Talking Movies

May 7, 2020

Any Other Business: Part LII

As the title suggests, so forth.

The Truth of Masks

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MY MASK PROTECTS YOU – YOUR MASK PROTECTS ME

PEOPLE OF GOTHAM – WE ARE ALL IN THIS TOGETHER – WEAR A MASK FOR THE GOOD OF ALL

LITERALLY NOT MASKING YOUR MOUTH AND NOSE!!!

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Image by © Bettmann/CORBIS

I miss Dave…

I have, of late, been listening a lot to Paul Desmond’s Feeling Blue compilation album. I couldn’t for the life of me figure out why I didn’t seem to like his playing here as much as his work with the Dave Brubeck Quartet. Then it hit me, the reason that the closing track with Gerry Mulligan stood out was because it had more aural crunch than most of the album, because most of the album is accompanied by Jim Hall on guitar; apparently because Desmond didn’t want to draw comparisons with Brubeck by teaming up with another pianist. And yet I really felt the lack of the piano’s heavier timbre, especially Brubeck’s very chord driven style, to allow Desmond float serenely over a grounding accompaniment.

March 20, 2020

Any Other Business: Part XLVI

As the title suggests, so forth.

Just in the nick of time!

I almost didn’t notice it but the Horror Channel are re-running The Time Tunnel from the very beginning in their Sci-Fi Zone. I for one shall be tuning in at 12pm tomorrow for a triple bill. Irwin Allen’s 1960s shows were re-run in the late 1980s and early 1990s on Channel 4 and Sky One and I have very fond memories of Voyage to the Bottom of the Sea, Land of the Giants, and The Time Tunnel. Having been highly impressed in the last few years by re-runs of The AvengersThe Man From UNCLE, and The Invaders I’ll be interested to see how this stands up. In particular when I was originally watching the show I was totally unaware that Lee Meriwether, who played scientist Dr Ann MacGregor, was Catwoman in the 1966 Batman movie. And if you think a triple-bill on a Saturday afternoon is overdoing it then I merely say you can’t excuse yourself on the basis that you possibly have anything else to do at this particular moment in time.

Who fears to take The Strokes Test?

Back in January Stephen Errity sent me on Evan Rytlewski’s provocative tweet about what he called The Strokes Test: Would people still care about this band if their best album did not exist?  It is meant to knock out The Strokes but it also gravely endangers Nirvana, because of their tragically truncated discography. Pixies survive the test because if you get into an argument over whether Surfer Rosa or Doolittle should go then you are still left with either Surfer Rosa or Dootlittle to place beside Bossa Nova and Trompe le Monde. Talking Heads survive the test in style because if you get into a spat over Fear of Music, Remain in Light, Speaking in Tongues, or Little Creatures as their best album you are still left with three great albums and several more to boot. A similar embarrassment of riches occurs for The Beatles. But, and here’s a nagging thought, what about The Beach Boys? Absent Pet Sounds from their discography and what remains?

And normal service has been resumed…

We are a week into the social distancing shuttering of the country and yet the government won’t admit what we all know – a more perfect lockdown is coming. The universities have abandoned the 2019/20 academic year; it’s over, classes, exams, something something online, don’t bother coming back to campus, have a good summer, see you in the autumn, maybe. The schools patently will be told to stay out until the Easter holidays begin, and then, sure why not take off all of April, and well, you know, May is kind of freewheeling into the end of the year anyway so who really needs it. Yet officially everything is still just on the mother of all pauses until March 29th. Are we supposed to take that seriously? Are we meant to believe all pubs and cinemas, cafes and theatres will re-open on that day and we all breathe a sigh of relief that we shut down that pesky coronavirus good? How does it help to keep the citizens of the country engaged in an idiotic guessing game? When will the actual status red lockdown begin? March 30th? April 1st? What is the point of Leo Varadkar embarrassing himself and us by going on national television on St Patrick’s Day to plagiarise Winston Churchill? You do not become a statesman for our time by appropriating a resonant phrase from a statesman from another state at another time anymore than I would become Dan Rather by ending all these posts with the single word – Courage. Yet Varadkar decided to tell us what we already knew about the coronavirus, fail to elaborate on economic aids for people thrown out of work, and did not announce a lockdown – which one would have thought the only reason for such a state of the nation address. Instead he told us the Emergency was ‘likely’ to continue past March 29th. Good to know.

