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DEJA RE-VU
"MY LOVE AFFAIR WITH MARRIAGE" "My Love Affair with Marriage," the brilliant 2022 feature by award-winning Latvian animated filmmaker Signe Baumane, insightfully examines the emotional and physiological effects of passion and romance on a young woman.This is animation for grown-ups. The movie is now available on Blu-ray from MVD. Baumane follows Zelma from conception through childhood and adolescence into adulthood. Growing up in Latvia, during the repressive Soviet era, Zelma feels a deep void. She craves love. Love will make her feel whole... and secure... and happy. Won't it? Though at her core she's strong, independent, an individualist, Zelma tries to squeeze herself into the mold her mother and her culture, both repressive, attempt to impose on her. They insist that marriage and motherhood are the ultimate goals. She must appeal to boys/men. And boys/men want innocent, fragile, submissive mates. Don't they? It's so difficult to find one's footing in the world, especially during the coming-of-age process. Zelma does find love. Several times. There's the much older artist; the possessive abuser; the Swede who has identity issues of his own. She has doubts going into each relationship. But she's afraid to miss her chance at fulfilling the dream. Each time, euphoria and ecstasy quickly fade into heartbreak and disillusionment. When Zelma is smitten, the writer/director shows us how dopamine, serotonin and other neurotransmitters work on the brain. Baumane's visuals are wildly imaginative. She takes us on a thrilling, thoroughly engrossing trip. Prepare to have your mind blown. A trio of singers serves as a sort of Greek chorus. The score and song snippets by Italian composer/producer Kristian Sensini add immeasurably to the film's effectiveness. The voice actors do a wonderful job. Dagmara Dominczyk portrays Zelma from age seven to 29. Also in the cast are Michele Pawk, Cameron Monaghan, Stephen Lang, Storm Large and Matthew Modine. It's an astonishingly creative exploration of the journey to discover self, shedding parental and societal limitations and expectations along the way. You'll laugh. You'll learn. You will be moved. The MVD release includes a fascinating one-hour talk/slide show by Baumane. It took her seven years to make this semi-autobiographical film. You're sure to fall in love with the result.
"THE MILLION EYES OF SUMURU" (EXTENDED EDITION; 4K UHD + BLU-RAY) Blue Underground has released the picture on 4K UHD and remastered Blu-ray. The crystal clear rendition of this colorful adventure greatly enhances the enjoyability. And the DTS-HD mono track provides clean, crisp audio. This is an extended edition that adds about 10 minutes of previously lost footage. In the laughable plot, secret agent Nick West (George Nader) is assigned to go undercover to thwart power-mad Sumuru from carrying out her nefarious schemes. He's backed up by fellow agent Tommy Carter (Frankie Avalon). It builds to an action-packed, explosive climax. Filmed in Hong Kong at the height of the James Bond craze, this movie proves to be campy fun. It keeps tongue firmly in cheek, never taking itself too seriously. Nader ("Robot Monster") woodenly portrays the stereotypical rugged, womanizing super spy. He gets to occasionally parade around with his shirt off. Eaton, the golden girl from "Goldfinger," her hair dyed black, commands attention, making Sumuru suitably sinister, yet alluring. As his backup, Avalon tries hard. At one point, he carries around a lit cigarette. But don't worry. He doesn't actually take a puff. And he blinks every time he fires a gun. He looks like he would rather be hanging at the beach with Annette Funicello. At least the movie's cast includes Patti Chandler as one of the bikini-wearing killers. She appeared with Frankie in "Dr. Goldfoot and the Bikini Machine" and "Fireball 500." Also featured are the always eccentric Klaus Kinski (Nosferatu, the Vampyre"), the bewitching Maria Rohm ("99 Women," "The House of 1,000 Dolls") and the elderly, but still charming Wilfred Hyde-White ("My Fair Lady"). Though "The Million Eyes of Sumuru" pokes fun at itself, "Mystery Science Theater 3000" relished skewering the movie. The Blue Underground release includes a new "RiffTrax" edition, which adds immensely to the fun here. Rifftraxers Mike Nelson, Kevin Murphy and Bill Corbett, all previously of "MST 3000," come up with plenty of sharp jibes. Blue Underground generously packs other bonus features into the package, such as informative and entertaining audio commentaries, a documentary on the movie's director, Lindsay Shonteff ("Devil Doll"), and the theatrical trailer. "The Million Eyes of Sumuru" is Girl Power run amok. And it proves to be a thoroughly amusing and diverting escapade. "DEMONS"/"DEMONS 2" Have you worried that it might be unhealthy to attend a movie theatre? Well, in the original "Demons," a screening causes a sudden, shocking outbreak of death and destruction. Set in Berlin, it opens with a college student, Cheryl (Natasha Hovey), being accosted by a strange, sinister man wearing a half-mask. He thrusts an invitation at her. It's for a special showing at a nearby cinema. She talks her friend into attending the mysterious event. An unusual mix of people gathers for the film. But the disturbing horror flick on screen helps to unleash zombie-like, hungry demons, ready to chomp on the audience as if it were a giant tub of popcorn. All hell breaks loose, literally. When Cheryl's preppy new beau comes zooming up the theatre aisles on his motorcycle, hacking demons along the way, she sees him as a dashing rescuer, instead of the wimpy dolt he originally appeared to be. The movie has plenty of surprises, though little logic. Be sure not to turn it off as the end credits begin. There's more to the terrifying tale. "Demons 2" won't disappoint fans of the first film. Though it doesn't have quite the same impact, it does deliver ample chills. It features some cool effects, even more striking in 4K. This one takes place in the aftermath of the first picture's demonic disaster. But the little devils seem to be contained behind a giant wall. Of course, we know the supernatural creatures are not going to be that easy to control. Soon they're rampaging again, wreaking havoc, ripping into a bevy of new victims. The two movies benefit from strong soundtracks. In addition to suspense-enhancing scores, "Demons" serves up songs by such 80s hard rockers as Billy Idol, Motley Crue and Saxon, while the sequel goes for bands like The Smiths, The Cult and Dead Can Dance. You can spend countless hours availing yourselves of the abundant bonus features Synapse offers for both movies. They include audio commentaries, video essays, interviews, trailers and much more. You'll find everything you always wanted to know about "Demons," but were afraid to ask.
"DOOR-TO-DOOR MANIAC"/"RIGHT HAND OF THE DEVIL" Johnny Cash may be associated with "Folsom Prison Blues," but he spent time in prisons entertaining, not serving time. Drinking and drugging early in his career earned him a night or two in jail. But then, after wedding June Carter, who set him straight, he became a paragon of virtue. That's why it might shock you to watch him terrorize a housewife in the noir-ish "Door-to-Door Maniac" (aka "Five Minutes to Live."). He plays a small-town crook and part-time musician, conveniently named Johnny, who puts together a crew and plots a bank robbery. It goes wrong, so he takes the bank manager's wife (Cay Forester) hostage. She's the mother of a small child. Waiting for a phone call saying the banker is complying with their demands, the sadistic thug kills time by tormenting her, roughing her up, throwing her on the bed, putting a gun to her head... and picking his guitar. With penetrating eyes, Cash is fairly convincing as the cold-hearted kind of guy who "shot a man in Reno just to watch him die" as he sings in "Folsom Prison Blues." Over the opening credits, he sings the title tune, "Five Minutes to Live." He wrote it, as well. The supporting cast includes Pamela Mason, Vic Tayback, country star Merle Travis and little Ronnie Howard (about to achieve stardom as TV's "Opie"). The compact, rarely seen "Right Hand of the Devil," from 1963, is even darker (and more bargain basement). An evil genius (and why are so many geniuses evil?) assembles a gang to pull a heist at a sports arena (as in "The Killing," Kubrick's 1956 classic set at a racetrack). The way the greedy mastermind ends up paying off his henchmen would delight Tarentino. Aram Katcher, a Peter Lorre-type who had some bit parts in major Hollywood films, is the star, producer, director, co-writer and set designer of this film. (Even Orson Welles, Jerry Lewis and Sylvester Stallone failed to add a set designer credit to their CV.) He manages to tell a compelling story, despite a shoestring budget and less than stellar cast. The payoff is an intensely violent, jaw-dropping ending. Newly remastered, 4K scans ("Door-to-Door Maniac" from 35mm archival elements), the films can't escape their humble origins entirely. But they look and sound vastly better than what was previously available in the marketplace. Film Masters' bonus features include commentary tracks and trailers. "DARK