Spring Breakdown: The Spring Break Murders (a.k.a. To.Get.Her) (dir by Erica Dunton)

Posted on March 6, 2020 by Lisa Marie Bowman

“It’s a weekend of no consequences.”

That’s a phrase that is uttered many times over the course of the 2011 film, The Spring Break Murders (which is also known as To.Get.Her.) In fact, it’s a phrase that’s uttered so many times that I actually started to get sick of hearing it. Initially, I thought that it was evidence of lazy writing and that the film’s director and screenwriter, Erica Dunton, was so oddly proud of the phrase that she was determined to push it on us whether it actually meant anything or not.

By the end of the film, my opinion had changed. There’s a big twist in The Spring Break Murders, one that took me totally by surprise and which I’m still thinking about as I write up this review. Needless to say, I can’t reveal the twist here in this review. But I can say that it’s a good one and it’s worth the wait and, by the end of it, you’ll understand why the characters were so fixated on that phrase. By the end of the film, “It’s a weekend of no consequences” goes from being a cliche to a truly brilliant piece of dialogue.

The Spring Break Murders tells the story of five friends and one eventful weekend. At the start of the movie, a voice-over informs us that, by the end of the weekend, only one of the friends will still be alive and the four others will be dead at the hands of one man. The five friends have flown in from all over so that they can spend the weekend at a beach house owned by the mother of Ana Frost (Jazzy de Liser). Ana is apparently a bit of a problem child. Haunted by her father’s suicide, she hates her mother’s fiancee, Robert (Ed Wagenseller), and is secretly paying for the entire weekend with his credit card. (She even bought everyone’s plane tickets.) Robert is supposed to be staying at the beach house with Ana while Ana’s mother has a weekend to herself but Ana sharply informs him that he will be spending the weekend at a hotel. Though angered, Robert agrees. At first, it’s tempting to assume that Ana is just a spoiled brat but, as with everything in this movie, there’s more to it than that and nothing is what it first seems.

All five of the friends have their own issues that they’re dealing with. One of them has just discovered that she won’t be attending Oxford. Another one blames herself for death of her sister. The token religious girl is scared to come out to her parents while the pregnant girl has been dumped by her boyfriend and has been overly medicated by her family. And, at first, it’s easy to roll your eyes at the fact that everyone has at least one dramatic problem. As I watched these five friends acting miserable in a nightclub, I found myself wondering if I really wanted to watch a movie about the type of depressing and overly dramatic people who I usually mute on twitter. But I kept watching because I suspected there was more to the story than was immediately apparent.

And it turned out that I was right. There’s a lot more to the story. Unfortunately, I can’t tell you what it is without spoiling the film. What I can tell you is that this is a film that worth sticking with. During the film’s first half (which can seem unfocused before you learn the film’s twist), you may be tempted to stop watching but stick with it because almost everything that initially seems self-indulgent pays off in the end. Though both of this film’s titles — To.Get.Her and The Spring Break Murders — might make it sound like a generic horror film, it’s actually an intriguing mystery with a clever twist. It’s a movie that sicks with you. I imagine that I’ll be thinking about it for days to come.

That said, it’s not a perfect film. There’s a subplot about Ana’s mother cheating on Robert that never really makes much sense and the pace lags whenever the attention is taken away from the friends and given to any of the film’s other characters. There are also a few flashbacks that, occasionally, feel a bit awkward, as if they’ve been forced into the action. As one might expect from a low-budget independent film, some of the actors are better than others. Jazzy de Lisser is a stand-out and she gets good support from Chelsea Logan, who plays the pregnant friend. The rest of the cast is a bit more uneven. In the end, though, this is an effectively clever little film and one that will reward repeat viewings.

Music Video of the Day: In Front Of The Alamo by Hal Ketchum (2007, dir by Glenn Sweitzer)

Posted on March 6, 2020 by Lisa Marie Bowman

Today is Alamo Day. It was 184 years ago, today, that 600 men gave their lives in the name of Texas.

That’s one of the many things that I think sets us native Texans apart from the rest of the United States. Texans believe in freedom. We always have and we always will. Some of us may be conservative and some of us may be liberal but what we have in common is a desire to do it our own way.

