Tuesday, August 07, 2007
ERIK THE CONQUEROR (which will be the complete original export version, not the AIP reduction) will be released separately at the same time, also with a commentary by me, which I'll be recording before the end of this week. The closing shot and end card of the film (curiously missing from the German DVD release) has been restored, which should make this gorgeous-looking release of even greater interest to collectors.
Finally, I mentioned here recently that I managed to record the first three commentaries in a single marathon session last Thursday night. Someone on one of the horror discussion boards has suggested that my expeditious work somehow speaks poorly of me and makes the set's extras as a whole seem less attractive, because -- they presume -- the commentaries have got to be a reckless mess. I resent this because, first of all, I don't do careless work and certainly wouldn't boast about doing careless work; I only mentioned the marathon session because I felt so pleased to have succeeded in my aims against the odds and the clock. It was an achievement. Secondly, I didn't set the deadlines for these commentaries, but as a professional, I agreed to live up to them. I refused to let the quality of my work suffer due to time constraints and, if it somehow did suffer despite my best efforts, I wouldn't have released it. As I write this, it remains for those three recordings to be edited and synched to the movies, so I don't know yet myself how everything is going to turn out -- but I think even the raw tracks were on par with other commentaries I've done.
PS: I wanted very much to record an audio commentary for 5 DOLLS FOR AN AUGUST MOON but time simply didn't allow it.
Monday, August 06, 2007
LA ROMAN DE RENARD (1930).
In the current issue of SIGHT & SOUND, various contributors from around the world were asked to name and write a bit about an obscure film they felt deserved to be better-known. I chose Starewitch's only feature-length achievement, LA ROMAN DE RENARD (1930), known in some territories as THE TALE OF THE FOX. If not for some unforeseen technical delays and distribution problems, it would have become what it was intended to be (and, I think, really is): the world's first stop-motion animated feature with sound. Based on a fable by Goethe, it tells the story of a crafty fox, always up to mischief and talking his way out of trouble, who dares to thwart the ruling of the King that animals should not prey on one another because Love must rule the land. Not only is the script clever and the character design impeccable (in S&S I said that it looked only a step or two away from taxidermy), but the animation -- executed by Starewitch and his daughter Irena over an 18-month period -- remains the most believably fluid and antic until the introduction of CGI, especially in its incredible interpolations of blurred movement.
Starewitch serenaded by the canine hero of his beloved 1934 short, "The Mascot."
Here in America, Starewitch fans have had to make due with Milestone/Image Entertainment's compilation THE CAMERAMAN'S REVENGE AND OTHER FANTASTIC TALES, which includes his best-known short, "The Mascot," a 1934 short originally titled "Fétiche." (It's also available as a $2.99 video download here.) This remarkable story of a puppy who struggles against natural and supernatural odds to fetch an orange to bring to a sick little girl is also known to some people as "The Devil's Ball," mostly due to a lengthy and untitled excerpt that used to run frequently on the USA Network show NIGHT FLIGHT back in the 1980s. That's where I first discovered the work of Starewitch and, all these years later, I'm still eager to find more.
A few of his animated shorts can be found at YouTube, and here's a link to a fine website that will serve as a more in-depth introduction to this brilliant filmmaker and his great works. Happy birthday, Maestro!
Now up on YouTube are a pair of fascinating videos from the musical career of Stephen Forsyth. The first, dating from the 1980s, is a rock video called "Step Out of Love" and it actually features Stephen. The song (which he wrote and recorded) is catchy, the choreography is very impressive (I don't think I've ever seen Iggy Pop quite this animated in a video), and he remains very photogenic. By Googling around, I found out that this piece was part of a live Twyla Tharp dance retrospective held in New York in August 1990, reviewed by THE NEW YORK TIMES here.
"Step Out of Love": http://www.youtube.com/watch?v=ThuU5lpqGSQ
And then for something completely different. The second video, dating from the 1990s, is an avant garde piece for piano and dance:
The work showcased in these two videos seems poles apart, representing opposite musical disciplines, yet both are very well accomplished. The second piece, "Helios," shows Stephen to be at home in atonal classicism, while "Step Out of Love" presents him as a fine pop tunesmith, vocalist, and (most surprising to me) dancer. And, unlike many other MTV acts of the period that look dated and silly now, Stephen's pop video remains convincing -- it looks like hard work played out with panache -- and the editing still feels contemporary.
Friday, August 03, 2007
A very spiffy cover, too. I can still vividly remember where I was standing in the room when this very scene was shot. I can even remember standing in the same approximate area when Michael Lennick and Lee Wilson got the idea to film a strip of television static in 16mm and project it onto this stretchy, veiny material from Rick Baker's EFX Inc. and dissolve it out to create one of the movie's most memorable images.
Seeing the format that Millipede Press' "Studies in the Horror Film" series is going to take also excites the imagination about what further entries in the series there might be. An exciting development in publishing, to be sure.
Last night, I joined the elite group of people (Roger Corman may be the only other person able to make this claim) who have recorded three full solo DVD audio commentaries in a single day -- a single night actually, as this took place roughly between midnight and 5:30 am. These commentaries are for the second round of Mario Bava releases coming later this year from Anchor Bay, and the recordings are now out the door and flying west. My voice was close to shot after the third one, but I can tell you this much: wine helps.