NIGHT OF THE SCARECROW"/"DARK NIGHT OF THE SCARECROW 2" The trouble is, the friend did not attack the girl. It was a vicious dog. But the court offers no justice. Will the rednecks go unpunished. Or is revenge in the air? Will someone -- or something -- make them pay a price, the ultimate price? Just released by VCI Entertainment in 4K, "Dark Night of the Scarecrow" proves to be a highly effective little horror film. The cast, led by Charles Durning, Jocelyn Brando, Robert F. Lyons and Larry Drake, is convincing throughout. Director Frank De Felitta keeps the suspense percolating. On 4K UHD, the new release looks great, even for a movie shot for television. And using the Dolby Digital 5.1 option, it's even scarier. In this two-disc set, VCI has also included the less subtle 2022 sequel, "Dark Night of the Scarecrow 2." It's not as good as the original, making the vengeful scarecrow a more standard horror villain. But "Scarecrow" fans might be curious about how the saga continued. VCI has offered a bunch of interesting extras, including audio commentaries, a 2011 cast reunion and CBS promos
WHEN TITANS RULLED THE EARTH: "CLASH OF THE TITANS" AND "WRATH OF THE TITANS" (2-MOVIE LIMITED EDITION BOX SET) First, to be clear, this is the 2010 remake of "Clash of the Titans," so no amazing, but somewhat quaint Ray Harryhausen effects as seen in the 1981 original. But the new version uses modern technology to deliver powerhouse visuals, which carry the story. Skillfully directed by Louis Leterrier, it's a ferociously fun fantasy-action picture. The tale revolves around Perseus. He's the son of Zeus and a mortal woman, making him merely a demigod. Perseus was raised by humans. After his family is slain by Hades, Perseus accepts an impossible mission to defeat the demonic god of the Underworld. His task includes battling the dreaded Kraken and Medusa the Gorgon whose mere glance turns people to stone. Heading an exceptional cast are brawny Sam Worthington as the heroic Perseus; Liam Neeson as the mighty god Zeus (a role essayed by Laurence Olivier in the Harryhausen film); Ralph Fiennes as the jealous, raging Hades; and Gemma Arterton as Perseus' protector and love interest. Also popping up are Mads Mikkelsen, Nicholas Hoult, Pete Postlethwaite and Elizabeth McGovern. In the sequel, "Wrath of the Titans," Perseus has lost his wife. He's called to his destiny and cannot hide among men any longer. The movie is set 10 years later (though it was released just two years after the first movie). Perseus is called upon to rescue his daddy Zeus, overcome the Titans and save all mankind. Rosamund Pike is the new romantic interest. Also joining the cast are Bill Nighy, Sinead Cusack Lily James and Danny Huston, who was fleetingly seen in "Clash." "Clash" had previously been released in 3D, but the new 4K UHD edition is definitely the way to go. And you don't want to miss Arrow's plentiful bonus features for each of the films. One shows how Worthington is courageous not only on screen, but on the set, performing his own stunts. Deleted scenes enrich our perspective on the gods. There's also an alternate ending for "Clash." You'll find interviews, featurettes, location studies and effects analyses, as well. TODD RUNDGREN - "LIARS LIVE" The set underlines the artist's versatility. He can straight-out rock. He can float more synth-driven music, as well. Rundgren opens with a soaring "Truth." He urgently drives "Buffalo Grass" home. He's as versatile a singer as he is a songwriter. He's bold, brash, and angry, growling "Mammon," "I Hate My Frickin' I.S.P. and "Fascist Christ." He gives an industrial edge to the screaming title track. He fashions a powerfully sensitive rendition of George Harrison's "While My Guitar Gently Weeps." Rundgren voice shines on "God Said." "Soul Brother" is soulful indeed. He goes all the way back to Nazz days for the gently arresting "Hello, It's Me." "Flaw" sails on a smooth R&B vibe, as do "Sweet," "Feel It" and "Past." The closer, "Just One Victory," with a similar feel, closes the night on another high note. Other top tracks include the magnetic "Love Science" and the pounding "Want of a Nail." At two hours and 40 minutes, the concert never lags. A fantastic band backs Rundgren here -- John Ferenzik, Jesse Gress, Prairie Prince and Kasim Sulton. They maximize each of the numbers. Listen in Dolby Digital 5.1 or 2.0. Either way, you'll be totally immersed in Rundgren's musical wonderland. The Cleopatra release offers bonus trailers, a slide show and more. "CREATURE WITH THE BLUE HAND"/"WEB OF THE SPIDER" The German Gothic tale "Creature With The Blue Hand," based on an Edgar