Author Archives: Bob Evans

Movie Review: Rocketman

A common thing I hear is to compare this film Rocketman  to last year’s movie Bohemian Rhapsody. Both movies explore the history of well know rock performers from the 1970s and 1980 but truly I do not think that these films are really all that similar. Bohemian Rhapsody   is a much more standard example of a biographical narrative film such as I Saw The Light  Hank Williams or Sweet Dreams  with Patsy Cline. In all three movies well respected actors take on the roles of iconic musical legends, either perform or lip synch some of their most famous songs while recreating those musicians musical performances this is not what happens with here.

Rocketman is a biopic exploring the life of rock icon Elton John but this movie is a full on musical using the best-known song from John’s catalog as their vehicle into his life. There are a few examples in the movie of ‘here’s Elton John performing at this famous venue’ but unlike the other films I have mentions these performances are the exception and not the form of Rocket Man. With little regard to the chronology this film has the characters bursting into these famous tunes as a method of exploring the emotional inner lives and this is not limited to Elton, but rather to a wide swath of the cast.  If you go hoping to find the source of the inspiration to songs such as Saturday Night’s Alright,  or Your Song, then you will be disappointed. This is much closer to a movie such as The Sound of Musicthan Bohemian Rhapsody.

t is very meta but also a wonderful tool using the music of Elton John to explore what it felt like to be Elton John. Taron Egerton plays adult Elton john and his performance is one that gut punched me. There are moments where with a single expression Taron fully involved me in Elton’s pain and torment as he struggled with his life, his music, and his identity. His acting is open, accessible, and raw, a very far cry from the performance I witnessed in Kingsman: The Secret Service. Jamie bell plays Elton’s long time collaborator and lyricist Bernie Taupin and together they give us a rare thing in today’s major motion picture, a deep, very emotional, and very real relationship between two men that isn’t built upon sex. Of course the movie explore Elton’s journey into his sexuality but the core dramatic issue if John’s battles with drugs and alcohol. In addition to using the famous tunes as entry points into the psyche of the characters the film also using the unreality of the medium to give visual poetry to their inner lives. In the trailers you can see people literally floating off the ground as they are lifted by his performance but the fantasy aspect run much deeper than that demonstration but rather the movie often becomes much more interpretive than descriptive and frankly this works much better than a simple linear narrative. When the movie ended I felt as if I had shared in the emotional truth of the character’s life though I doubt I learned anything of an actual factual nature. This is not a documentary with musical interludes but rather emotional exploration via images and music in search of tone, a feeling, which hopes to capture an essence that reflects Elton John. It is well worth seeing.

 

Share

D-Day

1944, June 6th, the massive invasion of fortress Europe, with the intent to defeat, depose, and destroy the Nazi war-machine lands on the north coast of France. A military operation massive in its scale, scope, and objectives it represented the culmination of untold countless hours of labor, training, and deception and still it possessed the risk of utter failure. The harrowing assault on the beaches is something that boggles the imagination and cost many lives in the idea that people should be free. We should always remember the bravery, the almost unimaginable courage of the men who stormed that beach.

We need to also remember that our own house was far from in order during that time. We fought for freedom, yet regularly denied it based up the concentration of a chemical in a person’s skin, or because of their myths where not our myths. Our failing in the past does not and never has discredited our ideals but rather we must learn from those failings, strive to achieve our true ideals, never fail to show the courage those ideal require.

Share

A Bitter Anniversary

Today, June 4th, 27 years ago the Communist Government violently put a peaceful democratic student-led protest in Tiananmen Square. The official count of how many were killed places the number at an impossibly low figure of 300, counting soldiers, civilians, and ‘ruffians’ while Amenity International place the figure at 1,000 and for a brief time Chinese Red Cross puts the number at 2,600. What is clear is that overwhelming military force was used to disperse, suppress, and punish people desiring freedom.

Such is the brutalism of dictators and Juntas. We need to take a moment and remember those who died for freedom they deserved but never received and curse those who mistake sadism, brutality, and murder for strength.

Share

The Fascinating Conservative Response to HBO’s ‘Chernobyl’

For the last four weeks I have been utterly engrossed by HBO’s production of Chernobyl  a dramatization of the Soviet nuclear disaster. I remember the news surrounding the event quite clearly and the series has from all accounts been a fantastically accurate portrayal of life within the Soviet Union.