November 30, 2019

From the Archives: Rescue Dawn

From the pre-Talking Movies archives.

Pilot Dieter Dengler (Christian Bale) is shot down on his first mission over Vietnam. Captured by the Vietcong he plots to escape and find his way home.

Christian Bale adds another impressive characterisation to his resume playing real life Vietnam War POW Dieter Dengler. Rescue Dawn is inspired by events in Dengler’s life previously documented by the legendary (by which I mean famously bat-crazy) German director Werner Herzog in his 1997 documentary Little Dieter Needs to Fly. Bale expertly plays a German who has become an American citizen and whose accent is American, but not quite genuine, and whose mental state could best be described as…peculiar. Herzog, the director of Aguirre, the Wrath of God and Fitzcarraldo is quite at home in this cinematic territory of insane heroes in the jungle and produces his best fictional feature in years. Werner Herzog is after all the man who dragged a boat over a mountain for the making of Fitzcarraldo, about a 19th century rubber baron in Brazil who wanted to build an opera house in the middle of the Amazon.

Herzog brilliantly uses minimal dialogue for the first half hour to tell the story of Dengler’s capture and torture at the hands of the Vietcong thru the medium of pure cinema. He wordlessly conveys the utter terror of the Vietcong whenever an American airplane screams overhead. Herzog achieves a sense of location few Vietnam films have, even Apocalypse Now’s intense feeling for its locale is eclipsed by his extraordinary eye for landscape cinematography which makes the lush jungle almost another character. Bale’s time in the POW camp moves out of this art-house territory towards more mainstream fare, and the film slows down and becomes less distinctive. The men sit and bitch about being prisoners of war, plot escape plans (as all prisoners of war seem to spend most of their time doing, to the detriment of their guards’ nerves) and try to raise morale by fantasising over their favourite meals. Herzog inserts some excellent gags here but never lets you forget that Dengler is a very odd hero figure for these men to rally round.

The relationship between Bale and Steve Zahn as a fellow American prisoner in the small Vietcong camp is highly convincing but Jeremy Davies is endlessly irritating as the only other American POW. Davies has been using the same mannered tics since 1994 and has blighted films from The Million Dollar Hotel to Solaris. His popularity with casting directors continues to mystify. Steve Zahn, by contrast, grasps with both hands the chance to do something more substantial than his usual comedic sidekick roles and delivers a touching portrayal of man worn down by despair and malnutrition. Herzog’s languid pacing in this film, particularly in the second act, may irritate people raised on MTV editing but the majesty of the landscape and the emotional depth he achieves is more than adequate recompense, Rescue Dawn is an offbeat take on a familiar genre, welcome to the extreme as a matter of course.

3/5

October 25, 2019

From the Archives: Nancy Drew

From the pre-Talking Movies archives.

Teenage amateur sleuth Nancy Drew (Emma Roberts) moves to California with her lawyer father Carson (Tate Donovan). She tries to fit in at school but quickly becomes entangled in an old mystery surrounding their rented LA house which was owned by a murdered starlet whose manager is Carson’s new boss.