Wallace mystery novel, makes its Blu-ray debut courtesy of Film Masters. When a series of murders is committed, suspicion falls on an escapee (Kinski) from a dodgy sanitarium. I'm not sure why he wanted to flee as, among the other inmates is an insane stripper who can't stop taking her clothes off. The violence, nudity and Kinski, who chews the scenery, will hold your attention. And director Alfred Vohrer keeps the suspense simmering. One of the more disturbing scenes involves a young woman trapped in a small room with swarms of snakes and rats. This is an asylum where the staff may be crazier than the patients. "Web of the Spider," a haunted house tale, stars Kinski as Edgar Allan Poe. So as you can imagine, the author is depicted as a bit madder, more eccentric and more intense that usual. Also featured in the cast is Anthony Franciosa, a fine actor whose career was already sinking at this point. He plays a writer who accepts a bet to send a night in a foreboding castle. A beautiful woman complicates the challenge. The film was helmed by Italian filmmaker Antonio Margheriti. It's a remake of his 1964 picture, "Castle of Blood."
Both movies look great, newly scanned in 4K from archival elements. Film Masters has provided abundant extras -- trailers (including one for "Castle of Blood"), commentary tracks, documentaries and an alternate version of "Creature With The Blue Hand."
FLEETWOOD MAC - "MIRAGE TOUR '82" Many Mac favorites pop up here. Even though "Mirage" itself is certainly not one of the group's greatest artistic achievements, while touring in support of it, their ability to perform live was still at its zenith. Stevie Nicks lures the audience under her spell with "Dreams" and "Rhiannon." On, "I'm So Afraid," Buckingham brings intense emotion vocally, as well as brilliantly bluesy licks on his fretboard. The two singers entwine enticingly on numbers like a passionate "The Chain," in which electrifying guitar licks take wing behind them. Buckingham takes Christine McVie as his partner on an urgent "Hold Me." She contributes a moving rendition of "Brown Eyes." The band has a ball rocking out on "Eyes of the World." The gentle arrangement of "Never Going Back," featuring Buckingham's fingerpicking, is another high point. A percussive performance on the title track from their previous studio album, "Tusk," must have had the audience dancing in the aisles. Among the previously unreleased live tracks are "Don't Stop," "Landslide" and "Never Going Back." The gentle arrangement of "Never Going Back," again featuring Buckingham's fingerpicking, is another high point. And Nicks gives a soul-seasoned version of "Landslide." For the closer, Christine McVie glides into the exquisite "Songbird," with her lilting piano and gorgeous voice. Mick Fleetwood's sturdy drumming, complemented by John McVie's bass playing, helps to fuel the Mac engine. All of the numbers brim with energy. It's a vibrant, exhilarating ride. Some bands can't sustain the impact of hit songs when performing them live. Mac manages to ramp up the excitement level. The band's studio recordings benefit from a meticulously layered magic. But live, they display an invigorating raw edge. And, with the new Rhino release, especially on vinyl, all the creative fire comes through magnificently. 3 PAIRS OF BOOTS - "BOOT SCOOTIN'" The title track opens the album with a joyous, get-up-and-dance party feel. "Dark Sun Rising," with its too brief Duane Eddy-like guitar break, is a potent power ballad. The twang returns later for the moving "Lost and Found." The memorable melody of "My American Boy" and its irresistible chorus make it one of the top tracks. It's one of the numbers that benefits from clever, judiciously utilized banjo, as well as a rocking rhythm section. It has all the ingredients of a big hit. Another highlight comes with the involving "Reno," which has a dramatic flair. The jaunty "Long Rider" gallops into an uptempo country realm, featuring haunting whistling in the bridge. The dulcet "Tempt My Fate" is another country number with a lively banjo passage. "Please Tell Me" is a passion-packed number that will have you bobbing your head. "Upon a High Horse" features a stirring Arias vocal, complemented by honeyed harmony tracks. A searing electric guitar comes in at one point, to heighten the emotional impact. Arias goes sweet and soulful on the wistful closer, "Runaway." Impressive throughout are Stern's exceptional, hook-laden songwriting and Arias' lovely, authentic, versatile, expressive voice. She brings out the heart in his well-crafted lyrics. These Boots are made for listening. So scoot out and get this album!
