"DAYS OF THE BAGNOLD SUMMER"
Simon Bird, a delight in two of the all-time great Britcoms -- "The Inbetweeners" and
"Friday Night Dinner" -- makes his film directorial debut with "Days of the Bagnold
Summer." Eschewing the brash and broad hilarity of those sitcoms, the movie chooses
a subtler, more sensitive approach to its comedy. Bird finds an ideal balance between
the chuckle-worthy and the poignant aspects of the story. Kino Lorber has made the
movie available on Blu-ray and it's one that should not be missed.
Based on Joff Winterhart's graphic novel, Lisa Owens' insightful, caring screenplay
provides a coming-of-age tale that seems completely fresh and utterly truthful. As the
film opens, teenaged Daniel Bagnold is eagerly awaiting the moment he can leave
England for the summer to visit his father. Perpetually glum, Daniel is a lanky,
uncommunicative metalhead with greasy long hair. Music by bands like Metallica is the
only thing injecting life into his drab existence.
Dad is in Florida with his pregnant new significant other. Of course, Dad, as usual, lets
Daniel down, canceling the trip. So the lad is stuck spending the next six weeks with his
well-meaning, put-upon, librarian mum, Sue. Daniel describes her as boring and
annoying. They're both lonely and insecure. Gradually they find common ground and
develop a positive mother-son relationship.
Though Daniel wallows in angst and constantly gives his mum grief, actor Earl Cave
(Yes, he's Nick's son) manages to imbue him with an endearing, sympathetic quality. As
the long-suffering, but eternally hopeful Sue Bagnold, Monica Dolan provides a brilliant
portrayal. She expresses the mother's vulnerability, as well as her inner strength.
Each supporting character is cleverly etched. Wonderful actors like Rob Brydon and
Tasmin Grieg pop up and add significantly to the movie's magic. Bird modulates the
cast's performances with skill and understanding.
Bird brings all of the elements together beautifully. He captures the sad humor of such
moments as Daniel auditioning for a hard rock band and finding out the other members
are half his age or Mum awkwardly dating his libidinous history teacher. Bird and
cinematographer Simon Tindall make the film visually appealing.
The soundtrack's use of Belle and Sebastian's gentle pop perfectly complements the
film's tone. Their songs are as disarming and irresistible as the comedic and character
components. They contrast superbly with the metal music snippets.
This is a completely charming little, idiosyncratic film with lots of laughs and lots of
heart. "Days of the Bagnold Summer" is low-key and highly entertaining. It's a summer
to remember.
"SWITCHBLADE SISTERS"
"The toughest gang of teenage girls ever to slash their way across a motion picture
screen. Their parents didn't want them. Their teachers were scared of them. Even the
cops couldn't tame them." That's how the theatrical trailer describes this blade-flicking
exploitation flick.
Arrow Video has released "Switchblade Sisters" on Blu-ray. In High Definition (1080p)
with the original uncompressed mono audio, the film looks and sounds as good as we
could possibly hope.
Initially released in 1975, "Switchblade Sisters" has become a grindhouse cult classic.
The fact that it is a favorite of Quentin Tarantino has certainly elevated the violent
movie's recognition level.
Maggie, a new girl, joins the girl gang The Dagger Debs. They and their male
counterparts, The Silver Daggers, spread mayhem wherever they go, creating friction
against the establishment, as well as among themselves. Eventually, the Debs tire of
being used and abused, tired of being playthings. They break from the Daggers and
rename themselves The Jezebels.
Who needs brutish, uncouth, ignorant men, some of whom apparently regard rape as a
courting ritual? Thus these young women evolve from bratty delinquents into fiery
rebels. Revolution anyone?
Director Jack Hill does a good job with action sequences, including the girls
overcoming a sadistic juvenile detention center matron and her cadre of guards; a riot at
a roller rink; and a climactic knife fight, shot in shadow.
Of the cast members, Joanne Nail stands out as new girl Maggie, conveying the
character's righteous fury.
As usual with Arrow, the Blu-ray offers an abundance of tasty bonus features. There are
archival documentaries and interviews. Also included is a snippet of Hill and Nail
appearing at the 2007 Grindhouse Film Festival. In addition to the theatrical trailer, you'll
also find a trailer that uses the film's original title, "The Jezebels."