I promised to pamper myself today by goofing off and imbibing soothing liquids (to restore my throat, you understand), but it's turned into a work day, after all, though a pleasurable one. I started compiling my personal mailing list for the Bava book, which gave me the opportunity to call and e-mail a bunch of the book's interviewees in search of their current addresses. I got to speak on the phone with Brett Halsey and John Steiner, I left a message for Daliah Lavi, e-mailed other old acquaintences and got e-mailed back, but it seems I may have inadvertently lost touch with Richard Harrison. (If anyone within the reach of this blog knows where to find him, please let me know.) Everyone seems happy for me, excited to know the book is on the way. After all this time, it's really happening...
Thursday, August 02, 2007
Anyway, this was me twenty-five years ago. Dig those Italian frame eyeglasses. This particular Author's Photo, which finds me simultaneously posed by and broadcast on the fabled Flesh TV, was taken by the show's video effects supervisor Michael Lennick.
Tuesday, July 31, 2007
This is a very busy week for me, a prelude to a very busy month in fact, and I can't spare the time to write about Antonioni and his glorious work as fully as I'd like. BLOW UP and L'AVVENTURA have always been personal favorites, and when Criterion released L'ECLISSE a few years ago, it immediately vaulted past them into my Top 10: I watched it three times in three days, and then began writing an infatuated short story about the spell it cast, which work and time (again) conspired to prevent me from finishing. Once this present pile of work is out of the way, I would like very much to go back to it and complete it in tribute to this outstanding artist. Last year, "THE PASSENGER" (another of those curious films with titles in quotes, like "DON'T LOOK NOW" and "THESE ARE THE DAMNED") was finally released on DVD, a magnificent film about life, identity, and mortality.
Antonioni's films were often criticized for being too nihilistic, but I don't see them as nihilistic as much as conscious and accepting of the human condition. Just because they are cerebral doesn't mean they are without spirit. "THE PASSENGER" is actually the ideal film to watch if you seek the comfort of knowing that only what Antonioni was, as a man, is dead. What he is and always was, as energy, survives -- I believe the film subtly expressive of this philosophy, that this world is no one's final destination, that we are all merely passengers, our present identity in quotation marks (as well as question marks). Needless to say, his films remain with us as his representatives.
Today, I send a loving genuflection halfway around the world today to one of my favorite filmmakers, Eric Rohmer -- who recently turned 87 -- in the hopes that he can keep his name out of the headlines for awhile.
Monday, July 30, 2007
"Got it. It's not a band, it's a company. It's not a concert, it's a gig." "Humour me..." "Not for long."
Cutting-edge guests didn't necessarily guarantee a cutting-edge interview; his legendary sit-down with John Lydon and Keith Levene of Public Image Limited is a classic example of "failure to communicate," and I can also well remember a joint appearance by James Brown and football great Jim Brown, who apparently showed up at the studio one evening unannounced, requesting airtime on TOMORROW to discuss solutions to the problems facing black youth... in which it quickly transpired that the two JBs really had nothing to offer except that more young black people should look up to role models like them. It turned out to be a fairly bare-faced, smug-assed ego stroke that left Tom so baffled that he spent the next on-air segment scratching his head over why the interview hadn't worked. Very candid, very brave -- and it momentarily turned galling television into great television.
Thursday, July 26, 2007
To update you on my continuing Dish Network saga: Yesterday we had a Dish technician and his apprentice come to the house for a look at the set-up. To make a long story short, it seems the most likely cure for our recording ailment would be to swap out the VIP 211 with their DVR 622. Not only does this unit offer 160 hours of hard drive storage for HD content (not quite recording for posterity, but close), but the rear panel offers video outputs in both MPEG-4 and MPEG-2. We can run the MPEG-4 to our monitor and the MPEG-2 to our recorder, which would be giving it the same input that we had when there were no problems. In theory, it should work and my fingers are crossed.
The more MPEG-4 programming I see, the more impressed I am. I was checking out the Family Room HD shows two nights ago, before turning in, and was knocked out by the sumptuous video quality of... of all things, FLIPPER. Not the Universal theatrical remake of some years ago, but the original 1964 teleseries; it was like looking through a well-cleaned window at 1964. I never cared for the show particularly, but I was so impressed with the presentation that I stuck with it through the remainder of the episode in progress and an entire second episode. It was reformatted to 16:9 of course, but the show was filmed in such a way that the cropping was never very apparent. It was followed by THUNDERBIRDS, which I've always enjoyed, and it looked beautiful too, though the cropping here was more obvious. Even programming I'm more familiar with, like Rudy Maxa's SMART TRAVELS, looks significantly improved in MPEG-4, with purer, deeper blacks and heightened textures. And a World Cinema HD promo for Kieslowski's BLUE was astonishing in its clarity.
It seems to me, after having made the leap to HD DVD and Blu-ray now for some months, that the companies responsible for cherry-picking titles for release haven't made much of a leap with me. I'm not losing interest in HD per se, but I do find my interest in the HD disc formats slowly eroding. With the exception of CASINO ROYALE and CORPSE BRIDE, easily my two favorite HD/Blu-ray experiences, it's all been about upgrading so far, as far as my own viewing is concerned. The difference is usually appreciable, but very often it isn't exciting -- and, by "exciting," I mean the feeling I got when I first saw STARSHIP TROOPERS in SuperBit.
