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DEJA RE-VU
"THE DAY OF THE LOCUST" Based on the 1939 Nathanael West novel, This literate, cinematically stunning, layered 1975 Paramount film reunited English director John Schlesinger ("Billy Liar," "Far from the Madding Crowd," "Darling," "Sunday, Bloody Sunday") and screenwriter Waldo Salt ("Coming Home"). They had previously worked together on "Midnight Cowboy," for which they both won Academy Awards. "The Day of the Locust" was a passion project for both of them. Salt, who was blacklisted during the McCarthy era, certainly wasn't averse to displaying Hollywood's warts. He and Schlesinger show that the glossy image of the industry in its heyday, hid a hellish reality. They peel away the lore to uncover the grime and grotesqueness beneath the glamour. Set in the 30s, the story opens with artist Tod Hackett (William Atherton), a Yale grad arriving in Hollywood to work as an art director at a major studio. He rents an apartment in a seedy building, where dreams come to die. The other occupants are lost souls, doomed to unfulfillment and despair. Dwelling in the shadow of the dream factory, they refuse to accept the truth of their situations. This is a Hollywood of excess, desperation and frustration. It's a world of cockfighting -- literal and figurative. The studio bigwigs are soulless victimizers. But the victims are primarily deplorable, as well. They're all part of a horde of locusts. These are not characters who earn our sympathy. They represent the ugliest elements of society. Faye Greener (Karen Black, "Five Easy Pieces") hungers for stardom and sinks to terrible depths over the course of her pursuit. Immature and temperamental, she isn't shy about using her sexuality, when it suits her. Her father (Burgess Meredith, "Batman," "Of Mice and Men") is an aging, repugnant former vaudevillian. The meek Homer Simpson (yes, the cartoon character was named for him), longs for Faye and is willing to degrade himself to be near her. But Faye is dating cowboy actor Earle Shoop (Bo Hopkins, "The Rockford Files"). The mother of a boy called Adore (Jackie Earle Haley ("Breaking Away," "The Bad News Bears") feels a compulsion to make her curly-headed little monster into a child star. These deluded people attempt to claw their way out of their sordid existences. As the film unfolds, the atmosphere grows ever more nightmarish. It reaches a spectacularly shocking conclusion. Truly harrowing and hideous. Disturbing. Haunting. No horror film could leave audiences more shaken. As usual, Schlesinger was able to coax tremendous performances from his entire cast. Atherton skillfully suggests the intricacies of the artist's mind. Black gives one of her finest performances, remarkably complex and penetrating. We can sense so much going on behind her eyes. Burgess creates an odiously colorful character. He was rewarded with a Best Actor Oscar nomination. Sutherland expertly unveils the inner workings of the submissive accountant -- repressed, coiled inside, waiting to snap. As Adore, Jackie Earle Haley makes "The Bad Seed"'s Patty McCormack look like Shirley Temple. Strong impressions are made by other cast members, as well. Geraldine Page ("Hondo," "Sweet Bird of Youth") plays an Aimee Semple McPherson-type evangelist. Little person Billy Barty, often used as a clownish figure on the big and little screens, gets an opportunity to display his ample acting chops. And Schlock king William Castle ("The Tingler") has a cameo as the director of a "Napoleon" epic whose demands lead to an apocalyptic on-set accident. Also providing memorable moments in brief appearances are Natalie Schaffer (Lovey on "Gilligan's Island") as a madame, Nita Talbot, Paul Stewart, John Hillerman, Paul Jabara, Madge Kennedy, Gloria LeRoy, Pepe Serna and Richard Dysart. The look of the film is unforgettable. There's an incredible attention to detail. Sets and costumes enable us to time-travel back to 30s Hollywood. The complementary score by John Barry further builds the mood. It's a film that deserves deeper analysis. And you'll find it in the bountiful bonus features. Particularly perceptive is "Jeepers Creepers, Where'd You Get Those Peepers?" In it, film historian Lee Gambin delves into the film and its themes. Gambin also contributes to an oral history audio commentary that features members of the cast and crew. The extras also celebrate the movie's extraordinary craftsmanship with a visual essay on the costumes. In another worthwhile bonus, critic Glenn Kenny talks about author Nathanael West's career, Schlesinger's oeuvre and the film's winding road to the screen. "The Day of the Locust"shows how mob mentality can turn on a dime from foolish fandom to mindless violence. The film invites repeated viewings, as it's so packed with subtle references and nuances. This is Schlesinger's masterpiece. In collaboration with cinematographer Conrad Hall ("Butch Cassidy and the Sundance Kid," "American Beauty") and editor Jim Clark ("Marathon Man," "The Killing Fields"), he creates images that linger and unsettle. Arrow's new 2K remaster from the original negative maximizes the visual impact on HD Blu-ray. The film indicts not only Hollywood, but the larger world, as well. Many of the elements of the film are intensely relatable today, 79 years after its original release, including the obsession with celebrity. You'll be pondering this film long after the credits end.