For those unaware, Chernobyl was a nuclear power plant located in Soviet Ukraine that operated 4 reactors and during a safety test reactor number 4 exploded. Because Soviet reactor design did not include containment vessels the explosion spread highly radioactive debris around the facility and spewed radioactive particles into the atmosphere contaminating terrain from the Ukraine into Western Europe. The series pulls no punches depicting the horrific deaths by radiation poisoning; the herculean efforts to contain and clean up the disaster, and the search for the reason why a reactor thought impossible to explode nevertheless did explode. With a fantastic cast, deft direction, and superb writing the series is quickly becoming an ‘event.’

On social media and at conservative website I have been watching with interest as a sadly predictable reaction spreads through the waters on the right; ‘see, ‘socialism’ kills!’ The truth f the matter is that all audiences bring their own filters when they participate in any art. Part of the skill in receiving critiques is being able to correctly attribute what is a flaw in a piece versus what is a perception created by the critiquer’s own filters but it is still fascinating the lengths some will go to in order to avoid what is plainly in front of them.

What is the cost of lies?

That is the very first line uttered in Chernobyl  and it is the heart of the series’ theme. Time and time again throughout the series lies are central to the disaster, to the reaction to it, and to failures in dealing with the fall-out. In the first scene we are told the cost is not that lies might be believed but rather that when lies cloud the air we lose the ability to perceive what is true. That suborning fact, truth, and science to party positions will yield an inability to see what is fact and what is convenient myth. This is a story about the importance of truth and the courage to recognize it when the rewards for listening to lies are so terribly tempting. This is something more fundamental and far more reaching than ‘socialism.’

Do not get me wrong, the Soviet Union was a deeply evil government but the attempt to conflate that with American Liberalism is a lie, a convenient myth that exist solely to protect the party.

We are right now in a crisis of truth. It is never easy to disentangle self-interest from pleasing myths and lies but more than ever it is important that we do exactly that or our won disaster will hurtle down on our heads.

Share

The Worst Film Noir by the Worst Director

While exploring the content on some of the Roku streaming channels dedicated to Film Noir  I discovered what is possibly the worst Noir ever produced, Jail Bait  directed by what many consider to be the worst director of all time, the auteur responsible for Plan 9 From Outer Space (1959), Edward Wood Jr. Full spoilers follow.

Jail Bait(1954) has the elements of a film noir but like mayonnaise left in the summer sun it has gone quit bad. Don Gregor is the son of a wealthy, world-famous, Plastic Surgeon (This will be important later, putting Ed Wood ahead of Benioff and Weiss in understanding Chekov’s Gun.)  but Don, for *reasons* likes to carry pistols and hang around cheap hoodlums. At the movie’s opening Don’s sister Marilyn, played by Ed Wood’s girlfriend Dolores Fuller, bails Don out of jail after the police arrest him for carrying a revolver. After getting home and wasting time with stilted exposition laden dialog Don quickly takes his father pistol from its hiding space inside a book and leaves to hang out with his hoodlum friend, Vic Brady. Vic drags Don into a robbery of a theater that of course goes badly and end up with a retired cop dead and a woman shot. But it did net them 23,000 dollars which is over 200,000 dollars adjusted for inflation, so that theater must have been showing Avengers: Endgame. Within hours the radio’s exposition specific station is now broadcasting the news of the robbery, along with Don’s and Vic’s names and identities, here is where we learn that Don’s father is a ‘world famous’ plastic surgeon, but the reports even positively identify Don as the gun man who murdered the retired cop. Don goes back to his father, confesses to the crime and Dr. Gregor extracts a promise from Don to turn himself over to the police later, it has to be later for *reasons*. The police arrive and Don scoots out the back way. The police seem to know everything except the location of the back door but because Dr. Gregor is such a great upstanding citizen they don’t press him on anything. By the way the junior police lieutenant is played by legendary muscle man Steve Reeves but I doubt this is the movie Frank-N-Furter had in mind when he suggested an ‘old Steve Reeves movie’ in the Rocky Horror Picture Show. Any who Vic nabs Don coming out of Dr. Gregor’s officer and forces him back to Vic’s hideout where Vic’s girl Loretta is waiting. There more tedious dialog and to shut him up Vic kills Don. To escape the law, Vic decides that he needs a new face because apparently only the face is used to identify people as fingerprints an apparently lost tech in this alternate 1954.  Threatening to kill Don, who is of course already dead, Vic forces Dr. Gregor is perform surgery and give him a new face. Ed Wood apparently could not afford a hospital set in his budget, nor an operating room staff, so the doctor performs this major reconstructive surgery assisted by his daughter and with Vic chloroformed on a living room sofa. Now before the doctor could perform this living room plastic surgery he needed a basin of hot water, apparently facial reconstruction and delivering babies have the same equipment requirements, and while searching for a basin in Vic’s kitchen he discovers Don’s *standing* dead body. Dr. Gregor completes the surgery and advises Loretta that Vic must come to him in weeks when the healing will be complete. The two weeks pass and the police are baffled how two people can just vanish as they have found neither Vic nor Don and that just seems impossible. They get a call from Dr. Gregor and leave to get to his house. Vic and Loretta get the doctor’s house and before the bandages are removed the police bust in. Vic is smug and confident that he’s in no danger, assuring the police he is not the man that they are searching for. The bandages come off and Vic is revealed to have Don’s face. The police go to arrest ‘Don’ and there’s a gun fight which ends with Vic/Don dead face down in the house’s pool, a vision shameless stolen, poorly from Sunset Boulevard.

