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October Rambling: Name That Tune

Me, uncharacteristically, if not ahead of the curve, at least with it.

Black and White Vernacular in American Sign Language.

Give this man a Silver Star; a future President got one.

I want to tell you something about the future. “It will either be: A mind-bendingly awesome; utopian landscape where all of Earth’s problems have been resolved and technology and humanity have evolved to create harmony. Or it might be a f@#$ed-up dystopian nightmare.” Gotta say that I’ve tired of the latter portrayal, but these movie clips are still interesting.

Erich Von Stroheim Radio Broadcast (1948) Talks about the Death of D.W. GRIFFITH, the early and controversial filmmaker.

Why film critic Roger Ebert won’t stick to his knitting, talking about (GASP!) politics when he “should” be limiting himself to movie reviews.

Sad that Alex Karras died. Followed him as an All-Pro defensive tackle for the Detroit Lions, on “Monday Night Football”, and as an actor in the movie Blazing Saddles.

Being hit on by a swinger couple. Actually, a lovely piece by Ken Levine on the phenomenon of storytelling. He also wrote a lovely tribute to the late NBC exec Brandon Tartikoff, which also explains why so much of today’s TV is lousy.

What IS the name of that mysterious music? YOU’VE heard it – it’s the thing playing HERE and HERE and even HERE. I’ve finally discovered from various sources that it’s called Mysterioso Pizzicato, a/k/a Here comes the villain. It was first published in the ‘Remick Folio of Moving Picture Music, vol. I,’ in 1914, compiled and edited by one J. Bodewalt Lampe, who may (or may not) have written it. The tune was used as background to scary scenes in silent movies.

The Beethoven Mystery: Why haven’t we figured out his Ninth Symphony yet?

“Perfessor” Bill Edward: Professional Purveyor of Pianistic Pyrotechnics.

The website for CBS Television City in Hollywood; fascinating history, which you can also see in this video.

Mark Evanier’s mother died at the age of 90. “Someone… might think, ‘Hey, smoking can’t be that bad if Mark’s mother smoked 75 years and made it to age 90.’ Yeah, but for about the last fifteen, she could barely walk and barely see.” He’s been writing a series called Tales of My Mother. The fourth one, about her and the TV show LA Law and Jimmy Smits, is a particular hoot, but they are all worth reading.

Glenn Fleishman describes what it’s like to be on the game show Jeopardy! Here are Jeopardy’s most memorable moments, including what happens if a certain person says something.

Ray Bradbury matches wits with Groucho Marx.

Charles Darwin And The Terrible, Horrible, No Good, Very Bad Day.

Every Infomercial Ever.

Matching birthday probabilities and Johnny Carson.

Let’s look at the rise of Gangham Style and how media events and social networks can trigger massive sharing. I noticed that I blogged about it on August 15, which put me, uncharacteristically, if not ahead of the curve, at least with it. Then, of course, I find some real life Simpsons opening from June, and I realize, nope, still behind the curve.

Chuck Miller explains why 45s have big holes in the center, while vinyl albums have small holes.

The Marshmallow Test.

25 Foods You’ll Never Be Able To Eat Again. I never had most of these, though I did try Apple Newtons a few times.

Jaquandor writes about the superhero cat named Little Bootie; oh, and technology. Also, a pie to the face; no, I don’t quite understand, but it seems to make him SO happy.

FROM MY OTHER BLOGS

Robots shut down live broadcast of scfi award ceremony.

An unwitting participant in an international travesty.

RFID; the F does NOT mean freedom, or foolproof. This one got excerpted in the newspaper.

What if the technology went away?

Scanning whole books is fair use?

Obviously, we WERE a Christian nation. Ask a Native American.

GOOGLE ALERTS

In his attempt to compose a soundtrack to a novel — Lair Hunt’s The Impossibly — Roger Green, with the help of Mark Harris on saxophone and bass clarinet…

Roger Green and Associates, Inc.
Attribute importance is a key information need for marketers. An understanding of attribute importance can help explain physician prescribing, it can help identify …

Video reviews: Iron Man 2 and The Parent Trap

Maureen O’Hara is gorgeous in The Parent Trap.