I don’t think I’ve ever been as moved as I was during the days immediately after Hurricane Harvey. A lot of people outside of the state seemed to think that Harvey was a disaster of such immense proportions that it would lead to the end of both the state’s reputation for independence and our way of life. So, what did we do? We did what Texans always do. We came together and we helped each other. We did what we could and, when someone came along who could do the job better, we supported them. We appreciated everyone who came down to lend a helping hand and we checked on our neighbors to make sure that they were okay. See, that’s the thing about Texas. We don’t surrender. We fight and we help those who need it and, for that reason, we’re the greatest state in the union.

(In fact, if we had never joined the United States, the Republic Texas would probably be a world superpower right now. Oh well. In the end, it all worked out.)

Anyway. this music video is about the Alamo so it seems appropriate for today!

Enjoy!

Spring Breakdown: Long Weekend (dir by Colin Eggleston)

Posted on March 5, 2020 by Lisa Marie Bowman

The 1978 Australian film, Long Weekend, is about what happens when two unlikable humans decide to spend the weekend with nature. Nature, it turns out, doesn’t really like the company and decides to kill them.

Or does it? From what I’ve read, the screenwriter for Long Weekend, Everett De Roche, did intend this to be a nature’s revenge type of film. The idea behind the film is that these two city dwellers aren’t respectful of nature when they go camping and, as a result, all of the plants and the animals decide to get revenge. But the film is shot in such a way that your interpretation may vary. Are the humans really being targeted by nature? Or are the humans themselves just so paranoid and craven that they don’t even realize that they’re destroying themselves? For instance, when one of them gets attacked by a possum, is it because the possum has been sent on a search-and-destroy mission or was it just because someone was stupid enough to stick their hand in a possum’s face? I mean, you can really only expect any animal to put up with so much, regardless of whether they’re a member of an organized army or not. Whether or not it was intentional on the part of the filmmakers or just the result of having to adjust to working with a low budget, Long Weekend is actually a rather ambiguous film and it’s all the more effective for it.

Long Weekend opens with Peter (John Hargreaves) and Marcia (Briony Behets) driving through the rain. They’re heading off to an isolated beach camping spot that Peter has discovered. Peter considers himself to be a great outdoorsman and is very proud of the hunting rifle that he’s bringing with him. Marcia is a self-described “city girl” and is considerably less enthused about the prospect about spending the weekend in the rough. (I immediately identified with Marcia because I have always hated the idea of camping.) Marcia and Peter spend half of their time talking about how much they love each other and the other half talking about how much they hate each other. Marcia’s also having an affair and Peter might know about it. (When Peter first brings his new rifle home, he points it directly at Marcia. Is he just testing the sight or is he fantasizing about murdering his wife? The film leaves it up to us to decide.) Along the way, Peter runs over a kangaroo while driving to the campsite but neither he nor Marcia seem to notice.

Once they’re camping, Peter and Marcia only get more obnoxious. Marcia complains about nature. Peter litters the ground with cigarette butts and he kills a manatee. He also shoots a tree with a spear gun. He claims it was an accident, though it’s hard not to notice how close the spear comes to hitting Marcia.

The surroundings start to grow more ominous. The wind howls. The skies grow dark. Eagles attack. Possums attack. A dog attacks. Marcia wants to leave and eventually, even stubborn old Peter agrees but it turns out that leaving is not going to be as easy as they think….

Long Weekend takes a while to really get going but, if you stick with it, your patience will be rewarded. The time taken to reveal who Peter and Marcia are and to show us how their relationship works definitely pays off in the end. Shot on location in the Australian bush, this is one of those horror films that creates a perfectly ominous atmosphere and then doesn’t let up until the end credits roll. Peter and Marcia are so unlikable that you don’t really mind seeing them being tormented but, by the end of the film, it’s impossible not to share their desperation as they try to figure out how to escape the wrath of a seriously pissed off planet. The film ends on a rather abrupt yet totally perfect note.

As I mentioned at the start of this review, one of the things that makes Long Weekend so effective is that it does maintain a certain ambiguity as to what’s happening. There are hints throughout that whats happening might not just be isolated to that campsite and that Peter and Marcia aren’t the only ones who have gotten on the bad side of nature this weekend. At the same time, it’s also possible to interpret the film as being less about nature’s revenge and more about an unhappy couple who lets their own paranoia get the better of them. Are they really victims of nature or are they just two people being driven mad by their own dysfunctional relationship? While the filmmakers are on record as saying that they meant for it to be the former, the film itself leaves it up to you decide.

Long Weekend is an intense and effective horror film. If you’re tempted to go camping this Spring Break, be sure to watch this film first.