For those of you who have seen Ed Wood’s magnum opus Plan 9 From Outer Space you may have considered that the man had little talent as a filmmaker but I assure you that Ed’s skills had matured by the time he produced, wrote, and directed Plan 9. Jail Bait,and despite the poster the title has nothing to do with the women of the film, in addition to a most laughable surgical scene posses the dullest car chase ever committed to celluloid. Many noirs  have a nightclub scenes where the romantic interest of the protagonist performs some sultry song and while Jail Bait  has a night club scene in the middle of the movie it involves none of the characters, has no torch singer in a slinky dress but instead presents that most offensive of all club acts an honest to god white man in blackface minstrel show. So this move is not just bad, it’s deeply racist and has been, until the advent of streaming and YouTube, justifiably forgotten.

Share

Movie Review: Brightburn

Sunday morning I ventured alone to see the new film Brightburn  as this movie held little interest for my lovely sweetie-wife. The one line description of this feature is ‘The Superman origin story done as a horror film.’

This is a modestly budgeted movie, R-rated for horror, graphic violence and imagery that succeeds on its own terms. Produced by James Gun who is best known widely for the writer/director of the Guardians of the Galaxy  franchise inside the massive machine that is the MCU, though for those of us more familiar with his body work Brightburn  represents a return to the genre where we first discovered his unique vision, horror. Brightburnis also a family affair with Gunn’s brother Brain and cousin Mark writing the screenplay while David Yarovesky directed.

Elizabeth Banks and David Denman star as Torie and Kyle Breyer a loving couple living on an farm in the middle of Kansas struggling with infertility and desperate for a child when a spaceship, more of a pod than a ship, crashes on their property its sole occupant a infant boy. Passing the child off as one that they had adopted Torie and Kyle raise the boy they named Brandon as their own. When Brandon reaches the edge of adolescence his begins to manifest powers and abilities  unlike anything found in nature and the Breyer’s suddenly have to confront the reality behind their fairytale of adoption.

Brightburn  knows what it wants to achieve wastes very little screen time with subplots or extraneous stories focusing on its core theme, what if someone with fantastic powers was simply evil? Jackson A Dunn who plays Brandon caries off the role with a subtle and creepy performs managing to convey menace with only body posture and his expression. David Denman is perfectly adequate as Kyle but the real star of the movie is Elizabeth Banks as Torie, she walks that line portraying a mother who loves her son, does not want to believe the worst is true, and yet has the strength in the end to face reality.

The production design on the film is outstanding. Normally when someone is aware of the production design it is because it captures some sort of beauty, usually an unaffordable one to the audience or an unearthly one such as in Thor: Ragnarok  but neither case applied to Brightburn. The Breyer’s home reflect a reality I recognize, despite having inherited a sizable farm with a large home they are not people of wealth, not even solidly middle class but rather they exist towards the lower end of the middle class. Too often in Hollywood productions this is either made to look much richer than the characters are, with stylish furnishings and art works, or it is made to appear cheap and trashy, but Brightburn  avoids both extremes, presenting a realistic home, one I recognize from my own life.

The violence and injuries in this movie are graphic fully earning the R Rating from MPAA. This movie may not be suitable for younger audiences, certainly children should not see this movie, the themes of vengeance and parents turning against their children in addition to the bloody scenes are too intense for most children, for younger teenagers, depending on their level of maturity, caution should be exercised. Over all I enjoyed this movie and for anyone who is a fan of horror this should be on their list of movies to see.

Share

Memorial Day 2019

Another three day weekend has come and gone and while it is pleasant to have the extended time away from our regular routines it is also a somber time to reflect on those men and women that died while in service to our nation.

It is important to remember that this is not simply death on the battlefield, or lives lost in wars, both wise and foolish conflicts, but the passing of people as that served their greater community. Some did lose their lives in the anger, heat, fear, and confusion of battle, some lost their lives in the miscalculation during energetic trainings, some lost their lives due to carelessness and accidents, and some lost their lives in a myriad other ways. It is a dangerous profession serving in the armed forces. During my brief time I the service and on my single deployment to the Western Pacific more than one service person aboard my ship lost their life.

