Friday, November 7, 2014

Interstellar

Interstellar
seen @ Bow Tie Cinemas Ziegfeld Theater, New York, NY
11.6.14

Is film - the physical medium - dead? Hollywood studios have endorsed digital photography as the cheaper way to go, and movie theaters have been forced to compensate by installing digital projectors, at great expense for some. A small-but-growing number of filmmakers, however, have asserted that they have every intention of keeping celluloid alive for as long as they can. Many of them have gone on the record about this, and the reasons why have been discussed in detail.

Earlier this year, filmmaker Quentin Tarantino took over as programming head of the LA theater he owns, the New Beverly, and he has made it crystal clear that he's going to make every effort to preserve 35mm film there, for both old and new releases. Recent films such as The Master, Django Unchained, Lincoln, and Beasts of the Southern Wild were all shot on celluloid, by directors, old and new, with a strong preference for the medium. And preservation of older films is a cause that has grown in support in recent years thanks to directors like Martin Scorsese.

Wednesday, November 5, 2014

The Running Man

The Running Man
seen on TV @ IFC
11.4.14

Over four years of doing this blog and I have yet to talk about Arnold Schwarzenegger? This must not stand!

Arnie was one of my cinematic heroes growing up, especially once I got cable and I could see his earlier films as well as his more recent ones. Lots of film writers have talked about the action movie stars of the 80s and 90s and how they reflected the attitude of America at large, especially under Ronald Reagan and George Bush the Elder. How ironic, then, that perhaps the biggest action movie star of all was a foreigner, a former bodybuilding champ who didn't have to do much more than flex his muscles and punch out the bad guys - at least in the beginning.

And America accepted him, in a tremendous way. Back then, we wanted our movie heroes to be larger than life, in a way we rarely, if ever, see anymore. Arnie and Sly and Chuck and Steven and JCVD and Bruce and Dolph - these were guys who took no shit and kicked all kinds of ass, and the characters they played and the settings they were in didn't matter much, as long as we got to see them do what they did best. In that sense, they were not unlike the silent movie heroes of days long gone by. People responded to the personas they generated over the course of their filmographies, which tended to carry over from one film to the next.


Arnie was the muscle-bound, strong-but-silent type, the grim badass who was deadly with a machine gun or a sword or his bare hands, whether fighting powerful wizards or alien assassins, as a good guy or a bad guy, and I loved it as much as everyone else did. Chalk it up to boyhood power fantasies if you like, although as I said, I didn't come to really appreciate Arnie until I got cable in the mid-80s and I could see movies like Conan the Barbarian and Commando and Predator. (I'm fairly sure I had already seen The Terminator by then. Not sure, though.)


The Running Man was an odd duck in the sense that he's supposed to be a "regular guy," with a "regular" name like "Ben Richards," despite the fact that he talks with a foreign accent and has bulging biceps! In his other films, his physique could be explained as part of his character as a soldier, or a savage warrior from an age undreamt of, or an artificial intelligence from the future. But it didn't matter! We still accepted him in this role because he's still a badass doing badass things. It's as if he became an American in the movies before he became an American for real.

And as an American in the movies, he had more of a swagger, more of an attitude as a result. Here we see him tossing off more one-liners and silly puns as he disposes of his adversaries, in addition to his by-now trademark catch-phrase, "I'll be back." (All good action heroes need one!) And indeed, by this point he's much more comfortable, much more relaxed as a movie star, and it shows. 


He was ready for the next phase of his career, where he could portray more complicated characters, relatively speaking (Total Recall, True Lies) and take baby steps into comedy (Twins, Junior) and self-parody (Last Action Hero). He could even return to his signature character, the Terminator, and put a spin on it that retains the spirit but also provides a great re-interpretation. All told, from 1982-94, he had a phenomenal run of films unmatched by any other action movie star.


But of course, it wasn't all wine and roses. We suspect now that Arnie may have been a little too friendly with the women sometimes. His marriage to Maria Shriver wasn't as happy as it could have been. And he had his share of controversy as governor of California. It's always a hard thing when you discover your idols have feet of clay. Even today, I still see him, to a degree, as he was during his peak as a movie star, and it's hard for me to accept that he might not have been a good guy. I bought into the myth of Arnie, manufactured through the movies, and I want to accept that. Ultimately, Arnie's story is the kind that could've only been made in America.

