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DEJA RE-VU
"THE TIN STAR" As the film opens, a bounty hunter (Henry Fonda) rides into town with two horses. He's astride one. The other carries the body of a dead outlaw. Fonda is met with scorn by the sanctimonious townspeople. He's a former lawman, who now feels no responsibility to anyone or anything. He just wants to collect the bounty and move on. But he must wait a few days for payment, while the identity of the corpse is verified. He must deal with Anthony Perkins, the young man who's been pressed into service as the acting sheriff. The previous sheriff, the father of Perkins' girlfriend (Mary Webster) was gunned down in the line of duty. So she refuses to marry Perkins, as long as he's wearing a badge. Shunned by the local hotel, Fonda finds a room with an outcast seamstress whose Native American husband was murdered. Her little boy becomes attached to him immediately. Perkins also develops an attachment to Fonda, enlisting him as a reluctant mentor. Fonda teaches him that learning to read people is more important than mastering a quick draw. Complicating matters is Neville Brand, who harbors resentment for Perkins. Having bullied his way into a position of power, he wants the sheriff's badge for himself. When a beloved member of the community is slain and Brand whips the holier-than-though citizenry into a bloodthirsty lynch mob, Fonda and Perkins face the ultimate test. Academy Award winner Dudley Nichols earned another nomination for this screenplay, which he co-wrote with Joel Kane and Barney Slater. The intelligent script for "The Tin Star" is meticulously shaped, patiently building to a riveting climax. Director Anthony Mann, though he directed everything from noir to war pictures to epics to musicals, Ms best remembered for his 1950s western classics, several starring James Stewart. He achieves a quiet intensity throughout "The Tin Star." That's enhanced by Loyal Griggs' artful cinematography in this VistaVision film. And the picture looks vibrantly vivid in Arrow's 1080p High Definition. Elmer Bernstein's formidable score is another huge plus. Listen to the film in your choice of original lossless mono, 2.0 stereo or 5.1 surround. Mann's shot choices add to making this a compelling movie. A closeup of a boot in a stirrup or a dead, stiff hand, peeking from under a sheet, manage to successfully suggest menace. The director also makes sure to allow the characterizations and relationships to slowly unfold. The one between Fonda and Perkins often amuses. The one between Fonda and Palmer gives the film moments of poignance. Fonda gives one of his finest performances, showing strength and stoicism, but also hinting at tenderness. The actor skillfully lets us know that the character is repressing emotions and memories that burn beneath the surface. And that's something to which Fonda could surely relate. The screenplay takes its time in revealing what made Fonda a disillusioned loner. Perkins is pitch-perfect as the ingenuous, but valorous budding sheriff who won't let Fonda completely forget his more idealistic origins. Brand burns fiercely. His performances, even in lesser films, invariably prove to be gripping. In uncommon opportunities to play something comedic and likable, as in his co-starring turn on the amiable western series "Laredo," he could shine, as well. But as a ruffian, he was unsurpassed. Brand isn't the only villainous presence in "The Tin Star." Lee Van Cleef inserts his reptilian evil into the picture. In the noir and western genres, he stands among the screen's unforgettable baddies. Betsy Palmer effectively conveys the resilience of the widow, who had risen above bigotry and tragedy. In the 50s, Palmer was known for her regular panel appearances on the "I've Got A Secret" game show. She appeared in another memorable Fonda film, "Mr Roberts." In the 80s, Palmer found a very different audience, as Mrs. Voorhees in "Friday the 13th." John McIntire makes a credibly groucho, yet compassionate doctor. Michel Ray, who's of Brazilian/British descent, plays Palmer's half-Indian son. He exudes an eagerness that makes the character appealing. Arrow's extras are well worth watching after seeing the film. The new audio commentary by film historian Toby Roan offers a wealth of information, such as noting the other westerns that used the same sets. He lists credits of even the most minor characters. "Apprenticing a Master," a new appreciation of the film by author/critic Neil Sinyard, is quite insightful. Also interesting is an interview with Elmer Bernstein's composer/orchestrator son Peter about growing up with the maestro. The new Blu-ray edition is an ideal way of discovering or rediscovering this superb, though somewhat unheralded, movie.
