Monday, March 15, 2010


Dead Stars That Don't Fade
Donald Pittenger writes: Dear Blowhards -- Take a stroll through a Barnes & Noble, Borders or other large bookstores and you're likely to spy photo books devoted to Marilyn Monroe. Potentially, she could be alive today, having been born in 1926. She'd turn 84 in June. Sadly, she died in 1962 at age 36. You're also likely to notice similar books about Audrey Hepburn. Hepburn lived longer (1929-1993, dying at age 63), but her film career effectively ended in 1967 when she was 38. Other noted movie actresses with cut-short careers include Jean Harlow (1911-37), Carole Lombard (1908 -42) and Natalie Wood (1938-81). Of these, Wood might still be alive, age 72 . Screen beauties who don't die young age along with the rest of us. If they are able to continue their careers, the usual move is to "character" roles, for instance playing the part of a mother to one of the fresh, young stars. In some -- most? -- cases, a successful later career will dominate the public's mind: consider Angela Lansbury (born 1925). Then there are actresses with long careers who still tend to evoke dominant images of their younger selves. (Well, to me, anyhow.) Examples include Elizabeth Taylor (born 1932), Lauren Bacall (born 1924) and Katharine Hepburn (1907-2003). Back to Marilyn Monroe. What would her career trajectory have been had she lived at least up till now? Would she still be regarded as the Platonic ideal of the Blonde Bombshell? Or would she be of the ilk of Brigitte Bardot (born 1934 and enjoying life and controversy in Saint-Tropez)? I'm inclined to think she'd be Bardot-like with a lot of messy events happening between 1962 and today. Later, Donald... posted by Donald at March 15, 2010 | perma-link | (5) comments

Thursday, October 15, 2009


Hollywood Teeth: The Early Days
Donald Pittenger writes: Dear Blowhards -- One of the things I notice when looking at pre-1930 or thereabouts photos of movie actresses, chorus girls and others in the show biz beauty trade is that their teeth are normal. Not perfect, in other words. Here are some pictures I tracked down on the Web. They aren't the best examples, but will have to do for now. Gallery Marion Davies Nowadays best known for being William Randolph Hearst's squeeze, Davies was a fine comedic actress according to some observers. But we're interested in teeth. Hers don't present a solid-looking front (most apparent in the lower photo), and there seem to be some alignment irregularities (top photo). Vilma Banky Banky shows slight splaying along with some irregularity. Later photos of these actresses suggest that cosmetic dental work was done, a Hollywood studio practice common by the 1930s. Some other images I came across on Google were publicity photos where the teeth seemed to be retouched to look whiter and more regular. Apparently, once the studio system was firmly in place and stars were keys to business success, the companies strove to enhance or protect their investments. This "research" of mine was made more difficult because most publicity photo poses from the 20s stressed glamour, and glamour normally requires closed lips, not a flashy smile. Or possibly the mouths were closed because the teeth were substandard. In any case, toothy pictures were hard to find, especially where the teeth weren't up to par. Toothy smiles are largely absent from portrait and other paintings before the age of publicity. Again, in some cases, this fortuitously eliminated the need to show bad or even normal teeth. A case in point is Napoleon's Empress Josephine who is known to have had unattractive teeth (though I've never read exactly what her problems were). Full disclosure: I never had orthodontia, so my top front teeth are splayed (think David Letterman or 1960s British comic actor Terry-Thomas). Most of my other teeth aren't impressive either. Too bad I never worked for MGM. Later, Donald... posted by Donald at October 15, 2009 | perma-link | (5) comments

Sunday, October 4, 2009


Joe Valdez Guest Post
Donald Pittenger writes: Dear Blowhards -- Today we continue our guest-posting series. Our blogger is Joe Valdez whose name is in the Culture Blogs section at the left where you can link to his This Distracted Globe site. Below he writes about, uh, well .... Er, take it away, Joe. * * * * * The N-Word If -- like me -- you make an effort to see movies in a theater, you might have missed Surveillance, an American made serial killer thriller that was released in Portugal, France, Germany and Austria in the summer of 2008 and quietly ushered onto Video On Demand stateside in May 2009. Starring Bill Pullman and Julia Ormond as kooky FBI agents interviewing witnesses of a gruesome murder, the movie itself is ridiculous and in my opinion, barely worth the postage to send back to where you rented it from. What’s worth mentioning about Surveillance is that it was co-written and directed by Jennifer Lynch, whose only other picture was one you might have heard about. Featuring Julian Sands as an architect who abducts the object of his desire (Sherilyn Fenn) and amputates her arms and injured legs, Boxing Helena (1993) may be the most critically reviled movie of the Information Age. Its subject matter was never going to win over feminists, but a highly publicized lawsuit by Main Line Pictures against Kim Basinger (for reneging on a verbal commitment to star in the film) nullified any positive word of mouth the movie could have possibly generated. Ironically, the quality that helped draw attention to Jennifer Lynch would turn her into a target. Lynch is the daughter of David Lynch, cartoonist, amateur meteorologist and the Academy Award nominated director of The Elephant Man and Blue Velvet. The master filmmaker was not involved in the Boxing Helena fiasco, but when his daughter’s efforts to get a second feature off the ground faltered, Lynch lent his name -- as executive producer -- to help finance Surveillance. Some might see this as a clear-cut case of nepotism in an industry where this n-word has never inhibited anyone from career opportunities. Darryl F. Zanuck co-founded 20th Century Fox in the 1930s and late in his career, would name his son president of production at the studio; Richard D. Zanuck went on to win an Academy Award for producing Driving Miss Daisy in 1990 along with his wife, Lili Fini Zanuck. Wendy Finerman was married to Mark Canton, chairman of Columbia TriStar Pictures when she won an Oscar for producing Forrest Gump in 1995. Jon Peters got his foot in the door as the hairdresser and boyfriend of Barbra Streisand; Peters later produced The Witches of Eastwick and Batman. The list of goes on and on. Contrary to conjecture on the Internet, actors are the least likely group to reap the benefits of their family tree. Casting directors would rather not be accused of favoritism, one reason Nicolas Coppola -- nephew of director Francis Coppola -- became “Nicolas Cage”... posted by Donald at October 4, 2009 | perma-link | (7) comments

Wednesday, September 9, 2009


DVD Journal: "Gilles' Wife"
Michael Blowhard writes: Dear Blowhards -- Emmanuelle Devos plays a loving working-class wife and mother in a small city in 1930s France who begins to suspect that something's not quite right in her marriage. Directed by Frederic Fonteyne, "Gilles' Wife" initially seems about as undramatic as can be. It's a very slow, very deliberate, very beautiful accumulation of sensory details and psychological moments. (Filmgeeks may be reminded of a cross between the austere experimentalism of "Jeanne Dielman" and the impressionism of "Elvira Madigan.") But this study of domesticity and infidelity sucked me in and fascinated me. If it works for you as it did for me, you'll find that despite its quiet and oblique ways it accumulates terrific power. The details convince on what feels like a pre-verbal level, and Fonteyne and Devos are quite amazing in the ways they find to convey this inarticulate woman's intuitions and discoveries, and their effects on her. I recommend Fonteyne's 1999 "An Affair of Love" too. It stars Nathalie Baye as a lonely middle-aged woman -- I suppose that her character qualifies as a cougar, though I don't think the term was around in the late '90s -- treating herself to an affair with a studly, if similarly lonely, younger guy. Don't be afraid -- the film isn't "empowering" or "political" in that rousing and inane American way. It's a melancholy-yet-erotic entry in the small, stylishly "objective," psychological-study French mode -- a beautiful example of the kind of film that Woody Allen wishes he could make. Fast-Forwarding Score: Not a painstaking, crystalline moment Best, Michael... posted by Michael at September 9, 2009 | perma-link | (5) comments

Wednesday, August 26, 2009


Bill Links
Michael Blowhard writes: Dear Blowhards -- Bill Kauffman celebrates the just-deceased Western novelist Elmer Kelton, and the hillbilly actor and '70s movie icon Warren Oates. Bill Kauffman himself is an exciting and significant cultural figure. Access all five parts of our interview with Kauffman from this posting. Best, Michael... posted by Michael at August 26, 2009 | perma-link | (0) comments

Tuesday, August 18, 2009


Jean Harlow Was Nice-Looking, Actually
Donald Pittenger writes: Dear Blowhards -- Jean Harlow was the first Blonde Bombshell movie star, dominating the Thirties scene until her death in 1937, shortly after her 26th birthday. Her only true successor in the Bombshell department was Marilyn Monroe. That's the legend, anyhow. My problem was that I couldn't quite buy it. Yes, Harlow had a nice shape, but her facial features seemed a little too soft. And then there was the 1930s fashion of plucked eyebrows replaced by a thin, penciled line. Not to mention the watered-down holdover of the 1920s' bee-sting lipstick application that narrowed the mouth while exaggerating the thickness of the lips near the mouth's midpoint. Yesterday I stumbled across the "real" Jean Harlow while reading up on the movie "Hell's Angels". It was released 15 November 1930, before the plucked eyebrow fad started. Let's make a comparison. Here are some photos of Harlow later in her career George Hurrell's classic bearskin rug photo A "glam" pose with penciled eyebrows Frontal pose with penciled eyebrows Here are photos from 1929 or the very early 30s Autographed photo Publicity photo "Hell's Angels" still - two-negative Technicolor From our 2009 perspective, Harlow looks more "natural" and, to me, far more attractive in the early photos than in the later ones. Fashion being what it is, there's a risk that I'm blinkered by current standards of beauty. Even so, I'm pleased to know what Jean Harlow really looked like before 1930s glamorization took hold. Later, Donald... posted by Donald at August 18, 2009 | perma-link | (15) comments

Thursday, August 6, 2009


Budd Schulberg R.I.P.
Michael Blowhard writes: Dear Blowhards -- A quick posting to note the passing of filmworld legend Budd Schulberg. Schulberg was probably best-known for writing the classic Hollywood novel "What Makes Sammy Run?" and the screenplay for "On the Waterfront." He was 95 years old. Carrie Rickey's short obit of Schulberg is very informative. Back here, I shared a few thoughts about "Sammy," which as far as I'm concerned is a great (and underappreciated) novel. It's also -- hallelujah -- a fast, smart, dirty-minded, and suspenseful read. Best, Michael... posted by Michael at August 6, 2009 | perma-link | (3) comments

Wednesday, July 8, 2009


In The Times ...
Michael Blowhard writes: Dear Blowhards -- * Time to generate even more debt, or to fret about the debt we've already created? * Hard to believe, but the people who make porno movies are once again throwing out storylines and plots. * It's Google vs. Microsoft. * Designers and builders continue indulging their bizarre obsession with glass. I bitched back here about how sicko it is, the way architects over-do the glass. Best, Michael... posted by Michael at July 8, 2009 | perma-link | (18) comments

Friday, July 3, 2009


Coming Soon: "RoboGeisha"
Michael Blowhard writes: Dear Blowhards -- Opening in the U.S. this fall, "RoboGeisha." Here's an NSFW trailer for the film: Yeah, baby! I'm genuinely eager to see "RoboGeisha" -- I think that Noburu Iguchi, the film's director, is a real talent. "The Machine Girl," his last picture, was by far the funnest newish movie that The Wife and I have watched in a long while. It's scrappy, giddy, hilarious, and hyper-outrageous -- a great new entry in the "Dead Alive" / "Re-Animator," low-budget splatter-satire, gross-out horror-comedy sweepstakes. Plus it features loads of that daffily mashed-up, 22nd-century quality that the Japanese sometimes bring to their films. Not for the first time do I find myself wondering why the rest of the world doesn't give up and leave moviemaking to the Asians. How can we compete? Here's a trailer for Iguchi's "The Machine Girl": You go, brilliant young Asians. As a consumer advocate, I'm duty-bound to report that, sadly, not all recent Japanese splatter satires are created equal. Despite wonderful titles and heaps of far-out ideas, for example, "Tokyo Gore Police" and "Meatball Machine" both put me to sleep. Thanks to the numerous visitors who have sent along links to the "RoboGeisha" trailer. By the way, what is it about me? Do I really have "fan of Japanese splatter satires" written all over my blogface? Hmmm .... RELATED: I wrote about some other wonderful Japanese movies. If you aren't already 'way ahead of me on this: Why not get to know the movies of the amazing Takashi Miike? I think he's a plausible contender for the title of "most talented filmmaker working right now." Start with "Ichii the Killer" and brace yourself for a seriously wild ride. PBS this ain't! DIMLY RELATED: Learn about the diffs between movie people and book people. Best, Michael... posted by Michael at July 3, 2009 | perma-link | (6) comments

Wednesday, June 24, 2009


Discrimination in the Theater
Michael Blowhard writes: Dear Blowhards -- Relatively few plays written by women are produced. Can we take this as definitive evidence of discrimination against women? Research has been done: More men than women write plays, and the men are also often more prolific. Taking these numbers into account, plays by men and women are in fact produced at the same rate. Plays by women do seem to need to be better (or at least more commercial) than plays by men in order to receive productions. But who enforces this state of affairs? As it turns out: women artistic directors and women literary managers. Ladies: Sometimes you do it to yourselves. Best, Michael... posted by Michael at June 24, 2009 | perma-link | (71) comments

Tuesday, June 23, 2009


Movie and Video Linkage
Michael Blowhard writes: Dear Blowhards -- * Reid Rosefelt confesses that he tried to persuade his boss not to produce "My Dinner With Andre." Great to see that Criterion is bringing out a classy new DVD of the movie on June 23. That'd be today. Hey, Andre Gregory is one of the people who have given The Wife and me a blurb for our raucous and satirical audiobook. * Cool demo. * A time-does-pass note: "Purple Rain" was released -- get this -- 25 years ago. And I still haven't made up my mind about Prince ... * Good lord! * British advertising vs. American advertising, a comparison. * Jeremy Richey notices that Cinema Libre will be issuing some slick new DVDs of movies by Jean-Jacques ("Diva") Beineix. Check out that trailer for the director's cut of "Betty Blue." Mad love, baby! * MBlowhard Rewind: I raved about the work of the filmmaker Robert Siodmak. Best, Michael... posted by Michael at June 23, 2009 | perma-link | (14) comments

Friday, June 12, 2009


Pauline Turns 90
Michael Blowhard writes: Dear Blowhards -- I just noticed that, if she were still alive (she died in 2001), the movie critic Pauline Kael would be turning 90 in a week. She was quite a cultural figure once. Here's an interview with her from the late 1980s; here's one of her best essays, a long profile of Cary Grant. Charlton Griffin points out that Wikipedia's entry on Pauline (everybody thought of her as "Pauline") is awfully good. I hear that Brian Kellow -- a biographer and an editor at Opera News -- is preparing a biography. Best, Michael... posted by Michael at June 12, 2009 | perma-link | (34) comments

Sunday, June 7, 2009


What We've Come To ...
Michael Blowhard writes: Dear Blowhards -- I wonder if we're entering into a great era for political satire. Link thanks to Charlton Griffin. Best, Michael... posted by Michael at June 7, 2009 | perma-link | (9) comments

Saturday, June 6, 2009


Guest Posting: Jake Thomas on "Tango & Cash"
Michael Blowhard writes: Dear Blowhards -- One of the smartest -- and certainly one of the funniest -- pieces of filmyak that I've read in a long time is something I found not in the pages of Slate or The New Yorker but on Facebook, posted there by an actor-friend named Jake Thomas. After smiling my way through it, I asked Jake if it'd be OK with him if I Guest Posted it here on 2Blowhards. He was happy with the idea, so here it is. *** WHY "TANGO & CASH IS MY NOMINEE FOR MOST 1980s ACTION MOVIE by Jake Thomas First of all, let's define our terms here. When I say "most" definitive film in regards to a decade/era, I'm not talking about quality, or "best," nor am I talking about most indicative of the zeitgeist. What I'm thinking of is how movies were made and why they were made. I want a movie that WOULD NOT HAVE BEEN MADE in another decade. For instance, if we were talking about just regular old movies and I asked what movie would be "most 80s" a frequent contender is "The Breakfast Club." Now, "The Breakfast Club" is definitely a very 80s movie, however, if it had never been made and someone pitched that movie at a studio (updating a few cultural references, of course), people would make that movie. However, "Adventures in Babysitting" is another story. There's nothing you could do to update the trends or cultural references that would make that movie any less 80s, it is 80s in its bones, and they wouldn't have made it the 70s or the 90s or any other era. Only in the 80s. This means that most of these movies aren't "brilliant." A lot of them are, or at least feel like they are, written by committee. And as we all know, when people do something by committee it usually aims to the lowest common denominator, plays it safe, thinks in terms of marketing as opposed to art and they frequently attempt to be "hip" while actually being as edgy as a guidance counselor. However, fortunately for us, and fortunately for "Tango & Cash," sometimes committees also go absolutely INSANE. How did they go insane in this particular instance? Let's break it down, 80s style. COCAINE Tons and tons of cocaine. I'm frankly amazed "Cocaine" does not receive a writing credit on this movie. This is a staple of the 80s. Everything feels rushed and excited and AWESOME and extreme, because everyone had cocaine pouring out of their eyeballs. This also causes movies to feel a little erratic. Or, in the case of "Tango & Cash," all the hell over the place. HOW THIS MOVIE IS MORE COCAINE THAN OTHER 80s ACTION MOVIES Have you watched it? You can practically hear the coked up pitch while you do. "There's a tanker truck, and a sports car and a helicopter! And then Sly... SHOOTS THE TANKER! And there's COCAAAAAAAINE!!!! And then Kurt Russel... posted by Michael at June 6, 2009 | perma-link | (26) comments

Monday, May 25, 2009


Movie and Video Linkage
Michael Blowhard writes: Dear Blowhards -- * Cleveland: Hilarious. Sad. Hilarious. * Coming soon: a documentary about American film critics. * The top ten time-lapse nature videos. * A gorgeous short video starring crowds of jellyfish. * After failing to generate much enthusiasm at Cannes for his new film "Inglourious Basterds," Quentin Tarantino makes his case to Anne Thompson. * MBlowhard Rewind: I introduced visitors to the overlooked work of director Alberto Cavalcanti. Best, Michael... posted by Michael at May 25, 2009 | perma-link | (5) comments

Tuesday, May 5, 2009


DV Improvements
Michael Blowhard writes: Dear Blowhards -- Some more landmarks to take note of in the ever-ongoing digital-video story: The Red One (base price: $17,500) creates imagery so sharp and rich that stills drawn from it can be used as magazine covers. Here's the site for Red Digital Cinema. Here's a good hands-on report about what it's like to use the Red One. Here's some sample footage. Panasonic's recently-announced Lumix GH1 is a pseudo-DSLR (base price: $1500ish) designed to capture snappy video as well as dandy stills. The first reviews are now coming in, and the consensus is that the GH1 is wonderfully easy to use and creates video that is near-movie-quality. David Pogue calls the camera "the real deal ... The footage looks jaw-droppingly good, like a hi-def loop playing on the $4,000 flat panels at Best Buy." Here's some sample footage. Interesting to learn that some independent filmmakers are already shooting feature films with video-capable DSLRs. Incidentally: If there's a part of you that would love to play with these cameras and maybe assemble a little edited something from their footage, dream on. Digital-video formats are an as-yet-unironed-out nightmare, and editing footage that's as high-quality as what the Red One and the GH1 output requires a much more powerful computer than what you have on your home desk. Next year, maybe. Small MBlowhard reaction: Though I've found most movies shot on videocams to be sadly lacking when projected onto a movie screen, the latest high-quality footage when viewed on the HDTV in my bedroom looks darned good. It's more than up to the challenge of creating moods and casting a spell. Besides, since I do 99.9% of my movie-watching these days at home, why should I care about what this footage looks like on a movie-theater screen? Come to think of it, the last time I went to a theater wasn't to watch a movie, it was attend a Metropolitan Opera presentation in HD. Recommended: world-class productions and singers, big images, and Dolby sound, all for around 20 bucks. It's such a satisfying way to see opera (and it has been so successful an innovation) that you worry a bit about the fortunes of local theater companies. How can they compete? Check out the Met's schedule here. The Wife and I are seeing "La Cenerentola" this Saturday. Related: I bitched back here about that lousy "Star Wars" movie that was shot on video, and back here about a shot-on-video Robert Rodriguez western that looked like crap. Recently I confessed that I've been finding what amateurs are doing with home video these days more interesting than what the pros are doing anyway. My favorite source for news and thinking about movies and technology is the journalist and blogger Scott Kirsner. Best, Michael... posted by Michael at May 5, 2009 | perma-link | (0) comments

Tuesday, March 31, 2009


Tom Naughton and "Fat Head": A Revisit
Michael Blowhard writes: Dear Blowhards -- Some months back I managed to get hold of a DVD workprint of what sounded like an intriguing new documentary: Tom Naughton's "Fat Head." Although the film was still being edited and polished, I found it fun and fascinating -- and for a number of reasons. For one, it's a very effective takedown of Morgan Spurlock's popular anti-McDonald's movie, "Super Size Me." For another, it's an amazingly fast and effective intro to the low-carb / Paleo / Primal critique of establishment diet-and-eating advice. For a third, the film is an example of a newish and fascinating development in the history of filmmaking: the homemade, completely personal, yet fullscale movie. (Realistically speaking, it's only in the last few years that digital videocams, computers, hard drives, and audiovisual programs have evolved to the point where non-professional people working in their kitchens can create ambitious, inventive, and / or expressive work. For more about how these factors have affected this longtime moviebuff's view of movies and video, read this recent posting.) Curious and enthusiastic, I got hold of the film's creator, Tom Naughton, and did an interview with him. Here's Part One; here's Part Two. Tom is smart, funny, and down-to-earth; he's also an unusual new figure on the filmmaking scene. He gave us a very generous interview, so I urge you to click on the links above and give the q&a a read. Now finished -- and polished to a high shine -- "Fat Head" is available for purchase at Amazon and for rental at Netflix. I recently watched the film again, liked it even better, and got back in touch with Tom Naughton to bring myself up-to-date with his adventures in filmmaking. *** A Revisit with Tom Naughton 2Blowhards: You're a real film director now. How has becoming a film director affected your life? Tom Naughton: I don't think having a credit as a director has changed my life much. Well, I did grow a beard. And I wear a safari jacket. And after reviewing the video footage I shot at Christmas, I shouted "This isn't right!" and made everyone go through Christmas morning again so I could use more creative angles. It was tough re-wrapping all the presents. Plus I fired my daughter from the role of "daughter" and hired another girl whose head is larger in proportion to her body. But other than that, no, life is pretty much the same. 2B: Great to see the movie available to the public. How did you arrange distribution, and get from "a guy with a movie" to "a guy whose movie is on Amazon and Netflix"? TN: I was turned down by all the film festivals I entered. That may sound discouraging, but I wasn't discouraged. It's kind of what I expected. The film-festival crowd, like the Hollywood crowd, is almost uniformly left-wing. Many of them talk about their commitment to "diversity" in their guidelines, but in Hollywood-speak that means "We want films made by... posted by Michael at March 31, 2009 | perma-link | (34) comments

Monday, March 23, 2009


Movies and Video, Pro and Am
Michael Blowhard writes: Dear Blowhards -- Back in around 2000, Apple introduced an iMac that they called the "video iMac." The machine was supposed to be an easy-to-use darling that was up to the demands of video editing. Apple produced a blizzard of stylish, warm-'n'-huggy ads suggesting that you could now create movies that would be as slick as anything a pro director might put together. I sprang for a video iMac instantly. As it turned out, the machine was a very nice little computer -- but, where video went, it was a long, long way from living up to Apple's claims for it. The hard drive wasn't nearly big enough; the processor wasn't nearly fast enough. Despite the sluggishness of the process, I spent some time playing around with video on my video iMac, getting to know the then-current version of Apple's video-editing-for-hobbyists program iMovie. It was more fun and instructive as a taste of what might one day be than as a satisfying experience in its own right, to put it mildly. The experts were able to envision a time when everyday people would be using video freely. Heck, I was too. But it hadn't arrived yet. More interesting to me than the experience of making video on the video iMac were the feelings and thoughts that monkeying around with iMovie set off in me. I had myself a big wrestle with the word "movies," for instance. Movies ... Movies ... What does that word really signify anyway? Apple (and many journalists) yakked freely about using home computers for "moviemaking." I balked at this, mainly because what the word "movies" calls up in my brain isn't home footage of adorable kids, riotous dog-bathing sessions, and blissed-out ski vacations. What the word "movies" means to me is Takashi Miike, "Rules of the Game," "Casablanca" and the like: elaborate, enacted, visual / narrative experiences of some length and complexity. Now, I know perfectly well that the word isn't as restrictive as I'm using it here. Home movies, experimental movies, industrial and educational movies, and short movies have been part of the "movies" cosmos for a long time. Still, on an instinctual level I couldn't help feeling some exasperation with the claim that the couple-of-minutes-long jumbles of informal clips set to pop music that iMovie was usually used to create qualified as "movies." And I felt indignant that Apple was trying to convince people that they'd be able to create anything resembling real movies on an iMac. So, what was I to do about the word "movies"? I chewed this question over for a long time. Finally, as far as home iMovie-style creations went, I found myself thinking of them not a "movies" but as "personal videos." With this decision I breathed a sigh of relief. Rather than resenting these little nothings for not being "movies," I was able to start enjoying them as creations in their own right. I was also able to let go of my protectiveness about "movies"... posted by Michael at March 23, 2009 | perma-link | (9) comments

Friday, March 13, 2009


New York City Movie Prices
Michael Blowhard writes: Dear Blowhards -- And the movie was a great big bore too. The characters completely failed to engage me ... The story didn't really kick in until the movie was nearly over ... Tell me again what I was supposed to find interesting and fun about this experience? Semi-related: I wrote about another Zack Synder-directed movie, "300." Best, Michael... posted by Michael at March 13, 2009 | perma-link | (15) comments

Monday, March 9, 2009


The Rhythm
Michael Blowhard writes: Dear Blowhards -- I guess everybody enjoys moving to The Gap Band! Best, Michael... posted by Michael at March 9, 2009 | perma-link | (2) comments

Thursday, March 5, 2009


"Vanishing Point" Fails to Vanish
Michael Blowhard writes: Dear Blowhards -- A general cultural point that movie history often drives home is this: You probably aren't a good predictor of what the future will make of the culture of your own time. Richard Sarafian's 1972 "Vanishing Point" is one of a zillion examples. At the time of its release, the film was largely taken as a fun exploitation pic for stoners. A long life was not predicted. These days, though, it's still influential, as well as a big fave with such cultureshaping coolguys as Richard ("Donnie Darko") Kelly and Quentin Tarantino. Had you watched the film back in '72, would you have predicted that? Come on, be honest. The film's director Richard Sarafian recalls making the film. Best, Michael... posted by Michael at March 5, 2009 | perma-link | (5) comments

Movie Linkage
Michael Blowhard writes: Dear Blowhards -- * David Chute sees a lot going on in the work of the overlooked-by-the-mainstream Tyler ("Madea Goes to Jail") Perry. * Whatever happened to femmes fatales? * Lemmus Lemmus watches some thrillers. * Film journalist Anne Thompson has been giving her own FlipCam a workout. * Fave-of-mine Bill Kauffman considers the basketball movie "Hoosiers" one of the few American movies to get small-town America right. (FvBlowhard and I both agree: here and here.) * Roger Ebert rhapsodizes about French filmmaker Agnes Varda, who is now 80 years old. I like a lot of Varda's work too. * New York magazine profiles loose-cannon film critic Armond White. * Toby Young wonders why documentaries are often so much better than fiction films. * MBlowhard Rewind: I watched (and recommended) some trashy-arty movies. Best, Michael... posted by Michael at March 5, 2009 | perma-link | (0) comments

Sunday, February 22, 2009


Mickey for Best Actor
Michael Blowhard writes: Dear Blowhards -- I didn't see a single new movie in 2008. But, now that I've watched Mickey Rourke's acceptance speech at the Independent Spirit Awards, I have a favorite for Best Actor anyway. NSFW for mucho-con-gusto dirty language. I would sooo love to watch this crazy bastard be set loose on the Academy stage ... Best, Michael... posted by Michael at February 22, 2009 | perma-link | (4) comments

Tuesday, February 17, 2009


Pat Condell on the Geert Wilders Affair
Michael Blowhard writes: Dear Blowhards -- The British government preventing Geert Wilders from entering the country? Pat Condell has a few words about that decision: Let me put off debate about the subject matter of Condell's video for just a second in order to ask: Is that man a great ranter or what? Articulate, funny, impassioned yet under sly control ... What a virtuoso. OK, now back to the substance of it ... Possibly related? Best, Michael... posted by Michael at February 17, 2009 | perma-link | (4) comments

Friday, February 13, 2009


Movie Linkage
Michael Blowhard writes: Dear Blowhards -- * The actress Caren Kaye -- a soulful beauty remembered fondly by many for her role in the surprisingly-pretty-good softcore '80s teenflick "My Tutor" -- shows up in the Comments on this YouTube tribute to her. "You really made an impact on my generation," writes one admirer. * Arbogast wonders why '70s B-movie honey Angel Tompkins never became a bigger star. After watching her last night in the 1974 "The Teacher" (terrible movie, but Angel shines), I do too. Wow! Plus she had a fizzy spirit, and could act a little too. * English film critic Philip French writes a nice appreciation of Catherine Deneuve. Deneueve tells Laura Barton that she'll be pleased if she's mainly remembered for "Belle de Jour." * Mike Jada sits through a 25 hour Horrorthon in Philly. * Has Kubrick's "Barry Lyndon" been insufficiently appreciated? * MBlowhard Rewind: I wrote an Introduction to Enjoying Black and White Movies. Best, Michael... posted by Michael at February 13, 2009 | perma-link | (8) comments

Tuesday, February 10, 2009


New Sony Gizmo
Michael Blowhard writes: Dear Blowhards -- I've bought a few of these myself. (NSFW language alert.) Best, Michael... posted by Michael at February 10, 2009 | perma-link | (4) comments

Monday, February 9, 2009


Jimmy and Tom
Michael Blowhard writes: Dear Blowhards -- The invaluable Jimmy Moore podcast-interviews Tom Naughton, director of the fun and startling new documentary "Fat Head." Best, Michael... posted by Michael at February 9, 2009 | perma-link | (0) comments

Sunday, February 8, 2009


Ramesh on Bollywood 2
Michael Blowhard writes: Dear Blowhards -- Back here, Ramesh reviewed 2002 in Bollywood. Today, he shares more observations, links and clips about this super-popular movie form. *** Ramesh on Bollywood Part II : Bollywood the Show As a Preview to the Oscars, where a certain "Slumdog" seems to be shaking up the wigs, I thought I’d dive headlong into the stage, trumpet in hand. This is an R. D. Burman classic from "Apna Desh." Bollywood is influenced from musicals, whether they be the films of Busby Berkely -- -- or from shows in London’s West End -- -- or Broadway. Some comparable Indian productions would be and: The show tune production has been one of the Indian film Industry’s continuing motifs. In reality a Broadway chorus line -- -- is very different than the rows of dancers in Indian films: The former draws from the French revue and New Orleans shows, not to mention the British West End, while the latter draws from Indian folk dances as well as Broadway. The following is a second generation of Bollywood show tunes. Many of them are post 1990 and reflect a high degree of polish and a sensitivity to the Broadway and musical tradition they draw inspiration from: A. R. Rahman (who is currently nominated for three Oscars) did this in Mani Ratnam’s "Iruvar" as a period piece about Indian films in the 1960’s. I thought the other song in the film was more sophisticated if somewhat messily picturized: Close on its heels was Anurag Basu’s "Murder," a Bollywood take on the Richard Gere / Diane Lane film "Unfaithful." It featured this song: It was topped only by a yesteryears actress Rekha doing a very Shanghai show tune: By no means are production numbers exclusively the “let's outdo the west in stairs and choruses” alone. Bollywood has evolved its own logic to doing show tunes. This is from the Shahrukh Khan starrer "Dilwale dulhaniya le jayenge": Or this lush production of Sharmila Tagore in ostrich feathers. (MBlowhard note: the video is too wide to be embedded in this blog's column, so you'll have to click here to watch it. Recommended!) We can't conclude a short presentation without Helen, the queen of the Mumbai cabaret, doing a femme fatale -- Bollywood taught me how well cabaret went with Noir: In her iconic Carvan song: And in what must be the most popular song in the whole world: Shout out to A.R. Rahman! My Chennai homie should win two Oscars this year!!!! WooHoooo!!!!! Ramesh out. *** Many thanks once again to Ramesh. Visit Ramesh's blog here. Fellow Bollywood connoisseur David Chute offers a generous and informed guide to Bollywood for the rankest beginner (that'd include me) here. Print it, save it, and consult it the next time you decide to top off your Netflix queue. Visit this posting of mine for more links to Chute-ian Bollywood tips. Best, Michael... posted by Michael at February 8, 2009 | perma-link | (18) comments

Friday, February 6, 2009


"Fat Head" Now Available
Michael Blowhard writes: Dear Blowhards -- Back here and here I interviewed Tom Naughton, a standup comedian and software guy who was in the process of finishing his first movie, "Fat Head." Amusing, likable, and amazingly informative, "Fat Head" is both a documentary response to Morgan Spurlock's "Super Size Me" and a muckraking expose of the lowfat-eating dogma. (You think this is a trivial matter? One doctor involved in researching the supposed benefits of eating lowfat called its theoretical basis -- the "lipid hypothesis" -- "perhaps the greatest scientific fraud of the 20th century.") "Fat Head" is also, IMHO, a triumph of self-financed, hands-on, DYI filmmaking, plain-speaking funny-regular-guy division. I'm glad to learn that "Fat Head" is now finished and available. Though I don't see it listed at Netflix yet, you can buy yourself a copy at Amazon. Dr. Michael Eades -- a luminary in the low-carb-eating cosmos (buy the excellent "Protein Power Lifeplan" here). and a generous and enlightening interviewee in "Fat Head" -- interviews Tom Naughton here. Here's the website Tom has made for his movie. Best, Michael... posted by Michael at February 6, 2009 | perma-link | (2) comments

Wednesday, February 4, 2009


Video Goodness
Michael Blowhard writes: Dear Blowhards -- * Colleen is a motivator. * The Christian Bale Remix. (NSFW for language.) * L'il O'Reilly evaluates Obama's first week in office. (Link thanks to Charlton Griffin.) * What's the latest in sex toys? (NSFW, as if you needed telling.) * Guy Clark loves Texas cookin'. * A well-done parody of a certain kind of French musical-film style. (Thanks once again to websurfin' virtuoso Charlton.) The real thing. * Nonvideo Bonus: How much of a geek are you? I didn't make a dent on that scale. Best, Michael... posted by Michael at February 4, 2009 | perma-link | (4) comments

Monday, February 2, 2009


Oopsie
Michael Blowhard writes: Dear Blowhards -- Amazing that this kind of thing doesn't happen more often, isn't it? (NSFW) Vaguely related: Some inspired hacker mischief. (Link thanks to visitor William S.) Austin, TX, has a very cute Spokeswoman for Public Works. Best, Michael... posted by Michael at February 2, 2009 | perma-link | (2) comments

Saturday, January 24, 2009


Movie Linkage
Michael Blowhard writes: Dear Blowhards -- * David Chute is surprised to find himself lovin' the most recent "X-Files" movie. * Steve Sailer does a great job of nailing and evoking Baz Luhrman's talent. * Film director Danny Boyle tells Anne Thompson that he likes limits. * Dennis Cozzalio writes a definitive history of the drive-in. Dennis maintains a wonderful and very personal movieblog here. * Ramesh compares "Gran Torino" to "Diary of a Country Priest" and makes it sound plausible. * An excellent interview with nature-doc legend David Attenborough. Attenborough deserves far more appreciation as a filmmaker than he has received, IMHO. I've found many of his shows really thrilling. * MBlowhard Rewind: I rhapsodized about Spy Mom Carla Gugino. Best, Michael... posted by Michael at January 24, 2009 | perma-link | (13) comments