So why haven't I seen any of his post-governorship movies? I suspect the answer has less to do with Arnie specifically than with the action movie genre in general. I accept that Arnie and Sly and Bruce and all the rest have gotten older. But action movies today aren't like they were thirty years ago. For one thing, Arnie didn't need a cape and a mask to be a superhero; he already was one! More importantly, though, there was a rougher, anything-goes spirit that's missing from today's more sanitized, PG-13 movies. Also, they don't feel as special anymore - at least not the American ones. In this, as in many other things, it would appear that foreign countries are better at doing what we were once the best at.


Watching The Running Man once again made me think of reality TV and how wacky it's gotten. (It's set in 2017 - only three years away!) Recently, I saw my mother watching one of those shows - I think it was Survivor, not sure - where the contestants have to survive in what looked like some jungle environment, but the real kicker was this: they were naked. Naturally, the naughty bits were blurred or pixelated, so looking at it didn't have quite the prurient appeal it might have had under other circumstances, but this does seem like the kind of TV show one would find in the future dystopias of films like The Running Man or Robocop or what have you. So I guess the future is here. Yay?

Tuesday, November 4, 2014

Interview With the Vampire

Interview With the Vampire: The Vampire Chronicles
last seen on TV @ BBC America
10.31.14

My Anne Rice story is much less exciting than I sometimes make it out to be. For awhile, whenever I would tell it, I'd embellish it, try to make it a bit more epic-sounding, but the subsequent years - not to mention the change in the way I think about Rice - have altered my perspective on it. Anyway, here it is; you can judge its epic-ness or lack thereof for yourself.

It goes without saying, perhaps, that for many years I was a huge Anne Rice fan. I think I first became one in college. I don't recall exactly when I first read Interview With the Vampire, but obviously, I liked it enough to continue reading not just the other vampire books, but her other stuff as well, including the Mayfair Witch books, which I think are better than the vampire books (still hoping someone, someday, will make a film out of The Witching Hour), her other supernatural books like The Mummy and Servant of the Bones, and even her non-supernatural books like The Feast of All Saints and Cry to Heaven. (I drew the line at the S&M books, though.) 



This was back when Rice was HUGE. I have a distinct memory of reading The Vampire Lestat on the subway and seeing this dude on a subway platform give me the thumbs up outside the window. He held up three fingers and pointed to himself, which I guess was supposed to mean that he'd read the first three vampire books in the series. He was pretty psyched about it! 

I also remember leaving my copy of Interview on a Greyhound bus by accident and buying another copy, but it was a later printing than my initial copy, which was from the same print run as Lestat and Queen of the Damned, so now the books don't match up anymore. That kinda bugs me a little, still, after all this time. Wish it didn't.



I have another memory of reading The Witching Hour around the time I met a girl in college who claimed to be a Wiccan (as was her mom too!), although she was more on the New Age, rocks-and-crystals end of the spectrum. Still, it was my first experience with such things, and though I liked her a lot, I was still... trepidatious about the whole thing at first, as a result of reading Rice's book at the same time.

So. Late 90s, me working at the video store on Third Avenue. Rice just came out with a new vampire book and she was doing a signing at a tiny little bookstore in the West Village - which, in itself, is noteworthy. An author of her caliber could've easily gone the B&N/Borders route, but she chose to support this independent book shop instead. That means a lot, especially these days. The signing was at five PM and I was working until ten that night. What to do, what to do?



I decided to take my lunch hour at five and scramble down to the Village. I told my co-worker to cover for me in case I make it back late, which was a distinct possibility. I grabbed my copies of Interview, Lestat and Hour and hopped on a downtown bus. I arrived about a half hour or so later. I'd never been to this particular bookstore before; it was a little out of the way from where I was and I had to search for it.

When I got there... the line was out the door, down the block and around the corner. So much for getting back to work on time! But I just said the hell with it: there were enough people at the video store that they didn't need me that badly, and besides, I was desperate to meet Rice. So I joined the queue and waited. And waited. Finally, I was inside the small bookstore but still on line, and I could just barely make Rice out from behind a table and a crowd of people.