PHOEBE WHITE - "COWGIRL'S DELIGHT" White penned many of the numbers on the new album with her mom Tiffany and Nashville songwriter Corey Lee Barker. The opener, "Ride Along With Me," with guest stars Suzy Boguss and Riders in the Sky, features White's yodeling, which is expert enough to make Jimmie Rodgers proud. The rootsy "Dust on My Boots" is a concise pleaser with folk and blues elements, as well as a country foundation. "Just an Old Gray Mare" benefits from a lovely White lead vocal and sumptuous harmonies from the McClain Family Band. That's also true of the affecting "Nevada Skies," one of White's most alluring melodies. White's yodeling takes the full spotlight on the impressive "The Phoebe Yodel (Ka Yippie Aye)." Of the covers, "I'd Rather Be a Cowgirl" stands out. That's a Rosalie Allen tune. She was a prominent singer/yodeler in the 1940s. Riders in the Sky gallop back for "Swingin' in the Saddle." Written by Ranger Doug (of Riders in the Sky), it's a sterling example of western swing. White shines on the elegantly expressed "The Color of Me," which was written for her by Janis Ian, who herself made an impact at age 14, with the hit "Society's Child." That number also opens with banjo. Guitar and violins join in. The traditional hymn "Joyful, Joyful" receives a glorious a cappella treatment from White and the McClain Family, after producer Michael Johnathon's appropriately delicate banjo intro. Too few black women have achieved stardom in the country field. But White's extraordinary talents should make her a lock for widespread attention. Who knows? Maybe she'll even bring yodeling back in style. A sunny celebration of Americana music, her album is a delight indeed.
VARIOUS ARTISTS - "HE TOOK US BY STORM: 25 LOST CLASSICS FROM THE BOB DYLAN FOLK-ROCK REVOLUTION ERA" These 25 performers range from legendary to obscure. Some emerged from the same early 60s Greenwich Village scene as Dylan did. They're steeped in folk, rock and blues roots. But all exhibit a deep worship of the master, in their poetic, sometimes ambiguous, often message-laden stream of lyrics, the accessible melodies and the spat-out, slightly nasal, nearly monotone vocal delivery. They each add their own personality and perspective, but the Dylan effect is clearly evident. Lou Reed channeled Dylan on his bare bones 1965 demo -- acoustic guitar and harmonica -- for "Man of Good Fortune." Bobby Darin, from his late 60s folk phase, gets totally into the spirit with "Me & Mr. Hohner," one of the album's highlights, along with P.F. Sloan's "Halloween Mary." Barry McGuire, of "Eve of Destruction" fame, talk-sings "Don't You Wonder Where It's At," which he co-wrote with P.F. Sloan. Leon Russell contributes "Everybody's Talking About the Young," which he wrote with J.J.Cale and Snuff Garrett. Among the other singer-songwriters whose original compositions are featured here are Dion, Eric Andersen, Tom Rush, Canadian star Jackie Washington, civil rights activist Len Chandler, Bob Seger and David Blue There are no Dylan covers. But there are a number of other covers, including Donovan's rendition of Buffy Sainte-Marie's "Universal Soldier" and Tom Rush's version of Willie Dixon's "You Can't Tell A Book By the Cover." Sammy Walker tackles Woody Guthrie's "Vigilante Man." Billy Joe Royal melds his distinctive sound with Dylan's on Joe South's "These Are Not My People." Many interpretations of traditional tunes are included, by such artists as David Crosby, Dino Valenti (Quicksilver Messenger Service), Boz Scaggs, Peter La Farge, Ferre Grignard, and Dean DeWolf. French producer Philippe Le Bras spent years assembling this extraordinary collection of vintage rarities. Hearing so many prominent artists trying to out-Dylan Dylan is surprising. If imitation is the most sincere form of flattery, this essential album just might be the ultimate homage to Mr. Robert Allen Zimmerman.