Thursday, January 22, 2009


Podcast Recs 2
Michael Blowhard writes: Dear Blowhards -- Having been on a podcast-listening bender over the last few months, I'm recommending the ones I've especially enjoyed. Back here I linked to a talk by the behavioral economist Dan Ariely. Today my tip is ... * Lance Weiler talks to Joe Swanberg. (Go here. Now, in the "This Conference is Being Recorded" box in the webpage's upper-right, scroll down and look for "Joe Swanberg: DIY filmmaking." If you see a better way of getting at this podcast please let me know.) This conversation is a great introduction to how new-media creators -- webseries makers, for instance -- think and talk, as well as an informative stroll through their concerns and interests. A quick explanation: We’re all familiar with old-media conversation topics. Let’s take movies as an example. The usual conversation might include riffs about: How hard was it to find financing? What battles did you have with your producers and stars? How screwed-over did you get by distributors? We've all read articles and/or have attended panel discussions that have focused on these questions. In the world of new-media creation, nearly all these concerns have been left behind. Why? Well, the new digital tools enable people to make movies for almost nothing. Really-truly they do: The Wife and I are friendly with a guy who makes feature-length movies -- on weekends, with friends -- for less than a thousand dollars each. The webseries that The Wife and I co-created ourselves with a young director friend was, by new-media standards, incredibly ambitious. We like to describe it as a cross between “Barbarella” and “The Matrix.” Yet its total cost was a mere $12,000. If you’re working without producers and stars, then you aren’t subject to producer/star battles. And, because internet connections and downloads are getting faster every year, moviemakers can now put their work on public display without relying on any distributors at all. Hence: no reason to agonize about financing, producers, stars, or distributors. So far as new-media filmmaking goes, in other words, those familiar old article and panel-discussion moviechat topics are now kaput. But it isn’t`as though life in the new-media world, however free and loose, is entirely smooth sailing. The old-media obstacles and hurdles may not be issues for people working independently, using Macs, and shooting on digi-videocams. But life under the new conditions presents its own challenges. New media filmmakers love to get together and compare notes -- they just aren’t comparing notes about what filmmakers used to compare notes about. A few examples of typical new-media filmmaker conversation topics: How might we get paid for our creations? (No one has an answer for this one yet, alas. In fact, it seems as though the freer the new tools make independent filmmakers, the less likely independent filmmakers are to get paid.) How to handle the challenges of making collaborative work when no one involved is receiving a salary? (Example: It’s hard to yell at someone for screwing up if that person... posted by Michael at January 22, 2009 | perma-link | (3) comments

Monday, January 12, 2009


It's An Audio
Michael Blowhard writes: Dear Blowhards -- The Michael Blowhard creativity onslaught continues. Back here I wrote about co-creating a trash novel in two months with The Wife. Back here I wrote about co-creating a webseries with The Wife and a young director friend. I’ve just finished another deeply satisfying adventure in co-creation: The Wife and I have co-written and co-produced an audio extravaganza. It’s a raunchy satire of the movieworld -- and, as we like to say to each other, it isn’t “just an audiobook.” Instead, we roped together more than 30 actors, we utilized real audio production values ... Episodic, satirical, and ultra-raunchy, it’s like an audio version of a Showtime or HBO series, or like a dirty-minded and up-to-date season of the kind of audio plays that used to be common on American radio. (I say “not just an audiobook” with the greatest fondness and admiration for good audiobooks, by the way. I also hereby acknowledge the masterful audiobook creator Charlton Griffin as the godfather of our project. Without Charlton’s tips and encouragement we’d never have known how to get started with our own project. In case you’re unaware of his work: Charlton, who often drops by 2Blowhards -- and who is now Friendable on Facebook too -- produces and narrates some of the best audiobooks out there. Check out Charlton's product line at Audible by typing his name into the Search box.) A handful of observations about the making-audio process. It’s a performance. When The Wife and I kicked our project off a couple of years ago, the plan was to emerge from the process with a novel, not an audio entertainment. Not having an actual book contract to enforce a deadline on us, we set up our own deadlines by arranging readings in downtown bars. The readings became our deadlines. We raced to complete sections of the project in time to put them up in front of live audiences. But something unexpected happened. As we did the readings, we found ourselves writing less and less in the way of on-the-page style prose and more and more in the way of dramatic/comedic material for actors. Writers reading on-the-page prose are usually a drag, after all, where actors reading dramatized comic material are often enormously entertaining. The Wife and I? Well, we’re opportunistic enough to go where the applause and the laughter seems loudest. By the time we’d rounded the live-presentation phase of our project off, what we had in our hands wasn’t a novel at all but instead a collection of related audio plays. We looked at each other and said, Hey, so far as setting-this-in-stone goes, what do you say we skip the turning-it-into-a-novel thing and produce it as a recorded audio entertainment instead? The performance side of the project had taken over. I wrote back here about touring our stories around the country. Why don’t more writers do audio? As everyone knows, reading time is diminishing; even interested and devoted readers are finding less time... posted by Michael at January 12, 2009 | perma-link | (5) comments

Friday, December 26, 2008


DVD Journal: "B. Monkey"
Michael Blowhard writes: Dear Blowhards -- A small-scale London-set gangster romance about a sexy young burglar (Asia Argento) who wants to go straight, and the low-key teacher (Jared Harris, Richard's son) she fastens on. Beautifully designed and lushly shot, it's an enjoyable, if somewhat lightweight, film in the movie-dream mode of Godard's "Breathless" and "Band of Outsiders," What gives "B. Monkey" a lot of tang and makes it memorable is Asia Argento. 22 at the time the film was made, she's like nothing you've ever seen: reactive and passionate, a Wild Child who knows only how to be true to herself and do things her own way. If she recalls anyone it's such other sui generis performers as Belmondo and Brando. Props to director Michael Radford for creating such a gorgeous cinema-reverie showcase for her. Movies would be a far less interesting medium than they are if it weren't for attractive and distinctive performer-personalities, and the talented people who figure out effective ways to show them off. Semi-related: Buy a copy of "B. Monkey." Back here I wrote about Asia's loony and fascinating first film as a director, "Scarlet Diva." Back here I confessed that I only semi-enjoyed Argento in Breillat's "The Last Mistress." Back here, I reviewed a bunch of sexy movies, including Michael Radford's "Dancing at the Blue Iguana." Best, Michael... posted by Michael at December 26, 2008 | perma-link | (11) comments

Monday, December 22, 2008


More Debbie
Michael Blowhard writes: Dear Blowhards -- In final excerpts from an interview, horror-movie queen (and genuinely fab actress) Debbie Rochon tells thefold.tv what she thinks a real independent movie is, and talks about the perils of being a scream queen. I wrote an appreciation of Debbie Rochon back here. Best, Michael... posted by Michael at December 22, 2008 | perma-link | (0) comments

Thursday, December 18, 2008


Debbie Rochon
Michael Blowhard writes: Dear Blowhards -- Have you heard of the actress Debbie Rochon? She's one of the great figures of the current exploitation and cult cinema. Now 40, she has appeared in over 150 movies, none of which you've ever heard of -- at least, if you aren't a low-budget sleaze and horror fan. Sample titles: "Corpses Are Forever," "Playmate of the Apes," "Vampire Seduction." But while many of the movies she has acted in have been forgettable quickies, Debbie Rochon's talents and performances are anything but. In fact, she's a dynamite actress. (It's a tribute to the discernment of exploitation buffs that many of them recognize Rochon as the real deal.) In cheesy movie after quickie movie -- often working with directors who have no idea at all what they're doing, and opposite performers who are barely performers at all -- Rochon delivers balls-out, fully-felt, and surprisingly sophisticated and touching performances. (Not that there's anything wrong with sleazy and / or quickie movies, god knows! If there's one lesson movie history drives home over and over again, it's that movies that are dismissed as shallow popular trash when they're released sometimes turn out to have more staying power than movies that initially seem far more plausible. Some major examples: '30s monster movies, '50s sci-fi, film noir, and Italian giallo films.) Petite and spunky, tough yet vulnerable, Rochon has a stylized waif / gamine quality that reminds me of the French actress Elodie Bouchez, and a rueful, wised-up soulfulness that puts me in mind of Diane Lane. She combines a bruised, wild-child, rock-chick spirit with a European art-movie-diva aura -- she's half Skid Row bohemian, half "Jules and Jim" / "La Notte" tragedienne. Rochon also has a scrappy and amazing, go-it-her-own-way life story: She started out as a street kid in Vancouver, stumbled into movies, moved to New York for training, opted for the exploitation track rather than the mainstream career track ... Truly independent, she works without an agent, maintaining a close relationship with Troma mastermind Lloyd Kaufman ... She writes for exploitation-cinema magazines and co-hosts a Sirius radio show with the rocker Dee Snider ... Given that Debbie Rochon is one of the underappreciated treasures of contempo American popular culture, a major mystery to me is why the hipsters who work in the big-budget movie world -- guys like Tarantino, Rodriguez, Linklater, Fincher, etc -- haven't pounced on Rochon and turned her into a mainstream icon. Dudez: time to show a little of your canny-casting stuff, please. Thefold.tv is spending the week running an interview with Debbie Rochon in short excerpts: part one, part two, part three, part four. In addition to her other virtues, Rochon turns out to be far more down-to-earth, articulate, and thoughtful than actresses usually are. Watch, listen, enjoy, learn. Here's Debbie Rochon's own website. Best, Michael... posted by Michael at December 18, 2008 | perma-link | (12) comments

Sunday, December 14, 2008


More Lloyd
Michael Blowhard writes: Dear Blowhards -- Troma legend Lloyd Kaufman finishes off a week of talking to thefold.tv with some thoughts about microbudget moviemaking, and about the future of movies. Best, Michael... posted by Michael at December 14, 2008 | perma-link | (0) comments

Thursday, December 11, 2008


More Lloyd
Michael Blowhard writes: Dear Blowhards -- Today, Lloyd Kaufman talks to thefold.tv about the current movie trend known as "torture porn." Best, Michael... posted by Michael at December 11, 2008 | perma-link | (3) comments

Wednesday, December 10, 2008


Ramesh on Bollywood 1
Michael Blowhard writes: Dear Blowhards -- Filmbuff though I am, I'm a complete blank where India's Bollywood tradition is concerned. Not only do I not know the lore, I'm unsure of what the values are, and I have no idea where to start. So I asked Ramesh if he'd be willing to explain some context, and to make some recommendations. Here's the first of two postings that Ramesh has been good enough to write for us. It's always good to receive coaching from an expert. I see that both Amazon and Netflix carry a decent number of Bollywood titles. *** 2002 When Bollywood said “Yes We Can” (Part I) This is a tribute to the three years bordering 2002 (1 &3) when Bollywood had its global coming-out party. This essay is in two parts and I have hyperlinked to YouTube videos of songs from the films, and to other resources in case you are curious to explore further information about the personalities or films involved. In many respects, these years represent a creative and business peak that Bollywood films will need to strive to equal in the future. Devdas (2002) To watch a clip from "Devdas," click here Sanjay Leela Bhansali's extravaganza that featured Shah Rukh Khan, Aishwarya Rai and Madhuri Dixit was a tribute to the largeness and over-the-top-ness of Bollywood in every way. The costumes and the sets were like never seen before (except in "Mughal e Azam," "Pakeeza," "Razia Sultan," "Anarkali" ...) and sparked jewelry and clothing sales all over the US. Men wanted to be with Madhuri Dixit, women wanted to be like Madhuri Dixit. And then there was Aishwarya Rai. It seemed the gift that was "Devdas" wouldn’t stop giving. The film went to Cannes and had a special screening (and birthed the Indian pavilion there), at which it is reported there was a stunned silence from foreign audiences that hadn’t quite seen anything like it since Satyajit Ray’s "Devi" ("The Goddess"), in a year when the exquisite corpse film "Sud Sneha" from Thailand won the Un certain regard and Elia Suleiman’s Yadon Illeha ("Divine Intervention") won the Jury Prize. Sanjay Bhansali went on to direct operas and a Bollywood version of Dostoevski’s "White Nights," produced by Sony Pictures; Shah Rukh Khan stayed the ruling monarch of all he surveyed in Bollywood; and Aishwarya Rai, after a brief Hollywood career, became Ms. Rai Bacchan (marrying the superstar Scion Abhishek), with a thriving Bollywood career. Lagaan (2001) Considered the "Seven Samurai" of Bollywood, this film can be credited with teaching the Academy of Motion Picture Arts and Sciences (in the other film industry) the rules of Cricket. It won a foreign Oscar Nomination. To watch a clip from "Lagaan," click here "Lagaan" -- which was three and a half hours long and featured seven five minute songs in an eclectic movie soundtrack by superstar composer A. R. Rahman -- was not your grandfather’s Satyajit Ray art-house Indian film. The director Ashutosh Gaurikar went on to make... posted by Michael at December 10, 2008 | perma-link | (7) comments

Tuesday, December 9, 2008


Lloyd Kaufman Interviewed
Michael Blowhard writes: Dear Blowhards -- TheFold.tv has been running an interview with exploitation filmmaker Lloyd Kauffman in very short chunks, an inspired way to showcase interview material on the web, IMHO. In yesterday's installment, Kaufman talked about how he dislikes the way the word "exploitation" is so often used as a putdown. In today's installment he complains that horror and humor don't get the respect they deserve. I don't know if you're aware of Lloyd Kaufman. If you aren't, perhaps you should be -- he's certainly one of the most influential popular-culture figures out there today. Don't think so? Consider this: his company, Troma, has produced around a hundred movies, including such inspired blowouts as "The Toxic Avenger," "Tromeo and Juliet," and "Poultrygeist." (As you might be suspecting, one Troma trademark is never to pass up a joke or a wisecrack -- especially the obvious and poor-taste ones.) Troma also distributes hundreds of mini- and micro-budget movies made by others. A good way for the greybeards among us to conceptualize what Lloyd Kaufman represents might be: He's a combo of Roger Corman, Rodney Dangerfield, and Mad Magazine's William Gaines -- a go-it-his-own-way, never-sufficiently-respected, full-of-mischief bomb-thrower. In fact, Kaufman works with a partner, Michael Herz. Herz, though, prefers to stay out of the public eye, where Kaufman is a born showman. He has developed a very amusing and effective public persona, which you'll get a taste of at TheFold.tv's interviews. Here's one man who really really loves the camera and who isn't afraid of showing that love, whether he's behind the cameras or in front of them. Kaufman is also something that isn't rare in the movie world: a lowbrow trashmeister who's at least as smart as the respectable people he mocks and defies. He's a Yale grad who -- like many of his generation -- got biten by the art-and-trash movie bug while at college. Oops, there I go mentioning an Ivy League school yet again. Damn, I really gotta stop doing that. It isn't as though the Ivies play a discernible role in our cultural dramas or anything. Kaufman is such a hero in the micro-budget movie world that he has also made guest appearances in several hundred low-budget movies. Micro-budget filmmakers love Kaufman and want to show him off; they also hope that his presence in their movies will attract viewers. Kaufman makes a point of obliging whenever he can. While the usual movie press coverage refers to the likes of Miramax as "indies," Kaufman and Herz have been going their own Troma way, producing and distributing exactly what they have wanted to, for nearly 40 years now. They may well deserve the title The Indie-est of the Indies. "The Fold" is one ambitious and unusual webseries, by the way. Why not stick around and give it a try too? Click on an episode in the left-hand column and enjoy. Some passages of "The Fold" are NSFW, so consider yourself warned. I wrote about Lloyd Kaufman's excellent... posted by Michael at December 9, 2008 | perma-link | (5) comments

Thursday, December 4, 2008


American Manhood, R.I.P.
Michael Blowhard writes: Dear Blowhards -- These days we can't even breed our own movie heroes. “Hollywood is great at producing male actors, but sucks at producing men,” says graphic novelist/director Frank Miller. “I found them all too much like boys.” Best, Michael... posted by Michael at December 4, 2008 | perma-link | (67) comments

Saturday, November 29, 2008


Jean Rollin
Michael Blowhard writes: Dear Blowhards -- Jeremy Richey's "Fascination" is a beautiful blog as well as a first-class introduction to the French filmmaker Jean Rollin. Rollin, who did his most memorable work from the '60s through the '80s, is a fascinating case: his pictures bordered on porn and sleaze, yet they were also poetic and art-aware. (There's a lot of Cocteau in his movies.) They're slow, gauche, silly, and pretentious, but many of them also cast a powerful spell. I like Rollin very much -- but Jeremy knows the oeuvre a lot better than I do. So, where titles to start with go, you'd do well to take Jeremy's advice. By the way: If in 1975 you'd asked the quality film critics if Rollin's movies would last and prove influential -- and, as it turns out, they have -- the know-it-all intellectuals would have called you an idiot. Moral: You can't predict with any kind of certainty which contempo culturethings will prove to have staying power, you just can't. So why fret over the question? Unless it amuses you to do so, of course. Related: Wikipedia's entry on Rollin is a good one. Here's the Jean Rollin website. Here's a posting I did raving about the semi-similar, inadvertently-brilliant-or-maybe-not, sleaze / art / poetry specialist Jess Franco. Some more arty and sleazy movies. Best, Michael... posted by Michael at November 29, 2008 | perma-link | (2) comments

Friday, November 28, 2008


Infinite Cuts
Donald Pittenger writes: Dear Blowhards -- As many of you know, I'm no longer much of a movie viewer. But yesterday my wife and daughter dragged me off to see Quantum of Solace, the latest James Bond flick. Now I feel even older and more out of touch than usual. That's because I found the plot difficult to follow (something to do with my hearing?) and, especially, the many action sequences were chopped into teeny weeny itsy bitsy miniscule nanocuts. I'm guessing that young viewers who are used to fast-action computer games and quick-cut advertisements on television are able to grasp details better than I can. And for all I know, lots of action movies these days reduce things to a seqence of two-second scenes. (I don't know, 'cause I almost never see such films.) The link above mentions that the action stuff generally won praise from critics. This puzzles me. My take was that the quick cuts destroyed viewer orientation because the physical layout of the setting was poorly established in the first place and because the camera position often changed radically from cut to cut. In several places the cuts were between virtually unrelated events; one instance was the Palio horse race in Siena and Bond chasing a bad guy under, around and over Siena. For me, the action lost excitement because I was lost. I had a poor idea regarding what was where. I had little clue as to where the actors were going in chase sequences. I had found it hard to grasp, in some cases, the degree of danger Bond was in if the setting is part of the mix along with his antagonists. Worse, the action was just that: all action. No dramatic arc. No tension required on the part of the audience. So why really care what happens; Bond's gonna survive anyway. Let the guns fire, the roofs collapse, the airplanes crash. Compare this to the classic Goldfinger Bond film of 1964. The climactic seqence in the Fort Knox gold repository where Bond has to defuse an atom bomb plays out over many minutes and the tension rises scene by scene. No flurry of quick cuts here. The audience is totally in the picture, stomachs knotted as Bond overcomes obstacle after obstacle while the bomb's timer counts down to zero. Later, Donald... posted by Donald at November 28, 2008 | perma-link | (9) comments

Wednesday, November 26, 2008


DVD Journal: "Who Gets to Call It Art?"
Michael Blowhard writes: Dear Blowhards -- Geldzahler, painted by Alice Neal Peter Rosen's 2006 documentary "Who Gets to Call It Art?" tells the story of NYC artworld taste-maker / power-broker / connoisseur Henry Geldzahler. A buddy of Warhol and Hockney -- and, yes, since you may have been wondering, most definitely Ivy, Jewish, and gay -- Geldzahler was curator of contemporary art at the Metropolitan Museum in the 1960s, and he played a major role in getting a ponderous NYC art establishment to embrace the whimsies and playfulness of Pop Art. A happy networker and politically very astute, Geldzahler was an outsized version of a not-uncommon NYC type: the gayguy who lives for his taste and his friends, and whose personality is as much a work of art as any actual artist's creation. The film? Well, it's more of an art-thing in its own right than I generally like docs to be. But -- if you don't mind the pretentiousness and can forgive some huge gaps in information and exposition -- it's there to be enjoyed as a fact-based evocation of an epic time in American art. All that said ... The inbred-ness of the NYC artworld, eh? What I mainly came away from the DVD musing about was this: Isn't it funny how someone like Geldzahler could make a huge reputation for himself as a savvy, open, daring and refined bad boy by getting the artworld to accept Pop Art? What's so impressive about that? To me, getting the fine arts world to accept a new kind of fine art is like getting the French cooking world to accept a new kind of cream sauce, or the fashion world to embrace a new trend in necklaces. It's some kind of achievement, I guess. But perhaps the people who find it a hyper-impressive one are also people who take life inside the Charmed Circle a little too seriously. Meanwhile (and please heed a grumpiness alert here) it isn't at all uncommon for civilians -- people like, say, the inhabitants of this blog and many of its visitors -- to gab happily and un-self-consciously about book jackets, suburbia, cars, movies, fine art, ads, magazine design, skateboard photography, and thongs. It's all visual culture, folks. As for which culture-things from our era will last: Well, Time will tell, and will then probably change its mind. And -- since we won't be there to enjoy its verdict anyway -- why over-stress the question? No disrespect meant to Geldzahler, who was certainly an impressive phenomenon of some kind. Still: Who really deserves the rep as the more open-minded, free-thinking, visually-aware-and-responsive creature: the guy whose twinkling eyes and mind inflicted a little snuggly mischief on the inner circles of the self-declared art world? Or the interested and enthusiastic civilian whose brains and senses are open to a far wider visual-culture field? Here's Paul Goldberger's good obit of Henry Geldzahler, who died in 1994 at 59 years old. Fast-Forwarding Score: A tenth of the movie. The... posted by Michael at November 26, 2008 | perma-link | (1) comments

Saturday, November 22, 2008


Cheapo HD
Michael Blowhard writes: Dear Blowhards -- David Pogue likes Flip's new $229 Mino HD. Andy Ihnatko thinks that the Flip delivers a more subtle picture than Kodak's $179 Zi6 does, but that the Kodak's sound is better. What I can't figure out is why people in the market for cheapo HD aren't buying this little Kodak camera instead. It does HD video; it's cheaper than both the Mino HD and the Zi6; it has an optical zoom; and it takes perfectly nice stills. But maybe there are good reasons why nobody's paying me to be a technology pundit. What do you lug around with you in the way of a small and cheap day-to-day snapshooter / videocam? Is now the moment to upgrade or not? Bonus link: Speaking of video ... One of the biggest differences between happy and unhappy people? Happy people watch less TV. Doing my manly best to resist buying a new camera because they're always getting better, Michael... posted by Michael at November 22, 2008 | perma-link | (8) comments

Wednesday, November 12, 2008


Aging Giants
Michael Blowhard writes: Dear Blowhards -- * Mick Jagger reflects a little on what it's like to be 65. If I'm counting right, Jagger is the father of seven kids. Here's a track from one of the Stones' better periods: Hard to ignore how un-PC the lyrics are by today's standards, isn't it? At the time they were enjoyed not as offensive but as sweetly risque. * Legendary film composer Ennio ("The Good, The Bad, and the Ugly") Morricone turns 80. In this clip, Morricone conducts some of the music from the film: What are the odds that Morricone's film scores will be remembered for longer than much of the era's "serious" standalone music? I'd guess they're pretty good. Best, Michael... posted by Michael at November 12, 2008 | perma-link | (16) comments

Monday, November 10, 2008


Mood-Lift for the Day
Michael Blowhard writes: Dear Blowhards -- Funkiness, good humor, krazy kolors, and some of the biggest Afros ever seen -- that's right, it's 1973, and Billy Preston is stomping out "Will It Go 'Round in Circles": Whoo! Happy music indeed. Here's the Billy Preston Website. Billy -- who enjoyed a few years as a headliner as well as a long career as a superb sideman, performing with an amazing array of artists that included Mahalia Jackson, The Beatles, Jackie Wilson, Johnny Cash, Sam Cooke, and Aretha Franklin -- would have turned 62 this year. Best, Michael... posted by Michael at November 10, 2008 | perma-link | (9) comments

Monday, October 20, 2008


Underground Puppets
Michael Blowhard writes: Dear Blowhards -- There's been a paucity of what used to be known as "underground art" in recent years. Is this because access and electronics have rendered the aboveground / underground distinction useless? Have corporations rendered people stupid and life bland? Are taboos out of date? Beats me. Even Pedro Almodovar -- whose early movies combined casual surrealism, impish insolence, and beyond-camp absurdism -- has gone staid. The Wife and I caught up with his recent "Volver" and found it a stodgy (if elegant) yawn. But I've been bored by every Almodovar film that I've seen since "Women on the Verge of a Nervous Breakdown." Almodovar seems to me a bottle of champagne that has gone flat. If his early films were topnotch Cole Porter, full of sparkle and fizz, his recent ones are like droopy dirges composed by Stephen Sondheim on a gloomy day. Maybe whatever it was that once made the idea of an "underground" meaningful has simply been lost. Still, I miss the racy, irreverent, drop-out spirit of much of that art. In fact, one of the motivations behind the webseries that I co-wrote recently was to revive the scrappy, sexy, woozily satirical spirit of the '70s "midnight movie." So I've been very pleased to catch up with FurTV, an MTV-UK series about three layabout puppets sharing a squalid house in some godforsaken part of London. Mervin's the clueless punching bag; Fat Ed is the beer-swilling, heavy-metal-lovin', American bully; and Lapeno (a frog with sunglasses) is a suave, ever-ready-for-love DJ from Brazil. Cue numerous bad jokes about "Brazilians." (Gotta love the human actresses who play romantic and erotic scenes opposite Lapeno, by the way.) Their adventures are pleasingly aimless yet enjoyably orchestrated; the action mostly veers between hanging out, grotty sex, and senseless violence; and drugs, alcohol, and profanity are insistently foregrounded. The characters are hilariously designed and wittily moved-about, and the camerawork and cutting are often inspired. These are fabulous furry freak brothers indeed. YouTube uploader piterr82 has done a heroic job of making a lot of FurTV accessible. "Fat Ed's Furry Fucking Guide to Metal" is a raucous little classic. Of the longer episodes that I've watched so far, this one is my favorite, particularly for its well-done '60s-esque drug-hallucination scene. I'm willing to concede, though, that "Hot Pussy" may prove to have more lasting power. I'm a lot happier watching this kind of thing than I am watching Pixar movies or "Shrek," let alone recent Almodovar. Is there a lot of underground-ish entertainment around that I just don't know about? "South Park" and AdultSwim seem to me to be the closest things we have to FurTV. Bonus point: Chip Smith keeps the spirit of the '80s 'zines scene alive at his blog Hoover Hog. Don't miss Chip's interview with the outrageous Peter Sotos. Best, Michael... posted by Michael at October 20, 2008 | perma-link | (11) comments

Tuesday, October 14, 2008


Toronto is New York
Donald Pittenger writes: Dear Blowhards -- So we're strolling in Toronto a few weeks ago and discover that Front Street is closed for a block near the Royal York Hotel. Oh, it 's a crew filming a movie. What's that yellow thing over there? Why it's a taxi. A taxi decked out like a New York City cab. And the roof is smashed it. Here's a view from the other end. Looks like it got hit by a giant wedge. Half a block a way where the crew is filming, there's a nearly identical cab with nearly identical damage. So I suppose they were filming the hit and wrecked two cars to ensure that they got usable footage. I'm about as far as one can get from being a movie buff. That and my usual laziness means that I have no idea what movie was being shot in Toronto-subbing-for-NYC, and I' won't bother to track down what the title is. I'll leave that for any fans in the readership. So my parting shot for this post is the following spoiler: The Taxi gets it. Later, Donald... posted by Donald at October 14, 2008 | perma-link | (6) comments

Monday, September 29, 2008


Toby's Movie
Michael Blowhard writes: Dear Blowhards -- I've been looking forward to the film "How to Lose Friends and Alienate People." It's an adaptation of the British writer Toby Young's memoir of his wildly unsuccessful years in New York City, on staff at Vanity Fair. Though the book is nonfiction, it's personal, fleet, funny, and touching -- as engaging and easya read as "Bright Lights, Big City." These days Toby's book looks even better than it did initially; indeed, it looks as though it may be the definitive book about an era in the NYC media life that I think of as the Tina-and-Graydon years -- that's Tina as in Tina Brown and Graydon as in Graydon Carter. And if you don't think that nailing a big-city media era is a significant literary achievement, please recall that one of the ways we value F. Scott Fitzgerald is as a chronicler of the Jazz Age. I've been enjoying the warmup to the film's release in the States: one example, another. Have the filmmakers taken the material in the direction of character-driven, glam, and gritty, a la "Withnail and I"? I imagine that such would be Toby's preference. Or have they steered it in the direction of rom-com formula? Here's the movie's website. Simon Pegg: good. Kirsten Dunst? Hmmm ... But I'm really looking forward to Jeff Bridges as Graydon Carter, though the casting seems so dead-on that I'm also feeling wary of it. Toby's wife writes about what it was like to see herself played onscreen by Kirsten Dunst. So I was double-glad this morning to see that Toby has written a smart piece -- frank, provocative, and fun, in the Toby manner -- for The Guardian ricocheting off his experience as a movie journalist and movie reviewer as well as his more recent adventures in moviemaking itself. What has Toby learned about movies and moviemaking that he didn't fully comprehend as a reviewer? And how has it affected his attitudes towards and thinking about movies? A great passage that ought to be handed out to beginning film journalists and beginning filmmakers both: I now realise that describing someone as the "director" -- or "screenwriter" or "producer" -- is completely misleading, in that there are no clearly circumscribed areas of responsibility on a film set. Those official titles are, at best, starting points, guideposts that sometimes point you in the right direction, but equally often lead you astray. Film-making is a fluid, mercurial process in which power is constantly changing hands, not just between individuals, but between groups of individuals, creating makeshift alliances that can dissolve at any second. I was struck by much the same thing during my recent adventures in no-budget moviemaking. (Read one of my postings about it here.) Basically, we were all there to get the damn film -- er, webseries -- made. If an electrical cord needed plugging-in, then someone did it. If toilet paper needed fetching, then someone did that too. The titles that appear on... posted by Michael at September 29, 2008 | perma-link | (10) comments

Thursday, September 18, 2008


DVD Journal: "Marie Antoinette"
Michael Blowhard writes: Dear Blowhards -- Sofia Coppola's 2006 biopic of the Austrian-born French queen is sporadically amusing, occasionally pretty, and not-too-annoying, at least if you can take it as a sassy, indie-chick, art-school-style costume party. It's pretty much a yawn otherwise -- and, needless to say, a complete wipeout as a trad-style movie. For one thing, it's story-free. The film couldn't care less about "what?" or "how?" questions. It's entirely concerned with "What did it feel like for her?" As The Wife said, "It's like eating cookies with your girlfriends and mulling someone over together. 'Was she really so bad?' 'It wasn't her fault she was rich.' 'I could see myself doing that.' 'I don't know, she didn't have a good marriage. She deserved to take a lover.' 'So what's wrong with liking to shop?' 'I don't care what anyone says, I feel sorry for her'." For another, there are no performances to speak of. What the performers are doing here is something more like "lending their looks and spirits to the general mood" than anything like acting, at least in the reading-lines-and-pursuing-objectives sense. It's like they're all -- major characters included -- extras in a director's crowd scene. For a third, it's drama-free. Suspense? Involvement? Setups and payoffs? No thanks. What you get instead are "sections," as in "This is the cheesy-horror-movie, blue-lit, meeting-the-scary-relatives section"; "This is the ironic-but-fun, cut-cut-cut, Paris-Hilton-goes shopping section"; and "This is the gauzy, hippie-chick, 'Elvira Madigan,' free-love section." It's a kicky 123-minute long, ultra-feminine video mood piece, in other words. In the making-of material on the DVD, Coppola can be overheard saying delightedly, "This could totally be an Adam Ant video!" So how well does "Marie Antoinette" come across as a frou-frou, kooky-performance-art, hip-fashion-magazine spectacle? YMMV, of course, but I was a little startled by how charmless much of the movie felt. It felt like one of those offbeat college productions whose appeal doesn't extend much beyond participants, friends, and parents. I didn't love Sofia's earlier movies -- "The Virgin Suicides" and "Lost in Translation" -- either. But in them Sofia did show some dreamy if solipsistic talent. As narcissistic reveries, they worked. Here her filmmaking seems flatfooted and uninspired -- as a postmodern ringmaster, she has a ways to go before she becomes her generation's Fellini, at least if my responses are worth paying attention to. Perhaps it takes more in the way of dynamism than Sofia seems interested in coming up with to put this kind of show over? But maybe this is just the impatient-for-more-action male in me speaking ... All that said, the rococo clothing, hair, decor, and foodstuffs are to die for, it's fun spending time in and around the actual Versailles, and I'm always happy to hear a little Gang of Four and Bow Wow Wow. A few questions the film left me thinking about: Coppola certainly has a lot of taste, of a mix-and-match, downtown-trust-fund-kid sort. But is taste the same thing as talent? What is... posted by Michael at September 18, 2008 | perma-link | (15) comments

Tuesday, September 16, 2008


Hot Latins
Michael Blowhard writes: Dear Blowhards -- * Chile: World leader in youthful sexual adventurousness? Here and here. New term to be mastered: "Poncea!" (Translation, apparently: "Make out with as many people as you can!") * Is there such a thing as a Spanish movie that doesn't feature a lot of nudity? Best, Michael... posted by Michael at September 16, 2008 | perma-link | (2) comments

Monday, September 8, 2008


Slideshows
Michael Blowhard writes: Dear Blowhards -- Colin Mulvany -- who has produced over 75 online slideshows himself -- offers a lot of good tips for making better online slideshows. Colin really knows his stuff. Check out his visit with artificial-eye maker Kim Erickson. It's a new-media beauty that packs an awful lot of story, character, and information into a quiet and understated two minutes. Lots more here. Colin reviews the basics of visual storytelling here, and offers some anyone-can-use-'em tips for livening up your video footage here. Best, Michael... posted by Michael at September 8, 2008 | perma-link | (0) comments

Monday, September 1, 2008


More Self-Promotion
Michael Blowhard writes: Dear Blowhards -- Another enthusiastic and insightful review for the webseries that The Wife and I helped create has just appeared. No link, as I'm still being a little coy about my real identity, but here's a brief excerpt from it: The humour is bold throughout. The blend of sci-fi and sex comedy come together in a way that seems designed for the exciting new medium of the web serial ... And the homage to stylistic genres of art movies is cleverly compiled and adds another level of enjoyment to the whole experience. [Webseries title here] is already becoming cult viewing that needs to be seen. Campy, sexy, a little intense, funny, and seething with kooky ideas -- that's our webseries! Let me know if you'd like a link to the series' website, where three of our six episodes are now viewable. And -- ahem -- if you're someone who's interested in getting involved as a producer / financier in the low-budget movie world, don't be shy about saying hello. Me and my posse have some dy-no-mite ideas that we're raring to put into production. My email address is michaelblowhard at that gmaily place. Best, Michael... posted by Michael at September 1, 2008 | perma-link | (3) comments

Monday, August 25, 2008


Manny Farber, RIP
Michael Blowhard writes: Dear Blowhards -- I was very sorry to learn that the painter and film critic Manny Farber has died. He was 91. I loved his art (a few examples are here) and his criticism. The Wife and I spent a little time hanging out with Manny and his wife, the artist Patricia Patterson (they often wrote together), and I can report that I found him a lovable guy: spikey, difficult, and maybe even a little paranoid, but brainy, funny, and soulful too. There can't be many critics who made as big an impact on a medium with a single volume of writing as Manny did on movies with his legendary "Negative Space." But, as far as I could tell, his heart was really in painting. Half of him may have been a wisecracking, off-center, neurotic intellectual -- but his bigger half was a color-drunk west coast sensualist. Some highlights from the press and the blogosphere: David Chute offers some personal reflections, a lot of quotes, and a sensible evaluation. A 2006 Duncan Shepard memoir of his friendship with Manny and Patricia is also a fine snapshot of an amazing era in American art. Michael Sragow recalls his own friendship with Manny. Carrie Rickey recalls Manny's influence, as well as his impact as a teacher. Robert Pincus offers an appreciation of Manny's art and supplies a good short biography of him too. Green Cine Daily rounds up many more links. In sadness, Michael... posted by Michael at August 25, 2008 | perma-link | (4) comments

DVD Journal: "Youth Without Youth"
Michael Blowhard writes: Dear Blowhards -- Tim Roth and -- inevitably -- a mirror Have there been many movie directors as obstinately wrongheaded in their evaluation of their own talents as Francis Coppola? As far as the world is concerned, Francis Coppola is someone who occasionally -- all-too-rarely, in fact -- delivers rounded, worldly, stately narratives that feature a moving amount of warmth, mass, and dignity. He's a grownup entertainer / artist -- William Wyler with some additional splashes of blood and tomato sauce. But as far as Coppola himself is concerned, Francis Coppola is an enthusiastic, inventive kid, amusing himself with dolls and toys -- a born innovator bounding between surrealism and the early New Wave, playing mischievously and irrepressibly with ideas and styles. Oh -- and not only that, he's also misunderstood. In the world's eyes, the first 2/3 of "Apocalypse Now" was pretty good -- too bad Coppola blew it in the final third. In Coppola's own view, the last third of "Apocalypse Now" was what the film was all about. Why doesn't anyone get that? His recent "Youth Without Youth" was the first film he'd made as a director in ten years, and it's the latest in a long string of movies Coppola has done in pursuit of his image of himself as a childlike visionary / charmer, a string that includes "You're a Big Boy Now," "One from the Heart," "Rumble Fish," "Tucker: The Man and His Dream," "Dracula," and "Jack." The main thing these films share -- in addition to an addiction to stylistic hijinks -- is an almost complete absence of emotional impact. As a style-noodler Coppola is unquestionably some kind of talent. Yet what's most striking about these movies is how little they convey in terms of human presence. Nothing counts, nothing takes; everything seems unanchored and arbitrary. They spin, they throw off a few sparks, and then -- pfffft. What? You were hoping for something more? In terms of its style, "Youth Without Youth" -- set in Romania from the 1930s through the 1960s, starring Tim Roth as a nerdish old scholar who's struck by lightning and regains a second chance at life, and taken from a Mircea Eliade novel -- is melancholy as all get-out. But it's basically as weightless as "One From the Heart." The '30s-ish title cards, the never-quite-a-melody old-Hollywood-style score, the self-conscious touches of movie magic ... They don't illuminate the material or promote engagement with what's onscreen. They register as mere style choices, which means they feel contrived, troweled-on, and about a quarter-inch deep. In the case of this movie, what Coppola mainly wants us to do is think about ideas. Our experience of time, mainly: cyclical vs. linear time seems to be what's fascinating him these days. Story, character, visuals, involvement -- these are there simply to get us thinking. I'm OK with playing with ideas, strangely enough. What I'm less OK with is the way that Coppola seems to have lost interest in "selling"... posted by Michael at August 25, 2008 | perma-link | (19) comments

