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DEJA RE-VU
"THE LAST STARFIGHTER" (COLLECTOR'S EDITION 4K ULTRA HD) Arrow Video has issued this cult favorite 1984 movie on 4K UHD Blu-ray. In terms of the visual quality, the newly restored version is light years ahead of previous releases. The new scan from the original 35mm camera negative maximizes the film's wow factor. Viewers get a choice of audio -- 2.0 (stereo theatrical mix), 5.1 surround (remix) or 4.1 surround (70mm theatrical mix), all in DTS-HD MA. At least as fondly remembered as the other top video game movies of the time -- "WarGames" and "Tron" -- "Starfighter" earned its following not through bigger budget effects, but with endearing characterizations, originality and lots of heart. It takes place in an amiable trailer park, where Alex (Lance Guest) brags to his air-headed fellow teens that he isn't going to settle for their drab lives, going to community college, getting drunk on weekends and polishing their trucks. He wants to do something important. Then his hopes are dashed, when his application for a loan to pay for university is declined. Alex receives comfort and encouragement from his girlfriend Maggie (Catherine Mary Stewart). He would like to nudge her our of her comfort zone. She's afraid to leave the cloistered environment she has always known. But mostly he vents his frustrations by spending his time and energy trying to beat the record on the park's "Starfighter" arcade game. After endless hours of blasting enemy craft, saving the "Frontier" from being destroyed by evil forces, he reaches the magic number. The whole trailer park celebrates Alex's achievement. A mysterious stranger, the game's inventor, Centauri (Robert Preston) arrives and offers to give him a ride in his dazzling car. Once he's aboard, this colorful character, an alien who had assumed a human appearance, transforms the car into a spaceship and whisks Alex to the real planet Rylos, where they need him to actually serve as a Starfighter in a cataclysmic war. The game was just a recruiting mechanism. Alex is reluctant and refuses, but eventually, when he realizes he could be saving many planets, including Earth, he takes on this supreme challenge. One of the main villains he faces, with wavy white hair and protruding forehead, looks as if he escaped from "This Island Earth." The cast is perfect. The sweet, ingenuous Guest and Stewart make an endearing romantic couple. But what really lifts the movie to great heights are two supporting players, veteran character actors. Preston is marvelous as Centauri, who's a fast-talking, ultra-persuasive, charming con man, like Harold Hill, whom he played in "The Music Man." Preston wrings every bit of chuckles and poignancy from the roguish alien. Dan O'Herlihy ("Luis Buñuel's "Robinson Crusoe," "Fail Safe," "RoboCop") is also remarkable as Grig, another alien, the reptilian pilot teamed with Alex. His familiar face completed obscured by makeup, he manages to create a range of expressions, speaking volumes with his eyes. He's funny and convincing. And his Herman Munster laugh is a hoot. Though the film was shot on a relatively small budget with pressurizing time constraints, director Nick Castle worked wonders in bringing Jonathan R. Betuel's high concept script to life. Considering the limitations, the special effects are quite impressive, marking early usage of CGI. Watched almost 40 years after the film was made, a few of the effects might have looked a wee bit cheesy, but that problem was easily overcome by Carroll Timothy O'Meara's crisp editing. Conceptual designer Ron Cobb ("Aliens") made significant contributions to the look of the movie, once it leaves Earth. And Craig Safan's score, with its John Williams "Star Wars"-mode majesty, helps navigate the movie through its range of moods. Fans of the film won't want to miss the many cool bonus features Arrow has supplied. Three are three audio commentaries, a fun one with Lance Guest and his son; an informative one with Mike White of "The Projection Booth" podcast; and an archival track with Nick Castle and Rob Cobb. There are interesting interviews with co-star Stewart, composer Craig Safan, screenwriter Betuel, effects supervisor Kevin Pike and others. Archival featurettes are among the other enticing extras. B-movies can sometimes be more enjoyable than their bloated-budget cousins and "The Last Starfighter," with engaging performances, excellent execution, pulse-raising action and sincere sentiment, is a shining example.