Nancy Drew is a very old character. She was created in 1930 which makes her eight years older than Superman. And just like Superman she’s an impeccably polite do-gooder who’s considered difficult to pull off in a big budget live action movie in the present climate. By present climate we mean that while Superman has been made to appear sort of lame by recent interpretations of Batman, Nancy has to contend with TV’s tough teenage PI Veronica Mars. Batman is dark, brooding, dangerous and prone to violence. Superman never lies and acts like an overgrown boy scout. Nancy Drew also doesn’t lie, is as nice as pie, and has a very curious non-relationship with her absent boyfriend Ned who is introduced by her as “a really good friend from home” when he pops up here. Veronica Mars played her own father to pull off a spectacular con against the FBI, has a tempestuous on/off relationship with a confirmed bad boy, is vindictive as hell to people who cross her and never stops spewing one-liners and sarcastically narrating her life. See the problem here?

How do you depict Nancy after Veronica? IGNORE VERONICA! Director and co-writer Andrew Fleming has chosen to go for something termed ‘retro-modern’. Don’t even try to fathom what that means, I spent half an hour at it during the film and I think I broke something in my mind-box. Nancy and Carson dress and act like they’re in the 1950s while everyone around them is defiantly 00s. At times the school in LA Nancy moves to feels like it’s the one from Bratz. You suspect that Fleming is doing an awful reprise of The Brady Bunch Movie, setting Nancy up for humiliation after humiliation. Thankfully after a while this temporal confusion ceases to matter. The mystery surrounding the previous owner of the house, a tragic starlet, is actually pretty damn involving and Nancy is smart, dogged, and resourceful in solving it. There are also some very good jokes including two cameos when Nancy wanders onto a film set that are too good to ruin here.

It’s always a joy to see Rocky Horror star Barry Bostwick in anything while Tate Donovan is an effective if underused Carson Drew. Emma Roberts carries this film scarily well for a 16 year old but then her aunt is Julia Roberts. The last half-hour is very gripping, with menacing villains and very showy direction from Fleming, which raises the suspense brilliantly. Perfect fare for the Big Big Movie crowd but if you’re a teenager you should probably be watching Veronica Mars and Batman Begins.

3/5

September 1, 2019

Presenting 1930s Batman

Filed under: Talking Books,Talking Nonsense — Fergal Casey @ 12:47 pm
Tags: ,

I was talking about the parlous state of film criticism with Friedrich Bagel, John Healy, and others when Bagel unleashed this zinger, “Basically there haven’t been any decent films since the first superhero movie came out in 1930 or so”. What if they had been making superhero films in the 1930s with the top stars…  

I hope we can all agree that there is only one man in the 1930s firmament who can play Bruce Wayne/Batman. If you didn’t shout yes, obviously Clark Gable, then pick up your fedora/fur and be on your way out of this fantasia.

 

The Good Guys

Bruce Wayne/Batman – Clark Gable

Commissioner Gordon – Nigel Bruce

Chief O’Hara – Edmond O’Brien

Vicki Vale – Jean Arthur

Zatanna – Joan Crawford

D.A. Harvey Dent – Humphrey Bogart

Talia Head – Merle Oberon

Robin – Mickey Rooney

Batgirl – Judy Garland

 

The Rogue’s Gallery

The Joker – Jimmy Cagney

Harley Quinn – Jean Harlow

Two-Face – Humphrey Bogart

The Riddler – Peter Lorre

The Penguin – Walter Huston

Catwoman – Greta Garbo

Poison Ivy – Maureen O’Hara

 

I see at least six movies

 

The Batman in New York

The Batman Faces Death

The Batman Strikes Back

The Batman Takes Over

A Date with the Batman

Batman’s Brother

February 23, 2019

Any Other Business: Part XXV

What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a blog post proper? Why round them up and turn them into a twenty-fifth pormanteau post on matters of course!

