Ed Wood’s classic film “Plan 9 From Outer Space” had its theatrical premiere.
“Greetings, my friend. We are all interested in the future, for that is where you and I are going to spend the rest of our lives. And remember, my friend, future events such as these will affect you in the future.
You are interested in the unknown. The mysterious. The unexplainable. That is why you are here.
And now, for the first time, we are bringing to you the full story of what happened on that fateful day. We are bringing you all the evidence based only on the secret testimony of the miserable souls who survived this terrifying ordeal. The incidents. The places.
My friend, we cannot keep this a secret any longer. Let us punish the guilty. Let us reward the innocent.
My friend, can your heart stand the shocking facts of grave robbers from outer space?”
Directed by Stephen Kijak, this feature-length career-retrospective documentary tries to simultaneously mythologize the singer-songwriter and also to peel back the veil of mystery that’s surrounded him since his days as the most brooding pop star of England’s Swinging ’60s.
His big booming baritone croon made Scott Walker a bonafide ’60s superstar in Britain as the lead vocalist of the Walker Brothers. It was a decidedly ironic situation as the band was, in fact, American; no one in the band was named Walker; and none of them were brothers, either.
Walker Brothers’ classics like “Make It Easy on Yourself” and “The Sun Ain’t Gonna Shine Anymore” only hinted at the melancholy grandeur that he would conjure up with his early art-house solo stuff – including a penchant for the dark cabaret sounds of Jacques Brel.
And those early solo albums were only signposts along the way to the thoroughly avant garde sonic experiments that the reclusive, enigmatic singer-composer conjured up on recent albums like “Tilt” and “The Drift.”
This film certainly puts Walker on a pedestal, but for the first time, fans get to hear Walker explaining much of the music and motives in his own voice. And it’s a truly fascinating tale.
There are plenty of vintage teen pop-star TV clips of the Walker Brothers, but there is also some marvelously mystifying footage of Walker in the recording studio, trying to capture elusive, ephemeral sounds for “The Drift.”
David Bowie served as executive producer of the film, and also appears on camera to discuss the importance and influence of Walker’s music. So, too, do a whole raft-load of musicians, including Brian Eno, Richard Hawley, the members of Radiohead, Johnny Marr, Marc Almond, Damon Albarn, Lulu, Sting, Ute Lemper, Alison Goldfrappe and others.
Die-hard Scott Walker fans (and there are no other kind), as well as those who’ve only heard about him, are both gonna want to see this film. Then you can decide for yourself where you want to place Scott Walker in your own personal rock pantheon.
Yes, finally – finally – one of our all-time favorite films is being released on DVD, and we won’t have to settle for watching our badly beat-up 1985 VHS copy.
“Lonely Are the Brave” is a classic modern-day existential western (or at least it was modern day when it hit movie theaters back in 1962). Starring Kirk Douglas in what he has declared to be the favorite film of his career, the David Miller-directed movie was shot in black and white, heightening the air of quiet desperation in the screenplay by the great Dalton Trumbo.
There’s a great cast, too. In addition to Douglas, the film features Gena Rowlands, George Kennedy, Walter Matthau, Carroll O’Connor, William Schallert and even Bill Bixby in a bit part.
It’s unbelievable that this movie hasn’t been available on DVD before this, but at least it is now, so I’ll stop bitching and moaning about it. Now if only somebody would release a few more of our favorite films on DVD before the format becomes completely extinct.
Critical consensus on Transformers: Revenge Of The Fallen is overwhelmingly negative. But the critics are wrong. Michael Bay used a squillion dollars and a hundred supercomputers’ worth of CG for a brilliant art movie about the illusory nature of plot.
Oh, and I would warn you that there’ll be spoilers in this review — except that, really, since I still have no idea what actually happened in this movie, I’m not sure how much I can spoil it.
Yes, you can be among the very first to see “Taking Woodstock,” the new movie from Academy Award-winning director Ang Lee.
Far out…
Not only that, but you can see “Taking Woodstock” in Woodstock at a very special screening sponsored by the Woodstock Film Festival.
Groovy…
Lee and the film’s screenwriter/producer James Schamus are coming to the Tinker Street Cinema in Woodstock at 3pm on Saturday, August 8 to offer a special one-time-only sneak-peek screening of their upcoming film.
Following the screening of the film – much of which was shot in and around the Capital Region last year – there will be a Q&A session at the theater with Lee, Schamus and Michael Lang, the key promoter of the August 1969 Woodstock Music & Art Festival (and a central character in the movie).