Spring Breakdown: Super Shark (dir by Fred Olen Ray)

Posted on March 4, 2020 by Lisa Marie Bowman

So, here’s the thing: when I was making out my list of films to review for Spring Breakdown, I was under the impression that the 2011 film, Super Shark, was a Spring Break film. I was convinced that it was a film about a giant shark that ate a bunch of people over the course of Spring Break.

Fortunately, right before posting this review, I decided to rewatch Super Shark. Normally, I probably wouldn’t have because I’m currently on vacation but it’s also currently raining and it’s also about 7 degrees outside. (That’s 7 degrees Celsius but it’s still pretty cold.) It’s like God was reading through my drafts folder last night and said, “Uh-oh. Lisa needs to rewatch the movie before she posts the review.”

Anyway, upon rewatching Super Shark, I discovered that 1) the film is still awesome as Hell and 2) it’s not actually a Spring Break film. Instead, it’s a summer film. There’s even a scene where two lifeguards talk about what a great time they’re going to have working on the beach during the summer. So, technically, I probably shouldn’t be reviewing this film as part of a Spring Break series but …. well, I’m going to do it anyways. I mean, it may be a summer film but it plays out like a Spring Break film. Plus, it’s got a giant shark.

Not surprisingly, for a film called Super Shark, the giant shark is the main attraction. The CGI’s a bit dodgy and the shark does look a bit cartoonish but that actually adds to the film’s charm. Whereas Steven Spielberg dealt with the reality of a fake-looking shark by keeping the shark off-screen as much as possible, directed Fred Olen Ray takes the opposite approach and seriously, more power to him. Ray puts the shark in as many scenes as possible, as if he’s saying, “Yes, this is a low-budget B-movie and why should we pretend that it’s anything other than that?” There’s an honesty to this approach that’s impossible not to respect.

The shark is prehistoric in origin. It was safely separated from society until the big bad oil company did some bad corporate stuff and, as a result, the shark is now free to ruin everyone’s summer. You know that whole thing about how sharks have to stay in the water or they’ll die? That’s not a problem for Super Shark. Super Shark will jump on the beach and eat you, he doesn’t care. In fact, Super Shark is such a rebel that he’ll even take on a tank and win! WE LOVE YOU, SUPER SHARK!

As always, there’s a group of humans around who don’t love Super Shark as much as the viewers. There’s the evil corporate guy played by John Schneider. He’s into money and drilling. And then there’s the scientist played by Sarah Lieving. She hates corporations and she doesn’t like sharks. There’s a DJ played by Jimmie “JJ” Walker. And then there’s the lifeguards and the beachgoers and the people who just want to participate in a wholesome bikini contest. Sorry, everyone, Super Shark has other plans.

Anyway, I have a weakness for films about giant sharks attacking oil wells and eating people on the beach. It’s a silly film but it’s obviously been designed to be silly. This isn’t Jaws nor is this a serious film about the issues surrounding underwater drilling. This is a B-movie about a giant shark and if you can’t enjoy something like this, I worry about you. This is a film that you watch with your friends and you have a lot of fun talking back to the screen. Don’t take it seriously and just enjoy the giant shark action. Who could ask for a better summer? Or a better Spring Break for that matter?

The Cop in Blue Jeans (1976, directed by Bruno Corbucci)

Posted on March 3, 2020 by Jedadiah Leland

Nico Giraldi (Tomas Milian) was once one of Rome’s top thieves. He stole handbags and briefcases and he sold them through a network of underground sellers. Now that Nico has grown up, he’s turned over a new leaf. Though he still bristles at authority and is just as quick to break the rules, Nico is now a member of the Rome police, assigned to the anti-mugging squad. He’s a tough cop who has no problem beating the Hell out of a mugger after he captures him. However, Nico knows that arresting the muggers is only half the job. To Nico, the real enemies are the sellers who employ the muggers. Nico wants the men at the top of the criminal food chain, men like the mysterious Baron (Guido Mannari) and the sadistic American crime boss, Richard Russo (Jack Palance).

It’s not just his background that’s unconventional. Dressing like a slob and sporting an unkempt beard, Nico is a strong contrast to his more conventional co-workers. Nico even carries a mouse named Captain Spaulding in his front shirt pocket. The ladies, of course, love Nico. His girlfriend (played by the beautiful Maria Rosaria Omaggio) is a literary agent who is hoping the publish a manuscript that is being smuggled out of Russia. The Russians try to sabotage her efforts by switching a briefcase. It’s a pretty good thing that Nico still remembers how to pull off the perfect mugging.