"WATERWORLD" (LIMITED EDITION 4K ULTRA HD) But over the years, the movie has developed a following... and rightfully so. It's an exciting science-fiction epic with an unnerving Climate Change message floating beneath its water-logged surface. It's even more enthralling thanks to the new Arrow Video Limited Edition 4K Ultra HD. Even more so than in the Blu-ray format, the UHD version allows viewers to fully appreciate the spectacle of sight and sound. A wetter "Road Warrior," the movie takes us into a frightening future, after the ice caps have melted and the world is composed of, yes, pretty much all water. The most valuable commodities are drinking water, gas, dirt and paper. Our protagonist, Mariner (Kevin Costner, who co-produced), travels the seas on his impressive sailing vessel, foraging all he needs. He has gills, webbed feet and shell earrings. He's a far cry from other heroes Costner has played, including Ray Kinsella ("Field of Dreams"), John Dunbar ("Field of Dreams") and Crash Davis (Bull Durham). Would Whitney Houston hire a man-fish to be her bodyguard? Mariner's self-centered belligerence leads to him being imprisoned in a cage and submerged in the ocean. He's rescued by a woman (Jeanne Tripplehorn), in exchange for transportation. She's taking care of a young child (Tina Majorino), who has a map tattooed on her back. Reluctantly taking these two feisty females aboard means Mariner will soon be wishing he had drowned. Unbeknownst to them, a murderous gang, known as the Smokers, is hunting for the girl. They're led by a bald, raging villain (Dennis Hopper), who's constantly puffing on cigarettes. (Where he gets them, who knows?) They all race to find out whether the map leads to the paradise of dry land or is just another fantasy. Over the course of the voyage, the woman and child gradually melt the emotional ice cap that is the Mariner. Yes, "Waterworld" has flaws, significant ones, including logic gaps bigger than the ocean itself. But it's still highly entertaining. The cast is engaging. Costner brings athleticism to the role of the swashbuckling mutant.Tripplehorn is arresting and earnest as his romantic interest. And Majorino brings a spunky appeal to the mysterious child. Gerard Murphy, as Hopper's right-hand thug, contributes a gleefully evil vigor. As the Smokers head honcho, Hopper channels Vernon Wells playing Mad Max's nemesis Wex (with just a touch of Brando's Colonel Kurtz thrown into the mix). The over-the-top performance is fun to watch, even when he's thwarted once again by the hard-to-kill Mariner and snarls, with a somewhat out-of-place Midwestern twang, "He's like a turd that won't flush!" At the film's helm was Kevin Reynolds, who had just directed Costner in the ill-conceived "Robin Hood: Prince of Thieves." The two Kevins famously clashed. But "Waterworld" is filled with gasp-inducing action sequences. The stunts will make your jaw drop. There are also eye-popping sets and thousands of extras, which make us more willingly suspend disbelief. James Newton Howard's sweeping score accents the action, with occasional John Williams flourishes. A dynamic snippet of Henry Mancini's "Peter Gunn" theme adds to the energy. The Arrow bonus features are numerous and well worth exploring. "Maelstrom: The Odyssey of Waterworld" contains interview tidbits with many of the principals, including cast members. The archival piece "Dances withe Waves" presents further insights into the production. The featurette "Global Warnings" delves into Hollywood's depictions of our dystopian future. Listen to the film in 5.1 or 2.0 DTS HD Master Audio. Despite its reputation as being a financial disaster, "Waterworld" did eventually turn a profit, thanks to cable, home video and other ancillary revenues. With its environmental warning, it may have been ahead of its time. With the new Arrow UHD release, this is the perfect time for rediscovery.