More important than moments of silence, and contemplations on their service, is the duty and obligation laid upon us the civilian authority to ensure that their sacrifices are never wasted, never discounted, never expended for mere political position. We are the ultimate arbiters of our government and the Armed Forces are an expression of that government around the globe. When we vote, we are making a statement about what sort of government and its relationship to its service member. More importantly we make a different statement if we do not vote, abstaining from our duty to those serving under the colors on our behalf, and discounting their dangerous and vital mission. To not vote, to ignore the vital issues and persons of our political processes is to dismiss as unimportant the lives of everyone who stepped forward and risked everything for the chance to serve.

I hope you paid a moment to honor the service and sacrifice that has been made on your account and when an election rolls around I hope you remember that it is there, where you advance a person to use their best judgment on your behalf, that you participate to fulfill that obligation to those who no longer can.

Share

Movie Review: Aladdin (2019)

Disney continues their adaptations of classic animated feature into live actions productions with Aladdin from 1992 now exploding across silver screen as a ‘bollywood’ inspired musical staring Will Smith and a cast of new faces. I am a major fan of the original animated Aladdin, I was blown away in the theater, grabbed the soundtrack at once, added to that with an album from Lea Salonga who provided Princess Jasmine’s singing voice, and of course the DVD. To give the 2019 feature a fair shake I did my best to set aside expectation and memories, judging the film on its own merits but the very nature of the movie and its production history makes that nearly impossible.

Perhaps the most famous stand out element of Aladdin 1992 is Robin Williams’ memorable vocal performance as the fantastic Genie but critical to that character and its integration is that fact that writers from the very start envision Williams performing the part and when he signed to do that molded more of the script as well as allowing serious latitude in Williams famous propensity for going off-script, something that became a seri9ous challenge for the animators. The match of concept to performer is a large part of the alchemy of film production. Will Smith in Aladdin 2019 has been hampered by the fact that not only will his performance be compared to Williams but that too much of the original Genie character remains in the script, forcing Smith to perform a character that was designed for a singular performer. At times this is a great weight holding back Smith from his own winning charm and screen charisma and at other points in the film he’s given a character more tuned to his performance and there he soars but the see-sawing between the two styles hurts the overall production and is unfair the Smith.

Sadly the other weight dragging down this movie is Mena Massoud as titular character Aladdin. let me clear it is not because Massoud is a bad actor or even a bad singer, were he paired with actors and singer of a comparable quality I doubt I would have seen him as a fault in this movie but caught between Will Smith and Naomi Scott his performance suffers. Naomi Scott is the break out actor of this movie. She is compelling, convincing, and her vocal talents as a singer are on a par with Lea Salonga’s iconic and mesmerizing voice. She commands the scenes she appears in, delivers dialog that at time is written flat with a realized character’s voice, and project a charisma that filled the theater, compared to her quite a few actors would have been found wanting.

Aside from those hard to ignore elements Aladdin 2019 over all is a decent film. Not one that I loved but certainly an enjoyable evening at the movies. The major beats and story elements remain unchanged, though a few have been given a twist. Jasmine now instead of existing solely as a prize has her own goals and gifts beyond wanting select her own husband and the reason for her isolation in the palace is more fully developed as part of her back-story. Jafar is given a little more to want but frankly it wasn’t quit enough and I think another writing pass on this character, just a few lines here and there, would have done wonders for fleshing him out. The CGI animation is spot on and the CGI tiger and monkey are amazing. A new subplot has been added concerning the new character of Dalia, Jasmine’s hand maiden, but essentially this is the same story but expanded and now with impressive effects. Aladdin  2019 is worth seeing at least once but it is unlikely to find a home in my video library.

Share

And Now Our Watch Has Ended

Spoilers Follow

So, Game of Thrones, that cultural moment when so many joined the geek community and discussed dragon, zombies, magic, and noble houses has reached it conclusion and many are left — well not the way that they thought they would be left.

As a viewer/consumer of the series I have feelings and as a writer I have feelings and those two identities don’t always agree on how things need to go down. I started the series about the time it began airing. A friend brought over a recording of the pilot episode and I was intrigued but certainly not completely sold and for the first few season that’s how it went. He would record bring over a disc and my sweetie-wife and I would enjoy, once HBO Now launched we got our own subscription stayed up to date on our own.