The Parent Trap (1961), if I saw it – and surely I MUST have seen it at some point – mustn’t I? – I watched SO long ago that the details are surely erased from my memory. It was a Disney film starring Hayley Mills… and Hayley Mills! I DO recall that ad campaign. The script was based on Das Doppelte Lottchen, a novel by Erich Kastner, that had been made into British and German films, using twin girls.

Two girls, one from tony Boston, the other from freewheeling California, meet at a summer camp and take an instant dislike to each other. Each just doesn’t like that other girl with her face. Antics ensue, including a social event with the boys from a neighboring camp, ruined by the duo.

Forced to spend time together in isolation, Sharon and Susan discover they have the exact same birthday… and the same mother! They figure out that their parents separated when they were infants, with Sharon staying with their mother, and Susan off with their dad. They decide to switch places, which involves Susan cutting Sharon’s hair, in order to get their parents back together.

Susan gets to spend time with her mother (Maureen O’Hara), grandmother (Cathleen Nesbitt), and grandfather (Charlie Ruggles), who is the first to uncover the scheme. Meanwhile, Sharon finally sees dad (Brian Keith) on his ranch. His housekeeper (Una Merkel) notices a “change” in the girl. But trouble is brewing: Dad is engaged to some gold digger named Vicki (Joanna Barnes).

Eventually, Susan and mom head west, and the plot goes from there.

The not-so-good:
It’s too long! At 129 minutes, we watched it in two sittings. I would have cut some parts of the 30-minute set-up.
A couple of the songs, by Richard and Robert Sherman, were period pieces, and not very impressive.
For both of these, I blame Uncle Walt. I discovered, from the extras disc, that the movie lacked a title song for a good while. One working title was Let’s Get Together; the Sherman Brothers wrote a song by that name, and then Walt insisted that director David Swift insert the song into the movie, not once, but twice. As sung by Annette Funicello, it’s on a record at the dance; as sung by Susan and Sharon, (unconvincingly) playing guitar and piano, it’s a serenade to mom and dad.
The ultimate title song, performed by Tommy Sands and Annette, isn’t great either.

The quite good:
The winning cast. In spite of the implausibility that parents would keep the sisters’ existence from each other, and the unlikely coincidence of the meeting, good chemistry between the siblings, and with their family.
Hayley playing opposite Hayley, much more difficult in the day than it would be now, was quite effective. The filmmakers, I discovered, looked for some physical background, such as a wall design so that if the matting weren’t perfect, it wouldn’t be as obvious.
From the extra disc: highly entertaining six minutes with Susan Henning, who played Hayley’s double, who only appeared on-screen when one girl was at an angle to the other, or when you saw one girl’s back. She is uncredited in the film, but Walt Disney himself gave her a special trophy at the end of the shoot.
The other Sherman Brothers song, For Now for Always, sung by Maureen O’Hara, as mom recalls the first date with dad, is lovely. This too was a title song contender. Speaking of lovely, O’Hara is gorgeous in this film, more beautiful at 40 than the 26-year-old Barnes.

I think this review is largely accurate, especially with regards to the extras, although the disc I rented paired Parent Trap with its 1986 TV sequel.
***
Which brings me to:
The Parent Trap II (1986). A quarter century after Susan and Sharon’s successful maneuver, a now divorced Sharon (Hayley Mills) wants to move to NYC for her job. Her daughter Nicki fears losing her best friend Mary, unless Sharon marries Mary’s dad Bill (Tom Skerritt); then they would be sisters. They get aunt Susan (Hayley Mills), who is married, to pretend to be Sharon to get him interest in Sharon. Wha?

The motivation for Susan is so non-existent. It’s one thing to get her parents, who were once married, BACK together again. This matchmaking, though, is bizarre. The film had the feel of a clunky 1980s TV movie because it is. There is one rather funny scene near the end, but both the Daughter and I were either bored or confused through much of this.
***
Iron Man 2 (2010) was OK. I LOVED the first film but was concerned about the big reveal at the end that Tony Stark was Iron Man. In this iteration, Tony tangles with a self-important Senator (Gary Shandling) and a military weapons expert (Sam Rockwell). Can the secrets of the powerful Iron Man suits fall into the wrong hands? Apparently so, as Ivan (Mickey Rourke), son of Tony’s father’s colleague, poses a serious threat.

