Ramblin' with Roger

Movie review: They Shall Not Grow Old

Like all of Peter Jackson’ s work, it is first and foremost a special effects movie.

I can’t remember the last time I took off work to see a movie. But my parents-in-law, four of my wife’s cousins, and three of their significant others all traveled at least an hour to a Regal Theater in Albany to see They Shall Not Grow Old with my wife and me.

It was a curious release process, two showings, one in the evening of December 17, and the other the afternoon of December 27, in about 1,140 theaters. It was put out by Fathom Events, which specializes in one-day cinematic events such as opera performances.

Back in 2014, the centennial of the beginning of World War I, director Peter Jackson was commissioned to take 100 hours of footage and 600 hours of audio clips and make a movie out of it. As the director admitted in a clip before the actual film, he didn’t know WHAT to do initially.

Eventually, he came up with a narrative that involved the recruitment process in Britain, with many of the recruits underage; they should have been 18, and 19 to go overseas. And it’s when the story switches to France that the film changes from black and white to color.

They Shall Not Grow Old does not attempt to describe a specific battle, but rather the stress from training, boredom from waiting, to being in the trenches and experiencing German bombardments. It wasn’t until the 30-minute “making of” that I truly appreciated the astonishing work it took to make the film look as it did, from slowing down or speeding up the film to making film that appeared too dark or too light pleasing to the eye.

I was so taken by the film that I immediately had to find the two critics out of 68 who gave it a negative review. One said, “Like all of [Jackson’ s] work, it is first and foremost a special effects movie.” And it is, and an incredible one at that, but it’s an odd complaint.

The other groused that “the film is yet another erasure of soldiers of color who are nowhere to be found in what is otherwise a postmodern take on documentary filmmaking.” I don’t know was captured in those recordings so I can’t speak to this.

The truth is, and Jackson said so, that he could have made any number of films, including the role of women in the war effort, a generation before Rosie the Riveter. Or the war at sea. He was trying to create a coherent narrative. One does see, briefly, troops from other parts of the British Empire.

With the success of those two days, They Shall Not Grow Old will have another showing on January 21. An earlier report suggests it will receive a limited theatrical releases in NYC, L.A. and Washington DC starting on January 11, with plans to then expand into 25 more markets on February 1.

Here’s Chuck Miller’s take on the December 17 screening.

Hospital prices online, ice cream, 70

Generally speaking, I like the fruit flavors

change.puzzle In response to Ask Roger Anything, which you can still do, Alexis wrote:

Hospitals required to post all prices online beginning January 1 – Roger – blog post? This is incredible!

As a librarian, I almost always take the position that more information is usually better. I’m not at all sure how this change will work in the real world and private insurance.

I was surprised/disappointed that I managed to miss this news until the multiple stories that came out right after Christmas from the Associated Press. In fact, there was a story on the PBS Newshour on April 24, 2018, which details the policy.

“Hospitals are required to disclose prices publicly, but the latest change would put that information online in a machine-readable format that can be easily processed by computers. It may still prove to be confusing to consumers since standard rates are like list prices and don’t reflect what insurers and government programs pay.

“Patients concerned about their potential out-of-pocket costs from a hospitalization would still be advised to consult with their insurer. Most insurance plans nowadays have an annual limit on how much patients must pay in copays and deductibles — although traditional Medicare does not.”

Friend Anne wants to know:

What’s your favorite flavor of ice cream?

That would be strawberry, which is NOT available in half gallons from Stewart’s, the local ice cream emporium with the most locations. You CAN get Neapolitan (vanilla/chocolate/strawberry) or vanilla and strawberry. So it’s my favorite flavor to get on a cone.

Generally speaking, I like the fruit-flavors: black raspberry, cherry vanilla, e.g.

Finally, Uthaclena asked quite a while ago:

What’s with 70? What’s wrong with 58?

This is in relation to the birthdays I note in this blog. Here’s the thing: people have only one 70th birthday. If I do someone’s 58th birthday, and another’s 63rd, I won’t necessarily remember if I wrote about them when I’m thinking of blog topics.

But the big 7-0 is easily retrievable because it’s consistent. I could have picked 80, but more of them would be dead. At 30, it’s way too soon; some folks aren’t noteworthy until later in life.

David Bowie Space Oddity: birth, death

Some of it belonged in ’67 and some of it in ’72,

Space Oddity.David Bowie Here’s a space oddity: David Bowie was only 69 years and two days old when he left us on January 10, 2016. That is not old at all, especially if you are a sexagenarian.

Hmm: Bing Crosby was but 74 when HE died shortly after they recorded The Little Drummer Boy (Peace On Earth) back in 1977. Apparently, Bowie only agreed to do the show because his mum was a big fan of Bing, who had passed away by the time the program aired. I find myself missing these folks who go too early.

It occurs to me that I don’t know much about Bowie’s 1960s output. His first eponymous album, released the same day as Sgt. Pepper in 1967, was the work of a young man “with mountains of charisma and ambition, and no idea what to do with his obvious gifts.”

His second album, also called David Bowie in the UK, and as Man of Words/Man of Music in the US, was released on 14 November 1969. “It was reissued in 1972 by RCA Records as Space Oddity (the title of the opening track, which had reached No. 5 in the UK Singles Chart)… but it reverted to the original, eponymous title for 2009 and 2015 reissues.”

“Regarding its mix of folk, balladry and prog rock, NME editors Roy Carr and Charles Shaar Murray have said, “Some of it belonged in ’67 and some of it in ’72, but in 1969 it all seemed vastly incongruous. Basically, [it] can be viewed in retrospect as all that Bowie had been and a little of what he would become, all jumbled up and fighting for control.”