"THE CAT AND THE CANARY" The movie, which was remade 12 years later with Bob Hope ramping up the comedic aspects, takes place in an old, dark house. That makes this one of the early entries in the subgenre. The plot revolves around the reading of a will, 20 years after millionaire Cyrus West's death. He has left everything to his niece (Laura La Plante)... unless she is decreed legally insane. She and the rest of the surviving relatives spend the night in West's now crumbling mansion. Could it be haunted? They learn that a murderer, "The Cat," has escaped from the local asylum and may be on the property. One scary event after another -- not too mention a pack of dangerously greedy relatives -- makes the niece's sanity far from a sure thing. La Plante, though she may not be as well remembered as other silent stars, such as Clara Bow and Gloria Swanson, proves to be a charming lead here. Creighton Hale holds his own opposite her. Among the supporting players, Gertrude Astor is particularly delightful. Though the screenplay was based on John Willard's hit play, director Paul Leni brings in many cinematic flourishes, right from the opening frames. The German filmmaker utilizes facets of German expressionism. His imaginative use of the camera, enabled by cinematographer Gilbert Warrenton, is far more advanced that the average pictures of the era. The next year, in 1928, Leni helmed a big budget adaptation of Victor Hugo's "The Man Who Laughs." One year after, tragically, the director died of sepsis following a tooth infection. The extras will definitely add to your appreciation of the film. Two pairs of film experts contribute exceptionally entertaining and informative audio commentaries. You can also enjoy an eminently eerie score by Robert Israel in DTS HD-MA 5.1. Also among the bonuses is a brief audio segment of the original Willard play. Interviews with film critics offer further analysis of the movie. The featurette "Mysteries Mean Dark Corners" serves up additional background on the project, from stage to screen, as well as the genre generally. "The Cat and the Canary" stands as an invaluable piece of cinema history. But it's more than that. Today, nearly 100 years after it was first released, the suspenseful and amusing picture remains immensely fun to watch. And it's a welcome addition to Eureka's "Masters of Cinema" series. "TORMENTED" In a cozy coastal community, at a remote lighthouse, jazz pianist Tom Stewart (Richard Carlson) meets up with his excitable ex, Vi Mason (Juli Reding). But Tom is engaged to Meg Hubbard (Lugene Sanders). Now that jealous Vi knows the news, she gets Vi_Vi-Vicious! She has held onto some racy love letters and isn't above a little blackmail to put a halt to the impending nuptials. In a struggle, a railing breaks and Vi teeters over the edge. Hanging on, she cries out for help. Tom weighs the pros and cons. He decides it's best to free Vi from her misery and lets her drop to her death. Oh, he's a naughty, naughty boy. And he's about to be punished. Big-time. Vi was incredibly attractive, so it's hard to figure why he was dumping her.... I mean, besides the whole psychotically possessive thing. The next day, Tom sees her body floating. He hauls it back to shore, but it melts into a pile of seaweed. Meg's little sister Sandy (Susan Gordon) finds Vi's watch in the sand. Then footprints mysteriously appear. Then Vi's spirit returns to tell Tom she will haunt him for the rest of his life. Vi snatches the wedding ring Tom bought for Meg and puts it on her disembodied hand. Then Vi's disembodied head shows up in a photo. Yes, this is a woman who just couldn't keep it together. Another blackmailer turns up to make Tom's life even more miserable, which makes him even more homicidal. And poor, innocent Sandy knows too much. Will she squeal? Where will Tom draw the line? Would he dare hurt the child? And what of Vi? Will she find a way to wreak her vengeance from beyond the grave? Writer/director Bert I. Gordon ("The Amazing Colossal Man," "Village of the Giants") was able to work wonders with small budgets. With creative use of special effects and satisfactory casting, he fashioned "Tormented" into a nifty little ghost story. It's creepy enough to be fun viewing. Richard Carlson played supporting roles in major films of the 40s. In the 50s, he was featured in many science-fiction and horror films, including "Creature