But then the other shoe dropped. I found out that she was only signing copies of her new book which one had to buy in the store! I dragged all my other books with me for nothing! (For the record, the book was Pandora, a shorter tale of one of the minor vampire characters. Not terribly memorable at all.) And while I had enough money to buy the book, it would clean me out for the rest of the night. So what could I do? I bought it. As I recall, this was the store's policy, not Rice's, and looking back on it now, I can't say I blame them for insisting on this, especially since they were an indy book shop, but at the time, I was just pissed.

Rice has lost weight since. At the time, she was... somewhat large. I knew this, having seen her face in magazine interviews. Her Louise Brooks hair was still black, although strands of gray were showing. And of course, she was dressed in her signature black Gothic attire. I wish I had thought of something clever to say to her. I ended up not saying much other than the standard "Big fan, thanks a lot" spiel. So after all the trouble I went through to meet my favorite author, all I have to show for it is her signature (not even personalized!) in a book of hers I don't even read anymore, and this story.Told you not to expect much!



So time went by and my tastes changed, and one day I broke out Interview again and discovered that the bloom was off the rose. I didn't like it as much anymore. For one thing - and this is also true of the movie, of which Rice wrote her own screenplay - it's REALLY talky. The action, such as it is, is sporadic and abbreviated, and while it plays out slightly better on the screen, in the book it kinda bores me now. 

It's not like all the talk is indulgent. A lot of it deals with Louis trying to find the answers to not just the origins of vampires, but the Big Questions in life as well, and one would think that this sort of thing would appeal to me - and it does. But Lestat kinda has a point; after awhile, Louis does come across as sounding whiny! Maybe I started losing interest in Rice's books because of this.



Still, it must be said that Rice's vampires are far, far, far more interesting, with more depth and complexity, than the ones that have captured the imagination of the current generation, and I think you and I both know which ones in particular I'm referring to here. I dunno, it seems like vamps never quite go out of style. All the attempts to re-create them for modern audiences seems to speak to the power the mythos continues to hold on us. I'm not saying that Rice got it "right," but I think her combination of existential angst, Gothic imagery, violence and sex has a certain raw, primal power that people have, and continue to, respond to.

As for the movie itself, well, I remember the controversy over Tom Cruise being cast as Lestat and how Rice got turned around on him after seeing him in the role, though honestly, it's nothing more than Cruise being Cruise, and only for a fraction of the film. It's Brad Pitt's movie, and he carries it well. For the longest time, I considered Claudia to be Kirsten Dunst's best role, even after she grew up. I haven't seen Melancholia, so I don't know if that's still true, but she deserves so much credit for taking on such a difficult role for a child actress - essentially being an adult in a child's body - and making it work. 



I think the movie as a whole still holds up, talkiness and all, though I suspect if it were made today - and it looks like it will be pretty soon - it would look very different, given everything that's come afterwards, from Buffy to Blade to Underworld to True Blood and yes, to Twilight. I guess we'll find out in a matter of years, won't we?

And for the millionth time... it's "Interview With THE Vampire," people, not "A Vampire." Why do so many people get that wrong? Pisses me off!


Monday, November 3, 2014

Hungry links

Good news: I've got an ETA on the next issue of Newtown Literary which will include my short story "Airplanes." It'll be released in December... and that's about as specific as I can get right now. For those of you in the New York area, the magazine is available at Astoria Bookshop in Queens, a fine literary establishment which I heartily recommend.

As for the WSW anthology, I admit I've slowed down on this because I've never published an e-book before and I'm kinda nervous about getting it right (although I'm told that it's relatively easy). The hard part is picking out a good cover. I suppose I could design one myself, but I really want it to look professional, and graphic design was never my strong suit. When it's ready, I'll let you know.

Meanwhile, I've also been busy taking my NaNoWriMo draft and re-working it. It feels like it's on the verge of looking much more like a proper novel now, in part because I'm planning the second draft out in much sharper detail than I did for the first draft. I've learned about this writing guru named Randy Ingermanson who offers a lot of good advice about novel writing, and I've immersed myself in his techniques. So far, they seem to help.