"DEVIL'S PARTNER"/"CREATURE FROM THE HAUNTED SEA" "Devil's Partner," boasting a new 4K restoration from original 35mm archival elements, tells the dark tale of a sinful senior citizen who uses satanic rituals like animal sacrifices and pentagrams to restore his youth. The rejuvenated Gramps then passes himself off as his nephew (Ed Nelson). Who knows what evil lurks in this small town? Rondeau, who later directed episodes of such popular TV series as "Get Smart," "Mannix" and "Mission: Impossible," gets effective performances from his cast and holds viewer interest throughout this low-budget thriller. Jean Allison guested on many of the top TV series of the 60s. And Ed Nelson achieved stardom on the small screen's "Peyton Place." Also appearing in the film are Edgar Buchanan, the veteran character actor remembered as Uncle Joe on "Petticoat Junction," and Richard Crane, who played the title role in "Rocky Jones, Space Ranger," a 50s TV hit. Ronald Stein's eerie, theremin-heavy score adds to the disquieting atmosphere. He scored many AIP features, as well as Francis Ford Coppola's "The Rain People" and Richard Rush's "Getting Straight." Roger Corman's "Creature from the Haunted Sea," written by Charles B. Griffith ("A Bucket of Blood," "Death Race 2000," "The Little Shop of Horrors"), is a send-up of gangster, spy and horror flicks. A secret agent, played by Robert Towne (who later won an Oscar for his "Chinatown" screenplay), infiltrates a mob transporting an exited Cuban general and a huge chunk of that government's funds. Betsy Jones-Moreland ("Last Woman on Earth") makes a strong impression as the head mobster's moll who also appeals to the agent. Watch the films in your choice of aspect ratios -- theatrical or TV. The Film Masters two-disc set includes a number of enticing extras, including a new interview with Roger Corman about Filmgroup. He's also among those on the audio commentary for "Creature from the Haunted Sea." The "Devil's Partner" audio commentary features the amusing guys from "Monster Party Podcast."
NEIL DIAMOND - "THE THANK YOU AUSTRALIA CONCERT - LIVE 1976" Diamond is at the peak of his performing powers. Acoustic-electric guitar strapped on, clad in pale yellow shirt with long collar, glittering sequins and leather pants, Diamond exudes charisma. There's electricity in the air from the opening number, a rousing "Soolaimon." Backed by a powerhouse band, he runs through nearly two hours of favorites. He goes back 10 years, to 1966, to his breakthrough hits like "Solitary Man," and works his way up through the mid-70s. He rocks it up with numbers such as "Cherry, Cherry," The enthralled Sydney audience claps rhythmically through such Diamond classics as "Sweet Caroline" and "Song Sung Blue." Other top tunes include "Cracklin' Rosie" "and Holly Holy." But even in such a vast outdoor setting, Diamond can also create intimate, tender moments with tunes like "Play Me" and "I Am, I Said." Lesser known songs like "The Last Picasso" also register well. He builds the drama of "Anthem" and glides into other majestic songs from his 1973 "Jonathan Livingstone Seagull" soundtrack -- "Dear Father," "Lonely Looking Sky," "Be" and "Skybird." He closes the memorable set with an exhilarating "Brother Love's Traveling Salvation Show" and a glorious "I've Been This Way Before." His interaction with audience members enhances the amiable mood. He offers some detailed, enlightening introductions for songs like "Longfellow Serenade." Throughout, Diamond displays humor and warmth. His voice is strong and sure. And his showmanship dazzles. There are some not-to-be-missed extras. Included is chat show host David Frost's extensive introduction. We also get to see Diamond interrupting the concert to do live commercials for products like Cadbury chocolates and Pioneer sound systems. He has fun with the obligation. Additional concert footage provides a moving performance of "Morningside." And the best bonus of all permits us to view a 47-minute, revealing Diamond interview on Australia's "A Current Affair," which the host points out is the superstar's first full-length television interview. This was recorded after Diamond had taken three years off, trying to find himself, to replenish, after reaching stardom. As he puffs on a cigarette the singer gives thoughtful, frank answers to a bevy of interesting questions. Topics include writing, performing, fame, money, fans, his childhood, his children, even working with his analyst. He discusses some of his iconic songs. This DVD, long out of print, now reissued by Mercury Studios, is a treasure trove for Diamond aficionados.