Reruns receiving runaround

I’ve previously lamented the attitude of millenials who veritably trashed a screening of Halloween in the Lighthouse with their stunning contempt for anything dating from before last Tuesday never mind anything dating from before they were born. I had a sudden realisation the other day; perhaps their attitude is born of ignorance in more ways than one – to wit, they were never exposed to anything from the past when they were children. The rise of reality TV has filled acres of airtime with witless trash in the mornings, afternoons, and evenings. (And night too sometimes). Look at the location location location of someone coming to dine in an escape to a new home abroad while flogging antiques on an Alaskan trip from a survivalist farm to the lobster pots. All those hours used to be filled with reruns. That is where as a child I soaked up the culture of the 1950s, 1960s and 1970s: The Phil Silvers Show, The Twilight Zone, Rawhide, Hogan’s Heroes, Star Trek, The Man from UNCLE, The Champions, The Avengers, Land of the Giants, The Prisoner, Voyage to the Bottom of the Sea, Bewitched, Gilligan’s Island, Batman, Get Smart, I Dream of Jeannie, The Munsters, My Favourite Martian, Lost in Space, The Addams Family, The Brady Bunch, Flipper, Mission: Impossible, The Flinstones, The Invaders, The Time Tunnel, Gentle Ben, Thunderbirds, Joe 90, Stingray, Captain Scarlet and the MysteronsThe Fugitive, Dad’s ArmyColumbo, The Incredible Hulk, Happy Days, Fawlty Towers, Some Mothers Do ‘Ave Em, The Two Ronnies, Shoestring, The Fall and Rise of Reginald Perrin, Minder, Benny Hill, Citizen Smith, Three’s Company, The Bionic Woman, Mork and Mindy, Battlestar GalacticaDiff’rent Strokes, Grizzly AdamsThe New Avengers, Doctor Who, Blake’s SevenThe Dukes of Hazzard, The Muppets, Tales of the UnexpectedWonder Woman, and later Hancock’s Half Hour, Steptoe and Son, The Prisoner, The Rockford Files, Whatever Happened to the Likely Lads?, SykesKojak, and Starsky and Hutch. By the contemptible logic of ‘Ugh, I wasn’t born then’ I shouldn’t have bothered watching any of those shows. But those shows informed me to a huge degree: I remained aloof from general hysteria about The X-Files because I saw Mulder and Scully investigating bizarre murders as an American reworking with less suavity and more seriousness of Steed and Mrs Peel investigating bizarre murders. And I don’t think possessing a mite of historical objectivity to avoid passing moments of total hysteria is a bad thing to absorb from TV.

What ho, Clive Exton!

Well knock me down with a feather but I’ve just discovered that Clive Exton more or less decided what I was going to read for a good chunk of the 1990s and I never even knew. It turns out this Exton chappie was not only the scribbler who adapted PG Wodehouse all by his lonesome for all 23 spiffing episodes of Jeeves & Wooster starring Hugh Laurie and Stephen Fry, but before that he also was the main writer for David Suchet’s celebrated Poirot. Blimey! I mean once one knows the connections jump at one, don’t you know? The absurd moments of physical comedy with Hastings, the mischievous poking fun at Poirot’s vanity, above all the double act of the man about town who hasn’t a clue and the fussy man behind him who knows everything. You could almost view some of the funnier episodes of Hastings being a nitwit while Poirot solves everything as a dry run for Exton’s next series. And I lapped up both those shows as they ran simultaneously, without ever noticing it was the same Johnnie behind them both! Well, I mean to say, what? I might as well have taken Exton’s correspondence course on what to read for five years as just plunge in to Christie and Wodehouse as I did.

December 9, 2018

From the Archives: The Prestige

Hugh Jackman is in the news this week just as I find in the distant past before even the pre-Talking Movies archives a review of one of his best films.

Every magic trick has three acts, every film has three acts, and Christopher Nolan has wittily combined the two by playing a three-card trick on the audience. Set in 1890s London The Prestige follows the professional rivalry and very personal enmity that develops between magicians Borden (Christian Bale) and Angier (Hugh Jackman) after Borden is responsible for the death of Angier’s wife (a tragically underused Piper Perabo) in a magic trick gone badly wrong.