Wednesday, August 20, 2008


Genre Linkage
Michael Blowhard writes: Dear Blowhards -- * Polly Frost bemoans "audio overload" in contempo horror films. One especially concise, "I wish I'd said that myself!" passage: "A person’s nerves can only take so much before they tune out entirely." * Vince Keenan is dazzled by a new Lawrence Block novel. * Andrew Klavan makes some good psychological-crime novel suggestions. As it happens, psychological suspense is my own favorite narrative genre. I wrote about the genre back here. * I see that New York's legendary Mysterious Bookstore has just started a blog. Many of the entries are written by crime-fiction dean Otto Penzler himself. * Listen to an interview with Otto Penzler -- who is, IMHO, a major figure in contemporary American book-fiction -- here. Is it a complete coincidence that the interview was published by a rightie outfit? Sigh: Why doesn't the leftie-arty set see more in genre fiction? It may be worth pointing out that genre fiction is, in the U.S. at least, the book-fiction of "the people." Hey, didn't lefties used to make a big deal out of their commitment to "the people"? * MBlowhard Rewind: I raved about two novels that struck me as genuine 20th century greats -- but that you won't find on any official canon: James M. Cain's mean yet fullbodied "Mildred Pierce," and Francis Iles' sly, creepy, and beyond-brilliant "Before the Fact." (UPDATE: Mr. Tall enjoyed "Before the Fact" too.) * A fab bit from a recent Robert Townshend comment about American crime writing: There are no grand moral backgrounds, no straining for hard-boiled glamour. The prose is level, which always helps. The evil is shabby and domestic. I feel relaxed-in-a-good-way when I pick up a Goodis or James M. Cain, also Woolrich, Fredric Brown, others. The quality is very uneven -- nearly all these guys died of the booze -- but I usually pick up their works with a sense of relief and refreshment. And ain't that well-said? Best, Michael... posted by Michael at August 20, 2008 | perma-link | (10) comments

Tuesday, August 19, 2008


Movie Linkage
Michael Blowhard writes: Dear Blowhards -- * David Chute suspects that Asian Westerns may be the next hot movie thing. * Bay Area film buffs: Get thee to the Pacific Film Archives, where a series of films based on the writings of noir god David Goodis has a few more days to run. Kelly Vance writes a helpful intro to the series, and to Goodis too. * Supersmart Ramesh Ram enthuses about about "HellBoy II," and is lovin' his Kindle. * Anne Thompson notices that celebrity noses are growing smaller. Sigh: Must everything in America always evolve in the direction of corporate cookie-cutter blandness? Life needs more tang, not less, dammit. * Michael Bierut raves about a new documentary about Philippe Petit's tightrope walk between the World Trade Center towers. * Costume-lovin' blogger The Costuminatrix loves the coats in "Brotherhood of the Wolf." * MBlowhard Rewind: I rhapsodized about the French actress Sophie Marceau. Best, Michael... posted by Michael at August 19, 2008 | perma-link | (9) comments

Wednesday, August 6, 2008


Actress Linkage
Michael Blowhard writes: Dear Blowhards -- * Being asked -- or expected -- by filmmakers to take her clothes off quickly became abhorrent to Greta Scacchi, fondly remembered by arthouse-goin' filmbuffs for her classy / luscious / racey turns in such '80s films as "The Coca-Cola Kid." Sadly, two of her best -- "White Mischief" and "A Man in Love" -- aren't available on DVD. This is mean of me, I suppose, but I never thought Greta had a lot to offer the audience beyond her beauty and her physical audacity. But reports from England say that she has become an imposing stage presence. Enjoy a little of what Greta so disliked doing here. (NSFW) * Sigourney Weaver never felt like the pretty one. People who know Sigourney only through her strong-jawed uber-woman (and often humor-free) film performances usually aren't aware of her gifts as a cut-up and and a comedienne. Too bad the movies so seldom made good use of her comic talents. Glamorous, bigger-than-life, and funny -- now that's a great combo. * MBlowhard Rewind: I rhapsodized about the super-talented, very sexy B-movie Euro-diva Joanna Pacula here. Best, Michael... posted by Michael at August 6, 2008 | perma-link | (16) comments

Monday, August 4, 2008


More Self-Promotion
Michael Blowhard writes: Dear Blowhards -- Returning home after a day on the road, I was delighted to find two more voices praising the kooky webseries that I helped make. A brainy and supercool sci-fi site says of our creation, "It's probably going to be either too racy, or too weird, for most science fiction fans. But a vocal minority of SF viewers will embrace [it] with wanton glee." A "vocal minority" -- that's my kind of people! And one of the best movie critics writing has compared our series to early Almodovar. What makes this compliment doubly special is that the critic in question has repeatedly shown an inspired feeling for exotic popular entertainment. "Exotic popular entertainment" is exactly how we were hoping to be taken. We are not worthy of such attentions -- but that's certainly not gonna stop us from bragging about them. If you'd like a link to our webseries (and to the two above-mentioned pieces about it), shoot an email to me at michaelblowhard at that gmailish place. Related: I wrote about our adventures making our webseries here, here, here, here, and here. Back here I wrote about touring the country putting on live shows with The Wife. Three good early Almodovars are this one, this one, and this one. Best, Michael... posted by Michael at August 4, 2008 | perma-link | (1) comments

Friday, August 1, 2008


Another Self-Promotional Break
Michael Blowhard writes: Dear Blowhards -- That webseries I helped make? More people are enjoying it. A well-known horror-movie blog says this: "Snappy and sexy ... The characters are colorful and over the top ... Addictive ... I am completely and totally hooked." If you'd like a link to the series' website -- so far only the trailer can be watched (Episode One goes up next week) -- shoot me an email at michaelblowhard-at-that-gmaily-place. Our goal (I mean, of course, in addition to being entertaining) was to use the webseries format as a way to revive the '70s-style Midnight Movie. So if you don't like naughty words, scrappy production values, gratuitous nudity, and daffy ideas, I urge you to skip our production. Now back to our regular programming. Best, Michael... posted by Michael at August 1, 2008 | perma-link | (3) comments

Thursday, July 31, 2008


Moviegoing: "The Last Mistress"
Michael Blowhard writes: Dear Blowhards -- As big a fan as I am of the films of Catherine Breillat, I only half-believed her latest movie. Her first costume drama, her first period piece, and her first adaptation, it's like a very quiet "Dangerous Liaisons" -- the catch here being that the film is set in the early 19th century (the age of the bourgeois) rather than the aristocratic 18th century. I'm pretty sure that Breillat wouldn't be displeased to hear that I take her to be saying something about how the present day stacks up compared to the 1960s and 1970s. The setup, roughly: An impoverished, serial-seducin' Parisian aristocrat has lined himself up a choice marriage with a virginal heiress, yet can't keep his mind, his feelings, or his body off of the coarse Spanish spitfire he has been sleeping with for a decade. It isn't just about emotional gamesmanship, le jeu de l'amour, in other words; it's about money. The film isn't very dramatic. It plays like the novel adaptation that it is -- in other words, like a miniseries that has been condensed into two hours. And Breillat's decision to have Asia Argento's post-punkette aggression and gaucheness stand in for the senorita's fire and allure didn't seem to me to work out very well. All that said, the film still delivers a lot. There's acres of spare / opulent visual and aural beauty to be enjoyed; a reckless and headstrong sensuality at satisfying war with a love of formality and restraint; a tender yet objective attentiveness to the translucency of flesh that's especially startling in the context of today's movieworld; and a lot of cineaste poetry involving imagery of silent-movie vamps and film noir spiderwomen. And Breillat comes through with some moments of her distinctively loony intensity. Let it be noted too that Fu-ad Ait Aattou -- the nonactor whom Breillat spotted at a cafe and chose to play her hero -- makes an amusingly haughty and androgynous cad. Tall, prettier than any girl, and blessed (or cursed) with the Cupid's Bow pout of a Fragonard darling, he's a seductive freakshow all by himself. I sat through the film quite happily, though The Wife did a fair amount of impatient squirming. In any case, I'd urge those new to Breillat to start with one of her other films -- "Fat Girl," perhaps, or "Romance." You'll love it or you'll hate it, but you'll certainly have quite an experience. There's no one out there quite like Catherine Breillat. Semi-related: I enjoyed Breillat's brilliant chamber drama "Brief Crossing" (here). Back here, I was agog at Asia Argento's "Scarlet Diva." Watch a trailer for "The Last Mistress" here. Read some interviews with Catherine Breillat, who recently suffered (and has recovered from) a major stroke: here, here, here, here. She's an amazing interviewee. Best, Michael... posted by Michael at July 31, 2008 | perma-link | (4) comments

Lowering the Boom (Microphone)
Donald Pittenger writes: Dear Blowhards -- There was life before videotape. And that life was live! ... unless it was a kinescope film of a live television broadcast, that is. [Pause for distracting scholarly footnote and CYA ...] Late 1940s TV shows came from: live broadcasting; a film taken of images on a TV monitor showing a live broadcast intended for rebroadcast to off-network stations (kinescope recording, it was called); or content filmed earlier such as a cowboy adventure show. The pre-filmed stuff could be edited like any other movie. The live TV was just that -- whatever was before the camera with the red lights on was broadcast at that instant for good or ill. Even though kinescope recordings could, in principle, be edited to eliminate really embarrassing unintended content, my impression was that lots of small gaffes were ignored and there were few if any re-takes for the distribution market. What this boils down to is that 11 or 12 year old me got to see a lot of interesting things on TV that modern viewers seldom or never do. Those old TV studios had plenty of hot lights, so showing actors dripping sweat wasn't uncommon. Nor was hearing an actor flubbing a line unknown. One of the fun things was the intrusion of a boom microphone. Tiny lapel microphones were far in the future in 1948 or 1951, so most TV studios used microphones attached to the ends of telescoping tubes or beams, these mikes (I don't like the "mic" spelling ... read it as "mick") being positioned above the speaker's head and out of the camera frame. Unless something went wrong. Here's a picture of a 1950 vintage studio. The boom operator is at the left, the boom extends across the top of the picture and the microphone is above and in front of the cowboy. Occasionally, the shadow of the mike and/or boom could be seen against a backdrop. The following picture might be from a cheap movie (I'm not sure), but I used to see such shadows often enough. And if I got really lucky the mike would drop into the upper part of the viewing frame. The picture of Dave Garroway, below, was probably staged; an accidental mike showing might have only an inch or two exposed. I find current TV too slick. In the good old days the medium could be really sporting. Later, Donald... posted by Donald at July 31, 2008 | perma-link | (2) comments

Friday, July 25, 2008


Audiovisual Through Time Entertainment Linkage
Michael Blowhard writes: Dear Blowhards -- * Anne Thompson takes a look at the team that will be replacing Ebert and Roeper. * The Headless Werewolf writes that giallo star Edwige Fenech is one of his very favorite Scream Queens. As well as one of movie history's raving beauties, I'd add. (That last link is NSFW.) * Video Twitter. * Angry black man Chris watches/listens to some current hiphop videos and feels his spirits sink. * An inspired video mashup. * I'm reconsidering my childhood ambition to become a race car driver. (Link thanks to Charlton Griffin.) * MBlowhard Rewind: I woke up to the one movie ad-line that makes me absolutely certain I don't want to watch that movie. Commenters on the posting are hilarious. Best, Michael... posted by Michael at July 25, 2008 | perma-link | (6) comments

Friday, July 18, 2008


Music Linkage
Michael Blowhard writes: Dear Blowhards -- Some confident and powerful grooves from Mississippi blues outfit Homemade Jamz: In case you haven't read about Homemade Jamz ... The three main members are siblings: Ryan Perry on vocals and lead guitar, Kyle Perry on bass, and Taya Perry on drums. Ryan is 16 years old, Kyle is 13, and Taya is all of 9. Here's their MySpace page, where you can listen to a few more tracks. Type "Homemade Jamz" into the YouTube Search box and riches will emerge. Read about them here, and watch a news report about them here. Fans of "Mustang Sally" (written by Mack Rice, made famous by Wilson Pickett) can enjoy a satisfyingly funky Homemade Jamz version here. Lots of closeups of the ultra-cute and talented Taya. In a very different vein: Thanks to The Fredosphere, who links to OC Times, the winners of this year's Barbershop Quartet competition: They're pretty soulful in their own way, no? Best, Michael... posted by Michael at July 18, 2008 | perma-link | (2) comments

Wednesday, July 16, 2008


Time to See "Tell No One"?
Michael Blowhard writes: Dear Blowhards -- Frequent visitor Bryan emails me that he enjoyed the French thriller "Tell No One." I do love me the occasional Euro-crime movie. A good one is Dominik Moll's low-key- in-a-frightening-way, beautiful-to-watch "With A Friend Like Harry," currently buyable on DVD for $9.99. David Chute also enjoyed "Tell No One" -- which, interestingly enough, was adapted from a Harlan Coben novel. Has the time come for a trip to an actual movie theater? Here's the trailer for the film. Fair warning: a buttcrack goes on display briefly, and elegantly. Oh, those incorrigible Euros. Such sophisticates. Best, Michael... posted by Michael at July 16, 2008 | perma-link | (2) comments

An Actor's Life
Michael Blowhard writes: Dear Blowhards -- And say those lines with real feeling, goddammit! The multitalented Kate VanDevender has websites here, here, and here. Best, Michael... posted by Michael at July 16, 2008 | perma-link | (2) comments

Tuesday, July 8, 2008


Ready for Viewing
Michael Blowhard writes: Dear Blowhards -- About a year ago I wrote a series of postings about my adventures making a no-budget video webseries in collaboration with my wife and a gifted young director friend: here, here, here, here, here. (Short version: What a lot of work it is to make even a tiny movie!) I'm tickled to announce that our webseries is now ready for prime time. It's a cheeky, scrappy, and (we hope) amusingly audacious little thing. Online thus far is the website and trailer. Episode One (of six) goes public early next month. If you'd like to take a look at the trailer, shoot an email to michaelblowhard at gmail dot etcetera, and I'll send you the link. Thanks in advance for any interest. Press inquiries are encouraged, it goes without saying, and will be responded to with some p-r material and a DVD. The Wife, our director buddy, and I are all fun interviewees. Fair warning: The trailer is NSFW, though in a goofy and affable way. And a small hint to anyone considering making a gift of "friendly criticism": Skip it. When a friend or acquaintance goes to a lot of trouble creating an entertainment or an artwork, what the moment calls for is congratulations and applause. Best, and glowing with artistic-paternal pride, Michael... posted by Michael at July 8, 2008 | perma-link | (7) comments

Sunday, July 6, 2008


Movie Linkage
Michael Blowhard writes: Dear Blowhards -- * Thomas Roche raves about Michele Soavi's philosophical / poetic zombie picture "Cemetary Man." As a huge "Cemetary Man" fan myself -- I do love it when trash, art, poetry, sex, and ideas coexist happily -- I found it pleasing to learn from Thomas that Martin Scorsese once called Soavi's beautiful, demented, erotic and funny film one of the best movies of the 1990s. * Michael Wade volunteers an excellent 10-Best-Westerns list. * Tony Sclafani revisits some of the lesser-known teen comedies of the 1980s. * A while back I wrote a blogposting praising the Joey Lauren Adams /Ashley Judd drama "Come Early Morning." The Holzbachian recently watched the movie and wrote me a wonderful email about it. A brief passage: I just watched it tonight. Excellent, excellent recommendation. There were so many delicate small moments; they added up to more than any big moment ever could. Damn, I haven't seen a movie this caring toward its subject in a long time. It also strikes you -- are people in the South really that god damned NICE? It seems like the kind of nice that would be scoffed at by the coastal dwellers. But, I'm old enough to realize it's real and trumps all of the poseurs any time. * In Paris, film director David Cronenberg has collaborated with Howard Shore to create a stage-opera version of "The Fly." * MBlowhard Rewind: I took a re-look at "The Passenger," Michelangelo Antonioni's early '70s arthouse darling, a chic and desolate study of alienation. To my surprise I loved it. You can buy what I hear is a good DVD of the movie here. (Used copies are available for $2.99.) Get out your hookah, put on your beret, and enjoy. Best, Michael UPDATE: The Daily Burkeman offers a conservative take on Anne Thompson's 10 Best Western theme. "The Life and Times of Judge Roy Bean"!... posted by Michael at July 6, 2008 | perma-link | (1) comments

Saturday, July 5, 2008


Top Westerns
Michael Blowhard writes: Dear Blowhards -- Anne Thompson is rightly indignant at a new (and very square) Best Western Movies list issued by the Western Writers of America, and proposes a much more satisfying Top Ten list of her own. Anne also points out a fascinating diary of the making of "48 HRS" by one of the film's screenwriters, Larry Gross. Start here. Semi-related: Back here I wrote a blogposting about Westerns, and celebrated the first version of "3:10 to Yuma." Best, Michael... posted by Michael at July 5, 2008 | perma-link | (9) comments

Friday, July 4, 2008


DVD Journal: "Before the Devil Knows You're Dead"
Michael Blowhard writes: Dear Blowhards -- "Before the Devil Knows You're Dead" is a crime-caper- gone-wrong thriller that has been turned into a trying-awfully-hard Greek myth / Biblical-family drama by its director Sidney ("Dog Day Afternoon") Lumet. The emoting -- the cast is led by Philip Seymour Hoffman, Ethan Hawke, Marisa Tomei, and Albert Finney -- never, ever stops, and the emotions expressed come from a big but narrow range, running from anguish to desperation to sorrow. It’s lugubrious and grim -- like a bin full of painful outtakes from “The Departed.” And the film is bafflingly unexciting. What an odd choice to make a crime film but forgo nearly all suspense and thrills. It isn’t heavy on the atmosphere either. But it’s fairly absorbing anyway, at least for those in the mood for a pushily overdone, '70s-ish, hyper-psychological, gritty, masterclass-style actorfest. It has got to be dreamily fulfilling being a performer in a Sidney Lumet movie. He’s enthusiastic, he’s knowledgeable, he knows what his actors are up to. You’re working with someone appreciative, and who’s always on your side. Albert Finney may have become a bit of a grotesque these days. But Ethan Hawke gives a daring performance as a spineless screwup, and Marisa Tomei is appealingly worn-and-torn as an aging pretty woman who thinks that her life should be working out a lot better than it is. (New flash just for da boyz: The lovely Marisa finally delivers some substantial nude scenes.) Now, all that said, I have something I do need to get off my chest. I really-truly don’t get the greatness of Philip Seymour Hoffman. He always seems to me to be “indicating” -- actor-talk for showing what your character is feeling rather than feeling it and letting the audience discover it for themselves. Now, I recognize that Hoffman does all kinds of things that we sometimes associate with great actors. He lumbers around like someone with a lot of presence, he takes oddly-placed pauses that may or may not seem brilliant, he plays tricks in order to dominate scenes ... But acting like a great actor isn't what makes someone a great actor. In Hoffman's case, he’s never not acting, and doing so quite furiously. And none of it works for me -- none of it -- either as dramatic acting or as enjoyable hamboning. There’s a scene in this film where Hoffman's character is semi-conscious and being wheeled along by ambulance assistants on a gurney. “He’s overacting being almost-dead,” I whispered to The Wife. But perhaps I'm the phony here, and not him. How do you react to Hoffman's acting? Fast-Forwarding Score: Nothing. Semi-related: Back here I wrote about Method acting. Here's a good intro to that actor no-no, "indicating." Best, Michael... posted by Michael at July 4, 2008 | perma-link | (13) comments

Wednesday, July 2, 2008


Chute's Bollywood Tips
Michael Blowhard writes: Dear Blowhards -- David Chute writes very amusingly about a Bollywood epic called "Sivaji," which sounds like it might very well be the greatest movie ever made. One of many fond and funny passages: I say without irony that the constinacy and conviction with which the filmmakers have labored to make every speck of this movie eye-gougingly super-collossal deserves nothing but respect. Ranji and company make the act of driving an audience half crazy with entertainment seem the noblest calling on earth. But read the whole posting, which is full of information, perceptions, and felicities. Buy a copy of "Sivaji" here. For those who may not know: David Chute is the critic who has been most instrumental in opening up the Asian popular cinema to American audiences. Hong Kong action? David was the Western critic who was there first, and his writing on these films has never been surpassed. Semi-serious filmbuff though I am myself, Bollywood has always been a baffling closed book to me. Where to start? What game is being played? What values are being tendered? Since I don't take to these films naturally I need guidance. So I'm very happy that in the comments on his posting David has included links to many of his own pieces about Bollywood: here, here. A fun and twisty passage from this excellent survey: For the last two decades, domestic distributors have tried to woo the art-house audience with "transgressive" films like Takeshi Miike's Audition (or anything by Guy Ritchie). Such an approach is hopeless with Bollywood, which is a radically conservative cinema not of unease, but reassurance. Still, the very things that make it seem square could potentially attract the hipster audience that loves Gilligan's Island. David also recommends this book. Best, Michael... posted by Michael at July 2, 2008 | perma-link | (3) comments

Thursday, June 26, 2008


What It Was Once Like
Michael Blowhard writes: Dear Blowhards -- Tim Appelo's interview with film journalist Peter Biskind is smart and amusing. It's also quite the reminder of a not-so-long-gone era in film-buffdom -- even two or three such eras. Maybe you had to be there yourself, but the following passage made me laugh out loud. Appelo asks Biskind -- who'd been pre-med as an undergrad -- what happened to his med school aspirations: Biskind: I liked English, and I got a lot of encouragement, so I went to grad school in English at Yale. I didn't like Yale much, and ended up doing yet more of what I did at Swarthmore: going to a lot of movies instead of going to my classes. I got into Russ Meyer films and drove into New York to see Juliet of the Spirits. There was a lot of that around. Best, Michael... posted by Michael at June 26, 2008 | perma-link | (5) comments

Monday, June 23, 2008


Which to See?
Michael Blowhard writes: Dear Blowhards -- N.P. Thompson posts a smart and funny wrapup of the recent Seattle International Film Festival. Movie he mentions that I'm most eager to see: Nina Paley's "Sita Sings the Blues," which sounds beautiful. Or maybe Alan Ball's "Towelhead," which N.P describes as world-historically bad. I don't know about you, but I try to catch a good number of hyper-awful movies. Are you really a moviebuff if all you pursue is high-quality experiences? Best, Michael... posted by Michael at June 23, 2008 | perma-link | (2) comments

DVD Journal: "Shoot 'Em Up"
Michael Blowhard writes: Dear Blowhards -- This supercharged and hyperbolic action spoof is like a James Bond, showy-action-sequence extravaganza done to a punk-metal soundtrack. It exists in the same unreal gunplay-and-stunts universe as a John Woo movie, and features a hero-villain pairing deliberately reminiscent of Bugs Bunny and Elmer Fudd. Yet despite the absurdity it's played with straight-ahead intensity. And a glamorous, mischievous, and skillful cast that includes Clive Owen, Monica Bellucci, and Paul Giammati gives the film a lot of grit and allure. You want quirky, kickass, dirty-minded, bad-boy hijinks, in other words, you've come to the right place. Written and directed by Michael Davis, who perfected his craft and his tricks in a bunch of no-budget indie pix before coming out blazing with this spectacular thing. Fast-Forwarding Score: Not a blam-blam-blam-blam frame. Semi-related: A couple of recent thrillers that I've loved were "Cellular" and "Red Eye." In this blog posting I wrote about a handful of edgy-crazy-sexy films. Best, Michael... posted by Michael at June 23, 2008 | perma-link | (3) comments

Sunday, June 22, 2008


DVD Journal: "The Seven Little Foys"
Michael Blowhard writes: Dear Blowhards -- A squaresville musical drama (spiced up with many bitter wisecracks) about the real-life Irish-American vaudevillian Eddie Foy, and how -- despite being a tough-guy, driven loner -- he came to head an act consisting of him and his seven kids. It's material that seems to want to be something like "Gypsy" -- a horrified, semi-satirical homage. Given what we're told about him, Eddie Foy was almost certainly a self-centered bastard. But the film presents its story in a mostly heartwarming way, as the tale of a performer who, despite his failings, finally comes to embrace his fate as a family man. Disconcerting. All that said, I still had a pretty good time watching the movie. I love Bob Hope (odd choice though he is to play a tough, ever-embattled Irishman); Jimmy Cagney has a sensational scene playing (and dancing!) George M. Cohan, and sharing jokey insults and a duet with Hope; and the snapshots and glimpses of vaudeville -- one of the greatest American entertainment forms, IMHO -- are a treat. The more that Americans are aware of the richness of their vaudeville tradition, the better. Fast-Forwarding Score: Nothing. Best, Michael... posted by Michael at June 22, 2008 | perma-link | (4) comments

Friday, June 20, 2008


"Mommie Dearest"
Michael Blowhard writes: Dear Blowhards -- When Christina Crawford published "Mommie Dearest" in 1978 the book caused a sensation. Christina -- who had been adopted and raised by the movie star Joan Crawford -- accused Crawford of having been a drunk, as well as a physically abusive parent. The book was one of the first warts-and-all celeb-offspring memoirs, and it was soon followed by many others. (It was a major publishing event, in other words.) Christina had herself a bestseller, and was celebrated for her courage. She was also accused of exaggerating and even lying about events. On the 30th anniversary of its publication, "Mommie Dearest" is being reissued. Christina has given The Guardian's Elizabeth Day her first interview in a decade. Best, Michael... posted by Michael at June 20, 2008 | perma-link | (6) comments

Wednesday, June 18, 2008


DVD Journal: "I'm Not There"
Michael Blowhard writes: Dear Blowhards -- An arty dud. Nothing so familiar as a biopic, Todd Haynes' film is like a John Ashbery poem on themes suggested by the life and music of Bob Dylan, especially Dylan's impossible-to-pin-down quality. It's about all the crazily ingrown and fancy things that Bob Dylan makes Todd Haynes' brain do. I wasn't annoyed by the effort. Hey, I'm someone who loves "32 Short Films About Glenn Gould," "Let's Get Lost," "The Color of Pomegranates," "Be Here to Love Me," and "The Last Bolshevik" -- unusual and subjective film biographies is my middle name. I just found myself wishing that Haynes had more talent. Ashbery has music and magic in his soul. Like 'em or not (I don't, much), his poems sweep you along. By contrast, Haynes is flat-footed and, for all his sophistication, literal-minded. The film feels terribly academic, gay-conceptual / po-mo division. Elusiveness for the sake of elusiveness, and very unentrancing. Fast-Fowarding Score: Nothing, but then I didn't finish watching the film ... Semi-related: I wasn't crazy about Haynes' neo-Sirk melodrama "Far From Heaven" either. Best, Michael... posted by Michael at June 18, 2008 | perma-link | (20) comments

Wednesday, June 11, 2008


Charlton Goes to BEA
Michael Blowhard writes: Dear Blowhards -- So far as trade book publishing goes -- "trade book publishing" is the branch of book publishing concerned with the kinds of books that you run into in typical bookstores -- the main annual event is Book Expo America. BEA is a trade convention where publishers display their upcoming wares to buyers and to the press, and where agents and representatives dicker over publishing rights. BEA is always quite a spectacle. Around 2000 exhibitors show up; around 30,000 people attend. Authors shake hands and sign books, freebies are handed out, and parties aren't in short supply. I've been to around 15 books conventions myself, and I always enjoyed them. People wear badges, swap stories, catch up with gossip, and have adventures. The Expo floor is full of zany displays. Extra added attraction: There's no better antidote to the lies you may have been fed as a literature student. My main reaction the first time I attended a books convention? "Oh, I get it now. It's a business. Sort of." This year, BEA took place in Los Angeles, and frequent 2Blowhards visitor and commenter Charlton Griffin was there to capture some of the action with his digicam. Explore Charlton's record of the BEA here. Here's my favorite of Charlton's BEA vidclips: One of the best readers and producers of audiobooks out there, Charlton has just released his version of Polybius' "The Histories." Buy a copy and download it here. Charlton also points out that Mikhail Gorbachev, the USSR's final Commie leader, has outed himself as a Christian. Best, Michael... posted by Michael at June 11, 2008 | perma-link | (4) comments

Monday, June 9, 2008


And the Award for "Best Trailer" Goes to ...
Michael Blowhard writes: Dear Blowhards -- ... this giddy and gorgeous teaser for the upcoming "Black Dynamite": Wow, is that well-done: It hits all its marks (and then some) while adding loads of fresh sweeteners, twists, and sparklies. Here's what the trailer has me hoping-against-hope: that "Black Dynamite" will manage a rare trick -- to be spoof, homage, and thing-in-it-own-right. Fond though I am of goofs, when it comes to entertainments that last longer than ten minutes it never hurts if a project has a little identity and excitement of its own to share. I enjoyed the blaxploitation spoof "Undercover Brother," though (like too many spoofs) it ran out of gas after a half hour. I majorly didn't enjoy the Tarantino / Rodriguez '70s-trash homage double-bill "Grindhouse." But Tarantino's "Jackie Brown" -- which had a '70s side as well as a blaxploitation side to it -- was my favorite of Tarantino's movies. I'm hoping that Tarantino will abandon the stylistic grandstanding of "Kill Bill" and "Grindhouse" and return to working in the the more straightforward mode of "Jackie Brown." But maybe I'm being a sap. Back here I panned Rodriguez' "Grindhouse" contribution and praised a Japanese genre gem: "Zero Woman: Red Handcuffs," which I loved. It's both a campy hoot and an exciting and beautiful piece of popular entertainment in its own right. I rolled my eyes at "Kill Bill" here. Hey, that's a pretty good opening line I came up with in that blog posting. Have I ever mentioned that one thing I'd love to do before I die is to play one of "the bad white guys" in a blaxploitation movie? I think that my beady, mean eyes and thin, snide voice would work perfectly. I wrote an intro to blaxploitation here. If you've never watched a blaxploitation movie, I suggest starting off with "Coffy" and "Cleopatra Jones." Best, Michael... posted by Michael at June 9, 2008 | perma-link | (8) comments

Friday, June 6, 2008


DVD Journal: "Stranger Than Fiction"
Michael Blowhard writes: Dear Blowhards -- Pretentious drivel: A whimsical metaphysical comedy that's both a Michel Gondry-comedy wannabe and an attempt at a metaphorical statement film like "The Truman Show." The idea is that an IRS agent / bachelor / lonely-guy (Will Ferrell) starts hearing a voice in his head, narrating his life, and even hinting that his death is soon to come. It's the voice of a famous, blocked, long unheard-from author (Emma Thompson). (Incidentally, all this info is given away very early in the movie, so I'm not spoiling much.) Confronted with the fact that his life isn't under his own control, the IRS drone starts to live, live: takes up guitar; stumbles into affair with hippie baker Maggie Gyllenhaal. Confronted with the fact that a character she's been marionetting has a real existence, will the author start re-think her fanaticism about fiction? Dustin Hoffman plays a literature prof who tries to help Ferrell puzzle out what's happening to him. The main difference between "Stranger Than Fiction" and a tearfully life-affirming Meg Ryan weeper is that this movie has had a tricky "conceptual" frame placed around it. But all the folding-back-on-itself script stuff -- and all the arty-deadpan directorial trickery (which comes right out of blissed-out, New Agey, high-end TV ads) -- can't conceal the hackneyed thinness of the characters and the rote schlockiness of the central story. A sign of how lame the movie is is the way the major question about the central conceit is completely dodged: Why has this connection between writer and real person / character occurred? The film is beautifully-done in some out-of-time, out-of-place, fairy-tale ways. But emotionally and imaginatively it feels beyond arbitrary. Fast-Forwarding Score: Nothing -- I watched the movie with a bunch of other people. Had it been up to me I'd have shut the disc off after half an hour. Semi-related: I enjoyed disliking "Monster's Ball," another film directed by "Stranger Than Fiction"'s Marc Forster; I just plain enjoyed the rowdy Will Ferrell NASCAR comedy "Talladega Nights." Best, Michael... posted by Michael at June 6, 2008 | perma-link | (11) comments

Tuesday, June 3, 2008


DVD Journal: "Exterminating Angels"
Michael Blowhard writes: Dear Blowhards -- Naughty games at a restaurant -- how French Pretentious, intense, and very, very sexy, this high-toned piece of loony self-absorption by Jean-Claude Brisseau tickled me no end, and for a variety of reasons. Conceptually it's a kooky but daring idea. Brisseau -- whose "Choses Secretes" I also loved -- was taken to court by some actresses who accused him of abusing them during auditions. He was semi let off, but he then chose to make this film, which is partly about that experience. It's a kind of apologia for his conduct as an artist and a director. In other words, it's a sexy arty film about auditioning actresses for a sexy arty movie. In that way it's rather like Catherine Breillat's "Sex is Comedy," which was based on the difficulties Breillat had shooting a sex scene for an earlier movie. Yeah, baby. In its realization, "Exterminating Angels" is a jaw-dropping combo of refined, spare French elegance; dreamy surrealism a la Bunuel and Cocteau; extended suspense a la Hitchcock; and voluptuous and intense sex fantasies. The director figure in the film puts his actresses through sexual trials and messes with their emotions, yet he never actually has sex with them -- something a few of them find hard to forgive. A couple of chic yet malevolent angels (really!) preside over the director figure's fate. Meanwhile, of course, you're watching the film thinking (among other things, such as "Wowee!"), "Holy shit. He had to audition actresses for the film we're actually watching, which is largely about auditioning actresses for the previous film. I wonder what that was like. And how crazy are the actresses we're watching, who are portraying crazy actresses?" It's one of the sexiest games of mental ping-pong I've ever had the privilege of taking part in. Brisseau is an unquestionable talent, yet he's a strange one -- as much an obsessed autodidact as Ed Wood; an elegant and innovative stylist; a man with sex, actresses, beauty, transcendence, religion, and cinema on his mind ... Film Comment's Gavin Smith has written that he thinks Brisseau may actually be deranged. That's certainly a possibility too. Even if you don't enjoy Brisseau's movies, you've almost certainly never seen anything quite like them. FWIW, as pretentious arty-sexy movies go, I found "Exterminating Angels" far more enjoyable than "Eyes Wide Shut." Breillat's "Sex is Comedy" is also very worth a watch. I should add that The Wife, who loved "Secret Things," was mostly bored by "Exterminating Angels," and that she's a defender of "Eyes Wide Shut," which she considers misunderstood as well as a lot of fun. * Here's an interview with Brisseau. * Here's a good Frédéric Bonnaud introduction to Brisseau's work. * For those who can manage some French, here's an interview with the film's three main actresses. * I wrote about Catherine Breillat's films here and here. I love many of them, but they certainly ain't for everybody. Fast-Forwarding Score: Are you kidding? I look... posted by Michael at June 3, 2008 | perma-link | (2) comments

Monday, June 2, 2008


DVD Journal: "American Pie"
Michael Blowhard writes: Dear Blowhards -- Squaresville, inane, childish, sappy and obvious, it's like one of the drearier John Hughes movies spiced up with a little Farrelly Bros.-style raunchiness, though a very mild version of it. It took me four nights of trying to get through the film, and watching it left me wondering gloomily about why so many Americans are so fixated on their teen years. As kids, they can't wait to be teens; then they're teens, and it's amazing and it's horrifying; and then they spend their adult lives repeatedly revisiting their teen years. Which is a weird and unfair objection, because I have nothing against teenflix, and because the ones that I've enjoyed ("Fast Times at Ridgemont High" and "Valley Girl" come to mind) haven't left me pondering such questions. Fast-Forwarding Score: Very little, but only because I was trying to figure out why on earth the film was such a big hit, and why in the world it had meant anything to anybody. Semi-related: Here's a posting I wrote about the history of the teenager. Short version: Believe it or not, not so long ago being a teenager wasn't a big deal, and the experience of teenagehood was thought to be of no interest to anyone. Best, Michael... posted by Michael at June 2, 2008 | perma-link | (13) comments

Friday, May 30, 2008


The Camera Was On
Michael Blowhard writes: Dear Blowhards -- I assume that you've already seen the infamous Sue Simmons outburst. But why not enjoy it again? I certainly have, and will again too. Her performance of the f-word -- such conviction! -- is a classic that gets me laughing every time. '70s and '80s anchorgal Jessica Savitch shows how meltdowns were done back in the day. The on-camera fun continues here. (Links thanks to Charlton Griffin.) Bulletin to TV anchors and reporters: Hencefoward, your every misstep will be immortalized on YouTube. But I suppose they're aware of that already. Best, Michael... posted by Michael at May 30, 2008 | perma-link | (0) comments

Onionvid
Michael Blowhard writes: Dear Blowhards -- Another inspired video-news clip from The Onion: Bring Your Daughter to War Day. (Link thanks to Charlton Griffin.) Does anyone dispute the notion that The Onion is one of the premier culture-achievements of our time? Where contempo canon-formation goes, "South Park" gets my vote too. Best, Michael... posted by Michael at May 30, 2008 | perma-link | (4) comments