As I say, it's a matter of poor selection; I'd rather have DRAGONSLAYER than REIGN OF FIRE. Right now, there are only 10-20 titles on the market that I would care to watch more than once -- everything else is the 21st century equivalent of that early videocassette eyesore, FLASHDANCE. Broadcast HD, on the other hand, is infinitely more far-ranging and adventurous than the current selection on HD and Blu-ray discs. I saw 2001: A SPACE ODYSSEY in HD on HDNET one year ago, and wrote about it here; we're still waiting for the HD disc. That's why I tend to suspect, at this stage anyway, that broadcast HD may well become the surprise victor in this latest "format war," rather than either of its high profile combatants. Of the three options, it's the one with the most obvious imagination, and therefore the one with the most probable future.
HD is also at its best when it can take you by surprise. When you buy a film on HD or Blu-Ray disc, especially with the current crop of pickings, you sort of know in advance what you'll be getting. Broadcast HD offers you the opportunity to browse/surf through unexpected possibilities and have your breath unexpectedly taken away. Maybe even by FLIPPER.
Wednesday, July 25, 2007
KYONETSU NO KISETSU (1960), originally released in America under the exploitative title THE WEIRD LOVEMAKERS, was the directorial debut of the Malaysia-born Koreyoshi Kurahara (1927-2002). I'm not entirely sure what I was expecting; this Nikkatsu production was distributed here in the States by Radley Metzger's Audubon Productions, usually an avatar of good taste though their ad campaigns could be sensationalistically exploitative, but it's certainly more than I was expecting.
Shown on the Dish Network/VOOM channel World Cinema HD with its Japanese title subtitled as THE WARPED ONES (which, to my senses, suggests a comedy), the film turns out to be an important rediscovery on many fronts. It is directed by Kurahara with a freewheeling, gleefully hedonistic verve that reminded me of nothing less than Joseph H. Lewis' GUN CRAZY, with Yoshio Mamiya's B&W scope cinematography alternating between the carefully composed and the recklessly hand-held. It's also a story of young adult delinquency that has some conscious ties to earlier Western works like GUN CRAZY, REBEL WITHOUT A CAUSE and Godard's BREATHLESS but these pale in contrast to how much the film anticipates Stanley Kubrick's A CLOCKWORK ORANGE. Scored by Toshiro Mayuzumi (STREET OF SHAME, WHEN A WOMAN ASCENDS THE STAIRS, THE INSECT WOMAN), it is also -- perhaps above all -- one of the great jazz films, and possibly the best illustration the cinema has ever given us of the jazz buff. It's the only film I've ever seen that makes jazz seem scarier than the darkest heavy metal, that makes jazz seem dangerous.
It's the story of two petty thieves, jazz-loving Akira (Tamio Kawaji) and Masaru (Eiji Go), who use their hooker friend Fumiko (Noriko Matsumoto) to separate various horny tourists from their wallets. Caught in the act and arrested at a Tokyo jazz bar, Akira and Masuru find an opportunity for revenge soon after their release from jail, assaulting the arresting officer and abducting his girlfriend Yuki (Yuko Chishiro). They take her to a secluded nearby beach, where Akira rapes Yuki within an inch of her life while Masuru and Fumiko become better acquainted in the surf. As the episodic story continues, the three principals are shown living together, with Masaru determining to join a local yakuza gang, against Akira's leering advice. Akira is also tracked down by Yuki, who informs him that she is pregnant with his child.
Akira disrupts a contemporary art exhibition.
Akira, played by Kawaji with the face-rubbing mannerisms of Brando and the tortured swagger of James Dean, is a more extreme character than was seen in most Western cinema up to this time. He steals cars and motorbikes without shame, eats like a pig, drinks incessantly, and greets every woman he meets with "Wanna get laid?" He's not at all likeable, but he is fascinating -- especially when he's in the grip of something he understands, like a cathartic jazz solo. The film seems to acknowledge and ponder this dichotomy with a pair of complementary scenes; in one, a drunken Akira disrupts an art gallery exhibition, smearing his hands over valuable paintings, turning displayed abstract works upside down, and replacing the phony, lite jazz being played on a jukebox with the Real Thing.
In a later scene, Akira goes to taunt Yuki at her cottage, where he finds her entertaining a group of local artists. Akira does everything he can to alienate these people, whom he regards as the flesh-and-blood equivalent of contemptible lite jazz, but they turn the tables on him and treat him as a remarkable art object in his own right, analyzing and approving his contempt for society to his face, and bidding against one another to obtain him as a model. Much as the exhibit sequence looks forward to Alex's (Malcolm McDowell's) invasive assaults on various Pop and Op Art domiciles in A CLOCKWORK ORANGE, this sequence of artists deconstructing Akira seems to anticipate Alex's deconstruction by his admiring, cynical government. It should be noted that Akira sleeps next to... no, not an engaving of Beethoven's stony face... a framed copy of Ornette Coleman's THE SHAPE OF JAZZ TO COME. Even the jazz club where Akira broods between petty crimes foreshadows the Korova Milk Bar: the walls painted black and festishized with portraits of the great jazz masters, their names painted in delirious white strokes like the Milk Bar's adverts of Vellocet and Drencrom. Kubrick simply had to have seen it.
In an unexpected turn of events, the pregnant Yuki prevails upon Fumiko for her help. Since her pregnancy became known to her boyfriend, their relationship has not been the same; he acts superior to her and treats her as someone tainted. So she pleads with Fumiko to seduce him, to destroy his pride as hers has been destroyed, so that they might rediscover their love for one another on levelled ground.