From the Black Lagoon" and "It Came From Outer Space." Carlson wasn't usually cast as the kind of man that women fought over. But the always dependable actor adeptly handles the role of the tormented lead here. Susan Gordon is the daughter of Bert I. Gordon. Prior to "Tormented," she had already appeared in another of his movies, "Attack of the Puppet People." But it's not just a case of nepotism. She was a talented actress who was also featured in "The Five Pennies" with Danny Kaye, as well as numerous TV shows, including the classic "Twilight Zone" episode, "The Fugitive." The Blu-ray release looks great, a new 4K scan from original, 35mm archival elements. It's shown in its original theatrical aspect radio. The audio, DTS-HD/Dolby AC3s, will amp up the scares. The Film Masters bonus features are extra special. They include the laugh-filled "Mystery Science Theatre 3000" version; an archival interview with Bert I. Gordon; a documentary about Gordon; a previously unreleased 1961 TV pilot for "Famous Ghost Stories" produced by Gordon and hosted by Vincent Price; a commentary track and more. Though "Mystery Science Theatre 3000" found plenty of riff ammunition in "Tormented," this is an effective supernatural flick that will keep you on the edge of your seat. "NIGHT FALLS ON MANHATTAN" Though it's not one of his better known movies, 1996's "Night Falls on Manhattan" is Lumet still at the top of his form. Known as an actor's director, here is elicits compelling performances from Andy Garcia, Lena Olin, Richard Dreyfuss, Ron Leibman, Ian Holm and James Gandolfini. The script, which he co-wrote, based on Robert Daley's novel "Tainted Evidence," tackles some of Lumet's favorite themes -- injustice, corruption and moral complexity. Right and wrong isn't always a clear-cut choice. In ambiguous situations, the answers live in the grey areas. "Night Falls on Manhattan" divides its attention between cops and the courtroom. The film opens on two veteran police detectives, Liam Casey (Holm) and Joey Allegretto (Gandolfini), who are staking out a fearsome drug lord, Jordan Washington (Sheik Mahmud-Bey). A snitch tells them Washington is inside the dilapidated apartment house. They go in for the bust, but everything goes awry. The vicious criminal's automatic weapon inflicts nearly fatal wounds on Casey. Despite units from three precincts swarming the building, Washington manages to cold-bloodedly slay two other officers and escape. A target now, he turns himself in, through his liberal activist attorney, Sam Vigoda (Dreyfuss). D.A. Morgenstern (Leibman) assigns this high-profile case to an untested newcomer, Sean Casey (Garcia). Because Sean is Liam's son and served on the force himself, the publicity possibilities are irresistible... and Morgenstern is up for reelection. Sean gets the conviction, but things are not as clear-cut as they seem. Some of the cops involved in the chaotic raid had their fingers in Washington's bloody pie. In the pressure-packed atmosphere, Morgenstern suffers a heart attack. Sean is elected as the D.A. His job is becomes thorny when Internal Affairs steps in to investigate cops on the take... and the list of suspects could hit close to home. Further complicating matters is Sean's blooming romance with Peggy Lindstrom (Olin), one of Vigoda's associates. Lumet again gets the best out of his players. Garcia delivers a charismatic performance as the altruistic lawyer, torn by divergent loyalties. Dreyfuss explores the layers of a crusading attorney, based partly on William Kunstler, who represented the Chicago 7 in 1969. Leibman, Olin, Holm and Gandolfini shine in support, finding subtle, below-the-surface details of their characters, as well. The film is filled with fascinating conflict -- survival vs. duty; honor vs. greed; idealism vs. pragmatism; forgiveness vs. righteousness. The tangled relationships also lift "Night Falls on Manhattan" above the ordinary crime drama. Arrow's new 2K remaster from the original negative and original lossless 5.1 surround and 2.0 stereo sound draw the viewer even deeper into the thought-provoking film. Among the Arrow bonus features are brief, but insightful interviews with cast members talking about the privilege of working with Lumet. There's also one with the man himself. More details come through the audio commentary tracks with the principals, as well as a behind-the-scenes featurette.