"HEARTWORN HIGHWAYS" and "HEARTWORN HIGHWAYS REVISITED"
James Szalapski's excellent documentary "Heartworn Highways" focuses on
outstanding maverick singer-songwriters, road warriors who carry on the noble
troubadour tradition. Shot in the mid-70s and initially released in 1981, it's now available
on Blu-ray from Kino Lorber.
Among those featured are Americana legends Townes Van Zandt, Guy Clark, David
Allan Coe, Charlie Daniels, Steve Young and Rodney Crowell, long before even they
dreamed of attaining legendary status. The film shows their all-consuming passion for
music. For them, it isn't about charts or sales figures, it's simply about telling the truth
through song. Music is just a way of life. It is life.
Coe plays a prison show. Having served time himself, he displays a special empathy for
the inmates. Even with his earring, sequined shirt and sparkly silver boots, the audience
relates.
Daniels, armed with his fiery fiddle, goes full throttle for a performance in a little high
school gym. Clark expertly, lovingly repairs a guitar and waxes philosophical. The film
also offers a snippet of a young Steve Earle, singing along at a Christmas party hosted
by Clark.
It's great to see the tragic Van Zandt at his most engaging, displaying his casual sense
of humor and goofier side. His segments show the untamed artist in candid, slice-of-life
moments. Toting a rifle, a Coke and a bottle of booze, he introduces the viewer to his
dog... and then his girlfriend. When he sings the heart-wrenching "Waiting Around to
Die" for his aged neighbor, who begins weeping, it's one of the film's highlights.
Szalapski captures random moments -- no explanation or narration needed -- and
assembles an understated, telling portrait of outlaw songwriters at early stages of their
careers. It's an invaluable document of that exciting, influential 70s country-folk-rock
scene. The Kino release offers important bonus features, including nearly an hour of
extra footage, as well as an audio commentary track.
Kino has also issued 2015's "Heartworn Highways Revisited," a follow-up film directed
by Wayne Price (Szalapski passed in 2000), that brings back Guy Clark, David Allan
Coe and Steve Young. It also introduces audiences to the next generation of outlaw
singer-songwriters, including Bobby Bare, Jr., Justin Townes Earle, Langhorne Slim,
Nikki Lane and Shovels & Rope. This Blu-ray also has added scenes and audio
commentary.
"SENSATION SEEKERS"/"A CHAPTER IN HER LIFE"
Lois Weber was one of the most prolific and acclaimed filmmakers of the silent era. But
by the 1930s, she was basically forgotten. As producers gradually wrested away
creative control and movie companies became massive entities, pushing indies to the
fringes, Weber grew disenchanted. Art was being usurped by commerce. And women
filmmakers were being given far fewer opportunities. Weber died in 1939. But in recent
years, she has received renewed attention.
Kino Lorber has just released two films, written and directed by Weber, on a single Blu-
ray. They're both well worth viewing. They boast new 2K restorations by Universal
Pictures.
The first is 1927's "Sensation Seekers," starring the magnetic Billie Dove. She plays
Egypt, a wild socialite, careening through life with her hedonistic crowd, downing
bootleg liquor and making the 20s roar. But Egypt finds herself drawn to the new
reverend (Raymond Bloomer). He's determined to save her soul. Meanwhile his
hypocritical, gossip-hungry congregants rival the party set, when it comes moral
deficiencies.
Dove captures Egypt's inner torment, torn between the sacred and the profane,
rebelling against Puritanical values, craving freedom, but unsure exactly what that word
really means. Weber elicits a complex and fascinating performance from Dove.
The director demonstrates an artful faming of shots. She also impresses with her
presentation of a masquerade ball, as well as a spectacular climactic storm-at-sea
sequence.
The Blu-Ray's version of the film includes music by Arthur Barrow. Or you may want to
choose the audio commentary track, as Shelley Stamp, author of a Weber biography,
offers insights into the director, as well as the movie's unfolding plot and characters.
