|
DEJA RE-VU
"THE SHOOTIST" (LIMITED EDITION) But perhaps his finest work can be savored in his final picture, 1976's "The Shootist." Available now in a sumptuous, limited edition Blu-ray from Arrow Video, it gives us the opportunity to delve into a character who must have hit home for him -- J.B. Books, a legendary gunfighter and former sheriff, who's dying of cancer. In a world that's embracing inventions like telephone and motorized vehicles, he's a man out of his times... who's running out of time. The film, set in 1901, opens with clips from several of Wayne's earlier westerns. Then we see the tired and worn present day Books. But he's still spry enough to bloodily handle a would-be robber in the opening scene. Books live by a simple credo: “I won't be wronged, I won't be insulted, and I won't be laid a hand on. I don't do these things to other people, and I require the same from them." He can't keep death at bay for long. But perhaps he can determine when it comes. Wayne interacts warmly on screen with his co-stars -- Jimmy Stewart as the doctor who confirms the terminal diagnosis; Lauren Bacall as the straitlaced, widowed landlady who earns his admiration; Ron Howard as her hero-worshipping son; Sheree North as a former flame; John Carradine as a finagling undertaker; Bill McKinney as Howard's seedy boss; Scatman Crothers, as the friend who runs the stable; and Harry Morgan as the comical, cowardly lawman who can't wait to see the trouble-magnet Books succumb one way or another. Moments between Wayne and Bacall are particularly touching. Fans of "The Young and The Restless" will recognize Melody Thomas in a brief appearance. Aficionados of TV westerns will get a kick out of seeing Hugh O'Brien and Richard Boone among Wayne's opponents. "The Shootist" also represents a high-water mark for director Don Siegel ("Invasion of the Body Snatchers," "The Killers," "Flaming Star," "Two Mules for Sister Sara," "Dirty Harry"). A master of action -- n gangster, war, cop and western films -- it's gratifying to see him excel in more of a character piece here, as he did in one of his many Clint Eastwood collaborations, "The Beguiled." John Ford and Howard Hawks got the best out of the Duke. Siegel does, as well, although the star and director apparently butted heads on set. Etching portraits of memorable characters, even minor ones, fleshing out the relationships and exploring the inner life of Books are Siegel's priorities. But in the scattered violent outbursts, Siegel maximizes the sudden impact. And he delivers a climactic gun battle that's as exhilarating as it is horrifying. The smart screenplay by Miles Hood Swarthout (whose father Glendon penned the novel on which the script was based) and Scott Hale contains many humorous lines. But it's also rich in sentiment and poignancy. The beautiful Elmer Bernstein score perfectly complements the film's range of moods. The color and clarity impress in the new 2k remaster (from the original 35mm negative) featured in Arrow's Blu-ray release. The must-not-miss new extras include an informative audio commentary by filmmaker/critic Howard S. Berger, a visual essay by film critic David Cairns, an interview with Western author C. Courtney Joyner, an appreciation of Bernstein's score, a visual essay on Wayne; plus an archival featurette, "The Shootist: The Legend Lives On" and a theatrical trailer. "The Shootist" was the audience's chance to bid a fond farewell to John Wayne, one of the silver screen's most charismatic figures. But even near the end, three years before he finally lost his long struggle with cancer at age 72, he still exhibited his signature swagger. But beneath it, there was a pathos that helped make this film lyrical and haunting. "DARK WATER" Drip... drip... drip.. It's enough to drive one mad. And that's what people are beginning to think about Yoshimi Matsubara (Hitomi Kuroki). Embroiled in a nasty custody battle with her unsympathetic ex-husband, the emotionally fragile woman finds a new place to live with six-year-old daughter Ikuko (Kanno Rio). Unfortunately, it's the apartment from hell [Thank you Richard Lewis]. A leak in the bedroom ceiling goes from being annoying to ominous to terrifying. The dark patch keeps spreading, getting larger, stranger, more unnatural. During this time, Ikuko is having behavioral issues at her new school. And in the apartment building, she's plagued by visions of a little girl wearing a yellow, hooded raincoat, carrying the same red plastic Hello Kitty bag Yoshimi had tried to get rid of, stuffing it in an outside bin. Is the girl real? A spirit? There seems to be a connection to a child who has been missing for a year. We also learn about Yoshimi's own problematic childhood. So there are three damaged souls who had been left alone and vulnerable too often. Director Hideo Nakata, who helmed "The Ring," takes a subtler, more subdued approach here, emphasizing the melancholy. He builds the drama slowly, but provides just enough creepy incidents to keep a hypnotic bubbling of suspense going. Water menaces. The elevator and corridors foster trepidation. Nakata elicits a poignant performance from Kuroki as the vulnerable Yoshimi, who's trying so hard to cope, but faces overwhelming opposition, both from this world and the netherworld. Rio Kanno, as Ikuko, is persuasive in her first screen role. Despite the pervasive sadness, the atmospheric "Dark Water," later remade in an American version, maintains a shadowy allure. Arrow's 4k UHD rendition heightens the effect of Nakata's understated use of color. And the DTS-HD Master Audio 5.1 brings out all the bone-chilling elements of the score composed by Kenji Kawai and Shikao Suga. The excellent extras provide insights and will help viewers to ponder the essence of the film. Among them are interviews, including one with Nakata, who talks about his career and the J-horror genre. There's also a making-of featurette.