I won't go into the ironic finale, but the 75m film certainly builds to an evil boil and sustains its mood extremely well. I don't know if Quentin Tarantino is familiar with this movie -- which is apparently available in some form from Something Weird Video, probably the dubbed Audubon version (World Cinema HD showed the film in Japanese with subtitles that pulled no punches in the strong language department) -- but these characters seemed to me very much like antecedents of his most hellbent characters, and the whole feel of the film a convincing annex of his universe.
Under whatever title, Kurahara's film is much too important to be so obscure. The same goes for another Audubon import, Tinto Brass's NEROSUBIANCO, which Radley Metzger retitled THE ARTFUL PENETRATION OF BARBARA. (Yes, Virginia -- theaters actually used to show movies with titles like THE ARTFUL PENETRATION OF BARBARA and THE WEIRD LOVEMAKERS, though they won't admit to this in your History class.)
Tuesday, July 24, 2007
Follow-up to my Dish Network woes: I was able to record an acceptable (1.78:1) copy of THE WEIRD LOVEMAKERS this evening because it was shown in 2.35:1. It's still cropped, but a fast zoom-through didn't show any cropped subtitles or horribly damaged compositions. But most of what is being shown on Dish's HD channels is 1.78 or 1.85:1 to begin with, which my DVD-Recorder is receiving as a cropped 1.33:1 picture.
Donna and I have been troubleshooting today, and it seems that the real problem is inherent in my Panasonic DVD-Recorder, which -- like any other DVD-R currently on the market, that I know of -- is equipped to record MPEG-2 signals, not MPEG-4. It records MPEG-4, but it can't receive a full-blown widescreen signal; it crops the picture. If I use my TV controls to widen the picture, it only widens the cropped portion of the picture. My recorder also can't differentiate between an MPEG-4 picture that is squeezed or letterboxed or zoomed-in; it reads all of this incoming source as the same thing.
This means that -- if you have the same DVD-Recorder as me (a Panasonic DMR-E85H) -- this could well become your problem too, should you upgrade to MPEG-4. These MPEG-4 receivers are the new kid on the block, HD-wise, but it seems they're incompatible with current DVD-R technology, at least as I know it. Now I'm wondering if Radio Shack carries some kind of conduit that can dumb-down MPEG-4 to MPEG-2 purely for recording purposes. What are the chances that such a thing exists?
Today, another Dish guy arrives... well before the 12-5:00 agreed-upon time. "You're early," I tell him, sleepily. "Yes, I am early," he replies sullenly, obviously refusing to take any guff from the customer. He's got a ladder on the truck but he says he has no intention of using it; I have everything I need for the upgrade already up there, and there's nothing to add on or take down. He doesn't know what the previous installer was thinking. He also can't figure out how he was able to arrange a follow-up visit with a phone call. After replacing my old Dish receiver (an MPEG-2 receiver installed in 2005) with a VIP 211 receiver (MPEG-4), he checks out the picture, tunes to an SD channel and tells me that I should never watch my TV with the gray bars displayed -- I should always watch the picture on these standard channels stretched like Silly Putty. When I begin to object, he cuts me off and says, "You can watch it any way you want, I'm just tellin' ya." Fine. Fine.
After the installer drives away to his next early appearance, Donna and I begin checking all the connections. To make a long and unhappy story short: The MPEG-4 receiver gives us a noticeably more beautiful HD picture... but.
I have always been able to record from my Dish Network receiver to my Panasonic DVD-Recorder. It didn't give me HD recordings, of course, but it recorded the programming shown on HD channels in a handsomely letterboxed format that I could then zoom-up to a most acceptable simulacra of HD. With my hours, time-shifting is often essential, and we use the DVD-Recorder a lot for that reason in particular. However... when hooked up identically to the MPEG-4 receiver, I don't get letterboxing. Even when I dumb the picture down to 480 or 720 and reconfigure the framing to 4:3x2 and get a letterboxed image on my monitor, the signal that the receiver is sending into my recorder is fully uncompressed with the left and side of the frame blocked by my gray bars. I can sit there pumping the Format button on my Dish remote, changing the screen configuration from Zoom to Partial Zoom to Gray Bars to Normal, and the onscreen image being sent into my DVD-Recorder is as unchanging as the expression on the Lincoln Memorial.
We've tried everything and don't know what to do. To make matters worse, Dish's World Cinema HD channel is showing THE WEIRD LOVEMAKERS tomorrow evening, something I would dearly love to record. (I've been fascinated by this 1960s Japanese import since I first saw its trailer as part of Something Weird's first TWISTED SEX compilation.) If we keep the MPEG-4 connected, we'll get a recording, but it will be cropped. If we hook-up our MPEG-2 receiver, which we haven't sent back yet, we won't get the World Cinema channel at all, because it's accessible only to subscribers of what they call "the HD3 package."
So now we have to figure out what we're going to do. We still have an MPEG-2 HD hook-up in our basement, but I really don't want to turn the basement into the headquarters of my DVD-R recording. Part of me suspects that the MPEG-4 was created to be used solely with Dish Network's DVR, which can store quite a bit of HD broadcast information on its hard drive but, if you ask me, isn't quite the same as burning that information to a disc. I don't need to record in HD at the moment, but I do need to continue recording my HD programming in SD. Dish Network is sending someone to the house on Wednesday, supposedly between 12:00 and 5:00, to assess the situation. I fully expect the visit to be for nothing, though I would like very much to be able to report otherwise here on Thursday.