"BARBARELLA" With a screenplay by Terry Southern ("Candy," "The Magic Christian" and co-writer of "Easy Rider"), based on a French comic strip, it's set in the 41st century. Its nonsensical plot involves astronaut Jane Fonda being ordered to hunt down the evil Durand Durand who, in a distant planet, is developing a death ray that threatens the entire galaxy. And yes, the band Duran Duran took their name from this dastardly fellow, minus the last "d." Over the course of her quest, she has a myriad of strange new experiences, many relating to her sexual awakening. Madcap futuristic sets, props and costumes, juxtaposed with the sunshine pop/lounge of Mike Curb and Charles Fox, make this a tantalizing trek. In the eye-popping costumes, Fonda gets right into the zany spirit of the piece. She's mischievous, seductive and self-assured. It's a pleasure to watch her, especially when she's trapped in Durand-Durand's Excessive Machine, a device designed to create potentially lethal-strength orgasms. An impressive supporting cast adds to the mirthful naughtiness. Among the most notable are John Phillip Law ("The Russians Are Coming, The Russians Are Coming") as Pygar, a blind, winged angel; Milo O'Shea ("Mass Appeal") as the villainous Durand-Durand; David Hemmings ("Blow-Up") as the rebel Dildano; Anita Pallenberg (model and paramour of Rolling Stones Brian Jones and Keith Richards) as the Black Queen; and Marcel Marceau in the role of Professor Ping. And yes, the legendary mime actually has dialogue! The surprise-filled movie was directed by Fonda's first husband, French filmmaker Roger Vadim. He propelled her transition from ingenue ("Barefoot in the Park") to sex kitten. That was a relatively short phase, before, sans Vadim, she evolved into one of the most acclaimed actresses of the 70s. The lavish Arrow release contains tons of out-of-this-world extras, a whole disc's worth, in fact. You'll find audio commentary, video essays and interviews, presenting enlightening facts about the fashion design, cinematography and other interesting facets of the film. Also here are the trailer, TV and radio spots, behind-the-scenes photos and much more. Dolby Vision and Dolby Atmos further enhance the movie's saucy sights and sounds. The film doesn't take itself too seriously and never sinks into tastelessness. It displays wonderfully wacky weirdness. That keeps it enjoyable for viewers. "Barbarella" is a crazy, campy, effects-laden adventure. Blast off for fun!