Wednesday, May 28, 2008


Film-World Decadence
Michael Blowhard writes: Dear Blowhards -- If you can overlook all the tut-tutting, Liz Jones' Cannes Film Festival diary is an entertaining snapshot of the carryings-on of the glitzy filmworld set. Funny passage: But the most important fixture and fitting on a yacht off the coast of Cannes? 'Hot and cold running supermodels,' says my date. 'You cannot, as a man, turn up without a supermodel on your arm. They simply won't let you on.' Link thanks to Anne Thompson. Don't miss the photo of Quentin Tarantino that Anne includes in this posting. Best, Michael... posted by Michael at May 28, 2008 | perma-link | (3) comments

Thursday, May 22, 2008


Fact for the Day
Michael Blowhard writes: Dear Blowhards -- More video material has been uploaded to YouTube in the past six months than has ever been aired on all major networks combined. My source for this is Michael Wesch, a Kansas State University cultural anthropologist. A project that Wesch runs called Digital Ethnography can be explored here. Who says we aren't living through an astounding period in cultural and media history? Best, Michael... posted by Michael at May 22, 2008 | perma-link | (5) comments

Tuesday, May 20, 2008


More on Movies
Michael Blowhard writes: Dear Blowhards -- * Here's another visit with Marcia and Lorenzo, YouTube's cranky, smart, and amusing Reel Geezers. * Jon Hastings writes that "Speed Racer" doesn't deserve its bad reviews. * Patrick Goldstein thinks that Pacino and De Niro are disgracing themselves. * TUAW interviews Dennis Liu, the young filmmaker who made that OSX-besotted music video I linked to a while back. The facts that interested me most: It took Liu a month to plot out the vid; three months to execute it; and it cost him $100. * David Chute provides a funny look at "geeksmanship." * MBlowhard Rewind: I tried to figure out why Spy Mom Carla Gugino isn't a huge star. Best, Michael... posted by Michael at May 20, 2008 | perma-link | (3) comments

Monday, May 12, 2008


"Again and Again"
Michael Blowhard writes: Dear Blowhards By The Birds and the Bees -- co-starring Mac OSX: Best, Michael... posted by Michael at May 12, 2008 | perma-link | (5) comments

Saturday, May 10, 2008


Video Everywhere
Michael Blowhard writes: Dear Blowhards -- The whole world is going video. YouTube ... Video comments on blogs ... For a while now it has also been possible to use video to review products at Amazon. If you haven't yet run across a Customer Video Review at Amazon, here's an example. Best, Michael... posted by Michael at May 10, 2008 | perma-link | (0) comments

Weekend YouTube Finds
Michael Blowhard writes: Dear Blowhards -- * Speaking of art that lasts ... Did anyone in 1965 think that "Shotgun" (by Jr. Walker and the All-Stars) would still be enjoyed more than 40 years later? Read more about Jr. Walker here. Question: When he was creating "Shotgun," was Jr. Walker aiming for a place in the Western Civ canon? Or was he trying to come up with a way to get an audience dancing? Plus: Sigh, if I only had one-tenth the personal style of Willie Woods, the All-Star's guitar player, I'd do a lot better in life ... Here's another All-Stars track that's bursting with more than its share of funk. * Did you continue watching the clip above? If you got a kick out of the smooth moves of The Temptations, perhaps you might enjoy learning a bit about Cholly Atkins, the man who was Motown's house choreographer during the label's peak years. Yes, that's right: There was one guy who was responsible for giving Motown's stars their gorgeous and influential moves. Is there any way to argue that Cholly Atkins wasn't a major culture-figure? The man choreographed The Temptations, The Miracles, and The Supremes, for God's sake. Forgive me for thinking that Cholly Atkins deserves a place on the same shelf where Jerome ("West Side Story," NYC Ballet) Robbins has already been placed. Back here, I raved about a documentary focusing on the guys who played in Motown's house band. * One of the misleading things that's often said (or unconsciously maintained) about the arts is that they're automatically progressive. To make good art is to be progressive -- that's just how it is. Few fields are more infected with this loony idea than jazz, whose story is often presented as a series of innovators, one after another doing what they could to move the music in the direction of "freedom." Psychotherapeutic and political overtones have most definitely not been run away from. What then to make of a phenomenon from more than 50 years ago: the Dixieland Revival? In the midst of all the "progress," one of the most important developments in jazz from 1940 right through the '50s was a revival of the very earliest jazz styles. Here's one of the most prominent of the Dixieland Revival bands, Eddie Condon's: And don't they swing hard! Though that clip is from 1952, and though that's quality jazz, that most definitely ain't bop. Deal with it, dogmatists. RedHotJazz writes this about Eddie Condon: In 1938 he led some sessions for the Commodore label and he became a star. He had a nightly gig at Nick's in New York City from 1937 to 1944. From 1944 to 1945 he led a series of recordings at Town Hall that were broadcast weekly on the radio. Condon opened his own club in 1945, and recorded for Columbia in the 1950s. In other words, during a period when orthodoxy would have us convinced that what was going on in jazz was... posted by Michael at May 10, 2008 | perma-link | (2) comments

Friday, April 25, 2008


"The Last Bolshevik"
Michael Blowhard writes: Dear Blowhards -- Thanks to visitor Ron for pointing out that a wonderful but formerly hard-to-find movie is now available on DVD: Chris Marker's "The Last Bolshevik." FWIW, I'm a fairly serious Chris Marker buff -- back here I recommended a new-ish DVD that includes his movies "Sans Soleil" and "La Jetee" -- and I consider "The Last Bolshevik" to be one of Marker's very best movies. Now that I think about it, I also consider "The Last Bolshevik" to be one of my favorite artworks of the last 20 years. A rare photo of Chris Marker Chris Marker (a Frenchman who uses a pseudonym and who is now in his late 80s) is a unique figure in film history. He started out as a traveler, a journalist, a photographer, and a writer. When he turned to movies, he worked as personally and quirkily as he had done earlier, using the film camera as a poet might use a notebook, making notes and sketches, and inhabiting the editing room in a meditative spirit, not building dramatic points but instead taking note of (and bringing out) relationships and qualities. His movies are generally categorized as documentaries, or maybe "personal essays," and while that's helpful it also doesn't begin to convey how complex, subtle, and poetic they are. They weave together elements of letter-writing, music, fantasy, documentary, journals, and poetry -- they're the film equivalent of a belles-lettres approach to art-making. I don't know of any movies that convey the feeling of what it's like to think and imagine as thoroughly as Marker's movies do. In their effect the best of them are quite transporting. Like Oliver Sacks' best essays (start here), or like some of the books of (undoubtedly heightened) reportage of Ryszard Kapuscinski (try this one), Marker's movies deliver more of a sense of the marvelous than 99% of fiction does. In fact, his movies are rather like fairy tales for adults, with real life instead of fiction being what's marveled over. If your idea of a hip, adult, or advanced documentary is Erroll Morris or PBS, in other words, prepare to have your head explode. In truth, Marker's movies don't even seem to inhabit the world of movies, let alone documentaries. Instead, they seem to belong to the region of Culture inhabited by the likes of La Rochefoucauld, Baudelaire, Mme. de Lafayette, and Montaigne. A self-indulgent paragraph that might be best skipped ... So far as my own approach to nonfiction goes, I've taken a lot of inspiration from Chris Marker. Marker creates film-essays -- but they aren't essays in the usual driving-a-single-point-home sense. Instead, they're open, poetic, and exploratory. He works by association and analogy rather than by reason and logic. (For all of Marker's brilliance, when he speaks in interviews he often comes across as insubstantial and even rather silly; he's a poet and a philosopher, in other words, not an academic or a journalist.) In his movies, experiencing the getting-there and the spaces-in-between... posted by Michael at April 25, 2008 | perma-link | (13) comments

Wednesday, April 23, 2008


DVD Journal: "Come Early Morning"
Michael Blowhard writes: Dear Blowhards -- Come Early Morning. This small drama -- written and directed by the actress Joey Lauren Adams -- is a soulful, understated sweetheart. Set near Little Rock, it stars Ashley Judd as a contractor with issues. Her dad is beyond-uncommunicative; her mom’s in a bum marriage; and she herself is caught in a spiral of drinking recklessly and bedding whomever. The film has a lot going for it: tons of small-town/small-city Southern atmosphere; a first-class cast doing sensitive work; feelings and emotions — some of them harsher than contempo viewers are probably comfortable with — swirling this way and that; and Ashley Judd at her real-girl best. Fondly and patiently, it delivers heaps of what movies these days seem so often to have given up on: respectful and sympathetic observations of and insights into how real people really live. Extra bonus points for the way Adams and her cinematographer Tim Orr portray the flesh of the women characters, with all the little bumps, nicks, scars, and bruises alongside the smoothness, the translucency, and the curves. Why does female flesh bruise so easily? A vital question the film leaves unanswered: How does Ashley's character -- a woman in her mid-30s who smokes, drinks, eats any old thing, and takes no care of herself whatsoever -- still manage to have the nicest figure in town? But maybe that’s part of why we love the movies. "Come Early Morning" is a film for everyone who recalls early Jonathan Demme movies with pleasure. (Me, I really-really, triple-love "Citizens Band," which isn't available on DVD, and "Melvin and Howard," which is.) Fast-Forwarding Score: Not at all. Semi-related: I gloated over the time I met Ashley Judd. Here's an interview with Joey Lauren Adams and Ashley Judd. Here's a video interview with the two women. Best, Michael... posted by Michael at April 23, 2008 | perma-link | (10) comments

Friday, April 18, 2008


DVD Journal: "Twentynine Palms"
Michael Blowhard writes: Dear Blowhards -- Twentynine Palms: A real snoozer of a Euro art film, American road-movie division. Two chic Euros take a drive into the California desert, stay in crappy hotels, eat awful food, and swim in tacky pools. Every now and then they pause to argue or to have sex, or both. It takes nearly-forever for next-to-nothing to happen in Bruno Dumont's film. Oh, the emptiness of it all -- and, of course, Oh, the crudeness and brutality of America. Easy joke: Makes “Zabriskie Point” look like Busby Berkeley. Fast-Forwarding Score: One-half of the movie. Preferred arty-erotic purchase: Clement Virgo's seductive and very alive "Lie With Me," with daring and attractive performances by Eric Balfour and Lauren Lee Smith, now on sale for a mere $7.99. I wrote about "Lie With Me" and some other arty sex films back here. Best, Michael... posted by Michael at April 18, 2008 | perma-link | (9) comments

Wednesday, April 9, 2008


DVD Journal: "Oldboy"
Michael Blowhard writes: Dear Blowhards -- Back here I watched the primitive 1970s horror picture "The Last House on the Left" and ventured some hunches about why it is that some of today's young and edgy filmmaker-types love the movie. Today, another film that's a favorite of the hot-to-make-movies crowd, a 2003 Korean picture by Park Chan-wook called "Oldboy." Intense, extreme, and claustrophobic, the film didn’t speak to me, mainly because I found the storytelling uninspired and the tone finesse-free. But I also knew that in reacting that way I was missing the point entirely. I was reacting to the film as though it were a traditional movie, and it's anything but that. Its appeal has nothing to do with traditional movie allure -- with glamor, romance, personality, point of view, warmth, depth, provocation, humor, identification, Hitchcockian suspense, any of that. This simply isn't a traditional movie. Instead, it's an example of what I like to call an audiovisual-through-time media experience. As such, "Oldboy" is really something. Even I could see that. And I could certainly guess why many kids find it a major turn-on. Here's my hunch: What appeals to the kids is partly the film's skill and dynamism -- but mainly the way it pulls together elements of their media experience into something shaped, paced, exciting, and long-form. Traditional movies inhabit, express, and come out of a world consisting of other movies, of novels, of plays, of songs, and of pictures. "Oldboy" and the kids who love it come out of a different stew altogether. It's all "media" now, baby: videogames, TV ads, websurfing, mashups, cellphones, IMs, flipping through magazines, texting, "tracks" instead of songs ... Zip-zip-zip. Whap-smack-kapow. Nearly everything in the movie is souped-up, conceptualized, and constructed for maximum impact. Impact, in fact, is what the movie is entirely concerned with. The film doesn't have a story in any normal sense: instead it has something like a videogame's concept. (Roughly: "I, everyman, was plucked out of life, imprisoned, and driven mad for years. Now that I've been released, I'm still being toyed with. What's going on? I have three days to find out, or a pretty girl dies. Now, go!") The film is as free of psychology and emotions as a first-person shooter. What it wants to deliver instead is a back-and-forth between excitement and exhaustion in a physical and nervous sense. Hey, it's time for a Larger MBlowhard Point: We analogue-era types often bemoan the way popular culture today seems rude, cold, shallow, and crude. I think that part of what we're responding to is the way that emotions and emotionality play zero role in these new-media works. Videogames slap you around; they don't move you. TV ads are groovy and catchy; they aren't involving. In the new-media world, "levels" have nothing to do with psychology and everything to do with unearthing gold rings and zooming off into hyperspace. The emotional-poetic dimension of life seems to have been pancaked out of existence in today's popular culture,... posted by Michael at April 9, 2008 | perma-link | (14) comments

Monday, April 7, 2008


DVD Journal: "The Devil Wears Prada"
Michael Blowhard writes: Dear Blowhards -- A month into ownership of a ritzy new HDTV, I'm still in the grips of HDTV-mania. So far it has been the technology that devoured my brain. If it's on HDTV, I'll watch it. Let me cite as evidence ... The Devil Wears Prada. I don’t usually bother with what I think of as mall movies, let alone chicklit movies. So I watched this adapatation of Lauren Weisberger’s novel about an earnest girl who tumbles into a job working for the editrix of a Vogue-like magazine in a state of complete stupefaction. Are there really movies that exist -- and that are meant to be experienced -- on only one level? Is it possible for a movie to spell out everything it's about in bold tones? And is this really the kind of thing that mainstream America considers to be entertainment? Help me emigrate now. At the same time, I couldn’t help feeling some admiration. The professionalism level is high, and the film does indeed hit all its marks, if 'way too hard. But what kept me watching -- aside from the brain-paralyzing hyper-clarity of the HDTV image -- was the way the actors pitch in with such good-natured enthusiasm. As the bright young woman in a bind, Anne Hathaway is adorable; she’s half sophisticated Euro-tragedienne, half Jersey girl. Meryl Streep scores confidently with her weirdly quiet portrayal of an editor willing to sacrifice everything for her career. Stanley Tucci (wearing Philip Johnson eyeglasses) is likable and amusing as the magazine’s style chief. And, as Hathaway’s rival assistant, Emily Blunt shows a lot of high-style comic flair. Best of all, everybody involved seems to have done their homework. If in a sitcommy way, the film does a genuinely good job of conveying what the loftier rungs of the women’s-mag world look and feel like. I have friends working in the glossy style field, and the film's portrayal of how tense, glam, and high-strung those lives are is right on the money. Still, this is me ... Me ... Michael Blowhard ... A longtime film maniac whose current cinema passion is Japanese "Pinky Violence" movies ... And I just sat through "The Devil Wear Prada" ... [Sob] Damn you, HDTV. Somebody stop me before I turn that machine on again. Semi-related: I raved about Anne Hathaway in "Havoc," and about Emily Blunt in "My Summer of Love." Anne Hathaway confides that finding the right shoes helps her get in character. Best, Michael... posted by Michael at April 7, 2008 | perma-link | (15) comments

Wednesday, April 2, 2008


DVD Binge
Michael Blowhard writes: Dear Blowhards -- As newish owners of a snazzy 47" LCD HDTV, The Wife and I have been indulging in a whole lot of moviewatching recently. Good Christ, that screen ... It's gorgeous ... It's hypnotic .. It occupies and then devours the brain, leaving nothing but cinders in its wake ... Thought for the day: An HDTV is something to be managed as well as enjoyed. Anyway, some fast responses to some of what we've watched: Austin Powers: International Man of Mystery. Loads of bright colors and scattershot silliness in this Swingin’ England, James Bond spoof. I was up for it, but I only chuckled once -- at the climax, when Johnny Rivers' version of "Secret Agent Man" came up loud on the soundtrack. I do love that song. Fast-Forwarding Score: a quarter of the DVD. Zero Woman: Red Handcuffs. I found this 1974 thriller by Yukio Noda loads of satisfying fun. A lot of the Japanese exploitation movies from the "pinky violence" era are spoofy and campy, likable mainly for being bizarre, extreme, and a hoot. This one’s a surprise because -- though its script is like an episode of “The Man from U.N.C.L.E.” or “Mannix” -- the film itself is genuinely intense and dramatic. It’s a trash idea that has been turned into a real movie. It’s a little disappointing that the Zero Woman figure herself doesn’t take much action. Mostly she looks hot and evil, and gets beaten up and raped. But the film is so flamboyant and beautiful -- and so full of acrobatics, editing, and blood -- that it didn’t matter much to me finally. “Zero Woman: Red Handcuffs” struck me as the Japanese equivalent of one of Sam Peckinpah's commercial projects, like “The Getaway” or “The Killer Elite,” and I enjoyed it a lot. Fast-Forwarding Score: not a minute. Grindhouse Presents: Planet Terror. As ever, Robert Rodriguez shows off a lot of talent, tons of bad-boy enthusiasm, and superb taste in lowbrow pleasures and films. For me, though, this mishmash of ’60s and ’70s sleaze and exploitation movies never took on its own life. It didn’t come to life “Airplane!” style, or pastiche style, or New Wave poetic-hommage style … It was so lacking in life that it left me wondering: Well, why not just rent a George A. Romero or Jack Hill movie instead? With Rose MacGowan, who Rodriguez sees a lot more in than I do. I like the idea of “Rose MacGowan,” and god knows that her public appearances aren't short on entertainment value. But her actual onscreen performances always disappoint. I blogged back here about Rodriguez's "Sin City," and here about his "Once Upon a Time in Mexico." Fast-Forwarding Score: 3/4 of the disc. My Summer of Love. I recorded this picture off of Cinemax expecting a tacky nudiefest. Imagine my surprise when the film turned out to be a quiet, sensitive, beautifully-acted, lusciously-shot English art movie. I loved it. In a small British town, an... posted by Michael at April 2, 2008 | perma-link | (5) comments

Tuesday, April 1, 2008


DVD Picks for the Week
Michael Blowhard writes: Dear Blowhards -- "Padre Padrone" and "Night of the Shooting Stars." Two movies by an Italian-brother team, the Tavianis, that are barbaric, stylized, poetic -- and as charged-with-discovery as silent movies sometimes were. The first is based on the memoir of a boy who grew up as a shepherd in beastly conditions on Sardinia. It's a little like "The Wild Child" reimagined as a Brechtian musical. The second is an epic fantasia based on stories and themes from Italian peasants' experiences of World War II. In tone, it's horrifying yet magical -- like "Open City" meets "E.T." At their best, the Taviani Brothers are magnificent artists who make harshly beautiful movies that are both hard-core avant-garde and directly, accessibly populist. Best, Michael... posted by Michael at April 1, 2008 | perma-link | (1) comments

Friday, March 21, 2008


More on Gal Performers, Exploitation, Etc.
Michael Blowhard writes: Dear Blowhards -- I can't let the topic go by without reprinting a couple of great comments that visitors have left behind. First, from PatrickH: I've gotten an enormous erotic charge out of pics of women from olden times...more or less pre '90, perhaps earlier. The dames of yore, you might say. The women of the seventies in particular still give me a real sexual jolt. The sight of imperfect teeth, maybe a blemish or two, breasts just ever so unpneumatic, and especially, some softness, some roundness, some juice -- all the signs of a real woman, alive and warm and breathing, ah, they got me going, those seventies girls, and they still do. (BTW,apparently the cast of LHotL was doing the seventies thing off-camera, what with massive drug use and apparently non-stop you-know-whatting.) The eighties saw the emergence of the type of female body I found utterly uninteresting, the manufactured hair, the harsh makeup, the growing trend to fake breasts, and above all, the increasing dominance of the hardbody aerobicized ultra-toned look...tense, harsh, unfeminine, and really really unsexy. The nineties and beyond have just made it worse, what with CGI manipulation of images, Photoshopping, and yes, the continued dominance of the over-exercised and under-feminine "ideal". The deadness, the anti-sexiness, the sheer unhumanity of the erotic imagery (of men and women) in today's pornogrified culture is one of its most interesting and troubling aspects. Odd, how America can somehow be so sexually overwrought and yet so utterly unsexy. Yeah! Next, from Ron: This post, along with Michael's post about down-and-dirty '70s pictures and PatrickH's related comment about '70s women (I love them too!) has put me in an exploitation-movie kind of mood -- which is a mood I like a-plenty. I had a nice email conversation with a friend not too long ago about the joys of '70s exploitation actresses. I spent most of it name-checking the many lovely, fearless ladies that have provided me with some low-down viewing excitement and pleasure over the years, as well as lamenting the fact that these types of actresses just aren't around anymore. Michael's comments regarding the effects of agents and careerism on current actresses has me thinking about this all over again. Hmmm...sad to think that movies today haven't given us anyone to take the place of Pam Grier, Roberta Collins, Barbara Steele, Edwige Fenech, Camille Keaton, Monica Gayle and countless others. Barbara Crampton is another good one. Has a cuddlier woman ever been assaulted by zombies? Even the more respectable actresses of that era, women like Susan George and Colleen Camp, could act in memorably unpredicable and vibrant ways--almost as though they were laying their sass, their verve and of course their bodies on the line in a winner-takes-all sort of bet. This sort of performing is sexy, of course, but there's something endearing about it as well. In fact, it's not off-base to say I feel genuine warmth and affection for all of these ladies. I feel... posted by Michael at March 21, 2008 | perma-link | (5) comments

Thursday, March 20, 2008


DVD Journal: "The Last House on the Left"
Michael Blowhard writes: Dear Blowhards -- I've just finished watching a couple of movies recommended to me by the talented and dynamic young dude who directed our own movie. For the sake of a couple of blogpostings, I'm going to take my young friend's tastes and enthusiasms as 1) interesting in themselves, and 2) indicative of what young guys who are hot to make it in the movies these days enjoy. In other words: As youngdudez like my buddy begin to find actual positions in the filmbiz, moviegoers may well be seeing more of the kind of thing these films represent showing up on their local movie screens. First up: Wes Craven's 1972 horror film "The Last House on the Left." This was Wes Craven's first feature, and to call it primitive would understate matters by a ton. For starters: lousy sound, nonexistent production values, amateurish acting, and a script no first-year screenwriting prof would allow to see the light of day. But -- for all its crudeness and cluelessness -- the film is also powerful and fascinating. Until the early '70s, horror films had tended to be theatrical, super-stylized, artificial contrivances: Think "Frankenstein," think Hammer horror. “Last House on the Left” was one of the early films to break that mold. (Another: George Romero's 1968 "Night of the Living Dead.") Like Romero, Craven avoided English accents and period settings, put recognizable people onscreen, and let in a lot of the real world. The story and images in "Last House on the Left" bounce off of the violence and slaughters of its time -- Vietnam, Manson, etc. Craven's distinctive contribution was to humanize both victims and killers; while the bad guys are most definitely bad, they aren't one-dimensional. He also threw in a couple of really big narrative jolts. The result was a film that felt raw and immediate to many people. You knew the characters onscreen; they were like your parents, your friends, and the scary hippies camping out in the park. You recognized the America up there; it looked both like your cozy neighborhood and like the carnage you witnessed on the TV news. And the pain onscreen took you by surprise, and in shocking ways. All that said ... For any of this to matter much to you, you probably do have to be a horror buff. I'm not one, and I fought sleep through much of the film. As far as morally dicey ’70s cult classics go, I’m more of an “I Spit on Your Grave” kinda guy, I guess. Here's a bit of what I imagine turns on my young director-buddy: "Last House on the Left" is scrappy, intense, and anything but respectable. It also doesn't fall into either of today's two familiar camps: It's neither a big, hygienic corporate theme park, nor is it an undernourished high-minded indie. Also, the '70s ... Wowee, what a kooky time. The huge and awful cars, the daffy hairstyles and clothes -- they all have their campy appeal.... posted by Michael at March 20, 2008 | perma-link | (7) comments

Showbiz and Seediness
Michael Blowhard writes: Dear Blowhards -- Ah, Alexandra Dupre, my heart and my muse ... (Here's the website of the NY Post, where I found the image above.) I don't know about you, but Friedrich von Blowhard and I are both having an awfully good time following the news stories about the Jersey rapper-wannabe-turned-callgirl who was caught with NY's ex-Governor Eliot Spitzer. Here's the latest bulletin. It's the story that just keeps on giving, isn't it? Not since the Amy Fisher / Joey Buttafuoco case have I been quite as happy buying taboid newspapers. My favorite detail to emerge so far: On her MySpace page, Alexandra made reference to incidents of deprivation and abuse at home that prompted her to run away to the big city. In actual fact, Alexandra grew up prosperous on the New Jersey shore. So much for the deprivation angle. As for the abuse? 1) Alexandra was given a Porsche by her stepdad, 2) Alexandra proceeded to crash and total the Porsche, and 3) her stepdad then refused to buy her another Porsche. This appears to have been the incident that Alexandra transcoded into "abuse." Rough life! It's funny the way some people who want a sexier, hotter existence than they have in the 'burbs turn their biographies into melodramas that, funnily enough, just happen to justify running off and joining a fast crowd. Why do they bother mythologizing their backgrounds? Seems like a lot of bother to me. Still, as silly as she is, Alexandra is also pretty sexy. Apt FvB comment: "This girl really missed her era. She should have been a temple prostitute in ancient Sumer!" I wrote FvB a response I'm going to reprint here. Quick word of explanation: I'm not exactly responding to FvB's remark. Intead, I'm treating myself to a rant that was prompted by some recent adventures with performers. BTW, I like performers! What follows should in no way be taken as a diss. Sign me up for a spell in ancient Sumer! Somewhat more straightfacedly, I'd maintain that the temple-prostitute thing is a prominent side of showbiz. (And when it isn't, it should be.) This Spitzer girl lived out the hooker thing more than most do, god knows. But bits and pieces of hooker-ish-ness are commonplace in showbiz. The girl who comes to the city to make it ... And she can't stand living in a studio apartment in the boonies ... So she moves in with a director ... Or she works her way through a lot of young bankers ... Not uncommon! Sleeping with producers, sometimes deliberately to get roles, sometimes not so deliberately, but maybe it results in roles anyway ... Sometimes the bankers and producers and actresses actually like each other, and living together is convenient, and life seems to be taking a nice turn, so ... And somehow the bills get paid. Is it kind to look too closely at how that happens? Plus there are shadey guys everywhere (nightclub owners, haha; guys... posted by Michael at March 20, 2008 | perma-link | (18) comments

Wednesday, March 12, 2008


1000 Words: Naomi Tani
Michael Blowhard writes: Dear Blowhards -- Welcome to another entry in "1000 Words," a series of postings where I explore underknown and/or quirky cultural phenomena. Previous installments here, here, here, here, here. Today: the Japanese movie actress Naomi Tani, who was a star of what's known as the Japanese "pink cinema." A quick word of explanation. The pink cinema developed in Japan in the 1960s, flourished through the '70s, and died out in the '80s. It was, as its name may suggest, a sex-and-violence movement. It came about because of the way TV and American films were hitting the Japanese film audience. With theater audiences for mainstream Japanese films shrinking, independent production houses saw an opportunity to make money by producing low-budget exploitation pictures. It was a gamble that paid off. By 1970, even the big studios (Toei, Nikkatsu) had joined in the fun, putting aside most of their larger ambitions to make instead cheap and dirty movies that were heavy on the sex, the violence, and the kinkiness. Some of these pictures were flamboyant action pictures. Some of the films belonged to new or oddball genres -- I wrote here about a beautiful and poetic (if trashy) film in the "nunsploitation" genre. Others were straightforwardly porn, or near-porn. When Nikkatsu took on the sex-film genre, the studio gave its directors a little more money to play with than other porn-filmmakers had access to. These slightly-higher-budget Nikkatsu sex films became known as "romans porno." They were shot quickly, often in a week or less, and for very little money. They typically had a runtime of only 70 minutes. They were thrown together like Roger Corman's movies were -- with relative freedom so long as a concept was adhered to and a specified number of whammies (in this case, sex acts) were delivered. This being Japan, bondage, schoolgirls, and torture played a large role in the proceedings. This being Japan, large dots or blobs were inserted in the imagery to cover crotches and pubic hair. Despite the dots, though, the films were quite explicit -- what we'd consider today hard-R, or maybe even NC-17. (By the way: talk about rapid cultural change. Kissing wasn't seen on the Japanese movie screen until 1946. By 1970, theatrical films in Japan were showing everything but hardcore closeups. From the first onscreen smooch to a flourishing sex-film business in 24 years -- now that's a culture that was moving very fast.) The roman porno films were hugely popular, and remained so until the mid-'80s when the home-video revolution wiped out the theatrical porn-film business. But for a couple of decades, paying audiences were back in the movie theaters, and business was flourishing. A galaxy of stars emerged. Directors and writers got work and cashed paychecks. As it turns out, some of these hastily-shot, trashy movies have lived on. Some of the films are now respected; some of the stars are now in the reference books; some of the directors and writers are now recognized for... posted by Michael at March 12, 2008 | perma-link | (4) comments

Tuesday, March 11, 2008


R.I.P.: Sorrentino, Yang, Ichikawa
Michael Blowhard writes: Dear Blowhards -- When you aren't a devoted newsbuff -- and I'm not -- contempo events sometimes just slip by you. It was only recently that I caught up, for instance, with the fact that three artists whose work I'm very fond of died in the last few years. * The novelist and critic Gilbert Sorrentino. Sorrentino was as experimental and hardcore-modernist as it gets: For him a piece of fiction wasn't a story with characters, it was a construction of words and letters. Downside: His books often lost themselves in intellectual gamesmanship. But -- perhaps despite himself -- a few of his novels delivered real guts and feeling. They paid off emotionally; in them, the modernist strategies felt like fresh ways of presenting juicy subjects. Born in Brooklyn, Sorrentino taught in later years at Stanford, and the longer he was a professor the more ingrown his fiction became. Still, in "Aberration of Starlight" and "The Sky Changes," he combined virtuosity and sophistication with a lot of earthy Brooklyn soul and humor. He was also an excellent critic of modernist poetry. * The filmmaker Edward Yang, who died in June of last year at 59 of colon cancer. Although Taiwanese, Yang worked in the tradition of the Euro-American cinema. No kabuki here, and no crazed action or fable-like ghost stories either. Instead, he made films that feature three-dimensional "humanity" in the western sense. (Yang grew up on Taiwan; went to college at the University of Florida, where he earned an engineering degree; and was living in L.A. when he died.) The film of Yang's to start with is the 2000 "Yi Yi," a quiet, expansive-yet-intimate work that bears comparison to Chekhov and Renoir in its patience, its unforced curiosity, and its willingness to let characters and situations reveal themselves in their own time. * The Japanese filmmaker Kon Ichikawa, who died in February at 92. I'm not as crazy about some of Ichikawa's more famous movies ("Fires on the Plain," "The Burmese Harp") as many are. But I love-love-love many of his other films, and am happy to think of him as one of the true giants of the Japanese cinema, the equal of Ozu, Kurosawa, and Mizoguchi. If Ichikawa wasn't as well-known as the Big Three perhaps it's because he worked in a really wide variety of genres and styles, and that made him a hard one to nail down. But to each of the films of his that I've seen he brought a distinctive technical brilliance, a snakecharmer's psychological insight, and a wicked perversity of attack. My viewing tip: Start with his documentary "Tokyo Olympiad" -- genius stuff. And hope that one day his brilliant Tanizaki adaptations "The Key" and "The Makioka Sisters" will be brought out on DVD. * MBlowhard Rewind: I raved about Mizoguchi's "Sansho the Bailiff" here. Best, Michael... posted by Michael at March 11, 2008 | perma-link | (4) comments

Sunday, March 9, 2008


It Ain't Over Till There's Blood All Over
Donald Pittenger writes: Dear Blowhards -- "It ain't over till the fat lady sings" goes the saying. I'm not so sure. Granted, I'm no big opera fan. It's my wife who sees to it that I go three or four times a year. And after a few years of this, I've gotten a fair number of operas under my belt. Often enough, it's not the fat lady that sings to end the performance. Rather, it's an emaciated heroine who expires after withering away from a disease during the last act: think La Bohème and La Traviata. It can get worse. The last two operas I saw ended in bloodbaths. Pagliacci's curtain dropped after a cuckolded clown stabbed his wayward wife and her boyfriend. Not all clowns are funny, it seems. The heroine in last Wednesday's Seattle Opera production of Tosca leaped to her death after her boyfriend was shot by a firing squad. This was after she had stabbed to death the local police boss. And here I thought Italians were basically a happy, life-loving bunch. Good thing I hadn't seen Pagliacci and Tosca before last fall's trip to Italy: I'd have worried about poison in the spaghetti. Later, Donald... posted by Donald at March 9, 2008 | perma-link | (4) comments

Thursday, March 6, 2008


Star Wars by Saul Bass
Michael Blowhard writes: Dear Blowhards -- Thanks to visitor Bryan for passsing along a link to this really well-done video: "The 'Star Wars' Title Sequence, Had It Been Designed By Saul Bass." There's a lot of humor, talent, and skill in the world, isn't there? Best, Michael... posted by Michael at March 6, 2008 | perma-link | (4) comments

Federal Objectivity
Michael Blowhard says: Dear Blowhards -- Who says personal tastes and opinions don't play an important role in governmental rulings and judgements? Hmm: Who's cuter? Alyson Hannigan or Jennifer Grey? Best, Michael... posted by Michael at March 6, 2008 | perma-link | (4) comments

Wednesday, March 5, 2008


Random Video Finds
Michael Blowhard writes: Dear Blowhards -- The only reason these two clips are making an appearance in the same posting is that I ran across both of them for the first time today. Standup comedian Demetri Martin has a silly-ingenuous schtick going on that's pretty irresistable: Demetri Martin Stand Up Presentation on FunnyOrDie.com For me, the 1987 movie "Dirty Dancing" was 96 minutes and 15 seconds of cringe-making drivel inexplicably interrupted by 3 minutes and 45 seconds of bliss. Here's the bliss part: What a gorgeous depiction of a proper girl discovering how sweet wantonness can be. A big hat-tip to the dancers and actors, to director Emile Ardolino, to choreogapher Kenny Ortega, and to The Contours for their version of "Do You Love Me?" Just one big "But": Man oh man, why wasn't I invited to that party? OK, so I also enjoyed watching Jennifer Grey go around in those just-longer-than-knee-length blue jeans and white tennis sneakers ... Fashion at its best, no? Fun Facts for the Day: "Dirty Dancing" was the first movie to sell a million copies on video. And the song "Do You Love Me?" was written by Motown CEO Berry Gordy, Jr. I wrote about Motown's immortal Funk Brothers back here. Best, Michael UPDATE: I'm sorry to learn this morning that Patrick Swayze -- who is only 55 -- is fighting pancreatic cancer. That's one of the toughest cancers to do battle with.... posted by Michael at March 5, 2008 | perma-link | (8) comments

Sunday, March 2, 2008


Pulp and Hardboiled Linkage
Michael Blowhard writes: Dear Blowhards -- * PJ Parrish has been lovin' "The Big Book of Pulps." * Dark Party Review interviews the great mystery-crime bookstore owner / editor Otto Penzler. * Joe Valdez revisits "Blue Velvet." You don't think there could have been a "Blue Velvet" without pulp fiction, do you? * August West recommends a couple of hardboiled noirs by Dolores Hitchens. * Classy genre writer Dan Simmons has been reprinting a book about the book publishing biz by literary agent Richard Curtis. I enthusiastically recommend it -- Richard Curtis is one of the smartest and frankest bookworld people around. I recommend the fiction of Dan Simmons too -- I praised a Buffalo-set hardboiled Simmons novel back here. * A great line from pulp writer and former peepshow girl Christa ("Money Shot") Faust, who has written some novelizations: I love tie-in work and have infinitely more respect for hard-working writers like Lee Goldberg and Max Allan Collins than I do for self-styled literary geniuses who are still sitting in mom’s basement polishing their unpublished masterpiece. Here's another interview with Christa Faust. Here's Christa Faust's very amusing website. * Scottish crime novelist Allan Guthrie offers a list of his 200 favorite noir novels. * The Telegraph runs a list of 50 Crime Writers You Should Read Before You Die. * Bill Crider recommends a new Stark House volume of Peter Rabe novels. If I remember right, the great Donald Westlake is also a Peter Rabe fan. * Ed Gorman thinks that crime-movie fans should keep an eye out for the Robert Ryan / Mary Astor vehicle "Act of Violence." Those with a few bucks to spare can buy the movie here. * Vince Keenan enjoys a couple of movies with Robert Siodmak's name on them. I raved about the brilliant Siodmak here. * MBlowhard Rewind: I wrote an introduction to the pulp publisher Gold Medal Books. Best, Michael... posted by Michael at March 2, 2008 | perma-link | (1) comments