I know that this blog is read by many different kinds of film buffs. If there's anyone out there with insight into this particular problem, and perhaps a solution, I'd love to hear from you.
Monday, July 23, 2007
Sunday, July 22, 2007
Thursday, July 19, 2007
Wednesday, July 18, 2007
It belongs to that mysterious group of 1967 recordings known as "The Basement Tapes," and it was not included among the songs found in Columbia's legitimate release of the alleged cream of the crop. The trailer includes only a 1:58 snippet of the entire piece, which runs 5:08; it's been rerecorded by Sonic Youth for the movie but, as the trailer seems to insist, the original version must be heard.
It's been awhile since a song got its hooks so deeply into me. I heard "I'm Not There (1956)" for the first time in its entirety yesterday -- I was able to find an mp3 here (scroll down 13 short paragraphs) -- and must have listened to it at least twenty times throughout the day, amazed that a song could communicate its emotion so palpably even though the lyrics (mostly improvised on the spot) hovered between incompletion and incoherence, even taking the time to learn the comparatively simple piece on my bass to try to come to terms with it musically. Here is some of what I found written in various sources about this amazing piece...
From THE OLD, WEIRD AMERICA by Greil Marcus:
"There is nothing like 'I'm Not There' -- called 'I'm Not There, I'm Gone' when Garth Hudson wrote down basement titles, later retitled 'I'm Not There (1956)' -- in the basement recordings, or anywhere else in Bob Dylan's career. It was only recorded once; unlike others of the new basement songs, which Dylan rerecorded or continued to feature on stage thirty years later, it was never sung again.
She fell into conversation with the first fat man she saw.
"What do you do?," he said, fitting two potato chips into his mouth.
I go to parties and only talk to the fat guys, she thought.
Owen was home writing. She thought of it as an act of fidelity to talk only to the unattractive guys.
She started to tell him about her jobs. She was talking on automatic pilot, hardly listening to what she was saying -- instead, she was listening to Dylan. Going through the host's record collection, she'd found a bootleg album that included "I'm Not There," a legendary, never-released, never-completed song from the Basement Tapes sessions -- a song that she'd heard just once, the summer after high school, and that she'd been searching for ever since. It came on while she was talking; it was even more haunting than she remembered.
She touched the fat guy's wrist. "This," she said, "may be the greatest song ever written."
"The woman speaking is the heroine of a 1991 novel by Brian Morton called THE DYLANIST, and it's a wonderful thing she says -- because so many people have responded the same way, at the same time realizing that 'I'm Not There' is barely written at all.... The song is a trance, a waking dream, a whirlpool... Words are floated together in a dyslexia that is music itself -- a dyslexia that seems meant to prove the claims of music over words, to see just how little words can do... In the last lines of the song, the most plainly sung, the most painful, so bereft that after the song's five minutes, five minutes that seem like no measurable time, you no longer believe that anything so strong can be said in words."
From composer Michael Pisaro:
"It's almost as though he has discovered a language or, better, has heard of a language: heard about some of its vocabulary, its grammar and its sounds, and before he can comprehend it, starts using this set of unformed tools to narrate the most important event of his life... [Rick] Danko plays [bass] as if he knows that all his life this song has been waiting for him to complete it, and that he will be given only one chance."
From BOB DYLAN: PERFORMING ARTIST 1960-1973 by Paul Williams:
"What's astonishing here is that we can feel with great intensity and specificity what the singer is talking about, even though 80% of the lyrics have not been written yet!... It's as though when Dylan writes, the finished song is not constructed piece by piece as we might imagine, but tuned in; there is an entirety from the first but still out of focus, like the photograph of a fetus, a blur whose identifying characteristics are implicit but not yet visible -- not because they're obscured but because they haven't yet taken shape. 'I'm Not There' is a performance complete in feeling -- 'Dylan's saddest song,' says [THE TELEGRAPH editor John] Bauldie -- achieved without benefit of context or detail. It's like listening to the inspiration before the song is wrapped around it."
With this kind of press, I'm surprised that this forty year old piece isn't better known to the public at large. People talk about the Basement Tapes at length, but this particular song is surely, on its own, to Bob Dylan what SMILE was, for decades, to Brian Wilson. As much as I love what Wilson did when he resurrected SMILE as a solo recording, its availability has taken away from the almost sacred mystery that enveloped the original Beach Boys recordings so painstakingly produced by Wilson, which fans loved to collect, share, and arrange into their own personal visions of what the unfinished album might have been. "I'm Not There (1956)" -- whose attached date is only one of many unexplained mysteries about it -- is of such similar appeal that I'm surprised that Dylan fans aren't out there writing and sharing their own lyrics to complete the jigsaw... but, who knows, maybe they do.
One of the many uncanny things about this piece is that Dylan must have known what he had, but he had the awareness of his own craft to know, despite the incompletion of the piece, that this singular recording had somehow miraculously achieved everything that any completed version possibly could and was wise enough to leave it alone. Its rough-hewn quality also invests it with something that no finished song ever has. In its own way, "I'm Not There" is perfect and there's no need for Dylan to touch it again. It might tempt him to finish it.