A special reception will then follow.
“Showing ‘Taking Woodstock’ in the community that bears its name and spirit, and having both Ang Lee and James Schamus here, will be an event to remember, especially in this, our 10th Anniversary year,” said Meira Blaustein, co-founder and executive director of the Woodstock Film Festival.
“I’ve always enjoyed returning to Woodstock for the Film Festival,” added Schamus, “so it will be a joy and a privilege for Ang and I to present our new movie as a summer surprise.”
Based on the memoirs of Elliot Tiber, the comedy stars Demetri Martin as Elliot, who inadvertently played a role in making 1969’s Woodstock Music and Arts Festival into the happening that thrust the counter-cultural into the mainstream spotlight. Of course, the film features plenty of music by folks like the Grateful Dead, the Doors, Jefferson Airplane and Country Joe and the Fish – plus a new recording of “Freedom” from Richie Havens.
The film – which is slated to open nationwide on Friday, August 14 – also features a strong ensemble cast, including Dan Fogler, Henry Goodman, Jonathan Groff (as Michael Lang), Eugene Levy, Jeffrey Dean Morgan, and Imelda Staunton, with Emile Hirsch and Liev Schreiber.
Tickets to the August 8 screening of “Taking Woodstock” are $20. Tickets to the screening and the reception are $50.
The director of “Slacker” and “Dazed and Confused” as well as “Waking Life” and “A Scanner Darkly” will receive the award during the festival’s Gala Awards Ceremony on Saturday, October 3 at BackStage Productions in Kingston.
Presenting the award will be actor Ethan Hawke, who has appeared in such Linklater films as “Before Sunrise,” “The Newton Boys,” “Tape” and “Before Sunset.”
In addition, the festival will screen Linklater’s new film, “Me and Orson Welles.”
Previous recipients of the WWF Honorary Maverick Award include Kevin Smith, Christine Vachon, Barbara Kopple, Tim Robbins, Les Blank, D.A. Pennebaker & Chris Hegedus, Woody Harrelson, Mira Nair and Steve Buscemi.
Somewhere in between Goethe and Randy Newman, director/screenwriter Brian De Palma teamed up with songwriter/actor Paul Williams to concoct this 1974 cacophonous cinematic deconstruction of “Faust”-meets-”Phantom of the Opera.”
As the devilish Swan (portrayed by Williams) explains to a gaggle of reporters at a press conference, “It’s an opera, a kind of pop cantata. It tells the story of a young man who sells his soul to the devil to become a pop star. It will be the first rock version of ‘Faust.’”
And yes, apparently the film is supposed to be a contemporary (for ‘74) rock & roll rendition, but with music penned by Williams – the composer of “Theme From the Love Boat,” the Carpenters’ “We’ve Only Just Begun” and the recent stage musical “Happy Days: The Musical” – the rockin’ never really gets started.
The tag line on the DVD cover proclaims the film to be “the most highly acclaimed horror phantasy of our time,” but I have no idea whose time they’re actually talking about. So ridiculously over the top, the film seems to make a run for the midnight movie circuit, and at times it’s clearly a “Rocky Horror Picture Show” wanna-be.
Chockful of delightfully awful scenery-chewing acting and incredibly over-cooked dialogue (“The karma is so bad around here you need an Aqualung to breathe,” for example), it’s no surprise that the film was panned by reviewers.
The best thing about this movie? The voice-over narration at the beginning of the film – by an uncredited Rod Serling.
So what is it?
A horror musical comedy?
Keenly observed satire?
A total trainwreck?
Well, maybe it’s all of those things. But one thing is for sure – it’s a hoot and a half.
OK, the ball is rolling now with the announcement that Martin Scorsese will direct a movie about the life of Frank Sinatra. No big surprise there, and Scorsese is probably the perfect man for the job. (Although frankly speaking, I am more than a bit disappointed that Scorsese isn’t finally getting around to tackling his much talked about bio-pic of Frank’s Rat Pack buddy, Dean Martin, based on Nick Tosches’ biography “Dino.”)
Of course, Scorsese’s done bio-pics before (“Raging Bull,” “The Aviator”), and he’s put in his time on music documentaries (“The Last Waltz,” “Bob Dylan: No Direction Home,” “Shine a Light”), but chances are good that the Sinatra story is probably going to look more like the director’s often under-appreciated 1977 film, “New York, New York.”
Either way, now it all boils down to casting, doesn’t it? Who’s gonna play the Chairman of the Board?