"THE DOORS - LIVE AT KONSERTHUSET, STOCKHOLM SEPTEMBER 20, 1968" Recorded live in Sweden, September, 1968, these performances display the undying potency of The Doors. This was part of their only European tour. Co-headlining with Jefferson Airplane, the sense of competition whipped the band into frenzied new heights. The set gives us The Doors at the peak of their powers, before Jim Morrison's alcohol abuse led to murky sloppiness. Here his voice is majestic, capable of running the gamut from nuanced subtlety to primal shrieking. He proves why he was one of the most riveting vocalists in rock and roll history. The darkly poetic lyrical passages elevate the material to pinnacles other groups could never reach. Guitarist Robby Krieger, keyboardist Ray Manzarek and drummer John Densmore add their own unique, imaginative, jazzy flavors to the classic creations. The album features songs from The Doors' first three albums -- "The Doors," "Strange Days" and "Waiting for The Sun." They open with a rousing "Five to One." There's a visceral thrill to the blues urgency of songs like "Love Me Two Times," "Back Door Man" and a searing cover of "Money (That's What I Want)." A seductive strangeness weaves its way through "A Little Game"/"The Hill Dwellers." Theatricality adds an extra dimension to the show, as on a wildly trippy, epic "When The Music's Over." The Doors turn up the heat for an extended "Light My Fire." The temperature stays hot for their most political song, the show-stopping "Unknown Soldier." They serve up a cool "Wild Child." A Doorsy snippet of "Mack The Knife" segues into "Alabama Song ("Whisky Bar"). There's an amiable, somewhat wistful stroll along "Love Street," a song the band rarely performed in concert. Morrison's voice caresses the memorable melody of "You're Lost Little Girl." There were two shows that memorable night in Sweden. So you can relish the little differences between the versions of a few of the tunes. Of course, the collection climaxes with "The End," with Morrison wailing in electrifying fashion. With The Doors, it's not all about image. Strip away the showmanship, the excess, the magnetism and you're left with one of the greatest rock bands of all time. The concert was aired live on FM radio. You'll be impressed by the quality of the new Rhino release, mastered and mixed from the original four-track tapes by Bruce Botnik, who engineered The Doors' studio albums. If you've only heard bootleg versions of this concert, you haven't experienced more than a hint of the band's fiery force. This new release, particularly on vinyl, transports you right into the hall, in a front row seat. Prepare to have your mind blown. The Doors are going to help you break on through to the other side.
LANCE COWAN - "SO FAR, SO GOOD" The title track opens the album and it features Cowan's pleasing vocals and charming, memorable songwriting. He wrote or co-wrote all of the dozen delightful tracks here. There isn't a weak cut in the batch. Among the other wonderful numbers are "Currently Red," "For You," "Fields of Freedom," "A Place for Everything," "Blue Highway" and "Mr Ben McGhee." Cowan allows guest vocalist Julie Lee to take the lead on "The Letter," a song he penned with Terry Clayton. The results are exquisite. A skilled storyteller, Cowan knows how to gain and hold a listener's rapt attention. He's adept at shaping both lyrics and melodies. His musical style is disarming, hard to resist. These songs come across as fresh and heartfelt. Outstanding musicians join Cowan on this outing, including mandolin master Sam Bush. Cowan's music certainly fits in amongst artists he has helped to promote over the years, including such luminaries as Nanci Griffith, Guy Clark, Jimmie Dale Gilmore, Butch Hancock and Michael Martin Murphey. As for his own recording career, so far, so great!
MEG GEHMAN - "THE WAY THE WORLD KNEW HER" The first number, "You're Gonna Figure It Out Someday" celebrates resilience, not letting pain prevail. Background vocalist Maureen Murphy also excels on this track. "Not the Same Girl" and "Never Underestimate," which resulted from self-analysis, captivate. "Without the Fall" inspires as it speaks of picking yourself up again, rising from the ashes. Gehman also looks at what gets "Under Your Skin." "Breakable" reveals the unnerving vulnerability love can bring. "The Bed's Still Warm" reverberates with a mesmerizing dramatic power as it depicts a shattered relationship. Among the other outstanding numbers are "Chantel" with its infectious groove, "Raise Up" with its gospel fervor and the bluesy "It Ain't Right." Throughout, Gehman's voice is riveting. She can simmer. She can sizzle. She can soar. This is a collection brimming with strong melodies and striking, truthful lyrics. All the songs are sparkling Gehman originals (some are co-writes), except for the dynamite, joyously funky cover of Allen Toussaint's "Yes We Can Can." Gehman knows how to tap into honest feelings -- yearning, aching, sweet sentimentality, vivid nostalgia. She draws from experience, spinning heartache into gold and ultimately finding redemption and hope. According to her bio, Gehman worked as a cabaret entertainer and singing waitress in Manhattan, as well as a Foster Care social worker in Brooklyn. In 1990, realizing her drug and alcohol use was becoming a problem, she moved to the less frantic pace of upstate Rochester, New York. She cleaned up, earned a Master's Degree and worked for 27 years as a junior high school counselor, while also fronting bands. Then came the pandemic. Gehman, newly single, took early retirement. She immersed herself in therapy and healing. She built a private practice as a certified Internal Family Systems Practitioner. She also turned to songwriting with a more intense focus. It was time to follow her dream. She headed to Nashville, where Jano Rix of The Wood Brothers produced this remarkable album, "The Way The World Knew Her." Gehman's whole life was poured into these tracks. It's a musical journey that listeners will find uplifting and deeply meaningful. Get to know the world of Meg Gehman.