It's interesting that Todd Haynes chose this obscure song as the title piece for his film, but it does represent in some ways Dylan's own mercurial, artfully dodging persona, which I take to be one of the film's primary concerns, as it supposedly casts seven different actors as Bob Dylan at different phases of his career. My feeling about Haynes' previous work is that it's always very enticing but somehow always falls short of satisfying me completely. The idea to cast different actors as Dylan is an inspired one, one that qualifies this film as fantastic cinema sight unseen, but I'm looking forward to I'M NOT THERE with equal parts eagerness and trepidation. There is a preview scene from the film on YouTube featuring Cate Blanchett as Dylan, who strikes me in this snippet as playing Patti Smith in Dylan drag. Even so, the casting is inspired and it looks like a film that has winks to offer as well as wisdom. If it only brings this song within reach of more appreciative ears, the effort will have been worth it.
I'm hoping it turns out to be the superhero film of the year.
Tuesday, July 17, 2007
Shout Factory's YOU BET YOUR LIFE - THE BEST EPISODES came out three years ago, almost to the day, but it was only recently that I obtained it. Thirty or so years have passed since I last saw Groucho Marx's classic game show, and it was wonderful to see it again: every single episode made me laugh myself sick. In answer to everyone's first question: No, the Tor Johnson episode isn't included, but you do get appearances by Harpo Marx, Chico Marx (not onstage, but visible applauding in the audience), Johnny Weissmuller, Phyllis Diller, Joe Louis, Edgar & Candice Bergen, Harry Ruby and VILLAGE OF THE GIANTS' own Joy Harmon. Not a bad bang for the buck.
Panelists Richard Halley, Stanley Ralph Ross, Jan Sterling, and the one, the only... Groucho.
The panel are shown a 10m mystery film ("Mystery in the Crystal Ball," featuring Joe Maross as a detective named Penfield) that involves a murder and four possible suspects, then those "suspects" are assembled in four empty seats onstage, where the celebrity detectives "grill" them before a live audience. Each of the suspects must tell the truth... except for the murderer, who is given permission to lie to conceal their identity. Any celebrity who correctly guesses the identity of the murderer wins $500... and if the real detective fails where the celebrity detectives succeed, their prize amount is doubled to $1000.
Two scenes from "Murder in the Crystal Ball," featuring James Callahan, Arthur Batanides, and Linda Bennett.
I grant that it's very odd to see celebrities vying for money they intend to win for themselves, but maybe there wasn't much of a salary involved. Then again -- and this is probably the real explanation, given the show's patrimony -- maybe it's all show business. The mystery film is practically indistinguishable from the first reel of a PERRY MASON episode, and directed by a veteran of 21 episodes of that series, William D. Russell. I personally found the mystery fairly easy to solve, but the pilot was a delight anyway for Groucho's interjections of humor, his flirtatiousness with the bailiff and suspect Linda Bennett (whose IMDb page credits her with this pilot, a movie called NAKED FLAME which I do believe features her, and a couple of Sixties grindhouse pictures in which another woman of her name appeared), and the "grilling" sequences, which required four actors to act in character but without a script -- a rarely witnessed dramatic exercise with actors of this vintage.
Suspects Jay Adler, Linda Bennett, James Callahan and Kathryn Giveney have a laugh when the real killer is unmasked.YOU BET YOUR LIFE - THE BEST EPISODES would be well worth having even without this pilot, but knowing that THE PLOT THICKENS was included, and its specifics, would have made the set absolutely irresistable to me -- and perhaps to you, too, which is why I thought I'd share the news. There remain two more pilots in this set that I haven't watched: WHAT DO YOU WANT? and TELL IT TO GROUCHO. For all I know, they might guest star Delphine Seyrig and Wild Man Fischer and be directed by Sergei Parajanov.
Apparently, with Groucho, anything is possible.
Monday, July 16, 2007
"Unfortunately," he writes, "the selling of my work is apparently illegal, which I did not realize after 12 years of doing so, so I will no longer sell my monster art... Is this an overreaction? Perhaps, but the answer is simple. I have two beautiful daughters. I will not endanger my children's financial future by testing the wrath of studio lawyers, who could 'send a message' by wiping out my life savings. It's that simple."
Frank's announcement does not confirm that he has been approached by a studio legal representative and served with threatening "cease and desist" paperwork, but it would seem a strong possibility. Frank's portraits and caricatures do indeed feature copyrighted characters, trademarked faces or studio makeups, and he sells this work to private collectors.
As someone who owns a couple of Dietz originals (a painting and a charcoal portrait), I find the possibility of such bullying both galling and reprehensible. I say this as someone with intellectual property of my own, toward which I feel a sense of vigilance and responsibility. Certainly, I would object if someone announced their intention to film my novel THROAT SPROCKETS without my permission or involvement; on the other hand, I believe that my rights as creator begin to lose some of their grip, or should, when it comes to my work inspiring other forms of art. The link no longer works, but I once found online a painting by an artist named Léandre Borgia that was labelled as an hommage to THROAT SPROCKETS and, a couple of years ago, a writer approached me seeking my permission to write a novel in which my novel would play an active part in the narrative. I found both of these responses to my novel immensely flattering; it wasn't the same thing as finding my original TABOO story (illustrated by Mike Hoffman) bootlegged in a foreign comic book with the TS movie's title changed to DEEP THROAT. To that, I did object.
When any artist lets their work out into the world, either by printing a book or selling a movie ticket, it is absurd (to use one of the kinder characterizations) for them to presume that their creative rights extend to cover anything and everything that work might inspire. It has to do with the free exchange of ideas. It used to be the same way with movies -- would there be a Batman without Roland West's THE BAT, or a Joker without Paul Leni's THE MAN WHO LAUGHS? -- but no more. Why? Because Hollywood has no new ideas, only new technologies and new video formats. This places a terrible burden on the precious reserves of ideas these studios already have: a burden to make these old ideas continually profitable. If studios had an ounce of faith in a future based on new commercial ideas, they wouldn't need to worry so much about the past.