The second film is quite different in subject and tone. 1923's "A Chapter in Her Life," a
decade later, would have made an ideal vehicle for Shirley Temple. This sweet, quaint,
movie stars Jane Mercer as Jewel. When her parents venture to Europe for a business
opportunity, the little girl must stay with her estranged, gruff grandfather (Claude
Gillingwater). He already has two other unwanted house guests. The household creaks
in a sterile atmosphere filled with sadness and self-absorption. But ingenuous Jewel
remedies that situation, bringing everyone together by displaying the power of love and
faith. Weber had made another film, "Jewel," in 1915, also based on Clara Louise
Burnham's old-fashioned, sentimental novel of the same name. A charming, fanciful
score added by Alexandra Harwood adds to viewer enjoyment.
Kino's release of these well-crafted films will help film buffs rediscover the importance of
the pioneering Weber in the early days of Hollywood.
CDs
JULIANA HATFIELD - "BLOOD"
She started creating riveting indie-rock with Blake Babies in the late 80s. Through the
years, she explored vibrant new musical avenues with The Juliana Hatfield Three, The
Lemonheads and The I Don't Cares, as well as in numerous solo projects. Now Juliana
Hatfield has released "Blood," that's as edgy, exciting and energetic as anything she
has ever done.
The new album doesn't shy away from darkly relevant, often devastating lyrical themes
and hard-hitting guitars, but also embraces alluringly melodic pop sensibilities. Hatfield's
disarming, appealing vocals glide over potent instrumentation. She will draw you in,
then shake and rattle you with exhilarating sonic slaps.
With titles like "Gorgon" and "Torture," you know this isn't going to have a tone similar to
Hatfield's lovely 2018 Olivia Newton-John tribute album. As she sings in "Gorgon," "I
never promised anyone anything... No enchanted fairytales... You must have interpreted
it wrong... 'Cause I don't sing love songs."
One of the most striking tracks is "Had a Dream," which unnerves with its violent
imagery before Hatfield keeps repeating the line, "It was a very American Dream." In
"Splinter," she sings, "And I still wonder... How anyone could believe in anybody."
"Nightmary" bounces along with infectious tune and rhythm, though it's brimming with
acidic lines like "I'm living in a nightmare and I can't wake up...The whole world is
controlled by fascist blood-sucking thugs."
Self-loathing and feeling unworthy of being loved permeates "Dead Weight." Hatfield
warns, "In the future, it comes undone... All your desires are delusions... And I am
nothing to anyone... Never will be and never was."
The driving "Mouthful of Blood" rails against the repression of uncensored self-
expression in the current climate. If someone is infuriating you with their cruelty and
rudeness, be sure to play them "Chunks," as it vents pent-up rage, describing methods
of punishing and pulverizing them.
Hatfield is an artist who has never settled for resting on her laurels. The indie-rock icon
is still making music that sounds fresh and fierce. "Blood" courses through a range of
ideas and emotions. The intense album is disturbing, challenging and, ultimately, hugely
satisfying.
NANCY WILSON - "YOU AND ME"
Well, it certainly took a while, but Heart's Nancy Wilson has finally released her first solo
album. And it was definitely worth the wait. "You and Me" delivers a dozen terrific tracks.
Though Heart was finally inducted into the Hall of Fame, Wilson doesn't always get the
credit she deserves as a true rock pioneer. Though sister Ann sings most of the leads in
Heart, Nancy has always demonstrated a totally winning voice, as well as being a
superlative guitarist. This new album gives her a full opportunity to shine. She's equally
effective on ballads and rockers.
Wilson cranks it up for "Party at the Angel Ballroom," which features guests Taylor
Hawkins and Duff McKagan, who co-wrote the number with her. For the writing of "Walk
Away," a riveting power pop tune, she teamed with Sue Ennis, a frequent collaborator
on Heart projects. Ennis joins Wilson on another of their co-writes, the touching title
track, "You and Me." Wilson entrances on her wistful "We Meet Again." She weaves a
dark, eerie tale on the tingling "The Dragon."
Besides her strong originals, Wilson offers some killer covers. She does justice to Bruce
Springsteen's "The Rising," emphasizing its hopeful essence. Sammy Hagar is on board
for a pretty rendition of Simon & Garfunkel's "The Boxer." Liv Warfield joins Wilson for
an exquisite version of The Cranberries' "Dreams." A moving and powerful interpretation
of Pearl Jam's "Daughter" is another highlight.