IAN FLEMING: THE COMPLETE MAN In his exhaustively researched, brilliantly written new biography of Fleming, Nicholas Shakespeare delves into all aspects of the extraordinary author. In the introduction, he recounts how a friend of one of Fleming's jilted lovers called him, "the epitome of the English cad." That description may have fit him as snugly as a pair of Savile Row gloves. But it was only one side of a magnificently multi-faceted human being. With unprecedented access to the Fleming family papers, Shakespeare discovered his subject's astonishing complexity. He puts every fascinating facet under the microscope. The results are exceptionally engrossing. We learn of Fleming's real-life adventures; his failures and triumphs; friendships with such fellow literary luminaries as Noel Coward and Roald Dahl; and his birthing of Bond. Did you know that the protagonist of "Casino Royale," in the first draft, was called James Secretan? "Secretan, James Secretan" -- doesn't exactly trip off the tongue, does it? Fleming had a myriad of reactions to Bond being usurped by the movies. His initial impression of Sean Connery? "He's not my idea of Bond at all. I just want an elegant man, not this roughneck." But Shakespeare reports that he later opined that the Scotsman was "a real charmer -- fairly unknown but a good actor with the right looks and physique." And after seeing a rough-cut of "Dr. No" -- "Not quite the idea I had of Bond, but he would be, if I ever wrote the books over again." From childhood, Fleming's goal was to become "the complete man," however unattainable that might be. His mother had set him on this path. Certainly Shakespeare offers us the most complete picture of Fleming that has ever been presented. Bond was an extension of Fleming himself. A spy thriller writer only in the final chapter of his life, Fleming had an impactful career in Naval intelligence. During a turbulent era, he gained access to important figures, as he traveled the globe. He knew intimately of politics and espionage. Having overindulged in cigarettes, drink and women, Fleming died of a heart attack in 1964. He was just 56 years old. But what an amazing amount of living he packed into those years. And Shakespeare lengthy, comprehensive book fills in the details for us in a compelling, page-turning manner. Nicholas Shakespeare, the bard of biography, meticulously illuminates the labyrinthine life of his enthralling subject.
FROM THE MOMENT THEY MET IT WAS MURDER: No matter how many times you've viewed this gripping movie, you'll find that you really know very little about it, until you've pored over the pages of "From the Moment They Met It Was Murder: 'Double Indemnity and the Rise of Film Noir' by Alain Silver and James Ursini. The authors go into incredible detail about the origins of the story, beginning with the actual murder that inspired the James M. Cain novella. And they explain the long road to the screen due to the censorship policies of the era. The book includes every possible piece of pertinent material, even the shocking tabloid cover photo of the real female half of the husband killers being fried in the chair. She probably never imagined that scenario as, with her lover, she plotted to murder her spouse for the insurance payout. The authors scrutinize the friction-filled collaboration between Wilder and co-writer Raymond Chandler and how they veered from Cain's telling of the tale. We get the scoop on what happened behind the scenes during shooting. The book gives us the lowdown on the cast, including Barbara Stanwyck as the supremely fiery femme fatale, Fred MacMurray, playing against type (Wilder again tapped into the actor's dark side again for "The Apartment") as her partner in crime, and Edward G. Robinson as the grumpy insurance claims investigator, who has a paternal sort of relationship with the MacMurray character, but will follow his suspicions wherever they lead. The authors also go into the contributions of other important artists who worked on the film, such as cinematographer John Seitz, editor Doane Harrison, composer Miklos Rozsa and Edith Head, who designed Stanwyck's costumes. They all helped to make "Double Indemnity" the epitome of film noir. Silver and Ursini go on to expound on reaction to the film, its aftermath and influence. Their analysis of all aspects of the movie proves to be remarkably perceptive and knowledgable. The book, which contains loads of terrific photos, celebrates the movie's 80th anniversary. "Double Indemnity" remains just as powerful and entertaining as it was when it debuted. After reading this throughly absorbing new work, you'll want to watch the film again, from an enriched perspective. Email Paul Freeman at paul@popcultureclassics.com |