Though Nico is obviously based on Al Pacino’s performance in Serpico, The Cop in Blue Jeans has little in common with Sidney Lumet’s classic. Instead, The Cop in Blue Jeans is a mix of action and comedy. The action comes from Nico’s attempts to capture the members of Russo’s gangs and Russo killing anyone who displeases him. (A scene in which Russo has a man suffocated in a car is far stronger than anything you would ever see in an American comedy.) The comedy comes from Nico being such a slob that even his fellow police officers often attempt to arrest him. Nico insults everyone and everyone insults Nico. It’s actually not that funny but I liked how every fight turned into an elaborate brawl and Tomas Milian, who was always well-cast as scruffy iconoclasts, gives a good performance as Nico. Add to that, it’s always entertaining to see Jack Palance play the bad guy, even if this was clearly just a film that he did to pick up a paycheck.

The Cop in Blue Jeans was a big hit in Italy and, coming out a time when Milian’s career was struggling after his early Spaghetti Western successes, it helped to revive his career. Milian went on to play Nico in ten sequels before then establishing himself as a character actor. (The role that most modern audiences know him from is as the corrupt Mexican general in Traffic.) Milian died in 2017 and today would have been his 87th birthday. The Cop in Blue Jeans features him at his best and shows why he was a star for such a long time.

Spring Breakdown: The Sand (dir by Isaac Gabaef)

Posted on March 3, 2020 by Lisa Marie Bowman

The 2015 horror film, The Sand, is the movie that asks, “What would you do if the beach was literally eating you?”

The answer, to judge from this film, is “Die.”

I mean, seriously, think about it. If you’re on the beach and you’re still hungover from the night before and your friend is like literally trapped inside of a trash can (and yes, that does happen in this movie), then you’re pretty much screwed if the sand suddenly decides to start ripping apart your body. I mean, that’s one thing about the beach. There’s a lot of sand. The sand has the advantage.

Of course, despite the title of this movie, it’s not really the beach that’s eating people. Instead, it turns out that some sort of previously unknown sea serpent hatched out of an egg in the middle of the night and burrowed under the sand. We don’t learn much about the serpent, other than it has tentacles and it apparently injects a numbing poison into your body before killing you. That leads to a lot of scenes of people sinking into the sand while screaming, “I’ve gone numb! I can’t feel anything!” I can’t remember if anyone in the film actually yells, “The sand’s got me!” It seems like a missed opportunity if they didn’t.

This is one of those movies that opens with a big spring break party, which means booze, lost bikini tops, and drunken hook-ups in the lifeguard tower. As I mentioned before, it also means that one unfortunate fellow ends up getting tossed into a trash can, where he promptly gets stuck. Making things even worse is that his friends use a felt tip marker to draw a penis on his face. He’s definitely not going to die a dignified death. That’s just the way things go when the beach turns on you.

The next morning, a few people wake up and discover that almost everyone else from the party has disappeared. That probably has something do with the fact that only a few people were smart enough to fall asleep somewhere other than on the sand. So, you’ve got one couple in a lifeguard station. And then you’ve got four people in a car. And then you’ve got the poor guy in the trashcan. They’ve got to figure out how to get to safety without getting eaten by the beach.

They also have to work out their own personal issues. For instance, one of the girls in the car cheated with the girl in the station’s boyfriend and the boyfriend happens to be in the car so there’s a lot of scenes of people apparently forgetting that they’re on the verge of dying so that they can argue about who cheated first. It gets kind of annoying. I would put all that personal stuff to the side if I was trying to figure out how not to get eaten on the beach.

(Actually, I probably wouldn’t. Sometimes, personal drama just can’t wait. But then again, I’d never survive a horror film….)

On the plus side, The Sand doesn’t take itself seriously at all. It knows that it’s a ludicrous, low-budget horror film and it doesn’t pretend to be anything other than what it is. Jamie Kennedy shows up as a fascist beach patrol guy. When he’s told that his shoes are the only thing that’s dissuading the beach from eating him, he promptly takes his shoes off. He’s an idiot. Everyone in the movie is an idiot. But the movie understand that they’re all idiots and it plays up the fact because it understands that everyone watching is going to be on the side of the monster under the sand. GO, MONSTER, GO!