Your links for this month:


Paddy talks about a beloved Canadian TV movie host from days gone by.

Danny expounds on a really wacky pre-code movie about love and puppets.

Margaret writes about the dude who was the Mexican Chaplin of his day.

Ivan discourses on the first film version of my favorite play, Death of a Salesman.

Raquel reviews the debut novel from notable film blogger Farran Smith Nehme, AKA the Self-Styled Siren.

Monstergirl's 500th post is about the horror classic The Haunting.

You must read this incredible story about an ex-bank robber who turned his life around in prison, went to film school, and has made an autobiographical documentary about his experience.

So maybe WB/DC will dabble in TV/film crossovers after all.

Studio genre movies were big in the 80s. Less so now.

Here's an informative video on the dilution of the PG-13 rating.

Friday, October 31, 2014

Malabar Farm: Ghosts and Hollywood

[Maybe you believe in the paranormal. Maybe you don't. Either way, I suggest that you take the following for what it is: a really cool story from a good pal of mine. - RW]

Guest post
by Andrea McEnaney

Ohio is not a state thought of as a getaway destination. When most people think of Ohio, if they think of it at all, they imagine farms and fields, not Hollywood icons. But for a period in the 1940s, Ohio was a destination for some of the biggest names in movies. James Cagney, Tyrone Power, Dorothy Lamour, Clark Gable - who, incidentally was born in Cadiz, Ohio - they all came and spent time there and when they came, they came to a farm.

Louis Bromfield was born in Mansfield, Ohio in 1896. He grew up on a farm like the typical Ohio boy. After high school, he went to Cornell University and studied agriculture, but eventually left for Columbia to study journalism. His studies were interrupted by World War I. He enlisted as a ambulance driver just as another famous author, Ernest Hemmingway, had. His efforts earned him the Croix de Guerre and the Legion of Honor medals. After the war, he returned to the United States and lived in New York City working as a reporter. 

In 1924, he wrote his first novel, The Green Bay Tree, and in 1927, he earned a Pulitzer Prize for Early Autumn.  In 1925, the Bromfields left the U.S. for a vacation in France. They ended up living there for  the next thirteen years.  During that time, one of Bromfields books, The Rains Came, was made into a motion picture, and he was introduced to Hollywood society. Two more of his novels were made into movies, Mrs. Parkington (1944) and The Rains of Ranchipur (1955). The latter starred a young Richard Burton.

Louis Bromfield
When the dark clouds of war began to build over Europe, Bromfield and his family returned to America and Ohio. He purchased a farm outside of Mansfield and began to work it as his father and grandfather before him had worked the land. He named the farm Malabar after the Malabar region of India, the setting for The Rains Came. Bromfield had made many friends in Hollywood, prominent among them was Humphrey Bogart. Old timers will tell you that it wasn't unusual to see Bromfield and Bogart walking the streets of Mansfield. Bogart loved Malabar so much that he chose the farm to be the site of his marriage to Lauren Bacall in 1945.  

The Hollywood elite began to come to the farm as a spot to get away from the paparazzi and bask in anonymity for a time. But they did not lounge around. Bromfield put them to work doing chores. The old timers remember seeing James Cagney selling produce from the farm at a market in Mansfield.

By the 1950s, Malabar Farm had become the standard for soil conservation and innovative farming practices. Bromfield had moved from fiction writing to writing about the land and how to preserve it. In 1952 Bromfield's wife, Mary, died of cancer, and Bromfield himself passed away in 1956. The children - three girls, Anne, Ellen, and Hope - moved away and began their own lives, and the Big House, as it was known, stood empty. 

Bogart & Bacall, at their wedding
at Malabar Farm in 1945
In 1972, the state of Ohio acquired the farm and created Malabar Farm State Park. The Big House was restored to the way it looked when the Bromfields lived there, right down to Louis' crumpled hat on the grand piano in the foyer. Over the years, many visitors came to the farm to see the house and barns. Some of them saw things that weren't on the tour. The rumors began that Malabar Farm was haunted. People, including the park rangers who worked there, saw Bromfields long dead boxer dogs. Some heard conversations in empty rooms.