THE JUNIOR LEAGUE - "OUR BROADCAST DAY" Adragna gets a little help from his friends here, but primarily, it's him, writing the songs, vocalizing and playing the instruments. His drum work is potent and skilled. The guitars are powerful and diverse stylistically. His brand of sophisticated rock rolls on a foundation of smart, thought-provoking lyrics and fantastic melodies that immediately burn their way into your minds and hearts. These are infectious tunes you're going to want to listen to over and over again. Every one of the 10 numbers here is a winner. Among the instantly memorable tracks are "Two Ways to Go," "Austin or the Beach," "The Me and The Them," the gentle, wistful "Everybody Knows," the relationship song "When The Question Comes" and "Let's Hear It For The Dead." Keyboards enhance the angsty drama of "1973 Nervous Breakdown." There's a poignancy to the pleasing pop-rock of "The Whiskey Talking," a vivid portrait of troubled souls. The plaintive "This Concludes Our Broadcast Day" closes this remarkable album. Adragna sometimes travels into darker realms lyrically on this album, juxtaposing these explorations with upbeat, impossibly catchy melodies. It can be a striking approach. It's been used effectively in the past by such artists as Warren Zevon, The Killers, Imogen Heap, The Police, Green Day and Flaming Lips. Adragna has mastered the approach. The production and arrangements are perfect -- chimey and twangy guitars, impeccable harmonies, engaging energy and riveting rhythms. The songs themselves are beautifully crafted. There's only one cover -- Pamela Polland's 1971 lost classic, the yearning "When I Got Home."
Louisiana-based Adragna, who is also known for his work with The Minus 5, has reached new heights with "Our Broadcast Day." It's indie pop perfection. But don't be surprised if he tops himself again with his next one. Somehow, he keeps coming up with fresh, exciting music. And the good news is, he's incredibly prolific. So we probably won't have to wait long for more delights. Joe Adragna and The Junior League deserve widespread attention. Make them an integral part of your broadcast day.
MOGULS: This hard-to-put-down book was written by Michael Benson, a Mafia expert whose acclaimed nonfiction works include "Gangsters vs. Nazis," and Craig Singer, an Emmy-nominated producer/director/writer. The Schenck brothers, Russian Jewish immigrants, yanked themselves out of abject poverty through sheer moxie. They went from one enterprise to another, achieving greater success with each move. When they discovered the newly popular "flickers," the Schencks knew they had found their destiny. The creativity, excitement and opportunity the nascent movie business offered proved irresistible to the brothers. The story of the Schencks is the story of Hollywood. They had a huge impact on everything of importance happening in the industry from the 20s into the 50s. They were in on the ground floors of MGM, 20th Century Fox and United Artists. They contributed to the establishment of the studio system. The Schencks helped usher sound and color into the picture business. They discovered and developed countless stars. Joe gave Buster Keaton the latitude that enabled him to film his masterpieces and they remained lifelong friends. Other pals included Douglas Fairbanks, Irving Berlin, Charlie Chaplin and Harpo Marx. They tried to save Fatty Arbuckle from career-ending scandal. They originated the Academy of Motion Picture Arts and Sciences and the Oscars awards. The Schencks dealt with mobsters like Frank Nitti who demanded a hunk of the Hollywood pie. The brothers led the industry's propaganda charge against the Nazis as WWII was looming. They faced anti-Semitism, McCarthyism and unionism. While the Schencks ruled the roost, the movie business was operated from both coasts. So Nick was based in the East, Joe in the West. The brothers were known for generosity and honesty in their personal and business dealings, though Joe wound up being convicted of tax evasion. The brothers' lives away from film was eye-popping, as well. In his happiest years, Nick built and ran one of the world's most spectacular and innovative amusement parks -- famed as Palisades Park. Joe, an incorrigible gambler, was just as attracted to a pretty face as he was a deck of cards. His conquests went from silent star Norma Talmadge, whom he married, to ambitious Merle Oberon to rising starlet Marilyn Monroe. The book is exceptionally entertainingly written, utilizing dialogue and even, in a couple of brief spots, screenplay format. The authors provide a wealth of details on movie history, including lots of juicy gossip. You'll consider Nick and Joe Schenck to be old friends, by the time you finish reading "Moguls." And you'll known a great deal more about the inner workings of Hollywood's golden era.
