Tag: movies

Maureen O’Hara and the National Film Registry

Dance, Girl, Dance (1940), directed by Dorothy Arzner, pretty much the ONLY woman director in the studio era of American film.

Until a couple of days before Christmas 2012, I had never seen the 1947 movie Miracle on 34th Street. It features Maureen O’Hara as Doris Walker, who hires a new store Santa at Macy’s, then becomes concerned that he calls himself Kris Kringle and claims to be the actual Santa Claus.

The next night, while assisting Saint Nick, I stumbled upon the Independent Lens rebroadcast of These Amazing Shadows. I agree that “it’s a delightful, engaging documentary about America’s most beloved films and their preservation by the Library of Congress.” It starts with media mogul Ted Turner touting the colorization of movies, and the testimony before Congress by Woody Allen and others desiring that cinema receive better treatment.

Most of the program was about the movies in the National Film Registry. One is Miracle on 34th Street. Another is Dance, Girl, Dance (1940), directed by Dorothy Arzner, pretty much the ONLY woman director in the studio era of American film. The film costars Maureen O’Hara, who gives a great speech about men’s expectations of women entertainers.

Back in the fall of 2012, I saw the Parent Trap (1961), ALSO with Maureen O’Hara, though not on the Register. I’d never seen her in anything prior that point.

Incidentally, here’s a list of Some Films Not Yet Named to the National Film Registry.

Traditions of baseball, comic books, and film

I hadn’t read the Comic Buyer’s Guide regularly since 1994, but I would usually buy a copy on Free Comic Book Day each May, just to check out what was new

I lost a dollar this week. A blogger I know bet that no one would be elected to the Baseball Hall of Fame, and regrettably, he was right. Even allowing the “punishment” of those who allegedly took performance-enhancing drugs, there were plenty of qualified candidates (starting pitcher Jack Morris, the totally undervalued reliever Lee Smith, for two). This was an unfortunate outcome, and not so incidentally, will be lousy for tourism in Cooperstown this year.

Now, ironically, baseball will be expanding its drug-testing program.
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To my surprise, I was quite sad to read that Comics Buyer’s Guide is folding in March. The usual reasons were stated: “decline in advertising and free content online.”

CBG was “started by Alan Light as The Buyer’s Guide for Comic Fandom [in 1971], publishing monthly at first, then twice a month, then weekly…” By the time the newsprint magazine was acquired by Krause Publications in 1983 and changed its name, it had become the bible of the industry. It was like Variety was for entertainment or Billboard for music. Especially under Krause, the level of professionalism increased tremendously.

I started collecting comics in 1972, and when the Crystal Cave comic book store opened c. 1975 in New Paltz, I would buy the publication, scouring the ads for the best prices in back issue comics. That’s also where I first saw the classic comic renderings by my friend-to-be, Fred Hembeck.

When I started working at FantaCo in 1980, and we started publishing comic-book-related material, including material by Hembeck, we would dutifully mail our press releases to Don and Maggie Thompson. Sometimes they would use it, but often they would not. This was discouraging to some in the store, but it made me more determined to keep sending more and more info to them. Eventually, we became so “legitimate” that they would almost always report on our publication schedule. Indeed, I think that’s generally a lesson in dealing with the media: keep trying.

There was a lovely editorial written by Michael T. Gilbert shortly after Raoul Vezina, the artist who worked at FantaCo, had died in late 1983. I have that somewhere in the attic.

I hadn’t read CBG regularly since 1994 when I sold my collection, but I would usually buy a copy on Free Comic Book Day each May, if a copy could be found, just to check out what was new. It won’t be around for the next FCBD, though.

Mark Evanier has his own recollections.
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I start my quixotic attempt to see most of the films nominated for an Academy Award in the major categories. I’ve seen three of the nine nominees for best picture: Argo, Les Miserables, and Lincoln. Beasts of the Southern Wild came and went, and I don’t know if Life of Pi is still around.

Almost certainly, the next film we’ll see will be Silver Linings Playbook, which would take the count of best actor, best supporting actor, and best supporting actress nominations I will have seen from two to three each; best director from one to two; and best actress from zero to one.

Movie Review: Les Miserables

A revelation in Les Miserables was Samantha Barks as Éponine; she played the part on the London stage, and she was wonderful in the film.

My wife and I were in Oneonta, NY for the holidays, visiting the parents-in-law. They watched the Daughter while The Wife and I went to the local mall to see the movie Les Miserables.

I should note that I have never seen the musical, though, in fact, we will later this spring. Missed the 1998 iteration of the film with Liam Neeson and Gerard Depardieu. Not familiar with the songs at all, except one. Didn’t even know the story beyond the fact that some character named Jean Valjean went to jail for a long time for stealing bread. I had read some reviews suggesting that it was wonderful, but others, such as the one by Ken Levine, indicated that some in the cast, notably Russell Crowe, playing Javert, the official who pursues Valjean, could not sing. It took me a while to figure it out: many of the more critical opinions were based on their notions of the characters based on what they experienced before.

The “big deal” about this film is that director Tom Hooper decided that the singing should be done “live” as they are acting. They don’t record it first and then lip-synch to the track, as is usually done, where the voices can be “sweetened.” And this movie is almost all singing; the amount of standard dialogue wouldn’t fill a Twitter tweet, someone quipped.