So, I guess my point is that The Sand is what it is. It knows its audience and it goes out of its way fulfill their expectations and you always have to give credit to a film that understands both its strengths and its limitations. If you want to watch a bunch of unlikable college students get eaten by the beach, have had it. This film has what you’re looking for.

Spring Breakdown: The Ghost In the Invisible Bikini (dir by Don Weis)

Posted on March 2, 2020 by Lisa Marie Bowman

The 1966 film, The Ghost In The Invisible Bikini, asks the question, “What can you do if you want to have a beach party but you don’t have a beach?”

The answer: “Find a pool!”

Seriously, a pool is just as good as a beach and fortunately, Chuck (Tommy Kirk) has a pool where his friends can hang out and listen as Vicki (Nancy Sinatra) sings a song. It’s in a big old mansion and hey, it might be haunted. It used to belong to Hiram Stokeley (Boris Karloff) and he’s dead now so he certainly won’t mind, right?

Well, what if he’s not dead!?

Oh wait, actually, he is dead. But he’s still hanging around. It turns out that he needs to do at least one good deed in order to get into Heaven. (Isn’t starring in Frankenstein enough? I mean, c’mon…..) It also turns that Hiram only has 24 hours to do that good deed or it’s off to Hell for him. Maybe he could figure out a way to help Chuck and his family win his fortune! Hiram enlists the help of his long-dead girlfriend, Cecily (Susan Hart). Cecily, we are told, is wearing an invisible bikini but we just have to take the film’s word on that because it’s invisible and, seeing as how Cecily’s a ghost, it’s always possible that only reason she’s transparent is because she’s a spirit. I mean, seriously, who knows how ghosts work?

Anyway, it’s not going to be easy for Hiram and Cecily to ensure that Chuck inherits that fortune, largely because Chuck and all of his friends are idiots. The other problem is that Reginald Ripper (Basil Rathbone), Hiram’s lawyer, is determined to win that money for himself and, if you have any doubt that he’s a bad dude, just check out his name. GOOD PEOPLE ARE NOT NAMED REGINALD RIPPER! Fortunately, even though Reginald graduated from law school and is played by Basil freaking Rathbone, he’s still an idiot and he comes up with the stupidest plan possible to get Chuck and friends out of the house.

He’s going to make them think that it’s haunted!

(But it is haunted….)

Reginald’s plan is to have his evil associates, J. Sinister Hulk (Jesse White), Chicken Feather (Benny Rubin), and Princess Yolanda (Bobbi Shaw), pretend to be monsters and ghosts in order to scare all of the teens out of the house. He also enlists his daughter, Sinistra (Quinn O’Hara), to help but Sinistra isn’t really bad. She’s just extremely near-sighted and someone thought it would be a good idea to name her Sinistra.

And then the bikers show up! This is one of AIP’s beach party films so, of course, there are bikers. Eric von Zipper (Harvey Lembeck) shows up and pretends to be Marlon Brando in The Wild One. Of course, at the time this film was made, the real Marlon Brando was filming Arthur Penn’s The Chase so I’m going to guess that Harvey Lembeck probably had more fun pretending to be Brando than Brando was having being himself….

Anyway, this is a stupid movie even by the standards of the AIP beach party films. It’s also notably disjointed. That probably has something to do with the fact that Karloff and Susan Hart weren’t actually added to the film until after the movie had already been shot. Apparently, AIP felt that the first cut of the movie was missing something so they said, “Let’s toss in a little Karloff!” Of course, Boris Karloff was such an old charmer that it doesn’t matter that he doesn’t ever really interact with anyone other than Susan Hart over the course of the film. You’re just happy to see him.

So yeah, technically, this is not a good film but, at the same time, you kind of know what you’re getting into when you watch a movie called The Ghost In The Invisible Bikini. The jokes fall flat. The songs are forgettable. But the whole thing is such a product of its time that it’s always watchable from an anthropological perspective. Add to that, you get Boris Karloff and Basil Rathbone, doing what they had to do to pay the bills and somehow surviving with their dignity intact. Good for them.

Spring Breakdown: The Beach Bum (dir by Harmony Korine)

Posted on March 1, 2020 by Lisa Marie Bowman

February is over! Welcome to March!