THE DE PALMA DECADE: However, De Palma displayed one of the most distinctive directing styles of his generation. His flair, his signature blend of violence, sexuality and humor, were unmistakable. And few could build and sustain suspense as well as he could. De Palma's talents are celebrated and analyzed in filmmaker/author Bouzereau Laurent Bouzereau's "The De Palma Decade: Redefining Cinema." The book focuses on seven films that helped to define the director's career: "Sisters," "Phantom of the Paradise," "Obsession," "Carrie," "The Fury," Dressed to Kill" and "Blow Out." They span the years 1972 to 1981. We find out about De Palma's initial inspirations for the films, his directorial decisions and how he handled production challenges. Bouzereau accumulates juicy quotes not only from De Palma, but also collaborators, including editors, screenwriters, designers and cinematographers. Adding additional dimensions are the recollections of such cast members as Jessica Harper, Paul Williams, Jennifer Salt, Angie Dickinson, John Lithgow, Andrew Stevens, Sissy Spacek, Piper Laurie, P.J. Soles, Priscilla Pointer, Betty Buckley, William Katt and Nancy Allen (De Palma's ex-wife). De Palma had his share of ups and downs in the ensuing decades. He helmed bombs like "The Bonfire of the Vanities, but had huge hits including "Scarface," "The Untouchables" and "Mission: Impossible." Reading Bouzereau's intelligent, in-depth look at De Palma's diverse, daring, innovative works of one incredible decade will expand the readers' understanding and respect for the director.
MY MAMA, CASS: A MEMOIR Decades later, Elliot-Kugell continued the process of fully knowing this extraordinary woman by writing this touching memoir. Readers will also relish gaining a better understanding of this icon who was such an intrinsic part of the 60s and 70s music scene. The author gives us a detailed picture of Mama Cass' life. Born Ellen Naomi Cohen, she had challenges in childhood. An overweight Jewish girl, she struggled for acceptance, but knew somehow that she would achieve prominence. Her glorious singing voice led her into the spotlight. After garnering attention and musical connections in The Big 3 and The Mugwumps, Cass joined Denny Doherty, John Phillips and Michelle Phillips in The Mamas and The Papas. After huge successes, the group splintered. Fame provided an entirely new set of challenges. But with an appealing personality and quick wit to go with that beautiful voice, Cass clicked as a solo artist. She recorded hits, hosted TV variety specials and even guest-hosted for Johnny Carson on "The Tonight Show." In 1974, Cass died. As Eilliot-Kugell emphasizes, debunking the cruel, lingering myth, it was not a ham sandwich that killed her mother. It was a heart attack. The author points out the sphere of influence Cass had in the Laurel Canyon culture of that era. She recounts a funny story relating to a gathering at Cass' home that included David Crosby, Joni Mitchell and Eric Clapton. Micky Dolenz decided to document the event on his new Super-8 camera. But things didn't go so well. Elliot-Kugell also delves into the role Cass played in assembling the super group Crosby, Stills and Nash. The author goes into the profound ways in which Cass' death affected friends and family, as well as her own life. She was raised by her aunt and uncle. In her teens, with the help of Mama Michelle, Elliot-Kugel tracked down her biological father. It's one of many poignant moments in the book. Elliot-Kugell inherited artistic gifts from her mom. She too had an impressive singing voice. She was almost a part of Wilson Phillips. She toured with Beach Boy Al Jardine. She has provided a warm, winning, intimate portrait of her mother, increasing the scope of our love for Mama Cass, a giving, compassionate, sensitive, resilient woman. In the process, Elliot-Kugel has helped to fill the void in her own life, using research and writing to get closer to her Mama. Email Paul Freeman at paul@popcultureclassics.com |