The album closes with another original, the poignant instrumental, "4 Edward." An
homage to Eddie Van Halen, it features gorgeous, lush acoustic guitar work.
With all she has already accomplished, it's clear that Nancy Wilson is still at her musical
peak. Even on her own, Wilson has plenty of heart.
SUSAN ANDERS - "13 WOMEN"
This exceptional album, Susan Anders' fourth solo release, features 13 original songs
inspired by extraordinary women from U.S. history. But you needn't know that to be
mesmerized by the beautifully crafted music and lyrics. Her worthy work rises above
even its lofty concept.
Released in March, to honor "Women's History" month, "13 Women" soars, thanks to
Anders' earthy, richly emotive vocals, wrapping themselves warmly around the
heartening subject matter. Her voice and acoustic guitar are enhanced by impeccable
harmonies and understated instrumentation, including hand percussion. Anders
compositions defy categorization, drawing from folk, pop, jazz and Americana colors.
Among the women who inspired Anders here are Helen Keller and her teacher Annie
Sullivan; Rosie the Riveter; Josephine Baker; and Amelia Earhart. Also included are
less widely recognized figures like pioneering prairie woman/schoolteacher Lucy
Goldthorpe; Henrietta Lacks, whose cells, unbeknownst to her or her family, were
harvested and used for endless, transformative medical research; Julia Morgan, the first
licensed female architect in California; trailblazing female astronomer Henrietta Swan
Leavitt; Maud Stevens Wagner, the first known female tattoo artist in the United States;
and war correspondent Martha Gellhorn, who happened to be one of Ernest
Hemingway's wives.
Gellhorn felt passionately about her mission to uncover the evil and tragedy in the
world. In the urgent Gellhorn song, "Witness," Anders sings, "My man loves my sharp
and truthful tongue ... My man loves my spark and drive...But my man wants me back
home in his bed...He can’t understand this is my life."
The damning "Spell" with its rousing, gospelish fervor is drawn from the tale of Sarah
Wildes, who was hanged for being a witch during the Salem trials. Other sublime tracks
include "Just Give Me Everything," "Open Prairie," "Girl You Never Knew," "My Life in
the Stars," "A Little More From Josephine," "Walk This Freedom" and "What a Woman
Can Do."
Though they may have been inspired by specific women, Anders' approach to the songs
gives them a universal resonance. Immersing yourself in the compelling stories of the
"13 Women" proves to be an uplifting and memorable experience.
MERRY CLAYTON - "BEAUTIFUL SCARS"
Fate can be cruel. When devastation strikes, salvation can come through faith... or
music. Merry Clayton relied on both, following a horrifying event that would have
permanently stymied less resilient individuals. And those two gifts have made her whole
again.
Clayton is graced with a breathtakingly moving voice. In her teens, she became one of
Ray Charles' Raelettes. She went on become an in-demand session singer. Her voice
dazzled on The Rolling Stones' "Gimme Shelter." You'll also hear her on Lynyrd
Skynyrd's "Sweet Home Alabama." From the 60s into recent years, she backed
countless stars, including Ringo Starr, Joe Cocker, Tom Jones, Linda Ronstadt, Carole
King, Neil Young, Coldplay and Tori Amos.
Clayton was featured in the Academy Award-winning documentary on background
singers, "20 Feet From Stardom." Finally, thanks to that film, Clayton received long
overdue recognition. Tragically, the following year, she was severely injured in a car
crash. Both of her legs were amputated. Would her soul-stirring voice be stilled?
Fortunately, the answer is a resounding "No!" Clayton, at 72, has released her first solo
album in more than 25 years. Titled "Beautiful Scars," it proves to be restorative and
inspirational. Produced by the legendary Lou Adler (in collaboration with Grammy-
winning gospel singer/songwriter Terry Young), the record allows Clayton's still powerful
voice to hold the spotlight, bringing out all the emotion in a well chosen collection of
songs.
The daughter of a New Orleans reverend, Clayton returns to her gospel roots,
magnifying the spiritual aspects of the material. On a transformed "A Song for You,"
written by Leon Russell, her lead soars majestically over the vitalizing harmonies of a
fervent choir. There's an arresting vintage sax solo by Clayton's husband, Curtis Amy,
who passed away in 2002.