Over all I enjoyed the series, the shocking turns with Eddard’s Stark’s demise, followed by the Red Wedding, and a rich tapestry of political and social forces that constrained the character made for compelling storylines. (Side note: I speak only of the series, I never read any of the books. In general I read more SF than fantasy.) However once the show outpaced the novels the stories seemed simplified. Great houses fell and the positions seemed vacant, prizes to be awarded without any pesky ‘Bannermen’ seeing their shot and moving in for an increase in station. Winterfell seemed to burn down and rebuild with alarming speed and the vast distance that occupied entire episodes compressed to ‘down the block’ trips. Ravens carried news with the speed of the Internet and rescue missions from Dragon Stone to beyond the wall hardly earned a mention. Now we have come to the end, the final resolution to all this blood, fire, toil, and death and how do we feel?

Eh.

It was okay but hardly a great ending. For me endings are very special things, it is often in the ending that I feel we see the real point of the story Personally I cannot write a short story or novel unless I know how it ends, that is my north star, the reason for setting out on the journey to begin with and what did we end up with at the end of GoT? A decent person sits on the Throne, but that itself a somewhat inconsistent characterization. A season ago Bran was so disconnected from the rest of humanity he was unable to see the emotional trauma he left in his wake, dismissing people who had borne great sacrifices without even a thank you and now he’s a wise and compassionate rule? This is an ending that has been hammered into place and not one that grew organically from the characters and the theme. I never fell into the Daenerys is a hero camp. She never actually seemed to care about the people she ‘liberated’ and instead they only seemed to server her ego and inflating her reputation as a breaker of chains when in actuality she simply broke and re-forged them to herself. Her cruelty laid the groundwork for her eventual turn, but as with the vast distances of Westeros it was compressed beyond any sensible recognition. Arya I liked much more but in the end her story was also cut short and badly constructed. Her deep motivation was seeming abandoned by one ‘special episode’ chat and that broke with season of suffering and drive that had brought her to this place and time. It could have worked had they taken a little more time and performed the emotional transformation as a consequence of the final battle at Winterfell when Arya truly seemed to meet the god of Death and learned that when we say ‘not today’ we mean not just for ourselves but for those we do not kill today. She then could have left Cersi to others ready to find something other than death to live for. Jon’s ending seemed under paid. If Daenerys was the love his life and yet his duty compelled him to kill her he needed to pay a far higher cost than exile. Peter Sagal, host of NR’s Wait Wait Don’t Tell Me, had an alternative ending for Jon that worked wonderfully. Basically after killing his love Jon would sit on the throne and order Drogon to melt it and kill him. Sansa had the best and most character arc satisfying ending, she learned from everyone who tormented her and became a powerful figure of the north.

Still, I have seen worse endings and overall I enjoyed the ride but I will view D & D future project with some suspicion as it seems clear that best elements of the show came from Martin and not their minds.

Share

More Thoughts on Noir

Recently I have been re-reading my SF/Noir novel Vulcan’s Forge  in anticipation of editor’s notes as we proceed towards our early 2020 publication date and, along with watching classic noirson streaming while reading some of the classic works in their original forms, I have been thinking about the nature of the genre and what really makes up this beloved form.

In previous posts I have discussed how one of the principal driving factor of noiris to me is how characters are consumed by their appetites and I still hold that this is an essential elements in noir  fiction, be it film or literature, but I am now thinking there is an additional element, beyond the stylized ones, that feels central to the genre and that is the conflict between the character and their culture.

In noir  fiction characters are often immoral and that immorality is judged against the larger culture that character comes from.  Murder, theft, and unsanctioned sexual activity are the hallmarks of noir  movies and from the classic period running through the 1940s and 1950s acting on these desires places a person firmly beyond the boundaries of ‘polite society.’ Even when the heroes of noir fiction aren’t murderous insurance salesmen but rather the hard-bitten border-line alcoholic private detective they still transgress far beyond anything accept my society at large. Sam Spade before being entangled in a hunt for the ‘black bird’ and temptation of great wealth it represents is betraying both his partner and societies morals by his affair with Archer’s wife. Time and time again the main characters in noir  reject society’s conformity, sometimes they do so with an internal code such as Spade or Jeff Bailey in Out of the Past  or in other instances they simply violate society’s rules out of greed and lust such as Walter Neff in Double Indemnity.

All of this prompts the idea, that I am sure is far from original with myself, that a close reading of noir, either in a film or prose piece, can also been seen as a commentary on the society surrounding those characters. This is doubly so when the noiris combine with another genre such as fantasy or science fiction where the society is likely to be as fictional as the protagonists leveling an additional responsibility on the creator to be detailed and thoughtful about their narrative and what it says about human nature both at the individual and societal levels.

Share