Tag: review

Book review: Never A Dull Moment

Jimmy Page explained, “The audiences were becoming bigger and bigger but moving further and further away.”

I received the David Hepworth book Never a Dull Moment – 1971: The Year That Rock Exploded two days before Christmas. I finished the 286-page book before New Years Day.

The premise is that the pop period ended with the Beatles signing essentially their divorce papers from each other on 31 December 1970. Hepworth, who turned 21 in 1971, says that year saw “an unrepeatable surge of musical creativity, technological innovation, naked ambition, and outrageous good fortune that combined to produce music that still crackles today.” The era of rock was born.

Sometimes, he would make references to other cultural events of the time that seemed random, but eventually, it would somehow connect. Hepworth used a few Britishisms that I did not initially pick up on, but I figured out most of them in context.

The book is arranged by month. The albums referred to in that period might have been recorded then, or released then, or the artist was on tour. And not all would become internationally famous. In March, Led Zeppelin was doing tours in small clubs, because as Jimmy Page explained, “The audiences were becoming bigger and bigger but moving further and further away.” Meanwhile, Nick Drake was well-regarded but lacked the stage charisma to become the success his talent might have suggested.

The May chapter details the Rolling Stones’ move to France. “Sex and drugs and rock n’ roll” were never more true. The year Mick Jagger got married did not seem to alter his omnivorous appetites. Meanwhile, Carly Simon was linked romantically to Cat Stevens and others. Later chapters touch on unlikely pairings, such as Leonard Cohen sleeping with Janis Joplin, though he later regretted writing a song about it.

Many things we now take for granted were born in this era. The benefit concert was born with George Harrison’s efforts on behalf of the people in Bangladesh. Since it had never been done before, certainly on that massive scale, mistakes were made, and George became a resource for those planning similar ventures.

Greatest hits albums became much more lucrative, from the Stones and the Who, for instance, presaging the unlikely resurgence of the Beach Boys’ catalog a couple of years later.

I’d write more, but I’ve decided instead to write about some of the albums of the period, and my reaction to them, once a month – I’m already behind!

If you enjoy the albums of the period, and it’s likely that you probably do, even if you were born years after ’71, you’ll enjoy Never A Dull Moment, which has been positively reviewed everywhere I checked, after reading it, of course. I lived through the period and I learned quite a bit.

Movie review: Hidden Figures

After seeing the trailer way back in October 2016, I KNEW I wanted to see the movie Hidden Figures. Unfortunately, it didn’t make it to our neck of the woods until January 6, though it showed in LA and NYC so it could be considered for the Academy Awards. On the ML King holiday, the Wife, the Daughter, and I went to the Spectrum Theatre in Albany.

I’ve seen a lot of movies of late, many of them quite good. But a lot of them were downers, frankly. This adaptation of Margot Lee Shetterly’s book is a solid docudrama depicting the US space race with the Russians in the early 1960s that – no spoiler – we were losing. A group of African-American women working for NASA helped save the day, despite not only the racism but the sexism they faced.

The cast was a great ensemble. Taraji P. Henson (Empire) as Katherine Johnson, Octavia Spencer (The Help, Zootopia) as Dorothy Vaughan, and Janelle Monáe (Moonlight) as Mary Jackson, are all actual NASA staff. At the end of the film, we get to see their real-world accomplishments. Katherine Johnson, for instance, received the Presidential Medal of Freedom from President Obama in 2015.

Other solid performances included Kevin Costner as the supervisor of the project, Kirsten Dunst as the boss of the colored women who were “computers”; i.e., they computed numbers. Jim Parsons, that sweet guy in Big Bang Theory, played a composite character who was less than supportive of Katherine. Mahershala Ali, who, like Janelle Monáe, was in the movie Moonlight, plays a very different role here, Colonel Jim Johnson, a suitor of Katherine.

There are space scenes that were, if not as intense as those in Apollo 13, nevertheless put the viewers on the edge of their seats, even though WE KNOW that they all made it home safely.

Hidden Figures is a feel-good story with great reviews – and see Ken Levine’s take as well – also doing well in the box office. The audience at the showing we saw applauded vigorously. It may not be the BEST film of the year, but it may well be my favorite.

Movie review: Fences, based on August Wilson’s play

Denzel Washington and Viola Davis were Tony winners in the 2010 Broadway version of Fences.

The movie Fences is quite extraordinary. Some critics said it may be the best self-directed film ever, with Denzel Washington as not only star and director, but producer as well.

Troy Maxson (Washington), a garbage collector in 1950s Pittsburgh, who had dreams, and arguably the talent, to have been a major league baseball player, had integration in the sport come sooner. His wife Rose (the magnificent Viola Davis) tries to keep him and their working-class family ship afloat.

Fences is an adaptation of August Wilson’s Pulitzer-and-Tony-award-winning play. James Earl Jones and Mary Alice also won Tonys in the 1987-1998 Broadway production. Washington and Davis were Tony winners in the 2010 Broadway version which also won the award for best revival of a play.

Interesting video comparison between Jones’ and Washington’s performances here or here. Jones’ reading is sterner, while Denzel’s reading is garnering laughs.

I had seen a production of Fences at Capital Rep in Albany during the 1990-91 season with John Amos (Good Times, Roots) in the lead role, and that iteration, as I dimly recall, seemed less intense early on.