Now, the first two weeks of March is, traditionally, when most schools give their students a week off for Spring Break. I have a lot of good Spring Break memories and, to be honest, I’ve always kind of resented the fact that Spring Break is something that only schools do. To me, it should be like a national holiday where everything stops for a week and everyone hangs out at the beach for a few days.

Of course, this year’s Spring Break may be a bit of a disappointment, what with everyone freaking out about …. well, everything. That’s a shame but fear not! You may not be able to leave behind your fears long enough to go down to the beach but at least you can still watch movies about the beach, right? So, with that in mind, over the next two weeks, I will be reviewing some films for Spring Break!

It’s time for Spring Breakdown!

Let’s get things started with the 2019 film, The Beach Bum.

The beach bum of the title is an always stoned, alcoholic poet named Moondog (Matthew McConaughey), who spends his time wandering around the Florida Keys. Moondog has been working on a book for several years and he’s a bit of a local celebrity. Everyone that he meets tends to like him, or at least they do until he ruins their lives. Moondog is irresponsible, immature, and apparently some sort of genius as well. Moondog is also extremely laid back. Even when he finds out that his wife, Minnie (Isla Fisher), cheated on him with his best friend, a singer named Lingerie (Snoop Dogg), Moondog is okay with it. He’s always loved Minnie but he’s never had a problem cheating on her so why shouldn’t she do the same to him?

After Moondog shows up late for his daughter’s wedding and goes out of his way to make a scene, he goes for a drive with Minnie. Of course, since Moondog is drunk off his ass, he ends up crashing the car and killing his wife. In her will, Minnie leaves half of her fortune to their daughter, Heather (Stefania LaVie Owen). She leaves the other half to Moondog, with the stipulation that Moondog will only get the money after he finishes his book.

The rest of the film follows, in an episodic fashion, Moondog as he tries to finish his book and get his money. Along the way, he commits crimes, dabbles with various jobs, and spends time in jail and drug rehab. He meets a host of eccentric and destructive characters, almost all of who are the type of outsiders who seem as if they’re destined to eventually be the subject of a “Florida man” headline. For instance, Flicker (Zac Efron) is a pyromaniac. And Captain Wack (Martin Lawrence) hosts dolphin tours but, unfortunately, cannot tell the difference between a dolphin and a shark.

When The Beach Bum was first released in March of last year, it was eagerly anticipated because it was Harmony Korine’s first film since 2012’s Spring Breakers. Despite the fact that Spring Breakers and The Beach Bum both take place in Florida and feature a lot of beach action, the two films might as well be taking place in separate universes. The Beach Bum is as laid back as Spring Breakers was violent. If Spring Breakers was a film that seemed to be fueled by ecstasy and cocaine, The Beach Bum is a celebration of getting high and enjoying life. If Spring Breakers was all about being young, The Beach Bum is about growing old without giving up your individuality.

In many ways, The Beach Bum is the ultimate Matthew McConaughey film and how you react to the film will depend on how much tolerance you have for Matthew McConaughey at his most McConaugheyest. Indeed, if you like Moondog, it’ll probably be because you like Matthew McConaughey. As a character, Moondog is a jerk. He nearly ruins his daughter’s wedding. He drives drunk and kills his wife. He refuses to take responsibility for being a general fuck-up and, from what little we hear of his work, he appears to be a subpar poet as well. And yet, Matthew McConaughey brings enough of his own natural charm to the role that it’s tempting to forgive Moondog. You can understand why some people in the film are willing to tolerate him, even though he’s basically a pain in the ass to have around.

The Beach Bum is not a film for everyone. I appreciated Matthew McConaughey’s performance and I also appreciated the fact that Harmony Korine didn’t try to remake Spring Breakers. At the same time, the film was a bit too loosely constructed to really hold my interest and a little bit of Moondog goes a long way. I saw this film last year and I’ve really had no desire to rewatch it. That said, the cinematography frequently makes Florida looks like the most beautiful place on Earth and, regardless of what you may think about his poetry, at least Moondog just keeps on L-I-V-I-N, livin’.

Add to that, Moondog’s going to enjoy Spring Break, no doubt about it.

Love on the Shattered Lens: Splendor in the Grass (dir by Elia Kazan)

Posted on February 28, 2020 by Lisa Marie Bowman

What though the radiance which was once so bright

Be now for ever taken from my sight,

Though nothing can bring back the hour

Of splendour in the grass, of glory in the flower;

We will grieve not, rather find

Strength in what remains behind…

— “Ode: Intimations of Immortality from Recollections of Early Childhood” by William Wordsworth

The 1962 film, Splendor in the Grass, takes place in Kansas shortly before the start of the Great Depression. Deanie (Natalie Wood) and Bud (Warren Beatty) are two teenagers in love but, as we learn, youthful love does not always translate into adult happiness.