Meanwhile, Lt. Rhodes (now played by Don Cheadle) gets all conflicted about his obligations to the military and to his friend Tony. Does Tony just give Stark Industries to his secretary, Pepper Potts (Gwyneth Paltrow)?! And what’s the story with Stark Industries legal consultant Natalie Rushman (Scarlett Johansson)? It all made sense at the end but felt convoluted along the way.

Oh, and obviously, I was supposed to have seen this BEFORE the Thor movie. Nick Fury (Samuel L. Jackson) continues to be involved in the mix. In any case, I think I’m now finally ready to see the Avengers movie.

Movie Review: Argo

The hostage crisis is an event I remember all too well, watching the ABC News crisis news segment each night with Ted Koppel; that Koppel show eventually became Nightline.

It shouldn’t have worked: six Americans avoid being taken in the Iran hostage crisis, which started November 4, 1979. They hang out at the residence of the Canadian ambassador Ken Taylor (Victor Garber) for several weeks. The CIA, trying to get them out, rejects the idea of pretending the six are Canadian farm aid workers. Instead, CIA operative Tony Mendez (Ben Affleck) came up with this ridiculous idea of wanting to scout Tehran as a potential backdrop for a science fiction movie called Argo, with the six becoming part of the crew, a plan approved by his boss (Bryan Cranston) as the “best bad idea” available.

It shouldn’t have worked: the movie was based on real, known events. You might know how it turns out. And yet my wife and I are on the edge of our seats for the last third of the film when we saw it Sunday at the Spectrum Theatre in Albany.

This is a wonderful movie, directed by Affleck. It is also, at times, rather funny, with most of the laughs generated by John Goodman, as John Chambers, a Hollywood make-up artist who’s done work for the agency before, and Alan Arkin, as film producer Lester Siegel; they set up a phoney film studio to put out a non-film, even getting a story in the entertainment periodical Variety. Yet the tension is never far away, as the Iranians are developing their own intelligence about the missing Americans.

At the beginning of the film credits, a picture of the actual passport of each “fake film crew” member is shown alongside of the performer in the film, which reflected the sometimes astonishing similarities between them. Also, Kyle Chandler is almost a dead ringer of President Carter’s chief of staff Hamilton Jordan. Then we hear from the President, giving thanks to the CIA, while expressing only passing regret that the US government had to give all the credit for the rescue to the Canadians, lest the 52 hostages, who weren’t freed until January 20, 1981, the date of Ronald Reagan’s inauguration, suffer the repercussions.

Interesting fact from the IMDB: “In order to make the movie feel like the 1970s, Ben Affleck shot it n regular film, cut the frames in half, and blew those images up 200% to increase their graininess.” This is done to great effect.

The hostage crisis is an event I remember all too well, watching the ABC News crisis news segment each night with Ted Koppel (shown in the footage, along with ABC’s Frank Reynolds and NBC’s Tom Brokaw); that Koppel show eventually became Nightline. If you’re younger, an important history lesson, even as the film takes a couple of liberties, especially near the end.

The Oscar buzz is warranted.
***
There’s a Kickstarter project about the story behind this story, involving Jack Kirby, Ray Bradbury, and Buckminster Fuller, among others.

Past/future

If Hitler never lived, then does Stalin take over Europe?

Film critic Roger Ebert had a blog post Did you choose your religion? But the original title, as one can see in the URL, was “Would you kill Baby Hitler?”

The original entry began: Of course, you would have needed to know on April 20, 1889, that the little boy would grow up to become Adolf Hitler, and would commit all of the crimes we now know he committed. The only way you could know that, apart from precognition, would be to have traveled backward in time from a point when Hitler had committed all his crimes and you knew about them.

This was in context with a discussion of, among other things, the new film Looper, for which a big-time spoiler alert should have been stamped.