"THE SCARFACE MOB" The episodes were fused and released overseas as a theatrical feature. Titled "The Scarface Mob," it also hit U.S. big screens in 1962. Arrow Video has released the movie on Blu-ray. The story begins as Al Capone's organization is ruling Prohibition-era Chicago. Dirty cops look the other way as the mobsters run rampant. Federal investigator Eliot Ness is called in to try to stem the tide of crime. He forms an untouchable unit, a small squad of men drawn from around the country, brave men who cannot be bought. This production crackles with jolting realism. Robert Stack's portrayal of Ness, with the clipped delivery and no-nonsense approach, created a truly Iconic American TV character. The intensity level soars when Neville Brand makes his entrance as the mob boss, Al "Scarface" Capone. Of course, if his minions wanted to live a little longer, they would never call him "Scarface." They amiably refer to him as "Snorky." Brand, though his Italian accent may slip here and there, is commanding in every one of his scenes, grinning, roiling and raging. Bruce Gordon's brusque style suits the role of another key mobster, Frank Nitti. As Ness' fiancée, Patricia Crowley gives Stack a chance to momentarily soften up his tough guy attitude, The stellar supporting cast includes Joe Mantell, perhaps best known for playing Ernest Borgnine's pal in "Marty." He earned an Academy Award nomination for that performance. He was seen in many TV shows, including two "Twilight Zone" episodes and a recurring role on "Mannix." Fans of the series will recognize a couple of members of the Untouchables team from the series -- Paul Percini as Tony Liguri and Abel Fernandez as William Youngfellow. The pilot's cast also features some memorable actors who didn't return for the series, most notably Keenan Wynn and Bill Williams ("The Adventures of Kit Carson," father of William Katt). Infamous columnist Walter Winchell served as narrator for both series and pilot. As the promiscuous burlesque dancer whose husband dooms himself by trying to impress her, Barbara Nichols' cheeky performance is eye grabbing. Certainly her sexy strutting, seen in the Blu-ray, must have been trimmed for TV. A lot of behind-the-scenes talent went into bringing "The untouchables" to the screen. Desi Arnaz optioned Eliot Ness' memoir detailing his battle with Capone. Arnaz spent double his Westinghouse budget on production, gambling that European box office revenues would enable it to turn a profit. The pilot script was penned by Paul Monash, who later produced the "Judd for the Defense" and "Peyton Place" series and such films as "Butch Cassidy and the Sundance Kid," "Carrie" and "Slaughterhouse-Five." "The Scarface Mob" was produced by Quinn Martin ("The Fugitive," "The Invaders," "The Streets of San Francisco"). Phil Karlson ("5 Against The House," "The Silencers," "Walking Tall") handled the directing chores. He keeps the action hurtling forward, never shying away from the brutality. The movie hits with the impact of Ness' still-smashing, reinforced trucks. The extras on Arrow's limited edition Blu-ray include new video essays that cover director Phil Karlson's work, the making of the pilot, the series, and the various screen presentations of the Ness-versus-Capone saga. The Blu-ray benefits from 1080 high definition picture and original, uncompressed dual mono 2.0 audio. Those who have watched reruns of the series on TV will be startled at how sharp the picture is, with excellent contrast, as well as how crisp and clean the sound is.
It's not only the visual and audio that hold up. "The Scarface Mob" remains, today, more than 60 years after its debut, an exciting, hard-hitting crime drama.
GRUFF RHYS - "SADNESS SETS ME FREE" On his latest album, Rhys explores what ails us, societally, in relationships... and within ourselves. In several of these songs, he seems to feel that he doesn't live up to his own high expectations, but must find self-acceptance. On the opener, the title track, he begins simply. It could be Townes Van Zandt or Robert Earl Keen singing. But he quickly builds the song to epic proportions, piano and strings swelling. In the song, he sees his flaws, finds warmth in the embrace of another, but ultimately realizes that it is, in fact, sadness that sets him free. That can't be denied. On "Bad Friend," a jaunty number, Rhys opines that a bad friend is better than no friend at all... and better than an enemy. He confesses that he has been a bad friend, but is well-meaning and will "be there at the end." Rhys gets political on songs like "Cover up the Cover Up," reflecting our frustration with governmental duplicitousness and corruption. In the poetic "On The Far Side of the Dollar," he starkly contrasts nature's magic with the chaos of modern urban existence.