Clayton's rendition of Sam Cooke's "Touch the Hem of His Garment" glows with
reverence and gratitude. She pours strength into "Love Is a Mighty River," written by
Chris Martin of Coldplay,
The title track, "Beautiful Scars," written by Diane Warren, is beautiful indeed, lyrically
and melodically. It celebrates the indomitability of the human spirit. And Clayton
embodies that.
On the closing "Ooh Child Medley," which includes Jackie DeShannon's "Put a Little
Love in Your Heart," Clayton is joined by her granddaughter, Kyliyah Amy. In a spoken
section, Grandma advises the teen, "You can be in this world and not accept the bad.
You can rise above the negative and accentuate the positive... So put your trust in God"
Clayton evokes awe while delivering several of Terry Young's religious numbers, such
as the jubilant "He Made a Way," as well as "Deliverance," in which Clayton declares,
"Healing is yours for the asking."
Throughout, Clayton's vocals will send chills up your spine. Her voice is a miracle in
itself. With this album, she's sharing love and exultation. She testifies to the glory of the
Lord... and of song. And makes believers of us all.
Merry is back. Shout "Hallelujah!"
MAIA SHARP - "MERCY RISING"
Maia Sharp has already displayed her remarkable songwriting prowess over the years.
Among the diverse artists who have recorded her tunes are The Chicks, Cher, Bonnie
Raitt, Trisha Yearwood, Kathy Mattea and Terri Clark.
But the Los Angeles-bred, Nashville-based singer-songwriter/multi-instrumentalist can
deliver her own captivating compositions perfectly well, thank you very much. Sharp's
new album proves to be a folk-pop-Americana wonderment. Her moving, expressive
vocals, entrancing melodies and elegantly crafted lyrics combine to make each song
memorable.
The title track, "Mercy Rising," weaves a magical spell, drawing the listener into Sharp's
world. It's enhanced by gorgeous, yet unobtrusive strings. Desire grows ever hotter in
the instantly grabbing "Backburner" with its enticing rhythm and clever, playful lyrics.
"Whatever We Are" is a gentle gem.
The engaging "Nice Girl" breezes along on an irresistible, winsome melody, which
contrasts cleverly with the song's lyrical edge. It's her take on falling for Mr. Right and
having him reveal himself to be very much Mr. Wrong. Sharp sings, "You're gonna make
some nice girl miserable someday."
Relationship struggles continue in "Missions," with its apt motoring metaphor, in which
Sharp's protagonist, uncomfortable with commitment, confesses, "I hate that I love you
this much." And "Junkyard Dog" -- "Thought I was the queen of your castle... Turns out
I’m just your junkyard dog.” "Not Your Friend" explores the frustration of being mired in a
situation where someone wants something more impassioned than simply friendship.
That dilemma has never been more eloquently described.
The album's bonus track is one of its loveliest numbers, "Always Good to See You."
Sharp delivers one of her most moving vocals on this one. It was written for Ben Arthur's
"SongWriter" podcast, which invites a musical artist to create a song based on a
cherished work, in this case Sharp being inspired by Cheryl Strayed's "The Ordinary
Miraculous," from her popular book "Tiny Beautiful Things."
Several of the songs were penned by the extraordinary Sharp alone, others in
collaboration with a variety of co-writers. There isn't a weak cut to be found here, on her
eighth solo record. The production and instrumentation complements her perfectly.
Sharp's unerringly honest "Mercy Rising" album, with its subtle power, will hold you
spellbound from start to finish.
BOOKS
ELIZABETH AND MONTY:
The Untold Story of Their Intimate Friendship
By Charles Casillo [Kensington]
In this fascinating new book, author Charles Casillo explores, in depth, the lives and
loves of iconic stars Montgomery Clift and Elizabeth Taylor. Casillo illuminates how
fiercely, unwaveringly and unconventionally they loved one another, from the time they
co-starred in the 1951 classic "A Place in the Sun" until Clift's death, at age 45, in 1966.