Friday, February 22, 2008


Frozen Mischief
Michael Blowhard writes: Dear Blowhards -- Another excellent large-scale prank from ImprovEverywhere. My favorite overheard remarks: "It's some kind of protest, probably." "Either that or an acting class." Very Dada, no? Here's a sensible look at a new Dada exhibition from the Times of London. Verdict: A fun moment of wild mischief -- but what kind of sense does it make to give Dada a lot of museum space? Best, Michael... posted by Michael at February 22, 2008 | perma-link | (1) comments

Wednesday, February 20, 2008


Vidlinks
Michael Blowhard writes: Dear Blowhards -- * "I definitely think pageants define me as a person." (Link thanks to Charlton Griffin.) * The greatest duets of all time. (Link thanks to the Communicatrix.) * "Sweet Child of Mine" -- on the sitar. * The Beatles perform "Stairway to Heaven." (Both of these links from Will S.) * Michael Bay doesn't just blow shit up. Michael Bay is awesome. (Link thanks to Bryan C.) Best, Michael... posted by Michael at February 20, 2008 | perma-link | (2) comments

Sunday, February 17, 2008


Uploaders
Michael Blowhard writes: Dear Blowhards -- Some of the most undersung contemporary culture-heroes -- IMHO, of course -- are YouTube music-video uploaders. Just think of it: At no previous time in all history have we had anything like this kind of easy access to such a wealth of fabulous music performances. And we owe it to the voluntary efforts of a lot of amateurs, motivated by love, generosity and enthusiasm. It's enough to make a person believe in anarchist theory. (Incidentally, that's a first-class essay.) A few of the uploaders I rely on most heavily: rockabilly buff Gatorrock786; country-music lover Genewatsonfan2; Rolling Stones champion Ghostryder4067; StAlphege, surely in the top tier of the world's Emmylou Harris admirers; and the classical-music connoisseurs Judicaelp and Tbromley. Here's some footage of the legendary Arturo Benedetti Michelangeli playing Chopin: And a clip of the brilliant Maurizio Pollini performing Debussy: Pollini's Chopin is a modern legend in its own right, and there's a lot of it on YouTube. Here's one good example. A couple of recent discoveries have also been making me very, very happy. Oldtimer (456 vids uploaded so far -- imagine the time and effort!) Ultracoolsixties has an eclectic collection of '60s pop music clips that must be peerless -- it includes performances by Marianne Faithful, The Byrds, Francoise Hardy, and a longtime fave of mine, the high-octane, midwestern R&B group Mitch Ryder and the Detroit Wheels: And doesn't that take you back to the glory days of AM radio! When I'm the mood for workingman's rock, I'll take Mitch Ryder and the boys over Bruce Springsteen any day -- in my value-set, raucous party spirit always prevails over mythos and bloat. Here's Mitch Ryder's website Why not spring for this best-of collection? Newcomer Musicfirstlove has been sharing a priceless collection of alt-country clips, including many I hadn't even known existed of someone I never tire of going back to, the angelically-gifted Texas depressive Townes Van Zandt: Well-synch'd-up-with-its-sound or not, that's some precious footage. I wrote -- OK, I raved -- about Townes Van Zandt back here. Here's the Townes Van Zandt website, run by his widow Jeanene. Jeanene sent 2Blowhards a very moving letter that we were honored to reprint here. Buy a copy of "Be Here to Love Me," Margaret Brown's evocative and poetic documentary about Townes, here. Do you have some favorite YouTube uploaders that you can pass along to the rest of us? It seems to me that the urge to share our pleasures is a lot of what makes the Web the glorious place it is. Best, Michael... posted by Michael at February 17, 2008 | perma-link | (8) comments

Tuesday, February 5, 2008


"El Cid" on DVD
Michael Blowhard writes: Dear Blowhards -- Glenn Abel recommends the new DVD of Anthony Mann's costume epic "El Cid," and talks with the son of one of the film's producers. I love "El Cid" myself. It has pacing and focus -- I find it one of the few spectaculars from the '50s and '60s that are rewarding in non-ponderous, non-camp ways. But I love many of Anthony Mann's other movies too. In fact, as far as I'm concerned, Mann is a major and underappreciated movie artist. I recommended a few of Anthony Mann's movies in this posting about Westerns. Best, Michael... posted by Michael at February 5, 2008 | perma-link | (9) comments

Monday, February 4, 2008


I Caught Maybellene At the Top of the Hill
Michael Blowhard writes: Dear Blowhards -- 1965. France. And Chuck Berry was in an especially exuberant mood: Have there been many greater lines written in America than "Rainwater flowin' all under my hood / But I knew that was doin' my motor good"? OK, maybe "As I was a-motor-vatin' over the hill / I saw Maybellene in a Coupe de Ville." But not many others. It seems to me that Chuck Berry's wordplay and rhythms have done a lot to shape American English. Hard to believe that Chuck Berry is now 81 years old. He's wearing it awfully well. Best, Michael... posted by Michael at February 4, 2008 | perma-link | (3) comments

Sunday, February 3, 2008


Banks As Graphic Design
Michael Blowhard writes: Dear Blowhards -- Another gargantuan blockbuster from that unstoppable movie-production titan ... Well, I blush. You do know to be kind, don't you? Previous efforts can be watched here, here, here, and here. Best, Michael... posted by Michael at February 3, 2008 | perma-link | (4) comments

Saturday, February 2, 2008


Schoolgirl Musical
Michael Blowhard writes: Dear Blowhards -- It seems that Koreans love the "schoolgirl" thing -- skirts, haircuts, uniforms, adorable knock-knees -- as much as the Japanese do. Or is the following clip simply referencing the Japanese fetish? Gosh, but it can be hard to know what's authentically "meant" these days ... "Dasepo Naughty Girls" -- Could be the movie of the year. Ain't It Cool News' Quint caught it at the Santa Barbara Film Festival and has this to say: "I don’t know what the fuck DASEPO NAUGHTY GIRLS is, but I do know that I love it." That's a rave! Here's the movie's trailer. Best, Michael... posted by Michael at February 2, 2008 | perma-link | (3) comments

Wednesday, January 30, 2008


Whipped
Michael Blowhard writes: Dear Blowhards -- Continuing with examples from our "American popular culture allows men zero dignity" series, here's a bit from a National Geographic Channel promotional ad. Now, this ad is apparently supposed to be cute and funny, and ruefully-recognizable too. But what are we being shown? Wifey is disciplining Hubster like The Dog Whisperer corrects a dog. Which means that the wife-husband relationship portrayed here isn't even mom-child, as insulting as that would be. It's wife-equals-dog-owner and hubby-equals-dog. Am I allowed to wonder how this ad would be received if it showed a man treating his wife like a pet in need of correction? Best, Michael... posted by Michael at January 30, 2008 | perma-link | (21) comments

Monday, January 28, 2008


Mississippi Blues, Courtesy of YouTube
Michael Blowhard writes: Dear Blowhards -- I just realized that you can create yourself a decent intro to the Mississippi Delta Blues by typing the right names into the YouTube Search box. Here are a few clips to get you started. R.L. Burnside T-Model Ford Cedell Davis Junior Kimbrough And here's Pinetop Perkins at 94: Big personalities, raw sounds, mind-and-ear-bending music ... Semi-related: I blogged about Mandy Stein's good Mississippi blues documentary "You Hear Me Laughin'" here. I wrote about taking the Wife to the King Biscuit Blues Festival here and here. Explore the website of the great Fat Possum Records. I'm especially fond of this one-of-a-kind Asie Payton disc. Best, Michael... posted by Michael at January 28, 2008 | perma-link | (3) comments

Sunday, January 27, 2008


The New Cinema
Michael Blowhard writes: Dear Blowhards -- These days you can make it up with pixels: (Link thanks to Judith Sears.) Or you can hand craft it at home: Is it the end of movies as we've known them, or the beginning of a great new do-with-the-medium-what-you-will era? See more short, no-budget videos by the cheeky and droll young supertalent Lasse Gjertson here. I especially like this one. Best, Michael... posted by Michael at January 27, 2008 | perma-link | (5) comments

Friday, January 25, 2008


Jon and The Nicholas Brothers
Michael Blowhard writes: Dear Blowhards -- Speaking of Tumblr blogs ... Jon Hastings has been having a most excellent time with his new Tumblr blog. The highlights of Jon's Tumblr efforts, as far as I'm concerned, have been links to performances by the Nicholas Brothers: here, here, here. What's that? You say you don't know the Nicholas Brothers? Can that really be so? Then it's high time you made the acquaintance of Harold and Fayard Nicholas, a dancing-brothers team who started out as child performers in the vaudeville years, appeared regularly at the Cotton Club, were headliners in movies, and were still creative and active into the 1990s. (Harold died in 2000, Fayard in 2006.) Michael Jackson is one of many younger dancers who learned from the Nicholas Brothers, and Harold and Fayard are gods of the current tapdance-revival scene. Their work is known not just for its style, its class, and its acrobatic virtuosity -- watch those trademark leaping splits! -- but also for its high spirits, its humor, and its exuberance. It has got to be some of the happy-making-est art ever. The Nicholas Brothers were (as far as I'm concerned) Genuinely Great American Artists, and were certainly in a class with Fred Astaire and Gene Kelly -- with the very best popular American dancers ever. (Jon also linked to a priceless scene of Tommy Rall and Bob Fosse dancing together. Rall is really something, isn't he? A friend of mine studied tapdancing with Rall in college; she tells me that he was a dynamite teacher. And Fosse: Now there's another Great American artist ...) One of the highlights of my own culture-spectating life was attending a tribute to the Nicholas Brothers around 1990. The brothers themselves appeared in person after an hour's worth of dance clips had left many in the audience sniffling tears of happiness. Seldom have I applauded with such heartfelt enthusiasm as I did when the Brothers stepped before us in the flesh. It's amazing that one act can have given so many people such a great deal of pleasure. Read more about the Nicholas Brothers here. Here's an especially good-quality version of their legendary number from the 1943 film "Stormy Weather." Speaking of happy-making performers, dig that wonderful Cab Calloway. Has American culture hit many peaks as glorious as the Big Band years? Hey, I just remembered that I can embed the clip myself. Here we go: If you're tempted by blogging, do consider signing up for a Tumblr blog. Tumblr-style blogging is an awful lot of fun. I wrote back here and here about some more happy-making art. Thanks to Jon Hastings. Best, Michael... posted by Michael at January 25, 2008 | perma-link | (2) comments

Tuesday, January 15, 2008


Q&A With Tom Naughton, Part Two
Michael Blowhard writes: Dear Blowhards -- Back here, I introduced Tom Naughton's inventive, informative, and generally excellent diet-and-eating documentary "Fat Head." In that posting, I interviewed Tom about the film's subject matter. In today's posting, I talk to Tom about making the film -- which he did in total freedom, all by himself. *** The 2Blowhards Q&A With Tom Naughton, Part Two 2B: What was the impulse behind the movie? Was it more a matter of having a message you wanted to convey, or more of wanting to make a movie? TN: It was a mix of things. As a writer, I felt the need to sink my teeth into a full-length project, no pun intended. I was actually starting to work on a humor piece about the ridiculous prejudice we have in our society against fat people, and I watched “Super Size Me” as part of my research. When I saw how much bologna [Morgan] Spurlock was serving up in a film that attracted so much attention, I felt the need to reply. I don’t harbor any animus toward Morgan Spurlock. He took a simple idea and made an amusing film out of it, and I applaud him for that. He’s a talented entertainer. But I don’t agree with his point of view. In “Super Size Me,” he asked the question, “Where does personal responsibility end?” My answer is, it doesn’t. Ronald McDonald can’t make you eat anything. 2B: Have you always wanted to be a filmmaker? TN: No, I never set out to be a filmmaker. My plan was to write scripts and pitch them to real producers. But I was inspired by my sister-in-law, Susan Smiley, who made an acclaimed documentary about schizophrenia titled “Out of the Shadow.” Seeing her pick up a camera and make a film de-mystified the process for me. Suddenly it seemed possible to just produce my own work, instead of hoping someone else would. She also lent me her camera and her advice, which was a huge help. 2B: What was your budget? My wife and I took part in making a low-budget movie with a friend last year, and our budget was $8000. But to get the film done we've relied a lot on friends and buddies who aren't getting paid. Ah, the actual "economics" of low-budget filmmaking ... TN: I didn’t really establish a budget. I bought what I needed when I needed it. My two biggest expenses were flying around the country to interview people and paying an After Effects artist to do the animations. I also bought a wireless microphone, lights, a new computer, software, stuff like that. I think I’ve spent about $30,000 so far. 2B: What was your physical-technical setup for putting the film together? TN: I borrowed my sister-in-law’s Sony PD 150 camera, and I used Adobe’s Production Studio Pro for editing sound and video on a maxed-out PC that I bought just for the film. My wife posted ads on Craig’s List for an... posted by Michael at January 15, 2008 | perma-link | (3) comments

Sunday, January 13, 2008


Q&A With Tom Naughton, Part One
Michael Blowhard writes: Dear Blowhards -- When I read about Tom Naughton’s as-yet-unreleased food-and-diet documentary "Fat Head," I was instantly interested, and on two counts. In the first place, Naughton sounded as fascinated as I am by the way that the official health-tips class has put a lot of bad eating advice over on the public during the last few decades. How did this happen? In the second place, I was eager to learn more about Tom's experience as a first-time filmmaker. We're witnessing a major shift occurring in the world of audiovisual-through-time entertainment. As digital technology grows ever cheaper and ever easier-to-use, moviemaking has ceased being something that only fulltime professionals can afford and manage. Tom Naughton made his own feature-length movie almost entirely by himself. What was this like? So I contacted Tom and talked him into sending me a copy of his movie. I enjoyed it very much. Framed as a response to Morgan Spurlock's headline-grabbing, eating-all-month- at-McDonald’s film "Super Size Me," "Fat Head" is humorous, engaging, and informative. In only 80-odd minutes, Tom brings you up to speed with a lot of science and history -- and he does it all without strain, which is quite an accomplishment. Trust me on this, by the way: I've read a number of the books that cover this material, and I've done some professional writing myself. It's quite miraculous how efficiently and enjoyably Tom has conveyed the essence of a lot of very dense and dry work. Concision and easygoing-ness only look easy. But "Fat Head" is more than just sharp and entertaining. It's also resourceful, straight-shooting, and direct. Tom -- who has worked as a health writer and as a standup comedian -- is a very smart, droll, and agreeable host. As a filmmaker, one of his smarter choices was not to compete in the slickness sweepstakes. You might say that "Fat Head" is to the usual contempo documentary what a great blogposting is to a Vanity Fair production number: twice the substance presented with a tenth the clatter. And with graphics by his wife and a few appearances by his kids, "Fat Head" is nothing if not pleasingly handmade, and full of real-people personality and "touch" of a sort that we don’t often get from movies. Tom’s gimmick is that, like Morgan Spurlock, he too is going to eat at fast food places for a month. Will the experiment lead to a Spurlockian weight-gain and health-decline? At the end of the film, Tom caps this stunt by going on an Atkins-ish low-carb diet to see what ingesting all that saturated fat will do to his cholesterol profile. Not to give anything away, but ... Well, let’s just say that Tom’s doctor was surprised by the results. You may be too. I’m very glad that Tom Naughton has agreed to be interviewed by 2Blowhards. I wanted to ask him about the diet-and-health subject matter of his film as well as about his adventures as a first-time filmmaker in... posted by Michael at January 13, 2008 | perma-link | (4) comments

Thursday, January 3, 2008


A Little YouTube Linkage
Michael Blowhard writes: Dear Blowhards -- * Philip Murphy thinks that British Conservative pol David Cameron is a master of online-video communication. * Philip also offers a lovely video tribute to recently-deceased jazz-piano giant Oscar Peterson. * David Blaine, that bitch, is back. * Here are some YouTube resources for lifetime learners. * The Communicatrix points out a sweetly funny and naughty song about a girl with a special kind of fetish. (NSFW) * David Chute links to a lot of scorching Bollywood clips. It seems fair to say that the Indian film industry has no fear of color, and even more of a taste for sexy navels than we do. * Thanks to Anne Thompson, who points out the-hard-to-resist filmchat duo ReelGeezers. Executive Marcia Nasatir and screenwriter Lorenzo Semple Jr. are both longtime filmworld vets, and are both as smart as can be about movies. It's as much fun, though, to observe their outsize personalities and their cranky-loving friendship as it is to listen to their observations about the films they've watched. Marcia and Lorenzo -- who were introduced to each other by the late New Yorker film critic Pauline Kael -- may be in their 80s, but they're definitely YouTube naturals. Patrick Goldstein calls ReelGeezers "the coolest new critics on the block," and who could take issue with that judgment? Best, Michael... posted by Michael at January 3, 2008 | perma-link | (5) comments

Tuesday, December 25, 2007


Best of the Best-Ofs, 2007
Michael Blowhard writes: Dear Blowhards -- Here are my nominees for the Best of the "Best Of" Lists of 2007. * Publishingdude John Williams runs through his 2007 movie faves. * Yahmdallah sums up the high points of a very busy culture-consuming year here. * WhiskyPrajer puts together his dream mix tape. * Alex Billington reviews "the best 19 movies you didn't see in 2007." Semi-related: Back here, I gabbed a bit about what I look for from a best-of list. Best, Michael... posted by Michael at December 25, 2007 | perma-link | (6) comments

Sunday, December 23, 2007


Elsewhere
Michael Blowhard writes: Dear Blowhards -- * A brave legislator in Alabama takes on a risky cause. (NSFW.) * Bartenders report that doctors and lawyers are "cheap bastards." * Why do many men find yoga more difficult than women do? Maybe it's because they're physically tighter, because they have a hard time letting go of their competitive drives, and because their mirror neurons are lame-o. * My inner trash-movie fan can't decide whether it's looking forward more to this film or to this one. Those are a couple of dynamite trailers, in any case. Today's MBlowhard Half-Baked Theory&trade: Movie trailers have become a far more vital and important art form than the movies they're meant to advertise. How soon until people wake up to this fact, skip the "creating movies" stage entirely, and begin putting all their energies into making trailers? Is there any reason not to bypass the boring stuff? Best, Michael... posted by Michael at December 23, 2007 | perma-link | (8) comments

Saturday, December 22, 2007


Bah and Humbug
Michael Blowhard writes: Dear Blowhards -- * Here's a list of the best Christmas movies for the Grinches among us. Me, I'm soooo not into the season that I don't even want to watch the anti-Xmas movies. Best, Michael... posted by Michael at December 22, 2007 | perma-link | (5) comments

Wednesday, December 19, 2007


Jamie McDonald Responds
Michael Blowhard writes: Dear Blowhards -- Back here I wrote a blogposting about "Pulp Fiction Art," a documentary that I'd watched on DVD. I enjoyed the film but also expressed some quibbles with it. Jamie McDonald, who directed the film, sent me an email about my posting: Now for my review of the review. As the filmmaker of this documentary, I take exception to a few things. You say there is a lack of attention put on the illustrators themselves. I don't see how you could come to that conclusion considering that an artist is profiled an average every 6 minutes in the film. Also, all experts who worked on this film agree that I have included all the major artists of the genre in this film. As for your comment that there was not enough info or footage of the artists. That was one of the main points of the whole documentary: First, only a handful are still living. Out of the four I found, only two wanted to talk. Which is the other point of the film. They didn't want to be known for this art, thus many are unknown. You also called the film zig-zaggy and disorganized. Others have commented just the opposite -- telling me I have given a linear quality to a art form/business that is hard to catagorize. The very nature of the art form, its history and definition, is by its nature very unorganized. Many of the conventional facts about the genre are still argued by many of the experts in the field. I'm proud to say no one has argued with the facts as I have put them down on the film. As for the length of the film. Two things; it was made for television. Second, most art history films are 60 minutes because of the subject matter. Though I think Jamie may have overlooked the part of my posting where I urged visitors to put his film near the top of their Netflix queues, I'm glad he took the time to send me his thoughts. In the pre-web days, it used to be massively frustrating for artists that they almost never got a chance to respond to critiques of their work. I think it's a great development that, where discussing art goes, electronics allow for a much more freewheeling to-and-fro. Do be sure to give Jamie's film a watch. Whatever my quibbles with it were, I got a lot out of it, and you'll almost certainly get a lot out of it too. You can buy a copy of "Pulp Fiction Art" here. Jamie's website for the film is here. Best, Michael... posted by Michael at December 19, 2007 | perma-link | (0) comments

Tuesday, December 18, 2007


Hollywood Starts to Crumble?
Michael Blowhard writes: Dear Blowhards -- The LA Times reports that striking moviebiz writers are "are negotiating with venture capitalists to set up companies that would bypass the Hollywood studio system and reach consumers with video entertainment on the Web." Creative people are shaking off the middlemen and taking their products directly to the people, in other words. Bottleneck? What's a bottleneck? But isn't this development almost exactly the kind of thing that Marc Andreessen predicted would be the result of a Hollywood strike? Marc elaborated here. Short version: The entertainment biz is likely to be reshaped in the image of Silicon Valley. Best, Michael... posted by Michael at December 18, 2007 | perma-link | (7) comments

Fab Freebies
Michael Blowhard writes: Dear Blowhards -- * Lexington Green points out an amazing free resource -- the website of Alan Macfarlane, a topnotch British prof and anthropologist with a special interest in economics. Macfarlane, who is well-known in Britain for his popularizations as well as for his academic achievements, has put an almost overwhelming amount of his work online: books, lectures, interviews, research, and more. I've only begun to scratch the surface of what Macfarlane has made available but my head is already spinning in the most pleasant of ways. Check out this jaw-dropping collection of interviews with prominent anthropologists and sociologists, for just one instance of what's there to be explored. Download 'em and put 'em on your iPhone. I'm looking especially forward to the talks with Clifford Geertz, Mary Douglas, and Luigi Luca Cavalli-Sforza. Lex describes Macfarlane as "anti-Marxist" and "sensible and empirical," and he calls Macfarlane one of his own intellectual heroes. That's one terrific recommendation. Lex suggests starting with this TV series, as well as this collection of downloadable e-books. * Thanks to visitor Brian for pointing out this Paul Cantor lecture series about culture and the market from the Ludwig von Mises Institute. (Where has Brian been recently? I miss his brains, humor, and spirit.) I'm about midway through the series and I'm enjoying it thoroughly. Cantor is brainy, exuberant, and very likable -- a wisecracking and irreverent, yet truly culture-entranced, guy. He's a spritzer, and he's very spontaneous, so the talks are alive. Yet he manages to keep his material organized too. To do Cantor a small injustice, his theme here is, "Commercialism ain't bad." And his main goal in the series is to get people with an interest in culture over the cultureworld's usual anti-commercial bias. In this, his series resembles Tyler Cowen's "In Praise of Commercial Culture," a book that looks with every passing year more and more like one of the most important arts books of the past few decades. (Here's a semi-informative review of Cowen's book.) Cantor is very generous in acknowledging Cowen's work, as well as the contributions of other researchers and writers. Hey, here's a discovery that you make if / when you go into the cultureworld: Most of what you wind up talking about with other arts and culture types isn't ideas and aesthetics. Conversation inside the NYC cultureworld is often anything but highflown, in fact. Usually what you wind up talking is jobs, money, grants, and gossip. Nothing wrong with that, of course. Artspeople gotta pay the bills too, and this is their shoptalk. Still, it's one of those disappointments that culture-besotted newbies have to look forward to. The sad fact is that if you're hungry for sizzling yak about the arts, generally speaking you gotta turn elsewhere. Cantor is sensible and vivid on some really important questions: The market as a feedback mechanism, for example. It's common to think of "the market" as something that degrades the purity of aesthetic creations, and there's no question... posted by Michael at December 18, 2007 | perma-link | (4) comments

Wednesday, December 12, 2007


John Stossel Interviews Ron Paul
Michael Blowhard writes: Dear Blowhards -- What to make of the fact that ABC's execs won't be broadcasting an interview that John Stossel has done with Ron Paul on TV, but will release it on the web only? Have they made a wise, considered, and responsible news judgment? Or are they demonstrating once again what enemies of freedom they truly are? Watch the first part of the interview here; read an opinion about what seems to be turning into a controversy here. Links thanks to Andrew Sullivan. Best, Michael UPDATE: I, Squub thinks Ron Paul is great -- but maybe only in theory.... posted by Michael at December 12, 2007 | perma-link | (14) comments

Friday, December 7, 2007


Final-Reel Flopping
Donald Pittenger writes: Dear Blowhards -- If I were a student of movies, something I'd be inclined to research is the matter of successful comedies. What do they possess that almost-successful comedies don't? I have no answer, just now. The only reason I'm mentioning it is that I've been thinking about three comedies that, while being very good (in my opinion, natch), shared a common flaw: They got sidetracked and, because of that, ran out of gas. Sorry, but none of these are recent movies, and that's my fault, I suppose. It's just that I'm down to seeing perhaps two or three movies a year and have been in that mode for a long time now. That said, here are my examples. M.A.S.H. About a wild army hospital unit during the Korean War. When I saw it, I was about six years away from the Army and was in hysterics over what the personnel were getting away with; a totally different atmosphere from the uptight, disciplined, rule-following units I had served in (which briefly included an evacuation hospital). I don't remember ... halfway through? ... it began falling apart. Crumbling started when some of the characters went to Japan for an R&R trip. Later, a sizable chunk of time was spent on a football game between the MASH troops and some other outfit. The Tokyo and football sequences weren't necessarily bad, but they were far removed from the inspired insanity that took place in the hospital setting. Help This was my first Richard Lester-Beatles movie. I was charmed. Forty years on, Lester's visual schticks are commonplace because they've been recycled or riffed-on. But when they were new, they astonished and delighted the 26-year-old me. Help began to crack when the Beatles were using Buckingham Palace as a safe-house and disintegrated when they went to Bermuda where the final segment took place. (Yes, Help might be considered a musical of sorts because it serves as a framework for Beatles performances. But that framework is a comedic one. Droll, wry, amusing, satiric in places -- low-key Brit stuff, and quite different from this final example....) Animal House This call might be more controversial than the others because Animal House seems to be in the Gross Comedy Pantheon. Having been a member of a decidedly less than top-drawer frat myself, I found it easy to connect to the movie. And the pace was fast enough that the details that bothered me (Rotsy-guys as fascists) blew by quickly and juicy grossness continued. Animal House slipped when the scene shifted to the roadhouse where the Black band was playing. Suddenly, we were no longer at college. Thereafter, things never got back on track. The parade scene at the finale did nothing to help. In each instance, the movie began in a well-defined comedic setting -- an overworked army hospital not far behind front lines, swingin' Sixties London, a dysfunctional private college -- and in each case the setting was abandoned or watered down well before... posted by Donald at December 7, 2007 | perma-link | (16) comments

Tuesday, December 4, 2007


Opinions About Movies
Michael Blowhard writes: Dear Blowhards -- David Chute offers a dissent on "No Country For Old Men." Jon Hastings defends "The Mist." Prairie Mary thinks she'll watch "Indochine" one more time. The Communicatrix raves about Julian Schnabel's new movie "The Diving Bell & the Butterfly," and asks for help with her mission statement. Best, Michael... posted by Michael at December 4, 2007 | perma-link | (4) comments

DVD Journal: "Pulp Fiction Art"
Michael Blowhard writes: Dear Blowhards -- Given its title and its publicity material, you might expect the documentary "Pulp Fiction Art" to comprise a quick intro to the era of pulp-magazine fiction followed by interviews and encounters with, and bios and appreciations of, the artists who created the era's visuals. The film turns out instead to be more of a jumble than that: a zig-zaggy, 55 minute-long survey of the pulp fiction era generally, with some minutes with the artists (Norman Saunders, Ernest Chiriacka, a few others) crammed in here and there. But as modest as the film is -- and, yes, it did feel a bit like an opportunity lost -- I enjoyed it anyway. The overview it provides of the pulp-magazine era may resemble a disorganized term-paper, but it's still informative -- and newbies to the material will learn quite a lot. Many of the interviewees (especially some collectors and fans) are amazingly articulate about and appreciative of the art. And if the time the film spends with the actual artists and illustrators is 'way too small, that's still a lot better than no time spent on them at all, which is the treatment you'll find accorded to pulp-fiction artists in most histories of American art of the 20th century. Jamie McDonald, who made the film, never loses track of his subject's central irony: Although this really was an amazing episode in American visuals, almost no one was aware of the fact at the time. Highbrows of course turned up their noses. The artists thought they were doing mere commercial work, cranking out tawdry paintings for a sleazy market. Many of them had their sights focused on higher, fine-arty things; they often didn't even bother to sign their pulp work. Yet these lewd, exploitative images are turning out to be the art that they'll be remembered for. It's sad to be reminded of the fact that nearly all of the original paintings were simply thrown away once they'd been reproduced. Today the work of people like Rafael DeSoto and Margaret Brundage is much loved, enthusiastically enjoyed, and widely influential -- and collectors pay big bucks for the handful of originals that still do exist. As for the self-consciously significant work of that era? Well, some of it's still enjoyed too. Since the film is so skimpy and modest, it's a little hard to recommend a purchase. But why not put the film near the top of your Netflix queue? I'm very fond of this book, which includes lots of excellent reproductions of pulp fiction art. H.J. Ward, who specialized in illustrations for the "spicy" market and who made the image at the top of this posting, is a particular favorite of mine. (I found the image above at this website.) Someday I'm going to buy a copy of this book about the art of the "girly pulps." Semi-related: I wrote about the film "The Notorious Bettie Page" here; Donald wrote about pin-up art here and here; Friedrich wrote... posted by Michael at December 4, 2007 | perma-link | (1) comments

Wednesday, November 28, 2007


Moviegoing: "Beowulf"
Michael Blowhard writes: Dear Blowhards -- I found Robert Zemeckis' 3-D "Beowulf" movie so lifeless that I'm too depressed even to bother cracking a few jokes about it, let alone saying anything helpful. To cheer myself up, I'm treating myself to a musing-a-thon instead. Funny, isn't it? Some people really do change. In the days of "I Wanna Hold Your Hand," "Used Cars" (a steal at $9.95), and "Back to the Future" (all three episodes for a mere $13.49), Robert Zemeckis was an exuberant satirist. But mucho time has passed since then. And where he was once a malicious entertainer, these days he just seems to want to play with machines. I skipped Zemeckis' previous experiment in motion-capture filmmaking, "The Polar Express," because -- semi-curious though I sometimes am about what Hollywood gets up to with its money and its computers -- the previews for the film freaked me out. Motion-capture=major creepiness, I concluded. Those wooden limbs, those near-featureless faces, all of it crossed with the fact that the awful creatures unquestionably bear some resemblance to real humans ... If I were a kid I'd have gone home after a couple of hours in motion-captureland and had myself a really horrendous nightmare. Thank heavens: The semi-digital / semi-real characters who inhabit "Beowulf" aren't nearly as disturbing as the ones that spooked me in those "Polar Express" previews. Some problems have clearly been ironed out. But the "Beowulf" humans are spooky enough in their own right. Instead of "Polar Express" devil dolls, the "Beowulf" beings are like overblown videogame creatures, their limbs and gestures showing no trace of where any physical (let alone emotional) impulse might start. Freaky! The weakest element in the mix seems to me to be mouths and teeth. A character's mouth seems to have a life apart from the face it inhabits. The teeth -- well, the best I can say about them is that the character designers are clearly hoping no one will take too much notice of their creatures' teeth. If you can't solve a problem, bury it. In any case: The "people" onscreen in "Beowulf" are still creepy-creepy-creepy. Since I guess there's no avoiding the fact that we're going to have this technology in our entertainment lives, I hope it'll become cheap and accessible, and very soon. Only that way will we get to watch a motion-capture movie made by a team that isn't weighed down by budget and strain. For one thing, the irreverent dirty-joke possibilities seem endless. Since the creature onscreen that looks like Angelina Jolie isn't really Angelina, why stop with having her be naked? Why not have her go porno-wild? There's a long tradition in cartooning of this, after all. The porno-cartoonists who made Tijuana Bibles had lots of fun with celebrities. In their crude drawings, they'd have Bogey, Hepburn, and Harlow -- as well as characters out of straight-world comics -- perform all kinds of X-rated actions. Why settle for a PG-13 mock-Angelina? But I'm ignorant of where the... posted by Michael at November 28, 2007 | perma-link | (14) comments

Tuesday, November 27, 2007


Natalie vs. Jennifer
Michael Blowhard writes: Dear Blowhards -- Natalie Portman certainly doesn't seem to enjoy being a movie star, does she? Well, the feeling is semi-mutual, if that makes any sense. The only film that I've ever really enjoyed watching Natalie in was the 1996 "Beautiful Girls." 15 at the time, she upstaged everyone else in the cast with her childlike transparency, eagerness, and impulsiveness. Since then, though ... As pretty and chic as Natalie has become, and as intelligent and worthy as she apparently is as a person, as an onscreen presence she has also grown more and more self-protective. She radiates nothing, at least nothing that my antennae can pick up. So I'm unable to follow her career with any interest. I tend to slot Portman in the same category as Jennifer Connelly. Like Natalie, Jennifer comes across as a bright, pretty co-ed type -- a dull good girl, attractive but remote, even wooden. But with Connelly the intelligence and the earnestness are accompanied by a spilling-over physical lushness, as well as by some appealing waywardness; both of these qualities keep me looking forward to her next performance. While most of Jennifer's films are a drag, every now and then she'll sign on to play the vamp or the bad girl, and she'll do her (admittedly clunky) best to put over the hot moments and the shock scenes. Vavavoom! In "Requiem for a Dream" Connelly gives a performance that's not only terrific (it's maybe her only terrific performance) but genuinely edgy. Where Portman is like a bright girl happy to intern for an anti-famine group, Connelly is like an employee of the same nonprofit, but one who on the weekend enjoys getting drunk and indulging in some sexy misbehavior. Why not have a little fun with life as it is, and with the gifts God has given you? If I'm to be stuck in the company of intelligent good girls, I'll choose to spend my time in the company of the one who has at least a streak of mischief in her. Best, Michael... posted by Michael at November 27, 2007 | perma-link | (18) comments

Thursday, November 22, 2007


DVD Journal: "Tristram Shandy, A Cock and Bull Story"
Michael Blowhard writes: Dear Blowhards -- Michael Winterbottom's take on the legendary 18th century Laurence Sterne novel "The Life and Opinions of Tristram Shandy" is nothing if not playful and spirited, and complicated in a fun way. Sadly, it's also not very compelling; it comes up short on the buccaneering exuberance and audacity you might expect from such a project. Some friends I was watching the DVD with had a perfectly fine time, then turned it off midway through and never gave the film a second thought. If I went back the following night and finished watching it without them, it's probably because the film is like catnip for filmbuffs. Thoroughgoingly silly and prankish, the film is both a film of "Tristram Shandy" and a film about a cast and crew making a film of "Tristram Shandy" -- it's "Day for Night" as remade by a cheery and loose version of Jean-Luc Godard, in other words. Where the novel starts with Tristram's birth and then nearly fails to work its way back up to that moment, the Winterbottom film starts with Tristram's birth and works its way backwards, right into the story of the people making the film in front of you. "Birth" and "creation" are major themes (and major jokes) in the film. Two examples of the film's humor, both of which you should imagine being tossed-off in the most casual of ways. In one, Steve Coogan (playing a character named "Steve Coogan," but also in costume as Tristram Shandy) is interviewed by a journalist, who is played by the real-life model for the character the real Steve Coogan played in Winterbottom's "24 Hour Party People." In the other example, Coogan's "Coogan" character is hugged and kissed by a pretentious young female film buff who is overcome by lust because Coogan recognized the name of the German filmmaker Fassbinder. Coogan declines her advance with a line beginning like this, "You're incredibly attractive, and your knowledge of the German cinema is second to none, but ..." If moments like that give you a giggle, well, don't expect the film to deliver much that's better, but you might find the DVD worth a rent. The hyper-talented Michael Winterbottom is by far my favorite of the neo-'70s filmmakers who are around these days. I like his work sooooo much better than P.T. Anderson's, for instance. And he certainly keeps this film on the move, cheerily semi-parodic, beautiful to look at, and breezily postmodern. Postmodernism becomes a meta-joke in its own right, in fact: "Tristram Shandy" the novel is often celebrated as the first postmodern novel, though historically it was of course premodernist. Which means that this film is a postmodern game that's being played with a postmodern/premodern novel. "Tristram Shandy"the film throws off more involuted, spiraling jokes-about-jokes in a minute than Spike Jonze and Charlie Kauffman come up with in 90. But the film also falls into the trap of much postmodernism. Cut free from tradition on the one hand and from... posted by Michael at November 22, 2007 | perma-link | (5) comments

