie Sheen) stalking through the jungle and, towards the end, losing his mind and giving himself completely over to the adrenaline that comes from being trapped in the middle of a battle. Throughout the film, we hear Taylor’s rather pedantic thoughts on the military and his fellow soldiers but it’s hard not to notice that his actions and his dialogue are usually far less eloquent. Taylor may be a rich intellectual (and wow, is Charlie Sheen ever unconvincing when it comes to portraying that part of Taylor’s personality) but when he’s in the jungle, he’s just fighting for survival.
The film’s plot centers around the conflict between two sergeants, the peace-loving Elias (Willem DaFoe) and the war-loving Barnes (Tom Berenger). Taylor has to decide which one of the two to follow. The pot-smoking Elias loves his men and goes out of his way to protect them. The beer-drinking Barnes has a much harsher view of the world but, at the same time, he’s the type of scarred warrior who seems immortal. One gets the feeling that he’ll never be defeated. The rest of the platoon is full of familiar faces, with everyone from John C. McGinley to Francesco Quinn to Tony Todd to Forest Whitaker to Johnny Depp to a baby-faced Kevin Dillon showing up. (Dillon is especially frightening as a psycho who has, for some reason, been nicknamed Bunny.) The majority of the platoon is dead by the end of the film. Even with the leadership of Elias and Barnes, the soldiers are stuck in a winless situation. As Taylor points out, the Americans aren’t just fighting the enemy. They’re also fighting each other.
Platoon is certainly not my favorite of the film nominated in 1986. I would have gone with A Room With A View. (Blue Velvet, which is as influential a film as Platoon, was not even nominated.) That said, I can’t deny the power of Platoon‘s combat scenes. Though Stone’s script is didactic and Taylor’s narration is awkwardly deployed throughout the film, Stone’s direction definitely captures the fear and dread of being in a strange place with no idea of whether or not you’re going to survive. Stone is critical of the military (at one point, an officer calls an air strike on his own men) but seems to love the soldiers, even the ones who have pushed over to the dark side.
Platoon was not the first Best Picture nominee to be made about the Vietnam War. The Deer Hunter, Coming Home, and Apocalypse Now were all released first. But both The Deer Hunter and Apocalypse Now are surreal epics that seem to take place in a dream world. Coming Home, which has a script that somehow manages to be even more didactic than Platoon‘s, focuses on the war back home. Platoon is far more gritty and personal film. Watching Platoon, you can smell the gunpowder and the napalm and feel the humidity of the jungle. I can understand why it won, even if I prefer to watch Helena Bonham Carter and Julian Sands fall in love.
Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Fridays, I will be reviewing St. Elsewhere, a medical show which ran on NBC from 1982 to 1988. The show can be found on Hulu and, for purchase, on Prime!
This week, a famous face shows up in the ER!
Episode 1.9 “Rain”
(Dir by Victor Hsu, originally aired on January 3rd, 1983)
Last night, after writing my review of Goodfellas, I watched the ninth episode of St. Elsewhere and there was Ray Liotta!
Liotta played Murray, a young man who came into the ER with a deep cut on his back. Orderly Luther took one look at him and decided that he was a member of the same gang who mugged Fiscus a few episodes ago. Luther then told Fiscus right before Fiscus was due to stitch Murray up. Murray was indeed rude but Fiscus wasn’t particularly polite to him. Fiscus didn’t stich up Murray’s wound but he did pull his gun on him. Murray fled the ER and, after knocking over several doctors who were in his way, he jumped out of a window and escaped from St. Eligius.
As for Fiscus, he got a stern talking to from Dr. Westphall. Westphall ordered Fiscus to get rid of the gun and told him that if he ever brought a weapon to work again, his residency would come to an end. Fiscus agreed to not bring the gun to the ER anymore but he later told Dr. Chandler that he was terrified for his life. I’ve been critical of Howie Mandel’s performance on this show but he actually did a pretty good job in this episode. He was able to hold his own while sharing the screen with Denzel Washington. That’s quite an accomplishment.