But this is a popular theme. There’s some current CBS show called Person of Interest about a computer that foretells crime. There was a previous CBS show(what was that called?) about a guy who would get tomorrow’s newspaper today and had the day to stop some heinous event from happening; a cat was somehow involved. I have actually never seen either show nor read Stephen King’s The Dead Zone. The piece generated very interesting and enlightening points, unlike most comment threads these days.

The problem, if one COULD go back in time, would be the unintended consequences. If Hitler never lived, then does Stalin take over Europe? These are obviously unanswerable questions, but they fascinate me.

Dustbury points to a variation on the theme:

>Steve Sailer…has imagined two different scenarios in which we’d already had a black President:

Walter Mondale picks Tom Bradley for the Veep slot in 1984, manages to beat a rattled-in-the-debates Ronald Reagan, and is killed when Air Force One crashes;
Colin Powell, urged on by Mrs. Powell, defeats Bob Dole, then Bill Clinton, in 1996.

Given either one of these scenarios, Sailer asks:

In either alternative history, does Barack Obama become the second black President? If there had already been a first black president, would anyone have ever even considered Obama to be Presidential Timber? Would you have ever even heard of Obama?

It’s been my contention that a President who is black (or Hispanic, or a woman) may be held to a different standard, higher by at least some so that the viability of a second black as President would be inextricably linked to the success or failure of the first. That said, if there HAD been a previous black President, would Obama have played such a huge role in the 2004 Democratic convention? Possibly not.

What thinkest thou?
***
Making the case for future voter fraud.

MOVIE REVIEW: Robot and Frank

If you plan to see the film Robot and Frank, try to avoid the trailer, which I think gives away far too much.

The Wife and I had a Sunday afternoon date at the Spectrum Theatre to see Robot and Frank, as described in Rotten Tomatoes:
“Set in the near future, Frank, a retired cat burglar, has two grown kids who are concerned he can no longer live alone. They are tempted to place him in a nursing home until Frank’s son chooses a different option: against the old man’s wishes, he buys Frank a walking, talking humanoid robot programmed to improve his physical and mental health.”

Frank (the marvelous Frank Langella) is initially displeased with this turn of events. He’s also unhappy the way that the library is being automated into an “experience,” with the paper products virtually being eliminated, in an effort led by some well-to-do, condescending yuppie twit Jake (Jeremy Strong) to make the library an “experience.” At least Jennifer (Susan Sarandon), the librarian with whom he is smitten, still has a job.

Is Frank really losing it? The program of the robot (voiced by Peter Sarsgaard, based on the motions of dancer Rachael Ma) is to keep Frank’s mind occupied, with gardening and the like. Frank eventually has other ideas, though, involving his previous line of work, as a cat burglar.

Conflicted but loyal son Hunter (James Marsden) and world traveler daughter Madison (Liv Tyler) seem slight against Frank, but that could be in the writing. The robot, though, is quite engaging, in his/its own way, and becomes a worthy companion for Frank. (The machine’s HAL-like voice bothered Roger Ebert far more than it did me.)

I shan’t say more, except that if you plan to see the film, try to avoid the trailer, which I think gives away far too much, although there is one big reveal I did not see coming. It was an interesting treatise on aging and memory, family relationships, technology, and what makes a person a person. Oh, and, a few times it’s LOL funny. (And yes, when I write LOL, I MEAN LOL.)

There were things that bugged me, though. How the apparently aggrieved Jake essentially orders around the sheriff (Jeremy Sisto) is one example. The selection of Mozart’s Requiem, overused in film generally, was not particularly necessary here; yet the Ave Verum Corpus by Mozart was quite movingly applied. Obviously not the film’s fault, but at the end of the feature, in the beginning of the credits, they had real examples of robots working to care for people, yet about a third of the audience is walking out, which I just did not understand.

This is a good movie that might have been great. Still worth seeing, if not in the theater, then on video (or whatever they’re using these days).
***
My wife saw Frank Langella on Broadway in Dracula c. 1977. She loved the show, and was especially fond of the actor, it seems…