"RAIN MAN" 4K UHD + BLU-RAY [2-Disc Anniversary Edition) As the film marks its 35th anniversary, MVD has released a 4K UHD/Blu-ray combo pack edition. The new 4K high definition scan was done from the original camera negative. It's presented in the original aspect ratio. Tom Cruise, in one of his best performances, plays Charlie Babbitt a slick, self-centered, brash hustler with a huge chip on his shoulder. His aloof, neglectful, estranged father cut him out of the will, leaving a $3 million estate to a mysterious beneficiary who resides at the Walbrook institution. Determined to get his share, the materialistic Charlie goes to the facility and discovers Raymond, the autistic brother he didn't know he had. To get custody -- of his routine-driven sibling and their late father's wealth -- Charlie winds up having to transport him across the country. Since Raymond is terrified of flying and highways that means a very long drive in dad's vintage automobile. Forced to be around Raymond, Charlie gradually connects with him. At first he treats him like an unwanted pet dog. Raymond is a source of frustration, as he must eat certain foods at certain times, must be in front of a TV to watch Judge Wapner on "The People's Court" every day... otherwise he becomes frantic. Such compulsions complicate Charlie's expedition. Charlie discovers Raymond's savant abilities. He's a math whiz with an uncanny counting skill. That could come in handy when they stop in Vegas. Charlie's Italian girlfriend tries to calm him and temper his anger and greed with logic. But she cannot penetrate his shell, which is almost as impenetrable as Raymond's. Over the course of the trek, however, Charlie does change. His growing affection for Raymond heals some emotional wounds. Raymond, on the other hand, cannot change. Because of his condition, he 's incapable of sharing in relationships. And that's the tragedy. Hoffman does, however, in his eyes, subtly hint that there's something flickering far beneath Raymond's nearly expressionless exterior. "Rain Man," which deftly balances humor and pathos, earned eight Academy Award nominations and won four -- Best Picture, Best Director, Best Actor (Hoffman), as well as Best Original Screenplay, going to Barry Morrow (who previously wrote the similarly-themed, Emmy-winning Mickey Rooney-starrer "Bill") and Ronald Bass ("Black Widow," "Joy Luck Club," "My Best Friend's Wedding"). Hans Zimmer was nominated for his evocative, percussive score, which includes world and electronic influences. The soundtrack also features some terrific, diverse songs, among them The Belle Star's cover of "Iko Iko," Lou Christie's version of "Beyond the Blue Horizon," Etta James singing "At Last," Bananarama's "Nathan Jones," The Delta Rhythm Boys' "Dry Bones" and Johnny Clegg and Savuka's stirring "Scatterlings of Africa." The film also reaped rewards from the striking landscapes, beautifully framed and shot by cinematographer John Seale. He also received an Oscar nomination.
MVD has included excellent extras. Don't miss the insightful featurette "The Journey of Rain Main," which includes interview segments with Levinson, Golina, producer Mark Johnson and technical consultants. Another featurette, offering more understanding of Raymond's condition, is "Lifting the Fog: A Look into the Mysteries of Autism." A deleted scene fills in a tiny plot hole. Three audio commentary tracks -- by Levinson, Bass and Morrow -- help us get even deeper inside this classic film.
CHLOE JEAN - "FAIRY TALE FAIL" Her voice, winningly glides from girlish to seductive to deeply moving. She can whip up an airy allure, a la Diana Ross or take flight, soaring upward, as magically as Minnie Riperton would do. Like Ella Fitzgerald, her delivery is always compelling and genuine. Yet Chloe Jean establishes a sparkling style all her own. She wrote five of the songs on the album and they benefit from openness, honesty and an array of heartfelt emotions. Her melodies and lyrics shine with sophistication. The uplifting "Black Sheep" encourages the listeners to take pride in being who they really are, to follow their dreams, even in the face of naysayers. Chloe Jean sings, "It's easier just to fit in...going upstream is a bitter swim... but life's better when you know you have a choice." On the title track, "Fairy Tale Fail," Chloe Jean cautions to not expect a Prince Charming to make everything right. He may turn out to be all wrong. "Free" contemplates the nature of true riches, as she sings, "Am I a queen who doesn't know that the freedom I take for granted is a treasure trove?" On the velvety and soulful ballad "Where It All Began," the singer-songwriter laments two people frantically chasing ever greater success, at a cost to their relationship. She longs to get away from it all together, to return, for a moment, to simpler romantic times. With "Crazy," recorded live in front of an audience at Oakland's 25th Street Recording, Chloe Jean's mind is in a whirl, as new love has brought a bright, fresh perspective. She sings, "I smiled at the rain pouring through my roof ... cuz the rainbow made me think of you." Her