While Dr. Westphall yelled at Fiscus, Dr. Craig yelled at Ehrlich for spraining his pinkie while playing handball. Dr. Craig demands to know how Ehrlich will ever make it as a surgeon if he doesn’t protect his hands. Ehrlich spends the entire day trying to protect his hands and he continually fails. (Ehrlich’s a bit of a klutz.) Finally, Ehrlich storms into Craig’s office and interrupts a meeting to announce that he’s going to continue to play handball. Craig shrugs and dismissively says, “He’s from California.”
As for the rest of this episode, it took place over one very long and rainy day. Peter is still struggling as both a doctor and a husband. When his daughter (a very young Candace Cameron Bure) was rushed to the hospital after eating mothballs, Peter blamed his wife and his wife blamed Peter. Returning home from the hospital, Peter nearly hit his wife after she tossed his dinner on the floor. It was scary to watch. I’m getting a bad feeling about what’s going to happen with this marriage.
Dr. Morrison made the mistake of making a house call and soon, he discovered himself constantly being called by Mr. Lukovic (George Morfogen) whenever any of Lukovic’s neighbors were taken ill. Morrison kept telling Lukovic to take his friends to the hospital but Lukovic talked about how, in the past, doctors would always make house calls. When Morrison finally refused to go to Lukovic’s building, Lukovic brought his neighbor to the hospital. The neighbor was in cardiac arrest but Morrison managed to get his heart beating again. Rather than be thankful, Lukovic blamed Morrison for not responding to his call. Morrison lost his temper and told Lukovic that he couldn’t keep living in the past. “I will not call you again,” Lukovic replied. Roll the end credits!
This was a pretty good episode, one that not only answered the question of why doctors don’t make housecalls but also which featured Ray Liotta being tough and dangerous. There were a few annoying scenes involving the guy who thinks that he’s a bird but otherwise, this was a well-done and rainy hour.
Like Woman of the Hour, Hit Man is a Netflix film that was critically acclaimed when it was released but which didn’t get much of an Oscar push during Awards Season.
The majority of the film’s acclaim was for Glen Powell, who plays Gary Johnson. Gary is a psychology professor at the University of New Orleans. When we first see him, he’s not exactly the most dynamic professor on campus. In fact, he’s so mild-mannered that most of his students would probably be stunned to learn that he has a side job working for the New Orleans Police Department. He helps them set up sting operations, advising a cop named Jasper (Austin Amelio) on how to pretend to be a hit man. Jasper, being kind of a douchebag, doesn’t really appreciate the advice. However, when Jasper gets suspended for beating a suspect, Gary is quickly recruited to take Jasper’s place as the department’s fake killer.
To his surprise, Gary turns out to be very good at pretending to be a professional killer. Using his academic skills, he gets a read on the person who wants to hire him and then he shapes his persona to appeal to that person’s needs. The best part of the film are the montages where we see Gary taking on identity after identity. Soon, Gary is the NPD’s best undercover cop, even if he’s technically not even a part of the force. He even becomes a better psychology professor as pretending to be someone else allows him to loosen up in his real life as well. But then he meets a woman (Adria Arjona) who wants to have her abusive husband killed. For the first time, Gary tries to talk someone out of committing a murder.
And through it all, Glen Powell gives an excellent and charismatic performance as not only Gary but also all the different killers that he pretends to be. If nothing else, this film proves that Glen Powell is not just a likable actor. He’s a legitimate film star, capable of creating a believable character and getting the audience to care about what happens to him. Powell gets good support from both Arjona and Austin Amelio and the various actors who pop up as people who want to hire a hit man all make a strong impression as well. But, make no mistake about it, Hit Man is a showcase for Glen Powell. Just as he did with Matthew McConaughey in Dazed and Confused, Richard Linklater introduces audiences to a film star in Hit Man.
