Friday, June 23, 2017


The Reel Infatuation Blogathon is an event devoted to favorite movie characters, hosted by Silver Screenings and Font and Frock. For a complete list of participating bloggers, visit the links at either site.

from my VHS collection

Larry wasn't born with the brains God gave a duck but he was my brother and he shouldna oughta died like that: shot, left in the snow in the middle o' the night. I told him to stay on 71 when he called me: "Stay on 71," I says, "that'll take ya to I-94 and I-94'll take ya to Minneapolis." Don't know how he ended up in Brainerd, but that's Larry for ya - and all on account o' him and his girlfriend needin' to go to that damfool Three Stooges film festival.

I went to Brainerd to... you know, identify the bodies and all. Long drive from Billings.

I got there and went to the police station and that's where I met Sheriff Marge Gunderson.

Monday, June 19, 2017

The pros and cons of post-credit scenes

The Avengers post-credit scene ended the movie on a laugh.
When I saw Wonder Woman, I anticipated a post-credit scene. I stood against the back wall of the Movieworld auditorium, watching the audience slowly file out, as the long, detailed list of names rolled on the screen. A staffer discreetly cleaned up with a broom. A part of me felt slightly ridiculous. I never stick around for the credits (if I'm by myself, anyway), because I'm usually too eager to go to the bathroom.

These days, however, audiences for superhero movies have come to expect some sort of Easter egg scene tacked on to the very end of the film, long after the last production company logo unspools. (In industry lingo, they're called "stingers." They predate the superhero movies by quite a margin.) They usually come in two flavors: a light-hearted, jokey moment, or a tease for the next movie. Are they necessary? No; they're usually a little something extra for the fans, a way of saying "thanks for watching." Could it be, though, that they're drawing more attention than necessary?

Josh Brolin's uber-baddie Thanos has been teased after the
Avengers movies for awhile.
Guardians of the Galaxy Vol. 2 had FIVE post-credit scenes - or more accurately, closing credit scenes. They were interspersed throughout the credit roll. Two of them, arguably three, were teasers for the next movie. In and of themselves, they were funny and intriguing, but I feel like this is a sure sign of success going to the filmmakers' heads. It's self-indulgent.

When Marvel Studios did it with the first wave of Avengers movies, they bonded the films and built up anticipation for the Avengers movie, when we'd finally see all these characters together in one film. Could they have been integrated into the bodies of their respective films? Probably. Would they have generated the same amount of attention? Debatable.

That's what these scenes are about, at the heart of it all: buzz; generating hype for what's to come - because we know there will be more shared-universe superhero movies, from Marvel and WB (parent company of DC Comics), at any rate. It's like they're the US and the Soviet Union, engaged in an ever-escalating nuclear arms race, only the end result here is more like Mutually Assured Box Office.

Some scenes, like the one after X-Men: Apocalypse, can
leave non-TruFans® baffled with their vagueness.
The whole thing almost makes me wish all these superheroes were in the public domain, so we could get interpretations of these characters that weren't shackled to the shared-universe concept. (I know the prospect excited me at first, but that was before I realized what it would lead to.) In the comics, they publish alternate-universe stories, reinterpreting the heroes in different times and places. Imagine if the same were done for the movies: a Superman inspired by the "World of Tomorrow" future of the 1939 World's Fair. A Batman set during the Revolutionary War. A Marvel Universe set in the time of Queen Elizabeth. But perhaps we're not ready for that yet.

Getting back to the post-credit scenes. I hear you complaining: "If you don't like them, don't watch them!" What can I say? If I lived without the Internet, maybe I would. If it were possible to avoid any and all discussion of them, on- and off-line, from now until the end of time, I might do that. The fanboy mentality, however, has infected moviegoers, and like zombies looking for some brains to munch on, we notice and discuss the minutiae of genre movies, especially things like post-credit scenes. I think the jury's still out deciding whether or not this is a good thing.

The Movieworld staffer saw me and said there was no such scene after Wonder Woman. I thanked him and left. Its absence didn't bother me. Who knows? Maybe it's the sign of a counter-trend.