Christian Bale brings his usual intensity to the role but as always so completely inhabits his character that, despite the presence of fellow Batman Begins alumni Michael Caine and Nolan, you will not think of his Dark Knight once as you watch his poor cockney try to upstage the aristocratic Jackman. Jackman is surprisingly good playing an equally driven and fairly unpleasant character while in support Michael Caine is reliably solid and the tragically overused (by which I mean she appears in the film) Scarlett Johansson is reliably pouty. Caine is pitted against Bale’s character, which for film critics with a chronic inability to focus makes some scenes look amusingly like an act-off over who has the best cockney accent. It has to be said on balance that Bale manages to out-Caine Sir Michael Caine himself. David Bowie could really have stirred things up on this front but he performs his cameo role as Niklos Tesla in a restrained Serbian accent.

The extreme lengths the magicians Borden and Angier are willing to go to in order to sabotage each other will make you wince and are genuinely shocking, one image at least should haunt you for weeks. But, as with all Christopher Nolan films, it is the telling of the tale and not the compelling tale itself that makes the film extraordinary. Narrated by both Borden and Angier the film is a Chinese box of narrative tricks. Christopher Nolan and his brother and screenwriting partner Jonathan Nolan are after all responsible for the intricately structured Memento, one of the defining films of the decade, as well as the frighteningly intelligent blockbuster Batman Begins.

M Night Shyamalan’s biggest success had one twist at the end that took people’s breath away. There are at least four twists scattered throughout The Prestige which will make you feel as if you’ve been punched in the stomach so completely do they reorder your understanding of what you’ve already seen. Which makes it damnably hard to write about without ruining the joy of its structure. When this film ends you will feel cheated. In a way that’s part of the trick. The real fun comes over the next day and a half when you realise ‘oh that’s what that scene meant’ and ‘so that’s why he said that’. While you’re waiting for The Dark Knight go see The Prestige and be the victim of masterful cinematic sleight-of-hand.

4/5

July 29, 2018

Notes on Mission: Impossible – Fallout

Mission: Impossible – Fallout is the only possible choice for movie of the week. Here are some notes on’t, prepared for Dublin City FM’s Sunday Breakfast with Patrick Doyle early this morning.

Mission: Impossible – Fallout is a more serious film than its two immediate predecessors. There are far fewer jokes, and even the colour palatte is grimmer: Berlin, Paris, London, and snowy Kashmir. No jaunts to Dubai or Morroco here. Instead we have a film that marks 10 years since The Dark Knight with a very Batman/Joker dynamic between Cruise’s Ethan Hunt and the diabolical mastermind he refused to kill, Sean Harris’ Solomon Lane. Just like Batman and the Joker, Hunt’s refusal to take one life may result in many more lives being lost; where is the morality in that? There’s even an elaborately planned assault on a prisoner transfer as Lorne Balfe’s score knowingly dives into the Zimmer Bat-soundscape of ostinato synthesiser and strings.

July 20, 2018

From the Archives: The Dark Knight

On this day ten years ago I saw The Dark Knight on the biggest IMAX screen in the world. Yeah…

“Where do we begin?” The Dark Knight is a sequel that expands upon and darkens an existing cinematic universe so successfully and unsettlingly that it ranks far above what one would think of as the obvious reference point The Empire Strikes Back and instead starts advancing menacingly towards The Godfather: Part II…

Director Christopher Nolan and his screenwriter brother Jonathan are very clever, as evidenced by their last collaboration The Prestige, and see greatness where others do not, as evidenced by reading the original novel of The Prestige. In The Dark Knight they have constructed a story that takes the mythology of the DC comic books and turns it into both high tragedy and violent mayhem.