He sings on "Peace Signs," one of the album's most riveting tracks, Even impending apocalypse can't eradicate his romanticism. "Celestial Candy Floss" enchants, but even that song drifts into shadowy corners lyrically. On "They Sold My Home to Build a Skyscraper," he doesn't forsake all hope, imploring us to "Keep on glowing in the dark." Rhys closes on a soaring, optimistic note with the glorious, anthemic, "I'll Keep Singing." Throughout, Rhys smoothly segues, often within a single song, from one style to another, touching lightly on country, folk, rock, pop, Brazilian, psychedelia and lounge. While examining the frightening foibles of our world, he takes us into a world of his own, a colorful, musical wonderland. The perfect production, by Rhys and Maxime Kosinetz, helps the album to weave its spell. They recorded it in Paris in just three days. That's astounding, considering the intricate, layered sounds they sculpted. Essential contributions were made by pianist Osian Gwynedd; double bassist Huw Williams; drummer Kliph Scurlock (Flaming Lips), pedal steel player Rhodri Brooks and backing vocalist Kate Stables. The thought-provoking lyrics can be playful, painful, poignant or powerful. Though they may often be melancholic, dark and disturbing, the music is so enchanting, you'll come away not depressed, but calmed, gently sighing and finding a little smile spreading over your lips. Rhys offers comfort amidst calamity. He never fails to exceed the high expectations we have for every new album he creates.
LAETITIA SADIER - "ROOTING FOR LOVE" Perhaps music can heal the world. If so, Sadier may be a key practitioner. She has always taken on political and societal ills. But she preaches positivity, giving the listener hope for real change. There's a Zen zeal permeating the songs that blends with lovely, hypnotic sounds to hold the listener completely captivated. "Who + What" opens the proceedings ominously before taking us on a mind-expanding, inspirational journey, something the album as a whole does, as well. In this first song, Sadier sings of "metamorphic possibilities," of breaking through limitations, the walls around us, and reaching our potential. With "Protéïformunité," one of the three songs here sung in Sadier's native French language, she speaks of the power of harmonization, the eternal desire for union. She seeks to eliminate ignorance and halt the endless cycle of suffering. Let's cut through the poisons in our minds and discover the bright new dawn. Enlightenment is the goal. This is not to say there are not grim moments to the record. The chilling "Don't Forget You're Mine," with lyrics by Véronique Vincent, delves into a relationship tainted by jealousy and violence. But Sadier will not be trapped by the evil man inflicts. "The Dash" takes flight as Marie Merlet's (Sadier's Monade compatriot) flute swoops over dissonance. "The Inner Smile" sparkles with the universal joy and gratitude within our grasp. The sound is elevated by The Choir's vocals. "La Nageuse Nue" (The Naked Swimmer) glistens. "New Moon" is equally luminous. The climactic, cautionary "Cloud 6" closes this remarkable, transcendent album. Interwoven synths and repeated melodic phrases help make Sadier's music undeniably mesmerizing. Voices are used as instruments. The multitude of other instruments surge and glide, touching on myriad stylistic, harmonic, chordal and rhythmic devices. Sadier's career began in the late 80s and her voice has never sounded better. It's richer, more fully expressive, drawing on a wealth of experience and emotions. In the lower register, it's marvelously mellow. Climbing to the higher range, it's breathtakingly enchanting. And the varied uses of harmonies beautifully enhance her lead vocals. The choral arrangements attain an inspirational aura. Sadier has also grown into a masterful songwriter. This, Sadier's fifth solo album, is complex, yet entirely accessible and moving, Though she doesn't run from reality, her music achieves a deliciously dreamy ambiance. The world may be spiraling into darkness, but Sadier's new album, with its ethereal atmosphere and sense of wonder shines a light for all of us to follow. In a world seething with hate, we should all be rooting for love.