Are opening credits becoming uncool?
The main title work of Saul Bass

Monday, June 12, 2017

Books: Tracy and Hepburn

The 2017 Summer Reading Classic Film Book Challenge is an event in which the goal is to read and write about a variety of books related to classic film, hosted by Out of the Past. For a complete list of the rules, visit the website.

The unique professional and personal relationship of Spencer Tracy and Katharine Hepburn lasted a quarter century. Though they never married, they were a couple in almost every way that counts; a true meeting of the minds who brought out the best in each other, as actors and as people. One who knew them intimately was writer Garson Kanin. In 1970, he shared his memories of the celebrated duo of Hollywood and Broadway in his book Tracy and Hepburn.

I bought this at a used book sale at Symphony Space in Manhattan last fall, when I went there to see For the Love of Spock. This was my first Kanin book. You'll recall I also wrote about his novel Moviola months ago, in which I said I wasn't impressed with his writing style, though I liked the story. Style is less of an issue here. Kanin takes a non-linear approach, sharing anecdotes about his friends as they come. I found this an easier read by comparison. Changing tenses and shifting points-of-view were non-issues here.

Kanin and his wife, actress-screenwriter Ruth Gordon, were the Fred & Ethel to Tracy & Hepburn's Lucy & Ricky. We know the former as writers for the Tracy & Hepburn movie Adam's Rib, as well as for a number of films and plays. Off screen and off stage, the four of them were close companions, intellectual and cultural aesthetes who split time between the east coast, the west coast and Europe when they weren't working. T&H is as much about their friendship as it is about the actors' lives and careers.

With Hepburn, we discover her cultivated eccentricities, her exceeding generosity and her formidable sense of will. We also learn the extent of her influence behind the camera. If she had wanted to, and if she had been given the opportunity, she could have been a director, as well as a producer and even a writer. As for Tracy, his health issues are discussed, as well as his rep among others in Hollywood, his theater experiences, and his own peculiarities.

Kanin drops a ton of names in T&H, a number of which are from the early 20th century theater and film worlds. He writes as if you're already familiar with them. I have a tendency to take my audience for granted too, so I probably shouldn't complain, but a little context here and there wouldn't have hurt. Kanin comes across as a rugged individualist intolerant of ignorance, not unlike his subjects, and his wife. By his admission, there have been moments where he took a joke too far with his friends and paid the price for it. We see this aspect of their relationship in T&H also.

L-R: Tracy, Gordon, Kanin, Hepburn
Tracy & Hepburn were far from perfect. Hepburn's strident nature occasionally comes across as bullying, and Tracy rarely discusses his other life with his children and his wife Louise Treadwell, whom he never divorced.

T&H is a totally subjective book; we see the duo through Kanin's eyes. A more objective biography might be more rounded, but Kanin makes it clear at the outset this is not that book. That's okay. For what it is, it's a rare and valuable portrait of two of Hollywood's finest.

Also by Garson Kanin:

Ann Blyth: Actress Singer Star

Thursday, June 8, 2017

Wonder Woman

Wonder Woman
seen @ Movieworld, Douglaston, Queens NY


So Warner Bros. finally stopped dicking around and gave us a Wonder Woman movie (mostly) worthy of her status within the DC Comics pantheon, and the wider pop culture at large. For years, DC kept selling us the idea of Wondy being one of superhero comics' Big Three, along with Big Blue and Long Ears. WB, the parent company, tended to stick with making movies with just the other two, however. With bombs like Supergirl, Catwoman, Green Lantern and Suicide Squad on their resume, you almost can't blame them. Almost.

Kudos, therefore, to WB for simply getting this movie made. They gave it to a woman director, also a good move. Patty Jenkins might be best known for Monster, the film that got Charlize Theron the Oscar. Jenkins had been lingering in TV since, until this one. Although producer Zack Snyder's fingerprints are detectable, she did a real good job overall.