"THE WARRIORS" The 1975 Walter Hill movie, a cult classic, is a real thrill ride from start to finish. It hurls forward at breakneck speed. It looks and sound fantastic in the new Arrow Video 4K UHD release. The tale takes off as hundreds of supposedly disarmed delegates, nine from each of New York City's gangs, gather in the park to hear Cyrus, leader of the powerful Riffs. He exhorts them to unite, instead of fighting one another. That way, they can take over the city from other punks, not to mention the outnumbered police. As he's whipping the crowd into a frenzy, one of the Rogues pulls out a gun and assassinates him. The killer shouts that it was one of the Warriors who murdered Cyrus. The nine Warriors flee, now chased by all of the other gangs, as well as the cops. It's many miles back to their home turf on Coney Island. On their seemingly impossible journey, they must battle through gang-infested neighborhoods. Michael Beck ("Xanadu") stars as Swan, the Warrior's stoic, unflappable leader. The film benefits greatly from the magnetic performance of Deborah Van Valkenburgh as the gang chick who tags along, seeking kicks. She acts and talks tough, but Van Valkenburgh reveals a suppressed yearning for something more. While she's riding with Beck on an empty subway train, dirty and bedraggled from numerous scraps, two fancily dressed prom couples giggle their way on board. Her subtle reaction adds a poignancy that gives the characters another dimension. James Remar ("Sex in the City") proves to be charismatic, playing a hot-headed, misogynistic, homophobic Warrior. In a brief role, Roger Hill is unforgettable as spellbinding Cyrus. Mercedes Ruehl ("Big") has an arresting scene as an undercover cop Remar encounters. David Patrick Kelly ("Dreamscape," "Malcolm X") is supremely hateable as the Rogues psychopathic leader. The movie is like a runaway train, careening into a series of chaotic catastrophes the Warriors face. Director Walter Hill ("Streets of Fire") keeps his hand on the throttle, never allowing the tension to slip. It's tremendously exciting. He co-wrote the screenplay (adapted from a Sol Yurick novel) with David Shaber. Hill also makes good use of a terrific rock/synth score composed by Barry de Vorzon with contributions from Joe Walsh. The Arrow edition includes the alternate director's cut which Hill put together in 2005. It opens with a quick retelling of the legend of ancient Greek mercenaries who had to make a dangerous trek home through enemy territory. Yurick used that as the basis for his novel. This version uses comic book panels to flow from scene to scene. The new release offers an abundance of excellent extras, including many new and archival featurettes and interviews, as well as a new commentary by film critic Walter Chaw, who wrote a book about Hill. An isolated music track earns additional applause for de Vorzon. "The Warriors" is a film worth watching and rewatching. It's a violent ride, but more exhilarating than graphically gory. You'll be on the edge of your seat, cheering for the Warriors to make it back to Coney Island.
FRANK SINATRA - "SINATRA PLATINUM" Last autumn, fans were treated to a new two-CD (or 4LP) set, "Sinatra Platinum," celebrating the 70th anniversary of the singer's signing with Capitol Records. Universal Music Enterprises and Frank Sinatra Enterprises have included 44 tracks from his nine years with Capitol. You'll enjoy one classic performance after another. Snap your fingers to his swingin' numbers, such as "Come Fly With Me," "The Lady Is a Tramp"," "Witchcraft," "Day By Day," "I've Got You Under My Skin" and "Something's Gotta Give." Warm to Sinatra's masterful delivery of emotion-packed ballads, including "You Go to My Head," the blues-tinged "One For My Baby" and the marvelously melancholy "Only The Lonely." His exquisite vocal on "In The Wee Small Hours of the Morning" is certainly another highlight. Less familiar numbers like "River, Stay 'Way From My Door' and "A Cottage for Sale" are equally alluring. Sinatra is the sultan of smooth, working wonders with every lyric. He always gets to the heart of the matter. Even with tunes that have been recorded hundreds of times. Sinatra, with his signature swagger, makes you believe that the song is his and his alone. There are alternate takes, a treat for connoisseurs. Some never-before-released material proves tantalizing. In a couple of instances, we're privvy to bits of in-studio patter and kibitzing, which adds to the fun. This superb remastered collection serves as a reminder that, in his prime, the Chairman of the Board could really take care of business, musically.