That said, I have to admit that, outside of Powell’s performance, I was a little bit dissatisfied with the direction that Hit Man took its story. There are eventually two actual murders in Hit Man. One of the murders occurs offscreen and can at least be justified by what we know about the victim. The other murder takes place onscreen and, even though the victim isn’t particularly likable, it still feels a bit drawn out and out-of-place in what had otherwise been a fairly breezy comedy.
Narrative flaws aside, Hit Man is worth seeing for Powell’s movie star performance.
Charles Bronson plays a boat captain named Joe Martin who seems be living the good life in the south of France. He has a great job renting out boats to tourists! He has great luck beating his friends out of big stacks of cash in poker. He has a beautiful wife (Liv Ullman), and most importantly, he has about the biggest biceps I’ve seen in a movie not starring Arnold Schwarzenegger. This idyllic existence falls apart when some men from his past show up and force him to use his boat to help them smuggle drugs. It seems these guys feel like Martin owes them something since they had to go to prison for killing a cop, while ace driver Martin, escaped. As you might expect, nobody’s plans go as expected and much action ensues!
The first thing that stands out in this film is the cast, that includes James Mason, Liv Ullman, Michael Constantin, and Jill Ireland. Bronson’s European films uniformly had tremendous casts and this one is no different. Even with these well known actors, Jean Topart as the villainous Katanga, is a real standout. Second, this is the first of three films that Bronson completed with director Terence Young, who is most famous for kicking off the James Bond franchise with DR. NO, THUNDERBALL, and FROM RUSSIA WITH LOVE. Young knows how to stage action scenes, and with the help of famous French stuntman Remy Julienne, the two men cook up some impressive car stunts and chase sequences. Finally, Bronson himself exudes charisma and is in maximum physical condition in this film. In a career defined largely by his supreme conditioning, this may be Bronson’s most impressive physical performance.
Charles Bronson became an international superstar when he went to Europe in 1968, where he made a series of good films with great international casts. COLD SWEAT doesn’t come together quite as well as some of his other European films like RIDER ON THE RAIN, VIOLENT CITY & RED SUN, but it’s still a fun film with good action sequences and an impressively pumped up Charles Bronson. And the film has never looked better. After decades of shabby VHS and DVD copies, Kino Lorber put out a very nice blu ray in 2019. It’s nice seeing the movie in such a high quality presentation.
Check out the trailer for COLD SWEAT below:
Since today is John Belushi’s birthday and I already shared a scene from Animal House, it only feels appropriate that today’s song of the day should come from the film as well. From Stephen Bishop, here is …. ANIMAL HOUSE!
Let me t-t-tell you ’bout some friends I know
They’re kinda crazy but you’ll dig the show
They can party ’till the break of dawn
at Delta Chi you can’t go wrong
Otter, he’s the ladies man
Every girl falls into his hands
Boon and Katy playing “Cat and Mouse”
and Mrs. Wormer, she’s the queen of the
ANIMAL HOUSE
ANIMAL HOUSE
ANIMAL HOUSE
That Pinto he’s a real swell guy
Clorette was jailbait but he gave her a try
Chip, Doug, and Greg, they’re second to none
They studied under Attila the Hun
Mr. Jennings has got his wig on tight
Flounder’s left shoe’s always on his right
Babs and Mandy are having a pillow fight
With D-Day, Hoover, Otis Day and the Knights
DO THE BLUTO
Come on baby, dance with me
Maybe if we do the Bluto
We will get an “A” in lobotomy
DO THE BLUTO
DO THE BLUTO
DO THE BLUTO
DO THE BLUTO
Aw, come on!
Let me tell ya
Dean Wormer tried to shut us down
But he fell and he broke his crown
He didn’t know about the Delta spunk
He came in handy when we were short a skunk
At the
ANIMAL HOUSE
Songwriters: Stephen Bishop
Rock on!
Enjoy!
Through the Shattered Lens 