In 2005, the Central Ohio Paranormal Society (COPS) was contacted by Malabar Farm to investigate the alleged hauntings. The group, based out of Columbus, was founded the year before by Mike and Gena Robare and use the scientific method of investigation, i.e. debunk everything that can be explained rationally. The first investigation yielded many EVPs (electronic voice phenomena) that could not be attributed to members of the team. Subsequent investigations found many more, including a voice that said, “tapes' done” a second before the click of the recorder stopping was heard. Gena Robare photographed a shadow figure standing in the doorway of one of the upstairs bedrooms. All attempts made to reproduce the photo were unsuccessful. 

Eventually, C.O.P.S became the paranormal investigation group of record for Malabar Farm and conducts investigations once a month, from May to August, that coincide with the Night Haunt event hosted by the park. Almost every investigation has yielded a result, whether it is electronically documented or a personal experience. 

Myrna Loy & Tyrone Power in The Rains Came,
based on Bromfield's book
The group has concluded that Malabar Farm is indeed haunted. Most of the activity is considered “residual,” that is, like a tape recording that plays over and over again. The group also believes there is an “intelligent” haunting occurring. This is a spirit and/or energy that is aware of its surroundings and interacts with the living. This conclusion was reached by the many voice recordings that answer questions posed, the instances of people being touched, and objects that move to different locations when there is no living person present. 

Alas, to the hopeful, I have to say that none of the spirits haunting Malabar Farm are the Hollywood legends whose pictures adorn the wall of an upstairs hallway. The ghosts are of the people who lived there day in and day out. Mary Bromfield still lives in her room, and Louis is usually in his study or sometimes in the living room. Anne, a rather tragic figure in that she may have had some mental health issues that resulted in her remaining upstairs most of the time, can be felt in her bedroom where the sadness is palpable. Occasionally, a invisible cat will mew and brush up against a leg. Still, for the movie buff, a visit to Malabar Farm will bring back the Golden Age of Hollywood and the beautiful rolling hills of Pleasant Valley will soothe away the worries of modern life.

--------------
Andrea McEnaney grew up on a farm in Eastern Ohio that wasn't a bit haunted. She is a medical assistant, a cartoonist, and a paranormal investigator and lives in a suburb of Columbus, Ohio with her husband, two cats, and a flatulent Beagle. She can be reached at scarlet_termite2003@yahoo.com.

Thursday, October 30, 2014

5 horror films from my childhood

The TCM blog, Movie Morlocks, recently had a piece in which the author recounted how he got his child to not be afraid of what he initially thought of as relatively benign horror movies from his youth, such as the original Blob. I, on the other hand, had no such guidance from my folks; I discovered horror films on my own, and more or less dealt with the consequences of watching such films the same way. It's not that they didn't care. It's just that in some things, such as television, they were surprisingly permissive.

I've never had any great love for horror movies, but I watched them, like most kids did, whenever they were on TV, whether on local networks on Saturdays and holidays, or cable TV later on in life. Here are a few that stand out in my memory, regardless of quality.

- Dracula (1979). You can have Bela Lugosi, Christopher Lee, Gary Oldman. Me, I'll take Frank Langella as the dude in the cape and fangs every time. I'm pretty sure this would air on NBC when I was a kid and I'd watch it every time. I suspect it was this version that helped shape my earliest impression of the vampire mythos in general. Director John Badham made this after Saturday Night Fever, and while I was far too young to appreciate the presence of all-stars like Laurence Olivier and Donald Pleasance in the lineup, I still remember John Williams' thrilling score. This was also a movie I recorded with our Betamax VCR (shut up, it was a good VCR which lasted us years!).

- The Mask (1961). This one played on good ol' WPIX-TV, back when they still played old movies. It was one of my earliest forays into 3-D television. Don't remember where I got the 3-D glasses to watch this movie (probably from a CrackerJack box or a comic book or someplace like that), but you always knew exactly when to don them, because they'd tell you: "PUT THE MASK ON NOW!" Looking at one of the 3-D scenes on YouTube, I was pleasantly surprised to see that as far as cheap thrills go, it still holds up, in a way. Obviously it's not on the levels of gore fright fans are used to these days, but it's imaginative, in a carnival fun house kind of way. In my dream movie theater, this would be a midnight movie.