Gal Gadot has the goods. I didn't expect her to put on an accent (Greek? I suppose). That took some getting used to, but it was no big deal (unless that's her real accent; I dunno). Kinda embarrassed I didn't recognize Captain Kirk at first, but it was nice to see him in another franchise.

All this said, I have a problem with the ending, which is a shame, because I was with this movie until that point. If you don't wanna be spoiled, go no further.

Thursday, June 1, 2017

Wonder links

I've noticed something about classic film bloggers lately. Blogathons have gotten so popular, some bloggers go from one to the next, with no other type of post in between. It's a tribute to the ubiquity of the meme that this is totally possible. When I began WSW, I was convinced I had to blog all the time in order to establish a presence. I think if I were to start out now, knowing what I do about blogging, I might stick to blogathons too, at least at first. Eventually, though, there would come moments like this, where I wanna blab about other stuff.

Last month, Sandi and I went to a local production of Raisin, the musical version of A Raisin in the Sun. It was put on by the Astoria Performing Arts Center, which I admit I wasn't aware of before. Raisin is basically the Lorraine Hansberry script with songs added. They're very good songs. All the principal characters get them, both solo and in groups. As I told Sandi afterwards, whoever plays Walter Lee will have to contend with the memory of Sidney Poitier, a heavy weight to bear. Warren Nolan Jr. didn't have his physical energy, but he was good. He had a superb singing voice.

Comings and goings: Bibi & Eric came into town over Memorial Day weekend and we went down to Coney Island. It was their first time there. We rode the Wonder Wheel and the Tilt-a-Whirl, but they balked at the more daring rides. Pity. We ate at a Ukrainian restaurant, where the matronly waitress told us all about the food and tried to teach us a few Ukrainian words. 

Also, a couple of weeks earlier, John & Sue threw a going-away party on the occasion of their impending departure from New York. After too many years at a job that drove him nuts, John's gonna pursue writing on more of a full-time basis. They're only going upstate. Still, I feel like an era is ending. John's my oldest friend. Knowing he was always around was comforting. As for Sue, I've grown to deeply appreciate her as a friend and the perfect companion for John. I can't imagine anyone else putting up with him on a daily basis!

Behold the trailer for Star Trek: Discovery. It certainly looks more cinematic than its predecessors. I'm thrilled to see Michelle Yeoh in Star Trek, but one has to remember she's not the star here. That would be Sonequa Martin-Green. Her Cmdr. Rainsford does look like she's gonna undergo a kind of trial by fire, with the Klingons as the forge. Judging from their look, as well as the look of the uniforms and sets, I'm convinced this is the alternate timeline, which is not what we were initially led to believe. Sigh. Well, I'll be there for the premiere, if they ever manage to finish this bloody show. It's been delayed at least twice! (By the way, check out the trailer for Seth MacFarlane's live-action Trek-like series - on free TV!)

It's been a light year for new releases around here so far. I expect that to change somewhat this summer. After debating whether or not to return to the long underwear scene, I decided I gotta see Wonder Woman simply because it's a movie that's shamefully overdue. Plus, it's not directed by Zack Snyder. The new Apes movie is a given, and holy guacamole, Christopher Nolan doing the battle of Dunkirk? Sign me up. Also, outdoor movies - assuming the weather warms up enough for them - may be thin this year because there are so many screenings of films from the last year or two. We'll see.

Your links this month:

Aurora offers a guest post from someone who has a slightly dissenting opinion on Feud.

Paddy reviews a book about a pre-code actor and interviews the author.

Ivan, like, totally grooves on the 80s Sarah Jessica Parker series Square Pegs.

Kristina falls under the spell of Boris Karloff's Invisible Ray.

Pam plays with some shockingly age-inappropriate Alien toys.

Angela on Feud.

This review of Feud provides more of a historical perspective.

When the late Jonathan Demme was still an actor, he appeared in schlock like this.

Now it can be seen: lost footage of the Beatles filming Help!.

In appreciation of Joan Crawford, the Thespian.