What if Frank Dietz creates an original portrait of the Frankenstein Monster, or Vincent Price, or E. E. Clive, and sells it at a convention? How does this differ from, say, Basil Gogos doing a painting of the same, selling it to Warren Publications as a cover of FAMOUS MONSTERS OF FILMLAND, which is then sold coast-to-coast on newsstands? Is the latter more acceptable, even though it involves a much larger exchange of money all around (especially for Warren), because it is promotional in nature? But who is to say that the art of Frank Dietz isn't promotional? It's fan art like his that kept the appetite for classic monster movies alive all those years when Universal, Warners, Columbia and other studios couldn't be bothered to release those films on home video -- at conventions, in fanzines. But in today's paranoid and possessive climate, such loving action becomes litigable.
Who we must ultimately thank for ugly turns of event like this are, of course, the Studio Attorneys, who must account for their lavish annual salary and expense accounts by doing something/anything. And so Goliath turns viciously on David, bringing down his colossal foot on the banner David is carrying, which just happens to say "YAY, GOLIATH!"
While the expense would surely be dreadful, I would love to see a case like this honestly explored in a court of law. Frank's caricatures are certainly humorous and satire and parody are protected by the First Amendment. There is also the matter of precedent to be considered here. Universal's monster characters, to take a handy example, have not appeared exclusively in Universal films since their inception. You can also find them in shorts and cartoons made by other studios, in MAD magazine, in editorial cartoons, you name it. It comes with being part of the cultural landscape, and none of the artists who perpetuated these characters in these secondary media did so for free, nor were they required to tithe a portion of their salaries back to Universal. And, truth be told, Universal lost nothing by sharing these characters thusly with the world, while they gained a fabulous fortune in terms of fame and public goodwill. But in today's legal view, something like Bobby Pickett's "The Monster Mash" might be characterized as having siphoned unforgivable millions from the Universal till, even though everyone who bought that record loved Universal's horror movies all the more as a result of hearing it and hearing it again.
Sure, Frank profits from his drawings and paintings -- or did. But, as I said over at the CHFB, it's not really the subjects of Frank's work that sell it; it's what his eye and hand bring to those subjects. I have seen a dozen people crowded around his table at Wonderfest, looking at the artwork on display, and everyone zeroes in on something different, something that speaks to their own unique experience of that character, that actor, that scene. In fact, I would go so far as to contend that nothing tangibly existed of, say, Vincent Price and THE TINGLER that can be seen in Frank's caricature of same prior to his drawing it. Through his work, Frank was able to make some elusive quality of Price's performance in the film tangible, in a way that it isn't evident in stills or even necessarily in the movie itself (film viewing being such a subjective matter in itself) -- and that's what makes his art so special and so beloved by fans.
If a studio should want to harness such talent and put it to work for them, that's one thing. But to reach over and unceremoniously pull the plug on an artist's entire future of self-expression, because they are under the psychotic impression that they somehow own it, is something else entirely. Yet this is "studio thinking," wholly consistent with a system dedicated to making us pay over and over for the same movie-going experience, whether it's remakes or double- and triple-dipping DVDs, and obtaining ultimate control over all that we see and hear regarding its output. If such corporate characteristics were applied to an individual, they would qualify him or her as mentally ill.
If Frank Dietz's right to interpret the monsters we know and love in art can be intimidated out of existence, how long will it be before the interpretations of the written word -- film criticism, for example -- suffer the same fate? We must have freedom of the press, which is predicated on what I referenced earlier, the free exchange of ideas.
Mr. Studio Attorney might counter by asking, "What's so free about Frank Dietz charging for his artwork?" Actually, Frank's artwork is freely displayed -- he puts it in galleries and on convention tables to attract and amuse people. It's free to look all you want. When money does change hands, it's mostly to reimburse him for the time and materials that brought those works to life. The people that buy his art then display it on the walls of their homes, where it becomes a vehicle through which these actors, characters and scenes can be venerated and enjoyed on a daily basis -- because the original product, the film itself, has already been consumed. To create art for such a purpose is, in my view, a more honest and respectable living than making your product's biggest boosters feel like crooks.
Hang in there, Frank. Whatever the situation is, I hope it can be resolved.
Friday, July 13, 2007
Did any of you happen to catch OPERATION BIKINI on TCM? Strange movie, and I hope to comment on it in the days ahead. Oh yeah: I also need to tell you about the William Castle curio that snuck out on DVD recently. You may even own it and not know it. Alas, no time.
Before I zip on out of here, a hearty Congratulations and Many Happy Returns to the author of VW's current cover story, my pal David J. Schow, who adds another candle to his cake today.
Tuesday, July 10, 2007
Later in the afternoon TCM is hosting a Tab Hunter triple feature. The third offering at 3:45 pm est, RIDE THE WILD SURF (which TCM is claiming was co-directed by William Castle!), is a frequent enough sighting on TCM. However, scheduled between 12:30pm and 3:45pm are two Tab Hunter pictures never shown before on cable television to my knowledge. OPERATION BIKINI (1963) is an American International produced, serious WWII drama starring Hunter, Frankie Avalon and Jody McCrea; it's directed by Anthony Carras, an AIP AD who directed more of the BEACH PARTY films than he's credited for doing.