DANNY O'KEEFE - "CIRCULAR TURNS" Perhaps you know him from his million-selling Top 10 hit, "Good Time Charlie's Got the Blues." But that came out more than 50 years ago. Maybe you know some of the great songs he wrote that were recorded by other prominent artists, including Jackson Browne, Elvis Presley, John Denver, Glen Campbell, Judy Collins, Willie Nelson, Leon Russell, Waylon Jennings, Alison Krauss, Jimmy Buffett, Ben Harper, Cab Calloway, Leo Sayer, Jerry Lee Lewis, Donny Hathaway, Dwight Yoakum and Miranda Lambert. And that's only a partial list. "Circular Turns" is brimming with terrific tunes, 32 of them in fact, both studio and live tracks. Some would be classified as Americana. Others have more of a pop feel. The album showcases some of the best songs he wrote (or co-wrote) and recorded from 1999 to 2017. They all display his strong sense of melody and graceful lyrics. His earnest, engaging voice skillfully brings the material to life. The album opens with the appealing "Angel Spread Your Wings." "The Road" is one of the most honest, revealing songs you'll ever hear about the life of a musician. It was covered by Jackson Browne. Among other memorable moments are "The Hereafter," which has a blues-rock edge; the finely honed folk-rock of "Runnin' from the Devil"; a winsome "The First Time"; the lovely, lilting "Siamese Friends"; a poignant "Alone in the Dark"; and the beautiful ballad "Sleep (Anywhere on Earth You Are"). Disc two's 2016 house concert allows O'Keefe to show his natural charm as a performer. One of the highlights is "Well, Well, Well," for which Bob Dylan wrote the music and O'Keefe penned the lyrics. It was first recorded by Don Henley in the 90s. And yes, "Good Time Charlie's Got The Blues" is included in this set, as well. The first time you listen to the "Circular Turns" album, you'll instantly turn into a Danny O'Keefe fan.
CHARLIE CHAPLIN VS AMERICA: In this fascinating new biography, author Scott Eyman documents all aspects of Chaplin's life and career. As the story unfolds, we learn how and why this revered filmmaker increasingly drew the ire of government agencies, not to mention the powerful syndicated gossip columnist and right-wing harpy, Hedda Hopper. The book goes all the way back to Chaplin's Dickensian childhood. Growing up in England, he survived crushing poverty, abandonment by his alcoholic father and the institutionalizing of his mentally ill mother. All Chaplin had on his side were his protective half-brother Sydney and a remarkable talent for performing. Moving to America, Chaplin found a home in the new sensation, motion pictures. Imaginative and innovative, his films brought laughter and even the occasional tear to audiences worldwide. He wasn't simply a star. He was a phenomenon. His Tramp character had a universal appeal. As an artist, he took note of mankind's flaws, foibles and follies, brilliantly turning them into comic fodder. His sound films conveyed Chaplin's impassioned views of the world around him. In "Modern Times," he cleverly pokes fun at mechanization and dehumanization. "The Great Dictator," released two years before the U.S. entered World War II, bitingly confronted fascism and anti-semitism. Chaplin fearlessly lampooned Hitler. Despite the country's large isolationist block, the movie was a hit. In "Monsieur Verdoux," a dark comedy about a bigamist/serial killer, the protagonist, as he is found guilty, condemns society for perpetuating a war machine that coldly, calculatingly slays millions. The film was a critical and commercial disappointment at the time. "A King in New York" jabs at the Communist witch hunt. Chaplin followed his artistic vision wherever it took him. He loved his adopted country, grateful for the opportunities it had given him, but he didn't owe it blind allegiance. By the 40s, Chaplin's enormous contributions to our society and the world were largely ignored in the midst of the McCarthy-era paranoia. He had never become a U.S. citizen and that fact was used as weapon against him. He loved young women, hated war and had a disdain for nationalism. Those characteristics would not make J. Edgar Hoover a fan. Chaplin was forced to move his family to Switzerland. Though he backed such figures as Upton Sinclair and Franklin Roosevelt, Chaplin was not one to join political organizations. Chaplin posed no threat. But the establishment worked hard to portray him as a danger to American morality, values and security. But he was no risk to society. He was the one being victimized. And an honorary Oscar near the end of his life didn't wipe away the unjust tarnishing of one of film's true geniuses. Eyman provides a comprehensively researched, compelling deep dive into this one-of-a-kind artist. After reading his book, you'll want to watch Chaplin's works again, this time with a new, enriched perspective.