No, seriously, WTF were they thinking in trying to remake Dirty Dancing?

Friday, May 26, 2017

More NYC theaters facing the wrecking ball

...Landmark — which opened in 2001 in the 1898 building that had been a Yiddish vaudeville house — struggled to keep up with rising rents and hoped to reinvent itself a few years back as a dining destination like Williamsburg’s Nitehawk Cinema. Locals, however, fought those plans, with Community Board 3 rejecting the theater’s liquor license application.The art house theater's lease ends January 2018, and it will likely be pushed out, though, Pagoda said he'd be open to negotiating with Landmark.
I've been writing way too much lately about movie theaters in the New York metropolitan area dying off. When they are replaced, they're usually pricey Alamo Drafthouse-style luxury joints in Manhattan (and occasionally Brooklyn). I'm thinking of possibly putting together a guide evaluating the best first-run theaters in the other four boroughs (maybe beyond) and where they are, while we still have them. For now, here's the last rites for the latest batch:

- Landmark Sunshine. While it's a good theater, it's on Houston Street, which is well-serviced by the Angelika and the Film Forum, not to mention the IFC Center a few blocks north on Sixth Avenue, and even some newer venues across the river in Williamsburg, almost all of them catering to the same indy crowd. Sunshine had a decent run, given that heavy competition, but I tend to think this won't be a great loss. Moviegoers on the Lower East Side are still spoilt for choice.
What I saw there127 HoursThe RoomThe Contender

RKO Keith's
- RKO Keith's. I recently had a nice Twitter conversation about the Keith's with Debbie from Moon in Gemini. Turns out she's from Flushing, though she doesn't live in NYC anymore. It's hard to believe such a primo piece of real estate, in a busy part of Queens, has lain fallow for over thirty years (!), but now they got somebody who wants to turn it into condos. Yay. From the looks of the design, it'll be the tallest building east of CitiField. Can't say I care for the way this will change the character of the neighborhood, but then, my Flushing vanished with the Keith's.
What I saw thereRocky IV

- Brooklyn Heights Cinema. Never made it there. As I recall, it was a fairly small venue. It would've benefited greatly from the sprucing up of the surrounding area.

- Pavilion Theater. If Nitehawk Cinemas is indeed expanding south from Williamsburg to Park Slope, that will be the best thing to happen to this perpetually shat-upon theater. I never felt bedbugs in any of the times I went there, though there's no denying it had (has?) a run-down feeling about it. The last time I was there, a few years ago, they were in the middle of some renovations. This is an area starving for a quality theater. The Brooklyn Academy of Music is great for the art-house crowd, but there should be a place for the blockbusters east of Court Street. If only the renovated Kings Theater showed movies.
What I saw thereSin CityPreciousThe Lost World

Center Cinemas
- Sunnyside Center Cinemas. Never liked this place much. The seats were tiny, the d├ęcor threadbare. It was in a great location, however: right under the 7 train in a growing neighborhood. Its sister theater in Kew Gardens Hills (not to be confused with Kew Gardens) is still hanging in there, perhaps because it's in a part of town in no danger of gentrifying anytime soon. With a little love and investment, this could've been another Cinemart. Sunnysiders probably schlep to the UA Kaufman in Astoria now.
What I saw thereThe TownDriveThe Hunger Games

- Ridgewood Theater. Before my time. I don't go to this part of town often. I imagine if you live in Ridgewood, you have to go all the way to Williamsburg for a movie.

Maybe this only amounts to changing deck chairs on the Titanic - Netflix, VOD and streaming video are as popular as ever - but I still believe in the communal experience that comes from seeing movies in theaters. I'm not ready to let that go yet.

What if more theaters were non-profit?
To save the drive-in, you must destroy it
My dream movie theater

Wednesday, May 24, 2017

Five movies about musicians who died young

I hope you don't mind; I gotta talk about Chris Cornell for a minute. When I think of Soundgarden, I think of John, who first introduced me to them (though I do remember hearing them on the radio in the early 90s). He's always two or three steps ahead of me musically. He was the one who first told me "Smells Like Teen Spirit" wasn't some Weird Al-like novelty song. John believed SG was the real deal. I figured he was probably right.