Scheduled right after OPERATION BIKINI is THE GOLDEN ARROW, the Arabian Nights fantasy that Hunter made for director Antonio Margheriti in 1962. When I mentioned this film on this blog some time ago, I received an e-mail from a French correspondent who was incredulous that I had seen this "lost" film. I explained that it wasn't lost, merely hard to see, so with this in mind, I would urge any of you with a strong interest in the Golden Age of Italian Fantasy to tune in or record the broadcast. This is a scope film (Technirama, actually), and while the TCM website doesn't list it as a letterboxed showing, neither are any of their other widescreen offerings for tomorrow so described. My guess (at least my hope) is that it will be letterboxed. Go here to preview the film's scrumptiously colorful, widescreen trailer.
It was learned over the weekend that actor Kerwin Mathews, best remembered as the star of Ray Harryhausen's epochal fantasy THE 7TH VOYAGE OF SINBAD (1958), passed away in his sleep during the early hours of July 5. He was, unbelievably, 81 years old. When I was a child, Mathews stood proudly at the helm of a number of exciting fantasy adventures, movies that gave substance to my daydreams and those of countless other kids of, or roughly, my same age. His persona -- handsome, intelligent yet uncomplicated, and somehow speculative in aspect -- was one of those that kept me coming back to the movies.
Born in Seattle in 1926, he began acting in the mid-50s, dividing his time between bit parts on television (SPACE PATROL, PLAYHOUSE 90) and in the movies (Phil Karlson's 5 AGAINST THE HOUSE, Robert Aldrich & Vincent Sherman's THE GARMENT JUNGLE) before claiming his first lead in TARAWA BEACHHEAD (1958), directed by Paul Wendkos. THE 7TH VOYAGE followed almost immediately and that special something that Mathews had, clicked; it found its proper setting. Like anyone wishing to prove themselves as an actor, he often yearned to move outside that narrow definition, and sometimes he did, but it was as a fantasy hero that he most regularly fulfilled his promise onscreen: as a peplum star with more charisma than muscles in Pietro Francisci's THE WARRIOR EMPRESS (1960), as Dr. Lemuel Gulliver in Harryhausen's THE THREE WORLDS OF GULLIVER (1960), as the swashbuckling Jonathon Standing in Hammer's THE PIRATES OF BLOOD RIVER (1962, in which he crossed swords with Christopher Lee decades before Yoda), and in the title role of JACK THE GIANT KILLER (1962), a delightful but bare-faced imitation of 7TH VOYAGE that appears to have brought an end to his happy association with Ray Harryhausen.
7TH VOYAGE had been filmed in Spain, and Mathews was very much a continental gentleman in the 1960s. Among his other pictures were Hammer's suspense thriller MANIAC (1963, one of his finer, most surprising, dramatic performance); Euro spy pictures like OSS117 (1963) and PANIC IN BANGKOK (1964), both directed by FANTOMAS helmsman André Hunebelle; the British-made BATTLE BENEATH THE EARTH (1967), and two more by French director Maurice Cloche: THE VISCOUNT (1967) and THE KILLER LIKES CANDY (1968). When the European film scene entered its period of crisis in 1968, he returned to America but found his moment had passed him by. More accurately, his moment kept coming back -- in the form of Columbia reissues of THE 7TH VOYAGE OF SINBAD in the mid-1960s and again in the early-to-mid 1970s. Mathews retained his youthful appearance even after his hair turned gray, but it was difficult for him to move beyond a public perception of him that seemed destined to be renewed every ten years. As I reported last April 23 in this blog, even JACK THE GIANT KILLER came back... as a musical!
After making A BOY... A GIRL (1969) for John Derek, what remained for Kerwin Mathews onscreen was essentially unworthy of him. There was Harry Essex's OCTAMAN (1971, now remembered solely as the screen debut of makeup wizard Rick Baker), Nathan Juran's THE BOY WHO CRIED WEREWOLF (1973, which at least scored a prominent national release through Universal), and finally NIGHTMARE IN BLOOD (1978), the low-budget directorial debut of San Francisco TV horror host John Stanley.
Seeing the performance that Kerwin Mathews gives in films like MANIAC and THE LAST BLITZKREIG, one begins to see that there was probably a great deal that he could have done as an actor that he never had the opportunity to share with us. He may have privately bemoaned that the "right" role came along too early and closed a lot of doors to him, but how many of those doors could have led to something more important, and more important to more people, than his Sinbad? Or his Jack? These roles may have closed professional doors, but they kept doors open between Mathews and his fans long after he had retired into private life in his beloved San Francisco. It's said that a week didn't go by without fan mail written by someone newly introduced to the colorful, fanciful fables and myths in which he once starred.
Mathews reminded me a lot of Gordon Scott, whom we lost earlier this year. They were alike in that they both drifted out of exotic adventure pictures into Euro spy fare, and they both got out of the movie business around the same time, spending their extended retirements below the general radar and venturing out only occasionally to make public appearances at autograph shows. (Mathews enjoyed a happier old age, it's comforting to know.) But, most importantly, they shared a magnetism that was equal parts reliability, intelligence, virility, and wholesomeness -- a strange combination that somehow added up to the perfect recipe for adventure heroes. No comic book artist ever imagined more convincing protagonists than these two, and when you saw them in a movie, you knew two things for sure: that anything could happen and they would meet each new challenge head-on -- without fear and without irony.