EVERYWHERE AN OINK OINK: AN EMBITTERED, DYSPEPTIC, AND ACCURATE REPORT OF FORTY YEARS IN HOLLYWOOD The best movies are those he made himself. He directed 10 of his scripts, including the ingenious "House of Games" and "The Spanish Prisoner." If you've seen the brilliantly biting "State and Main," you have a pretty good idea of how Mamet views Hollywood. In the take-no-prisoners "Everywhere an Oink,Oink," he really unloads. Agents get their share of skewering. But it's mainly producers who are the targets of Mamet's vitriol. To the writer, the script is a work of art. To the producer, it's simply product. Changes can be made indiscriminately, if the clueless money men believe the alterations might increase profits. It's all about greed, not beauty, and not communicating something of significance to an audience. Mamet comes from the theatre, where the writer is God. He was lured to Hollywood, where the writer is usually a doormat. As much as he cherishes good movies and the actual collaborative filmmaking process, Mamet will never bend the knee to become anyone's doormat. Piercingly perceptive, stingingly humorous and often gleefully politically incorrect, Mamet shows the major studios to be soul-crushing factories, not creative communities. He lacerates the industry, but obviously reveres classic films. In the book, he references many great pictures, such as Preston Sturges' "Hail The Conquering Hero" and Billy Wilder's "Love in the Afternoon." He serves up juicy anecdotes about stars past and present, among them John Barrymore, Ramon Navarro, Debra Winger, Gene Hackman and Robert De Niro, as well as admired directors such as Stanley Kubrick. Many pages are enhanced by Mamet's clever cartoons. The book is highly entertaining, though not necessarily for the faint of heart.
EINSTEIN IN TIME AND SPACE: A LIFE IN 99 PARTICLES This fascinating new book, written by Samuel Graydon, a Bath, UK resident who serves as science editor for the Times Literary Supplement, explores all elements of Einstein's life and career. He presents the man in 99 mini-chapters, which he has dubbed "particles." We get intriguing glimpses of Einstein's early struggles and his fight for recognition; his defiance against the Nazis; his reaction to McCarthyism; and the affairs he had during both of his marriages. Noncomformist, rebel, pacifist, non-religious Zionist, Einstein walked his own path. Einstein was a master of physics, but not human relationships. Graydon reveals that Einstein held strong principles, but was filled with contradictions. Even a genius can't know everything. But he knew enough to change the world. Late in his life, Einstein sought to establish a "theory of everything." Everything Graydon imparts about the fantastic physicist is enthralling. Each morsel adds to our understanding of a uniquely brilliant and impactful man.
SHE'S A BADASS: WOMEN IN ROCK SHAPING FEMINISM Taylor gives us ample background on each artist, detailing their journeys and accomplishments. Their quotes amplify their tribulations and triumphs. It's a daunting task for anyone to try to break through in the rock world. But women have faced a disproportionate set of challenges. The 20 women featured here relied not only on talent, but also resolve and resilience to make their mark. Insights galore are offered by this lofty lineup: Suzi Quatro, Ann Wilson (Heart), Exene Cervenko (X), Gina Schock (The Go-Go's), Lydia Lunch, Suzanne Vega, Cherie Currie (The Runaways), Joan Osborne, Donita Sparks (L7), Amy Ray (Indigo Girls), Tanya Donnelly (Belly, Throwing Muses, The Breeders), Paula Cole, Tobi Vail (Bikini Kill), Laura Veirs, Catherine Popper, Amanda Palmer, Bonnie Bloomgarden (Death Valley Girls), Orianthi, Fefe Dobson and Sade Sanchez (L.A. Witch), These women have developed different musical styles, but all have displayed the willpower and strength of character needed to overcome skepticism and misogyny. They have blasted through barriers. With an undying passion for music, they have created sounds that have excited, moved, influenced and inspired countless listeners. Ann Wilson told author Taylor, "You have to have the goods to back it up -- and be pushy. A lot of women don't want to be pushy, because it goes against the grain of the cultural thing of women being submissive and quiet." These 20 women are not submissive. They are not quiet. They demanded to be heard, And the music scene is infinitely better off because of it. And through their actions and art, they have pushed forward the cause of feminism. They're expressing themselves and, in doing so, giving voice to the thoughts and emotions of a multitude of others. Things have improved over the decades, but there's still work to be done. Gina Schock says, "Women have to be proactive. In your neighborhood, in your state, in this country. You've got to participate. You can't just talk about it. You've got to get out there and make change happen." Email Paul Freeman at paul@popcultureclassics.com |