The first SG album I bought was Badmotorfinger, on cassette. I had initially thought the "grunge" sound was something akin to metal. Indeed, SG used to get played on MTV's Headbangers Ball. I'm still not sure what exactly defines grunge musically other than being from Seattle. Ultimately the labels don't matter. As far as SG was concerned, I was hooked right away.

Superunknown came out in 1994. Hearing the apocalyptic "Black Hole Sun" puts me in mind of the sleepaway camp I worked at in the blissful, glorious summer of '95: A-frames, canoeing in the river, hot chocolate on those cold nights in the Adirondack mountains of Massachusetts. I remember organizing a "band" of 10-year-old campers to lip-sync to "Outshined" (a cut from Badmotorfinger) on talent night. I wore a wig of fake dreadlocks as I "sang" lead.

Audioslave was a better fusion between Chris and Rage Against the Machine than I could've imagined. As for his solo stuff, it wasn't as intense, but I liked most of it, the highlights including the James Bond song "You Know My Name" from Casino Royale, and a dirge-like cover of Michael Jackson's "Billie Jean" that's almost as good as the original.

When I was much younger, the whole rock-star-dying-young concept had more... I don't wanna use the word "glamour," but it's true, in a way. Yeah, it sucks that they're dead and all, I had thought, but that made them larger than life. It added to their legend and made their music immortal. I don't think that way anymore. Chris' death was a suicide, just like his Northwest contemporary Kurt Cobain, just like way too many rock superstars over the years.

Maybe rock has lost its standing in American pop culture. Maybe it's only for old fogeys like me. God knows I hardly ever hear it anywhere near as much on the radio anymore. All I know is another of my favorite singers is dead before his time, by his own hand, and it doesn't feel cool or glamorous.

The movies have given us a number of biographies of musicians who died young. Not all of the deaths in the following examples were by suicide, but they were as shocking at the time. These films are how we remember them.

- La Bamba. The day the music died, it took Buddy Holly and the Big Bopper along with Latino guitarist Ritchie Valens in that fateful 1959 plane crash. He was a mere babe at 17! I was in eighth grade when this movie came out. The Los Lobos soundtrack was all the rage, and even if I didn't understand the words to the title track, it still rocked. Lou Diamond Phillips personified Valens perfectly, and that ending... Omigod, that ending.

- Lady Sings the Blues. Cirrhosis of the liver took the life of jazz legend Billie Holiday at 44, a life defined as much by drugs and drink as by her distinctive voice. In 1972, Diana Ross gave an Oscar-nominated performance as Lady Day in this biopic. If IMDB is to be believed, co-star Richard Pryor coached her in how to act like a drug user. I guess she couldn't have asked for a better teacher...

- Beyond the Sea. Multiple-genre crooner (and Oscar-winning actor!) Bobby Darin died of a heart condition at 37. He was portrayed by Kevin Spacey in this recent biopic. I didn't see it, but Pam did. In fact, she's a really big fan...

- Sid and Nancy. One hesitates to put the Sex Pistols' bassist in the category of "musician," but there's no doubt he contributed to the punk movement of the 70s before his death of a drug overdose at the age of 21. Truly, one of Gary Oldman's finest moments in film was as Sid in a biopic that was equal parts tragic, comedic, and just plain surreal.

- Amy. The latest member of the infamous "27 club," contemporary jazz/blues singer Amy Winehouse, was the subject of this recent Oscar-winning documentary. I've discovered more of her music through Pandora. She could've easily been one more pop diva, but she followed another path, one which gave her a much more individual sound. Like Holiday, however, Winehouse battled with inner demons before drinking herself to death, in 2011.

I've probably depressed you big time. Sorry. Here, listen to some Puffy AmiYumi. You'll feel a million times better, I guarantee it.

Superstar: The Karen Carpenter Story