My Biggest Thanksgiving Peeve
Donald Pittenger writes: Dear Blowhards -- [Non-American readers have my permission to skip this post because it's about today's Thanksgiving holiday, a secular celebration that has its roots in the earliest days of colonial settlement.] This is no hit-piece on American history that some Howard Zinn-inspired writer might churn out. Nope, no complaints about injustices to "Native Americans." No rants about this annual exercise of over-eating -- wastefully pillaging the planet via depletion of everything within reach of obese, materialistic, mouth-breathing simpletons oblivious to the rest of the world's misfortunes. Nope. No ritualistic dissing of the usual targets from me. My complaint is truly serious. It has to do with New York's traditional Macy's parade. And how television ruined it -- for TV viewers, anyhow. Once upon a time, perhaps in the mid-1950s (I forget exactly when), television coverage was simply of the parade itself: the bands, the floats, the huge balloons. Then Show Biz crept in. Instead of showing only what spectators farther north on Broadway were seeing, the coverage tended to focus on Herald Square where singers, dancers and other entertainers from Broadway shows would sweep onto the street and do numbers from various productions. By the 1970s it got to the point that I thought that they might as well have skipped the actual parade and done the whole thing in a TV studio. Since then the network showing the parade -- besides publicizing Broadway musical shows -- took to publicizing its own lineup of programs. Actors on one show or another are somewhat awkwardly introduced in order to generate hype. The parade is on TV as I'm writing this. Since a Broadway stagehand strike is in progress this year, the stage content is down. So the audio I'm overhearing seems to be focusing on promoting the network's forthcoming offerings. And they had Mayor Bloomberg on and asked about his political plans. I suppose they'll cut to the occasional balloon if they run out of other, more important things to flak. Happy Thanksgiving. Later, Donald... posted by Donald at November 22, 2007 | perma-link | (6) comments

Saturday, November 17, 2007


Moviegoing: "American Gangster"
Michael Blowhard writes: Dear Blowhards -- Is there something in the air? A few days ago I watched and blogged about Robert De Niro's somber CIA movie "The Good Shepherd." Today I watched a very similar movie, Ridley Scott's equally somber "American Gangster," about a real-life 1970s black NYC drug kingpin (Denzel Washington) and the lawman (Russell Crowe) who took him down. It really is bizarre how close the two movies are in tone and approach. They're both slow, dark, and "Godfather"-ish in style and ambition. "American Gangster" even has the same running time (2 hours and 50 minutes) that "The Good Shepherd" does. What's weirdest of all is that I found both movies completely uninvolving, and for semi-similar reasons. In "The Good Shepherd," dramatic-narrative immediacy is sacrificed for the sake of telling the story of how elite WASPs made the CIA their own club. In "American Gangster," dramatic immediacy is sacrificed for the sake of ... Well, to be honest, I'm not entirely sure what. An important statement always seems to be on the verge of being made -- the movie is entitled "American Gangster," after all. But what this important statement might be remains a mystery. Nonetheless, there are many, many cutaways to TV news shows reporting how badly things are going in Vietnam. Something is clearly being said. In any case, the film muffs basic storytelling over and over again. (At one point I whispered to The Wife, "I wouldn't have let this script in the front door, would you?" "No way," she whispered back.) Just a few of many examples: Because we see so little of his rise to the top, we're never sure what to make of the Denzel character. One face-off, one rival murdered -- and voila, it's settled. Denzel the chauffeur has become Denzel the king of Harlem. Since we never see his struggle, we never know whether to take him as a rousing but scary anti-hero or as a role model operating in a tough environment. But simple logistics don't play a big role in this movie generally. When Denzel wants some face-to-face time with his Southeast Asia drug connection during the very week Vietnam is collapsing -- hey, no problemo, he's there. I'd have loved to be told which airline he flew in on. The Russell Crowe character, meanwhile -- well, what on earth is he? There are times when he seems to be a cop and others when he seems to be a D.A. Yet if he's a cop, why is he acting as a D.A. at trials? And if he's a D.A., what is he doing with gun in hand leading on-the-streets investigations? Crowe's character's inner life is also a mystery. His honesty and passion for justice are remarkable -- yet where do they come from? We're given only a few shots of him in his working-class element, and almost nothing of him at home. It's hard to know what to make of the fact that the Crowe character... posted by Michael at November 17, 2007 | perma-link | (9) comments

Monday, November 12, 2007


DVD Journal: "The Good Shepherd"
Michael Blowhard writes: Dear Blowhards -- I don't think I've watched an American movie as slow, as solemn, and as hushed as Robert De Niro's "The Good Shepherd" since ... well, guess. A few hints: In "The Good Shepherd," beautifully detailed period homes contrast with beautifully-detailed period workplaces. Years pass while underlit men confer in hushed tones about sinister and dangerous things, and loyal but in-the-dark wives grow emotionally desperate and finally tip over the edge. Loyalties are tested. What ought to be kept impersonal becomes, inevitably, all too personal. That's right: "The Good Shepherd" is not only aiming for "Godfather" status, it's also using a "Godfather" strategy. Where in "The Godfather" Francis Coppola used the Mafia as a metaphor for American capitalism, in "The Good Shepherd" De Niro is using the history of the CIA as a way to talk about contemporary American politics -- the Bushies and their elite-WASP style of ruling more specifically. (Coppola is credited as an executive producer on the film.) The picture is certainly beautifully crafted in many ways, as well as acted with mucho conviction. And the lighting, costumes, and sets all contribute to a sumptuous, dignified realism of a type we haven't been able to enjoy in movies much recently. Bravo to all that. Even so, I found the movie a near-total snoozefest. Main complaint: What on earth is the film's story? Matt Damon plays a Yale poetry student who's recruited first into Skull and Bones, then into WWII-era government intelligence, then into the early days of the CIA, then into intrigue within the CIA. Some devious shit happens. Some more devious shit happens. Finally the deviousness and the shit hit home. And that's it -- that's all, storywise, this two-hour-and-40-minute long film gives us. Its energies, in other words, are far more focused on what's being said thematically than they are on telling us a crackling yarn, let alone with introducing us to juicy characters, or inviting us to explore charged situations. The film's "story" is so general and abstract that, for all the darkness and the brooding, little seems to be at stake. Well, scratch that -- "America" is what's at stake, we're meant to understand. Up on screen are a lot of preppy WASPs trying (in their chilly, controlling, proprietary way) to look out for what they feel is "their" country's best interests. It all slips out of their control just as it seems to have slipped out of the Bushies' control. The ruling-class blood not only runs thin; it runs out. But the film's characters? "Underimagined" doesn't begin to describe them. Although he seems meant to start off as someone with a few ideals -- a poetry student, etc -- the Damon character in fact plays onscreen as a near-complete cipher. Since he's masked and ungiving right from the get-go, we don't care if and when he loses the soul we've never seen anyway. As his wife, Angelina Jolie at least gets to cut loose in an early... posted by Michael at November 12, 2007 | perma-link | (17) comments

Friday, November 9, 2007


DVD Journal: "Spider-Man 3"
Michael Blowhard writes: Dear Blowhards -- "Spider-Man 3" is the kind of calamitous misfire that makes you gasp, "What on earth were they thinking?" -- except that in this case it's all too clear what they were thinking: epic solemnity with a message, reluctantly enlivened with occasional special-effects firestorms. Say farewell to your hopes for an evening's fun entertainment and brace yourself instead for themes and lessons; unresonant villains; 134 plot turns too many; a complete absence of subtext; an almost two-and-a-half-hour running time ... Though they do come up with some beautiful and / or amazing special effects, the talented Sam Raimi and his team couldn't have done a better job of killing off my interest in their successful movie franchise if they'd tried. The love-interest character -- Mary Jane, played by Kirsten Dunst -- suffers worst. She comes across as a tedious, high-maintenance pain who's sooooooo not worth the effort. Best, Michael... posted by Michael at November 9, 2007 | perma-link | (9) comments

Thursday, November 8, 2007


DVD Journal: "Hot Fuzz"
Michael Blowhard writes: Dear Blowhards -- With "Hot Fuzz," Simon Pegg and Edgar Wright -- the British cut-ups who were behind the zombie spoof "Shaun of the Dead" -- generate a few exuberantly silly, high-low comedy moments, but mostly come a-cropper. (I liked "Shaun of the Dead" and wrote about it here.) "Hot Fuzz" is an attempt to bust open the pokiness and eccentricity of an Ealing-style comedy with a lot of go-go-go, Simpson/Bruckheimer, MTV aggressiveness -- think of "Bad Boys 2" ramming into "Passport to Pimlico." But since the two tones never really come together, the film plays like an amusing-enough ten-minute skit that 'way overstays its welcome. With his lowkey deadpan, his pushy brashness, his old-man / little-boy face, and his compulsion to see his ideas and predicaments in comically overblown, American-movie terms, Simon Pegg is the Toby Young of actors. "Shaun of the Dead" can currently be bought for $9.49. Best, Michael... posted by Michael at November 8, 2007 | perma-link | (2) comments

Wednesday, October 31, 2007


DVD Journal: The Notorious Bettie Page
Michael Blowhard writes: Dear Blowhards -- I'd been semi-dreading Mary Harron's biopic "The Notorious Bettie Page." Although I hadn't seen either of her previous films -- "I Shot Andy Warhol" and "American Psycho" -- I'd read about them, and I knew a little about Harron's background and interests too. Given what I'd picked up, I expected the Bettie Page film to be theoretical, intellectual, post-modern, and "daring" in predictable leftie-feminist, if (yawn) Sex Positive, ways. In other words: While the Bettie Page subject matter certainly had its juicy appeal, I was certain that the film would be a dreary exercise in PC edginess. But I do love Gretchen Mol, who stars as Bettie Page ... The price of a used DVD kept creeping down ... When it hit six bucks, I couldn't resist any longer. The One-Click button was pounced on, and The Wife and I settled in to watch the film. Was I ever surprised. Although the film is nothing if not post-modern in style, its spirit is flat-out appreciative. I'm sure a determined intellectual could roll up his sleeves and tease a lot of mallarkey about "power" and "gender" out from the film, but those words don't indicate how the film actually plays and feels. It's a genuinely sweet, touching, and sexy picture: open to contradictions, unresolved, and full of charm and humor while never surrendering to naivete. Hey, a few films that I was reminded of as I watched "The Notorious Bettie Page": "Fallen Champ," Barbara Kopple's documentary about the boxer Mike Tyson. Kopple may be the most PBS person on the face of the planet. But she's also talented, and in this project at least was able to let go of her usual agenda and give over to her subject matter. The result is a complex and moving look at Tyson, one that's not at all marred by feminist limitations. "Auto Focus," Paul Schrader's movie about the TV actor Bob Crane. Like Harron's film, "Auto Focus" has an off-off-Broadway, quotes-around-everything, po-mo quality. (I wrote about the Schrader picture here.) But Schrader took a jaunty and disengaged tone. There was nothing about Bob Crane that he could respect, or that he even seemed to find interesting. By contrast, Harron (with co-screenwriter Guinevere Turner, and Gretchen Mol) takes on Bettie Page with real commitment. "32 Short Films About Glenn Gould," Francis Girard's very unusual biopic of the Canadian pianist, which features a fractured, multifaceted point of view. While it's far more determinedly experimental than "Bettie Page," it's full of a similar kind of humor and wonder. "Ed Wood," Tim Burton's biopic about the legendarily untalented director of such works as "Glen or Glenda" and "Plan Nine from Outer Space." In his picture, Burton moves through irony and camp to a state of sincere admiration. In "Bettie Page" Mary Harron moves through po-mo into something genuinely loving too. One quick caveat: "Bettie Page" doesn't have a lot of dramatic drive. The Wife -- a dramatic-drive junkie -- liked the... posted by Michael at October 31, 2007 | perma-link | (9) comments

Friday, October 19, 2007


The Adventures and Recommendations of David C.
Michael Blowhard writes: Dear Blowhards -- Bollywood aficionado David Chute takes off a few pounds, lands a new gig, and reviews some intriguing new Asian movies. Does anyone in America know more about Asian movies than David Chute does? David also tipped us off to Neal Stephenson's brilliant essay "In the Beginning was the Command Line," a piece of writing that should fascinate anyone with an interest in computers 'n' culture. Best, Michael... posted by Michael at October 19, 2007 | perma-link | (1) comments

Wednesday, October 3, 2007


"Absinthe" 1: Performers
Michael Blowhard writes: Dear Blowhards -- A couple of days ago The Wife and I attended a performance called "Absinthe" at Spiegelworld, a touring circus group that had set their tent up at Manhattan's South Street Seaport. In fact -- and despite the tent and the ringmaster -- "Absinthe" wasn't a circus performance at all, at least not in the usual three-ring, elephants-and-tigers, clowns-shot-out-of-a-cannon sense. It was instead ... a show. For adults. This was one evening that was definitely not meant for the kiddies. Full of bawdy language, sleazy glamor, campy drag performances, and outrageously filthy jokes, "Absinthe" featured ghoulish and obscene pranks, as well as some all-but-the-cork nudity. Yeah, baby. It'd probably be fair to describe the show as part burlesque and part cabaret, with a few circus elements mixed in too. You've seen the movie "Cabaret"? (If you haven't: Do!) Well, "Absinthe" was far, far closer to the decadent and lewd shows put on in the KitKat Klub than it was to Barnum & Bailey. It was loads of lowdown fun. I think I laughed loudest during a parody number spoofing the artsy pretentions of Cirque du Soleil. I've never even been to a Cirque de Soleil show, yet I was wiping laughter-tears away anyway. "Absinthe" was also an interesting show in an art-anthropology sense. For one thing, I was fascinated by how small-scale it was. There were no more than 10 performers in the entire show, and a mere 350 people in the audience. The "ring" in which most of the acts were performed didn't measure a dozen feet across. Very cool to be part of such an event. For another thing, I was surprised by how much the tent itself was a major part of the show. Outside was a casual beer-garden-like space. Inside, all was opulent-tacky beauty, full of wood, antique colors, and sexy mirrors, like something painted and lit by Toulouse-Lautrec. You can see the interior of the Spiegeltent here. Although I took my surroundings in and enjoyed them, I'm afraid that I could have done a better job of it. I didn't fully appreciate the tent until I researched the topic of "Spiegeltents" online after seeing the show. Spiegeltents turn out to be extraordinary cultural creations in their own right: showbiz and architecture melded into one spatial-material thingamajig. Hmm: I'll remember to be more aware of this the next time I go to one of these shows. Not for the first time do I feel sorry that my knowledge of circus lore and circus history is as beyond-thin as it is. I have so many questions. I'd especially love to know how the circus-circuit works. Who books 'em? How many weeks a year are they on the road? Do subsidies play a major role in today's circus economics? And I'd love to know how revues like "Absinthe" get cast and developed. Is a conventional director-figure involved? Are the various acts allowed to do entirely what they please so long as they stay... posted by Michael at October 3, 2007 | perma-link | (5) comments

Tuesday, September 25, 2007


Moviegoing: "Eastern Promises"
Michael Blowhard writes: Dear Blowhards -- My first time to a movie theater in months and it's a dud: David Cronenberg's "Eastern Promises." Set in a grimy present-day London, it's a crime melodrama about an earnest blonde midwife (Naomi Watts) who stumbles into an underworld of violent yet mysteriously attractive Russian (and Chechen, and Ukrainian, etc) thugs, played by Viggo Mortensen, Vincent Cassell, Armin Mueller-Stahl, etc. Viggo, Naomi: To trust, or not to trust ... The film's main purpose seems to be to showcase this seedy underworld -- to lift up the boulder of respectability and inspect the squirmy and slimy cosmos that thrives beneath it. To that extent -- as a piece of pop anthropology -- the film has its fascination. These dangerous and ambitious immigrants have their own rituals, their own pleasures, and their own business networks. Musings about globalization and its consequences are definitely being encouraged here. The film's main problem is its turgid and ponderous tone. In the creepy-crawly, trippy-erotic horror films that Cronenberg is best-known for -- "Videodrome," "Crash," "eXistenZ", etc -- the clinical, slow-motion, metaphysical-dread thing that is his specialty can hypnotize and horrify. Something appalling yet alluring always seems to be on the verge of being disclosed. Existence itself seems to be in the process of cracking open; the true horror that lies beyond pop horror will be there for us to inspect. Here, though, Cronenberg's tone just seems clunky, pretentious, and perverse. Although the material being presented (needy girls sold into prostitution, ancient vendettas between mysterious ethnic groups, etc) is certainly dark and scary, the script (by Steve "Dirty Pretty Things" Knight) doesn't have anything like the imagination or resonance it would need to justify the turgidity with which it's presented. The immigrant gangsters are sleekly repulsive / attractive -- Mortensen and Cassel have worked out a bizarre and sinister rapport, that's for sure. And Cronenberg and his art director are pretty effective at conveying the allure of tribal food and "ethnic"-style family rituals. But the film's only real bit of freshness is limited to one scene: a fight-in-a-Turkish-bath scene. The choreography, camera, and editing are effective at conveying the mass and weight of flesh and bone, the pain inflicted by knives and fists, and the unwillingness of bodies to die. The power and vulnerability of all this are heightened immensely by the genuinely brilliant idea of having Mortensen play the scene completely nude. But that's it for "memorable." The film generally is such a ponderous and earnest drag that I sat there getting ever more irreverent. "What is the big, dread-provoking deal anyway?" I kept wondering. (I also kept wondering: "Wow, can you think of a less-enticing way of using the wonderful Naomi Watts?") My guess is that the film's message -- because the film certainly feels like a solemn message-movie -- is intended to be something like "The children will pay for our sins," or maybe "Sexual slavery is a bad thing." Not exactly shocking news on either count. But... posted by Michael at September 25, 2007 | perma-link | (4) comments

Tuesday, September 18, 2007


DVD Journal: "The Comeback"
Michael Blowhard writes: Dear Blowhards -- Inspired by Mike Hill, who wrote the excellent blog Sluggo Needs a Nap until real life demanded his attention, I picked up a copy of HBO's Lisa Kudrow vehicle "The Comeback." Over the weekend The Wife and I opened the package up and dug in. We watched the whole thing too, I'm pleased to report, even though we aren't TV-series fans generally. We didn't make it through out of duty and curiosity, either, as we did with Joss Whedon's "Firefly." We were genuinely held, even though we found it a pretty painful experience, and not entirely in the painful-good way that the show's creators intended. Still, we genuinely loved a lot of things about "The Comeback." For one, we're both big fans of satire, which strikes both of us as one of the ultimate art challenges. (You're aware, aren't you, that Americans are notorious for having a hard time with satire? George S. Kaufman: "Satire is what closes on Saturday night." We're too square to enjoy stylish malice; we're too eager to identify with heroes to want to follow people who are being made fun of. Exceptions allowed for, of course.) And "The Comeback" is nothing if not a stylish high-wire act. But part of what kept us watching was trying to figure out where the show had gone wrong. (It never gained much of an audience, and HBO canceled it after just one season.) That may be a weird reason for finding a show compelling, but there you go. A small aside: This strikes me as an example of one of the kinds of culture-experiences that traditional criticism and reviewing aren't good at dealing with. The pro reviewer has to read or listen to or watch the work under consideration all the way through. We'd throw tomatoes at him if he didn't. Yet a lot of the viewing and reading and listening we do is half-assed, fragmentary, incomplete. Should it be off-limits to compare notes about these experiences? Let alone to treat them with some respect? I can't see why. It strikes me as a legitimate, and certainly a commonplace, part of culture life -- the book we leafed around in at the bookstore, the movie we fast-forwarded through, the music we half-listened to at the gym. Openly acknowledging and discussing this aspect of interacting-with-culture is one of the ways that the blogosophere has enriched the general culture-discussion. For example, Yahmdallah here does a good job of discussing a book he both disliked and felt some enthusiasm for. "Compelling yet boring" -- Yahmdallah's words -- is something certain artworks have struck me as too. Yet how many pro critics have taken such a reaction into account? Anyway. Created by the actress Lisa Kudrow (who stars) and the writer-director Michael Patrick King (well-known for his work on "Sex and the City"), "The Comeback" puts loads of virtuosity, brains, humor, perceptiveness, and talent on display. As well as daring. It's a far more audacious and... posted by Michael at September 18, 2007 | perma-link | (13) comments

Wednesday, September 12, 2007


"Cruising" on DVD
Michael Blowhard writes: Dear Blowhards -- Peter Debruge notices that the dark and brutal William Friedkin / Al Pacino gay-sex thriller "Cruising" -- much maligned when it was first released in 1980 -- is finally being released on DVD. Peter thinks the movie stinks. I reacted differently -- I found it an imperfect film but also a very powerful one. It offers psychology, atmosphere, and suspense, as well as some frank glimpses of the more extreme edges of New York's late-'70s gay underground. (If you want a look at the kind of carrying-on that led to AIDS, you could do worse than watch "Cruising.") And Pacino was fab. Slate's Trenton Straube recounts the story of "Cruising"'s beleaguered production and controversy-addled reception. In its day, "Cruising" was quite the cause celebre. Semi-Related: I wondered what ever became of Extreme Faggotry. Best, Michael... posted by Michael at September 12, 2007 | perma-link | (2) comments

Friday, August 17, 2007


On Sale
Michael Blowhard writes: Dear Blowhards -- Always fun to highlight culture-bargains. * Wes Craven's "Red Eye" is now $5.99 -- I wrote about this clever, well-acted, and exciting thriller here. * "Cellular," an L.A.-set thriller that showcases a lot of ingenuity, professionalism, and bravado, now goes for $7.99. If you liked "Speed," you'll probably enjoy "Cellular." I raved about this resourceful and exuberant picture, which was directed by David Ellis, here. * J.S. Cardone's "8MM 2" -- which, amusingly, has zero to do with the original "8MM" -- is on sale for $5.99. I found "8MM 2" to be an inspired, moody, and sexy B movie; I wrote about it here. * Michael Bay's 2005 bomb "The Island" is nothing if not overblown, hectic, and pretentious -- a philosophical thriller for MTV-addled frat boys. I enjoyed it nonetheless, if in a half-camp way. Nothing wrong with enjoying a movie in a half-camp way, is there? I wrote about "The Island" here. * Will Farrell's NASCAR comedy "Talladega Nights" starts out slow but gets wilder and wilder as it goes along. And what a cast! I wrote about "Talladega Nights" here. * Annette Bening is perfectly amazing in the satisfying backstage period drama "Being Julia," from a novella by Somerset Maugham. My blogposting about the movie is here; I wrote about the masterly Maugham here. * The Berry Gordy-directed Diana Ross showcase "Mahogony" is a classic example of "perfectly awful and terrifically enjoyable." It's soapy / campy, over-the-top -- and non-ironic -- melodramatic bliss of a juicy and absurd kind that they really don't make any longer. * Mariner Software sells a first-class word processor for the Mac called MarinerWrite. Why hand hundreds to Microsoft for Word when you can download MarinerWrite for just $34.95, its current on-sale price? I blogged about some other excellent and cheap writing tools for the Mac here. Best, Michael... posted by Michael at August 17, 2007 | perma-link | (3) comments

Thursday, August 9, 2007


Video Notes
Michael Blowhard writes: Dear Blowhards -- * Shouting Thomas takes his videocam for a walk around Woodstock's beautiful Cooper Lake. * Learn about the not-rare phenomenon of "Lesbian Bed Death" direct from the source. I enjoyed both of these videos and salute their makers. Nice work! They've also got me thinking about a couple of things. It seems to me that the advent of cheap videocams, computer video editing, and the web has rendered about half of the old film avant garde's program obsolete. Among the many things that film avant gardists hoped to do was to use film in as personal and direct a way as a writer uses a quill, er, a keyboard, or as a painter uses a brush. The thinking behind this dream was that the industrial-scale processes -- crews, equipment, financing -- required by narrative feature movies meant that the final results were often impersonal. Wouldn't it be great if such a beautiful and exciting medium could be made to yield works as suffused with personality, mind, and point of view as the traditional arts? In the old days of celluloid, Moviolas, and repertory theaters, there was no way to accomplish this simply. Equipment was cumbersome, fragile, and expensive, and distribution was next-to-impossible. All the more reason to celebrate the artists who did manage to use film in a super-personal way, of course. I've blogged enthusiastically about a few of them: Kenneth Anger and Chris Marker. These days, by contrast ... Hit the "On" button, tweak a bit in iMovie, upload, and voila: Direct personal expression via audiovisual-through-time means. What has come as a surprise is that this work has almost no kinship with traditional movies at all. It's naked of the rest of the film avant garde's program; it's more like email than it is like Cocteau, or even oldtime home movies. "What's become of the poetry?" is a question that can arise. And while I'm often quite the whiner where that kind of thing goes, for some reason in the case of the new amateur-video-makers I'm not even tempted. Instead, I'm thrilled. I find myself fascinated by the new techniques, genres, and conventions that are emerging: teengirl webcam-karaoke-dancing, for instance, or "owned" vids, or the jump cuts some videobloggers use to hop over the dull parts of their rants, or video responses to other videos, or "unboxing" vids, or the titles that vloggers superimpose to comment on what they're already saying. We're witnessing the birth of a whole new audio-visual-through-time language. Not just that: It's all happening unconsciously. There's no art-program, let alone school-program, behind this activity at all. People are finding their way on their own, fumbling, experimenting, doing what they can, and then (often) moving on. Which (if I'm on to anything here) makes this a funny time artwise, because what's being done spontaneously and unconsciously by amateurs is far more interesting than what the pros are doing, even though the amateurs have no aesthetic goals whatsoever. It's like the early... posted by Michael at August 9, 2007 | perma-link | (12) comments

Friday, August 3, 2007


DVD Journal: "Auto Focus"
Michael Blowhard writes: Dear Blowhards -- It seems to me that a key issue that movie critics drastically underdiscuss is what I think of as "the audience sense." Discussions about film tend to launch quickly into matters of themes, judgments, and techniques, and to bypass entirely the question of whether or not the people onscreen and behind the scenes have an audience sense. There's a tendency to think that the people who put on shows are just showing off. And there's certainly something of the exhibitionist to most show people. (A director friend likes to say that actors are attention-craving showoffs -- but ones who, unlike so many in civilian life, "are willing to sing for their supper.") But most of the time the grandstanding is accompanied by something else too. What is it? An audience sense isn't quite the same thing as moviemaking (or acting, or technical) talent. Instead, it's an ability to sense how people are reacting to you and to what you're doing. Instinct and imagination seem to be involved. So does empathy: How else can someone so involved in attracting and commanding attention spare a few watts for how the show is being experienced by others? Are the people with the most acute audience sense -- with the greatest ability to inhabit the moment from the inside while also observing it objectively and opportunistically from the outside -- standup comedians? When a standup act is really rockin', after all, the comedian can seem to be igniting firecrackers that are lying in wait in pockets of your brain and spirit. As gifts go, an audience sense can seem like a cheap, low thing. After all, the artist who is calling on his audience sense isn't at that moment acting in strict accordance with expressive need, intellectual brilliance, or aesthetic theory. He's treating the people he's entertaining as his material, or as his equals, perhaps even as co-participants. Where's the art-purity? It seems plainly clear that Hollywood entertainment greats such as Michael Curtiz, William Wyler, and Anthony Mann had an audience sense. How else could they have provided such a lot of pleasure to such large crowds? At their best, they seemed aware of how your body temperature was changing, and of how fast your heart was beating. Among the crowd more commonly thought of as film artists, the flamboyant ringmaster-magicians like Welles, Fellini, and Altman obviously had their own kind of audience sense. For each of these directors, "putting on a show" itself eventually became a major theme. But what about the more austere and difficult film artists? Just to pick from among the recently deceased: How about the likes of Antonioni and Bergman? Magnificent and often difficult artists, of course. No matter what your reaction or my reaction to their work was, were there many 20th century artists who were more significant, or more widely-influential? One small for-instance: Alexander Payne is a big fan of Antonioni's, and certainly the Antonioni influence can be felt in Payne's... posted by Michael at August 3, 2007 | perma-link | (22) comments

Thursday, July 26, 2007


DVD Journal: "Sansho the Bailiff"
Michael Blowhard writes: Dear Blowhards -- I wrote recently about a new Criterion DVD of several previously hard-to-find Chris Marker movies. Another new Criterion disc is worth paying attention to as well: Kenzo Mizoguchi's 1954 "Sansho the Bailiff." By contrast to the informal, handmade "Sans Soleil," "Sansho" is a lush, full-dress, fictional period tale. Part magical fable and part popular epic, it's enchanted yet harsh, and not in the least cartoony. It's rather like a late Shakespeare play, only coming out of that strange folklore-and-abstraction Japanese tradition. A quick context-setting note: In the old days of Great Movies, Mizoguchi was known as one of the Three Geniuses of the Japanese cinema. Kurosawa was extraversion and action; Ozu was Zen stillness; and Mizoguchi made transcendent women's pictures. That still isn't a bad way to characterize the work of these guys. Though I took instantly to Kurosawa and caught on quickly to Ozu, when I treated myself to a Mizoguchi bender I found many of his movies hard to take. Despite the beauties of his lighting, his actresses, and his tracking shots, Mizoguchi was drawn to sad stories of female degradation that I often found tedious. The masochism and weepiness in many of his pictures can get mighty thick. But, but ... then there's "Ugetsu" and "Sansho," for my money two of the most moving of all films. "Ugetsu" -- also available on Criterion -- is set during some medieval civil wars, and concerns a pair of brothers whose ambitions cause havoc: It's part war epic, part ghost story, and pure magic. "Sansho" tells the tale of a family that has been arbitrarily broken-up. As in "Ugetsu," Mizoguchi gives the medium the kind of complete workout that such other masters as Hitchcock and Welles do, but with his own distinctive delicate / magnificent touch. It has been many years since I've watched "Ugetsu" and "Sansho," so I won't embarrass myself by trying to be too specific in my praise. But I'm going to treat myself to this little one-sentence rhapsody: These two films -- both poetic and operatic -- can park themselves in your brain like dreams you're unable to forget. Hmmm: Pre-digital cinema history itself is starting to feel like a beautiful, hard-to-shake dream, isn't it? What a lovely world it would be if only Criterion would charge a reasonable price for their discs, no? Maybe that's why God created Netflix. Best, Michael... posted by Michael at July 26, 2007 | perma-link | (5) comments

Friday, July 6, 2007


Matte Painting
Donald Pittenger writes: Dear Blowhards -- I'm re-reading this book about matte painting, a form of movie special effects that is almost as old as the industry. Modern matte "painting" is usually done on a computer. But into the 1980s it involved artists mostly using brushes and oil paints on sheets of glass. During the heyday of Hollywood's studio system, major studios maintained matte painting shops -- and never publicized them. Matte painting saved studios large amounts of production money because sets didn't have to be comprehensive (that is, a complete room or building, say, didn't have to be built) and some location shooting could be avoided. The reason why this good thing was hushed up was that the moguls were afraid that the public would feel cheated because what they were seeing wasn't "real." Quite a difference from today where effects are an important reason for going to movies for many people. Here is an example from Earthquake of the work of Albert Whitlock, perhaps the greatest matte painter of all. This is the scene filmed on the studio backlot. Note the trees at the left -- they're not wanted. Nor are the upper parts of the buildings. Here's Whitlock's matte painting. And this is the blended shot seen by audiences. Not all of the matte is seen here. Whitlock was English, as was Peter Ellenshaw, who was just about as good. Here is a Leonard Maltin piece on Ellenshaw that is worth reading. Matte painters normally used large brushes and painted freely -- not what one might expect considering that the painting and the live-action setting need to mesh imperceptibly. The reason it works is because the camera is viewing the painting from a distance -- much like a gallery viewer might observe a painting from across the room -- and the rough-seeming details blend into something that appears realistic. Sometimes matte paintings are not supposed to look realistic. An example is the pastel mattes used to depict the Emerald CIty and countryside in the The Wizard of Oz; here the concept was to give the movie a "storybook" feel. Even with a top-notch matte painter wielding the brush, the artwork can become apparent to audiences if given enough time. For that reason, matte shots are usually kept under five or six seconds duration. Occasionally, the matte art simply isn't right and its fakery is instantly obvious. Let me cite two examples from historically-important films -- not low-budget jobs. More than a year ago I wrote here about Chesley Bonestell, best known today for his paintings of other planets and spaceships. He also was a matte artist. One of his better-known mattes was the moon panorama from Destination Moon (1950). Bonestell did a good deal of the matte work for Orson Welles' Citizen Kane. I saw Citizen Kane only once, about 40 years ago. But I remember that some of the matte work was painfully obvious. In particular, I'm thinking of outdoor scenes looking up at New York... posted by Donald at July 6, 2007 | perma-link | (7) comments

Monday, June 25, 2007


My Stacks
Michael Blowhard writes: Dear Blowhards -- Over at Querencia, Steve, Matt, and Reid have all posted photos of their book-heaps, those end-tables-full of books that you're in the middle of reading, or that you're maybe on the verge of cracking open, or that you're about to get back to. Amazing how many books a single person can consider "in process" at a given moment, isn't it? Inspired by da boyz, I let myself get a little carried away: Lights, camera, video! After hours of frenzied wrestling with iMovie, I came away with a hot 'n' seething document about the movies and audiobooks that I'm in the middle of, or at least plan to get around to soon. Check out the editing on this sucka. Marty Scorsese and Thelma Schoonmaker, watch your backs. During the final credits you'll notice a tip of the hat to The Wife. Therein lies a small tale. Proud of my initial storyboad for the project, I showed it to her. She looked at it and gave a laugh, if a fond and Wifely one. Where was the arc?, she wanted to know. What was being built-to? And where was the all-important final whammy? Wounded, I responded by pointing out the many Kieslowskian complexities I'd woven through my masterpiece. This only made her laugh louder, and say that it was OK with her if I really wanted to make the only movie in all movie history that would put audiences to sleep despite being a mere 90 seconds long. I writhed, I went on a bender, I gave an anonymous interview to the New York Times about dissension on the set. Producers, eh? Always interfering. And so crass. What about the art? But, y'know, I finally had to admit that she had a point. The audience deserves its chance at pleasure too. I mean, for whose sake are we showpeople putting out all this effort? You! You! The great entertainment-hungry public! So I took The Wife's suggestions, being careful to figure out ways of doing so without compromising my essential vision. I learned a lesson from the experience: Clashes can be creative things, so long as they're resolved in creative ways that move the process along in creative directions. Best, Michael... posted by Michael at June 25, 2007 | perma-link | (13) comments

Wednesday, June 20, 2007


DVD Journal: "Open Range"
Michael Blowhard writes: Dear Blowhards -- "Open Range." Kevin Costner's Western is about what happens when a group of "free-rangers" -- cattlemen with no fixed abode, who graze their small herd of cattle on open land -- are assaulted by frontier-closing empire-builders. The film is over-long, slow-moving, mournful, obsessed by mortality, and underbudgeted -- you've never seen a cattle-raising movie with so few cattle. Nonetheless, I enjoyed the movie quite a lot. It delivers solid moral dilemmas of a perennial, man's-gotta-be-a-man sort; mucho powerful acting (of a restrained, minimal sort); and a lot of blue-green landscapes, magnificent horses, and guns, of a sculpturally beautiful yet deadly sort. With her careworn beauty, her erotic daring, and her forthright emotionality, Annette Bening gives the film a strong and poignant sense of something at stake. And Costner himself is awfully good, in a dignified / introverted way, as a Civil War vet who has had to turn himself, with many regrets, into a killing machine. And then there's Robert Duvall. As a shrewd old geezer who's tougher than he looks, Duvall is beyond-good; he's perfectly magnificent. Duvall is so reliably superb that it seems to me we may be in danger of taking him too much for granted -- "Oh, there he is, he's always amazing." He has got to be one of the least showy major actors ever. But, though he may play his cards close to the vest, he does so very resourcefully -- and they're some high-ranking, soulful cards. His ability to bring an idea to gritty, full-bodied life is awe-inspiring. His character here isn't some lovable old cartoon coot content so long as he remembers to take his fiber powder. Instead, he's a canny son of a bitch, full of gristle, and with a lot of ornery living and enticing plans left in him. Duvall gets my nomination for Greatest Living American Actor. A couple of notes: The film's climactic showdown struck me as awfully well-done, and brilliantly sustained. It isn't anything like what we're used to these hyperkinetic days; it isn't full of slow motion, tricky "Matrix"-like camerawork, or Joel Silver pyrotechnics. Instead, it's formal and distanced, almost stately (all of which makes it all the more terrifying). The guns pop, the bullets ricochet god knows where, the townspeople want to watch but need to hide ... Costner and his cast really make you feel how heavy and slow those beautiful old guns were. They also drive home the fact that the guys handling them aren't all in the best shape imaginable. These aren't athletes and stuntmen. They're aging businessguys and tired workers hauling around big guts and heavy limbs while fighting uncomfortable clothing. I may not be the hugest fan of Costner-the-actor, but I confess that there are a couple of things Costner is drawn to that I admire, applaud, and root for. First: He wants to revive and depict heroism. This was true even in semi-comic, romantic turns like "Bull Durham." Though he doesn't do dashing,... posted by Michael at June 20, 2007 | perma-link | (12) comments