What Casillo refers to as their "intimate friendship" enabled them to pour their hearts out
to each other, revealing their innermost hopes, dreams, fears and traumas. The younger
Taylor hungered for a physical relationship with Clift, perhaps even marriage. But his
complex sexuality thwarted that notion. He craved men as bed partners. But he
frequently relied on women for emotional sustenance. The tragic, self-destructive Clift
responded to the nurturing Taylor as a true soul mate. He affectionately called her his
"Bessie Mae."
Though he sabotaged himself, the sensitive Clift served as an invaluable sounding
board for her as she wended her way through headline-grabbing nuptials with Conrad
Hilton, Michael Wilding, Mike Todd, Eddie Fisher and Richard Burton. He also instilled in
her a desire to pursue the artistry of acting, rather than simply settling for the glamour
and fame. He coached her to new heights in her performances. She in turn tried to
stabilize him as he sank further and further, his descent hastened by startling amounts
of booze, drugs and dangerous sex.
His horrifying auto crash, which marred his perfect looks, plunged him into an even
more harrowing abyss. It happened in the middle of the "Raintree County" shoot and
Taylor felt guilty for having pushed a weary Clift to attend her dinner party. It was on his
way home that his car went off the road. Casillo provides vivid descriptions of his
shocking injuries.
Casillo digs into the roots of their insecurities. Both stars were raised by domineering
mothers who lived vicariously through their children's exceptional beauty and talents.
This left emotional scars. They often relied on damaging crutches to prop them up.
Taylor exhibited strength beneath the vulnerability. Clift was a fragile soul. An acclaimed
stage star before he graced the silver screen, he was often at odds with the
commerciality of Hollywood. And he could never be at peace with his own nature. He
was wracked by inner torment. He earned the adoration of friends, but even the most
loyal of them eventually kept their distance, put off by his over-the-top, intentional
boorishness. He could be charming, warm and generous. But he could also be moody
and cruel. Taylor, however, never turned away. Their bond was unbreakable.
The book offers many thought-provoking insights into the wounded, fragile psyches of
both Taylor and Clift. Casillo adds, in the final chapter, details of Taylor's post-Clift years
to fill out her biography. Throughout, the author does not shy away from the more sordid
elements of these legends' lives. But he also delves thoroughly into their work and
ultimately paints poignant portraits of his subjects.
CONSIDER YOUR ASS KISSED
By Ruta Lee [Briton Publishing LLC]
Her vivacious personality helped to make Ruta Lee a delightful staple of stage and
screen for decades. Now that bubbly quality ensures that her memoir, "Consider Your
Ass Kissed," is wonderfully entertaining all the way through.
Lee details the challenges and joys of her personal life, as well as her remarkable
career. She is driven, but not with a sole focus on career. Lee exuberantly embraces
many facets of life, including an admirable attention to charity work. She has long been
a key figure in The Thalians philanthropic organization, which raises money for those
with mental health issues, including returning veterans. She has also devoted energy to
entertaining the troops.
In the book, Lee goes into her film work. Bolstered by a tireless stage mother, she
started out early. A studio contract when she was still in her teens turned out to be a
disappointment. But the resilient Lee didn't let it faze her. She went on to appear in such
classic musicals as "Seven Brides for Seven Brothers" and "Funny Face." She worked
with Marlene Dietrich, Tyrone Power and Billy Wilder on "Witness for the Prosecution."
She joined the Rat Pack for "Sergeants 3."
Episodic television really gave Lee a chance to shine. Her list of credits is like a history
of the medium. Notable guest shots included "Twilight Zone," "Rawhide," "The
Adventures of Superman," "Playhouse 90," "Alfred Hitchcock Presents," "The Burns &
Allen Show," "Hawaiian Eye," "Bonanza," "Perry Mason," "Gunsmoke," "The Virginian,"
"The Lucy Show," "77 Sunset Strip," "Maverick," "Hogan's Heroes," "Peter Gunn,"
"Wagon Train," "The Fugitive," "Wild Wild West," "The Andy Griffith Show," "Mannix,"
"Mork & Mindy," "Murder She Wrote" and so many more. The hard-working Lee was
also a favorite on game shows.