Should it be a singer? (Michael Buble)
Should it be a singer who can act? (Harry Connick, Jr.)
Should it be an actor? (Leonardo DiCaprio)
Should it be an actor who can sing? (Johnny Depp)
Or should Scorsese go the Todd “I’m Not There” Haynes route, casting a bunch of different actors to play different facets of Sinatra’s personality? (Bono, Vince Vaughn, Kanye West, Ben Gazzara and Cate Blanchett)
Hey, just a few nights ago, I settled back and watched the DVD “Classic Albums: Apostrophe (‘) and Over-Nite Sensation,” and it was a stone gas.
Lots of old interviews with Frank Zappa and live footage, too. (Remember “I Am the Slime” from Zappa’s 1976 appearance on “Saturday Night Live”? It’s here, complete with the Don Pardo spoken word section.) Lots of recent interviews with the bandmembers from those early-’70s Zappa bands – including George Duke, Napolean Murphy Brock and Ruth Underwood. And lots Dweezil sitting at the mixing board, dissecting the music track by track – really fascinating.
Every once in while, there was footage of Dweezil onstage, too, leading his tribute band Zappa Plays Zappa, as they cranked out an Frank nugget. I got all wistful (or was that wasteful?) about the sold-out ZPZ show at The Egg last year. “Sure would love the opportunity to catch that band in action again soon,” I thought. “I mean, it’s not like I’m going to have the chance to ever see Frank again.”
(Of course, there was that time back in ‘69 when Zappa and the Mothers played the University at Buffalo’s Clark Gym and brought out Simon & Garfunkel for a set of old doo-wop tunes. But that’s a story for another time.)
Anyway, the next day I find out that ZPZ is coming to the Palace Theatre on Tuesday, August 4 as part of the second annual Progressive Nation tour with Dream Theater, Pain of Salvation and Beardfish. How lucky am I? Maybe I’ve got the shining.
Tix for the Palace show go on sale Friday, May 15.
Oh, and one more little tidbit that I learned watching the DVD? The back-up singers on “Over-Nite Sensation” were the uncredited Tina Turner and the Ikettes. Whoa…
“The one question that I always get is, ‘Where do you get your ideas?’
“Now Aristotle couldn’t answer that question. Aeschylus couldn’t answer that question. But when they ask me that, I say, ‘Schenectady.’
“They look at me, and I say, ‘Yeah, Schenectady. There’s an idea service in Schenectady. I send them 25 bucks a week, and every week like clockwork, they send me a fresh six-pack of ideas.’
“And believe me – believe me on the grave of my mother and father, who were terriffic people – there’s always some schmuck who comes up to me afterward and says, ‘Can I have the address?’”
– Harlan Ellison from the film “Harlan Ellison: Dreams With Sharp Teeth”
Ellison has authored a huge collection of more than 75 books. And he has an ego to match. This feature-length documentary film doesn’t soft-pedal Ellison’s image as a self-important, ranting, raving curmudgeon, but it does offer insight as to just how he got that way. A number of fans, friends and fellow writers serve up some of their fave Ellison tales, but even Robin Williams can’t upstage the mighty Ellison – and you know that’s saying something.
In one of my favorite scenes in the film, Ellison shows producer-director Erik Nelson his private writing space. On the shelves surrounding the desk that cradles his Olympia manual typewriter, Ellison has taped several “iconic quotes that mean a lot to me.” Quotes from Michaelangelo (“Trifles make perfection, and perfection is no trifle”), Rimbaud (“Genius is the recovery of childhood at will”) and Eleanor Roosevelt (“No one can make you feel inferior without your consent”).
Then he reveals his favorite quotation, which he has Scotch-taped directly onto his typewriter. It’s from the nearly forgotten (and never so well known) ’60s rocker P.J. Proby, and it says simply, “I am an artist and should be exempt from this shit.” And that may explain Ellison better than anything else.
Guitar master Richard Thompson has written and performed the music for the film, as he did for “Grizzly Man,” which Nelson also produced. And among the worthwhile bonus features on the DVD, Ellison offers six readings of his work. And there’s also the intimate 50-minute kitchen table conversation, “Pizza with Harlan Ellison and Neil Gaiman,” which is exactly what the title says it is – like “My Dinner With Andre” without Andre.
“Harlan Ellison: Dreams With Sharp Teeth” airs on the Sundance Channel on Monday, May 25. Docurama Films will release the DVD version on Tuesday, May 26. And Ellison celebrates his 75th birthday on Wednesday, May 27.