I’m oddly pleased by these “missteps”, because he persevered and became, well, Bowie.

Here’s an interview from 1983 taking MTV to task for failing to play music videos by black artists. It was back when MTV played music videos.

Someone recently posted a photo on Facebook and described it as serious moonlight. This prompted me to find a video of Let’s Dance from the Serious Moonlight Tour, which made me smile.

Listen to:
The Bowie channel
Under Pressure – Bowie and Queen, because I still miss Freddie, too

Read what I wrote about Bowie in:
2017
2016

Movie review: Mary Poppins Returns

Nothing stuck out on first listen such as Supercalifragilisticexpialidocious

It’s likely that one’s feelings about Mary Poppins Returns (2018) depend on how one thinks about the 1964 original. I didn’t see the earlier film until the end of 2011, so I don’t have any childhood memories. I did like it, quite a lot.

So how does one make a reboot? It has to have elements of the original – the now-adult Banks children, Michael (Ben Whishaw) and (Emily Mortimer) plus the widowed Michael’s three kids, Pixie Davies as Anabel, Nathanael Saleh as John, and Joel Dawson as little Georgie who was often getting into trouble.

Of course, we need the title character (Emily Blunt), who’s a bit blunter than Julie Andrews’ take. I liked that, though some reviewers assuredly did not. She’s not quite in Andrews’ league in the genre, but she’s a quite decent singer and engaging actor.

Lin-Manuel Miranda plays Jack, the lamplighter—or “leerie”, the functional equivalent of Dick Van Dyke’s Bert the chimney sweep. Both men are charming, talented singers, but neither was great with the accent.

The dance of the leeries was too reminiscent of the chimney sweeps’ hoofing for my taste.

Is the music by Marc Shaiman, lyrics by Scott Wittman and Shaiman, such as (Underneath the) Lovely London Sky and A Conversation less memorable than the work done by the Sherman brothers, Richard and Robert?

Nothing stuck out on first listen such as Supercalifragilisticexpialidocious, but I’ve been hearing that soundtrack for over half a century. Interestingly, it was the use of incidental Sherman music that helped hold the new film together.

There’s a point, maybe about halfway through, where a song so grabbed me, in context, that I just surrendered to the film. I felt the wistfulness, fear, and hope of the characters.

Here’s a piece of trivia: “At the age of 93 at the time of the movie’s release, Angela Lansbury is the oldest female actor ever to appear in a Disney film. She is just two months older than the oldest male actor in a Disney film, Dick Van Dyke.” They both added to the film in their small roles, as did Meryl Streep in a more prominent bit.

All in all, Mary Poppins Returns is inessential, I suppose. It may rub up against your memories of the original, or it might add to them, as it did for me. My wife and my daughter also enjoyed it when we saw it at the Spectrum Theatre in Albany on Christmas Day.

A couple related links:
The secret dark side to the classic ‘Mary Poppins’, which weren’t all that secret to me

My review of Saving Mr. Banks (2013), about the making of the 1964 film, with Emma Thompson as author P. L. Travers and Tom Hanks as Walt Disney

Libraries: spaces transform into what you need

After January 1, any record label can issue a dubstep version of the 1923 hit ‘Yes! We Have No Bananas.’

library One of my blog followers suggested this: The Room of Requirement from This American Life. The title reference is to Harry Potter.

Act 1 is In Praise of Limbo by Zoe Chace. “There is a library that’s on the border of Canada and the United States — literally on the border, with part of the library in each country.”

Act 2 is Book Fishing In America by Sean Cole. Imagine “a library where regular people can come and drop off their own unpublished books. Nothing is turned away. The books live there forever. It’s the kind of place that would never work in real life. But someone decided to try it.”

“Libraries aren’t just for books. They’re often spaces that transform into what you need them to be: a classroom, a cyber café, a place to find answers, a quiet spot to be alone. It’s actually kind of magical. This week, we have stories of people who roam the stacks and find unexpected things that just happen to be exactly what they required.”

Are you a librarian, or do you work in a library? Do you now or have you ever owned a “Secret Librarians of Fandom” button?
You NEED to listen to this week’s This American Life, “Room of Requirement,” or AT LEAST Act Three, “Growing Shelf Awareness” by Stephanie Foo. “Lydia Sigwarth spent a lot of time in her public library growing up – all day, almost every day, for six months straight.”

Seriously, if you work in a library and have 15 minutes spare right now, just click through and listen to Act Three.

For the 1st Time in More Than 20 Years, Copyrighted Works Will Enter Public Domain

“That deluge of works includes not just ‘Stopping by Woods on a Snowy Evening,’ by Robert Frost, which appeared first in the New Republic in 1923, but hundreds of thousands of books, musical compositions, paintings, poems, photographs, and films.

After January 1, any record label can issue a dubstep version of the 1923 hit ‘Yes! We Have No Bananas,’ any middle school can produce Theodore Pratt’s stage adaptation of The Picture of Dorian Gray, and any historian can publish Winston Churchill’s The World Crisis with her own extensive annotations. Any artist can create and sell a feminist response to Marcel Duchamp’s seminal Dadaist piece, The Large Glass (The Bride Stripped Bare by Her Bachelors, Even) and any filmmaker can remake Cecil B. DeMille’s original The Ten Commandments and post it on YouTube.

Duke Law has a full list of works released in the public domain this year.