interpretations of well known material prove to be inventive and inviting. She brings a gently Latin lilt to fetchingly flowing "Cry Me A River," which is enhanced by Mike Olmos' elegant trumpet lines. It earns a place alongside Julie London's classic rendering. Tony Bennett no longer owns "I Left My Heart in San Francisco." It belongs to Chloe Jean now. In this sultry version, a sax lovingly weaves itself around her vibrant vocal. Chloe Jean's exquisite rendition of "The First Time Ever I Saw Your Face" will hold you in her thrall, just as Robert Flack's did. "Don't Know Why," the Jesse Harris composition which Norah Jones turned into a smash, gets an irresistible treatment here. A simmering Latin urgency heats things up on Billie Eilish's "Bad Guy," with breathy backing harmonies complementing Chloe Jean's luscious lead. The closer, Irving Berlin's "Blue Skies," with Peter Horvath's pleasing piano work, brings things to a captivating, optimistic conclusion. Chloe Jean's voice brims with inspiration and imagination on this Great American Songbook tune. Every track has an appeal of its own. Superb musicians help to bring Chloe Jean's vision to fruition. It's a record that will envelope you in a glowing musical warmth. Chloe Jean, who has struggled through health issues, including being diagnosed with Stage 4 breast cancer in 2016, has proven her resilience. Her voice sounds amazing. Her original songs are beautiful. And she has created an album that should have an acclaimed and lasting life of its own. Her fairy tale is no fail. It's a triumph. ALBERT HAMMOND JR. - "MELODIES ON HIATUS" His fondness for retro hip-hop flavors the first two tracks -- "100-99 (featuring GoldLink) and "Downtown Fred." He follows these with a couple of captivatingly catchy numbers that benefit from a New Wavey rock feel -- "Darlin'" and "Old Man," which is juxtaposed with contemplative lyrics. You'll want to play power pop gems like "Libertude," "Home Again," "Fast Kitten" and "Dead Again" over and over. Many of the numbers will please Strokes fans. But Hammond Jr. explores his own musical path. "Never Stop" delivers a Rolling Stonesy sass. "I'd Never Leave" offers one of Hammond's most resonant vocals and a particularly intriguing melody. "False Alarm" is another outstanding track. On "Memo of Hate," Hammond Jr. expresses the whirlwind of emotions -- anger, bitterness, regret -- that come when a relationship turns ugly. The album's darker elements contrast interestingly with the brighter pop facets. Scorching guitar solos, brief but memorable, recalling 80s arena rock, and vintage-sounding synth sounds also help lift the album to great heights. Guests on the album include guitarist Steve Stevens (Billy Idol) and Arctic Monkeys drummer Matt Helders, who help propel "Thoughtful Distress." Singer-songwriter Rainsford's breathtaking, penetrating voice makes the listener wish that the 30-second, a cappella "Remember" would build into a full song. Fortunately, she returns for the closing number, "Alright Tomorrow," Her soulful vocal is magnificently magnetic. Simon Wilcox, the award-winning Canadian singer/songwriter/poet collaborated with Hammond Jr on the lyrics. She [Yes, Simon is a she] has previously worked with such artists as Blink-152, Carly Rae Jepsen, Demi Lovato and Nick Jonas. With "Melodies on Hiatus," Hammond Jr. has put together memorable tunes, hard-to-resist hooks and polished production. You might remember his father, Albert Hammond Sr., who had a huge 70s hit with "It Never Rains in Southern California." Junior has carved out quite a career for himself. The new album shows that he's still adventurous and creatively fruitful. Let's be grateful he's not on hiatus. POCO - "LEGACY" The lineup featured Buffalo Springfield alumni Richie Furay and Jim Messina on guitars, Rusty Young on guitar, banjo, dobro, mandolin and guitar, George Grantham on drums and Randy Meisner on bass. Meisner, later of Rick Nelson's Stone Canyon Band and the Eagles, left Poco before they had completed their debut album, 1969's "Pickin' Up The Pieces." Young was the one member to stay on board through the group's long history. With production by David Cole (and Richard Marx on one track, "Nothin' to Hide" which he co-wrote with Bruce Gaitsch), "Legacy" soars. That's primarily thanks to the blending of the band's extraordinary voices. Furay, Messina, Young and Meisner divide up the leads and the entire band contributes to the amazing harmonies. To fully appreciate the luscious warmth of the vocals, immerse yourself in Blue Elan's vinyl version. "When It All Began" is the exhilarating, autobiographical opener. It's followed by the album's big hit, the irresistible "Call It Love." The standout power ballad is Furay's beautiful "If It Wasn't You." Much of the album has a Crosby, Stills & Nash sort of smoothness, but the band could rock it up, as well, as evidenced by "Rough Edges" (which Young co-wrote with country-rock duo Radney Foster and Bill Lloyd) and "Lovin' You Every Minute" (by Messina and Michael Brady). You'll love every minute of this well-crafted album. Poco's music is truly timeless.