Tuesday, June 19, 2007


Dog-Training Video Linkage
Michael Blowhard writes: Dear Blowhards -- I blogged recently about a dog-training reality-TV show that I love, "It's Me or the Dog," starring the glamorous and expressive Victoria Stilwell. It's a wittily entertaining half-hour series that provides nifty clips of dogs learning how to behave as well as suggestive, touching, and hilarious footage of the lives and souls of dog owners. TV's real dog-training hit, though, is Cesar Millan's "The Dog Whisperer," which runs on the National Geographic Channel. The two shows -- and the two stars -- make for quite a contrast. Where Victoria is theatrical and quicksilvery, Cesar is blunt and direct. Where Victoria's likely to make a toy-breed intervention, Cesar generally grapples with the hard cases, physically powerful and aggressive dogs that have taken over households. Cesar is a bit of a street dog himself -- an impressively charismatic, tough, and insightful figure who masters difficult situations and dangerous animals amazingly quickly. If Victoria is like a slightly camp diva, Cesar reminds The Wife and me of a great, perhaps somewhat authoritarian, acting teacher. If his show is a little too souped-up for my tastes, and if it isn't quite as alert to household and personal dynamics as Victoria's is, it's full of its own kind of pugilistic drama. He does great dog impersonations too. Cesar Millan turns out to be quite the controversial figure in the dog-training world. Are his methods sensible or cruel? Is he giving people the skills they need to live with their dogs peacefully and rewardingly? Or are his methods not only not-transferable, but even dangerous? But perhaps those who carp about him are just jealous ... On this issue, I'm goin' with Terrierman -- a blogger I discovered thanks to the dog-lovin' boys at Querencia. Terrierman writes, "If a dog is going to learn anything it needs a calm, assertive and not-too-verbal person who consistently does the same thing over and over again. In fact, this is exactly what Cesar Millan offers and when he teaches -- along with a good dose of 'Your dog is not your child,' and 'this is a choke chain -- learn how to use it'." What possesses so many people to acquire high-energy, difficult, and belligerant dogs anyway? You can watch some clips from "The Dog Whisperer" here. * Train your whippet to slalom. * Cowtown Pattie sent along an irresistable snap of her dog -- and you better spell that d-a-w-g -- Rusty: Best, Michael... posted by Michael at June 19, 2007 | perma-link | (3) comments

Thursday, June 14, 2007


DVD Journal: Chris Marker
Michael Blowhard writes: Dear Blowhards -- I see that Criterion is about to release a disc containing two of my favorite movies: Chris Marker's 1962 "La Jetee," and his 1982 "Sans Soleil." I adore both of these films, which also happen to be two of the most distinctive movies in all of film history. "La Jetee" -- the only fiction film Marker ever made -- is a 20 minute-long, no-budget, time-traveling, Moebius-strip narrative told almost entirely via still photos and voice-over. "La Jetee" was the inspiration for Terry Gilliam's not-bad feature-length "12 Monkeys," which co-starred Madeleine Stowe at her most gorgeous. "Sans Soleil" is a feature-length .... well, what descriptive label to give it? "Documentary" sort of fits, as does "travelogue." But neither word really does the film justice. It's part diary, part blog-before-the-fact, part essay, part poem, part sci-fi fantasy. It's mainly personal musings that ricochet off of many, many subjects: our move into an electronic media universe; the connections between dreams, memories, and movies; Tokyo as a 21st century city; the many forms that our fantasies of utopia take; the enduring fascination of "Vertigo"; revolution in Africa; our relationship to the animal world ... In one sense it's nothing but a big bag of loopy free associations. In action, though, Marker makes it all make a kind of swirling poetic sense. A little note here, as well as fair warning: Chris Marker's work is nothing if not complicated, as well as modernist / post-modernist -- "Sans Soleil" in particular is as four-dimensional and dense with allusions and connections as "Ulysses." His work also comes out of a froggy-lefty intellectual matrix. But I urge even the most froggy-averse and modernist-averse to give the disc a try. Despite the complications, watching a Marker movie is anything but heavy going; he's also the rare lefty of his generation who woke up out of the dream, er, delusion, er, whatever. His tone is mainly light and poetic: amazement, melancholy, playfulness, surprise, lyricism, and heartbreak abound. And he moves fast. His films offer all the complexity and lyricism of Jean-luc Godard's movies, minus the snottiness and the pissiness. (I blogged about a Godard movie here, and provided some Godard linkage here.) It's interesting that, while an infinite number of brain-splitting volumes have been penned about Godard, the intellectuals and academics have never made much of Marker. I'm not entirely sure why. I suspect that it may be because his work isn't primarily intellectual, let alone scolding or strict. Though he's mainly a diarist and an essayist, Marker works via intuition and imagination: His movies make me think of a cross between the philosopher Montaigne and the surrealist poet Charles Simic. But who knows: Perhaps the intellectuals don't make much of him simply because he has moved on from his early leftism. Marker, who is now well into his '80s, is a cat-like, elusive creature himself -- one of the more unclassifiable figures from film history. Although he's often associated with the New Wave... posted by Michael at June 14, 2007 | perma-link | (17) comments

Wednesday, June 13, 2007


Dogwatching
Michael Blowhard writes: Dear Blowhards -- My current favorite TV show: a British import that's broadcast on Animal Planet called "It's Me or the Dog." (Actually, my real-real favorite TV show is the History Channel's great "Modern Marvels." I've spent more hours watching "Modern Marvels" than any other TV show ever. These are clear, straightforward documentaries about down-to-earth subjects like bridges, pumps, and water, done mostly from an engineering point of view. I don't bother with the numerous military-hardware shows myself; my own favorite episodes have concerned topics like tea, concrete, coffee, bricks, ice, nuts, and bathroom technology. How the people behind the show keep the quality as high as they do while being as productive as they are I can't begin to imagine. In any case, since "Modern Marvels" rates as my all-time favorite TV show, I've unofficially made it hors de concours.) "It's Me or the Dog" is dog-training reality-TV -- is this a popular genre generally? This being a British show, it's crisp, fast, and amusing in a way that makes much American TV look overproduced, pushy, and bathetic by comparison. Another dog mastered Each 30-minute episode features a family having trouble controlling the family dog or dogs. To the rescue comes dog-trainer Victoria Stilwell. Victoria spends a couple of days with the family, first diagnosing problems, then helping the family members grasp the basics of living-sensibly-and-rewardingly-with-dogs. Often, she returns a few weeks later to see how everyone's faring. I enjoy the show for any number of reasons. First is the spectacle of how flat-out clueless some folks are about living with dogs. You'd think that people signing up for 15 years with an animal would first learn a thing or two about what might be involved. You'd also think that they'd take care with their dogs if not out of respect for themselves then out of consideration for neighbors and friends. But noooooo. Dogs are cute, people want love, so self-restraint flies out the window. And in no time at all, the mess, the noise, the relationships, and in some cases even the neighborhood are outta control. The glimpses of family life that the show affords often transfix. The sociological details are fascinating: the carpets, the fashions, the accents, the kitchens ... The glimpses of psychology and family dynamics can fascinate as well. It's amazing how self-centered and crazy some otherwise-presentable people can be, isn't it? A common case seems to be the mum whose kids are growing older yet who wants still to be the sun around which all love revolves. And if this love entails slobber and wagging tails, well, so much the better. In one episode, a woman living with her family in a small suburban house had acquired six dogs -- she was clearly using the dogs to immerse herself in love and fuss. Given how badly behaved the dogs were -- the household was a hurricane of barking, fur, and agitation -- she might also have been using them as a... posted by Michael at June 13, 2007 | perma-link | (24) comments

Tuesday, June 5, 2007


DVD Journal: "Murder by Numbers"
Michael Blowhard writes: Dear Blowhards -- I had a good time trying to figure out why "Murder by Numbers," a well-turned psychological thriller from 2002, didn't work. It occurs to me as I type that that's a strange way to enjoy a movie -- to have a good time trying to figure out why a movie wasn't working. But, given the genre, it also makes sense. Brief aside: For suspense buffs, a big part of the appeal of thrillers, mysteries, and suspense stories is that they have an intellectual, game-playing side, but they're also completely dependent on audience response. It's a nice chemistry, I find: The mind is engaged, but it mustn't be dominant. The intellect is under an obligation to submit to the gut's responses -- and that's a dialogue that can keep you interested even when the outcome is unfortunate. In this case, my mind was quite happy. The performers (Sandra Bullock, Ben Chaplin, Michael Pitt, Ryan Gosling) were excellent -- attractive, full of personality, into their characters, etc. Barbet Schroeder's direction, if not very energized or stylized, was intelligent, sophisticated, and well-paced. Tony Gayton's script -- which takes the Leopold-and-Loeb crime, sets it in a contemporary coastal California town, and pumps up the class-conflict angle -- hits its marks, and introduces a fair number of interesting wrinkles and twists. (I see on IMDB that Henry Bean did some uncredited work on the script too.) Sandra and Ryan: Is it guilt? Or lust? The film's strategy is to divulge whodunnit at the outset, and to let the suspense concern the revelations of character as the investigation proceeds. That's a characteristic psychological-suspense move; I wrote about the psych-suspense genre here. What this means is that you don't spend the movie trying to guess a factual solution; you spend it instead wondering about what's going on in the characters' heads and souls, and about how and whether these drives and needs will find expression. Yet, despite all the good work, my gut was unhappy; the effect of the film was to leave my reptile brain wondering, "What's this offering that I can't find cheaper on TV?" Some element of intoxication, bliss, or even sleaze wasn't there; if you can imagine a "Vertigo" that lacks any compulsiveness, or dreamlike allure, you'd about have it. But what was this missing element, exactly? I'm sorry to confess that I'm unable to do any better than to say things like, "Gosh, some spark or other was missing," and "I guess this is a case of 'well-done but lacking an indefinable something'." There's a more-general question I was left with too, which is: Why does Hollywood seem to have lost the knack for creating satisfying adult thrillers? There was an era not so long ago when the business came up with juicy suspense pictures on a regular basis: "Unlawful Entry" (which I blogged about here, and which is buyable for $6.98), "Basic Instinct" (which I blogged about here), "Single White Female" (directed by Barbet Schroeder),... posted by Michael at June 5, 2007 | perma-link | (15) comments

Wednesday, May 30, 2007


DVD Journal: "Miami Vice"
Michael Blowhard writes: Dear Blowhards -- Miami Vice. A slickly-done Michael Mann fiasco. His digital experiments -- Mann shot the film in high-definition video -- are much more pervasive than they were in "Collateral" (which I wrote about back here). The Caribbean is black; cars and flesh both have a silvery sheen; shoot-outs and facedowns are done in a strange half-film / half-video style that evokes both "Cops" and "Saving Private Ryan." But Mann seems to have spent all of his energy on production design and digital tomfoolery. The film's narrative is beyond-murky; the dialogue is thrown-away or muttered, and is deliberately swamped in background noise; and Jamie Foxx and Colin Farrell appear -- though we're asked to take them as loyal buddies -- never to have bothered making each other's acquaintance. Visually and aurally the film is a twinkly miracle. But it makes no impact whatsoever on the emotions. Best, Michael... posted by Michael at May 30, 2007 | perma-link | (4) comments

Meat, Movies and Mortality
Donald Pittenger writes: Dear Blowhards -- This morning Terry Teachout does a riff starting with Seventh-Day Adventist meat substitutes and winding up dealing with death. In the midst of all this he brushes past the film industry. Following a John Simon quote, he tosses off the following generalization. Simon got it on the nose: in Hollywood, ordinary middle-class life is a state to be escaped, not examined. The only thing missing from his pithy indictment was the reason why. Today, the answer is plain to see: even more so than in 1974, American movies, like Trix, are for kids. The business of Hollywood is business, and since teenagers go to the movies far more often than their parents, they are the audience for whom those movies are made. Grownups stay home and watch workplace sitcoms; teenagers go to the mall and watch films in which none of the characters is married or has a real job. That is the world they know, and they expect to see it on the screen. Michael is the movie maven hereabouts, so I won't offer my two cents other than to say that most of the previews I see when I'm in a theater (which is seldom) seem to fit what Terry's talking about. Later, Donald... posted by Donald at May 30, 2007 | perma-link | (12) comments

Tuesday, May 29, 2007


DVD Journal: "The Aviator"
Michael Blowhard writes: Dear Blowhards -- "The Aviator." I watched this Martin Scorsese biopic about the engineer, aviator, and tycoon Howard Hughes thinking "Good lord, but Scorsese seems like a spent volcano, doesn't he?" But I also didn't mind sticking with the film all the way through. Final verdict: dull but watchable. The film's main inspiration is to use the trappings of Hollywood period spectacle -- crowds, cars, costumes, etc -- in the service of what's meant to be an intense character study. Its main shortcoming is that the character study isn't very compelling. The film's primary drawback is that it has a narrative angle that imposes repetitiveness. The picture -- which stars Leonardo DiCaprio as Hughes -- confines itself to a relatively brief stretch of Hughes' life: from his early years in Hollywood making "Hell's Angels" to his triumph / failure with his giant wooden airplane, the Spruce Goose. (There's nothing of Hughes' later years as a legendary recluse surrounded by tissue paper and Mormons.) During the 20ish-year stretch that the film covers, Hughes achieves great things. He's also first touched by, then eaten-away at by obsessive-compulsive behavior. The film's dramatic idea is that, as Hughes' mental illness grew worse, he channeled more and more of his creativity and his brains into managing an ever-shrinking personal world. As valid or not-valid as this idea is in psychological terms, it means that the film has nowhere to go that you can't see coming. One after another, gorgeous new planes are wheeled out of hangars; one after another, Hughes' obsessive-compulsive behavior problems grow more dire. That cycle -- a new engineering triumph that's contrasted with a new pitch of madness -- repeats itself over and over until, you know, things finally get really bad. And that's all the 2 hour and 50 minute long film has to offer in the way of dramatic development. I'm sympathetic to the need filmmakers have to shape something narratively coherent out of the infinite bundle of facts that is a biography. But I wonder if in this case the filmmakers (the movie seems to have been mainly DiCaprio's project, with screenwriter John Logan and Scorsese coming on board along the line) didn't over-restrict their possibilities. They opt, for instance, to forgo spending much time on Hughes' romantic life, although he put a considerable amount of his energies into playing Hollywood Lothario. (Some of his conquests, according to Wikipedia: Billie Dove, Katharine Hepburn, Bette Davis, Gene Tierney, Ava Gardner, and Olivia DeHavilland.) More time spent on his luvvv adventures would have provided contrast, shadings, and relief from the cycle of plane / madness / plane / madness that bogs the film down. Even so, the film might have worked in some monomaniacal way had it achieved more intensity. It got me remembering Truffaut's brilliant "The Story of Adele H.", which told a similar, fact-based story of relentless drive and deterioration. (The Wife was reminded more of Rossellini's "The Rise to Power of Louis XIV," which doesn't... posted by Michael at May 29, 2007 | perma-link | (16) comments

Monday, May 28, 2007


DVD Journal: "Talladega Nights"
Michael Blowhard writes: Dear Blowhards -- Talladega Nights. For the first 20 minutes of this NASCAR-themed comedy hit I was in agony. The filmmaking was so flimsy, cheap, and hectic that watching it was like being trapped in a big-box store on kiddie-special day. But then the improv-style comedy grew wilder, the ideas revealed barbs and fangs, and -- what the heck -- I gave over and had myself a good time. This was my first Will Ferrell movie, so I could be completely wrong in my view of him. But he struck me as midway between Adam Sandler and Jim Carrey, goofily wholesome as well as unstoppably bullish -- he's likable, but he's a little frightening too. The inspired weisenheimers who make up the rest of the film's cast include John C. Reilly as Ferrell's worhipful / resentful best buddy and second banana; Gary Cole as Ferrell's never-to- be-tamed rapscallion dad; Leslie Bibb as a redneck honey whose eyes and chest always find their way to where the money is; and the weird Sacha Baron-Cohen as a gay Frenchman who conquers NASCAR -- he amuses himself behind the wheel reading Camus' "L'Etranger" as he suavely whips the uncouth Americans at their own game. Best, Michael... posted by Michael at May 28, 2007 | perma-link | (4) comments

DVD Journal: "Shaun of the Dead"
Michael Blowhard writes: Dear Blowhards -- Shaun of the Dead. This British take on the George Romero horror-zombie movies surprises by being a satisfyingly intense horror picture in its own right, as well as the expected well-turned spoof of the genre. The film's exuberant masterminds (and co-writers) are director Edgar Wright and star Simon Pegg. Pegg and his fellow performers (including Kate Ashfield, Nick Frost, Lucy David, and Dylan Moran) deliver eccentricities, polish, energy, and droll humor galore. "Shaun of the Dead" is currently on sale at Amazon for $6.99. Best, Michael... posted by Michael at May 28, 2007 | perma-link | (4) comments

DVD Journal: "Wordplay"
Michael Blowhard writes: Dear Blowhards -- In honor of an especially DVDish stretch around the Blowhard household, I'm treating myself to a DVD roundup. First up: Wordplay. Filmmakingwise, Patrick Creadon's documentary about crossword-puzzle fanatics is a competent exercise from the school of PBS. (Those damn solo-piano scores ...) But it's a very enjoyable -- moving, engrossing, and suspenseful -- look at a special kind of nerdiness anyway. The film's central figure is Will Shortz, the New York Times' crossword-puzzle editor, and the storyline builds towards a get-together / competition that Shortz hosts at a Marriott Hotel in Stamford, CT. Along the way, we meet celebs (Bill Clinton, Ken Burns) whose days aren't complete until they finish the Times' puzzle, as well as high-end competitors who are able to whip through the toughest crosswords Shortz can dish out in under ten minutes. What I found especially fascinating was the intensity of the relationship that puzzle buffs have with their puzzles. These people possess brains that are wired in very special ways, and Creadon does a good job of conveying the concentration and energy that obsessive puzzle masters bring to bear on their puzzling. (The film makes nothing of the fact, but it's clear that most of the freakishly gifted puzzlers are male.) It's interesting too what a wide range of personality and physical types are represented among the buffs -- as with child molestors, you apparently never know who's going to turn out to be a crossword-puzzle whiz. My least favorite celeb appearance was by Jon Stewart, whose evening comedy-news show I've never watched. What a disagreeable and overbearing beast he seems to be. Do people really find this guy funny? Best, Michael... posted by Michael at May 28, 2007 | perma-link | (4) comments

Monday, May 21, 2007


Why Read?
Michael Blowhard writes: Dear Blowhards -- There I was not so long ago, flying Business class on American. (Thank you, Frequent Flyer miles.) Cruising altitude had been attained. I was leaning back, about to settle into the book I'd brought along, when a steward-person held out one of these to me: It took me a few seconds to make sense of what was was being proposed. My steward-person was wheeling a cart laden with a number of these devices, each one zipped into its own little gizmo-bag. The machines had hard drives loaded with movies, TV shows, and music. In other words: We ritzy biz-class types were being offered the chance to use a snazzy media device for the duration of our flight. Looking around warily -- surely there was a catch -- I accepted the gizmo and plugged it in. The device proved friendly enough; dimwitted me was able to find my bearings quickly. Wariness now allayed, I set my book aside and started surfing programs, music, and movies. I found watching a movie on the device to be a surprisingly satisfying experience. I'm film snob enough that I never, ever watch a movie on an airplane. I find the watery, dim, poorly-aimed video image that front-of-the-cabin airplane screens offer an affront. On this little gizmo, though ... Well, its six-ish inch screen was bright and clear, and the sound was luscious. There was no hope of being ravished by the kind of dreamy hugeness and engulfing hyperreality that actual movies offer, of course. Still, the film's moods came across, the framing was razor-sharp, and the performances were more-than-adequately conveyed. And the suit-yourself intimacy of the device was its own major plus. I loved being able to surf, start, stop, pause, and rewind as I saw fit. No passengers walked between me and the gizmo's screen. The gizmo was as convenient to use and as eager to please as the book that I'd stowed away and forgotten about. One final factor made the device seem plausible: It felt semi-important to me that the gizmo wasn't a mere DVD player, but that it instead contained a library of various media offerings. There was no need to exit the device's thought-space in order to fumble around with something physical, like a disc. Being able to select from among a bunch of already-in-there media options made me want to get to know the device a lot better. As you might be able to tell from my lousy photos, the device is about the same size as a modest hardcover book. Even so, handling it isn't quite the unself-conscious thing that handling a book is. The device is considerably heavier than a book, for one thing. For another, despite its ironclad chunkiness it still feels breakable. Maybe that's partly a function of having a screen; maybe it's also partly a function of me knowing that there's a spinning hard drive inside. (You can feel the battery heat up and the hard drive whirr... posted by Michael at May 21, 2007 | perma-link | (7) comments

Wednesday, May 16, 2007


Guerilla Filmmaking 5 -- Reading List
Michael Blowhard writes: Dear Blowhards -- Since co-writing and co-producing an ambitious, independent movie short, I've treated myself to a few spates of musing about the experience. Previous installments here, here, here, and here. This time around: essential reading. Let me start by saying that I've tried many times to come up with an interesting or at least clever way to present this small reading list, and have failed completely. No attitude, no thesis, no argument, no cute concept, not even any bitching about modernism this time around. Still, it'd be a shame not to pass the info along, so I'm doing it anyway. Forgive the lack of dazzle here. Anyhoo ... The two books that the young filmmakers who worked as crew on our movie recommended as the books to read about microbudget moviemaking are Robert Rodriguez's "Rebel Without a Crew," and Lloyd Kaufman's "Make Your Own Damn Movie!" "Those are the Bibles," our filmgeeks said. Now that I've been through both books I see what they mean. Though different in many ways, both books convey both a sense of what making a low-budget movie is like, as well as a lot of "been there done that" information and tips. Rodriguez's book is a scrapbook / diary about making his first feature movie, "El Mariachi." It's a great yarn in its own right. Rodriguez made the film with a few buds, some borrowed video-editing equipment, and a lot of unpaid help for a grand total of $7000. Its intended destination was rental shelves in Mexican grocery stores, and its intended purpose was to give Rodriguez some practice so he could bring some skill and experience to a projected "real" first feature film. Instead, "El Mariachi" miraculously ended up on the desk of someone at a Hollywood agency and became a sensation -- the object of bidding wars, a phenomenon at Sundance, and written-up in laudatory terms in magazines and newspapers. Rodriguez has since gone on to a prolific career. What's sweet about the book is that Rodriguez doesn't stop at telling the tale. He really wants you to understand that if he could do it -- if he was able to make a feature-length movie for seven grand -- so can you. He genuinely seems to want filmmaking to be a more accessible, democratic artform than it generally is. So the book is full of tips and hints, as well as slaps at film schools (Rodriguez himself never got a film degree). And the stories and anecdotes are almost all shaped as demonstrations of how to wind up with decent-enough footage while spending minimal dough. Our crewguys were right: It's a fun and helpful little book. (Though I confess that I admire Rodriguez as much for getting a book deal out of his experience as for the book itself. That's a man who knows how to maximize his opportunities!) That said, I'll differ from my young filmbuds in one respect: I'd suggest skipping the book and renting the DVD... posted by Michael at May 16, 2007 | perma-link | (3) comments

Monday, May 14, 2007


Maugham Moment
Michael Blowhard writes: Dear Blowhards -- Without intending to, I've stumbled into a Somerset Maugham phase over the last few months. I read Maugham's novella "Up at the Villa," I saw the movie that was based on it, and just yesterday I watched the film of Maugham's novel "The Painted Veil." Two out of three ain't bad. The dud of the bunch was the movie of "Up at the Villa." Its dudness came as a surprise partly because the novella was so darned good. Maugham's insight and command are extraordinary in the book, which is set in pre-WWII Italy and which concerns a young English widow in need of both a husband and some love. Although Maugham tells the story with nary a wasted motion, and using a calm and controlled surface, he generates tons of charged emotional drama. The other reason the dudness of the movie came as a surprise was that its makers Philip Haas and his wife Belinda Haas had made a very stylish splash with the 1995 "Angels and Insects." I didn't enjoy "Angels and Insects" much -- I don't care for conceptual / intellectual entertainments generally. But it certainly wasn't short on snazz or brio. "Up at the Villa," by contrast, has zero style and brio. It's conventional and unremarkable, a movie for the least adventurous of the arthouse / foreign-movie crowd. The Haas's open up the novella's story with some unncessary plot complications and with a lot of emphasis given over to the era's looming fascism. Were they imagining that they were saying something, or perhaps making some kind of statement? Or were they run roughshod-over by producers or moneypeople? In any case, the film (which features one of Sean Penn's more flagrantly bad performances, and that's saying a lot) doesn't come off at all, The only real reason to see it is for Kristin Scott Thomas, who's miraculous: womanly, daring, elegant, impassioned. That woman can veer back and forth between poised and desperate like no one else. Besides the novella, I also loved the film "The Painted Veil." Produced by and starring Edward Norton and Naomi Watts, and written by Ron Nyswaner, it's brilliant. Or perhaps I should just say that I found it involving, moving, and surprisingly intense. It's a romantic melodrama, centered on a spoiled upper-class brat (Watts) who lets herself be won and married by a middle-class doctor who's working in China. Once there, her egocentricity starts to find itself challenged in all kinds of unexpected ways. Let me list some of what's remarkable about the film: Its sense of scale. Though it's a period costume drama and was filmed in China, and though it certainly has its share of sets, landscapes, hairdos, and even a few crowd scenes, it's one of the least "sweeping" romantic costume movies ever. (It was directed by John Curran, who previously directed Watts in a movie I didn't care for, "We Don't Live Here Any More.") It's focused almost entirely on the psychologies and... posted by Michael at May 14, 2007 | perma-link | (19) comments

Thursday, May 3, 2007


DVD Journal: Renoir on the Cheap
Michael Blowhard writes: Dear Blowhards -- Some good news for movie nuts: a 3-disc collection of some of Jean Renoir's rarer movies has just been published, and the price is very right -- $19.95. Extras are slim, but reviewers report that the prints are first-class. The less-good news: These are movies best reserved for the already-convinced. I've seen most of the movies in this set, and I do love "The Little Match Girl," a beautiful semi-experimental treatment of the Anderson story. But the other films aren't so successful. As a major Renoir nut, I wouldn't have missed them for the world. (My fellow Renoir nuts will know what I mean.) But they're hard to recommend to anyone who isn't already pretty far gone. Those who haven't caught the Renoir bug yet would probably do best to start with "Rules of the Game" and "Grand Illusion," his most celebrated movies, before exploring the more uneven stretches of his work. But it's all to be savored, IMHO: A deep immersion in the work of Jean Renoir can be one of the most rewarding of all art experiences. It certainly has been for me. He's also a crucial figure in film history. You wouldn't know it from the movies that are yakked about and produced these days, but Renoir has been one of the most influential of filmmakers. The French New Wave guyz saw themselves as Renoir's spiritual children; Orson Welles called him "the greatest of all directors"; Altman, Coppola, Satyajit Ray, and Bertolucci revered and learned from his work. The most democratic and least domineering of major film artists, Renoir represents an approach to moviemaking as something tentative, humane, free, and open. You don't get to call yourself a bigtime filmbuff, let alone a cineaste, without spending a lot of time on Jean Renoir. Sorry, you just don't. Early Renoir If anyone has sampled Renoir and has come away puzzled by his reputation, I'd be happy to take a swing at explaining what many people find so special, even lovable, about him. First hint: Newbies are often dismayed by what seems like a lot of awkwardness in Renoir's movies. How about considering the possibility, just for a minute, that these awkwardnesses might really be something more along the lines of "direct encounters with our essential humanity"? Those moments you're wincing at and looking away from? What if they aren't embarrassments? What if instead they're some of the high points of 20th century art? Also enthusiastically recommended: "Boudu Saved From Drowning," "The River," and "The Golden Coach." Why aren't "Toni" and "The Crime of M. Lange" available on DVD yet? Those are topflight Renoirs too. Here's a 1960 interview (audio included!) with Renoir. His appreciativeness, gusto, and enthusiasm -- as well as his childlike, soulful, big-bearish playfulness -- are all on full display. Best, Michael... posted by Michael at May 3, 2007 | perma-link | (6) comments

Wednesday, May 2, 2007


Mormons on PBS
Michael Blowhard writes: Dear Blowhards -- I got an early look at PBS's current two-part American Experience documentary about the Mormons and found it very worthwhile. It certainly has plenty of the PBS-docu tics that I mocked back here: over-solemnity, slowness, humorlessness, draggy music. But it redeems the form by being surprisingly multidimensional, nuanced, and open. If Mormonism sometimes looks as bizarre as Scientology, it has also done a lot of people a lot of good. If Mormonism can seem as square as the Chamber of Commerce, it has also had to survive as much persecution as any radical group. If Mormonism looks as sci-fi and made-up as "Star Trek," well, how did other major religions look when they were only a little over a century old? It's a great story, thoroughly researched and quite decently told. Check your local public TV station for a schedule, or watch the entire thing online here. Related: I raved about Patrick Allitt's Teaching Company series "American Religious History" here. Currently on sale, Allitt's series is full of all kinds of great, crazy stories. Best, Michael... posted by Michael at May 2, 2007 | perma-link | (28) comments

Friday, April 27, 2007


Women in Hollywood. Or Maybe Having Left Hollywood ...
Michael Blowhard writes: Dear Blowhards -- Sharon Waxman is often a valuable and informed showbiz reporter. But her current piece for the New York Times -- "Hollywood's Shortage of Female Power" -- earns a 2Blowhards Award for Most Content-Free Piece of Showbiz Reporting of 2007. The urgent news that Waxman and the Times are peddling? (The piece is a looooong one, and is featured on the front page of the Arts Section.) As far as I can tell, it's that a bunch of rich and powerful gal execs have either failed, quit, or left the business. A whinefest ensues. We're supposed to care about "how some women in Hollywood are feeling these days." It turns out they're feeling "nervous." Say it ain't so! Waxman's determination to file a lengthy, important-seeming story despite having nothing to report is really awe-inspiring. Has the non-crisis she's non-describing been caused by sexism? Nope, not even according to the gals Waxman interviewed. Has it affected the films that are being made? Nope: "Hollywood has not stopped making films appealing to women." So what's the problem, exactly? Waxman generates some real jaw-droppers as she dodges her lack of anything better to say. My personal favorite: "Studio executives, both men and women, have shown themselves to be pragmatists above all, choosing movies that they believe will make the most money for their corporate parents." Hmmm ... Hollywood executives are paid to do their best to make money for their bosses, have I got that right? I don't know about you, but I'm feeling most enlightened. "Still," writes Waxman hopefully, "some long-time Hollywood producers feel that something has shifted." That may be a little vague, Sharon ... Still, why not assume the best? Why not assume that there's something to whatever it was that Waxman meant? Can we expect a little substantiation? It turns out that romantic comedies aren't being made as often as they once were. The explanation, though, has nothing to do with sex or gender. It has to do with the fact that romantic comedies are hard to sell overseas -- and that studios have grown wary of shelling out the $20 million that stars like Julia and Meg apparently demand. I've seldom watched a newspaper item self-destruct in such a variety of self-inflicted ways. Wobbling around in desperation -- having conked herself on the head while tripping over her own feet several times too often -- Waxman attempts to regain her focus: "While the shift in the hierarchy may just be the normal turning of Hollywood's fickle wheel of fortune, it is still worrisome to women here who are eager for role models and a mentoring system to compete with the well-established boys' club." As far as I can tell, Waxman's story boils down to this: Some ambitious Hollywood gal wannabes are "feeling nervous." Now that's certainly a matter of intense concern to all of us, isn't it? I'd love to have been present as Waxman pitched this story to her editor. "Tell me... posted by Michael at April 27, 2007 | perma-link | (10) comments

Thursday, April 26, 2007


Bob and Gwen
Michael Blowhard writes: Dear Blowhards -- Another YouTube treat: Gwen Verdon and Bob Fosse doing an informal presentation of Richard Adler and Jerry Ross' "Whatever Lola Wants," from "Damn Yankees": I love the combo of salaciousness and innocence, of delicacy and obviousness. It's all so vulgar, so vaudeville -- so icy-hot, so sleazy-lovable, and so sweetly insolent. I love Verdon's confidence and mischief. And I love the fact that an artist as erotically-driven as Bob Fosse took a goofy girl like Gwen Verdon as his muse. Talent was what turned him on. Well, one of the things that turned him on. A friend of mine who adores doing Fosse-style dance tells me that the thing that surprised her when she started to do Fosse was how held-in his movements are. "The impact is big," she says. "But the hip thrusts, the pelvic wagging, and the shoulder rolls are actually physically very tiny. You clear out a lot of space around them. And the fun is in building up such a big charge beneath them that these little movements knock the viewer over." As far as I'm concerned, Bob Fosse was a genius. Does American art get any better than than the "Steam Heat" number from "Pajama Game"? Did Toulouse-Lautrec ever do anything as mockingly deadpan and juicy -- as exhausted yet provocative -- as "Big Spender" from "Sweet Charity"? The immortal song was written by Cy Coleman and Dorothy Fields. Not all that long ago, Fosse -- who died at 60 in 1987 -- was a huge figure, famous for stage and screen productions, as well as for winning eight Tony awards. These days ... Well, do young people even know his name at all? They might enjoy exploring his work. Much contemporary pop culture comes out of Fosse -- the choreography in music videos, for example, as well as the way music and dance are typically edited. The stop-and-start fireworks in "Big Spender"? The writhing ecstasy that slams into sudden languors? Movies had never moved like that before Bob Fosse came along. Some more glimpses of Fosse's work are here, here, and (oo-la-la -- corny but hot) here. Here's the Bob Fosse website. Wikipedia's entry on Fosse is first-class. The Fosse film to start with is "Cabaret." Here's Wikipedia on Gwen Verdon. Best, Michael... posted by Michael at April 26, 2007 | perma-link | (8) comments

Wednesday, April 25, 2007


DVD Journal: "Amelie"
Michael Blowhard writes: Dear Blowhards -- I finally caught up with Jean-Pierre Jeunet's 2001 "Amelie." It's a French movie for people who prefer movie trailers to actual movies: an ad for itself, basically -- an overblown, synthetic collection of generic Froggyfilm high points, generic Froggyfilm Big Moments, and generic Froggyfilm swoopiness. In America -- where movies and their ad campaigns have been merging for years now -- we're semi-used to this. What's odd about watching "Amelie" is seeing this approach applied to the themes and tropes of traditional French entertainment -- quirky heroines, cigarettes, Montmartre, love, charm, food, accordion music. All that duly grumped-about, I also found "Amelie" surprisingly enjoyable. It's, y'know, a very effective and cheery 122-minute-long trailer-for-itself. Its overbright, pushed-up-against-the-screen approach may derive from rock videos and TV ads -- but (I found myself musing) perhaps that's the contemporary form of the musical comedy. And the film's tone of bittersweet, romantic rue isn't all that different than the tone of early Rene Clair. "Amelie" in fact is like an MTV remix of a Rene Clair movie. The film is also, as a production, a pretty stupendous piece of work. Good lord, the intricacy and scale of it! Entire Parisian blocks, entire train stations, and hordes of chic and picturesque extras were commandeered into service, and drilled into snapping-to with Rockettes-like precision. On the disc's commentary the full-of-himself, worldly, and amused Jeunet confides that he's a "control freak." I'll say he is. Which brings me to another thing. Like many of these new concept-over-content extravaganzas ("Run, Lola, Run," the Charlie Kaufman movies, "Moulin Rouge"), "Amelie" left me feeling buzzed but exhausted. There's something in me that can't help responding to what I imagine the circumstances of a film's production were like. In the case of "Amelie": All that energy ... All that stressful effort ... All that cleverness ... (I'm not a big fan of cleverness, myself.) How can the people involved in these movies get out of bed in the morning, facing the mountains of tricksily demanding work that they have assigned themselves? Every day must be the busiest, most head-achey day of their lives. I'd love to see easygoingness make a return as a value that movies peddle, and (even better) that audiences demand. Best, Michael... posted by Michael at April 25, 2007 | perma-link | (10) comments

Thursday, April 19, 2007


For Altman Buffs
Michael Blowhard writes: Dear Blowhards -- Although the film director Robert Altman died a short while ago, Altman fans have a few new (or new-old, or newish) Altman treats in store anyway. * Altman's 1974 "Thieves Like Us" (from a first-class novel by Edward Anderson) has just become available on DVD. One of the least well-known of Altman's movies from his great '70s period, "Thieves" is small-scale, atmospheric, and gorgeous. (It's also one of my all-time favorite movies.) Although a Depression-era-set gangster movie, in feeling, tone and approach it has more in common with such patient, unwinding-naturally-through-time neorealist works as Jean Renoir's "Toni" and Satyajit Ray's "Pather Panchali" than it does with anything pile-driving and hard-hitting like "Little Caesar" or "Scarface." I once took a young friend to see "Thieves Like Us" at a New York revival in the 1980s; he was amazed that such a quiet, rich, and unhurried movie had ever been made in America. Carradine and Duvall inhabit the rural South The film has always been hard to find. Despite good reviews, it received a very small-scale initial release, and by the 1980s it had been all but forgotten. Over the years a few editions of the movie came and went, barely-noticed, on videocassette. But this is the first time that it has been issued on DVD. (I think it is, anyway. Please correct me if I'm wrong.) Though I'm sorry to see that the disc seems to have no extras, the price on it is very good. "Thieves Like Us" is a wonderful and very sensual movie, featuring an inspired (as well as an appropriately raw-boned and eccentric) cast of Altman finds and regulars: Shelley Duvall, Keith Carradine, Louise Fletcher, Bert Remsen, and John Schuck. Gould emerges from the Pacific in "The Long Goodbye" * On the occasion of a revival of Altman's 1973 "The Long Goodbye" at New York's Film Forum, the Village Voice's J. Hoberman recalls the early '70s years when Elliott Gould was king. (Altman's movie was a series of essayistic riffs on Raymond Chandler's luscious late-period detective novel, starring Gould as a very unlikely Philip Marlowe.) Although Hoberman spoke with Gould (who is now almost 70) for his piece, what he wrote is more nostalgic film criticism than a feature article. Still, it's also a vivid flash back to a very different movie era. I confess that I was such an unworldly rube at the time that I barely registered that Gould was/is Jewish. Hoberman makes Gould's Jewishness the backbone of his article, though, even referring to the era (during which Woody Allen, Barbra Streisand, and Mel Brooks also emerged) as Hollywood's "Jew Wave." Interesting to read too that working with Ingmar Bergman on "The Touch" nearly drove Gould crazy. Literally crazy: He didn't work for 18 months after filming "The Touch," and when his name was floated for "The Long Goodbye" the studio demanded proof from docs that Gould was sane before they let him be hired. Those who can't make... posted by Michael at April 19, 2007 | perma-link | (17) comments