- A Nightmare on Elm Street 3: Dream Warriors. One of the first movies I saw on my own, without my parents, this one played, if I'm not mistaken, at the old Colony on 82nd Street in Jackson Heights, just down the street from the Jackson. That theater was a two-screener, I think. It was quite small; I didn't go there nearly as much as the Jackson. I wish I could say what drew me to this film. I know I didn't see the first two Elm Street movies. Maybe it was the image of Freddy Kruger with that glove of his. Maybe it was the psuedo-superhero aspect of the "dream warriors" concept. It wasn't the presence of Patricia Arquette (!) and Laurence Fishburne (!!), sad to say. Maybe it was the theme song by Dokken! In a recent interview, Wes Craven lamented the fact that Freddy turned into a comedic figure after starting out as straight horror, but I always liked the funny Freddy.

- Poltergeist II: The Other Side. By 1986, I had cable TV, and this was one of many movies I'd see in constant rotation, so of course, I'd watch it. The first Poltergeist is a modern horror classic, but this one... Actually, I would watch this one because it was unintentionally funny! I mean, the MST3K guys should've gotten hold of this one, because there's so much mock-worthy material to be mined here, despite the return of the original cast. (Geraldine Fitzgerald was in this movie!) The Dissolve recently used Poltergeist II as an example of why horror sequels suck.

- The Gate (1987). Don't expect anyone to remember this other than hardcore horror fans. It was also a cable TV staple for awhile, and I would watch it for no apparent reason other than to kill time. Maybe I was drawn to the premise of kids fighting demons. Watching YouTube clips didn't jog my memory of this film much. I vaguely recall the ending, but that's about it. This didn't exactly set the world on fire, although it did inspire a Gate II. And Stephen Dorff is in this movie, for what that's worth.

Got any childhood horror movies you're not too embarrassed to talk about?

Wednesday, October 29, 2014

Dear White People

Dear White People
seen @ Kew Gardens Cinemas, Kew Gardens, Queens, NY
10.28.14

First of all, I wanna say upfront how grateful I am that the Kew Gardens is showing Dear White People. I was prepared to see this in the city if I had to - the Kew gets a lot of indie films, but they don't get everything - but seeing it in Queens, at a reasonable price (read: single digits) means a lot to me. They even put it in Theater 3, the main auditorium, which is the biggest one they have.

Now, when the movie started, I was the only person there.

It was a mid-afternoon showing, on a Tuesday, where all-day admission is $8, and there are usually a fair amount of people at the Kew on a Tuesday, especially during the first week of a new release. And it must be said: Kew Gardens is a very white neighborhood. Draw your own conclusions. 

None of this is the theater's fault. They did their job. 

I've talked about this before, but it really bears repeating: it's regrettable, to say the least, that movie theaters in black neighborhoods in this town don't do more to support black-themed independent movies. Black folks don't go to art house theaters in large numbers, so when a movie like this comes along, they won't get to see it, and they need to.

Regardless, this was everything I expected and more. Don't be put off by the provocative title! Equal parts funny and insightful, with characters that explore this so-called post-racial society from many relevant angles - media stereotyping, language and who gets to use it; upward mobility; to name a few - all within the context of higher education. The Spike Lee comparisons are apt, but I also detected influences from Wes Anderson, John Landis and Stanley Kubrick, whom writer/director Justin Simien has said is a favorite of his.

There are a handful of moments where the cast faces the camera directly, and though the fourth wall is never broken, the audience is, by implication, part of the story. It's as if Simien is using his film to engage in a conversation with the audience, and insisting that you not dismiss his perspective.

So about twenty minutes into the film, someone else entered the auditorium, which shocked the hell out of me. At the end, when the lights came up again, I saw that this was an older woman, in her sixties at least, and black. I couldn't resist coming up to her and asking what she thought. She seemed to like the film, though she said something about how she hoped this didn't reflect reality too much. One look at the images in the closing credits should answer that question (he said, trying to avoid spoilers). Perhaps she didn't notice. I almost didn't!