ELIZA GILKYSON - "HOME" Gilkyson, born in Hollywood and based in New Mexico, twice Grammy-nominated, has spent a lifetime in music. Her father, Terry Gilkyson was a noteworthy singer/songwriter ("Memories Are Made of This," "Bare Necessities" from "Jungle Book"), who had a hit, "Marianne," with his folk group, The Easy Riders. Her brother Tony, who plays guitar on several tracks on her new record, is well known for his stints with the bands Lone Justice and X. Eliza Gilkyson has been recording since 1969 and "Home" shows her at her peak, both as a singer and songwriter. Her voice is lovely, supple and expressive. Her melodies melt into the listener's soul. And the elegantly crafted, poetic lyrics will stay with you. "True North," the album's opener, begins with plucked banjo, soon joined by Gilkyson's instantly engaging voice. The other instrumentation, including weeping pedal steel and sympathetic mandolin, are gradually added, bringing a fullness. The song speaks of using love as the guiding light in the midst of uncertainty. With "World Keeps On Singing," Gilkyson gently suggests driving through all the overwhelming darkness and pain, focusing on the morning light that lies beyond. The enticing "Safety Zone" simmers with a gospel, bluesy fire. Ray Bonneville adds a scintillatingly soulful harp on that one. "How Deep" poses the questions we all must ask, as we face our mortality. In "Sparrow," a celebration of the connection between artist and audience, Gilkyson sings, "My songs are wildflowers/waiting on the plain/Watered by the rain/Of tears we all have cried." A country-rocker, "Here Comes The Night," features some very cool, twangy electric guitar work by brother Tony. The song is uptempo, though there's an apocalyptic story that unfolds. Gilkyson stills finds a hint of hope, declaring that "the world will be reborn again." "Man in the Bottle" is a poignant homage to her dad. It utilizes tidbits from his songs. "Witness," a gorgeous love song, stands out. On "Sunflowers," Gilkyson sings of the simple satisfactions in life. Gilkyson closes with the album's one non-original, a shimmeringly beautiful rendition of Karla Bonoff's "Home." Among the friends who stroll in to duet with Eliza are Robert Earl Keen (on "How Deep") and Mary Chapin Carpenter (on "Sparrow"). Van Dyke Parks contributes piano and accordion to "Man in the Bottle." He's one of several musicians on the track who, many years ago, collaborated with Terry Gilkyson.
This extraordinary album, co-produced by Gilkyson and multi-instrumentalist Don Richmond, has a warm and winning sound. It's rich in emotion. Gilkyson has assembled a collection of moving, comforting songs worth cherishing. Welcome "Home." It's a cozy refuge in any storm.