Tuesday, April 17, 2007


What Kind of Helicopter?
Michael Blowhard writes: Dear Blowhards -- A few irresistable YouTube links courtesy of Charlton Griffin: * Here's a very endearing blooper. Nice to know that the MSNBC gal-reporter was enjoying a pleasant on-the-job daydream ... * Young men will perfect the most amazing -- and amazingly useless -- skills, won't they? Best, Michael... posted by Michael at April 17, 2007 | perma-link | (1) comments

Movie Linkage
Michael Blowhard writes: Dear Blowhards -- A couple of lifts from the excellent Anne Thompson: * Here's an interesting Variety article about how the craft of movie acting is being affected by the changeover to digital technology. Short version: Some people believe we're witnessing the biggest shift in movie acting since the deveopment of The Method in the 1940s and '50s. I wrote a blogposting about The Method back here. * We all know what an absurd enterprise feature-film-making often is. Still, it can be startling to encounter hard facts. This L.A. Times piece by Glenn Bunting about the making of 2005's "Sahara" -- one of the biggest commercial disasters ever (it has lost around $100 million) -- made even my jaded old eyebrows raise a bit. $2 million for a plane-crash scene that wasn't included in the finished movie. An $8 million paycheck to Michael McConaughey. A cast-and-crew totaling 1000 people. A screenwriter-roster of ten people -- fun to see that David S. ("The Sting") Ward was among them. A bribery budget -- Morocco, you know -- of almost a quarter of a million dollars. The article's best detail is saved for last: "The production firm owned by Denver billionaire Philip Anschutz got $20.4 million in government incentives to film and edit parts of 'Sahara' in Europe." Talk about government subsidies to the arts! * I kinda enjoyed Mel Gibson's 1997 film "Payback." Adapted from the same Donald Westlake novel that inspired 1969's legendary John Boorman / Lee Marvin "Point Blank," it was no-nonsense action absurdism with a gritty look, a lot of twisty velocity, and a cast of juicy actors playing brutal, far-out, sexy, and hard-bitten characters. DVD Spin Doctor brings news that "Payback" was in fact a tampered-with film. The studio took it away from its director (Brian Helgeland), subjected it to reshoots, and gave it a different third act than what Gibson and Helgeland had intended. DVD Spin Doctor also reports that a Mel-and-Brian-approved Director's Cut of the film has just been released on DVD. I'll be renting it. * I raved about Donald Westlake (and many others) back here. To be honest, I think Westlake isn't just one of the best book-fiction writers alive, I think he's a genius. Newsweek's Malcolm Jones reports that Irish lit-fict eminence John Banville considers Westlake one of the "great writers of the 20th century." Best, Michael... posted by Michael at April 17, 2007 | perma-link | (4) comments

Monday, April 16, 2007


Moleskine Videos
Michael Blowhard writes: Dear Blowhards -- Showing off what you've done in your Moleskine sketchbook seems to have become a YouTube genre of its own. This guy has some serious drawing chops. I love this guy's illustration-style images. I wish I could draw like this guy, or paint like this gal. MattiasA is quite a talent. Here's his blog; it's a sketchbook in its own right, and it's full of whimsy and sophistication. His visit to a fondue restaurant gave me a good case of the giggles. Buy your own Moleskine notebooks here. Best, Michael... posted by Michael at April 16, 2007 | perma-link | (0) comments

The Hunting and Gathering Instinct, New-Media Edition
Michael Blowhard writes: Dear Blowhards -- I'm a little bleary today from too much time spent surfing YouTube last night. Sigh: The male instinct to track down and drag home game is a powerful force that drives us to do a lot of dumb things. Still, I made a few finds! * Leaping shampoo! * Gay dolphins! * Kinky kitty! * The subtext of car-dealership TV ads finally rises to the surface! (NSFW for language.) Best, Michael... posted by Michael at April 16, 2007 | perma-link | (1) comments

Friday, April 13, 2007


Moviegoing: "Black Book"
Michael Blowhard writes: Dear Blowhards -- A fast posting to take note of the fact that I enjoyed watching Paul Verhoeven's WWII thriller "Black Book," which is currently in theaters. The film centers on a Dutch-Jewish woman in the closing days of WWII, and is basically a thriller for adults. It has plenty of scares, surprises, twists, and chills, as well as a big cast of good guyz and bad guyz. But it has a surprising amount of depth, moral ambiguity, and complexity too. The film is an interesting challenge to digest. My impression is that we're used to adult thrillers being low-key -- detailed, thoughtful, and novelistic. I wrote here about "Enigma," an excellent WWII thriller scripted by Tom Stoppard and directed by Michael Apted; it's very much in the quiet, literary mode. "Black Book" surprises because there's nothing bookish about it. Instead, it's done in Verhoeven's usual intense, melodramatic, movie-movie way. This description may make the film sound less appetizing than it is, but Verhoeven -- a Dutchman who had worked in Hollywood for 20 years (often in action or sci-fi) before returning to the Netherlands to make "Black Book" -- seems to have wanted with this film to blend "Schindler's List" with a Garbo espionage thriller. It's like a Hollywood version of a large-scale foreign film, in other words. Some people might wince -- and apparently some critics have, finding the film over-the-top, artificial, even laughable. FWIW, I thought the approach worked great, and the audience I saw the film with certainly wasn't cringing or protesting either. But I'm someone who doesn't find melodrama and movie-movie-ishness automatically crass or degrading. "Black Book" is a very impressive production in terms of scale, costumes, design, and effects -- who knew that the Netherlands had the resources and the skill to pull this kind of Great Big Thing off? Mucho fabulous acting, especially from Carice van Houten, the foxy Dutch actress in the lead, who is phenomenal. She makes her character chipper, gallant, brave, bold, and earthy, but with a tremendous current of need and sadness underneath. (I used to date a lot of Jewish gals who fit that description.) One hyper-minor cavil: Many of the film's props -- the trucks, clothes, and magazines -- look old. I know that there's a movie convention that films set in the past should be full of things that look old. It seems to help set a mood. But, y'know, back in March 1944 a March 1944 magazine didn't look yellowy and wrinkly; it looked bright, snappy, and new. I remember an interview with Robert Zemeckis about his movie "Back to the Future" where he said something similar. He said that one of the things he wanted to do in that film was to make sure that everything in the '50s scenes looked gleaming -- because on that day in the past, those things were gleaming and new. But that's really of no importance. "Black Book" gets my enthusiastic thumbs-up. It'll make a... posted by Michael at April 13, 2007 | perma-link | (6) comments

Wednesday, April 11, 2007


Shooting in Public
Michael Blowhard writes: Dear Blowhards -- Ever since getting a digital camera I've wondered what my legal rights with it are. Can I shoot anywhere in public? Who can legitimately -- let alone legally -- protest my picture-taking? Is, say, snapping away on the sidewalk one thing while taking pix in a store is another? Come to think of it: Is a store a public or a private locale? An example: Once when I tried to shoot some photos in a Whole Foods branch some staffers told me to put the Kodak away. Were they within their rights? Or was I within mine? This article from USA Today helps explain some of the ins and outs. Only some of them, though, darn it. Has anyone else run across a better, more authoritative source? Best, Michael UPDATE: Steve Kapsinow has a dust-up with the crew of "The Apprentice," and links to an informative article (PDF alert) by attorney Bert P. Krages II. Know your snapshootin' rights!... posted by Michael at April 11, 2007 | perma-link | (4) comments

Friday, April 6, 2007


Landscape, Movies & Modernism
Friedrich von Blowhard writes: Dear Blowhards: Does it ever strike you as odd that movies focus so little on landscape? I know, some films engage landscape extensively, but by and large it seems kind of used as little more than a backdrop, or as symbolism. I wonder if that is at least partially because conventional movie language prefers to fragment space (to say nothing of time). Think how rare it is in a movie that the action takes place in any truly coherent space. By coherent space I mean, a situation in which it actually matters in what precise spatial relation people are to one another, or to things. Of the basic w-type questions, movies are big on who, what, why and how; not so much on when or where. I wonder if that's one reason I like Buster Keaton movies. Slapstick comedy definitely requires spatial coherence, and he takes this to a very high level in many of his films. His movies are among the few in which spatial coherence really counts for something. Of course, that may also explain something profound about modernism in art generally, for as we know, movies are the modernist art form par excellence. To wit, modernism claims to be rational (truth of materials, form follows function, no shenanigans about ornament) and yet modern art forces you to interact with it in a fragmented, chopped up way, forcing you to make it all add up in your head. Modern architecture notoriously photographs better than it feels in person, a very "cubistic" quality if you think about it; whereas walking through classical buildings makes sense in person, and requires very little conceptual fancy-dancing. Hmmmm. Any thoughts on this? Cheers, Friedrich... posted by Friedrich at April 6, 2007 | perma-link | (20) comments

DVD Journal: "5x2"
Michael Blowhard writes: Dear Blowhards -- Because I was such a fan of Francois Ozon's "Swimming Pool" and "Water Drops on Burning Rocks," I'd been looking forward to catching up with his recent "5x2," an episodic marriage drama that starts with a couple's divorce and then moves backwards in time. Verdict: it's a nicely-done exercise, no more. It has been discussed as being half Bergman's "Scenes from a Marriage" and half Pinter's "Betrayal," and that's about right: It's an analysis of one relationship's stages of romance, tension, arousal, misery, betrayal, and failure. What makes it distinctive is its determination to thwart interpretation and frustrate your desire for answers. The thing you anticipate with this kind of backwards narrative is learning how and why everything went wrong. (Mysteries often work this way too: They move forward by uncovering the past.) So why did the marriage come apart? And how did the relationship become impossible? How can you not want to find out the answers to these questions? But here, there's no way to tell what they are. You expect that the episodes being presented will reveal hints: they don't. You anticipate that the arrangement of the episodes will convey a larger truth: it doesn't. At first I watched the film wondering if I was just being dumb. Then the penny dropped and my dim brain awoke to the fact that "5x2" is one of those so-fis-ti-kated movies that isn't going to present a key to its mystery, let alone build to a revelation or (heaven forbid) a climax. So I shifted into appreciator-of-modernist-art mode -- hey, I can do that! -- and ... well, I still found the film unsatisfying. Though I often adore art that leaves a lot to the imagination, leaving everything open to intepretation was a little much even for me. The events the film portrays don't just seem barely-linked, but tenaciously (if hyper-subtly) arbitrary. It's all very tantalizing, and then it isn't any longer. If you were in an uncharitable mood, you could say that "5x2" is a gay man's -- Ozon's -- doomy view of straight marriage as a hopeless mess. Women and men will never understand each other; their drives are at such odds that it's miraculous they ever cross paths. Why does the husband seem so withholding? Why is the wife such a weeper? And what, in any case, did they see in each other in the first place? I was OK with the fact that the story and characters didn't come to anything, really I was. But I was less pleased by the fact that the nothing the film came to was as un-resonant as it was. All that said, I sat through "5x2" in a fairly pleasant state and even found the film piquant. That's because of the commitment of the actors (Valeria Bruni-Tedeschi and Stephane Freiss), and because of the stylishness of Ozon's work. He makes the film a miracle of concision, design, wit, and paradox. It may be nothing more... posted by Michael at April 6, 2007 | perma-link | (10) comments

Wednesday, March 28, 2007


"STBD" is Back
Michael Blowhard writes: Dear Blowhards -- I'm happy to see that -- after a wee break -- the affable and excellent comic soap opera webseries "Something to be Desired" is once again posting new episodes. (The latest one is here, but why not enjoy all of Season 4?) This Pittsburgh-made microbudget production is an irreverent marvel, full of likable wits, fizzy cut-ups, and outsized personalities. It also has an easygoing and winning personality of its own, half slick (in a good way) and half homegrown (also in a good way). Unlike many TV sitcoms, it's easy to grow fond of; it doesn't out-hip itself, and it doesn't take your reactions for granted, let alone try to boss them around. It goes its own merry way. I celebrated "Something to be Desired" back here. Best, Michael... posted by Michael at March 28, 2007 | perma-link | (2) comments

DVD Journal: The Extras on "The Dreamers"
Michael Blowhard writes: Dear Blowhards -- I spent a few hours the other night exploring the extras on the DVD of Bernardo Bertolucci's "The Dreamers" and had a very good time. They aren't extensive, and there's no pressing reason to go out of your way to indulge in them. But I was beguiled anyway. The DVD's making-of featurette provided many glimpses of the moviemaking process -- as always, my main reaction was "What a lot of work!" -- as well as some documentary reminders of '68 in Paris. The featurette is also a chance to meet the movie's screenwriter, the English novelist/critic Gilbert Adair; the film's classy producer Jeremy Thomas, who has worked with Rafelson, Roeg, and Cronenberg as well as Bertolucci; and to catch up with Bernardo Bertolucci, a one-time enfant terrible (he made "Last Tango" when he was only 31) who these days is looking quite pampered, regal, and rueful. Adair is the standout on the disc's commentary track. He's an articulate wonder, and he's also the rare writer who got a chance to provide source material for a movie, to write its screenplay, and to stay with the film throughout filming. He's appreciative and shrewd, as well as eager to share what he learned from the process. Unlike many writers, he seems to have no trouble with the idea that a movie might belong to its director. "I always have the novel," he says. Jeremy Thomas is nothing if not a producer, constantly recalling how hard it was to line up money, assemble extras, and obtain locations and permits. Bertolucci himself is sly, vain, pretentious -- someone who's clearly always the star of his own movie. He's somehow rather likable anyway. He's a courtly mischiefmaker; he retains much of his old sensuality and perversity, but he seems to have learned how to see through much of the era's political fog. He seems mainly to have been concerned with giving his movie a certain kind of fairy-tale reality, as well as a mythical and psychological dimension. For Bertolucci these days, the mythical and the psychological seem to be merging. It's a very pleasing disc. Even the DVD's menu is a druggy-sexy beauty. I tried to find out who designed it. Remember how, 10-12 years ago, movie titles became very stylish? Think "Se7en," for example. More or less overnight, it became a common experience to find a movie's titles far more intriguing and creative than the movie they adorned. Well, that was a wonderful era in recent design; there were a lot of hot young designers around who for some reason were using movie titles to make their mark. I have a hunch that DVD menu-design might well be a similarly happenin' field these days. But despite my best Googling I was unable to find out who made the menu for "The Dreamers." Drat. I yakked with Turbokitty about "The Dreamers" here. Short version of my own reaction: The film is lightweight, but it's also hypnotic, dreamy, and sexy.... posted by Michael at March 28, 2007 | perma-link | (9) comments

My Heart Belongs to ...
Michael Blowhard writes: Dear Blowhards -- Pussy Galore -- or rather Honor Blackman, who played the immortally-named character in the 1964 Bond film "Goldfinger" -- may be 79 years old these days, but she's as up-to-date as ever, and she still carries herself with an inspiring stylishness and confidence. She's a dynamo too. Blackman recently appeared in her own one-woman show, she conferred some glamor on a reality-TV series and, at the moment, she's about to step into a London production of "Cabaret." About Sean Connery she tells Stuart Jeffries: "Everybody thinks he was playing himself, but Bond isn't exactly an Edinburgh milkman. He's a fine figure of a man, sexy beyond belief." Best, Michael... posted by Michael at March 28, 2007 | perma-link | (4) comments

Tuesday, March 27, 2007


Guerilla Filmmaking 4
Michael Blowhard writes: Dear Blowhards -- Ever since The Wife and I co-wrote and co-produced a microbudget movie -- it's a short one, but it's a very ambitious one -- I've been treating myself to occasional reflections about the experience. (Previous installments here, here, and here.) Today, a way in which the activity has affected how I, gasp, see myself. * I'm a producer. When I first met photographers who spoke not about "taking a snapshot" but instead about "making a photograph," I found them affected and pretentious. But I quickly learned better. Because of course there's usually a lot more involved in creating professional or artistic photographs than just feeling inspired and pressing the release button: finding a subject, developing a career, choosing the film, keeping your interest alive, playing with lights, working out ways for your images to be seen ... A serious photographer isn't merely someone who has a knack for snapping nifty pix, he / she's also someone who leads a dedicated creative life. Come to think of it, and not that anyone asked, but ... I'd suggest to author wannabes that they stop thinking in terms of "writing books" and start thinking more in terms of "making books." It's a common delusion among wannabes that they can, by sheer force of writin' talent and effort, will books into existence. (And that the publishing industry -- and, beyond it, the world at large -- will just have to take note.) Nononono. There's much else that's involved. A few unavoidable stages in the book-making process: coming up with an idea, researching it, conceptualizing your project, pitching it, sharpening your angle or hook, finding a place for yourself in the publishing world, design questions, publicizing your story, maintaining a relationship with your audience, etc. It seems to me that if you think of "making a book" you'll set the writin' part of the activity in perspective. Writin' is an important stage in book-creation, god knows. (Though editing and designing have been gaining in importance in recent years.) But it isn't the only one. Thinking in terms of "making books" might serve as a regular and healthy reminder that bringing a book to fruition involves many different activities. Anyway. Although it's been a looooong time since I've had stars in my eyes about the culture-game, the experience The Wife and I had co-producing our movie brought the above lesson home with extra-special vividness. It turns out -- surprise surprise -- that the "filming" part of creating a film is just one of many stages you need to go through if what you want to wind up with is a finished movie. Knowing this in advance is one thing; it's another thing to live through the process. And we aren't done with our movie yet. Post-production and seducing the public into taking note still lie before us. I think the reason the lesson hit home hard in this case is that making a movie is such a get-your-hands-dirty process. It's... posted by Michael at March 27, 2007 | perma-link | (3) comments

They're Watching Me
Michael Blowhard writes: Dear Blowhards -- I didn't know there was a security cam pointed at me, honest to god I didn't! Best, Michael UPDATE: Bryan outdoes me with a link to the not-to-be-forgotten Pickle Girl. I guess the easy joke would be: It reminds me of my wedding night ... Meanwhile, the Manualist gets funky.... posted by Michael at March 27, 2007 | perma-link | (2) comments

Monday, March 26, 2007


Poster Brilliance
Michael Blowhard writes: Dear Blowhards -- The genius of Polish movie posters! Visitors to 2Blowhards compared notes about favorite movie posters back here. Best, Michael... posted by Michael at March 26, 2007 | perma-link | (1) comments

Sunday, March 25, 2007


Lily Vs. David
Michael Blowhard writes: Dear Blowhards -- Actors: You can push 'em only so far ... Directors: You can push them only so far too ... Best, Michael... posted by Michael at March 25, 2007 | perma-link | (5) comments

Wednesday, March 21, 2007


Movie Linkage
Michael Blowhard writes: Dear Blowhards -- * Shelia Whitaker writes a lovely obituary of the British cinematographer and director Freddie Francis, best-known perhaps for his work with David Lynch and Karel Reisz. * Three examples of hardworking Bollywood bliss, courtesy of David Chute, who has the Bollywood bug bad. * Speaking of Orson Welles, as we were, much of his radio work with the Mercury Theatre is now online. * The legendarily combative and grandstanding screenwriter Joe ("Basic Instinct") Eszterhas is now living the quiet life outside Cleveland. Best, Michael... posted by Michael at March 21, 2007 | perma-link | (2) comments

Moviegoing: "300"
Michael Blowhard writes: Dear Blowhards -- What does it matter if the cyberspectacle "300" makes my thumb point up or down? When you don't have any feeling or sympathy for the kind of thing that an artwork represents, it's usually best to shut up and try to learn from those who do. Yet "300," which has been a big and surprise success, clearly speaks to a lot of people. Who'd have guessed that a film about the Spartans' stand against the Persians at Thermopylae would conquer the contempo American box-office? And while popularity probably shouldn't be allowed to dictate much of anything beyond the results of popularity contests, "what works with the popular audience" is an interesting topic in its own right, as well as one that's an important element in the larger question of how culture evolves and develops. Besides, seeing a movie means that it's time for moviechat. It just does, dammit. Moviegoing (or moviewatching) without moviechat is like dinner without dessert. It's uncivilized. And I'll be gosh-darned if I'm going to miss out on dessert. So here are a few contributions to the yakfest ... * Michael Blowhard, the detached and educated observer, sez: While "300" certainly represents what big-budget studio-style movies are turning into, it doesn't have a lot to do with what movies have been. I found it helpful to think of the film less as a film than as a gigantic electronic-media-creation. That freed me to experience the film for what it really is -- far less traditional than "Alexander" or "Troy," a mashup combining "Gladiator"-style spectacle, videogames ("Halo" and "Age of Empires"), and the techniques of whooshy high-end car ads. It's a whole new / old language of in-theater, over-time entertainment. The soundtrack -- in a state of near-constant shuddering, Dolbyized ecstasy -- is like one long fanfare. Kaaaa-runch! Thwickthwickthwick ... Saaaaa-wooosh! Rumblerumblerumble ... The visuals are glisteningly hyperreal and completely fabricated, hallucinogenic in their overblown intensity as well as their morphiness. (The film was shot against green screens in studios, with the backgrounds later painted-in in computers.) Facial skin looks like the expensive leather you see advertised in luxury magazines. The mayhem takes place all over the screen, from top to bottom. Flames shower through the air and twinkle as they die. Clouds of arrows darken the sun. The big visual production numbers feature a lot of those shots (accompanied by deafening Thwacks! Zips! and Whooshes!) where the camera speeds up then suddenly slows down then speeds up again ... Does this technique have a name? Help me out here. I first took note of it in "The Matrix," and it's become a standard feature of TV advertisements ever since. I'd love to be able to refer to it by name. Anyway, the constant factor in these big-studio new-media creations is relentless stimulation by cyber-means. Something's always swirling or backlighting or twisting or roaring or de-saturating. In "300," even the quiet passages feel throbby and heavily processed. The rhetoric-dial, in other words,... posted by Michael at March 21, 2007 | perma-link | (54) comments

Genius of the People
Michael Blowhard writes: Dear Blowhards -- Isn't it great that the people no longer have to put up with what the big media conglomerates think they should be watching? Thanks to advances in technology, the people now have the tools to make for themselves the movies that they really want to see. Don't miss the sequel. Best, Michael... posted by Michael at March 21, 2007 | perma-link | (2) comments

Tuesday, March 20, 2007


Schwartz on Welles
Michael Blowhards writes: Dear Blowhards -- I'm not entirely sure what the "line" (ie., the argument) of Sanford Schwartz's NYRB piece about Orson Welles is. I'm also sorry to see that he has his reservations about Simon Callow's biography of Welles. (Though I've only read volume one of this projected three-volume work, I found it the most convincing of the books about Welles that I've been through.) And, to be honest, I'm not the world's biggest fan of "Citizen Kane," which Schwartz considers the greatest of Welles' movies. Count me as a "Magnificent Ambersons," "Touch of Evil" and "Chimes at Midnight" kind of guy. Still, some of the passages in Schwartz's piece are plain wonderful. For example: In their roller-coaster speed and the way one dynamic, startling image follows the next, in their highly individual sense of how a story is told on film, and in their feeling for shadows and mirrors, odd angles and voices that come at you in a rush or are oddly disembodied, his pictures are trickier, more artificial and abstract, even, than those of most other directors. Yet Welles's movies, with their sense of one man calibrating the effect of every split second of screen time, are unusually object-like, too. He makes it seem as if fashioning a film is as physical and sensuous an experience as playing with a piece of clay. And if that ain't what it's like to watch a Welles film, I'll rip up my former-film-buff credentials. Which reminds me: So far as criticism goes, I'm more than happy to settle for breathtakingly good descriptions. What critics say in the most direct sense often strikes me as complete nonsense -- or, to be a little more fair, as threads in a conversation that I find unappealing. I tend to be far more interested in down-to-earth observations about what's-going-on-here and far less interested in debating whether a work is good or bad than most critics seem to be. But the good critics -- by which I mean, of course, the ones I enjoy -- deliver many goodies anyway. Schwartz, who generally writes as a visual-arts guy, is freakly gifted. Though he seldom seems interested in discussing the external world and though he's far more willing to accept the art world's self-evaluations than I usually am, his evocations and explorations of what it's like to experience art are unmatchable. At his worst he tends to the solipsistic; he overfondles his own responses. But usually he's awfully good. And unlike the pro critics, who are obliged to deal with the market as it comes at them, Schwartz wanders about under his own motor. He isn't contending heroically with what the culture spews out; he's following his own responses and interests. And, in doing so, he makes his own contributions; he turns up unfamiliar artists, he comes at topics from fresh and very personal directions. He's a considerable literary artist in his own right. I've loved this collection of Schwartz essays and reviews, and this... posted by Michael at March 20, 2007 | perma-link | (2) comments

Saturday, March 17, 2007


Anne Thompson Blogs Again
Michael Blowhard writes: Dear Blowhards -- When Anne Thompson, my favorite filmbiz reporter, recently left the Hollywood Reporter, I was afraid I'd lost one of my favorite bloggers too. At her Risky Business blog, Anne had been fizzy, informative, and freewheeling; she'd also been generous with gossip, opinions, and speculation. Visiting her was like spending dinner with an old friend who's smart, intuitive, and knowledgeable, as well as (even better) likably, rowdily indiscreet. So I'm super-glad to notice that Anne has re-surfaced. She's now reporting and writing for Variety; here's hoping a nice big pay-hike plays a role in that arrangement. She muses about the success of "300" here; she suspects that the film may prove to be "a shapeshifter movie for the new millennium." (Haven't seen it yet myself, but certainly won't miss it.) She has a new blog too, and she has hit the blog-ground running. The excellent Gregg Killday is now doing most of the writing at the Hollywood Reporter's Risky Business blog. Me, I'm breathing a big sigh of filmbuffy happiness and relief, and have re-set my links. Best, Michael... posted by Michael at March 17, 2007 | perma-link | (0) comments

Thursday, March 15, 2007


Steven on Leni
Michael Blowhard writes: Dear Blowhards -- For film and art buffs, the Nazi filmmaker Leni Riefenstahl, who died in 2003 at the age of 101, is a scab that it's hard to stop picking at. How to sum her up? If you care about beauty, it's impossible to deny her filmmaking ambition, talent, and achievements. If you care about cultural history, there's no getting around her importance and her influence. (Present-day sports and political iconography both owe a lot to her work.) Yet, if you care about humanity, how can you not be horrified by someone who made gloriously beautiful Nazi propaganda films? What kind of responsibility should she be made to bear? How harsh and relentless does our condemnation of her need to be? She was anything but a thinker; she didn't create Nazi ideology. She didn't run death camps either; she made films. She was one of the Third Reich's decorators and salesmen, in other words, not one of its trigger-pullers or financiers. Dreadful as her actions were, how hard do we owe it to ourselves to come down on such figures? And, among all the people who did aesthetic work for the Nazis, what's special about her? After all, if we're to spend many decades and many heavythink volumes exploring and condemning Leni, don't we owe it to ourselves to make similar efforts to denounce Hitler's favorite graphic designer, whoever that was? Where's that person's biography? Why isn't he/she debated-over repeatedly in the NYRB? As far as I've been able to tell, Riefenstahl was a talented, sexy, and narcissistic opportunist. She certainly appears to have been completely unprincipled -- something that, in my experience, makes her anything but unique among artists. But if it's true that her only real devotion was to herself, then it would follow that her attachment to Naziism was opportunistic, and not deeply-held. Could this have been the case? I wonder. Had she come of age in a different environment, perhaps she'd have made Communist films, or Catholic films, or Hollywood action-adventure films; perhaps she'd have done whatever it took to get to the top of those worlds too. So: Was Leni Riefenstahl really evil? Or was she an ambitious, self-regarding, talented idiot who happened to do her striving in the world the Nazis made? Perhaps the inner Leni Riefenstahl was no more (or less) evil than Madonna. But perhaps not. There's something unavoidably peculiar about the way Riefenstahl's love of dynamism, animal spirits, and physical beauty jibed with Nazi creeds. And cozying up to Hitler ... Not appetizing, to say the least. All the above statements seem to me to be true, and (in my view, anyway) none of them cancels the others out. Is there any one easy statement that can be made about such a person? I mean, besides "Fascinating! Horrifying!" Although I'm glad to see that the subtle and intelligent Steven Bach has just published a biography of Riefenstahl, Richard Schickel's review of the book makes me feel a... posted by Michael at March 15, 2007 | perma-link | (50) comments

Wednesday, March 14, 2007


The DVD Release
Michael Blowhard writes: Dear Blowhards -- DVD versions of movies are being released ever-more-quickly and movie-theater owners are worried, reports the LA Times' Claudia Eller. A fun set of figures from her good piece: "Box-office sales make up about 30% of a studio's worldwide revenue pie, with DVD sales accounting for 45% and TV 25%." Link thanks to DVD Spin Doctor, who adds a key additional point to the discussion: Exhibitors would rather beef about their shortened period of exclusivity with new movies than address the real reasons adults are fleeing theaters: soaring ticket prices, obnoxious ads, cell phones, dirty theaters, ripoff concessions -- and the existence of a clear alternative, the home-theater experience. Badgering the studios is a lot cheaper than cleaning up their own mess. Best, Michael... posted by Michael at March 14, 2007 | perma-link | (9) comments

Tuesday, March 13, 2007


Kiddies' Serials - Late 1940s
Donald Pittenger writes: Dear Blowhards -- Serials have been around a long time, but the genre strikes me as fading. Charles Dickens and Arthur Conan Dolye in the 19th century were serialized in magazines. Today there are still some daytime television soap operas. Those were for adults. But what about serials whose audience is young children? I'm admittedly out of touch -- my kids were young in the 1980s -- but it's my impression that children's serials are essentially dead. The main medium is TV and for whatever reasons (production or re-run considerations?) episodes seem to be self-contained. (Yes there are Japanese multi-episode Anime animations, but aren't these aimed at people older than 10? I don't watch them, so could someone please help in Comments.) Though I'm ignorant of today's serials, I was plugged into that scene in the late 40s, when serials were still in their glory. Although there might have been print medium serials, I wasn't aware of them. Where one usually found them was in movie theaters, on the radio and to some extent television. Some theaters catered to the kiddie audience with Saturday matinees. Normally there would be a feature film -- perhaps a cowboy movie -- and the lead-ins would be a cartoon and a serial. Sadly, my parents seldom were willing to haul me over to the theater for the Saturday entertainment so I never got to see many episodes of Batman (let's say) in sequence. I'd be left hanging at the end of the reel with the hero or another important character in seriously serious trouble, seemingly with no possible hope of survival. And I seldom found out how they escaped alive. I'm more familiar with radios serials because I got to listen to them daily. ABC and, I think, the Mutual network had kiddie serial ghettoes filled with 15-minute programs that ran from around 5 to 6 in the late afternoon: after school but before dinnertime. Programs I recall hearing included Superman, Terry & the Pirates, Jack Armstrong (The All-American Boy), Captain Midnight (an aviation theme), Hop Harrigan (ditto) and Tennessee Jed (a western). Half-hour-format kids' programs such as the Lone Ranger, the Cisco Kid and the Green Hornet were aired after dinnertime, at 7 or perhaps 7:30. These half-hour shows ran weekly (I might be wrong on this) and normally had complete episodes for each airing, so they can't be classed as serials. As you can probably tell, these serials were aimed more at boys than girls. I have no idea what girls did if they didn't want to listen to Hop Harrigan, et. al. And I can't recall the sex split of the audience for Saturday matinees. The content of the radio serials included a lot of action and gunplay -- probably enough to make today's gender-blenders and safety freaks wet their pants -- but it wasn't hardcore. For example the Lone Ranger (okay, not a serial, but with the same kind of audience) would blaze away with the result... posted by Donald at March 13, 2007 | perma-link | (14) comments

Video-Biz Mayhem
Michael Blowhard writes: Dear Blowhards -- Does the advent of on-demand, online video spell the end of traditional audiovisual-through-time entertainment-providers? We can certainly hope. But we wouldn't expect the likes of Viacom to go down without putting up a fight, would we? Best, Michael... posted by Michael at March 13, 2007 | perma-link | (3) comments

Friday, March 9, 2007


It's a Wrap
Michael Blowhard writes: Dear Blowhards -- The Wife and I -- OK, really our dynamic and gifted young director-buddy -- have finished shooting the film the three of us co-wrote. It's in the can, or whatever it is that experienced filmpeople say when they've come to the end of the "shooting it" part of making a film. I blogged here and here about some of my reflections and observations about microbudget filmmaking. Now that our shoot is over, I've collected a few more notions to pass along. For today: * Boys and Girls. A question that comes up regularly in journalistic discussions about filmmaking is: Why are there so few female film directors? According to this Salon article, around 95% of American films are directed by men. Can the usual catch-all explanation -- ie., sexism -- explain that big a difference? Going into our film shoot, my feeling was that sexism can't possibly explain why so many film directors are male. But my explanation went in this direction: "After all, women aren't in short supply in high-level positions in the movie business. They've run studios, production houses, and agencies. Female stars have acquired tremendous power. Unless you want to accuse Sherry Lansing, Amy Pascal, and Drew Barrymore of being anti-woman sexists, other elements must certainly come into play. There must be good, or at least understandable, reasons why even women usually choose men to direct movies." Now that our own little film has finished shooting, my preferred explanation has shifted somewhat. I still look at the "sexism" explanation skeptically. (Not that I doubt that sexism plays some role. But how big a one?) But now my own preferred explanation has become a little more down-to-earth. It goes this way: "So very many film directors are men because making an ambitious narrative movie requires a great deal of" -- tender sensibilities please leave now -- "dick energy." Being a director of ambitious narrative movies is rather like being a general. It requires a kind of maniacally focused drive. You have to be pushy, somewhat myopic and blinkered, maybe a little autistic, and incredibly determined. Making an ambitious narrative movie -- and our film, however micro, is nothing if not ambitious -- takes glee, directedness, and drive. Ego, foolishness, and maybe some recklessness don't hurt either. You have to be willing to let go of a lot of the rest of life in order to get your film in the can. These are, generally speaking, penis virtues, not vagina virtues. Directing a film is for single-track minds, and for action-oriented, dynamic bodies -- our own young director-buddy collaborator, for instance. During our shoot, he was quite a phenomenon to witness: focused, tense, happy, and sweaty. High on the excitement of it all, he grew leaner and leaner as the two weeks passed. He was so single-minded about achieving his goals that he needed to be reminded to eat. This isn't to say that filmmaking itself is, let alone should be, closed to... posted by Michael at March 9, 2007 | perma-link | (24) comments

Tuesday, March 6, 2007


Moviegoing and DVD Journal: "Inland Empire" and "7 Men From Now"
Michael Blowhard writes: Daer Blowhards -- * Funny, isn't it, how the unfolding of David Lynch's unconscious once seemed fascinating, and even seemed to have some cultural significance? What did people think they saw in his work? These days it can be hard to remember. As for myself, I loved his work up through "Blue Velvet" and some of the early episodes of "Twin Peaks." The naivete, the straightforwardness, the visions ... His movies were like primitive paintings, only dignified and calm: finger-paintings with genuine gravitas, powered by a child's fascination with gruesomeness yet also an artist's responsiveness to beauty. Since then, for me anyway, it's been a different ballgame. Although often technically beautiful, his films long ago turned into caricatures of themselves. Identity-swapping ... Grinding slow-motion heavy-metal music ... And all that stupid cool-kid stuff: the "nice" girls who turn tricks, the orgies by the lake ... Lynch came to seem to me like someone who couldn't let go of his years as a junior high school nerd obsessed by fantasies about what the bad boys and the bad girls were doing with each other while he was home watching TV. Incidentally: This is fine, and it certainly has potential. I kept attending his movies because they were beautiful and because people talked about them, but largely because so many of them had an erotic scene or two that struck me as genius. Patricia Arquette with a gun at her head in "Lost Highway" -- whew! Naomi Watts and Laura Haring crossing boundaries in "Mulholland Drive" -- goodness gracious! But my main complaints about Lynch's post-"Blue Velvet" movies are that they're so repetitious and so very slow. What became of the Victorian gentleman-weirdo who made "The Elephant Man"? In his new movie, "Inland Empire," Lynch is re-shuffling the same deck of cards he's been playing with since "Blue Velvet," only he's doing it less beautifully, less erotically, and even more slowly. In the film, Laura Dern appears to be an LA actress who wakes up in an Eastern European movie. And there it all is, all that familiar Lynchian stuff, all over again: the sinister la