Bud and Deanie are idealistic and in love but they’re from different social classes. Bud is the son of a boisterous oilman named Ace (Pat Hingle) and Ace acts much like you would expect a millionaire named Ace to behave. Bud’s parents are determined that he attend Yale and that he marry someone else from a wealthy family. They don’t want him to turn out like his older sister, Ginny (Barbara Loden), who drinks, smokes, and is rumored to have recently had an abortion. Meanwhile, Deanie is repeatedly told by her mother that she must always remain a “good girl” and not give in to the temptation to have premarital sex with either Bud or any other boy. If she does, she’ll be forever branded a bad girl and she’ll pretty much end up with a reputation like Ginny’s.

(Interestingly enough, Ace doesn’t have any problem with Bud finding himself a bad girl, nor does he have a problem with taking his son to a speakeasy later in the film. As far as society in concerned, being “good” and following the rules only applies to women.)

Needless to say, things don’t work out well for either Deanie or Bud. Bud is so frustrated that Deanie won’t have sex with him that he dumps her and then has the first of several breakdowns. When Deanie’s attempt to win Bud back by acting more like Ginny fails, she ends up going out with a classmate named Toots Tuttle (Gary Lockwood). Nothing good ever comes from going out on a date with someone named Toots Tuttle. That’s certainly the case here as Deanie and Bud both struggle with the demands of a hypocritical society that expects and encourages Bud to behave in a certain way but which also condemns Deanie for having desires of her own. And, of course, the entire time that Bud and Deanie’s drama is playing out, we’re aware that the clock is ticking and soon the stock market is going to crash and change everyone’s lives forever.

It’s kind of a depressing film, to be honest. I’ve always found it to be rather sad. When we first meet them, Deanie and Bud seem as if they’re perfect for each other but, throughout the entire film, the world seems to be conspiring to keep them apart. By the end of the film, they’ve both found a kind of happiness but we’re painfully aware that it’s not the happiness that either one was expecting while they were still in school. The film suggests that type of happiness might be impossible to attain and a part of growing up is realizing that there is no such thing as perfection. Instead, there’s just making the best of wherever you find yourself.

There’s a scene in this film where Natalie Wood nearly drowns and it always freaks me out, both because of my own fear of drowning and the fact that it foreshadows what would eventually happen to Natalie in 1982. (The fact that Natalie Wood and Robert Wagner’s yacht was called “Splendour” doesn’t help.) Natalie herself was also deeply scared of drowning and just filming the scene undoubtedly took a lot of courage on Natalie’s part. But then again, Natalie Wood’s entire performance is courageous. Natalie Wood gives an emotional and intense performance as Deanie, holding nothing back and it’s impossible not to get emotional while watching her. Making his film debut, Warren Beatty is a bit of a stiff as Bud, though he’s certainly handsome and you can tell why Deanie would have found him attractive. (In high school, you always assume that the boring, handsome guys actually have more depth than they let on.) By the end of the film, you understand that Deanie deserved better than Bud. Then again, Deanie deserved better than just about everything life had to offer her. But Deanie survived and endured and made the best of what she was given because, really, what else could she had done? What other choice did she have?

For her performance in Splendor in the Grass, Natalie Wood received her second Oscar nomination for Best Actress. She lost to Sophia Loren for Two Women and …. well, actually, Loren deserved the award. But so did Wood. 1961 would have been a great year for a tie.

Music Video of the Day: Zemra ime by Mozzik (2019, dir by Mozzik)

Posted on February 28, 2020 by Lisa Marie Bowman

In today’s music video of the day, the Albanian rapper Mozzik goes to prison and it turns out that prison in Albania is just as tedious and soul-destroying as prison in America. Fortunately, he can always escape to his dreams.

Or, at least, that’s what I assume is happening in this video. I don’t speak a word of Albanian. But one of the great things about both music and the visual arts is that sometimes, you don’t have to speak the language. You just have to open up your mind to the emotions and the images.

This video was directed by Mozzik himself and he did quite a good job! I especially like the surreal scenes of Mozzik thinking about being free.

Enjoy!