WARNER BROS. So celebrate with this handsome new book from Running Press and TCM, "Warner Bros. 100 Years of Storytelling," by Mark Vieira. A filmmaker and photographer, as well as a writer, Vieira has penned many film-related books. His subjects have included pre-code Hollywood, Greta Garbo, Irving Thalberg, Jean Harlow, Cecil B. DeMille, photographer George Hurrell and the horror and film noir genres. His vast knowledge of cinematic history serves him well in this sumptuous new volume, as he describes important moments on screen and behind the scenes. He pays tribute to the gifted actors, directors, cinematographers and composers who made the studio's creations so memorable. The company didn't start out as a mammoth communications conglomerate, but as the forward-thinking enterprise of three ambitious brothers -- Harry, Sam, Ben and Jack. The book begins with the silent era, when John Barrymore was king. Warners flourished and led the industry's charge into the talkies. Warner Bros really hit its stride in the Golden Age of the 30s, when such stars as the dashing Errol Flynn, Ann Sheridan and queen of the studio Bette Davis were under contract. Feisty, funny, Joan Blondell put up with no nonsense in an array of independent characters. Paul Muni was bringing to life great figures from history in biopics, such as "The Story of Louis Pasteur," for which he won a Best Actor Academy Award. The book displays all of the studio's Oscar nominations for each year. The studio was known for an approach that was grittier, more realistic, more topical than the other majors. They tackled social issues in pictures like "I Was a Fugitive From a Chain Gang," with a classic Muni performance. And, of course, there were the gangsters -- villains audiences loved to hate. Muni portrayed "Scarface." Others in the WB stable made their livings playing tough guys before establishing their versatility, charismatic performers such as Jimmy Cagney, Edward G. Robinson and Humphrey Bogart. The 40s brought rousing, patriotic war films, where Nazis were thwarted by the likes of Bogart in "Casablanca." Also popular were the women's pictures featuring such attractions as Joan Crawford, Barbara Stanwyck and Olivia De Havilland. Post-war, Warners produced many noir classics with rugged leading men like John Garfield. Prefer Westerns? Warners made some lavish ones, including the colorful Flynn vehicle "Dodge City," The John Wayne/John Ford masterpiece "The Searchers," and Howard Hawks' "Rio Bravo," starring the Duke again, this time with Ricky Nelson and Dean Martin. Of course, there were Warner Bros. cartoons to lighten the mood. The studio also made comedies, like Frank Capra's zany "Arsenic and Old Lace" with Cary Grant and Priscilla Lane. Other top directors flocked to the studio, including Alfred Hitchcock, who made some of his finest flms, including "Strangers on a Train." If horror is more your cup of gore, Warners had titles like "The Curse of Frankenstein" with Peter Cushing. In the 50s, Method acting made its mark and Warners had soon-to-be icons like Marlon Brando, James Dean and Montgomery Clift working on the lot. Hollywood continued to change in the 60s and the studio tried to keep up with the times. A prolific producer of musicals since sound first arrived, they made one of the last exceptional ones, "Gypsy," with an incredibly a-peeling Natalie Wood. In the 60s, the old guard was fading, but could still occasionally rock the box office, in fare like "Whatever Happened to Baby Jane." In that decade, Warners didn't shy away from edgier fare, such as "Who's Afraid of Virginia Woolf," "Days of Wine and Roses," "Cool Hand Luke" and "Bonnie and Clyde." They kept the cool and intensity coming in the 70s with "A Clockwork Orange," "Dog Day Afternoon," "Deliverance," "Mad Max" and "All The President's Men." "Dirty Harry" set off a long string of Clint Eastwood successes at the studio. Comedy could get wild, as in Mel Brooks' "Blazing Saddles." New stars emerged, including Bruce Lee, in 1973's "Enter the Dragon" and the caped Christopher Reeve. In the 80s, imaginative films could range from the serious, like "Blade Runner," to the ferociously fun, like "Gremlins." The decade saw the introduction of film franchises, such as Batman and "Lethal Weapon." The studio's long tradition of presenting strong women continued with "Wonder Woman." The studio rang in the 21st century with one of the all-time biggest franchises -- "Harry Potter," as well as the "Hobbit" trilogy. The book goes all the way up through recent titles like Baz Luhrmann's "Elvis." Though the text is interesting throughout, it's the illustrations that make the book so special. The book shows striking stills or stunning posters from all of these films and innumerable others. Of course, there are familiar shots, such as Cagney bashing Mae Clark in the face with a grapefruit. But there are many rarities, like one in which a lusty Gary Cooper, framed by dramatic shadows, looms over a prone Patricia Neal in "Fountainhead." The brothers Warner carved out a huge chunk of film history. And Vieira's book, with a foreword by TCM presenter Ben Mankiewicz, definitely does it justice.