Denzel in the movie, though, is as ferocious as James Earl Jones was on the stage; that scene does not garner guffaws. Is it the different media, or six years that have passed that got him to revisit the character, or both, I can’t say. But what it does do is make the chinks in his armor even more profound.

The rest of the cast of Fences, the movie, is also strong. Stephen McKinley Henderson as Troy’s good friend Jim Bono, Jovan Adepo as Troy’s younger son Cory, Russell Hornsby as his grown son Lyons, and Mykelti Williamson as his brother Gabriel creates a fine ensemble.

I knew fellows like Troy Maxson and his friends growing up, mostly the men of the church where I grew up. It stirred some strong emotions throughout. There’s a bit of my father there, for sure.

The Wife and I saw Fences on Martin Luther King’s actual birthday, naturally at the Spectrum Theatre in Albany. The less you know going in, the better. Recommended.

Movie review: Lion – A Long Way Home

The director of LION, Garth Davis, in his feature debut, used the animated film WALL-E as part of his template.

The story in the 2016 movie Lion, based on the non-fiction book A Long Way Home, with a screenplay by Luke Davies, is harrowing, even before the event that catapults the plot. Saroo (the amazing young Sunny Pawar) and his older brother Guddu (Abhisek Bharate) sneak onto trains, steal coal, then jump off the moving transport to exchange it for milk. Their mother Kamla, (Priyanka Bose) does menial tasks as well.

The boys arrive at a train station to look for recoverable items. Saroo loses track of his brother, and boards a train which departs the station. Saroo cannot get off until he arrives in Calcutta, hundreds of miles away, where almost everyone speaks Bengali, but he does not. Saroo somehow survives on the streets until he ends up in an orphanage.

He gets adopted by an Australian couple, Sue (Nicole Kidman) and John (David Wenham), who lives in Tasmania, and a year later they adopt another boy, Mantosh (Keshav Jadhav).

Twenty years later, Saroo (Dev Patel) heads to Melbourne and meets some new friends – Saroo Lucy (Rooney Mara), Prama (Pallavi Sharda), Bharat (Sachin Joab), Sami (Arka Das), and Annika (Emilie Cocquerel). “As they dine on Indian food, Saroo heads into the kitchen and observes things that cause him to reminisce about his childhood. He confides in his friends that he was adopted and Prama advises Saroo to use Google Earth to search for his hometown.”

All of this is rather well documented in the trailer, or in the description of the book, so it is in the TELLING of the story that makes the movie work. And it does. It’s a feel-good story about a most improbable journey of Saroo Brierley’s real life.

Yet I was far more engaged in the first, harrowing, half of the tale, than the somewhat overwrought second act. Maybe it’s that it’s inherently more interesting. There’s a lot less dialogue early on, and that works in the film’s favor. The director, Garth Davis in his feature debut, used the animated film WALL-E as part of his template.

Still, the last pictures on the screen are real tearjerkers, well earned, and I’m glad to have seen it. Incidentally, the title of the film does not show up in the opening credits, only at the end, when it is explained.

Of course, the Wife and I saw Lion at the Spectrum in Albany, because that’s just what we do in January.

Movie musical review: La La Land

The La La Land cast watched the MGM film Singin’ in the Rain every day for inspiration.

I really liked the movie La La Land, which the Wife, the Daughter and I saw in late December 2016 at the Spectrum in ALB. The opening credits promised CinemaScope! – I didn’t adequately explain to the Daughter why that made me laugh.

The opening number during a Los Angeles freeway traffic jam I enjoyed – I thought it was a hoot – and it was the most standard musical piece in the bunch. A smattering of the audience applauded. The choreographer was Mandy Moore, not the singer.

In the traffic snarl, Sebastian (Ryan Gosling), nightclub keyboardist who aspires to play good jazz, and Mia (Emma Stone), a barista/would-be actress, meet not so cute, but they keep showing up in each other’s orbit. They eventually get together, but they both have dreams that might tear them apart.

One of the complaints – Ken Levine makes it, e.g., – is that Gosling and Stone can’t sing. I’ll grant you they don’t have traditionally big musical theater voices, but they are, at worst, serviceable, and are absolutely correct for this story. Gosling, who has a singing background, learned to play piano for the role, and he and Stone both learned dancing.

The tension in the third act is required to avoid a pat conclusion. There’s a song near the end – I think it’s called Audition – and I was surprised to discover a tear running from my eye. The ending is a satisfying payoff.

La La Land looked fabulous. The art direction and the cinematography were spectacular. The film was written and directed by Damien Chazelle, who did the same on 2014’s Whiplash; that movie’s Oscar winner, J.K. Simmons, plays a bit part here.

John Legend also stars as a musician from Sebastian’s past is in the film, and HE learned how to play guitar for the role. There is some fine jazz in this film as it veers away from the traditional musical. It would be easy to predict a number of Oscar nominations for this wonderful picture.

One of the snarkier reviews suggested that it was “a well-intended tribute to the fabulous MGM musicals of the great Vincente Minnelli, made by people who have never seen one. I don’t know about the Minnelli pics, but Gosling claimed the cast watched the MGM film Singin’ in the Rain every day for inspiration, and he spoke fondly of the late Debbie Reynolds.

One last thing – I swear La La Land received a PG-13 rating, rather than PG, for the use of a single f-bomb.

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