Apparently, Javert is generally played by a bass with a richer tone. Still, I thought Crowe was perfectly adequate, consistent with his character’s persona. To my surprise, I had a greater difficulty listening to Hugh Jackman, who played Valjean. I know he CAN sing; he’s been on Broadway, and I’ve seen him on the Tonys. Here, though, everything seemed high in his range, and it was exhausting for me to listen to after a while.

Give Anne Hathaway her Oscar now. Not only will she be nominated this week for Best Supporting Actress, but she will also win for playing Fantine. She sings “I Dreamed a Dream,” that song that made Susan Boyle famous, but the passion here was just staggering.

Some thought Sacha Baron Cohen and Helena Bonham Carter, as Monsieur and Madame Thénardier were too over-the-top goofy, but I found their first appearance, in particular, a welcome respite from the overwhelming gloominess of the story to that point.

Eddie Redmayne as Marius, a would-be suitor to Valjean’s ward, Cosette, was a better actor than singer. Amanda Seyfried as Cosette has a thin voice, though she had a limited amount to sing. However, a revelation was Samantha Barks as Éponine, who secretly loved Marius; she played the part on the London stage, and she was wonderful in the film. Aaron Tveit, as Enjolras, leader of the rebels, was very good, and I enjoyed Daniel Huttlestone as the boy Gavroche.

Still, I was moved at the end. At 158 minutes, it WAS too long, but the overarching story, as I understood it, of love, forgiveness, and sacrifice, came through.

MOVIE REVIEW: Lincoln

Will Lincoln become the definitive Lincoln biopic?

On Black Friday, my wife and I went to the Spectrum Theatre in Albany to see the 1:50 showing of the new Steven Spielberg movie Lincoln. It was sold out! That hasn’t happened to me since the original Star Wars. We bought tickets for the 3:15 show and were advised to be back by 2:45.

We bought some hot chocolate, then went to a charming little toy store/food emporium. By the time we got back to the theater, there was this long line. I assumed it was to buy tickets; no, the 3:15 was SOLD OUT, and the line was for the ticket holders, which included us, fortunately. Also, the 6:25 showing that night also sold out, we noted as we left.

I was glad to have seen a recent interview with Doris Kearns Goodwin, author of Team of Rivals, the Lincoln book upon which the movie was based. I wasn’t as surprised by the relatively high-pitched voice that Lincoln (the extraordinary Daniel Day-Lewis) had. All that he had lived through, the secession, the war, and the death of a son all wore on him so that General Grant said that he had aged ten years in the past 12 months. Yet, despite all that, he could be very funny!

I wonder if the 10% of the critics on Rotten Tomatoes who DIDN’T like the movie thought it was boring, etc. I think they may have had different expectations. It is, above all, a political movie, based in the first four months of 1865. Lincoln has been re-elected President. A number of Democrats in the House of Representatives have been defeated, but are in a lame-duck session. Can Lincoln get the 13th Amendment, to abolish slavery, through the House? And how will that affect the chances for peace in that great civil war?

For the most part, it didn’t feel like a Spielberg movie. I can’t explain that exactly, except to note that the second scene in the movie, involving people quoting Lincoln, to Lincoln, did have a Spielberg “feel”.

Great appearance by Sally Field as a haunted Mary Todd Lincoln, a role she noted recently that she had to fight for; Lincoln was older than Mary, who he called Molly, but Day-Lewis is a bit younger than Field. Also, there were stellar roles by David Strathairn as William Seward, Tommy Lee Jones as Thaddeus Stevens, and others. I must admit that the character James Spader played didn’t seem all that different from his role on Boston Legal.

Will this film become the definitive Lincoln biopic? It may very well do so. People cried, and applauded at the end of the film. I liked it a lot.

All of life’s transportation riddles are answered in the movies

Two of my favorite transportation quotes are these…

A few weeks ago, I was riding on a CDTA bus when the vehicle started making a loud clanking sound in the area behind the driver. It went on for about two minutes but seemed longer. Finally, it stopped as quickly as it started. I said aloud, to no one in particular, “Oil can!” A few people laughed, catching my Wizard of Oz movie reference.

I was reminded of a line from the 1991 film Grand Canyon, in which the Steve Martin character says: “That’s part of your problem: you haven’t seen enough movies. All of life’s riddles are answered in the movies.” I’m convinced there is some truth to that.

Two of my favorite transportation quotes are these:
From Midnight Cowboy (1969): I’m walkin’ here! Which, I COULD say daily.
From Starman (1984) – Yellow light – go very fast. Which, unfortunately, is how too many drivers perceive the yellow light.

What are YOUR favorite movie quotes that are related to getting somewhere by foot, by horse, by canoe, or by some more mechanical means?
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IMDB’s top 250 movies mashed into a 2.5m clip

Can’t explain why it pleases me so that SamuraiFrog has come to the same view about the Spike Lee film Do The Right Thing as I had, though SF’s revelation was a bit more recent. I always thought it was the best movie of 1989.

Ever since I did that 100 things about movies, I’ve been thinking about the people and things left out, like Burt Reynolds, Jill Clayburgh, movies made in the Albany area that I DID see, The Absent-Minded Professor series, and the Back to the Future series. Maybe I’ll do another list – in about 20 years…

Ramblin' with Roger
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