JANE WEAVER - "LOVE IN CONSTANT SPECTACLE" The new album, gloriously produced by John Parish (PJ Harvey), serves up one irresistible track after another, taking listeners on a tantalizing trip they'll want to revisit again and again. The songs reflect the effects of profound sadness, while striving for solace and joy. In the beautiful-sounding "Perfect Storm," our protagonist struggles with a relationship gone wrong. "Emotional Components" bubbles along in funkily fresh style. The title track bristles with an effects-sharpened, guitar-driven edge. "Motif" stands in stark contrast, taking a gentler, more delicate, more acoustic approach. It's the prettiest, most intimate track on the album. "The Axis and the Seed" is hauntingly lovely, enticing, with an ominous tinge of eeriness. The infectious, syncopated rhythm throbbing beneath "Is Metal" is reminiscent of Spirit's "Fresh Garbage." "Happiness in Proximity" has a jazzy feel. The undulating, heartening "Univers," shimmers and shines. The love song "Romantic Worlds" sails along with a perfect pop allure. Weaver ends on a note of resilience with the strange beauty of the ambitious "Family of the Sun." Weaver consistently fashions enchanting melodies. The instrumentation, often emphasizing synths and keyboards, as well as the vibrant vocal harmonies, enhance her entrancing voice. Each track has its own individual personality. Weaver's melodies are exquisite, as are her vocals. Her lyrics consistently intrigue. They often seem to be flowing freely from her subconscious.
She has never been afraid of experimentation. Also known for the music she created with the bands Kill Laura and Misty Dixon, she has always gone wherever her muse has guided her. Weaver's latest phantasmagorical solo work proves to be a triumphantly imaginative creation. Join her on a completely original voyage.
If you want to know about movies, just ask Wes. D. Gehring. the author of more than 40 books about cinema, he is a professor of film at Ball State University and associate media editor for USA Today magazine. His latest publication examines American film comedy, breaking it down into six "core" genres and their literary roots. The fact that a photo of Robert Benchley graces the cover should immediately suggest to you that this is going to be a sophisticated work. Gehring beings with a dive into American humor in print, with much attention paid to the influential Mark Twain. Then he moves into his first core genre, "Personality Comedian." Here, using such examples as Chaplin, Buster Keaton, Groucho, Mae West, Joe E. Brown, Hope & Crosby, Wheeler & Woolsey, he studies five components -- shtick, physical and visual comedy, underdog playing outside the lines, nomadic nature and teams or team. He ties the humor genre into print writers ranging from Benchley to Woody Allen. They were among the wits, along with Will Rogers, Groucho and Benchley, who could make people laugh with what they put on the page, as well as on the screen. In the chapter on "Crackerbarrel Populism," Gehring discusses director Frank Capra's aw-shucks-ish heroic figures, as well as Robert Redford's appeal. Another of Gehring's core genres, "Parody," looks at the zany spoofs perpetrated by Mel Brooks and the Zucker brothers. "Screwball Comedy" covers such classics as "My Man Godfrey," several beloved Cary Grant movies and Preston Sturges' masterpieces. Gehring also mentions some modern equivalents, including "Arthur," "All of Me" with Steve Martin and "A Fish Called Wanda." On the literary side, James Thurber comes up, as he did earlier in the book. Gehring charts the course of "Romantic Comedy" from Ernst Lubitsch to Nora Ephron, "Shop Around the Corner" to "When Harry Met Sally." Doris Day is also among those featured in this chapter. "Dark Comedy" takes a different direction. Gehring digs into what draws us to this genre. Among the films that appear in this chapter are "To Be or Not to Be," Chaplin's "Monsieur Verdoux," "Little Big Man" and "Harold and Maude." Carrie Fisher and Michael Chabon are among the prose writers who pop up in this chapter. The author also puts screen comedy into the context of what was happening in society, how humor can reflect our times. His latest work, meticulously researched, offers insightful analysis, making it a worthy addition to any film buff's library. Email Paul Freeman at paul@popcultureclassics.com |