Thus Lee is able to offer readers fond (mostly) remembrances of many legendary stars,
including close friend Debbie Reynolds, Clint Eastwood, Eric Fleming (Gil Favor on
"Rawhide," whom she dated), Lucille Ball, Fred Astaire, Bing Crosby, Andy Griffith, Alex
Trebek (with whom she co-hosted the "High Rollers" game show), Bob Crane, Bette
Davis, Sylvester Stallone and Frank Sinatra. The always frank Lee offers a naughty
(and flattering) detail about Sinatra's anatomy.
Politically conservative and a smart businesswoman, a versatile star with tons of talent,
Lee has thrived in the Hollywood community. She writes of cherishing her long and
happy marriage. Her husband Webb passed away just as this book was about to go to
print.
Ruta Lee epitomizes the best of show business. Her memoir, filled with laughter, tears
and nostalgia, is an immensely enjoyable read.
YEARBOOK
By Seth Rogen [Crown]
Fortunately, the immense amount of weed Seth Rogen has consumed over the past
quarter-century has not dimmed his memory... nor his razor-sharp, perceptive wit. That's
evident from his fun new memoir, "Yearbook." And as he writes in the book, "I'm not
quite cut out for this world, but weed makes it okay."
Rather than methodically, chronologically taking the reader step by step through his life,
Rogen amiably, conversationally, ambles through a series of memorable anecdotes. He
writes in his distinctive voice, easygoing and irreverent. You can almost hear the slight
rasp in his voice and that unmistakable laugh as you chuckle through the profanity-
laden pages.
The recollections range from Rogen's childhood -- growing up Vancouver, B.C. -- to
movie stardom. A descendant of Eastern European Jews who fled persecution, he
writes lovingly of his "tough and eccentric" grandparents; his father, an altruistic activist
with OCD and Tourette's; and the mother he describes as "considerate, progressive,
levelheaded, emotionally honest and wildly weird."
Included in the book are moments from his struggles as a teen stand-up comic; his
karate lessons; a trip to Israel with his mom; getting a gig writing circumcision jokes for
a mohel; and almost getting killed while trying to buy weed for the first time.
Then there was the time he got too high (yes, it is possible for even Rogen to get too
high). Horribly hungover and preparing for an early morning flight, he decided his best
recourse was to gobble up an extra strong weed brownie. Soon he felt his faculties
slipping away. Before boarding the plane, he decided to remedy the situation by wolfing
down an Angry Whopper, an unnaturally spicy burger sold at Burger King. That
combination led to him reacting, on the plane, with what seemed to be a seizure.
Worried crew and a doctor huddled over him and summoned an ambulance to greet him
upon landing. Rogen had to make an embarrassing confession. But he is no stranger to
embarrassment.
The misadventures merrily continue -- volunteering to be the audience participant in an
Amsterdam live sex show and wandering around mindlessly on shrooms in that same
city; having the afterglow of a romantic evening with his future wife decimated by an
onslaught of Montezuma's Revenge; being terrified by a risky scene he shot with a
tiger... and the animal's even more dangerous trainer; and an unnervingly strange
meeting with George Lucas. There are also close encounters with such luminaries as
Steven Spielberg, Snoop Dogg, Kanye West, Nic Cage, Sylvester Stallone, Tom Cruise
and Steve Wozniak.
Though Rogen's stories are hilarious, indeed, he doesn't ignore serious concerns. He
describes an anti-Semitic rant comedian Eddie Griffin directed at him, his wife Lauren
Miller-Rogen, Jonah Hill and Hollywood in general. Rogen decries Twitter's
unwillingness to discourage neo-Nazis or to more quickly curtail Trump's election fraud
lies. Rogen can be as thoughtful as he is outrageous.
The self-deprecating Rogen spends more time on his less successful ventures, such as
"The Interview," "The Green Hornet" and an audition for "Project Greenlight" than he
does on popular projects like "Freaks and Geeks" and "Knocked Up." And that makes
the book all the more endearing. Rogen finds comic fodder in family, friends and
fiascos.
Rogen proves to be a marvelous storyteller... and he has a seemingly endless supply of
hysterically funny tales to recount. Candid and clever, the episodic "Yearbook" proves to
be a winning glance back at highlights (and lowlights) from Rogen's first 39 years on the
planet. Can't wait for another volume!