ACT NATURALLY: THE BEATLES ON FILM Given their phenomenal musical popularity, it was inevitable that the Beatles would be featured in movies. And this fascinating study shows that their cinematic journey mirrored their growth as artists. Matteo provides context for their film work, delving into the resurgent British film industry of the 60s. A new wave of stars flooded the scene, among them Richard Harris, Terence Stamp, Albert Finney, Rita Tushingham, Oliver Reed, Tom Courtenay, Julie Christie, Alan Bates, Michael Caine and Peter O'Toole. Innovative directors sprang forth, such as Tony Richardson, Bryan Forbes, John Schlesinger, Lindsay Anderson, Tony Richardson, Ken Russell and, yes, Richard Lester. In the book, Matteo gives us a clearer understanding of the roles other creative people, Lester and producer Walter Shenson, for example, played in the Beatle's screen success. Lester was in tune with the madcap Goons (Peter Sellers, Spike Milligan, Harry Secombe), the band's comedy idols. He was a perfect director to unleash the lads' energy, translating it into movie comedy that complemented the sensationally spirited music. The Mop Tops' screen debut was not going to be like a tame Cliff Richard or Elvis vehicle. 1964's "A Hard Day's Night" captured all the magic of the Mersey sound, the frenzy of Beatlemania and the vibrant vibes of 60s swingin' England. In addition to the shooting process, the author goes into all the other vital elements, including the screenwriting and the recording of the music. There's the exhilaration of the title track's opening chord. He even goes into George Harrison's use of the Rickenbacker 12-string and its influence on his rocking peers, such as Gerry Marsden, Denny Laine, Carl Wilson and Roger McGuinn. Matteo introduces us to the movie's other cast members, as well as key crew contributors. He also lets us know where the film, which appears to be a slice of actual Beatle existence, differs from the foursome's reality. The author covers the movie's reception and afterlife. Critics were as enthusiastic as Beatlemaniacs. After "A Hard Day's Night" came 1965's "Help!" Bigger budget, again helmed by Lester. In color! With spy movies all the craze at the time, the movie spoofed the James Bond-type adventure. Ringo unwittingly dons a ring that belongs to a religious cult, and a wild chase ensues. Matteo describes the band's own adventures making the film and how they related to such supporting players as Eleanor Bron, Leo McKern and Victor Spinetti. Matteo touches on the band's exploration of drugs, particularly from the time Bob Dylan turned them on to weed in 1964. As they experimented with acid, they couldn't help but evolve, personally and creatively. That fed into their film ventures. In their first two movies, all the Beatles had to do was act naturally. And their inherent charm again proved to be irresistible. Their imaginations and daring came into play in subsequent projects. 1968's less well received "Magical Mystery Tour," dreamed up originally by Paul McCartney, was a psychedelic bus ride that aired on British TV. It was a groovy mess, but its songs included "The Fool On The Hill" and "I Am The Walrus." 1968 brought the trippy animation of "Yellow Submarine," for which McCartney had an abiding special affection. 1970's "Let It Be" documented the sometimes tension-marred rehearsals and recording sessions for their album. Matteo commentates on Peter Jackson's expansive 2021 revisiting of that Michael Lindsay-Hogg film and all its previously unused footage. The book covers soundtracks and the efforts of George Martin and other key musical contributors, Also included is information on VHS, DVD and Blu-ray releases and retrospective opinions on the works. Matteo also provides glimpses into other pop-related films of the era. Some of the musical stars were better served than others, in the attempts to cash in on their chart successes. The Beatles, especially after their initial screen hits, for better or worse, had more control over their subsequent film projects. The author doesn't ignore the band members' solo film endeavors. They were involved, in a variety of ways, in many intriguing motion picture enterprises. Matteo mentions Lester's satiric "How I Won The War," which featured John Lennon, McCartney's "Give My Regards to Broad Street," Harrison's film producing career and various Ringo acting roles. The Beatles movie output has not been as exhaustively covered as other aspects of the band's creative pursuits. The music has been under many microscopes for many decades Now, with the meticulously researched "Act Naturally," Matteo offers fans, casual and obsessive, a better understanding of what the band achieved in film, as well as how and why each project came together.
KILLIN' GENERALS: Email Paul Freeman at paul@popcultureclassics.com |