Christian Bale is superb as Bruce Wayne who is quickly becoming a physical and emotional wreck after one year of being the Batman. What was intended as a short-term project to clean up corruption looks to be nearing its end with a final audacious swoop on the mob’s money-men. Bruce’s only chance of a normal life is slipping away though as his sweetheart Rachel Dawes (Maggie Gyllenhaal at her most winning), tired of waiting for Bruce, is dating the idealistic new District Attorney Harvey Dent (a wonderfully charismatic Aaron Eckhart who also communicates an underlying instability that could lead Harvey to places of great moral darkness). Bruce can only compete against Dent for Rachel if he can trust Dent enough to retire Batman and leave the crime-fighting to the legitimate forces of Lt. Gordon (Gary Oldman) and his Major Crimes Unit. However such plans are wrecked when the mob in their desperation at Batman’s success decide to fight back by hiring, in the Don Sal Maroni’s own words, “a two bit whack-job in a cheap purple suit and make up”…The Joker.

Heath Ledger’s Joker, physical and unhinged – licking his lips like a snake sensing its prey, blows away the inert Jack Nicholson performance and retires the role for a generation if not all time. Oscars don’t go to films like this but Ledger’s performance here is worthy of consideration. His Joker is blackly hilarious and utterly terrifying, usually at the same time, and even his musical theme is chilling. The Nolan brothers cross many lines in depicting his psychopathic unpredictability. One of the taglines for this film was “Welcome to a world without rules”. Batman cannot understand Joker.  Carmine Falcone wanted power, Scarecrow wanted money, Ras Al’Ghul wanted order, The Joker? –  “I’m an agent of chaos”… His escalating mind games in the film move from straight crime with a superbly staged opening heist against a Mob bank, to terrorist attacks, to sick mass murder and beyond…

The Dark Knight is fiercely intelligent, ingeniously structured (to reveal plot details would be a sin) and gives memorable lines and moments to each member of a large ensemble, while the twisted bond between Batman and Joker that exists in the comics finally receives a cinematic depiction. This is all incredibly realistic looking with 60% of the film shot on location and if seen on an Imax screen, as Christopher Nolan indeed shot it especially for, Gotham becomes a character in its own right with its cityscape lovingly captured in vertiginous shots. Written, played and directed with supreme assuredness this is one of the most gut-wrenchingly suspenseful films of the year that looks to 1970s crime thrillers like Serpico rather than superhero films for its modus operandi with its theme of police corruption. Indeed this is unlike any previous Bat-sequel, as can be seen by the difference between the grisly Two-Face in this film compared to previous camp interpretations, and is even tonally different in many ways to Batman Begins. Wanted may be the most fun blockbuster this summer but the Bat has captured the classy end of the spectrum with a film that combines meaty drama with explosive action.

You need to see The Dark Knight. Repeatedly…

5/5

March 27, 2018

Mike Pence, like Batman, only has one rule

VP Mike Pence has been having, it’s fair to say, a hell of a time… If he goes to a Broadway musical he gets heckled, from the stage. If he goes to a football game the anthem gets disrespected, from the field. If he goes to the Winter Olympics he gets insulted, by the American athletes. But the death of Rev. Billy Graham, famous for his rule, has seen indiscreet whispers that Pence has suffered ordeals worse still emulating Graham, as Friedrich Bagel now reveals.

July 6, 2017. REUTERS/Mike Brown – RTX3ADUJ

Mike Pence was kidnapped by the President of Mexico. The Mexicans kept him prisoner and tortured him by forcing him to have dinner nightly with a woman who was not his wife, thus forcing him to break the Mike Pence rule. They also referred to him as Miguel Peso.

 

 

In Mike Pence’s office all female secretaries and officials have to wear a Ruth Pence face mask, but at one point the mask slipped and Mike had to abseil out of a White House window.

 

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Mike was on board Air Force One when he realized that there were no crew present and the pilot’s announcements had revealed her to be a woman. He immediately parachuted out of the airplane but unfortunately landed in a nunnery.

 

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Ruth Pence got a new haircut and makeover which rendered her unrecognizable. She entered the Pence household and Mike had her escorted from the premises by the female security detachment, who were all wearing the Ruth Pence Prime outfits.

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